AR0903forWWWEnglish, Scottish and other beautiful classics, in a 45 page spiral bound book. $24.95...
Transcript of AR0903forWWWEnglish, Scottish and other beautiful classics, in a 45 page spiral bound book. $24.95...
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The CharltonMethodSopraninothrough BassRecordersItem JRMM001This is one ofthe mostcomprehensiveadult recordertutors available
Contents Fingering and trill charts 63basic technique exercises 69articulation amp coordination studies 39scale amp arpeggio studies 16 studiesfor bass Vibrato 16 Renaissanceduos Renaissance amp Baroqueornamentation amp MORE 180 pagesSpiral bound music book $3250
Susato DanseryeVarious Alto Tenor and BassQuartetItem LPM0101ADanserye begins with amysterious group of dancesmostly called bergerettes andreprises all of which appearunder the heading of bassedanse This is a completeedition of this classic collection
and is the first to come with four 46 page scorebooks and separate commentary $3725
BBBEEESSSTTTSSSEEELLLLLLEEERRRSSS
Mrs McGillivraysWelcomeBass Recorder TutorItem HATT001A bass recorder tutor witha Scottish flavor This bookis intended for recorderplayers who have areasonable knowledge ofalto recorder and whowould like to becomeuseful Bass recorder players Once you havetried the first few pages of this method you arelikely to find this much easier than you realizedThis tutor combines a comfortably gradedlearning sequence with plenty of interestingtunes and pieces Contents Basic bass fingeringcharts and 84 pieces exercises and traditionalEnglish Scottish and other beautiful classics ina 45 page spiral bound book $2495
Van Eyck Der FluytenLust-HofFor Soprano RecorderItem DOL0125Few works in the recorderrepertoire have received asmuch attention fromperformers students andscholars as Jacob Van EycksDer Fluyten Lust-Hof Why somuch celebrity for an obscurecollection by a composer whose total output doesnot quite fill 200 pages Recorder players areaccustomed to mining for gems and Van Eyckscollection gleams brightly because it bringstogether some of the finest melodic material of the16th and early 17th centuries in skillful settings thatare musically and technically challenging (ARSJanuary 2004) $3275
Monteclaire Airs deDanseFor Soprano or AltoRecorderItem PAR0103Monteclair was a composerof cantatas serenadesinstrumental concerts aballet and a well receivedopera He is best knowntoday for his flute duetsand the Deuxieme Concert for flute and bassThese pieces all have sections of dance tuneswhich are published here for the first time in amodern edition In the Petite Method Monteclairwrites that Nothing improves the understandingof the different tempos and metres than dancetunes All of the Airs de Danse are printed in thiscollection to avoid having to choose betweenthem 41 page score $1995
The ConsortCollectionVolume 1For RecorderQuartetItem DOL0101This must bethe ultimateanthology ofconsort musicThis collectionfeatures 39 widely varied pieces ofmusic spanning the 15th to 17thcenturies Included are pieces by desPres Senfl Janequin Byrd SusatoGibbons Dowland Lully and manyothers 45 page score $1300
BarsantiCompeteOriginalRecorderSonatasFor Alto andBassoContinuoItemDOL01266 sonatas by
Francesco Barsanti Includescommentary and performance notes52 page gem$2450
The Recorder BookItem WOLLITZBack after over a decade of absence andnewly updated the Recorder Book is aninstructive guide for everyone who plays therecorder be it beginner intermediate orexperienced and wants to play morebeautifully and skillfully From selecting arecorder to making it sing from practicingeffectively to playing ensemble andenriching your repertoire here is everything
you need To use this book is to have a uniquely gifted teacher atyour side encouraging you providing you with specific help anddelighting you with their lively knowledge of the art of makingmusic 259 pages $2995
Traditional Irish MusicFor Alto RecorderItem PAR0101A very nice collection of 22 piecesin a 16 page spiral bound score$1200
Playford DancesFor Recorder QuartetItem LPM0102These arrangements of dances from Playfordrsquos TheDancing Master which appeared in 18 different editionsare intended primarily for playing to dancers Those of uswho have been involved in dance events will be familiarwith the experience of having to cobble together versionsof these tunes for the band at short notice and it is hopedthat this volume should reduce the consumption ofmidnight oil $1325
From your friends at
ORDER TOLL FREE (888) 665-2721TEL (860) 364-5431 FAX (860) 364-5168
Email Magnamusicmagnamusiccom
Shop Online at magnamusiccomDonrsquot forget to mention yoursquore an ARS member and get a surprise
ON THE COVER
Illustration by
Wonjoung Chang
copy2009
Volume L Number 2 March 2009
Our 2009 celebration continues with anearly-bird discount deadline of May 1
to register for the ARSrsquos 70th birthdaypartymdashthe ARS Festival and Conference
This year yoursquoll continue to see ARcovers highlighting 2009 as both Volume
50 of AR and as the ARSrsquos 70th anniver-
sary year These specially selected coversare the creative output of the AdvancedIllustration class taught by Glenna Lang
at the School of the Museum of Fine Arts in Boston MA at which students comefrom all over the world to study
The Education Department in thisissue may bear resemblance to ldquoAre youSmarter than a Fifth-graderrdquomdashbut thequestions are a challenge for recorderplayers of any vintage Take Bart Span-
hoversquos quiz (page 24) and see how you doYou may want to use his questions as well asthe AR50 piece in this issue (page 23)mdashadvice from the late Leacuteonie Jenkinsmdashto prepare yourself for your workshop orfestival experience
If itrsquos March then itrsquos likely that youexpect the bulk of this issue to be devotedto the annual roundup of upcoming
recorder workshops (page 12) Whether we make your acquaintance at
the Boston Early Music Festival we meetyou in St Louis for the ARS Festival or wecross paths at one of the many workshopsyoursquoll agree that this promises to be amemorable summer for recorder players
Gail Nickless
Editorrsquos
Note______________________________
GAIL NICKLESS EDITOR
CONTRIBUTING EDITORS
TOM BICKLEY COMPACT DISC REVIEWS bull FRANCES BLAKER BEGINNERS amp TECHNIQUE
TIMOTHY BROEGE 20TH21ST-CENTURY PERFORMANCE
CAROLYN PESKIN Q amp A bull CONSTANCE M PRIMUS MUSIC REVIEWS
ADVISORY BOARD
MARTHA BIXLER bull VALERIE HORST bull DAVID LASOCKI bull BOB MARVIN
THOMAS PRESCOTT bull CATHERINE TUROCYbull KENNETH WOLLITZ
WWWAMERICANRECORDERORG
COPYRIGHTcopy2009 AMERICAN RECORDER SOCIETY INC
Features
Suite Thoughts of Sitka 9Judith Linsenberg recounts how her life changedwhile being the Sitka recorder resident
Summer Workshop Summer-y 12The annual roundup of summer workshopsincluding some earlier and some later
Departments
Advertiser Index and Classified 40
AR50 Avoiding Aches and Pains 23Dr Leacuteonie Jenkins gives advice for thosecontemplating a workshop experience
Chapters amp Consorts 32
Education 24Bart Spanhove tests our musical knowledge
Music Reviews 37
On the Cutting Edge 27Tim Broege puts the recorder into the perspectiveof the larger music world and the internet
Presidentrsquos Message 3Lisette Kielson on how to feed the passion
QampA 28Carolyn Peskin describes Renaissance fingering
Response 34More on music-reading glasses earplugs and Oskar
Tidings 4Mario Duschenes and John Updike die EarlyMusic America contest news Joe Lewnard wins Piffaro contest Matthias Maute teams up with Lincoln Center musicians
GLENNA LANG
DESIGN CONSULTANT
8
9
12
32
6 March 2009 American Recorder
AMERICAN
RECORDER
SOCIETYinc
Honorary PresidentErich Katz (1900-1973)
Honorary Vice PresidentWinifred Jaeger
Statement of PurposeThe mission of the American Recorder Society is
to promote the recorder and its music bydeveloping resources and standards to help
people of all ages and ability levels to play andstudy the recorder presenting the instrument to
new constituencies encouraging increased careeropportunities for professional recorder
performers and teachers and enabling andsupporting recorder playing as a shared social
experience Besides this journal ARS publishesa newsletter a personal study program a
directory and special musical editions Societymembers gather and play together at chapter
meetings weekend and summer workshops andmany ARS-sponsored events throughout
the year In 2009 the Society enters its eighth decade of service to its constituents
Board of DirectorsLisette Kielson PresidentLaura SanbornndashKuhlman
Vice President Fundraising ChairMarilyn Perlmutter Secretary
Scholarship ChairAnn Stickney Treasurer
Finance Chair Membership Co-ChairMatthew Ross Assistant Secretary
Membership Co-ChairBonnie Kelly Assistant Treasurer
Chapters amp Consort Chair SpecialEventsProfessional Outreach Co-Chair
Letitia Berlin Special EventsProfessional Outreach Co-Chair
Mark Davenport Education Co-ChairSusan Richter MariendashLouise Smith
Leslie Timmons Education Co-ChairMary Halverson Waldo Publications Chair
Nancy Weissman Counsel
StaffKathy Sherrick Administrative Director
1129 Ruth DriveSt Louis MO 63122-1019 US
800-491-9588 toll free314-966-4082 phone
314-966-4649 faxARSRecorderAmericanRecorderorg
wwwAmericanRecorderorg
In accordance with the Internal Revenue ServiceTaxpayer Bill of Rights 2 passed by the United States
Congress in 1996 the American Recorder Society makesfreely available through its office financial and
incorporation documents complying with that regulation
ALABAMA
Alabama Recorder Assoc JenniferGarthwaite (256-586-9003)
Birmingham Janice Williams (205-870-7443)
ARIZONA
Desert Pipes (Phoenix) Linda Rising (602-997-6464)
Arizona Central Highlands (Prescott) Georgeanne Hanna (928-775-5856)
Tucson Scott Mason (520-721-0846)
ARKANSAS
Aeolus Konsort Don Wold (501-666-2787)
Bella Vista Barbara McCoy (479-855-6477)
CALIFORNIA
Central Coast Margery Seid (805-474-8538)
East Bay Susan Jaffe (510-482-4993)
Inland Riverside Greg Taber (951-683-8744)
Monterey Bay LouAnn Hofman(831-439-0809)
North Coast Kathleen Kinkela-Love (707-822-8835)
Orange County Lois Sheppard(562-431-0454) amp Rayma Zack (949-624-3448)
Redding Kay Hettich (530-241-8107)
Sacramento Steve Sherman (916-489-2771) amp Robert Foster (916-391-7520)
San Diego County Harvey Winokur (619-334-1993)
San Francisco Dana Vinicoff (415-908-3258)
Sonoma County Dale Jewell (707-874-9524)
South Bay Liz Brownell (408-358-0878)
Southern California Jerry Cotts (310-453-6004) ampJuanita Davis (310-390-2378)
COLORADO
Boulder Mike Emptage(970-667-3929)
Colorado Springs Janet Howbert(719-632-6465)
Denver Dick Munz(303-286-7909)Fort Collins Roselyn Dailey(970-282-1097)
Early Music Society of Western CO Bev Jackson (970-257-1692)
CONNECTICUT
Connecticut Elise Jaeger (203-792-5606)
Eastern ConnecticutJoyce Goldberg (860-442-8490)
DISTRICT OF COLUMBIA
Washington Art Jacobson (301-983-1310)
DELAWARE
Brandywine Roger Matsumoto (302-731-1430)
FLORIDA
Ft Myers Recorder amp Early Music Ens Sue Groskreutz (239-247-3002)
Gainesville Peter Bushnell (352-376-4390)
LargoSt Petersburg Elizabeth Snedeker (727-596-7813)
Miami Zulema Garaffo(305-374-1879)
Palm Beach Beverly Lomer(954-592-2852)
Sarasota Margaret Boehm (941-761-1318)
GEORGIA
Atlanta Mickey Gillmor (404-872-3210)
HAWAII
Hawaii Irene Sakimoto (808-734-5909)
Big Island Roger Baldwin (808-935-2306)
ILLINOIS
Chicago Mark Dawson (773-334-6376)
Chicago-West Suburban Laura SanbornndashKuhlman(630-462-5427)
LOUISIANA
Baton Rouge Cody Sibley (225-505-0633) ampJohn Waite (225-925-0502)
New Orleans Victoria Blanchard (504-861-4289) amp David Kemp (504-897-6162)
MARYLAND
Northern Maryland Richard Spittel (410-242-3395)
MASSACHUSETTS
Boston Laura Conrad (617-661-8097)
RecordersEarly Music Metro-West Boston Sheila Beardslee (978-264-0584)
Worcester Hills Doug Bittner (508-852-6877)
MICHIGAN
Ann Arbor Annabel Griffiths (734-213-3172)
Kalamazoo Charles Vreeland (269-342-8069)
Metropolitan Detroit Claudia Novitzsky (248-548-5668)
Northwinds Recorder SocietyJanet Smith (231-347-1056)
Western Michigan Jocelyn Shaw( 231-744-8248)
MINNESOTA
Twin Cities Barbara Aslakson (952-545-3178)
MISSOURI
St Louis Kathy Sherrick (314-822-2594)
NEVADA
Sierra Early Music Society Kay Judson (775-322-3990)
NEW HAMPSHIRE
Monadnock Kristine Schramel (413-648-9916)amp Lynn Herzog (802-254-1223)
NEW JERSEY
Bergen County Mary Comins (201-489-5695)
Highland Park Donna Messer (732-828-7421)
Navesink Lori Goldschmidt (732-922-2750)
Princeton Louise Witonsky (609-924-2752)
NEW MEXICO
Albuquerque Bryan Bingham (505-299-0052)
Las Vegas (Flat amp Baroque in Las Vegas) Tom Curtis (505-454-4232)
Rio Grande Sylvia Burke (575-522-1742)
Santa Fe Jane Thomson (505-986-0753)
NEW YORK
Buffalo Jean Ericson (716-839-3942)
Hudson Mohawk Darleen Koreman (518-482-6023)
Long Island Barbara Zotz (631-421-0039)
New York City Gene Murrow (646-342-8145)
Rochester Liz Seely (585-473-1463) Rockland Jacqueline Mirando (845-624-2150)
Westchester Erica Babad (914-769-5236)
NORTH CAROLINA
Carolina MountainsCarol Markey (828-884-4304)
Triangle Mary McKinney (919-489-2292)
OHIO
Greater Cleveland Edith Yerger (440-826-0716)
Toledo Marilyn Perlmutter (419-531-6259)
OREGON
Eugene Lynne Coates (541-345-5235)
Oregon Coast Corlu Collier (541-265-5910)
Portland Zoeuml Tokar (971-325-1060)
PENNSYLVANIA
Bloomsburg Early Music EnsSusan Brook (570-784-8363)
Philadelphia Vincent Hurtubise (215-438-6409)
Pittsburgh Helen Thornton (412-781-6321)
RHODE ISLAND
Rhode Island David Bojar (401-944-3395)
TENNESSEE
Greater Knoxville Ann Stierli (865-637-6179)
Nashville Janet Epstein (615-297-2546)
TEXAS
Austin Marianne Weiss Kim (512-795-9869)
Dallas Jack Waller (972-669-1209)
Rio Grande Sylvia Burke (575-522-1742)
UTAH
Utah Recorder Society (Salt Lake) Mary Johnson (801-272-9015)
VERMONT
Monadnock Kristine Schramel (413-648-9916) amp Lynn Herzog (802-254-1223)
VIRGINIA
Northern Virginia Edward Friedler (703-425-1324)
Shenandoah (Charlottesville) Gary Porter (434-284-2995)
Tidewater (Williamsburg) Vicki H Hall (757-565-2773)
WASHINGTON
Moss Bay Ralph Lusher (425-275-6777)
Seattle Carolyn Wallace (206-782-6898)
WISCONSIN
Milwaukee Carole Goodfellow (262-763-8992)Southern Wisconsin Marilyn Oberst (608-836-0269)
CANADA
Montreacuteal Mary McCutcheon(514-271-6650)
Toronto Sharon Geens (416-699-0517)
Please contact the ARS officeto update chapter listings
ARS Chapters
In July 2005 before I was on theBoard I attended the very first
ARS Festival that year held at RegisUniversity in Denver CO I decidedto go at the last minute (no earlyregistration discount for me) Ithought take advantage of this greatopportunity to change rolesmdashpartici-pate as a student instead of as facultyWhat a wonderful experience it wasmdashto observe join sessions and absorb all the warmth humor and knowledgethat was presented to me I recon-nected with some and met many whowill remain good friends and respectedcolleagues throughout my life
As I recall the 2005 ARS FestivalI remember my introduction to theARS by one of my first teachersRoberta Sweet My passion lay inmaking music and she fed thatpassion lovingly and consistentlymdashone quality I believe necessary forremarkable teaching As a professionalmusician (and lifelong student ofmusic and life) I now succumb to amore sophisticated hunger thatinvolves more than just my teachingand performingmdashan appetite that nowincludes what other professionals are
saying about the recorder theirthoughts on teaching and theirapproaches to ensemble direction andperforming
This Presidentrsquos Messageprovides me with a chance not only toreflect but also to advertise This is theMarch issuemdashthe issue traditionallylisting all the summer festivals andworkshops I mentioned it in the lastissue and you have certainly read and
heard about it but it is here that Iwould like to formally invite you to our second ARS Festival and
Conference held July 30-August 2
at the University of MissourimdashSt Louis (For details go towwwAmericanRecorderorg)
The ARS Festival and
Conference will be a very specialevent honoring all aspects of therecorder an opportunity to cometogether to share ideas and play ourbeloved instrument a chance to hearlive performances from the best-of-the-best and a recognition of thosewho have been an integral part of theARS and of those who will carry itforward into the future
This is not an annual event It hasbeen years in the making Whetherpresenter performer student of everyage and level exhibitor vendoreducator auditor amateurprofessionalmdashwe are in this togetherAll are welcome (And donrsquot forgetabout the early registration discount)
I now succumb to
a more sophisticated
hunger that involves
more than just my
teaching and performing
mdashan appetite that
now includes what
other professionals
are saying about
the recorder
Presidentrsquos
Message___________________________________Greetings from Lisette Kielson ARS President
LKielsonLEnsemblePortiquecom
wwwAmericanRecorderorg March 2009 7
SWEETHEARTFLUTE CO
Baroque Flutes our ownldquoSweetheartrdquo modelFifes Flageolettes
ldquoIrishrdquo Flutes amp WhistlesSend for brochure andor
antique flute list
32 South Maple StreetEnfield CT 06082(860) 749-4494
Ralphsweetaolcomwwwsweetheartflutecom
Flutist recorderist conductor andteacher Mario Duschenes (1923-2009) died peacefully in MontrealQC Canada on January 31
Born in Hamburg Germany heescaped into Switzerland before WorldWar II His early musical studiesfocused on recorder solfegravege and pianoHe then turned to the flute firststudying with his father and brothersthen in 1943 entering the GenevaConservatory In 1947 he completedhis training and won an award at the1947 International Competition forMusical Performers in Geneva
After touring Europe as soloistwith the Ars Antiqua Ensemble heemigrated to Canada in 1948
A new recorder worldmdashin partic-ular Montrealrsquos mdashwas enlivened inthe 1950s by the youthful recorderistand flutist from Europe who taughtpublished a method book (used bythousands around the world and stillavailable) and arranged for recorderensembles He made over 30 record-ings including several of flute andrecorder duets with his friend well-known flutist Jean-Pierre Rampal
With his wife Ellyn who was aresearcher and child psychologist hebrought musicians into schools andconducted youth concerts An expertin the Orff-Schulwerk teaching
method he became a member of theCarl Orff Canada advisory board in1974 His efforts in music educationwere lauded by Jamie Portman in The(Montreacuteal) Gazette writing in 1978that Duschenes ldquois probably doingmore for the image of young peoplersquosconcerts than anyone else in Canadardquo
In 1953 he was co-founder of theCAMMAC Music Centre where hetaught for many years Duschenes alsotaught at McGill University (1954-70) and at the University of Montreacuteal(1970-73) He was president in1983-85 of Jeunesses musicales du Canada
Duschenes was recognized as aleading conductor and stood beforeevery major orchestra in CanadaAmong numerous awards he receivedtwo honorary doctorates (from Con-cordia University Montreacuteal andMemorial University St Johnrsquos New-foundland) and in 1985 was made anOfficer of the Order of Canada
Duschenes wrote a number ofwidely-distributed works publishedby BMI Canada and later byBerandolmdashnotably his Method for theRecorder I (1957) and II (1962) forsoprano or alto (in French Meacutethode deflucircte agrave bec I 1962 and II 1968) SchoolRecorder Method (1957) for sopranoand alto together (in French La Flucircteagrave bec agrave lrsquoeacutecole 1973) and Studies inRecorder Playing (1960) He edited orwrote easy duos and trios studies foralto recorder and arrangements ofRenaissance and Baroque works ofBach and of Leopold Mozart
He is survived by his brotherRolf five children and 12 grandchil-dren his wife of 42 years Ellyn(1929-1994) preceded him in deathDonations in his memory may be
made to Phare - Enfants et Familleswwwphare-lighthousecom andMaison Emmanuel wwwmaison
emmanuelorgPulitzer Prize-winning novelist
John Updike (1932-2009) also diedin January of lung cancer at age 76Among his many literary efforts thatinclude the Rabbit quartet he wrote forThe New Yorker for which he contrib-uted a 1988 short story entitled ldquoTheMan Who Became a Sopranordquo Thiswas later reprinted in The Afterlife andOther Stories (Knopf 1994 amp FawcettCrest New York 1995)mdashand the titledoes refer to a soprano recorder Inthat story he led the reader throughvarious personality conflicts in aweekly recorder group that metsomewhere in the East In otherwritings Updike used classical musicto imply a level of sophistication in hischaracters such as Terry Gallagherplaying Greensleeves on recorder in his fifth novel Couples (1968)
Updike was himself knowledge-able about music reviewing classicalmusic concerts in Castle Hill MAfrom 1961-65 He had moved toIpswich near Boston after he left hisjob at The New Yorker feeling after 20months that the city was distractinghim and sometimes stifling his creativ-ity (though he kept his ties to The NewYorker and continued to send thempieces) He and his family enteredenthusiastically into small-town lifeUpdike wrote and performed in anhistorical pageant and he and his wifewere members of a recorder group
Updike commented in 2003ldquoThe real America seemed to me lsquoout therersquo Out there was where Ibelongedrdquo
Tidings___________________________________Mario Duschenes and John Updike die
Joe Lewnard wins young recorder player contest
8 March 2009 American Recorder
Passing Notes
The Recorder Magazine
we invite you to visit the sitewwwrecordermaildemoncouk
Recent Performances of Note
in New York CityLast November at the Chapel of theGeneral Theological Seminary inNew York City NY Chelsea Winds
Recorder Ensemble (Lucinda andBarrie Mosher Gregory EatonDavid Hurd and this author) offeredan all-Bach program It started withthe Ricercare a3 from the MusicalOffering transposed up a step to D minor and continued through 10 contrapuncti from Art of the Fugue
The final days of 2008 held somefine recorder playing RecorderistMatthias Maute joined 16 membersof the prestigious Chamber Music
Society of Lincoln Center in aprogram titled ldquoBaroque Collectionthe Beautiful and the Bizarrerdquo Theperformance included sonatas con-certos programmatic pieces and ariasby Pachelbel Muffat TelemannBiber Vivaldi and Handel Mautecontributed his graceful and fluidplaying to the Telemann Concerto in A Minor for alto recorder two violinsand basso continuo and also to theVivaldi Concerto in G Minor forrecorder oboe bassoon violin andcontinuo (R107)
The concert was presented in thelarge Rose Theater at the LincolnCenter Jazz Center on December 19and 21 If there were ever any doubtMaute made it very clear that therecorder could hold its own in thecompany of ldquomodernrdquo instrumentseven in a large concert space
Given as part of St Bartrsquos middaymidtown concert series a concert ofmore Telemann held very nice playingfrom Deborah Booth on December17 In addition to soprano and altorecorders Booth played Baroqueflute I particularly liked her renditionof the Telemann Partita in C Minor forsoprano recorder and continuo andthe alto recorder obbligato to the arialdquoEin stetes Zagenrdquo from Telemannrsquoscantata for Advent ldquoLauter Wonnerdquo
At the end of the liturgical seasonof Christmas the ensemble at theHoly Trinity Lutheran ChurchVespers series presented JS BachrsquosCantata No 152 ldquoTritt auf dieGlaubensbahnrdquo for the first Sundayafter Christmas (December 28) Thearia ldquoStein der uumlber alle Schaumltzerdquo
with its recorder obbligato played byLarry Zukof was lovely
Chelsea Winds had an interest-ing experience when we were invitedto play a short program for a UnitedNations conference on cooperationbetween the UN and the worldrsquosreligions (December 16) LabouisseHall where the concert was held wasfull of people very many in exoticattire I confess I was dismayed at thissight because I feared our program ofcontrapuncti from Bachrsquos Art of theFugue would make no sense to themany non-Westerners brought up inother music cultures
I need not have feared Themusic was enthusiastically receivedBachrsquos music really is universal
Anita Randolfi
wwwAmericanRecorderorg March 2009 9
Mary Halverson Waldo was a Suzuki teacher trainer for the
January Festival Suzuki in Lima Peruacute Pictured are the
Huancavelicanos who attended the festival from the city of
Huancavelica in the most poverty-stricken region of Peruacute
Padre William Lopez (center front) is the school master and
recorder teacher (being an excellent recorder player him-
self) They were extremely grateful to Corinne Newbegin
(OR) and Jane Harper (MN) who donated SATB recorders
in excellent condition for two vibrant Suzuki programs in
Colombia and Peruacute
If there were ever any
doubt Maute made it
very clear that the
recorder could hold its
own in the company of
ldquomodernrdquo instruments
10 March 2009 American Recorder
Awards and HonorsMusic educator and recorderistDeborah Greenblatt and DavidSeay of ldquoThe Old Schoolhouserdquo inAvoca NE were featured in theNovember 2008 International Musi-cian the official journal of the Ameri-can Federation of Musicians of theUS and Canada They have playedand sung folk music together for morethan 30 years The duo has publishedbooks for a variety of instruments fromrsquocello to tin whistle Among the latestare Barn Dance Fiddle Tunes for Two andSinging Cowboy Fiddling Tunes for TwoVisit wwwgreenblattandseaycom
for informationThe 2009 Borletti-Buitoni Trust
(BBT) Awards acknowledge thatsome instruments present a challengefor talented and ambitious youngclassical musicians striving for a solocareer Recorder player Eric Bosgraaf
(below) and harpsichordist Mahan
Esfahani are among those selected toreceive BBT financial assistance aswell as advice in such areas as publicrelations auditions and finding agents
BBT Award winner Bosgraaf ofThe Netherlands is hailed as one ofthe most gifted and versatile recorderplayers of his generationCurrent plansinclude solo performances with theDallas (TX) Symphony Orchestra andthe Dutch Radio Chamber Philhar-monic His deacutebut recording a three-CD set of music by Jacob van Eyckwas No 1 on the 2007 Dutch classical
music charts (see the CD review in theSeptember 2007 AR and an interviewwith Bosgraaf in the May 2008 ARsee also wwwerikbosgraafcom)
Iranian-born Esfahani who hasappeared in ensemble performancesreviewed in AR was a BBT Fellowshipwinner He makes his Wigmore Halldeacutebut in London as soloist with TheEnglish Concert this month
Two BBT awards of pound20000 eachand six fellowships of pound10000 eachwere given by the Trustrsquos artistic com-mitteemdashFranco Buitoni Adam Gate-house Martijn Sanders and MitsukoUchida See wwwbbtrustcom formore on the foundation and its policiesplus news video and audio of BBTmusicians (now 45 individuals and 14 ensembles from 22 countries)
Early Music America NewsEMA with support from a privatedonor will sponsor its third Medieval
Renaissance Performance Compe-
tition in 2009 The winner receives acash prize (the Unicorn Prize) and isguaranteed three concert performancessponsored by EMA and presenters inPittsburgh PA Milwaukee WI andSeattle WA The contestrsquos goal is to encourage the development ofemerging artists in the performance of Medieval and Renaissance music
Applicants must be ensembleswith at least two performers of age 39or younger who have not performedtogether for more than five years(ldquoemerging artistsrdquo) Repertoire islimited to the period of roughly 800-1550 AD performed on voice(s)andor period instrument(s) and in astyle that is historically informed The competition is open to members
(individual or organizational) of EMAwho reside in the US or Canada
Applications are due April 30Finalists will be selected by June 30and will receive hour-long coachingsessions with an early music artist and present live 20- to 30-minuteperformances in New York City NYin October
For application requirements visitwwwearlymusicorg
EMA has also announced twoearly music ensembles receiving its2008-09 Collegium Musicum
Grant Sacabuche at IndianaUniversityrsquos Early Music Institutedirected by Linda Pearse and theUNT Baroque Orchestra and
Collegium Singers from theUniversity of North Texas under thedirection of Lyle Nordstrom
Sacabuche performs vocal musicwith sackbuts and organ
UNT has one of the largest andmost active collegium programs inNorth America The most prestigiousensembles there are the 30-piece UNTBaroque Orchestra and 26-voiceCollegium Singers whose membersregularly perform at the Boston EarlyMusic Festival (BEMF)
Nordstrom the director of theseensembles was co-director with PaulOrsquoDette of The Musicians of SwanneAlley and was the founder and artisticdirector of the Atlanta (GA) BaroqueOrchestra He received EMArsquosThomas Binkley Award in 2000 for his work with collegiate ensembles atOakland University and Clayton State College
EMA Collegium MusicumGrants provide $1000 toward the costof bringing a college or universitystudent early music ensemble toperform in a BEMF fringe concert(odd-numbered years) or at the Berke-ley (CA) Festival (even-numberedyears) The two winners will performduring BEMF June 7-14
The Power of LoveJ U N E 6 - 1 4 2 0 0 9
featuring Claudio Monteverdirsquos sublime final opera
June 6 7 9 10 12 and 14 2009Stanford Calderwood Pavilion at the
Boston Center for the Arts
June 19 20 21 22 2009Mahaiwe Performing Arts Center
in Great Barrington MALrsquoincoronazione di Poppea replaces the previously announced operatic centerpiece Antiochus und Stratonica by Christoph Graupner
Tickets are on sale now at WWWBEMFORG and 617-868-BEMF
RECORDER EVENTS AT THE 2009 BOSTON EARLY MUSIC FESTIVAL
Join us for our weeklong extravaganza of early music with concerts by the worldrsquos leading early music soloists and ensembles including Stile Antico Trio Hantaiuml Ricercar Consort
Pieter Wispelwey rsquocello and Kristian Bezuidenhout fortepiano the BEMF Chamber Operapresentation of John Blowrsquos Venus and Adonis and Marc-Antoine Charpentierrsquos Acteacuteon
Flanders Recorder QuartetSunday June 14 at 1230pm
Paul Leenhouts Renaissance recorder
andGabe Shuford harpsichord amp organ
Wednesday June 10 at 11pm
Recorder Masterclass with Paul LeenhoutsThursday June 11 at 2pm
Visit WWWBEMFORG for a complete schedule of eventsregistration materials for the world-famous BEMF Exhibition Fringe Concerts
and Masterclasses and much more
Joe Lewnard winsPiffarorsquos Second Competition for Young RecorderPlayers
By Joan Kimball wwwpiffarocom
Piffarorsquos second competition for youngrecorder players ages 12 to18 washeld on January 10 at the SettlementMusic School in Philadelphia PAFive finalists chosen on the basis oftapes that they submitted in Novemberperformed before a small but enthu-siastic and supportive audience
A smattering of snow and ice keptaway some people who otherwisewould have attended Ironically the finalists had no trouble reachingPhiladelphia from distant snow capitalsof the USmdash Denver COMinneapolis MN and Chicago IL
Unique in this country as far asanyone knows this competition wasestablished in 2007 to pique theinterest of young recorder players andto encourage them to investigate therepertoire of the 15th century into theearly 17th century on recorders as wellas other early wind instruments Whilethese young players tend to focus on
18th-century and contemporary musicPiffaro hopes to convey to them theimportance of playingmdashand alsounderstanding the underlyingperformance practice issues ofmdashearlier repertoire
Joe Lewnard (at right withPiffarorsquos Joan Kimball) an 18-year-oldhigh school senior from the Chicagoarea was chosen as the winner byjudges Nina Stern from New YorkCity NY and Elissa Berardi ofPhiladelphia He has played recorderfor a number of yearsmdashstudying withAldo Abreu among othersmdashand hasattended the virtuoso program at theAmherst Early Music Workshop Alsoa trumpet player he has expressedinterest in taking up the cornettocombining his facile fingers with hisbrass embouchure
In recent months Lewnard hasbeen preparing repertoire for collegeand conservatory auditions and willapply to several schools His selectionsfor the competition were the unaccom-panied Ricercata prima by GiovanniBassano and two movements from asuite by Pierre Philidor
The other four finalists also playedwith poise and distinction in variedrepertoire (Renaissance to contem-porary) that showed their abilitiesThey were Ariel Branz (age 16) from
Boulder CO a student of LindaLunbeck Bryan Duerfeldt (15) fromMinneapolis a student of MaryHalverson Waldo Amy Pikler (16)from Chicago who studies withPatrick OrsquoMalley and Olivia Sohlen
(16) also from Minneapolis and astudent of Cleacutea Galhano
On March 7 Lewnard willappear again in Philadelphia pairedwith the competitionrsquos previous winnerAlexa Raine-Wright in a recital Thetwo young virtuosi (both of whom havewon ARS workshop scholarships) willperform a variety of 16th- 17th- and18th-century solos and duetsaccompanied by harpsichordistMarcia Kravis In addition Piffaromembers Joan Kimball Priscilla
Smith and Bob Wiemken will jointhem for a set of 16th-century workson Renaissance recorders
With two competitions success-fully completed Piffaro plans to holdanother one in two years and hopesthat young recorder players will start toprepare now Wersquod love to see moreyoung virtuosi coming our way
12 March 2009 American Recorder
Early Music America Magazine is the quarterlypublication for the Early Music Community inNorth America Professionals Students andAudience members
Articles on performance practice trends in thefield recording reviews and a new book reviewsdepartment
Call 888-722-5288 or email infoearlymusicorgfor a FREE sample issue
Last spring I had the honor andgood fortune to spend five weeks
at the Sitka Center for Art andEcology on the central Oregon coastas the recorder resident The recorderresidency is sponsored by the OregonCoast Recorder Societymdasha wonderfulgroup of people I had the chance tomeet and teach and to make musicwith while I was there Myparticipation was made possible inpart by a professional grant from theARS and also by the kind generosityof some of my loyal long-termstudents
The project I worked on while atSitka was an intensive study of Bachrsquossolo string musicmdashprimarily the rsquocellosuites and some of the violin partitasmdashwith the aim of preparing my own arrangements of them for aneventual recording
Although Irsquod been told before Iwent that Sitka was incredibly beautifuland a wonderful place to be Iapproached the residency with sometrepidation I wasnrsquot quite able toimagine it and wondered how I wouldsurvive so many weeks by myself in aremote location seven miles from thenearest townmdashand where Irsquod heardmost cell phones did not work (panic)When I arrived on April 9 I was metwith typical Oregon coast weather forthat time of the year (and many timesof the year) chilly temperatures andrain And Irsquod left sunny California for five weeks of this
I lived in what is called the TreeHousemdasha charming one-roomwooden cabin with a sleeping loft and a wood-burning stove insidemdashenveloped outside by a couple of giantSitka spruce trees After many failedattempts over several days one of myproudest accomplishments was finally
learning how to quickly and reliablybuild a fire in my wood stove My nextproudest accomplishment was learningthat one should not put wet logs on the top of the stove to dry This Idiscovered after setting off the smokealarm bringing the entire Sitka staffrunning to my aidmdashonly to find meoblivious up in the loft
It took me a week or so to getadjusted to my new life I wasnrsquot usedto being alonemdashwithout my dog farfrom civilizationmdashand with expansesof free time and no actual responsibil-ities I spent some of that time explor-ing the surrounding areas takingwalks down to the estuary throughforested woods and climbing to thetop of Cascade Head There I was metwith awe-inspiring views of the PacificOcean the coastline the mountainsand the estuary far below I soondiscovered that this was part of thetotal Sitka experience
After my first incredible climb tothe top of Cascade Head I began torelish the quiet peace and time alonethat Sitka afforded memdashsomething Inever imagined Irsquod feel given mygenerally extroverted nature Inaddition to reading writing andmeditating I was inspired to dive into
Linsenberg
on the
deck of
the Tree
House
wwwAmericanRecorderorg March 2009 13
By Judith Linsenberg
The author is founder and director ofthe Baroque ensemble Musica Pacificawhose performances and eight recordingson the Virgin Classics and Dorian labels
have received international acclaim She has performed throughout the US
and Europe including solo appearances atthe Hollywood Bowl and Lincoln Center
and has been featured with such leadingAmerican ensembles as the San Francisco
Symphony the San Francisco and LosAngeles Operas Philharmonia Baroque
American Bach Soloists and others
Her recording of the Bach organ trioswas sponsored in part by an
ARS Professional Grant The ARS CD Club carries some of her recordings
A Fulbright scholar to Austria shewas awarded the Soloist Diploma with
Highest Honors from the Vienna Academyof Music She is a summa cum laude
graduate of Princeton University holds anearly music doctorate from Stanford Uni-
versity and has been a visiting professor atthe Vienna Conservatory and Indiana
Universityrsquos Early Music Institute Visit wwwmusicapacificaorg
for more information
Suite Thoughts of Sitka
14 March 2009 American Recorder
my musical projects with renewed energy and enthusiasmI had the time not only to practice the Bach suites butalso to really study them in depthmdashanalyzing themlistening to and comparing different recordings andworking on my transcriptions of them Although it wasnrsquotpart of my original intention I now have a plan to publishmy arrangements of these pieces so theyrsquoll be available forothers to perform (While Frans Bruumlggen published hisarrangement of the first three suites in the 1970s to myknowledge there is only one other recorder editioncurrently available whose approach is quite different from mine)
I wasnrsquot however living in total isolation while at SitkaThere were artist residents of other media as well Kim awriter from New York state John and Robin a marriedcouple who were ceramicists from Washington state andtheir three daughters and Claudia an installation- andperformance-artist We became a community socializingwhen we werenrsquot working (and sometimes even when wewere) going on excursions to see the glorious naturalwonders of the Oregon coast having dinners together inour various residences and talking about our work
The setting provided the perfect atmosphere for theexchange of ideas and we began to collaborate on mutualprojects sometimes in unexpected ways Robin startedmaking ocarinas and I worked with her to design and tunethem While I immersed myself in Bachrsquos solo music flutesand musical themes began to appear in the images shepainted on her ceramic pieces Often after wersquod hung outtogether in the evening depictions of the stories I told herwould show up in her paintings over the next few daysFanciful illustrations of me playing to my dog Jake evenmade several appearances in her work (The photos aboveshow the ocarina she made for me)
Toward the end of my stay I also began collaboratingwith Claudia the installation artist Her work was creatinginstallations out of plastic bags fastened together to formdifferent naturalistic shapes which she then set up invarious locations around the Sitka campus and nearby
areas Together we created a performance piece that wepresented at the Open House at the end of our residenciesI provided music to accompany a performance that tookplace within her installation We worked together on usingthe music to express the various ideas in the installation andperformance and using the performance to express themusic in a visual way
Bachrsquos music can be very evocative and I chosemovements from the Bach suites that suggested the variousparts of the narrative she performed part of a slow preludeto depict nascent creatures emerging in a forest a C-majorbourree while they are coming to life a C-minor onesuggesting turmoil a fast 16th-note passage representingflight as they grow wings and fly and finally a wistfulsarabande as they gradually die away and disappear As in a ballet each medium enhanced the other and the wholebecame more than the sum of its parts illuminatingdifferent aspects of each and creating a more profoundeffect than either might have independently
During the Sitka open house Linsenberg plays
in an installation of plastic bag ldquocreaturesrdquo
There were other opportunitiesfor me to present the music I wasworking on Around the midpoint ofmy stay there I performed in a concertmarking the start of the annual Windsand Waves weekend workshop Iplayed one of my Bach suites thoughit was still a work in progress
The next day about 45 recorderplayers descended upon our quiet littleenclave turning it into a hubbub ofactivitymdashquite a change from the low-key atmosphere of the prior severalweeks Once I got over the initialculture shock of the influx of so manypeople I thoroughly enjoyed meetingand working with all of them A class I offered on the Bach suites enabledme to share some of the work Id beendoing conversely I got input from thestudents I taught that made me thinkdifferently about the piecesmdashforexample what about playing them on a subcontrabass recorder
Shortly after the workshop theSitka residents held a communityoutreach day at which we each demon-strated our work to children from anearby school I had been working onsome contemporary pieces withnaturalistic themes (fitting for thesetting) and this event gave me theopportunity to play some of them forthe kids They were fascinated by theextended techniques used to imitatebirds and other animals and of courseVan Eyckrsquos ldquoEngels Nachtegaeltjerdquowas a hit with them as well
As hard as it was for me to getused to Sitka and the residency at thebeginning of my stay it was evenharder to leave My departure datecame too soon Irsquod had time to finishtranscriptions of only three of thesuites
Saying good-bye to all the friendsIrsquod made theremdashthe other artists aswell as the recorder players Irsquod metmdashwas hard enough but leaving the
beauty of the place and the peace Irsquodfound there saddened me greatly
Sitka had changed me and ittransformed my relationship to themusic I played as well My experienceallowed me to tap into a deep placeinside myself in a way that I never hadbefore something I was then able tocommunicate through the music I wasplaying Bachrsquos music turned out to bethe perfect vehicle because it expressesin sound the same grandeur spiritu-ality and universalitymdashas anyone whohas heard a live performance of the B-minor mass can attestmdashas does theview from the top of Cascade Head
Since the conclusion of myresidency I have given severalperformances of the rsquocello suitesincluding some lecture-recitals onthem and on my arrangements moreare planned Irsquove begun working withstudents of instruments other than therecorder who are studying the rsquocellosuites And I continue to work on myarrangementsmdashalas five weeks wasjust not long enough to learn andadapt all six suites although I do plan to publish them in the future
My work at Sitka also inspired meto pick up a project I started over 10years ago but never brought tofruition preparing my arrangementsfor recorder violin and continuo of thesix Bach organ trios (that I recorded in1992) to be published soon by PRBProductions And I have no doubt thatthe Sitka experience will continue towork on me in ways Irsquom not evenconsciously aware of at this time
I would like to give my deep and heartfelt thanks to the followingindividuals and organizations to the
Sitka Center for making my stay there sowonderful and to its founders Jane andFrank Boyden who had the vision tocreate this magical place to the members ofthe Oregon Coast Recorder Society fortheir generosity in creating and sponsoringthe recorder residency to the ARS for its financial support and to my wonderfulstudents who made it possible for me toparticipate in this life-changing experience(you know who you are)
wwwAmericanRecorderorg March 2009 15
Lost in Time Press
New works andarrangementsfor recorder ensemble
Compositions byFrances BlakerPaul AshfordHendrik de Regtand others
InquiriesCorlu CollierPMB 3092226 N Coast HwyNewport Oregon 97365wwwlostintimepresscomcorluactionnetnet
Sitka had changed meand it transformed my relationship to the music I played as well
MARIN HEADLANDS
RECORDER WORKSHOP
Point Bonita YMCA near San Francisco CA
May 15-17
With each coming tide of that mightymetronome the Pacific Ocean and withspring peeping soon our MarinHeadlands Recorder Workshop 2009perched at the edge of the ocean andembraced in greenery gets nearer Againthis workshop will swell with harmoniesof recorders viols and perhaps apsaltery or drum Intermediate andadvanced players are warmly invited tojoin members of the sponsoring EastBay Chapter of the ARS a SFEMSaffiliate at this annual musical event
Music-making begins on Friday andcontinues through Sunday afternoon
including also one- and two-day options
This yearrsquos faculty includes a wonderfulmix of familiar and new faces DavidBarnett Tom Bickley Louise CarslakeRobert Dawson Lisa DykemanFrances Feldon Judith LinsenbergPeter Maund Fred Palmer and Glen Shannon
Music offerings will range from easilyplayable to challenging from delightfulPurcell and Renaissance music to jazzto works by a (very) living composer(led by the chap himself) Check theEBRS web site for updates
The workshop is held at the PointBonita YMCA one of very few publicfacilities on this largely undevelopedarea of California coast Set in a meadowwith short walks to Pacific Ocean vistasthe historic Point Bonita Lighthouseand remnants of WWII fortifications
it is a place to get away recharge andmeet new friends or re-connect withold The accommodations includedormitory-style rooms a large diningarea and playing spaces all on one levelRooms are also available for impromptuplaying sessions
Contact Anna Lisa Kronman
37 Meadow View Rd Orinda CA
94563 925-258-9442
annalisakronmangmailcom
symbolicsolutionscomebrs
BLOOMINGTON EARLY
MUSIC FESTIVAL
Bloomington INMay 15-25
Performances of Medieval RenaissanceBaroque and Classical music as well aseducational programs for concertgoersamateur performers and childrenPlease see BLEMForg for details
Contact Carol Huffman
PO Box 734 Bloomington
IN 47402 812-824-2412
specsorffyahoocom blemforg
WHITEWATER EARLY
MUSIC FESTIVAL (ARS)
University of Wisconsin Whitewater WI
June 5-7Directors Nancy Chabala Carol Stanger Pam Wiese
Our workshop is held on campus at theUniversity of WisconsinndashWhitewaterabout 60 miles SW of MilwaukeeClasses include focus and specialty areainstruction for all levels of recorderplaying as well as beginningmdashconsortviola da gamba wind band voicerecorder orchestra and mixed consort A variety of special interest classes onFriday evening and Saturday eveningparticipant gathering led by LouiseAustin The various classes include
16 March 2009 American Recorder
Summer Workshop Summer-y
The Madison Early Music Festival presents
Telescopic Vistas MEMF X and Music of the SpheresCelebrating the International Year of Astronomy
July 11-18 2009
Guest Artists amp Ensembles Faculty Recorder Artists Quicksilver with Marion Verbruggen Joan Kimball Piffaro The Renaissance Band Priscilla Smith The Newberry Consort Marion Verbruggen Venere Lute Quartet Robert Wiemken
Explore music from the days of Galileo and Kepler Celebrate the influence of astronomy on society arts and culture
in the 15th through 17th centuries
Our tenth anniversary festival features a seven-concert series and a week-long workshop with classes and ensembles for participants of all levels
For more information please call (608) 263-6670 or visit wwwmemfdcswiscedu
music from Medieval to modern
Several musicinstrument vendors onsite Dale Taylor will be on site forrepairs All ages are welcome as well as non-participants
Faculty includes Dale ArmentroutLouise Austin David Echelard CharlesFischer Shelley Gruskin LisetteKielson Laura Kuhlman PatrickOrsquoMalley Tulio Rondon KarenSnowberg Mary Halverson Waldo andTodd Wetherwax Brochures available
Contact Nancy Chabala
8609 45th St Lyons IL 60534-
1616 708-442-6053 (day)
630-789-6402 (fax)
nchabalamymailstationcom
(housingregistration)
thewiesessbcglobalnet (mailing
scholarships) cvstangeraolcom
(facultyfacilities)
INTERLOCHEN EARLY MUSIC
WORKSHOP
Interlochen Center for the Arts Interlochen MI
June 7-12 Director Mark Cudek
Make and enjoy Medieval andRenaissance music while learning new skills and techniques
Topics will include articulationornamentation improvisation andensemble arrangement in Medieval and
Renaissance music The workshopculminates with a participantperformance on period instruments such as recorders and other early windsviols lutes harpsichord and percussionVocalists are also welcome Participantswill supply their own instruments
Early registration is recommendedas space is limited
Contact Matthew Wiliford
Director ICCA PO Box 199
Interlochen MI 49643 231-
276-7441 231-276-5237 (fax)
collegeinterlochenorg
interlochenorgcollege
RENAISSANCE CHAMBER
MUSIC INSTITUTE
New England Conservatory of Music Boston MA
June 11-21
A unique opportunity for professionalmusicians and advanced students todiscover and explore one of the greatestrepertoires of Western music which iseminently suitable for all instruments
Players of modern and early instrumentsare encouraged to attend
Led by John Tyson director of theRenaissance music and dance ensembleRENAISSONICS who has performedand lectured worldwide including forthe Boston Symphony OrchestrarsquosTanglewood Institute
Introductory lectures will be followed byintense chamber music coaching in largeand small ensembles Concentration willbe on personal expression rhetoric andphrasing performance practice andornamentation The institute willculminate in a public performance at theNew England Conservatory of Music
Faculty John Tyson recorder LauraGulley violin Daniel Rowe rsquocello and guest artists
Contact Director of Summer
School New England
Conservatory of Music
290 Huntington Avenue Boston
MA 02115 617-585-1126
617-585-1135 (fax) newengland
conservatoryedusummer
wwwAmericanRecorderorg March 2009 17
Workshops carrying
ARS designation have
joined the ARS as
workshop members
Other shorter workshops
may be sponsored
periodically through the
year by ARS chapters and
are listed in the calendar
portion of each ARS
Newsletter as well as on
the ARS web site when
information becomes
available from presenters
Canto AntiguoWest Coast EarlyMusic and Dance
Featured Faculty
Beautiful CampusFully air-conditioned
For Information Call
800-358-6567
Early Music
WorkshopJuly 5-12 2009
Chapman UniversityOrange CA
Classes in
Baroque Music
Recorder Ensemble(all levels)
Vocal Ensemble
Renaissance Brassand Reeds
Viols
Collegium
Folk Dance
Thomas Axworthy
Mark DavenportRonald Glass
Janet Beazley
Carol LisekJim MaynardAlice Renken
wwwcantoantiguonet
18 March 2009 American Recorder
SUMMER TEXAS TOOT (ARS)
Concordia University Austin TXJune 14-20 Director Daniel Johnson
The Summer Texas Toot is a one-weekprogram of classes in Renaissance and Baroque music at all levels forrecorders viols singers plucked stringsRenaissance reeds and brass andharpsichord Our classes include anarray of small one-on-a-partRenaissance and Baroque ensemblesand larger mixed vocal and instrumentalgroups The size of the workshopenables us to create classes for all levelsof students from those of modest skills to advanced players and singers
Same Texas Toot hospitality andtraditionsmdashback in Austin but atConcordia Universityrsquos beautiful newcampus Classrooms dining and dormaccommodations are air-conditioned and easily walkable
Currently our featured faculty are Tish
Berlin (recorders) Tom Zajac (reedsand ensembles) Mary Springfels(viols) Becky Baxter (harp)mdashbut watchfor more faculty to be added soon
Contact Daniel Johnson
PO Box 4328 Austin TX 78765
512-371-0099 infotootorg
tootorg
SAN FRANCISCO EARLY MUSIC
SOCIETY BAROQUE MUSIC amp
DANCE WORKSHOP (ARS)
Sonoma State University Rohnert Park CA
June 14-20Directors Phebe Craig Kathleen Kraft Frances Blaker
A music-packed week of master classesconcerto evening coached ensemblesBaroque orchestra vocal and windensembles continuo classes concertsand lectures
Featuring recorder faculty FrancesBlaker and Cleacutea Galhano Other facultyChristine Brandes voice Phebe Craig
harpsichord Sand Dalton oboeKathleen Kraft flute Michael Sandviolin and orchestra Mary Springfelsviola da gamba Peter Sykesharpsichord Tanya Tomkins rsquocello
Contact Kathleen Kraft SFEMS
PO Box 10151 Berkeley CA
94709 707-874-2014
kkraftsonicnet sfemsorg
SAN FRANCISCO EARLY MUSIC
SOCIETY CHILDRENrsquoS MUSIC
DISCOVERY WORKSHOP (ARS)
Crowden Center for Music Berkeley CA
June 21-26 (day camp)Director Letitia Berlin
Early music and Renaissance socialhistory for youth ages 7-15 beginners to advanced students welcome Dailyschedule includes chamber musicmusicianship crafts costume-makingand games Friday night concert andtheater project presentation followed by potluck supper
Rebecca Ahrendt violJanet Beazley recorder
Tish Berlin re cord er co-direct orFrances Blaker recorder co-direct or
Vicki Bœckman recorderLouise Carslake recorder fl ute
Charles Coldwell recorder Rotem Gilbert recorder
Julie Jeff rey violShira Kammen viell e
Peter Maund per cus sionKim Pineda recorder
Ellen Seibert violPe ter Seibert recorder choir
Margriet Tindemans viol viell eBrent Wissick viol
Play early music in the spectacular Pacifi c Northwest Choose from classes in recorder viol fl ute and percussion Polish your skills andor take up a new instrument Sing and dance
Enjoy the faculty concert Take part in the student recital Make the most of your stay with a hike at nearby Mt Rainier or a visit to the Museum of Glass
For informat ion or to request a brochure call (206) 932-4623write to Port Townsend Early Music Workshop
1108frac12 Alki Ave SW Seattle WA 98116or vis it wwwseattle-recorderorg
July 12ndash18 2009
Port TownsendEarly Music Workshop
At the beautiful University of Puget Sound Tacoma WA
Tish Berlin amp Frances Blaker Co-Direct orsPresented by the Seattle Recorder Society
Please note that this is a day camp Out-of-town students may contact thedirector regarding accommodations withhost families Some financial aidavailable
Featuring recorder faculty Vida Bateauand Letitia Berlin Other facultyKatherine Heater dance ShiraKammen musicianship and theaterband Ron McKean harpsichord Carla Moore violin Farley Pearcersquocello and viola da gamba Allison Rollstheater project director
Contact Letitia Berlin SFEMS
PO Box 10151 Berkeley CA
94709 510-559-4670
tishberlinsbcglobalnet
sfemsorg
OBERLIN BAROQUE
PERFORMANCE INSTITUTE
Oberlin College Oberlin OHJune 21-July 5Directors Oberlin Baroque Ensemble (Cathy Meints Marilyn McDonald Michael Lynn Webb Wiggins) and artistic director Kenneth Slowik
Celebrating its 38th anniversary withMusic in London 1659ndash1759 thisinstitute offers instruction in Baroqueinstruments and voice Students of alllevelsmdashfrom beginning to Baroqueperformance to the professional levelmdashparticipate in master classes and coachedensembles with an international facultyof Baroque specialists Scholarships are available for qualified high schoolstudents
Contact Anna Hoffman
Conservatory of Music
77 West College St
Oberlin OH 44074
440-775-8044
440-775-8942 (fax)
ocbpioberlinedu
oberlineduconsummerbpi
WORLD FELLOWSHIP
EARLY MUSIC WEEK
Chocorua NHJune 25-July 2Directors Jane Hershey Larry Wallach
Faculty of eightmdashincluding JaneHershey Roy Sansom Pamela DellalJay Rosenberg Julian Cole AnneLegecircne Larry Wallach and JoshSholem-Schreibermdashin a beautifulWhite Mountain camp setting conducta week-long workshop in French earlymusic (late Medieval through Baroque)
Faculty and student concerts Englishcountry dancing special lecturesmorning and afternoon workshops inviols recorders voice mixed ensemblesSephardic music and Baroque chambermusic and classes in Feldenkrais bodywork
Camp facilities include hikingswimming boating camp gardenssupply kitchen with vegetables Very affordable rates
Contact Larry Wallach
69 Welcome St Great Barrington
MA 01230 413-528-7212 (day)
413-528-9065 (evening)
413-528-7365 (fax)
larrysimons-rockedu
worldfellowshiporg
INDIANAPOLIS EARLY
MUSIC FESTIVAL
Indianapolis INJune 26-July 19July 8-9 Mini Boxwood Workshop
The Indianapolis Early Music Festivalis the oldest continually running earlymusic concert series in the USPresented since 1967 our mission is toenrich educate and entertain audienceswith the music of Medieval Renais-sance Baroque and early Classical erasand feature exciting performers ofnational and international stature usinginstruments of the period and histori-cally informed styles and techniques
For 2009 we will present Reconstruction(June 26 ) Ex Umbris (June 27) ChrisNorman amp David Greenberg withRonn McFarlane amp Mark Cudek (July10) I Furiosi (July 12) HarmoniousBlacksmith (July 17) and the PeabodyConsort with Indiana Repertory Theatre(July 19) We also offer our secondannual Family Concert featuring thePeabody Consort on July 18mdash a freeconcert geared to young audiencemembers Several groups also offeroutreach events for younger (generallyhigh-school-aged) musicians and actors
In 2009 we also present a two-dayldquoMini Boxwoodrdquo workshop with Chris
wwwAmericanRecorderorg March 2009 19
Marin
Headlands
Recorder
Workshop
Norman (earlytraditional flutes andpipes) David Greenberg (Baroqueviolin and fiddle) and Ronn McFarlane(lute) on July 8-9
Contact emindyorg
SAN FRANCISCO EARLY MUSIC
SOCIETY MEDIEVAL amp
RENAISSANCE WORKSHOP (ARS)
Sonoma State University Rohnert Park CAJune 28-July 4Director Tom Zajac
Workshop theme Stories and LegendsOpen to singers and players of earlyinstruments (recorders violas da gambalutes shawms etc) Coaching by world-class specialists in Medieval and Renaissance music Classes forvoices recorders viols and alta capellavoice master class ensemble coachingstorytelling for musicians andstorytelling accompanimentRenaissance choir Medieval bandtheater project faculty and studentconcerts lectures and more
Scholarships as well as academic creditor continuing education credit areoffered Featuring recorder facultyFrances Blaker Annette Bauer DanStillman and Tom Zajac Other facultyPatrick Ball storytelling Celtic harpKaren Clark voice movement formusicians Julie Jeffrey gamba ShiraKammen Medieval strings music forstorytelling Drew Minter voice theaterproject Tim Rayborn Medieval stringspercussion music for storytelling Larry Rosenwald theater projectrhetorician in residence MarySpringfels gamba theater projectAnnette Bauer early notation DanStillman reeds alta capella ensembleTom Zajac sackbut Renaissance choir
Contact Tom Zajac SFEMS
PO Box 10151 Berkeley CA
94709 617-323-0617
medrenmailgmailcom
sfemsorg
MOUNTAIN COLLEGIUM (ARS)
Cullowhee NC June 28-July 4Director Patricia Petersen
Nestled in the Smoky MountainsWestern Carolina University provides alovely location for Mountain Collegiumwith comfortable accommodations in anew dorm and catered evening mealsThe workshopmdash at once informal andintensivemdash combines study of Renais-sance Baroque and contemporary musicand improvisation on recorder viol andother early instruments with opportu-nities to explore Celtic and othertraditional music on hurdy gurdymountain dulcimer and pennywhistle
Friendly participants of all levels andages welcome newcomers into theMountain Collegium family Varied classofferings time for informal music-making and evening English countrydancing bring students back year afteryear Faculty Valerie Austin AtossaKramer Jody Miller Patricia PetersenJohn Tyson (recorders other winds)Martha Bishop Lisle Kulbach HollyMaurer Gail Ann Schroeder Ann Stierli(strings) Lorraine Hammond JohnTrexler (traditional music)
Contact Patricia Petersen
1702 Vista St Durham NC
27701 919-683-9672
patpetersenearthlinknet
mountaincollegiummusicorg
GREAT LAKES SUZUKI FLUTE amp
RECORDER INSTITUTE
McMaster University Hamilton ON CanadaJuly 4-11 Teacher training Book 1July 7-11 Teacher training Book 2July 7-11 Student InstituteDirector David Gerry
Master classes group instructionrecitals plus enrichment classes forstudents Teacher training with MaryHalverson Waldo
Contact David Gerry 129 Locke
Street South Hamilton ON L8P
4A7 CANADA 905-525-9549
dgerrynasnet davidgerryca
CANTO ANTIGUO EARLY MUSIC
AND RECORDER WORKSHOP
Chapman University Orange CAJuly 5-12Directors Thomas Axworthy Ronald Glass
This one-week workshop is designed to broaden the performance skills ofexperienced students and introduceRenaissance and Baroque instrumentsand musical experiences to beginningand intermediate players Students at alllevels participate in instrumental vocaland dance instruction performance
The workshop takes place at ChapmanUniversity Studios dining hall andresidences are all air-conditioned Thisinvitingly landscaped peaceful campuswith garden paths is a mixture of historic and modern architecture
The theme of this yearrsquos workshop isMusic of the Italian Renaissance Dancesmasses motets and ceremonial musicwill resonate as we explore the music ofMonteverdi Palestrina Gesualdo et al
Faculty includes Thomas AxworthyJanet Beazley Mark Davenport RonGlass Carol Lisek Jim Maynard and Alice Renken
Contact Ronald Glass
129 Altadena Dr Pittsburgh
PA 15228-1003 800-358-6567
(day) 310-213-0237 (evening)
562-946-4081 (fax)
evanesa2aolcom
cantoantiguonet
CAMMAC EARLY MUSIC WEEK
Lake MacDonald Music Center Harrington QC Canada
July 5-12Directors Francis ColpronMarie-Nathalie Lacoursiegravere
CAMMAC provides a unique oppor-tunity to make music with family and
20 March 2009 American Recorder
friends in a beautiful setting north ofMontreacuteal QC under the guidance ofinternationally acclaimed professionalmusicians
In four daily 75-minute classes pluslectures early music lovers will have the opportunity to play to their heartrsquoscontent
Small ensembles and voice classes are setup ahead of time registration for otherclasses occurs on site the first eveningCourses include choir large instrumentalensemble many recorder and violclasses Medieval and Renaissanceensembles Orff method and Baroquedancing There are courses foradolescents and a program for children 4-11 years old
Special project in 2009 The Fairy Queenby Purcell with choir instrumentalensemble soloists and staging Keyfaculty Matthias Maute ChristopherJackson Laura Pudwell MargaretLittle Marie-Nathalie Lacoursiegravere
Contact Johanne Audet
85 Chemin CAMMAC Harrington
QC J8G 2T2 CANADA
888-622-8755 1
819-687-3323 (fax)
nationalcammacca
cammaccaenglishTabLM
Summershtml
MADISON EARLY
MUSIC FESTIVAL
University of WisconsinndashMadison July 11-18Directors Cheryl Bensman Rowe and Paul Rowe artistic Chelcy Bowles program
MEMF joins the 2009 InternationalYear of Astronomy in a global celebrationof astronomy and its contributions tosociety and culture including the 400thanniversary of the first astronomicalobservation made through a telescope byGalileo Galilei Galileorsquos fatherVincenzo was a musician and musictheorist who combined the practice andtheory of music with mathematicaldiscussion of harmonymdashand influenced
Galileorsquos experiments MEMFcelebrates its tenth season exploringworks of music and the arts inspired by ascientific discovery that had tremendousimpact on culture and civilization
MEMF was created to provide anopportunity for musicians scholarsteachers and early music enthusiasts togather and exchange information andideas about Medieval Renaissance andBaroque music and to bring acclaimedearly music artists to the Midwest toperform in beautiful Madison
Featured MEMF 2009 guest artists-in-residence include Marion VerbruggenThe Newberry Consort QuicksilverPiffaro and Venere Lute QuartetRecorder faculty members includeMarion Verbruggen Joan KimballPriscilla Smith and Robert Wiemken
Contact Chelcy Bowles University
of WisconsinndashMadison 720 Lowell
Center 610 Langdon St Madison
WI 53703 608-265-5629
608-262-1694 (fax)
musicdcswiscedu
memfdcswiscedu
PORT TOWNSEND
EARLY MUSIC WORKSHOP (ARS)
University of Puget Sound Tacoma WA
July 12-18Directors Letitia Berlin Frances Blaker
Join us this summer at our new locationwith a star-studded faculty a beautifultree-lined and easy-to-navigate campuswith accessible facilities and acurriculum that will leave you wishingthere were 48 hours in a day
Consort and technique classes forrecorder and viol consort and mixedrepertoire recorder master classpercussion for all levels Hildegard forsingers Baroque flute beginning violtheory workshop orchestra and moreMake an all-Medieval schedule or mix it up with a class from almostevery period of music
Work hard and play hard with friends
new and old Intense music-making thatwill inspire you during the workshop andthroughout the year
Directors Tish Berlin and FrancesBlaker eagerly await your arrival andanticipate a splendid workshopRecorder faculty Janet Beazley TishBerlin Frances Blaker Vicki BoeckmanLouise Carslake Charles ColdwellRotem Gilbert Kim Pineda
Contact Jo Baim Workshop
Administrator 1108 frac12 Alki
Ave SW Seattle WA 98116
206-932-4623
workshopseattle-recorderorg
seattle-recorderorg
wwwAmericanRecorderorg March 2009 21
Amherst Early Music FestivalJuly 12-19 and 19-26 2009
Connecticut College New London CT
Renaissance consortsBaroque ensemblesMaster classesRenaissance AcademyEarly notation and moreNo audition required
July 12-19Baroque Academy
July 19-26 Virtuoso Recorder Recorder Seminar
Audition deadline May 15
wwwamherstearlymusicorginfoamherstearlymusicorg(617) 744-1324
AMHERST EARLY MUSIC FESTIVAL
(ARS)
Connecticut College New London CT July 12-19 Baroque Academy July 19-26 Virtuoso Recorder Recorder SeminarRenaissance Academy
Director Marilyn Boenau
Music of England and Spain Two weeksof classes in most early instrumentsvoice dance and notation
Week 1 includes classes for recorderviol other early instruments voicedance and notation Special programsBaroque Academy Baroque AcademyOpera Project (Purcellrsquos Dioclesian)
July 18-19 Music amp InstrumentExhibition
Week 2 comprises classes for recorderviol other early instruments voice andnotation Special programs VirtuosoRecorder Recorder SeminarRenaissance Academy
Evening activities include Englishcountry dance madrigals and informalplaying sessions Connecticut College ineastern CT offers comfortable air-conditioned accommodations naturalareas for walking and a view of LongIsland Sound Scholarships and work-study aid available
Contact Marilyn Boenau
Director or Cathy Stein
Administrator 47 Prentiss St
Watertown MA 02472
617-744-1324 (day)
617-744-1327 (fax)
infoamherstearlymusicorg
amherstearlymusicorg
MIDEAST WORKSHOP (ARS)
LaRoche College Pittsburgh PAJuly 19-25Director Marilyn Carlson
Music of Spain 55-60 students of allability levels adults only Instruction forrecorder (all levels except novice) violharp flute You may enroll for recorder
viol flute as primary instrument harpvoice recorder viol as secondary instru-ment Large and small ensembles all-workshop ensemble (instruments andvoices) Renaissance band (recordersviols capped reeds voice) Medievalcollegium (puzzles amp canons) consorts(by level) vocal ensemble Also Englishcountry dance penny whistle We alsooffer viol-for-novice and harp-for-novice each providing the opportunityfor hands-on experience without owningan instrument Other classes on specialearly music topics and literature
Faculty Marilyn Carlson directorMartha Bixler Stewart Carter JudithDavidoff Eric Haas Mary JohnsonPeter Ramsey Kenneth Wollitz otherfaculty to be announced All facilities areair-conditioned
Contact Marilyn Carlson
1008 Afton Road Columbus OH
43221-1680 614-754-7233
mcarlsoncolumbusrrcom
mideastearlymusicaddrcom
22 March 2009 American Recorder
San Francisco Early Music SocietySummer Workshops 2009Recorder middot July 19ndash25 2009La Dolce Vita di Flauto middot Explore the full range of recorder music from the Middle Ages to the 21st century through ensemble work technique sessions and recorder orchestra For the devoted amateur all ages intermediate to advanced Friendly atmosphere small classes Quiet campus near all amenities Special offerings Recorder orchestra recorder master class coached informal playing Faculty Louise Carslake Frances Feldon Rotem Gilbert Katherine Heater Norbert Kunst Patrick OrsquoMalley and Hanneke van ProosdijInfo Frances Feldon 510-527-9840 franfelaolcom
Baroque Music amp Dance middot June 14ndash20 2009Music in Italian Cities middot Master classes recorder ensemble concerto evening coached ensembles classes concerts and lectures Featuring recorder faculty Frances Blaker and Clea GalhanoInfo Kathleen Kraft 707-874-2014 kkraftsonicnet
Medieval amp Renaissance Music middot June 28ndashJuly 4 2009Stories amp Legends middot Classes for voices recorders viols and alta capella voice master class ensemble coaching storytelling for musicians and storytelling accompaniment Renaissance choir medieval band theater project faculty and student concerts lectures and more Featuring recorder faculty Frances Blaker Annette Bauer Dan Stillman and Tom ZajacInfo Tom Zajac 617-323-0617 medrenmailgmailcom
Music Discovery middot June 21ndash26 2009Day camp for youth ages 7 to 15 Early music and Renaissance social history Instruction in recorder harpsichord strings chamber music musicianship crafts costume-making games and more Beginners to advanced students welcome Featuring recorder faculty Vida Bateau and Letitia BerlinInfo Letitia Berlin 510-559-4670 tishberlinsbcglobalnet For more information visit our web site wwwsfemsorg
SAN FRANCISCO EARLY MUSIC
SOCIETY RECORDER WORKSHOP
(ARS)
St Albertrsquos Priory Oakland CA July 19-25Directors Frances Feldon Katherine Heater
Jam-packed week of recorder ensembleplaying concerts and the opportunity toimprove your skills working with highlyrespected recorder specialists in afriendly yet serious atmosphere Explorethe full range of recorder music from theMiddle Ages Renaissance and Baroqueto the 21st century through ensemblework technique sessions and recorderorchestra For the devoted amateur of allages from intermediate to advanced
Small classes Quiet campus Specialofferings recorder orchestra recordermaster class coached informal playing
Featuring recorder faculty LouiseCarslake Frances Feldon RotemGilbert Norbert Kunst PatrickOrsquoMalley and Hanneke van ProosdijOther faculty Katherine Heaterharpsichord
Contact Frances Feldon SFEMS
PO Box 10151 Berkeley CA
94709 510-527-9840
franfelaolcom sfemsorg
WINDSWEPT MUSIC WORKSHOP
William Jewell College Liberty MOJuly 19-25Director Phyllis Pasley
Bring your artistry to life Strengthen the mindbody connection and exploreenergy and music at Creative MotionAlliancersquos 59th annual summerconference Windswept Professionalmusicians conductors teachers studentsand amateur music enthusiasts willdiscover barriers that inhibit the free flowof energy and learn the secrets of inner-directed artistic music-making Classesin piano voice instrumental musicexpressive arts and independent studyMaster class coaching and conductingopportunities available Using move-
ment exercises analysis and bodyresponses explore music and energy in a unique inter-generational workshopformat Opportunities for independentrecorder study and private lessons enrichthe music-making experience
Registration fee $50 prior to 51509Tuition room meals $535 adults $400students 12-18 (must attend with parentteacher or sponsor) special half-weekrate $275 (Sunday-Wednesday noon)Memberfamily discounts Three hoursgraduate credit ($225) 3 CEUs ($50)and private lessons ($25 each)
Contact Phyllis Pasley 2208
Clouds Peak Maryland Heights
MO 63043 314-628-9862
directorcreativemotionorg
creativemotionorg
BOXWOOD FESTIVAL CANADA
Lunenburg Nova Scotia CanadaJuly 19-26Director Chris Norman
Discover musical and dance traditionswhile visiting one of North Americarsquosmost exquisite 18th-century seasidetowns Concerts dances sessionsclasses lectures with leading artists in therealms of traditional folk early musicdance and improvisation Work study ampscholarships available Gourmet cuisine
Faculty Chris Norman directortraditional amp early flutes FrancisColpron recorder ensembles LisaBesnoziuk Baroque flute DavidGreenberg Cape Breton amp Baroqueviolin Edmund Brownless voice shape note singing Marie Bouchardharpsichord Robert Dick contemporarytechniques amp composition Conal O Grada Irish flute Jerry OrsquoSullivanpipes whistle Rod Garnett flutefundamentals ethnic flutes PierreChartrand social dance MarlysNorman ballet classical dance Rod Cameron flute maker Tempest Baroque
Contact 902-634-9994
boxwoodorg
musiqueroyalecom
MACPHAIL SUZUKI INSTITUTE
FOR PIANO GUITAR FLUTE
AND RECORDER
MacPhail Center for the Arts Minneapolis MNJuly 19 Every Child Canreg July 19-26 Recorder Book 1July 20-24 Student InstituteDirectors Cindy Malmin Mary Halverson Waldo (auditions)
Suzuki Clinicians Marilyn Taggartpiano Tadeusz Majewski piano DavidMadsen guitar Kathleen Schoenfluterecorder MacPhail Suzuki faculty
Sanctioned by the Suzuki Association ofthe Americas MacPhailrsquos SuzukiInstitute allows Suzuki students of allages to share in motivating enrichingand wide-ranging musical experiencesStudents work with master teachers andimprove skills technically and musicallyDaily classes and observation includeapplied study theoryreading skillsensemble skills chamber music perfor-mance practices composition improv-isation master classes recitals art andmusic world musicdrumming musichistory recitals and presentations TeenMusical Revue (ages 13-18) fashioncharacter sketches develop a frameworkor theme and present to an audience
Who may attend Suzuki students whohave completed the Twinkle Variations(preschoolndashgrade 12 parents or another
wwwAmericanRecorderorg March 2009 23
Amherst Early Music Festival
(photo by Marc Weinberg)
responsible interested adult must attendwith students under high school age)teacher traineesobservers Participantsmust arrange meals housing and trans-portation Teacher Training prerequi-sites Every Child Canreg before Book 1courses must be taken in order throughBook 2 Contact workshop regardingrequired audition and preparation
Contact Cindy Malmin
612-767-5461
malmincindymacphailorg
Mary Halverson Waldo
5679 Harding Lane Shorewood
MN 55331 952-470-5853
mhalvwaldogmailcom
INTERNATIONAL BAROQUE
INSTITUTE AT LONGY
Longy School of Music Cambridge MA
July 24-August 2Directors Paul Leenhouts co-director Phoebe Carrai
VenicendashDresden Connection InternationalMeeting Grounds Music of MonteverdiVeracini Hasse Heinichen MarcelloVivaldi Pisendel Albinoni ZelenkaLotti Schein Schutz Quantz Gabrieli
2009 faculty Paul Leenhouts recorderPhoebe Carrai rsquocello ElizabethBlumenstock violin Ricard Bordasvoice Arthur Haas harpsichord LucasHarris lute Ken Pierce early danceGonzalo Ruiz oboe Mary Springfels
viola da gamba Jed Wentz traverso
Contact Karen Burciaga Com-
munity Programs Registrar One
Follen St Cambridge MA 02138
617-876-0956 X1532 (day)
617-354-8841 (fax) karenbur
ciagalongyedu longyedu
RECORDER AT THE CLEARING
The Clearing Ellison Bay WIJuly 26-August 1Directors Pat Badger Adrianne Paffrath
Recorder ensemble has been a traditionat The Clearing for over 25 yearsEnsemble playing is the weekrsquos focusEach day begins with a warm-up ofvoices and bodies as we sing rounds andready our muscles for performanceDaytime sessions focus on rhythmicchallenges recorder technique andensemble blend emphasis is on growthprocess and most of all enjoyment To participate fully you need at leastintermediate skills on a C or F recorder
Adrianne Paffrath coached on recorder with ARS teachers She is music directorat Racinersquos First Presbyterian ChurchPatricia Badger has studied early musicinstruments natural and classicaltrumpet She is performing arts head ofThe Prairie School Jointly they haveperformed for Medieval festivals grapestompings Shakespeare celebrations anda circus parade
Contact The Clearing PO Box 65
Ellison Bay WI 54210-0065
877-854-3225 920-854-9751
(fax) clearingtheclearingorg
theclearingorg
AMERICAN RECORDER SOCIETY
FESTIVAL AND CONFERENCE
University of Missouri at St Louis St Louis MO
July 30-August 2
Attend the second ARS Festival andConference for one day ($150) or allweekend ($350)
Sessions include recorder techniquepedagogy introductions to Orff Suzukiand Flutes and Drums Around the Worldmethods improvisation roundtablediscussions how to conduct yourconsort coached playing sessions forMedieval Renaissance Baroque worldand contemporary repertoire recorderorchestra incorporating percussion intoyour ensemble Also recorder mainte-nance choosing a recorder building aweb site using Sibelius music softwareMini-concerts by the next generation ofprofessionals master classes concerts byMarion Verbruggen and the FarallonRecorder Quartet Exhibition ofrecorder builders music sellers andmore CEUs available
Presenters Louise Austin AnnetteBauer Tish Berlin Frances Blaker Joyce Callanan Louise Carslake
24 March 2009 American Recorder
The Summer Toot is once again in Austin at the beautiful new facility of Concordia University The lushly wooded campus offers air-conditioned classrooms dining and dorm accommodations and is backed by a nature preserve Please join us
Our featured faculty includes Tish Berlin Tom Zajac Mary Springfels The Texas Toot offers a one-week program of classes in Renaissance and Baroque music at all levels featuring expert instructors in re-corder viol early reeds lute harp and voice
Danny Johnson workshop director Susan Richter administrator For more info
httpwwwtootorg or email infotootorg
11th Annual Summer Texas Toot June 14-20 2009 mdash Austin Texas
Mark Davenport Cleacutea Galhano LisetteKielson Lorraine Krige JudithLinsenberg Peter Maund Nina SternMarion Verbruggen Leslie TimmonsJim Tinter Mary Halverson Waldo
Contact Yvonne Miller-Nixon
Conference Administrator
1129 Ruth Dr St Louis MO
63122 800-491-9588 (day)
arsconfplannercharternet
americanrecorderorg
EARLY MUSIC WEEK AT
PINEWOODS CAMP (ARS)
Pinewoods Camp Plymouth MA August 15-22 Director Sheila Beardslee
The Myth amp Magick Creativity andInspiration in Early Music Surely thedeities of Olympus will surround us atPinewoodsndashwhere the myths of earlymusic will be made clear and our staff rsquosldquomagickalrdquo skills will hone and perfectour knowledge and performance of early music and dance
If yoursquove never played a musical instru-ment (but wish you could) or if youstudied music years ago (and fear yoursquoveforgotten) classes in recorder and violwill get you started or help brush off therust Advanced and intermediate playersand singers choose from a wide array ofclasses led by an outstanding faculty of professionals and teachers of earlywinds (recorders reeds brass) strings(viols violin) harpsichord and voice
New staff faces this summer areAnonymous 4rsquos Susan Hellauer voiceand Lisa Terry viol We welcome backDorrie Olsson historical dance andScott Higgs English country dance
We relax with two ponds for swimmingcanoeing a camphouse deck for readingafternoon tea and lots of dancing EarlyMusic Week continues its long traditionof superb teaching in a welcoming com-munity enhanced by special eventspresentations concertsmdashand dancing
Advanced musicians work intensivelyamateurs are engaged and challengedand beginners are always made welcome
Contact Steve Howe Country
Dance and Song Society
PO Box 338 Haydenville MA
01039-0338 413-268-7426 X3
(day) 413-268-7471 (fax)
campcdssorg cdssorgem
MONTREacuteAL RECORDER FESTIVAL
McGill University Montreacuteal QC Canada
September 17-20Directors Matthias Maute Sophie Lariviegravere
Conference consort music recorderorchestra concertsmdashEnsemble Capriceand Quynade (Israel) solo recital byMaurice Steger (Switzerland)
Contact Ensemble Caprice 4841
Garnier Montreacuteal QC H2J 3S8
CANADA 514-523-3611
514-523-1322 (fax)
infoensemblecapricecom
ensemblecapricecom
HIDDEN VALLEY INSTITUTE
FOR THE ARTS
EARLY MUSIC ELDERHOSTEL
Carmel Valley CANovember 1-7 November 8-14Directors Letitia Berlin workshopPeter Meckel HVIA
Enroll for one or both weeks Adults ofall ages welcome
Week I intense classes for upper inter-
mediate to advanced levels Week Ifaculty Letitia Berlin Frances BlakerLouise Carslake Annette Bauer(recorder) David Morris (gamba)
Week II all levels except beginnerClasses include recorder technique viol consort Baroque chamber musicconsort classes for Medieval Renais-sance Baroque and contemporary reper-toire workshop orchestra Week IIfaculty Letitia Berlin Frances BlakerTBA (recorder) Shira Kammen (earlystrings singing Medieval topics) MarySpringfels (viola da gamba)
Evening events include faculty concertstudent concert free-lance playing FreeWednesday afternoon for more playingor sightseeing Improve your playing in asupportive friendly atmosphere withworld-class teachers
Contact Peter Meckel
PO Box 116 Carmel Valley CA
93924 831-659-3115
831-659-7442 (fax)
hvmsaolcom
hiddenvalleymusicorg
wwwAmericanRecorderorg March 2009 25
26 March 2009 American Recorder
Am
herst
AR
S
Festival and
Co
nference
CA
MM
AC
Early M
usic
Week
Canto
Antiguo
Reco
rd
er
at th
e
Clearing
Great L
akes
Suzuki
FluteR
ec
Hid
den
Valley
Eld
erh
ostel
Interlo
ch
en
Early M
usic
Inst
Lo
ngy Intl
Baro
que
Inst
Marin
Head
land
s
Mid
east
Mo
ntreacuteal
Reco
rd
er
Festival
COST $520TW $350T C$1014ED $860 $1035E TBA $799D $389T $675T $210ED $735D $130TNO OF DAYS 814 1-4 7 7 7 5-8 714 6 10 3 6 4ARS DISCOUNT NO YES NO YES NO NO NO NO NO NO NO NONO OF FAC RECORDER FAC 4315 1716 165 85 22 82 543 11 101 1010 96 66NO OF STUDENTS 150wk 60 110 35 19 45 35 20 50 75 60 50RECORDER CLASSLEVELS
LIHIAV
BLIHIAV
BLIHIAV
BLIHIAV LIHIA BLI
LIHIAV LIHIA AV
LIHIAV
BLIHIAV
BLIHIAV
SPECIAL CLASSES USING RECORDERS
CMRMB20ENMROT
RPMRMB20MROPTO
CMRMBRO
MRMBENROPT CRO
RPMPT
CMRMB20MROPT
RPCMRMBENMROPT MBMP RP20
RPCMRMB20ENMTO
CMRMBMRO
NON-RECORDERCLASSES
CWKVPSDO PO
CWKVDT CWVD C O KVPS
CWPKVPST WK VD
CWVPSDO
MUSICALACTIVITIES
FSLSPP FLO FSLSP FS SP FSLP FSP
SLSPPO FSLP P FSLP FS
RECREATION D GS BSTW D FBSW FSO OBSTWO S O G
OTHERS WELCOME SC S SC S S S S SDIRECTTRANSPORTATION SC SBCP SP BCLP BP SB CPUP CL PUP
SBCPUP
TRANSPORTATIONTERMINALS
A50B2 T2 A B T
A10B3 T5
A80B80
A50B10 T10
A20B20 T20
A16B16
A4B3 T3 A20
A15B10 T10
A4B3 T3
ROOMS SD SD SD SD SDC SD SD SDC DBATHS SSP SSPP SP P SSPP SSPP SP P S PFOOD CV C GV CV FV C F CV CV CHANDICAP ACCESS HCD HCD HCD HCD HC HCD HD HCD C HCD HCD C
KEYCOST Includes tuition room (single occupancy unless otherwise noted) meals plus other fees E=estimated T=tuition only D=double occupancy W=one week
NO of DAYS Includes arrival and departure daysARS DISCOUNT Discount offered for ARS members FACULTYRECORDER FACULTY Number of facultyrecorder faculty within that number STUDENTS Average over last two yearsRECORDER CLASS LEVELS B=beginners LI=low intermediate HI=high intermediate A=advanced V=very advanced
SPECIAL CLASSES USING RECORDERS RP=recorder pedagogy C=one-on-a-part consorts MR=mixed Renaissance ensembles MB=mixed Baroque ensembles 20=contemporary music EN=early notation M=master class RO=recorder orchestra P=private lessons available T=technique O=other
NON-RECORDER CLASSES C=choral W=other winds P=percussion K=keyboard V=viols PS=plucked stringsD=danceT=theory I=instrument building O=other
MUSICAL ACTIVITIES F=faculty concert S=student concert L=lecture SP=special production P=organized informal playing O=other
RECREATION D=dancing F=field trip G=gym B=biking S=swimming T=tennis W=waterfrontbeach O=otherOTHERS WELCOME S=non-playing spousesfriends C=children (day care not generally available)DIRECT TRANSPORTATION TO WORKSHOP S=shuttle from airport B=bus C=cab L=limo PU=will pick up P=free parking O=other
TRANSPORTATION TERMINALS A=air B=bus T=train (number indicates miles from workshop to nearest terminal)
ROOMS S=singles D=doubles (with ldquo+rdquo can accommodate up to triples) C=cabins O=other =Graduate dormsBATH FACILITIES S=shared SP=semi-private P=privateFOOD C=college style F=family style G=gourmet V=vegetarianHANDICAP ACCESS H=housing C=classrooms D=dining
INFORMATION SUPPLIED BY WORKSHOP DIRECTORS
2009 SUMMER RECORDER WORKSHOPS
Here are some suggestions foravoiding overuse syndromes Most obvious warm up This meansincreasing your practice time graduallybefore the workshop begins andwarming up yourself and yourinstrument before each rehearsal
Make your playing situation ascomfortable as possible Take along acushion back rest footstool whateverit takes the ear and hand cannot ab-sorb what the bottom cannot tolerate
Be sure your glasses are ideal for the distance from your eyes to themusic desk that usually amounts to anarmrsquos length away (You can select apair at your local drug or departmentstore if you have no serious astigma-
tism) If glare from bright light (thosemarvelous outdoor rehearsals) is aproblem for you you may find that ayellow tint for your glasses is a help
Get your bodily playing equip-ment in the best possible shape beforethe workshop a visit to the dentist tosmooth off a front tooth for a windplayer can make an enormous differ-ence in endurance A layer of plasticwrap over the teeth (before yoursquoveworn a hole in your lip) may also help
Once yoursquove arrived at the work-shop there are ways to ensure thatstress (inevitable) doesnrsquot becomedistress (mostly preventable)
Take reasonable breaks duringrehearsal time and use them to stretchA little aerobics like running in placetakes very little time and gets rid ofthat stiff-from-sitting feeling Get yourfellow ensemble players to massageeach othersrsquo shoulders Other fre-
Do you have a favorite article from years past in AR E-mail that information to Gail Nickless
editoramericanrecorderorg
wwwAmericanRecorderorg March 2009 27
Mo
untain
Co
llegium
Pinew
oo
ds
Early M
usic
Week
Po
rt
To
wnsend
SF
EM
S
Baro
que
SF
EM
S
Ch
ild
rens
SF
EM
S
Med
ieval amp
Renaissance
SF
EM
S
Reco
rd
er
Texas T
oo
t
Wh
itew
ater
Wind
sw
ept
Music
Wo
rksh
op
Wo
rld
Fello
wsh
ip
$800ED $890ED $975 $950 $370T $950 $950 $740E $245 $535D $850E COST7 8 7 7 5 7 7 7 3 6 7 NO OF DAYSNO NO NO YES YES YES YES YES NO NO NO ARS DISCOUNT
125 189 169 102 82 124 76 136 1110 131 83NO OF FAC RECORDER FAC
50 100 100 55 30 70 40 50 110 45 30 NO OF STUDENTSLIHIAV
BLIHIAV LIHI AV
LIHIAV
BLIHIAV LIHI AV LIHIA LIHIA
BLIHIAV
BLIHIAV
RECORDER CLASSLEVELS
CMRMB20TO
CMRMBENROT
MRMB20MROPT
MBMPTO
CMRMBPTO
CMRENMPTO
C20MROPTO
CMR20MPT
CMRMB20ROTO MP
CMRMBMRO
SPECIAL CLASSES USING RECORDERS
WVDTO
CWKVPSDT CPVT
CWKVPSTO
KVDTO
CWPVPSTO O
WKVPSTO
CWVTO
CWPKVD
CKVDT
NON-RECORDERCLASSES
FSLSPP FSP
FSLSPPO FSSP
FSLSPPO
FSLPO
FSLPO SPO FSL PO FSLP
MUSICALACTIVITIES
DGBS DSWFGBSTW
DGBST D
DGBST DO SO
DFSWO RECREATION
S S SC SC S S SC SC OTHERS WELCOME
P SC CPUP SCP SCP SBC LP SPUP P BPUDIRECTTRANSPORTATION
A50B15 T15
A15B7 T6 A59
A20B2 T5 A59
A12B4 T1 A40 A
A20B15 T28 B10
TRANSPORTATIONTERMINALS
SD SD S S CALL S S SD SD SD SD ROOMSSP S SP P P SP P S S S BATHSCGV FV CV CV CV CV CV CV CV FV FOODHCD CALL HCD HCD C HCD HCD HCD HCD HD HANDICAP ACCESS
AR50 AVOIDING ACHES amp PAINSBy Leacuteonie Jenkins MD (c1925- 2000) from the March 1993 AR Vol XXXIV1
quently overused parts such asforearms and hands also respond to massage Quick tutorial on massagestart stroking toward the body and inthe direction of the flow of the veinsmdashupstream from the sorest partgradually work down to include thesore spot Yoursquore trying to move overthe underlying muscle not to rub theskin Thatrsquos why a little oil helps
Your psyche may need some relieffrom overload too Most workshopsare in surroundings that lend them-selves to taking a walk finding a placeto meditate taking in some beauty In creating anything a musical per-formance no less than more static artforms breathing in is as necessary asbreathing out be sure you take time to do it
Not to be forgotten those partiesLate hours and alcohol are stressfultry to balance off the fun yoursquore havingwith your capacity for both Above allenjoy Thatrsquos why yoursquore going
2009 SUMMER RECORDER WORKSHOPS
By Bart Spanhove
The author has been principalprofessor of recorder at the Lemmens-
instituut Leuven (Belgium) since 1984He is also artistic director of the world
famous recorder ensemble the FlandersRecorder Quartet which is set to perform
in concert at the 2009 Boston EarlyMusic Festival He is often asked to serve
as a jury member for internationalrecorder competitions in Canada US
Germany The Netherlands and BelgiumHe has given numerous master classes andlecture demonstrations all over the world
Spanhove is co-author of thesuccessful recorder method Easy Going(Heinrichshofen) and wrote the much-
used book The Finishing Touch ofEnsemble Playing (Alamire 2000
and Moeck 2002 with translations inChinese and German) In 2009
The Recorder Music of Frans Geysenwill come out (Mieroprint)
Currently he is researching practicetechnique for the recorder Daily
Spanhove thinks about how to makepeople happier by making music and
playing the recorder
As a conclusion for the VirtuosoRecorder class during the AmherstWorkshop in 2008 we organized aldquoHappy Hourrdquo for our nine talentedstudents Mee-Jung Ahn (Korea)Emilie Hasselgren and Kristine West(Sweden) Anne Timberlake JosephLewnard Jacob Lodico and BrycePeltier (US) Emiliano Perez(Mexico) and Fanny Massy (France)participated in a quiz that I wrote thenight before with the assistance ofReine-Marie Verhagen
We combined questions regardingmusic theory with practical exercisessuch as middot How long can a player hold a
low f in one breath on an altorecorder (You get one point foreach second)
middot How many times through a scaleis a player able to play in 30seconds (For every octave of theF major scale you get one point)
middot How many different pieces fromthe recorder repertoire can aperson play in the course of twominutes (The other members ofthe group have to guess the nameof the composer before the playercan start the next piece)
middot In one minute list as manydifferent titles as you can fromDer Fluyten Lusthof (TheRecorderrsquos Pleasure Garden) of J J van EyckThe list of questions goes onAt the ldquoHappy Hourrdquo people
were divided into three groupsaccording to dates of each personrsquosbirthday When theoretical questionswere asked (see below) the pointsystem was devised as follows threepoints were awarded when the selected
person of a group could find theanswer himherself two points whenthe selected person needed the help ofthe other group members and onepoint if the group needed the help ofour gracious class assistant Reine-Marie Verhagen (she alwaysknew the answer) No points weregiven if the quizmaster had to supplythe answer
On the next page you find someof my questions There are morewhich we hope to run in a future issueof American Recorder
The quiz was full of fun andsuspense By the end people weremore nervous than when playing aconcert on stage Jacob Lodico of theUS was the winner at Amherst
28 March 2009 American Recorder
Education___________________________________ A quiz for recorder players
wwwAmericanRecorderorg March 2009 29
Try these questions yourselfAnswers appear at the end of thisarticle
The Quiz1 Give the name of Ganassirsquos
treatise of 1535 where heextensively describes the recorder playing and diminutions of his time
2 In which German city is therecorder company Moeck based
3 In the cantata Gottes Zeit ist dieallerbeste Zeit BWV106 JS Bach calls for two altorecorders Give another name for this cantata
4 Of which famous orchestra isFrans Bruumlggen the conductor
5 List three leading Japanesecomposers of excellent solo pieces for the recorder
6 Give the names of recordermagazines published inGermany England and the US
7 What is the fundamental tone of a fourth flute
8 List two recorder makers fromthe Baroque period in England
9 Whatrsquos the title of the recitativeand chorale in the Saint MatthewPassion where the recorder isused
10 Give the names of two famouspublishers in business around1700mdashone in London and one in Amsterdam
11 The opus 10 work by AntonioVivaldi includes six concertiSome of them have beautifulnames Give the names of thefirst three concerti of this opus
12 Whatrsquos a nickname for Jean Jacques Hotteterre
13 The combination of recorder andtraverso was rarely used in theBaroque time Can you name any composers who used thiscombination
14 Which king from 16th-centuryEngland owned a large collectionof recorders and also composedand enjoyed daily recorderplaying
15 How many movements compriseHandelrsquos Sonata in C Op 1 No 7 originally written forrecorder and basso continuo
16 Give the name of Praetoriusrsquostreatise from 1609 that describesthe whole recorder family
17 Name the author of the oldestrecorder method
18 Name Jan Jacob van Eyckrsquosdisability
19 Who pretended around 1930 thatthe recorder was a kind ofclarinet
20 Who doesnrsquot belong in thefollowing group Bertho DrieverKarel van Steenhoven MarionVerbruggen Paul LeenhoutsDaniel Bruumlggen
21 Name the two instrumentsindicated to play the sonataMeiner Mutter of Hans UlrichStaeps
22 Il Pastor Fido was not composedby Antonio Vivaldi but by aFrench composer What was hisname
23 Whatrsquos the nationality of themusic company Zen-On
24 CPE Bach composed abeautiful trio that includes a bassrecorder What are the other twoinstruments
25 Give the names of the fourmovements of Bachrsquos partita forsolo traverse flute BWV1013
26 Which excellent playersperformed as the recorder trioSour Cream
27 A recorder normally has eightfingerholes Despite this musichistory describes the recorder as ldquoune flucircte agrave neuf trousrdquo (a flute with nine fingerholes)Explain why
28 Give the French name for vibratoperformed by finger movementsalone on a wind instrument
29 Who wrote in his diaryldquohellipbeyond anything in the wholeworld the wind-music when the
Answers to
Bart Spanhoversquos Quiz1 La Fontegara2 Celle3 Actus Tragicus4 The Orchestra of the
Eighteenth Century5 R Hirose M Ishii and
M Shinohara
6 Windkanal or Tibia (both ofGermany) The Recorder(England) American Recorder(US)
7 B8 The most famous English
recorder makers around 1700Bressan and Stanesby (the latterbeing both senior and junior)
9 O Schmerz Hier zittert das gequaumllte Herz
10 Walsh (and Hare) (of London)Roger (of Amsterdam)
11 La Tempesta de Mare La Notte Il Gardelino
12 Le Romain13 JB Loeillet J J Quantz
JJ Hotteterre or J B de Boismortier
14 Henry VIII15 Five16 Syntagma Musicum17 Sebastian Virdung Musica
Getutscht und Ausgezogen (1511)18 Blindness19 Igor Stravinsky20 Marion Verbruggen21 Alto recorder and piano22 Nicolas Cheacutedeville23 Japanese24 Viola and cembalo25 Allemande Courante Sarabande
Bourreacutee26 Kees Boeke Walter van Hauwe
and Frans Bruumlggen27 Before 1670 the player could
choose how to hold the recordermdashleft hand or right hand at the topThis meant that recorder makersdrilled two holes to accommodatethe little finger of the hand thatended up at the bottom Theunused hole was sealed with beeswax
28 Flattement29 Samuel Pepys30 Flanders Recorder Quartet
30 March 2009 American Recorder
Lazarrsquos Early Music(866) 511-2981 jblazaraolcom
wwwLazarsEarlyMusiccom
292 Gibraltar Dr 108 Sunnyvale CA 94089
Strings amp Early Winds
ModernBaroque Strings Viols Vielle
Kuumlng Moeck Mollenhauer Paetzold Yamaha Ehlert
Wenner Baroque flutes
Wendy Ogle Lu-Mi Ifshin Snow
Competitive Prices
Sent on Approval
Personalized Service amp Advice
R
E
C
O
R
D
E
R
S
ldquoGO FOR NEO-BAROQUErdquo
Andrew Charlton Partita Piccola For 4 Recorders (SATB)
[Prelude Allemande Courante Musettemdash
a neo-baroque epitome] (Score amp Parts PBE-25) $795
Andrew Charlton Suite Moderne For 3 Recorders (ATB)
[Baroque shapes but Hindemithian harmony]
(3 Playing-Scores PBE-44) $995
Southwest of Baroque David Goldsteinrsquos ldquobaroque Suiterdquo
on Cowboy Songs For 2 Recorders (SA) (PBE-2) $350
The Provincetown Bookshop Inc
246 Commercial Street Provincetown MA 02657 Tel (508)487-0964
A good source for Recorder amp Viol Music of all publishers
Provincetown Bookshop Editions
angel comes down which is sosweet that it ravished me andindeed in a word did wrap upmy soul so that it made me reallysick just as I have formerly beenwhen in love with my wiferdquo
30 Whatrsquos the English name for afamous recorder ensemble calledin its country Vier op lsquon Rij
wwwAmericanRecorderorg March 2009 31
by Tim Broege timbroegeaolcom
December 11 2008 was a specialday for American music the
100th birthday of Americarsquos greatestliving composer Elliott Carter Cele-bratory concerts took place in manyvenues including Carnegie Hall inNew York There the Boston Sym-phony led by James Levine played anew work by Carter Interventions forpiano and orchestra The soloist wasanother well-known conductor DanielBarenboim who is no mean hand atthe keyboard to say the least
Itrsquos remarkable that wonderfulnew compositions continue to pourforth from Carterrsquos pen His musicsparkles and frolics packing lots of musical events into engrossingstructures Much of his music isavailable on CD so if you missed thecelebrations you can easily have yourown belated birthday party for Carter
Although he has never written for recorder (one of our prominent
recorder soloists should commissionhim) Carter has produced manychamber pieces featuring woodwindsSince many recorder players double orstarted out on woodwinds such piecesas the Sonata for Flute Oboe Cello ampHarpsichord (1952) Enchanted Preludes(1988) for flute and rsquocello Espritrudeesprit doux (1985) for flute andclarinet or the Oboe Quartet (2001)may hold special interest
If you missed Charlie Rosersquosexcellent interview (broadcast onDecember 10) with Carter Levine andBarenboim you can see it atwwwcharlierosecomview
interview9774mdashessential viewingfor fans of contemporary music
We note with sadness the passingon January 23 of another distin-guished American composer GeorgePerle An authority on the music ofAlban Berg and the Second VienneseSchool Perle developed a uniquelyrical style based upon a free approachto 12-tone and serial procedureswhich he dubbed ldquo12-tone tonalityrdquo I recommend listening to his SerenadeNo 3 for Piano amp Orchestra (1983) Six Etudes for Piano (1973-76) and the Pulitzer Prize-winning Wind Quintet No 4 (1985)
Another leading American com-poser Leon Kirchner is thankfully still with us having turned 90 onJanuary 24 Like Perle Kirchner has a highly personal and expressive styleA birthday concert was held at MillerTheater at Columbia University inNew York City NY Participatingmusicians included flutist PaulaRobison pianist Jeremy Denk and theClaremont Trio with the composerpresent to discuss his music
An excellent way to get to knowKirchnerrsquos music is through his stringquartets Just in time for his birthdayAlbany Records has released a fine CDof all four played by the Orion StringQuartet Quartet No 4 was written in2007 (when the composer was 87mdasha veritable youngster compared toCarter) The composer Allen Shawnhas described that quartet asldquoluminous and passionaterdquo words aptto describe much of Kirchnerrsquos output
Speaking of contemporary musicI have been spending pleasant hoursperusing the Catalog of ContemporaryBlockflute Music available online atwwwblokfluitorg from StichtingBlokfluit This Netherlands founda-tion offers a contemporary recordercatalog and a catalog of historicalrecorder music Access to both is byfree membership
For those who havenrsquot yet used thecontemporary catalog I urge you togive it a try You can search by manyparameters such as composer title orspecific instrumentation A search forldquovoice fluterdquo turned up a list thatincluded Moon Dances Three AmericanSketches by composer Walter Mays(intended for solo alto recorder butalso playable on tenor or voice flute)Searching the name of English com-poser Edmund Rubbra produced a listof eight works that employ recordersincluding the intriguing CantataPastorale opus 92 for high voice altorecorder rsquocello and harpsichord
Searching ldquofemale composersrdquo fora piece using ldquoBaroque altordquo yieldedAfter Meditation by Ros Bandt ofAustralia
What an easy and tremendouslyvaluable way to find new music
On the Cutting Edge___________________________________Birthdays composers and
recorder music catalogs
Elliot Carter
(photo by Meredith Heuer)
Question How does Renaissancefingering differ from standard
fingering on the recorder Is one superior tothe other Do you need a special recorder touse Renaissance fingering and if so can itbe played with regular recorders Is there afingering chart that shows RenaissancefingeringmdashWilliam BaumannWaterford WI
Answer from Carolyn Peskin Music composed in the
Renaissance the historical periodextending from about 1450 to 1600was predominantly vocal and highlycontrapuntal Recorders which oftendoubled singers at the octave orrendered vocal pieces instrumentallywere designed to make the individualmelodic lines clearly audible
Most 16th-century consortrecorders were one-piece instrumentswith large toneholes and a wide borethat contracted slightly starting nearthe upper fingerholes and thenexpanded gently near the lowest holesThat ldquochoke-borerdquo design togetherwith the voicing and tonehole con-figuration favored the fundamentaltone (first harmonic) producing astrong open sound that was aboutequally loud throughout theinstrumentrsquos range
Such recorders had a useful rangeof only about an octave plus a sixthwhich was nevertheless sufficient for the music of their day MostRenaissance-style consort recordersmade today are based loosely uponsurviving 16th-century instruments ofthe above type and are designed toapproximate the range timbre andvolume of those early instruments
Our present-day ldquoregularrdquorecorders are Baroque-derived instru-ments based loosely upon survivingrecorders from the late 17th and early18th centuries They are three-pieceinstruments with small toneholes and abore that is narrower and moretapering than a Renaissance boreextending their useful range upward totwo octaves plus a whole tone
Baroque recorders are soft andsweet-sounding in their bottom octavebut louder and brighter in the secondoctave Their lowest notes are espe-cially weak because they must be blowngently to prevent overblowing into thesecond octave Such instruments aresuitable for Baroque solo and chamberrepertoire but not very satisfying forRenaissance polyphony
Due to their different timbre andvolume Renaissance recorders will not blend well with Baroque onesFurthermore the most historicallyauthentic Renaissance-style recordersare tuned in a ldquomeantonerdquotemperament that facilitates the playingof pure major thirds Such instrumentsmake Renaissance music easier to playin tune but will produce intonationproblems if played with Baroquerecorders which are tuned in equaltemperament For the above reasonsRenaissance and Baroque recordersshould not be played together
Renaissance fingering will not work on todayrsquos neo-Baroquerecordersmdashmost of which haveldquomodernrdquo Baroque fingeringcommonly called ldquoEnglishrdquo fingering
because it was developed fromhistorical Baroque fingering by ArnoldDolmetsch in England during theearly 20th century Renaissancefingering is less standardized partlybecause a number of different originalinstruments are used as models andpartly because makers wish to improvethe intonation tone quality andorplayability of certain notes Howeverthe following generalizations apply tomany of todayrsquos Renaissance-styleconsort recorders
First in the lower octave modernBaroque fingering works for mostnotes but is often too flat for the fourth scale degree (eg soprano F)requiring removal of finger 7 (right-hand pinky) and is too sharp for theraised fourth degree (eg soprano F)requiring addition of finger 7
Modern fingering is also usuallytoo sharp for the lowered seventhdegree (eg soprano B) The correctfingering for that note varies from oneinstrument to another
In the upper octave modernfingering works for the first third andfifth scale degrees (eg soprano C Eand G) but usually not for other notesSome notes require half-holing with aright-hand finger and notes above thefifth scale degree may require additionof several fingers to bring them in tuneHistorical Renaissance fingering forthe second scale degree (eg sopranoD) is especially awkward because all ofthe fingerholes and the thumbholemust be uncovered Therefore somemakers substitute modern fingering forthat note
Although Renaissance fingeringand meantone tuning are recom-mended for the best blend some
Q amp A___________________________________ Renaissance recorder fingering
Send questions to Carolyn Peskin QampA Editor 3559 Strathavon Road Shaker Heights OH44120 carolynpeskinstratosnet
32 March 2009 American Recorder
wwwAmericanRecorderorg March 2009 33
makers of handcrafted Renaissance recorders will provide modern fingeringandor equal temperament upon request and Moeck Verlag offers a choice ofRenaissance or modern fingering for most sizes of its factory-producedRenaissance Consort series
For a most satisfying blend Renaissance ensembles should purchase amatched set of recorders tuned and voiced to be played together Renaissanceconsort sets usually include two different alto recorders one in G (lowest note g)and one in F (lowest note f ) The ATTB combination with the G-alto is best formost of the quartet music composed between 1450 and 1550 while the SATBcombination with the F-alto is more practical for much late 16th-centuryrepertoire (Playing the G-alto requires learning G-alto fingering or elsetransposing the alto line down a whole tone and using F-alto fingering)
In addition to consort recorders some makers offer ldquoGanassirdquo sopranos andaltos based upon fingering charts in Silvestro Ganassirsquos recorder tutor Fontegarapublished in 1535 and a single original instrument in the Vienna Kunst-historisches Museum Because of their special bore design (cylindrical with aflaring bell) Ganassi recorders have a range of two octaves and a sixth withcumbersome fingerings in the third octave They are used mainly as soloinstruments for playing intricate ornaments of the type found in Fontegara
Also sometimes included in the ldquoRenaissancerdquo category are ldquotransitionalrdquo(early Baroque) recorders which are based upon originals from the first half ofthe 17th century They have a bore that is wider than a Baroque bore but contractssharply near the lower end resulting in strong low notes and at least a full two-octave range usually with modern fingering Most transitional recorders aresopranos or altos designed for playing Jacob van Eyckrsquos variation sets or thehighly ornamented Italian solo repertoire of the late-16th and early-17thcenturies
However wide-bore consortrecorders with a range of at least twooctaves and modern fingering shouldalso be regarded as transitionalinstruments They differ somewhat intimbre and volume from typicalRenaissance consort recorders
Handmade wide-borerecordersmdashconsort Ganassi andtransitionalmdashare obtainable frommakers who advertise in AmericanRecorder the Prescott Workshop andthe Von Huene Workshop in the USJean-Luc Boudreau in Canada andStephan Blezinger in GermanyContact them andor visit their websites to find out what kinds ofrecorders they are currently makingand to get an idea of their prices andwait times
Factory-produced wide-borerecorders from Kobliczek Moeck andMollenhauer are available frominstrument dealers who advertise inAR New and used recordersincluding wide-bore models fromimportant makers in the US andabroad are also obtainable from Uni-corn Music For further informationvisit wwwbuyrecorderscom For a comprehensive database of recordermakers worldwide see Nicholas SLanderrsquos ldquoExtant Recorder Makers amp Retailersrdquo at wwwrecorder
homepagenetmakershtml
REFERENCES
CONSULTEDBauer Winfried
wwwrecorder-fingeringscomIncludes interactive fingeringcharts from modern makers andhistorical treatises Charts forRenaissance consort recorders byAdriana Breukink Adrian BrownBob Marvin and Tom Prescottwere consulted
Brown Adrianwwwadrianbrownorgrec
order_typesconsorthtml
Our present-day ldquoregularrdquo recorders are
Baroque-derived instruments based loosely
upon surviving recorders from the
late 17th and early 18th centuries
34 March 2009 American Recorder
The Von Huene Workshop Incis pleased to announce agreements with
CoolsmaZamra
to serve as their authorised service agents in the US
For more than 40 years the von Huene Workshop has produced some of the finest recorders in the world Our skilled staff can revoice retune and repair even the most seriously damaged instruments All repairs are done right on the premises and most can be completed within a week
For warranty repairs please include a copy of your original sales receipt
j 65 Boylston Street Brookline MA 02445 i(617) 277-8690 Fax (617) 277-7217 servicevonhuenecom
An informative article aboutrecorder sizes in Renaissanceconsorts
Brown Adrian and David LasockildquoRenaissance Recorders andTheir Makersrdquo AmericanRecorder Vol XLVII No 1(January 2006) pp 19-31 An important article based upon Brownrsquos extensive researchon 120 of the 200 surviving 16th-century recorders
Ganassi Silvestro Opera IntitulataFontegara Ed Hildemarie Peter(Berlin-Lichterfelde RobertLienau 1959) Modern edition ofthe oldest known treatise devotedentirely to the recorder (publishedin 1535) Includes 16th-centuryfingering charts
Griscom Richard and David LasockiThe Recorder A Research andInformation Guide (New York andLondon Routledge 2003) Anannotated bibliography including
references on construction anddesign of historical recorders
Levin Philip ldquoQampArdquo AmericanRecorder Vol XXXVIII No 4(September 1997) p 27Explains in simple terms thedifference between Renaissanceand Baroque recorders
Morgan Fred ldquoA Recorder for theMusic of JJ van EyckrdquoAmerican Recorder Vol XXV No 2 (May 1984) pp 47-49Describes the bore design of arecorder suitable for playing Van Eyckrsquos variation sets andcompares it with bore designs ofother types of recorders
Myers Herbert W ldquoRecorderrdquochapter in A Performerrsquos Guide toRenaissance Music ed JefferyKite-Powell (New York SchirmerBooks 1994) A 2nd edition isnow available published in 2007by Indiana University Press
FEATURING MUSICA PACIFICA
JUDITH LINSENBERG
RECORDERS____JS BACH TRIO SONATAS Arr by
Linsenberg from Trio Sonatas for Organ BWV525-
530 Sonata No 1 in E
major (transp to B
)
BWV 525 Sonata No 2 in C minor (transp to E)
BWV526 Sonata No 3 in D minor (transp to G)
BWV 527 Sonata No 4 in E minor BWV 528
Sonata No 5 in C major (transp to F) BWV529
Sonata No 6 in G major (transp to C) BWV 530
Virgin Classics Veritas 1993
____FIRE BENEATH MY FINGERS Showcases
three legendary composers who were also
virtuoso performers Vivaldi Concerto in F major
after RV 98570 ldquoLa Tempesta di Marerdquo Sonata in
A minor RV86 Concerto in G minor RV106 Con-
certo in Bb major RV503 Sammartini Concerto in
F major Tartini Concerto in A major D91 Dorian
____MANCINI CONCERTI DI CAMERA Seven
sonatas by Francesco Mancini plus one work each
from his contemporaries Francesco Durante amp
Domenico Scarlatti Highly recommended citation
from the 2000 Vivaldi Prize for Recordings of Italian
Early Music--Giorgio Cini Foundation Dorian
____MARAIS MARIN PIEgraveCES EN TRIO POUR
LES FLUcircTES VIOLON amp DESSUS DE VIOLE
Maraiss complete works for two treble lines and
bass with varied instrumentation and orchestrations
2-CD set $24
____SCARLATTI CONCERTI DI CAMERA
Seven sonatas for various instrumentations no
poor relations to the composers much more widely-
known vocal output All recorder players should
certainly have thisndashEarly Music Review
____TELEMANN CHAMBER CANTATAS
Five cantatas from Harmonischer Gottesdienst two
sonatas from Sonatas Corellisantes 2003 Chamber
Music America WQXR Record Award for best
chamber music recordings
____VIVALDI LA NOTTE Concerti per strumenti
diversi Award-winning CD featuring five Vivaldi
concerti two sonatas
AND OTHER RECORDING
ARTISTS FROM CALIFORNIA ____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 American Bach Soloists Jeffrey
Thomas conductor Dan Laurin Hanneke van
Proosdij recorders Christmas Concerto featuring
unique 1725 London version with solos transcription
for two recorders instead of two solo violins in
three of the six concertos Delos
____CANCcedilONIEgraveR Annette Bauer recorder
multi-instrumentalist Tim Rayborn Shira Kammen
strings Phoebe Jevtovic voice in a new early
music group devoted to repertoire from the
12thndash15th centuries as well as traditional music
from related regions (the Balkans Scandinavia
Middle East) Medieval instrumental music played
on a variety of instruments including strings
recorders and percussion Medieval dances and
motets bring to life the rich world of ancient
European music-making
____SACRED AND SECULAR MUSIC FROM
RENAISSANCE GERMANY Ciaramella-Adam amp
Rotem Gilbert Doug Millikan Debra Nagy
recorders with other winds shawm sackbut amp
organ Medieval amp Renaissance sacred music with
reconstructions of folksongs amp arrangements based
on contemporary improvisation
____BURIED TREASURE TOPAZ amp SAPPHIRE
Ensemble Vermillian Frances Blaker recorders
Barbara Blaker Krumdieck cello Elisabeth Reed
gamba Katherine Heater harpsichord amp organ
Transcriptions of Buxtehudes Op 1 other pieces by
Buxtehude works by Biber Johann Schop
Schmelzer Fafarela 2007
____STOLEN JEWELS Ensemble Vermillian
Frances Blaker recorders Barbara Blaker
Krumdieck Elisabeth Reed Katherine Heater 17th-
century German music adapted by Blaker I love
violin music so I steal the music and rearrange it
for my own instrumentrdquo Buxtehude Op 1 Biber
Rosenmuller Krieger JM Bach Fafarela
Recordings
____SENFL (LUDWIG) Farallon Recorder Quartet
(Letitia Berlin Frances Blaker Louise Carslake
Hanneke van Proosdij) 23 lieder motets and
instrumental works of the German Renaissance
____DOLCE MUSICAndash A CONTEMPLATIVE
JOURNEY Eileen Hadidianflutes recorders
Natalie Cox harps Celtic Renaissance and
Medieval melodies for recorder and flute with
Celtic harp Healing Muses 2005
____REFLECTIONS MUSIC TO SOOTHE AND
UPLIFT THE SPIRIT Eileen Hadidian recorder amp
Baroque flute with Celtic harp and cello Celtic
traditional Renaissance amp Medieval melodies
Healing Muses
____AN EVENING WITH BACH Voices of Music
Hanneke van Proosdij Louis Carslake Dan Laurin
recorders Joanna Blendulf Elizabeth Blumenstock
Rodney Gehrke Lisa Grodin Katherine Kyme
Jennifer Lane Victoria Gunn Pich Susanne Ryden
William Skeen David Tayler Renaissance and
Baroque music centers on fine singing Instantly
recognizable Air on a G String Bachrsquos Prelude in
G Major (solo theorbo for rsquocello) plus lilting vocal
performancesmdashRydenrsquos weightless soprano on
Bist du bei mir Lanersquos rich alto on Es is vollbracht
____BACH amp TELEMANN SONATAS PRELUDES
amp FANTASIAS Voices of Music (Hanneke van
Proosdij Joanna Blendulf Rodney Gehrke William
Skeen David Tayler) Beautiful chamber music by
Bach and Telemann
IN STOCK (Partial listing)____ALLA TURCA FUX CALDARA BADIA
Matthias Maute amp Sophie Lariviegravere recorders
Monika Mauch soprano Vocal music of the church
accompanied by Ensemble Caprice plus sonatas
and other instrumental pieces Analekta
____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 John Daniels Sonja Lindblad
recorders Peter Sykes harpsichord Trio sonata
arrangement by Johann Christian Schickhardt
____LES
AMIS DU
BAROQUE
Paul Nauta recorder amp
Baroque flute Koen Dieltiens recorder Music by
Bassani Corelli Vivaldi etc Highlight Intl
____LES SEPT SAUTS BAROQUE CHAMBER
MUSIC AT THE STUTTGART COURT Matthias
Maute amp Sophie Lariviegravere recorders amp traverso
Ensemble Caprice Charming repertoire by
Schwartzkopff Bodino Detri Atma Classique
____TASTE OF PORTIQUE LEnsemble Portique
Early and contemporary chamber musicmdash
Bach Telemann Boismortier and others
____TELEMANN ALLA POLACCA REBELndash
Matthias Maute recorders amp traversondash
plays concerti and suites by GP Telemann Dorian
____TELEMANN CANONS AND DUOS Lisette
Kielson amp Patrick OMalley recorders LEnsemble
Portique Telemann Canons meacutelodieux amp Sonates
sans basse 2-CD set LEP Records
____20TH CENTURY MUSIC FOR RECORDER amp
PIANO Anita Randolfi recorders Music by Jacob
Bartok Leigh others for recorder amp piano
____VIVALDI AND THE BAROQUE GYPSIES
Matthias Maute amp Sophie Lariviegravere recorders
Ensemble Caprice Gypsy music taken from
Uhrovska zbierka (now Slovakia) plus Vivaldi
____VIVALDI SHADES OF RED CONCERTOS amp
SONATAS FOR RECORDER amp STRINGS Matthias
Maute recorders REBEL Stylish high octane
readings of some of Vivaldis most beloved pieces
including the popular and raucous Concerto alla
Rustica stunningly colorful Sonata on La Follia and
four exuberant recorder concerti Bridge
____WINDFIRE Charmaine Delmatier recorder
Steve Kostelnik classical guitar Terry Hale bass
Erik Hokkanen violin Refreshing mixture of Andrew
Lloyd Weber American blues flamenco Celtic and
one original piece ltwwwyermomusicomgt
Please indicate above the CDs you wish toorder and print clearly the following
Name ____________________________________
Daytime phone (_____)______________________
Address__________________________________
CityStateZip _____________________________
Check enclosed for
_____ single CDs x $____ = $______
_____ 2-CD sets x $____ = $______
TOTAL $______
Please charge the above amount to my
MasterCard Visa or AmEx
_______________________________________
Exp Date ____________
Cardholderrsquos signature ______________________
Mail to
ARS 1129 Ruth Dr St Louis MO 63122-1019 US
You may fax a credit card order to 314-966-4649
NEW You may order CDs online using PayPal at
wwwamericanrecorderorgordercdromshtm
Order your recorder discs
through the ARS CD Club
The ARS CD Club makes hard-to-find or limited release CDs by ARS members
available to ARS members at the special price listed (non-members slightly higher)
All CDs are $15 ARS members$17 Others unless marked otherwise Two-CD sets are
$24 ARS members$28 Others Add Shipping and Handling $2 for one CD $1 for each
additional CD An updated listing of all available CDs may be found at the ARS
web site ltwwwamericanrecorderorggt
The first meeting of the newly-formedFort Myers Recorder and Early
Music Ensemble was January 26 atthe Florida home of chapter rep Sue
Groskreutz For this year the groupis somewhat loosely organized andplans to meet for extended sight-reading Repertoire at the first meetingcomprised everything from Renais-sance duets to chamber music involv-ing three treble parts and continuo
Among the five musiciansattending the first meeting (photobelow front row Elizabeth Spang SueGroskreutz back row Suzanne FergusonSibylle Baumgartner Arlene Sowka) allplayed recorder three harpsichord
and one each played traverso violinand gamba Due to the scarcity ofrecorder players south of the Sarasotaarea modern string players are alsoincorporated into this ensemble
The group decided not to chargedues and to meet at Groskreutzrsquoshome For more information pleasecontact Groskreutz at 239-267-1752spgembarqmailcom Snowbirdsdrifting through the area are welcome
Last fall at the requestof a student Kay Hettich
(inset below right) taught abeginning recorder class atthe Redding (CA) Senior
Center The five-weekclass was so successful thatmost participants haveformed a bi-weekly noviceensemble (right) coachedby Hettichmdashwho consid-ers them her ldquohatchedeggsrdquo
A new batch of ldquoeggsrdquostarted to incubate when afive-week class began on February 20Other senior center members havebecome interested as they heard oftheir colleaguesrsquo success These noviceplayers comprise some who previouslyread music and played instruments as well as people who are totally new to music notation
One student has also formulated amaxim ldquoEveryone at age 40 ought tolearn to play the recorder if heshehasnrsquot alreadyrdquo Just think how theworld would be transformed byshifting our focus to music
After Lynn Whidden attendedthe Montreacuteal Recorder Festival lastfall when the ARS Board met inQuebec she joined the ARS and nowrelays news of the lively interest in therecorder exhibited by a group underthe new leadership of Brent Legg ofBrandon University in ManitobaCanada Although his hands wereldquostill partly frozenrdquo he wrote that theBrandon University Collegium
Musicum in collaboration with theWaverley Park Recorder Club is
preparing a spring concert calledldquoEnglandrsquos Golden AgerdquoRepertoire spans the 16th century
from Henry VIIIrsquos accession in 1509to the death in 1603 of Elizabeth Iand includes solo songs four- andfive-part settings of Renaissancedances (with dancers) three- to five-voice madrigals and ldquobig-bandrdquoarrangements of William Byrdrsquos TheBells and The Dargason as re-imaginedby Gustav Holst (further re-imaginedfor recorders and percussion)
Of the 15 collegium membersseven are encountering the recorderfor the first time since elementaryschool The Collegium Musicumpromotes the study of early music at the university and is open to theuniversity community and the generalpublic This year there are five com-munity participants with interest fromseveral more both within and outsideof the university For informationcontact BrentLegggmailcom
January 16 marked the thirdannual recorder workshop of threeFlorida groups the Pasco Collegium
Recorder Consort of Hudson theImperial Recorder Consort of
36 March 2009 American Recorder
Chapters
amp Consorts___________________________________Workshops and activities from
coast to coast in the US and Canada
Lakeland and the Pilgrim Pipers Recorder Consort of St Petersburg Theygathered for a morning tackling selections by Banchieri Monteverdi PurcellCorelli Mendelssohn Bach Mozart and Glen Shannon Each group presenteda piece for the other participants Sweet Georgia Brown by Ben Bernie (St Pete)a Sonata by Sammartini (Lakeland) and The Gospel Train arr by KW Ford(Pasco) The 29 participants were led by Marlene Cracraft (Pasco) Jane
Spencer (Lakeland) and Elizabeth Snedeker (St Pete) Tom Bickley (photo below) directed the fall workshop of the Mid-Peninsula
Recorder Orchestra in Cupertino CA The 30 players started with Gregorianchants written in ldquooldrdquo notation Bickley gave basic instruction on how tointerpret the notes and then had the group sing the chants prior to playing them
The workshop theme of ldquoThe Articulate Recorderrdquo was literally played out as the music presented used variations in tonguing phrasing and breathingOther repertoire included a Kyrie by Tomas Luis de Victoria Bachrsquos Jesu Joy ofManrsquos Desiring a double-choir piece by Gabrieli Christopher Tyersquos In NomineXIII and a Purcell chaconne The workshop ended with a rhythmically-challenging minimalist piece by Bickley entitled Beginning composed for theWaldorf School teacher training program George Greenwood reports that thegroup had a productive event and plans to ask Bickley to lead a future workshop
wwwAmericanRecorderorg March 2009 37
A Muse in the DesertThe sound of a pin dropping hellip thesound of eager minds and fingersabsorbing information and inspira-tion hellip the sounds of ldquoNuevaEspantildeardquo Spanish- and indigenous-influenced music of the 1600s in theNew World These were the soundsof the Desert Pipes (Phoenix AZ)chapterrsquos fall workshop given byEileen Hadidian On a Saturdaylast October 30 players from all overArizona gathered to learn from andbe inspired by the founder of a SanFrancisco Bay Area group dedicatedto sharing music for healing inhealthcare settings Healing Muses(wwwhealingmusesorg)
The day began with relaxationstretching and breathing exercisesfollowed by travels to Peruacute MexicoGuatemala and Colombiamdashhighchurch music vernacular pieces anda mixture of the two Participantsenjoyed the historical and contextualbackground provided as an overviewfor the day and for each piece
Remarkably the sound heardbetween pieces and passages was anenergy-filled quiet the attentivestillness of active engagement in theworkshop experiencemdashnot the chat-tering noodling and conversationsthat often occur when the musicstops That activity was reserved forthe breaks when participants couldenjoy the cool (at last) outdoorschat with Hadidian and peruse the popular garage sale (to benefitDesert Pipes) of previously-enjoyedbooks and other treasures
On Sunday Hadidian sharedher expertise and inspiration in indi-vidual and group coaching sessionsThe weekend was a special experi-ence and Desert Pipes memberslook forward to the next visit of this Healing Muse
Ann Koenig Scottsdale AZannisalesprocom
Members
of three
Florida
groups
met
in January
for a joint
workshop
CHAPTER NEWS
Chapter newsletter editors and publicity officers should send materials for publication toAmerican Recorder 7770 South High St Centennial CO 80122-3122
editoramericanrecorderorg Also send short articles about specific activities that haveincreased chapter membership or recognition or just the enjoyment your members get out of
being part of your chapter Digital photos should be at least 3rdquox4rdquox300dpi TIF or unedited JPG files Please send news to the AR address above and to the following
ARS Office 1129 Ruth Drive St Louis MO 63122-1019 ARSrecorderAmericanRecorderorg
and to Bonnie Kelly Chair Chapters amp Consorts Committee 45 Shawsheen Rd 16 Bedford MA 01730 bksharpaolcom
TO THE STARS
AND BEYONDThe cover of the November magazinegenerated a few comments Some werenrsquotsure how to interpret the title (in theartistrsquos native German it could besomething close to ldquostarlit moonrdquo)Longtime member Carolyn Peskin wrote to offer her vision of that cover
In the beginning the Great Spiritinvented Mr Sun to light the day andMiss Moon to light the nightHowever as Miss Moon floated up inthe sky all by herself like a big yellowballoon she began to feel very lonelyso one night to relieve her lonelinessshe decided to take out her recorderand make music
But when she started to playsomething miraculous happened Not only beautiful melodies but alsoyellow dust poured out of the bottomof her recorder and the dust particlesimmediately coalesced to form yellowstars As she continued playing moreand more stars were created and theyfloated up around her filling the nightsky
At last Miss Moon was happy fornot only was she herself able to enjoyher music but she now had a wholecrowd of starry companions to enjoy itwith her And if you listen very care-fully on a quiet night you might beable to hear her recorder and thatstarry choir humming along
Carolyn Peskin
LOCATING EARPLUGSI read with interest the QampA in theNovember lsquo08 AR regarding hearingloss and use of earplugs Where do you get musicianrsquos earplugs
Dolly Hirata Kensington CA
CAROLYN PESKIN PROVIDED THIS
INFORMATION Musicianrsquos earplugs arecustom made for individual usersThey can be purchased only fromlicensed hearing professionals (ieaudiologists and hearing instrumentspecialists) To find a licensed hearingprofessional in your area look underldquoaudiologyrdquo or ldquohearingrdquo in your localyellow pages
For information about how musi-cianrsquos earplugs are produced visitwwwetymoticcomephperme-w
tbaspx That web page also has a linkto contact information for authorizedlabs that make the custom earmolds formusicianrsquos earplugs If the yellow pagesdo not prove helpful those labs canrefer you to a licensed hearing pro-fessional in your area from whom youcan purchase musicianrsquos earplugs
MORE FROM CAROLYN
THIS TIME ABOUT OSKARIn the September 2008 AR the musicreview by Leslie Timmons of the Oskarpieces by Matthias Maute mentionedthat Carolyn Peskin had translated twoof the Oskar books from German toEnglish People can obtain thetranslations free of charge as Wordattachments by contacting her atCarolyn Peskin 3559 StrathavonRoad Shaker Heights OH 44120carolynpeskinstratosnet
ANOTHER KIND OF
MUSIC-READING
GLASSESIn the January 2009 issue of AmericanRecorder therersquos something (in myopinion) the ldquoRecorder with GlassesObbligatordquo article omitted which canenable a nearsighted musician to avoidneck strain in the use of bifocals
Irsquove found the solution to thisvexing problem is to have onersquos bifocalsconstructed differently [from] normalMy optometrist was willing to work
38 March 2009 American Recorder
Response___________________________________Two kinds of vision
the better to see with and (not) to hear with
Honeysuckle Music
Recorders amp accessories
Music for recorders amp viols
Jean Allison Olson1604 Portland AveSt Paul MN 55104
6516448545jeanhoneysucklemusiccom
Responses from our readers are welcomedand may be sent to American Recorder 7770 South High St Centennial CO
80122 Letters may be edited for length and consistency
ARS Membership Enrollment and Renewal I am a new member I am or have been a member
USCanadian Memberships Foreign Memberships $45 One Year $55 Foreign One Year $75 Sustaining (Receive a Hottetere Hands Pin) $100 Two Years $80 Two Years
LIFETIME MEMBERSHIP Single Dual Regular Lifetime Member $1000 (2) $1500 (4) 4 installments of $250 available) Loyalty Lifetime Member (1) $ 800 (3) $1200 (4) 4 installments of $200 available
(1) For members who have maintained membership for five consecutive years (2) $750 is Tax Deductible (3) $600 is Tax Deductible (4) Installments available Student Memberships Other Memberships (Enclose proof of full time enrollment) $65 One Year Workshop Membership
$25 USCanadian One Year $125 One Year Business Membership $45 USCanadian Two Years $30 Foreign One Year $5 Additional Charge for Dual Address or Dual Name
Do not list my name in the ARS Print Directory Do not list my name on the ARS Online Directory Do not release my name for recorder related mailings Do not contact me via email
My address telephone and email address are the same as last time
______________________________________ _________________________ Name Phone Number ______________________________________ _________________________ AddressCityStatePostal Code Email Address Please charge to (Circle one) VISAMasterCardAMEXDiscover CC________________________________ Expiration Date ______________ Signature of cardholder_______________________________________________________ Clearly Print Name as it appears on Card________________________________________
Renew by Mail Online By Phone or by Fax
Demographic Information (optional information collected only to enhance ARS services and provide statistics to grant makers)
I am a member of ARS Chapter or Consort____________________________ I am the Chapter Contact Your age Under 21 (21-30) (31-40) (41-50) (51-60) 61-70) (71+) Please check all that apply
I am a Professional Recorder Performer
I wish to be included in the list of Recorder Teachers in the ARS Directory and website I Teach (circle your choices) Children High School Youth College Students Adults Beginner Intermediate Advanced Pre-Professional Individuals Childrenrsquos Classes Adult Classes Ensembles Suzuki Orff JRS Leader Kodaly Where I Teach (circle your choices) Music Studio Public or private school Community Music School College Other _____________________
American Recorder Society 1129 Ruth Dr St Louis MO 63122-1019
Phone 314-966-4082Fax 314-966-4649
TollFree 800-491-9588ARSRecorderAmericanRecorderorg
wwwAmericanRecorderorg
with me [to find] an ideal (for me)placement size and focal length of thebifocal lens
Before visiting the optometristIrsquod had my wife measure the distancefrom my eyes to the music on mymusic stand With this measurementthe optometrist set up her machine toprepare a vision prescription for memaximized for this reading distance
When I look at my bifocals (withthem off) the lenses (through which Iread my music) occupy most of thelower two-thirds of my glasses (they are set very high and beginimmediately at the inner rims) Thisleaves the upper third and smallportions of the outside [of each lens]for focusing on the conductor As longas my stand is set low enough my necknever experiences any strain (even if Ihave to read three to a part) and Irsquove no problem in seeing theconductor (in sharp focus) either
For me trying to use glasses [toread] from a music stand [that] weredesigned for use in reading from acomputer screen also results in neckstrain (not to mention unreliability in aldquopressurerdquo situation) Having studiedTai Chi extensively and so being
wwwAmericanRecorderorg March 2009 39
There are lots ofsolutions to thepresbyopic musicianrsquosproblem but all involve compromises
40 March 2009 American Recorder
American Recorder Society PublicationsErich Katz Contemporary Music Series Members Non-MembersA Short Tale for Two Basses Suzanne M Angevine (Level II) (2 scores) $5 $8Dialogue and Dance Cecil Effinger (SATB)(Level II-III) (score amp parts) $10 $18Dorian Mood Sally Price (SATB) (Level II) (score amp parts) $10 $18Double Quartet for Recorders Peter Ballinger (Level II-III) (score amp parts) $10 $18Entrevista Frederic Palmer (SATB) (Level II) (2 scores amp 4 recorder parts) $8 $14Kyrie and Vocalise for Soprano Voice ampRecorders Stanley W Osborn $8 $14
(SATB) (Level II) (2 scores amp 4 recorder parts) Picnic Music Jeffrey Quick (SATB) (Level II) (score amp parts) $5 $8Six Short Pieces for Three Recorders edited by Alan Drake $8 $14
(3 scores) Vaclav Nelhybel (AATT) (Level II)Sonatina for Alto Recorder and Piano Anthony Burgess $7 $12
(Level II) (2 scores)Sonatine for Three Altos Lee Gannon (Level III) (score amp parts) $14 $26Suite of Jewish Folk Tunes Erich Katz (S SA8 AT) (Level II) (three scores) $10 $18
Musical Editions from the Membersrsquo Library ARS members 1 copy-$3 2 copies-$450 3-$6 4-$750 5-$10 6-$1150Non-members (editions over 2 years old) 1 copy-$5 2 copies-$850 3-$12 4-$15 5-$1950 6-$23The ARS is happy to provide photocopied enlargements of any Membersrsquo Library edition at the same prices Please specify ldquoMembersrsquo Library Enlargementrdquo
ARS Information BookletsARS members 1 booklet-$13 2 booklets-$23 3-$28 4-$35 5-$41 6-$47 7-$52Non-members 1 booklet-$18 2 booklets-$33 3-$44 4$55 5-$66 6-$76 7-$86
Education PublicationsThe ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996)
First copy free to ARS Members (mailed to new members as they join) replacement copies $3Guidebook to the ARS Personal Study Program (1996) Material formerly published in the Study Guide
and Study Guide Handbook plus additional resources Members $11 non-members $20ARS Music Lists (2002 with 2003 Supplement) Graded list of solos ensembles and method books
Members $9 non-members $15Package Deal available only to ARS members Guidebook and Music ListsSupplement ordered together $16Junior Recorder Society Leaderrsquos Resource Notebook
ARS members $20 non-members $40 (updates at reduced rates after initial purchase)$5 Dues for each JRS student member sponsored by an ARS member ($4 each for groups of 10+)
VideosRecorder Power Educational video from the ARS and recorder virtuoso John Tyson
An exciting resource about teaching recorder to young students ARS members may borrow a copy for onemonth by sending $5 to the ARS office along with the address to which the tape should be shipped
Pete Rose Video Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music Festival recitalFeatures Rose performing a variety of music and an interview of him by ARS member professional John Tyson
Other PublicationsChapter Handbook A resource on chapter operations for current chapter leaders or those considering forming an
ARS chapter ARS members $10 non-members $20 (updates free after initial purchase) One free copy sent toeach ARS chapter with 10 members or more
Consort Handbook Resource on consort topics such as group interaction rehearsing repertoire performingARS member prices CD $10 hard copy $20 combo price of CD and hard copy ordered together $25
Discography of the Recorder Vol I (1989) Compiled by Scott Paterson and David LasockiDiscography of the Recorder Vol II (1990-1994) Compiled by Scott Paterson
Either single volume ARS members $23 non-members $28Both Discography volumes together ARS members only $40
American Recorder Cumulative Index for Vols I-XXXX ARS members $20 non-members $32Index Supplement Vol XXXIV-XXXX ARS members $8 non-members $14
Shipping amp Handling FeesUnder $10 - add $3 $10-1999 - add $4 $20-2999 - add $5 $30-3999 - add $6 $40-4999 - add $7 All prices are inUS dollars For Canadian or foreign postage pay by credit card and actual postage is charged
Please make checks payable to ARS VISAMCAMEXDisc also accepted
ARS 1129 Ruth Drive St Louis MO 63122 US800-491-9588 ARSrecorderAmericanRecorderorg
Arioso and Jazzy Rondo (AB) Carolyn PeskinBerceusendashFantaisie (SATB) Jean BoivertBrucknerrsquos Ave Maria (SSATTBB)
Jennifer W Lehmann arrCanon for 4 Basses (BBBB) David P RuhlDancers (AT) Richard EastmanDifferent Quips (AATB) Stephan ChandlerElegy for Recorder Quartet (SATB) Carolyn PeskinElizabethan Delights (SAATB)
Jennifer W Lehmann arrFallen Leaves Fugal Fantasy (SATB) Dominic BohbotFour Airs from ldquoThe Beggarrsquos Operardquo (SATB)
Kearney Smith arrGloria in Excelsis (TTTB) Robert CowperIdyll (ATB) Stan McDanielImitations (AA) Laurie G AlbertsIn Memory of Andrew (ATB) David GoldsteinLay Your Shadow on the Sundials (TBgB)
Terry Winter OwensLeClercqrsquos Air (SATB) Richard E WoodLittle Girl Skipping and Alouette et al (SATBCb)
Timothy R Walsh
Los Pastores (SAAAT + perc) Virginia N Ebinger arrNew Rounds on Old Rhymes (4 var) Erich KatzOther Quips (ATBB) Stephan ChandlerPoinciana Rag (SATB) Laurie G AlbertsSanta Barbara Suite (SSAAT) Erich KatzSentimental Songs (SATB) David Goldstein arrSerie for Two Alto Recorders (AA) Frederic Palmer Slow Dance with Doubles (2 x SATB) Colin SterneSonata da Chiesa (SATB) Ann McKinleyS-O-S (SATB) Anthony St PierreThree Bantam Ballads (TB) Ann McKinleyThree Cleveland Scenes (SAT) Carolyn PeskinThree in Five (AAB) Karl A StetsonTracings in the Snow in Central Park (SAT)
Robert W ButtsTrios for Recorders (var) George T BachmannTriptych (AATB) Peter A RamseyTwo Bach Trios (SAB) William Long arrTwo Brahms Lieder (SATB) Thomas E Van Dahm arrVariations on ldquoDrmešrdquo (SATB) Martha BishopVintage Burgundy (SASATT)
Jennifer W Lehmann arr
Adding Percussion to Medieval and Renaissance Music Peggy Monroe
American Recorder Music Constance PrimusBurgundian Court amp Its Music Judith Whaley coord
Improve Your Consort Skills Susan CarduelisMusic for Mixed Ensembles Jennifer W LehmannPlaying Music for the Dance Louise AustinRecorder Care Scott Paterson
acutely aware of any kind of neckstrain when it begins to develop these ideas have been a big help to meIrsquom hoping they may be of help toother musicians as well
Best wishes to you And inanswer to your questionmdashyes the new[AR] format (with more white spacebetween the lines) is much easier toread (in my opinion)Your magazinejust keeps getting better and better
Very sincerely Ed Green WestSuburban (Chicago-area) Chapter
RESPONSE FROM DR BILL LONG
What Ed describes is a variant of theuse of conventional bifocals as musicglasses described on page 8 in thearticle Instead of lowering his musicstand into the field of view of hisbifocal segment Ed and his optome-trist have fabricated special purposebifocals with the segment really highso he can focus on his music instraight-ahead view That approachrestricts his distance vision to an areaabove his usual line of sight whichseems to work for Eds playing setup
Eds comments on the difficultiesin using conventional progressiveaddition lenses as music lenses con-firm what I said on page 9 Thats whymanufacturers have marketed special-ty progressive lenses designed specif-ically for intermediate distance taskslike computer use and playing music
There are lots of solutions to thepresbyopic musicians problem but all involve compromises The key toevaluating those compromises andchoosing the best solution for yourselfis to understand your needs and toenlist the help of a sympathetic visioncare specialistmdashjust as Ed did
Please change your
browserrsquos favorites list
AR online is now at wwwameri
canrecorderorgmembership
magazinehtm Send news to
editoramericanrecorderorg
FOUR FOUR-PART CANZONAS
(1608) BY GIOVANNI GABRIELI
ED GREG LEWIN Hawthorns Music RB 16 (Magnamusic) 1999 SATBSc 16 pp pts 4 pp $1950
Giovanni Gabrieli was probablyborn between 1554 and 1557 in theparish of San Geremia in Venice Thedetails of his early life are sketchy butit appears that he was born Giovannidi Fais and later changed his name toGabrieli out of respect to his uncleAndrea with whom he shared a closerelationship In fact in 1587 Gabrielidescribed himself ldquoas little less than asonrdquo It is commonly thought thatAndrea provided Giovanni with hisearly musical training Andrea whohad spent some time in Munichstudying under the great Orlando deLassus sent Giovanni to Munich for a similar period of study in theearly 1570s
Gabrieli remained in Munichuntil the death in 1579 of the dukeAlbrecht V who had been Lassusrsquosemployer for a number of years andwho was an enthusiastic patron of the arts particularly music With hisdeath a number of musicians lost theirjobs it seems as if Gabrieli were also a victim of such culling of talent(Within a generation the tide wouldturn and the Munich court wouldagain hire Venetian expatriates such as Priuli Valentini and Neri)
Upon his return to VeniceGabrieli was hired as a temporaryorganist at San Marco his positionbecoming permanent in 1585 For a few months that year uncle andnephew served together as first and
second organists in the chapel of thedoge In Giovannirsquos absence fromVenice there had been a plague thathad decimated the ranks of theprofessional musicians Andrea setabout rebuilding his forces at SanMarco by hiring a full-time windband consisting of Girolamo dallaCasa a renowned cornettist andviolist his two brothers who playedsackbut and later the cornett virtuosoGiovanni Bassano Giovanni Gabrieliaugmented these forces with addi-tional players and began composingthe large-scale ceremonial music forwhich he is so well known today
Giovanni was also elected to bethe organist and composer to theconfraternity of San Rocco in 1585and it is now thought that his largestpieces were intended for that venuewith its large central gallery andfrescos by Tintoretto instead of SanMarco Gabrieli held both thosepositions at the basilica of San Marcoand the Scuola Grande di San Roccountil he died in 1612 of a kidney stone
Although best known today forhis ceremonial and festival musicGabrieli was at home in smaller-scaleformats as well These four four-partcanzoni are taken from the 1608publication by the Venetian publisherAlessandro Raverji Canzoni per sonarecon ogni sorte di strumenti These werevery popular pieces to judge by themany collections in which they appear
Additionally like Gabrielirsquoskeyboard music they are found inother arrangements These four-partcanzoni lie well under the fingers inarrangements for keyboard and lute
As seen from the title Gabrielispecified no instrumentation but like asimilar edition of madrigals and battlepieces from a few years earlier a dis-tinction was made that they wereintended for wind instruments almostcertainly cornetts and sackbuts
Recorders were not unknown in Venice they were used regularly inthe confraternity of San GiovanniEvangelista where Giovanni BattistaRiccio was organist
These pieces are relativelysimplemdashplayable by beginning tointermediate ensembles They aremostly contrapuntal (with a fewhomophonic sections) and have few rhythmic eccentricities
These canzoni are found in manymodern brass editions but there arefew editions available to the recorderplayer This edition by Greg Lewin ofHawthorns Music might be consid-ered a ldquobare-bonesrdquo edition There islittle background information andeditorial practices are not specified
The music itself has a handwrittenlook that can be distracting but is easyenough to read Lewin has thought-fully supplied phrasing marks that willbe helpful for ensembles unused tothis style of music
Music
Reviews___________________________________ Infectious music created in spite of the plague
wwwAmericanRecorderorg March 2009 41
This is a good edition
for small ensembles that
canrsquot get eight players
together to play
Gabrielirsquos more famous
eight-part canzoni
42 March 2009 American Recorder
The parts are four pages but mycopy had all four pages printed on avery large page This is not a problemand there are no page turns
This is a good edition for smallensembles that canrsquot get eight playerstogether to play Gabrielirsquos morefamous eight-part canzoni Thesesmall-scale pieces are by no meansinferior to Gabrielirsquos more elaboratemusic and deserve to be better known
7 CANZONEN (1637) BY
TARQUINIO MERULA ED JOACHIM
ARNDT WITH CONTINUO REALIZATION
BY CLAUDIA SCHWEITZER MieroprintMusikverlag EM2088 (availabledirectly from wwwmieroprintcom)2005 SS or TT bc Sc 24 pp pts 8 pp$28
Tarquinio Merula was bornaround 1595 in either Busseto orCremona in Italy As was the case withso many composers of the day either alack of regular employment or a rest-less nature took him from his home inCremona to as far away as Warsaw He is found as the organist of thechurch and the chambers to the kingof Poland Sigismund III in 1624
Merula was one of the leadingexponents of the relatively new con-certante style pioneered by ClaudioMonteverdi and others in the seconddecade of the 17th century and may be described as one of the earliestBaroque composers His compositionsin the concertante style are fresh andunforcedmdashhe was born into this styleand didnrsquot encounter it as somethingnew as was the case with so many ofMonteverdirsquos contemporaries
After several years of peripateticexistence Merula found regularemployment in 1631 in Bergamo atthe church of San Maria MaggioreThe prior holder of the post of maestrodi cappella Alessandro Grandi haddied the previous year in the plagueMerula had signed a three-year
contract but by December 1632 hewas terminated with accusations thathe had molested several studentsMerula threatened a lawsuit to recoverhis lost wages but that threat wascountered with a pending criminalcharge lodged by the board ofgovernors of San Maria Maggiore By mid-1633 the matter was settledwith an apology from Merula and astatement that he relinquished allclaims to his salary
He then returned voluntarily toCremona where he stayed until 1635By 1638 Merula was once again inBergamomdashthis time as maestro dicappella and organist in the cathedralnext to San Maria Maggiore Asmight be expected there was con-siderable tension between the twochurches eventually resulting in theboard of San Maria Maggioreforbidding their musicians to perform under Merularsquos direction
He returned in 1646 to a familiarCremona post which he had heldthree times in various years and wherehe now settled downmdashthat of organistand maestro di cappella for Laudi dellaMadonna services in which he ledmusic at the main altar on Saturdaysand on vigils of Marian feasts
None of his employment issues
prevented the Pope from awardinghim the Order of the Golden SpurMerula was also elected to theAccademia dei Filomusi in BolognaHe died in 1665 in Cremona
His existing compositions showthe products of a lively mind Hisworks range from sacred songs andmotets to purely instrumental piecesnotably the ever-popular variations onvarious ground basses It is knownthat Merula was an accomplishedviolinist as well as a fine organist Hissurviving instrumental writing showsa predilection for strings In fact hewas one of the earliest composers tospecify string accompaniments tosacred motets
Merularsquos pieces look backwardtoward some of the more progressiveVenetian composers such as Monte-verdi while looking forward to thehigh Baroque with his innovative style
These seven canzoni like theearlier-published chaconne (EM2084)come from Merularsquos third bookpublished in 1637 CANZONI overo SONATE CONCERTATE perchiesa e camera a due et a tre delcavaliere This collection typifiesMerularsquos output pieces based onRenaissance-era ground basses arefound next to more ldquomodernrdquo sonatas
The original edition specifiesviolins and basso continuo This newedition is intended for recorders thespecific choice of which is up to theplayers Due to the relatively hightessitura tenor recorders work best inthese pieces (although listed as analternative soprano recorders tend to be on the screechy side)
Not surprisingly given Merularsquosskill as an organist the continuo partneeds a keyboard instrument forsuccessful realization Instead of beinga purely accompanying part the bassocontinuo part is an equal partner in these pieces the canzona ldquoLaRuggierardquo opens with a run that therecorders echo a few measures later
A more recorder-specific
edition intended for
altos would have been
ideal There is nothing
preventing the more
adventurous and
industrious players
from making their
own editions of this
delightful music
mentioned were a bit shrill A morerecorder-specific edition intended foraltos would have been ideal There isnothing preventing the moreadventurous and industrious playersfrom making their own editions of thisdelightful music
Prior to playing the previouslypublished chaconne I had notencountered MieroprintMusikverlag Mieroprintrsquos extensivecatalog has an equal focus on newmusic for recorders and on editions ofBaroque masters with emphasis on therecorder and flute Due to the lack of
wwwAmericanRecorderorg March 2009 43
are also available at
The Early Music Shop
of New England
Brookline MA
AESTHEacute
367-b de la Briquade
Blainville Queacutebec
Canada J7C 2C7
tel (450) 979-6091
wwwboudreau-flutesca
A bass viola da gamba or rsquocello is not necessary for these pieces and may infact make them sound heavy and ponderous rather than light and breezy as thismusic seems to be
More so than the above-mentioned chaconne these canzoni are written in avery idiomatic violin style with multiple examples of arpeggios In particular thecanzona ldquoLa Trecchardquo contains a notated example of a string tremolo figurerecurring through the piece ldquoLa Trecchardquo also dips well below the range of a Crecorder going down to low G the lowest string on the violin The editors havesupplied no alternative notes preferring to let the performers to fend forthemselves (in practice we took this passage up an octave with no problems)
The two recorder parts require virtuosity These upper parts are demandingwith the players needing to double-tongue in unison in order to negotiate themany runs of 16th notes and the shared rhythmic ldquolicksrdquo The harmoniclanguage unlike much of Merularsquos music is undemanding and contains none of the harmonic crunches for which he is famous
This is wonderful music that needs a couple of advanced recorder players fora successful performance The string idiosyncrasies can be overcome by advancedplayers and many of the editions of the era (although not this one) list thecornetto as an alternative to the violin so the use of wind instruments in the solo literature of the early Baroque was not unknown
Our experience with this edition left us with the opinion that these pieceswould have been better if transposed down a minor third so as to fit on a pair ofalto recorders (as is the case with much Baroque flute music to make it lie betteron the recorder) The tenors we used tended to sound a bit murky in the lowerregister next to the more aggressive harpsichord while the sopranos we tried as
KEY rec=recorder Srsquoo=sopraninoS=soprano A=alto T=tenor B=bassgB=great bass cB= contra bass Tr=treble qrt=quartet pf=piano fwd=foreword opt=optional perc=percussionpp=pages sc=score pt(s)=part(s)kbd=keyboard bc=basso continuohc=harpsichord PampH=postage andhandling Multiple reviews by one reviewerare followed by that reviewerrsquos name Pleasesubmit music for review to AR 7770 SHigh St Centennial CO 80122-3122 US
an American distributor this musicwill be hard to findmdashin fact can befound only at the time of this writingon their web site noted above But theeffort will be repaid
This edition is clear and easy toread and the parts require no pageturns The basso continuo realizationis simple and elegant
This is music deserving ofrediscovery My only quibble is thatthe editorial notes are all in GermanThis seems to be the practice ofGerman music publishers with thenotable exception of Moeck Otherpublishers of early music such asLondon Pro Musica routinelyprovide notes in English and German and often in French and Italian making their editionsaccessible to a wider audience
Frank Cone studied the recorderwith the late Ellen Perrin the viola dagamba with Carol Herman and thecornetto with Larry Johansen TheCalifornia multi-instrumentalist has been a member of the Orange CountyRecorder Society since 1985
Advertiser Index
AMERICAN ORFF-SCHULWERK ASSN 3
AMERICAN RECORDER SOCIETY 31 35 36
AMHERST EARLY MUSIC FESTIVAL 17
STEPHAN BLEZINGER 24
JEAN-LUC BOUDREAU 21 39
BOSTON EARLY MUSIC FESTIVAL 7
CANTO ANTIGUO EARLY MUSIC WORKSHOP 13
COURTLY MUSIC UNLIMITED 20
EARLY MUSIC AMERICA 8
HONEYSUCKLE MUSIC 34
BILL LAZARrsquoS EARLY MUSIC 26
KEITH E LORAINE EARLY DOUBLE REED SERVICE 35
LOST IN TIME PRESS 11
MADISON EARLY MUSIC FESTIVAL 12
MAGNAMUSIC DISTRIBUTORS BC
MOECK VERLAG IFC
MOLLENHAUER RECORDERS IBC
PORT TOWNSEND WORKSHOP 14
PRESCOTT WORKSHOP 30
PROVINCETOWN BOOKSHOP 26
THE RECORDER MAGAZINE 4
THE RECORDER SHOP 6
SAN FRANCISCO EARLY MUSIC SOCIETY 18
SWEETHEART FLUTE CO 3
TEXAS TOOT 20
VON HUENE WORKSHOP INC 30
WICHITA BAND INSTRUMENT CO 21
DOMINIK ZUCHOWICZ 34
CONSIDER ADVERTISING IN
Full page $55223 page $43912 page $36613 page $28614 page $22316 page $17518 page $127112 page $ 951 column inch $ 58
Prices include web sitee-mail link directly from your ad in the online AR at wwwamericanrecorderorg
Circulation Includes the membership of theARS libraries and music organizations
Published five times per year January March May September November
Reservation Deadlines December 1 (January) February 1 (March) April 1 (May) August 1 (September) October 1 (November)
Rates good through November 2009 Pleaseinquire about discounts on multiple-issuecontracts inserts or other special requestsExtra charges for typesetting layout half-tones and size alterations 133-line screenrecommended Advertising subject toacceptance by magazine First-time adver-tisers must include payment with order
For more information contact the ARS office 1129 Ruth Drive St Louis MO63122-1019 800-491-9588 toll free 314-966-4082 phone 314-966-4649 faxadvertisingamericanrecorderorg
44 March 2009 American Recorder
Classified___________________________________
FOR SALE Cherrywood hurdy gurdy and hard-side case made by Kelischek bought 2005Originally $765 plus $89 for case Rarely usedBoth for $450 or make offer Please contact marjalocomcastnet Can ship
ASPIRE ANNOUNCE INSPIRE Afford-able PR for teachers and recitalists wwwrecitalroomcom
PHOTOS NEEDED of ARS events 1970sndash1990sto illustrate last chapters of Martha Bixlerrsquos histor-ical memoir about the ARS (to be posted online)E-mail scanned photos (300dpi JPG or TIF)arsrecorderamericanrecorderorg Hardcopies mail to ARS office to be scanned ampreturned Info 800-491-9588
T-SHIRT FOR ENSEMBLE PLAYERS to wear orshare Top 10 Reasons Why I Got Lost Wrongfingering bad lighting etc on blue cotton shirt$18 Highlighter tape and other goodies Beth amp Lindas Boutique as seen at BEMF CallLinda at 617-671-8694 or e-mail for brochurelindakushverizonnet
Where the havesand have-nots
of the recorder world can find each other
Classified rate for American Recorder 60centper word ten-word minimum ldquoFOR SALErdquoand ldquoWANTEDrdquo may be included in thecopy without counting Zip code is oneword phone e-mail or web page is twoPayment must accompany copy Deadlinesare one month before issue date Send copywith payment to ARS 1129 Ruth Drive St Louis MO 63122-1019
AMERICAN RECORDER (ISSN 0003-0724) 1129 Ruth Dr St Louis MO 63122-1019 is publishedbimonthly (January March May September and November) for its members by the AmericanRecorder Society Inc $20 of the annual $45 US membership dues in the ARS is for a subscriptionto American Recorder Articles reviews and letters to the editor reflect the viewpoint of their individ-ual authors Their appearance in this magazine does not imply official endorsement by the ARS
EDITORIAL DEADLINES November 15 (January) January 15 (March) March 15 (May) July 15(September) and September 15 (November) Submission of articles and photographs is welcomedArticles may be typed or sent as an attachment (Word or RTF preferred) to or text in an e-mail mes-sage They should be for the exclusive consideration of AR unless otherwise noted Photos may besent as prints or unedited JPG or 300dpi TIF files (minimum 3rdquox4rdquo) Advertisements may be sent inPDF or EPS format with fonts embedded
EDITORIAL OFFICE Gail Nickless Editor 7770 S High St Centennial CO 80122-3122 303-794-0114 (phone amp fax) editoramericanrecorderorg Books for review Editorial office Musicfor review Editorial office Recordings for review Tom Bickley 1811 Stuart St Berkeley CA 94703Cutting Edge Tim Broege 212 Second Ave Bradley Beach NJ 07720-1159 Chapter newslettersother reports Editorial office Postmaster Send address changes to ARS 1129 Ruth Drive St LouisMO 63122-1019 Periodicals postage paid at St Louis MO and at an additional mailing office
Chapter leaders
We know yoursquore out there
and that you want to share
your plans concerns
solutions and ideas with
other chapter leaders Visit
httpamericanrecorder
societywikispacescom
The CharltonMethodSopraninothrough BassRecordersItem JRMM001This is one ofthe mostcomprehensiveadult recordertutors available
Contents Fingering and trill charts 63basic technique exercises 69articulation amp coordination studies 39scale amp arpeggio studies 16 studiesfor bass Vibrato 16 Renaissanceduos Renaissance amp Baroqueornamentation amp MORE 180 pagesSpiral bound music book $3250
Susato DanseryeVarious Alto Tenor and BassQuartetItem LPM0101ADanserye begins with amysterious group of dancesmostly called bergerettes andreprises all of which appearunder the heading of bassedanse This is a completeedition of this classic collection
and is the first to come with four 46 page scorebooks and separate commentary $3725
BBBEEESSSTTTSSSEEELLLLLLEEERRRSSS
Mrs McGillivraysWelcomeBass Recorder TutorItem HATT001A bass recorder tutor witha Scottish flavor This bookis intended for recorderplayers who have areasonable knowledge ofalto recorder and whowould like to becomeuseful Bass recorder players Once you havetried the first few pages of this method you arelikely to find this much easier than you realizedThis tutor combines a comfortably gradedlearning sequence with plenty of interestingtunes and pieces Contents Basic bass fingeringcharts and 84 pieces exercises and traditionalEnglish Scottish and other beautiful classics ina 45 page spiral bound book $2495
Van Eyck Der FluytenLust-HofFor Soprano RecorderItem DOL0125Few works in the recorderrepertoire have received asmuch attention fromperformers students andscholars as Jacob Van EycksDer Fluyten Lust-Hof Why somuch celebrity for an obscurecollection by a composer whose total output doesnot quite fill 200 pages Recorder players areaccustomed to mining for gems and Van Eyckscollection gleams brightly because it bringstogether some of the finest melodic material of the16th and early 17th centuries in skillful settings thatare musically and technically challenging (ARSJanuary 2004) $3275
Monteclaire Airs deDanseFor Soprano or AltoRecorderItem PAR0103Monteclair was a composerof cantatas serenadesinstrumental concerts aballet and a well receivedopera He is best knowntoday for his flute duetsand the Deuxieme Concert for flute and bassThese pieces all have sections of dance tuneswhich are published here for the first time in amodern edition In the Petite Method Monteclairwrites that Nothing improves the understandingof the different tempos and metres than dancetunes All of the Airs de Danse are printed in thiscollection to avoid having to choose betweenthem 41 page score $1995
The ConsortCollectionVolume 1For RecorderQuartetItem DOL0101This must bethe ultimateanthology ofconsort musicThis collectionfeatures 39 widely varied pieces ofmusic spanning the 15th to 17thcenturies Included are pieces by desPres Senfl Janequin Byrd SusatoGibbons Dowland Lully and manyothers 45 page score $1300
BarsantiCompeteOriginalRecorderSonatasFor Alto andBassoContinuoItemDOL01266 sonatas by
Francesco Barsanti Includescommentary and performance notes52 page gem$2450
The Recorder BookItem WOLLITZBack after over a decade of absence andnewly updated the Recorder Book is aninstructive guide for everyone who plays therecorder be it beginner intermediate orexperienced and wants to play morebeautifully and skillfully From selecting arecorder to making it sing from practicingeffectively to playing ensemble andenriching your repertoire here is everything
you need To use this book is to have a uniquely gifted teacher atyour side encouraging you providing you with specific help anddelighting you with their lively knowledge of the art of makingmusic 259 pages $2995
Traditional Irish MusicFor Alto RecorderItem PAR0101A very nice collection of 22 piecesin a 16 page spiral bound score$1200
Playford DancesFor Recorder QuartetItem LPM0102These arrangements of dances from Playfordrsquos TheDancing Master which appeared in 18 different editionsare intended primarily for playing to dancers Those of uswho have been involved in dance events will be familiarwith the experience of having to cobble together versionsof these tunes for the band at short notice and it is hopedthat this volume should reduce the consumption ofmidnight oil $1325
From your friends at
ORDER TOLL FREE (888) 665-2721TEL (860) 364-5431 FAX (860) 364-5168
Email Magnamusicmagnamusiccom
Shop Online at magnamusiccomDonrsquot forget to mention yoursquore an ARS member and get a surprise
ON THE COVER
Illustration by
Wonjoung Chang
copy2009
Volume L Number 2 March 2009
Our 2009 celebration continues with anearly-bird discount deadline of May 1
to register for the ARSrsquos 70th birthdaypartymdashthe ARS Festival and Conference
This year yoursquoll continue to see ARcovers highlighting 2009 as both Volume
50 of AR and as the ARSrsquos 70th anniver-
sary year These specially selected coversare the creative output of the AdvancedIllustration class taught by Glenna Lang
at the School of the Museum of Fine Arts in Boston MA at which students comefrom all over the world to study
The Education Department in thisissue may bear resemblance to ldquoAre youSmarter than a Fifth-graderrdquomdashbut thequestions are a challenge for recorderplayers of any vintage Take Bart Span-
hoversquos quiz (page 24) and see how you doYou may want to use his questions as well asthe AR50 piece in this issue (page 23)mdashadvice from the late Leacuteonie Jenkinsmdashto prepare yourself for your workshop orfestival experience
If itrsquos March then itrsquos likely that youexpect the bulk of this issue to be devotedto the annual roundup of upcoming
recorder workshops (page 12) Whether we make your acquaintance at
the Boston Early Music Festival we meetyou in St Louis for the ARS Festival or wecross paths at one of the many workshopsyoursquoll agree that this promises to be amemorable summer for recorder players
Gail Nickless
Editorrsquos
Note______________________________
GAIL NICKLESS EDITOR
CONTRIBUTING EDITORS
TOM BICKLEY COMPACT DISC REVIEWS bull FRANCES BLAKER BEGINNERS amp TECHNIQUE
TIMOTHY BROEGE 20TH21ST-CENTURY PERFORMANCE
CAROLYN PESKIN Q amp A bull CONSTANCE M PRIMUS MUSIC REVIEWS
ADVISORY BOARD
MARTHA BIXLER bull VALERIE HORST bull DAVID LASOCKI bull BOB MARVIN
THOMAS PRESCOTT bull CATHERINE TUROCYbull KENNETH WOLLITZ
WWWAMERICANRECORDERORG
COPYRIGHTcopy2009 AMERICAN RECORDER SOCIETY INC
Features
Suite Thoughts of Sitka 9Judith Linsenberg recounts how her life changedwhile being the Sitka recorder resident
Summer Workshop Summer-y 12The annual roundup of summer workshopsincluding some earlier and some later
Departments
Advertiser Index and Classified 40
AR50 Avoiding Aches and Pains 23Dr Leacuteonie Jenkins gives advice for thosecontemplating a workshop experience
Chapters amp Consorts 32
Education 24Bart Spanhove tests our musical knowledge
Music Reviews 37
On the Cutting Edge 27Tim Broege puts the recorder into the perspectiveof the larger music world and the internet
Presidentrsquos Message 3Lisette Kielson on how to feed the passion
QampA 28Carolyn Peskin describes Renaissance fingering
Response 34More on music-reading glasses earplugs and Oskar
Tidings 4Mario Duschenes and John Updike die EarlyMusic America contest news Joe Lewnard wins Piffaro contest Matthias Maute teams up with Lincoln Center musicians
GLENNA LANG
DESIGN CONSULTANT
8
9
12
32
6 March 2009 American Recorder
AMERICAN
RECORDER
SOCIETYinc
Honorary PresidentErich Katz (1900-1973)
Honorary Vice PresidentWinifred Jaeger
Statement of PurposeThe mission of the American Recorder Society is
to promote the recorder and its music bydeveloping resources and standards to help
people of all ages and ability levels to play andstudy the recorder presenting the instrument to
new constituencies encouraging increased careeropportunities for professional recorder
performers and teachers and enabling andsupporting recorder playing as a shared social
experience Besides this journal ARS publishesa newsletter a personal study program a
directory and special musical editions Societymembers gather and play together at chapter
meetings weekend and summer workshops andmany ARS-sponsored events throughout
the year In 2009 the Society enters its eighth decade of service to its constituents
Board of DirectorsLisette Kielson PresidentLaura SanbornndashKuhlman
Vice President Fundraising ChairMarilyn Perlmutter Secretary
Scholarship ChairAnn Stickney Treasurer
Finance Chair Membership Co-ChairMatthew Ross Assistant Secretary
Membership Co-ChairBonnie Kelly Assistant Treasurer
Chapters amp Consort Chair SpecialEventsProfessional Outreach Co-Chair
Letitia Berlin Special EventsProfessional Outreach Co-Chair
Mark Davenport Education Co-ChairSusan Richter MariendashLouise Smith
Leslie Timmons Education Co-ChairMary Halverson Waldo Publications Chair
Nancy Weissman Counsel
StaffKathy Sherrick Administrative Director
1129 Ruth DriveSt Louis MO 63122-1019 US
800-491-9588 toll free314-966-4082 phone
314-966-4649 faxARSRecorderAmericanRecorderorg
wwwAmericanRecorderorg
In accordance with the Internal Revenue ServiceTaxpayer Bill of Rights 2 passed by the United States
Congress in 1996 the American Recorder Society makesfreely available through its office financial and
incorporation documents complying with that regulation
ALABAMA
Alabama Recorder Assoc JenniferGarthwaite (256-586-9003)
Birmingham Janice Williams (205-870-7443)
ARIZONA
Desert Pipes (Phoenix) Linda Rising (602-997-6464)
Arizona Central Highlands (Prescott) Georgeanne Hanna (928-775-5856)
Tucson Scott Mason (520-721-0846)
ARKANSAS
Aeolus Konsort Don Wold (501-666-2787)
Bella Vista Barbara McCoy (479-855-6477)
CALIFORNIA
Central Coast Margery Seid (805-474-8538)
East Bay Susan Jaffe (510-482-4993)
Inland Riverside Greg Taber (951-683-8744)
Monterey Bay LouAnn Hofman(831-439-0809)
North Coast Kathleen Kinkela-Love (707-822-8835)
Orange County Lois Sheppard(562-431-0454) amp Rayma Zack (949-624-3448)
Redding Kay Hettich (530-241-8107)
Sacramento Steve Sherman (916-489-2771) amp Robert Foster (916-391-7520)
San Diego County Harvey Winokur (619-334-1993)
San Francisco Dana Vinicoff (415-908-3258)
Sonoma County Dale Jewell (707-874-9524)
South Bay Liz Brownell (408-358-0878)
Southern California Jerry Cotts (310-453-6004) ampJuanita Davis (310-390-2378)
COLORADO
Boulder Mike Emptage(970-667-3929)
Colorado Springs Janet Howbert(719-632-6465)
Denver Dick Munz(303-286-7909)Fort Collins Roselyn Dailey(970-282-1097)
Early Music Society of Western CO Bev Jackson (970-257-1692)
CONNECTICUT
Connecticut Elise Jaeger (203-792-5606)
Eastern ConnecticutJoyce Goldberg (860-442-8490)
DISTRICT OF COLUMBIA
Washington Art Jacobson (301-983-1310)
DELAWARE
Brandywine Roger Matsumoto (302-731-1430)
FLORIDA
Ft Myers Recorder amp Early Music Ens Sue Groskreutz (239-247-3002)
Gainesville Peter Bushnell (352-376-4390)
LargoSt Petersburg Elizabeth Snedeker (727-596-7813)
Miami Zulema Garaffo(305-374-1879)
Palm Beach Beverly Lomer(954-592-2852)
Sarasota Margaret Boehm (941-761-1318)
GEORGIA
Atlanta Mickey Gillmor (404-872-3210)
HAWAII
Hawaii Irene Sakimoto (808-734-5909)
Big Island Roger Baldwin (808-935-2306)
ILLINOIS
Chicago Mark Dawson (773-334-6376)
Chicago-West Suburban Laura SanbornndashKuhlman(630-462-5427)
LOUISIANA
Baton Rouge Cody Sibley (225-505-0633) ampJohn Waite (225-925-0502)
New Orleans Victoria Blanchard (504-861-4289) amp David Kemp (504-897-6162)
MARYLAND
Northern Maryland Richard Spittel (410-242-3395)
MASSACHUSETTS
Boston Laura Conrad (617-661-8097)
RecordersEarly Music Metro-West Boston Sheila Beardslee (978-264-0584)
Worcester Hills Doug Bittner (508-852-6877)
MICHIGAN
Ann Arbor Annabel Griffiths (734-213-3172)
Kalamazoo Charles Vreeland (269-342-8069)
Metropolitan Detroit Claudia Novitzsky (248-548-5668)
Northwinds Recorder SocietyJanet Smith (231-347-1056)
Western Michigan Jocelyn Shaw( 231-744-8248)
MINNESOTA
Twin Cities Barbara Aslakson (952-545-3178)
MISSOURI
St Louis Kathy Sherrick (314-822-2594)
NEVADA
Sierra Early Music Society Kay Judson (775-322-3990)
NEW HAMPSHIRE
Monadnock Kristine Schramel (413-648-9916)amp Lynn Herzog (802-254-1223)
NEW JERSEY
Bergen County Mary Comins (201-489-5695)
Highland Park Donna Messer (732-828-7421)
Navesink Lori Goldschmidt (732-922-2750)
Princeton Louise Witonsky (609-924-2752)
NEW MEXICO
Albuquerque Bryan Bingham (505-299-0052)
Las Vegas (Flat amp Baroque in Las Vegas) Tom Curtis (505-454-4232)
Rio Grande Sylvia Burke (575-522-1742)
Santa Fe Jane Thomson (505-986-0753)
NEW YORK
Buffalo Jean Ericson (716-839-3942)
Hudson Mohawk Darleen Koreman (518-482-6023)
Long Island Barbara Zotz (631-421-0039)
New York City Gene Murrow (646-342-8145)
Rochester Liz Seely (585-473-1463) Rockland Jacqueline Mirando (845-624-2150)
Westchester Erica Babad (914-769-5236)
NORTH CAROLINA
Carolina MountainsCarol Markey (828-884-4304)
Triangle Mary McKinney (919-489-2292)
OHIO
Greater Cleveland Edith Yerger (440-826-0716)
Toledo Marilyn Perlmutter (419-531-6259)
OREGON
Eugene Lynne Coates (541-345-5235)
Oregon Coast Corlu Collier (541-265-5910)
Portland Zoeuml Tokar (971-325-1060)
PENNSYLVANIA
Bloomsburg Early Music EnsSusan Brook (570-784-8363)
Philadelphia Vincent Hurtubise (215-438-6409)
Pittsburgh Helen Thornton (412-781-6321)
RHODE ISLAND
Rhode Island David Bojar (401-944-3395)
TENNESSEE
Greater Knoxville Ann Stierli (865-637-6179)
Nashville Janet Epstein (615-297-2546)
TEXAS
Austin Marianne Weiss Kim (512-795-9869)
Dallas Jack Waller (972-669-1209)
Rio Grande Sylvia Burke (575-522-1742)
UTAH
Utah Recorder Society (Salt Lake) Mary Johnson (801-272-9015)
VERMONT
Monadnock Kristine Schramel (413-648-9916) amp Lynn Herzog (802-254-1223)
VIRGINIA
Northern Virginia Edward Friedler (703-425-1324)
Shenandoah (Charlottesville) Gary Porter (434-284-2995)
Tidewater (Williamsburg) Vicki H Hall (757-565-2773)
WASHINGTON
Moss Bay Ralph Lusher (425-275-6777)
Seattle Carolyn Wallace (206-782-6898)
WISCONSIN
Milwaukee Carole Goodfellow (262-763-8992)Southern Wisconsin Marilyn Oberst (608-836-0269)
CANADA
Montreacuteal Mary McCutcheon(514-271-6650)
Toronto Sharon Geens (416-699-0517)
Please contact the ARS officeto update chapter listings
ARS Chapters
In July 2005 before I was on theBoard I attended the very first
ARS Festival that year held at RegisUniversity in Denver CO I decidedto go at the last minute (no earlyregistration discount for me) Ithought take advantage of this greatopportunity to change rolesmdashpartici-pate as a student instead of as facultyWhat a wonderful experience it wasmdashto observe join sessions and absorb all the warmth humor and knowledgethat was presented to me I recon-nected with some and met many whowill remain good friends and respectedcolleagues throughout my life
As I recall the 2005 ARS FestivalI remember my introduction to theARS by one of my first teachersRoberta Sweet My passion lay inmaking music and she fed thatpassion lovingly and consistentlymdashone quality I believe necessary forremarkable teaching As a professionalmusician (and lifelong student ofmusic and life) I now succumb to amore sophisticated hunger thatinvolves more than just my teachingand performingmdashan appetite that nowincludes what other professionals are
saying about the recorder theirthoughts on teaching and theirapproaches to ensemble direction andperforming
This Presidentrsquos Messageprovides me with a chance not only toreflect but also to advertise This is theMarch issuemdashthe issue traditionallylisting all the summer festivals andworkshops I mentioned it in the lastissue and you have certainly read and
heard about it but it is here that Iwould like to formally invite you to our second ARS Festival and
Conference held July 30-August 2
at the University of MissourimdashSt Louis (For details go towwwAmericanRecorderorg)
The ARS Festival and
Conference will be a very specialevent honoring all aspects of therecorder an opportunity to cometogether to share ideas and play ourbeloved instrument a chance to hearlive performances from the best-of-the-best and a recognition of thosewho have been an integral part of theARS and of those who will carry itforward into the future
This is not an annual event It hasbeen years in the making Whetherpresenter performer student of everyage and level exhibitor vendoreducator auditor amateurprofessionalmdashwe are in this togetherAll are welcome (And donrsquot forgetabout the early registration discount)
I now succumb to
a more sophisticated
hunger that involves
more than just my
teaching and performing
mdashan appetite that
now includes what
other professionals
are saying about
the recorder
Presidentrsquos
Message___________________________________Greetings from Lisette Kielson ARS President
LKielsonLEnsemblePortiquecom
wwwAmericanRecorderorg March 2009 7
SWEETHEARTFLUTE CO
Baroque Flutes our ownldquoSweetheartrdquo modelFifes Flageolettes
ldquoIrishrdquo Flutes amp WhistlesSend for brochure andor
antique flute list
32 South Maple StreetEnfield CT 06082(860) 749-4494
Ralphsweetaolcomwwwsweetheartflutecom
Flutist recorderist conductor andteacher Mario Duschenes (1923-2009) died peacefully in MontrealQC Canada on January 31
Born in Hamburg Germany heescaped into Switzerland before WorldWar II His early musical studiesfocused on recorder solfegravege and pianoHe then turned to the flute firststudying with his father and brothersthen in 1943 entering the GenevaConservatory In 1947 he completedhis training and won an award at the1947 International Competition forMusical Performers in Geneva
After touring Europe as soloistwith the Ars Antiqua Ensemble heemigrated to Canada in 1948
A new recorder worldmdashin partic-ular Montrealrsquos mdashwas enlivened inthe 1950s by the youthful recorderistand flutist from Europe who taughtpublished a method book (used bythousands around the world and stillavailable) and arranged for recorderensembles He made over 30 record-ings including several of flute andrecorder duets with his friend well-known flutist Jean-Pierre Rampal
With his wife Ellyn who was aresearcher and child psychologist hebrought musicians into schools andconducted youth concerts An expertin the Orff-Schulwerk teaching
method he became a member of theCarl Orff Canada advisory board in1974 His efforts in music educationwere lauded by Jamie Portman in The(Montreacuteal) Gazette writing in 1978that Duschenes ldquois probably doingmore for the image of young peoplersquosconcerts than anyone else in Canadardquo
In 1953 he was co-founder of theCAMMAC Music Centre where hetaught for many years Duschenes alsotaught at McGill University (1954-70) and at the University of Montreacuteal(1970-73) He was president in1983-85 of Jeunesses musicales du Canada
Duschenes was recognized as aleading conductor and stood beforeevery major orchestra in CanadaAmong numerous awards he receivedtwo honorary doctorates (from Con-cordia University Montreacuteal andMemorial University St Johnrsquos New-foundland) and in 1985 was made anOfficer of the Order of Canada
Duschenes wrote a number ofwidely-distributed works publishedby BMI Canada and later byBerandolmdashnotably his Method for theRecorder I (1957) and II (1962) forsoprano or alto (in French Meacutethode deflucircte agrave bec I 1962 and II 1968) SchoolRecorder Method (1957) for sopranoand alto together (in French La Flucircteagrave bec agrave lrsquoeacutecole 1973) and Studies inRecorder Playing (1960) He edited orwrote easy duos and trios studies foralto recorder and arrangements ofRenaissance and Baroque works ofBach and of Leopold Mozart
He is survived by his brotherRolf five children and 12 grandchil-dren his wife of 42 years Ellyn(1929-1994) preceded him in deathDonations in his memory may be
made to Phare - Enfants et Familleswwwphare-lighthousecom andMaison Emmanuel wwwmaison
emmanuelorgPulitzer Prize-winning novelist
John Updike (1932-2009) also diedin January of lung cancer at age 76Among his many literary efforts thatinclude the Rabbit quartet he wrote forThe New Yorker for which he contrib-uted a 1988 short story entitled ldquoTheMan Who Became a Sopranordquo Thiswas later reprinted in The Afterlife andOther Stories (Knopf 1994 amp FawcettCrest New York 1995)mdashand the titledoes refer to a soprano recorder Inthat story he led the reader throughvarious personality conflicts in aweekly recorder group that metsomewhere in the East In otherwritings Updike used classical musicto imply a level of sophistication in hischaracters such as Terry Gallagherplaying Greensleeves on recorder in his fifth novel Couples (1968)
Updike was himself knowledge-able about music reviewing classicalmusic concerts in Castle Hill MAfrom 1961-65 He had moved toIpswich near Boston after he left hisjob at The New Yorker feeling after 20months that the city was distractinghim and sometimes stifling his creativ-ity (though he kept his ties to The NewYorker and continued to send thempieces) He and his family enteredenthusiastically into small-town lifeUpdike wrote and performed in anhistorical pageant and he and his wifewere members of a recorder group
Updike commented in 2003ldquoThe real America seemed to me lsquoout therersquo Out there was where Ibelongedrdquo
Tidings___________________________________Mario Duschenes and John Updike die
Joe Lewnard wins young recorder player contest
8 March 2009 American Recorder
Passing Notes
The Recorder Magazine
we invite you to visit the sitewwwrecordermaildemoncouk
Recent Performances of Note
in New York CityLast November at the Chapel of theGeneral Theological Seminary inNew York City NY Chelsea Winds
Recorder Ensemble (Lucinda andBarrie Mosher Gregory EatonDavid Hurd and this author) offeredan all-Bach program It started withthe Ricercare a3 from the MusicalOffering transposed up a step to D minor and continued through 10 contrapuncti from Art of the Fugue
The final days of 2008 held somefine recorder playing RecorderistMatthias Maute joined 16 membersof the prestigious Chamber Music
Society of Lincoln Center in aprogram titled ldquoBaroque Collectionthe Beautiful and the Bizarrerdquo Theperformance included sonatas con-certos programmatic pieces and ariasby Pachelbel Muffat TelemannBiber Vivaldi and Handel Mautecontributed his graceful and fluidplaying to the Telemann Concerto in A Minor for alto recorder two violinsand basso continuo and also to theVivaldi Concerto in G Minor forrecorder oboe bassoon violin andcontinuo (R107)
The concert was presented in thelarge Rose Theater at the LincolnCenter Jazz Center on December 19and 21 If there were ever any doubtMaute made it very clear that therecorder could hold its own in thecompany of ldquomodernrdquo instrumentseven in a large concert space
Given as part of St Bartrsquos middaymidtown concert series a concert ofmore Telemann held very nice playingfrom Deborah Booth on December17 In addition to soprano and altorecorders Booth played Baroqueflute I particularly liked her renditionof the Telemann Partita in C Minor forsoprano recorder and continuo andthe alto recorder obbligato to the arialdquoEin stetes Zagenrdquo from Telemannrsquoscantata for Advent ldquoLauter Wonnerdquo
At the end of the liturgical seasonof Christmas the ensemble at theHoly Trinity Lutheran ChurchVespers series presented JS BachrsquosCantata No 152 ldquoTritt auf dieGlaubensbahnrdquo for the first Sundayafter Christmas (December 28) Thearia ldquoStein der uumlber alle Schaumltzerdquo
with its recorder obbligato played byLarry Zukof was lovely
Chelsea Winds had an interest-ing experience when we were invitedto play a short program for a UnitedNations conference on cooperationbetween the UN and the worldrsquosreligions (December 16) LabouisseHall where the concert was held wasfull of people very many in exoticattire I confess I was dismayed at thissight because I feared our program ofcontrapuncti from Bachrsquos Art of theFugue would make no sense to themany non-Westerners brought up inother music cultures
I need not have feared Themusic was enthusiastically receivedBachrsquos music really is universal
Anita Randolfi
wwwAmericanRecorderorg March 2009 9
Mary Halverson Waldo was a Suzuki teacher trainer for the
January Festival Suzuki in Lima Peruacute Pictured are the
Huancavelicanos who attended the festival from the city of
Huancavelica in the most poverty-stricken region of Peruacute
Padre William Lopez (center front) is the school master and
recorder teacher (being an excellent recorder player him-
self) They were extremely grateful to Corinne Newbegin
(OR) and Jane Harper (MN) who donated SATB recorders
in excellent condition for two vibrant Suzuki programs in
Colombia and Peruacute
If there were ever any
doubt Maute made it
very clear that the
recorder could hold its
own in the company of
ldquomodernrdquo instruments
10 March 2009 American Recorder
Awards and HonorsMusic educator and recorderistDeborah Greenblatt and DavidSeay of ldquoThe Old Schoolhouserdquo inAvoca NE were featured in theNovember 2008 International Musi-cian the official journal of the Ameri-can Federation of Musicians of theUS and Canada They have playedand sung folk music together for morethan 30 years The duo has publishedbooks for a variety of instruments fromrsquocello to tin whistle Among the latestare Barn Dance Fiddle Tunes for Two andSinging Cowboy Fiddling Tunes for TwoVisit wwwgreenblattandseaycom
for informationThe 2009 Borletti-Buitoni Trust
(BBT) Awards acknowledge thatsome instruments present a challengefor talented and ambitious youngclassical musicians striving for a solocareer Recorder player Eric Bosgraaf
(below) and harpsichordist Mahan
Esfahani are among those selected toreceive BBT financial assistance aswell as advice in such areas as publicrelations auditions and finding agents
BBT Award winner Bosgraaf ofThe Netherlands is hailed as one ofthe most gifted and versatile recorderplayers of his generationCurrent plansinclude solo performances with theDallas (TX) Symphony Orchestra andthe Dutch Radio Chamber Philhar-monic His deacutebut recording a three-CD set of music by Jacob van Eyckwas No 1 on the 2007 Dutch classical
music charts (see the CD review in theSeptember 2007 AR and an interviewwith Bosgraaf in the May 2008 ARsee also wwwerikbosgraafcom)
Iranian-born Esfahani who hasappeared in ensemble performancesreviewed in AR was a BBT Fellowshipwinner He makes his Wigmore Halldeacutebut in London as soloist with TheEnglish Concert this month
Two BBT awards of pound20000 eachand six fellowships of pound10000 eachwere given by the Trustrsquos artistic com-mitteemdashFranco Buitoni Adam Gate-house Martijn Sanders and MitsukoUchida See wwwbbtrustcom formore on the foundation and its policiesplus news video and audio of BBTmusicians (now 45 individuals and 14 ensembles from 22 countries)
Early Music America NewsEMA with support from a privatedonor will sponsor its third Medieval
Renaissance Performance Compe-
tition in 2009 The winner receives acash prize (the Unicorn Prize) and isguaranteed three concert performancessponsored by EMA and presenters inPittsburgh PA Milwaukee WI andSeattle WA The contestrsquos goal is to encourage the development ofemerging artists in the performance of Medieval and Renaissance music
Applicants must be ensembleswith at least two performers of age 39or younger who have not performedtogether for more than five years(ldquoemerging artistsrdquo) Repertoire islimited to the period of roughly 800-1550 AD performed on voice(s)andor period instrument(s) and in astyle that is historically informed The competition is open to members
(individual or organizational) of EMAwho reside in the US or Canada
Applications are due April 30Finalists will be selected by June 30and will receive hour-long coachingsessions with an early music artist and present live 20- to 30-minuteperformances in New York City NYin October
For application requirements visitwwwearlymusicorg
EMA has also announced twoearly music ensembles receiving its2008-09 Collegium Musicum
Grant Sacabuche at IndianaUniversityrsquos Early Music Institutedirected by Linda Pearse and theUNT Baroque Orchestra and
Collegium Singers from theUniversity of North Texas under thedirection of Lyle Nordstrom
Sacabuche performs vocal musicwith sackbuts and organ
UNT has one of the largest andmost active collegium programs inNorth America The most prestigiousensembles there are the 30-piece UNTBaroque Orchestra and 26-voiceCollegium Singers whose membersregularly perform at the Boston EarlyMusic Festival (BEMF)
Nordstrom the director of theseensembles was co-director with PaulOrsquoDette of The Musicians of SwanneAlley and was the founder and artisticdirector of the Atlanta (GA) BaroqueOrchestra He received EMArsquosThomas Binkley Award in 2000 for his work with collegiate ensembles atOakland University and Clayton State College
EMA Collegium MusicumGrants provide $1000 toward the costof bringing a college or universitystudent early music ensemble toperform in a BEMF fringe concert(odd-numbered years) or at the Berke-ley (CA) Festival (even-numberedyears) The two winners will performduring BEMF June 7-14
The Power of LoveJ U N E 6 - 1 4 2 0 0 9
featuring Claudio Monteverdirsquos sublime final opera
June 6 7 9 10 12 and 14 2009Stanford Calderwood Pavilion at the
Boston Center for the Arts
June 19 20 21 22 2009Mahaiwe Performing Arts Center
in Great Barrington MALrsquoincoronazione di Poppea replaces the previously announced operatic centerpiece Antiochus und Stratonica by Christoph Graupner
Tickets are on sale now at WWWBEMFORG and 617-868-BEMF
RECORDER EVENTS AT THE 2009 BOSTON EARLY MUSIC FESTIVAL
Join us for our weeklong extravaganza of early music with concerts by the worldrsquos leading early music soloists and ensembles including Stile Antico Trio Hantaiuml Ricercar Consort
Pieter Wispelwey rsquocello and Kristian Bezuidenhout fortepiano the BEMF Chamber Operapresentation of John Blowrsquos Venus and Adonis and Marc-Antoine Charpentierrsquos Acteacuteon
Flanders Recorder QuartetSunday June 14 at 1230pm
Paul Leenhouts Renaissance recorder
andGabe Shuford harpsichord amp organ
Wednesday June 10 at 11pm
Recorder Masterclass with Paul LeenhoutsThursday June 11 at 2pm
Visit WWWBEMFORG for a complete schedule of eventsregistration materials for the world-famous BEMF Exhibition Fringe Concerts
and Masterclasses and much more
Joe Lewnard winsPiffarorsquos Second Competition for Young RecorderPlayers
By Joan Kimball wwwpiffarocom
Piffarorsquos second competition for youngrecorder players ages 12 to18 washeld on January 10 at the SettlementMusic School in Philadelphia PAFive finalists chosen on the basis oftapes that they submitted in Novemberperformed before a small but enthu-siastic and supportive audience
A smattering of snow and ice keptaway some people who otherwisewould have attended Ironically the finalists had no trouble reachingPhiladelphia from distant snow capitalsof the USmdash Denver COMinneapolis MN and Chicago IL
Unique in this country as far asanyone knows this competition wasestablished in 2007 to pique theinterest of young recorder players andto encourage them to investigate therepertoire of the 15th century into theearly 17th century on recorders as wellas other early wind instruments Whilethese young players tend to focus on
18th-century and contemporary musicPiffaro hopes to convey to them theimportance of playingmdashand alsounderstanding the underlyingperformance practice issues ofmdashearlier repertoire
Joe Lewnard (at right withPiffarorsquos Joan Kimball) an 18-year-oldhigh school senior from the Chicagoarea was chosen as the winner byjudges Nina Stern from New YorkCity NY and Elissa Berardi ofPhiladelphia He has played recorderfor a number of yearsmdashstudying withAldo Abreu among othersmdashand hasattended the virtuoso program at theAmherst Early Music Workshop Alsoa trumpet player he has expressedinterest in taking up the cornettocombining his facile fingers with hisbrass embouchure
In recent months Lewnard hasbeen preparing repertoire for collegeand conservatory auditions and willapply to several schools His selectionsfor the competition were the unaccom-panied Ricercata prima by GiovanniBassano and two movements from asuite by Pierre Philidor
The other four finalists also playedwith poise and distinction in variedrepertoire (Renaissance to contem-porary) that showed their abilitiesThey were Ariel Branz (age 16) from
Boulder CO a student of LindaLunbeck Bryan Duerfeldt (15) fromMinneapolis a student of MaryHalverson Waldo Amy Pikler (16)from Chicago who studies withPatrick OrsquoMalley and Olivia Sohlen
(16) also from Minneapolis and astudent of Cleacutea Galhano
On March 7 Lewnard willappear again in Philadelphia pairedwith the competitionrsquos previous winnerAlexa Raine-Wright in a recital Thetwo young virtuosi (both of whom havewon ARS workshop scholarships) willperform a variety of 16th- 17th- and18th-century solos and duetsaccompanied by harpsichordistMarcia Kravis In addition Piffaromembers Joan Kimball Priscilla
Smith and Bob Wiemken will jointhem for a set of 16th-century workson Renaissance recorders
With two competitions success-fully completed Piffaro plans to holdanother one in two years and hopesthat young recorder players will start toprepare now Wersquod love to see moreyoung virtuosi coming our way
12 March 2009 American Recorder
Early Music America Magazine is the quarterlypublication for the Early Music Community inNorth America Professionals Students andAudience members
Articles on performance practice trends in thefield recording reviews and a new book reviewsdepartment
Call 888-722-5288 or email infoearlymusicorgfor a FREE sample issue
Last spring I had the honor andgood fortune to spend five weeks
at the Sitka Center for Art andEcology on the central Oregon coastas the recorder resident The recorderresidency is sponsored by the OregonCoast Recorder Societymdasha wonderfulgroup of people I had the chance tomeet and teach and to make musicwith while I was there Myparticipation was made possible inpart by a professional grant from theARS and also by the kind generosityof some of my loyal long-termstudents
The project I worked on while atSitka was an intensive study of Bachrsquossolo string musicmdashprimarily the rsquocellosuites and some of the violin partitasmdashwith the aim of preparing my own arrangements of them for aneventual recording
Although Irsquod been told before Iwent that Sitka was incredibly beautifuland a wonderful place to be Iapproached the residency with sometrepidation I wasnrsquot quite able toimagine it and wondered how I wouldsurvive so many weeks by myself in aremote location seven miles from thenearest townmdashand where Irsquod heardmost cell phones did not work (panic)When I arrived on April 9 I was metwith typical Oregon coast weather forthat time of the year (and many timesof the year) chilly temperatures andrain And Irsquod left sunny California for five weeks of this
I lived in what is called the TreeHousemdasha charming one-roomwooden cabin with a sleeping loft and a wood-burning stove insidemdashenveloped outside by a couple of giantSitka spruce trees After many failedattempts over several days one of myproudest accomplishments was finally
learning how to quickly and reliablybuild a fire in my wood stove My nextproudest accomplishment was learningthat one should not put wet logs on the top of the stove to dry This Idiscovered after setting off the smokealarm bringing the entire Sitka staffrunning to my aidmdashonly to find meoblivious up in the loft
It took me a week or so to getadjusted to my new life I wasnrsquot usedto being alonemdashwithout my dog farfrom civilizationmdashand with expansesof free time and no actual responsibil-ities I spent some of that time explor-ing the surrounding areas takingwalks down to the estuary throughforested woods and climbing to thetop of Cascade Head There I was metwith awe-inspiring views of the PacificOcean the coastline the mountainsand the estuary far below I soondiscovered that this was part of thetotal Sitka experience
After my first incredible climb tothe top of Cascade Head I began torelish the quiet peace and time alonethat Sitka afforded memdashsomething Inever imagined Irsquod feel given mygenerally extroverted nature Inaddition to reading writing andmeditating I was inspired to dive into
Linsenberg
on the
deck of
the Tree
House
wwwAmericanRecorderorg March 2009 13
By Judith Linsenberg
The author is founder and director ofthe Baroque ensemble Musica Pacificawhose performances and eight recordingson the Virgin Classics and Dorian labels
have received international acclaim She has performed throughout the US
and Europe including solo appearances atthe Hollywood Bowl and Lincoln Center
and has been featured with such leadingAmerican ensembles as the San Francisco
Symphony the San Francisco and LosAngeles Operas Philharmonia Baroque
American Bach Soloists and others
Her recording of the Bach organ trioswas sponsored in part by an
ARS Professional Grant The ARS CD Club carries some of her recordings
A Fulbright scholar to Austria shewas awarded the Soloist Diploma with
Highest Honors from the Vienna Academyof Music She is a summa cum laude
graduate of Princeton University holds anearly music doctorate from Stanford Uni-
versity and has been a visiting professor atthe Vienna Conservatory and Indiana
Universityrsquos Early Music Institute Visit wwwmusicapacificaorg
for more information
Suite Thoughts of Sitka
14 March 2009 American Recorder
my musical projects with renewed energy and enthusiasmI had the time not only to practice the Bach suites butalso to really study them in depthmdashanalyzing themlistening to and comparing different recordings andworking on my transcriptions of them Although it wasnrsquotpart of my original intention I now have a plan to publishmy arrangements of these pieces so theyrsquoll be available forothers to perform (While Frans Bruumlggen published hisarrangement of the first three suites in the 1970s to myknowledge there is only one other recorder editioncurrently available whose approach is quite different from mine)
I wasnrsquot however living in total isolation while at SitkaThere were artist residents of other media as well Kim awriter from New York state John and Robin a marriedcouple who were ceramicists from Washington state andtheir three daughters and Claudia an installation- andperformance-artist We became a community socializingwhen we werenrsquot working (and sometimes even when wewere) going on excursions to see the glorious naturalwonders of the Oregon coast having dinners together inour various residences and talking about our work
The setting provided the perfect atmosphere for theexchange of ideas and we began to collaborate on mutualprojects sometimes in unexpected ways Robin startedmaking ocarinas and I worked with her to design and tunethem While I immersed myself in Bachrsquos solo music flutesand musical themes began to appear in the images shepainted on her ceramic pieces Often after wersquod hung outtogether in the evening depictions of the stories I told herwould show up in her paintings over the next few daysFanciful illustrations of me playing to my dog Jake evenmade several appearances in her work (The photos aboveshow the ocarina she made for me)
Toward the end of my stay I also began collaboratingwith Claudia the installation artist Her work was creatinginstallations out of plastic bags fastened together to formdifferent naturalistic shapes which she then set up invarious locations around the Sitka campus and nearby
areas Together we created a performance piece that wepresented at the Open House at the end of our residenciesI provided music to accompany a performance that tookplace within her installation We worked together on usingthe music to express the various ideas in the installation andperformance and using the performance to express themusic in a visual way
Bachrsquos music can be very evocative and I chosemovements from the Bach suites that suggested the variousparts of the narrative she performed part of a slow preludeto depict nascent creatures emerging in a forest a C-majorbourree while they are coming to life a C-minor onesuggesting turmoil a fast 16th-note passage representingflight as they grow wings and fly and finally a wistfulsarabande as they gradually die away and disappear As in a ballet each medium enhanced the other and the wholebecame more than the sum of its parts illuminatingdifferent aspects of each and creating a more profoundeffect than either might have independently
During the Sitka open house Linsenberg plays
in an installation of plastic bag ldquocreaturesrdquo
There were other opportunitiesfor me to present the music I wasworking on Around the midpoint ofmy stay there I performed in a concertmarking the start of the annual Windsand Waves weekend workshop Iplayed one of my Bach suites thoughit was still a work in progress
The next day about 45 recorderplayers descended upon our quiet littleenclave turning it into a hubbub ofactivitymdashquite a change from the low-key atmosphere of the prior severalweeks Once I got over the initialculture shock of the influx of so manypeople I thoroughly enjoyed meetingand working with all of them A class I offered on the Bach suites enabledme to share some of the work Id beendoing conversely I got input from thestudents I taught that made me thinkdifferently about the piecesmdashforexample what about playing them on a subcontrabass recorder
Shortly after the workshop theSitka residents held a communityoutreach day at which we each demon-strated our work to children from anearby school I had been working onsome contemporary pieces withnaturalistic themes (fitting for thesetting) and this event gave me theopportunity to play some of them forthe kids They were fascinated by theextended techniques used to imitatebirds and other animals and of courseVan Eyckrsquos ldquoEngels Nachtegaeltjerdquowas a hit with them as well
As hard as it was for me to getused to Sitka and the residency at thebeginning of my stay it was evenharder to leave My departure datecame too soon Irsquod had time to finishtranscriptions of only three of thesuites
Saying good-bye to all the friendsIrsquod made theremdashthe other artists aswell as the recorder players Irsquod metmdashwas hard enough but leaving the
beauty of the place and the peace Irsquodfound there saddened me greatly
Sitka had changed me and ittransformed my relationship to themusic I played as well My experienceallowed me to tap into a deep placeinside myself in a way that I never hadbefore something I was then able tocommunicate through the music I wasplaying Bachrsquos music turned out to bethe perfect vehicle because it expressesin sound the same grandeur spiritu-ality and universalitymdashas anyone whohas heard a live performance of the B-minor mass can attestmdashas does theview from the top of Cascade Head
Since the conclusion of myresidency I have given severalperformances of the rsquocello suitesincluding some lecture-recitals onthem and on my arrangements moreare planned Irsquove begun working withstudents of instruments other than therecorder who are studying the rsquocellosuites And I continue to work on myarrangementsmdashalas five weeks wasjust not long enough to learn andadapt all six suites although I do plan to publish them in the future
My work at Sitka also inspired meto pick up a project I started over 10years ago but never brought tofruition preparing my arrangementsfor recorder violin and continuo of thesix Bach organ trios (that I recorded in1992) to be published soon by PRBProductions And I have no doubt thatthe Sitka experience will continue towork on me in ways Irsquom not evenconsciously aware of at this time
I would like to give my deep and heartfelt thanks to the followingindividuals and organizations to the
Sitka Center for making my stay there sowonderful and to its founders Jane andFrank Boyden who had the vision tocreate this magical place to the members ofthe Oregon Coast Recorder Society fortheir generosity in creating and sponsoringthe recorder residency to the ARS for its financial support and to my wonderfulstudents who made it possible for me toparticipate in this life-changing experience(you know who you are)
wwwAmericanRecorderorg March 2009 15
Lost in Time Press
New works andarrangementsfor recorder ensemble
Compositions byFrances BlakerPaul AshfordHendrik de Regtand others
InquiriesCorlu CollierPMB 3092226 N Coast HwyNewport Oregon 97365wwwlostintimepresscomcorluactionnetnet
Sitka had changed meand it transformed my relationship to the music I played as well
MARIN HEADLANDS
RECORDER WORKSHOP
Point Bonita YMCA near San Francisco CA
May 15-17
With each coming tide of that mightymetronome the Pacific Ocean and withspring peeping soon our MarinHeadlands Recorder Workshop 2009perched at the edge of the ocean andembraced in greenery gets nearer Againthis workshop will swell with harmoniesof recorders viols and perhaps apsaltery or drum Intermediate andadvanced players are warmly invited tojoin members of the sponsoring EastBay Chapter of the ARS a SFEMSaffiliate at this annual musical event
Music-making begins on Friday andcontinues through Sunday afternoon
including also one- and two-day options
This yearrsquos faculty includes a wonderfulmix of familiar and new faces DavidBarnett Tom Bickley Louise CarslakeRobert Dawson Lisa DykemanFrances Feldon Judith LinsenbergPeter Maund Fred Palmer and Glen Shannon
Music offerings will range from easilyplayable to challenging from delightfulPurcell and Renaissance music to jazzto works by a (very) living composer(led by the chap himself) Check theEBRS web site for updates
The workshop is held at the PointBonita YMCA one of very few publicfacilities on this largely undevelopedarea of California coast Set in a meadowwith short walks to Pacific Ocean vistasthe historic Point Bonita Lighthouseand remnants of WWII fortifications
it is a place to get away recharge andmeet new friends or re-connect withold The accommodations includedormitory-style rooms a large diningarea and playing spaces all on one levelRooms are also available for impromptuplaying sessions
Contact Anna Lisa Kronman
37 Meadow View Rd Orinda CA
94563 925-258-9442
annalisakronmangmailcom
symbolicsolutionscomebrs
BLOOMINGTON EARLY
MUSIC FESTIVAL
Bloomington INMay 15-25
Performances of Medieval RenaissanceBaroque and Classical music as well aseducational programs for concertgoersamateur performers and childrenPlease see BLEMForg for details
Contact Carol Huffman
PO Box 734 Bloomington
IN 47402 812-824-2412
specsorffyahoocom blemforg
WHITEWATER EARLY
MUSIC FESTIVAL (ARS)
University of Wisconsin Whitewater WI
June 5-7Directors Nancy Chabala Carol Stanger Pam Wiese
Our workshop is held on campus at theUniversity of WisconsinndashWhitewaterabout 60 miles SW of MilwaukeeClasses include focus and specialty areainstruction for all levels of recorderplaying as well as beginningmdashconsortviola da gamba wind band voicerecorder orchestra and mixed consort A variety of special interest classes onFriday evening and Saturday eveningparticipant gathering led by LouiseAustin The various classes include
16 March 2009 American Recorder
Summer Workshop Summer-y
The Madison Early Music Festival presents
Telescopic Vistas MEMF X and Music of the SpheresCelebrating the International Year of Astronomy
July 11-18 2009
Guest Artists amp Ensembles Faculty Recorder Artists Quicksilver with Marion Verbruggen Joan Kimball Piffaro The Renaissance Band Priscilla Smith The Newberry Consort Marion Verbruggen Venere Lute Quartet Robert Wiemken
Explore music from the days of Galileo and Kepler Celebrate the influence of astronomy on society arts and culture
in the 15th through 17th centuries
Our tenth anniversary festival features a seven-concert series and a week-long workshop with classes and ensembles for participants of all levels
For more information please call (608) 263-6670 or visit wwwmemfdcswiscedu
music from Medieval to modern
Several musicinstrument vendors onsite Dale Taylor will be on site forrepairs All ages are welcome as well as non-participants
Faculty includes Dale ArmentroutLouise Austin David Echelard CharlesFischer Shelley Gruskin LisetteKielson Laura Kuhlman PatrickOrsquoMalley Tulio Rondon KarenSnowberg Mary Halverson Waldo andTodd Wetherwax Brochures available
Contact Nancy Chabala
8609 45th St Lyons IL 60534-
1616 708-442-6053 (day)
630-789-6402 (fax)
nchabalamymailstationcom
(housingregistration)
thewiesessbcglobalnet (mailing
scholarships) cvstangeraolcom
(facultyfacilities)
INTERLOCHEN EARLY MUSIC
WORKSHOP
Interlochen Center for the Arts Interlochen MI
June 7-12 Director Mark Cudek
Make and enjoy Medieval andRenaissance music while learning new skills and techniques
Topics will include articulationornamentation improvisation andensemble arrangement in Medieval and
Renaissance music The workshopculminates with a participantperformance on period instruments such as recorders and other early windsviols lutes harpsichord and percussionVocalists are also welcome Participantswill supply their own instruments
Early registration is recommendedas space is limited
Contact Matthew Wiliford
Director ICCA PO Box 199
Interlochen MI 49643 231-
276-7441 231-276-5237 (fax)
collegeinterlochenorg
interlochenorgcollege
RENAISSANCE CHAMBER
MUSIC INSTITUTE
New England Conservatory of Music Boston MA
June 11-21
A unique opportunity for professionalmusicians and advanced students todiscover and explore one of the greatestrepertoires of Western music which iseminently suitable for all instruments
Players of modern and early instrumentsare encouraged to attend
Led by John Tyson director of theRenaissance music and dance ensembleRENAISSONICS who has performedand lectured worldwide including forthe Boston Symphony OrchestrarsquosTanglewood Institute
Introductory lectures will be followed byintense chamber music coaching in largeand small ensembles Concentration willbe on personal expression rhetoric andphrasing performance practice andornamentation The institute willculminate in a public performance at theNew England Conservatory of Music
Faculty John Tyson recorder LauraGulley violin Daniel Rowe rsquocello and guest artists
Contact Director of Summer
School New England
Conservatory of Music
290 Huntington Avenue Boston
MA 02115 617-585-1126
617-585-1135 (fax) newengland
conservatoryedusummer
wwwAmericanRecorderorg March 2009 17
Workshops carrying
ARS designation have
joined the ARS as
workshop members
Other shorter workshops
may be sponsored
periodically through the
year by ARS chapters and
are listed in the calendar
portion of each ARS
Newsletter as well as on
the ARS web site when
information becomes
available from presenters
Canto AntiguoWest Coast EarlyMusic and Dance
Featured Faculty
Beautiful CampusFully air-conditioned
For Information Call
800-358-6567
Early Music
WorkshopJuly 5-12 2009
Chapman UniversityOrange CA
Classes in
Baroque Music
Recorder Ensemble(all levels)
Vocal Ensemble
Renaissance Brassand Reeds
Viols
Collegium
Folk Dance
Thomas Axworthy
Mark DavenportRonald Glass
Janet Beazley
Carol LisekJim MaynardAlice Renken
wwwcantoantiguonet
18 March 2009 American Recorder
SUMMER TEXAS TOOT (ARS)
Concordia University Austin TXJune 14-20 Director Daniel Johnson
The Summer Texas Toot is a one-weekprogram of classes in Renaissance and Baroque music at all levels forrecorders viols singers plucked stringsRenaissance reeds and brass andharpsichord Our classes include anarray of small one-on-a-partRenaissance and Baroque ensemblesand larger mixed vocal and instrumentalgroups The size of the workshopenables us to create classes for all levelsof students from those of modest skills to advanced players and singers
Same Texas Toot hospitality andtraditionsmdashback in Austin but atConcordia Universityrsquos beautiful newcampus Classrooms dining and dormaccommodations are air-conditioned and easily walkable
Currently our featured faculty are Tish
Berlin (recorders) Tom Zajac (reedsand ensembles) Mary Springfels(viols) Becky Baxter (harp)mdashbut watchfor more faculty to be added soon
Contact Daniel Johnson
PO Box 4328 Austin TX 78765
512-371-0099 infotootorg
tootorg
SAN FRANCISCO EARLY MUSIC
SOCIETY BAROQUE MUSIC amp
DANCE WORKSHOP (ARS)
Sonoma State University Rohnert Park CA
June 14-20Directors Phebe Craig Kathleen Kraft Frances Blaker
A music-packed week of master classesconcerto evening coached ensemblesBaroque orchestra vocal and windensembles continuo classes concertsand lectures
Featuring recorder faculty FrancesBlaker and Cleacutea Galhano Other facultyChristine Brandes voice Phebe Craig
harpsichord Sand Dalton oboeKathleen Kraft flute Michael Sandviolin and orchestra Mary Springfelsviola da gamba Peter Sykesharpsichord Tanya Tomkins rsquocello
Contact Kathleen Kraft SFEMS
PO Box 10151 Berkeley CA
94709 707-874-2014
kkraftsonicnet sfemsorg
SAN FRANCISCO EARLY MUSIC
SOCIETY CHILDRENrsquoS MUSIC
DISCOVERY WORKSHOP (ARS)
Crowden Center for Music Berkeley CA
June 21-26 (day camp)Director Letitia Berlin
Early music and Renaissance socialhistory for youth ages 7-15 beginners to advanced students welcome Dailyschedule includes chamber musicmusicianship crafts costume-makingand games Friday night concert andtheater project presentation followed by potluck supper
Rebecca Ahrendt violJanet Beazley recorder
Tish Berlin re cord er co-direct orFrances Blaker recorder co-direct or
Vicki Bœckman recorderLouise Carslake recorder fl ute
Charles Coldwell recorder Rotem Gilbert recorder
Julie Jeff rey violShira Kammen viell e
Peter Maund per cus sionKim Pineda recorder
Ellen Seibert violPe ter Seibert recorder choir
Margriet Tindemans viol viell eBrent Wissick viol
Play early music in the spectacular Pacifi c Northwest Choose from classes in recorder viol fl ute and percussion Polish your skills andor take up a new instrument Sing and dance
Enjoy the faculty concert Take part in the student recital Make the most of your stay with a hike at nearby Mt Rainier or a visit to the Museum of Glass
For informat ion or to request a brochure call (206) 932-4623write to Port Townsend Early Music Workshop
1108frac12 Alki Ave SW Seattle WA 98116or vis it wwwseattle-recorderorg
July 12ndash18 2009
Port TownsendEarly Music Workshop
At the beautiful University of Puget Sound Tacoma WA
Tish Berlin amp Frances Blaker Co-Direct orsPresented by the Seattle Recorder Society
Please note that this is a day camp Out-of-town students may contact thedirector regarding accommodations withhost families Some financial aidavailable
Featuring recorder faculty Vida Bateauand Letitia Berlin Other facultyKatherine Heater dance ShiraKammen musicianship and theaterband Ron McKean harpsichord Carla Moore violin Farley Pearcersquocello and viola da gamba Allison Rollstheater project director
Contact Letitia Berlin SFEMS
PO Box 10151 Berkeley CA
94709 510-559-4670
tishberlinsbcglobalnet
sfemsorg
OBERLIN BAROQUE
PERFORMANCE INSTITUTE
Oberlin College Oberlin OHJune 21-July 5Directors Oberlin Baroque Ensemble (Cathy Meints Marilyn McDonald Michael Lynn Webb Wiggins) and artistic director Kenneth Slowik
Celebrating its 38th anniversary withMusic in London 1659ndash1759 thisinstitute offers instruction in Baroqueinstruments and voice Students of alllevelsmdashfrom beginning to Baroqueperformance to the professional levelmdashparticipate in master classes and coachedensembles with an international facultyof Baroque specialists Scholarships are available for qualified high schoolstudents
Contact Anna Hoffman
Conservatory of Music
77 West College St
Oberlin OH 44074
440-775-8044
440-775-8942 (fax)
ocbpioberlinedu
oberlineduconsummerbpi
WORLD FELLOWSHIP
EARLY MUSIC WEEK
Chocorua NHJune 25-July 2Directors Jane Hershey Larry Wallach
Faculty of eightmdashincluding JaneHershey Roy Sansom Pamela DellalJay Rosenberg Julian Cole AnneLegecircne Larry Wallach and JoshSholem-Schreibermdashin a beautifulWhite Mountain camp setting conducta week-long workshop in French earlymusic (late Medieval through Baroque)
Faculty and student concerts Englishcountry dancing special lecturesmorning and afternoon workshops inviols recorders voice mixed ensemblesSephardic music and Baroque chambermusic and classes in Feldenkrais bodywork
Camp facilities include hikingswimming boating camp gardenssupply kitchen with vegetables Very affordable rates
Contact Larry Wallach
69 Welcome St Great Barrington
MA 01230 413-528-7212 (day)
413-528-9065 (evening)
413-528-7365 (fax)
larrysimons-rockedu
worldfellowshiporg
INDIANAPOLIS EARLY
MUSIC FESTIVAL
Indianapolis INJune 26-July 19July 8-9 Mini Boxwood Workshop
The Indianapolis Early Music Festivalis the oldest continually running earlymusic concert series in the USPresented since 1967 our mission is toenrich educate and entertain audienceswith the music of Medieval Renais-sance Baroque and early Classical erasand feature exciting performers ofnational and international stature usinginstruments of the period and histori-cally informed styles and techniques
For 2009 we will present Reconstruction(June 26 ) Ex Umbris (June 27) ChrisNorman amp David Greenberg withRonn McFarlane amp Mark Cudek (July10) I Furiosi (July 12) HarmoniousBlacksmith (July 17) and the PeabodyConsort with Indiana Repertory Theatre(July 19) We also offer our secondannual Family Concert featuring thePeabody Consort on July 18mdash a freeconcert geared to young audiencemembers Several groups also offeroutreach events for younger (generallyhigh-school-aged) musicians and actors
In 2009 we also present a two-dayldquoMini Boxwoodrdquo workshop with Chris
wwwAmericanRecorderorg March 2009 19
Marin
Headlands
Recorder
Workshop
Norman (earlytraditional flutes andpipes) David Greenberg (Baroqueviolin and fiddle) and Ronn McFarlane(lute) on July 8-9
Contact emindyorg
SAN FRANCISCO EARLY MUSIC
SOCIETY MEDIEVAL amp
RENAISSANCE WORKSHOP (ARS)
Sonoma State University Rohnert Park CAJune 28-July 4Director Tom Zajac
Workshop theme Stories and LegendsOpen to singers and players of earlyinstruments (recorders violas da gambalutes shawms etc) Coaching by world-class specialists in Medieval and Renaissance music Classes forvoices recorders viols and alta capellavoice master class ensemble coachingstorytelling for musicians andstorytelling accompanimentRenaissance choir Medieval bandtheater project faculty and studentconcerts lectures and more
Scholarships as well as academic creditor continuing education credit areoffered Featuring recorder facultyFrances Blaker Annette Bauer DanStillman and Tom Zajac Other facultyPatrick Ball storytelling Celtic harpKaren Clark voice movement formusicians Julie Jeffrey gamba ShiraKammen Medieval strings music forstorytelling Drew Minter voice theaterproject Tim Rayborn Medieval stringspercussion music for storytelling Larry Rosenwald theater projectrhetorician in residence MarySpringfels gamba theater projectAnnette Bauer early notation DanStillman reeds alta capella ensembleTom Zajac sackbut Renaissance choir
Contact Tom Zajac SFEMS
PO Box 10151 Berkeley CA
94709 617-323-0617
medrenmailgmailcom
sfemsorg
MOUNTAIN COLLEGIUM (ARS)
Cullowhee NC June 28-July 4Director Patricia Petersen
Nestled in the Smoky MountainsWestern Carolina University provides alovely location for Mountain Collegiumwith comfortable accommodations in anew dorm and catered evening mealsThe workshopmdash at once informal andintensivemdash combines study of Renais-sance Baroque and contemporary musicand improvisation on recorder viol andother early instruments with opportu-nities to explore Celtic and othertraditional music on hurdy gurdymountain dulcimer and pennywhistle
Friendly participants of all levels andages welcome newcomers into theMountain Collegium family Varied classofferings time for informal music-making and evening English countrydancing bring students back year afteryear Faculty Valerie Austin AtossaKramer Jody Miller Patricia PetersenJohn Tyson (recorders other winds)Martha Bishop Lisle Kulbach HollyMaurer Gail Ann Schroeder Ann Stierli(strings) Lorraine Hammond JohnTrexler (traditional music)
Contact Patricia Petersen
1702 Vista St Durham NC
27701 919-683-9672
patpetersenearthlinknet
mountaincollegiummusicorg
GREAT LAKES SUZUKI FLUTE amp
RECORDER INSTITUTE
McMaster University Hamilton ON CanadaJuly 4-11 Teacher training Book 1July 7-11 Teacher training Book 2July 7-11 Student InstituteDirector David Gerry
Master classes group instructionrecitals plus enrichment classes forstudents Teacher training with MaryHalverson Waldo
Contact David Gerry 129 Locke
Street South Hamilton ON L8P
4A7 CANADA 905-525-9549
dgerrynasnet davidgerryca
CANTO ANTIGUO EARLY MUSIC
AND RECORDER WORKSHOP
Chapman University Orange CAJuly 5-12Directors Thomas Axworthy Ronald Glass
This one-week workshop is designed to broaden the performance skills ofexperienced students and introduceRenaissance and Baroque instrumentsand musical experiences to beginningand intermediate players Students at alllevels participate in instrumental vocaland dance instruction performance
The workshop takes place at ChapmanUniversity Studios dining hall andresidences are all air-conditioned Thisinvitingly landscaped peaceful campuswith garden paths is a mixture of historic and modern architecture
The theme of this yearrsquos workshop isMusic of the Italian Renaissance Dancesmasses motets and ceremonial musicwill resonate as we explore the music ofMonteverdi Palestrina Gesualdo et al
Faculty includes Thomas AxworthyJanet Beazley Mark Davenport RonGlass Carol Lisek Jim Maynard and Alice Renken
Contact Ronald Glass
129 Altadena Dr Pittsburgh
PA 15228-1003 800-358-6567
(day) 310-213-0237 (evening)
562-946-4081 (fax)
evanesa2aolcom
cantoantiguonet
CAMMAC EARLY MUSIC WEEK
Lake MacDonald Music Center Harrington QC Canada
July 5-12Directors Francis ColpronMarie-Nathalie Lacoursiegravere
CAMMAC provides a unique oppor-tunity to make music with family and
20 March 2009 American Recorder
friends in a beautiful setting north ofMontreacuteal QC under the guidance ofinternationally acclaimed professionalmusicians
In four daily 75-minute classes pluslectures early music lovers will have the opportunity to play to their heartrsquoscontent
Small ensembles and voice classes are setup ahead of time registration for otherclasses occurs on site the first eveningCourses include choir large instrumentalensemble many recorder and violclasses Medieval and Renaissanceensembles Orff method and Baroquedancing There are courses foradolescents and a program for children 4-11 years old
Special project in 2009 The Fairy Queenby Purcell with choir instrumentalensemble soloists and staging Keyfaculty Matthias Maute ChristopherJackson Laura Pudwell MargaretLittle Marie-Nathalie Lacoursiegravere
Contact Johanne Audet
85 Chemin CAMMAC Harrington
QC J8G 2T2 CANADA
888-622-8755 1
819-687-3323 (fax)
nationalcammacca
cammaccaenglishTabLM
Summershtml
MADISON EARLY
MUSIC FESTIVAL
University of WisconsinndashMadison July 11-18Directors Cheryl Bensman Rowe and Paul Rowe artistic Chelcy Bowles program
MEMF joins the 2009 InternationalYear of Astronomy in a global celebrationof astronomy and its contributions tosociety and culture including the 400thanniversary of the first astronomicalobservation made through a telescope byGalileo Galilei Galileorsquos fatherVincenzo was a musician and musictheorist who combined the practice andtheory of music with mathematicaldiscussion of harmonymdashand influenced
Galileorsquos experiments MEMFcelebrates its tenth season exploringworks of music and the arts inspired by ascientific discovery that had tremendousimpact on culture and civilization
MEMF was created to provide anopportunity for musicians scholarsteachers and early music enthusiasts togather and exchange information andideas about Medieval Renaissance andBaroque music and to bring acclaimedearly music artists to the Midwest toperform in beautiful Madison
Featured MEMF 2009 guest artists-in-residence include Marion VerbruggenThe Newberry Consort QuicksilverPiffaro and Venere Lute QuartetRecorder faculty members includeMarion Verbruggen Joan KimballPriscilla Smith and Robert Wiemken
Contact Chelcy Bowles University
of WisconsinndashMadison 720 Lowell
Center 610 Langdon St Madison
WI 53703 608-265-5629
608-262-1694 (fax)
musicdcswiscedu
memfdcswiscedu
PORT TOWNSEND
EARLY MUSIC WORKSHOP (ARS)
University of Puget Sound Tacoma WA
July 12-18Directors Letitia Berlin Frances Blaker
Join us this summer at our new locationwith a star-studded faculty a beautifultree-lined and easy-to-navigate campuswith accessible facilities and acurriculum that will leave you wishingthere were 48 hours in a day
Consort and technique classes forrecorder and viol consort and mixedrepertoire recorder master classpercussion for all levels Hildegard forsingers Baroque flute beginning violtheory workshop orchestra and moreMake an all-Medieval schedule or mix it up with a class from almostevery period of music
Work hard and play hard with friends
new and old Intense music-making thatwill inspire you during the workshop andthroughout the year
Directors Tish Berlin and FrancesBlaker eagerly await your arrival andanticipate a splendid workshopRecorder faculty Janet Beazley TishBerlin Frances Blaker Vicki BoeckmanLouise Carslake Charles ColdwellRotem Gilbert Kim Pineda
Contact Jo Baim Workshop
Administrator 1108 frac12 Alki
Ave SW Seattle WA 98116
206-932-4623
workshopseattle-recorderorg
seattle-recorderorg
wwwAmericanRecorderorg March 2009 21
Amherst Early Music FestivalJuly 12-19 and 19-26 2009
Connecticut College New London CT
Renaissance consortsBaroque ensemblesMaster classesRenaissance AcademyEarly notation and moreNo audition required
July 12-19Baroque Academy
July 19-26 Virtuoso Recorder Recorder Seminar
Audition deadline May 15
wwwamherstearlymusicorginfoamherstearlymusicorg(617) 744-1324
AMHERST EARLY MUSIC FESTIVAL
(ARS)
Connecticut College New London CT July 12-19 Baroque Academy July 19-26 Virtuoso Recorder Recorder SeminarRenaissance Academy
Director Marilyn Boenau
Music of England and Spain Two weeksof classes in most early instrumentsvoice dance and notation
Week 1 includes classes for recorderviol other early instruments voicedance and notation Special programsBaroque Academy Baroque AcademyOpera Project (Purcellrsquos Dioclesian)
July 18-19 Music amp InstrumentExhibition
Week 2 comprises classes for recorderviol other early instruments voice andnotation Special programs VirtuosoRecorder Recorder SeminarRenaissance Academy
Evening activities include Englishcountry dance madrigals and informalplaying sessions Connecticut College ineastern CT offers comfortable air-conditioned accommodations naturalareas for walking and a view of LongIsland Sound Scholarships and work-study aid available
Contact Marilyn Boenau
Director or Cathy Stein
Administrator 47 Prentiss St
Watertown MA 02472
617-744-1324 (day)
617-744-1327 (fax)
infoamherstearlymusicorg
amherstearlymusicorg
MIDEAST WORKSHOP (ARS)
LaRoche College Pittsburgh PAJuly 19-25Director Marilyn Carlson
Music of Spain 55-60 students of allability levels adults only Instruction forrecorder (all levels except novice) violharp flute You may enroll for recorder
viol flute as primary instrument harpvoice recorder viol as secondary instru-ment Large and small ensembles all-workshop ensemble (instruments andvoices) Renaissance band (recordersviols capped reeds voice) Medievalcollegium (puzzles amp canons) consorts(by level) vocal ensemble Also Englishcountry dance penny whistle We alsooffer viol-for-novice and harp-for-novice each providing the opportunityfor hands-on experience without owningan instrument Other classes on specialearly music topics and literature
Faculty Marilyn Carlson directorMartha Bixler Stewart Carter JudithDavidoff Eric Haas Mary JohnsonPeter Ramsey Kenneth Wollitz otherfaculty to be announced All facilities areair-conditioned
Contact Marilyn Carlson
1008 Afton Road Columbus OH
43221-1680 614-754-7233
mcarlsoncolumbusrrcom
mideastearlymusicaddrcom
22 March 2009 American Recorder
San Francisco Early Music SocietySummer Workshops 2009Recorder middot July 19ndash25 2009La Dolce Vita di Flauto middot Explore the full range of recorder music from the Middle Ages to the 21st century through ensemble work technique sessions and recorder orchestra For the devoted amateur all ages intermediate to advanced Friendly atmosphere small classes Quiet campus near all amenities Special offerings Recorder orchestra recorder master class coached informal playing Faculty Louise Carslake Frances Feldon Rotem Gilbert Katherine Heater Norbert Kunst Patrick OrsquoMalley and Hanneke van ProosdijInfo Frances Feldon 510-527-9840 franfelaolcom
Baroque Music amp Dance middot June 14ndash20 2009Music in Italian Cities middot Master classes recorder ensemble concerto evening coached ensembles classes concerts and lectures Featuring recorder faculty Frances Blaker and Clea GalhanoInfo Kathleen Kraft 707-874-2014 kkraftsonicnet
Medieval amp Renaissance Music middot June 28ndashJuly 4 2009Stories amp Legends middot Classes for voices recorders viols and alta capella voice master class ensemble coaching storytelling for musicians and storytelling accompaniment Renaissance choir medieval band theater project faculty and student concerts lectures and more Featuring recorder faculty Frances Blaker Annette Bauer Dan Stillman and Tom ZajacInfo Tom Zajac 617-323-0617 medrenmailgmailcom
Music Discovery middot June 21ndash26 2009Day camp for youth ages 7 to 15 Early music and Renaissance social history Instruction in recorder harpsichord strings chamber music musicianship crafts costume-making games and more Beginners to advanced students welcome Featuring recorder faculty Vida Bateau and Letitia BerlinInfo Letitia Berlin 510-559-4670 tishberlinsbcglobalnet For more information visit our web site wwwsfemsorg
SAN FRANCISCO EARLY MUSIC
SOCIETY RECORDER WORKSHOP
(ARS)
St Albertrsquos Priory Oakland CA July 19-25Directors Frances Feldon Katherine Heater
Jam-packed week of recorder ensembleplaying concerts and the opportunity toimprove your skills working with highlyrespected recorder specialists in afriendly yet serious atmosphere Explorethe full range of recorder music from theMiddle Ages Renaissance and Baroqueto the 21st century through ensemblework technique sessions and recorderorchestra For the devoted amateur of allages from intermediate to advanced
Small classes Quiet campus Specialofferings recorder orchestra recordermaster class coached informal playing
Featuring recorder faculty LouiseCarslake Frances Feldon RotemGilbert Norbert Kunst PatrickOrsquoMalley and Hanneke van ProosdijOther faculty Katherine Heaterharpsichord
Contact Frances Feldon SFEMS
PO Box 10151 Berkeley CA
94709 510-527-9840
franfelaolcom sfemsorg
WINDSWEPT MUSIC WORKSHOP
William Jewell College Liberty MOJuly 19-25Director Phyllis Pasley
Bring your artistry to life Strengthen the mindbody connection and exploreenergy and music at Creative MotionAlliancersquos 59th annual summerconference Windswept Professionalmusicians conductors teachers studentsand amateur music enthusiasts willdiscover barriers that inhibit the free flowof energy and learn the secrets of inner-directed artistic music-making Classesin piano voice instrumental musicexpressive arts and independent studyMaster class coaching and conductingopportunities available Using move-
ment exercises analysis and bodyresponses explore music and energy in a unique inter-generational workshopformat Opportunities for independentrecorder study and private lessons enrichthe music-making experience
Registration fee $50 prior to 51509Tuition room meals $535 adults $400students 12-18 (must attend with parentteacher or sponsor) special half-weekrate $275 (Sunday-Wednesday noon)Memberfamily discounts Three hoursgraduate credit ($225) 3 CEUs ($50)and private lessons ($25 each)
Contact Phyllis Pasley 2208
Clouds Peak Maryland Heights
MO 63043 314-628-9862
directorcreativemotionorg
creativemotionorg
BOXWOOD FESTIVAL CANADA
Lunenburg Nova Scotia CanadaJuly 19-26Director Chris Norman
Discover musical and dance traditionswhile visiting one of North Americarsquosmost exquisite 18th-century seasidetowns Concerts dances sessionsclasses lectures with leading artists in therealms of traditional folk early musicdance and improvisation Work study ampscholarships available Gourmet cuisine
Faculty Chris Norman directortraditional amp early flutes FrancisColpron recorder ensembles LisaBesnoziuk Baroque flute DavidGreenberg Cape Breton amp Baroqueviolin Edmund Brownless voice shape note singing Marie Bouchardharpsichord Robert Dick contemporarytechniques amp composition Conal O Grada Irish flute Jerry OrsquoSullivanpipes whistle Rod Garnett flutefundamentals ethnic flutes PierreChartrand social dance MarlysNorman ballet classical dance Rod Cameron flute maker Tempest Baroque
Contact 902-634-9994
boxwoodorg
musiqueroyalecom
MACPHAIL SUZUKI INSTITUTE
FOR PIANO GUITAR FLUTE
AND RECORDER
MacPhail Center for the Arts Minneapolis MNJuly 19 Every Child Canreg July 19-26 Recorder Book 1July 20-24 Student InstituteDirectors Cindy Malmin Mary Halverson Waldo (auditions)
Suzuki Clinicians Marilyn Taggartpiano Tadeusz Majewski piano DavidMadsen guitar Kathleen Schoenfluterecorder MacPhail Suzuki faculty
Sanctioned by the Suzuki Association ofthe Americas MacPhailrsquos SuzukiInstitute allows Suzuki students of allages to share in motivating enrichingand wide-ranging musical experiencesStudents work with master teachers andimprove skills technically and musicallyDaily classes and observation includeapplied study theoryreading skillsensemble skills chamber music perfor-mance practices composition improv-isation master classes recitals art andmusic world musicdrumming musichistory recitals and presentations TeenMusical Revue (ages 13-18) fashioncharacter sketches develop a frameworkor theme and present to an audience
Who may attend Suzuki students whohave completed the Twinkle Variations(preschoolndashgrade 12 parents or another
wwwAmericanRecorderorg March 2009 23
Amherst Early Music Festival
(photo by Marc Weinberg)
responsible interested adult must attendwith students under high school age)teacher traineesobservers Participantsmust arrange meals housing and trans-portation Teacher Training prerequi-sites Every Child Canreg before Book 1courses must be taken in order throughBook 2 Contact workshop regardingrequired audition and preparation
Contact Cindy Malmin
612-767-5461
malmincindymacphailorg
Mary Halverson Waldo
5679 Harding Lane Shorewood
MN 55331 952-470-5853
mhalvwaldogmailcom
INTERNATIONAL BAROQUE
INSTITUTE AT LONGY
Longy School of Music Cambridge MA
July 24-August 2Directors Paul Leenhouts co-director Phoebe Carrai
VenicendashDresden Connection InternationalMeeting Grounds Music of MonteverdiVeracini Hasse Heinichen MarcelloVivaldi Pisendel Albinoni ZelenkaLotti Schein Schutz Quantz Gabrieli
2009 faculty Paul Leenhouts recorderPhoebe Carrai rsquocello ElizabethBlumenstock violin Ricard Bordasvoice Arthur Haas harpsichord LucasHarris lute Ken Pierce early danceGonzalo Ruiz oboe Mary Springfels
viola da gamba Jed Wentz traverso
Contact Karen Burciaga Com-
munity Programs Registrar One
Follen St Cambridge MA 02138
617-876-0956 X1532 (day)
617-354-8841 (fax) karenbur
ciagalongyedu longyedu
RECORDER AT THE CLEARING
The Clearing Ellison Bay WIJuly 26-August 1Directors Pat Badger Adrianne Paffrath
Recorder ensemble has been a traditionat The Clearing for over 25 yearsEnsemble playing is the weekrsquos focusEach day begins with a warm-up ofvoices and bodies as we sing rounds andready our muscles for performanceDaytime sessions focus on rhythmicchallenges recorder technique andensemble blend emphasis is on growthprocess and most of all enjoyment To participate fully you need at leastintermediate skills on a C or F recorder
Adrianne Paffrath coached on recorder with ARS teachers She is music directorat Racinersquos First Presbyterian ChurchPatricia Badger has studied early musicinstruments natural and classicaltrumpet She is performing arts head ofThe Prairie School Jointly they haveperformed for Medieval festivals grapestompings Shakespeare celebrations anda circus parade
Contact The Clearing PO Box 65
Ellison Bay WI 54210-0065
877-854-3225 920-854-9751
(fax) clearingtheclearingorg
theclearingorg
AMERICAN RECORDER SOCIETY
FESTIVAL AND CONFERENCE
University of Missouri at St Louis St Louis MO
July 30-August 2
Attend the second ARS Festival andConference for one day ($150) or allweekend ($350)
Sessions include recorder techniquepedagogy introductions to Orff Suzukiand Flutes and Drums Around the Worldmethods improvisation roundtablediscussions how to conduct yourconsort coached playing sessions forMedieval Renaissance Baroque worldand contemporary repertoire recorderorchestra incorporating percussion intoyour ensemble Also recorder mainte-nance choosing a recorder building aweb site using Sibelius music softwareMini-concerts by the next generation ofprofessionals master classes concerts byMarion Verbruggen and the FarallonRecorder Quartet Exhibition ofrecorder builders music sellers andmore CEUs available
Presenters Louise Austin AnnetteBauer Tish Berlin Frances Blaker Joyce Callanan Louise Carslake
24 March 2009 American Recorder
The Summer Toot is once again in Austin at the beautiful new facility of Concordia University The lushly wooded campus offers air-conditioned classrooms dining and dorm accommodations and is backed by a nature preserve Please join us
Our featured faculty includes Tish Berlin Tom Zajac Mary Springfels The Texas Toot offers a one-week program of classes in Renaissance and Baroque music at all levels featuring expert instructors in re-corder viol early reeds lute harp and voice
Danny Johnson workshop director Susan Richter administrator For more info
httpwwwtootorg or email infotootorg
11th Annual Summer Texas Toot June 14-20 2009 mdash Austin Texas
Mark Davenport Cleacutea Galhano LisetteKielson Lorraine Krige JudithLinsenberg Peter Maund Nina SternMarion Verbruggen Leslie TimmonsJim Tinter Mary Halverson Waldo
Contact Yvonne Miller-Nixon
Conference Administrator
1129 Ruth Dr St Louis MO
63122 800-491-9588 (day)
arsconfplannercharternet
americanrecorderorg
EARLY MUSIC WEEK AT
PINEWOODS CAMP (ARS)
Pinewoods Camp Plymouth MA August 15-22 Director Sheila Beardslee
The Myth amp Magick Creativity andInspiration in Early Music Surely thedeities of Olympus will surround us atPinewoodsndashwhere the myths of earlymusic will be made clear and our staff rsquosldquomagickalrdquo skills will hone and perfectour knowledge and performance of early music and dance
If yoursquove never played a musical instru-ment (but wish you could) or if youstudied music years ago (and fear yoursquoveforgotten) classes in recorder and violwill get you started or help brush off therust Advanced and intermediate playersand singers choose from a wide array ofclasses led by an outstanding faculty of professionals and teachers of earlywinds (recorders reeds brass) strings(viols violin) harpsichord and voice
New staff faces this summer areAnonymous 4rsquos Susan Hellauer voiceand Lisa Terry viol We welcome backDorrie Olsson historical dance andScott Higgs English country dance
We relax with two ponds for swimmingcanoeing a camphouse deck for readingafternoon tea and lots of dancing EarlyMusic Week continues its long traditionof superb teaching in a welcoming com-munity enhanced by special eventspresentations concertsmdashand dancing
Advanced musicians work intensivelyamateurs are engaged and challengedand beginners are always made welcome
Contact Steve Howe Country
Dance and Song Society
PO Box 338 Haydenville MA
01039-0338 413-268-7426 X3
(day) 413-268-7471 (fax)
campcdssorg cdssorgem
MONTREacuteAL RECORDER FESTIVAL
McGill University Montreacuteal QC Canada
September 17-20Directors Matthias Maute Sophie Lariviegravere
Conference consort music recorderorchestra concertsmdashEnsemble Capriceand Quynade (Israel) solo recital byMaurice Steger (Switzerland)
Contact Ensemble Caprice 4841
Garnier Montreacuteal QC H2J 3S8
CANADA 514-523-3611
514-523-1322 (fax)
infoensemblecapricecom
ensemblecapricecom
HIDDEN VALLEY INSTITUTE
FOR THE ARTS
EARLY MUSIC ELDERHOSTEL
Carmel Valley CANovember 1-7 November 8-14Directors Letitia Berlin workshopPeter Meckel HVIA
Enroll for one or both weeks Adults ofall ages welcome
Week I intense classes for upper inter-
mediate to advanced levels Week Ifaculty Letitia Berlin Frances BlakerLouise Carslake Annette Bauer(recorder) David Morris (gamba)
Week II all levels except beginnerClasses include recorder technique viol consort Baroque chamber musicconsort classes for Medieval Renais-sance Baroque and contemporary reper-toire workshop orchestra Week IIfaculty Letitia Berlin Frances BlakerTBA (recorder) Shira Kammen (earlystrings singing Medieval topics) MarySpringfels (viola da gamba)
Evening events include faculty concertstudent concert free-lance playing FreeWednesday afternoon for more playingor sightseeing Improve your playing in asupportive friendly atmosphere withworld-class teachers
Contact Peter Meckel
PO Box 116 Carmel Valley CA
93924 831-659-3115
831-659-7442 (fax)
hvmsaolcom
hiddenvalleymusicorg
wwwAmericanRecorderorg March 2009 25
26 March 2009 American Recorder
Am
herst
AR
S
Festival and
Co
nference
CA
MM
AC
Early M
usic
Week
Canto
Antiguo
Reco
rd
er
at th
e
Clearing
Great L
akes
Suzuki
FluteR
ec
Hid
den
Valley
Eld
erh
ostel
Interlo
ch
en
Early M
usic
Inst
Lo
ngy Intl
Baro
que
Inst
Marin
Head
land
s
Mid
east
Mo
ntreacuteal
Reco
rd
er
Festival
COST $520TW $350T C$1014ED $860 $1035E TBA $799D $389T $675T $210ED $735D $130TNO OF DAYS 814 1-4 7 7 7 5-8 714 6 10 3 6 4ARS DISCOUNT NO YES NO YES NO NO NO NO NO NO NO NONO OF FAC RECORDER FAC 4315 1716 165 85 22 82 543 11 101 1010 96 66NO OF STUDENTS 150wk 60 110 35 19 45 35 20 50 75 60 50RECORDER CLASSLEVELS
LIHIAV
BLIHIAV
BLIHIAV
BLIHIAV LIHIA BLI
LIHIAV LIHIA AV
LIHIAV
BLIHIAV
BLIHIAV
SPECIAL CLASSES USING RECORDERS
CMRMB20ENMROT
RPMRMB20MROPTO
CMRMBRO
MRMBENROPT CRO
RPMPT
CMRMB20MROPT
RPCMRMBENMROPT MBMP RP20
RPCMRMB20ENMTO
CMRMBMRO
NON-RECORDERCLASSES
CWKVPSDO PO
CWKVDT CWVD C O KVPS
CWPKVPST WK VD
CWVPSDO
MUSICALACTIVITIES
FSLSPP FLO FSLSP FS SP FSLP FSP
SLSPPO FSLP P FSLP FS
RECREATION D GS BSTW D FBSW FSO OBSTWO S O G
OTHERS WELCOME SC S SC S S S S SDIRECTTRANSPORTATION SC SBCP SP BCLP BP SB CPUP CL PUP
SBCPUP
TRANSPORTATIONTERMINALS
A50B2 T2 A B T
A10B3 T5
A80B80
A50B10 T10
A20B20 T20
A16B16
A4B3 T3 A20
A15B10 T10
A4B3 T3
ROOMS SD SD SD SD SDC SD SD SDC DBATHS SSP SSPP SP P SSPP SSPP SP P S PFOOD CV C GV CV FV C F CV CV CHANDICAP ACCESS HCD HCD HCD HCD HC HCD HD HCD C HCD HCD C
KEYCOST Includes tuition room (single occupancy unless otherwise noted) meals plus other fees E=estimated T=tuition only D=double occupancy W=one week
NO of DAYS Includes arrival and departure daysARS DISCOUNT Discount offered for ARS members FACULTYRECORDER FACULTY Number of facultyrecorder faculty within that number STUDENTS Average over last two yearsRECORDER CLASS LEVELS B=beginners LI=low intermediate HI=high intermediate A=advanced V=very advanced
SPECIAL CLASSES USING RECORDERS RP=recorder pedagogy C=one-on-a-part consorts MR=mixed Renaissance ensembles MB=mixed Baroque ensembles 20=contemporary music EN=early notation M=master class RO=recorder orchestra P=private lessons available T=technique O=other
NON-RECORDER CLASSES C=choral W=other winds P=percussion K=keyboard V=viols PS=plucked stringsD=danceT=theory I=instrument building O=other
MUSICAL ACTIVITIES F=faculty concert S=student concert L=lecture SP=special production P=organized informal playing O=other
RECREATION D=dancing F=field trip G=gym B=biking S=swimming T=tennis W=waterfrontbeach O=otherOTHERS WELCOME S=non-playing spousesfriends C=children (day care not generally available)DIRECT TRANSPORTATION TO WORKSHOP S=shuttle from airport B=bus C=cab L=limo PU=will pick up P=free parking O=other
TRANSPORTATION TERMINALS A=air B=bus T=train (number indicates miles from workshop to nearest terminal)
ROOMS S=singles D=doubles (with ldquo+rdquo can accommodate up to triples) C=cabins O=other =Graduate dormsBATH FACILITIES S=shared SP=semi-private P=privateFOOD C=college style F=family style G=gourmet V=vegetarianHANDICAP ACCESS H=housing C=classrooms D=dining
INFORMATION SUPPLIED BY WORKSHOP DIRECTORS
2009 SUMMER RECORDER WORKSHOPS
Here are some suggestions foravoiding overuse syndromes Most obvious warm up This meansincreasing your practice time graduallybefore the workshop begins andwarming up yourself and yourinstrument before each rehearsal
Make your playing situation ascomfortable as possible Take along acushion back rest footstool whateverit takes the ear and hand cannot ab-sorb what the bottom cannot tolerate
Be sure your glasses are ideal for the distance from your eyes to themusic desk that usually amounts to anarmrsquos length away (You can select apair at your local drug or departmentstore if you have no serious astigma-
tism) If glare from bright light (thosemarvelous outdoor rehearsals) is aproblem for you you may find that ayellow tint for your glasses is a help
Get your bodily playing equip-ment in the best possible shape beforethe workshop a visit to the dentist tosmooth off a front tooth for a windplayer can make an enormous differ-ence in endurance A layer of plasticwrap over the teeth (before yoursquoveworn a hole in your lip) may also help
Once yoursquove arrived at the work-shop there are ways to ensure thatstress (inevitable) doesnrsquot becomedistress (mostly preventable)
Take reasonable breaks duringrehearsal time and use them to stretchA little aerobics like running in placetakes very little time and gets rid ofthat stiff-from-sitting feeling Get yourfellow ensemble players to massageeach othersrsquo shoulders Other fre-
Do you have a favorite article from years past in AR E-mail that information to Gail Nickless
editoramericanrecorderorg
wwwAmericanRecorderorg March 2009 27
Mo
untain
Co
llegium
Pinew
oo
ds
Early M
usic
Week
Po
rt
To
wnsend
SF
EM
S
Baro
que
SF
EM
S
Ch
ild
rens
SF
EM
S
Med
ieval amp
Renaissance
SF
EM
S
Reco
rd
er
Texas T
oo
t
Wh
itew
ater
Wind
sw
ept
Music
Wo
rksh
op
Wo
rld
Fello
wsh
ip
$800ED $890ED $975 $950 $370T $950 $950 $740E $245 $535D $850E COST7 8 7 7 5 7 7 7 3 6 7 NO OF DAYSNO NO NO YES YES YES YES YES NO NO NO ARS DISCOUNT
125 189 169 102 82 124 76 136 1110 131 83NO OF FAC RECORDER FAC
50 100 100 55 30 70 40 50 110 45 30 NO OF STUDENTSLIHIAV
BLIHIAV LIHI AV
LIHIAV
BLIHIAV LIHI AV LIHIA LIHIA
BLIHIAV
BLIHIAV
RECORDER CLASSLEVELS
CMRMB20TO
CMRMBENROT
MRMB20MROPT
MBMPTO
CMRMBPTO
CMRENMPTO
C20MROPTO
CMR20MPT
CMRMB20ROTO MP
CMRMBMRO
SPECIAL CLASSES USING RECORDERS
WVDTO
CWKVPSDT CPVT
CWKVPSTO
KVDTO
CWPVPSTO O
WKVPSTO
CWVTO
CWPKVD
CKVDT
NON-RECORDERCLASSES
FSLSPP FSP
FSLSPPO FSSP
FSLSPPO
FSLPO
FSLPO SPO FSL PO FSLP
MUSICALACTIVITIES
DGBS DSWFGBSTW
DGBST D
DGBST DO SO
DFSWO RECREATION
S S SC SC S S SC SC OTHERS WELCOME
P SC CPUP SCP SCP SBC LP SPUP P BPUDIRECTTRANSPORTATION
A50B15 T15
A15B7 T6 A59
A20B2 T5 A59
A12B4 T1 A40 A
A20B15 T28 B10
TRANSPORTATIONTERMINALS
SD SD S S CALL S S SD SD SD SD ROOMSSP S SP P P SP P S S S BATHSCGV FV CV CV CV CV CV CV CV FV FOODHCD CALL HCD HCD C HCD HCD HCD HCD HD HANDICAP ACCESS
AR50 AVOIDING ACHES amp PAINSBy Leacuteonie Jenkins MD (c1925- 2000) from the March 1993 AR Vol XXXIV1
quently overused parts such asforearms and hands also respond to massage Quick tutorial on massagestart stroking toward the body and inthe direction of the flow of the veinsmdashupstream from the sorest partgradually work down to include thesore spot Yoursquore trying to move overthe underlying muscle not to rub theskin Thatrsquos why a little oil helps
Your psyche may need some relieffrom overload too Most workshopsare in surroundings that lend them-selves to taking a walk finding a placeto meditate taking in some beauty In creating anything a musical per-formance no less than more static artforms breathing in is as necessary asbreathing out be sure you take time to do it
Not to be forgotten those partiesLate hours and alcohol are stressfultry to balance off the fun yoursquore havingwith your capacity for both Above allenjoy Thatrsquos why yoursquore going
2009 SUMMER RECORDER WORKSHOPS
By Bart Spanhove
The author has been principalprofessor of recorder at the Lemmens-
instituut Leuven (Belgium) since 1984He is also artistic director of the world
famous recorder ensemble the FlandersRecorder Quartet which is set to perform
in concert at the 2009 Boston EarlyMusic Festival He is often asked to serve
as a jury member for internationalrecorder competitions in Canada US
Germany The Netherlands and BelgiumHe has given numerous master classes andlecture demonstrations all over the world
Spanhove is co-author of thesuccessful recorder method Easy Going(Heinrichshofen) and wrote the much-
used book The Finishing Touch ofEnsemble Playing (Alamire 2000
and Moeck 2002 with translations inChinese and German) In 2009
The Recorder Music of Frans Geysenwill come out (Mieroprint)
Currently he is researching practicetechnique for the recorder Daily
Spanhove thinks about how to makepeople happier by making music and
playing the recorder
As a conclusion for the VirtuosoRecorder class during the AmherstWorkshop in 2008 we organized aldquoHappy Hourrdquo for our nine talentedstudents Mee-Jung Ahn (Korea)Emilie Hasselgren and Kristine West(Sweden) Anne Timberlake JosephLewnard Jacob Lodico and BrycePeltier (US) Emiliano Perez(Mexico) and Fanny Massy (France)participated in a quiz that I wrote thenight before with the assistance ofReine-Marie Verhagen
We combined questions regardingmusic theory with practical exercisessuch as middot How long can a player hold a
low f in one breath on an altorecorder (You get one point foreach second)
middot How many times through a scaleis a player able to play in 30seconds (For every octave of theF major scale you get one point)
middot How many different pieces fromthe recorder repertoire can aperson play in the course of twominutes (The other members ofthe group have to guess the nameof the composer before the playercan start the next piece)
middot In one minute list as manydifferent titles as you can fromDer Fluyten Lusthof (TheRecorderrsquos Pleasure Garden) of J J van EyckThe list of questions goes onAt the ldquoHappy Hourrdquo people
were divided into three groupsaccording to dates of each personrsquosbirthday When theoretical questionswere asked (see below) the pointsystem was devised as follows threepoints were awarded when the selected
person of a group could find theanswer himherself two points whenthe selected person needed the help ofthe other group members and onepoint if the group needed the help ofour gracious class assistant Reine-Marie Verhagen (she alwaysknew the answer) No points weregiven if the quizmaster had to supplythe answer
On the next page you find someof my questions There are morewhich we hope to run in a future issueof American Recorder
The quiz was full of fun andsuspense By the end people weremore nervous than when playing aconcert on stage Jacob Lodico of theUS was the winner at Amherst
28 March 2009 American Recorder
Education___________________________________ A quiz for recorder players
wwwAmericanRecorderorg March 2009 29
Try these questions yourselfAnswers appear at the end of thisarticle
The Quiz1 Give the name of Ganassirsquos
treatise of 1535 where heextensively describes the recorder playing and diminutions of his time
2 In which German city is therecorder company Moeck based
3 In the cantata Gottes Zeit ist dieallerbeste Zeit BWV106 JS Bach calls for two altorecorders Give another name for this cantata
4 Of which famous orchestra isFrans Bruumlggen the conductor
5 List three leading Japanesecomposers of excellent solo pieces for the recorder
6 Give the names of recordermagazines published inGermany England and the US
7 What is the fundamental tone of a fourth flute
8 List two recorder makers fromthe Baroque period in England
9 Whatrsquos the title of the recitativeand chorale in the Saint MatthewPassion where the recorder isused
10 Give the names of two famouspublishers in business around1700mdashone in London and one in Amsterdam
11 The opus 10 work by AntonioVivaldi includes six concertiSome of them have beautifulnames Give the names of thefirst three concerti of this opus
12 Whatrsquos a nickname for Jean Jacques Hotteterre
13 The combination of recorder andtraverso was rarely used in theBaroque time Can you name any composers who used thiscombination
14 Which king from 16th-centuryEngland owned a large collectionof recorders and also composedand enjoyed daily recorderplaying
15 How many movements compriseHandelrsquos Sonata in C Op 1 No 7 originally written forrecorder and basso continuo
16 Give the name of Praetoriusrsquostreatise from 1609 that describesthe whole recorder family
17 Name the author of the oldestrecorder method
18 Name Jan Jacob van Eyckrsquosdisability
19 Who pretended around 1930 thatthe recorder was a kind ofclarinet
20 Who doesnrsquot belong in thefollowing group Bertho DrieverKarel van Steenhoven MarionVerbruggen Paul LeenhoutsDaniel Bruumlggen
21 Name the two instrumentsindicated to play the sonataMeiner Mutter of Hans UlrichStaeps
22 Il Pastor Fido was not composedby Antonio Vivaldi but by aFrench composer What was hisname
23 Whatrsquos the nationality of themusic company Zen-On
24 CPE Bach composed abeautiful trio that includes a bassrecorder What are the other twoinstruments
25 Give the names of the fourmovements of Bachrsquos partita forsolo traverse flute BWV1013
26 Which excellent playersperformed as the recorder trioSour Cream
27 A recorder normally has eightfingerholes Despite this musichistory describes the recorder as ldquoune flucircte agrave neuf trousrdquo (a flute with nine fingerholes)Explain why
28 Give the French name for vibratoperformed by finger movementsalone on a wind instrument
29 Who wrote in his diaryldquohellipbeyond anything in the wholeworld the wind-music when the
Answers to
Bart Spanhoversquos Quiz1 La Fontegara2 Celle3 Actus Tragicus4 The Orchestra of the
Eighteenth Century5 R Hirose M Ishii and
M Shinohara
6 Windkanal or Tibia (both ofGermany) The Recorder(England) American Recorder(US)
7 B8 The most famous English
recorder makers around 1700Bressan and Stanesby (the latterbeing both senior and junior)
9 O Schmerz Hier zittert das gequaumllte Herz
10 Walsh (and Hare) (of London)Roger (of Amsterdam)
11 La Tempesta de Mare La Notte Il Gardelino
12 Le Romain13 JB Loeillet J J Quantz
JJ Hotteterre or J B de Boismortier
14 Henry VIII15 Five16 Syntagma Musicum17 Sebastian Virdung Musica
Getutscht und Ausgezogen (1511)18 Blindness19 Igor Stravinsky20 Marion Verbruggen21 Alto recorder and piano22 Nicolas Cheacutedeville23 Japanese24 Viola and cembalo25 Allemande Courante Sarabande
Bourreacutee26 Kees Boeke Walter van Hauwe
and Frans Bruumlggen27 Before 1670 the player could
choose how to hold the recordermdashleft hand or right hand at the topThis meant that recorder makersdrilled two holes to accommodatethe little finger of the hand thatended up at the bottom Theunused hole was sealed with beeswax
28 Flattement29 Samuel Pepys30 Flanders Recorder Quartet
30 March 2009 American Recorder
Lazarrsquos Early Music(866) 511-2981 jblazaraolcom
wwwLazarsEarlyMusiccom
292 Gibraltar Dr 108 Sunnyvale CA 94089
Strings amp Early Winds
ModernBaroque Strings Viols Vielle
Kuumlng Moeck Mollenhauer Paetzold Yamaha Ehlert
Wenner Baroque flutes
Wendy Ogle Lu-Mi Ifshin Snow
Competitive Prices
Sent on Approval
Personalized Service amp Advice
R
E
C
O
R
D
E
R
S
ldquoGO FOR NEO-BAROQUErdquo
Andrew Charlton Partita Piccola For 4 Recorders (SATB)
[Prelude Allemande Courante Musettemdash
a neo-baroque epitome] (Score amp Parts PBE-25) $795
Andrew Charlton Suite Moderne For 3 Recorders (ATB)
[Baroque shapes but Hindemithian harmony]
(3 Playing-Scores PBE-44) $995
Southwest of Baroque David Goldsteinrsquos ldquobaroque Suiterdquo
on Cowboy Songs For 2 Recorders (SA) (PBE-2) $350
The Provincetown Bookshop Inc
246 Commercial Street Provincetown MA 02657 Tel (508)487-0964
A good source for Recorder amp Viol Music of all publishers
Provincetown Bookshop Editions
angel comes down which is sosweet that it ravished me andindeed in a word did wrap upmy soul so that it made me reallysick just as I have formerly beenwhen in love with my wiferdquo
30 Whatrsquos the English name for afamous recorder ensemble calledin its country Vier op lsquon Rij
wwwAmericanRecorderorg March 2009 31
by Tim Broege timbroegeaolcom
December 11 2008 was a specialday for American music the
100th birthday of Americarsquos greatestliving composer Elliott Carter Cele-bratory concerts took place in manyvenues including Carnegie Hall inNew York There the Boston Sym-phony led by James Levine played anew work by Carter Interventions forpiano and orchestra The soloist wasanother well-known conductor DanielBarenboim who is no mean hand atthe keyboard to say the least
Itrsquos remarkable that wonderfulnew compositions continue to pourforth from Carterrsquos pen His musicsparkles and frolics packing lots of musical events into engrossingstructures Much of his music isavailable on CD so if you missed thecelebrations you can easily have yourown belated birthday party for Carter
Although he has never written for recorder (one of our prominent
recorder soloists should commissionhim) Carter has produced manychamber pieces featuring woodwindsSince many recorder players double orstarted out on woodwinds such piecesas the Sonata for Flute Oboe Cello ampHarpsichord (1952) Enchanted Preludes(1988) for flute and rsquocello Espritrudeesprit doux (1985) for flute andclarinet or the Oboe Quartet (2001)may hold special interest
If you missed Charlie Rosersquosexcellent interview (broadcast onDecember 10) with Carter Levine andBarenboim you can see it atwwwcharlierosecomview
interview9774mdashessential viewingfor fans of contemporary music
We note with sadness the passingon January 23 of another distin-guished American composer GeorgePerle An authority on the music ofAlban Berg and the Second VienneseSchool Perle developed a uniquelyrical style based upon a free approachto 12-tone and serial procedureswhich he dubbed ldquo12-tone tonalityrdquo I recommend listening to his SerenadeNo 3 for Piano amp Orchestra (1983) Six Etudes for Piano (1973-76) and the Pulitzer Prize-winning Wind Quintet No 4 (1985)
Another leading American com-poser Leon Kirchner is thankfully still with us having turned 90 onJanuary 24 Like Perle Kirchner has a highly personal and expressive styleA birthday concert was held at MillerTheater at Columbia University inNew York City NY Participatingmusicians included flutist PaulaRobison pianist Jeremy Denk and theClaremont Trio with the composerpresent to discuss his music
An excellent way to get to knowKirchnerrsquos music is through his stringquartets Just in time for his birthdayAlbany Records has released a fine CDof all four played by the Orion StringQuartet Quartet No 4 was written in2007 (when the composer was 87mdasha veritable youngster compared toCarter) The composer Allen Shawnhas described that quartet asldquoluminous and passionaterdquo words aptto describe much of Kirchnerrsquos output
Speaking of contemporary musicI have been spending pleasant hoursperusing the Catalog of ContemporaryBlockflute Music available online atwwwblokfluitorg from StichtingBlokfluit This Netherlands founda-tion offers a contemporary recordercatalog and a catalog of historicalrecorder music Access to both is byfree membership
For those who havenrsquot yet used thecontemporary catalog I urge you togive it a try You can search by manyparameters such as composer title orspecific instrumentation A search forldquovoice fluterdquo turned up a list thatincluded Moon Dances Three AmericanSketches by composer Walter Mays(intended for solo alto recorder butalso playable on tenor or voice flute)Searching the name of English com-poser Edmund Rubbra produced a listof eight works that employ recordersincluding the intriguing CantataPastorale opus 92 for high voice altorecorder rsquocello and harpsichord
Searching ldquofemale composersrdquo fora piece using ldquoBaroque altordquo yieldedAfter Meditation by Ros Bandt ofAustralia
What an easy and tremendouslyvaluable way to find new music
On the Cutting Edge___________________________________Birthdays composers and
recorder music catalogs
Elliot Carter
(photo by Meredith Heuer)
Question How does Renaissancefingering differ from standard
fingering on the recorder Is one superior tothe other Do you need a special recorder touse Renaissance fingering and if so can itbe played with regular recorders Is there afingering chart that shows RenaissancefingeringmdashWilliam BaumannWaterford WI
Answer from Carolyn Peskin Music composed in the
Renaissance the historical periodextending from about 1450 to 1600was predominantly vocal and highlycontrapuntal Recorders which oftendoubled singers at the octave orrendered vocal pieces instrumentallywere designed to make the individualmelodic lines clearly audible
Most 16th-century consortrecorders were one-piece instrumentswith large toneholes and a wide borethat contracted slightly starting nearthe upper fingerholes and thenexpanded gently near the lowest holesThat ldquochoke-borerdquo design togetherwith the voicing and tonehole con-figuration favored the fundamentaltone (first harmonic) producing astrong open sound that was aboutequally loud throughout theinstrumentrsquos range
Such recorders had a useful rangeof only about an octave plus a sixthwhich was nevertheless sufficient for the music of their day MostRenaissance-style consort recordersmade today are based loosely uponsurviving 16th-century instruments ofthe above type and are designed toapproximate the range timbre andvolume of those early instruments
Our present-day ldquoregularrdquorecorders are Baroque-derived instru-ments based loosely upon survivingrecorders from the late 17th and early18th centuries They are three-pieceinstruments with small toneholes and abore that is narrower and moretapering than a Renaissance boreextending their useful range upward totwo octaves plus a whole tone
Baroque recorders are soft andsweet-sounding in their bottom octavebut louder and brighter in the secondoctave Their lowest notes are espe-cially weak because they must be blowngently to prevent overblowing into thesecond octave Such instruments aresuitable for Baroque solo and chamberrepertoire but not very satisfying forRenaissance polyphony
Due to their different timbre andvolume Renaissance recorders will not blend well with Baroque onesFurthermore the most historicallyauthentic Renaissance-style recordersare tuned in a ldquomeantonerdquotemperament that facilitates the playingof pure major thirds Such instrumentsmake Renaissance music easier to playin tune but will produce intonationproblems if played with Baroquerecorders which are tuned in equaltemperament For the above reasonsRenaissance and Baroque recordersshould not be played together
Renaissance fingering will not work on todayrsquos neo-Baroquerecordersmdashmost of which haveldquomodernrdquo Baroque fingeringcommonly called ldquoEnglishrdquo fingering
because it was developed fromhistorical Baroque fingering by ArnoldDolmetsch in England during theearly 20th century Renaissancefingering is less standardized partlybecause a number of different originalinstruments are used as models andpartly because makers wish to improvethe intonation tone quality andorplayability of certain notes Howeverthe following generalizations apply tomany of todayrsquos Renaissance-styleconsort recorders
First in the lower octave modernBaroque fingering works for mostnotes but is often too flat for the fourth scale degree (eg soprano F)requiring removal of finger 7 (right-hand pinky) and is too sharp for theraised fourth degree (eg soprano F)requiring addition of finger 7
Modern fingering is also usuallytoo sharp for the lowered seventhdegree (eg soprano B) The correctfingering for that note varies from oneinstrument to another
In the upper octave modernfingering works for the first third andfifth scale degrees (eg soprano C Eand G) but usually not for other notesSome notes require half-holing with aright-hand finger and notes above thefifth scale degree may require additionof several fingers to bring them in tuneHistorical Renaissance fingering forthe second scale degree (eg sopranoD) is especially awkward because all ofthe fingerholes and the thumbholemust be uncovered Therefore somemakers substitute modern fingering forthat note
Although Renaissance fingeringand meantone tuning are recom-mended for the best blend some
Q amp A___________________________________ Renaissance recorder fingering
Send questions to Carolyn Peskin QampA Editor 3559 Strathavon Road Shaker Heights OH44120 carolynpeskinstratosnet
32 March 2009 American Recorder
wwwAmericanRecorderorg March 2009 33
makers of handcrafted Renaissance recorders will provide modern fingeringandor equal temperament upon request and Moeck Verlag offers a choice ofRenaissance or modern fingering for most sizes of its factory-producedRenaissance Consort series
For a most satisfying blend Renaissance ensembles should purchase amatched set of recorders tuned and voiced to be played together Renaissanceconsort sets usually include two different alto recorders one in G (lowest note g)and one in F (lowest note f ) The ATTB combination with the G-alto is best formost of the quartet music composed between 1450 and 1550 while the SATBcombination with the F-alto is more practical for much late 16th-centuryrepertoire (Playing the G-alto requires learning G-alto fingering or elsetransposing the alto line down a whole tone and using F-alto fingering)
In addition to consort recorders some makers offer ldquoGanassirdquo sopranos andaltos based upon fingering charts in Silvestro Ganassirsquos recorder tutor Fontegarapublished in 1535 and a single original instrument in the Vienna Kunst-historisches Museum Because of their special bore design (cylindrical with aflaring bell) Ganassi recorders have a range of two octaves and a sixth withcumbersome fingerings in the third octave They are used mainly as soloinstruments for playing intricate ornaments of the type found in Fontegara
Also sometimes included in the ldquoRenaissancerdquo category are ldquotransitionalrdquo(early Baroque) recorders which are based upon originals from the first half ofthe 17th century They have a bore that is wider than a Baroque bore but contractssharply near the lower end resulting in strong low notes and at least a full two-octave range usually with modern fingering Most transitional recorders aresopranos or altos designed for playing Jacob van Eyckrsquos variation sets or thehighly ornamented Italian solo repertoire of the late-16th and early-17thcenturies
However wide-bore consortrecorders with a range of at least twooctaves and modern fingering shouldalso be regarded as transitionalinstruments They differ somewhat intimbre and volume from typicalRenaissance consort recorders
Handmade wide-borerecordersmdashconsort Ganassi andtransitionalmdashare obtainable frommakers who advertise in AmericanRecorder the Prescott Workshop andthe Von Huene Workshop in the USJean-Luc Boudreau in Canada andStephan Blezinger in GermanyContact them andor visit their websites to find out what kinds ofrecorders they are currently makingand to get an idea of their prices andwait times
Factory-produced wide-borerecorders from Kobliczek Moeck andMollenhauer are available frominstrument dealers who advertise inAR New and used recordersincluding wide-bore models fromimportant makers in the US andabroad are also obtainable from Uni-corn Music For further informationvisit wwwbuyrecorderscom For a comprehensive database of recordermakers worldwide see Nicholas SLanderrsquos ldquoExtant Recorder Makers amp Retailersrdquo at wwwrecorder
homepagenetmakershtml
REFERENCES
CONSULTEDBauer Winfried
wwwrecorder-fingeringscomIncludes interactive fingeringcharts from modern makers andhistorical treatises Charts forRenaissance consort recorders byAdriana Breukink Adrian BrownBob Marvin and Tom Prescottwere consulted
Brown Adrianwwwadrianbrownorgrec
order_typesconsorthtml
Our present-day ldquoregularrdquo recorders are
Baroque-derived instruments based loosely
upon surviving recorders from the
late 17th and early 18th centuries
34 March 2009 American Recorder
The Von Huene Workshop Incis pleased to announce agreements with
CoolsmaZamra
to serve as their authorised service agents in the US
For more than 40 years the von Huene Workshop has produced some of the finest recorders in the world Our skilled staff can revoice retune and repair even the most seriously damaged instruments All repairs are done right on the premises and most can be completed within a week
For warranty repairs please include a copy of your original sales receipt
j 65 Boylston Street Brookline MA 02445 i(617) 277-8690 Fax (617) 277-7217 servicevonhuenecom
An informative article aboutrecorder sizes in Renaissanceconsorts
Brown Adrian and David LasockildquoRenaissance Recorders andTheir Makersrdquo AmericanRecorder Vol XLVII No 1(January 2006) pp 19-31 An important article based upon Brownrsquos extensive researchon 120 of the 200 surviving 16th-century recorders
Ganassi Silvestro Opera IntitulataFontegara Ed Hildemarie Peter(Berlin-Lichterfelde RobertLienau 1959) Modern edition ofthe oldest known treatise devotedentirely to the recorder (publishedin 1535) Includes 16th-centuryfingering charts
Griscom Richard and David LasockiThe Recorder A Research andInformation Guide (New York andLondon Routledge 2003) Anannotated bibliography including
references on construction anddesign of historical recorders
Levin Philip ldquoQampArdquo AmericanRecorder Vol XXXVIII No 4(September 1997) p 27Explains in simple terms thedifference between Renaissanceand Baroque recorders
Morgan Fred ldquoA Recorder for theMusic of JJ van EyckrdquoAmerican Recorder Vol XXV No 2 (May 1984) pp 47-49Describes the bore design of arecorder suitable for playing Van Eyckrsquos variation sets andcompares it with bore designs ofother types of recorders
Myers Herbert W ldquoRecorderrdquochapter in A Performerrsquos Guide toRenaissance Music ed JefferyKite-Powell (New York SchirmerBooks 1994) A 2nd edition isnow available published in 2007by Indiana University Press
FEATURING MUSICA PACIFICA
JUDITH LINSENBERG
RECORDERS____JS BACH TRIO SONATAS Arr by
Linsenberg from Trio Sonatas for Organ BWV525-
530 Sonata No 1 in E
major (transp to B
)
BWV 525 Sonata No 2 in C minor (transp to E)
BWV526 Sonata No 3 in D minor (transp to G)
BWV 527 Sonata No 4 in E minor BWV 528
Sonata No 5 in C major (transp to F) BWV529
Sonata No 6 in G major (transp to C) BWV 530
Virgin Classics Veritas 1993
____FIRE BENEATH MY FINGERS Showcases
three legendary composers who were also
virtuoso performers Vivaldi Concerto in F major
after RV 98570 ldquoLa Tempesta di Marerdquo Sonata in
A minor RV86 Concerto in G minor RV106 Con-
certo in Bb major RV503 Sammartini Concerto in
F major Tartini Concerto in A major D91 Dorian
____MANCINI CONCERTI DI CAMERA Seven
sonatas by Francesco Mancini plus one work each
from his contemporaries Francesco Durante amp
Domenico Scarlatti Highly recommended citation
from the 2000 Vivaldi Prize for Recordings of Italian
Early Music--Giorgio Cini Foundation Dorian
____MARAIS MARIN PIEgraveCES EN TRIO POUR
LES FLUcircTES VIOLON amp DESSUS DE VIOLE
Maraiss complete works for two treble lines and
bass with varied instrumentation and orchestrations
2-CD set $24
____SCARLATTI CONCERTI DI CAMERA
Seven sonatas for various instrumentations no
poor relations to the composers much more widely-
known vocal output All recorder players should
certainly have thisndashEarly Music Review
____TELEMANN CHAMBER CANTATAS
Five cantatas from Harmonischer Gottesdienst two
sonatas from Sonatas Corellisantes 2003 Chamber
Music America WQXR Record Award for best
chamber music recordings
____VIVALDI LA NOTTE Concerti per strumenti
diversi Award-winning CD featuring five Vivaldi
concerti two sonatas
AND OTHER RECORDING
ARTISTS FROM CALIFORNIA ____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 American Bach Soloists Jeffrey
Thomas conductor Dan Laurin Hanneke van
Proosdij recorders Christmas Concerto featuring
unique 1725 London version with solos transcription
for two recorders instead of two solo violins in
three of the six concertos Delos
____CANCcedilONIEgraveR Annette Bauer recorder
multi-instrumentalist Tim Rayborn Shira Kammen
strings Phoebe Jevtovic voice in a new early
music group devoted to repertoire from the
12thndash15th centuries as well as traditional music
from related regions (the Balkans Scandinavia
Middle East) Medieval instrumental music played
on a variety of instruments including strings
recorders and percussion Medieval dances and
motets bring to life the rich world of ancient
European music-making
____SACRED AND SECULAR MUSIC FROM
RENAISSANCE GERMANY Ciaramella-Adam amp
Rotem Gilbert Doug Millikan Debra Nagy
recorders with other winds shawm sackbut amp
organ Medieval amp Renaissance sacred music with
reconstructions of folksongs amp arrangements based
on contemporary improvisation
____BURIED TREASURE TOPAZ amp SAPPHIRE
Ensemble Vermillian Frances Blaker recorders
Barbara Blaker Krumdieck cello Elisabeth Reed
gamba Katherine Heater harpsichord amp organ
Transcriptions of Buxtehudes Op 1 other pieces by
Buxtehude works by Biber Johann Schop
Schmelzer Fafarela 2007
____STOLEN JEWELS Ensemble Vermillian
Frances Blaker recorders Barbara Blaker
Krumdieck Elisabeth Reed Katherine Heater 17th-
century German music adapted by Blaker I love
violin music so I steal the music and rearrange it
for my own instrumentrdquo Buxtehude Op 1 Biber
Rosenmuller Krieger JM Bach Fafarela
Recordings
____SENFL (LUDWIG) Farallon Recorder Quartet
(Letitia Berlin Frances Blaker Louise Carslake
Hanneke van Proosdij) 23 lieder motets and
instrumental works of the German Renaissance
____DOLCE MUSICAndash A CONTEMPLATIVE
JOURNEY Eileen Hadidianflutes recorders
Natalie Cox harps Celtic Renaissance and
Medieval melodies for recorder and flute with
Celtic harp Healing Muses 2005
____REFLECTIONS MUSIC TO SOOTHE AND
UPLIFT THE SPIRIT Eileen Hadidian recorder amp
Baroque flute with Celtic harp and cello Celtic
traditional Renaissance amp Medieval melodies
Healing Muses
____AN EVENING WITH BACH Voices of Music
Hanneke van Proosdij Louis Carslake Dan Laurin
recorders Joanna Blendulf Elizabeth Blumenstock
Rodney Gehrke Lisa Grodin Katherine Kyme
Jennifer Lane Victoria Gunn Pich Susanne Ryden
William Skeen David Tayler Renaissance and
Baroque music centers on fine singing Instantly
recognizable Air on a G String Bachrsquos Prelude in
G Major (solo theorbo for rsquocello) plus lilting vocal
performancesmdashRydenrsquos weightless soprano on
Bist du bei mir Lanersquos rich alto on Es is vollbracht
____BACH amp TELEMANN SONATAS PRELUDES
amp FANTASIAS Voices of Music (Hanneke van
Proosdij Joanna Blendulf Rodney Gehrke William
Skeen David Tayler) Beautiful chamber music by
Bach and Telemann
IN STOCK (Partial listing)____ALLA TURCA FUX CALDARA BADIA
Matthias Maute amp Sophie Lariviegravere recorders
Monika Mauch soprano Vocal music of the church
accompanied by Ensemble Caprice plus sonatas
and other instrumental pieces Analekta
____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 John Daniels Sonja Lindblad
recorders Peter Sykes harpsichord Trio sonata
arrangement by Johann Christian Schickhardt
____LES
AMIS DU
BAROQUE
Paul Nauta recorder amp
Baroque flute Koen Dieltiens recorder Music by
Bassani Corelli Vivaldi etc Highlight Intl
____LES SEPT SAUTS BAROQUE CHAMBER
MUSIC AT THE STUTTGART COURT Matthias
Maute amp Sophie Lariviegravere recorders amp traverso
Ensemble Caprice Charming repertoire by
Schwartzkopff Bodino Detri Atma Classique
____TASTE OF PORTIQUE LEnsemble Portique
Early and contemporary chamber musicmdash
Bach Telemann Boismortier and others
____TELEMANN ALLA POLACCA REBELndash
Matthias Maute recorders amp traversondash
plays concerti and suites by GP Telemann Dorian
____TELEMANN CANONS AND DUOS Lisette
Kielson amp Patrick OMalley recorders LEnsemble
Portique Telemann Canons meacutelodieux amp Sonates
sans basse 2-CD set LEP Records
____20TH CENTURY MUSIC FOR RECORDER amp
PIANO Anita Randolfi recorders Music by Jacob
Bartok Leigh others for recorder amp piano
____VIVALDI AND THE BAROQUE GYPSIES
Matthias Maute amp Sophie Lariviegravere recorders
Ensemble Caprice Gypsy music taken from
Uhrovska zbierka (now Slovakia) plus Vivaldi
____VIVALDI SHADES OF RED CONCERTOS amp
SONATAS FOR RECORDER amp STRINGS Matthias
Maute recorders REBEL Stylish high octane
readings of some of Vivaldis most beloved pieces
including the popular and raucous Concerto alla
Rustica stunningly colorful Sonata on La Follia and
four exuberant recorder concerti Bridge
____WINDFIRE Charmaine Delmatier recorder
Steve Kostelnik classical guitar Terry Hale bass
Erik Hokkanen violin Refreshing mixture of Andrew
Lloyd Weber American blues flamenco Celtic and
one original piece ltwwwyermomusicomgt
Please indicate above the CDs you wish toorder and print clearly the following
Name ____________________________________
Daytime phone (_____)______________________
Address__________________________________
CityStateZip _____________________________
Check enclosed for
_____ single CDs x $____ = $______
_____ 2-CD sets x $____ = $______
TOTAL $______
Please charge the above amount to my
MasterCard Visa or AmEx
_______________________________________
Exp Date ____________
Cardholderrsquos signature ______________________
Mail to
ARS 1129 Ruth Dr St Louis MO 63122-1019 US
You may fax a credit card order to 314-966-4649
NEW You may order CDs online using PayPal at
wwwamericanrecorderorgordercdromshtm
Order your recorder discs
through the ARS CD Club
The ARS CD Club makes hard-to-find or limited release CDs by ARS members
available to ARS members at the special price listed (non-members slightly higher)
All CDs are $15 ARS members$17 Others unless marked otherwise Two-CD sets are
$24 ARS members$28 Others Add Shipping and Handling $2 for one CD $1 for each
additional CD An updated listing of all available CDs may be found at the ARS
web site ltwwwamericanrecorderorggt
The first meeting of the newly-formedFort Myers Recorder and Early
Music Ensemble was January 26 atthe Florida home of chapter rep Sue
Groskreutz For this year the groupis somewhat loosely organized andplans to meet for extended sight-reading Repertoire at the first meetingcomprised everything from Renais-sance duets to chamber music involv-ing three treble parts and continuo
Among the five musiciansattending the first meeting (photobelow front row Elizabeth Spang SueGroskreutz back row Suzanne FergusonSibylle Baumgartner Arlene Sowka) allplayed recorder three harpsichord
and one each played traverso violinand gamba Due to the scarcity ofrecorder players south of the Sarasotaarea modern string players are alsoincorporated into this ensemble
The group decided not to chargedues and to meet at Groskreutzrsquoshome For more information pleasecontact Groskreutz at 239-267-1752spgembarqmailcom Snowbirdsdrifting through the area are welcome
Last fall at the requestof a student Kay Hettich
(inset below right) taught abeginning recorder class atthe Redding (CA) Senior
Center The five-weekclass was so successful thatmost participants haveformed a bi-weekly noviceensemble (right) coachedby Hettichmdashwho consid-ers them her ldquohatchedeggsrdquo
A new batch of ldquoeggsrdquostarted to incubate when afive-week class began on February 20Other senior center members havebecome interested as they heard oftheir colleaguesrsquo success These noviceplayers comprise some who previouslyread music and played instruments as well as people who are totally new to music notation
One student has also formulated amaxim ldquoEveryone at age 40 ought tolearn to play the recorder if heshehasnrsquot alreadyrdquo Just think how theworld would be transformed byshifting our focus to music
After Lynn Whidden attendedthe Montreacuteal Recorder Festival lastfall when the ARS Board met inQuebec she joined the ARS and nowrelays news of the lively interest in therecorder exhibited by a group underthe new leadership of Brent Legg ofBrandon University in ManitobaCanada Although his hands wereldquostill partly frozenrdquo he wrote that theBrandon University Collegium
Musicum in collaboration with theWaverley Park Recorder Club is
preparing a spring concert calledldquoEnglandrsquos Golden AgerdquoRepertoire spans the 16th century
from Henry VIIIrsquos accession in 1509to the death in 1603 of Elizabeth Iand includes solo songs four- andfive-part settings of Renaissancedances (with dancers) three- to five-voice madrigals and ldquobig-bandrdquoarrangements of William Byrdrsquos TheBells and The Dargason as re-imaginedby Gustav Holst (further re-imaginedfor recorders and percussion)
Of the 15 collegium membersseven are encountering the recorderfor the first time since elementaryschool The Collegium Musicumpromotes the study of early music at the university and is open to theuniversity community and the generalpublic This year there are five com-munity participants with interest fromseveral more both within and outsideof the university For informationcontact BrentLegggmailcom
January 16 marked the thirdannual recorder workshop of threeFlorida groups the Pasco Collegium
Recorder Consort of Hudson theImperial Recorder Consort of
36 March 2009 American Recorder
Chapters
amp Consorts___________________________________Workshops and activities from
coast to coast in the US and Canada
Lakeland and the Pilgrim Pipers Recorder Consort of St Petersburg Theygathered for a morning tackling selections by Banchieri Monteverdi PurcellCorelli Mendelssohn Bach Mozart and Glen Shannon Each group presenteda piece for the other participants Sweet Georgia Brown by Ben Bernie (St Pete)a Sonata by Sammartini (Lakeland) and The Gospel Train arr by KW Ford(Pasco) The 29 participants were led by Marlene Cracraft (Pasco) Jane
Spencer (Lakeland) and Elizabeth Snedeker (St Pete) Tom Bickley (photo below) directed the fall workshop of the Mid-Peninsula
Recorder Orchestra in Cupertino CA The 30 players started with Gregorianchants written in ldquooldrdquo notation Bickley gave basic instruction on how tointerpret the notes and then had the group sing the chants prior to playing them
The workshop theme of ldquoThe Articulate Recorderrdquo was literally played out as the music presented used variations in tonguing phrasing and breathingOther repertoire included a Kyrie by Tomas Luis de Victoria Bachrsquos Jesu Joy ofManrsquos Desiring a double-choir piece by Gabrieli Christopher Tyersquos In NomineXIII and a Purcell chaconne The workshop ended with a rhythmically-challenging minimalist piece by Bickley entitled Beginning composed for theWaldorf School teacher training program George Greenwood reports that thegroup had a productive event and plans to ask Bickley to lead a future workshop
wwwAmericanRecorderorg March 2009 37
A Muse in the DesertThe sound of a pin dropping hellip thesound of eager minds and fingersabsorbing information and inspira-tion hellip the sounds of ldquoNuevaEspantildeardquo Spanish- and indigenous-influenced music of the 1600s in theNew World These were the soundsof the Desert Pipes (Phoenix AZ)chapterrsquos fall workshop given byEileen Hadidian On a Saturdaylast October 30 players from all overArizona gathered to learn from andbe inspired by the founder of a SanFrancisco Bay Area group dedicatedto sharing music for healing inhealthcare settings Healing Muses(wwwhealingmusesorg)
The day began with relaxationstretching and breathing exercisesfollowed by travels to Peruacute MexicoGuatemala and Colombiamdashhighchurch music vernacular pieces anda mixture of the two Participantsenjoyed the historical and contextualbackground provided as an overviewfor the day and for each piece
Remarkably the sound heardbetween pieces and passages was anenergy-filled quiet the attentivestillness of active engagement in theworkshop experiencemdashnot the chat-tering noodling and conversationsthat often occur when the musicstops That activity was reserved forthe breaks when participants couldenjoy the cool (at last) outdoorschat with Hadidian and peruse the popular garage sale (to benefitDesert Pipes) of previously-enjoyedbooks and other treasures
On Sunday Hadidian sharedher expertise and inspiration in indi-vidual and group coaching sessionsThe weekend was a special experi-ence and Desert Pipes memberslook forward to the next visit of this Healing Muse
Ann Koenig Scottsdale AZannisalesprocom
Members
of three
Florida
groups
met
in January
for a joint
workshop
CHAPTER NEWS
Chapter newsletter editors and publicity officers should send materials for publication toAmerican Recorder 7770 South High St Centennial CO 80122-3122
editoramericanrecorderorg Also send short articles about specific activities that haveincreased chapter membership or recognition or just the enjoyment your members get out of
being part of your chapter Digital photos should be at least 3rdquox4rdquox300dpi TIF or unedited JPG files Please send news to the AR address above and to the following
ARS Office 1129 Ruth Drive St Louis MO 63122-1019 ARSrecorderAmericanRecorderorg
and to Bonnie Kelly Chair Chapters amp Consorts Committee 45 Shawsheen Rd 16 Bedford MA 01730 bksharpaolcom
TO THE STARS
AND BEYONDThe cover of the November magazinegenerated a few comments Some werenrsquotsure how to interpret the title (in theartistrsquos native German it could besomething close to ldquostarlit moonrdquo)Longtime member Carolyn Peskin wrote to offer her vision of that cover
In the beginning the Great Spiritinvented Mr Sun to light the day andMiss Moon to light the nightHowever as Miss Moon floated up inthe sky all by herself like a big yellowballoon she began to feel very lonelyso one night to relieve her lonelinessshe decided to take out her recorderand make music
But when she started to playsomething miraculous happened Not only beautiful melodies but alsoyellow dust poured out of the bottomof her recorder and the dust particlesimmediately coalesced to form yellowstars As she continued playing moreand more stars were created and theyfloated up around her filling the nightsky
At last Miss Moon was happy fornot only was she herself able to enjoyher music but she now had a wholecrowd of starry companions to enjoy itwith her And if you listen very care-fully on a quiet night you might beable to hear her recorder and thatstarry choir humming along
Carolyn Peskin
LOCATING EARPLUGSI read with interest the QampA in theNovember lsquo08 AR regarding hearingloss and use of earplugs Where do you get musicianrsquos earplugs
Dolly Hirata Kensington CA
CAROLYN PESKIN PROVIDED THIS
INFORMATION Musicianrsquos earplugs arecustom made for individual usersThey can be purchased only fromlicensed hearing professionals (ieaudiologists and hearing instrumentspecialists) To find a licensed hearingprofessional in your area look underldquoaudiologyrdquo or ldquohearingrdquo in your localyellow pages
For information about how musi-cianrsquos earplugs are produced visitwwwetymoticcomephperme-w
tbaspx That web page also has a linkto contact information for authorizedlabs that make the custom earmolds formusicianrsquos earplugs If the yellow pagesdo not prove helpful those labs canrefer you to a licensed hearing pro-fessional in your area from whom youcan purchase musicianrsquos earplugs
MORE FROM CAROLYN
THIS TIME ABOUT OSKARIn the September 2008 AR the musicreview by Leslie Timmons of the Oskarpieces by Matthias Maute mentionedthat Carolyn Peskin had translated twoof the Oskar books from German toEnglish People can obtain thetranslations free of charge as Wordattachments by contacting her atCarolyn Peskin 3559 StrathavonRoad Shaker Heights OH 44120carolynpeskinstratosnet
ANOTHER KIND OF
MUSIC-READING
GLASSESIn the January 2009 issue of AmericanRecorder therersquos something (in myopinion) the ldquoRecorder with GlassesObbligatordquo article omitted which canenable a nearsighted musician to avoidneck strain in the use of bifocals
Irsquove found the solution to thisvexing problem is to have onersquos bifocalsconstructed differently [from] normalMy optometrist was willing to work
38 March 2009 American Recorder
Response___________________________________Two kinds of vision
the better to see with and (not) to hear with
Honeysuckle Music
Recorders amp accessories
Music for recorders amp viols
Jean Allison Olson1604 Portland AveSt Paul MN 55104
6516448545jeanhoneysucklemusiccom
Responses from our readers are welcomedand may be sent to American Recorder 7770 South High St Centennial CO
80122 Letters may be edited for length and consistency
ARS Membership Enrollment and Renewal I am a new member I am or have been a member
USCanadian Memberships Foreign Memberships $45 One Year $55 Foreign One Year $75 Sustaining (Receive a Hottetere Hands Pin) $100 Two Years $80 Two Years
LIFETIME MEMBERSHIP Single Dual Regular Lifetime Member $1000 (2) $1500 (4) 4 installments of $250 available) Loyalty Lifetime Member (1) $ 800 (3) $1200 (4) 4 installments of $200 available
(1) For members who have maintained membership for five consecutive years (2) $750 is Tax Deductible (3) $600 is Tax Deductible (4) Installments available Student Memberships Other Memberships (Enclose proof of full time enrollment) $65 One Year Workshop Membership
$25 USCanadian One Year $125 One Year Business Membership $45 USCanadian Two Years $30 Foreign One Year $5 Additional Charge for Dual Address or Dual Name
Do not list my name in the ARS Print Directory Do not list my name on the ARS Online Directory Do not release my name for recorder related mailings Do not contact me via email
My address telephone and email address are the same as last time
______________________________________ _________________________ Name Phone Number ______________________________________ _________________________ AddressCityStatePostal Code Email Address Please charge to (Circle one) VISAMasterCardAMEXDiscover CC________________________________ Expiration Date ______________ Signature of cardholder_______________________________________________________ Clearly Print Name as it appears on Card________________________________________
Renew by Mail Online By Phone or by Fax
Demographic Information (optional information collected only to enhance ARS services and provide statistics to grant makers)
I am a member of ARS Chapter or Consort____________________________ I am the Chapter Contact Your age Under 21 (21-30) (31-40) (41-50) (51-60) 61-70) (71+) Please check all that apply
I am a Professional Recorder Performer
I wish to be included in the list of Recorder Teachers in the ARS Directory and website I Teach (circle your choices) Children High School Youth College Students Adults Beginner Intermediate Advanced Pre-Professional Individuals Childrenrsquos Classes Adult Classes Ensembles Suzuki Orff JRS Leader Kodaly Where I Teach (circle your choices) Music Studio Public or private school Community Music School College Other _____________________
American Recorder Society 1129 Ruth Dr St Louis MO 63122-1019
Phone 314-966-4082Fax 314-966-4649
TollFree 800-491-9588ARSRecorderAmericanRecorderorg
wwwAmericanRecorderorg
with me [to find] an ideal (for me)placement size and focal length of thebifocal lens
Before visiting the optometristIrsquod had my wife measure the distancefrom my eyes to the music on mymusic stand With this measurementthe optometrist set up her machine toprepare a vision prescription for memaximized for this reading distance
When I look at my bifocals (withthem off) the lenses (through which Iread my music) occupy most of thelower two-thirds of my glasses (they are set very high and beginimmediately at the inner rims) Thisleaves the upper third and smallportions of the outside [of each lens]for focusing on the conductor As longas my stand is set low enough my necknever experiences any strain (even if Ihave to read three to a part) and Irsquove no problem in seeing theconductor (in sharp focus) either
For me trying to use glasses [toread] from a music stand [that] weredesigned for use in reading from acomputer screen also results in neckstrain (not to mention unreliability in aldquopressurerdquo situation) Having studiedTai Chi extensively and so being
wwwAmericanRecorderorg March 2009 39
There are lots ofsolutions to thepresbyopic musicianrsquosproblem but all involve compromises
40 March 2009 American Recorder
American Recorder Society PublicationsErich Katz Contemporary Music Series Members Non-MembersA Short Tale for Two Basses Suzanne M Angevine (Level II) (2 scores) $5 $8Dialogue and Dance Cecil Effinger (SATB)(Level II-III) (score amp parts) $10 $18Dorian Mood Sally Price (SATB) (Level II) (score amp parts) $10 $18Double Quartet for Recorders Peter Ballinger (Level II-III) (score amp parts) $10 $18Entrevista Frederic Palmer (SATB) (Level II) (2 scores amp 4 recorder parts) $8 $14Kyrie and Vocalise for Soprano Voice ampRecorders Stanley W Osborn $8 $14
(SATB) (Level II) (2 scores amp 4 recorder parts) Picnic Music Jeffrey Quick (SATB) (Level II) (score amp parts) $5 $8Six Short Pieces for Three Recorders edited by Alan Drake $8 $14
(3 scores) Vaclav Nelhybel (AATT) (Level II)Sonatina for Alto Recorder and Piano Anthony Burgess $7 $12
(Level II) (2 scores)Sonatine for Three Altos Lee Gannon (Level III) (score amp parts) $14 $26Suite of Jewish Folk Tunes Erich Katz (S SA8 AT) (Level II) (three scores) $10 $18
Musical Editions from the Membersrsquo Library ARS members 1 copy-$3 2 copies-$450 3-$6 4-$750 5-$10 6-$1150Non-members (editions over 2 years old) 1 copy-$5 2 copies-$850 3-$12 4-$15 5-$1950 6-$23The ARS is happy to provide photocopied enlargements of any Membersrsquo Library edition at the same prices Please specify ldquoMembersrsquo Library Enlargementrdquo
ARS Information BookletsARS members 1 booklet-$13 2 booklets-$23 3-$28 4-$35 5-$41 6-$47 7-$52Non-members 1 booklet-$18 2 booklets-$33 3-$44 4$55 5-$66 6-$76 7-$86
Education PublicationsThe ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996)
First copy free to ARS Members (mailed to new members as they join) replacement copies $3Guidebook to the ARS Personal Study Program (1996) Material formerly published in the Study Guide
and Study Guide Handbook plus additional resources Members $11 non-members $20ARS Music Lists (2002 with 2003 Supplement) Graded list of solos ensembles and method books
Members $9 non-members $15Package Deal available only to ARS members Guidebook and Music ListsSupplement ordered together $16Junior Recorder Society Leaderrsquos Resource Notebook
ARS members $20 non-members $40 (updates at reduced rates after initial purchase)$5 Dues for each JRS student member sponsored by an ARS member ($4 each for groups of 10+)
VideosRecorder Power Educational video from the ARS and recorder virtuoso John Tyson
An exciting resource about teaching recorder to young students ARS members may borrow a copy for onemonth by sending $5 to the ARS office along with the address to which the tape should be shipped
Pete Rose Video Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music Festival recitalFeatures Rose performing a variety of music and an interview of him by ARS member professional John Tyson
Other PublicationsChapter Handbook A resource on chapter operations for current chapter leaders or those considering forming an
ARS chapter ARS members $10 non-members $20 (updates free after initial purchase) One free copy sent toeach ARS chapter with 10 members or more
Consort Handbook Resource on consort topics such as group interaction rehearsing repertoire performingARS member prices CD $10 hard copy $20 combo price of CD and hard copy ordered together $25
Discography of the Recorder Vol I (1989) Compiled by Scott Paterson and David LasockiDiscography of the Recorder Vol II (1990-1994) Compiled by Scott Paterson
Either single volume ARS members $23 non-members $28Both Discography volumes together ARS members only $40
American Recorder Cumulative Index for Vols I-XXXX ARS members $20 non-members $32Index Supplement Vol XXXIV-XXXX ARS members $8 non-members $14
Shipping amp Handling FeesUnder $10 - add $3 $10-1999 - add $4 $20-2999 - add $5 $30-3999 - add $6 $40-4999 - add $7 All prices are inUS dollars For Canadian or foreign postage pay by credit card and actual postage is charged
Please make checks payable to ARS VISAMCAMEXDisc also accepted
ARS 1129 Ruth Drive St Louis MO 63122 US800-491-9588 ARSrecorderAmericanRecorderorg
Arioso and Jazzy Rondo (AB) Carolyn PeskinBerceusendashFantaisie (SATB) Jean BoivertBrucknerrsquos Ave Maria (SSATTBB)
Jennifer W Lehmann arrCanon for 4 Basses (BBBB) David P RuhlDancers (AT) Richard EastmanDifferent Quips (AATB) Stephan ChandlerElegy for Recorder Quartet (SATB) Carolyn PeskinElizabethan Delights (SAATB)
Jennifer W Lehmann arrFallen Leaves Fugal Fantasy (SATB) Dominic BohbotFour Airs from ldquoThe Beggarrsquos Operardquo (SATB)
Kearney Smith arrGloria in Excelsis (TTTB) Robert CowperIdyll (ATB) Stan McDanielImitations (AA) Laurie G AlbertsIn Memory of Andrew (ATB) David GoldsteinLay Your Shadow on the Sundials (TBgB)
Terry Winter OwensLeClercqrsquos Air (SATB) Richard E WoodLittle Girl Skipping and Alouette et al (SATBCb)
Timothy R Walsh
Los Pastores (SAAAT + perc) Virginia N Ebinger arrNew Rounds on Old Rhymes (4 var) Erich KatzOther Quips (ATBB) Stephan ChandlerPoinciana Rag (SATB) Laurie G AlbertsSanta Barbara Suite (SSAAT) Erich KatzSentimental Songs (SATB) David Goldstein arrSerie for Two Alto Recorders (AA) Frederic Palmer Slow Dance with Doubles (2 x SATB) Colin SterneSonata da Chiesa (SATB) Ann McKinleyS-O-S (SATB) Anthony St PierreThree Bantam Ballads (TB) Ann McKinleyThree Cleveland Scenes (SAT) Carolyn PeskinThree in Five (AAB) Karl A StetsonTracings in the Snow in Central Park (SAT)
Robert W ButtsTrios for Recorders (var) George T BachmannTriptych (AATB) Peter A RamseyTwo Bach Trios (SAB) William Long arrTwo Brahms Lieder (SATB) Thomas E Van Dahm arrVariations on ldquoDrmešrdquo (SATB) Martha BishopVintage Burgundy (SASATT)
Jennifer W Lehmann arr
Adding Percussion to Medieval and Renaissance Music Peggy Monroe
American Recorder Music Constance PrimusBurgundian Court amp Its Music Judith Whaley coord
Improve Your Consort Skills Susan CarduelisMusic for Mixed Ensembles Jennifer W LehmannPlaying Music for the Dance Louise AustinRecorder Care Scott Paterson
acutely aware of any kind of neckstrain when it begins to develop these ideas have been a big help to meIrsquom hoping they may be of help toother musicians as well
Best wishes to you And inanswer to your questionmdashyes the new[AR] format (with more white spacebetween the lines) is much easier toread (in my opinion)Your magazinejust keeps getting better and better
Very sincerely Ed Green WestSuburban (Chicago-area) Chapter
RESPONSE FROM DR BILL LONG
What Ed describes is a variant of theuse of conventional bifocals as musicglasses described on page 8 in thearticle Instead of lowering his musicstand into the field of view of hisbifocal segment Ed and his optome-trist have fabricated special purposebifocals with the segment really highso he can focus on his music instraight-ahead view That approachrestricts his distance vision to an areaabove his usual line of sight whichseems to work for Eds playing setup
Eds comments on the difficultiesin using conventional progressiveaddition lenses as music lenses con-firm what I said on page 9 Thats whymanufacturers have marketed special-ty progressive lenses designed specif-ically for intermediate distance taskslike computer use and playing music
There are lots of solutions to thepresbyopic musicians problem but all involve compromises The key toevaluating those compromises andchoosing the best solution for yourselfis to understand your needs and toenlist the help of a sympathetic visioncare specialistmdashjust as Ed did
Please change your
browserrsquos favorites list
AR online is now at wwwameri
canrecorderorgmembership
magazinehtm Send news to
editoramericanrecorderorg
FOUR FOUR-PART CANZONAS
(1608) BY GIOVANNI GABRIELI
ED GREG LEWIN Hawthorns Music RB 16 (Magnamusic) 1999 SATBSc 16 pp pts 4 pp $1950
Giovanni Gabrieli was probablyborn between 1554 and 1557 in theparish of San Geremia in Venice Thedetails of his early life are sketchy butit appears that he was born Giovannidi Fais and later changed his name toGabrieli out of respect to his uncleAndrea with whom he shared a closerelationship In fact in 1587 Gabrielidescribed himself ldquoas little less than asonrdquo It is commonly thought thatAndrea provided Giovanni with hisearly musical training Andrea whohad spent some time in Munichstudying under the great Orlando deLassus sent Giovanni to Munich for a similar period of study in theearly 1570s
Gabrieli remained in Munichuntil the death in 1579 of the dukeAlbrecht V who had been Lassusrsquosemployer for a number of years andwho was an enthusiastic patron of the arts particularly music With hisdeath a number of musicians lost theirjobs it seems as if Gabrieli were also a victim of such culling of talent(Within a generation the tide wouldturn and the Munich court wouldagain hire Venetian expatriates such as Priuli Valentini and Neri)
Upon his return to VeniceGabrieli was hired as a temporaryorganist at San Marco his positionbecoming permanent in 1585 For a few months that year uncle andnephew served together as first and
second organists in the chapel of thedoge In Giovannirsquos absence fromVenice there had been a plague thathad decimated the ranks of theprofessional musicians Andrea setabout rebuilding his forces at SanMarco by hiring a full-time windband consisting of Girolamo dallaCasa a renowned cornettist andviolist his two brothers who playedsackbut and later the cornett virtuosoGiovanni Bassano Giovanni Gabrieliaugmented these forces with addi-tional players and began composingthe large-scale ceremonial music forwhich he is so well known today
Giovanni was also elected to bethe organist and composer to theconfraternity of San Rocco in 1585and it is now thought that his largestpieces were intended for that venuewith its large central gallery andfrescos by Tintoretto instead of SanMarco Gabrieli held both thosepositions at the basilica of San Marcoand the Scuola Grande di San Roccountil he died in 1612 of a kidney stone
Although best known today forhis ceremonial and festival musicGabrieli was at home in smaller-scaleformats as well These four four-partcanzoni are taken from the 1608publication by the Venetian publisherAlessandro Raverji Canzoni per sonarecon ogni sorte di strumenti These werevery popular pieces to judge by themany collections in which they appear
Additionally like Gabrielirsquoskeyboard music they are found inother arrangements These four-partcanzoni lie well under the fingers inarrangements for keyboard and lute
As seen from the title Gabrielispecified no instrumentation but like asimilar edition of madrigals and battlepieces from a few years earlier a dis-tinction was made that they wereintended for wind instruments almostcertainly cornetts and sackbuts
Recorders were not unknown in Venice they were used regularly inthe confraternity of San GiovanniEvangelista where Giovanni BattistaRiccio was organist
These pieces are relativelysimplemdashplayable by beginning tointermediate ensembles They aremostly contrapuntal (with a fewhomophonic sections) and have few rhythmic eccentricities
These canzoni are found in manymodern brass editions but there arefew editions available to the recorderplayer This edition by Greg Lewin ofHawthorns Music might be consid-ered a ldquobare-bonesrdquo edition There islittle background information andeditorial practices are not specified
The music itself has a handwrittenlook that can be distracting but is easyenough to read Lewin has thought-fully supplied phrasing marks that willbe helpful for ensembles unused tothis style of music
Music
Reviews___________________________________ Infectious music created in spite of the plague
wwwAmericanRecorderorg March 2009 41
This is a good edition
for small ensembles that
canrsquot get eight players
together to play
Gabrielirsquos more famous
eight-part canzoni
42 March 2009 American Recorder
The parts are four pages but mycopy had all four pages printed on avery large page This is not a problemand there are no page turns
This is a good edition for smallensembles that canrsquot get eight playerstogether to play Gabrielirsquos morefamous eight-part canzoni Thesesmall-scale pieces are by no meansinferior to Gabrielirsquos more elaboratemusic and deserve to be better known
7 CANZONEN (1637) BY
TARQUINIO MERULA ED JOACHIM
ARNDT WITH CONTINUO REALIZATION
BY CLAUDIA SCHWEITZER MieroprintMusikverlag EM2088 (availabledirectly from wwwmieroprintcom)2005 SS or TT bc Sc 24 pp pts 8 pp$28
Tarquinio Merula was bornaround 1595 in either Busseto orCremona in Italy As was the case withso many composers of the day either alack of regular employment or a rest-less nature took him from his home inCremona to as far away as Warsaw He is found as the organist of thechurch and the chambers to the kingof Poland Sigismund III in 1624
Merula was one of the leadingexponents of the relatively new con-certante style pioneered by ClaudioMonteverdi and others in the seconddecade of the 17th century and may be described as one of the earliestBaroque composers His compositionsin the concertante style are fresh andunforcedmdashhe was born into this styleand didnrsquot encounter it as somethingnew as was the case with so many ofMonteverdirsquos contemporaries
After several years of peripateticexistence Merula found regularemployment in 1631 in Bergamo atthe church of San Maria MaggioreThe prior holder of the post of maestrodi cappella Alessandro Grandi haddied the previous year in the plagueMerula had signed a three-year
contract but by December 1632 hewas terminated with accusations thathe had molested several studentsMerula threatened a lawsuit to recoverhis lost wages but that threat wascountered with a pending criminalcharge lodged by the board ofgovernors of San Maria Maggiore By mid-1633 the matter was settledwith an apology from Merula and astatement that he relinquished allclaims to his salary
He then returned voluntarily toCremona where he stayed until 1635By 1638 Merula was once again inBergamomdashthis time as maestro dicappella and organist in the cathedralnext to San Maria Maggiore Asmight be expected there was con-siderable tension between the twochurches eventually resulting in theboard of San Maria Maggioreforbidding their musicians to perform under Merularsquos direction
He returned in 1646 to a familiarCremona post which he had heldthree times in various years and wherehe now settled downmdashthat of organistand maestro di cappella for Laudi dellaMadonna services in which he ledmusic at the main altar on Saturdaysand on vigils of Marian feasts
None of his employment issues
prevented the Pope from awardinghim the Order of the Golden SpurMerula was also elected to theAccademia dei Filomusi in BolognaHe died in 1665 in Cremona
His existing compositions showthe products of a lively mind Hisworks range from sacred songs andmotets to purely instrumental piecesnotably the ever-popular variations onvarious ground basses It is knownthat Merula was an accomplishedviolinist as well as a fine organist Hissurviving instrumental writing showsa predilection for strings In fact hewas one of the earliest composers tospecify string accompaniments tosacred motets
Merularsquos pieces look backwardtoward some of the more progressiveVenetian composers such as Monte-verdi while looking forward to thehigh Baroque with his innovative style
These seven canzoni like theearlier-published chaconne (EM2084)come from Merularsquos third bookpublished in 1637 CANZONI overo SONATE CONCERTATE perchiesa e camera a due et a tre delcavaliere This collection typifiesMerularsquos output pieces based onRenaissance-era ground basses arefound next to more ldquomodernrdquo sonatas
The original edition specifiesviolins and basso continuo This newedition is intended for recorders thespecific choice of which is up to theplayers Due to the relatively hightessitura tenor recorders work best inthese pieces (although listed as analternative soprano recorders tend to be on the screechy side)
Not surprisingly given Merularsquosskill as an organist the continuo partneeds a keyboard instrument forsuccessful realization Instead of beinga purely accompanying part the bassocontinuo part is an equal partner in these pieces the canzona ldquoLaRuggierardquo opens with a run that therecorders echo a few measures later
A more recorder-specific
edition intended for
altos would have been
ideal There is nothing
preventing the more
adventurous and
industrious players
from making their
own editions of this
delightful music
mentioned were a bit shrill A morerecorder-specific edition intended foraltos would have been ideal There isnothing preventing the moreadventurous and industrious playersfrom making their own editions of thisdelightful music
Prior to playing the previouslypublished chaconne I had notencountered MieroprintMusikverlag Mieroprintrsquos extensivecatalog has an equal focus on newmusic for recorders and on editions ofBaroque masters with emphasis on therecorder and flute Due to the lack of
wwwAmericanRecorderorg March 2009 43
are also available at
The Early Music Shop
of New England
Brookline MA
AESTHEacute
367-b de la Briquade
Blainville Queacutebec
Canada J7C 2C7
tel (450) 979-6091
wwwboudreau-flutesca
A bass viola da gamba or rsquocello is not necessary for these pieces and may infact make them sound heavy and ponderous rather than light and breezy as thismusic seems to be
More so than the above-mentioned chaconne these canzoni are written in avery idiomatic violin style with multiple examples of arpeggios In particular thecanzona ldquoLa Trecchardquo contains a notated example of a string tremolo figurerecurring through the piece ldquoLa Trecchardquo also dips well below the range of a Crecorder going down to low G the lowest string on the violin The editors havesupplied no alternative notes preferring to let the performers to fend forthemselves (in practice we took this passage up an octave with no problems)
The two recorder parts require virtuosity These upper parts are demandingwith the players needing to double-tongue in unison in order to negotiate themany runs of 16th notes and the shared rhythmic ldquolicksrdquo The harmoniclanguage unlike much of Merularsquos music is undemanding and contains none of the harmonic crunches for which he is famous
This is wonderful music that needs a couple of advanced recorder players fora successful performance The string idiosyncrasies can be overcome by advancedplayers and many of the editions of the era (although not this one) list thecornetto as an alternative to the violin so the use of wind instruments in the solo literature of the early Baroque was not unknown
Our experience with this edition left us with the opinion that these pieceswould have been better if transposed down a minor third so as to fit on a pair ofalto recorders (as is the case with much Baroque flute music to make it lie betteron the recorder) The tenors we used tended to sound a bit murky in the lowerregister next to the more aggressive harpsichord while the sopranos we tried as
KEY rec=recorder Srsquoo=sopraninoS=soprano A=alto T=tenor B=bassgB=great bass cB= contra bass Tr=treble qrt=quartet pf=piano fwd=foreword opt=optional perc=percussionpp=pages sc=score pt(s)=part(s)kbd=keyboard bc=basso continuohc=harpsichord PampH=postage andhandling Multiple reviews by one reviewerare followed by that reviewerrsquos name Pleasesubmit music for review to AR 7770 SHigh St Centennial CO 80122-3122 US
an American distributor this musicwill be hard to findmdashin fact can befound only at the time of this writingon their web site noted above But theeffort will be repaid
This edition is clear and easy toread and the parts require no pageturns The basso continuo realizationis simple and elegant
This is music deserving ofrediscovery My only quibble is thatthe editorial notes are all in GermanThis seems to be the practice ofGerman music publishers with thenotable exception of Moeck Otherpublishers of early music such asLondon Pro Musica routinelyprovide notes in English and German and often in French and Italian making their editionsaccessible to a wider audience
Frank Cone studied the recorderwith the late Ellen Perrin the viola dagamba with Carol Herman and thecornetto with Larry Johansen TheCalifornia multi-instrumentalist has been a member of the Orange CountyRecorder Society since 1985
Advertiser Index
AMERICAN ORFF-SCHULWERK ASSN 3
AMERICAN RECORDER SOCIETY 31 35 36
AMHERST EARLY MUSIC FESTIVAL 17
STEPHAN BLEZINGER 24
JEAN-LUC BOUDREAU 21 39
BOSTON EARLY MUSIC FESTIVAL 7
CANTO ANTIGUO EARLY MUSIC WORKSHOP 13
COURTLY MUSIC UNLIMITED 20
EARLY MUSIC AMERICA 8
HONEYSUCKLE MUSIC 34
BILL LAZARrsquoS EARLY MUSIC 26
KEITH E LORAINE EARLY DOUBLE REED SERVICE 35
LOST IN TIME PRESS 11
MADISON EARLY MUSIC FESTIVAL 12
MAGNAMUSIC DISTRIBUTORS BC
MOECK VERLAG IFC
MOLLENHAUER RECORDERS IBC
PORT TOWNSEND WORKSHOP 14
PRESCOTT WORKSHOP 30
PROVINCETOWN BOOKSHOP 26
THE RECORDER MAGAZINE 4
THE RECORDER SHOP 6
SAN FRANCISCO EARLY MUSIC SOCIETY 18
SWEETHEART FLUTE CO 3
TEXAS TOOT 20
VON HUENE WORKSHOP INC 30
WICHITA BAND INSTRUMENT CO 21
DOMINIK ZUCHOWICZ 34
CONSIDER ADVERTISING IN
Full page $55223 page $43912 page $36613 page $28614 page $22316 page $17518 page $127112 page $ 951 column inch $ 58
Prices include web sitee-mail link directly from your ad in the online AR at wwwamericanrecorderorg
Circulation Includes the membership of theARS libraries and music organizations
Published five times per year January March May September November
Reservation Deadlines December 1 (January) February 1 (March) April 1 (May) August 1 (September) October 1 (November)
Rates good through November 2009 Pleaseinquire about discounts on multiple-issuecontracts inserts or other special requestsExtra charges for typesetting layout half-tones and size alterations 133-line screenrecommended Advertising subject toacceptance by magazine First-time adver-tisers must include payment with order
For more information contact the ARS office 1129 Ruth Drive St Louis MO63122-1019 800-491-9588 toll free 314-966-4082 phone 314-966-4649 faxadvertisingamericanrecorderorg
44 March 2009 American Recorder
Classified___________________________________
FOR SALE Cherrywood hurdy gurdy and hard-side case made by Kelischek bought 2005Originally $765 plus $89 for case Rarely usedBoth for $450 or make offer Please contact marjalocomcastnet Can ship
ASPIRE ANNOUNCE INSPIRE Afford-able PR for teachers and recitalists wwwrecitalroomcom
PHOTOS NEEDED of ARS events 1970sndash1990sto illustrate last chapters of Martha Bixlerrsquos histor-ical memoir about the ARS (to be posted online)E-mail scanned photos (300dpi JPG or TIF)arsrecorderamericanrecorderorg Hardcopies mail to ARS office to be scanned ampreturned Info 800-491-9588
T-SHIRT FOR ENSEMBLE PLAYERS to wear orshare Top 10 Reasons Why I Got Lost Wrongfingering bad lighting etc on blue cotton shirt$18 Highlighter tape and other goodies Beth amp Lindas Boutique as seen at BEMF CallLinda at 617-671-8694 or e-mail for brochurelindakushverizonnet
Where the havesand have-nots
of the recorder world can find each other
Classified rate for American Recorder 60centper word ten-word minimum ldquoFOR SALErdquoand ldquoWANTEDrdquo may be included in thecopy without counting Zip code is oneword phone e-mail or web page is twoPayment must accompany copy Deadlinesare one month before issue date Send copywith payment to ARS 1129 Ruth Drive St Louis MO 63122-1019
AMERICAN RECORDER (ISSN 0003-0724) 1129 Ruth Dr St Louis MO 63122-1019 is publishedbimonthly (January March May September and November) for its members by the AmericanRecorder Society Inc $20 of the annual $45 US membership dues in the ARS is for a subscriptionto American Recorder Articles reviews and letters to the editor reflect the viewpoint of their individ-ual authors Their appearance in this magazine does not imply official endorsement by the ARS
EDITORIAL DEADLINES November 15 (January) January 15 (March) March 15 (May) July 15(September) and September 15 (November) Submission of articles and photographs is welcomedArticles may be typed or sent as an attachment (Word or RTF preferred) to or text in an e-mail mes-sage They should be for the exclusive consideration of AR unless otherwise noted Photos may besent as prints or unedited JPG or 300dpi TIF files (minimum 3rdquox4rdquo) Advertisements may be sent inPDF or EPS format with fonts embedded
EDITORIAL OFFICE Gail Nickless Editor 7770 S High St Centennial CO 80122-3122 303-794-0114 (phone amp fax) editoramericanrecorderorg Books for review Editorial office Musicfor review Editorial office Recordings for review Tom Bickley 1811 Stuart St Berkeley CA 94703Cutting Edge Tim Broege 212 Second Ave Bradley Beach NJ 07720-1159 Chapter newslettersother reports Editorial office Postmaster Send address changes to ARS 1129 Ruth Drive St LouisMO 63122-1019 Periodicals postage paid at St Louis MO and at an additional mailing office
Chapter leaders
We know yoursquore out there
and that you want to share
your plans concerns
solutions and ideas with
other chapter leaders Visit
httpamericanrecorder
societywikispacescom
ON THE COVER
Illustration by
Wonjoung Chang
copy2009
Volume L Number 2 March 2009
Our 2009 celebration continues with anearly-bird discount deadline of May 1
to register for the ARSrsquos 70th birthdaypartymdashthe ARS Festival and Conference
This year yoursquoll continue to see ARcovers highlighting 2009 as both Volume
50 of AR and as the ARSrsquos 70th anniver-
sary year These specially selected coversare the creative output of the AdvancedIllustration class taught by Glenna Lang
at the School of the Museum of Fine Arts in Boston MA at which students comefrom all over the world to study
The Education Department in thisissue may bear resemblance to ldquoAre youSmarter than a Fifth-graderrdquomdashbut thequestions are a challenge for recorderplayers of any vintage Take Bart Span-
hoversquos quiz (page 24) and see how you doYou may want to use his questions as well asthe AR50 piece in this issue (page 23)mdashadvice from the late Leacuteonie Jenkinsmdashto prepare yourself for your workshop orfestival experience
If itrsquos March then itrsquos likely that youexpect the bulk of this issue to be devotedto the annual roundup of upcoming
recorder workshops (page 12) Whether we make your acquaintance at
the Boston Early Music Festival we meetyou in St Louis for the ARS Festival or wecross paths at one of the many workshopsyoursquoll agree that this promises to be amemorable summer for recorder players
Gail Nickless
Editorrsquos
Note______________________________
GAIL NICKLESS EDITOR
CONTRIBUTING EDITORS
TOM BICKLEY COMPACT DISC REVIEWS bull FRANCES BLAKER BEGINNERS amp TECHNIQUE
TIMOTHY BROEGE 20TH21ST-CENTURY PERFORMANCE
CAROLYN PESKIN Q amp A bull CONSTANCE M PRIMUS MUSIC REVIEWS
ADVISORY BOARD
MARTHA BIXLER bull VALERIE HORST bull DAVID LASOCKI bull BOB MARVIN
THOMAS PRESCOTT bull CATHERINE TUROCYbull KENNETH WOLLITZ
WWWAMERICANRECORDERORG
COPYRIGHTcopy2009 AMERICAN RECORDER SOCIETY INC
Features
Suite Thoughts of Sitka 9Judith Linsenberg recounts how her life changedwhile being the Sitka recorder resident
Summer Workshop Summer-y 12The annual roundup of summer workshopsincluding some earlier and some later
Departments
Advertiser Index and Classified 40
AR50 Avoiding Aches and Pains 23Dr Leacuteonie Jenkins gives advice for thosecontemplating a workshop experience
Chapters amp Consorts 32
Education 24Bart Spanhove tests our musical knowledge
Music Reviews 37
On the Cutting Edge 27Tim Broege puts the recorder into the perspectiveof the larger music world and the internet
Presidentrsquos Message 3Lisette Kielson on how to feed the passion
QampA 28Carolyn Peskin describes Renaissance fingering
Response 34More on music-reading glasses earplugs and Oskar
Tidings 4Mario Duschenes and John Updike die EarlyMusic America contest news Joe Lewnard wins Piffaro contest Matthias Maute teams up with Lincoln Center musicians
GLENNA LANG
DESIGN CONSULTANT
8
9
12
32
6 March 2009 American Recorder
AMERICAN
RECORDER
SOCIETYinc
Honorary PresidentErich Katz (1900-1973)
Honorary Vice PresidentWinifred Jaeger
Statement of PurposeThe mission of the American Recorder Society is
to promote the recorder and its music bydeveloping resources and standards to help
people of all ages and ability levels to play andstudy the recorder presenting the instrument to
new constituencies encouraging increased careeropportunities for professional recorder
performers and teachers and enabling andsupporting recorder playing as a shared social
experience Besides this journal ARS publishesa newsletter a personal study program a
directory and special musical editions Societymembers gather and play together at chapter
meetings weekend and summer workshops andmany ARS-sponsored events throughout
the year In 2009 the Society enters its eighth decade of service to its constituents
Board of DirectorsLisette Kielson PresidentLaura SanbornndashKuhlman
Vice President Fundraising ChairMarilyn Perlmutter Secretary
Scholarship ChairAnn Stickney Treasurer
Finance Chair Membership Co-ChairMatthew Ross Assistant Secretary
Membership Co-ChairBonnie Kelly Assistant Treasurer
Chapters amp Consort Chair SpecialEventsProfessional Outreach Co-Chair
Letitia Berlin Special EventsProfessional Outreach Co-Chair
Mark Davenport Education Co-ChairSusan Richter MariendashLouise Smith
Leslie Timmons Education Co-ChairMary Halverson Waldo Publications Chair
Nancy Weissman Counsel
StaffKathy Sherrick Administrative Director
1129 Ruth DriveSt Louis MO 63122-1019 US
800-491-9588 toll free314-966-4082 phone
314-966-4649 faxARSRecorderAmericanRecorderorg
wwwAmericanRecorderorg
In accordance with the Internal Revenue ServiceTaxpayer Bill of Rights 2 passed by the United States
Congress in 1996 the American Recorder Society makesfreely available through its office financial and
incorporation documents complying with that regulation
ALABAMA
Alabama Recorder Assoc JenniferGarthwaite (256-586-9003)
Birmingham Janice Williams (205-870-7443)
ARIZONA
Desert Pipes (Phoenix) Linda Rising (602-997-6464)
Arizona Central Highlands (Prescott) Georgeanne Hanna (928-775-5856)
Tucson Scott Mason (520-721-0846)
ARKANSAS
Aeolus Konsort Don Wold (501-666-2787)
Bella Vista Barbara McCoy (479-855-6477)
CALIFORNIA
Central Coast Margery Seid (805-474-8538)
East Bay Susan Jaffe (510-482-4993)
Inland Riverside Greg Taber (951-683-8744)
Monterey Bay LouAnn Hofman(831-439-0809)
North Coast Kathleen Kinkela-Love (707-822-8835)
Orange County Lois Sheppard(562-431-0454) amp Rayma Zack (949-624-3448)
Redding Kay Hettich (530-241-8107)
Sacramento Steve Sherman (916-489-2771) amp Robert Foster (916-391-7520)
San Diego County Harvey Winokur (619-334-1993)
San Francisco Dana Vinicoff (415-908-3258)
Sonoma County Dale Jewell (707-874-9524)
South Bay Liz Brownell (408-358-0878)
Southern California Jerry Cotts (310-453-6004) ampJuanita Davis (310-390-2378)
COLORADO
Boulder Mike Emptage(970-667-3929)
Colorado Springs Janet Howbert(719-632-6465)
Denver Dick Munz(303-286-7909)Fort Collins Roselyn Dailey(970-282-1097)
Early Music Society of Western CO Bev Jackson (970-257-1692)
CONNECTICUT
Connecticut Elise Jaeger (203-792-5606)
Eastern ConnecticutJoyce Goldberg (860-442-8490)
DISTRICT OF COLUMBIA
Washington Art Jacobson (301-983-1310)
DELAWARE
Brandywine Roger Matsumoto (302-731-1430)
FLORIDA
Ft Myers Recorder amp Early Music Ens Sue Groskreutz (239-247-3002)
Gainesville Peter Bushnell (352-376-4390)
LargoSt Petersburg Elizabeth Snedeker (727-596-7813)
Miami Zulema Garaffo(305-374-1879)
Palm Beach Beverly Lomer(954-592-2852)
Sarasota Margaret Boehm (941-761-1318)
GEORGIA
Atlanta Mickey Gillmor (404-872-3210)
HAWAII
Hawaii Irene Sakimoto (808-734-5909)
Big Island Roger Baldwin (808-935-2306)
ILLINOIS
Chicago Mark Dawson (773-334-6376)
Chicago-West Suburban Laura SanbornndashKuhlman(630-462-5427)
LOUISIANA
Baton Rouge Cody Sibley (225-505-0633) ampJohn Waite (225-925-0502)
New Orleans Victoria Blanchard (504-861-4289) amp David Kemp (504-897-6162)
MARYLAND
Northern Maryland Richard Spittel (410-242-3395)
MASSACHUSETTS
Boston Laura Conrad (617-661-8097)
RecordersEarly Music Metro-West Boston Sheila Beardslee (978-264-0584)
Worcester Hills Doug Bittner (508-852-6877)
MICHIGAN
Ann Arbor Annabel Griffiths (734-213-3172)
Kalamazoo Charles Vreeland (269-342-8069)
Metropolitan Detroit Claudia Novitzsky (248-548-5668)
Northwinds Recorder SocietyJanet Smith (231-347-1056)
Western Michigan Jocelyn Shaw( 231-744-8248)
MINNESOTA
Twin Cities Barbara Aslakson (952-545-3178)
MISSOURI
St Louis Kathy Sherrick (314-822-2594)
NEVADA
Sierra Early Music Society Kay Judson (775-322-3990)
NEW HAMPSHIRE
Monadnock Kristine Schramel (413-648-9916)amp Lynn Herzog (802-254-1223)
NEW JERSEY
Bergen County Mary Comins (201-489-5695)
Highland Park Donna Messer (732-828-7421)
Navesink Lori Goldschmidt (732-922-2750)
Princeton Louise Witonsky (609-924-2752)
NEW MEXICO
Albuquerque Bryan Bingham (505-299-0052)
Las Vegas (Flat amp Baroque in Las Vegas) Tom Curtis (505-454-4232)
Rio Grande Sylvia Burke (575-522-1742)
Santa Fe Jane Thomson (505-986-0753)
NEW YORK
Buffalo Jean Ericson (716-839-3942)
Hudson Mohawk Darleen Koreman (518-482-6023)
Long Island Barbara Zotz (631-421-0039)
New York City Gene Murrow (646-342-8145)
Rochester Liz Seely (585-473-1463) Rockland Jacqueline Mirando (845-624-2150)
Westchester Erica Babad (914-769-5236)
NORTH CAROLINA
Carolina MountainsCarol Markey (828-884-4304)
Triangle Mary McKinney (919-489-2292)
OHIO
Greater Cleveland Edith Yerger (440-826-0716)
Toledo Marilyn Perlmutter (419-531-6259)
OREGON
Eugene Lynne Coates (541-345-5235)
Oregon Coast Corlu Collier (541-265-5910)
Portland Zoeuml Tokar (971-325-1060)
PENNSYLVANIA
Bloomsburg Early Music EnsSusan Brook (570-784-8363)
Philadelphia Vincent Hurtubise (215-438-6409)
Pittsburgh Helen Thornton (412-781-6321)
RHODE ISLAND
Rhode Island David Bojar (401-944-3395)
TENNESSEE
Greater Knoxville Ann Stierli (865-637-6179)
Nashville Janet Epstein (615-297-2546)
TEXAS
Austin Marianne Weiss Kim (512-795-9869)
Dallas Jack Waller (972-669-1209)
Rio Grande Sylvia Burke (575-522-1742)
UTAH
Utah Recorder Society (Salt Lake) Mary Johnson (801-272-9015)
VERMONT
Monadnock Kristine Schramel (413-648-9916) amp Lynn Herzog (802-254-1223)
VIRGINIA
Northern Virginia Edward Friedler (703-425-1324)
Shenandoah (Charlottesville) Gary Porter (434-284-2995)
Tidewater (Williamsburg) Vicki H Hall (757-565-2773)
WASHINGTON
Moss Bay Ralph Lusher (425-275-6777)
Seattle Carolyn Wallace (206-782-6898)
WISCONSIN
Milwaukee Carole Goodfellow (262-763-8992)Southern Wisconsin Marilyn Oberst (608-836-0269)
CANADA
Montreacuteal Mary McCutcheon(514-271-6650)
Toronto Sharon Geens (416-699-0517)
Please contact the ARS officeto update chapter listings
ARS Chapters
In July 2005 before I was on theBoard I attended the very first
ARS Festival that year held at RegisUniversity in Denver CO I decidedto go at the last minute (no earlyregistration discount for me) Ithought take advantage of this greatopportunity to change rolesmdashpartici-pate as a student instead of as facultyWhat a wonderful experience it wasmdashto observe join sessions and absorb all the warmth humor and knowledgethat was presented to me I recon-nected with some and met many whowill remain good friends and respectedcolleagues throughout my life
As I recall the 2005 ARS FestivalI remember my introduction to theARS by one of my first teachersRoberta Sweet My passion lay inmaking music and she fed thatpassion lovingly and consistentlymdashone quality I believe necessary forremarkable teaching As a professionalmusician (and lifelong student ofmusic and life) I now succumb to amore sophisticated hunger thatinvolves more than just my teachingand performingmdashan appetite that nowincludes what other professionals are
saying about the recorder theirthoughts on teaching and theirapproaches to ensemble direction andperforming
This Presidentrsquos Messageprovides me with a chance not only toreflect but also to advertise This is theMarch issuemdashthe issue traditionallylisting all the summer festivals andworkshops I mentioned it in the lastissue and you have certainly read and
heard about it but it is here that Iwould like to formally invite you to our second ARS Festival and
Conference held July 30-August 2
at the University of MissourimdashSt Louis (For details go towwwAmericanRecorderorg)
The ARS Festival and
Conference will be a very specialevent honoring all aspects of therecorder an opportunity to cometogether to share ideas and play ourbeloved instrument a chance to hearlive performances from the best-of-the-best and a recognition of thosewho have been an integral part of theARS and of those who will carry itforward into the future
This is not an annual event It hasbeen years in the making Whetherpresenter performer student of everyage and level exhibitor vendoreducator auditor amateurprofessionalmdashwe are in this togetherAll are welcome (And donrsquot forgetabout the early registration discount)
I now succumb to
a more sophisticated
hunger that involves
more than just my
teaching and performing
mdashan appetite that
now includes what
other professionals
are saying about
the recorder
Presidentrsquos
Message___________________________________Greetings from Lisette Kielson ARS President
LKielsonLEnsemblePortiquecom
wwwAmericanRecorderorg March 2009 7
SWEETHEARTFLUTE CO
Baroque Flutes our ownldquoSweetheartrdquo modelFifes Flageolettes
ldquoIrishrdquo Flutes amp WhistlesSend for brochure andor
antique flute list
32 South Maple StreetEnfield CT 06082(860) 749-4494
Ralphsweetaolcomwwwsweetheartflutecom
Flutist recorderist conductor andteacher Mario Duschenes (1923-2009) died peacefully in MontrealQC Canada on January 31
Born in Hamburg Germany heescaped into Switzerland before WorldWar II His early musical studiesfocused on recorder solfegravege and pianoHe then turned to the flute firststudying with his father and brothersthen in 1943 entering the GenevaConservatory In 1947 he completedhis training and won an award at the1947 International Competition forMusical Performers in Geneva
After touring Europe as soloistwith the Ars Antiqua Ensemble heemigrated to Canada in 1948
A new recorder worldmdashin partic-ular Montrealrsquos mdashwas enlivened inthe 1950s by the youthful recorderistand flutist from Europe who taughtpublished a method book (used bythousands around the world and stillavailable) and arranged for recorderensembles He made over 30 record-ings including several of flute andrecorder duets with his friend well-known flutist Jean-Pierre Rampal
With his wife Ellyn who was aresearcher and child psychologist hebrought musicians into schools andconducted youth concerts An expertin the Orff-Schulwerk teaching
method he became a member of theCarl Orff Canada advisory board in1974 His efforts in music educationwere lauded by Jamie Portman in The(Montreacuteal) Gazette writing in 1978that Duschenes ldquois probably doingmore for the image of young peoplersquosconcerts than anyone else in Canadardquo
In 1953 he was co-founder of theCAMMAC Music Centre where hetaught for many years Duschenes alsotaught at McGill University (1954-70) and at the University of Montreacuteal(1970-73) He was president in1983-85 of Jeunesses musicales du Canada
Duschenes was recognized as aleading conductor and stood beforeevery major orchestra in CanadaAmong numerous awards he receivedtwo honorary doctorates (from Con-cordia University Montreacuteal andMemorial University St Johnrsquos New-foundland) and in 1985 was made anOfficer of the Order of Canada
Duschenes wrote a number ofwidely-distributed works publishedby BMI Canada and later byBerandolmdashnotably his Method for theRecorder I (1957) and II (1962) forsoprano or alto (in French Meacutethode deflucircte agrave bec I 1962 and II 1968) SchoolRecorder Method (1957) for sopranoand alto together (in French La Flucircteagrave bec agrave lrsquoeacutecole 1973) and Studies inRecorder Playing (1960) He edited orwrote easy duos and trios studies foralto recorder and arrangements ofRenaissance and Baroque works ofBach and of Leopold Mozart
He is survived by his brotherRolf five children and 12 grandchil-dren his wife of 42 years Ellyn(1929-1994) preceded him in deathDonations in his memory may be
made to Phare - Enfants et Familleswwwphare-lighthousecom andMaison Emmanuel wwwmaison
emmanuelorgPulitzer Prize-winning novelist
John Updike (1932-2009) also diedin January of lung cancer at age 76Among his many literary efforts thatinclude the Rabbit quartet he wrote forThe New Yorker for which he contrib-uted a 1988 short story entitled ldquoTheMan Who Became a Sopranordquo Thiswas later reprinted in The Afterlife andOther Stories (Knopf 1994 amp FawcettCrest New York 1995)mdashand the titledoes refer to a soprano recorder Inthat story he led the reader throughvarious personality conflicts in aweekly recorder group that metsomewhere in the East In otherwritings Updike used classical musicto imply a level of sophistication in hischaracters such as Terry Gallagherplaying Greensleeves on recorder in his fifth novel Couples (1968)
Updike was himself knowledge-able about music reviewing classicalmusic concerts in Castle Hill MAfrom 1961-65 He had moved toIpswich near Boston after he left hisjob at The New Yorker feeling after 20months that the city was distractinghim and sometimes stifling his creativ-ity (though he kept his ties to The NewYorker and continued to send thempieces) He and his family enteredenthusiastically into small-town lifeUpdike wrote and performed in anhistorical pageant and he and his wifewere members of a recorder group
Updike commented in 2003ldquoThe real America seemed to me lsquoout therersquo Out there was where Ibelongedrdquo
Tidings___________________________________Mario Duschenes and John Updike die
Joe Lewnard wins young recorder player contest
8 March 2009 American Recorder
Passing Notes
The Recorder Magazine
we invite you to visit the sitewwwrecordermaildemoncouk
Recent Performances of Note
in New York CityLast November at the Chapel of theGeneral Theological Seminary inNew York City NY Chelsea Winds
Recorder Ensemble (Lucinda andBarrie Mosher Gregory EatonDavid Hurd and this author) offeredan all-Bach program It started withthe Ricercare a3 from the MusicalOffering transposed up a step to D minor and continued through 10 contrapuncti from Art of the Fugue
The final days of 2008 held somefine recorder playing RecorderistMatthias Maute joined 16 membersof the prestigious Chamber Music
Society of Lincoln Center in aprogram titled ldquoBaroque Collectionthe Beautiful and the Bizarrerdquo Theperformance included sonatas con-certos programmatic pieces and ariasby Pachelbel Muffat TelemannBiber Vivaldi and Handel Mautecontributed his graceful and fluidplaying to the Telemann Concerto in A Minor for alto recorder two violinsand basso continuo and also to theVivaldi Concerto in G Minor forrecorder oboe bassoon violin andcontinuo (R107)
The concert was presented in thelarge Rose Theater at the LincolnCenter Jazz Center on December 19and 21 If there were ever any doubtMaute made it very clear that therecorder could hold its own in thecompany of ldquomodernrdquo instrumentseven in a large concert space
Given as part of St Bartrsquos middaymidtown concert series a concert ofmore Telemann held very nice playingfrom Deborah Booth on December17 In addition to soprano and altorecorders Booth played Baroqueflute I particularly liked her renditionof the Telemann Partita in C Minor forsoprano recorder and continuo andthe alto recorder obbligato to the arialdquoEin stetes Zagenrdquo from Telemannrsquoscantata for Advent ldquoLauter Wonnerdquo
At the end of the liturgical seasonof Christmas the ensemble at theHoly Trinity Lutheran ChurchVespers series presented JS BachrsquosCantata No 152 ldquoTritt auf dieGlaubensbahnrdquo for the first Sundayafter Christmas (December 28) Thearia ldquoStein der uumlber alle Schaumltzerdquo
with its recorder obbligato played byLarry Zukof was lovely
Chelsea Winds had an interest-ing experience when we were invitedto play a short program for a UnitedNations conference on cooperationbetween the UN and the worldrsquosreligions (December 16) LabouisseHall where the concert was held wasfull of people very many in exoticattire I confess I was dismayed at thissight because I feared our program ofcontrapuncti from Bachrsquos Art of theFugue would make no sense to themany non-Westerners brought up inother music cultures
I need not have feared Themusic was enthusiastically receivedBachrsquos music really is universal
Anita Randolfi
wwwAmericanRecorderorg March 2009 9
Mary Halverson Waldo was a Suzuki teacher trainer for the
January Festival Suzuki in Lima Peruacute Pictured are the
Huancavelicanos who attended the festival from the city of
Huancavelica in the most poverty-stricken region of Peruacute
Padre William Lopez (center front) is the school master and
recorder teacher (being an excellent recorder player him-
self) They were extremely grateful to Corinne Newbegin
(OR) and Jane Harper (MN) who donated SATB recorders
in excellent condition for two vibrant Suzuki programs in
Colombia and Peruacute
If there were ever any
doubt Maute made it
very clear that the
recorder could hold its
own in the company of
ldquomodernrdquo instruments
10 March 2009 American Recorder
Awards and HonorsMusic educator and recorderistDeborah Greenblatt and DavidSeay of ldquoThe Old Schoolhouserdquo inAvoca NE were featured in theNovember 2008 International Musi-cian the official journal of the Ameri-can Federation of Musicians of theUS and Canada They have playedand sung folk music together for morethan 30 years The duo has publishedbooks for a variety of instruments fromrsquocello to tin whistle Among the latestare Barn Dance Fiddle Tunes for Two andSinging Cowboy Fiddling Tunes for TwoVisit wwwgreenblattandseaycom
for informationThe 2009 Borletti-Buitoni Trust
(BBT) Awards acknowledge thatsome instruments present a challengefor talented and ambitious youngclassical musicians striving for a solocareer Recorder player Eric Bosgraaf
(below) and harpsichordist Mahan
Esfahani are among those selected toreceive BBT financial assistance aswell as advice in such areas as publicrelations auditions and finding agents
BBT Award winner Bosgraaf ofThe Netherlands is hailed as one ofthe most gifted and versatile recorderplayers of his generationCurrent plansinclude solo performances with theDallas (TX) Symphony Orchestra andthe Dutch Radio Chamber Philhar-monic His deacutebut recording a three-CD set of music by Jacob van Eyckwas No 1 on the 2007 Dutch classical
music charts (see the CD review in theSeptember 2007 AR and an interviewwith Bosgraaf in the May 2008 ARsee also wwwerikbosgraafcom)
Iranian-born Esfahani who hasappeared in ensemble performancesreviewed in AR was a BBT Fellowshipwinner He makes his Wigmore Halldeacutebut in London as soloist with TheEnglish Concert this month
Two BBT awards of pound20000 eachand six fellowships of pound10000 eachwere given by the Trustrsquos artistic com-mitteemdashFranco Buitoni Adam Gate-house Martijn Sanders and MitsukoUchida See wwwbbtrustcom formore on the foundation and its policiesplus news video and audio of BBTmusicians (now 45 individuals and 14 ensembles from 22 countries)
Early Music America NewsEMA with support from a privatedonor will sponsor its third Medieval
Renaissance Performance Compe-
tition in 2009 The winner receives acash prize (the Unicorn Prize) and isguaranteed three concert performancessponsored by EMA and presenters inPittsburgh PA Milwaukee WI andSeattle WA The contestrsquos goal is to encourage the development ofemerging artists in the performance of Medieval and Renaissance music
Applicants must be ensembleswith at least two performers of age 39or younger who have not performedtogether for more than five years(ldquoemerging artistsrdquo) Repertoire islimited to the period of roughly 800-1550 AD performed on voice(s)andor period instrument(s) and in astyle that is historically informed The competition is open to members
(individual or organizational) of EMAwho reside in the US or Canada
Applications are due April 30Finalists will be selected by June 30and will receive hour-long coachingsessions with an early music artist and present live 20- to 30-minuteperformances in New York City NYin October
For application requirements visitwwwearlymusicorg
EMA has also announced twoearly music ensembles receiving its2008-09 Collegium Musicum
Grant Sacabuche at IndianaUniversityrsquos Early Music Institutedirected by Linda Pearse and theUNT Baroque Orchestra and
Collegium Singers from theUniversity of North Texas under thedirection of Lyle Nordstrom
Sacabuche performs vocal musicwith sackbuts and organ
UNT has one of the largest andmost active collegium programs inNorth America The most prestigiousensembles there are the 30-piece UNTBaroque Orchestra and 26-voiceCollegium Singers whose membersregularly perform at the Boston EarlyMusic Festival (BEMF)
Nordstrom the director of theseensembles was co-director with PaulOrsquoDette of The Musicians of SwanneAlley and was the founder and artisticdirector of the Atlanta (GA) BaroqueOrchestra He received EMArsquosThomas Binkley Award in 2000 for his work with collegiate ensembles atOakland University and Clayton State College
EMA Collegium MusicumGrants provide $1000 toward the costof bringing a college or universitystudent early music ensemble toperform in a BEMF fringe concert(odd-numbered years) or at the Berke-ley (CA) Festival (even-numberedyears) The two winners will performduring BEMF June 7-14
The Power of LoveJ U N E 6 - 1 4 2 0 0 9
featuring Claudio Monteverdirsquos sublime final opera
June 6 7 9 10 12 and 14 2009Stanford Calderwood Pavilion at the
Boston Center for the Arts
June 19 20 21 22 2009Mahaiwe Performing Arts Center
in Great Barrington MALrsquoincoronazione di Poppea replaces the previously announced operatic centerpiece Antiochus und Stratonica by Christoph Graupner
Tickets are on sale now at WWWBEMFORG and 617-868-BEMF
RECORDER EVENTS AT THE 2009 BOSTON EARLY MUSIC FESTIVAL
Join us for our weeklong extravaganza of early music with concerts by the worldrsquos leading early music soloists and ensembles including Stile Antico Trio Hantaiuml Ricercar Consort
Pieter Wispelwey rsquocello and Kristian Bezuidenhout fortepiano the BEMF Chamber Operapresentation of John Blowrsquos Venus and Adonis and Marc-Antoine Charpentierrsquos Acteacuteon
Flanders Recorder QuartetSunday June 14 at 1230pm
Paul Leenhouts Renaissance recorder
andGabe Shuford harpsichord amp organ
Wednesday June 10 at 11pm
Recorder Masterclass with Paul LeenhoutsThursday June 11 at 2pm
Visit WWWBEMFORG for a complete schedule of eventsregistration materials for the world-famous BEMF Exhibition Fringe Concerts
and Masterclasses and much more
Joe Lewnard winsPiffarorsquos Second Competition for Young RecorderPlayers
By Joan Kimball wwwpiffarocom
Piffarorsquos second competition for youngrecorder players ages 12 to18 washeld on January 10 at the SettlementMusic School in Philadelphia PAFive finalists chosen on the basis oftapes that they submitted in Novemberperformed before a small but enthu-siastic and supportive audience
A smattering of snow and ice keptaway some people who otherwisewould have attended Ironically the finalists had no trouble reachingPhiladelphia from distant snow capitalsof the USmdash Denver COMinneapolis MN and Chicago IL
Unique in this country as far asanyone knows this competition wasestablished in 2007 to pique theinterest of young recorder players andto encourage them to investigate therepertoire of the 15th century into theearly 17th century on recorders as wellas other early wind instruments Whilethese young players tend to focus on
18th-century and contemporary musicPiffaro hopes to convey to them theimportance of playingmdashand alsounderstanding the underlyingperformance practice issues ofmdashearlier repertoire
Joe Lewnard (at right withPiffarorsquos Joan Kimball) an 18-year-oldhigh school senior from the Chicagoarea was chosen as the winner byjudges Nina Stern from New YorkCity NY and Elissa Berardi ofPhiladelphia He has played recorderfor a number of yearsmdashstudying withAldo Abreu among othersmdashand hasattended the virtuoso program at theAmherst Early Music Workshop Alsoa trumpet player he has expressedinterest in taking up the cornettocombining his facile fingers with hisbrass embouchure
In recent months Lewnard hasbeen preparing repertoire for collegeand conservatory auditions and willapply to several schools His selectionsfor the competition were the unaccom-panied Ricercata prima by GiovanniBassano and two movements from asuite by Pierre Philidor
The other four finalists also playedwith poise and distinction in variedrepertoire (Renaissance to contem-porary) that showed their abilitiesThey were Ariel Branz (age 16) from
Boulder CO a student of LindaLunbeck Bryan Duerfeldt (15) fromMinneapolis a student of MaryHalverson Waldo Amy Pikler (16)from Chicago who studies withPatrick OrsquoMalley and Olivia Sohlen
(16) also from Minneapolis and astudent of Cleacutea Galhano
On March 7 Lewnard willappear again in Philadelphia pairedwith the competitionrsquos previous winnerAlexa Raine-Wright in a recital Thetwo young virtuosi (both of whom havewon ARS workshop scholarships) willperform a variety of 16th- 17th- and18th-century solos and duetsaccompanied by harpsichordistMarcia Kravis In addition Piffaromembers Joan Kimball Priscilla
Smith and Bob Wiemken will jointhem for a set of 16th-century workson Renaissance recorders
With two competitions success-fully completed Piffaro plans to holdanother one in two years and hopesthat young recorder players will start toprepare now Wersquod love to see moreyoung virtuosi coming our way
12 March 2009 American Recorder
Early Music America Magazine is the quarterlypublication for the Early Music Community inNorth America Professionals Students andAudience members
Articles on performance practice trends in thefield recording reviews and a new book reviewsdepartment
Call 888-722-5288 or email infoearlymusicorgfor a FREE sample issue
Last spring I had the honor andgood fortune to spend five weeks
at the Sitka Center for Art andEcology on the central Oregon coastas the recorder resident The recorderresidency is sponsored by the OregonCoast Recorder Societymdasha wonderfulgroup of people I had the chance tomeet and teach and to make musicwith while I was there Myparticipation was made possible inpart by a professional grant from theARS and also by the kind generosityof some of my loyal long-termstudents
The project I worked on while atSitka was an intensive study of Bachrsquossolo string musicmdashprimarily the rsquocellosuites and some of the violin partitasmdashwith the aim of preparing my own arrangements of them for aneventual recording
Although Irsquod been told before Iwent that Sitka was incredibly beautifuland a wonderful place to be Iapproached the residency with sometrepidation I wasnrsquot quite able toimagine it and wondered how I wouldsurvive so many weeks by myself in aremote location seven miles from thenearest townmdashand where Irsquod heardmost cell phones did not work (panic)When I arrived on April 9 I was metwith typical Oregon coast weather forthat time of the year (and many timesof the year) chilly temperatures andrain And Irsquod left sunny California for five weeks of this
I lived in what is called the TreeHousemdasha charming one-roomwooden cabin with a sleeping loft and a wood-burning stove insidemdashenveloped outside by a couple of giantSitka spruce trees After many failedattempts over several days one of myproudest accomplishments was finally
learning how to quickly and reliablybuild a fire in my wood stove My nextproudest accomplishment was learningthat one should not put wet logs on the top of the stove to dry This Idiscovered after setting off the smokealarm bringing the entire Sitka staffrunning to my aidmdashonly to find meoblivious up in the loft
It took me a week or so to getadjusted to my new life I wasnrsquot usedto being alonemdashwithout my dog farfrom civilizationmdashand with expansesof free time and no actual responsibil-ities I spent some of that time explor-ing the surrounding areas takingwalks down to the estuary throughforested woods and climbing to thetop of Cascade Head There I was metwith awe-inspiring views of the PacificOcean the coastline the mountainsand the estuary far below I soondiscovered that this was part of thetotal Sitka experience
After my first incredible climb tothe top of Cascade Head I began torelish the quiet peace and time alonethat Sitka afforded memdashsomething Inever imagined Irsquod feel given mygenerally extroverted nature Inaddition to reading writing andmeditating I was inspired to dive into
Linsenberg
on the
deck of
the Tree
House
wwwAmericanRecorderorg March 2009 13
By Judith Linsenberg
The author is founder and director ofthe Baroque ensemble Musica Pacificawhose performances and eight recordingson the Virgin Classics and Dorian labels
have received international acclaim She has performed throughout the US
and Europe including solo appearances atthe Hollywood Bowl and Lincoln Center
and has been featured with such leadingAmerican ensembles as the San Francisco
Symphony the San Francisco and LosAngeles Operas Philharmonia Baroque
American Bach Soloists and others
Her recording of the Bach organ trioswas sponsored in part by an
ARS Professional Grant The ARS CD Club carries some of her recordings
A Fulbright scholar to Austria shewas awarded the Soloist Diploma with
Highest Honors from the Vienna Academyof Music She is a summa cum laude
graduate of Princeton University holds anearly music doctorate from Stanford Uni-
versity and has been a visiting professor atthe Vienna Conservatory and Indiana
Universityrsquos Early Music Institute Visit wwwmusicapacificaorg
for more information
Suite Thoughts of Sitka
14 March 2009 American Recorder
my musical projects with renewed energy and enthusiasmI had the time not only to practice the Bach suites butalso to really study them in depthmdashanalyzing themlistening to and comparing different recordings andworking on my transcriptions of them Although it wasnrsquotpart of my original intention I now have a plan to publishmy arrangements of these pieces so theyrsquoll be available forothers to perform (While Frans Bruumlggen published hisarrangement of the first three suites in the 1970s to myknowledge there is only one other recorder editioncurrently available whose approach is quite different from mine)
I wasnrsquot however living in total isolation while at SitkaThere were artist residents of other media as well Kim awriter from New York state John and Robin a marriedcouple who were ceramicists from Washington state andtheir three daughters and Claudia an installation- andperformance-artist We became a community socializingwhen we werenrsquot working (and sometimes even when wewere) going on excursions to see the glorious naturalwonders of the Oregon coast having dinners together inour various residences and talking about our work
The setting provided the perfect atmosphere for theexchange of ideas and we began to collaborate on mutualprojects sometimes in unexpected ways Robin startedmaking ocarinas and I worked with her to design and tunethem While I immersed myself in Bachrsquos solo music flutesand musical themes began to appear in the images shepainted on her ceramic pieces Often after wersquod hung outtogether in the evening depictions of the stories I told herwould show up in her paintings over the next few daysFanciful illustrations of me playing to my dog Jake evenmade several appearances in her work (The photos aboveshow the ocarina she made for me)
Toward the end of my stay I also began collaboratingwith Claudia the installation artist Her work was creatinginstallations out of plastic bags fastened together to formdifferent naturalistic shapes which she then set up invarious locations around the Sitka campus and nearby
areas Together we created a performance piece that wepresented at the Open House at the end of our residenciesI provided music to accompany a performance that tookplace within her installation We worked together on usingthe music to express the various ideas in the installation andperformance and using the performance to express themusic in a visual way
Bachrsquos music can be very evocative and I chosemovements from the Bach suites that suggested the variousparts of the narrative she performed part of a slow preludeto depict nascent creatures emerging in a forest a C-majorbourree while they are coming to life a C-minor onesuggesting turmoil a fast 16th-note passage representingflight as they grow wings and fly and finally a wistfulsarabande as they gradually die away and disappear As in a ballet each medium enhanced the other and the wholebecame more than the sum of its parts illuminatingdifferent aspects of each and creating a more profoundeffect than either might have independently
During the Sitka open house Linsenberg plays
in an installation of plastic bag ldquocreaturesrdquo
There were other opportunitiesfor me to present the music I wasworking on Around the midpoint ofmy stay there I performed in a concertmarking the start of the annual Windsand Waves weekend workshop Iplayed one of my Bach suites thoughit was still a work in progress
The next day about 45 recorderplayers descended upon our quiet littleenclave turning it into a hubbub ofactivitymdashquite a change from the low-key atmosphere of the prior severalweeks Once I got over the initialculture shock of the influx of so manypeople I thoroughly enjoyed meetingand working with all of them A class I offered on the Bach suites enabledme to share some of the work Id beendoing conversely I got input from thestudents I taught that made me thinkdifferently about the piecesmdashforexample what about playing them on a subcontrabass recorder
Shortly after the workshop theSitka residents held a communityoutreach day at which we each demon-strated our work to children from anearby school I had been working onsome contemporary pieces withnaturalistic themes (fitting for thesetting) and this event gave me theopportunity to play some of them forthe kids They were fascinated by theextended techniques used to imitatebirds and other animals and of courseVan Eyckrsquos ldquoEngels Nachtegaeltjerdquowas a hit with them as well
As hard as it was for me to getused to Sitka and the residency at thebeginning of my stay it was evenharder to leave My departure datecame too soon Irsquod had time to finishtranscriptions of only three of thesuites
Saying good-bye to all the friendsIrsquod made theremdashthe other artists aswell as the recorder players Irsquod metmdashwas hard enough but leaving the
beauty of the place and the peace Irsquodfound there saddened me greatly
Sitka had changed me and ittransformed my relationship to themusic I played as well My experienceallowed me to tap into a deep placeinside myself in a way that I never hadbefore something I was then able tocommunicate through the music I wasplaying Bachrsquos music turned out to bethe perfect vehicle because it expressesin sound the same grandeur spiritu-ality and universalitymdashas anyone whohas heard a live performance of the B-minor mass can attestmdashas does theview from the top of Cascade Head
Since the conclusion of myresidency I have given severalperformances of the rsquocello suitesincluding some lecture-recitals onthem and on my arrangements moreare planned Irsquove begun working withstudents of instruments other than therecorder who are studying the rsquocellosuites And I continue to work on myarrangementsmdashalas five weeks wasjust not long enough to learn andadapt all six suites although I do plan to publish them in the future
My work at Sitka also inspired meto pick up a project I started over 10years ago but never brought tofruition preparing my arrangementsfor recorder violin and continuo of thesix Bach organ trios (that I recorded in1992) to be published soon by PRBProductions And I have no doubt thatthe Sitka experience will continue towork on me in ways Irsquom not evenconsciously aware of at this time
I would like to give my deep and heartfelt thanks to the followingindividuals and organizations to the
Sitka Center for making my stay there sowonderful and to its founders Jane andFrank Boyden who had the vision tocreate this magical place to the members ofthe Oregon Coast Recorder Society fortheir generosity in creating and sponsoringthe recorder residency to the ARS for its financial support and to my wonderfulstudents who made it possible for me toparticipate in this life-changing experience(you know who you are)
wwwAmericanRecorderorg March 2009 15
Lost in Time Press
New works andarrangementsfor recorder ensemble
Compositions byFrances BlakerPaul AshfordHendrik de Regtand others
InquiriesCorlu CollierPMB 3092226 N Coast HwyNewport Oregon 97365wwwlostintimepresscomcorluactionnetnet
Sitka had changed meand it transformed my relationship to the music I played as well
MARIN HEADLANDS
RECORDER WORKSHOP
Point Bonita YMCA near San Francisco CA
May 15-17
With each coming tide of that mightymetronome the Pacific Ocean and withspring peeping soon our MarinHeadlands Recorder Workshop 2009perched at the edge of the ocean andembraced in greenery gets nearer Againthis workshop will swell with harmoniesof recorders viols and perhaps apsaltery or drum Intermediate andadvanced players are warmly invited tojoin members of the sponsoring EastBay Chapter of the ARS a SFEMSaffiliate at this annual musical event
Music-making begins on Friday andcontinues through Sunday afternoon
including also one- and two-day options
This yearrsquos faculty includes a wonderfulmix of familiar and new faces DavidBarnett Tom Bickley Louise CarslakeRobert Dawson Lisa DykemanFrances Feldon Judith LinsenbergPeter Maund Fred Palmer and Glen Shannon
Music offerings will range from easilyplayable to challenging from delightfulPurcell and Renaissance music to jazzto works by a (very) living composer(led by the chap himself) Check theEBRS web site for updates
The workshop is held at the PointBonita YMCA one of very few publicfacilities on this largely undevelopedarea of California coast Set in a meadowwith short walks to Pacific Ocean vistasthe historic Point Bonita Lighthouseand remnants of WWII fortifications
it is a place to get away recharge andmeet new friends or re-connect withold The accommodations includedormitory-style rooms a large diningarea and playing spaces all on one levelRooms are also available for impromptuplaying sessions
Contact Anna Lisa Kronman
37 Meadow View Rd Orinda CA
94563 925-258-9442
annalisakronmangmailcom
symbolicsolutionscomebrs
BLOOMINGTON EARLY
MUSIC FESTIVAL
Bloomington INMay 15-25
Performances of Medieval RenaissanceBaroque and Classical music as well aseducational programs for concertgoersamateur performers and childrenPlease see BLEMForg for details
Contact Carol Huffman
PO Box 734 Bloomington
IN 47402 812-824-2412
specsorffyahoocom blemforg
WHITEWATER EARLY
MUSIC FESTIVAL (ARS)
University of Wisconsin Whitewater WI
June 5-7Directors Nancy Chabala Carol Stanger Pam Wiese
Our workshop is held on campus at theUniversity of WisconsinndashWhitewaterabout 60 miles SW of MilwaukeeClasses include focus and specialty areainstruction for all levels of recorderplaying as well as beginningmdashconsortviola da gamba wind band voicerecorder orchestra and mixed consort A variety of special interest classes onFriday evening and Saturday eveningparticipant gathering led by LouiseAustin The various classes include
16 March 2009 American Recorder
Summer Workshop Summer-y
The Madison Early Music Festival presents
Telescopic Vistas MEMF X and Music of the SpheresCelebrating the International Year of Astronomy
July 11-18 2009
Guest Artists amp Ensembles Faculty Recorder Artists Quicksilver with Marion Verbruggen Joan Kimball Piffaro The Renaissance Band Priscilla Smith The Newberry Consort Marion Verbruggen Venere Lute Quartet Robert Wiemken
Explore music from the days of Galileo and Kepler Celebrate the influence of astronomy on society arts and culture
in the 15th through 17th centuries
Our tenth anniversary festival features a seven-concert series and a week-long workshop with classes and ensembles for participants of all levels
For more information please call (608) 263-6670 or visit wwwmemfdcswiscedu
music from Medieval to modern
Several musicinstrument vendors onsite Dale Taylor will be on site forrepairs All ages are welcome as well as non-participants
Faculty includes Dale ArmentroutLouise Austin David Echelard CharlesFischer Shelley Gruskin LisetteKielson Laura Kuhlman PatrickOrsquoMalley Tulio Rondon KarenSnowberg Mary Halverson Waldo andTodd Wetherwax Brochures available
Contact Nancy Chabala
8609 45th St Lyons IL 60534-
1616 708-442-6053 (day)
630-789-6402 (fax)
nchabalamymailstationcom
(housingregistration)
thewiesessbcglobalnet (mailing
scholarships) cvstangeraolcom
(facultyfacilities)
INTERLOCHEN EARLY MUSIC
WORKSHOP
Interlochen Center for the Arts Interlochen MI
June 7-12 Director Mark Cudek
Make and enjoy Medieval andRenaissance music while learning new skills and techniques
Topics will include articulationornamentation improvisation andensemble arrangement in Medieval and
Renaissance music The workshopculminates with a participantperformance on period instruments such as recorders and other early windsviols lutes harpsichord and percussionVocalists are also welcome Participantswill supply their own instruments
Early registration is recommendedas space is limited
Contact Matthew Wiliford
Director ICCA PO Box 199
Interlochen MI 49643 231-
276-7441 231-276-5237 (fax)
collegeinterlochenorg
interlochenorgcollege
RENAISSANCE CHAMBER
MUSIC INSTITUTE
New England Conservatory of Music Boston MA
June 11-21
A unique opportunity for professionalmusicians and advanced students todiscover and explore one of the greatestrepertoires of Western music which iseminently suitable for all instruments
Players of modern and early instrumentsare encouraged to attend
Led by John Tyson director of theRenaissance music and dance ensembleRENAISSONICS who has performedand lectured worldwide including forthe Boston Symphony OrchestrarsquosTanglewood Institute
Introductory lectures will be followed byintense chamber music coaching in largeand small ensembles Concentration willbe on personal expression rhetoric andphrasing performance practice andornamentation The institute willculminate in a public performance at theNew England Conservatory of Music
Faculty John Tyson recorder LauraGulley violin Daniel Rowe rsquocello and guest artists
Contact Director of Summer
School New England
Conservatory of Music
290 Huntington Avenue Boston
MA 02115 617-585-1126
617-585-1135 (fax) newengland
conservatoryedusummer
wwwAmericanRecorderorg March 2009 17
Workshops carrying
ARS designation have
joined the ARS as
workshop members
Other shorter workshops
may be sponsored
periodically through the
year by ARS chapters and
are listed in the calendar
portion of each ARS
Newsletter as well as on
the ARS web site when
information becomes
available from presenters
Canto AntiguoWest Coast EarlyMusic and Dance
Featured Faculty
Beautiful CampusFully air-conditioned
For Information Call
800-358-6567
Early Music
WorkshopJuly 5-12 2009
Chapman UniversityOrange CA
Classes in
Baroque Music
Recorder Ensemble(all levels)
Vocal Ensemble
Renaissance Brassand Reeds
Viols
Collegium
Folk Dance
Thomas Axworthy
Mark DavenportRonald Glass
Janet Beazley
Carol LisekJim MaynardAlice Renken
wwwcantoantiguonet
18 March 2009 American Recorder
SUMMER TEXAS TOOT (ARS)
Concordia University Austin TXJune 14-20 Director Daniel Johnson
The Summer Texas Toot is a one-weekprogram of classes in Renaissance and Baroque music at all levels forrecorders viols singers plucked stringsRenaissance reeds and brass andharpsichord Our classes include anarray of small one-on-a-partRenaissance and Baroque ensemblesand larger mixed vocal and instrumentalgroups The size of the workshopenables us to create classes for all levelsof students from those of modest skills to advanced players and singers
Same Texas Toot hospitality andtraditionsmdashback in Austin but atConcordia Universityrsquos beautiful newcampus Classrooms dining and dormaccommodations are air-conditioned and easily walkable
Currently our featured faculty are Tish
Berlin (recorders) Tom Zajac (reedsand ensembles) Mary Springfels(viols) Becky Baxter (harp)mdashbut watchfor more faculty to be added soon
Contact Daniel Johnson
PO Box 4328 Austin TX 78765
512-371-0099 infotootorg
tootorg
SAN FRANCISCO EARLY MUSIC
SOCIETY BAROQUE MUSIC amp
DANCE WORKSHOP (ARS)
Sonoma State University Rohnert Park CA
June 14-20Directors Phebe Craig Kathleen Kraft Frances Blaker
A music-packed week of master classesconcerto evening coached ensemblesBaroque orchestra vocal and windensembles continuo classes concertsand lectures
Featuring recorder faculty FrancesBlaker and Cleacutea Galhano Other facultyChristine Brandes voice Phebe Craig
harpsichord Sand Dalton oboeKathleen Kraft flute Michael Sandviolin and orchestra Mary Springfelsviola da gamba Peter Sykesharpsichord Tanya Tomkins rsquocello
Contact Kathleen Kraft SFEMS
PO Box 10151 Berkeley CA
94709 707-874-2014
kkraftsonicnet sfemsorg
SAN FRANCISCO EARLY MUSIC
SOCIETY CHILDRENrsquoS MUSIC
DISCOVERY WORKSHOP (ARS)
Crowden Center for Music Berkeley CA
June 21-26 (day camp)Director Letitia Berlin
Early music and Renaissance socialhistory for youth ages 7-15 beginners to advanced students welcome Dailyschedule includes chamber musicmusicianship crafts costume-makingand games Friday night concert andtheater project presentation followed by potluck supper
Rebecca Ahrendt violJanet Beazley recorder
Tish Berlin re cord er co-direct orFrances Blaker recorder co-direct or
Vicki Bœckman recorderLouise Carslake recorder fl ute
Charles Coldwell recorder Rotem Gilbert recorder
Julie Jeff rey violShira Kammen viell e
Peter Maund per cus sionKim Pineda recorder
Ellen Seibert violPe ter Seibert recorder choir
Margriet Tindemans viol viell eBrent Wissick viol
Play early music in the spectacular Pacifi c Northwest Choose from classes in recorder viol fl ute and percussion Polish your skills andor take up a new instrument Sing and dance
Enjoy the faculty concert Take part in the student recital Make the most of your stay with a hike at nearby Mt Rainier or a visit to the Museum of Glass
For informat ion or to request a brochure call (206) 932-4623write to Port Townsend Early Music Workshop
1108frac12 Alki Ave SW Seattle WA 98116or vis it wwwseattle-recorderorg
July 12ndash18 2009
Port TownsendEarly Music Workshop
At the beautiful University of Puget Sound Tacoma WA
Tish Berlin amp Frances Blaker Co-Direct orsPresented by the Seattle Recorder Society
Please note that this is a day camp Out-of-town students may contact thedirector regarding accommodations withhost families Some financial aidavailable
Featuring recorder faculty Vida Bateauand Letitia Berlin Other facultyKatherine Heater dance ShiraKammen musicianship and theaterband Ron McKean harpsichord Carla Moore violin Farley Pearcersquocello and viola da gamba Allison Rollstheater project director
Contact Letitia Berlin SFEMS
PO Box 10151 Berkeley CA
94709 510-559-4670
tishberlinsbcglobalnet
sfemsorg
OBERLIN BAROQUE
PERFORMANCE INSTITUTE
Oberlin College Oberlin OHJune 21-July 5Directors Oberlin Baroque Ensemble (Cathy Meints Marilyn McDonald Michael Lynn Webb Wiggins) and artistic director Kenneth Slowik
Celebrating its 38th anniversary withMusic in London 1659ndash1759 thisinstitute offers instruction in Baroqueinstruments and voice Students of alllevelsmdashfrom beginning to Baroqueperformance to the professional levelmdashparticipate in master classes and coachedensembles with an international facultyof Baroque specialists Scholarships are available for qualified high schoolstudents
Contact Anna Hoffman
Conservatory of Music
77 West College St
Oberlin OH 44074
440-775-8044
440-775-8942 (fax)
ocbpioberlinedu
oberlineduconsummerbpi
WORLD FELLOWSHIP
EARLY MUSIC WEEK
Chocorua NHJune 25-July 2Directors Jane Hershey Larry Wallach
Faculty of eightmdashincluding JaneHershey Roy Sansom Pamela DellalJay Rosenberg Julian Cole AnneLegecircne Larry Wallach and JoshSholem-Schreibermdashin a beautifulWhite Mountain camp setting conducta week-long workshop in French earlymusic (late Medieval through Baroque)
Faculty and student concerts Englishcountry dancing special lecturesmorning and afternoon workshops inviols recorders voice mixed ensemblesSephardic music and Baroque chambermusic and classes in Feldenkrais bodywork
Camp facilities include hikingswimming boating camp gardenssupply kitchen with vegetables Very affordable rates
Contact Larry Wallach
69 Welcome St Great Barrington
MA 01230 413-528-7212 (day)
413-528-9065 (evening)
413-528-7365 (fax)
larrysimons-rockedu
worldfellowshiporg
INDIANAPOLIS EARLY
MUSIC FESTIVAL
Indianapolis INJune 26-July 19July 8-9 Mini Boxwood Workshop
The Indianapolis Early Music Festivalis the oldest continually running earlymusic concert series in the USPresented since 1967 our mission is toenrich educate and entertain audienceswith the music of Medieval Renais-sance Baroque and early Classical erasand feature exciting performers ofnational and international stature usinginstruments of the period and histori-cally informed styles and techniques
For 2009 we will present Reconstruction(June 26 ) Ex Umbris (June 27) ChrisNorman amp David Greenberg withRonn McFarlane amp Mark Cudek (July10) I Furiosi (July 12) HarmoniousBlacksmith (July 17) and the PeabodyConsort with Indiana Repertory Theatre(July 19) We also offer our secondannual Family Concert featuring thePeabody Consort on July 18mdash a freeconcert geared to young audiencemembers Several groups also offeroutreach events for younger (generallyhigh-school-aged) musicians and actors
In 2009 we also present a two-dayldquoMini Boxwoodrdquo workshop with Chris
wwwAmericanRecorderorg March 2009 19
Marin
Headlands
Recorder
Workshop
Norman (earlytraditional flutes andpipes) David Greenberg (Baroqueviolin and fiddle) and Ronn McFarlane(lute) on July 8-9
Contact emindyorg
SAN FRANCISCO EARLY MUSIC
SOCIETY MEDIEVAL amp
RENAISSANCE WORKSHOP (ARS)
Sonoma State University Rohnert Park CAJune 28-July 4Director Tom Zajac
Workshop theme Stories and LegendsOpen to singers and players of earlyinstruments (recorders violas da gambalutes shawms etc) Coaching by world-class specialists in Medieval and Renaissance music Classes forvoices recorders viols and alta capellavoice master class ensemble coachingstorytelling for musicians andstorytelling accompanimentRenaissance choir Medieval bandtheater project faculty and studentconcerts lectures and more
Scholarships as well as academic creditor continuing education credit areoffered Featuring recorder facultyFrances Blaker Annette Bauer DanStillman and Tom Zajac Other facultyPatrick Ball storytelling Celtic harpKaren Clark voice movement formusicians Julie Jeffrey gamba ShiraKammen Medieval strings music forstorytelling Drew Minter voice theaterproject Tim Rayborn Medieval stringspercussion music for storytelling Larry Rosenwald theater projectrhetorician in residence MarySpringfels gamba theater projectAnnette Bauer early notation DanStillman reeds alta capella ensembleTom Zajac sackbut Renaissance choir
Contact Tom Zajac SFEMS
PO Box 10151 Berkeley CA
94709 617-323-0617
medrenmailgmailcom
sfemsorg
MOUNTAIN COLLEGIUM (ARS)
Cullowhee NC June 28-July 4Director Patricia Petersen
Nestled in the Smoky MountainsWestern Carolina University provides alovely location for Mountain Collegiumwith comfortable accommodations in anew dorm and catered evening mealsThe workshopmdash at once informal andintensivemdash combines study of Renais-sance Baroque and contemporary musicand improvisation on recorder viol andother early instruments with opportu-nities to explore Celtic and othertraditional music on hurdy gurdymountain dulcimer and pennywhistle
Friendly participants of all levels andages welcome newcomers into theMountain Collegium family Varied classofferings time for informal music-making and evening English countrydancing bring students back year afteryear Faculty Valerie Austin AtossaKramer Jody Miller Patricia PetersenJohn Tyson (recorders other winds)Martha Bishop Lisle Kulbach HollyMaurer Gail Ann Schroeder Ann Stierli(strings) Lorraine Hammond JohnTrexler (traditional music)
Contact Patricia Petersen
1702 Vista St Durham NC
27701 919-683-9672
patpetersenearthlinknet
mountaincollegiummusicorg
GREAT LAKES SUZUKI FLUTE amp
RECORDER INSTITUTE
McMaster University Hamilton ON CanadaJuly 4-11 Teacher training Book 1July 7-11 Teacher training Book 2July 7-11 Student InstituteDirector David Gerry
Master classes group instructionrecitals plus enrichment classes forstudents Teacher training with MaryHalverson Waldo
Contact David Gerry 129 Locke
Street South Hamilton ON L8P
4A7 CANADA 905-525-9549
dgerrynasnet davidgerryca
CANTO ANTIGUO EARLY MUSIC
AND RECORDER WORKSHOP
Chapman University Orange CAJuly 5-12Directors Thomas Axworthy Ronald Glass
This one-week workshop is designed to broaden the performance skills ofexperienced students and introduceRenaissance and Baroque instrumentsand musical experiences to beginningand intermediate players Students at alllevels participate in instrumental vocaland dance instruction performance
The workshop takes place at ChapmanUniversity Studios dining hall andresidences are all air-conditioned Thisinvitingly landscaped peaceful campuswith garden paths is a mixture of historic and modern architecture
The theme of this yearrsquos workshop isMusic of the Italian Renaissance Dancesmasses motets and ceremonial musicwill resonate as we explore the music ofMonteverdi Palestrina Gesualdo et al
Faculty includes Thomas AxworthyJanet Beazley Mark Davenport RonGlass Carol Lisek Jim Maynard and Alice Renken
Contact Ronald Glass
129 Altadena Dr Pittsburgh
PA 15228-1003 800-358-6567
(day) 310-213-0237 (evening)
562-946-4081 (fax)
evanesa2aolcom
cantoantiguonet
CAMMAC EARLY MUSIC WEEK
Lake MacDonald Music Center Harrington QC Canada
July 5-12Directors Francis ColpronMarie-Nathalie Lacoursiegravere
CAMMAC provides a unique oppor-tunity to make music with family and
20 March 2009 American Recorder
friends in a beautiful setting north ofMontreacuteal QC under the guidance ofinternationally acclaimed professionalmusicians
In four daily 75-minute classes pluslectures early music lovers will have the opportunity to play to their heartrsquoscontent
Small ensembles and voice classes are setup ahead of time registration for otherclasses occurs on site the first eveningCourses include choir large instrumentalensemble many recorder and violclasses Medieval and Renaissanceensembles Orff method and Baroquedancing There are courses foradolescents and a program for children 4-11 years old
Special project in 2009 The Fairy Queenby Purcell with choir instrumentalensemble soloists and staging Keyfaculty Matthias Maute ChristopherJackson Laura Pudwell MargaretLittle Marie-Nathalie Lacoursiegravere
Contact Johanne Audet
85 Chemin CAMMAC Harrington
QC J8G 2T2 CANADA
888-622-8755 1
819-687-3323 (fax)
nationalcammacca
cammaccaenglishTabLM
Summershtml
MADISON EARLY
MUSIC FESTIVAL
University of WisconsinndashMadison July 11-18Directors Cheryl Bensman Rowe and Paul Rowe artistic Chelcy Bowles program
MEMF joins the 2009 InternationalYear of Astronomy in a global celebrationof astronomy and its contributions tosociety and culture including the 400thanniversary of the first astronomicalobservation made through a telescope byGalileo Galilei Galileorsquos fatherVincenzo was a musician and musictheorist who combined the practice andtheory of music with mathematicaldiscussion of harmonymdashand influenced
Galileorsquos experiments MEMFcelebrates its tenth season exploringworks of music and the arts inspired by ascientific discovery that had tremendousimpact on culture and civilization
MEMF was created to provide anopportunity for musicians scholarsteachers and early music enthusiasts togather and exchange information andideas about Medieval Renaissance andBaroque music and to bring acclaimedearly music artists to the Midwest toperform in beautiful Madison
Featured MEMF 2009 guest artists-in-residence include Marion VerbruggenThe Newberry Consort QuicksilverPiffaro and Venere Lute QuartetRecorder faculty members includeMarion Verbruggen Joan KimballPriscilla Smith and Robert Wiemken
Contact Chelcy Bowles University
of WisconsinndashMadison 720 Lowell
Center 610 Langdon St Madison
WI 53703 608-265-5629
608-262-1694 (fax)
musicdcswiscedu
memfdcswiscedu
PORT TOWNSEND
EARLY MUSIC WORKSHOP (ARS)
University of Puget Sound Tacoma WA
July 12-18Directors Letitia Berlin Frances Blaker
Join us this summer at our new locationwith a star-studded faculty a beautifultree-lined and easy-to-navigate campuswith accessible facilities and acurriculum that will leave you wishingthere were 48 hours in a day
Consort and technique classes forrecorder and viol consort and mixedrepertoire recorder master classpercussion for all levels Hildegard forsingers Baroque flute beginning violtheory workshop orchestra and moreMake an all-Medieval schedule or mix it up with a class from almostevery period of music
Work hard and play hard with friends
new and old Intense music-making thatwill inspire you during the workshop andthroughout the year
Directors Tish Berlin and FrancesBlaker eagerly await your arrival andanticipate a splendid workshopRecorder faculty Janet Beazley TishBerlin Frances Blaker Vicki BoeckmanLouise Carslake Charles ColdwellRotem Gilbert Kim Pineda
Contact Jo Baim Workshop
Administrator 1108 frac12 Alki
Ave SW Seattle WA 98116
206-932-4623
workshopseattle-recorderorg
seattle-recorderorg
wwwAmericanRecorderorg March 2009 21
Amherst Early Music FestivalJuly 12-19 and 19-26 2009
Connecticut College New London CT
Renaissance consortsBaroque ensemblesMaster classesRenaissance AcademyEarly notation and moreNo audition required
July 12-19Baroque Academy
July 19-26 Virtuoso Recorder Recorder Seminar
Audition deadline May 15
wwwamherstearlymusicorginfoamherstearlymusicorg(617) 744-1324
AMHERST EARLY MUSIC FESTIVAL
(ARS)
Connecticut College New London CT July 12-19 Baroque Academy July 19-26 Virtuoso Recorder Recorder SeminarRenaissance Academy
Director Marilyn Boenau
Music of England and Spain Two weeksof classes in most early instrumentsvoice dance and notation
Week 1 includes classes for recorderviol other early instruments voicedance and notation Special programsBaroque Academy Baroque AcademyOpera Project (Purcellrsquos Dioclesian)
July 18-19 Music amp InstrumentExhibition
Week 2 comprises classes for recorderviol other early instruments voice andnotation Special programs VirtuosoRecorder Recorder SeminarRenaissance Academy
Evening activities include Englishcountry dance madrigals and informalplaying sessions Connecticut College ineastern CT offers comfortable air-conditioned accommodations naturalareas for walking and a view of LongIsland Sound Scholarships and work-study aid available
Contact Marilyn Boenau
Director or Cathy Stein
Administrator 47 Prentiss St
Watertown MA 02472
617-744-1324 (day)
617-744-1327 (fax)
infoamherstearlymusicorg
amherstearlymusicorg
MIDEAST WORKSHOP (ARS)
LaRoche College Pittsburgh PAJuly 19-25Director Marilyn Carlson
Music of Spain 55-60 students of allability levels adults only Instruction forrecorder (all levels except novice) violharp flute You may enroll for recorder
viol flute as primary instrument harpvoice recorder viol as secondary instru-ment Large and small ensembles all-workshop ensemble (instruments andvoices) Renaissance band (recordersviols capped reeds voice) Medievalcollegium (puzzles amp canons) consorts(by level) vocal ensemble Also Englishcountry dance penny whistle We alsooffer viol-for-novice and harp-for-novice each providing the opportunityfor hands-on experience without owningan instrument Other classes on specialearly music topics and literature
Faculty Marilyn Carlson directorMartha Bixler Stewart Carter JudithDavidoff Eric Haas Mary JohnsonPeter Ramsey Kenneth Wollitz otherfaculty to be announced All facilities areair-conditioned
Contact Marilyn Carlson
1008 Afton Road Columbus OH
43221-1680 614-754-7233
mcarlsoncolumbusrrcom
mideastearlymusicaddrcom
22 March 2009 American Recorder
San Francisco Early Music SocietySummer Workshops 2009Recorder middot July 19ndash25 2009La Dolce Vita di Flauto middot Explore the full range of recorder music from the Middle Ages to the 21st century through ensemble work technique sessions and recorder orchestra For the devoted amateur all ages intermediate to advanced Friendly atmosphere small classes Quiet campus near all amenities Special offerings Recorder orchestra recorder master class coached informal playing Faculty Louise Carslake Frances Feldon Rotem Gilbert Katherine Heater Norbert Kunst Patrick OrsquoMalley and Hanneke van ProosdijInfo Frances Feldon 510-527-9840 franfelaolcom
Baroque Music amp Dance middot June 14ndash20 2009Music in Italian Cities middot Master classes recorder ensemble concerto evening coached ensembles classes concerts and lectures Featuring recorder faculty Frances Blaker and Clea GalhanoInfo Kathleen Kraft 707-874-2014 kkraftsonicnet
Medieval amp Renaissance Music middot June 28ndashJuly 4 2009Stories amp Legends middot Classes for voices recorders viols and alta capella voice master class ensemble coaching storytelling for musicians and storytelling accompaniment Renaissance choir medieval band theater project faculty and student concerts lectures and more Featuring recorder faculty Frances Blaker Annette Bauer Dan Stillman and Tom ZajacInfo Tom Zajac 617-323-0617 medrenmailgmailcom
Music Discovery middot June 21ndash26 2009Day camp for youth ages 7 to 15 Early music and Renaissance social history Instruction in recorder harpsichord strings chamber music musicianship crafts costume-making games and more Beginners to advanced students welcome Featuring recorder faculty Vida Bateau and Letitia BerlinInfo Letitia Berlin 510-559-4670 tishberlinsbcglobalnet For more information visit our web site wwwsfemsorg
SAN FRANCISCO EARLY MUSIC
SOCIETY RECORDER WORKSHOP
(ARS)
St Albertrsquos Priory Oakland CA July 19-25Directors Frances Feldon Katherine Heater
Jam-packed week of recorder ensembleplaying concerts and the opportunity toimprove your skills working with highlyrespected recorder specialists in afriendly yet serious atmosphere Explorethe full range of recorder music from theMiddle Ages Renaissance and Baroqueto the 21st century through ensemblework technique sessions and recorderorchestra For the devoted amateur of allages from intermediate to advanced
Small classes Quiet campus Specialofferings recorder orchestra recordermaster class coached informal playing
Featuring recorder faculty LouiseCarslake Frances Feldon RotemGilbert Norbert Kunst PatrickOrsquoMalley and Hanneke van ProosdijOther faculty Katherine Heaterharpsichord
Contact Frances Feldon SFEMS
PO Box 10151 Berkeley CA
94709 510-527-9840
franfelaolcom sfemsorg
WINDSWEPT MUSIC WORKSHOP
William Jewell College Liberty MOJuly 19-25Director Phyllis Pasley
Bring your artistry to life Strengthen the mindbody connection and exploreenergy and music at Creative MotionAlliancersquos 59th annual summerconference Windswept Professionalmusicians conductors teachers studentsand amateur music enthusiasts willdiscover barriers that inhibit the free flowof energy and learn the secrets of inner-directed artistic music-making Classesin piano voice instrumental musicexpressive arts and independent studyMaster class coaching and conductingopportunities available Using move-
ment exercises analysis and bodyresponses explore music and energy in a unique inter-generational workshopformat Opportunities for independentrecorder study and private lessons enrichthe music-making experience
Registration fee $50 prior to 51509Tuition room meals $535 adults $400students 12-18 (must attend with parentteacher or sponsor) special half-weekrate $275 (Sunday-Wednesday noon)Memberfamily discounts Three hoursgraduate credit ($225) 3 CEUs ($50)and private lessons ($25 each)
Contact Phyllis Pasley 2208
Clouds Peak Maryland Heights
MO 63043 314-628-9862
directorcreativemotionorg
creativemotionorg
BOXWOOD FESTIVAL CANADA
Lunenburg Nova Scotia CanadaJuly 19-26Director Chris Norman
Discover musical and dance traditionswhile visiting one of North Americarsquosmost exquisite 18th-century seasidetowns Concerts dances sessionsclasses lectures with leading artists in therealms of traditional folk early musicdance and improvisation Work study ampscholarships available Gourmet cuisine
Faculty Chris Norman directortraditional amp early flutes FrancisColpron recorder ensembles LisaBesnoziuk Baroque flute DavidGreenberg Cape Breton amp Baroqueviolin Edmund Brownless voice shape note singing Marie Bouchardharpsichord Robert Dick contemporarytechniques amp composition Conal O Grada Irish flute Jerry OrsquoSullivanpipes whistle Rod Garnett flutefundamentals ethnic flutes PierreChartrand social dance MarlysNorman ballet classical dance Rod Cameron flute maker Tempest Baroque
Contact 902-634-9994
boxwoodorg
musiqueroyalecom
MACPHAIL SUZUKI INSTITUTE
FOR PIANO GUITAR FLUTE
AND RECORDER
MacPhail Center for the Arts Minneapolis MNJuly 19 Every Child Canreg July 19-26 Recorder Book 1July 20-24 Student InstituteDirectors Cindy Malmin Mary Halverson Waldo (auditions)
Suzuki Clinicians Marilyn Taggartpiano Tadeusz Majewski piano DavidMadsen guitar Kathleen Schoenfluterecorder MacPhail Suzuki faculty
Sanctioned by the Suzuki Association ofthe Americas MacPhailrsquos SuzukiInstitute allows Suzuki students of allages to share in motivating enrichingand wide-ranging musical experiencesStudents work with master teachers andimprove skills technically and musicallyDaily classes and observation includeapplied study theoryreading skillsensemble skills chamber music perfor-mance practices composition improv-isation master classes recitals art andmusic world musicdrumming musichistory recitals and presentations TeenMusical Revue (ages 13-18) fashioncharacter sketches develop a frameworkor theme and present to an audience
Who may attend Suzuki students whohave completed the Twinkle Variations(preschoolndashgrade 12 parents or another
wwwAmericanRecorderorg March 2009 23
Amherst Early Music Festival
(photo by Marc Weinberg)
responsible interested adult must attendwith students under high school age)teacher traineesobservers Participantsmust arrange meals housing and trans-portation Teacher Training prerequi-sites Every Child Canreg before Book 1courses must be taken in order throughBook 2 Contact workshop regardingrequired audition and preparation
Contact Cindy Malmin
612-767-5461
malmincindymacphailorg
Mary Halverson Waldo
5679 Harding Lane Shorewood
MN 55331 952-470-5853
mhalvwaldogmailcom
INTERNATIONAL BAROQUE
INSTITUTE AT LONGY
Longy School of Music Cambridge MA
July 24-August 2Directors Paul Leenhouts co-director Phoebe Carrai
VenicendashDresden Connection InternationalMeeting Grounds Music of MonteverdiVeracini Hasse Heinichen MarcelloVivaldi Pisendel Albinoni ZelenkaLotti Schein Schutz Quantz Gabrieli
2009 faculty Paul Leenhouts recorderPhoebe Carrai rsquocello ElizabethBlumenstock violin Ricard Bordasvoice Arthur Haas harpsichord LucasHarris lute Ken Pierce early danceGonzalo Ruiz oboe Mary Springfels
viola da gamba Jed Wentz traverso
Contact Karen Burciaga Com-
munity Programs Registrar One
Follen St Cambridge MA 02138
617-876-0956 X1532 (day)
617-354-8841 (fax) karenbur
ciagalongyedu longyedu
RECORDER AT THE CLEARING
The Clearing Ellison Bay WIJuly 26-August 1Directors Pat Badger Adrianne Paffrath
Recorder ensemble has been a traditionat The Clearing for over 25 yearsEnsemble playing is the weekrsquos focusEach day begins with a warm-up ofvoices and bodies as we sing rounds andready our muscles for performanceDaytime sessions focus on rhythmicchallenges recorder technique andensemble blend emphasis is on growthprocess and most of all enjoyment To participate fully you need at leastintermediate skills on a C or F recorder
Adrianne Paffrath coached on recorder with ARS teachers She is music directorat Racinersquos First Presbyterian ChurchPatricia Badger has studied early musicinstruments natural and classicaltrumpet She is performing arts head ofThe Prairie School Jointly they haveperformed for Medieval festivals grapestompings Shakespeare celebrations anda circus parade
Contact The Clearing PO Box 65
Ellison Bay WI 54210-0065
877-854-3225 920-854-9751
(fax) clearingtheclearingorg
theclearingorg
AMERICAN RECORDER SOCIETY
FESTIVAL AND CONFERENCE
University of Missouri at St Louis St Louis MO
July 30-August 2
Attend the second ARS Festival andConference for one day ($150) or allweekend ($350)
Sessions include recorder techniquepedagogy introductions to Orff Suzukiand Flutes and Drums Around the Worldmethods improvisation roundtablediscussions how to conduct yourconsort coached playing sessions forMedieval Renaissance Baroque worldand contemporary repertoire recorderorchestra incorporating percussion intoyour ensemble Also recorder mainte-nance choosing a recorder building aweb site using Sibelius music softwareMini-concerts by the next generation ofprofessionals master classes concerts byMarion Verbruggen and the FarallonRecorder Quartet Exhibition ofrecorder builders music sellers andmore CEUs available
Presenters Louise Austin AnnetteBauer Tish Berlin Frances Blaker Joyce Callanan Louise Carslake
24 March 2009 American Recorder
The Summer Toot is once again in Austin at the beautiful new facility of Concordia University The lushly wooded campus offers air-conditioned classrooms dining and dorm accommodations and is backed by a nature preserve Please join us
Our featured faculty includes Tish Berlin Tom Zajac Mary Springfels The Texas Toot offers a one-week program of classes in Renaissance and Baroque music at all levels featuring expert instructors in re-corder viol early reeds lute harp and voice
Danny Johnson workshop director Susan Richter administrator For more info
httpwwwtootorg or email infotootorg
11th Annual Summer Texas Toot June 14-20 2009 mdash Austin Texas
Mark Davenport Cleacutea Galhano LisetteKielson Lorraine Krige JudithLinsenberg Peter Maund Nina SternMarion Verbruggen Leslie TimmonsJim Tinter Mary Halverson Waldo
Contact Yvonne Miller-Nixon
Conference Administrator
1129 Ruth Dr St Louis MO
63122 800-491-9588 (day)
arsconfplannercharternet
americanrecorderorg
EARLY MUSIC WEEK AT
PINEWOODS CAMP (ARS)
Pinewoods Camp Plymouth MA August 15-22 Director Sheila Beardslee
The Myth amp Magick Creativity andInspiration in Early Music Surely thedeities of Olympus will surround us atPinewoodsndashwhere the myths of earlymusic will be made clear and our staff rsquosldquomagickalrdquo skills will hone and perfectour knowledge and performance of early music and dance
If yoursquove never played a musical instru-ment (but wish you could) or if youstudied music years ago (and fear yoursquoveforgotten) classes in recorder and violwill get you started or help brush off therust Advanced and intermediate playersand singers choose from a wide array ofclasses led by an outstanding faculty of professionals and teachers of earlywinds (recorders reeds brass) strings(viols violin) harpsichord and voice
New staff faces this summer areAnonymous 4rsquos Susan Hellauer voiceand Lisa Terry viol We welcome backDorrie Olsson historical dance andScott Higgs English country dance
We relax with two ponds for swimmingcanoeing a camphouse deck for readingafternoon tea and lots of dancing EarlyMusic Week continues its long traditionof superb teaching in a welcoming com-munity enhanced by special eventspresentations concertsmdashand dancing
Advanced musicians work intensivelyamateurs are engaged and challengedand beginners are always made welcome
Contact Steve Howe Country
Dance and Song Society
PO Box 338 Haydenville MA
01039-0338 413-268-7426 X3
(day) 413-268-7471 (fax)
campcdssorg cdssorgem
MONTREacuteAL RECORDER FESTIVAL
McGill University Montreacuteal QC Canada
September 17-20Directors Matthias Maute Sophie Lariviegravere
Conference consort music recorderorchestra concertsmdashEnsemble Capriceand Quynade (Israel) solo recital byMaurice Steger (Switzerland)
Contact Ensemble Caprice 4841
Garnier Montreacuteal QC H2J 3S8
CANADA 514-523-3611
514-523-1322 (fax)
infoensemblecapricecom
ensemblecapricecom
HIDDEN VALLEY INSTITUTE
FOR THE ARTS
EARLY MUSIC ELDERHOSTEL
Carmel Valley CANovember 1-7 November 8-14Directors Letitia Berlin workshopPeter Meckel HVIA
Enroll for one or both weeks Adults ofall ages welcome
Week I intense classes for upper inter-
mediate to advanced levels Week Ifaculty Letitia Berlin Frances BlakerLouise Carslake Annette Bauer(recorder) David Morris (gamba)
Week II all levels except beginnerClasses include recorder technique viol consort Baroque chamber musicconsort classes for Medieval Renais-sance Baroque and contemporary reper-toire workshop orchestra Week IIfaculty Letitia Berlin Frances BlakerTBA (recorder) Shira Kammen (earlystrings singing Medieval topics) MarySpringfels (viola da gamba)
Evening events include faculty concertstudent concert free-lance playing FreeWednesday afternoon for more playingor sightseeing Improve your playing in asupportive friendly atmosphere withworld-class teachers
Contact Peter Meckel
PO Box 116 Carmel Valley CA
93924 831-659-3115
831-659-7442 (fax)
hvmsaolcom
hiddenvalleymusicorg
wwwAmericanRecorderorg March 2009 25
26 March 2009 American Recorder
Am
herst
AR
S
Festival and
Co
nference
CA
MM
AC
Early M
usic
Week
Canto
Antiguo
Reco
rd
er
at th
e
Clearing
Great L
akes
Suzuki
FluteR
ec
Hid
den
Valley
Eld
erh
ostel
Interlo
ch
en
Early M
usic
Inst
Lo
ngy Intl
Baro
que
Inst
Marin
Head
land
s
Mid
east
Mo
ntreacuteal
Reco
rd
er
Festival
COST $520TW $350T C$1014ED $860 $1035E TBA $799D $389T $675T $210ED $735D $130TNO OF DAYS 814 1-4 7 7 7 5-8 714 6 10 3 6 4ARS DISCOUNT NO YES NO YES NO NO NO NO NO NO NO NONO OF FAC RECORDER FAC 4315 1716 165 85 22 82 543 11 101 1010 96 66NO OF STUDENTS 150wk 60 110 35 19 45 35 20 50 75 60 50RECORDER CLASSLEVELS
LIHIAV
BLIHIAV
BLIHIAV
BLIHIAV LIHIA BLI
LIHIAV LIHIA AV
LIHIAV
BLIHIAV
BLIHIAV
SPECIAL CLASSES USING RECORDERS
CMRMB20ENMROT
RPMRMB20MROPTO
CMRMBRO
MRMBENROPT CRO
RPMPT
CMRMB20MROPT
RPCMRMBENMROPT MBMP RP20
RPCMRMB20ENMTO
CMRMBMRO
NON-RECORDERCLASSES
CWKVPSDO PO
CWKVDT CWVD C O KVPS
CWPKVPST WK VD
CWVPSDO
MUSICALACTIVITIES
FSLSPP FLO FSLSP FS SP FSLP FSP
SLSPPO FSLP P FSLP FS
RECREATION D GS BSTW D FBSW FSO OBSTWO S O G
OTHERS WELCOME SC S SC S S S S SDIRECTTRANSPORTATION SC SBCP SP BCLP BP SB CPUP CL PUP
SBCPUP
TRANSPORTATIONTERMINALS
A50B2 T2 A B T
A10B3 T5
A80B80
A50B10 T10
A20B20 T20
A16B16
A4B3 T3 A20
A15B10 T10
A4B3 T3
ROOMS SD SD SD SD SDC SD SD SDC DBATHS SSP SSPP SP P SSPP SSPP SP P S PFOOD CV C GV CV FV C F CV CV CHANDICAP ACCESS HCD HCD HCD HCD HC HCD HD HCD C HCD HCD C
KEYCOST Includes tuition room (single occupancy unless otherwise noted) meals plus other fees E=estimated T=tuition only D=double occupancy W=one week
NO of DAYS Includes arrival and departure daysARS DISCOUNT Discount offered for ARS members FACULTYRECORDER FACULTY Number of facultyrecorder faculty within that number STUDENTS Average over last two yearsRECORDER CLASS LEVELS B=beginners LI=low intermediate HI=high intermediate A=advanced V=very advanced
SPECIAL CLASSES USING RECORDERS RP=recorder pedagogy C=one-on-a-part consorts MR=mixed Renaissance ensembles MB=mixed Baroque ensembles 20=contemporary music EN=early notation M=master class RO=recorder orchestra P=private lessons available T=technique O=other
NON-RECORDER CLASSES C=choral W=other winds P=percussion K=keyboard V=viols PS=plucked stringsD=danceT=theory I=instrument building O=other
MUSICAL ACTIVITIES F=faculty concert S=student concert L=lecture SP=special production P=organized informal playing O=other
RECREATION D=dancing F=field trip G=gym B=biking S=swimming T=tennis W=waterfrontbeach O=otherOTHERS WELCOME S=non-playing spousesfriends C=children (day care not generally available)DIRECT TRANSPORTATION TO WORKSHOP S=shuttle from airport B=bus C=cab L=limo PU=will pick up P=free parking O=other
TRANSPORTATION TERMINALS A=air B=bus T=train (number indicates miles from workshop to nearest terminal)
ROOMS S=singles D=doubles (with ldquo+rdquo can accommodate up to triples) C=cabins O=other =Graduate dormsBATH FACILITIES S=shared SP=semi-private P=privateFOOD C=college style F=family style G=gourmet V=vegetarianHANDICAP ACCESS H=housing C=classrooms D=dining
INFORMATION SUPPLIED BY WORKSHOP DIRECTORS
2009 SUMMER RECORDER WORKSHOPS
Here are some suggestions foravoiding overuse syndromes Most obvious warm up This meansincreasing your practice time graduallybefore the workshop begins andwarming up yourself and yourinstrument before each rehearsal
Make your playing situation ascomfortable as possible Take along acushion back rest footstool whateverit takes the ear and hand cannot ab-sorb what the bottom cannot tolerate
Be sure your glasses are ideal for the distance from your eyes to themusic desk that usually amounts to anarmrsquos length away (You can select apair at your local drug or departmentstore if you have no serious astigma-
tism) If glare from bright light (thosemarvelous outdoor rehearsals) is aproblem for you you may find that ayellow tint for your glasses is a help
Get your bodily playing equip-ment in the best possible shape beforethe workshop a visit to the dentist tosmooth off a front tooth for a windplayer can make an enormous differ-ence in endurance A layer of plasticwrap over the teeth (before yoursquoveworn a hole in your lip) may also help
Once yoursquove arrived at the work-shop there are ways to ensure thatstress (inevitable) doesnrsquot becomedistress (mostly preventable)
Take reasonable breaks duringrehearsal time and use them to stretchA little aerobics like running in placetakes very little time and gets rid ofthat stiff-from-sitting feeling Get yourfellow ensemble players to massageeach othersrsquo shoulders Other fre-
Do you have a favorite article from years past in AR E-mail that information to Gail Nickless
editoramericanrecorderorg
wwwAmericanRecorderorg March 2009 27
Mo
untain
Co
llegium
Pinew
oo
ds
Early M
usic
Week
Po
rt
To
wnsend
SF
EM
S
Baro
que
SF
EM
S
Ch
ild
rens
SF
EM
S
Med
ieval amp
Renaissance
SF
EM
S
Reco
rd
er
Texas T
oo
t
Wh
itew
ater
Wind
sw
ept
Music
Wo
rksh
op
Wo
rld
Fello
wsh
ip
$800ED $890ED $975 $950 $370T $950 $950 $740E $245 $535D $850E COST7 8 7 7 5 7 7 7 3 6 7 NO OF DAYSNO NO NO YES YES YES YES YES NO NO NO ARS DISCOUNT
125 189 169 102 82 124 76 136 1110 131 83NO OF FAC RECORDER FAC
50 100 100 55 30 70 40 50 110 45 30 NO OF STUDENTSLIHIAV
BLIHIAV LIHI AV
LIHIAV
BLIHIAV LIHI AV LIHIA LIHIA
BLIHIAV
BLIHIAV
RECORDER CLASSLEVELS
CMRMB20TO
CMRMBENROT
MRMB20MROPT
MBMPTO
CMRMBPTO
CMRENMPTO
C20MROPTO
CMR20MPT
CMRMB20ROTO MP
CMRMBMRO
SPECIAL CLASSES USING RECORDERS
WVDTO
CWKVPSDT CPVT
CWKVPSTO
KVDTO
CWPVPSTO O
WKVPSTO
CWVTO
CWPKVD
CKVDT
NON-RECORDERCLASSES
FSLSPP FSP
FSLSPPO FSSP
FSLSPPO
FSLPO
FSLPO SPO FSL PO FSLP
MUSICALACTIVITIES
DGBS DSWFGBSTW
DGBST D
DGBST DO SO
DFSWO RECREATION
S S SC SC S S SC SC OTHERS WELCOME
P SC CPUP SCP SCP SBC LP SPUP P BPUDIRECTTRANSPORTATION
A50B15 T15
A15B7 T6 A59
A20B2 T5 A59
A12B4 T1 A40 A
A20B15 T28 B10
TRANSPORTATIONTERMINALS
SD SD S S CALL S S SD SD SD SD ROOMSSP S SP P P SP P S S S BATHSCGV FV CV CV CV CV CV CV CV FV FOODHCD CALL HCD HCD C HCD HCD HCD HCD HD HANDICAP ACCESS
AR50 AVOIDING ACHES amp PAINSBy Leacuteonie Jenkins MD (c1925- 2000) from the March 1993 AR Vol XXXIV1
quently overused parts such asforearms and hands also respond to massage Quick tutorial on massagestart stroking toward the body and inthe direction of the flow of the veinsmdashupstream from the sorest partgradually work down to include thesore spot Yoursquore trying to move overthe underlying muscle not to rub theskin Thatrsquos why a little oil helps
Your psyche may need some relieffrom overload too Most workshopsare in surroundings that lend them-selves to taking a walk finding a placeto meditate taking in some beauty In creating anything a musical per-formance no less than more static artforms breathing in is as necessary asbreathing out be sure you take time to do it
Not to be forgotten those partiesLate hours and alcohol are stressfultry to balance off the fun yoursquore havingwith your capacity for both Above allenjoy Thatrsquos why yoursquore going
2009 SUMMER RECORDER WORKSHOPS
By Bart Spanhove
The author has been principalprofessor of recorder at the Lemmens-
instituut Leuven (Belgium) since 1984He is also artistic director of the world
famous recorder ensemble the FlandersRecorder Quartet which is set to perform
in concert at the 2009 Boston EarlyMusic Festival He is often asked to serve
as a jury member for internationalrecorder competitions in Canada US
Germany The Netherlands and BelgiumHe has given numerous master classes andlecture demonstrations all over the world
Spanhove is co-author of thesuccessful recorder method Easy Going(Heinrichshofen) and wrote the much-
used book The Finishing Touch ofEnsemble Playing (Alamire 2000
and Moeck 2002 with translations inChinese and German) In 2009
The Recorder Music of Frans Geysenwill come out (Mieroprint)
Currently he is researching practicetechnique for the recorder Daily
Spanhove thinks about how to makepeople happier by making music and
playing the recorder
As a conclusion for the VirtuosoRecorder class during the AmherstWorkshop in 2008 we organized aldquoHappy Hourrdquo for our nine talentedstudents Mee-Jung Ahn (Korea)Emilie Hasselgren and Kristine West(Sweden) Anne Timberlake JosephLewnard Jacob Lodico and BrycePeltier (US) Emiliano Perez(Mexico) and Fanny Massy (France)participated in a quiz that I wrote thenight before with the assistance ofReine-Marie Verhagen
We combined questions regardingmusic theory with practical exercisessuch as middot How long can a player hold a
low f in one breath on an altorecorder (You get one point foreach second)
middot How many times through a scaleis a player able to play in 30seconds (For every octave of theF major scale you get one point)
middot How many different pieces fromthe recorder repertoire can aperson play in the course of twominutes (The other members ofthe group have to guess the nameof the composer before the playercan start the next piece)
middot In one minute list as manydifferent titles as you can fromDer Fluyten Lusthof (TheRecorderrsquos Pleasure Garden) of J J van EyckThe list of questions goes onAt the ldquoHappy Hourrdquo people
were divided into three groupsaccording to dates of each personrsquosbirthday When theoretical questionswere asked (see below) the pointsystem was devised as follows threepoints were awarded when the selected
person of a group could find theanswer himherself two points whenthe selected person needed the help ofthe other group members and onepoint if the group needed the help ofour gracious class assistant Reine-Marie Verhagen (she alwaysknew the answer) No points weregiven if the quizmaster had to supplythe answer
On the next page you find someof my questions There are morewhich we hope to run in a future issueof American Recorder
The quiz was full of fun andsuspense By the end people weremore nervous than when playing aconcert on stage Jacob Lodico of theUS was the winner at Amherst
28 March 2009 American Recorder
Education___________________________________ A quiz for recorder players
wwwAmericanRecorderorg March 2009 29
Try these questions yourselfAnswers appear at the end of thisarticle
The Quiz1 Give the name of Ganassirsquos
treatise of 1535 where heextensively describes the recorder playing and diminutions of his time
2 In which German city is therecorder company Moeck based
3 In the cantata Gottes Zeit ist dieallerbeste Zeit BWV106 JS Bach calls for two altorecorders Give another name for this cantata
4 Of which famous orchestra isFrans Bruumlggen the conductor
5 List three leading Japanesecomposers of excellent solo pieces for the recorder
6 Give the names of recordermagazines published inGermany England and the US
7 What is the fundamental tone of a fourth flute
8 List two recorder makers fromthe Baroque period in England
9 Whatrsquos the title of the recitativeand chorale in the Saint MatthewPassion where the recorder isused
10 Give the names of two famouspublishers in business around1700mdashone in London and one in Amsterdam
11 The opus 10 work by AntonioVivaldi includes six concertiSome of them have beautifulnames Give the names of thefirst three concerti of this opus
12 Whatrsquos a nickname for Jean Jacques Hotteterre
13 The combination of recorder andtraverso was rarely used in theBaroque time Can you name any composers who used thiscombination
14 Which king from 16th-centuryEngland owned a large collectionof recorders and also composedand enjoyed daily recorderplaying
15 How many movements compriseHandelrsquos Sonata in C Op 1 No 7 originally written forrecorder and basso continuo
16 Give the name of Praetoriusrsquostreatise from 1609 that describesthe whole recorder family
17 Name the author of the oldestrecorder method
18 Name Jan Jacob van Eyckrsquosdisability
19 Who pretended around 1930 thatthe recorder was a kind ofclarinet
20 Who doesnrsquot belong in thefollowing group Bertho DrieverKarel van Steenhoven MarionVerbruggen Paul LeenhoutsDaniel Bruumlggen
21 Name the two instrumentsindicated to play the sonataMeiner Mutter of Hans UlrichStaeps
22 Il Pastor Fido was not composedby Antonio Vivaldi but by aFrench composer What was hisname
23 Whatrsquos the nationality of themusic company Zen-On
24 CPE Bach composed abeautiful trio that includes a bassrecorder What are the other twoinstruments
25 Give the names of the fourmovements of Bachrsquos partita forsolo traverse flute BWV1013
26 Which excellent playersperformed as the recorder trioSour Cream
27 A recorder normally has eightfingerholes Despite this musichistory describes the recorder as ldquoune flucircte agrave neuf trousrdquo (a flute with nine fingerholes)Explain why
28 Give the French name for vibratoperformed by finger movementsalone on a wind instrument
29 Who wrote in his diaryldquohellipbeyond anything in the wholeworld the wind-music when the
Answers to
Bart Spanhoversquos Quiz1 La Fontegara2 Celle3 Actus Tragicus4 The Orchestra of the
Eighteenth Century5 R Hirose M Ishii and
M Shinohara
6 Windkanal or Tibia (both ofGermany) The Recorder(England) American Recorder(US)
7 B8 The most famous English
recorder makers around 1700Bressan and Stanesby (the latterbeing both senior and junior)
9 O Schmerz Hier zittert das gequaumllte Herz
10 Walsh (and Hare) (of London)Roger (of Amsterdam)
11 La Tempesta de Mare La Notte Il Gardelino
12 Le Romain13 JB Loeillet J J Quantz
JJ Hotteterre or J B de Boismortier
14 Henry VIII15 Five16 Syntagma Musicum17 Sebastian Virdung Musica
Getutscht und Ausgezogen (1511)18 Blindness19 Igor Stravinsky20 Marion Verbruggen21 Alto recorder and piano22 Nicolas Cheacutedeville23 Japanese24 Viola and cembalo25 Allemande Courante Sarabande
Bourreacutee26 Kees Boeke Walter van Hauwe
and Frans Bruumlggen27 Before 1670 the player could
choose how to hold the recordermdashleft hand or right hand at the topThis meant that recorder makersdrilled two holes to accommodatethe little finger of the hand thatended up at the bottom Theunused hole was sealed with beeswax
28 Flattement29 Samuel Pepys30 Flanders Recorder Quartet
30 March 2009 American Recorder
Lazarrsquos Early Music(866) 511-2981 jblazaraolcom
wwwLazarsEarlyMusiccom
292 Gibraltar Dr 108 Sunnyvale CA 94089
Strings amp Early Winds
ModernBaroque Strings Viols Vielle
Kuumlng Moeck Mollenhauer Paetzold Yamaha Ehlert
Wenner Baroque flutes
Wendy Ogle Lu-Mi Ifshin Snow
Competitive Prices
Sent on Approval
Personalized Service amp Advice
R
E
C
O
R
D
E
R
S
ldquoGO FOR NEO-BAROQUErdquo
Andrew Charlton Partita Piccola For 4 Recorders (SATB)
[Prelude Allemande Courante Musettemdash
a neo-baroque epitome] (Score amp Parts PBE-25) $795
Andrew Charlton Suite Moderne For 3 Recorders (ATB)
[Baroque shapes but Hindemithian harmony]
(3 Playing-Scores PBE-44) $995
Southwest of Baroque David Goldsteinrsquos ldquobaroque Suiterdquo
on Cowboy Songs For 2 Recorders (SA) (PBE-2) $350
The Provincetown Bookshop Inc
246 Commercial Street Provincetown MA 02657 Tel (508)487-0964
A good source for Recorder amp Viol Music of all publishers
Provincetown Bookshop Editions
angel comes down which is sosweet that it ravished me andindeed in a word did wrap upmy soul so that it made me reallysick just as I have formerly beenwhen in love with my wiferdquo
30 Whatrsquos the English name for afamous recorder ensemble calledin its country Vier op lsquon Rij
wwwAmericanRecorderorg March 2009 31
by Tim Broege timbroegeaolcom
December 11 2008 was a specialday for American music the
100th birthday of Americarsquos greatestliving composer Elliott Carter Cele-bratory concerts took place in manyvenues including Carnegie Hall inNew York There the Boston Sym-phony led by James Levine played anew work by Carter Interventions forpiano and orchestra The soloist wasanother well-known conductor DanielBarenboim who is no mean hand atthe keyboard to say the least
Itrsquos remarkable that wonderfulnew compositions continue to pourforth from Carterrsquos pen His musicsparkles and frolics packing lots of musical events into engrossingstructures Much of his music isavailable on CD so if you missed thecelebrations you can easily have yourown belated birthday party for Carter
Although he has never written for recorder (one of our prominent
recorder soloists should commissionhim) Carter has produced manychamber pieces featuring woodwindsSince many recorder players double orstarted out on woodwinds such piecesas the Sonata for Flute Oboe Cello ampHarpsichord (1952) Enchanted Preludes(1988) for flute and rsquocello Espritrudeesprit doux (1985) for flute andclarinet or the Oboe Quartet (2001)may hold special interest
If you missed Charlie Rosersquosexcellent interview (broadcast onDecember 10) with Carter Levine andBarenboim you can see it atwwwcharlierosecomview
interview9774mdashessential viewingfor fans of contemporary music
We note with sadness the passingon January 23 of another distin-guished American composer GeorgePerle An authority on the music ofAlban Berg and the Second VienneseSchool Perle developed a uniquelyrical style based upon a free approachto 12-tone and serial procedureswhich he dubbed ldquo12-tone tonalityrdquo I recommend listening to his SerenadeNo 3 for Piano amp Orchestra (1983) Six Etudes for Piano (1973-76) and the Pulitzer Prize-winning Wind Quintet No 4 (1985)
Another leading American com-poser Leon Kirchner is thankfully still with us having turned 90 onJanuary 24 Like Perle Kirchner has a highly personal and expressive styleA birthday concert was held at MillerTheater at Columbia University inNew York City NY Participatingmusicians included flutist PaulaRobison pianist Jeremy Denk and theClaremont Trio with the composerpresent to discuss his music
An excellent way to get to knowKirchnerrsquos music is through his stringquartets Just in time for his birthdayAlbany Records has released a fine CDof all four played by the Orion StringQuartet Quartet No 4 was written in2007 (when the composer was 87mdasha veritable youngster compared toCarter) The composer Allen Shawnhas described that quartet asldquoluminous and passionaterdquo words aptto describe much of Kirchnerrsquos output
Speaking of contemporary musicI have been spending pleasant hoursperusing the Catalog of ContemporaryBlockflute Music available online atwwwblokfluitorg from StichtingBlokfluit This Netherlands founda-tion offers a contemporary recordercatalog and a catalog of historicalrecorder music Access to both is byfree membership
For those who havenrsquot yet used thecontemporary catalog I urge you togive it a try You can search by manyparameters such as composer title orspecific instrumentation A search forldquovoice fluterdquo turned up a list thatincluded Moon Dances Three AmericanSketches by composer Walter Mays(intended for solo alto recorder butalso playable on tenor or voice flute)Searching the name of English com-poser Edmund Rubbra produced a listof eight works that employ recordersincluding the intriguing CantataPastorale opus 92 for high voice altorecorder rsquocello and harpsichord
Searching ldquofemale composersrdquo fora piece using ldquoBaroque altordquo yieldedAfter Meditation by Ros Bandt ofAustralia
What an easy and tremendouslyvaluable way to find new music
On the Cutting Edge___________________________________Birthdays composers and
recorder music catalogs
Elliot Carter
(photo by Meredith Heuer)
Question How does Renaissancefingering differ from standard
fingering on the recorder Is one superior tothe other Do you need a special recorder touse Renaissance fingering and if so can itbe played with regular recorders Is there afingering chart that shows RenaissancefingeringmdashWilliam BaumannWaterford WI
Answer from Carolyn Peskin Music composed in the
Renaissance the historical periodextending from about 1450 to 1600was predominantly vocal and highlycontrapuntal Recorders which oftendoubled singers at the octave orrendered vocal pieces instrumentallywere designed to make the individualmelodic lines clearly audible
Most 16th-century consortrecorders were one-piece instrumentswith large toneholes and a wide borethat contracted slightly starting nearthe upper fingerholes and thenexpanded gently near the lowest holesThat ldquochoke-borerdquo design togetherwith the voicing and tonehole con-figuration favored the fundamentaltone (first harmonic) producing astrong open sound that was aboutequally loud throughout theinstrumentrsquos range
Such recorders had a useful rangeof only about an octave plus a sixthwhich was nevertheless sufficient for the music of their day MostRenaissance-style consort recordersmade today are based loosely uponsurviving 16th-century instruments ofthe above type and are designed toapproximate the range timbre andvolume of those early instruments
Our present-day ldquoregularrdquorecorders are Baroque-derived instru-ments based loosely upon survivingrecorders from the late 17th and early18th centuries They are three-pieceinstruments with small toneholes and abore that is narrower and moretapering than a Renaissance boreextending their useful range upward totwo octaves plus a whole tone
Baroque recorders are soft andsweet-sounding in their bottom octavebut louder and brighter in the secondoctave Their lowest notes are espe-cially weak because they must be blowngently to prevent overblowing into thesecond octave Such instruments aresuitable for Baroque solo and chamberrepertoire but not very satisfying forRenaissance polyphony
Due to their different timbre andvolume Renaissance recorders will not blend well with Baroque onesFurthermore the most historicallyauthentic Renaissance-style recordersare tuned in a ldquomeantonerdquotemperament that facilitates the playingof pure major thirds Such instrumentsmake Renaissance music easier to playin tune but will produce intonationproblems if played with Baroquerecorders which are tuned in equaltemperament For the above reasonsRenaissance and Baroque recordersshould not be played together
Renaissance fingering will not work on todayrsquos neo-Baroquerecordersmdashmost of which haveldquomodernrdquo Baroque fingeringcommonly called ldquoEnglishrdquo fingering
because it was developed fromhistorical Baroque fingering by ArnoldDolmetsch in England during theearly 20th century Renaissancefingering is less standardized partlybecause a number of different originalinstruments are used as models andpartly because makers wish to improvethe intonation tone quality andorplayability of certain notes Howeverthe following generalizations apply tomany of todayrsquos Renaissance-styleconsort recorders
First in the lower octave modernBaroque fingering works for mostnotes but is often too flat for the fourth scale degree (eg soprano F)requiring removal of finger 7 (right-hand pinky) and is too sharp for theraised fourth degree (eg soprano F)requiring addition of finger 7
Modern fingering is also usuallytoo sharp for the lowered seventhdegree (eg soprano B) The correctfingering for that note varies from oneinstrument to another
In the upper octave modernfingering works for the first third andfifth scale degrees (eg soprano C Eand G) but usually not for other notesSome notes require half-holing with aright-hand finger and notes above thefifth scale degree may require additionof several fingers to bring them in tuneHistorical Renaissance fingering forthe second scale degree (eg sopranoD) is especially awkward because all ofthe fingerholes and the thumbholemust be uncovered Therefore somemakers substitute modern fingering forthat note
Although Renaissance fingeringand meantone tuning are recom-mended for the best blend some
Q amp A___________________________________ Renaissance recorder fingering
Send questions to Carolyn Peskin QampA Editor 3559 Strathavon Road Shaker Heights OH44120 carolynpeskinstratosnet
32 March 2009 American Recorder
wwwAmericanRecorderorg March 2009 33
makers of handcrafted Renaissance recorders will provide modern fingeringandor equal temperament upon request and Moeck Verlag offers a choice ofRenaissance or modern fingering for most sizes of its factory-producedRenaissance Consort series
For a most satisfying blend Renaissance ensembles should purchase amatched set of recorders tuned and voiced to be played together Renaissanceconsort sets usually include two different alto recorders one in G (lowest note g)and one in F (lowest note f ) The ATTB combination with the G-alto is best formost of the quartet music composed between 1450 and 1550 while the SATBcombination with the F-alto is more practical for much late 16th-centuryrepertoire (Playing the G-alto requires learning G-alto fingering or elsetransposing the alto line down a whole tone and using F-alto fingering)
In addition to consort recorders some makers offer ldquoGanassirdquo sopranos andaltos based upon fingering charts in Silvestro Ganassirsquos recorder tutor Fontegarapublished in 1535 and a single original instrument in the Vienna Kunst-historisches Museum Because of their special bore design (cylindrical with aflaring bell) Ganassi recorders have a range of two octaves and a sixth withcumbersome fingerings in the third octave They are used mainly as soloinstruments for playing intricate ornaments of the type found in Fontegara
Also sometimes included in the ldquoRenaissancerdquo category are ldquotransitionalrdquo(early Baroque) recorders which are based upon originals from the first half ofthe 17th century They have a bore that is wider than a Baroque bore but contractssharply near the lower end resulting in strong low notes and at least a full two-octave range usually with modern fingering Most transitional recorders aresopranos or altos designed for playing Jacob van Eyckrsquos variation sets or thehighly ornamented Italian solo repertoire of the late-16th and early-17thcenturies
However wide-bore consortrecorders with a range of at least twooctaves and modern fingering shouldalso be regarded as transitionalinstruments They differ somewhat intimbre and volume from typicalRenaissance consort recorders
Handmade wide-borerecordersmdashconsort Ganassi andtransitionalmdashare obtainable frommakers who advertise in AmericanRecorder the Prescott Workshop andthe Von Huene Workshop in the USJean-Luc Boudreau in Canada andStephan Blezinger in GermanyContact them andor visit their websites to find out what kinds ofrecorders they are currently makingand to get an idea of their prices andwait times
Factory-produced wide-borerecorders from Kobliczek Moeck andMollenhauer are available frominstrument dealers who advertise inAR New and used recordersincluding wide-bore models fromimportant makers in the US andabroad are also obtainable from Uni-corn Music For further informationvisit wwwbuyrecorderscom For a comprehensive database of recordermakers worldwide see Nicholas SLanderrsquos ldquoExtant Recorder Makers amp Retailersrdquo at wwwrecorder
homepagenetmakershtml
REFERENCES
CONSULTEDBauer Winfried
wwwrecorder-fingeringscomIncludes interactive fingeringcharts from modern makers andhistorical treatises Charts forRenaissance consort recorders byAdriana Breukink Adrian BrownBob Marvin and Tom Prescottwere consulted
Brown Adrianwwwadrianbrownorgrec
order_typesconsorthtml
Our present-day ldquoregularrdquo recorders are
Baroque-derived instruments based loosely
upon surviving recorders from the
late 17th and early 18th centuries
34 March 2009 American Recorder
The Von Huene Workshop Incis pleased to announce agreements with
CoolsmaZamra
to serve as their authorised service agents in the US
For more than 40 years the von Huene Workshop has produced some of the finest recorders in the world Our skilled staff can revoice retune and repair even the most seriously damaged instruments All repairs are done right on the premises and most can be completed within a week
For warranty repairs please include a copy of your original sales receipt
j 65 Boylston Street Brookline MA 02445 i(617) 277-8690 Fax (617) 277-7217 servicevonhuenecom
An informative article aboutrecorder sizes in Renaissanceconsorts
Brown Adrian and David LasockildquoRenaissance Recorders andTheir Makersrdquo AmericanRecorder Vol XLVII No 1(January 2006) pp 19-31 An important article based upon Brownrsquos extensive researchon 120 of the 200 surviving 16th-century recorders
Ganassi Silvestro Opera IntitulataFontegara Ed Hildemarie Peter(Berlin-Lichterfelde RobertLienau 1959) Modern edition ofthe oldest known treatise devotedentirely to the recorder (publishedin 1535) Includes 16th-centuryfingering charts
Griscom Richard and David LasockiThe Recorder A Research andInformation Guide (New York andLondon Routledge 2003) Anannotated bibliography including
references on construction anddesign of historical recorders
Levin Philip ldquoQampArdquo AmericanRecorder Vol XXXVIII No 4(September 1997) p 27Explains in simple terms thedifference between Renaissanceand Baroque recorders
Morgan Fred ldquoA Recorder for theMusic of JJ van EyckrdquoAmerican Recorder Vol XXV No 2 (May 1984) pp 47-49Describes the bore design of arecorder suitable for playing Van Eyckrsquos variation sets andcompares it with bore designs ofother types of recorders
Myers Herbert W ldquoRecorderrdquochapter in A Performerrsquos Guide toRenaissance Music ed JefferyKite-Powell (New York SchirmerBooks 1994) A 2nd edition isnow available published in 2007by Indiana University Press
FEATURING MUSICA PACIFICA
JUDITH LINSENBERG
RECORDERS____JS BACH TRIO SONATAS Arr by
Linsenberg from Trio Sonatas for Organ BWV525-
530 Sonata No 1 in E
major (transp to B
)
BWV 525 Sonata No 2 in C minor (transp to E)
BWV526 Sonata No 3 in D minor (transp to G)
BWV 527 Sonata No 4 in E minor BWV 528
Sonata No 5 in C major (transp to F) BWV529
Sonata No 6 in G major (transp to C) BWV 530
Virgin Classics Veritas 1993
____FIRE BENEATH MY FINGERS Showcases
three legendary composers who were also
virtuoso performers Vivaldi Concerto in F major
after RV 98570 ldquoLa Tempesta di Marerdquo Sonata in
A minor RV86 Concerto in G minor RV106 Con-
certo in Bb major RV503 Sammartini Concerto in
F major Tartini Concerto in A major D91 Dorian
____MANCINI CONCERTI DI CAMERA Seven
sonatas by Francesco Mancini plus one work each
from his contemporaries Francesco Durante amp
Domenico Scarlatti Highly recommended citation
from the 2000 Vivaldi Prize for Recordings of Italian
Early Music--Giorgio Cini Foundation Dorian
____MARAIS MARIN PIEgraveCES EN TRIO POUR
LES FLUcircTES VIOLON amp DESSUS DE VIOLE
Maraiss complete works for two treble lines and
bass with varied instrumentation and orchestrations
2-CD set $24
____SCARLATTI CONCERTI DI CAMERA
Seven sonatas for various instrumentations no
poor relations to the composers much more widely-
known vocal output All recorder players should
certainly have thisndashEarly Music Review
____TELEMANN CHAMBER CANTATAS
Five cantatas from Harmonischer Gottesdienst two
sonatas from Sonatas Corellisantes 2003 Chamber
Music America WQXR Record Award for best
chamber music recordings
____VIVALDI LA NOTTE Concerti per strumenti
diversi Award-winning CD featuring five Vivaldi
concerti two sonatas
AND OTHER RECORDING
ARTISTS FROM CALIFORNIA ____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 American Bach Soloists Jeffrey
Thomas conductor Dan Laurin Hanneke van
Proosdij recorders Christmas Concerto featuring
unique 1725 London version with solos transcription
for two recorders instead of two solo violins in
three of the six concertos Delos
____CANCcedilONIEgraveR Annette Bauer recorder
multi-instrumentalist Tim Rayborn Shira Kammen
strings Phoebe Jevtovic voice in a new early
music group devoted to repertoire from the
12thndash15th centuries as well as traditional music
from related regions (the Balkans Scandinavia
Middle East) Medieval instrumental music played
on a variety of instruments including strings
recorders and percussion Medieval dances and
motets bring to life the rich world of ancient
European music-making
____SACRED AND SECULAR MUSIC FROM
RENAISSANCE GERMANY Ciaramella-Adam amp
Rotem Gilbert Doug Millikan Debra Nagy
recorders with other winds shawm sackbut amp
organ Medieval amp Renaissance sacred music with
reconstructions of folksongs amp arrangements based
on contemporary improvisation
____BURIED TREASURE TOPAZ amp SAPPHIRE
Ensemble Vermillian Frances Blaker recorders
Barbara Blaker Krumdieck cello Elisabeth Reed
gamba Katherine Heater harpsichord amp organ
Transcriptions of Buxtehudes Op 1 other pieces by
Buxtehude works by Biber Johann Schop
Schmelzer Fafarela 2007
____STOLEN JEWELS Ensemble Vermillian
Frances Blaker recorders Barbara Blaker
Krumdieck Elisabeth Reed Katherine Heater 17th-
century German music adapted by Blaker I love
violin music so I steal the music and rearrange it
for my own instrumentrdquo Buxtehude Op 1 Biber
Rosenmuller Krieger JM Bach Fafarela
Recordings
____SENFL (LUDWIG) Farallon Recorder Quartet
(Letitia Berlin Frances Blaker Louise Carslake
Hanneke van Proosdij) 23 lieder motets and
instrumental works of the German Renaissance
____DOLCE MUSICAndash A CONTEMPLATIVE
JOURNEY Eileen Hadidianflutes recorders
Natalie Cox harps Celtic Renaissance and
Medieval melodies for recorder and flute with
Celtic harp Healing Muses 2005
____REFLECTIONS MUSIC TO SOOTHE AND
UPLIFT THE SPIRIT Eileen Hadidian recorder amp
Baroque flute with Celtic harp and cello Celtic
traditional Renaissance amp Medieval melodies
Healing Muses
____AN EVENING WITH BACH Voices of Music
Hanneke van Proosdij Louis Carslake Dan Laurin
recorders Joanna Blendulf Elizabeth Blumenstock
Rodney Gehrke Lisa Grodin Katherine Kyme
Jennifer Lane Victoria Gunn Pich Susanne Ryden
William Skeen David Tayler Renaissance and
Baroque music centers on fine singing Instantly
recognizable Air on a G String Bachrsquos Prelude in
G Major (solo theorbo for rsquocello) plus lilting vocal
performancesmdashRydenrsquos weightless soprano on
Bist du bei mir Lanersquos rich alto on Es is vollbracht
____BACH amp TELEMANN SONATAS PRELUDES
amp FANTASIAS Voices of Music (Hanneke van
Proosdij Joanna Blendulf Rodney Gehrke William
Skeen David Tayler) Beautiful chamber music by
Bach and Telemann
IN STOCK (Partial listing)____ALLA TURCA FUX CALDARA BADIA
Matthias Maute amp Sophie Lariviegravere recorders
Monika Mauch soprano Vocal music of the church
accompanied by Ensemble Caprice plus sonatas
and other instrumental pieces Analekta
____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 John Daniels Sonja Lindblad
recorders Peter Sykes harpsichord Trio sonata
arrangement by Johann Christian Schickhardt
____LES
AMIS DU
BAROQUE
Paul Nauta recorder amp
Baroque flute Koen Dieltiens recorder Music by
Bassani Corelli Vivaldi etc Highlight Intl
____LES SEPT SAUTS BAROQUE CHAMBER
MUSIC AT THE STUTTGART COURT Matthias
Maute amp Sophie Lariviegravere recorders amp traverso
Ensemble Caprice Charming repertoire by
Schwartzkopff Bodino Detri Atma Classique
____TASTE OF PORTIQUE LEnsemble Portique
Early and contemporary chamber musicmdash
Bach Telemann Boismortier and others
____TELEMANN ALLA POLACCA REBELndash
Matthias Maute recorders amp traversondash
plays concerti and suites by GP Telemann Dorian
____TELEMANN CANONS AND DUOS Lisette
Kielson amp Patrick OMalley recorders LEnsemble
Portique Telemann Canons meacutelodieux amp Sonates
sans basse 2-CD set LEP Records
____20TH CENTURY MUSIC FOR RECORDER amp
PIANO Anita Randolfi recorders Music by Jacob
Bartok Leigh others for recorder amp piano
____VIVALDI AND THE BAROQUE GYPSIES
Matthias Maute amp Sophie Lariviegravere recorders
Ensemble Caprice Gypsy music taken from
Uhrovska zbierka (now Slovakia) plus Vivaldi
____VIVALDI SHADES OF RED CONCERTOS amp
SONATAS FOR RECORDER amp STRINGS Matthias
Maute recorders REBEL Stylish high octane
readings of some of Vivaldis most beloved pieces
including the popular and raucous Concerto alla
Rustica stunningly colorful Sonata on La Follia and
four exuberant recorder concerti Bridge
____WINDFIRE Charmaine Delmatier recorder
Steve Kostelnik classical guitar Terry Hale bass
Erik Hokkanen violin Refreshing mixture of Andrew
Lloyd Weber American blues flamenco Celtic and
one original piece ltwwwyermomusicomgt
Please indicate above the CDs you wish toorder and print clearly the following
Name ____________________________________
Daytime phone (_____)______________________
Address__________________________________
CityStateZip _____________________________
Check enclosed for
_____ single CDs x $____ = $______
_____ 2-CD sets x $____ = $______
TOTAL $______
Please charge the above amount to my
MasterCard Visa or AmEx
_______________________________________
Exp Date ____________
Cardholderrsquos signature ______________________
Mail to
ARS 1129 Ruth Dr St Louis MO 63122-1019 US
You may fax a credit card order to 314-966-4649
NEW You may order CDs online using PayPal at
wwwamericanrecorderorgordercdromshtm
Order your recorder discs
through the ARS CD Club
The ARS CD Club makes hard-to-find or limited release CDs by ARS members
available to ARS members at the special price listed (non-members slightly higher)
All CDs are $15 ARS members$17 Others unless marked otherwise Two-CD sets are
$24 ARS members$28 Others Add Shipping and Handling $2 for one CD $1 for each
additional CD An updated listing of all available CDs may be found at the ARS
web site ltwwwamericanrecorderorggt
The first meeting of the newly-formedFort Myers Recorder and Early
Music Ensemble was January 26 atthe Florida home of chapter rep Sue
Groskreutz For this year the groupis somewhat loosely organized andplans to meet for extended sight-reading Repertoire at the first meetingcomprised everything from Renais-sance duets to chamber music involv-ing three treble parts and continuo
Among the five musiciansattending the first meeting (photobelow front row Elizabeth Spang SueGroskreutz back row Suzanne FergusonSibylle Baumgartner Arlene Sowka) allplayed recorder three harpsichord
and one each played traverso violinand gamba Due to the scarcity ofrecorder players south of the Sarasotaarea modern string players are alsoincorporated into this ensemble
The group decided not to chargedues and to meet at Groskreutzrsquoshome For more information pleasecontact Groskreutz at 239-267-1752spgembarqmailcom Snowbirdsdrifting through the area are welcome
Last fall at the requestof a student Kay Hettich
(inset below right) taught abeginning recorder class atthe Redding (CA) Senior
Center The five-weekclass was so successful thatmost participants haveformed a bi-weekly noviceensemble (right) coachedby Hettichmdashwho consid-ers them her ldquohatchedeggsrdquo
A new batch of ldquoeggsrdquostarted to incubate when afive-week class began on February 20Other senior center members havebecome interested as they heard oftheir colleaguesrsquo success These noviceplayers comprise some who previouslyread music and played instruments as well as people who are totally new to music notation
One student has also formulated amaxim ldquoEveryone at age 40 ought tolearn to play the recorder if heshehasnrsquot alreadyrdquo Just think how theworld would be transformed byshifting our focus to music
After Lynn Whidden attendedthe Montreacuteal Recorder Festival lastfall when the ARS Board met inQuebec she joined the ARS and nowrelays news of the lively interest in therecorder exhibited by a group underthe new leadership of Brent Legg ofBrandon University in ManitobaCanada Although his hands wereldquostill partly frozenrdquo he wrote that theBrandon University Collegium
Musicum in collaboration with theWaverley Park Recorder Club is
preparing a spring concert calledldquoEnglandrsquos Golden AgerdquoRepertoire spans the 16th century
from Henry VIIIrsquos accession in 1509to the death in 1603 of Elizabeth Iand includes solo songs four- andfive-part settings of Renaissancedances (with dancers) three- to five-voice madrigals and ldquobig-bandrdquoarrangements of William Byrdrsquos TheBells and The Dargason as re-imaginedby Gustav Holst (further re-imaginedfor recorders and percussion)
Of the 15 collegium membersseven are encountering the recorderfor the first time since elementaryschool The Collegium Musicumpromotes the study of early music at the university and is open to theuniversity community and the generalpublic This year there are five com-munity participants with interest fromseveral more both within and outsideof the university For informationcontact BrentLegggmailcom
January 16 marked the thirdannual recorder workshop of threeFlorida groups the Pasco Collegium
Recorder Consort of Hudson theImperial Recorder Consort of
36 March 2009 American Recorder
Chapters
amp Consorts___________________________________Workshops and activities from
coast to coast in the US and Canada
Lakeland and the Pilgrim Pipers Recorder Consort of St Petersburg Theygathered for a morning tackling selections by Banchieri Monteverdi PurcellCorelli Mendelssohn Bach Mozart and Glen Shannon Each group presenteda piece for the other participants Sweet Georgia Brown by Ben Bernie (St Pete)a Sonata by Sammartini (Lakeland) and The Gospel Train arr by KW Ford(Pasco) The 29 participants were led by Marlene Cracraft (Pasco) Jane
Spencer (Lakeland) and Elizabeth Snedeker (St Pete) Tom Bickley (photo below) directed the fall workshop of the Mid-Peninsula
Recorder Orchestra in Cupertino CA The 30 players started with Gregorianchants written in ldquooldrdquo notation Bickley gave basic instruction on how tointerpret the notes and then had the group sing the chants prior to playing them
The workshop theme of ldquoThe Articulate Recorderrdquo was literally played out as the music presented used variations in tonguing phrasing and breathingOther repertoire included a Kyrie by Tomas Luis de Victoria Bachrsquos Jesu Joy ofManrsquos Desiring a double-choir piece by Gabrieli Christopher Tyersquos In NomineXIII and a Purcell chaconne The workshop ended with a rhythmically-challenging minimalist piece by Bickley entitled Beginning composed for theWaldorf School teacher training program George Greenwood reports that thegroup had a productive event and plans to ask Bickley to lead a future workshop
wwwAmericanRecorderorg March 2009 37
A Muse in the DesertThe sound of a pin dropping hellip thesound of eager minds and fingersabsorbing information and inspira-tion hellip the sounds of ldquoNuevaEspantildeardquo Spanish- and indigenous-influenced music of the 1600s in theNew World These were the soundsof the Desert Pipes (Phoenix AZ)chapterrsquos fall workshop given byEileen Hadidian On a Saturdaylast October 30 players from all overArizona gathered to learn from andbe inspired by the founder of a SanFrancisco Bay Area group dedicatedto sharing music for healing inhealthcare settings Healing Muses(wwwhealingmusesorg)
The day began with relaxationstretching and breathing exercisesfollowed by travels to Peruacute MexicoGuatemala and Colombiamdashhighchurch music vernacular pieces anda mixture of the two Participantsenjoyed the historical and contextualbackground provided as an overviewfor the day and for each piece
Remarkably the sound heardbetween pieces and passages was anenergy-filled quiet the attentivestillness of active engagement in theworkshop experiencemdashnot the chat-tering noodling and conversationsthat often occur when the musicstops That activity was reserved forthe breaks when participants couldenjoy the cool (at last) outdoorschat with Hadidian and peruse the popular garage sale (to benefitDesert Pipes) of previously-enjoyedbooks and other treasures
On Sunday Hadidian sharedher expertise and inspiration in indi-vidual and group coaching sessionsThe weekend was a special experi-ence and Desert Pipes memberslook forward to the next visit of this Healing Muse
Ann Koenig Scottsdale AZannisalesprocom
Members
of three
Florida
groups
met
in January
for a joint
workshop
CHAPTER NEWS
Chapter newsletter editors and publicity officers should send materials for publication toAmerican Recorder 7770 South High St Centennial CO 80122-3122
editoramericanrecorderorg Also send short articles about specific activities that haveincreased chapter membership or recognition or just the enjoyment your members get out of
being part of your chapter Digital photos should be at least 3rdquox4rdquox300dpi TIF or unedited JPG files Please send news to the AR address above and to the following
ARS Office 1129 Ruth Drive St Louis MO 63122-1019 ARSrecorderAmericanRecorderorg
and to Bonnie Kelly Chair Chapters amp Consorts Committee 45 Shawsheen Rd 16 Bedford MA 01730 bksharpaolcom
TO THE STARS
AND BEYONDThe cover of the November magazinegenerated a few comments Some werenrsquotsure how to interpret the title (in theartistrsquos native German it could besomething close to ldquostarlit moonrdquo)Longtime member Carolyn Peskin wrote to offer her vision of that cover
In the beginning the Great Spiritinvented Mr Sun to light the day andMiss Moon to light the nightHowever as Miss Moon floated up inthe sky all by herself like a big yellowballoon she began to feel very lonelyso one night to relieve her lonelinessshe decided to take out her recorderand make music
But when she started to playsomething miraculous happened Not only beautiful melodies but alsoyellow dust poured out of the bottomof her recorder and the dust particlesimmediately coalesced to form yellowstars As she continued playing moreand more stars were created and theyfloated up around her filling the nightsky
At last Miss Moon was happy fornot only was she herself able to enjoyher music but she now had a wholecrowd of starry companions to enjoy itwith her And if you listen very care-fully on a quiet night you might beable to hear her recorder and thatstarry choir humming along
Carolyn Peskin
LOCATING EARPLUGSI read with interest the QampA in theNovember lsquo08 AR regarding hearingloss and use of earplugs Where do you get musicianrsquos earplugs
Dolly Hirata Kensington CA
CAROLYN PESKIN PROVIDED THIS
INFORMATION Musicianrsquos earplugs arecustom made for individual usersThey can be purchased only fromlicensed hearing professionals (ieaudiologists and hearing instrumentspecialists) To find a licensed hearingprofessional in your area look underldquoaudiologyrdquo or ldquohearingrdquo in your localyellow pages
For information about how musi-cianrsquos earplugs are produced visitwwwetymoticcomephperme-w
tbaspx That web page also has a linkto contact information for authorizedlabs that make the custom earmolds formusicianrsquos earplugs If the yellow pagesdo not prove helpful those labs canrefer you to a licensed hearing pro-fessional in your area from whom youcan purchase musicianrsquos earplugs
MORE FROM CAROLYN
THIS TIME ABOUT OSKARIn the September 2008 AR the musicreview by Leslie Timmons of the Oskarpieces by Matthias Maute mentionedthat Carolyn Peskin had translated twoof the Oskar books from German toEnglish People can obtain thetranslations free of charge as Wordattachments by contacting her atCarolyn Peskin 3559 StrathavonRoad Shaker Heights OH 44120carolynpeskinstratosnet
ANOTHER KIND OF
MUSIC-READING
GLASSESIn the January 2009 issue of AmericanRecorder therersquos something (in myopinion) the ldquoRecorder with GlassesObbligatordquo article omitted which canenable a nearsighted musician to avoidneck strain in the use of bifocals
Irsquove found the solution to thisvexing problem is to have onersquos bifocalsconstructed differently [from] normalMy optometrist was willing to work
38 March 2009 American Recorder
Response___________________________________Two kinds of vision
the better to see with and (not) to hear with
Honeysuckle Music
Recorders amp accessories
Music for recorders amp viols
Jean Allison Olson1604 Portland AveSt Paul MN 55104
6516448545jeanhoneysucklemusiccom
Responses from our readers are welcomedand may be sent to American Recorder 7770 South High St Centennial CO
80122 Letters may be edited for length and consistency
ARS Membership Enrollment and Renewal I am a new member I am or have been a member
USCanadian Memberships Foreign Memberships $45 One Year $55 Foreign One Year $75 Sustaining (Receive a Hottetere Hands Pin) $100 Two Years $80 Two Years
LIFETIME MEMBERSHIP Single Dual Regular Lifetime Member $1000 (2) $1500 (4) 4 installments of $250 available) Loyalty Lifetime Member (1) $ 800 (3) $1200 (4) 4 installments of $200 available
(1) For members who have maintained membership for five consecutive years (2) $750 is Tax Deductible (3) $600 is Tax Deductible (4) Installments available Student Memberships Other Memberships (Enclose proof of full time enrollment) $65 One Year Workshop Membership
$25 USCanadian One Year $125 One Year Business Membership $45 USCanadian Two Years $30 Foreign One Year $5 Additional Charge for Dual Address or Dual Name
Do not list my name in the ARS Print Directory Do not list my name on the ARS Online Directory Do not release my name for recorder related mailings Do not contact me via email
My address telephone and email address are the same as last time
______________________________________ _________________________ Name Phone Number ______________________________________ _________________________ AddressCityStatePostal Code Email Address Please charge to (Circle one) VISAMasterCardAMEXDiscover CC________________________________ Expiration Date ______________ Signature of cardholder_______________________________________________________ Clearly Print Name as it appears on Card________________________________________
Renew by Mail Online By Phone or by Fax
Demographic Information (optional information collected only to enhance ARS services and provide statistics to grant makers)
I am a member of ARS Chapter or Consort____________________________ I am the Chapter Contact Your age Under 21 (21-30) (31-40) (41-50) (51-60) 61-70) (71+) Please check all that apply
I am a Professional Recorder Performer
I wish to be included in the list of Recorder Teachers in the ARS Directory and website I Teach (circle your choices) Children High School Youth College Students Adults Beginner Intermediate Advanced Pre-Professional Individuals Childrenrsquos Classes Adult Classes Ensembles Suzuki Orff JRS Leader Kodaly Where I Teach (circle your choices) Music Studio Public or private school Community Music School College Other _____________________
American Recorder Society 1129 Ruth Dr St Louis MO 63122-1019
Phone 314-966-4082Fax 314-966-4649
TollFree 800-491-9588ARSRecorderAmericanRecorderorg
wwwAmericanRecorderorg
with me [to find] an ideal (for me)placement size and focal length of thebifocal lens
Before visiting the optometristIrsquod had my wife measure the distancefrom my eyes to the music on mymusic stand With this measurementthe optometrist set up her machine toprepare a vision prescription for memaximized for this reading distance
When I look at my bifocals (withthem off) the lenses (through which Iread my music) occupy most of thelower two-thirds of my glasses (they are set very high and beginimmediately at the inner rims) Thisleaves the upper third and smallportions of the outside [of each lens]for focusing on the conductor As longas my stand is set low enough my necknever experiences any strain (even if Ihave to read three to a part) and Irsquove no problem in seeing theconductor (in sharp focus) either
For me trying to use glasses [toread] from a music stand [that] weredesigned for use in reading from acomputer screen also results in neckstrain (not to mention unreliability in aldquopressurerdquo situation) Having studiedTai Chi extensively and so being
wwwAmericanRecorderorg March 2009 39
There are lots ofsolutions to thepresbyopic musicianrsquosproblem but all involve compromises
40 March 2009 American Recorder
American Recorder Society PublicationsErich Katz Contemporary Music Series Members Non-MembersA Short Tale for Two Basses Suzanne M Angevine (Level II) (2 scores) $5 $8Dialogue and Dance Cecil Effinger (SATB)(Level II-III) (score amp parts) $10 $18Dorian Mood Sally Price (SATB) (Level II) (score amp parts) $10 $18Double Quartet for Recorders Peter Ballinger (Level II-III) (score amp parts) $10 $18Entrevista Frederic Palmer (SATB) (Level II) (2 scores amp 4 recorder parts) $8 $14Kyrie and Vocalise for Soprano Voice ampRecorders Stanley W Osborn $8 $14
(SATB) (Level II) (2 scores amp 4 recorder parts) Picnic Music Jeffrey Quick (SATB) (Level II) (score amp parts) $5 $8Six Short Pieces for Three Recorders edited by Alan Drake $8 $14
(3 scores) Vaclav Nelhybel (AATT) (Level II)Sonatina for Alto Recorder and Piano Anthony Burgess $7 $12
(Level II) (2 scores)Sonatine for Three Altos Lee Gannon (Level III) (score amp parts) $14 $26Suite of Jewish Folk Tunes Erich Katz (S SA8 AT) (Level II) (three scores) $10 $18
Musical Editions from the Membersrsquo Library ARS members 1 copy-$3 2 copies-$450 3-$6 4-$750 5-$10 6-$1150Non-members (editions over 2 years old) 1 copy-$5 2 copies-$850 3-$12 4-$15 5-$1950 6-$23The ARS is happy to provide photocopied enlargements of any Membersrsquo Library edition at the same prices Please specify ldquoMembersrsquo Library Enlargementrdquo
ARS Information BookletsARS members 1 booklet-$13 2 booklets-$23 3-$28 4-$35 5-$41 6-$47 7-$52Non-members 1 booklet-$18 2 booklets-$33 3-$44 4$55 5-$66 6-$76 7-$86
Education PublicationsThe ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996)
First copy free to ARS Members (mailed to new members as they join) replacement copies $3Guidebook to the ARS Personal Study Program (1996) Material formerly published in the Study Guide
and Study Guide Handbook plus additional resources Members $11 non-members $20ARS Music Lists (2002 with 2003 Supplement) Graded list of solos ensembles and method books
Members $9 non-members $15Package Deal available only to ARS members Guidebook and Music ListsSupplement ordered together $16Junior Recorder Society Leaderrsquos Resource Notebook
ARS members $20 non-members $40 (updates at reduced rates after initial purchase)$5 Dues for each JRS student member sponsored by an ARS member ($4 each for groups of 10+)
VideosRecorder Power Educational video from the ARS and recorder virtuoso John Tyson
An exciting resource about teaching recorder to young students ARS members may borrow a copy for onemonth by sending $5 to the ARS office along with the address to which the tape should be shipped
Pete Rose Video Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music Festival recitalFeatures Rose performing a variety of music and an interview of him by ARS member professional John Tyson
Other PublicationsChapter Handbook A resource on chapter operations for current chapter leaders or those considering forming an
ARS chapter ARS members $10 non-members $20 (updates free after initial purchase) One free copy sent toeach ARS chapter with 10 members or more
Consort Handbook Resource on consort topics such as group interaction rehearsing repertoire performingARS member prices CD $10 hard copy $20 combo price of CD and hard copy ordered together $25
Discography of the Recorder Vol I (1989) Compiled by Scott Paterson and David LasockiDiscography of the Recorder Vol II (1990-1994) Compiled by Scott Paterson
Either single volume ARS members $23 non-members $28Both Discography volumes together ARS members only $40
American Recorder Cumulative Index for Vols I-XXXX ARS members $20 non-members $32Index Supplement Vol XXXIV-XXXX ARS members $8 non-members $14
Shipping amp Handling FeesUnder $10 - add $3 $10-1999 - add $4 $20-2999 - add $5 $30-3999 - add $6 $40-4999 - add $7 All prices are inUS dollars For Canadian or foreign postage pay by credit card and actual postage is charged
Please make checks payable to ARS VISAMCAMEXDisc also accepted
ARS 1129 Ruth Drive St Louis MO 63122 US800-491-9588 ARSrecorderAmericanRecorderorg
Arioso and Jazzy Rondo (AB) Carolyn PeskinBerceusendashFantaisie (SATB) Jean BoivertBrucknerrsquos Ave Maria (SSATTBB)
Jennifer W Lehmann arrCanon for 4 Basses (BBBB) David P RuhlDancers (AT) Richard EastmanDifferent Quips (AATB) Stephan ChandlerElegy for Recorder Quartet (SATB) Carolyn PeskinElizabethan Delights (SAATB)
Jennifer W Lehmann arrFallen Leaves Fugal Fantasy (SATB) Dominic BohbotFour Airs from ldquoThe Beggarrsquos Operardquo (SATB)
Kearney Smith arrGloria in Excelsis (TTTB) Robert CowperIdyll (ATB) Stan McDanielImitations (AA) Laurie G AlbertsIn Memory of Andrew (ATB) David GoldsteinLay Your Shadow on the Sundials (TBgB)
Terry Winter OwensLeClercqrsquos Air (SATB) Richard E WoodLittle Girl Skipping and Alouette et al (SATBCb)
Timothy R Walsh
Los Pastores (SAAAT + perc) Virginia N Ebinger arrNew Rounds on Old Rhymes (4 var) Erich KatzOther Quips (ATBB) Stephan ChandlerPoinciana Rag (SATB) Laurie G AlbertsSanta Barbara Suite (SSAAT) Erich KatzSentimental Songs (SATB) David Goldstein arrSerie for Two Alto Recorders (AA) Frederic Palmer Slow Dance with Doubles (2 x SATB) Colin SterneSonata da Chiesa (SATB) Ann McKinleyS-O-S (SATB) Anthony St PierreThree Bantam Ballads (TB) Ann McKinleyThree Cleveland Scenes (SAT) Carolyn PeskinThree in Five (AAB) Karl A StetsonTracings in the Snow in Central Park (SAT)
Robert W ButtsTrios for Recorders (var) George T BachmannTriptych (AATB) Peter A RamseyTwo Bach Trios (SAB) William Long arrTwo Brahms Lieder (SATB) Thomas E Van Dahm arrVariations on ldquoDrmešrdquo (SATB) Martha BishopVintage Burgundy (SASATT)
Jennifer W Lehmann arr
Adding Percussion to Medieval and Renaissance Music Peggy Monroe
American Recorder Music Constance PrimusBurgundian Court amp Its Music Judith Whaley coord
Improve Your Consort Skills Susan CarduelisMusic for Mixed Ensembles Jennifer W LehmannPlaying Music for the Dance Louise AustinRecorder Care Scott Paterson
acutely aware of any kind of neckstrain when it begins to develop these ideas have been a big help to meIrsquom hoping they may be of help toother musicians as well
Best wishes to you And inanswer to your questionmdashyes the new[AR] format (with more white spacebetween the lines) is much easier toread (in my opinion)Your magazinejust keeps getting better and better
Very sincerely Ed Green WestSuburban (Chicago-area) Chapter
RESPONSE FROM DR BILL LONG
What Ed describes is a variant of theuse of conventional bifocals as musicglasses described on page 8 in thearticle Instead of lowering his musicstand into the field of view of hisbifocal segment Ed and his optome-trist have fabricated special purposebifocals with the segment really highso he can focus on his music instraight-ahead view That approachrestricts his distance vision to an areaabove his usual line of sight whichseems to work for Eds playing setup
Eds comments on the difficultiesin using conventional progressiveaddition lenses as music lenses con-firm what I said on page 9 Thats whymanufacturers have marketed special-ty progressive lenses designed specif-ically for intermediate distance taskslike computer use and playing music
There are lots of solutions to thepresbyopic musicians problem but all involve compromises The key toevaluating those compromises andchoosing the best solution for yourselfis to understand your needs and toenlist the help of a sympathetic visioncare specialistmdashjust as Ed did
Please change your
browserrsquos favorites list
AR online is now at wwwameri
canrecorderorgmembership
magazinehtm Send news to
editoramericanrecorderorg
FOUR FOUR-PART CANZONAS
(1608) BY GIOVANNI GABRIELI
ED GREG LEWIN Hawthorns Music RB 16 (Magnamusic) 1999 SATBSc 16 pp pts 4 pp $1950
Giovanni Gabrieli was probablyborn between 1554 and 1557 in theparish of San Geremia in Venice Thedetails of his early life are sketchy butit appears that he was born Giovannidi Fais and later changed his name toGabrieli out of respect to his uncleAndrea with whom he shared a closerelationship In fact in 1587 Gabrielidescribed himself ldquoas little less than asonrdquo It is commonly thought thatAndrea provided Giovanni with hisearly musical training Andrea whohad spent some time in Munichstudying under the great Orlando deLassus sent Giovanni to Munich for a similar period of study in theearly 1570s
Gabrieli remained in Munichuntil the death in 1579 of the dukeAlbrecht V who had been Lassusrsquosemployer for a number of years andwho was an enthusiastic patron of the arts particularly music With hisdeath a number of musicians lost theirjobs it seems as if Gabrieli were also a victim of such culling of talent(Within a generation the tide wouldturn and the Munich court wouldagain hire Venetian expatriates such as Priuli Valentini and Neri)
Upon his return to VeniceGabrieli was hired as a temporaryorganist at San Marco his positionbecoming permanent in 1585 For a few months that year uncle andnephew served together as first and
second organists in the chapel of thedoge In Giovannirsquos absence fromVenice there had been a plague thathad decimated the ranks of theprofessional musicians Andrea setabout rebuilding his forces at SanMarco by hiring a full-time windband consisting of Girolamo dallaCasa a renowned cornettist andviolist his two brothers who playedsackbut and later the cornett virtuosoGiovanni Bassano Giovanni Gabrieliaugmented these forces with addi-tional players and began composingthe large-scale ceremonial music forwhich he is so well known today
Giovanni was also elected to bethe organist and composer to theconfraternity of San Rocco in 1585and it is now thought that his largestpieces were intended for that venuewith its large central gallery andfrescos by Tintoretto instead of SanMarco Gabrieli held both thosepositions at the basilica of San Marcoand the Scuola Grande di San Roccountil he died in 1612 of a kidney stone
Although best known today forhis ceremonial and festival musicGabrieli was at home in smaller-scaleformats as well These four four-partcanzoni are taken from the 1608publication by the Venetian publisherAlessandro Raverji Canzoni per sonarecon ogni sorte di strumenti These werevery popular pieces to judge by themany collections in which they appear
Additionally like Gabrielirsquoskeyboard music they are found inother arrangements These four-partcanzoni lie well under the fingers inarrangements for keyboard and lute
As seen from the title Gabrielispecified no instrumentation but like asimilar edition of madrigals and battlepieces from a few years earlier a dis-tinction was made that they wereintended for wind instruments almostcertainly cornetts and sackbuts
Recorders were not unknown in Venice they were used regularly inthe confraternity of San GiovanniEvangelista where Giovanni BattistaRiccio was organist
These pieces are relativelysimplemdashplayable by beginning tointermediate ensembles They aremostly contrapuntal (with a fewhomophonic sections) and have few rhythmic eccentricities
These canzoni are found in manymodern brass editions but there arefew editions available to the recorderplayer This edition by Greg Lewin ofHawthorns Music might be consid-ered a ldquobare-bonesrdquo edition There islittle background information andeditorial practices are not specified
The music itself has a handwrittenlook that can be distracting but is easyenough to read Lewin has thought-fully supplied phrasing marks that willbe helpful for ensembles unused tothis style of music
Music
Reviews___________________________________ Infectious music created in spite of the plague
wwwAmericanRecorderorg March 2009 41
This is a good edition
for small ensembles that
canrsquot get eight players
together to play
Gabrielirsquos more famous
eight-part canzoni
42 March 2009 American Recorder
The parts are four pages but mycopy had all four pages printed on avery large page This is not a problemand there are no page turns
This is a good edition for smallensembles that canrsquot get eight playerstogether to play Gabrielirsquos morefamous eight-part canzoni Thesesmall-scale pieces are by no meansinferior to Gabrielirsquos more elaboratemusic and deserve to be better known
7 CANZONEN (1637) BY
TARQUINIO MERULA ED JOACHIM
ARNDT WITH CONTINUO REALIZATION
BY CLAUDIA SCHWEITZER MieroprintMusikverlag EM2088 (availabledirectly from wwwmieroprintcom)2005 SS or TT bc Sc 24 pp pts 8 pp$28
Tarquinio Merula was bornaround 1595 in either Busseto orCremona in Italy As was the case withso many composers of the day either alack of regular employment or a rest-less nature took him from his home inCremona to as far away as Warsaw He is found as the organist of thechurch and the chambers to the kingof Poland Sigismund III in 1624
Merula was one of the leadingexponents of the relatively new con-certante style pioneered by ClaudioMonteverdi and others in the seconddecade of the 17th century and may be described as one of the earliestBaroque composers His compositionsin the concertante style are fresh andunforcedmdashhe was born into this styleand didnrsquot encounter it as somethingnew as was the case with so many ofMonteverdirsquos contemporaries
After several years of peripateticexistence Merula found regularemployment in 1631 in Bergamo atthe church of San Maria MaggioreThe prior holder of the post of maestrodi cappella Alessandro Grandi haddied the previous year in the plagueMerula had signed a three-year
contract but by December 1632 hewas terminated with accusations thathe had molested several studentsMerula threatened a lawsuit to recoverhis lost wages but that threat wascountered with a pending criminalcharge lodged by the board ofgovernors of San Maria Maggiore By mid-1633 the matter was settledwith an apology from Merula and astatement that he relinquished allclaims to his salary
He then returned voluntarily toCremona where he stayed until 1635By 1638 Merula was once again inBergamomdashthis time as maestro dicappella and organist in the cathedralnext to San Maria Maggiore Asmight be expected there was con-siderable tension between the twochurches eventually resulting in theboard of San Maria Maggioreforbidding their musicians to perform under Merularsquos direction
He returned in 1646 to a familiarCremona post which he had heldthree times in various years and wherehe now settled downmdashthat of organistand maestro di cappella for Laudi dellaMadonna services in which he ledmusic at the main altar on Saturdaysand on vigils of Marian feasts
None of his employment issues
prevented the Pope from awardinghim the Order of the Golden SpurMerula was also elected to theAccademia dei Filomusi in BolognaHe died in 1665 in Cremona
His existing compositions showthe products of a lively mind Hisworks range from sacred songs andmotets to purely instrumental piecesnotably the ever-popular variations onvarious ground basses It is knownthat Merula was an accomplishedviolinist as well as a fine organist Hissurviving instrumental writing showsa predilection for strings In fact hewas one of the earliest composers tospecify string accompaniments tosacred motets
Merularsquos pieces look backwardtoward some of the more progressiveVenetian composers such as Monte-verdi while looking forward to thehigh Baroque with his innovative style
These seven canzoni like theearlier-published chaconne (EM2084)come from Merularsquos third bookpublished in 1637 CANZONI overo SONATE CONCERTATE perchiesa e camera a due et a tre delcavaliere This collection typifiesMerularsquos output pieces based onRenaissance-era ground basses arefound next to more ldquomodernrdquo sonatas
The original edition specifiesviolins and basso continuo This newedition is intended for recorders thespecific choice of which is up to theplayers Due to the relatively hightessitura tenor recorders work best inthese pieces (although listed as analternative soprano recorders tend to be on the screechy side)
Not surprisingly given Merularsquosskill as an organist the continuo partneeds a keyboard instrument forsuccessful realization Instead of beinga purely accompanying part the bassocontinuo part is an equal partner in these pieces the canzona ldquoLaRuggierardquo opens with a run that therecorders echo a few measures later
A more recorder-specific
edition intended for
altos would have been
ideal There is nothing
preventing the more
adventurous and
industrious players
from making their
own editions of this
delightful music
mentioned were a bit shrill A morerecorder-specific edition intended foraltos would have been ideal There isnothing preventing the moreadventurous and industrious playersfrom making their own editions of thisdelightful music
Prior to playing the previouslypublished chaconne I had notencountered MieroprintMusikverlag Mieroprintrsquos extensivecatalog has an equal focus on newmusic for recorders and on editions ofBaroque masters with emphasis on therecorder and flute Due to the lack of
wwwAmericanRecorderorg March 2009 43
are also available at
The Early Music Shop
of New England
Brookline MA
AESTHEacute
367-b de la Briquade
Blainville Queacutebec
Canada J7C 2C7
tel (450) 979-6091
wwwboudreau-flutesca
A bass viola da gamba or rsquocello is not necessary for these pieces and may infact make them sound heavy and ponderous rather than light and breezy as thismusic seems to be
More so than the above-mentioned chaconne these canzoni are written in avery idiomatic violin style with multiple examples of arpeggios In particular thecanzona ldquoLa Trecchardquo contains a notated example of a string tremolo figurerecurring through the piece ldquoLa Trecchardquo also dips well below the range of a Crecorder going down to low G the lowest string on the violin The editors havesupplied no alternative notes preferring to let the performers to fend forthemselves (in practice we took this passage up an octave with no problems)
The two recorder parts require virtuosity These upper parts are demandingwith the players needing to double-tongue in unison in order to negotiate themany runs of 16th notes and the shared rhythmic ldquolicksrdquo The harmoniclanguage unlike much of Merularsquos music is undemanding and contains none of the harmonic crunches for which he is famous
This is wonderful music that needs a couple of advanced recorder players fora successful performance The string idiosyncrasies can be overcome by advancedplayers and many of the editions of the era (although not this one) list thecornetto as an alternative to the violin so the use of wind instruments in the solo literature of the early Baroque was not unknown
Our experience with this edition left us with the opinion that these pieceswould have been better if transposed down a minor third so as to fit on a pair ofalto recorders (as is the case with much Baroque flute music to make it lie betteron the recorder) The tenors we used tended to sound a bit murky in the lowerregister next to the more aggressive harpsichord while the sopranos we tried as
KEY rec=recorder Srsquoo=sopraninoS=soprano A=alto T=tenor B=bassgB=great bass cB= contra bass Tr=treble qrt=quartet pf=piano fwd=foreword opt=optional perc=percussionpp=pages sc=score pt(s)=part(s)kbd=keyboard bc=basso continuohc=harpsichord PampH=postage andhandling Multiple reviews by one reviewerare followed by that reviewerrsquos name Pleasesubmit music for review to AR 7770 SHigh St Centennial CO 80122-3122 US
an American distributor this musicwill be hard to findmdashin fact can befound only at the time of this writingon their web site noted above But theeffort will be repaid
This edition is clear and easy toread and the parts require no pageturns The basso continuo realizationis simple and elegant
This is music deserving ofrediscovery My only quibble is thatthe editorial notes are all in GermanThis seems to be the practice ofGerman music publishers with thenotable exception of Moeck Otherpublishers of early music such asLondon Pro Musica routinelyprovide notes in English and German and often in French and Italian making their editionsaccessible to a wider audience
Frank Cone studied the recorderwith the late Ellen Perrin the viola dagamba with Carol Herman and thecornetto with Larry Johansen TheCalifornia multi-instrumentalist has been a member of the Orange CountyRecorder Society since 1985
Advertiser Index
AMERICAN ORFF-SCHULWERK ASSN 3
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AMHERST EARLY MUSIC FESTIVAL 17
STEPHAN BLEZINGER 24
JEAN-LUC BOUDREAU 21 39
BOSTON EARLY MUSIC FESTIVAL 7
CANTO ANTIGUO EARLY MUSIC WORKSHOP 13
COURTLY MUSIC UNLIMITED 20
EARLY MUSIC AMERICA 8
HONEYSUCKLE MUSIC 34
BILL LAZARrsquoS EARLY MUSIC 26
KEITH E LORAINE EARLY DOUBLE REED SERVICE 35
LOST IN TIME PRESS 11
MADISON EARLY MUSIC FESTIVAL 12
MAGNAMUSIC DISTRIBUTORS BC
MOECK VERLAG IFC
MOLLENHAUER RECORDERS IBC
PORT TOWNSEND WORKSHOP 14
PRESCOTT WORKSHOP 30
PROVINCETOWN BOOKSHOP 26
THE RECORDER MAGAZINE 4
THE RECORDER SHOP 6
SAN FRANCISCO EARLY MUSIC SOCIETY 18
SWEETHEART FLUTE CO 3
TEXAS TOOT 20
VON HUENE WORKSHOP INC 30
WICHITA BAND INSTRUMENT CO 21
DOMINIK ZUCHOWICZ 34
CONSIDER ADVERTISING IN
Full page $55223 page $43912 page $36613 page $28614 page $22316 page $17518 page $127112 page $ 951 column inch $ 58
Prices include web sitee-mail link directly from your ad in the online AR at wwwamericanrecorderorg
Circulation Includes the membership of theARS libraries and music organizations
Published five times per year January March May September November
Reservation Deadlines December 1 (January) February 1 (March) April 1 (May) August 1 (September) October 1 (November)
Rates good through November 2009 Pleaseinquire about discounts on multiple-issuecontracts inserts or other special requestsExtra charges for typesetting layout half-tones and size alterations 133-line screenrecommended Advertising subject toacceptance by magazine First-time adver-tisers must include payment with order
For more information contact the ARS office 1129 Ruth Drive St Louis MO63122-1019 800-491-9588 toll free 314-966-4082 phone 314-966-4649 faxadvertisingamericanrecorderorg
44 March 2009 American Recorder
Classified___________________________________
FOR SALE Cherrywood hurdy gurdy and hard-side case made by Kelischek bought 2005Originally $765 plus $89 for case Rarely usedBoth for $450 or make offer Please contact marjalocomcastnet Can ship
ASPIRE ANNOUNCE INSPIRE Afford-able PR for teachers and recitalists wwwrecitalroomcom
PHOTOS NEEDED of ARS events 1970sndash1990sto illustrate last chapters of Martha Bixlerrsquos histor-ical memoir about the ARS (to be posted online)E-mail scanned photos (300dpi JPG or TIF)arsrecorderamericanrecorderorg Hardcopies mail to ARS office to be scanned ampreturned Info 800-491-9588
T-SHIRT FOR ENSEMBLE PLAYERS to wear orshare Top 10 Reasons Why I Got Lost Wrongfingering bad lighting etc on blue cotton shirt$18 Highlighter tape and other goodies Beth amp Lindas Boutique as seen at BEMF CallLinda at 617-671-8694 or e-mail for brochurelindakushverizonnet
Where the havesand have-nots
of the recorder world can find each other
Classified rate for American Recorder 60centper word ten-word minimum ldquoFOR SALErdquoand ldquoWANTEDrdquo may be included in thecopy without counting Zip code is oneword phone e-mail or web page is twoPayment must accompany copy Deadlinesare one month before issue date Send copywith payment to ARS 1129 Ruth Drive St Louis MO 63122-1019
AMERICAN RECORDER (ISSN 0003-0724) 1129 Ruth Dr St Louis MO 63122-1019 is publishedbimonthly (January March May September and November) for its members by the AmericanRecorder Society Inc $20 of the annual $45 US membership dues in the ARS is for a subscriptionto American Recorder Articles reviews and letters to the editor reflect the viewpoint of their individ-ual authors Their appearance in this magazine does not imply official endorsement by the ARS
EDITORIAL DEADLINES November 15 (January) January 15 (March) March 15 (May) July 15(September) and September 15 (November) Submission of articles and photographs is welcomedArticles may be typed or sent as an attachment (Word or RTF preferred) to or text in an e-mail mes-sage They should be for the exclusive consideration of AR unless otherwise noted Photos may besent as prints or unedited JPG or 300dpi TIF files (minimum 3rdquox4rdquo) Advertisements may be sent inPDF or EPS format with fonts embedded
EDITORIAL OFFICE Gail Nickless Editor 7770 S High St Centennial CO 80122-3122 303-794-0114 (phone amp fax) editoramericanrecorderorg Books for review Editorial office Musicfor review Editorial office Recordings for review Tom Bickley 1811 Stuart St Berkeley CA 94703Cutting Edge Tim Broege 212 Second Ave Bradley Beach NJ 07720-1159 Chapter newslettersother reports Editorial office Postmaster Send address changes to ARS 1129 Ruth Drive St LouisMO 63122-1019 Periodicals postage paid at St Louis MO and at an additional mailing office
Chapter leaders
We know yoursquore out there
and that you want to share
your plans concerns
solutions and ideas with
other chapter leaders Visit
httpamericanrecorder
societywikispacescom
6 March 2009 American Recorder
AMERICAN
RECORDER
SOCIETYinc
Honorary PresidentErich Katz (1900-1973)
Honorary Vice PresidentWinifred Jaeger
Statement of PurposeThe mission of the American Recorder Society is
to promote the recorder and its music bydeveloping resources and standards to help
people of all ages and ability levels to play andstudy the recorder presenting the instrument to
new constituencies encouraging increased careeropportunities for professional recorder
performers and teachers and enabling andsupporting recorder playing as a shared social
experience Besides this journal ARS publishesa newsletter a personal study program a
directory and special musical editions Societymembers gather and play together at chapter
meetings weekend and summer workshops andmany ARS-sponsored events throughout
the year In 2009 the Society enters its eighth decade of service to its constituents
Board of DirectorsLisette Kielson PresidentLaura SanbornndashKuhlman
Vice President Fundraising ChairMarilyn Perlmutter Secretary
Scholarship ChairAnn Stickney Treasurer
Finance Chair Membership Co-ChairMatthew Ross Assistant Secretary
Membership Co-ChairBonnie Kelly Assistant Treasurer
Chapters amp Consort Chair SpecialEventsProfessional Outreach Co-Chair
Letitia Berlin Special EventsProfessional Outreach Co-Chair
Mark Davenport Education Co-ChairSusan Richter MariendashLouise Smith
Leslie Timmons Education Co-ChairMary Halverson Waldo Publications Chair
Nancy Weissman Counsel
StaffKathy Sherrick Administrative Director
1129 Ruth DriveSt Louis MO 63122-1019 US
800-491-9588 toll free314-966-4082 phone
314-966-4649 faxARSRecorderAmericanRecorderorg
wwwAmericanRecorderorg
In accordance with the Internal Revenue ServiceTaxpayer Bill of Rights 2 passed by the United States
Congress in 1996 the American Recorder Society makesfreely available through its office financial and
incorporation documents complying with that regulation
ALABAMA
Alabama Recorder Assoc JenniferGarthwaite (256-586-9003)
Birmingham Janice Williams (205-870-7443)
ARIZONA
Desert Pipes (Phoenix) Linda Rising (602-997-6464)
Arizona Central Highlands (Prescott) Georgeanne Hanna (928-775-5856)
Tucson Scott Mason (520-721-0846)
ARKANSAS
Aeolus Konsort Don Wold (501-666-2787)
Bella Vista Barbara McCoy (479-855-6477)
CALIFORNIA
Central Coast Margery Seid (805-474-8538)
East Bay Susan Jaffe (510-482-4993)
Inland Riverside Greg Taber (951-683-8744)
Monterey Bay LouAnn Hofman(831-439-0809)
North Coast Kathleen Kinkela-Love (707-822-8835)
Orange County Lois Sheppard(562-431-0454) amp Rayma Zack (949-624-3448)
Redding Kay Hettich (530-241-8107)
Sacramento Steve Sherman (916-489-2771) amp Robert Foster (916-391-7520)
San Diego County Harvey Winokur (619-334-1993)
San Francisco Dana Vinicoff (415-908-3258)
Sonoma County Dale Jewell (707-874-9524)
South Bay Liz Brownell (408-358-0878)
Southern California Jerry Cotts (310-453-6004) ampJuanita Davis (310-390-2378)
COLORADO
Boulder Mike Emptage(970-667-3929)
Colorado Springs Janet Howbert(719-632-6465)
Denver Dick Munz(303-286-7909)Fort Collins Roselyn Dailey(970-282-1097)
Early Music Society of Western CO Bev Jackson (970-257-1692)
CONNECTICUT
Connecticut Elise Jaeger (203-792-5606)
Eastern ConnecticutJoyce Goldberg (860-442-8490)
DISTRICT OF COLUMBIA
Washington Art Jacobson (301-983-1310)
DELAWARE
Brandywine Roger Matsumoto (302-731-1430)
FLORIDA
Ft Myers Recorder amp Early Music Ens Sue Groskreutz (239-247-3002)
Gainesville Peter Bushnell (352-376-4390)
LargoSt Petersburg Elizabeth Snedeker (727-596-7813)
Miami Zulema Garaffo(305-374-1879)
Palm Beach Beverly Lomer(954-592-2852)
Sarasota Margaret Boehm (941-761-1318)
GEORGIA
Atlanta Mickey Gillmor (404-872-3210)
HAWAII
Hawaii Irene Sakimoto (808-734-5909)
Big Island Roger Baldwin (808-935-2306)
ILLINOIS
Chicago Mark Dawson (773-334-6376)
Chicago-West Suburban Laura SanbornndashKuhlman(630-462-5427)
LOUISIANA
Baton Rouge Cody Sibley (225-505-0633) ampJohn Waite (225-925-0502)
New Orleans Victoria Blanchard (504-861-4289) amp David Kemp (504-897-6162)
MARYLAND
Northern Maryland Richard Spittel (410-242-3395)
MASSACHUSETTS
Boston Laura Conrad (617-661-8097)
RecordersEarly Music Metro-West Boston Sheila Beardslee (978-264-0584)
Worcester Hills Doug Bittner (508-852-6877)
MICHIGAN
Ann Arbor Annabel Griffiths (734-213-3172)
Kalamazoo Charles Vreeland (269-342-8069)
Metropolitan Detroit Claudia Novitzsky (248-548-5668)
Northwinds Recorder SocietyJanet Smith (231-347-1056)
Western Michigan Jocelyn Shaw( 231-744-8248)
MINNESOTA
Twin Cities Barbara Aslakson (952-545-3178)
MISSOURI
St Louis Kathy Sherrick (314-822-2594)
NEVADA
Sierra Early Music Society Kay Judson (775-322-3990)
NEW HAMPSHIRE
Monadnock Kristine Schramel (413-648-9916)amp Lynn Herzog (802-254-1223)
NEW JERSEY
Bergen County Mary Comins (201-489-5695)
Highland Park Donna Messer (732-828-7421)
Navesink Lori Goldschmidt (732-922-2750)
Princeton Louise Witonsky (609-924-2752)
NEW MEXICO
Albuquerque Bryan Bingham (505-299-0052)
Las Vegas (Flat amp Baroque in Las Vegas) Tom Curtis (505-454-4232)
Rio Grande Sylvia Burke (575-522-1742)
Santa Fe Jane Thomson (505-986-0753)
NEW YORK
Buffalo Jean Ericson (716-839-3942)
Hudson Mohawk Darleen Koreman (518-482-6023)
Long Island Barbara Zotz (631-421-0039)
New York City Gene Murrow (646-342-8145)
Rochester Liz Seely (585-473-1463) Rockland Jacqueline Mirando (845-624-2150)
Westchester Erica Babad (914-769-5236)
NORTH CAROLINA
Carolina MountainsCarol Markey (828-884-4304)
Triangle Mary McKinney (919-489-2292)
OHIO
Greater Cleveland Edith Yerger (440-826-0716)
Toledo Marilyn Perlmutter (419-531-6259)
OREGON
Eugene Lynne Coates (541-345-5235)
Oregon Coast Corlu Collier (541-265-5910)
Portland Zoeuml Tokar (971-325-1060)
PENNSYLVANIA
Bloomsburg Early Music EnsSusan Brook (570-784-8363)
Philadelphia Vincent Hurtubise (215-438-6409)
Pittsburgh Helen Thornton (412-781-6321)
RHODE ISLAND
Rhode Island David Bojar (401-944-3395)
TENNESSEE
Greater Knoxville Ann Stierli (865-637-6179)
Nashville Janet Epstein (615-297-2546)
TEXAS
Austin Marianne Weiss Kim (512-795-9869)
Dallas Jack Waller (972-669-1209)
Rio Grande Sylvia Burke (575-522-1742)
UTAH
Utah Recorder Society (Salt Lake) Mary Johnson (801-272-9015)
VERMONT
Monadnock Kristine Schramel (413-648-9916) amp Lynn Herzog (802-254-1223)
VIRGINIA
Northern Virginia Edward Friedler (703-425-1324)
Shenandoah (Charlottesville) Gary Porter (434-284-2995)
Tidewater (Williamsburg) Vicki H Hall (757-565-2773)
WASHINGTON
Moss Bay Ralph Lusher (425-275-6777)
Seattle Carolyn Wallace (206-782-6898)
WISCONSIN
Milwaukee Carole Goodfellow (262-763-8992)Southern Wisconsin Marilyn Oberst (608-836-0269)
CANADA
Montreacuteal Mary McCutcheon(514-271-6650)
Toronto Sharon Geens (416-699-0517)
Please contact the ARS officeto update chapter listings
ARS Chapters
In July 2005 before I was on theBoard I attended the very first
ARS Festival that year held at RegisUniversity in Denver CO I decidedto go at the last minute (no earlyregistration discount for me) Ithought take advantage of this greatopportunity to change rolesmdashpartici-pate as a student instead of as facultyWhat a wonderful experience it wasmdashto observe join sessions and absorb all the warmth humor and knowledgethat was presented to me I recon-nected with some and met many whowill remain good friends and respectedcolleagues throughout my life
As I recall the 2005 ARS FestivalI remember my introduction to theARS by one of my first teachersRoberta Sweet My passion lay inmaking music and she fed thatpassion lovingly and consistentlymdashone quality I believe necessary forremarkable teaching As a professionalmusician (and lifelong student ofmusic and life) I now succumb to amore sophisticated hunger thatinvolves more than just my teachingand performingmdashan appetite that nowincludes what other professionals are
saying about the recorder theirthoughts on teaching and theirapproaches to ensemble direction andperforming
This Presidentrsquos Messageprovides me with a chance not only toreflect but also to advertise This is theMarch issuemdashthe issue traditionallylisting all the summer festivals andworkshops I mentioned it in the lastissue and you have certainly read and
heard about it but it is here that Iwould like to formally invite you to our second ARS Festival and
Conference held July 30-August 2
at the University of MissourimdashSt Louis (For details go towwwAmericanRecorderorg)
The ARS Festival and
Conference will be a very specialevent honoring all aspects of therecorder an opportunity to cometogether to share ideas and play ourbeloved instrument a chance to hearlive performances from the best-of-the-best and a recognition of thosewho have been an integral part of theARS and of those who will carry itforward into the future
This is not an annual event It hasbeen years in the making Whetherpresenter performer student of everyage and level exhibitor vendoreducator auditor amateurprofessionalmdashwe are in this togetherAll are welcome (And donrsquot forgetabout the early registration discount)
I now succumb to
a more sophisticated
hunger that involves
more than just my
teaching and performing
mdashan appetite that
now includes what
other professionals
are saying about
the recorder
Presidentrsquos
Message___________________________________Greetings from Lisette Kielson ARS President
LKielsonLEnsemblePortiquecom
wwwAmericanRecorderorg March 2009 7
SWEETHEARTFLUTE CO
Baroque Flutes our ownldquoSweetheartrdquo modelFifes Flageolettes
ldquoIrishrdquo Flutes amp WhistlesSend for brochure andor
antique flute list
32 South Maple StreetEnfield CT 06082(860) 749-4494
Ralphsweetaolcomwwwsweetheartflutecom
Flutist recorderist conductor andteacher Mario Duschenes (1923-2009) died peacefully in MontrealQC Canada on January 31
Born in Hamburg Germany heescaped into Switzerland before WorldWar II His early musical studiesfocused on recorder solfegravege and pianoHe then turned to the flute firststudying with his father and brothersthen in 1943 entering the GenevaConservatory In 1947 he completedhis training and won an award at the1947 International Competition forMusical Performers in Geneva
After touring Europe as soloistwith the Ars Antiqua Ensemble heemigrated to Canada in 1948
A new recorder worldmdashin partic-ular Montrealrsquos mdashwas enlivened inthe 1950s by the youthful recorderistand flutist from Europe who taughtpublished a method book (used bythousands around the world and stillavailable) and arranged for recorderensembles He made over 30 record-ings including several of flute andrecorder duets with his friend well-known flutist Jean-Pierre Rampal
With his wife Ellyn who was aresearcher and child psychologist hebrought musicians into schools andconducted youth concerts An expertin the Orff-Schulwerk teaching
method he became a member of theCarl Orff Canada advisory board in1974 His efforts in music educationwere lauded by Jamie Portman in The(Montreacuteal) Gazette writing in 1978that Duschenes ldquois probably doingmore for the image of young peoplersquosconcerts than anyone else in Canadardquo
In 1953 he was co-founder of theCAMMAC Music Centre where hetaught for many years Duschenes alsotaught at McGill University (1954-70) and at the University of Montreacuteal(1970-73) He was president in1983-85 of Jeunesses musicales du Canada
Duschenes was recognized as aleading conductor and stood beforeevery major orchestra in CanadaAmong numerous awards he receivedtwo honorary doctorates (from Con-cordia University Montreacuteal andMemorial University St Johnrsquos New-foundland) and in 1985 was made anOfficer of the Order of Canada
Duschenes wrote a number ofwidely-distributed works publishedby BMI Canada and later byBerandolmdashnotably his Method for theRecorder I (1957) and II (1962) forsoprano or alto (in French Meacutethode deflucircte agrave bec I 1962 and II 1968) SchoolRecorder Method (1957) for sopranoand alto together (in French La Flucircteagrave bec agrave lrsquoeacutecole 1973) and Studies inRecorder Playing (1960) He edited orwrote easy duos and trios studies foralto recorder and arrangements ofRenaissance and Baroque works ofBach and of Leopold Mozart
He is survived by his brotherRolf five children and 12 grandchil-dren his wife of 42 years Ellyn(1929-1994) preceded him in deathDonations in his memory may be
made to Phare - Enfants et Familleswwwphare-lighthousecom andMaison Emmanuel wwwmaison
emmanuelorgPulitzer Prize-winning novelist
John Updike (1932-2009) also diedin January of lung cancer at age 76Among his many literary efforts thatinclude the Rabbit quartet he wrote forThe New Yorker for which he contrib-uted a 1988 short story entitled ldquoTheMan Who Became a Sopranordquo Thiswas later reprinted in The Afterlife andOther Stories (Knopf 1994 amp FawcettCrest New York 1995)mdashand the titledoes refer to a soprano recorder Inthat story he led the reader throughvarious personality conflicts in aweekly recorder group that metsomewhere in the East In otherwritings Updike used classical musicto imply a level of sophistication in hischaracters such as Terry Gallagherplaying Greensleeves on recorder in his fifth novel Couples (1968)
Updike was himself knowledge-able about music reviewing classicalmusic concerts in Castle Hill MAfrom 1961-65 He had moved toIpswich near Boston after he left hisjob at The New Yorker feeling after 20months that the city was distractinghim and sometimes stifling his creativ-ity (though he kept his ties to The NewYorker and continued to send thempieces) He and his family enteredenthusiastically into small-town lifeUpdike wrote and performed in anhistorical pageant and he and his wifewere members of a recorder group
Updike commented in 2003ldquoThe real America seemed to me lsquoout therersquo Out there was where Ibelongedrdquo
Tidings___________________________________Mario Duschenes and John Updike die
Joe Lewnard wins young recorder player contest
8 March 2009 American Recorder
Passing Notes
The Recorder Magazine
we invite you to visit the sitewwwrecordermaildemoncouk
Recent Performances of Note
in New York CityLast November at the Chapel of theGeneral Theological Seminary inNew York City NY Chelsea Winds
Recorder Ensemble (Lucinda andBarrie Mosher Gregory EatonDavid Hurd and this author) offeredan all-Bach program It started withthe Ricercare a3 from the MusicalOffering transposed up a step to D minor and continued through 10 contrapuncti from Art of the Fugue
The final days of 2008 held somefine recorder playing RecorderistMatthias Maute joined 16 membersof the prestigious Chamber Music
Society of Lincoln Center in aprogram titled ldquoBaroque Collectionthe Beautiful and the Bizarrerdquo Theperformance included sonatas con-certos programmatic pieces and ariasby Pachelbel Muffat TelemannBiber Vivaldi and Handel Mautecontributed his graceful and fluidplaying to the Telemann Concerto in A Minor for alto recorder two violinsand basso continuo and also to theVivaldi Concerto in G Minor forrecorder oboe bassoon violin andcontinuo (R107)
The concert was presented in thelarge Rose Theater at the LincolnCenter Jazz Center on December 19and 21 If there were ever any doubtMaute made it very clear that therecorder could hold its own in thecompany of ldquomodernrdquo instrumentseven in a large concert space
Given as part of St Bartrsquos middaymidtown concert series a concert ofmore Telemann held very nice playingfrom Deborah Booth on December17 In addition to soprano and altorecorders Booth played Baroqueflute I particularly liked her renditionof the Telemann Partita in C Minor forsoprano recorder and continuo andthe alto recorder obbligato to the arialdquoEin stetes Zagenrdquo from Telemannrsquoscantata for Advent ldquoLauter Wonnerdquo
At the end of the liturgical seasonof Christmas the ensemble at theHoly Trinity Lutheran ChurchVespers series presented JS BachrsquosCantata No 152 ldquoTritt auf dieGlaubensbahnrdquo for the first Sundayafter Christmas (December 28) Thearia ldquoStein der uumlber alle Schaumltzerdquo
with its recorder obbligato played byLarry Zukof was lovely
Chelsea Winds had an interest-ing experience when we were invitedto play a short program for a UnitedNations conference on cooperationbetween the UN and the worldrsquosreligions (December 16) LabouisseHall where the concert was held wasfull of people very many in exoticattire I confess I was dismayed at thissight because I feared our program ofcontrapuncti from Bachrsquos Art of theFugue would make no sense to themany non-Westerners brought up inother music cultures
I need not have feared Themusic was enthusiastically receivedBachrsquos music really is universal
Anita Randolfi
wwwAmericanRecorderorg March 2009 9
Mary Halverson Waldo was a Suzuki teacher trainer for the
January Festival Suzuki in Lima Peruacute Pictured are the
Huancavelicanos who attended the festival from the city of
Huancavelica in the most poverty-stricken region of Peruacute
Padre William Lopez (center front) is the school master and
recorder teacher (being an excellent recorder player him-
self) They were extremely grateful to Corinne Newbegin
(OR) and Jane Harper (MN) who donated SATB recorders
in excellent condition for two vibrant Suzuki programs in
Colombia and Peruacute
If there were ever any
doubt Maute made it
very clear that the
recorder could hold its
own in the company of
ldquomodernrdquo instruments
10 March 2009 American Recorder
Awards and HonorsMusic educator and recorderistDeborah Greenblatt and DavidSeay of ldquoThe Old Schoolhouserdquo inAvoca NE were featured in theNovember 2008 International Musi-cian the official journal of the Ameri-can Federation of Musicians of theUS and Canada They have playedand sung folk music together for morethan 30 years The duo has publishedbooks for a variety of instruments fromrsquocello to tin whistle Among the latestare Barn Dance Fiddle Tunes for Two andSinging Cowboy Fiddling Tunes for TwoVisit wwwgreenblattandseaycom
for informationThe 2009 Borletti-Buitoni Trust
(BBT) Awards acknowledge thatsome instruments present a challengefor talented and ambitious youngclassical musicians striving for a solocareer Recorder player Eric Bosgraaf
(below) and harpsichordist Mahan
Esfahani are among those selected toreceive BBT financial assistance aswell as advice in such areas as publicrelations auditions and finding agents
BBT Award winner Bosgraaf ofThe Netherlands is hailed as one ofthe most gifted and versatile recorderplayers of his generationCurrent plansinclude solo performances with theDallas (TX) Symphony Orchestra andthe Dutch Radio Chamber Philhar-monic His deacutebut recording a three-CD set of music by Jacob van Eyckwas No 1 on the 2007 Dutch classical
music charts (see the CD review in theSeptember 2007 AR and an interviewwith Bosgraaf in the May 2008 ARsee also wwwerikbosgraafcom)
Iranian-born Esfahani who hasappeared in ensemble performancesreviewed in AR was a BBT Fellowshipwinner He makes his Wigmore Halldeacutebut in London as soloist with TheEnglish Concert this month
Two BBT awards of pound20000 eachand six fellowships of pound10000 eachwere given by the Trustrsquos artistic com-mitteemdashFranco Buitoni Adam Gate-house Martijn Sanders and MitsukoUchida See wwwbbtrustcom formore on the foundation and its policiesplus news video and audio of BBTmusicians (now 45 individuals and 14 ensembles from 22 countries)
Early Music America NewsEMA with support from a privatedonor will sponsor its third Medieval
Renaissance Performance Compe-
tition in 2009 The winner receives acash prize (the Unicorn Prize) and isguaranteed three concert performancessponsored by EMA and presenters inPittsburgh PA Milwaukee WI andSeattle WA The contestrsquos goal is to encourage the development ofemerging artists in the performance of Medieval and Renaissance music
Applicants must be ensembleswith at least two performers of age 39or younger who have not performedtogether for more than five years(ldquoemerging artistsrdquo) Repertoire islimited to the period of roughly 800-1550 AD performed on voice(s)andor period instrument(s) and in astyle that is historically informed The competition is open to members
(individual or organizational) of EMAwho reside in the US or Canada
Applications are due April 30Finalists will be selected by June 30and will receive hour-long coachingsessions with an early music artist and present live 20- to 30-minuteperformances in New York City NYin October
For application requirements visitwwwearlymusicorg
EMA has also announced twoearly music ensembles receiving its2008-09 Collegium Musicum
Grant Sacabuche at IndianaUniversityrsquos Early Music Institutedirected by Linda Pearse and theUNT Baroque Orchestra and
Collegium Singers from theUniversity of North Texas under thedirection of Lyle Nordstrom
Sacabuche performs vocal musicwith sackbuts and organ
UNT has one of the largest andmost active collegium programs inNorth America The most prestigiousensembles there are the 30-piece UNTBaroque Orchestra and 26-voiceCollegium Singers whose membersregularly perform at the Boston EarlyMusic Festival (BEMF)
Nordstrom the director of theseensembles was co-director with PaulOrsquoDette of The Musicians of SwanneAlley and was the founder and artisticdirector of the Atlanta (GA) BaroqueOrchestra He received EMArsquosThomas Binkley Award in 2000 for his work with collegiate ensembles atOakland University and Clayton State College
EMA Collegium MusicumGrants provide $1000 toward the costof bringing a college or universitystudent early music ensemble toperform in a BEMF fringe concert(odd-numbered years) or at the Berke-ley (CA) Festival (even-numberedyears) The two winners will performduring BEMF June 7-14
The Power of LoveJ U N E 6 - 1 4 2 0 0 9
featuring Claudio Monteverdirsquos sublime final opera
June 6 7 9 10 12 and 14 2009Stanford Calderwood Pavilion at the
Boston Center for the Arts
June 19 20 21 22 2009Mahaiwe Performing Arts Center
in Great Barrington MALrsquoincoronazione di Poppea replaces the previously announced operatic centerpiece Antiochus und Stratonica by Christoph Graupner
Tickets are on sale now at WWWBEMFORG and 617-868-BEMF
RECORDER EVENTS AT THE 2009 BOSTON EARLY MUSIC FESTIVAL
Join us for our weeklong extravaganza of early music with concerts by the worldrsquos leading early music soloists and ensembles including Stile Antico Trio Hantaiuml Ricercar Consort
Pieter Wispelwey rsquocello and Kristian Bezuidenhout fortepiano the BEMF Chamber Operapresentation of John Blowrsquos Venus and Adonis and Marc-Antoine Charpentierrsquos Acteacuteon
Flanders Recorder QuartetSunday June 14 at 1230pm
Paul Leenhouts Renaissance recorder
andGabe Shuford harpsichord amp organ
Wednesday June 10 at 11pm
Recorder Masterclass with Paul LeenhoutsThursday June 11 at 2pm
Visit WWWBEMFORG for a complete schedule of eventsregistration materials for the world-famous BEMF Exhibition Fringe Concerts
and Masterclasses and much more
Joe Lewnard winsPiffarorsquos Second Competition for Young RecorderPlayers
By Joan Kimball wwwpiffarocom
Piffarorsquos second competition for youngrecorder players ages 12 to18 washeld on January 10 at the SettlementMusic School in Philadelphia PAFive finalists chosen on the basis oftapes that they submitted in Novemberperformed before a small but enthu-siastic and supportive audience
A smattering of snow and ice keptaway some people who otherwisewould have attended Ironically the finalists had no trouble reachingPhiladelphia from distant snow capitalsof the USmdash Denver COMinneapolis MN and Chicago IL
Unique in this country as far asanyone knows this competition wasestablished in 2007 to pique theinterest of young recorder players andto encourage them to investigate therepertoire of the 15th century into theearly 17th century on recorders as wellas other early wind instruments Whilethese young players tend to focus on
18th-century and contemporary musicPiffaro hopes to convey to them theimportance of playingmdashand alsounderstanding the underlyingperformance practice issues ofmdashearlier repertoire
Joe Lewnard (at right withPiffarorsquos Joan Kimball) an 18-year-oldhigh school senior from the Chicagoarea was chosen as the winner byjudges Nina Stern from New YorkCity NY and Elissa Berardi ofPhiladelphia He has played recorderfor a number of yearsmdashstudying withAldo Abreu among othersmdashand hasattended the virtuoso program at theAmherst Early Music Workshop Alsoa trumpet player he has expressedinterest in taking up the cornettocombining his facile fingers with hisbrass embouchure
In recent months Lewnard hasbeen preparing repertoire for collegeand conservatory auditions and willapply to several schools His selectionsfor the competition were the unaccom-panied Ricercata prima by GiovanniBassano and two movements from asuite by Pierre Philidor
The other four finalists also playedwith poise and distinction in variedrepertoire (Renaissance to contem-porary) that showed their abilitiesThey were Ariel Branz (age 16) from
Boulder CO a student of LindaLunbeck Bryan Duerfeldt (15) fromMinneapolis a student of MaryHalverson Waldo Amy Pikler (16)from Chicago who studies withPatrick OrsquoMalley and Olivia Sohlen
(16) also from Minneapolis and astudent of Cleacutea Galhano
On March 7 Lewnard willappear again in Philadelphia pairedwith the competitionrsquos previous winnerAlexa Raine-Wright in a recital Thetwo young virtuosi (both of whom havewon ARS workshop scholarships) willperform a variety of 16th- 17th- and18th-century solos and duetsaccompanied by harpsichordistMarcia Kravis In addition Piffaromembers Joan Kimball Priscilla
Smith and Bob Wiemken will jointhem for a set of 16th-century workson Renaissance recorders
With two competitions success-fully completed Piffaro plans to holdanother one in two years and hopesthat young recorder players will start toprepare now Wersquod love to see moreyoung virtuosi coming our way
12 March 2009 American Recorder
Early Music America Magazine is the quarterlypublication for the Early Music Community inNorth America Professionals Students andAudience members
Articles on performance practice trends in thefield recording reviews and a new book reviewsdepartment
Call 888-722-5288 or email infoearlymusicorgfor a FREE sample issue
Last spring I had the honor andgood fortune to spend five weeks
at the Sitka Center for Art andEcology on the central Oregon coastas the recorder resident The recorderresidency is sponsored by the OregonCoast Recorder Societymdasha wonderfulgroup of people I had the chance tomeet and teach and to make musicwith while I was there Myparticipation was made possible inpart by a professional grant from theARS and also by the kind generosityof some of my loyal long-termstudents
The project I worked on while atSitka was an intensive study of Bachrsquossolo string musicmdashprimarily the rsquocellosuites and some of the violin partitasmdashwith the aim of preparing my own arrangements of them for aneventual recording
Although Irsquod been told before Iwent that Sitka was incredibly beautifuland a wonderful place to be Iapproached the residency with sometrepidation I wasnrsquot quite able toimagine it and wondered how I wouldsurvive so many weeks by myself in aremote location seven miles from thenearest townmdashand where Irsquod heardmost cell phones did not work (panic)When I arrived on April 9 I was metwith typical Oregon coast weather forthat time of the year (and many timesof the year) chilly temperatures andrain And Irsquod left sunny California for five weeks of this
I lived in what is called the TreeHousemdasha charming one-roomwooden cabin with a sleeping loft and a wood-burning stove insidemdashenveloped outside by a couple of giantSitka spruce trees After many failedattempts over several days one of myproudest accomplishments was finally
learning how to quickly and reliablybuild a fire in my wood stove My nextproudest accomplishment was learningthat one should not put wet logs on the top of the stove to dry This Idiscovered after setting off the smokealarm bringing the entire Sitka staffrunning to my aidmdashonly to find meoblivious up in the loft
It took me a week or so to getadjusted to my new life I wasnrsquot usedto being alonemdashwithout my dog farfrom civilizationmdashand with expansesof free time and no actual responsibil-ities I spent some of that time explor-ing the surrounding areas takingwalks down to the estuary throughforested woods and climbing to thetop of Cascade Head There I was metwith awe-inspiring views of the PacificOcean the coastline the mountainsand the estuary far below I soondiscovered that this was part of thetotal Sitka experience
After my first incredible climb tothe top of Cascade Head I began torelish the quiet peace and time alonethat Sitka afforded memdashsomething Inever imagined Irsquod feel given mygenerally extroverted nature Inaddition to reading writing andmeditating I was inspired to dive into
Linsenberg
on the
deck of
the Tree
House
wwwAmericanRecorderorg March 2009 13
By Judith Linsenberg
The author is founder and director ofthe Baroque ensemble Musica Pacificawhose performances and eight recordingson the Virgin Classics and Dorian labels
have received international acclaim She has performed throughout the US
and Europe including solo appearances atthe Hollywood Bowl and Lincoln Center
and has been featured with such leadingAmerican ensembles as the San Francisco
Symphony the San Francisco and LosAngeles Operas Philharmonia Baroque
American Bach Soloists and others
Her recording of the Bach organ trioswas sponsored in part by an
ARS Professional Grant The ARS CD Club carries some of her recordings
A Fulbright scholar to Austria shewas awarded the Soloist Diploma with
Highest Honors from the Vienna Academyof Music She is a summa cum laude
graduate of Princeton University holds anearly music doctorate from Stanford Uni-
versity and has been a visiting professor atthe Vienna Conservatory and Indiana
Universityrsquos Early Music Institute Visit wwwmusicapacificaorg
for more information
Suite Thoughts of Sitka
14 March 2009 American Recorder
my musical projects with renewed energy and enthusiasmI had the time not only to practice the Bach suites butalso to really study them in depthmdashanalyzing themlistening to and comparing different recordings andworking on my transcriptions of them Although it wasnrsquotpart of my original intention I now have a plan to publishmy arrangements of these pieces so theyrsquoll be available forothers to perform (While Frans Bruumlggen published hisarrangement of the first three suites in the 1970s to myknowledge there is only one other recorder editioncurrently available whose approach is quite different from mine)
I wasnrsquot however living in total isolation while at SitkaThere were artist residents of other media as well Kim awriter from New York state John and Robin a marriedcouple who were ceramicists from Washington state andtheir three daughters and Claudia an installation- andperformance-artist We became a community socializingwhen we werenrsquot working (and sometimes even when wewere) going on excursions to see the glorious naturalwonders of the Oregon coast having dinners together inour various residences and talking about our work
The setting provided the perfect atmosphere for theexchange of ideas and we began to collaborate on mutualprojects sometimes in unexpected ways Robin startedmaking ocarinas and I worked with her to design and tunethem While I immersed myself in Bachrsquos solo music flutesand musical themes began to appear in the images shepainted on her ceramic pieces Often after wersquod hung outtogether in the evening depictions of the stories I told herwould show up in her paintings over the next few daysFanciful illustrations of me playing to my dog Jake evenmade several appearances in her work (The photos aboveshow the ocarina she made for me)
Toward the end of my stay I also began collaboratingwith Claudia the installation artist Her work was creatinginstallations out of plastic bags fastened together to formdifferent naturalistic shapes which she then set up invarious locations around the Sitka campus and nearby
areas Together we created a performance piece that wepresented at the Open House at the end of our residenciesI provided music to accompany a performance that tookplace within her installation We worked together on usingthe music to express the various ideas in the installation andperformance and using the performance to express themusic in a visual way
Bachrsquos music can be very evocative and I chosemovements from the Bach suites that suggested the variousparts of the narrative she performed part of a slow preludeto depict nascent creatures emerging in a forest a C-majorbourree while they are coming to life a C-minor onesuggesting turmoil a fast 16th-note passage representingflight as they grow wings and fly and finally a wistfulsarabande as they gradually die away and disappear As in a ballet each medium enhanced the other and the wholebecame more than the sum of its parts illuminatingdifferent aspects of each and creating a more profoundeffect than either might have independently
During the Sitka open house Linsenberg plays
in an installation of plastic bag ldquocreaturesrdquo
There were other opportunitiesfor me to present the music I wasworking on Around the midpoint ofmy stay there I performed in a concertmarking the start of the annual Windsand Waves weekend workshop Iplayed one of my Bach suites thoughit was still a work in progress
The next day about 45 recorderplayers descended upon our quiet littleenclave turning it into a hubbub ofactivitymdashquite a change from the low-key atmosphere of the prior severalweeks Once I got over the initialculture shock of the influx of so manypeople I thoroughly enjoyed meetingand working with all of them A class I offered on the Bach suites enabledme to share some of the work Id beendoing conversely I got input from thestudents I taught that made me thinkdifferently about the piecesmdashforexample what about playing them on a subcontrabass recorder
Shortly after the workshop theSitka residents held a communityoutreach day at which we each demon-strated our work to children from anearby school I had been working onsome contemporary pieces withnaturalistic themes (fitting for thesetting) and this event gave me theopportunity to play some of them forthe kids They were fascinated by theextended techniques used to imitatebirds and other animals and of courseVan Eyckrsquos ldquoEngels Nachtegaeltjerdquowas a hit with them as well
As hard as it was for me to getused to Sitka and the residency at thebeginning of my stay it was evenharder to leave My departure datecame too soon Irsquod had time to finishtranscriptions of only three of thesuites
Saying good-bye to all the friendsIrsquod made theremdashthe other artists aswell as the recorder players Irsquod metmdashwas hard enough but leaving the
beauty of the place and the peace Irsquodfound there saddened me greatly
Sitka had changed me and ittransformed my relationship to themusic I played as well My experienceallowed me to tap into a deep placeinside myself in a way that I never hadbefore something I was then able tocommunicate through the music I wasplaying Bachrsquos music turned out to bethe perfect vehicle because it expressesin sound the same grandeur spiritu-ality and universalitymdashas anyone whohas heard a live performance of the B-minor mass can attestmdashas does theview from the top of Cascade Head
Since the conclusion of myresidency I have given severalperformances of the rsquocello suitesincluding some lecture-recitals onthem and on my arrangements moreare planned Irsquove begun working withstudents of instruments other than therecorder who are studying the rsquocellosuites And I continue to work on myarrangementsmdashalas five weeks wasjust not long enough to learn andadapt all six suites although I do plan to publish them in the future
My work at Sitka also inspired meto pick up a project I started over 10years ago but never brought tofruition preparing my arrangementsfor recorder violin and continuo of thesix Bach organ trios (that I recorded in1992) to be published soon by PRBProductions And I have no doubt thatthe Sitka experience will continue towork on me in ways Irsquom not evenconsciously aware of at this time
I would like to give my deep and heartfelt thanks to the followingindividuals and organizations to the
Sitka Center for making my stay there sowonderful and to its founders Jane andFrank Boyden who had the vision tocreate this magical place to the members ofthe Oregon Coast Recorder Society fortheir generosity in creating and sponsoringthe recorder residency to the ARS for its financial support and to my wonderfulstudents who made it possible for me toparticipate in this life-changing experience(you know who you are)
wwwAmericanRecorderorg March 2009 15
Lost in Time Press
New works andarrangementsfor recorder ensemble
Compositions byFrances BlakerPaul AshfordHendrik de Regtand others
InquiriesCorlu CollierPMB 3092226 N Coast HwyNewport Oregon 97365wwwlostintimepresscomcorluactionnetnet
Sitka had changed meand it transformed my relationship to the music I played as well
MARIN HEADLANDS
RECORDER WORKSHOP
Point Bonita YMCA near San Francisco CA
May 15-17
With each coming tide of that mightymetronome the Pacific Ocean and withspring peeping soon our MarinHeadlands Recorder Workshop 2009perched at the edge of the ocean andembraced in greenery gets nearer Againthis workshop will swell with harmoniesof recorders viols and perhaps apsaltery or drum Intermediate andadvanced players are warmly invited tojoin members of the sponsoring EastBay Chapter of the ARS a SFEMSaffiliate at this annual musical event
Music-making begins on Friday andcontinues through Sunday afternoon
including also one- and two-day options
This yearrsquos faculty includes a wonderfulmix of familiar and new faces DavidBarnett Tom Bickley Louise CarslakeRobert Dawson Lisa DykemanFrances Feldon Judith LinsenbergPeter Maund Fred Palmer and Glen Shannon
Music offerings will range from easilyplayable to challenging from delightfulPurcell and Renaissance music to jazzto works by a (very) living composer(led by the chap himself) Check theEBRS web site for updates
The workshop is held at the PointBonita YMCA one of very few publicfacilities on this largely undevelopedarea of California coast Set in a meadowwith short walks to Pacific Ocean vistasthe historic Point Bonita Lighthouseand remnants of WWII fortifications
it is a place to get away recharge andmeet new friends or re-connect withold The accommodations includedormitory-style rooms a large diningarea and playing spaces all on one levelRooms are also available for impromptuplaying sessions
Contact Anna Lisa Kronman
37 Meadow View Rd Orinda CA
94563 925-258-9442
annalisakronmangmailcom
symbolicsolutionscomebrs
BLOOMINGTON EARLY
MUSIC FESTIVAL
Bloomington INMay 15-25
Performances of Medieval RenaissanceBaroque and Classical music as well aseducational programs for concertgoersamateur performers and childrenPlease see BLEMForg for details
Contact Carol Huffman
PO Box 734 Bloomington
IN 47402 812-824-2412
specsorffyahoocom blemforg
WHITEWATER EARLY
MUSIC FESTIVAL (ARS)
University of Wisconsin Whitewater WI
June 5-7Directors Nancy Chabala Carol Stanger Pam Wiese
Our workshop is held on campus at theUniversity of WisconsinndashWhitewaterabout 60 miles SW of MilwaukeeClasses include focus and specialty areainstruction for all levels of recorderplaying as well as beginningmdashconsortviola da gamba wind band voicerecorder orchestra and mixed consort A variety of special interest classes onFriday evening and Saturday eveningparticipant gathering led by LouiseAustin The various classes include
16 March 2009 American Recorder
Summer Workshop Summer-y
The Madison Early Music Festival presents
Telescopic Vistas MEMF X and Music of the SpheresCelebrating the International Year of Astronomy
July 11-18 2009
Guest Artists amp Ensembles Faculty Recorder Artists Quicksilver with Marion Verbruggen Joan Kimball Piffaro The Renaissance Band Priscilla Smith The Newberry Consort Marion Verbruggen Venere Lute Quartet Robert Wiemken
Explore music from the days of Galileo and Kepler Celebrate the influence of astronomy on society arts and culture
in the 15th through 17th centuries
Our tenth anniversary festival features a seven-concert series and a week-long workshop with classes and ensembles for participants of all levels
For more information please call (608) 263-6670 or visit wwwmemfdcswiscedu
music from Medieval to modern
Several musicinstrument vendors onsite Dale Taylor will be on site forrepairs All ages are welcome as well as non-participants
Faculty includes Dale ArmentroutLouise Austin David Echelard CharlesFischer Shelley Gruskin LisetteKielson Laura Kuhlman PatrickOrsquoMalley Tulio Rondon KarenSnowberg Mary Halverson Waldo andTodd Wetherwax Brochures available
Contact Nancy Chabala
8609 45th St Lyons IL 60534-
1616 708-442-6053 (day)
630-789-6402 (fax)
nchabalamymailstationcom
(housingregistration)
thewiesessbcglobalnet (mailing
scholarships) cvstangeraolcom
(facultyfacilities)
INTERLOCHEN EARLY MUSIC
WORKSHOP
Interlochen Center for the Arts Interlochen MI
June 7-12 Director Mark Cudek
Make and enjoy Medieval andRenaissance music while learning new skills and techniques
Topics will include articulationornamentation improvisation andensemble arrangement in Medieval and
Renaissance music The workshopculminates with a participantperformance on period instruments such as recorders and other early windsviols lutes harpsichord and percussionVocalists are also welcome Participantswill supply their own instruments
Early registration is recommendedas space is limited
Contact Matthew Wiliford
Director ICCA PO Box 199
Interlochen MI 49643 231-
276-7441 231-276-5237 (fax)
collegeinterlochenorg
interlochenorgcollege
RENAISSANCE CHAMBER
MUSIC INSTITUTE
New England Conservatory of Music Boston MA
June 11-21
A unique opportunity for professionalmusicians and advanced students todiscover and explore one of the greatestrepertoires of Western music which iseminently suitable for all instruments
Players of modern and early instrumentsare encouraged to attend
Led by John Tyson director of theRenaissance music and dance ensembleRENAISSONICS who has performedand lectured worldwide including forthe Boston Symphony OrchestrarsquosTanglewood Institute
Introductory lectures will be followed byintense chamber music coaching in largeand small ensembles Concentration willbe on personal expression rhetoric andphrasing performance practice andornamentation The institute willculminate in a public performance at theNew England Conservatory of Music
Faculty John Tyson recorder LauraGulley violin Daniel Rowe rsquocello and guest artists
Contact Director of Summer
School New England
Conservatory of Music
290 Huntington Avenue Boston
MA 02115 617-585-1126
617-585-1135 (fax) newengland
conservatoryedusummer
wwwAmericanRecorderorg March 2009 17
Workshops carrying
ARS designation have
joined the ARS as
workshop members
Other shorter workshops
may be sponsored
periodically through the
year by ARS chapters and
are listed in the calendar
portion of each ARS
Newsletter as well as on
the ARS web site when
information becomes
available from presenters
Canto AntiguoWest Coast EarlyMusic and Dance
Featured Faculty
Beautiful CampusFully air-conditioned
For Information Call
800-358-6567
Early Music
WorkshopJuly 5-12 2009
Chapman UniversityOrange CA
Classes in
Baroque Music
Recorder Ensemble(all levels)
Vocal Ensemble
Renaissance Brassand Reeds
Viols
Collegium
Folk Dance
Thomas Axworthy
Mark DavenportRonald Glass
Janet Beazley
Carol LisekJim MaynardAlice Renken
wwwcantoantiguonet
18 March 2009 American Recorder
SUMMER TEXAS TOOT (ARS)
Concordia University Austin TXJune 14-20 Director Daniel Johnson
The Summer Texas Toot is a one-weekprogram of classes in Renaissance and Baroque music at all levels forrecorders viols singers plucked stringsRenaissance reeds and brass andharpsichord Our classes include anarray of small one-on-a-partRenaissance and Baroque ensemblesand larger mixed vocal and instrumentalgroups The size of the workshopenables us to create classes for all levelsof students from those of modest skills to advanced players and singers
Same Texas Toot hospitality andtraditionsmdashback in Austin but atConcordia Universityrsquos beautiful newcampus Classrooms dining and dormaccommodations are air-conditioned and easily walkable
Currently our featured faculty are Tish
Berlin (recorders) Tom Zajac (reedsand ensembles) Mary Springfels(viols) Becky Baxter (harp)mdashbut watchfor more faculty to be added soon
Contact Daniel Johnson
PO Box 4328 Austin TX 78765
512-371-0099 infotootorg
tootorg
SAN FRANCISCO EARLY MUSIC
SOCIETY BAROQUE MUSIC amp
DANCE WORKSHOP (ARS)
Sonoma State University Rohnert Park CA
June 14-20Directors Phebe Craig Kathleen Kraft Frances Blaker
A music-packed week of master classesconcerto evening coached ensemblesBaroque orchestra vocal and windensembles continuo classes concertsand lectures
Featuring recorder faculty FrancesBlaker and Cleacutea Galhano Other facultyChristine Brandes voice Phebe Craig
harpsichord Sand Dalton oboeKathleen Kraft flute Michael Sandviolin and orchestra Mary Springfelsviola da gamba Peter Sykesharpsichord Tanya Tomkins rsquocello
Contact Kathleen Kraft SFEMS
PO Box 10151 Berkeley CA
94709 707-874-2014
kkraftsonicnet sfemsorg
SAN FRANCISCO EARLY MUSIC
SOCIETY CHILDRENrsquoS MUSIC
DISCOVERY WORKSHOP (ARS)
Crowden Center for Music Berkeley CA
June 21-26 (day camp)Director Letitia Berlin
Early music and Renaissance socialhistory for youth ages 7-15 beginners to advanced students welcome Dailyschedule includes chamber musicmusicianship crafts costume-makingand games Friday night concert andtheater project presentation followed by potluck supper
Rebecca Ahrendt violJanet Beazley recorder
Tish Berlin re cord er co-direct orFrances Blaker recorder co-direct or
Vicki Bœckman recorderLouise Carslake recorder fl ute
Charles Coldwell recorder Rotem Gilbert recorder
Julie Jeff rey violShira Kammen viell e
Peter Maund per cus sionKim Pineda recorder
Ellen Seibert violPe ter Seibert recorder choir
Margriet Tindemans viol viell eBrent Wissick viol
Play early music in the spectacular Pacifi c Northwest Choose from classes in recorder viol fl ute and percussion Polish your skills andor take up a new instrument Sing and dance
Enjoy the faculty concert Take part in the student recital Make the most of your stay with a hike at nearby Mt Rainier or a visit to the Museum of Glass
For informat ion or to request a brochure call (206) 932-4623write to Port Townsend Early Music Workshop
1108frac12 Alki Ave SW Seattle WA 98116or vis it wwwseattle-recorderorg
July 12ndash18 2009
Port TownsendEarly Music Workshop
At the beautiful University of Puget Sound Tacoma WA
Tish Berlin amp Frances Blaker Co-Direct orsPresented by the Seattle Recorder Society
Please note that this is a day camp Out-of-town students may contact thedirector regarding accommodations withhost families Some financial aidavailable
Featuring recorder faculty Vida Bateauand Letitia Berlin Other facultyKatherine Heater dance ShiraKammen musicianship and theaterband Ron McKean harpsichord Carla Moore violin Farley Pearcersquocello and viola da gamba Allison Rollstheater project director
Contact Letitia Berlin SFEMS
PO Box 10151 Berkeley CA
94709 510-559-4670
tishberlinsbcglobalnet
sfemsorg
OBERLIN BAROQUE
PERFORMANCE INSTITUTE
Oberlin College Oberlin OHJune 21-July 5Directors Oberlin Baroque Ensemble (Cathy Meints Marilyn McDonald Michael Lynn Webb Wiggins) and artistic director Kenneth Slowik
Celebrating its 38th anniversary withMusic in London 1659ndash1759 thisinstitute offers instruction in Baroqueinstruments and voice Students of alllevelsmdashfrom beginning to Baroqueperformance to the professional levelmdashparticipate in master classes and coachedensembles with an international facultyof Baroque specialists Scholarships are available for qualified high schoolstudents
Contact Anna Hoffman
Conservatory of Music
77 West College St
Oberlin OH 44074
440-775-8044
440-775-8942 (fax)
ocbpioberlinedu
oberlineduconsummerbpi
WORLD FELLOWSHIP
EARLY MUSIC WEEK
Chocorua NHJune 25-July 2Directors Jane Hershey Larry Wallach
Faculty of eightmdashincluding JaneHershey Roy Sansom Pamela DellalJay Rosenberg Julian Cole AnneLegecircne Larry Wallach and JoshSholem-Schreibermdashin a beautifulWhite Mountain camp setting conducta week-long workshop in French earlymusic (late Medieval through Baroque)
Faculty and student concerts Englishcountry dancing special lecturesmorning and afternoon workshops inviols recorders voice mixed ensemblesSephardic music and Baroque chambermusic and classes in Feldenkrais bodywork
Camp facilities include hikingswimming boating camp gardenssupply kitchen with vegetables Very affordable rates
Contact Larry Wallach
69 Welcome St Great Barrington
MA 01230 413-528-7212 (day)
413-528-9065 (evening)
413-528-7365 (fax)
larrysimons-rockedu
worldfellowshiporg
INDIANAPOLIS EARLY
MUSIC FESTIVAL
Indianapolis INJune 26-July 19July 8-9 Mini Boxwood Workshop
The Indianapolis Early Music Festivalis the oldest continually running earlymusic concert series in the USPresented since 1967 our mission is toenrich educate and entertain audienceswith the music of Medieval Renais-sance Baroque and early Classical erasand feature exciting performers ofnational and international stature usinginstruments of the period and histori-cally informed styles and techniques
For 2009 we will present Reconstruction(June 26 ) Ex Umbris (June 27) ChrisNorman amp David Greenberg withRonn McFarlane amp Mark Cudek (July10) I Furiosi (July 12) HarmoniousBlacksmith (July 17) and the PeabodyConsort with Indiana Repertory Theatre(July 19) We also offer our secondannual Family Concert featuring thePeabody Consort on July 18mdash a freeconcert geared to young audiencemembers Several groups also offeroutreach events for younger (generallyhigh-school-aged) musicians and actors
In 2009 we also present a two-dayldquoMini Boxwoodrdquo workshop with Chris
wwwAmericanRecorderorg March 2009 19
Marin
Headlands
Recorder
Workshop
Norman (earlytraditional flutes andpipes) David Greenberg (Baroqueviolin and fiddle) and Ronn McFarlane(lute) on July 8-9
Contact emindyorg
SAN FRANCISCO EARLY MUSIC
SOCIETY MEDIEVAL amp
RENAISSANCE WORKSHOP (ARS)
Sonoma State University Rohnert Park CAJune 28-July 4Director Tom Zajac
Workshop theme Stories and LegendsOpen to singers and players of earlyinstruments (recorders violas da gambalutes shawms etc) Coaching by world-class specialists in Medieval and Renaissance music Classes forvoices recorders viols and alta capellavoice master class ensemble coachingstorytelling for musicians andstorytelling accompanimentRenaissance choir Medieval bandtheater project faculty and studentconcerts lectures and more
Scholarships as well as academic creditor continuing education credit areoffered Featuring recorder facultyFrances Blaker Annette Bauer DanStillman and Tom Zajac Other facultyPatrick Ball storytelling Celtic harpKaren Clark voice movement formusicians Julie Jeffrey gamba ShiraKammen Medieval strings music forstorytelling Drew Minter voice theaterproject Tim Rayborn Medieval stringspercussion music for storytelling Larry Rosenwald theater projectrhetorician in residence MarySpringfels gamba theater projectAnnette Bauer early notation DanStillman reeds alta capella ensembleTom Zajac sackbut Renaissance choir
Contact Tom Zajac SFEMS
PO Box 10151 Berkeley CA
94709 617-323-0617
medrenmailgmailcom
sfemsorg
MOUNTAIN COLLEGIUM (ARS)
Cullowhee NC June 28-July 4Director Patricia Petersen
Nestled in the Smoky MountainsWestern Carolina University provides alovely location for Mountain Collegiumwith comfortable accommodations in anew dorm and catered evening mealsThe workshopmdash at once informal andintensivemdash combines study of Renais-sance Baroque and contemporary musicand improvisation on recorder viol andother early instruments with opportu-nities to explore Celtic and othertraditional music on hurdy gurdymountain dulcimer and pennywhistle
Friendly participants of all levels andages welcome newcomers into theMountain Collegium family Varied classofferings time for informal music-making and evening English countrydancing bring students back year afteryear Faculty Valerie Austin AtossaKramer Jody Miller Patricia PetersenJohn Tyson (recorders other winds)Martha Bishop Lisle Kulbach HollyMaurer Gail Ann Schroeder Ann Stierli(strings) Lorraine Hammond JohnTrexler (traditional music)
Contact Patricia Petersen
1702 Vista St Durham NC
27701 919-683-9672
patpetersenearthlinknet
mountaincollegiummusicorg
GREAT LAKES SUZUKI FLUTE amp
RECORDER INSTITUTE
McMaster University Hamilton ON CanadaJuly 4-11 Teacher training Book 1July 7-11 Teacher training Book 2July 7-11 Student InstituteDirector David Gerry
Master classes group instructionrecitals plus enrichment classes forstudents Teacher training with MaryHalverson Waldo
Contact David Gerry 129 Locke
Street South Hamilton ON L8P
4A7 CANADA 905-525-9549
dgerrynasnet davidgerryca
CANTO ANTIGUO EARLY MUSIC
AND RECORDER WORKSHOP
Chapman University Orange CAJuly 5-12Directors Thomas Axworthy Ronald Glass
This one-week workshop is designed to broaden the performance skills ofexperienced students and introduceRenaissance and Baroque instrumentsand musical experiences to beginningand intermediate players Students at alllevels participate in instrumental vocaland dance instruction performance
The workshop takes place at ChapmanUniversity Studios dining hall andresidences are all air-conditioned Thisinvitingly landscaped peaceful campuswith garden paths is a mixture of historic and modern architecture
The theme of this yearrsquos workshop isMusic of the Italian Renaissance Dancesmasses motets and ceremonial musicwill resonate as we explore the music ofMonteverdi Palestrina Gesualdo et al
Faculty includes Thomas AxworthyJanet Beazley Mark Davenport RonGlass Carol Lisek Jim Maynard and Alice Renken
Contact Ronald Glass
129 Altadena Dr Pittsburgh
PA 15228-1003 800-358-6567
(day) 310-213-0237 (evening)
562-946-4081 (fax)
evanesa2aolcom
cantoantiguonet
CAMMAC EARLY MUSIC WEEK
Lake MacDonald Music Center Harrington QC Canada
July 5-12Directors Francis ColpronMarie-Nathalie Lacoursiegravere
CAMMAC provides a unique oppor-tunity to make music with family and
20 March 2009 American Recorder
friends in a beautiful setting north ofMontreacuteal QC under the guidance ofinternationally acclaimed professionalmusicians
In four daily 75-minute classes pluslectures early music lovers will have the opportunity to play to their heartrsquoscontent
Small ensembles and voice classes are setup ahead of time registration for otherclasses occurs on site the first eveningCourses include choir large instrumentalensemble many recorder and violclasses Medieval and Renaissanceensembles Orff method and Baroquedancing There are courses foradolescents and a program for children 4-11 years old
Special project in 2009 The Fairy Queenby Purcell with choir instrumentalensemble soloists and staging Keyfaculty Matthias Maute ChristopherJackson Laura Pudwell MargaretLittle Marie-Nathalie Lacoursiegravere
Contact Johanne Audet
85 Chemin CAMMAC Harrington
QC J8G 2T2 CANADA
888-622-8755 1
819-687-3323 (fax)
nationalcammacca
cammaccaenglishTabLM
Summershtml
MADISON EARLY
MUSIC FESTIVAL
University of WisconsinndashMadison July 11-18Directors Cheryl Bensman Rowe and Paul Rowe artistic Chelcy Bowles program
MEMF joins the 2009 InternationalYear of Astronomy in a global celebrationof astronomy and its contributions tosociety and culture including the 400thanniversary of the first astronomicalobservation made through a telescope byGalileo Galilei Galileorsquos fatherVincenzo was a musician and musictheorist who combined the practice andtheory of music with mathematicaldiscussion of harmonymdashand influenced
Galileorsquos experiments MEMFcelebrates its tenth season exploringworks of music and the arts inspired by ascientific discovery that had tremendousimpact on culture and civilization
MEMF was created to provide anopportunity for musicians scholarsteachers and early music enthusiasts togather and exchange information andideas about Medieval Renaissance andBaroque music and to bring acclaimedearly music artists to the Midwest toperform in beautiful Madison
Featured MEMF 2009 guest artists-in-residence include Marion VerbruggenThe Newberry Consort QuicksilverPiffaro and Venere Lute QuartetRecorder faculty members includeMarion Verbruggen Joan KimballPriscilla Smith and Robert Wiemken
Contact Chelcy Bowles University
of WisconsinndashMadison 720 Lowell
Center 610 Langdon St Madison
WI 53703 608-265-5629
608-262-1694 (fax)
musicdcswiscedu
memfdcswiscedu
PORT TOWNSEND
EARLY MUSIC WORKSHOP (ARS)
University of Puget Sound Tacoma WA
July 12-18Directors Letitia Berlin Frances Blaker
Join us this summer at our new locationwith a star-studded faculty a beautifultree-lined and easy-to-navigate campuswith accessible facilities and acurriculum that will leave you wishingthere were 48 hours in a day
Consort and technique classes forrecorder and viol consort and mixedrepertoire recorder master classpercussion for all levels Hildegard forsingers Baroque flute beginning violtheory workshop orchestra and moreMake an all-Medieval schedule or mix it up with a class from almostevery period of music
Work hard and play hard with friends
new and old Intense music-making thatwill inspire you during the workshop andthroughout the year
Directors Tish Berlin and FrancesBlaker eagerly await your arrival andanticipate a splendid workshopRecorder faculty Janet Beazley TishBerlin Frances Blaker Vicki BoeckmanLouise Carslake Charles ColdwellRotem Gilbert Kim Pineda
Contact Jo Baim Workshop
Administrator 1108 frac12 Alki
Ave SW Seattle WA 98116
206-932-4623
workshopseattle-recorderorg
seattle-recorderorg
wwwAmericanRecorderorg March 2009 21
Amherst Early Music FestivalJuly 12-19 and 19-26 2009
Connecticut College New London CT
Renaissance consortsBaroque ensemblesMaster classesRenaissance AcademyEarly notation and moreNo audition required
July 12-19Baroque Academy
July 19-26 Virtuoso Recorder Recorder Seminar
Audition deadline May 15
wwwamherstearlymusicorginfoamherstearlymusicorg(617) 744-1324
AMHERST EARLY MUSIC FESTIVAL
(ARS)
Connecticut College New London CT July 12-19 Baroque Academy July 19-26 Virtuoso Recorder Recorder SeminarRenaissance Academy
Director Marilyn Boenau
Music of England and Spain Two weeksof classes in most early instrumentsvoice dance and notation
Week 1 includes classes for recorderviol other early instruments voicedance and notation Special programsBaroque Academy Baroque AcademyOpera Project (Purcellrsquos Dioclesian)
July 18-19 Music amp InstrumentExhibition
Week 2 comprises classes for recorderviol other early instruments voice andnotation Special programs VirtuosoRecorder Recorder SeminarRenaissance Academy
Evening activities include Englishcountry dance madrigals and informalplaying sessions Connecticut College ineastern CT offers comfortable air-conditioned accommodations naturalareas for walking and a view of LongIsland Sound Scholarships and work-study aid available
Contact Marilyn Boenau
Director or Cathy Stein
Administrator 47 Prentiss St
Watertown MA 02472
617-744-1324 (day)
617-744-1327 (fax)
infoamherstearlymusicorg
amherstearlymusicorg
MIDEAST WORKSHOP (ARS)
LaRoche College Pittsburgh PAJuly 19-25Director Marilyn Carlson
Music of Spain 55-60 students of allability levels adults only Instruction forrecorder (all levels except novice) violharp flute You may enroll for recorder
viol flute as primary instrument harpvoice recorder viol as secondary instru-ment Large and small ensembles all-workshop ensemble (instruments andvoices) Renaissance band (recordersviols capped reeds voice) Medievalcollegium (puzzles amp canons) consorts(by level) vocal ensemble Also Englishcountry dance penny whistle We alsooffer viol-for-novice and harp-for-novice each providing the opportunityfor hands-on experience without owningan instrument Other classes on specialearly music topics and literature
Faculty Marilyn Carlson directorMartha Bixler Stewart Carter JudithDavidoff Eric Haas Mary JohnsonPeter Ramsey Kenneth Wollitz otherfaculty to be announced All facilities areair-conditioned
Contact Marilyn Carlson
1008 Afton Road Columbus OH
43221-1680 614-754-7233
mcarlsoncolumbusrrcom
mideastearlymusicaddrcom
22 March 2009 American Recorder
San Francisco Early Music SocietySummer Workshops 2009Recorder middot July 19ndash25 2009La Dolce Vita di Flauto middot Explore the full range of recorder music from the Middle Ages to the 21st century through ensemble work technique sessions and recorder orchestra For the devoted amateur all ages intermediate to advanced Friendly atmosphere small classes Quiet campus near all amenities Special offerings Recorder orchestra recorder master class coached informal playing Faculty Louise Carslake Frances Feldon Rotem Gilbert Katherine Heater Norbert Kunst Patrick OrsquoMalley and Hanneke van ProosdijInfo Frances Feldon 510-527-9840 franfelaolcom
Baroque Music amp Dance middot June 14ndash20 2009Music in Italian Cities middot Master classes recorder ensemble concerto evening coached ensembles classes concerts and lectures Featuring recorder faculty Frances Blaker and Clea GalhanoInfo Kathleen Kraft 707-874-2014 kkraftsonicnet
Medieval amp Renaissance Music middot June 28ndashJuly 4 2009Stories amp Legends middot Classes for voices recorders viols and alta capella voice master class ensemble coaching storytelling for musicians and storytelling accompaniment Renaissance choir medieval band theater project faculty and student concerts lectures and more Featuring recorder faculty Frances Blaker Annette Bauer Dan Stillman and Tom ZajacInfo Tom Zajac 617-323-0617 medrenmailgmailcom
Music Discovery middot June 21ndash26 2009Day camp for youth ages 7 to 15 Early music and Renaissance social history Instruction in recorder harpsichord strings chamber music musicianship crafts costume-making games and more Beginners to advanced students welcome Featuring recorder faculty Vida Bateau and Letitia BerlinInfo Letitia Berlin 510-559-4670 tishberlinsbcglobalnet For more information visit our web site wwwsfemsorg
SAN FRANCISCO EARLY MUSIC
SOCIETY RECORDER WORKSHOP
(ARS)
St Albertrsquos Priory Oakland CA July 19-25Directors Frances Feldon Katherine Heater
Jam-packed week of recorder ensembleplaying concerts and the opportunity toimprove your skills working with highlyrespected recorder specialists in afriendly yet serious atmosphere Explorethe full range of recorder music from theMiddle Ages Renaissance and Baroqueto the 21st century through ensemblework technique sessions and recorderorchestra For the devoted amateur of allages from intermediate to advanced
Small classes Quiet campus Specialofferings recorder orchestra recordermaster class coached informal playing
Featuring recorder faculty LouiseCarslake Frances Feldon RotemGilbert Norbert Kunst PatrickOrsquoMalley and Hanneke van ProosdijOther faculty Katherine Heaterharpsichord
Contact Frances Feldon SFEMS
PO Box 10151 Berkeley CA
94709 510-527-9840
franfelaolcom sfemsorg
WINDSWEPT MUSIC WORKSHOP
William Jewell College Liberty MOJuly 19-25Director Phyllis Pasley
Bring your artistry to life Strengthen the mindbody connection and exploreenergy and music at Creative MotionAlliancersquos 59th annual summerconference Windswept Professionalmusicians conductors teachers studentsand amateur music enthusiasts willdiscover barriers that inhibit the free flowof energy and learn the secrets of inner-directed artistic music-making Classesin piano voice instrumental musicexpressive arts and independent studyMaster class coaching and conductingopportunities available Using move-
ment exercises analysis and bodyresponses explore music and energy in a unique inter-generational workshopformat Opportunities for independentrecorder study and private lessons enrichthe music-making experience
Registration fee $50 prior to 51509Tuition room meals $535 adults $400students 12-18 (must attend with parentteacher or sponsor) special half-weekrate $275 (Sunday-Wednesday noon)Memberfamily discounts Three hoursgraduate credit ($225) 3 CEUs ($50)and private lessons ($25 each)
Contact Phyllis Pasley 2208
Clouds Peak Maryland Heights
MO 63043 314-628-9862
directorcreativemotionorg
creativemotionorg
BOXWOOD FESTIVAL CANADA
Lunenburg Nova Scotia CanadaJuly 19-26Director Chris Norman
Discover musical and dance traditionswhile visiting one of North Americarsquosmost exquisite 18th-century seasidetowns Concerts dances sessionsclasses lectures with leading artists in therealms of traditional folk early musicdance and improvisation Work study ampscholarships available Gourmet cuisine
Faculty Chris Norman directortraditional amp early flutes FrancisColpron recorder ensembles LisaBesnoziuk Baroque flute DavidGreenberg Cape Breton amp Baroqueviolin Edmund Brownless voice shape note singing Marie Bouchardharpsichord Robert Dick contemporarytechniques amp composition Conal O Grada Irish flute Jerry OrsquoSullivanpipes whistle Rod Garnett flutefundamentals ethnic flutes PierreChartrand social dance MarlysNorman ballet classical dance Rod Cameron flute maker Tempest Baroque
Contact 902-634-9994
boxwoodorg
musiqueroyalecom
MACPHAIL SUZUKI INSTITUTE
FOR PIANO GUITAR FLUTE
AND RECORDER
MacPhail Center for the Arts Minneapolis MNJuly 19 Every Child Canreg July 19-26 Recorder Book 1July 20-24 Student InstituteDirectors Cindy Malmin Mary Halverson Waldo (auditions)
Suzuki Clinicians Marilyn Taggartpiano Tadeusz Majewski piano DavidMadsen guitar Kathleen Schoenfluterecorder MacPhail Suzuki faculty
Sanctioned by the Suzuki Association ofthe Americas MacPhailrsquos SuzukiInstitute allows Suzuki students of allages to share in motivating enrichingand wide-ranging musical experiencesStudents work with master teachers andimprove skills technically and musicallyDaily classes and observation includeapplied study theoryreading skillsensemble skills chamber music perfor-mance practices composition improv-isation master classes recitals art andmusic world musicdrumming musichistory recitals and presentations TeenMusical Revue (ages 13-18) fashioncharacter sketches develop a frameworkor theme and present to an audience
Who may attend Suzuki students whohave completed the Twinkle Variations(preschoolndashgrade 12 parents or another
wwwAmericanRecorderorg March 2009 23
Amherst Early Music Festival
(photo by Marc Weinberg)
responsible interested adult must attendwith students under high school age)teacher traineesobservers Participantsmust arrange meals housing and trans-portation Teacher Training prerequi-sites Every Child Canreg before Book 1courses must be taken in order throughBook 2 Contact workshop regardingrequired audition and preparation
Contact Cindy Malmin
612-767-5461
malmincindymacphailorg
Mary Halverson Waldo
5679 Harding Lane Shorewood
MN 55331 952-470-5853
mhalvwaldogmailcom
INTERNATIONAL BAROQUE
INSTITUTE AT LONGY
Longy School of Music Cambridge MA
July 24-August 2Directors Paul Leenhouts co-director Phoebe Carrai
VenicendashDresden Connection InternationalMeeting Grounds Music of MonteverdiVeracini Hasse Heinichen MarcelloVivaldi Pisendel Albinoni ZelenkaLotti Schein Schutz Quantz Gabrieli
2009 faculty Paul Leenhouts recorderPhoebe Carrai rsquocello ElizabethBlumenstock violin Ricard Bordasvoice Arthur Haas harpsichord LucasHarris lute Ken Pierce early danceGonzalo Ruiz oboe Mary Springfels
viola da gamba Jed Wentz traverso
Contact Karen Burciaga Com-
munity Programs Registrar One
Follen St Cambridge MA 02138
617-876-0956 X1532 (day)
617-354-8841 (fax) karenbur
ciagalongyedu longyedu
RECORDER AT THE CLEARING
The Clearing Ellison Bay WIJuly 26-August 1Directors Pat Badger Adrianne Paffrath
Recorder ensemble has been a traditionat The Clearing for over 25 yearsEnsemble playing is the weekrsquos focusEach day begins with a warm-up ofvoices and bodies as we sing rounds andready our muscles for performanceDaytime sessions focus on rhythmicchallenges recorder technique andensemble blend emphasis is on growthprocess and most of all enjoyment To participate fully you need at leastintermediate skills on a C or F recorder
Adrianne Paffrath coached on recorder with ARS teachers She is music directorat Racinersquos First Presbyterian ChurchPatricia Badger has studied early musicinstruments natural and classicaltrumpet She is performing arts head ofThe Prairie School Jointly they haveperformed for Medieval festivals grapestompings Shakespeare celebrations anda circus parade
Contact The Clearing PO Box 65
Ellison Bay WI 54210-0065
877-854-3225 920-854-9751
(fax) clearingtheclearingorg
theclearingorg
AMERICAN RECORDER SOCIETY
FESTIVAL AND CONFERENCE
University of Missouri at St Louis St Louis MO
July 30-August 2
Attend the second ARS Festival andConference for one day ($150) or allweekend ($350)
Sessions include recorder techniquepedagogy introductions to Orff Suzukiand Flutes and Drums Around the Worldmethods improvisation roundtablediscussions how to conduct yourconsort coached playing sessions forMedieval Renaissance Baroque worldand contemporary repertoire recorderorchestra incorporating percussion intoyour ensemble Also recorder mainte-nance choosing a recorder building aweb site using Sibelius music softwareMini-concerts by the next generation ofprofessionals master classes concerts byMarion Verbruggen and the FarallonRecorder Quartet Exhibition ofrecorder builders music sellers andmore CEUs available
Presenters Louise Austin AnnetteBauer Tish Berlin Frances Blaker Joyce Callanan Louise Carslake
24 March 2009 American Recorder
The Summer Toot is once again in Austin at the beautiful new facility of Concordia University The lushly wooded campus offers air-conditioned classrooms dining and dorm accommodations and is backed by a nature preserve Please join us
Our featured faculty includes Tish Berlin Tom Zajac Mary Springfels The Texas Toot offers a one-week program of classes in Renaissance and Baroque music at all levels featuring expert instructors in re-corder viol early reeds lute harp and voice
Danny Johnson workshop director Susan Richter administrator For more info
httpwwwtootorg or email infotootorg
11th Annual Summer Texas Toot June 14-20 2009 mdash Austin Texas
Mark Davenport Cleacutea Galhano LisetteKielson Lorraine Krige JudithLinsenberg Peter Maund Nina SternMarion Verbruggen Leslie TimmonsJim Tinter Mary Halverson Waldo
Contact Yvonne Miller-Nixon
Conference Administrator
1129 Ruth Dr St Louis MO
63122 800-491-9588 (day)
arsconfplannercharternet
americanrecorderorg
EARLY MUSIC WEEK AT
PINEWOODS CAMP (ARS)
Pinewoods Camp Plymouth MA August 15-22 Director Sheila Beardslee
The Myth amp Magick Creativity andInspiration in Early Music Surely thedeities of Olympus will surround us atPinewoodsndashwhere the myths of earlymusic will be made clear and our staff rsquosldquomagickalrdquo skills will hone and perfectour knowledge and performance of early music and dance
If yoursquove never played a musical instru-ment (but wish you could) or if youstudied music years ago (and fear yoursquoveforgotten) classes in recorder and violwill get you started or help brush off therust Advanced and intermediate playersand singers choose from a wide array ofclasses led by an outstanding faculty of professionals and teachers of earlywinds (recorders reeds brass) strings(viols violin) harpsichord and voice
New staff faces this summer areAnonymous 4rsquos Susan Hellauer voiceand Lisa Terry viol We welcome backDorrie Olsson historical dance andScott Higgs English country dance
We relax with two ponds for swimmingcanoeing a camphouse deck for readingafternoon tea and lots of dancing EarlyMusic Week continues its long traditionof superb teaching in a welcoming com-munity enhanced by special eventspresentations concertsmdashand dancing
Advanced musicians work intensivelyamateurs are engaged and challengedand beginners are always made welcome
Contact Steve Howe Country
Dance and Song Society
PO Box 338 Haydenville MA
01039-0338 413-268-7426 X3
(day) 413-268-7471 (fax)
campcdssorg cdssorgem
MONTREacuteAL RECORDER FESTIVAL
McGill University Montreacuteal QC Canada
September 17-20Directors Matthias Maute Sophie Lariviegravere
Conference consort music recorderorchestra concertsmdashEnsemble Capriceand Quynade (Israel) solo recital byMaurice Steger (Switzerland)
Contact Ensemble Caprice 4841
Garnier Montreacuteal QC H2J 3S8
CANADA 514-523-3611
514-523-1322 (fax)
infoensemblecapricecom
ensemblecapricecom
HIDDEN VALLEY INSTITUTE
FOR THE ARTS
EARLY MUSIC ELDERHOSTEL
Carmel Valley CANovember 1-7 November 8-14Directors Letitia Berlin workshopPeter Meckel HVIA
Enroll for one or both weeks Adults ofall ages welcome
Week I intense classes for upper inter-
mediate to advanced levels Week Ifaculty Letitia Berlin Frances BlakerLouise Carslake Annette Bauer(recorder) David Morris (gamba)
Week II all levels except beginnerClasses include recorder technique viol consort Baroque chamber musicconsort classes for Medieval Renais-sance Baroque and contemporary reper-toire workshop orchestra Week IIfaculty Letitia Berlin Frances BlakerTBA (recorder) Shira Kammen (earlystrings singing Medieval topics) MarySpringfels (viola da gamba)
Evening events include faculty concertstudent concert free-lance playing FreeWednesday afternoon for more playingor sightseeing Improve your playing in asupportive friendly atmosphere withworld-class teachers
Contact Peter Meckel
PO Box 116 Carmel Valley CA
93924 831-659-3115
831-659-7442 (fax)
hvmsaolcom
hiddenvalleymusicorg
wwwAmericanRecorderorg March 2009 25
26 March 2009 American Recorder
Am
herst
AR
S
Festival and
Co
nference
CA
MM
AC
Early M
usic
Week
Canto
Antiguo
Reco
rd
er
at th
e
Clearing
Great L
akes
Suzuki
FluteR
ec
Hid
den
Valley
Eld
erh
ostel
Interlo
ch
en
Early M
usic
Inst
Lo
ngy Intl
Baro
que
Inst
Marin
Head
land
s
Mid
east
Mo
ntreacuteal
Reco
rd
er
Festival
COST $520TW $350T C$1014ED $860 $1035E TBA $799D $389T $675T $210ED $735D $130TNO OF DAYS 814 1-4 7 7 7 5-8 714 6 10 3 6 4ARS DISCOUNT NO YES NO YES NO NO NO NO NO NO NO NONO OF FAC RECORDER FAC 4315 1716 165 85 22 82 543 11 101 1010 96 66NO OF STUDENTS 150wk 60 110 35 19 45 35 20 50 75 60 50RECORDER CLASSLEVELS
LIHIAV
BLIHIAV
BLIHIAV
BLIHIAV LIHIA BLI
LIHIAV LIHIA AV
LIHIAV
BLIHIAV
BLIHIAV
SPECIAL CLASSES USING RECORDERS
CMRMB20ENMROT
RPMRMB20MROPTO
CMRMBRO
MRMBENROPT CRO
RPMPT
CMRMB20MROPT
RPCMRMBENMROPT MBMP RP20
RPCMRMB20ENMTO
CMRMBMRO
NON-RECORDERCLASSES
CWKVPSDO PO
CWKVDT CWVD C O KVPS
CWPKVPST WK VD
CWVPSDO
MUSICALACTIVITIES
FSLSPP FLO FSLSP FS SP FSLP FSP
SLSPPO FSLP P FSLP FS
RECREATION D GS BSTW D FBSW FSO OBSTWO S O G
OTHERS WELCOME SC S SC S S S S SDIRECTTRANSPORTATION SC SBCP SP BCLP BP SB CPUP CL PUP
SBCPUP
TRANSPORTATIONTERMINALS
A50B2 T2 A B T
A10B3 T5
A80B80
A50B10 T10
A20B20 T20
A16B16
A4B3 T3 A20
A15B10 T10
A4B3 T3
ROOMS SD SD SD SD SDC SD SD SDC DBATHS SSP SSPP SP P SSPP SSPP SP P S PFOOD CV C GV CV FV C F CV CV CHANDICAP ACCESS HCD HCD HCD HCD HC HCD HD HCD C HCD HCD C
KEYCOST Includes tuition room (single occupancy unless otherwise noted) meals plus other fees E=estimated T=tuition only D=double occupancy W=one week
NO of DAYS Includes arrival and departure daysARS DISCOUNT Discount offered for ARS members FACULTYRECORDER FACULTY Number of facultyrecorder faculty within that number STUDENTS Average over last two yearsRECORDER CLASS LEVELS B=beginners LI=low intermediate HI=high intermediate A=advanced V=very advanced
SPECIAL CLASSES USING RECORDERS RP=recorder pedagogy C=one-on-a-part consorts MR=mixed Renaissance ensembles MB=mixed Baroque ensembles 20=contemporary music EN=early notation M=master class RO=recorder orchestra P=private lessons available T=technique O=other
NON-RECORDER CLASSES C=choral W=other winds P=percussion K=keyboard V=viols PS=plucked stringsD=danceT=theory I=instrument building O=other
MUSICAL ACTIVITIES F=faculty concert S=student concert L=lecture SP=special production P=organized informal playing O=other
RECREATION D=dancing F=field trip G=gym B=biking S=swimming T=tennis W=waterfrontbeach O=otherOTHERS WELCOME S=non-playing spousesfriends C=children (day care not generally available)DIRECT TRANSPORTATION TO WORKSHOP S=shuttle from airport B=bus C=cab L=limo PU=will pick up P=free parking O=other
TRANSPORTATION TERMINALS A=air B=bus T=train (number indicates miles from workshop to nearest terminal)
ROOMS S=singles D=doubles (with ldquo+rdquo can accommodate up to triples) C=cabins O=other =Graduate dormsBATH FACILITIES S=shared SP=semi-private P=privateFOOD C=college style F=family style G=gourmet V=vegetarianHANDICAP ACCESS H=housing C=classrooms D=dining
INFORMATION SUPPLIED BY WORKSHOP DIRECTORS
2009 SUMMER RECORDER WORKSHOPS
Here are some suggestions foravoiding overuse syndromes Most obvious warm up This meansincreasing your practice time graduallybefore the workshop begins andwarming up yourself and yourinstrument before each rehearsal
Make your playing situation ascomfortable as possible Take along acushion back rest footstool whateverit takes the ear and hand cannot ab-sorb what the bottom cannot tolerate
Be sure your glasses are ideal for the distance from your eyes to themusic desk that usually amounts to anarmrsquos length away (You can select apair at your local drug or departmentstore if you have no serious astigma-
tism) If glare from bright light (thosemarvelous outdoor rehearsals) is aproblem for you you may find that ayellow tint for your glasses is a help
Get your bodily playing equip-ment in the best possible shape beforethe workshop a visit to the dentist tosmooth off a front tooth for a windplayer can make an enormous differ-ence in endurance A layer of plasticwrap over the teeth (before yoursquoveworn a hole in your lip) may also help
Once yoursquove arrived at the work-shop there are ways to ensure thatstress (inevitable) doesnrsquot becomedistress (mostly preventable)
Take reasonable breaks duringrehearsal time and use them to stretchA little aerobics like running in placetakes very little time and gets rid ofthat stiff-from-sitting feeling Get yourfellow ensemble players to massageeach othersrsquo shoulders Other fre-
Do you have a favorite article from years past in AR E-mail that information to Gail Nickless
editoramericanrecorderorg
wwwAmericanRecorderorg March 2009 27
Mo
untain
Co
llegium
Pinew
oo
ds
Early M
usic
Week
Po
rt
To
wnsend
SF
EM
S
Baro
que
SF
EM
S
Ch
ild
rens
SF
EM
S
Med
ieval amp
Renaissance
SF
EM
S
Reco
rd
er
Texas T
oo
t
Wh
itew
ater
Wind
sw
ept
Music
Wo
rksh
op
Wo
rld
Fello
wsh
ip
$800ED $890ED $975 $950 $370T $950 $950 $740E $245 $535D $850E COST7 8 7 7 5 7 7 7 3 6 7 NO OF DAYSNO NO NO YES YES YES YES YES NO NO NO ARS DISCOUNT
125 189 169 102 82 124 76 136 1110 131 83NO OF FAC RECORDER FAC
50 100 100 55 30 70 40 50 110 45 30 NO OF STUDENTSLIHIAV
BLIHIAV LIHI AV
LIHIAV
BLIHIAV LIHI AV LIHIA LIHIA
BLIHIAV
BLIHIAV
RECORDER CLASSLEVELS
CMRMB20TO
CMRMBENROT
MRMB20MROPT
MBMPTO
CMRMBPTO
CMRENMPTO
C20MROPTO
CMR20MPT
CMRMB20ROTO MP
CMRMBMRO
SPECIAL CLASSES USING RECORDERS
WVDTO
CWKVPSDT CPVT
CWKVPSTO
KVDTO
CWPVPSTO O
WKVPSTO
CWVTO
CWPKVD
CKVDT
NON-RECORDERCLASSES
FSLSPP FSP
FSLSPPO FSSP
FSLSPPO
FSLPO
FSLPO SPO FSL PO FSLP
MUSICALACTIVITIES
DGBS DSWFGBSTW
DGBST D
DGBST DO SO
DFSWO RECREATION
S S SC SC S S SC SC OTHERS WELCOME
P SC CPUP SCP SCP SBC LP SPUP P BPUDIRECTTRANSPORTATION
A50B15 T15
A15B7 T6 A59
A20B2 T5 A59
A12B4 T1 A40 A
A20B15 T28 B10
TRANSPORTATIONTERMINALS
SD SD S S CALL S S SD SD SD SD ROOMSSP S SP P P SP P S S S BATHSCGV FV CV CV CV CV CV CV CV FV FOODHCD CALL HCD HCD C HCD HCD HCD HCD HD HANDICAP ACCESS
AR50 AVOIDING ACHES amp PAINSBy Leacuteonie Jenkins MD (c1925- 2000) from the March 1993 AR Vol XXXIV1
quently overused parts such asforearms and hands also respond to massage Quick tutorial on massagestart stroking toward the body and inthe direction of the flow of the veinsmdashupstream from the sorest partgradually work down to include thesore spot Yoursquore trying to move overthe underlying muscle not to rub theskin Thatrsquos why a little oil helps
Your psyche may need some relieffrom overload too Most workshopsare in surroundings that lend them-selves to taking a walk finding a placeto meditate taking in some beauty In creating anything a musical per-formance no less than more static artforms breathing in is as necessary asbreathing out be sure you take time to do it
Not to be forgotten those partiesLate hours and alcohol are stressfultry to balance off the fun yoursquore havingwith your capacity for both Above allenjoy Thatrsquos why yoursquore going
2009 SUMMER RECORDER WORKSHOPS
By Bart Spanhove
The author has been principalprofessor of recorder at the Lemmens-
instituut Leuven (Belgium) since 1984He is also artistic director of the world
famous recorder ensemble the FlandersRecorder Quartet which is set to perform
in concert at the 2009 Boston EarlyMusic Festival He is often asked to serve
as a jury member for internationalrecorder competitions in Canada US
Germany The Netherlands and BelgiumHe has given numerous master classes andlecture demonstrations all over the world
Spanhove is co-author of thesuccessful recorder method Easy Going(Heinrichshofen) and wrote the much-
used book The Finishing Touch ofEnsemble Playing (Alamire 2000
and Moeck 2002 with translations inChinese and German) In 2009
The Recorder Music of Frans Geysenwill come out (Mieroprint)
Currently he is researching practicetechnique for the recorder Daily
Spanhove thinks about how to makepeople happier by making music and
playing the recorder
As a conclusion for the VirtuosoRecorder class during the AmherstWorkshop in 2008 we organized aldquoHappy Hourrdquo for our nine talentedstudents Mee-Jung Ahn (Korea)Emilie Hasselgren and Kristine West(Sweden) Anne Timberlake JosephLewnard Jacob Lodico and BrycePeltier (US) Emiliano Perez(Mexico) and Fanny Massy (France)participated in a quiz that I wrote thenight before with the assistance ofReine-Marie Verhagen
We combined questions regardingmusic theory with practical exercisessuch as middot How long can a player hold a
low f in one breath on an altorecorder (You get one point foreach second)
middot How many times through a scaleis a player able to play in 30seconds (For every octave of theF major scale you get one point)
middot How many different pieces fromthe recorder repertoire can aperson play in the course of twominutes (The other members ofthe group have to guess the nameof the composer before the playercan start the next piece)
middot In one minute list as manydifferent titles as you can fromDer Fluyten Lusthof (TheRecorderrsquos Pleasure Garden) of J J van EyckThe list of questions goes onAt the ldquoHappy Hourrdquo people
were divided into three groupsaccording to dates of each personrsquosbirthday When theoretical questionswere asked (see below) the pointsystem was devised as follows threepoints were awarded when the selected
person of a group could find theanswer himherself two points whenthe selected person needed the help ofthe other group members and onepoint if the group needed the help ofour gracious class assistant Reine-Marie Verhagen (she alwaysknew the answer) No points weregiven if the quizmaster had to supplythe answer
On the next page you find someof my questions There are morewhich we hope to run in a future issueof American Recorder
The quiz was full of fun andsuspense By the end people weremore nervous than when playing aconcert on stage Jacob Lodico of theUS was the winner at Amherst
28 March 2009 American Recorder
Education___________________________________ A quiz for recorder players
wwwAmericanRecorderorg March 2009 29
Try these questions yourselfAnswers appear at the end of thisarticle
The Quiz1 Give the name of Ganassirsquos
treatise of 1535 where heextensively describes the recorder playing and diminutions of his time
2 In which German city is therecorder company Moeck based
3 In the cantata Gottes Zeit ist dieallerbeste Zeit BWV106 JS Bach calls for two altorecorders Give another name for this cantata
4 Of which famous orchestra isFrans Bruumlggen the conductor
5 List three leading Japanesecomposers of excellent solo pieces for the recorder
6 Give the names of recordermagazines published inGermany England and the US
7 What is the fundamental tone of a fourth flute
8 List two recorder makers fromthe Baroque period in England
9 Whatrsquos the title of the recitativeand chorale in the Saint MatthewPassion where the recorder isused
10 Give the names of two famouspublishers in business around1700mdashone in London and one in Amsterdam
11 The opus 10 work by AntonioVivaldi includes six concertiSome of them have beautifulnames Give the names of thefirst three concerti of this opus
12 Whatrsquos a nickname for Jean Jacques Hotteterre
13 The combination of recorder andtraverso was rarely used in theBaroque time Can you name any composers who used thiscombination
14 Which king from 16th-centuryEngland owned a large collectionof recorders and also composedand enjoyed daily recorderplaying
15 How many movements compriseHandelrsquos Sonata in C Op 1 No 7 originally written forrecorder and basso continuo
16 Give the name of Praetoriusrsquostreatise from 1609 that describesthe whole recorder family
17 Name the author of the oldestrecorder method
18 Name Jan Jacob van Eyckrsquosdisability
19 Who pretended around 1930 thatthe recorder was a kind ofclarinet
20 Who doesnrsquot belong in thefollowing group Bertho DrieverKarel van Steenhoven MarionVerbruggen Paul LeenhoutsDaniel Bruumlggen
21 Name the two instrumentsindicated to play the sonataMeiner Mutter of Hans UlrichStaeps
22 Il Pastor Fido was not composedby Antonio Vivaldi but by aFrench composer What was hisname
23 Whatrsquos the nationality of themusic company Zen-On
24 CPE Bach composed abeautiful trio that includes a bassrecorder What are the other twoinstruments
25 Give the names of the fourmovements of Bachrsquos partita forsolo traverse flute BWV1013
26 Which excellent playersperformed as the recorder trioSour Cream
27 A recorder normally has eightfingerholes Despite this musichistory describes the recorder as ldquoune flucircte agrave neuf trousrdquo (a flute with nine fingerholes)Explain why
28 Give the French name for vibratoperformed by finger movementsalone on a wind instrument
29 Who wrote in his diaryldquohellipbeyond anything in the wholeworld the wind-music when the
Answers to
Bart Spanhoversquos Quiz1 La Fontegara2 Celle3 Actus Tragicus4 The Orchestra of the
Eighteenth Century5 R Hirose M Ishii and
M Shinohara
6 Windkanal or Tibia (both ofGermany) The Recorder(England) American Recorder(US)
7 B8 The most famous English
recorder makers around 1700Bressan and Stanesby (the latterbeing both senior and junior)
9 O Schmerz Hier zittert das gequaumllte Herz
10 Walsh (and Hare) (of London)Roger (of Amsterdam)
11 La Tempesta de Mare La Notte Il Gardelino
12 Le Romain13 JB Loeillet J J Quantz
JJ Hotteterre or J B de Boismortier
14 Henry VIII15 Five16 Syntagma Musicum17 Sebastian Virdung Musica
Getutscht und Ausgezogen (1511)18 Blindness19 Igor Stravinsky20 Marion Verbruggen21 Alto recorder and piano22 Nicolas Cheacutedeville23 Japanese24 Viola and cembalo25 Allemande Courante Sarabande
Bourreacutee26 Kees Boeke Walter van Hauwe
and Frans Bruumlggen27 Before 1670 the player could
choose how to hold the recordermdashleft hand or right hand at the topThis meant that recorder makersdrilled two holes to accommodatethe little finger of the hand thatended up at the bottom Theunused hole was sealed with beeswax
28 Flattement29 Samuel Pepys30 Flanders Recorder Quartet
30 March 2009 American Recorder
Lazarrsquos Early Music(866) 511-2981 jblazaraolcom
wwwLazarsEarlyMusiccom
292 Gibraltar Dr 108 Sunnyvale CA 94089
Strings amp Early Winds
ModernBaroque Strings Viols Vielle
Kuumlng Moeck Mollenhauer Paetzold Yamaha Ehlert
Wenner Baroque flutes
Wendy Ogle Lu-Mi Ifshin Snow
Competitive Prices
Sent on Approval
Personalized Service amp Advice
R
E
C
O
R
D
E
R
S
ldquoGO FOR NEO-BAROQUErdquo
Andrew Charlton Partita Piccola For 4 Recorders (SATB)
[Prelude Allemande Courante Musettemdash
a neo-baroque epitome] (Score amp Parts PBE-25) $795
Andrew Charlton Suite Moderne For 3 Recorders (ATB)
[Baroque shapes but Hindemithian harmony]
(3 Playing-Scores PBE-44) $995
Southwest of Baroque David Goldsteinrsquos ldquobaroque Suiterdquo
on Cowboy Songs For 2 Recorders (SA) (PBE-2) $350
The Provincetown Bookshop Inc
246 Commercial Street Provincetown MA 02657 Tel (508)487-0964
A good source for Recorder amp Viol Music of all publishers
Provincetown Bookshop Editions
angel comes down which is sosweet that it ravished me andindeed in a word did wrap upmy soul so that it made me reallysick just as I have formerly beenwhen in love with my wiferdquo
30 Whatrsquos the English name for afamous recorder ensemble calledin its country Vier op lsquon Rij
wwwAmericanRecorderorg March 2009 31
by Tim Broege timbroegeaolcom
December 11 2008 was a specialday for American music the
100th birthday of Americarsquos greatestliving composer Elliott Carter Cele-bratory concerts took place in manyvenues including Carnegie Hall inNew York There the Boston Sym-phony led by James Levine played anew work by Carter Interventions forpiano and orchestra The soloist wasanother well-known conductor DanielBarenboim who is no mean hand atthe keyboard to say the least
Itrsquos remarkable that wonderfulnew compositions continue to pourforth from Carterrsquos pen His musicsparkles and frolics packing lots of musical events into engrossingstructures Much of his music isavailable on CD so if you missed thecelebrations you can easily have yourown belated birthday party for Carter
Although he has never written for recorder (one of our prominent
recorder soloists should commissionhim) Carter has produced manychamber pieces featuring woodwindsSince many recorder players double orstarted out on woodwinds such piecesas the Sonata for Flute Oboe Cello ampHarpsichord (1952) Enchanted Preludes(1988) for flute and rsquocello Espritrudeesprit doux (1985) for flute andclarinet or the Oboe Quartet (2001)may hold special interest
If you missed Charlie Rosersquosexcellent interview (broadcast onDecember 10) with Carter Levine andBarenboim you can see it atwwwcharlierosecomview
interview9774mdashessential viewingfor fans of contemporary music
We note with sadness the passingon January 23 of another distin-guished American composer GeorgePerle An authority on the music ofAlban Berg and the Second VienneseSchool Perle developed a uniquelyrical style based upon a free approachto 12-tone and serial procedureswhich he dubbed ldquo12-tone tonalityrdquo I recommend listening to his SerenadeNo 3 for Piano amp Orchestra (1983) Six Etudes for Piano (1973-76) and the Pulitzer Prize-winning Wind Quintet No 4 (1985)
Another leading American com-poser Leon Kirchner is thankfully still with us having turned 90 onJanuary 24 Like Perle Kirchner has a highly personal and expressive styleA birthday concert was held at MillerTheater at Columbia University inNew York City NY Participatingmusicians included flutist PaulaRobison pianist Jeremy Denk and theClaremont Trio with the composerpresent to discuss his music
An excellent way to get to knowKirchnerrsquos music is through his stringquartets Just in time for his birthdayAlbany Records has released a fine CDof all four played by the Orion StringQuartet Quartet No 4 was written in2007 (when the composer was 87mdasha veritable youngster compared toCarter) The composer Allen Shawnhas described that quartet asldquoluminous and passionaterdquo words aptto describe much of Kirchnerrsquos output
Speaking of contemporary musicI have been spending pleasant hoursperusing the Catalog of ContemporaryBlockflute Music available online atwwwblokfluitorg from StichtingBlokfluit This Netherlands founda-tion offers a contemporary recordercatalog and a catalog of historicalrecorder music Access to both is byfree membership
For those who havenrsquot yet used thecontemporary catalog I urge you togive it a try You can search by manyparameters such as composer title orspecific instrumentation A search forldquovoice fluterdquo turned up a list thatincluded Moon Dances Three AmericanSketches by composer Walter Mays(intended for solo alto recorder butalso playable on tenor or voice flute)Searching the name of English com-poser Edmund Rubbra produced a listof eight works that employ recordersincluding the intriguing CantataPastorale opus 92 for high voice altorecorder rsquocello and harpsichord
Searching ldquofemale composersrdquo fora piece using ldquoBaroque altordquo yieldedAfter Meditation by Ros Bandt ofAustralia
What an easy and tremendouslyvaluable way to find new music
On the Cutting Edge___________________________________Birthdays composers and
recorder music catalogs
Elliot Carter
(photo by Meredith Heuer)
Question How does Renaissancefingering differ from standard
fingering on the recorder Is one superior tothe other Do you need a special recorder touse Renaissance fingering and if so can itbe played with regular recorders Is there afingering chart that shows RenaissancefingeringmdashWilliam BaumannWaterford WI
Answer from Carolyn Peskin Music composed in the
Renaissance the historical periodextending from about 1450 to 1600was predominantly vocal and highlycontrapuntal Recorders which oftendoubled singers at the octave orrendered vocal pieces instrumentallywere designed to make the individualmelodic lines clearly audible
Most 16th-century consortrecorders were one-piece instrumentswith large toneholes and a wide borethat contracted slightly starting nearthe upper fingerholes and thenexpanded gently near the lowest holesThat ldquochoke-borerdquo design togetherwith the voicing and tonehole con-figuration favored the fundamentaltone (first harmonic) producing astrong open sound that was aboutequally loud throughout theinstrumentrsquos range
Such recorders had a useful rangeof only about an octave plus a sixthwhich was nevertheless sufficient for the music of their day MostRenaissance-style consort recordersmade today are based loosely uponsurviving 16th-century instruments ofthe above type and are designed toapproximate the range timbre andvolume of those early instruments
Our present-day ldquoregularrdquorecorders are Baroque-derived instru-ments based loosely upon survivingrecorders from the late 17th and early18th centuries They are three-pieceinstruments with small toneholes and abore that is narrower and moretapering than a Renaissance boreextending their useful range upward totwo octaves plus a whole tone
Baroque recorders are soft andsweet-sounding in their bottom octavebut louder and brighter in the secondoctave Their lowest notes are espe-cially weak because they must be blowngently to prevent overblowing into thesecond octave Such instruments aresuitable for Baroque solo and chamberrepertoire but not very satisfying forRenaissance polyphony
Due to their different timbre andvolume Renaissance recorders will not blend well with Baroque onesFurthermore the most historicallyauthentic Renaissance-style recordersare tuned in a ldquomeantonerdquotemperament that facilitates the playingof pure major thirds Such instrumentsmake Renaissance music easier to playin tune but will produce intonationproblems if played with Baroquerecorders which are tuned in equaltemperament For the above reasonsRenaissance and Baroque recordersshould not be played together
Renaissance fingering will not work on todayrsquos neo-Baroquerecordersmdashmost of which haveldquomodernrdquo Baroque fingeringcommonly called ldquoEnglishrdquo fingering
because it was developed fromhistorical Baroque fingering by ArnoldDolmetsch in England during theearly 20th century Renaissancefingering is less standardized partlybecause a number of different originalinstruments are used as models andpartly because makers wish to improvethe intonation tone quality andorplayability of certain notes Howeverthe following generalizations apply tomany of todayrsquos Renaissance-styleconsort recorders
First in the lower octave modernBaroque fingering works for mostnotes but is often too flat for the fourth scale degree (eg soprano F)requiring removal of finger 7 (right-hand pinky) and is too sharp for theraised fourth degree (eg soprano F)requiring addition of finger 7
Modern fingering is also usuallytoo sharp for the lowered seventhdegree (eg soprano B) The correctfingering for that note varies from oneinstrument to another
In the upper octave modernfingering works for the first third andfifth scale degrees (eg soprano C Eand G) but usually not for other notesSome notes require half-holing with aright-hand finger and notes above thefifth scale degree may require additionof several fingers to bring them in tuneHistorical Renaissance fingering forthe second scale degree (eg sopranoD) is especially awkward because all ofthe fingerholes and the thumbholemust be uncovered Therefore somemakers substitute modern fingering forthat note
Although Renaissance fingeringand meantone tuning are recom-mended for the best blend some
Q amp A___________________________________ Renaissance recorder fingering
Send questions to Carolyn Peskin QampA Editor 3559 Strathavon Road Shaker Heights OH44120 carolynpeskinstratosnet
32 March 2009 American Recorder
wwwAmericanRecorderorg March 2009 33
makers of handcrafted Renaissance recorders will provide modern fingeringandor equal temperament upon request and Moeck Verlag offers a choice ofRenaissance or modern fingering for most sizes of its factory-producedRenaissance Consort series
For a most satisfying blend Renaissance ensembles should purchase amatched set of recorders tuned and voiced to be played together Renaissanceconsort sets usually include two different alto recorders one in G (lowest note g)and one in F (lowest note f ) The ATTB combination with the G-alto is best formost of the quartet music composed between 1450 and 1550 while the SATBcombination with the F-alto is more practical for much late 16th-centuryrepertoire (Playing the G-alto requires learning G-alto fingering or elsetransposing the alto line down a whole tone and using F-alto fingering)
In addition to consort recorders some makers offer ldquoGanassirdquo sopranos andaltos based upon fingering charts in Silvestro Ganassirsquos recorder tutor Fontegarapublished in 1535 and a single original instrument in the Vienna Kunst-historisches Museum Because of their special bore design (cylindrical with aflaring bell) Ganassi recorders have a range of two octaves and a sixth withcumbersome fingerings in the third octave They are used mainly as soloinstruments for playing intricate ornaments of the type found in Fontegara
Also sometimes included in the ldquoRenaissancerdquo category are ldquotransitionalrdquo(early Baroque) recorders which are based upon originals from the first half ofthe 17th century They have a bore that is wider than a Baroque bore but contractssharply near the lower end resulting in strong low notes and at least a full two-octave range usually with modern fingering Most transitional recorders aresopranos or altos designed for playing Jacob van Eyckrsquos variation sets or thehighly ornamented Italian solo repertoire of the late-16th and early-17thcenturies
However wide-bore consortrecorders with a range of at least twooctaves and modern fingering shouldalso be regarded as transitionalinstruments They differ somewhat intimbre and volume from typicalRenaissance consort recorders
Handmade wide-borerecordersmdashconsort Ganassi andtransitionalmdashare obtainable frommakers who advertise in AmericanRecorder the Prescott Workshop andthe Von Huene Workshop in the USJean-Luc Boudreau in Canada andStephan Blezinger in GermanyContact them andor visit their websites to find out what kinds ofrecorders they are currently makingand to get an idea of their prices andwait times
Factory-produced wide-borerecorders from Kobliczek Moeck andMollenhauer are available frominstrument dealers who advertise inAR New and used recordersincluding wide-bore models fromimportant makers in the US andabroad are also obtainable from Uni-corn Music For further informationvisit wwwbuyrecorderscom For a comprehensive database of recordermakers worldwide see Nicholas SLanderrsquos ldquoExtant Recorder Makers amp Retailersrdquo at wwwrecorder
homepagenetmakershtml
REFERENCES
CONSULTEDBauer Winfried
wwwrecorder-fingeringscomIncludes interactive fingeringcharts from modern makers andhistorical treatises Charts forRenaissance consort recorders byAdriana Breukink Adrian BrownBob Marvin and Tom Prescottwere consulted
Brown Adrianwwwadrianbrownorgrec
order_typesconsorthtml
Our present-day ldquoregularrdquo recorders are
Baroque-derived instruments based loosely
upon surviving recorders from the
late 17th and early 18th centuries
34 March 2009 American Recorder
The Von Huene Workshop Incis pleased to announce agreements with
CoolsmaZamra
to serve as their authorised service agents in the US
For more than 40 years the von Huene Workshop has produced some of the finest recorders in the world Our skilled staff can revoice retune and repair even the most seriously damaged instruments All repairs are done right on the premises and most can be completed within a week
For warranty repairs please include a copy of your original sales receipt
j 65 Boylston Street Brookline MA 02445 i(617) 277-8690 Fax (617) 277-7217 servicevonhuenecom
An informative article aboutrecorder sizes in Renaissanceconsorts
Brown Adrian and David LasockildquoRenaissance Recorders andTheir Makersrdquo AmericanRecorder Vol XLVII No 1(January 2006) pp 19-31 An important article based upon Brownrsquos extensive researchon 120 of the 200 surviving 16th-century recorders
Ganassi Silvestro Opera IntitulataFontegara Ed Hildemarie Peter(Berlin-Lichterfelde RobertLienau 1959) Modern edition ofthe oldest known treatise devotedentirely to the recorder (publishedin 1535) Includes 16th-centuryfingering charts
Griscom Richard and David LasockiThe Recorder A Research andInformation Guide (New York andLondon Routledge 2003) Anannotated bibliography including
references on construction anddesign of historical recorders
Levin Philip ldquoQampArdquo AmericanRecorder Vol XXXVIII No 4(September 1997) p 27Explains in simple terms thedifference between Renaissanceand Baroque recorders
Morgan Fred ldquoA Recorder for theMusic of JJ van EyckrdquoAmerican Recorder Vol XXV No 2 (May 1984) pp 47-49Describes the bore design of arecorder suitable for playing Van Eyckrsquos variation sets andcompares it with bore designs ofother types of recorders
Myers Herbert W ldquoRecorderrdquochapter in A Performerrsquos Guide toRenaissance Music ed JefferyKite-Powell (New York SchirmerBooks 1994) A 2nd edition isnow available published in 2007by Indiana University Press
FEATURING MUSICA PACIFICA
JUDITH LINSENBERG
RECORDERS____JS BACH TRIO SONATAS Arr by
Linsenberg from Trio Sonatas for Organ BWV525-
530 Sonata No 1 in E
major (transp to B
)
BWV 525 Sonata No 2 in C minor (transp to E)
BWV526 Sonata No 3 in D minor (transp to G)
BWV 527 Sonata No 4 in E minor BWV 528
Sonata No 5 in C major (transp to F) BWV529
Sonata No 6 in G major (transp to C) BWV 530
Virgin Classics Veritas 1993
____FIRE BENEATH MY FINGERS Showcases
three legendary composers who were also
virtuoso performers Vivaldi Concerto in F major
after RV 98570 ldquoLa Tempesta di Marerdquo Sonata in
A minor RV86 Concerto in G minor RV106 Con-
certo in Bb major RV503 Sammartini Concerto in
F major Tartini Concerto in A major D91 Dorian
____MANCINI CONCERTI DI CAMERA Seven
sonatas by Francesco Mancini plus one work each
from his contemporaries Francesco Durante amp
Domenico Scarlatti Highly recommended citation
from the 2000 Vivaldi Prize for Recordings of Italian
Early Music--Giorgio Cini Foundation Dorian
____MARAIS MARIN PIEgraveCES EN TRIO POUR
LES FLUcircTES VIOLON amp DESSUS DE VIOLE
Maraiss complete works for two treble lines and
bass with varied instrumentation and orchestrations
2-CD set $24
____SCARLATTI CONCERTI DI CAMERA
Seven sonatas for various instrumentations no
poor relations to the composers much more widely-
known vocal output All recorder players should
certainly have thisndashEarly Music Review
____TELEMANN CHAMBER CANTATAS
Five cantatas from Harmonischer Gottesdienst two
sonatas from Sonatas Corellisantes 2003 Chamber
Music America WQXR Record Award for best
chamber music recordings
____VIVALDI LA NOTTE Concerti per strumenti
diversi Award-winning CD featuring five Vivaldi
concerti two sonatas
AND OTHER RECORDING
ARTISTS FROM CALIFORNIA ____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 American Bach Soloists Jeffrey
Thomas conductor Dan Laurin Hanneke van
Proosdij recorders Christmas Concerto featuring
unique 1725 London version with solos transcription
for two recorders instead of two solo violins in
three of the six concertos Delos
____CANCcedilONIEgraveR Annette Bauer recorder
multi-instrumentalist Tim Rayborn Shira Kammen
strings Phoebe Jevtovic voice in a new early
music group devoted to repertoire from the
12thndash15th centuries as well as traditional music
from related regions (the Balkans Scandinavia
Middle East) Medieval instrumental music played
on a variety of instruments including strings
recorders and percussion Medieval dances and
motets bring to life the rich world of ancient
European music-making
____SACRED AND SECULAR MUSIC FROM
RENAISSANCE GERMANY Ciaramella-Adam amp
Rotem Gilbert Doug Millikan Debra Nagy
recorders with other winds shawm sackbut amp
organ Medieval amp Renaissance sacred music with
reconstructions of folksongs amp arrangements based
on contemporary improvisation
____BURIED TREASURE TOPAZ amp SAPPHIRE
Ensemble Vermillian Frances Blaker recorders
Barbara Blaker Krumdieck cello Elisabeth Reed
gamba Katherine Heater harpsichord amp organ
Transcriptions of Buxtehudes Op 1 other pieces by
Buxtehude works by Biber Johann Schop
Schmelzer Fafarela 2007
____STOLEN JEWELS Ensemble Vermillian
Frances Blaker recorders Barbara Blaker
Krumdieck Elisabeth Reed Katherine Heater 17th-
century German music adapted by Blaker I love
violin music so I steal the music and rearrange it
for my own instrumentrdquo Buxtehude Op 1 Biber
Rosenmuller Krieger JM Bach Fafarela
Recordings
____SENFL (LUDWIG) Farallon Recorder Quartet
(Letitia Berlin Frances Blaker Louise Carslake
Hanneke van Proosdij) 23 lieder motets and
instrumental works of the German Renaissance
____DOLCE MUSICAndash A CONTEMPLATIVE
JOURNEY Eileen Hadidianflutes recorders
Natalie Cox harps Celtic Renaissance and
Medieval melodies for recorder and flute with
Celtic harp Healing Muses 2005
____REFLECTIONS MUSIC TO SOOTHE AND
UPLIFT THE SPIRIT Eileen Hadidian recorder amp
Baroque flute with Celtic harp and cello Celtic
traditional Renaissance amp Medieval melodies
Healing Muses
____AN EVENING WITH BACH Voices of Music
Hanneke van Proosdij Louis Carslake Dan Laurin
recorders Joanna Blendulf Elizabeth Blumenstock
Rodney Gehrke Lisa Grodin Katherine Kyme
Jennifer Lane Victoria Gunn Pich Susanne Ryden
William Skeen David Tayler Renaissance and
Baroque music centers on fine singing Instantly
recognizable Air on a G String Bachrsquos Prelude in
G Major (solo theorbo for rsquocello) plus lilting vocal
performancesmdashRydenrsquos weightless soprano on
Bist du bei mir Lanersquos rich alto on Es is vollbracht
____BACH amp TELEMANN SONATAS PRELUDES
amp FANTASIAS Voices of Music (Hanneke van
Proosdij Joanna Blendulf Rodney Gehrke William
Skeen David Tayler) Beautiful chamber music by
Bach and Telemann
IN STOCK (Partial listing)____ALLA TURCA FUX CALDARA BADIA
Matthias Maute amp Sophie Lariviegravere recorders
Monika Mauch soprano Vocal music of the church
accompanied by Ensemble Caprice plus sonatas
and other instrumental pieces Analekta
____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 John Daniels Sonja Lindblad
recorders Peter Sykes harpsichord Trio sonata
arrangement by Johann Christian Schickhardt
____LES
AMIS DU
BAROQUE
Paul Nauta recorder amp
Baroque flute Koen Dieltiens recorder Music by
Bassani Corelli Vivaldi etc Highlight Intl
____LES SEPT SAUTS BAROQUE CHAMBER
MUSIC AT THE STUTTGART COURT Matthias
Maute amp Sophie Lariviegravere recorders amp traverso
Ensemble Caprice Charming repertoire by
Schwartzkopff Bodino Detri Atma Classique
____TASTE OF PORTIQUE LEnsemble Portique
Early and contemporary chamber musicmdash
Bach Telemann Boismortier and others
____TELEMANN ALLA POLACCA REBELndash
Matthias Maute recorders amp traversondash
plays concerti and suites by GP Telemann Dorian
____TELEMANN CANONS AND DUOS Lisette
Kielson amp Patrick OMalley recorders LEnsemble
Portique Telemann Canons meacutelodieux amp Sonates
sans basse 2-CD set LEP Records
____20TH CENTURY MUSIC FOR RECORDER amp
PIANO Anita Randolfi recorders Music by Jacob
Bartok Leigh others for recorder amp piano
____VIVALDI AND THE BAROQUE GYPSIES
Matthias Maute amp Sophie Lariviegravere recorders
Ensemble Caprice Gypsy music taken from
Uhrovska zbierka (now Slovakia) plus Vivaldi
____VIVALDI SHADES OF RED CONCERTOS amp
SONATAS FOR RECORDER amp STRINGS Matthias
Maute recorders REBEL Stylish high octane
readings of some of Vivaldis most beloved pieces
including the popular and raucous Concerto alla
Rustica stunningly colorful Sonata on La Follia and
four exuberant recorder concerti Bridge
____WINDFIRE Charmaine Delmatier recorder
Steve Kostelnik classical guitar Terry Hale bass
Erik Hokkanen violin Refreshing mixture of Andrew
Lloyd Weber American blues flamenco Celtic and
one original piece ltwwwyermomusicomgt
Please indicate above the CDs you wish toorder and print clearly the following
Name ____________________________________
Daytime phone (_____)______________________
Address__________________________________
CityStateZip _____________________________
Check enclosed for
_____ single CDs x $____ = $______
_____ 2-CD sets x $____ = $______
TOTAL $______
Please charge the above amount to my
MasterCard Visa or AmEx
_______________________________________
Exp Date ____________
Cardholderrsquos signature ______________________
Mail to
ARS 1129 Ruth Dr St Louis MO 63122-1019 US
You may fax a credit card order to 314-966-4649
NEW You may order CDs online using PayPal at
wwwamericanrecorderorgordercdromshtm
Order your recorder discs
through the ARS CD Club
The ARS CD Club makes hard-to-find or limited release CDs by ARS members
available to ARS members at the special price listed (non-members slightly higher)
All CDs are $15 ARS members$17 Others unless marked otherwise Two-CD sets are
$24 ARS members$28 Others Add Shipping and Handling $2 for one CD $1 for each
additional CD An updated listing of all available CDs may be found at the ARS
web site ltwwwamericanrecorderorggt
The first meeting of the newly-formedFort Myers Recorder and Early
Music Ensemble was January 26 atthe Florida home of chapter rep Sue
Groskreutz For this year the groupis somewhat loosely organized andplans to meet for extended sight-reading Repertoire at the first meetingcomprised everything from Renais-sance duets to chamber music involv-ing three treble parts and continuo
Among the five musiciansattending the first meeting (photobelow front row Elizabeth Spang SueGroskreutz back row Suzanne FergusonSibylle Baumgartner Arlene Sowka) allplayed recorder three harpsichord
and one each played traverso violinand gamba Due to the scarcity ofrecorder players south of the Sarasotaarea modern string players are alsoincorporated into this ensemble
The group decided not to chargedues and to meet at Groskreutzrsquoshome For more information pleasecontact Groskreutz at 239-267-1752spgembarqmailcom Snowbirdsdrifting through the area are welcome
Last fall at the requestof a student Kay Hettich
(inset below right) taught abeginning recorder class atthe Redding (CA) Senior
Center The five-weekclass was so successful thatmost participants haveformed a bi-weekly noviceensemble (right) coachedby Hettichmdashwho consid-ers them her ldquohatchedeggsrdquo
A new batch of ldquoeggsrdquostarted to incubate when afive-week class began on February 20Other senior center members havebecome interested as they heard oftheir colleaguesrsquo success These noviceplayers comprise some who previouslyread music and played instruments as well as people who are totally new to music notation
One student has also formulated amaxim ldquoEveryone at age 40 ought tolearn to play the recorder if heshehasnrsquot alreadyrdquo Just think how theworld would be transformed byshifting our focus to music
After Lynn Whidden attendedthe Montreacuteal Recorder Festival lastfall when the ARS Board met inQuebec she joined the ARS and nowrelays news of the lively interest in therecorder exhibited by a group underthe new leadership of Brent Legg ofBrandon University in ManitobaCanada Although his hands wereldquostill partly frozenrdquo he wrote that theBrandon University Collegium
Musicum in collaboration with theWaverley Park Recorder Club is
preparing a spring concert calledldquoEnglandrsquos Golden AgerdquoRepertoire spans the 16th century
from Henry VIIIrsquos accession in 1509to the death in 1603 of Elizabeth Iand includes solo songs four- andfive-part settings of Renaissancedances (with dancers) three- to five-voice madrigals and ldquobig-bandrdquoarrangements of William Byrdrsquos TheBells and The Dargason as re-imaginedby Gustav Holst (further re-imaginedfor recorders and percussion)
Of the 15 collegium membersseven are encountering the recorderfor the first time since elementaryschool The Collegium Musicumpromotes the study of early music at the university and is open to theuniversity community and the generalpublic This year there are five com-munity participants with interest fromseveral more both within and outsideof the university For informationcontact BrentLegggmailcom
January 16 marked the thirdannual recorder workshop of threeFlorida groups the Pasco Collegium
Recorder Consort of Hudson theImperial Recorder Consort of
36 March 2009 American Recorder
Chapters
amp Consorts___________________________________Workshops and activities from
coast to coast in the US and Canada
Lakeland and the Pilgrim Pipers Recorder Consort of St Petersburg Theygathered for a morning tackling selections by Banchieri Monteverdi PurcellCorelli Mendelssohn Bach Mozart and Glen Shannon Each group presenteda piece for the other participants Sweet Georgia Brown by Ben Bernie (St Pete)a Sonata by Sammartini (Lakeland) and The Gospel Train arr by KW Ford(Pasco) The 29 participants were led by Marlene Cracraft (Pasco) Jane
Spencer (Lakeland) and Elizabeth Snedeker (St Pete) Tom Bickley (photo below) directed the fall workshop of the Mid-Peninsula
Recorder Orchestra in Cupertino CA The 30 players started with Gregorianchants written in ldquooldrdquo notation Bickley gave basic instruction on how tointerpret the notes and then had the group sing the chants prior to playing them
The workshop theme of ldquoThe Articulate Recorderrdquo was literally played out as the music presented used variations in tonguing phrasing and breathingOther repertoire included a Kyrie by Tomas Luis de Victoria Bachrsquos Jesu Joy ofManrsquos Desiring a double-choir piece by Gabrieli Christopher Tyersquos In NomineXIII and a Purcell chaconne The workshop ended with a rhythmically-challenging minimalist piece by Bickley entitled Beginning composed for theWaldorf School teacher training program George Greenwood reports that thegroup had a productive event and plans to ask Bickley to lead a future workshop
wwwAmericanRecorderorg March 2009 37
A Muse in the DesertThe sound of a pin dropping hellip thesound of eager minds and fingersabsorbing information and inspira-tion hellip the sounds of ldquoNuevaEspantildeardquo Spanish- and indigenous-influenced music of the 1600s in theNew World These were the soundsof the Desert Pipes (Phoenix AZ)chapterrsquos fall workshop given byEileen Hadidian On a Saturdaylast October 30 players from all overArizona gathered to learn from andbe inspired by the founder of a SanFrancisco Bay Area group dedicatedto sharing music for healing inhealthcare settings Healing Muses(wwwhealingmusesorg)
The day began with relaxationstretching and breathing exercisesfollowed by travels to Peruacute MexicoGuatemala and Colombiamdashhighchurch music vernacular pieces anda mixture of the two Participantsenjoyed the historical and contextualbackground provided as an overviewfor the day and for each piece
Remarkably the sound heardbetween pieces and passages was anenergy-filled quiet the attentivestillness of active engagement in theworkshop experiencemdashnot the chat-tering noodling and conversationsthat often occur when the musicstops That activity was reserved forthe breaks when participants couldenjoy the cool (at last) outdoorschat with Hadidian and peruse the popular garage sale (to benefitDesert Pipes) of previously-enjoyedbooks and other treasures
On Sunday Hadidian sharedher expertise and inspiration in indi-vidual and group coaching sessionsThe weekend was a special experi-ence and Desert Pipes memberslook forward to the next visit of this Healing Muse
Ann Koenig Scottsdale AZannisalesprocom
Members
of three
Florida
groups
met
in January
for a joint
workshop
CHAPTER NEWS
Chapter newsletter editors and publicity officers should send materials for publication toAmerican Recorder 7770 South High St Centennial CO 80122-3122
editoramericanrecorderorg Also send short articles about specific activities that haveincreased chapter membership or recognition or just the enjoyment your members get out of
being part of your chapter Digital photos should be at least 3rdquox4rdquox300dpi TIF or unedited JPG files Please send news to the AR address above and to the following
ARS Office 1129 Ruth Drive St Louis MO 63122-1019 ARSrecorderAmericanRecorderorg
and to Bonnie Kelly Chair Chapters amp Consorts Committee 45 Shawsheen Rd 16 Bedford MA 01730 bksharpaolcom
TO THE STARS
AND BEYONDThe cover of the November magazinegenerated a few comments Some werenrsquotsure how to interpret the title (in theartistrsquos native German it could besomething close to ldquostarlit moonrdquo)Longtime member Carolyn Peskin wrote to offer her vision of that cover
In the beginning the Great Spiritinvented Mr Sun to light the day andMiss Moon to light the nightHowever as Miss Moon floated up inthe sky all by herself like a big yellowballoon she began to feel very lonelyso one night to relieve her lonelinessshe decided to take out her recorderand make music
But when she started to playsomething miraculous happened Not only beautiful melodies but alsoyellow dust poured out of the bottomof her recorder and the dust particlesimmediately coalesced to form yellowstars As she continued playing moreand more stars were created and theyfloated up around her filling the nightsky
At last Miss Moon was happy fornot only was she herself able to enjoyher music but she now had a wholecrowd of starry companions to enjoy itwith her And if you listen very care-fully on a quiet night you might beable to hear her recorder and thatstarry choir humming along
Carolyn Peskin
LOCATING EARPLUGSI read with interest the QampA in theNovember lsquo08 AR regarding hearingloss and use of earplugs Where do you get musicianrsquos earplugs
Dolly Hirata Kensington CA
CAROLYN PESKIN PROVIDED THIS
INFORMATION Musicianrsquos earplugs arecustom made for individual usersThey can be purchased only fromlicensed hearing professionals (ieaudiologists and hearing instrumentspecialists) To find a licensed hearingprofessional in your area look underldquoaudiologyrdquo or ldquohearingrdquo in your localyellow pages
For information about how musi-cianrsquos earplugs are produced visitwwwetymoticcomephperme-w
tbaspx That web page also has a linkto contact information for authorizedlabs that make the custom earmolds formusicianrsquos earplugs If the yellow pagesdo not prove helpful those labs canrefer you to a licensed hearing pro-fessional in your area from whom youcan purchase musicianrsquos earplugs
MORE FROM CAROLYN
THIS TIME ABOUT OSKARIn the September 2008 AR the musicreview by Leslie Timmons of the Oskarpieces by Matthias Maute mentionedthat Carolyn Peskin had translated twoof the Oskar books from German toEnglish People can obtain thetranslations free of charge as Wordattachments by contacting her atCarolyn Peskin 3559 StrathavonRoad Shaker Heights OH 44120carolynpeskinstratosnet
ANOTHER KIND OF
MUSIC-READING
GLASSESIn the January 2009 issue of AmericanRecorder therersquos something (in myopinion) the ldquoRecorder with GlassesObbligatordquo article omitted which canenable a nearsighted musician to avoidneck strain in the use of bifocals
Irsquove found the solution to thisvexing problem is to have onersquos bifocalsconstructed differently [from] normalMy optometrist was willing to work
38 March 2009 American Recorder
Response___________________________________Two kinds of vision
the better to see with and (not) to hear with
Honeysuckle Music
Recorders amp accessories
Music for recorders amp viols
Jean Allison Olson1604 Portland AveSt Paul MN 55104
6516448545jeanhoneysucklemusiccom
Responses from our readers are welcomedand may be sent to American Recorder 7770 South High St Centennial CO
80122 Letters may be edited for length and consistency
ARS Membership Enrollment and Renewal I am a new member I am or have been a member
USCanadian Memberships Foreign Memberships $45 One Year $55 Foreign One Year $75 Sustaining (Receive a Hottetere Hands Pin) $100 Two Years $80 Two Years
LIFETIME MEMBERSHIP Single Dual Regular Lifetime Member $1000 (2) $1500 (4) 4 installments of $250 available) Loyalty Lifetime Member (1) $ 800 (3) $1200 (4) 4 installments of $200 available
(1) For members who have maintained membership for five consecutive years (2) $750 is Tax Deductible (3) $600 is Tax Deductible (4) Installments available Student Memberships Other Memberships (Enclose proof of full time enrollment) $65 One Year Workshop Membership
$25 USCanadian One Year $125 One Year Business Membership $45 USCanadian Two Years $30 Foreign One Year $5 Additional Charge for Dual Address or Dual Name
Do not list my name in the ARS Print Directory Do not list my name on the ARS Online Directory Do not release my name for recorder related mailings Do not contact me via email
My address telephone and email address are the same as last time
______________________________________ _________________________ Name Phone Number ______________________________________ _________________________ AddressCityStatePostal Code Email Address Please charge to (Circle one) VISAMasterCardAMEXDiscover CC________________________________ Expiration Date ______________ Signature of cardholder_______________________________________________________ Clearly Print Name as it appears on Card________________________________________
Renew by Mail Online By Phone or by Fax
Demographic Information (optional information collected only to enhance ARS services and provide statistics to grant makers)
I am a member of ARS Chapter or Consort____________________________ I am the Chapter Contact Your age Under 21 (21-30) (31-40) (41-50) (51-60) 61-70) (71+) Please check all that apply
I am a Professional Recorder Performer
I wish to be included in the list of Recorder Teachers in the ARS Directory and website I Teach (circle your choices) Children High School Youth College Students Adults Beginner Intermediate Advanced Pre-Professional Individuals Childrenrsquos Classes Adult Classes Ensembles Suzuki Orff JRS Leader Kodaly Where I Teach (circle your choices) Music Studio Public or private school Community Music School College Other _____________________
American Recorder Society 1129 Ruth Dr St Louis MO 63122-1019
Phone 314-966-4082Fax 314-966-4649
TollFree 800-491-9588ARSRecorderAmericanRecorderorg
wwwAmericanRecorderorg
with me [to find] an ideal (for me)placement size and focal length of thebifocal lens
Before visiting the optometristIrsquod had my wife measure the distancefrom my eyes to the music on mymusic stand With this measurementthe optometrist set up her machine toprepare a vision prescription for memaximized for this reading distance
When I look at my bifocals (withthem off) the lenses (through which Iread my music) occupy most of thelower two-thirds of my glasses (they are set very high and beginimmediately at the inner rims) Thisleaves the upper third and smallportions of the outside [of each lens]for focusing on the conductor As longas my stand is set low enough my necknever experiences any strain (even if Ihave to read three to a part) and Irsquove no problem in seeing theconductor (in sharp focus) either
For me trying to use glasses [toread] from a music stand [that] weredesigned for use in reading from acomputer screen also results in neckstrain (not to mention unreliability in aldquopressurerdquo situation) Having studiedTai Chi extensively and so being
wwwAmericanRecorderorg March 2009 39
There are lots ofsolutions to thepresbyopic musicianrsquosproblem but all involve compromises
40 March 2009 American Recorder
American Recorder Society PublicationsErich Katz Contemporary Music Series Members Non-MembersA Short Tale for Two Basses Suzanne M Angevine (Level II) (2 scores) $5 $8Dialogue and Dance Cecil Effinger (SATB)(Level II-III) (score amp parts) $10 $18Dorian Mood Sally Price (SATB) (Level II) (score amp parts) $10 $18Double Quartet for Recorders Peter Ballinger (Level II-III) (score amp parts) $10 $18Entrevista Frederic Palmer (SATB) (Level II) (2 scores amp 4 recorder parts) $8 $14Kyrie and Vocalise for Soprano Voice ampRecorders Stanley W Osborn $8 $14
(SATB) (Level II) (2 scores amp 4 recorder parts) Picnic Music Jeffrey Quick (SATB) (Level II) (score amp parts) $5 $8Six Short Pieces for Three Recorders edited by Alan Drake $8 $14
(3 scores) Vaclav Nelhybel (AATT) (Level II)Sonatina for Alto Recorder and Piano Anthony Burgess $7 $12
(Level II) (2 scores)Sonatine for Three Altos Lee Gannon (Level III) (score amp parts) $14 $26Suite of Jewish Folk Tunes Erich Katz (S SA8 AT) (Level II) (three scores) $10 $18
Musical Editions from the Membersrsquo Library ARS members 1 copy-$3 2 copies-$450 3-$6 4-$750 5-$10 6-$1150Non-members (editions over 2 years old) 1 copy-$5 2 copies-$850 3-$12 4-$15 5-$1950 6-$23The ARS is happy to provide photocopied enlargements of any Membersrsquo Library edition at the same prices Please specify ldquoMembersrsquo Library Enlargementrdquo
ARS Information BookletsARS members 1 booklet-$13 2 booklets-$23 3-$28 4-$35 5-$41 6-$47 7-$52Non-members 1 booklet-$18 2 booklets-$33 3-$44 4$55 5-$66 6-$76 7-$86
Education PublicationsThe ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996)
First copy free to ARS Members (mailed to new members as they join) replacement copies $3Guidebook to the ARS Personal Study Program (1996) Material formerly published in the Study Guide
and Study Guide Handbook plus additional resources Members $11 non-members $20ARS Music Lists (2002 with 2003 Supplement) Graded list of solos ensembles and method books
Members $9 non-members $15Package Deal available only to ARS members Guidebook and Music ListsSupplement ordered together $16Junior Recorder Society Leaderrsquos Resource Notebook
ARS members $20 non-members $40 (updates at reduced rates after initial purchase)$5 Dues for each JRS student member sponsored by an ARS member ($4 each for groups of 10+)
VideosRecorder Power Educational video from the ARS and recorder virtuoso John Tyson
An exciting resource about teaching recorder to young students ARS members may borrow a copy for onemonth by sending $5 to the ARS office along with the address to which the tape should be shipped
Pete Rose Video Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music Festival recitalFeatures Rose performing a variety of music and an interview of him by ARS member professional John Tyson
Other PublicationsChapter Handbook A resource on chapter operations for current chapter leaders or those considering forming an
ARS chapter ARS members $10 non-members $20 (updates free after initial purchase) One free copy sent toeach ARS chapter with 10 members or more
Consort Handbook Resource on consort topics such as group interaction rehearsing repertoire performingARS member prices CD $10 hard copy $20 combo price of CD and hard copy ordered together $25
Discography of the Recorder Vol I (1989) Compiled by Scott Paterson and David LasockiDiscography of the Recorder Vol II (1990-1994) Compiled by Scott Paterson
Either single volume ARS members $23 non-members $28Both Discography volumes together ARS members only $40
American Recorder Cumulative Index for Vols I-XXXX ARS members $20 non-members $32Index Supplement Vol XXXIV-XXXX ARS members $8 non-members $14
Shipping amp Handling FeesUnder $10 - add $3 $10-1999 - add $4 $20-2999 - add $5 $30-3999 - add $6 $40-4999 - add $7 All prices are inUS dollars For Canadian or foreign postage pay by credit card and actual postage is charged
Please make checks payable to ARS VISAMCAMEXDisc also accepted
ARS 1129 Ruth Drive St Louis MO 63122 US800-491-9588 ARSrecorderAmericanRecorderorg
Arioso and Jazzy Rondo (AB) Carolyn PeskinBerceusendashFantaisie (SATB) Jean BoivertBrucknerrsquos Ave Maria (SSATTBB)
Jennifer W Lehmann arrCanon for 4 Basses (BBBB) David P RuhlDancers (AT) Richard EastmanDifferent Quips (AATB) Stephan ChandlerElegy for Recorder Quartet (SATB) Carolyn PeskinElizabethan Delights (SAATB)
Jennifer W Lehmann arrFallen Leaves Fugal Fantasy (SATB) Dominic BohbotFour Airs from ldquoThe Beggarrsquos Operardquo (SATB)
Kearney Smith arrGloria in Excelsis (TTTB) Robert CowperIdyll (ATB) Stan McDanielImitations (AA) Laurie G AlbertsIn Memory of Andrew (ATB) David GoldsteinLay Your Shadow on the Sundials (TBgB)
Terry Winter OwensLeClercqrsquos Air (SATB) Richard E WoodLittle Girl Skipping and Alouette et al (SATBCb)
Timothy R Walsh
Los Pastores (SAAAT + perc) Virginia N Ebinger arrNew Rounds on Old Rhymes (4 var) Erich KatzOther Quips (ATBB) Stephan ChandlerPoinciana Rag (SATB) Laurie G AlbertsSanta Barbara Suite (SSAAT) Erich KatzSentimental Songs (SATB) David Goldstein arrSerie for Two Alto Recorders (AA) Frederic Palmer Slow Dance with Doubles (2 x SATB) Colin SterneSonata da Chiesa (SATB) Ann McKinleyS-O-S (SATB) Anthony St PierreThree Bantam Ballads (TB) Ann McKinleyThree Cleveland Scenes (SAT) Carolyn PeskinThree in Five (AAB) Karl A StetsonTracings in the Snow in Central Park (SAT)
Robert W ButtsTrios for Recorders (var) George T BachmannTriptych (AATB) Peter A RamseyTwo Bach Trios (SAB) William Long arrTwo Brahms Lieder (SATB) Thomas E Van Dahm arrVariations on ldquoDrmešrdquo (SATB) Martha BishopVintage Burgundy (SASATT)
Jennifer W Lehmann arr
Adding Percussion to Medieval and Renaissance Music Peggy Monroe
American Recorder Music Constance PrimusBurgundian Court amp Its Music Judith Whaley coord
Improve Your Consort Skills Susan CarduelisMusic for Mixed Ensembles Jennifer W LehmannPlaying Music for the Dance Louise AustinRecorder Care Scott Paterson
acutely aware of any kind of neckstrain when it begins to develop these ideas have been a big help to meIrsquom hoping they may be of help toother musicians as well
Best wishes to you And inanswer to your questionmdashyes the new[AR] format (with more white spacebetween the lines) is much easier toread (in my opinion)Your magazinejust keeps getting better and better
Very sincerely Ed Green WestSuburban (Chicago-area) Chapter
RESPONSE FROM DR BILL LONG
What Ed describes is a variant of theuse of conventional bifocals as musicglasses described on page 8 in thearticle Instead of lowering his musicstand into the field of view of hisbifocal segment Ed and his optome-trist have fabricated special purposebifocals with the segment really highso he can focus on his music instraight-ahead view That approachrestricts his distance vision to an areaabove his usual line of sight whichseems to work for Eds playing setup
Eds comments on the difficultiesin using conventional progressiveaddition lenses as music lenses con-firm what I said on page 9 Thats whymanufacturers have marketed special-ty progressive lenses designed specif-ically for intermediate distance taskslike computer use and playing music
There are lots of solutions to thepresbyopic musicians problem but all involve compromises The key toevaluating those compromises andchoosing the best solution for yourselfis to understand your needs and toenlist the help of a sympathetic visioncare specialistmdashjust as Ed did
Please change your
browserrsquos favorites list
AR online is now at wwwameri
canrecorderorgmembership
magazinehtm Send news to
editoramericanrecorderorg
FOUR FOUR-PART CANZONAS
(1608) BY GIOVANNI GABRIELI
ED GREG LEWIN Hawthorns Music RB 16 (Magnamusic) 1999 SATBSc 16 pp pts 4 pp $1950
Giovanni Gabrieli was probablyborn between 1554 and 1557 in theparish of San Geremia in Venice Thedetails of his early life are sketchy butit appears that he was born Giovannidi Fais and later changed his name toGabrieli out of respect to his uncleAndrea with whom he shared a closerelationship In fact in 1587 Gabrielidescribed himself ldquoas little less than asonrdquo It is commonly thought thatAndrea provided Giovanni with hisearly musical training Andrea whohad spent some time in Munichstudying under the great Orlando deLassus sent Giovanni to Munich for a similar period of study in theearly 1570s
Gabrieli remained in Munichuntil the death in 1579 of the dukeAlbrecht V who had been Lassusrsquosemployer for a number of years andwho was an enthusiastic patron of the arts particularly music With hisdeath a number of musicians lost theirjobs it seems as if Gabrieli were also a victim of such culling of talent(Within a generation the tide wouldturn and the Munich court wouldagain hire Venetian expatriates such as Priuli Valentini and Neri)
Upon his return to VeniceGabrieli was hired as a temporaryorganist at San Marco his positionbecoming permanent in 1585 For a few months that year uncle andnephew served together as first and
second organists in the chapel of thedoge In Giovannirsquos absence fromVenice there had been a plague thathad decimated the ranks of theprofessional musicians Andrea setabout rebuilding his forces at SanMarco by hiring a full-time windband consisting of Girolamo dallaCasa a renowned cornettist andviolist his two brothers who playedsackbut and later the cornett virtuosoGiovanni Bassano Giovanni Gabrieliaugmented these forces with addi-tional players and began composingthe large-scale ceremonial music forwhich he is so well known today
Giovanni was also elected to bethe organist and composer to theconfraternity of San Rocco in 1585and it is now thought that his largestpieces were intended for that venuewith its large central gallery andfrescos by Tintoretto instead of SanMarco Gabrieli held both thosepositions at the basilica of San Marcoand the Scuola Grande di San Roccountil he died in 1612 of a kidney stone
Although best known today forhis ceremonial and festival musicGabrieli was at home in smaller-scaleformats as well These four four-partcanzoni are taken from the 1608publication by the Venetian publisherAlessandro Raverji Canzoni per sonarecon ogni sorte di strumenti These werevery popular pieces to judge by themany collections in which they appear
Additionally like Gabrielirsquoskeyboard music they are found inother arrangements These four-partcanzoni lie well under the fingers inarrangements for keyboard and lute
As seen from the title Gabrielispecified no instrumentation but like asimilar edition of madrigals and battlepieces from a few years earlier a dis-tinction was made that they wereintended for wind instruments almostcertainly cornetts and sackbuts
Recorders were not unknown in Venice they were used regularly inthe confraternity of San GiovanniEvangelista where Giovanni BattistaRiccio was organist
These pieces are relativelysimplemdashplayable by beginning tointermediate ensembles They aremostly contrapuntal (with a fewhomophonic sections) and have few rhythmic eccentricities
These canzoni are found in manymodern brass editions but there arefew editions available to the recorderplayer This edition by Greg Lewin ofHawthorns Music might be consid-ered a ldquobare-bonesrdquo edition There islittle background information andeditorial practices are not specified
The music itself has a handwrittenlook that can be distracting but is easyenough to read Lewin has thought-fully supplied phrasing marks that willbe helpful for ensembles unused tothis style of music
Music
Reviews___________________________________ Infectious music created in spite of the plague
wwwAmericanRecorderorg March 2009 41
This is a good edition
for small ensembles that
canrsquot get eight players
together to play
Gabrielirsquos more famous
eight-part canzoni
42 March 2009 American Recorder
The parts are four pages but mycopy had all four pages printed on avery large page This is not a problemand there are no page turns
This is a good edition for smallensembles that canrsquot get eight playerstogether to play Gabrielirsquos morefamous eight-part canzoni Thesesmall-scale pieces are by no meansinferior to Gabrielirsquos more elaboratemusic and deserve to be better known
7 CANZONEN (1637) BY
TARQUINIO MERULA ED JOACHIM
ARNDT WITH CONTINUO REALIZATION
BY CLAUDIA SCHWEITZER MieroprintMusikverlag EM2088 (availabledirectly from wwwmieroprintcom)2005 SS or TT bc Sc 24 pp pts 8 pp$28
Tarquinio Merula was bornaround 1595 in either Busseto orCremona in Italy As was the case withso many composers of the day either alack of regular employment or a rest-less nature took him from his home inCremona to as far away as Warsaw He is found as the organist of thechurch and the chambers to the kingof Poland Sigismund III in 1624
Merula was one of the leadingexponents of the relatively new con-certante style pioneered by ClaudioMonteverdi and others in the seconddecade of the 17th century and may be described as one of the earliestBaroque composers His compositionsin the concertante style are fresh andunforcedmdashhe was born into this styleand didnrsquot encounter it as somethingnew as was the case with so many ofMonteverdirsquos contemporaries
After several years of peripateticexistence Merula found regularemployment in 1631 in Bergamo atthe church of San Maria MaggioreThe prior holder of the post of maestrodi cappella Alessandro Grandi haddied the previous year in the plagueMerula had signed a three-year
contract but by December 1632 hewas terminated with accusations thathe had molested several studentsMerula threatened a lawsuit to recoverhis lost wages but that threat wascountered with a pending criminalcharge lodged by the board ofgovernors of San Maria Maggiore By mid-1633 the matter was settledwith an apology from Merula and astatement that he relinquished allclaims to his salary
He then returned voluntarily toCremona where he stayed until 1635By 1638 Merula was once again inBergamomdashthis time as maestro dicappella and organist in the cathedralnext to San Maria Maggiore Asmight be expected there was con-siderable tension between the twochurches eventually resulting in theboard of San Maria Maggioreforbidding their musicians to perform under Merularsquos direction
He returned in 1646 to a familiarCremona post which he had heldthree times in various years and wherehe now settled downmdashthat of organistand maestro di cappella for Laudi dellaMadonna services in which he ledmusic at the main altar on Saturdaysand on vigils of Marian feasts
None of his employment issues
prevented the Pope from awardinghim the Order of the Golden SpurMerula was also elected to theAccademia dei Filomusi in BolognaHe died in 1665 in Cremona
His existing compositions showthe products of a lively mind Hisworks range from sacred songs andmotets to purely instrumental piecesnotably the ever-popular variations onvarious ground basses It is knownthat Merula was an accomplishedviolinist as well as a fine organist Hissurviving instrumental writing showsa predilection for strings In fact hewas one of the earliest composers tospecify string accompaniments tosacred motets
Merularsquos pieces look backwardtoward some of the more progressiveVenetian composers such as Monte-verdi while looking forward to thehigh Baroque with his innovative style
These seven canzoni like theearlier-published chaconne (EM2084)come from Merularsquos third bookpublished in 1637 CANZONI overo SONATE CONCERTATE perchiesa e camera a due et a tre delcavaliere This collection typifiesMerularsquos output pieces based onRenaissance-era ground basses arefound next to more ldquomodernrdquo sonatas
The original edition specifiesviolins and basso continuo This newedition is intended for recorders thespecific choice of which is up to theplayers Due to the relatively hightessitura tenor recorders work best inthese pieces (although listed as analternative soprano recorders tend to be on the screechy side)
Not surprisingly given Merularsquosskill as an organist the continuo partneeds a keyboard instrument forsuccessful realization Instead of beinga purely accompanying part the bassocontinuo part is an equal partner in these pieces the canzona ldquoLaRuggierardquo opens with a run that therecorders echo a few measures later
A more recorder-specific
edition intended for
altos would have been
ideal There is nothing
preventing the more
adventurous and
industrious players
from making their
own editions of this
delightful music
mentioned were a bit shrill A morerecorder-specific edition intended foraltos would have been ideal There isnothing preventing the moreadventurous and industrious playersfrom making their own editions of thisdelightful music
Prior to playing the previouslypublished chaconne I had notencountered MieroprintMusikverlag Mieroprintrsquos extensivecatalog has an equal focus on newmusic for recorders and on editions ofBaroque masters with emphasis on therecorder and flute Due to the lack of
wwwAmericanRecorderorg March 2009 43
are also available at
The Early Music Shop
of New England
Brookline MA
AESTHEacute
367-b de la Briquade
Blainville Queacutebec
Canada J7C 2C7
tel (450) 979-6091
wwwboudreau-flutesca
A bass viola da gamba or rsquocello is not necessary for these pieces and may infact make them sound heavy and ponderous rather than light and breezy as thismusic seems to be
More so than the above-mentioned chaconne these canzoni are written in avery idiomatic violin style with multiple examples of arpeggios In particular thecanzona ldquoLa Trecchardquo contains a notated example of a string tremolo figurerecurring through the piece ldquoLa Trecchardquo also dips well below the range of a Crecorder going down to low G the lowest string on the violin The editors havesupplied no alternative notes preferring to let the performers to fend forthemselves (in practice we took this passage up an octave with no problems)
The two recorder parts require virtuosity These upper parts are demandingwith the players needing to double-tongue in unison in order to negotiate themany runs of 16th notes and the shared rhythmic ldquolicksrdquo The harmoniclanguage unlike much of Merularsquos music is undemanding and contains none of the harmonic crunches for which he is famous
This is wonderful music that needs a couple of advanced recorder players fora successful performance The string idiosyncrasies can be overcome by advancedplayers and many of the editions of the era (although not this one) list thecornetto as an alternative to the violin so the use of wind instruments in the solo literature of the early Baroque was not unknown
Our experience with this edition left us with the opinion that these pieceswould have been better if transposed down a minor third so as to fit on a pair ofalto recorders (as is the case with much Baroque flute music to make it lie betteron the recorder) The tenors we used tended to sound a bit murky in the lowerregister next to the more aggressive harpsichord while the sopranos we tried as
KEY rec=recorder Srsquoo=sopraninoS=soprano A=alto T=tenor B=bassgB=great bass cB= contra bass Tr=treble qrt=quartet pf=piano fwd=foreword opt=optional perc=percussionpp=pages sc=score pt(s)=part(s)kbd=keyboard bc=basso continuohc=harpsichord PampH=postage andhandling Multiple reviews by one reviewerare followed by that reviewerrsquos name Pleasesubmit music for review to AR 7770 SHigh St Centennial CO 80122-3122 US
an American distributor this musicwill be hard to findmdashin fact can befound only at the time of this writingon their web site noted above But theeffort will be repaid
This edition is clear and easy toread and the parts require no pageturns The basso continuo realizationis simple and elegant
This is music deserving ofrediscovery My only quibble is thatthe editorial notes are all in GermanThis seems to be the practice ofGerman music publishers with thenotable exception of Moeck Otherpublishers of early music such asLondon Pro Musica routinelyprovide notes in English and German and often in French and Italian making their editionsaccessible to a wider audience
Frank Cone studied the recorderwith the late Ellen Perrin the viola dagamba with Carol Herman and thecornetto with Larry Johansen TheCalifornia multi-instrumentalist has been a member of the Orange CountyRecorder Society since 1985
Advertiser Index
AMERICAN ORFF-SCHULWERK ASSN 3
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AMHERST EARLY MUSIC FESTIVAL 17
STEPHAN BLEZINGER 24
JEAN-LUC BOUDREAU 21 39
BOSTON EARLY MUSIC FESTIVAL 7
CANTO ANTIGUO EARLY MUSIC WORKSHOP 13
COURTLY MUSIC UNLIMITED 20
EARLY MUSIC AMERICA 8
HONEYSUCKLE MUSIC 34
BILL LAZARrsquoS EARLY MUSIC 26
KEITH E LORAINE EARLY DOUBLE REED SERVICE 35
LOST IN TIME PRESS 11
MADISON EARLY MUSIC FESTIVAL 12
MAGNAMUSIC DISTRIBUTORS BC
MOECK VERLAG IFC
MOLLENHAUER RECORDERS IBC
PORT TOWNSEND WORKSHOP 14
PRESCOTT WORKSHOP 30
PROVINCETOWN BOOKSHOP 26
THE RECORDER MAGAZINE 4
THE RECORDER SHOP 6
SAN FRANCISCO EARLY MUSIC SOCIETY 18
SWEETHEART FLUTE CO 3
TEXAS TOOT 20
VON HUENE WORKSHOP INC 30
WICHITA BAND INSTRUMENT CO 21
DOMINIK ZUCHOWICZ 34
CONSIDER ADVERTISING IN
Full page $55223 page $43912 page $36613 page $28614 page $22316 page $17518 page $127112 page $ 951 column inch $ 58
Prices include web sitee-mail link directly from your ad in the online AR at wwwamericanrecorderorg
Circulation Includes the membership of theARS libraries and music organizations
Published five times per year January March May September November
Reservation Deadlines December 1 (January) February 1 (March) April 1 (May) August 1 (September) October 1 (November)
Rates good through November 2009 Pleaseinquire about discounts on multiple-issuecontracts inserts or other special requestsExtra charges for typesetting layout half-tones and size alterations 133-line screenrecommended Advertising subject toacceptance by magazine First-time adver-tisers must include payment with order
For more information contact the ARS office 1129 Ruth Drive St Louis MO63122-1019 800-491-9588 toll free 314-966-4082 phone 314-966-4649 faxadvertisingamericanrecorderorg
44 March 2009 American Recorder
Classified___________________________________
FOR SALE Cherrywood hurdy gurdy and hard-side case made by Kelischek bought 2005Originally $765 plus $89 for case Rarely usedBoth for $450 or make offer Please contact marjalocomcastnet Can ship
ASPIRE ANNOUNCE INSPIRE Afford-able PR for teachers and recitalists wwwrecitalroomcom
PHOTOS NEEDED of ARS events 1970sndash1990sto illustrate last chapters of Martha Bixlerrsquos histor-ical memoir about the ARS (to be posted online)E-mail scanned photos (300dpi JPG or TIF)arsrecorderamericanrecorderorg Hardcopies mail to ARS office to be scanned ampreturned Info 800-491-9588
T-SHIRT FOR ENSEMBLE PLAYERS to wear orshare Top 10 Reasons Why I Got Lost Wrongfingering bad lighting etc on blue cotton shirt$18 Highlighter tape and other goodies Beth amp Lindas Boutique as seen at BEMF CallLinda at 617-671-8694 or e-mail for brochurelindakushverizonnet
Where the havesand have-nots
of the recorder world can find each other
Classified rate for American Recorder 60centper word ten-word minimum ldquoFOR SALErdquoand ldquoWANTEDrdquo may be included in thecopy without counting Zip code is oneword phone e-mail or web page is twoPayment must accompany copy Deadlinesare one month before issue date Send copywith payment to ARS 1129 Ruth Drive St Louis MO 63122-1019
AMERICAN RECORDER (ISSN 0003-0724) 1129 Ruth Dr St Louis MO 63122-1019 is publishedbimonthly (January March May September and November) for its members by the AmericanRecorder Society Inc $20 of the annual $45 US membership dues in the ARS is for a subscriptionto American Recorder Articles reviews and letters to the editor reflect the viewpoint of their individ-ual authors Their appearance in this magazine does not imply official endorsement by the ARS
EDITORIAL DEADLINES November 15 (January) January 15 (March) March 15 (May) July 15(September) and September 15 (November) Submission of articles and photographs is welcomedArticles may be typed or sent as an attachment (Word or RTF preferred) to or text in an e-mail mes-sage They should be for the exclusive consideration of AR unless otherwise noted Photos may besent as prints or unedited JPG or 300dpi TIF files (minimum 3rdquox4rdquo) Advertisements may be sent inPDF or EPS format with fonts embedded
EDITORIAL OFFICE Gail Nickless Editor 7770 S High St Centennial CO 80122-3122 303-794-0114 (phone amp fax) editoramericanrecorderorg Books for review Editorial office Musicfor review Editorial office Recordings for review Tom Bickley 1811 Stuart St Berkeley CA 94703Cutting Edge Tim Broege 212 Second Ave Bradley Beach NJ 07720-1159 Chapter newslettersother reports Editorial office Postmaster Send address changes to ARS 1129 Ruth Drive St LouisMO 63122-1019 Periodicals postage paid at St Louis MO and at an additional mailing office
Chapter leaders
We know yoursquore out there
and that you want to share
your plans concerns
solutions and ideas with
other chapter leaders Visit
httpamericanrecorder
societywikispacescom
In July 2005 before I was on theBoard I attended the very first
ARS Festival that year held at RegisUniversity in Denver CO I decidedto go at the last minute (no earlyregistration discount for me) Ithought take advantage of this greatopportunity to change rolesmdashpartici-pate as a student instead of as facultyWhat a wonderful experience it wasmdashto observe join sessions and absorb all the warmth humor and knowledgethat was presented to me I recon-nected with some and met many whowill remain good friends and respectedcolleagues throughout my life
As I recall the 2005 ARS FestivalI remember my introduction to theARS by one of my first teachersRoberta Sweet My passion lay inmaking music and she fed thatpassion lovingly and consistentlymdashone quality I believe necessary forremarkable teaching As a professionalmusician (and lifelong student ofmusic and life) I now succumb to amore sophisticated hunger thatinvolves more than just my teachingand performingmdashan appetite that nowincludes what other professionals are
saying about the recorder theirthoughts on teaching and theirapproaches to ensemble direction andperforming
This Presidentrsquos Messageprovides me with a chance not only toreflect but also to advertise This is theMarch issuemdashthe issue traditionallylisting all the summer festivals andworkshops I mentioned it in the lastissue and you have certainly read and
heard about it but it is here that Iwould like to formally invite you to our second ARS Festival and
Conference held July 30-August 2
at the University of MissourimdashSt Louis (For details go towwwAmericanRecorderorg)
The ARS Festival and
Conference will be a very specialevent honoring all aspects of therecorder an opportunity to cometogether to share ideas and play ourbeloved instrument a chance to hearlive performances from the best-of-the-best and a recognition of thosewho have been an integral part of theARS and of those who will carry itforward into the future
This is not an annual event It hasbeen years in the making Whetherpresenter performer student of everyage and level exhibitor vendoreducator auditor amateurprofessionalmdashwe are in this togetherAll are welcome (And donrsquot forgetabout the early registration discount)
I now succumb to
a more sophisticated
hunger that involves
more than just my
teaching and performing
mdashan appetite that
now includes what
other professionals
are saying about
the recorder
Presidentrsquos
Message___________________________________Greetings from Lisette Kielson ARS President
LKielsonLEnsemblePortiquecom
wwwAmericanRecorderorg March 2009 7
SWEETHEARTFLUTE CO
Baroque Flutes our ownldquoSweetheartrdquo modelFifes Flageolettes
ldquoIrishrdquo Flutes amp WhistlesSend for brochure andor
antique flute list
32 South Maple StreetEnfield CT 06082(860) 749-4494
Ralphsweetaolcomwwwsweetheartflutecom
Flutist recorderist conductor andteacher Mario Duschenes (1923-2009) died peacefully in MontrealQC Canada on January 31
Born in Hamburg Germany heescaped into Switzerland before WorldWar II His early musical studiesfocused on recorder solfegravege and pianoHe then turned to the flute firststudying with his father and brothersthen in 1943 entering the GenevaConservatory In 1947 he completedhis training and won an award at the1947 International Competition forMusical Performers in Geneva
After touring Europe as soloistwith the Ars Antiqua Ensemble heemigrated to Canada in 1948
A new recorder worldmdashin partic-ular Montrealrsquos mdashwas enlivened inthe 1950s by the youthful recorderistand flutist from Europe who taughtpublished a method book (used bythousands around the world and stillavailable) and arranged for recorderensembles He made over 30 record-ings including several of flute andrecorder duets with his friend well-known flutist Jean-Pierre Rampal
With his wife Ellyn who was aresearcher and child psychologist hebrought musicians into schools andconducted youth concerts An expertin the Orff-Schulwerk teaching
method he became a member of theCarl Orff Canada advisory board in1974 His efforts in music educationwere lauded by Jamie Portman in The(Montreacuteal) Gazette writing in 1978that Duschenes ldquois probably doingmore for the image of young peoplersquosconcerts than anyone else in Canadardquo
In 1953 he was co-founder of theCAMMAC Music Centre where hetaught for many years Duschenes alsotaught at McGill University (1954-70) and at the University of Montreacuteal(1970-73) He was president in1983-85 of Jeunesses musicales du Canada
Duschenes was recognized as aleading conductor and stood beforeevery major orchestra in CanadaAmong numerous awards he receivedtwo honorary doctorates (from Con-cordia University Montreacuteal andMemorial University St Johnrsquos New-foundland) and in 1985 was made anOfficer of the Order of Canada
Duschenes wrote a number ofwidely-distributed works publishedby BMI Canada and later byBerandolmdashnotably his Method for theRecorder I (1957) and II (1962) forsoprano or alto (in French Meacutethode deflucircte agrave bec I 1962 and II 1968) SchoolRecorder Method (1957) for sopranoand alto together (in French La Flucircteagrave bec agrave lrsquoeacutecole 1973) and Studies inRecorder Playing (1960) He edited orwrote easy duos and trios studies foralto recorder and arrangements ofRenaissance and Baroque works ofBach and of Leopold Mozart
He is survived by his brotherRolf five children and 12 grandchil-dren his wife of 42 years Ellyn(1929-1994) preceded him in deathDonations in his memory may be
made to Phare - Enfants et Familleswwwphare-lighthousecom andMaison Emmanuel wwwmaison
emmanuelorgPulitzer Prize-winning novelist
John Updike (1932-2009) also diedin January of lung cancer at age 76Among his many literary efforts thatinclude the Rabbit quartet he wrote forThe New Yorker for which he contrib-uted a 1988 short story entitled ldquoTheMan Who Became a Sopranordquo Thiswas later reprinted in The Afterlife andOther Stories (Knopf 1994 amp FawcettCrest New York 1995)mdashand the titledoes refer to a soprano recorder Inthat story he led the reader throughvarious personality conflicts in aweekly recorder group that metsomewhere in the East In otherwritings Updike used classical musicto imply a level of sophistication in hischaracters such as Terry Gallagherplaying Greensleeves on recorder in his fifth novel Couples (1968)
Updike was himself knowledge-able about music reviewing classicalmusic concerts in Castle Hill MAfrom 1961-65 He had moved toIpswich near Boston after he left hisjob at The New Yorker feeling after 20months that the city was distractinghim and sometimes stifling his creativ-ity (though he kept his ties to The NewYorker and continued to send thempieces) He and his family enteredenthusiastically into small-town lifeUpdike wrote and performed in anhistorical pageant and he and his wifewere members of a recorder group
Updike commented in 2003ldquoThe real America seemed to me lsquoout therersquo Out there was where Ibelongedrdquo
Tidings___________________________________Mario Duschenes and John Updike die
Joe Lewnard wins young recorder player contest
8 March 2009 American Recorder
Passing Notes
The Recorder Magazine
we invite you to visit the sitewwwrecordermaildemoncouk
Recent Performances of Note
in New York CityLast November at the Chapel of theGeneral Theological Seminary inNew York City NY Chelsea Winds
Recorder Ensemble (Lucinda andBarrie Mosher Gregory EatonDavid Hurd and this author) offeredan all-Bach program It started withthe Ricercare a3 from the MusicalOffering transposed up a step to D minor and continued through 10 contrapuncti from Art of the Fugue
The final days of 2008 held somefine recorder playing RecorderistMatthias Maute joined 16 membersof the prestigious Chamber Music
Society of Lincoln Center in aprogram titled ldquoBaroque Collectionthe Beautiful and the Bizarrerdquo Theperformance included sonatas con-certos programmatic pieces and ariasby Pachelbel Muffat TelemannBiber Vivaldi and Handel Mautecontributed his graceful and fluidplaying to the Telemann Concerto in A Minor for alto recorder two violinsand basso continuo and also to theVivaldi Concerto in G Minor forrecorder oboe bassoon violin andcontinuo (R107)
The concert was presented in thelarge Rose Theater at the LincolnCenter Jazz Center on December 19and 21 If there were ever any doubtMaute made it very clear that therecorder could hold its own in thecompany of ldquomodernrdquo instrumentseven in a large concert space
Given as part of St Bartrsquos middaymidtown concert series a concert ofmore Telemann held very nice playingfrom Deborah Booth on December17 In addition to soprano and altorecorders Booth played Baroqueflute I particularly liked her renditionof the Telemann Partita in C Minor forsoprano recorder and continuo andthe alto recorder obbligato to the arialdquoEin stetes Zagenrdquo from Telemannrsquoscantata for Advent ldquoLauter Wonnerdquo
At the end of the liturgical seasonof Christmas the ensemble at theHoly Trinity Lutheran ChurchVespers series presented JS BachrsquosCantata No 152 ldquoTritt auf dieGlaubensbahnrdquo for the first Sundayafter Christmas (December 28) Thearia ldquoStein der uumlber alle Schaumltzerdquo
with its recorder obbligato played byLarry Zukof was lovely
Chelsea Winds had an interest-ing experience when we were invitedto play a short program for a UnitedNations conference on cooperationbetween the UN and the worldrsquosreligions (December 16) LabouisseHall where the concert was held wasfull of people very many in exoticattire I confess I was dismayed at thissight because I feared our program ofcontrapuncti from Bachrsquos Art of theFugue would make no sense to themany non-Westerners brought up inother music cultures
I need not have feared Themusic was enthusiastically receivedBachrsquos music really is universal
Anita Randolfi
wwwAmericanRecorderorg March 2009 9
Mary Halverson Waldo was a Suzuki teacher trainer for the
January Festival Suzuki in Lima Peruacute Pictured are the
Huancavelicanos who attended the festival from the city of
Huancavelica in the most poverty-stricken region of Peruacute
Padre William Lopez (center front) is the school master and
recorder teacher (being an excellent recorder player him-
self) They were extremely grateful to Corinne Newbegin
(OR) and Jane Harper (MN) who donated SATB recorders
in excellent condition for two vibrant Suzuki programs in
Colombia and Peruacute
If there were ever any
doubt Maute made it
very clear that the
recorder could hold its
own in the company of
ldquomodernrdquo instruments
10 March 2009 American Recorder
Awards and HonorsMusic educator and recorderistDeborah Greenblatt and DavidSeay of ldquoThe Old Schoolhouserdquo inAvoca NE were featured in theNovember 2008 International Musi-cian the official journal of the Ameri-can Federation of Musicians of theUS and Canada They have playedand sung folk music together for morethan 30 years The duo has publishedbooks for a variety of instruments fromrsquocello to tin whistle Among the latestare Barn Dance Fiddle Tunes for Two andSinging Cowboy Fiddling Tunes for TwoVisit wwwgreenblattandseaycom
for informationThe 2009 Borletti-Buitoni Trust
(BBT) Awards acknowledge thatsome instruments present a challengefor talented and ambitious youngclassical musicians striving for a solocareer Recorder player Eric Bosgraaf
(below) and harpsichordist Mahan
Esfahani are among those selected toreceive BBT financial assistance aswell as advice in such areas as publicrelations auditions and finding agents
BBT Award winner Bosgraaf ofThe Netherlands is hailed as one ofthe most gifted and versatile recorderplayers of his generationCurrent plansinclude solo performances with theDallas (TX) Symphony Orchestra andthe Dutch Radio Chamber Philhar-monic His deacutebut recording a three-CD set of music by Jacob van Eyckwas No 1 on the 2007 Dutch classical
music charts (see the CD review in theSeptember 2007 AR and an interviewwith Bosgraaf in the May 2008 ARsee also wwwerikbosgraafcom)
Iranian-born Esfahani who hasappeared in ensemble performancesreviewed in AR was a BBT Fellowshipwinner He makes his Wigmore Halldeacutebut in London as soloist with TheEnglish Concert this month
Two BBT awards of pound20000 eachand six fellowships of pound10000 eachwere given by the Trustrsquos artistic com-mitteemdashFranco Buitoni Adam Gate-house Martijn Sanders and MitsukoUchida See wwwbbtrustcom formore on the foundation and its policiesplus news video and audio of BBTmusicians (now 45 individuals and 14 ensembles from 22 countries)
Early Music America NewsEMA with support from a privatedonor will sponsor its third Medieval
Renaissance Performance Compe-
tition in 2009 The winner receives acash prize (the Unicorn Prize) and isguaranteed three concert performancessponsored by EMA and presenters inPittsburgh PA Milwaukee WI andSeattle WA The contestrsquos goal is to encourage the development ofemerging artists in the performance of Medieval and Renaissance music
Applicants must be ensembleswith at least two performers of age 39or younger who have not performedtogether for more than five years(ldquoemerging artistsrdquo) Repertoire islimited to the period of roughly 800-1550 AD performed on voice(s)andor period instrument(s) and in astyle that is historically informed The competition is open to members
(individual or organizational) of EMAwho reside in the US or Canada
Applications are due April 30Finalists will be selected by June 30and will receive hour-long coachingsessions with an early music artist and present live 20- to 30-minuteperformances in New York City NYin October
For application requirements visitwwwearlymusicorg
EMA has also announced twoearly music ensembles receiving its2008-09 Collegium Musicum
Grant Sacabuche at IndianaUniversityrsquos Early Music Institutedirected by Linda Pearse and theUNT Baroque Orchestra and
Collegium Singers from theUniversity of North Texas under thedirection of Lyle Nordstrom
Sacabuche performs vocal musicwith sackbuts and organ
UNT has one of the largest andmost active collegium programs inNorth America The most prestigiousensembles there are the 30-piece UNTBaroque Orchestra and 26-voiceCollegium Singers whose membersregularly perform at the Boston EarlyMusic Festival (BEMF)
Nordstrom the director of theseensembles was co-director with PaulOrsquoDette of The Musicians of SwanneAlley and was the founder and artisticdirector of the Atlanta (GA) BaroqueOrchestra He received EMArsquosThomas Binkley Award in 2000 for his work with collegiate ensembles atOakland University and Clayton State College
EMA Collegium MusicumGrants provide $1000 toward the costof bringing a college or universitystudent early music ensemble toperform in a BEMF fringe concert(odd-numbered years) or at the Berke-ley (CA) Festival (even-numberedyears) The two winners will performduring BEMF June 7-14
The Power of LoveJ U N E 6 - 1 4 2 0 0 9
featuring Claudio Monteverdirsquos sublime final opera
June 6 7 9 10 12 and 14 2009Stanford Calderwood Pavilion at the
Boston Center for the Arts
June 19 20 21 22 2009Mahaiwe Performing Arts Center
in Great Barrington MALrsquoincoronazione di Poppea replaces the previously announced operatic centerpiece Antiochus und Stratonica by Christoph Graupner
Tickets are on sale now at WWWBEMFORG and 617-868-BEMF
RECORDER EVENTS AT THE 2009 BOSTON EARLY MUSIC FESTIVAL
Join us for our weeklong extravaganza of early music with concerts by the worldrsquos leading early music soloists and ensembles including Stile Antico Trio Hantaiuml Ricercar Consort
Pieter Wispelwey rsquocello and Kristian Bezuidenhout fortepiano the BEMF Chamber Operapresentation of John Blowrsquos Venus and Adonis and Marc-Antoine Charpentierrsquos Acteacuteon
Flanders Recorder QuartetSunday June 14 at 1230pm
Paul Leenhouts Renaissance recorder
andGabe Shuford harpsichord amp organ
Wednesday June 10 at 11pm
Recorder Masterclass with Paul LeenhoutsThursday June 11 at 2pm
Visit WWWBEMFORG for a complete schedule of eventsregistration materials for the world-famous BEMF Exhibition Fringe Concerts
and Masterclasses and much more
Joe Lewnard winsPiffarorsquos Second Competition for Young RecorderPlayers
By Joan Kimball wwwpiffarocom
Piffarorsquos second competition for youngrecorder players ages 12 to18 washeld on January 10 at the SettlementMusic School in Philadelphia PAFive finalists chosen on the basis oftapes that they submitted in Novemberperformed before a small but enthu-siastic and supportive audience
A smattering of snow and ice keptaway some people who otherwisewould have attended Ironically the finalists had no trouble reachingPhiladelphia from distant snow capitalsof the USmdash Denver COMinneapolis MN and Chicago IL
Unique in this country as far asanyone knows this competition wasestablished in 2007 to pique theinterest of young recorder players andto encourage them to investigate therepertoire of the 15th century into theearly 17th century on recorders as wellas other early wind instruments Whilethese young players tend to focus on
18th-century and contemporary musicPiffaro hopes to convey to them theimportance of playingmdashand alsounderstanding the underlyingperformance practice issues ofmdashearlier repertoire
Joe Lewnard (at right withPiffarorsquos Joan Kimball) an 18-year-oldhigh school senior from the Chicagoarea was chosen as the winner byjudges Nina Stern from New YorkCity NY and Elissa Berardi ofPhiladelphia He has played recorderfor a number of yearsmdashstudying withAldo Abreu among othersmdashand hasattended the virtuoso program at theAmherst Early Music Workshop Alsoa trumpet player he has expressedinterest in taking up the cornettocombining his facile fingers with hisbrass embouchure
In recent months Lewnard hasbeen preparing repertoire for collegeand conservatory auditions and willapply to several schools His selectionsfor the competition were the unaccom-panied Ricercata prima by GiovanniBassano and two movements from asuite by Pierre Philidor
The other four finalists also playedwith poise and distinction in variedrepertoire (Renaissance to contem-porary) that showed their abilitiesThey were Ariel Branz (age 16) from
Boulder CO a student of LindaLunbeck Bryan Duerfeldt (15) fromMinneapolis a student of MaryHalverson Waldo Amy Pikler (16)from Chicago who studies withPatrick OrsquoMalley and Olivia Sohlen
(16) also from Minneapolis and astudent of Cleacutea Galhano
On March 7 Lewnard willappear again in Philadelphia pairedwith the competitionrsquos previous winnerAlexa Raine-Wright in a recital Thetwo young virtuosi (both of whom havewon ARS workshop scholarships) willperform a variety of 16th- 17th- and18th-century solos and duetsaccompanied by harpsichordistMarcia Kravis In addition Piffaromembers Joan Kimball Priscilla
Smith and Bob Wiemken will jointhem for a set of 16th-century workson Renaissance recorders
With two competitions success-fully completed Piffaro plans to holdanother one in two years and hopesthat young recorder players will start toprepare now Wersquod love to see moreyoung virtuosi coming our way
12 March 2009 American Recorder
Early Music America Magazine is the quarterlypublication for the Early Music Community inNorth America Professionals Students andAudience members
Articles on performance practice trends in thefield recording reviews and a new book reviewsdepartment
Call 888-722-5288 or email infoearlymusicorgfor a FREE sample issue
Last spring I had the honor andgood fortune to spend five weeks
at the Sitka Center for Art andEcology on the central Oregon coastas the recorder resident The recorderresidency is sponsored by the OregonCoast Recorder Societymdasha wonderfulgroup of people I had the chance tomeet and teach and to make musicwith while I was there Myparticipation was made possible inpart by a professional grant from theARS and also by the kind generosityof some of my loyal long-termstudents
The project I worked on while atSitka was an intensive study of Bachrsquossolo string musicmdashprimarily the rsquocellosuites and some of the violin partitasmdashwith the aim of preparing my own arrangements of them for aneventual recording
Although Irsquod been told before Iwent that Sitka was incredibly beautifuland a wonderful place to be Iapproached the residency with sometrepidation I wasnrsquot quite able toimagine it and wondered how I wouldsurvive so many weeks by myself in aremote location seven miles from thenearest townmdashand where Irsquod heardmost cell phones did not work (panic)When I arrived on April 9 I was metwith typical Oregon coast weather forthat time of the year (and many timesof the year) chilly temperatures andrain And Irsquod left sunny California for five weeks of this
I lived in what is called the TreeHousemdasha charming one-roomwooden cabin with a sleeping loft and a wood-burning stove insidemdashenveloped outside by a couple of giantSitka spruce trees After many failedattempts over several days one of myproudest accomplishments was finally
learning how to quickly and reliablybuild a fire in my wood stove My nextproudest accomplishment was learningthat one should not put wet logs on the top of the stove to dry This Idiscovered after setting off the smokealarm bringing the entire Sitka staffrunning to my aidmdashonly to find meoblivious up in the loft
It took me a week or so to getadjusted to my new life I wasnrsquot usedto being alonemdashwithout my dog farfrom civilizationmdashand with expansesof free time and no actual responsibil-ities I spent some of that time explor-ing the surrounding areas takingwalks down to the estuary throughforested woods and climbing to thetop of Cascade Head There I was metwith awe-inspiring views of the PacificOcean the coastline the mountainsand the estuary far below I soondiscovered that this was part of thetotal Sitka experience
After my first incredible climb tothe top of Cascade Head I began torelish the quiet peace and time alonethat Sitka afforded memdashsomething Inever imagined Irsquod feel given mygenerally extroverted nature Inaddition to reading writing andmeditating I was inspired to dive into
Linsenberg
on the
deck of
the Tree
House
wwwAmericanRecorderorg March 2009 13
By Judith Linsenberg
The author is founder and director ofthe Baroque ensemble Musica Pacificawhose performances and eight recordingson the Virgin Classics and Dorian labels
have received international acclaim She has performed throughout the US
and Europe including solo appearances atthe Hollywood Bowl and Lincoln Center
and has been featured with such leadingAmerican ensembles as the San Francisco
Symphony the San Francisco and LosAngeles Operas Philharmonia Baroque
American Bach Soloists and others
Her recording of the Bach organ trioswas sponsored in part by an
ARS Professional Grant The ARS CD Club carries some of her recordings
A Fulbright scholar to Austria shewas awarded the Soloist Diploma with
Highest Honors from the Vienna Academyof Music She is a summa cum laude
graduate of Princeton University holds anearly music doctorate from Stanford Uni-
versity and has been a visiting professor atthe Vienna Conservatory and Indiana
Universityrsquos Early Music Institute Visit wwwmusicapacificaorg
for more information
Suite Thoughts of Sitka
14 March 2009 American Recorder
my musical projects with renewed energy and enthusiasmI had the time not only to practice the Bach suites butalso to really study them in depthmdashanalyzing themlistening to and comparing different recordings andworking on my transcriptions of them Although it wasnrsquotpart of my original intention I now have a plan to publishmy arrangements of these pieces so theyrsquoll be available forothers to perform (While Frans Bruumlggen published hisarrangement of the first three suites in the 1970s to myknowledge there is only one other recorder editioncurrently available whose approach is quite different from mine)
I wasnrsquot however living in total isolation while at SitkaThere were artist residents of other media as well Kim awriter from New York state John and Robin a marriedcouple who were ceramicists from Washington state andtheir three daughters and Claudia an installation- andperformance-artist We became a community socializingwhen we werenrsquot working (and sometimes even when wewere) going on excursions to see the glorious naturalwonders of the Oregon coast having dinners together inour various residences and talking about our work
The setting provided the perfect atmosphere for theexchange of ideas and we began to collaborate on mutualprojects sometimes in unexpected ways Robin startedmaking ocarinas and I worked with her to design and tunethem While I immersed myself in Bachrsquos solo music flutesand musical themes began to appear in the images shepainted on her ceramic pieces Often after wersquod hung outtogether in the evening depictions of the stories I told herwould show up in her paintings over the next few daysFanciful illustrations of me playing to my dog Jake evenmade several appearances in her work (The photos aboveshow the ocarina she made for me)
Toward the end of my stay I also began collaboratingwith Claudia the installation artist Her work was creatinginstallations out of plastic bags fastened together to formdifferent naturalistic shapes which she then set up invarious locations around the Sitka campus and nearby
areas Together we created a performance piece that wepresented at the Open House at the end of our residenciesI provided music to accompany a performance that tookplace within her installation We worked together on usingthe music to express the various ideas in the installation andperformance and using the performance to express themusic in a visual way
Bachrsquos music can be very evocative and I chosemovements from the Bach suites that suggested the variousparts of the narrative she performed part of a slow preludeto depict nascent creatures emerging in a forest a C-majorbourree while they are coming to life a C-minor onesuggesting turmoil a fast 16th-note passage representingflight as they grow wings and fly and finally a wistfulsarabande as they gradually die away and disappear As in a ballet each medium enhanced the other and the wholebecame more than the sum of its parts illuminatingdifferent aspects of each and creating a more profoundeffect than either might have independently
During the Sitka open house Linsenberg plays
in an installation of plastic bag ldquocreaturesrdquo
There were other opportunitiesfor me to present the music I wasworking on Around the midpoint ofmy stay there I performed in a concertmarking the start of the annual Windsand Waves weekend workshop Iplayed one of my Bach suites thoughit was still a work in progress
The next day about 45 recorderplayers descended upon our quiet littleenclave turning it into a hubbub ofactivitymdashquite a change from the low-key atmosphere of the prior severalweeks Once I got over the initialculture shock of the influx of so manypeople I thoroughly enjoyed meetingand working with all of them A class I offered on the Bach suites enabledme to share some of the work Id beendoing conversely I got input from thestudents I taught that made me thinkdifferently about the piecesmdashforexample what about playing them on a subcontrabass recorder
Shortly after the workshop theSitka residents held a communityoutreach day at which we each demon-strated our work to children from anearby school I had been working onsome contemporary pieces withnaturalistic themes (fitting for thesetting) and this event gave me theopportunity to play some of them forthe kids They were fascinated by theextended techniques used to imitatebirds and other animals and of courseVan Eyckrsquos ldquoEngels Nachtegaeltjerdquowas a hit with them as well
As hard as it was for me to getused to Sitka and the residency at thebeginning of my stay it was evenharder to leave My departure datecame too soon Irsquod had time to finishtranscriptions of only three of thesuites
Saying good-bye to all the friendsIrsquod made theremdashthe other artists aswell as the recorder players Irsquod metmdashwas hard enough but leaving the
beauty of the place and the peace Irsquodfound there saddened me greatly
Sitka had changed me and ittransformed my relationship to themusic I played as well My experienceallowed me to tap into a deep placeinside myself in a way that I never hadbefore something I was then able tocommunicate through the music I wasplaying Bachrsquos music turned out to bethe perfect vehicle because it expressesin sound the same grandeur spiritu-ality and universalitymdashas anyone whohas heard a live performance of the B-minor mass can attestmdashas does theview from the top of Cascade Head
Since the conclusion of myresidency I have given severalperformances of the rsquocello suitesincluding some lecture-recitals onthem and on my arrangements moreare planned Irsquove begun working withstudents of instruments other than therecorder who are studying the rsquocellosuites And I continue to work on myarrangementsmdashalas five weeks wasjust not long enough to learn andadapt all six suites although I do plan to publish them in the future
My work at Sitka also inspired meto pick up a project I started over 10years ago but never brought tofruition preparing my arrangementsfor recorder violin and continuo of thesix Bach organ trios (that I recorded in1992) to be published soon by PRBProductions And I have no doubt thatthe Sitka experience will continue towork on me in ways Irsquom not evenconsciously aware of at this time
I would like to give my deep and heartfelt thanks to the followingindividuals and organizations to the
Sitka Center for making my stay there sowonderful and to its founders Jane andFrank Boyden who had the vision tocreate this magical place to the members ofthe Oregon Coast Recorder Society fortheir generosity in creating and sponsoringthe recorder residency to the ARS for its financial support and to my wonderfulstudents who made it possible for me toparticipate in this life-changing experience(you know who you are)
wwwAmericanRecorderorg March 2009 15
Lost in Time Press
New works andarrangementsfor recorder ensemble
Compositions byFrances BlakerPaul AshfordHendrik de Regtand others
InquiriesCorlu CollierPMB 3092226 N Coast HwyNewport Oregon 97365wwwlostintimepresscomcorluactionnetnet
Sitka had changed meand it transformed my relationship to the music I played as well
MARIN HEADLANDS
RECORDER WORKSHOP
Point Bonita YMCA near San Francisco CA
May 15-17
With each coming tide of that mightymetronome the Pacific Ocean and withspring peeping soon our MarinHeadlands Recorder Workshop 2009perched at the edge of the ocean andembraced in greenery gets nearer Againthis workshop will swell with harmoniesof recorders viols and perhaps apsaltery or drum Intermediate andadvanced players are warmly invited tojoin members of the sponsoring EastBay Chapter of the ARS a SFEMSaffiliate at this annual musical event
Music-making begins on Friday andcontinues through Sunday afternoon
including also one- and two-day options
This yearrsquos faculty includes a wonderfulmix of familiar and new faces DavidBarnett Tom Bickley Louise CarslakeRobert Dawson Lisa DykemanFrances Feldon Judith LinsenbergPeter Maund Fred Palmer and Glen Shannon
Music offerings will range from easilyplayable to challenging from delightfulPurcell and Renaissance music to jazzto works by a (very) living composer(led by the chap himself) Check theEBRS web site for updates
The workshop is held at the PointBonita YMCA one of very few publicfacilities on this largely undevelopedarea of California coast Set in a meadowwith short walks to Pacific Ocean vistasthe historic Point Bonita Lighthouseand remnants of WWII fortifications
it is a place to get away recharge andmeet new friends or re-connect withold The accommodations includedormitory-style rooms a large diningarea and playing spaces all on one levelRooms are also available for impromptuplaying sessions
Contact Anna Lisa Kronman
37 Meadow View Rd Orinda CA
94563 925-258-9442
annalisakronmangmailcom
symbolicsolutionscomebrs
BLOOMINGTON EARLY
MUSIC FESTIVAL
Bloomington INMay 15-25
Performances of Medieval RenaissanceBaroque and Classical music as well aseducational programs for concertgoersamateur performers and childrenPlease see BLEMForg for details
Contact Carol Huffman
PO Box 734 Bloomington
IN 47402 812-824-2412
specsorffyahoocom blemforg
WHITEWATER EARLY
MUSIC FESTIVAL (ARS)
University of Wisconsin Whitewater WI
June 5-7Directors Nancy Chabala Carol Stanger Pam Wiese
Our workshop is held on campus at theUniversity of WisconsinndashWhitewaterabout 60 miles SW of MilwaukeeClasses include focus and specialty areainstruction for all levels of recorderplaying as well as beginningmdashconsortviola da gamba wind band voicerecorder orchestra and mixed consort A variety of special interest classes onFriday evening and Saturday eveningparticipant gathering led by LouiseAustin The various classes include
16 March 2009 American Recorder
Summer Workshop Summer-y
The Madison Early Music Festival presents
Telescopic Vistas MEMF X and Music of the SpheresCelebrating the International Year of Astronomy
July 11-18 2009
Guest Artists amp Ensembles Faculty Recorder Artists Quicksilver with Marion Verbruggen Joan Kimball Piffaro The Renaissance Band Priscilla Smith The Newberry Consort Marion Verbruggen Venere Lute Quartet Robert Wiemken
Explore music from the days of Galileo and Kepler Celebrate the influence of astronomy on society arts and culture
in the 15th through 17th centuries
Our tenth anniversary festival features a seven-concert series and a week-long workshop with classes and ensembles for participants of all levels
For more information please call (608) 263-6670 or visit wwwmemfdcswiscedu
music from Medieval to modern
Several musicinstrument vendors onsite Dale Taylor will be on site forrepairs All ages are welcome as well as non-participants
Faculty includes Dale ArmentroutLouise Austin David Echelard CharlesFischer Shelley Gruskin LisetteKielson Laura Kuhlman PatrickOrsquoMalley Tulio Rondon KarenSnowberg Mary Halverson Waldo andTodd Wetherwax Brochures available
Contact Nancy Chabala
8609 45th St Lyons IL 60534-
1616 708-442-6053 (day)
630-789-6402 (fax)
nchabalamymailstationcom
(housingregistration)
thewiesessbcglobalnet (mailing
scholarships) cvstangeraolcom
(facultyfacilities)
INTERLOCHEN EARLY MUSIC
WORKSHOP
Interlochen Center for the Arts Interlochen MI
June 7-12 Director Mark Cudek
Make and enjoy Medieval andRenaissance music while learning new skills and techniques
Topics will include articulationornamentation improvisation andensemble arrangement in Medieval and
Renaissance music The workshopculminates with a participantperformance on period instruments such as recorders and other early windsviols lutes harpsichord and percussionVocalists are also welcome Participantswill supply their own instruments
Early registration is recommendedas space is limited
Contact Matthew Wiliford
Director ICCA PO Box 199
Interlochen MI 49643 231-
276-7441 231-276-5237 (fax)
collegeinterlochenorg
interlochenorgcollege
RENAISSANCE CHAMBER
MUSIC INSTITUTE
New England Conservatory of Music Boston MA
June 11-21
A unique opportunity for professionalmusicians and advanced students todiscover and explore one of the greatestrepertoires of Western music which iseminently suitable for all instruments
Players of modern and early instrumentsare encouraged to attend
Led by John Tyson director of theRenaissance music and dance ensembleRENAISSONICS who has performedand lectured worldwide including forthe Boston Symphony OrchestrarsquosTanglewood Institute
Introductory lectures will be followed byintense chamber music coaching in largeand small ensembles Concentration willbe on personal expression rhetoric andphrasing performance practice andornamentation The institute willculminate in a public performance at theNew England Conservatory of Music
Faculty John Tyson recorder LauraGulley violin Daniel Rowe rsquocello and guest artists
Contact Director of Summer
School New England
Conservatory of Music
290 Huntington Avenue Boston
MA 02115 617-585-1126
617-585-1135 (fax) newengland
conservatoryedusummer
wwwAmericanRecorderorg March 2009 17
Workshops carrying
ARS designation have
joined the ARS as
workshop members
Other shorter workshops
may be sponsored
periodically through the
year by ARS chapters and
are listed in the calendar
portion of each ARS
Newsletter as well as on
the ARS web site when
information becomes
available from presenters
Canto AntiguoWest Coast EarlyMusic and Dance
Featured Faculty
Beautiful CampusFully air-conditioned
For Information Call
800-358-6567
Early Music
WorkshopJuly 5-12 2009
Chapman UniversityOrange CA
Classes in
Baroque Music
Recorder Ensemble(all levels)
Vocal Ensemble
Renaissance Brassand Reeds
Viols
Collegium
Folk Dance
Thomas Axworthy
Mark DavenportRonald Glass
Janet Beazley
Carol LisekJim MaynardAlice Renken
wwwcantoantiguonet
18 March 2009 American Recorder
SUMMER TEXAS TOOT (ARS)
Concordia University Austin TXJune 14-20 Director Daniel Johnson
The Summer Texas Toot is a one-weekprogram of classes in Renaissance and Baroque music at all levels forrecorders viols singers plucked stringsRenaissance reeds and brass andharpsichord Our classes include anarray of small one-on-a-partRenaissance and Baroque ensemblesand larger mixed vocal and instrumentalgroups The size of the workshopenables us to create classes for all levelsof students from those of modest skills to advanced players and singers
Same Texas Toot hospitality andtraditionsmdashback in Austin but atConcordia Universityrsquos beautiful newcampus Classrooms dining and dormaccommodations are air-conditioned and easily walkable
Currently our featured faculty are Tish
Berlin (recorders) Tom Zajac (reedsand ensembles) Mary Springfels(viols) Becky Baxter (harp)mdashbut watchfor more faculty to be added soon
Contact Daniel Johnson
PO Box 4328 Austin TX 78765
512-371-0099 infotootorg
tootorg
SAN FRANCISCO EARLY MUSIC
SOCIETY BAROQUE MUSIC amp
DANCE WORKSHOP (ARS)
Sonoma State University Rohnert Park CA
June 14-20Directors Phebe Craig Kathleen Kraft Frances Blaker
A music-packed week of master classesconcerto evening coached ensemblesBaroque orchestra vocal and windensembles continuo classes concertsand lectures
Featuring recorder faculty FrancesBlaker and Cleacutea Galhano Other facultyChristine Brandes voice Phebe Craig
harpsichord Sand Dalton oboeKathleen Kraft flute Michael Sandviolin and orchestra Mary Springfelsviola da gamba Peter Sykesharpsichord Tanya Tomkins rsquocello
Contact Kathleen Kraft SFEMS
PO Box 10151 Berkeley CA
94709 707-874-2014
kkraftsonicnet sfemsorg
SAN FRANCISCO EARLY MUSIC
SOCIETY CHILDRENrsquoS MUSIC
DISCOVERY WORKSHOP (ARS)
Crowden Center for Music Berkeley CA
June 21-26 (day camp)Director Letitia Berlin
Early music and Renaissance socialhistory for youth ages 7-15 beginners to advanced students welcome Dailyschedule includes chamber musicmusicianship crafts costume-makingand games Friday night concert andtheater project presentation followed by potluck supper
Rebecca Ahrendt violJanet Beazley recorder
Tish Berlin re cord er co-direct orFrances Blaker recorder co-direct or
Vicki Bœckman recorderLouise Carslake recorder fl ute
Charles Coldwell recorder Rotem Gilbert recorder
Julie Jeff rey violShira Kammen viell e
Peter Maund per cus sionKim Pineda recorder
Ellen Seibert violPe ter Seibert recorder choir
Margriet Tindemans viol viell eBrent Wissick viol
Play early music in the spectacular Pacifi c Northwest Choose from classes in recorder viol fl ute and percussion Polish your skills andor take up a new instrument Sing and dance
Enjoy the faculty concert Take part in the student recital Make the most of your stay with a hike at nearby Mt Rainier or a visit to the Museum of Glass
For informat ion or to request a brochure call (206) 932-4623write to Port Townsend Early Music Workshop
1108frac12 Alki Ave SW Seattle WA 98116or vis it wwwseattle-recorderorg
July 12ndash18 2009
Port TownsendEarly Music Workshop
At the beautiful University of Puget Sound Tacoma WA
Tish Berlin amp Frances Blaker Co-Direct orsPresented by the Seattle Recorder Society
Please note that this is a day camp Out-of-town students may contact thedirector regarding accommodations withhost families Some financial aidavailable
Featuring recorder faculty Vida Bateauand Letitia Berlin Other facultyKatherine Heater dance ShiraKammen musicianship and theaterband Ron McKean harpsichord Carla Moore violin Farley Pearcersquocello and viola da gamba Allison Rollstheater project director
Contact Letitia Berlin SFEMS
PO Box 10151 Berkeley CA
94709 510-559-4670
tishberlinsbcglobalnet
sfemsorg
OBERLIN BAROQUE
PERFORMANCE INSTITUTE
Oberlin College Oberlin OHJune 21-July 5Directors Oberlin Baroque Ensemble (Cathy Meints Marilyn McDonald Michael Lynn Webb Wiggins) and artistic director Kenneth Slowik
Celebrating its 38th anniversary withMusic in London 1659ndash1759 thisinstitute offers instruction in Baroqueinstruments and voice Students of alllevelsmdashfrom beginning to Baroqueperformance to the professional levelmdashparticipate in master classes and coachedensembles with an international facultyof Baroque specialists Scholarships are available for qualified high schoolstudents
Contact Anna Hoffman
Conservatory of Music
77 West College St
Oberlin OH 44074
440-775-8044
440-775-8942 (fax)
ocbpioberlinedu
oberlineduconsummerbpi
WORLD FELLOWSHIP
EARLY MUSIC WEEK
Chocorua NHJune 25-July 2Directors Jane Hershey Larry Wallach
Faculty of eightmdashincluding JaneHershey Roy Sansom Pamela DellalJay Rosenberg Julian Cole AnneLegecircne Larry Wallach and JoshSholem-Schreibermdashin a beautifulWhite Mountain camp setting conducta week-long workshop in French earlymusic (late Medieval through Baroque)
Faculty and student concerts Englishcountry dancing special lecturesmorning and afternoon workshops inviols recorders voice mixed ensemblesSephardic music and Baroque chambermusic and classes in Feldenkrais bodywork
Camp facilities include hikingswimming boating camp gardenssupply kitchen with vegetables Very affordable rates
Contact Larry Wallach
69 Welcome St Great Barrington
MA 01230 413-528-7212 (day)
413-528-9065 (evening)
413-528-7365 (fax)
larrysimons-rockedu
worldfellowshiporg
INDIANAPOLIS EARLY
MUSIC FESTIVAL
Indianapolis INJune 26-July 19July 8-9 Mini Boxwood Workshop
The Indianapolis Early Music Festivalis the oldest continually running earlymusic concert series in the USPresented since 1967 our mission is toenrich educate and entertain audienceswith the music of Medieval Renais-sance Baroque and early Classical erasand feature exciting performers ofnational and international stature usinginstruments of the period and histori-cally informed styles and techniques
For 2009 we will present Reconstruction(June 26 ) Ex Umbris (June 27) ChrisNorman amp David Greenberg withRonn McFarlane amp Mark Cudek (July10) I Furiosi (July 12) HarmoniousBlacksmith (July 17) and the PeabodyConsort with Indiana Repertory Theatre(July 19) We also offer our secondannual Family Concert featuring thePeabody Consort on July 18mdash a freeconcert geared to young audiencemembers Several groups also offeroutreach events for younger (generallyhigh-school-aged) musicians and actors
In 2009 we also present a two-dayldquoMini Boxwoodrdquo workshop with Chris
wwwAmericanRecorderorg March 2009 19
Marin
Headlands
Recorder
Workshop
Norman (earlytraditional flutes andpipes) David Greenberg (Baroqueviolin and fiddle) and Ronn McFarlane(lute) on July 8-9
Contact emindyorg
SAN FRANCISCO EARLY MUSIC
SOCIETY MEDIEVAL amp
RENAISSANCE WORKSHOP (ARS)
Sonoma State University Rohnert Park CAJune 28-July 4Director Tom Zajac
Workshop theme Stories and LegendsOpen to singers and players of earlyinstruments (recorders violas da gambalutes shawms etc) Coaching by world-class specialists in Medieval and Renaissance music Classes forvoices recorders viols and alta capellavoice master class ensemble coachingstorytelling for musicians andstorytelling accompanimentRenaissance choir Medieval bandtheater project faculty and studentconcerts lectures and more
Scholarships as well as academic creditor continuing education credit areoffered Featuring recorder facultyFrances Blaker Annette Bauer DanStillman and Tom Zajac Other facultyPatrick Ball storytelling Celtic harpKaren Clark voice movement formusicians Julie Jeffrey gamba ShiraKammen Medieval strings music forstorytelling Drew Minter voice theaterproject Tim Rayborn Medieval stringspercussion music for storytelling Larry Rosenwald theater projectrhetorician in residence MarySpringfels gamba theater projectAnnette Bauer early notation DanStillman reeds alta capella ensembleTom Zajac sackbut Renaissance choir
Contact Tom Zajac SFEMS
PO Box 10151 Berkeley CA
94709 617-323-0617
medrenmailgmailcom
sfemsorg
MOUNTAIN COLLEGIUM (ARS)
Cullowhee NC June 28-July 4Director Patricia Petersen
Nestled in the Smoky MountainsWestern Carolina University provides alovely location for Mountain Collegiumwith comfortable accommodations in anew dorm and catered evening mealsThe workshopmdash at once informal andintensivemdash combines study of Renais-sance Baroque and contemporary musicand improvisation on recorder viol andother early instruments with opportu-nities to explore Celtic and othertraditional music on hurdy gurdymountain dulcimer and pennywhistle
Friendly participants of all levels andages welcome newcomers into theMountain Collegium family Varied classofferings time for informal music-making and evening English countrydancing bring students back year afteryear Faculty Valerie Austin AtossaKramer Jody Miller Patricia PetersenJohn Tyson (recorders other winds)Martha Bishop Lisle Kulbach HollyMaurer Gail Ann Schroeder Ann Stierli(strings) Lorraine Hammond JohnTrexler (traditional music)
Contact Patricia Petersen
1702 Vista St Durham NC
27701 919-683-9672
patpetersenearthlinknet
mountaincollegiummusicorg
GREAT LAKES SUZUKI FLUTE amp
RECORDER INSTITUTE
McMaster University Hamilton ON CanadaJuly 4-11 Teacher training Book 1July 7-11 Teacher training Book 2July 7-11 Student InstituteDirector David Gerry
Master classes group instructionrecitals plus enrichment classes forstudents Teacher training with MaryHalverson Waldo
Contact David Gerry 129 Locke
Street South Hamilton ON L8P
4A7 CANADA 905-525-9549
dgerrynasnet davidgerryca
CANTO ANTIGUO EARLY MUSIC
AND RECORDER WORKSHOP
Chapman University Orange CAJuly 5-12Directors Thomas Axworthy Ronald Glass
This one-week workshop is designed to broaden the performance skills ofexperienced students and introduceRenaissance and Baroque instrumentsand musical experiences to beginningand intermediate players Students at alllevels participate in instrumental vocaland dance instruction performance
The workshop takes place at ChapmanUniversity Studios dining hall andresidences are all air-conditioned Thisinvitingly landscaped peaceful campuswith garden paths is a mixture of historic and modern architecture
The theme of this yearrsquos workshop isMusic of the Italian Renaissance Dancesmasses motets and ceremonial musicwill resonate as we explore the music ofMonteverdi Palestrina Gesualdo et al
Faculty includes Thomas AxworthyJanet Beazley Mark Davenport RonGlass Carol Lisek Jim Maynard and Alice Renken
Contact Ronald Glass
129 Altadena Dr Pittsburgh
PA 15228-1003 800-358-6567
(day) 310-213-0237 (evening)
562-946-4081 (fax)
evanesa2aolcom
cantoantiguonet
CAMMAC EARLY MUSIC WEEK
Lake MacDonald Music Center Harrington QC Canada
July 5-12Directors Francis ColpronMarie-Nathalie Lacoursiegravere
CAMMAC provides a unique oppor-tunity to make music with family and
20 March 2009 American Recorder
friends in a beautiful setting north ofMontreacuteal QC under the guidance ofinternationally acclaimed professionalmusicians
In four daily 75-minute classes pluslectures early music lovers will have the opportunity to play to their heartrsquoscontent
Small ensembles and voice classes are setup ahead of time registration for otherclasses occurs on site the first eveningCourses include choir large instrumentalensemble many recorder and violclasses Medieval and Renaissanceensembles Orff method and Baroquedancing There are courses foradolescents and a program for children 4-11 years old
Special project in 2009 The Fairy Queenby Purcell with choir instrumentalensemble soloists and staging Keyfaculty Matthias Maute ChristopherJackson Laura Pudwell MargaretLittle Marie-Nathalie Lacoursiegravere
Contact Johanne Audet
85 Chemin CAMMAC Harrington
QC J8G 2T2 CANADA
888-622-8755 1
819-687-3323 (fax)
nationalcammacca
cammaccaenglishTabLM
Summershtml
MADISON EARLY
MUSIC FESTIVAL
University of WisconsinndashMadison July 11-18Directors Cheryl Bensman Rowe and Paul Rowe artistic Chelcy Bowles program
MEMF joins the 2009 InternationalYear of Astronomy in a global celebrationof astronomy and its contributions tosociety and culture including the 400thanniversary of the first astronomicalobservation made through a telescope byGalileo Galilei Galileorsquos fatherVincenzo was a musician and musictheorist who combined the practice andtheory of music with mathematicaldiscussion of harmonymdashand influenced
Galileorsquos experiments MEMFcelebrates its tenth season exploringworks of music and the arts inspired by ascientific discovery that had tremendousimpact on culture and civilization
MEMF was created to provide anopportunity for musicians scholarsteachers and early music enthusiasts togather and exchange information andideas about Medieval Renaissance andBaroque music and to bring acclaimedearly music artists to the Midwest toperform in beautiful Madison
Featured MEMF 2009 guest artists-in-residence include Marion VerbruggenThe Newberry Consort QuicksilverPiffaro and Venere Lute QuartetRecorder faculty members includeMarion Verbruggen Joan KimballPriscilla Smith and Robert Wiemken
Contact Chelcy Bowles University
of WisconsinndashMadison 720 Lowell
Center 610 Langdon St Madison
WI 53703 608-265-5629
608-262-1694 (fax)
musicdcswiscedu
memfdcswiscedu
PORT TOWNSEND
EARLY MUSIC WORKSHOP (ARS)
University of Puget Sound Tacoma WA
July 12-18Directors Letitia Berlin Frances Blaker
Join us this summer at our new locationwith a star-studded faculty a beautifultree-lined and easy-to-navigate campuswith accessible facilities and acurriculum that will leave you wishingthere were 48 hours in a day
Consort and technique classes forrecorder and viol consort and mixedrepertoire recorder master classpercussion for all levels Hildegard forsingers Baroque flute beginning violtheory workshop orchestra and moreMake an all-Medieval schedule or mix it up with a class from almostevery period of music
Work hard and play hard with friends
new and old Intense music-making thatwill inspire you during the workshop andthroughout the year
Directors Tish Berlin and FrancesBlaker eagerly await your arrival andanticipate a splendid workshopRecorder faculty Janet Beazley TishBerlin Frances Blaker Vicki BoeckmanLouise Carslake Charles ColdwellRotem Gilbert Kim Pineda
Contact Jo Baim Workshop
Administrator 1108 frac12 Alki
Ave SW Seattle WA 98116
206-932-4623
workshopseattle-recorderorg
seattle-recorderorg
wwwAmericanRecorderorg March 2009 21
Amherst Early Music FestivalJuly 12-19 and 19-26 2009
Connecticut College New London CT
Renaissance consortsBaroque ensemblesMaster classesRenaissance AcademyEarly notation and moreNo audition required
July 12-19Baroque Academy
July 19-26 Virtuoso Recorder Recorder Seminar
Audition deadline May 15
wwwamherstearlymusicorginfoamherstearlymusicorg(617) 744-1324
AMHERST EARLY MUSIC FESTIVAL
(ARS)
Connecticut College New London CT July 12-19 Baroque Academy July 19-26 Virtuoso Recorder Recorder SeminarRenaissance Academy
Director Marilyn Boenau
Music of England and Spain Two weeksof classes in most early instrumentsvoice dance and notation
Week 1 includes classes for recorderviol other early instruments voicedance and notation Special programsBaroque Academy Baroque AcademyOpera Project (Purcellrsquos Dioclesian)
July 18-19 Music amp InstrumentExhibition
Week 2 comprises classes for recorderviol other early instruments voice andnotation Special programs VirtuosoRecorder Recorder SeminarRenaissance Academy
Evening activities include Englishcountry dance madrigals and informalplaying sessions Connecticut College ineastern CT offers comfortable air-conditioned accommodations naturalareas for walking and a view of LongIsland Sound Scholarships and work-study aid available
Contact Marilyn Boenau
Director or Cathy Stein
Administrator 47 Prentiss St
Watertown MA 02472
617-744-1324 (day)
617-744-1327 (fax)
infoamherstearlymusicorg
amherstearlymusicorg
MIDEAST WORKSHOP (ARS)
LaRoche College Pittsburgh PAJuly 19-25Director Marilyn Carlson
Music of Spain 55-60 students of allability levels adults only Instruction forrecorder (all levels except novice) violharp flute You may enroll for recorder
viol flute as primary instrument harpvoice recorder viol as secondary instru-ment Large and small ensembles all-workshop ensemble (instruments andvoices) Renaissance band (recordersviols capped reeds voice) Medievalcollegium (puzzles amp canons) consorts(by level) vocal ensemble Also Englishcountry dance penny whistle We alsooffer viol-for-novice and harp-for-novice each providing the opportunityfor hands-on experience without owningan instrument Other classes on specialearly music topics and literature
Faculty Marilyn Carlson directorMartha Bixler Stewart Carter JudithDavidoff Eric Haas Mary JohnsonPeter Ramsey Kenneth Wollitz otherfaculty to be announced All facilities areair-conditioned
Contact Marilyn Carlson
1008 Afton Road Columbus OH
43221-1680 614-754-7233
mcarlsoncolumbusrrcom
mideastearlymusicaddrcom
22 March 2009 American Recorder
San Francisco Early Music SocietySummer Workshops 2009Recorder middot July 19ndash25 2009La Dolce Vita di Flauto middot Explore the full range of recorder music from the Middle Ages to the 21st century through ensemble work technique sessions and recorder orchestra For the devoted amateur all ages intermediate to advanced Friendly atmosphere small classes Quiet campus near all amenities Special offerings Recorder orchestra recorder master class coached informal playing Faculty Louise Carslake Frances Feldon Rotem Gilbert Katherine Heater Norbert Kunst Patrick OrsquoMalley and Hanneke van ProosdijInfo Frances Feldon 510-527-9840 franfelaolcom
Baroque Music amp Dance middot June 14ndash20 2009Music in Italian Cities middot Master classes recorder ensemble concerto evening coached ensembles classes concerts and lectures Featuring recorder faculty Frances Blaker and Clea GalhanoInfo Kathleen Kraft 707-874-2014 kkraftsonicnet
Medieval amp Renaissance Music middot June 28ndashJuly 4 2009Stories amp Legends middot Classes for voices recorders viols and alta capella voice master class ensemble coaching storytelling for musicians and storytelling accompaniment Renaissance choir medieval band theater project faculty and student concerts lectures and more Featuring recorder faculty Frances Blaker Annette Bauer Dan Stillman and Tom ZajacInfo Tom Zajac 617-323-0617 medrenmailgmailcom
Music Discovery middot June 21ndash26 2009Day camp for youth ages 7 to 15 Early music and Renaissance social history Instruction in recorder harpsichord strings chamber music musicianship crafts costume-making games and more Beginners to advanced students welcome Featuring recorder faculty Vida Bateau and Letitia BerlinInfo Letitia Berlin 510-559-4670 tishberlinsbcglobalnet For more information visit our web site wwwsfemsorg
SAN FRANCISCO EARLY MUSIC
SOCIETY RECORDER WORKSHOP
(ARS)
St Albertrsquos Priory Oakland CA July 19-25Directors Frances Feldon Katherine Heater
Jam-packed week of recorder ensembleplaying concerts and the opportunity toimprove your skills working with highlyrespected recorder specialists in afriendly yet serious atmosphere Explorethe full range of recorder music from theMiddle Ages Renaissance and Baroqueto the 21st century through ensemblework technique sessions and recorderorchestra For the devoted amateur of allages from intermediate to advanced
Small classes Quiet campus Specialofferings recorder orchestra recordermaster class coached informal playing
Featuring recorder faculty LouiseCarslake Frances Feldon RotemGilbert Norbert Kunst PatrickOrsquoMalley and Hanneke van ProosdijOther faculty Katherine Heaterharpsichord
Contact Frances Feldon SFEMS
PO Box 10151 Berkeley CA
94709 510-527-9840
franfelaolcom sfemsorg
WINDSWEPT MUSIC WORKSHOP
William Jewell College Liberty MOJuly 19-25Director Phyllis Pasley
Bring your artistry to life Strengthen the mindbody connection and exploreenergy and music at Creative MotionAlliancersquos 59th annual summerconference Windswept Professionalmusicians conductors teachers studentsand amateur music enthusiasts willdiscover barriers that inhibit the free flowof energy and learn the secrets of inner-directed artistic music-making Classesin piano voice instrumental musicexpressive arts and independent studyMaster class coaching and conductingopportunities available Using move-
ment exercises analysis and bodyresponses explore music and energy in a unique inter-generational workshopformat Opportunities for independentrecorder study and private lessons enrichthe music-making experience
Registration fee $50 prior to 51509Tuition room meals $535 adults $400students 12-18 (must attend with parentteacher or sponsor) special half-weekrate $275 (Sunday-Wednesday noon)Memberfamily discounts Three hoursgraduate credit ($225) 3 CEUs ($50)and private lessons ($25 each)
Contact Phyllis Pasley 2208
Clouds Peak Maryland Heights
MO 63043 314-628-9862
directorcreativemotionorg
creativemotionorg
BOXWOOD FESTIVAL CANADA
Lunenburg Nova Scotia CanadaJuly 19-26Director Chris Norman
Discover musical and dance traditionswhile visiting one of North Americarsquosmost exquisite 18th-century seasidetowns Concerts dances sessionsclasses lectures with leading artists in therealms of traditional folk early musicdance and improvisation Work study ampscholarships available Gourmet cuisine
Faculty Chris Norman directortraditional amp early flutes FrancisColpron recorder ensembles LisaBesnoziuk Baroque flute DavidGreenberg Cape Breton amp Baroqueviolin Edmund Brownless voice shape note singing Marie Bouchardharpsichord Robert Dick contemporarytechniques amp composition Conal O Grada Irish flute Jerry OrsquoSullivanpipes whistle Rod Garnett flutefundamentals ethnic flutes PierreChartrand social dance MarlysNorman ballet classical dance Rod Cameron flute maker Tempest Baroque
Contact 902-634-9994
boxwoodorg
musiqueroyalecom
MACPHAIL SUZUKI INSTITUTE
FOR PIANO GUITAR FLUTE
AND RECORDER
MacPhail Center for the Arts Minneapolis MNJuly 19 Every Child Canreg July 19-26 Recorder Book 1July 20-24 Student InstituteDirectors Cindy Malmin Mary Halverson Waldo (auditions)
Suzuki Clinicians Marilyn Taggartpiano Tadeusz Majewski piano DavidMadsen guitar Kathleen Schoenfluterecorder MacPhail Suzuki faculty
Sanctioned by the Suzuki Association ofthe Americas MacPhailrsquos SuzukiInstitute allows Suzuki students of allages to share in motivating enrichingand wide-ranging musical experiencesStudents work with master teachers andimprove skills technically and musicallyDaily classes and observation includeapplied study theoryreading skillsensemble skills chamber music perfor-mance practices composition improv-isation master classes recitals art andmusic world musicdrumming musichistory recitals and presentations TeenMusical Revue (ages 13-18) fashioncharacter sketches develop a frameworkor theme and present to an audience
Who may attend Suzuki students whohave completed the Twinkle Variations(preschoolndashgrade 12 parents or another
wwwAmericanRecorderorg March 2009 23
Amherst Early Music Festival
(photo by Marc Weinberg)
responsible interested adult must attendwith students under high school age)teacher traineesobservers Participantsmust arrange meals housing and trans-portation Teacher Training prerequi-sites Every Child Canreg before Book 1courses must be taken in order throughBook 2 Contact workshop regardingrequired audition and preparation
Contact Cindy Malmin
612-767-5461
malmincindymacphailorg
Mary Halverson Waldo
5679 Harding Lane Shorewood
MN 55331 952-470-5853
mhalvwaldogmailcom
INTERNATIONAL BAROQUE
INSTITUTE AT LONGY
Longy School of Music Cambridge MA
July 24-August 2Directors Paul Leenhouts co-director Phoebe Carrai
VenicendashDresden Connection InternationalMeeting Grounds Music of MonteverdiVeracini Hasse Heinichen MarcelloVivaldi Pisendel Albinoni ZelenkaLotti Schein Schutz Quantz Gabrieli
2009 faculty Paul Leenhouts recorderPhoebe Carrai rsquocello ElizabethBlumenstock violin Ricard Bordasvoice Arthur Haas harpsichord LucasHarris lute Ken Pierce early danceGonzalo Ruiz oboe Mary Springfels
viola da gamba Jed Wentz traverso
Contact Karen Burciaga Com-
munity Programs Registrar One
Follen St Cambridge MA 02138
617-876-0956 X1532 (day)
617-354-8841 (fax) karenbur
ciagalongyedu longyedu
RECORDER AT THE CLEARING
The Clearing Ellison Bay WIJuly 26-August 1Directors Pat Badger Adrianne Paffrath
Recorder ensemble has been a traditionat The Clearing for over 25 yearsEnsemble playing is the weekrsquos focusEach day begins with a warm-up ofvoices and bodies as we sing rounds andready our muscles for performanceDaytime sessions focus on rhythmicchallenges recorder technique andensemble blend emphasis is on growthprocess and most of all enjoyment To participate fully you need at leastintermediate skills on a C or F recorder
Adrianne Paffrath coached on recorder with ARS teachers She is music directorat Racinersquos First Presbyterian ChurchPatricia Badger has studied early musicinstruments natural and classicaltrumpet She is performing arts head ofThe Prairie School Jointly they haveperformed for Medieval festivals grapestompings Shakespeare celebrations anda circus parade
Contact The Clearing PO Box 65
Ellison Bay WI 54210-0065
877-854-3225 920-854-9751
(fax) clearingtheclearingorg
theclearingorg
AMERICAN RECORDER SOCIETY
FESTIVAL AND CONFERENCE
University of Missouri at St Louis St Louis MO
July 30-August 2
Attend the second ARS Festival andConference for one day ($150) or allweekend ($350)
Sessions include recorder techniquepedagogy introductions to Orff Suzukiand Flutes and Drums Around the Worldmethods improvisation roundtablediscussions how to conduct yourconsort coached playing sessions forMedieval Renaissance Baroque worldand contemporary repertoire recorderorchestra incorporating percussion intoyour ensemble Also recorder mainte-nance choosing a recorder building aweb site using Sibelius music softwareMini-concerts by the next generation ofprofessionals master classes concerts byMarion Verbruggen and the FarallonRecorder Quartet Exhibition ofrecorder builders music sellers andmore CEUs available
Presenters Louise Austin AnnetteBauer Tish Berlin Frances Blaker Joyce Callanan Louise Carslake
24 March 2009 American Recorder
The Summer Toot is once again in Austin at the beautiful new facility of Concordia University The lushly wooded campus offers air-conditioned classrooms dining and dorm accommodations and is backed by a nature preserve Please join us
Our featured faculty includes Tish Berlin Tom Zajac Mary Springfels The Texas Toot offers a one-week program of classes in Renaissance and Baroque music at all levels featuring expert instructors in re-corder viol early reeds lute harp and voice
Danny Johnson workshop director Susan Richter administrator For more info
httpwwwtootorg or email infotootorg
11th Annual Summer Texas Toot June 14-20 2009 mdash Austin Texas
Mark Davenport Cleacutea Galhano LisetteKielson Lorraine Krige JudithLinsenberg Peter Maund Nina SternMarion Verbruggen Leslie TimmonsJim Tinter Mary Halverson Waldo
Contact Yvonne Miller-Nixon
Conference Administrator
1129 Ruth Dr St Louis MO
63122 800-491-9588 (day)
arsconfplannercharternet
americanrecorderorg
EARLY MUSIC WEEK AT
PINEWOODS CAMP (ARS)
Pinewoods Camp Plymouth MA August 15-22 Director Sheila Beardslee
The Myth amp Magick Creativity andInspiration in Early Music Surely thedeities of Olympus will surround us atPinewoodsndashwhere the myths of earlymusic will be made clear and our staff rsquosldquomagickalrdquo skills will hone and perfectour knowledge and performance of early music and dance
If yoursquove never played a musical instru-ment (but wish you could) or if youstudied music years ago (and fear yoursquoveforgotten) classes in recorder and violwill get you started or help brush off therust Advanced and intermediate playersand singers choose from a wide array ofclasses led by an outstanding faculty of professionals and teachers of earlywinds (recorders reeds brass) strings(viols violin) harpsichord and voice
New staff faces this summer areAnonymous 4rsquos Susan Hellauer voiceand Lisa Terry viol We welcome backDorrie Olsson historical dance andScott Higgs English country dance
We relax with two ponds for swimmingcanoeing a camphouse deck for readingafternoon tea and lots of dancing EarlyMusic Week continues its long traditionof superb teaching in a welcoming com-munity enhanced by special eventspresentations concertsmdashand dancing
Advanced musicians work intensivelyamateurs are engaged and challengedand beginners are always made welcome
Contact Steve Howe Country
Dance and Song Society
PO Box 338 Haydenville MA
01039-0338 413-268-7426 X3
(day) 413-268-7471 (fax)
campcdssorg cdssorgem
MONTREacuteAL RECORDER FESTIVAL
McGill University Montreacuteal QC Canada
September 17-20Directors Matthias Maute Sophie Lariviegravere
Conference consort music recorderorchestra concertsmdashEnsemble Capriceand Quynade (Israel) solo recital byMaurice Steger (Switzerland)
Contact Ensemble Caprice 4841
Garnier Montreacuteal QC H2J 3S8
CANADA 514-523-3611
514-523-1322 (fax)
infoensemblecapricecom
ensemblecapricecom
HIDDEN VALLEY INSTITUTE
FOR THE ARTS
EARLY MUSIC ELDERHOSTEL
Carmel Valley CANovember 1-7 November 8-14Directors Letitia Berlin workshopPeter Meckel HVIA
Enroll for one or both weeks Adults ofall ages welcome
Week I intense classes for upper inter-
mediate to advanced levels Week Ifaculty Letitia Berlin Frances BlakerLouise Carslake Annette Bauer(recorder) David Morris (gamba)
Week II all levels except beginnerClasses include recorder technique viol consort Baroque chamber musicconsort classes for Medieval Renais-sance Baroque and contemporary reper-toire workshop orchestra Week IIfaculty Letitia Berlin Frances BlakerTBA (recorder) Shira Kammen (earlystrings singing Medieval topics) MarySpringfels (viola da gamba)
Evening events include faculty concertstudent concert free-lance playing FreeWednesday afternoon for more playingor sightseeing Improve your playing in asupportive friendly atmosphere withworld-class teachers
Contact Peter Meckel
PO Box 116 Carmel Valley CA
93924 831-659-3115
831-659-7442 (fax)
hvmsaolcom
hiddenvalleymusicorg
wwwAmericanRecorderorg March 2009 25
26 March 2009 American Recorder
Am
herst
AR
S
Festival and
Co
nference
CA
MM
AC
Early M
usic
Week
Canto
Antiguo
Reco
rd
er
at th
e
Clearing
Great L
akes
Suzuki
FluteR
ec
Hid
den
Valley
Eld
erh
ostel
Interlo
ch
en
Early M
usic
Inst
Lo
ngy Intl
Baro
que
Inst
Marin
Head
land
s
Mid
east
Mo
ntreacuteal
Reco
rd
er
Festival
COST $520TW $350T C$1014ED $860 $1035E TBA $799D $389T $675T $210ED $735D $130TNO OF DAYS 814 1-4 7 7 7 5-8 714 6 10 3 6 4ARS DISCOUNT NO YES NO YES NO NO NO NO NO NO NO NONO OF FAC RECORDER FAC 4315 1716 165 85 22 82 543 11 101 1010 96 66NO OF STUDENTS 150wk 60 110 35 19 45 35 20 50 75 60 50RECORDER CLASSLEVELS
LIHIAV
BLIHIAV
BLIHIAV
BLIHIAV LIHIA BLI
LIHIAV LIHIA AV
LIHIAV
BLIHIAV
BLIHIAV
SPECIAL CLASSES USING RECORDERS
CMRMB20ENMROT
RPMRMB20MROPTO
CMRMBRO
MRMBENROPT CRO
RPMPT
CMRMB20MROPT
RPCMRMBENMROPT MBMP RP20
RPCMRMB20ENMTO
CMRMBMRO
NON-RECORDERCLASSES
CWKVPSDO PO
CWKVDT CWVD C O KVPS
CWPKVPST WK VD
CWVPSDO
MUSICALACTIVITIES
FSLSPP FLO FSLSP FS SP FSLP FSP
SLSPPO FSLP P FSLP FS
RECREATION D GS BSTW D FBSW FSO OBSTWO S O G
OTHERS WELCOME SC S SC S S S S SDIRECTTRANSPORTATION SC SBCP SP BCLP BP SB CPUP CL PUP
SBCPUP
TRANSPORTATIONTERMINALS
A50B2 T2 A B T
A10B3 T5
A80B80
A50B10 T10
A20B20 T20
A16B16
A4B3 T3 A20
A15B10 T10
A4B3 T3
ROOMS SD SD SD SD SDC SD SD SDC DBATHS SSP SSPP SP P SSPP SSPP SP P S PFOOD CV C GV CV FV C F CV CV CHANDICAP ACCESS HCD HCD HCD HCD HC HCD HD HCD C HCD HCD C
KEYCOST Includes tuition room (single occupancy unless otherwise noted) meals plus other fees E=estimated T=tuition only D=double occupancy W=one week
NO of DAYS Includes arrival and departure daysARS DISCOUNT Discount offered for ARS members FACULTYRECORDER FACULTY Number of facultyrecorder faculty within that number STUDENTS Average over last two yearsRECORDER CLASS LEVELS B=beginners LI=low intermediate HI=high intermediate A=advanced V=very advanced
SPECIAL CLASSES USING RECORDERS RP=recorder pedagogy C=one-on-a-part consorts MR=mixed Renaissance ensembles MB=mixed Baroque ensembles 20=contemporary music EN=early notation M=master class RO=recorder orchestra P=private lessons available T=technique O=other
NON-RECORDER CLASSES C=choral W=other winds P=percussion K=keyboard V=viols PS=plucked stringsD=danceT=theory I=instrument building O=other
MUSICAL ACTIVITIES F=faculty concert S=student concert L=lecture SP=special production P=organized informal playing O=other
RECREATION D=dancing F=field trip G=gym B=biking S=swimming T=tennis W=waterfrontbeach O=otherOTHERS WELCOME S=non-playing spousesfriends C=children (day care not generally available)DIRECT TRANSPORTATION TO WORKSHOP S=shuttle from airport B=bus C=cab L=limo PU=will pick up P=free parking O=other
TRANSPORTATION TERMINALS A=air B=bus T=train (number indicates miles from workshop to nearest terminal)
ROOMS S=singles D=doubles (with ldquo+rdquo can accommodate up to triples) C=cabins O=other =Graduate dormsBATH FACILITIES S=shared SP=semi-private P=privateFOOD C=college style F=family style G=gourmet V=vegetarianHANDICAP ACCESS H=housing C=classrooms D=dining
INFORMATION SUPPLIED BY WORKSHOP DIRECTORS
2009 SUMMER RECORDER WORKSHOPS
Here are some suggestions foravoiding overuse syndromes Most obvious warm up This meansincreasing your practice time graduallybefore the workshop begins andwarming up yourself and yourinstrument before each rehearsal
Make your playing situation ascomfortable as possible Take along acushion back rest footstool whateverit takes the ear and hand cannot ab-sorb what the bottom cannot tolerate
Be sure your glasses are ideal for the distance from your eyes to themusic desk that usually amounts to anarmrsquos length away (You can select apair at your local drug or departmentstore if you have no serious astigma-
tism) If glare from bright light (thosemarvelous outdoor rehearsals) is aproblem for you you may find that ayellow tint for your glasses is a help
Get your bodily playing equip-ment in the best possible shape beforethe workshop a visit to the dentist tosmooth off a front tooth for a windplayer can make an enormous differ-ence in endurance A layer of plasticwrap over the teeth (before yoursquoveworn a hole in your lip) may also help
Once yoursquove arrived at the work-shop there are ways to ensure thatstress (inevitable) doesnrsquot becomedistress (mostly preventable)
Take reasonable breaks duringrehearsal time and use them to stretchA little aerobics like running in placetakes very little time and gets rid ofthat stiff-from-sitting feeling Get yourfellow ensemble players to massageeach othersrsquo shoulders Other fre-
Do you have a favorite article from years past in AR E-mail that information to Gail Nickless
editoramericanrecorderorg
wwwAmericanRecorderorg March 2009 27
Mo
untain
Co
llegium
Pinew
oo
ds
Early M
usic
Week
Po
rt
To
wnsend
SF
EM
S
Baro
que
SF
EM
S
Ch
ild
rens
SF
EM
S
Med
ieval amp
Renaissance
SF
EM
S
Reco
rd
er
Texas T
oo
t
Wh
itew
ater
Wind
sw
ept
Music
Wo
rksh
op
Wo
rld
Fello
wsh
ip
$800ED $890ED $975 $950 $370T $950 $950 $740E $245 $535D $850E COST7 8 7 7 5 7 7 7 3 6 7 NO OF DAYSNO NO NO YES YES YES YES YES NO NO NO ARS DISCOUNT
125 189 169 102 82 124 76 136 1110 131 83NO OF FAC RECORDER FAC
50 100 100 55 30 70 40 50 110 45 30 NO OF STUDENTSLIHIAV
BLIHIAV LIHI AV
LIHIAV
BLIHIAV LIHI AV LIHIA LIHIA
BLIHIAV
BLIHIAV
RECORDER CLASSLEVELS
CMRMB20TO
CMRMBENROT
MRMB20MROPT
MBMPTO
CMRMBPTO
CMRENMPTO
C20MROPTO
CMR20MPT
CMRMB20ROTO MP
CMRMBMRO
SPECIAL CLASSES USING RECORDERS
WVDTO
CWKVPSDT CPVT
CWKVPSTO
KVDTO
CWPVPSTO O
WKVPSTO
CWVTO
CWPKVD
CKVDT
NON-RECORDERCLASSES
FSLSPP FSP
FSLSPPO FSSP
FSLSPPO
FSLPO
FSLPO SPO FSL PO FSLP
MUSICALACTIVITIES
DGBS DSWFGBSTW
DGBST D
DGBST DO SO
DFSWO RECREATION
S S SC SC S S SC SC OTHERS WELCOME
P SC CPUP SCP SCP SBC LP SPUP P BPUDIRECTTRANSPORTATION
A50B15 T15
A15B7 T6 A59
A20B2 T5 A59
A12B4 T1 A40 A
A20B15 T28 B10
TRANSPORTATIONTERMINALS
SD SD S S CALL S S SD SD SD SD ROOMSSP S SP P P SP P S S S BATHSCGV FV CV CV CV CV CV CV CV FV FOODHCD CALL HCD HCD C HCD HCD HCD HCD HD HANDICAP ACCESS
AR50 AVOIDING ACHES amp PAINSBy Leacuteonie Jenkins MD (c1925- 2000) from the March 1993 AR Vol XXXIV1
quently overused parts such asforearms and hands also respond to massage Quick tutorial on massagestart stroking toward the body and inthe direction of the flow of the veinsmdashupstream from the sorest partgradually work down to include thesore spot Yoursquore trying to move overthe underlying muscle not to rub theskin Thatrsquos why a little oil helps
Your psyche may need some relieffrom overload too Most workshopsare in surroundings that lend them-selves to taking a walk finding a placeto meditate taking in some beauty In creating anything a musical per-formance no less than more static artforms breathing in is as necessary asbreathing out be sure you take time to do it
Not to be forgotten those partiesLate hours and alcohol are stressfultry to balance off the fun yoursquore havingwith your capacity for both Above allenjoy Thatrsquos why yoursquore going
2009 SUMMER RECORDER WORKSHOPS
By Bart Spanhove
The author has been principalprofessor of recorder at the Lemmens-
instituut Leuven (Belgium) since 1984He is also artistic director of the world
famous recorder ensemble the FlandersRecorder Quartet which is set to perform
in concert at the 2009 Boston EarlyMusic Festival He is often asked to serve
as a jury member for internationalrecorder competitions in Canada US
Germany The Netherlands and BelgiumHe has given numerous master classes andlecture demonstrations all over the world
Spanhove is co-author of thesuccessful recorder method Easy Going(Heinrichshofen) and wrote the much-
used book The Finishing Touch ofEnsemble Playing (Alamire 2000
and Moeck 2002 with translations inChinese and German) In 2009
The Recorder Music of Frans Geysenwill come out (Mieroprint)
Currently he is researching practicetechnique for the recorder Daily
Spanhove thinks about how to makepeople happier by making music and
playing the recorder
As a conclusion for the VirtuosoRecorder class during the AmherstWorkshop in 2008 we organized aldquoHappy Hourrdquo for our nine talentedstudents Mee-Jung Ahn (Korea)Emilie Hasselgren and Kristine West(Sweden) Anne Timberlake JosephLewnard Jacob Lodico and BrycePeltier (US) Emiliano Perez(Mexico) and Fanny Massy (France)participated in a quiz that I wrote thenight before with the assistance ofReine-Marie Verhagen
We combined questions regardingmusic theory with practical exercisessuch as middot How long can a player hold a
low f in one breath on an altorecorder (You get one point foreach second)
middot How many times through a scaleis a player able to play in 30seconds (For every octave of theF major scale you get one point)
middot How many different pieces fromthe recorder repertoire can aperson play in the course of twominutes (The other members ofthe group have to guess the nameof the composer before the playercan start the next piece)
middot In one minute list as manydifferent titles as you can fromDer Fluyten Lusthof (TheRecorderrsquos Pleasure Garden) of J J van EyckThe list of questions goes onAt the ldquoHappy Hourrdquo people
were divided into three groupsaccording to dates of each personrsquosbirthday When theoretical questionswere asked (see below) the pointsystem was devised as follows threepoints were awarded when the selected
person of a group could find theanswer himherself two points whenthe selected person needed the help ofthe other group members and onepoint if the group needed the help ofour gracious class assistant Reine-Marie Verhagen (she alwaysknew the answer) No points weregiven if the quizmaster had to supplythe answer
On the next page you find someof my questions There are morewhich we hope to run in a future issueof American Recorder
The quiz was full of fun andsuspense By the end people weremore nervous than when playing aconcert on stage Jacob Lodico of theUS was the winner at Amherst
28 March 2009 American Recorder
Education___________________________________ A quiz for recorder players
wwwAmericanRecorderorg March 2009 29
Try these questions yourselfAnswers appear at the end of thisarticle
The Quiz1 Give the name of Ganassirsquos
treatise of 1535 where heextensively describes the recorder playing and diminutions of his time
2 In which German city is therecorder company Moeck based
3 In the cantata Gottes Zeit ist dieallerbeste Zeit BWV106 JS Bach calls for two altorecorders Give another name for this cantata
4 Of which famous orchestra isFrans Bruumlggen the conductor
5 List three leading Japanesecomposers of excellent solo pieces for the recorder
6 Give the names of recordermagazines published inGermany England and the US
7 What is the fundamental tone of a fourth flute
8 List two recorder makers fromthe Baroque period in England
9 Whatrsquos the title of the recitativeand chorale in the Saint MatthewPassion where the recorder isused
10 Give the names of two famouspublishers in business around1700mdashone in London and one in Amsterdam
11 The opus 10 work by AntonioVivaldi includes six concertiSome of them have beautifulnames Give the names of thefirst three concerti of this opus
12 Whatrsquos a nickname for Jean Jacques Hotteterre
13 The combination of recorder andtraverso was rarely used in theBaroque time Can you name any composers who used thiscombination
14 Which king from 16th-centuryEngland owned a large collectionof recorders and also composedand enjoyed daily recorderplaying
15 How many movements compriseHandelrsquos Sonata in C Op 1 No 7 originally written forrecorder and basso continuo
16 Give the name of Praetoriusrsquostreatise from 1609 that describesthe whole recorder family
17 Name the author of the oldestrecorder method
18 Name Jan Jacob van Eyckrsquosdisability
19 Who pretended around 1930 thatthe recorder was a kind ofclarinet
20 Who doesnrsquot belong in thefollowing group Bertho DrieverKarel van Steenhoven MarionVerbruggen Paul LeenhoutsDaniel Bruumlggen
21 Name the two instrumentsindicated to play the sonataMeiner Mutter of Hans UlrichStaeps
22 Il Pastor Fido was not composedby Antonio Vivaldi but by aFrench composer What was hisname
23 Whatrsquos the nationality of themusic company Zen-On
24 CPE Bach composed abeautiful trio that includes a bassrecorder What are the other twoinstruments
25 Give the names of the fourmovements of Bachrsquos partita forsolo traverse flute BWV1013
26 Which excellent playersperformed as the recorder trioSour Cream
27 A recorder normally has eightfingerholes Despite this musichistory describes the recorder as ldquoune flucircte agrave neuf trousrdquo (a flute with nine fingerholes)Explain why
28 Give the French name for vibratoperformed by finger movementsalone on a wind instrument
29 Who wrote in his diaryldquohellipbeyond anything in the wholeworld the wind-music when the
Answers to
Bart Spanhoversquos Quiz1 La Fontegara2 Celle3 Actus Tragicus4 The Orchestra of the
Eighteenth Century5 R Hirose M Ishii and
M Shinohara
6 Windkanal or Tibia (both ofGermany) The Recorder(England) American Recorder(US)
7 B8 The most famous English
recorder makers around 1700Bressan and Stanesby (the latterbeing both senior and junior)
9 O Schmerz Hier zittert das gequaumllte Herz
10 Walsh (and Hare) (of London)Roger (of Amsterdam)
11 La Tempesta de Mare La Notte Il Gardelino
12 Le Romain13 JB Loeillet J J Quantz
JJ Hotteterre or J B de Boismortier
14 Henry VIII15 Five16 Syntagma Musicum17 Sebastian Virdung Musica
Getutscht und Ausgezogen (1511)18 Blindness19 Igor Stravinsky20 Marion Verbruggen21 Alto recorder and piano22 Nicolas Cheacutedeville23 Japanese24 Viola and cembalo25 Allemande Courante Sarabande
Bourreacutee26 Kees Boeke Walter van Hauwe
and Frans Bruumlggen27 Before 1670 the player could
choose how to hold the recordermdashleft hand or right hand at the topThis meant that recorder makersdrilled two holes to accommodatethe little finger of the hand thatended up at the bottom Theunused hole was sealed with beeswax
28 Flattement29 Samuel Pepys30 Flanders Recorder Quartet
30 March 2009 American Recorder
Lazarrsquos Early Music(866) 511-2981 jblazaraolcom
wwwLazarsEarlyMusiccom
292 Gibraltar Dr 108 Sunnyvale CA 94089
Strings amp Early Winds
ModernBaroque Strings Viols Vielle
Kuumlng Moeck Mollenhauer Paetzold Yamaha Ehlert
Wenner Baroque flutes
Wendy Ogle Lu-Mi Ifshin Snow
Competitive Prices
Sent on Approval
Personalized Service amp Advice
R
E
C
O
R
D
E
R
S
ldquoGO FOR NEO-BAROQUErdquo
Andrew Charlton Partita Piccola For 4 Recorders (SATB)
[Prelude Allemande Courante Musettemdash
a neo-baroque epitome] (Score amp Parts PBE-25) $795
Andrew Charlton Suite Moderne For 3 Recorders (ATB)
[Baroque shapes but Hindemithian harmony]
(3 Playing-Scores PBE-44) $995
Southwest of Baroque David Goldsteinrsquos ldquobaroque Suiterdquo
on Cowboy Songs For 2 Recorders (SA) (PBE-2) $350
The Provincetown Bookshop Inc
246 Commercial Street Provincetown MA 02657 Tel (508)487-0964
A good source for Recorder amp Viol Music of all publishers
Provincetown Bookshop Editions
angel comes down which is sosweet that it ravished me andindeed in a word did wrap upmy soul so that it made me reallysick just as I have formerly beenwhen in love with my wiferdquo
30 Whatrsquos the English name for afamous recorder ensemble calledin its country Vier op lsquon Rij
wwwAmericanRecorderorg March 2009 31
by Tim Broege timbroegeaolcom
December 11 2008 was a specialday for American music the
100th birthday of Americarsquos greatestliving composer Elliott Carter Cele-bratory concerts took place in manyvenues including Carnegie Hall inNew York There the Boston Sym-phony led by James Levine played anew work by Carter Interventions forpiano and orchestra The soloist wasanother well-known conductor DanielBarenboim who is no mean hand atthe keyboard to say the least
Itrsquos remarkable that wonderfulnew compositions continue to pourforth from Carterrsquos pen His musicsparkles and frolics packing lots of musical events into engrossingstructures Much of his music isavailable on CD so if you missed thecelebrations you can easily have yourown belated birthday party for Carter
Although he has never written for recorder (one of our prominent
recorder soloists should commissionhim) Carter has produced manychamber pieces featuring woodwindsSince many recorder players double orstarted out on woodwinds such piecesas the Sonata for Flute Oboe Cello ampHarpsichord (1952) Enchanted Preludes(1988) for flute and rsquocello Espritrudeesprit doux (1985) for flute andclarinet or the Oboe Quartet (2001)may hold special interest
If you missed Charlie Rosersquosexcellent interview (broadcast onDecember 10) with Carter Levine andBarenboim you can see it atwwwcharlierosecomview
interview9774mdashessential viewingfor fans of contemporary music
We note with sadness the passingon January 23 of another distin-guished American composer GeorgePerle An authority on the music ofAlban Berg and the Second VienneseSchool Perle developed a uniquelyrical style based upon a free approachto 12-tone and serial procedureswhich he dubbed ldquo12-tone tonalityrdquo I recommend listening to his SerenadeNo 3 for Piano amp Orchestra (1983) Six Etudes for Piano (1973-76) and the Pulitzer Prize-winning Wind Quintet No 4 (1985)
Another leading American com-poser Leon Kirchner is thankfully still with us having turned 90 onJanuary 24 Like Perle Kirchner has a highly personal and expressive styleA birthday concert was held at MillerTheater at Columbia University inNew York City NY Participatingmusicians included flutist PaulaRobison pianist Jeremy Denk and theClaremont Trio with the composerpresent to discuss his music
An excellent way to get to knowKirchnerrsquos music is through his stringquartets Just in time for his birthdayAlbany Records has released a fine CDof all four played by the Orion StringQuartet Quartet No 4 was written in2007 (when the composer was 87mdasha veritable youngster compared toCarter) The composer Allen Shawnhas described that quartet asldquoluminous and passionaterdquo words aptto describe much of Kirchnerrsquos output
Speaking of contemporary musicI have been spending pleasant hoursperusing the Catalog of ContemporaryBlockflute Music available online atwwwblokfluitorg from StichtingBlokfluit This Netherlands founda-tion offers a contemporary recordercatalog and a catalog of historicalrecorder music Access to both is byfree membership
For those who havenrsquot yet used thecontemporary catalog I urge you togive it a try You can search by manyparameters such as composer title orspecific instrumentation A search forldquovoice fluterdquo turned up a list thatincluded Moon Dances Three AmericanSketches by composer Walter Mays(intended for solo alto recorder butalso playable on tenor or voice flute)Searching the name of English com-poser Edmund Rubbra produced a listof eight works that employ recordersincluding the intriguing CantataPastorale opus 92 for high voice altorecorder rsquocello and harpsichord
Searching ldquofemale composersrdquo fora piece using ldquoBaroque altordquo yieldedAfter Meditation by Ros Bandt ofAustralia
What an easy and tremendouslyvaluable way to find new music
On the Cutting Edge___________________________________Birthdays composers and
recorder music catalogs
Elliot Carter
(photo by Meredith Heuer)
Question How does Renaissancefingering differ from standard
fingering on the recorder Is one superior tothe other Do you need a special recorder touse Renaissance fingering and if so can itbe played with regular recorders Is there afingering chart that shows RenaissancefingeringmdashWilliam BaumannWaterford WI
Answer from Carolyn Peskin Music composed in the
Renaissance the historical periodextending from about 1450 to 1600was predominantly vocal and highlycontrapuntal Recorders which oftendoubled singers at the octave orrendered vocal pieces instrumentallywere designed to make the individualmelodic lines clearly audible
Most 16th-century consortrecorders were one-piece instrumentswith large toneholes and a wide borethat contracted slightly starting nearthe upper fingerholes and thenexpanded gently near the lowest holesThat ldquochoke-borerdquo design togetherwith the voicing and tonehole con-figuration favored the fundamentaltone (first harmonic) producing astrong open sound that was aboutequally loud throughout theinstrumentrsquos range
Such recorders had a useful rangeof only about an octave plus a sixthwhich was nevertheless sufficient for the music of their day MostRenaissance-style consort recordersmade today are based loosely uponsurviving 16th-century instruments ofthe above type and are designed toapproximate the range timbre andvolume of those early instruments
Our present-day ldquoregularrdquorecorders are Baroque-derived instru-ments based loosely upon survivingrecorders from the late 17th and early18th centuries They are three-pieceinstruments with small toneholes and abore that is narrower and moretapering than a Renaissance boreextending their useful range upward totwo octaves plus a whole tone
Baroque recorders are soft andsweet-sounding in their bottom octavebut louder and brighter in the secondoctave Their lowest notes are espe-cially weak because they must be blowngently to prevent overblowing into thesecond octave Such instruments aresuitable for Baroque solo and chamberrepertoire but not very satisfying forRenaissance polyphony
Due to their different timbre andvolume Renaissance recorders will not blend well with Baroque onesFurthermore the most historicallyauthentic Renaissance-style recordersare tuned in a ldquomeantonerdquotemperament that facilitates the playingof pure major thirds Such instrumentsmake Renaissance music easier to playin tune but will produce intonationproblems if played with Baroquerecorders which are tuned in equaltemperament For the above reasonsRenaissance and Baroque recordersshould not be played together
Renaissance fingering will not work on todayrsquos neo-Baroquerecordersmdashmost of which haveldquomodernrdquo Baroque fingeringcommonly called ldquoEnglishrdquo fingering
because it was developed fromhistorical Baroque fingering by ArnoldDolmetsch in England during theearly 20th century Renaissancefingering is less standardized partlybecause a number of different originalinstruments are used as models andpartly because makers wish to improvethe intonation tone quality andorplayability of certain notes Howeverthe following generalizations apply tomany of todayrsquos Renaissance-styleconsort recorders
First in the lower octave modernBaroque fingering works for mostnotes but is often too flat for the fourth scale degree (eg soprano F)requiring removal of finger 7 (right-hand pinky) and is too sharp for theraised fourth degree (eg soprano F)requiring addition of finger 7
Modern fingering is also usuallytoo sharp for the lowered seventhdegree (eg soprano B) The correctfingering for that note varies from oneinstrument to another
In the upper octave modernfingering works for the first third andfifth scale degrees (eg soprano C Eand G) but usually not for other notesSome notes require half-holing with aright-hand finger and notes above thefifth scale degree may require additionof several fingers to bring them in tuneHistorical Renaissance fingering forthe second scale degree (eg sopranoD) is especially awkward because all ofthe fingerholes and the thumbholemust be uncovered Therefore somemakers substitute modern fingering forthat note
Although Renaissance fingeringand meantone tuning are recom-mended for the best blend some
Q amp A___________________________________ Renaissance recorder fingering
Send questions to Carolyn Peskin QampA Editor 3559 Strathavon Road Shaker Heights OH44120 carolynpeskinstratosnet
32 March 2009 American Recorder
wwwAmericanRecorderorg March 2009 33
makers of handcrafted Renaissance recorders will provide modern fingeringandor equal temperament upon request and Moeck Verlag offers a choice ofRenaissance or modern fingering for most sizes of its factory-producedRenaissance Consort series
For a most satisfying blend Renaissance ensembles should purchase amatched set of recorders tuned and voiced to be played together Renaissanceconsort sets usually include two different alto recorders one in G (lowest note g)and one in F (lowest note f ) The ATTB combination with the G-alto is best formost of the quartet music composed between 1450 and 1550 while the SATBcombination with the F-alto is more practical for much late 16th-centuryrepertoire (Playing the G-alto requires learning G-alto fingering or elsetransposing the alto line down a whole tone and using F-alto fingering)
In addition to consort recorders some makers offer ldquoGanassirdquo sopranos andaltos based upon fingering charts in Silvestro Ganassirsquos recorder tutor Fontegarapublished in 1535 and a single original instrument in the Vienna Kunst-historisches Museum Because of their special bore design (cylindrical with aflaring bell) Ganassi recorders have a range of two octaves and a sixth withcumbersome fingerings in the third octave They are used mainly as soloinstruments for playing intricate ornaments of the type found in Fontegara
Also sometimes included in the ldquoRenaissancerdquo category are ldquotransitionalrdquo(early Baroque) recorders which are based upon originals from the first half ofthe 17th century They have a bore that is wider than a Baroque bore but contractssharply near the lower end resulting in strong low notes and at least a full two-octave range usually with modern fingering Most transitional recorders aresopranos or altos designed for playing Jacob van Eyckrsquos variation sets or thehighly ornamented Italian solo repertoire of the late-16th and early-17thcenturies
However wide-bore consortrecorders with a range of at least twooctaves and modern fingering shouldalso be regarded as transitionalinstruments They differ somewhat intimbre and volume from typicalRenaissance consort recorders
Handmade wide-borerecordersmdashconsort Ganassi andtransitionalmdashare obtainable frommakers who advertise in AmericanRecorder the Prescott Workshop andthe Von Huene Workshop in the USJean-Luc Boudreau in Canada andStephan Blezinger in GermanyContact them andor visit their websites to find out what kinds ofrecorders they are currently makingand to get an idea of their prices andwait times
Factory-produced wide-borerecorders from Kobliczek Moeck andMollenhauer are available frominstrument dealers who advertise inAR New and used recordersincluding wide-bore models fromimportant makers in the US andabroad are also obtainable from Uni-corn Music For further informationvisit wwwbuyrecorderscom For a comprehensive database of recordermakers worldwide see Nicholas SLanderrsquos ldquoExtant Recorder Makers amp Retailersrdquo at wwwrecorder
homepagenetmakershtml
REFERENCES
CONSULTEDBauer Winfried
wwwrecorder-fingeringscomIncludes interactive fingeringcharts from modern makers andhistorical treatises Charts forRenaissance consort recorders byAdriana Breukink Adrian BrownBob Marvin and Tom Prescottwere consulted
Brown Adrianwwwadrianbrownorgrec
order_typesconsorthtml
Our present-day ldquoregularrdquo recorders are
Baroque-derived instruments based loosely
upon surviving recorders from the
late 17th and early 18th centuries
34 March 2009 American Recorder
The Von Huene Workshop Incis pleased to announce agreements with
CoolsmaZamra
to serve as their authorised service agents in the US
For more than 40 years the von Huene Workshop has produced some of the finest recorders in the world Our skilled staff can revoice retune and repair even the most seriously damaged instruments All repairs are done right on the premises and most can be completed within a week
For warranty repairs please include a copy of your original sales receipt
j 65 Boylston Street Brookline MA 02445 i(617) 277-8690 Fax (617) 277-7217 servicevonhuenecom
An informative article aboutrecorder sizes in Renaissanceconsorts
Brown Adrian and David LasockildquoRenaissance Recorders andTheir Makersrdquo AmericanRecorder Vol XLVII No 1(January 2006) pp 19-31 An important article based upon Brownrsquos extensive researchon 120 of the 200 surviving 16th-century recorders
Ganassi Silvestro Opera IntitulataFontegara Ed Hildemarie Peter(Berlin-Lichterfelde RobertLienau 1959) Modern edition ofthe oldest known treatise devotedentirely to the recorder (publishedin 1535) Includes 16th-centuryfingering charts
Griscom Richard and David LasockiThe Recorder A Research andInformation Guide (New York andLondon Routledge 2003) Anannotated bibliography including
references on construction anddesign of historical recorders
Levin Philip ldquoQampArdquo AmericanRecorder Vol XXXVIII No 4(September 1997) p 27Explains in simple terms thedifference between Renaissanceand Baroque recorders
Morgan Fred ldquoA Recorder for theMusic of JJ van EyckrdquoAmerican Recorder Vol XXV No 2 (May 1984) pp 47-49Describes the bore design of arecorder suitable for playing Van Eyckrsquos variation sets andcompares it with bore designs ofother types of recorders
Myers Herbert W ldquoRecorderrdquochapter in A Performerrsquos Guide toRenaissance Music ed JefferyKite-Powell (New York SchirmerBooks 1994) A 2nd edition isnow available published in 2007by Indiana University Press
FEATURING MUSICA PACIFICA
JUDITH LINSENBERG
RECORDERS____JS BACH TRIO SONATAS Arr by
Linsenberg from Trio Sonatas for Organ BWV525-
530 Sonata No 1 in E
major (transp to B
)
BWV 525 Sonata No 2 in C minor (transp to E)
BWV526 Sonata No 3 in D minor (transp to G)
BWV 527 Sonata No 4 in E minor BWV 528
Sonata No 5 in C major (transp to F) BWV529
Sonata No 6 in G major (transp to C) BWV 530
Virgin Classics Veritas 1993
____FIRE BENEATH MY FINGERS Showcases
three legendary composers who were also
virtuoso performers Vivaldi Concerto in F major
after RV 98570 ldquoLa Tempesta di Marerdquo Sonata in
A minor RV86 Concerto in G minor RV106 Con-
certo in Bb major RV503 Sammartini Concerto in
F major Tartini Concerto in A major D91 Dorian
____MANCINI CONCERTI DI CAMERA Seven
sonatas by Francesco Mancini plus one work each
from his contemporaries Francesco Durante amp
Domenico Scarlatti Highly recommended citation
from the 2000 Vivaldi Prize for Recordings of Italian
Early Music--Giorgio Cini Foundation Dorian
____MARAIS MARIN PIEgraveCES EN TRIO POUR
LES FLUcircTES VIOLON amp DESSUS DE VIOLE
Maraiss complete works for two treble lines and
bass with varied instrumentation and orchestrations
2-CD set $24
____SCARLATTI CONCERTI DI CAMERA
Seven sonatas for various instrumentations no
poor relations to the composers much more widely-
known vocal output All recorder players should
certainly have thisndashEarly Music Review
____TELEMANN CHAMBER CANTATAS
Five cantatas from Harmonischer Gottesdienst two
sonatas from Sonatas Corellisantes 2003 Chamber
Music America WQXR Record Award for best
chamber music recordings
____VIVALDI LA NOTTE Concerti per strumenti
diversi Award-winning CD featuring five Vivaldi
concerti two sonatas
AND OTHER RECORDING
ARTISTS FROM CALIFORNIA ____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 American Bach Soloists Jeffrey
Thomas conductor Dan Laurin Hanneke van
Proosdij recorders Christmas Concerto featuring
unique 1725 London version with solos transcription
for two recorders instead of two solo violins in
three of the six concertos Delos
____CANCcedilONIEgraveR Annette Bauer recorder
multi-instrumentalist Tim Rayborn Shira Kammen
strings Phoebe Jevtovic voice in a new early
music group devoted to repertoire from the
12thndash15th centuries as well as traditional music
from related regions (the Balkans Scandinavia
Middle East) Medieval instrumental music played
on a variety of instruments including strings
recorders and percussion Medieval dances and
motets bring to life the rich world of ancient
European music-making
____SACRED AND SECULAR MUSIC FROM
RENAISSANCE GERMANY Ciaramella-Adam amp
Rotem Gilbert Doug Millikan Debra Nagy
recorders with other winds shawm sackbut amp
organ Medieval amp Renaissance sacred music with
reconstructions of folksongs amp arrangements based
on contemporary improvisation
____BURIED TREASURE TOPAZ amp SAPPHIRE
Ensemble Vermillian Frances Blaker recorders
Barbara Blaker Krumdieck cello Elisabeth Reed
gamba Katherine Heater harpsichord amp organ
Transcriptions of Buxtehudes Op 1 other pieces by
Buxtehude works by Biber Johann Schop
Schmelzer Fafarela 2007
____STOLEN JEWELS Ensemble Vermillian
Frances Blaker recorders Barbara Blaker
Krumdieck Elisabeth Reed Katherine Heater 17th-
century German music adapted by Blaker I love
violin music so I steal the music and rearrange it
for my own instrumentrdquo Buxtehude Op 1 Biber
Rosenmuller Krieger JM Bach Fafarela
Recordings
____SENFL (LUDWIG) Farallon Recorder Quartet
(Letitia Berlin Frances Blaker Louise Carslake
Hanneke van Proosdij) 23 lieder motets and
instrumental works of the German Renaissance
____DOLCE MUSICAndash A CONTEMPLATIVE
JOURNEY Eileen Hadidianflutes recorders
Natalie Cox harps Celtic Renaissance and
Medieval melodies for recorder and flute with
Celtic harp Healing Muses 2005
____REFLECTIONS MUSIC TO SOOTHE AND
UPLIFT THE SPIRIT Eileen Hadidian recorder amp
Baroque flute with Celtic harp and cello Celtic
traditional Renaissance amp Medieval melodies
Healing Muses
____AN EVENING WITH BACH Voices of Music
Hanneke van Proosdij Louis Carslake Dan Laurin
recorders Joanna Blendulf Elizabeth Blumenstock
Rodney Gehrke Lisa Grodin Katherine Kyme
Jennifer Lane Victoria Gunn Pich Susanne Ryden
William Skeen David Tayler Renaissance and
Baroque music centers on fine singing Instantly
recognizable Air on a G String Bachrsquos Prelude in
G Major (solo theorbo for rsquocello) plus lilting vocal
performancesmdashRydenrsquos weightless soprano on
Bist du bei mir Lanersquos rich alto on Es is vollbracht
____BACH amp TELEMANN SONATAS PRELUDES
amp FANTASIAS Voices of Music (Hanneke van
Proosdij Joanna Blendulf Rodney Gehrke William
Skeen David Tayler) Beautiful chamber music by
Bach and Telemann
IN STOCK (Partial listing)____ALLA TURCA FUX CALDARA BADIA
Matthias Maute amp Sophie Lariviegravere recorders
Monika Mauch soprano Vocal music of the church
accompanied by Ensemble Caprice plus sonatas
and other instrumental pieces Analekta
____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 John Daniels Sonja Lindblad
recorders Peter Sykes harpsichord Trio sonata
arrangement by Johann Christian Schickhardt
____LES
AMIS DU
BAROQUE
Paul Nauta recorder amp
Baroque flute Koen Dieltiens recorder Music by
Bassani Corelli Vivaldi etc Highlight Intl
____LES SEPT SAUTS BAROQUE CHAMBER
MUSIC AT THE STUTTGART COURT Matthias
Maute amp Sophie Lariviegravere recorders amp traverso
Ensemble Caprice Charming repertoire by
Schwartzkopff Bodino Detri Atma Classique
____TASTE OF PORTIQUE LEnsemble Portique
Early and contemporary chamber musicmdash
Bach Telemann Boismortier and others
____TELEMANN ALLA POLACCA REBELndash
Matthias Maute recorders amp traversondash
plays concerti and suites by GP Telemann Dorian
____TELEMANN CANONS AND DUOS Lisette
Kielson amp Patrick OMalley recorders LEnsemble
Portique Telemann Canons meacutelodieux amp Sonates
sans basse 2-CD set LEP Records
____20TH CENTURY MUSIC FOR RECORDER amp
PIANO Anita Randolfi recorders Music by Jacob
Bartok Leigh others for recorder amp piano
____VIVALDI AND THE BAROQUE GYPSIES
Matthias Maute amp Sophie Lariviegravere recorders
Ensemble Caprice Gypsy music taken from
Uhrovska zbierka (now Slovakia) plus Vivaldi
____VIVALDI SHADES OF RED CONCERTOS amp
SONATAS FOR RECORDER amp STRINGS Matthias
Maute recorders REBEL Stylish high octane
readings of some of Vivaldis most beloved pieces
including the popular and raucous Concerto alla
Rustica stunningly colorful Sonata on La Follia and
four exuberant recorder concerti Bridge
____WINDFIRE Charmaine Delmatier recorder
Steve Kostelnik classical guitar Terry Hale bass
Erik Hokkanen violin Refreshing mixture of Andrew
Lloyd Weber American blues flamenco Celtic and
one original piece ltwwwyermomusicomgt
Please indicate above the CDs you wish toorder and print clearly the following
Name ____________________________________
Daytime phone (_____)______________________
Address__________________________________
CityStateZip _____________________________
Check enclosed for
_____ single CDs x $____ = $______
_____ 2-CD sets x $____ = $______
TOTAL $______
Please charge the above amount to my
MasterCard Visa or AmEx
_______________________________________
Exp Date ____________
Cardholderrsquos signature ______________________
Mail to
ARS 1129 Ruth Dr St Louis MO 63122-1019 US
You may fax a credit card order to 314-966-4649
NEW You may order CDs online using PayPal at
wwwamericanrecorderorgordercdromshtm
Order your recorder discs
through the ARS CD Club
The ARS CD Club makes hard-to-find or limited release CDs by ARS members
available to ARS members at the special price listed (non-members slightly higher)
All CDs are $15 ARS members$17 Others unless marked otherwise Two-CD sets are
$24 ARS members$28 Others Add Shipping and Handling $2 for one CD $1 for each
additional CD An updated listing of all available CDs may be found at the ARS
web site ltwwwamericanrecorderorggt
The first meeting of the newly-formedFort Myers Recorder and Early
Music Ensemble was January 26 atthe Florida home of chapter rep Sue
Groskreutz For this year the groupis somewhat loosely organized andplans to meet for extended sight-reading Repertoire at the first meetingcomprised everything from Renais-sance duets to chamber music involv-ing three treble parts and continuo
Among the five musiciansattending the first meeting (photobelow front row Elizabeth Spang SueGroskreutz back row Suzanne FergusonSibylle Baumgartner Arlene Sowka) allplayed recorder three harpsichord
and one each played traverso violinand gamba Due to the scarcity ofrecorder players south of the Sarasotaarea modern string players are alsoincorporated into this ensemble
The group decided not to chargedues and to meet at Groskreutzrsquoshome For more information pleasecontact Groskreutz at 239-267-1752spgembarqmailcom Snowbirdsdrifting through the area are welcome
Last fall at the requestof a student Kay Hettich
(inset below right) taught abeginning recorder class atthe Redding (CA) Senior
Center The five-weekclass was so successful thatmost participants haveformed a bi-weekly noviceensemble (right) coachedby Hettichmdashwho consid-ers them her ldquohatchedeggsrdquo
A new batch of ldquoeggsrdquostarted to incubate when afive-week class began on February 20Other senior center members havebecome interested as they heard oftheir colleaguesrsquo success These noviceplayers comprise some who previouslyread music and played instruments as well as people who are totally new to music notation
One student has also formulated amaxim ldquoEveryone at age 40 ought tolearn to play the recorder if heshehasnrsquot alreadyrdquo Just think how theworld would be transformed byshifting our focus to music
After Lynn Whidden attendedthe Montreacuteal Recorder Festival lastfall when the ARS Board met inQuebec she joined the ARS and nowrelays news of the lively interest in therecorder exhibited by a group underthe new leadership of Brent Legg ofBrandon University in ManitobaCanada Although his hands wereldquostill partly frozenrdquo he wrote that theBrandon University Collegium
Musicum in collaboration with theWaverley Park Recorder Club is
preparing a spring concert calledldquoEnglandrsquos Golden AgerdquoRepertoire spans the 16th century
from Henry VIIIrsquos accession in 1509to the death in 1603 of Elizabeth Iand includes solo songs four- andfive-part settings of Renaissancedances (with dancers) three- to five-voice madrigals and ldquobig-bandrdquoarrangements of William Byrdrsquos TheBells and The Dargason as re-imaginedby Gustav Holst (further re-imaginedfor recorders and percussion)
Of the 15 collegium membersseven are encountering the recorderfor the first time since elementaryschool The Collegium Musicumpromotes the study of early music at the university and is open to theuniversity community and the generalpublic This year there are five com-munity participants with interest fromseveral more both within and outsideof the university For informationcontact BrentLegggmailcom
January 16 marked the thirdannual recorder workshop of threeFlorida groups the Pasco Collegium
Recorder Consort of Hudson theImperial Recorder Consort of
36 March 2009 American Recorder
Chapters
amp Consorts___________________________________Workshops and activities from
coast to coast in the US and Canada
Lakeland and the Pilgrim Pipers Recorder Consort of St Petersburg Theygathered for a morning tackling selections by Banchieri Monteverdi PurcellCorelli Mendelssohn Bach Mozart and Glen Shannon Each group presenteda piece for the other participants Sweet Georgia Brown by Ben Bernie (St Pete)a Sonata by Sammartini (Lakeland) and The Gospel Train arr by KW Ford(Pasco) The 29 participants were led by Marlene Cracraft (Pasco) Jane
Spencer (Lakeland) and Elizabeth Snedeker (St Pete) Tom Bickley (photo below) directed the fall workshop of the Mid-Peninsula
Recorder Orchestra in Cupertino CA The 30 players started with Gregorianchants written in ldquooldrdquo notation Bickley gave basic instruction on how tointerpret the notes and then had the group sing the chants prior to playing them
The workshop theme of ldquoThe Articulate Recorderrdquo was literally played out as the music presented used variations in tonguing phrasing and breathingOther repertoire included a Kyrie by Tomas Luis de Victoria Bachrsquos Jesu Joy ofManrsquos Desiring a double-choir piece by Gabrieli Christopher Tyersquos In NomineXIII and a Purcell chaconne The workshop ended with a rhythmically-challenging minimalist piece by Bickley entitled Beginning composed for theWaldorf School teacher training program George Greenwood reports that thegroup had a productive event and plans to ask Bickley to lead a future workshop
wwwAmericanRecorderorg March 2009 37
A Muse in the DesertThe sound of a pin dropping hellip thesound of eager minds and fingersabsorbing information and inspira-tion hellip the sounds of ldquoNuevaEspantildeardquo Spanish- and indigenous-influenced music of the 1600s in theNew World These were the soundsof the Desert Pipes (Phoenix AZ)chapterrsquos fall workshop given byEileen Hadidian On a Saturdaylast October 30 players from all overArizona gathered to learn from andbe inspired by the founder of a SanFrancisco Bay Area group dedicatedto sharing music for healing inhealthcare settings Healing Muses(wwwhealingmusesorg)
The day began with relaxationstretching and breathing exercisesfollowed by travels to Peruacute MexicoGuatemala and Colombiamdashhighchurch music vernacular pieces anda mixture of the two Participantsenjoyed the historical and contextualbackground provided as an overviewfor the day and for each piece
Remarkably the sound heardbetween pieces and passages was anenergy-filled quiet the attentivestillness of active engagement in theworkshop experiencemdashnot the chat-tering noodling and conversationsthat often occur when the musicstops That activity was reserved forthe breaks when participants couldenjoy the cool (at last) outdoorschat with Hadidian and peruse the popular garage sale (to benefitDesert Pipes) of previously-enjoyedbooks and other treasures
On Sunday Hadidian sharedher expertise and inspiration in indi-vidual and group coaching sessionsThe weekend was a special experi-ence and Desert Pipes memberslook forward to the next visit of this Healing Muse
Ann Koenig Scottsdale AZannisalesprocom
Members
of three
Florida
groups
met
in January
for a joint
workshop
CHAPTER NEWS
Chapter newsletter editors and publicity officers should send materials for publication toAmerican Recorder 7770 South High St Centennial CO 80122-3122
editoramericanrecorderorg Also send short articles about specific activities that haveincreased chapter membership or recognition or just the enjoyment your members get out of
being part of your chapter Digital photos should be at least 3rdquox4rdquox300dpi TIF or unedited JPG files Please send news to the AR address above and to the following
ARS Office 1129 Ruth Drive St Louis MO 63122-1019 ARSrecorderAmericanRecorderorg
and to Bonnie Kelly Chair Chapters amp Consorts Committee 45 Shawsheen Rd 16 Bedford MA 01730 bksharpaolcom
TO THE STARS
AND BEYONDThe cover of the November magazinegenerated a few comments Some werenrsquotsure how to interpret the title (in theartistrsquos native German it could besomething close to ldquostarlit moonrdquo)Longtime member Carolyn Peskin wrote to offer her vision of that cover
In the beginning the Great Spiritinvented Mr Sun to light the day andMiss Moon to light the nightHowever as Miss Moon floated up inthe sky all by herself like a big yellowballoon she began to feel very lonelyso one night to relieve her lonelinessshe decided to take out her recorderand make music
But when she started to playsomething miraculous happened Not only beautiful melodies but alsoyellow dust poured out of the bottomof her recorder and the dust particlesimmediately coalesced to form yellowstars As she continued playing moreand more stars were created and theyfloated up around her filling the nightsky
At last Miss Moon was happy fornot only was she herself able to enjoyher music but she now had a wholecrowd of starry companions to enjoy itwith her And if you listen very care-fully on a quiet night you might beable to hear her recorder and thatstarry choir humming along
Carolyn Peskin
LOCATING EARPLUGSI read with interest the QampA in theNovember lsquo08 AR regarding hearingloss and use of earplugs Where do you get musicianrsquos earplugs
Dolly Hirata Kensington CA
CAROLYN PESKIN PROVIDED THIS
INFORMATION Musicianrsquos earplugs arecustom made for individual usersThey can be purchased only fromlicensed hearing professionals (ieaudiologists and hearing instrumentspecialists) To find a licensed hearingprofessional in your area look underldquoaudiologyrdquo or ldquohearingrdquo in your localyellow pages
For information about how musi-cianrsquos earplugs are produced visitwwwetymoticcomephperme-w
tbaspx That web page also has a linkto contact information for authorizedlabs that make the custom earmolds formusicianrsquos earplugs If the yellow pagesdo not prove helpful those labs canrefer you to a licensed hearing pro-fessional in your area from whom youcan purchase musicianrsquos earplugs
MORE FROM CAROLYN
THIS TIME ABOUT OSKARIn the September 2008 AR the musicreview by Leslie Timmons of the Oskarpieces by Matthias Maute mentionedthat Carolyn Peskin had translated twoof the Oskar books from German toEnglish People can obtain thetranslations free of charge as Wordattachments by contacting her atCarolyn Peskin 3559 StrathavonRoad Shaker Heights OH 44120carolynpeskinstratosnet
ANOTHER KIND OF
MUSIC-READING
GLASSESIn the January 2009 issue of AmericanRecorder therersquos something (in myopinion) the ldquoRecorder with GlassesObbligatordquo article omitted which canenable a nearsighted musician to avoidneck strain in the use of bifocals
Irsquove found the solution to thisvexing problem is to have onersquos bifocalsconstructed differently [from] normalMy optometrist was willing to work
38 March 2009 American Recorder
Response___________________________________Two kinds of vision
the better to see with and (not) to hear with
Honeysuckle Music
Recorders amp accessories
Music for recorders amp viols
Jean Allison Olson1604 Portland AveSt Paul MN 55104
6516448545jeanhoneysucklemusiccom
Responses from our readers are welcomedand may be sent to American Recorder 7770 South High St Centennial CO
80122 Letters may be edited for length and consistency
ARS Membership Enrollment and Renewal I am a new member I am or have been a member
USCanadian Memberships Foreign Memberships $45 One Year $55 Foreign One Year $75 Sustaining (Receive a Hottetere Hands Pin) $100 Two Years $80 Two Years
LIFETIME MEMBERSHIP Single Dual Regular Lifetime Member $1000 (2) $1500 (4) 4 installments of $250 available) Loyalty Lifetime Member (1) $ 800 (3) $1200 (4) 4 installments of $200 available
(1) For members who have maintained membership for five consecutive years (2) $750 is Tax Deductible (3) $600 is Tax Deductible (4) Installments available Student Memberships Other Memberships (Enclose proof of full time enrollment) $65 One Year Workshop Membership
$25 USCanadian One Year $125 One Year Business Membership $45 USCanadian Two Years $30 Foreign One Year $5 Additional Charge for Dual Address or Dual Name
Do not list my name in the ARS Print Directory Do not list my name on the ARS Online Directory Do not release my name for recorder related mailings Do not contact me via email
My address telephone and email address are the same as last time
______________________________________ _________________________ Name Phone Number ______________________________________ _________________________ AddressCityStatePostal Code Email Address Please charge to (Circle one) VISAMasterCardAMEXDiscover CC________________________________ Expiration Date ______________ Signature of cardholder_______________________________________________________ Clearly Print Name as it appears on Card________________________________________
Renew by Mail Online By Phone or by Fax
Demographic Information (optional information collected only to enhance ARS services and provide statistics to grant makers)
I am a member of ARS Chapter or Consort____________________________ I am the Chapter Contact Your age Under 21 (21-30) (31-40) (41-50) (51-60) 61-70) (71+) Please check all that apply
I am a Professional Recorder Performer
I wish to be included in the list of Recorder Teachers in the ARS Directory and website I Teach (circle your choices) Children High School Youth College Students Adults Beginner Intermediate Advanced Pre-Professional Individuals Childrenrsquos Classes Adult Classes Ensembles Suzuki Orff JRS Leader Kodaly Where I Teach (circle your choices) Music Studio Public or private school Community Music School College Other _____________________
American Recorder Society 1129 Ruth Dr St Louis MO 63122-1019
Phone 314-966-4082Fax 314-966-4649
TollFree 800-491-9588ARSRecorderAmericanRecorderorg
wwwAmericanRecorderorg
with me [to find] an ideal (for me)placement size and focal length of thebifocal lens
Before visiting the optometristIrsquod had my wife measure the distancefrom my eyes to the music on mymusic stand With this measurementthe optometrist set up her machine toprepare a vision prescription for memaximized for this reading distance
When I look at my bifocals (withthem off) the lenses (through which Iread my music) occupy most of thelower two-thirds of my glasses (they are set very high and beginimmediately at the inner rims) Thisleaves the upper third and smallportions of the outside [of each lens]for focusing on the conductor As longas my stand is set low enough my necknever experiences any strain (even if Ihave to read three to a part) and Irsquove no problem in seeing theconductor (in sharp focus) either
For me trying to use glasses [toread] from a music stand [that] weredesigned for use in reading from acomputer screen also results in neckstrain (not to mention unreliability in aldquopressurerdquo situation) Having studiedTai Chi extensively and so being
wwwAmericanRecorderorg March 2009 39
There are lots ofsolutions to thepresbyopic musicianrsquosproblem but all involve compromises
40 March 2009 American Recorder
American Recorder Society PublicationsErich Katz Contemporary Music Series Members Non-MembersA Short Tale for Two Basses Suzanne M Angevine (Level II) (2 scores) $5 $8Dialogue and Dance Cecil Effinger (SATB)(Level II-III) (score amp parts) $10 $18Dorian Mood Sally Price (SATB) (Level II) (score amp parts) $10 $18Double Quartet for Recorders Peter Ballinger (Level II-III) (score amp parts) $10 $18Entrevista Frederic Palmer (SATB) (Level II) (2 scores amp 4 recorder parts) $8 $14Kyrie and Vocalise for Soprano Voice ampRecorders Stanley W Osborn $8 $14
(SATB) (Level II) (2 scores amp 4 recorder parts) Picnic Music Jeffrey Quick (SATB) (Level II) (score amp parts) $5 $8Six Short Pieces for Three Recorders edited by Alan Drake $8 $14
(3 scores) Vaclav Nelhybel (AATT) (Level II)Sonatina for Alto Recorder and Piano Anthony Burgess $7 $12
(Level II) (2 scores)Sonatine for Three Altos Lee Gannon (Level III) (score amp parts) $14 $26Suite of Jewish Folk Tunes Erich Katz (S SA8 AT) (Level II) (three scores) $10 $18
Musical Editions from the Membersrsquo Library ARS members 1 copy-$3 2 copies-$450 3-$6 4-$750 5-$10 6-$1150Non-members (editions over 2 years old) 1 copy-$5 2 copies-$850 3-$12 4-$15 5-$1950 6-$23The ARS is happy to provide photocopied enlargements of any Membersrsquo Library edition at the same prices Please specify ldquoMembersrsquo Library Enlargementrdquo
ARS Information BookletsARS members 1 booklet-$13 2 booklets-$23 3-$28 4-$35 5-$41 6-$47 7-$52Non-members 1 booklet-$18 2 booklets-$33 3-$44 4$55 5-$66 6-$76 7-$86
Education PublicationsThe ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996)
First copy free to ARS Members (mailed to new members as they join) replacement copies $3Guidebook to the ARS Personal Study Program (1996) Material formerly published in the Study Guide
and Study Guide Handbook plus additional resources Members $11 non-members $20ARS Music Lists (2002 with 2003 Supplement) Graded list of solos ensembles and method books
Members $9 non-members $15Package Deal available only to ARS members Guidebook and Music ListsSupplement ordered together $16Junior Recorder Society Leaderrsquos Resource Notebook
ARS members $20 non-members $40 (updates at reduced rates after initial purchase)$5 Dues for each JRS student member sponsored by an ARS member ($4 each for groups of 10+)
VideosRecorder Power Educational video from the ARS and recorder virtuoso John Tyson
An exciting resource about teaching recorder to young students ARS members may borrow a copy for onemonth by sending $5 to the ARS office along with the address to which the tape should be shipped
Pete Rose Video Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music Festival recitalFeatures Rose performing a variety of music and an interview of him by ARS member professional John Tyson
Other PublicationsChapter Handbook A resource on chapter operations for current chapter leaders or those considering forming an
ARS chapter ARS members $10 non-members $20 (updates free after initial purchase) One free copy sent toeach ARS chapter with 10 members or more
Consort Handbook Resource on consort topics such as group interaction rehearsing repertoire performingARS member prices CD $10 hard copy $20 combo price of CD and hard copy ordered together $25
Discography of the Recorder Vol I (1989) Compiled by Scott Paterson and David LasockiDiscography of the Recorder Vol II (1990-1994) Compiled by Scott Paterson
Either single volume ARS members $23 non-members $28Both Discography volumes together ARS members only $40
American Recorder Cumulative Index for Vols I-XXXX ARS members $20 non-members $32Index Supplement Vol XXXIV-XXXX ARS members $8 non-members $14
Shipping amp Handling FeesUnder $10 - add $3 $10-1999 - add $4 $20-2999 - add $5 $30-3999 - add $6 $40-4999 - add $7 All prices are inUS dollars For Canadian or foreign postage pay by credit card and actual postage is charged
Please make checks payable to ARS VISAMCAMEXDisc also accepted
ARS 1129 Ruth Drive St Louis MO 63122 US800-491-9588 ARSrecorderAmericanRecorderorg
Arioso and Jazzy Rondo (AB) Carolyn PeskinBerceusendashFantaisie (SATB) Jean BoivertBrucknerrsquos Ave Maria (SSATTBB)
Jennifer W Lehmann arrCanon for 4 Basses (BBBB) David P RuhlDancers (AT) Richard EastmanDifferent Quips (AATB) Stephan ChandlerElegy for Recorder Quartet (SATB) Carolyn PeskinElizabethan Delights (SAATB)
Jennifer W Lehmann arrFallen Leaves Fugal Fantasy (SATB) Dominic BohbotFour Airs from ldquoThe Beggarrsquos Operardquo (SATB)
Kearney Smith arrGloria in Excelsis (TTTB) Robert CowperIdyll (ATB) Stan McDanielImitations (AA) Laurie G AlbertsIn Memory of Andrew (ATB) David GoldsteinLay Your Shadow on the Sundials (TBgB)
Terry Winter OwensLeClercqrsquos Air (SATB) Richard E WoodLittle Girl Skipping and Alouette et al (SATBCb)
Timothy R Walsh
Los Pastores (SAAAT + perc) Virginia N Ebinger arrNew Rounds on Old Rhymes (4 var) Erich KatzOther Quips (ATBB) Stephan ChandlerPoinciana Rag (SATB) Laurie G AlbertsSanta Barbara Suite (SSAAT) Erich KatzSentimental Songs (SATB) David Goldstein arrSerie for Two Alto Recorders (AA) Frederic Palmer Slow Dance with Doubles (2 x SATB) Colin SterneSonata da Chiesa (SATB) Ann McKinleyS-O-S (SATB) Anthony St PierreThree Bantam Ballads (TB) Ann McKinleyThree Cleveland Scenes (SAT) Carolyn PeskinThree in Five (AAB) Karl A StetsonTracings in the Snow in Central Park (SAT)
Robert W ButtsTrios for Recorders (var) George T BachmannTriptych (AATB) Peter A RamseyTwo Bach Trios (SAB) William Long arrTwo Brahms Lieder (SATB) Thomas E Van Dahm arrVariations on ldquoDrmešrdquo (SATB) Martha BishopVintage Burgundy (SASATT)
Jennifer W Lehmann arr
Adding Percussion to Medieval and Renaissance Music Peggy Monroe
American Recorder Music Constance PrimusBurgundian Court amp Its Music Judith Whaley coord
Improve Your Consort Skills Susan CarduelisMusic for Mixed Ensembles Jennifer W LehmannPlaying Music for the Dance Louise AustinRecorder Care Scott Paterson
acutely aware of any kind of neckstrain when it begins to develop these ideas have been a big help to meIrsquom hoping they may be of help toother musicians as well
Best wishes to you And inanswer to your questionmdashyes the new[AR] format (with more white spacebetween the lines) is much easier toread (in my opinion)Your magazinejust keeps getting better and better
Very sincerely Ed Green WestSuburban (Chicago-area) Chapter
RESPONSE FROM DR BILL LONG
What Ed describes is a variant of theuse of conventional bifocals as musicglasses described on page 8 in thearticle Instead of lowering his musicstand into the field of view of hisbifocal segment Ed and his optome-trist have fabricated special purposebifocals with the segment really highso he can focus on his music instraight-ahead view That approachrestricts his distance vision to an areaabove his usual line of sight whichseems to work for Eds playing setup
Eds comments on the difficultiesin using conventional progressiveaddition lenses as music lenses con-firm what I said on page 9 Thats whymanufacturers have marketed special-ty progressive lenses designed specif-ically for intermediate distance taskslike computer use and playing music
There are lots of solutions to thepresbyopic musicians problem but all involve compromises The key toevaluating those compromises andchoosing the best solution for yourselfis to understand your needs and toenlist the help of a sympathetic visioncare specialistmdashjust as Ed did
Please change your
browserrsquos favorites list
AR online is now at wwwameri
canrecorderorgmembership
magazinehtm Send news to
editoramericanrecorderorg
FOUR FOUR-PART CANZONAS
(1608) BY GIOVANNI GABRIELI
ED GREG LEWIN Hawthorns Music RB 16 (Magnamusic) 1999 SATBSc 16 pp pts 4 pp $1950
Giovanni Gabrieli was probablyborn between 1554 and 1557 in theparish of San Geremia in Venice Thedetails of his early life are sketchy butit appears that he was born Giovannidi Fais and later changed his name toGabrieli out of respect to his uncleAndrea with whom he shared a closerelationship In fact in 1587 Gabrielidescribed himself ldquoas little less than asonrdquo It is commonly thought thatAndrea provided Giovanni with hisearly musical training Andrea whohad spent some time in Munichstudying under the great Orlando deLassus sent Giovanni to Munich for a similar period of study in theearly 1570s
Gabrieli remained in Munichuntil the death in 1579 of the dukeAlbrecht V who had been Lassusrsquosemployer for a number of years andwho was an enthusiastic patron of the arts particularly music With hisdeath a number of musicians lost theirjobs it seems as if Gabrieli were also a victim of such culling of talent(Within a generation the tide wouldturn and the Munich court wouldagain hire Venetian expatriates such as Priuli Valentini and Neri)
Upon his return to VeniceGabrieli was hired as a temporaryorganist at San Marco his positionbecoming permanent in 1585 For a few months that year uncle andnephew served together as first and
second organists in the chapel of thedoge In Giovannirsquos absence fromVenice there had been a plague thathad decimated the ranks of theprofessional musicians Andrea setabout rebuilding his forces at SanMarco by hiring a full-time windband consisting of Girolamo dallaCasa a renowned cornettist andviolist his two brothers who playedsackbut and later the cornett virtuosoGiovanni Bassano Giovanni Gabrieliaugmented these forces with addi-tional players and began composingthe large-scale ceremonial music forwhich he is so well known today
Giovanni was also elected to bethe organist and composer to theconfraternity of San Rocco in 1585and it is now thought that his largestpieces were intended for that venuewith its large central gallery andfrescos by Tintoretto instead of SanMarco Gabrieli held both thosepositions at the basilica of San Marcoand the Scuola Grande di San Roccountil he died in 1612 of a kidney stone
Although best known today forhis ceremonial and festival musicGabrieli was at home in smaller-scaleformats as well These four four-partcanzoni are taken from the 1608publication by the Venetian publisherAlessandro Raverji Canzoni per sonarecon ogni sorte di strumenti These werevery popular pieces to judge by themany collections in which they appear
Additionally like Gabrielirsquoskeyboard music they are found inother arrangements These four-partcanzoni lie well under the fingers inarrangements for keyboard and lute
As seen from the title Gabrielispecified no instrumentation but like asimilar edition of madrigals and battlepieces from a few years earlier a dis-tinction was made that they wereintended for wind instruments almostcertainly cornetts and sackbuts
Recorders were not unknown in Venice they were used regularly inthe confraternity of San GiovanniEvangelista where Giovanni BattistaRiccio was organist
These pieces are relativelysimplemdashplayable by beginning tointermediate ensembles They aremostly contrapuntal (with a fewhomophonic sections) and have few rhythmic eccentricities
These canzoni are found in manymodern brass editions but there arefew editions available to the recorderplayer This edition by Greg Lewin ofHawthorns Music might be consid-ered a ldquobare-bonesrdquo edition There islittle background information andeditorial practices are not specified
The music itself has a handwrittenlook that can be distracting but is easyenough to read Lewin has thought-fully supplied phrasing marks that willbe helpful for ensembles unused tothis style of music
Music
Reviews___________________________________ Infectious music created in spite of the plague
wwwAmericanRecorderorg March 2009 41
This is a good edition
for small ensembles that
canrsquot get eight players
together to play
Gabrielirsquos more famous
eight-part canzoni
42 March 2009 American Recorder
The parts are four pages but mycopy had all four pages printed on avery large page This is not a problemand there are no page turns
This is a good edition for smallensembles that canrsquot get eight playerstogether to play Gabrielirsquos morefamous eight-part canzoni Thesesmall-scale pieces are by no meansinferior to Gabrielirsquos more elaboratemusic and deserve to be better known
7 CANZONEN (1637) BY
TARQUINIO MERULA ED JOACHIM
ARNDT WITH CONTINUO REALIZATION
BY CLAUDIA SCHWEITZER MieroprintMusikverlag EM2088 (availabledirectly from wwwmieroprintcom)2005 SS or TT bc Sc 24 pp pts 8 pp$28
Tarquinio Merula was bornaround 1595 in either Busseto orCremona in Italy As was the case withso many composers of the day either alack of regular employment or a rest-less nature took him from his home inCremona to as far away as Warsaw He is found as the organist of thechurch and the chambers to the kingof Poland Sigismund III in 1624
Merula was one of the leadingexponents of the relatively new con-certante style pioneered by ClaudioMonteverdi and others in the seconddecade of the 17th century and may be described as one of the earliestBaroque composers His compositionsin the concertante style are fresh andunforcedmdashhe was born into this styleand didnrsquot encounter it as somethingnew as was the case with so many ofMonteverdirsquos contemporaries
After several years of peripateticexistence Merula found regularemployment in 1631 in Bergamo atthe church of San Maria MaggioreThe prior holder of the post of maestrodi cappella Alessandro Grandi haddied the previous year in the plagueMerula had signed a three-year
contract but by December 1632 hewas terminated with accusations thathe had molested several studentsMerula threatened a lawsuit to recoverhis lost wages but that threat wascountered with a pending criminalcharge lodged by the board ofgovernors of San Maria Maggiore By mid-1633 the matter was settledwith an apology from Merula and astatement that he relinquished allclaims to his salary
He then returned voluntarily toCremona where he stayed until 1635By 1638 Merula was once again inBergamomdashthis time as maestro dicappella and organist in the cathedralnext to San Maria Maggiore Asmight be expected there was con-siderable tension between the twochurches eventually resulting in theboard of San Maria Maggioreforbidding their musicians to perform under Merularsquos direction
He returned in 1646 to a familiarCremona post which he had heldthree times in various years and wherehe now settled downmdashthat of organistand maestro di cappella for Laudi dellaMadonna services in which he ledmusic at the main altar on Saturdaysand on vigils of Marian feasts
None of his employment issues
prevented the Pope from awardinghim the Order of the Golden SpurMerula was also elected to theAccademia dei Filomusi in BolognaHe died in 1665 in Cremona
His existing compositions showthe products of a lively mind Hisworks range from sacred songs andmotets to purely instrumental piecesnotably the ever-popular variations onvarious ground basses It is knownthat Merula was an accomplishedviolinist as well as a fine organist Hissurviving instrumental writing showsa predilection for strings In fact hewas one of the earliest composers tospecify string accompaniments tosacred motets
Merularsquos pieces look backwardtoward some of the more progressiveVenetian composers such as Monte-verdi while looking forward to thehigh Baroque with his innovative style
These seven canzoni like theearlier-published chaconne (EM2084)come from Merularsquos third bookpublished in 1637 CANZONI overo SONATE CONCERTATE perchiesa e camera a due et a tre delcavaliere This collection typifiesMerularsquos output pieces based onRenaissance-era ground basses arefound next to more ldquomodernrdquo sonatas
The original edition specifiesviolins and basso continuo This newedition is intended for recorders thespecific choice of which is up to theplayers Due to the relatively hightessitura tenor recorders work best inthese pieces (although listed as analternative soprano recorders tend to be on the screechy side)
Not surprisingly given Merularsquosskill as an organist the continuo partneeds a keyboard instrument forsuccessful realization Instead of beinga purely accompanying part the bassocontinuo part is an equal partner in these pieces the canzona ldquoLaRuggierardquo opens with a run that therecorders echo a few measures later
A more recorder-specific
edition intended for
altos would have been
ideal There is nothing
preventing the more
adventurous and
industrious players
from making their
own editions of this
delightful music
mentioned were a bit shrill A morerecorder-specific edition intended foraltos would have been ideal There isnothing preventing the moreadventurous and industrious playersfrom making their own editions of thisdelightful music
Prior to playing the previouslypublished chaconne I had notencountered MieroprintMusikverlag Mieroprintrsquos extensivecatalog has an equal focus on newmusic for recorders and on editions ofBaroque masters with emphasis on therecorder and flute Due to the lack of
wwwAmericanRecorderorg March 2009 43
are also available at
The Early Music Shop
of New England
Brookline MA
AESTHEacute
367-b de la Briquade
Blainville Queacutebec
Canada J7C 2C7
tel (450) 979-6091
wwwboudreau-flutesca
A bass viola da gamba or rsquocello is not necessary for these pieces and may infact make them sound heavy and ponderous rather than light and breezy as thismusic seems to be
More so than the above-mentioned chaconne these canzoni are written in avery idiomatic violin style with multiple examples of arpeggios In particular thecanzona ldquoLa Trecchardquo contains a notated example of a string tremolo figurerecurring through the piece ldquoLa Trecchardquo also dips well below the range of a Crecorder going down to low G the lowest string on the violin The editors havesupplied no alternative notes preferring to let the performers to fend forthemselves (in practice we took this passage up an octave with no problems)
The two recorder parts require virtuosity These upper parts are demandingwith the players needing to double-tongue in unison in order to negotiate themany runs of 16th notes and the shared rhythmic ldquolicksrdquo The harmoniclanguage unlike much of Merularsquos music is undemanding and contains none of the harmonic crunches for which he is famous
This is wonderful music that needs a couple of advanced recorder players fora successful performance The string idiosyncrasies can be overcome by advancedplayers and many of the editions of the era (although not this one) list thecornetto as an alternative to the violin so the use of wind instruments in the solo literature of the early Baroque was not unknown
Our experience with this edition left us with the opinion that these pieceswould have been better if transposed down a minor third so as to fit on a pair ofalto recorders (as is the case with much Baroque flute music to make it lie betteron the recorder) The tenors we used tended to sound a bit murky in the lowerregister next to the more aggressive harpsichord while the sopranos we tried as
KEY rec=recorder Srsquoo=sopraninoS=soprano A=alto T=tenor B=bassgB=great bass cB= contra bass Tr=treble qrt=quartet pf=piano fwd=foreword opt=optional perc=percussionpp=pages sc=score pt(s)=part(s)kbd=keyboard bc=basso continuohc=harpsichord PampH=postage andhandling Multiple reviews by one reviewerare followed by that reviewerrsquos name Pleasesubmit music for review to AR 7770 SHigh St Centennial CO 80122-3122 US
an American distributor this musicwill be hard to findmdashin fact can befound only at the time of this writingon their web site noted above But theeffort will be repaid
This edition is clear and easy toread and the parts require no pageturns The basso continuo realizationis simple and elegant
This is music deserving ofrediscovery My only quibble is thatthe editorial notes are all in GermanThis seems to be the practice ofGerman music publishers with thenotable exception of Moeck Otherpublishers of early music such asLondon Pro Musica routinelyprovide notes in English and German and often in French and Italian making their editionsaccessible to a wider audience
Frank Cone studied the recorderwith the late Ellen Perrin the viola dagamba with Carol Herman and thecornetto with Larry Johansen TheCalifornia multi-instrumentalist has been a member of the Orange CountyRecorder Society since 1985
Advertiser Index
AMERICAN ORFF-SCHULWERK ASSN 3
AMERICAN RECORDER SOCIETY 31 35 36
AMHERST EARLY MUSIC FESTIVAL 17
STEPHAN BLEZINGER 24
JEAN-LUC BOUDREAU 21 39
BOSTON EARLY MUSIC FESTIVAL 7
CANTO ANTIGUO EARLY MUSIC WORKSHOP 13
COURTLY MUSIC UNLIMITED 20
EARLY MUSIC AMERICA 8
HONEYSUCKLE MUSIC 34
BILL LAZARrsquoS EARLY MUSIC 26
KEITH E LORAINE EARLY DOUBLE REED SERVICE 35
LOST IN TIME PRESS 11
MADISON EARLY MUSIC FESTIVAL 12
MAGNAMUSIC DISTRIBUTORS BC
MOECK VERLAG IFC
MOLLENHAUER RECORDERS IBC
PORT TOWNSEND WORKSHOP 14
PRESCOTT WORKSHOP 30
PROVINCETOWN BOOKSHOP 26
THE RECORDER MAGAZINE 4
THE RECORDER SHOP 6
SAN FRANCISCO EARLY MUSIC SOCIETY 18
SWEETHEART FLUTE CO 3
TEXAS TOOT 20
VON HUENE WORKSHOP INC 30
WICHITA BAND INSTRUMENT CO 21
DOMINIK ZUCHOWICZ 34
CONSIDER ADVERTISING IN
Full page $55223 page $43912 page $36613 page $28614 page $22316 page $17518 page $127112 page $ 951 column inch $ 58
Prices include web sitee-mail link directly from your ad in the online AR at wwwamericanrecorderorg
Circulation Includes the membership of theARS libraries and music organizations
Published five times per year January March May September November
Reservation Deadlines December 1 (January) February 1 (March) April 1 (May) August 1 (September) October 1 (November)
Rates good through November 2009 Pleaseinquire about discounts on multiple-issuecontracts inserts or other special requestsExtra charges for typesetting layout half-tones and size alterations 133-line screenrecommended Advertising subject toacceptance by magazine First-time adver-tisers must include payment with order
For more information contact the ARS office 1129 Ruth Drive St Louis MO63122-1019 800-491-9588 toll free 314-966-4082 phone 314-966-4649 faxadvertisingamericanrecorderorg
44 March 2009 American Recorder
Classified___________________________________
FOR SALE Cherrywood hurdy gurdy and hard-side case made by Kelischek bought 2005Originally $765 plus $89 for case Rarely usedBoth for $450 or make offer Please contact marjalocomcastnet Can ship
ASPIRE ANNOUNCE INSPIRE Afford-able PR for teachers and recitalists wwwrecitalroomcom
PHOTOS NEEDED of ARS events 1970sndash1990sto illustrate last chapters of Martha Bixlerrsquos histor-ical memoir about the ARS (to be posted online)E-mail scanned photos (300dpi JPG or TIF)arsrecorderamericanrecorderorg Hardcopies mail to ARS office to be scanned ampreturned Info 800-491-9588
T-SHIRT FOR ENSEMBLE PLAYERS to wear orshare Top 10 Reasons Why I Got Lost Wrongfingering bad lighting etc on blue cotton shirt$18 Highlighter tape and other goodies Beth amp Lindas Boutique as seen at BEMF CallLinda at 617-671-8694 or e-mail for brochurelindakushverizonnet
Where the havesand have-nots
of the recorder world can find each other
Classified rate for American Recorder 60centper word ten-word minimum ldquoFOR SALErdquoand ldquoWANTEDrdquo may be included in thecopy without counting Zip code is oneword phone e-mail or web page is twoPayment must accompany copy Deadlinesare one month before issue date Send copywith payment to ARS 1129 Ruth Drive St Louis MO 63122-1019
AMERICAN RECORDER (ISSN 0003-0724) 1129 Ruth Dr St Louis MO 63122-1019 is publishedbimonthly (January March May September and November) for its members by the AmericanRecorder Society Inc $20 of the annual $45 US membership dues in the ARS is for a subscriptionto American Recorder Articles reviews and letters to the editor reflect the viewpoint of their individ-ual authors Their appearance in this magazine does not imply official endorsement by the ARS
EDITORIAL DEADLINES November 15 (January) January 15 (March) March 15 (May) July 15(September) and September 15 (November) Submission of articles and photographs is welcomedArticles may be typed or sent as an attachment (Word or RTF preferred) to or text in an e-mail mes-sage They should be for the exclusive consideration of AR unless otherwise noted Photos may besent as prints or unedited JPG or 300dpi TIF files (minimum 3rdquox4rdquo) Advertisements may be sent inPDF or EPS format with fonts embedded
EDITORIAL OFFICE Gail Nickless Editor 7770 S High St Centennial CO 80122-3122 303-794-0114 (phone amp fax) editoramericanrecorderorg Books for review Editorial office Musicfor review Editorial office Recordings for review Tom Bickley 1811 Stuart St Berkeley CA 94703Cutting Edge Tim Broege 212 Second Ave Bradley Beach NJ 07720-1159 Chapter newslettersother reports Editorial office Postmaster Send address changes to ARS 1129 Ruth Drive St LouisMO 63122-1019 Periodicals postage paid at St Louis MO and at an additional mailing office
Chapter leaders
We know yoursquore out there
and that you want to share
your plans concerns
solutions and ideas with
other chapter leaders Visit
httpamericanrecorder
societywikispacescom
Flutist recorderist conductor andteacher Mario Duschenes (1923-2009) died peacefully in MontrealQC Canada on January 31
Born in Hamburg Germany heescaped into Switzerland before WorldWar II His early musical studiesfocused on recorder solfegravege and pianoHe then turned to the flute firststudying with his father and brothersthen in 1943 entering the GenevaConservatory In 1947 he completedhis training and won an award at the1947 International Competition forMusical Performers in Geneva
After touring Europe as soloistwith the Ars Antiqua Ensemble heemigrated to Canada in 1948
A new recorder worldmdashin partic-ular Montrealrsquos mdashwas enlivened inthe 1950s by the youthful recorderistand flutist from Europe who taughtpublished a method book (used bythousands around the world and stillavailable) and arranged for recorderensembles He made over 30 record-ings including several of flute andrecorder duets with his friend well-known flutist Jean-Pierre Rampal
With his wife Ellyn who was aresearcher and child psychologist hebrought musicians into schools andconducted youth concerts An expertin the Orff-Schulwerk teaching
method he became a member of theCarl Orff Canada advisory board in1974 His efforts in music educationwere lauded by Jamie Portman in The(Montreacuteal) Gazette writing in 1978that Duschenes ldquois probably doingmore for the image of young peoplersquosconcerts than anyone else in Canadardquo
In 1953 he was co-founder of theCAMMAC Music Centre where hetaught for many years Duschenes alsotaught at McGill University (1954-70) and at the University of Montreacuteal(1970-73) He was president in1983-85 of Jeunesses musicales du Canada
Duschenes was recognized as aleading conductor and stood beforeevery major orchestra in CanadaAmong numerous awards he receivedtwo honorary doctorates (from Con-cordia University Montreacuteal andMemorial University St Johnrsquos New-foundland) and in 1985 was made anOfficer of the Order of Canada
Duschenes wrote a number ofwidely-distributed works publishedby BMI Canada and later byBerandolmdashnotably his Method for theRecorder I (1957) and II (1962) forsoprano or alto (in French Meacutethode deflucircte agrave bec I 1962 and II 1968) SchoolRecorder Method (1957) for sopranoand alto together (in French La Flucircteagrave bec agrave lrsquoeacutecole 1973) and Studies inRecorder Playing (1960) He edited orwrote easy duos and trios studies foralto recorder and arrangements ofRenaissance and Baroque works ofBach and of Leopold Mozart
He is survived by his brotherRolf five children and 12 grandchil-dren his wife of 42 years Ellyn(1929-1994) preceded him in deathDonations in his memory may be
made to Phare - Enfants et Familleswwwphare-lighthousecom andMaison Emmanuel wwwmaison
emmanuelorgPulitzer Prize-winning novelist
John Updike (1932-2009) also diedin January of lung cancer at age 76Among his many literary efforts thatinclude the Rabbit quartet he wrote forThe New Yorker for which he contrib-uted a 1988 short story entitled ldquoTheMan Who Became a Sopranordquo Thiswas later reprinted in The Afterlife andOther Stories (Knopf 1994 amp FawcettCrest New York 1995)mdashand the titledoes refer to a soprano recorder Inthat story he led the reader throughvarious personality conflicts in aweekly recorder group that metsomewhere in the East In otherwritings Updike used classical musicto imply a level of sophistication in hischaracters such as Terry Gallagherplaying Greensleeves on recorder in his fifth novel Couples (1968)
Updike was himself knowledge-able about music reviewing classicalmusic concerts in Castle Hill MAfrom 1961-65 He had moved toIpswich near Boston after he left hisjob at The New Yorker feeling after 20months that the city was distractinghim and sometimes stifling his creativ-ity (though he kept his ties to The NewYorker and continued to send thempieces) He and his family enteredenthusiastically into small-town lifeUpdike wrote and performed in anhistorical pageant and he and his wifewere members of a recorder group
Updike commented in 2003ldquoThe real America seemed to me lsquoout therersquo Out there was where Ibelongedrdquo
Tidings___________________________________Mario Duschenes and John Updike die
Joe Lewnard wins young recorder player contest
8 March 2009 American Recorder
Passing Notes
The Recorder Magazine
we invite you to visit the sitewwwrecordermaildemoncouk
Recent Performances of Note
in New York CityLast November at the Chapel of theGeneral Theological Seminary inNew York City NY Chelsea Winds
Recorder Ensemble (Lucinda andBarrie Mosher Gregory EatonDavid Hurd and this author) offeredan all-Bach program It started withthe Ricercare a3 from the MusicalOffering transposed up a step to D minor and continued through 10 contrapuncti from Art of the Fugue
The final days of 2008 held somefine recorder playing RecorderistMatthias Maute joined 16 membersof the prestigious Chamber Music
Society of Lincoln Center in aprogram titled ldquoBaroque Collectionthe Beautiful and the Bizarrerdquo Theperformance included sonatas con-certos programmatic pieces and ariasby Pachelbel Muffat TelemannBiber Vivaldi and Handel Mautecontributed his graceful and fluidplaying to the Telemann Concerto in A Minor for alto recorder two violinsand basso continuo and also to theVivaldi Concerto in G Minor forrecorder oboe bassoon violin andcontinuo (R107)
The concert was presented in thelarge Rose Theater at the LincolnCenter Jazz Center on December 19and 21 If there were ever any doubtMaute made it very clear that therecorder could hold its own in thecompany of ldquomodernrdquo instrumentseven in a large concert space
Given as part of St Bartrsquos middaymidtown concert series a concert ofmore Telemann held very nice playingfrom Deborah Booth on December17 In addition to soprano and altorecorders Booth played Baroqueflute I particularly liked her renditionof the Telemann Partita in C Minor forsoprano recorder and continuo andthe alto recorder obbligato to the arialdquoEin stetes Zagenrdquo from Telemannrsquoscantata for Advent ldquoLauter Wonnerdquo
At the end of the liturgical seasonof Christmas the ensemble at theHoly Trinity Lutheran ChurchVespers series presented JS BachrsquosCantata No 152 ldquoTritt auf dieGlaubensbahnrdquo for the first Sundayafter Christmas (December 28) Thearia ldquoStein der uumlber alle Schaumltzerdquo
with its recorder obbligato played byLarry Zukof was lovely
Chelsea Winds had an interest-ing experience when we were invitedto play a short program for a UnitedNations conference on cooperationbetween the UN and the worldrsquosreligions (December 16) LabouisseHall where the concert was held wasfull of people very many in exoticattire I confess I was dismayed at thissight because I feared our program ofcontrapuncti from Bachrsquos Art of theFugue would make no sense to themany non-Westerners brought up inother music cultures
I need not have feared Themusic was enthusiastically receivedBachrsquos music really is universal
Anita Randolfi
wwwAmericanRecorderorg March 2009 9
Mary Halverson Waldo was a Suzuki teacher trainer for the
January Festival Suzuki in Lima Peruacute Pictured are the
Huancavelicanos who attended the festival from the city of
Huancavelica in the most poverty-stricken region of Peruacute
Padre William Lopez (center front) is the school master and
recorder teacher (being an excellent recorder player him-
self) They were extremely grateful to Corinne Newbegin
(OR) and Jane Harper (MN) who donated SATB recorders
in excellent condition for two vibrant Suzuki programs in
Colombia and Peruacute
If there were ever any
doubt Maute made it
very clear that the
recorder could hold its
own in the company of
ldquomodernrdquo instruments
10 March 2009 American Recorder
Awards and HonorsMusic educator and recorderistDeborah Greenblatt and DavidSeay of ldquoThe Old Schoolhouserdquo inAvoca NE were featured in theNovember 2008 International Musi-cian the official journal of the Ameri-can Federation of Musicians of theUS and Canada They have playedand sung folk music together for morethan 30 years The duo has publishedbooks for a variety of instruments fromrsquocello to tin whistle Among the latestare Barn Dance Fiddle Tunes for Two andSinging Cowboy Fiddling Tunes for TwoVisit wwwgreenblattandseaycom
for informationThe 2009 Borletti-Buitoni Trust
(BBT) Awards acknowledge thatsome instruments present a challengefor talented and ambitious youngclassical musicians striving for a solocareer Recorder player Eric Bosgraaf
(below) and harpsichordist Mahan
Esfahani are among those selected toreceive BBT financial assistance aswell as advice in such areas as publicrelations auditions and finding agents
BBT Award winner Bosgraaf ofThe Netherlands is hailed as one ofthe most gifted and versatile recorderplayers of his generationCurrent plansinclude solo performances with theDallas (TX) Symphony Orchestra andthe Dutch Radio Chamber Philhar-monic His deacutebut recording a three-CD set of music by Jacob van Eyckwas No 1 on the 2007 Dutch classical
music charts (see the CD review in theSeptember 2007 AR and an interviewwith Bosgraaf in the May 2008 ARsee also wwwerikbosgraafcom)
Iranian-born Esfahani who hasappeared in ensemble performancesreviewed in AR was a BBT Fellowshipwinner He makes his Wigmore Halldeacutebut in London as soloist with TheEnglish Concert this month
Two BBT awards of pound20000 eachand six fellowships of pound10000 eachwere given by the Trustrsquos artistic com-mitteemdashFranco Buitoni Adam Gate-house Martijn Sanders and MitsukoUchida See wwwbbtrustcom formore on the foundation and its policiesplus news video and audio of BBTmusicians (now 45 individuals and 14 ensembles from 22 countries)
Early Music America NewsEMA with support from a privatedonor will sponsor its third Medieval
Renaissance Performance Compe-
tition in 2009 The winner receives acash prize (the Unicorn Prize) and isguaranteed three concert performancessponsored by EMA and presenters inPittsburgh PA Milwaukee WI andSeattle WA The contestrsquos goal is to encourage the development ofemerging artists in the performance of Medieval and Renaissance music
Applicants must be ensembleswith at least two performers of age 39or younger who have not performedtogether for more than five years(ldquoemerging artistsrdquo) Repertoire islimited to the period of roughly 800-1550 AD performed on voice(s)andor period instrument(s) and in astyle that is historically informed The competition is open to members
(individual or organizational) of EMAwho reside in the US or Canada
Applications are due April 30Finalists will be selected by June 30and will receive hour-long coachingsessions with an early music artist and present live 20- to 30-minuteperformances in New York City NYin October
For application requirements visitwwwearlymusicorg
EMA has also announced twoearly music ensembles receiving its2008-09 Collegium Musicum
Grant Sacabuche at IndianaUniversityrsquos Early Music Institutedirected by Linda Pearse and theUNT Baroque Orchestra and
Collegium Singers from theUniversity of North Texas under thedirection of Lyle Nordstrom
Sacabuche performs vocal musicwith sackbuts and organ
UNT has one of the largest andmost active collegium programs inNorth America The most prestigiousensembles there are the 30-piece UNTBaroque Orchestra and 26-voiceCollegium Singers whose membersregularly perform at the Boston EarlyMusic Festival (BEMF)
Nordstrom the director of theseensembles was co-director with PaulOrsquoDette of The Musicians of SwanneAlley and was the founder and artisticdirector of the Atlanta (GA) BaroqueOrchestra He received EMArsquosThomas Binkley Award in 2000 for his work with collegiate ensembles atOakland University and Clayton State College
EMA Collegium MusicumGrants provide $1000 toward the costof bringing a college or universitystudent early music ensemble toperform in a BEMF fringe concert(odd-numbered years) or at the Berke-ley (CA) Festival (even-numberedyears) The two winners will performduring BEMF June 7-14
The Power of LoveJ U N E 6 - 1 4 2 0 0 9
featuring Claudio Monteverdirsquos sublime final opera
June 6 7 9 10 12 and 14 2009Stanford Calderwood Pavilion at the
Boston Center for the Arts
June 19 20 21 22 2009Mahaiwe Performing Arts Center
in Great Barrington MALrsquoincoronazione di Poppea replaces the previously announced operatic centerpiece Antiochus und Stratonica by Christoph Graupner
Tickets are on sale now at WWWBEMFORG and 617-868-BEMF
RECORDER EVENTS AT THE 2009 BOSTON EARLY MUSIC FESTIVAL
Join us for our weeklong extravaganza of early music with concerts by the worldrsquos leading early music soloists and ensembles including Stile Antico Trio Hantaiuml Ricercar Consort
Pieter Wispelwey rsquocello and Kristian Bezuidenhout fortepiano the BEMF Chamber Operapresentation of John Blowrsquos Venus and Adonis and Marc-Antoine Charpentierrsquos Acteacuteon
Flanders Recorder QuartetSunday June 14 at 1230pm
Paul Leenhouts Renaissance recorder
andGabe Shuford harpsichord amp organ
Wednesday June 10 at 11pm
Recorder Masterclass with Paul LeenhoutsThursday June 11 at 2pm
Visit WWWBEMFORG for a complete schedule of eventsregistration materials for the world-famous BEMF Exhibition Fringe Concerts
and Masterclasses and much more
Joe Lewnard winsPiffarorsquos Second Competition for Young RecorderPlayers
By Joan Kimball wwwpiffarocom
Piffarorsquos second competition for youngrecorder players ages 12 to18 washeld on January 10 at the SettlementMusic School in Philadelphia PAFive finalists chosen on the basis oftapes that they submitted in Novemberperformed before a small but enthu-siastic and supportive audience
A smattering of snow and ice keptaway some people who otherwisewould have attended Ironically the finalists had no trouble reachingPhiladelphia from distant snow capitalsof the USmdash Denver COMinneapolis MN and Chicago IL
Unique in this country as far asanyone knows this competition wasestablished in 2007 to pique theinterest of young recorder players andto encourage them to investigate therepertoire of the 15th century into theearly 17th century on recorders as wellas other early wind instruments Whilethese young players tend to focus on
18th-century and contemporary musicPiffaro hopes to convey to them theimportance of playingmdashand alsounderstanding the underlyingperformance practice issues ofmdashearlier repertoire
Joe Lewnard (at right withPiffarorsquos Joan Kimball) an 18-year-oldhigh school senior from the Chicagoarea was chosen as the winner byjudges Nina Stern from New YorkCity NY and Elissa Berardi ofPhiladelphia He has played recorderfor a number of yearsmdashstudying withAldo Abreu among othersmdashand hasattended the virtuoso program at theAmherst Early Music Workshop Alsoa trumpet player he has expressedinterest in taking up the cornettocombining his facile fingers with hisbrass embouchure
In recent months Lewnard hasbeen preparing repertoire for collegeand conservatory auditions and willapply to several schools His selectionsfor the competition were the unaccom-panied Ricercata prima by GiovanniBassano and two movements from asuite by Pierre Philidor
The other four finalists also playedwith poise and distinction in variedrepertoire (Renaissance to contem-porary) that showed their abilitiesThey were Ariel Branz (age 16) from
Boulder CO a student of LindaLunbeck Bryan Duerfeldt (15) fromMinneapolis a student of MaryHalverson Waldo Amy Pikler (16)from Chicago who studies withPatrick OrsquoMalley and Olivia Sohlen
(16) also from Minneapolis and astudent of Cleacutea Galhano
On March 7 Lewnard willappear again in Philadelphia pairedwith the competitionrsquos previous winnerAlexa Raine-Wright in a recital Thetwo young virtuosi (both of whom havewon ARS workshop scholarships) willperform a variety of 16th- 17th- and18th-century solos and duetsaccompanied by harpsichordistMarcia Kravis In addition Piffaromembers Joan Kimball Priscilla
Smith and Bob Wiemken will jointhem for a set of 16th-century workson Renaissance recorders
With two competitions success-fully completed Piffaro plans to holdanother one in two years and hopesthat young recorder players will start toprepare now Wersquod love to see moreyoung virtuosi coming our way
12 March 2009 American Recorder
Early Music America Magazine is the quarterlypublication for the Early Music Community inNorth America Professionals Students andAudience members
Articles on performance practice trends in thefield recording reviews and a new book reviewsdepartment
Call 888-722-5288 or email infoearlymusicorgfor a FREE sample issue
Last spring I had the honor andgood fortune to spend five weeks
at the Sitka Center for Art andEcology on the central Oregon coastas the recorder resident The recorderresidency is sponsored by the OregonCoast Recorder Societymdasha wonderfulgroup of people I had the chance tomeet and teach and to make musicwith while I was there Myparticipation was made possible inpart by a professional grant from theARS and also by the kind generosityof some of my loyal long-termstudents
The project I worked on while atSitka was an intensive study of Bachrsquossolo string musicmdashprimarily the rsquocellosuites and some of the violin partitasmdashwith the aim of preparing my own arrangements of them for aneventual recording
Although Irsquod been told before Iwent that Sitka was incredibly beautifuland a wonderful place to be Iapproached the residency with sometrepidation I wasnrsquot quite able toimagine it and wondered how I wouldsurvive so many weeks by myself in aremote location seven miles from thenearest townmdashand where Irsquod heardmost cell phones did not work (panic)When I arrived on April 9 I was metwith typical Oregon coast weather forthat time of the year (and many timesof the year) chilly temperatures andrain And Irsquod left sunny California for five weeks of this
I lived in what is called the TreeHousemdasha charming one-roomwooden cabin with a sleeping loft and a wood-burning stove insidemdashenveloped outside by a couple of giantSitka spruce trees After many failedattempts over several days one of myproudest accomplishments was finally
learning how to quickly and reliablybuild a fire in my wood stove My nextproudest accomplishment was learningthat one should not put wet logs on the top of the stove to dry This Idiscovered after setting off the smokealarm bringing the entire Sitka staffrunning to my aidmdashonly to find meoblivious up in the loft
It took me a week or so to getadjusted to my new life I wasnrsquot usedto being alonemdashwithout my dog farfrom civilizationmdashand with expansesof free time and no actual responsibil-ities I spent some of that time explor-ing the surrounding areas takingwalks down to the estuary throughforested woods and climbing to thetop of Cascade Head There I was metwith awe-inspiring views of the PacificOcean the coastline the mountainsand the estuary far below I soondiscovered that this was part of thetotal Sitka experience
After my first incredible climb tothe top of Cascade Head I began torelish the quiet peace and time alonethat Sitka afforded memdashsomething Inever imagined Irsquod feel given mygenerally extroverted nature Inaddition to reading writing andmeditating I was inspired to dive into
Linsenberg
on the
deck of
the Tree
House
wwwAmericanRecorderorg March 2009 13
By Judith Linsenberg
The author is founder and director ofthe Baroque ensemble Musica Pacificawhose performances and eight recordingson the Virgin Classics and Dorian labels
have received international acclaim She has performed throughout the US
and Europe including solo appearances atthe Hollywood Bowl and Lincoln Center
and has been featured with such leadingAmerican ensembles as the San Francisco
Symphony the San Francisco and LosAngeles Operas Philharmonia Baroque
American Bach Soloists and others
Her recording of the Bach organ trioswas sponsored in part by an
ARS Professional Grant The ARS CD Club carries some of her recordings
A Fulbright scholar to Austria shewas awarded the Soloist Diploma with
Highest Honors from the Vienna Academyof Music She is a summa cum laude
graduate of Princeton University holds anearly music doctorate from Stanford Uni-
versity and has been a visiting professor atthe Vienna Conservatory and Indiana
Universityrsquos Early Music Institute Visit wwwmusicapacificaorg
for more information
Suite Thoughts of Sitka
14 March 2009 American Recorder
my musical projects with renewed energy and enthusiasmI had the time not only to practice the Bach suites butalso to really study them in depthmdashanalyzing themlistening to and comparing different recordings andworking on my transcriptions of them Although it wasnrsquotpart of my original intention I now have a plan to publishmy arrangements of these pieces so theyrsquoll be available forothers to perform (While Frans Bruumlggen published hisarrangement of the first three suites in the 1970s to myknowledge there is only one other recorder editioncurrently available whose approach is quite different from mine)
I wasnrsquot however living in total isolation while at SitkaThere were artist residents of other media as well Kim awriter from New York state John and Robin a marriedcouple who were ceramicists from Washington state andtheir three daughters and Claudia an installation- andperformance-artist We became a community socializingwhen we werenrsquot working (and sometimes even when wewere) going on excursions to see the glorious naturalwonders of the Oregon coast having dinners together inour various residences and talking about our work
The setting provided the perfect atmosphere for theexchange of ideas and we began to collaborate on mutualprojects sometimes in unexpected ways Robin startedmaking ocarinas and I worked with her to design and tunethem While I immersed myself in Bachrsquos solo music flutesand musical themes began to appear in the images shepainted on her ceramic pieces Often after wersquod hung outtogether in the evening depictions of the stories I told herwould show up in her paintings over the next few daysFanciful illustrations of me playing to my dog Jake evenmade several appearances in her work (The photos aboveshow the ocarina she made for me)
Toward the end of my stay I also began collaboratingwith Claudia the installation artist Her work was creatinginstallations out of plastic bags fastened together to formdifferent naturalistic shapes which she then set up invarious locations around the Sitka campus and nearby
areas Together we created a performance piece that wepresented at the Open House at the end of our residenciesI provided music to accompany a performance that tookplace within her installation We worked together on usingthe music to express the various ideas in the installation andperformance and using the performance to express themusic in a visual way
Bachrsquos music can be very evocative and I chosemovements from the Bach suites that suggested the variousparts of the narrative she performed part of a slow preludeto depict nascent creatures emerging in a forest a C-majorbourree while they are coming to life a C-minor onesuggesting turmoil a fast 16th-note passage representingflight as they grow wings and fly and finally a wistfulsarabande as they gradually die away and disappear As in a ballet each medium enhanced the other and the wholebecame more than the sum of its parts illuminatingdifferent aspects of each and creating a more profoundeffect than either might have independently
During the Sitka open house Linsenberg plays
in an installation of plastic bag ldquocreaturesrdquo
There were other opportunitiesfor me to present the music I wasworking on Around the midpoint ofmy stay there I performed in a concertmarking the start of the annual Windsand Waves weekend workshop Iplayed one of my Bach suites thoughit was still a work in progress
The next day about 45 recorderplayers descended upon our quiet littleenclave turning it into a hubbub ofactivitymdashquite a change from the low-key atmosphere of the prior severalweeks Once I got over the initialculture shock of the influx of so manypeople I thoroughly enjoyed meetingand working with all of them A class I offered on the Bach suites enabledme to share some of the work Id beendoing conversely I got input from thestudents I taught that made me thinkdifferently about the piecesmdashforexample what about playing them on a subcontrabass recorder
Shortly after the workshop theSitka residents held a communityoutreach day at which we each demon-strated our work to children from anearby school I had been working onsome contemporary pieces withnaturalistic themes (fitting for thesetting) and this event gave me theopportunity to play some of them forthe kids They were fascinated by theextended techniques used to imitatebirds and other animals and of courseVan Eyckrsquos ldquoEngels Nachtegaeltjerdquowas a hit with them as well
As hard as it was for me to getused to Sitka and the residency at thebeginning of my stay it was evenharder to leave My departure datecame too soon Irsquod had time to finishtranscriptions of only three of thesuites
Saying good-bye to all the friendsIrsquod made theremdashthe other artists aswell as the recorder players Irsquod metmdashwas hard enough but leaving the
beauty of the place and the peace Irsquodfound there saddened me greatly
Sitka had changed me and ittransformed my relationship to themusic I played as well My experienceallowed me to tap into a deep placeinside myself in a way that I never hadbefore something I was then able tocommunicate through the music I wasplaying Bachrsquos music turned out to bethe perfect vehicle because it expressesin sound the same grandeur spiritu-ality and universalitymdashas anyone whohas heard a live performance of the B-minor mass can attestmdashas does theview from the top of Cascade Head
Since the conclusion of myresidency I have given severalperformances of the rsquocello suitesincluding some lecture-recitals onthem and on my arrangements moreare planned Irsquove begun working withstudents of instruments other than therecorder who are studying the rsquocellosuites And I continue to work on myarrangementsmdashalas five weeks wasjust not long enough to learn andadapt all six suites although I do plan to publish them in the future
My work at Sitka also inspired meto pick up a project I started over 10years ago but never brought tofruition preparing my arrangementsfor recorder violin and continuo of thesix Bach organ trios (that I recorded in1992) to be published soon by PRBProductions And I have no doubt thatthe Sitka experience will continue towork on me in ways Irsquom not evenconsciously aware of at this time
I would like to give my deep and heartfelt thanks to the followingindividuals and organizations to the
Sitka Center for making my stay there sowonderful and to its founders Jane andFrank Boyden who had the vision tocreate this magical place to the members ofthe Oregon Coast Recorder Society fortheir generosity in creating and sponsoringthe recorder residency to the ARS for its financial support and to my wonderfulstudents who made it possible for me toparticipate in this life-changing experience(you know who you are)
wwwAmericanRecorderorg March 2009 15
Lost in Time Press
New works andarrangementsfor recorder ensemble
Compositions byFrances BlakerPaul AshfordHendrik de Regtand others
InquiriesCorlu CollierPMB 3092226 N Coast HwyNewport Oregon 97365wwwlostintimepresscomcorluactionnetnet
Sitka had changed meand it transformed my relationship to the music I played as well
MARIN HEADLANDS
RECORDER WORKSHOP
Point Bonita YMCA near San Francisco CA
May 15-17
With each coming tide of that mightymetronome the Pacific Ocean and withspring peeping soon our MarinHeadlands Recorder Workshop 2009perched at the edge of the ocean andembraced in greenery gets nearer Againthis workshop will swell with harmoniesof recorders viols and perhaps apsaltery or drum Intermediate andadvanced players are warmly invited tojoin members of the sponsoring EastBay Chapter of the ARS a SFEMSaffiliate at this annual musical event
Music-making begins on Friday andcontinues through Sunday afternoon
including also one- and two-day options
This yearrsquos faculty includes a wonderfulmix of familiar and new faces DavidBarnett Tom Bickley Louise CarslakeRobert Dawson Lisa DykemanFrances Feldon Judith LinsenbergPeter Maund Fred Palmer and Glen Shannon
Music offerings will range from easilyplayable to challenging from delightfulPurcell and Renaissance music to jazzto works by a (very) living composer(led by the chap himself) Check theEBRS web site for updates
The workshop is held at the PointBonita YMCA one of very few publicfacilities on this largely undevelopedarea of California coast Set in a meadowwith short walks to Pacific Ocean vistasthe historic Point Bonita Lighthouseand remnants of WWII fortifications
it is a place to get away recharge andmeet new friends or re-connect withold The accommodations includedormitory-style rooms a large diningarea and playing spaces all on one levelRooms are also available for impromptuplaying sessions
Contact Anna Lisa Kronman
37 Meadow View Rd Orinda CA
94563 925-258-9442
annalisakronmangmailcom
symbolicsolutionscomebrs
BLOOMINGTON EARLY
MUSIC FESTIVAL
Bloomington INMay 15-25
Performances of Medieval RenaissanceBaroque and Classical music as well aseducational programs for concertgoersamateur performers and childrenPlease see BLEMForg for details
Contact Carol Huffman
PO Box 734 Bloomington
IN 47402 812-824-2412
specsorffyahoocom blemforg
WHITEWATER EARLY
MUSIC FESTIVAL (ARS)
University of Wisconsin Whitewater WI
June 5-7Directors Nancy Chabala Carol Stanger Pam Wiese
Our workshop is held on campus at theUniversity of WisconsinndashWhitewaterabout 60 miles SW of MilwaukeeClasses include focus and specialty areainstruction for all levels of recorderplaying as well as beginningmdashconsortviola da gamba wind band voicerecorder orchestra and mixed consort A variety of special interest classes onFriday evening and Saturday eveningparticipant gathering led by LouiseAustin The various classes include
16 March 2009 American Recorder
Summer Workshop Summer-y
The Madison Early Music Festival presents
Telescopic Vistas MEMF X and Music of the SpheresCelebrating the International Year of Astronomy
July 11-18 2009
Guest Artists amp Ensembles Faculty Recorder Artists Quicksilver with Marion Verbruggen Joan Kimball Piffaro The Renaissance Band Priscilla Smith The Newberry Consort Marion Verbruggen Venere Lute Quartet Robert Wiemken
Explore music from the days of Galileo and Kepler Celebrate the influence of astronomy on society arts and culture
in the 15th through 17th centuries
Our tenth anniversary festival features a seven-concert series and a week-long workshop with classes and ensembles for participants of all levels
For more information please call (608) 263-6670 or visit wwwmemfdcswiscedu
music from Medieval to modern
Several musicinstrument vendors onsite Dale Taylor will be on site forrepairs All ages are welcome as well as non-participants
Faculty includes Dale ArmentroutLouise Austin David Echelard CharlesFischer Shelley Gruskin LisetteKielson Laura Kuhlman PatrickOrsquoMalley Tulio Rondon KarenSnowberg Mary Halverson Waldo andTodd Wetherwax Brochures available
Contact Nancy Chabala
8609 45th St Lyons IL 60534-
1616 708-442-6053 (day)
630-789-6402 (fax)
nchabalamymailstationcom
(housingregistration)
thewiesessbcglobalnet (mailing
scholarships) cvstangeraolcom
(facultyfacilities)
INTERLOCHEN EARLY MUSIC
WORKSHOP
Interlochen Center for the Arts Interlochen MI
June 7-12 Director Mark Cudek
Make and enjoy Medieval andRenaissance music while learning new skills and techniques
Topics will include articulationornamentation improvisation andensemble arrangement in Medieval and
Renaissance music The workshopculminates with a participantperformance on period instruments such as recorders and other early windsviols lutes harpsichord and percussionVocalists are also welcome Participantswill supply their own instruments
Early registration is recommendedas space is limited
Contact Matthew Wiliford
Director ICCA PO Box 199
Interlochen MI 49643 231-
276-7441 231-276-5237 (fax)
collegeinterlochenorg
interlochenorgcollege
RENAISSANCE CHAMBER
MUSIC INSTITUTE
New England Conservatory of Music Boston MA
June 11-21
A unique opportunity for professionalmusicians and advanced students todiscover and explore one of the greatestrepertoires of Western music which iseminently suitable for all instruments
Players of modern and early instrumentsare encouraged to attend
Led by John Tyson director of theRenaissance music and dance ensembleRENAISSONICS who has performedand lectured worldwide including forthe Boston Symphony OrchestrarsquosTanglewood Institute
Introductory lectures will be followed byintense chamber music coaching in largeand small ensembles Concentration willbe on personal expression rhetoric andphrasing performance practice andornamentation The institute willculminate in a public performance at theNew England Conservatory of Music
Faculty John Tyson recorder LauraGulley violin Daniel Rowe rsquocello and guest artists
Contact Director of Summer
School New England
Conservatory of Music
290 Huntington Avenue Boston
MA 02115 617-585-1126
617-585-1135 (fax) newengland
conservatoryedusummer
wwwAmericanRecorderorg March 2009 17
Workshops carrying
ARS designation have
joined the ARS as
workshop members
Other shorter workshops
may be sponsored
periodically through the
year by ARS chapters and
are listed in the calendar
portion of each ARS
Newsletter as well as on
the ARS web site when
information becomes
available from presenters
Canto AntiguoWest Coast EarlyMusic and Dance
Featured Faculty
Beautiful CampusFully air-conditioned
For Information Call
800-358-6567
Early Music
WorkshopJuly 5-12 2009
Chapman UniversityOrange CA
Classes in
Baroque Music
Recorder Ensemble(all levels)
Vocal Ensemble
Renaissance Brassand Reeds
Viols
Collegium
Folk Dance
Thomas Axworthy
Mark DavenportRonald Glass
Janet Beazley
Carol LisekJim MaynardAlice Renken
wwwcantoantiguonet
18 March 2009 American Recorder
SUMMER TEXAS TOOT (ARS)
Concordia University Austin TXJune 14-20 Director Daniel Johnson
The Summer Texas Toot is a one-weekprogram of classes in Renaissance and Baroque music at all levels forrecorders viols singers plucked stringsRenaissance reeds and brass andharpsichord Our classes include anarray of small one-on-a-partRenaissance and Baroque ensemblesand larger mixed vocal and instrumentalgroups The size of the workshopenables us to create classes for all levelsof students from those of modest skills to advanced players and singers
Same Texas Toot hospitality andtraditionsmdashback in Austin but atConcordia Universityrsquos beautiful newcampus Classrooms dining and dormaccommodations are air-conditioned and easily walkable
Currently our featured faculty are Tish
Berlin (recorders) Tom Zajac (reedsand ensembles) Mary Springfels(viols) Becky Baxter (harp)mdashbut watchfor more faculty to be added soon
Contact Daniel Johnson
PO Box 4328 Austin TX 78765
512-371-0099 infotootorg
tootorg
SAN FRANCISCO EARLY MUSIC
SOCIETY BAROQUE MUSIC amp
DANCE WORKSHOP (ARS)
Sonoma State University Rohnert Park CA
June 14-20Directors Phebe Craig Kathleen Kraft Frances Blaker
A music-packed week of master classesconcerto evening coached ensemblesBaroque orchestra vocal and windensembles continuo classes concertsand lectures
Featuring recorder faculty FrancesBlaker and Cleacutea Galhano Other facultyChristine Brandes voice Phebe Craig
harpsichord Sand Dalton oboeKathleen Kraft flute Michael Sandviolin and orchestra Mary Springfelsviola da gamba Peter Sykesharpsichord Tanya Tomkins rsquocello
Contact Kathleen Kraft SFEMS
PO Box 10151 Berkeley CA
94709 707-874-2014
kkraftsonicnet sfemsorg
SAN FRANCISCO EARLY MUSIC
SOCIETY CHILDRENrsquoS MUSIC
DISCOVERY WORKSHOP (ARS)
Crowden Center for Music Berkeley CA
June 21-26 (day camp)Director Letitia Berlin
Early music and Renaissance socialhistory for youth ages 7-15 beginners to advanced students welcome Dailyschedule includes chamber musicmusicianship crafts costume-makingand games Friday night concert andtheater project presentation followed by potluck supper
Rebecca Ahrendt violJanet Beazley recorder
Tish Berlin re cord er co-direct orFrances Blaker recorder co-direct or
Vicki Bœckman recorderLouise Carslake recorder fl ute
Charles Coldwell recorder Rotem Gilbert recorder
Julie Jeff rey violShira Kammen viell e
Peter Maund per cus sionKim Pineda recorder
Ellen Seibert violPe ter Seibert recorder choir
Margriet Tindemans viol viell eBrent Wissick viol
Play early music in the spectacular Pacifi c Northwest Choose from classes in recorder viol fl ute and percussion Polish your skills andor take up a new instrument Sing and dance
Enjoy the faculty concert Take part in the student recital Make the most of your stay with a hike at nearby Mt Rainier or a visit to the Museum of Glass
For informat ion or to request a brochure call (206) 932-4623write to Port Townsend Early Music Workshop
1108frac12 Alki Ave SW Seattle WA 98116or vis it wwwseattle-recorderorg
July 12ndash18 2009
Port TownsendEarly Music Workshop
At the beautiful University of Puget Sound Tacoma WA
Tish Berlin amp Frances Blaker Co-Direct orsPresented by the Seattle Recorder Society
Please note that this is a day camp Out-of-town students may contact thedirector regarding accommodations withhost families Some financial aidavailable
Featuring recorder faculty Vida Bateauand Letitia Berlin Other facultyKatherine Heater dance ShiraKammen musicianship and theaterband Ron McKean harpsichord Carla Moore violin Farley Pearcersquocello and viola da gamba Allison Rollstheater project director
Contact Letitia Berlin SFEMS
PO Box 10151 Berkeley CA
94709 510-559-4670
tishberlinsbcglobalnet
sfemsorg
OBERLIN BAROQUE
PERFORMANCE INSTITUTE
Oberlin College Oberlin OHJune 21-July 5Directors Oberlin Baroque Ensemble (Cathy Meints Marilyn McDonald Michael Lynn Webb Wiggins) and artistic director Kenneth Slowik
Celebrating its 38th anniversary withMusic in London 1659ndash1759 thisinstitute offers instruction in Baroqueinstruments and voice Students of alllevelsmdashfrom beginning to Baroqueperformance to the professional levelmdashparticipate in master classes and coachedensembles with an international facultyof Baroque specialists Scholarships are available for qualified high schoolstudents
Contact Anna Hoffman
Conservatory of Music
77 West College St
Oberlin OH 44074
440-775-8044
440-775-8942 (fax)
ocbpioberlinedu
oberlineduconsummerbpi
WORLD FELLOWSHIP
EARLY MUSIC WEEK
Chocorua NHJune 25-July 2Directors Jane Hershey Larry Wallach
Faculty of eightmdashincluding JaneHershey Roy Sansom Pamela DellalJay Rosenberg Julian Cole AnneLegecircne Larry Wallach and JoshSholem-Schreibermdashin a beautifulWhite Mountain camp setting conducta week-long workshop in French earlymusic (late Medieval through Baroque)
Faculty and student concerts Englishcountry dancing special lecturesmorning and afternoon workshops inviols recorders voice mixed ensemblesSephardic music and Baroque chambermusic and classes in Feldenkrais bodywork
Camp facilities include hikingswimming boating camp gardenssupply kitchen with vegetables Very affordable rates
Contact Larry Wallach
69 Welcome St Great Barrington
MA 01230 413-528-7212 (day)
413-528-9065 (evening)
413-528-7365 (fax)
larrysimons-rockedu
worldfellowshiporg
INDIANAPOLIS EARLY
MUSIC FESTIVAL
Indianapolis INJune 26-July 19July 8-9 Mini Boxwood Workshop
The Indianapolis Early Music Festivalis the oldest continually running earlymusic concert series in the USPresented since 1967 our mission is toenrich educate and entertain audienceswith the music of Medieval Renais-sance Baroque and early Classical erasand feature exciting performers ofnational and international stature usinginstruments of the period and histori-cally informed styles and techniques
For 2009 we will present Reconstruction(June 26 ) Ex Umbris (June 27) ChrisNorman amp David Greenberg withRonn McFarlane amp Mark Cudek (July10) I Furiosi (July 12) HarmoniousBlacksmith (July 17) and the PeabodyConsort with Indiana Repertory Theatre(July 19) We also offer our secondannual Family Concert featuring thePeabody Consort on July 18mdash a freeconcert geared to young audiencemembers Several groups also offeroutreach events for younger (generallyhigh-school-aged) musicians and actors
In 2009 we also present a two-dayldquoMini Boxwoodrdquo workshop with Chris
wwwAmericanRecorderorg March 2009 19
Marin
Headlands
Recorder
Workshop
Norman (earlytraditional flutes andpipes) David Greenberg (Baroqueviolin and fiddle) and Ronn McFarlane(lute) on July 8-9
Contact emindyorg
SAN FRANCISCO EARLY MUSIC
SOCIETY MEDIEVAL amp
RENAISSANCE WORKSHOP (ARS)
Sonoma State University Rohnert Park CAJune 28-July 4Director Tom Zajac
Workshop theme Stories and LegendsOpen to singers and players of earlyinstruments (recorders violas da gambalutes shawms etc) Coaching by world-class specialists in Medieval and Renaissance music Classes forvoices recorders viols and alta capellavoice master class ensemble coachingstorytelling for musicians andstorytelling accompanimentRenaissance choir Medieval bandtheater project faculty and studentconcerts lectures and more
Scholarships as well as academic creditor continuing education credit areoffered Featuring recorder facultyFrances Blaker Annette Bauer DanStillman and Tom Zajac Other facultyPatrick Ball storytelling Celtic harpKaren Clark voice movement formusicians Julie Jeffrey gamba ShiraKammen Medieval strings music forstorytelling Drew Minter voice theaterproject Tim Rayborn Medieval stringspercussion music for storytelling Larry Rosenwald theater projectrhetorician in residence MarySpringfels gamba theater projectAnnette Bauer early notation DanStillman reeds alta capella ensembleTom Zajac sackbut Renaissance choir
Contact Tom Zajac SFEMS
PO Box 10151 Berkeley CA
94709 617-323-0617
medrenmailgmailcom
sfemsorg
MOUNTAIN COLLEGIUM (ARS)
Cullowhee NC June 28-July 4Director Patricia Petersen
Nestled in the Smoky MountainsWestern Carolina University provides alovely location for Mountain Collegiumwith comfortable accommodations in anew dorm and catered evening mealsThe workshopmdash at once informal andintensivemdash combines study of Renais-sance Baroque and contemporary musicand improvisation on recorder viol andother early instruments with opportu-nities to explore Celtic and othertraditional music on hurdy gurdymountain dulcimer and pennywhistle
Friendly participants of all levels andages welcome newcomers into theMountain Collegium family Varied classofferings time for informal music-making and evening English countrydancing bring students back year afteryear Faculty Valerie Austin AtossaKramer Jody Miller Patricia PetersenJohn Tyson (recorders other winds)Martha Bishop Lisle Kulbach HollyMaurer Gail Ann Schroeder Ann Stierli(strings) Lorraine Hammond JohnTrexler (traditional music)
Contact Patricia Petersen
1702 Vista St Durham NC
27701 919-683-9672
patpetersenearthlinknet
mountaincollegiummusicorg
GREAT LAKES SUZUKI FLUTE amp
RECORDER INSTITUTE
McMaster University Hamilton ON CanadaJuly 4-11 Teacher training Book 1July 7-11 Teacher training Book 2July 7-11 Student InstituteDirector David Gerry
Master classes group instructionrecitals plus enrichment classes forstudents Teacher training with MaryHalverson Waldo
Contact David Gerry 129 Locke
Street South Hamilton ON L8P
4A7 CANADA 905-525-9549
dgerrynasnet davidgerryca
CANTO ANTIGUO EARLY MUSIC
AND RECORDER WORKSHOP
Chapman University Orange CAJuly 5-12Directors Thomas Axworthy Ronald Glass
This one-week workshop is designed to broaden the performance skills ofexperienced students and introduceRenaissance and Baroque instrumentsand musical experiences to beginningand intermediate players Students at alllevels participate in instrumental vocaland dance instruction performance
The workshop takes place at ChapmanUniversity Studios dining hall andresidences are all air-conditioned Thisinvitingly landscaped peaceful campuswith garden paths is a mixture of historic and modern architecture
The theme of this yearrsquos workshop isMusic of the Italian Renaissance Dancesmasses motets and ceremonial musicwill resonate as we explore the music ofMonteverdi Palestrina Gesualdo et al
Faculty includes Thomas AxworthyJanet Beazley Mark Davenport RonGlass Carol Lisek Jim Maynard and Alice Renken
Contact Ronald Glass
129 Altadena Dr Pittsburgh
PA 15228-1003 800-358-6567
(day) 310-213-0237 (evening)
562-946-4081 (fax)
evanesa2aolcom
cantoantiguonet
CAMMAC EARLY MUSIC WEEK
Lake MacDonald Music Center Harrington QC Canada
July 5-12Directors Francis ColpronMarie-Nathalie Lacoursiegravere
CAMMAC provides a unique oppor-tunity to make music with family and
20 March 2009 American Recorder
friends in a beautiful setting north ofMontreacuteal QC under the guidance ofinternationally acclaimed professionalmusicians
In four daily 75-minute classes pluslectures early music lovers will have the opportunity to play to their heartrsquoscontent
Small ensembles and voice classes are setup ahead of time registration for otherclasses occurs on site the first eveningCourses include choir large instrumentalensemble many recorder and violclasses Medieval and Renaissanceensembles Orff method and Baroquedancing There are courses foradolescents and a program for children 4-11 years old
Special project in 2009 The Fairy Queenby Purcell with choir instrumentalensemble soloists and staging Keyfaculty Matthias Maute ChristopherJackson Laura Pudwell MargaretLittle Marie-Nathalie Lacoursiegravere
Contact Johanne Audet
85 Chemin CAMMAC Harrington
QC J8G 2T2 CANADA
888-622-8755 1
819-687-3323 (fax)
nationalcammacca
cammaccaenglishTabLM
Summershtml
MADISON EARLY
MUSIC FESTIVAL
University of WisconsinndashMadison July 11-18Directors Cheryl Bensman Rowe and Paul Rowe artistic Chelcy Bowles program
MEMF joins the 2009 InternationalYear of Astronomy in a global celebrationof astronomy and its contributions tosociety and culture including the 400thanniversary of the first astronomicalobservation made through a telescope byGalileo Galilei Galileorsquos fatherVincenzo was a musician and musictheorist who combined the practice andtheory of music with mathematicaldiscussion of harmonymdashand influenced
Galileorsquos experiments MEMFcelebrates its tenth season exploringworks of music and the arts inspired by ascientific discovery that had tremendousimpact on culture and civilization
MEMF was created to provide anopportunity for musicians scholarsteachers and early music enthusiasts togather and exchange information andideas about Medieval Renaissance andBaroque music and to bring acclaimedearly music artists to the Midwest toperform in beautiful Madison
Featured MEMF 2009 guest artists-in-residence include Marion VerbruggenThe Newberry Consort QuicksilverPiffaro and Venere Lute QuartetRecorder faculty members includeMarion Verbruggen Joan KimballPriscilla Smith and Robert Wiemken
Contact Chelcy Bowles University
of WisconsinndashMadison 720 Lowell
Center 610 Langdon St Madison
WI 53703 608-265-5629
608-262-1694 (fax)
musicdcswiscedu
memfdcswiscedu
PORT TOWNSEND
EARLY MUSIC WORKSHOP (ARS)
University of Puget Sound Tacoma WA
July 12-18Directors Letitia Berlin Frances Blaker
Join us this summer at our new locationwith a star-studded faculty a beautifultree-lined and easy-to-navigate campuswith accessible facilities and acurriculum that will leave you wishingthere were 48 hours in a day
Consort and technique classes forrecorder and viol consort and mixedrepertoire recorder master classpercussion for all levels Hildegard forsingers Baroque flute beginning violtheory workshop orchestra and moreMake an all-Medieval schedule or mix it up with a class from almostevery period of music
Work hard and play hard with friends
new and old Intense music-making thatwill inspire you during the workshop andthroughout the year
Directors Tish Berlin and FrancesBlaker eagerly await your arrival andanticipate a splendid workshopRecorder faculty Janet Beazley TishBerlin Frances Blaker Vicki BoeckmanLouise Carslake Charles ColdwellRotem Gilbert Kim Pineda
Contact Jo Baim Workshop
Administrator 1108 frac12 Alki
Ave SW Seattle WA 98116
206-932-4623
workshopseattle-recorderorg
seattle-recorderorg
wwwAmericanRecorderorg March 2009 21
Amherst Early Music FestivalJuly 12-19 and 19-26 2009
Connecticut College New London CT
Renaissance consortsBaroque ensemblesMaster classesRenaissance AcademyEarly notation and moreNo audition required
July 12-19Baroque Academy
July 19-26 Virtuoso Recorder Recorder Seminar
Audition deadline May 15
wwwamherstearlymusicorginfoamherstearlymusicorg(617) 744-1324
AMHERST EARLY MUSIC FESTIVAL
(ARS)
Connecticut College New London CT July 12-19 Baroque Academy July 19-26 Virtuoso Recorder Recorder SeminarRenaissance Academy
Director Marilyn Boenau
Music of England and Spain Two weeksof classes in most early instrumentsvoice dance and notation
Week 1 includes classes for recorderviol other early instruments voicedance and notation Special programsBaroque Academy Baroque AcademyOpera Project (Purcellrsquos Dioclesian)
July 18-19 Music amp InstrumentExhibition
Week 2 comprises classes for recorderviol other early instruments voice andnotation Special programs VirtuosoRecorder Recorder SeminarRenaissance Academy
Evening activities include Englishcountry dance madrigals and informalplaying sessions Connecticut College ineastern CT offers comfortable air-conditioned accommodations naturalareas for walking and a view of LongIsland Sound Scholarships and work-study aid available
Contact Marilyn Boenau
Director or Cathy Stein
Administrator 47 Prentiss St
Watertown MA 02472
617-744-1324 (day)
617-744-1327 (fax)
infoamherstearlymusicorg
amherstearlymusicorg
MIDEAST WORKSHOP (ARS)
LaRoche College Pittsburgh PAJuly 19-25Director Marilyn Carlson
Music of Spain 55-60 students of allability levels adults only Instruction forrecorder (all levels except novice) violharp flute You may enroll for recorder
viol flute as primary instrument harpvoice recorder viol as secondary instru-ment Large and small ensembles all-workshop ensemble (instruments andvoices) Renaissance band (recordersviols capped reeds voice) Medievalcollegium (puzzles amp canons) consorts(by level) vocal ensemble Also Englishcountry dance penny whistle We alsooffer viol-for-novice and harp-for-novice each providing the opportunityfor hands-on experience without owningan instrument Other classes on specialearly music topics and literature
Faculty Marilyn Carlson directorMartha Bixler Stewart Carter JudithDavidoff Eric Haas Mary JohnsonPeter Ramsey Kenneth Wollitz otherfaculty to be announced All facilities areair-conditioned
Contact Marilyn Carlson
1008 Afton Road Columbus OH
43221-1680 614-754-7233
mcarlsoncolumbusrrcom
mideastearlymusicaddrcom
22 March 2009 American Recorder
San Francisco Early Music SocietySummer Workshops 2009Recorder middot July 19ndash25 2009La Dolce Vita di Flauto middot Explore the full range of recorder music from the Middle Ages to the 21st century through ensemble work technique sessions and recorder orchestra For the devoted amateur all ages intermediate to advanced Friendly atmosphere small classes Quiet campus near all amenities Special offerings Recorder orchestra recorder master class coached informal playing Faculty Louise Carslake Frances Feldon Rotem Gilbert Katherine Heater Norbert Kunst Patrick OrsquoMalley and Hanneke van ProosdijInfo Frances Feldon 510-527-9840 franfelaolcom
Baroque Music amp Dance middot June 14ndash20 2009Music in Italian Cities middot Master classes recorder ensemble concerto evening coached ensembles classes concerts and lectures Featuring recorder faculty Frances Blaker and Clea GalhanoInfo Kathleen Kraft 707-874-2014 kkraftsonicnet
Medieval amp Renaissance Music middot June 28ndashJuly 4 2009Stories amp Legends middot Classes for voices recorders viols and alta capella voice master class ensemble coaching storytelling for musicians and storytelling accompaniment Renaissance choir medieval band theater project faculty and student concerts lectures and more Featuring recorder faculty Frances Blaker Annette Bauer Dan Stillman and Tom ZajacInfo Tom Zajac 617-323-0617 medrenmailgmailcom
Music Discovery middot June 21ndash26 2009Day camp for youth ages 7 to 15 Early music and Renaissance social history Instruction in recorder harpsichord strings chamber music musicianship crafts costume-making games and more Beginners to advanced students welcome Featuring recorder faculty Vida Bateau and Letitia BerlinInfo Letitia Berlin 510-559-4670 tishberlinsbcglobalnet For more information visit our web site wwwsfemsorg
SAN FRANCISCO EARLY MUSIC
SOCIETY RECORDER WORKSHOP
(ARS)
St Albertrsquos Priory Oakland CA July 19-25Directors Frances Feldon Katherine Heater
Jam-packed week of recorder ensembleplaying concerts and the opportunity toimprove your skills working with highlyrespected recorder specialists in afriendly yet serious atmosphere Explorethe full range of recorder music from theMiddle Ages Renaissance and Baroqueto the 21st century through ensemblework technique sessions and recorderorchestra For the devoted amateur of allages from intermediate to advanced
Small classes Quiet campus Specialofferings recorder orchestra recordermaster class coached informal playing
Featuring recorder faculty LouiseCarslake Frances Feldon RotemGilbert Norbert Kunst PatrickOrsquoMalley and Hanneke van ProosdijOther faculty Katherine Heaterharpsichord
Contact Frances Feldon SFEMS
PO Box 10151 Berkeley CA
94709 510-527-9840
franfelaolcom sfemsorg
WINDSWEPT MUSIC WORKSHOP
William Jewell College Liberty MOJuly 19-25Director Phyllis Pasley
Bring your artistry to life Strengthen the mindbody connection and exploreenergy and music at Creative MotionAlliancersquos 59th annual summerconference Windswept Professionalmusicians conductors teachers studentsand amateur music enthusiasts willdiscover barriers that inhibit the free flowof energy and learn the secrets of inner-directed artistic music-making Classesin piano voice instrumental musicexpressive arts and independent studyMaster class coaching and conductingopportunities available Using move-
ment exercises analysis and bodyresponses explore music and energy in a unique inter-generational workshopformat Opportunities for independentrecorder study and private lessons enrichthe music-making experience
Registration fee $50 prior to 51509Tuition room meals $535 adults $400students 12-18 (must attend with parentteacher or sponsor) special half-weekrate $275 (Sunday-Wednesday noon)Memberfamily discounts Three hoursgraduate credit ($225) 3 CEUs ($50)and private lessons ($25 each)
Contact Phyllis Pasley 2208
Clouds Peak Maryland Heights
MO 63043 314-628-9862
directorcreativemotionorg
creativemotionorg
BOXWOOD FESTIVAL CANADA
Lunenburg Nova Scotia CanadaJuly 19-26Director Chris Norman
Discover musical and dance traditionswhile visiting one of North Americarsquosmost exquisite 18th-century seasidetowns Concerts dances sessionsclasses lectures with leading artists in therealms of traditional folk early musicdance and improvisation Work study ampscholarships available Gourmet cuisine
Faculty Chris Norman directortraditional amp early flutes FrancisColpron recorder ensembles LisaBesnoziuk Baroque flute DavidGreenberg Cape Breton amp Baroqueviolin Edmund Brownless voice shape note singing Marie Bouchardharpsichord Robert Dick contemporarytechniques amp composition Conal O Grada Irish flute Jerry OrsquoSullivanpipes whistle Rod Garnett flutefundamentals ethnic flutes PierreChartrand social dance MarlysNorman ballet classical dance Rod Cameron flute maker Tempest Baroque
Contact 902-634-9994
boxwoodorg
musiqueroyalecom
MACPHAIL SUZUKI INSTITUTE
FOR PIANO GUITAR FLUTE
AND RECORDER
MacPhail Center for the Arts Minneapolis MNJuly 19 Every Child Canreg July 19-26 Recorder Book 1July 20-24 Student InstituteDirectors Cindy Malmin Mary Halverson Waldo (auditions)
Suzuki Clinicians Marilyn Taggartpiano Tadeusz Majewski piano DavidMadsen guitar Kathleen Schoenfluterecorder MacPhail Suzuki faculty
Sanctioned by the Suzuki Association ofthe Americas MacPhailrsquos SuzukiInstitute allows Suzuki students of allages to share in motivating enrichingand wide-ranging musical experiencesStudents work with master teachers andimprove skills technically and musicallyDaily classes and observation includeapplied study theoryreading skillsensemble skills chamber music perfor-mance practices composition improv-isation master classes recitals art andmusic world musicdrumming musichistory recitals and presentations TeenMusical Revue (ages 13-18) fashioncharacter sketches develop a frameworkor theme and present to an audience
Who may attend Suzuki students whohave completed the Twinkle Variations(preschoolndashgrade 12 parents or another
wwwAmericanRecorderorg March 2009 23
Amherst Early Music Festival
(photo by Marc Weinberg)
responsible interested adult must attendwith students under high school age)teacher traineesobservers Participantsmust arrange meals housing and trans-portation Teacher Training prerequi-sites Every Child Canreg before Book 1courses must be taken in order throughBook 2 Contact workshop regardingrequired audition and preparation
Contact Cindy Malmin
612-767-5461
malmincindymacphailorg
Mary Halverson Waldo
5679 Harding Lane Shorewood
MN 55331 952-470-5853
mhalvwaldogmailcom
INTERNATIONAL BAROQUE
INSTITUTE AT LONGY
Longy School of Music Cambridge MA
July 24-August 2Directors Paul Leenhouts co-director Phoebe Carrai
VenicendashDresden Connection InternationalMeeting Grounds Music of MonteverdiVeracini Hasse Heinichen MarcelloVivaldi Pisendel Albinoni ZelenkaLotti Schein Schutz Quantz Gabrieli
2009 faculty Paul Leenhouts recorderPhoebe Carrai rsquocello ElizabethBlumenstock violin Ricard Bordasvoice Arthur Haas harpsichord LucasHarris lute Ken Pierce early danceGonzalo Ruiz oboe Mary Springfels
viola da gamba Jed Wentz traverso
Contact Karen Burciaga Com-
munity Programs Registrar One
Follen St Cambridge MA 02138
617-876-0956 X1532 (day)
617-354-8841 (fax) karenbur
ciagalongyedu longyedu
RECORDER AT THE CLEARING
The Clearing Ellison Bay WIJuly 26-August 1Directors Pat Badger Adrianne Paffrath
Recorder ensemble has been a traditionat The Clearing for over 25 yearsEnsemble playing is the weekrsquos focusEach day begins with a warm-up ofvoices and bodies as we sing rounds andready our muscles for performanceDaytime sessions focus on rhythmicchallenges recorder technique andensemble blend emphasis is on growthprocess and most of all enjoyment To participate fully you need at leastintermediate skills on a C or F recorder
Adrianne Paffrath coached on recorder with ARS teachers She is music directorat Racinersquos First Presbyterian ChurchPatricia Badger has studied early musicinstruments natural and classicaltrumpet She is performing arts head ofThe Prairie School Jointly they haveperformed for Medieval festivals grapestompings Shakespeare celebrations anda circus parade
Contact The Clearing PO Box 65
Ellison Bay WI 54210-0065
877-854-3225 920-854-9751
(fax) clearingtheclearingorg
theclearingorg
AMERICAN RECORDER SOCIETY
FESTIVAL AND CONFERENCE
University of Missouri at St Louis St Louis MO
July 30-August 2
Attend the second ARS Festival andConference for one day ($150) or allweekend ($350)
Sessions include recorder techniquepedagogy introductions to Orff Suzukiand Flutes and Drums Around the Worldmethods improvisation roundtablediscussions how to conduct yourconsort coached playing sessions forMedieval Renaissance Baroque worldand contemporary repertoire recorderorchestra incorporating percussion intoyour ensemble Also recorder mainte-nance choosing a recorder building aweb site using Sibelius music softwareMini-concerts by the next generation ofprofessionals master classes concerts byMarion Verbruggen and the FarallonRecorder Quartet Exhibition ofrecorder builders music sellers andmore CEUs available
Presenters Louise Austin AnnetteBauer Tish Berlin Frances Blaker Joyce Callanan Louise Carslake
24 March 2009 American Recorder
The Summer Toot is once again in Austin at the beautiful new facility of Concordia University The lushly wooded campus offers air-conditioned classrooms dining and dorm accommodations and is backed by a nature preserve Please join us
Our featured faculty includes Tish Berlin Tom Zajac Mary Springfels The Texas Toot offers a one-week program of classes in Renaissance and Baroque music at all levels featuring expert instructors in re-corder viol early reeds lute harp and voice
Danny Johnson workshop director Susan Richter administrator For more info
httpwwwtootorg or email infotootorg
11th Annual Summer Texas Toot June 14-20 2009 mdash Austin Texas
Mark Davenport Cleacutea Galhano LisetteKielson Lorraine Krige JudithLinsenberg Peter Maund Nina SternMarion Verbruggen Leslie TimmonsJim Tinter Mary Halverson Waldo
Contact Yvonne Miller-Nixon
Conference Administrator
1129 Ruth Dr St Louis MO
63122 800-491-9588 (day)
arsconfplannercharternet
americanrecorderorg
EARLY MUSIC WEEK AT
PINEWOODS CAMP (ARS)
Pinewoods Camp Plymouth MA August 15-22 Director Sheila Beardslee
The Myth amp Magick Creativity andInspiration in Early Music Surely thedeities of Olympus will surround us atPinewoodsndashwhere the myths of earlymusic will be made clear and our staff rsquosldquomagickalrdquo skills will hone and perfectour knowledge and performance of early music and dance
If yoursquove never played a musical instru-ment (but wish you could) or if youstudied music years ago (and fear yoursquoveforgotten) classes in recorder and violwill get you started or help brush off therust Advanced and intermediate playersand singers choose from a wide array ofclasses led by an outstanding faculty of professionals and teachers of earlywinds (recorders reeds brass) strings(viols violin) harpsichord and voice
New staff faces this summer areAnonymous 4rsquos Susan Hellauer voiceand Lisa Terry viol We welcome backDorrie Olsson historical dance andScott Higgs English country dance
We relax with two ponds for swimmingcanoeing a camphouse deck for readingafternoon tea and lots of dancing EarlyMusic Week continues its long traditionof superb teaching in a welcoming com-munity enhanced by special eventspresentations concertsmdashand dancing
Advanced musicians work intensivelyamateurs are engaged and challengedand beginners are always made welcome
Contact Steve Howe Country
Dance and Song Society
PO Box 338 Haydenville MA
01039-0338 413-268-7426 X3
(day) 413-268-7471 (fax)
campcdssorg cdssorgem
MONTREacuteAL RECORDER FESTIVAL
McGill University Montreacuteal QC Canada
September 17-20Directors Matthias Maute Sophie Lariviegravere
Conference consort music recorderorchestra concertsmdashEnsemble Capriceand Quynade (Israel) solo recital byMaurice Steger (Switzerland)
Contact Ensemble Caprice 4841
Garnier Montreacuteal QC H2J 3S8
CANADA 514-523-3611
514-523-1322 (fax)
infoensemblecapricecom
ensemblecapricecom
HIDDEN VALLEY INSTITUTE
FOR THE ARTS
EARLY MUSIC ELDERHOSTEL
Carmel Valley CANovember 1-7 November 8-14Directors Letitia Berlin workshopPeter Meckel HVIA
Enroll for one or both weeks Adults ofall ages welcome
Week I intense classes for upper inter-
mediate to advanced levels Week Ifaculty Letitia Berlin Frances BlakerLouise Carslake Annette Bauer(recorder) David Morris (gamba)
Week II all levels except beginnerClasses include recorder technique viol consort Baroque chamber musicconsort classes for Medieval Renais-sance Baroque and contemporary reper-toire workshop orchestra Week IIfaculty Letitia Berlin Frances BlakerTBA (recorder) Shira Kammen (earlystrings singing Medieval topics) MarySpringfels (viola da gamba)
Evening events include faculty concertstudent concert free-lance playing FreeWednesday afternoon for more playingor sightseeing Improve your playing in asupportive friendly atmosphere withworld-class teachers
Contact Peter Meckel
PO Box 116 Carmel Valley CA
93924 831-659-3115
831-659-7442 (fax)
hvmsaolcom
hiddenvalleymusicorg
wwwAmericanRecorderorg March 2009 25
26 March 2009 American Recorder
Am
herst
AR
S
Festival and
Co
nference
CA
MM
AC
Early M
usic
Week
Canto
Antiguo
Reco
rd
er
at th
e
Clearing
Great L
akes
Suzuki
FluteR
ec
Hid
den
Valley
Eld
erh
ostel
Interlo
ch
en
Early M
usic
Inst
Lo
ngy Intl
Baro
que
Inst
Marin
Head
land
s
Mid
east
Mo
ntreacuteal
Reco
rd
er
Festival
COST $520TW $350T C$1014ED $860 $1035E TBA $799D $389T $675T $210ED $735D $130TNO OF DAYS 814 1-4 7 7 7 5-8 714 6 10 3 6 4ARS DISCOUNT NO YES NO YES NO NO NO NO NO NO NO NONO OF FAC RECORDER FAC 4315 1716 165 85 22 82 543 11 101 1010 96 66NO OF STUDENTS 150wk 60 110 35 19 45 35 20 50 75 60 50RECORDER CLASSLEVELS
LIHIAV
BLIHIAV
BLIHIAV
BLIHIAV LIHIA BLI
LIHIAV LIHIA AV
LIHIAV
BLIHIAV
BLIHIAV
SPECIAL CLASSES USING RECORDERS
CMRMB20ENMROT
RPMRMB20MROPTO
CMRMBRO
MRMBENROPT CRO
RPMPT
CMRMB20MROPT
RPCMRMBENMROPT MBMP RP20
RPCMRMB20ENMTO
CMRMBMRO
NON-RECORDERCLASSES
CWKVPSDO PO
CWKVDT CWVD C O KVPS
CWPKVPST WK VD
CWVPSDO
MUSICALACTIVITIES
FSLSPP FLO FSLSP FS SP FSLP FSP
SLSPPO FSLP P FSLP FS
RECREATION D GS BSTW D FBSW FSO OBSTWO S O G
OTHERS WELCOME SC S SC S S S S SDIRECTTRANSPORTATION SC SBCP SP BCLP BP SB CPUP CL PUP
SBCPUP
TRANSPORTATIONTERMINALS
A50B2 T2 A B T
A10B3 T5
A80B80
A50B10 T10
A20B20 T20
A16B16
A4B3 T3 A20
A15B10 T10
A4B3 T3
ROOMS SD SD SD SD SDC SD SD SDC DBATHS SSP SSPP SP P SSPP SSPP SP P S PFOOD CV C GV CV FV C F CV CV CHANDICAP ACCESS HCD HCD HCD HCD HC HCD HD HCD C HCD HCD C
KEYCOST Includes tuition room (single occupancy unless otherwise noted) meals plus other fees E=estimated T=tuition only D=double occupancy W=one week
NO of DAYS Includes arrival and departure daysARS DISCOUNT Discount offered for ARS members FACULTYRECORDER FACULTY Number of facultyrecorder faculty within that number STUDENTS Average over last two yearsRECORDER CLASS LEVELS B=beginners LI=low intermediate HI=high intermediate A=advanced V=very advanced
SPECIAL CLASSES USING RECORDERS RP=recorder pedagogy C=one-on-a-part consorts MR=mixed Renaissance ensembles MB=mixed Baroque ensembles 20=contemporary music EN=early notation M=master class RO=recorder orchestra P=private lessons available T=technique O=other
NON-RECORDER CLASSES C=choral W=other winds P=percussion K=keyboard V=viols PS=plucked stringsD=danceT=theory I=instrument building O=other
MUSICAL ACTIVITIES F=faculty concert S=student concert L=lecture SP=special production P=organized informal playing O=other
RECREATION D=dancing F=field trip G=gym B=biking S=swimming T=tennis W=waterfrontbeach O=otherOTHERS WELCOME S=non-playing spousesfriends C=children (day care not generally available)DIRECT TRANSPORTATION TO WORKSHOP S=shuttle from airport B=bus C=cab L=limo PU=will pick up P=free parking O=other
TRANSPORTATION TERMINALS A=air B=bus T=train (number indicates miles from workshop to nearest terminal)
ROOMS S=singles D=doubles (with ldquo+rdquo can accommodate up to triples) C=cabins O=other =Graduate dormsBATH FACILITIES S=shared SP=semi-private P=privateFOOD C=college style F=family style G=gourmet V=vegetarianHANDICAP ACCESS H=housing C=classrooms D=dining
INFORMATION SUPPLIED BY WORKSHOP DIRECTORS
2009 SUMMER RECORDER WORKSHOPS
Here are some suggestions foravoiding overuse syndromes Most obvious warm up This meansincreasing your practice time graduallybefore the workshop begins andwarming up yourself and yourinstrument before each rehearsal
Make your playing situation ascomfortable as possible Take along acushion back rest footstool whateverit takes the ear and hand cannot ab-sorb what the bottom cannot tolerate
Be sure your glasses are ideal for the distance from your eyes to themusic desk that usually amounts to anarmrsquos length away (You can select apair at your local drug or departmentstore if you have no serious astigma-
tism) If glare from bright light (thosemarvelous outdoor rehearsals) is aproblem for you you may find that ayellow tint for your glasses is a help
Get your bodily playing equip-ment in the best possible shape beforethe workshop a visit to the dentist tosmooth off a front tooth for a windplayer can make an enormous differ-ence in endurance A layer of plasticwrap over the teeth (before yoursquoveworn a hole in your lip) may also help
Once yoursquove arrived at the work-shop there are ways to ensure thatstress (inevitable) doesnrsquot becomedistress (mostly preventable)
Take reasonable breaks duringrehearsal time and use them to stretchA little aerobics like running in placetakes very little time and gets rid ofthat stiff-from-sitting feeling Get yourfellow ensemble players to massageeach othersrsquo shoulders Other fre-
Do you have a favorite article from years past in AR E-mail that information to Gail Nickless
editoramericanrecorderorg
wwwAmericanRecorderorg March 2009 27
Mo
untain
Co
llegium
Pinew
oo
ds
Early M
usic
Week
Po
rt
To
wnsend
SF
EM
S
Baro
que
SF
EM
S
Ch
ild
rens
SF
EM
S
Med
ieval amp
Renaissance
SF
EM
S
Reco
rd
er
Texas T
oo
t
Wh
itew
ater
Wind
sw
ept
Music
Wo
rksh
op
Wo
rld
Fello
wsh
ip
$800ED $890ED $975 $950 $370T $950 $950 $740E $245 $535D $850E COST7 8 7 7 5 7 7 7 3 6 7 NO OF DAYSNO NO NO YES YES YES YES YES NO NO NO ARS DISCOUNT
125 189 169 102 82 124 76 136 1110 131 83NO OF FAC RECORDER FAC
50 100 100 55 30 70 40 50 110 45 30 NO OF STUDENTSLIHIAV
BLIHIAV LIHI AV
LIHIAV
BLIHIAV LIHI AV LIHIA LIHIA
BLIHIAV
BLIHIAV
RECORDER CLASSLEVELS
CMRMB20TO
CMRMBENROT
MRMB20MROPT
MBMPTO
CMRMBPTO
CMRENMPTO
C20MROPTO
CMR20MPT
CMRMB20ROTO MP
CMRMBMRO
SPECIAL CLASSES USING RECORDERS
WVDTO
CWKVPSDT CPVT
CWKVPSTO
KVDTO
CWPVPSTO O
WKVPSTO
CWVTO
CWPKVD
CKVDT
NON-RECORDERCLASSES
FSLSPP FSP
FSLSPPO FSSP
FSLSPPO
FSLPO
FSLPO SPO FSL PO FSLP
MUSICALACTIVITIES
DGBS DSWFGBSTW
DGBST D
DGBST DO SO
DFSWO RECREATION
S S SC SC S S SC SC OTHERS WELCOME
P SC CPUP SCP SCP SBC LP SPUP P BPUDIRECTTRANSPORTATION
A50B15 T15
A15B7 T6 A59
A20B2 T5 A59
A12B4 T1 A40 A
A20B15 T28 B10
TRANSPORTATIONTERMINALS
SD SD S S CALL S S SD SD SD SD ROOMSSP S SP P P SP P S S S BATHSCGV FV CV CV CV CV CV CV CV FV FOODHCD CALL HCD HCD C HCD HCD HCD HCD HD HANDICAP ACCESS
AR50 AVOIDING ACHES amp PAINSBy Leacuteonie Jenkins MD (c1925- 2000) from the March 1993 AR Vol XXXIV1
quently overused parts such asforearms and hands also respond to massage Quick tutorial on massagestart stroking toward the body and inthe direction of the flow of the veinsmdashupstream from the sorest partgradually work down to include thesore spot Yoursquore trying to move overthe underlying muscle not to rub theskin Thatrsquos why a little oil helps
Your psyche may need some relieffrom overload too Most workshopsare in surroundings that lend them-selves to taking a walk finding a placeto meditate taking in some beauty In creating anything a musical per-formance no less than more static artforms breathing in is as necessary asbreathing out be sure you take time to do it
Not to be forgotten those partiesLate hours and alcohol are stressfultry to balance off the fun yoursquore havingwith your capacity for both Above allenjoy Thatrsquos why yoursquore going
2009 SUMMER RECORDER WORKSHOPS
By Bart Spanhove
The author has been principalprofessor of recorder at the Lemmens-
instituut Leuven (Belgium) since 1984He is also artistic director of the world
famous recorder ensemble the FlandersRecorder Quartet which is set to perform
in concert at the 2009 Boston EarlyMusic Festival He is often asked to serve
as a jury member for internationalrecorder competitions in Canada US
Germany The Netherlands and BelgiumHe has given numerous master classes andlecture demonstrations all over the world
Spanhove is co-author of thesuccessful recorder method Easy Going(Heinrichshofen) and wrote the much-
used book The Finishing Touch ofEnsemble Playing (Alamire 2000
and Moeck 2002 with translations inChinese and German) In 2009
The Recorder Music of Frans Geysenwill come out (Mieroprint)
Currently he is researching practicetechnique for the recorder Daily
Spanhove thinks about how to makepeople happier by making music and
playing the recorder
As a conclusion for the VirtuosoRecorder class during the AmherstWorkshop in 2008 we organized aldquoHappy Hourrdquo for our nine talentedstudents Mee-Jung Ahn (Korea)Emilie Hasselgren and Kristine West(Sweden) Anne Timberlake JosephLewnard Jacob Lodico and BrycePeltier (US) Emiliano Perez(Mexico) and Fanny Massy (France)participated in a quiz that I wrote thenight before with the assistance ofReine-Marie Verhagen
We combined questions regardingmusic theory with practical exercisessuch as middot How long can a player hold a
low f in one breath on an altorecorder (You get one point foreach second)
middot How many times through a scaleis a player able to play in 30seconds (For every octave of theF major scale you get one point)
middot How many different pieces fromthe recorder repertoire can aperson play in the course of twominutes (The other members ofthe group have to guess the nameof the composer before the playercan start the next piece)
middot In one minute list as manydifferent titles as you can fromDer Fluyten Lusthof (TheRecorderrsquos Pleasure Garden) of J J van EyckThe list of questions goes onAt the ldquoHappy Hourrdquo people
were divided into three groupsaccording to dates of each personrsquosbirthday When theoretical questionswere asked (see below) the pointsystem was devised as follows threepoints were awarded when the selected
person of a group could find theanswer himherself two points whenthe selected person needed the help ofthe other group members and onepoint if the group needed the help ofour gracious class assistant Reine-Marie Verhagen (she alwaysknew the answer) No points weregiven if the quizmaster had to supplythe answer
On the next page you find someof my questions There are morewhich we hope to run in a future issueof American Recorder
The quiz was full of fun andsuspense By the end people weremore nervous than when playing aconcert on stage Jacob Lodico of theUS was the winner at Amherst
28 March 2009 American Recorder
Education___________________________________ A quiz for recorder players
wwwAmericanRecorderorg March 2009 29
Try these questions yourselfAnswers appear at the end of thisarticle
The Quiz1 Give the name of Ganassirsquos
treatise of 1535 where heextensively describes the recorder playing and diminutions of his time
2 In which German city is therecorder company Moeck based
3 In the cantata Gottes Zeit ist dieallerbeste Zeit BWV106 JS Bach calls for two altorecorders Give another name for this cantata
4 Of which famous orchestra isFrans Bruumlggen the conductor
5 List three leading Japanesecomposers of excellent solo pieces for the recorder
6 Give the names of recordermagazines published inGermany England and the US
7 What is the fundamental tone of a fourth flute
8 List two recorder makers fromthe Baroque period in England
9 Whatrsquos the title of the recitativeand chorale in the Saint MatthewPassion where the recorder isused
10 Give the names of two famouspublishers in business around1700mdashone in London and one in Amsterdam
11 The opus 10 work by AntonioVivaldi includes six concertiSome of them have beautifulnames Give the names of thefirst three concerti of this opus
12 Whatrsquos a nickname for Jean Jacques Hotteterre
13 The combination of recorder andtraverso was rarely used in theBaroque time Can you name any composers who used thiscombination
14 Which king from 16th-centuryEngland owned a large collectionof recorders and also composedand enjoyed daily recorderplaying
15 How many movements compriseHandelrsquos Sonata in C Op 1 No 7 originally written forrecorder and basso continuo
16 Give the name of Praetoriusrsquostreatise from 1609 that describesthe whole recorder family
17 Name the author of the oldestrecorder method
18 Name Jan Jacob van Eyckrsquosdisability
19 Who pretended around 1930 thatthe recorder was a kind ofclarinet
20 Who doesnrsquot belong in thefollowing group Bertho DrieverKarel van Steenhoven MarionVerbruggen Paul LeenhoutsDaniel Bruumlggen
21 Name the two instrumentsindicated to play the sonataMeiner Mutter of Hans UlrichStaeps
22 Il Pastor Fido was not composedby Antonio Vivaldi but by aFrench composer What was hisname
23 Whatrsquos the nationality of themusic company Zen-On
24 CPE Bach composed abeautiful trio that includes a bassrecorder What are the other twoinstruments
25 Give the names of the fourmovements of Bachrsquos partita forsolo traverse flute BWV1013
26 Which excellent playersperformed as the recorder trioSour Cream
27 A recorder normally has eightfingerholes Despite this musichistory describes the recorder as ldquoune flucircte agrave neuf trousrdquo (a flute with nine fingerholes)Explain why
28 Give the French name for vibratoperformed by finger movementsalone on a wind instrument
29 Who wrote in his diaryldquohellipbeyond anything in the wholeworld the wind-music when the
Answers to
Bart Spanhoversquos Quiz1 La Fontegara2 Celle3 Actus Tragicus4 The Orchestra of the
Eighteenth Century5 R Hirose M Ishii and
M Shinohara
6 Windkanal or Tibia (both ofGermany) The Recorder(England) American Recorder(US)
7 B8 The most famous English
recorder makers around 1700Bressan and Stanesby (the latterbeing both senior and junior)
9 O Schmerz Hier zittert das gequaumllte Herz
10 Walsh (and Hare) (of London)Roger (of Amsterdam)
11 La Tempesta de Mare La Notte Il Gardelino
12 Le Romain13 JB Loeillet J J Quantz
JJ Hotteterre or J B de Boismortier
14 Henry VIII15 Five16 Syntagma Musicum17 Sebastian Virdung Musica
Getutscht und Ausgezogen (1511)18 Blindness19 Igor Stravinsky20 Marion Verbruggen21 Alto recorder and piano22 Nicolas Cheacutedeville23 Japanese24 Viola and cembalo25 Allemande Courante Sarabande
Bourreacutee26 Kees Boeke Walter van Hauwe
and Frans Bruumlggen27 Before 1670 the player could
choose how to hold the recordermdashleft hand or right hand at the topThis meant that recorder makersdrilled two holes to accommodatethe little finger of the hand thatended up at the bottom Theunused hole was sealed with beeswax
28 Flattement29 Samuel Pepys30 Flanders Recorder Quartet
30 March 2009 American Recorder
Lazarrsquos Early Music(866) 511-2981 jblazaraolcom
wwwLazarsEarlyMusiccom
292 Gibraltar Dr 108 Sunnyvale CA 94089
Strings amp Early Winds
ModernBaroque Strings Viols Vielle
Kuumlng Moeck Mollenhauer Paetzold Yamaha Ehlert
Wenner Baroque flutes
Wendy Ogle Lu-Mi Ifshin Snow
Competitive Prices
Sent on Approval
Personalized Service amp Advice
R
E
C
O
R
D
E
R
S
ldquoGO FOR NEO-BAROQUErdquo
Andrew Charlton Partita Piccola For 4 Recorders (SATB)
[Prelude Allemande Courante Musettemdash
a neo-baroque epitome] (Score amp Parts PBE-25) $795
Andrew Charlton Suite Moderne For 3 Recorders (ATB)
[Baroque shapes but Hindemithian harmony]
(3 Playing-Scores PBE-44) $995
Southwest of Baroque David Goldsteinrsquos ldquobaroque Suiterdquo
on Cowboy Songs For 2 Recorders (SA) (PBE-2) $350
The Provincetown Bookshop Inc
246 Commercial Street Provincetown MA 02657 Tel (508)487-0964
A good source for Recorder amp Viol Music of all publishers
Provincetown Bookshop Editions
angel comes down which is sosweet that it ravished me andindeed in a word did wrap upmy soul so that it made me reallysick just as I have formerly beenwhen in love with my wiferdquo
30 Whatrsquos the English name for afamous recorder ensemble calledin its country Vier op lsquon Rij
wwwAmericanRecorderorg March 2009 31
by Tim Broege timbroegeaolcom
December 11 2008 was a specialday for American music the
100th birthday of Americarsquos greatestliving composer Elliott Carter Cele-bratory concerts took place in manyvenues including Carnegie Hall inNew York There the Boston Sym-phony led by James Levine played anew work by Carter Interventions forpiano and orchestra The soloist wasanother well-known conductor DanielBarenboim who is no mean hand atthe keyboard to say the least
Itrsquos remarkable that wonderfulnew compositions continue to pourforth from Carterrsquos pen His musicsparkles and frolics packing lots of musical events into engrossingstructures Much of his music isavailable on CD so if you missed thecelebrations you can easily have yourown belated birthday party for Carter
Although he has never written for recorder (one of our prominent
recorder soloists should commissionhim) Carter has produced manychamber pieces featuring woodwindsSince many recorder players double orstarted out on woodwinds such piecesas the Sonata for Flute Oboe Cello ampHarpsichord (1952) Enchanted Preludes(1988) for flute and rsquocello Espritrudeesprit doux (1985) for flute andclarinet or the Oboe Quartet (2001)may hold special interest
If you missed Charlie Rosersquosexcellent interview (broadcast onDecember 10) with Carter Levine andBarenboim you can see it atwwwcharlierosecomview
interview9774mdashessential viewingfor fans of contemporary music
We note with sadness the passingon January 23 of another distin-guished American composer GeorgePerle An authority on the music ofAlban Berg and the Second VienneseSchool Perle developed a uniquelyrical style based upon a free approachto 12-tone and serial procedureswhich he dubbed ldquo12-tone tonalityrdquo I recommend listening to his SerenadeNo 3 for Piano amp Orchestra (1983) Six Etudes for Piano (1973-76) and the Pulitzer Prize-winning Wind Quintet No 4 (1985)
Another leading American com-poser Leon Kirchner is thankfully still with us having turned 90 onJanuary 24 Like Perle Kirchner has a highly personal and expressive styleA birthday concert was held at MillerTheater at Columbia University inNew York City NY Participatingmusicians included flutist PaulaRobison pianist Jeremy Denk and theClaremont Trio with the composerpresent to discuss his music
An excellent way to get to knowKirchnerrsquos music is through his stringquartets Just in time for his birthdayAlbany Records has released a fine CDof all four played by the Orion StringQuartet Quartet No 4 was written in2007 (when the composer was 87mdasha veritable youngster compared toCarter) The composer Allen Shawnhas described that quartet asldquoluminous and passionaterdquo words aptto describe much of Kirchnerrsquos output
Speaking of contemporary musicI have been spending pleasant hoursperusing the Catalog of ContemporaryBlockflute Music available online atwwwblokfluitorg from StichtingBlokfluit This Netherlands founda-tion offers a contemporary recordercatalog and a catalog of historicalrecorder music Access to both is byfree membership
For those who havenrsquot yet used thecontemporary catalog I urge you togive it a try You can search by manyparameters such as composer title orspecific instrumentation A search forldquovoice fluterdquo turned up a list thatincluded Moon Dances Three AmericanSketches by composer Walter Mays(intended for solo alto recorder butalso playable on tenor or voice flute)Searching the name of English com-poser Edmund Rubbra produced a listof eight works that employ recordersincluding the intriguing CantataPastorale opus 92 for high voice altorecorder rsquocello and harpsichord
Searching ldquofemale composersrdquo fora piece using ldquoBaroque altordquo yieldedAfter Meditation by Ros Bandt ofAustralia
What an easy and tremendouslyvaluable way to find new music
On the Cutting Edge___________________________________Birthdays composers and
recorder music catalogs
Elliot Carter
(photo by Meredith Heuer)
Question How does Renaissancefingering differ from standard
fingering on the recorder Is one superior tothe other Do you need a special recorder touse Renaissance fingering and if so can itbe played with regular recorders Is there afingering chart that shows RenaissancefingeringmdashWilliam BaumannWaterford WI
Answer from Carolyn Peskin Music composed in the
Renaissance the historical periodextending from about 1450 to 1600was predominantly vocal and highlycontrapuntal Recorders which oftendoubled singers at the octave orrendered vocal pieces instrumentallywere designed to make the individualmelodic lines clearly audible
Most 16th-century consortrecorders were one-piece instrumentswith large toneholes and a wide borethat contracted slightly starting nearthe upper fingerholes and thenexpanded gently near the lowest holesThat ldquochoke-borerdquo design togetherwith the voicing and tonehole con-figuration favored the fundamentaltone (first harmonic) producing astrong open sound that was aboutequally loud throughout theinstrumentrsquos range
Such recorders had a useful rangeof only about an octave plus a sixthwhich was nevertheless sufficient for the music of their day MostRenaissance-style consort recordersmade today are based loosely uponsurviving 16th-century instruments ofthe above type and are designed toapproximate the range timbre andvolume of those early instruments
Our present-day ldquoregularrdquorecorders are Baroque-derived instru-ments based loosely upon survivingrecorders from the late 17th and early18th centuries They are three-pieceinstruments with small toneholes and abore that is narrower and moretapering than a Renaissance boreextending their useful range upward totwo octaves plus a whole tone
Baroque recorders are soft andsweet-sounding in their bottom octavebut louder and brighter in the secondoctave Their lowest notes are espe-cially weak because they must be blowngently to prevent overblowing into thesecond octave Such instruments aresuitable for Baroque solo and chamberrepertoire but not very satisfying forRenaissance polyphony
Due to their different timbre andvolume Renaissance recorders will not blend well with Baroque onesFurthermore the most historicallyauthentic Renaissance-style recordersare tuned in a ldquomeantonerdquotemperament that facilitates the playingof pure major thirds Such instrumentsmake Renaissance music easier to playin tune but will produce intonationproblems if played with Baroquerecorders which are tuned in equaltemperament For the above reasonsRenaissance and Baroque recordersshould not be played together
Renaissance fingering will not work on todayrsquos neo-Baroquerecordersmdashmost of which haveldquomodernrdquo Baroque fingeringcommonly called ldquoEnglishrdquo fingering
because it was developed fromhistorical Baroque fingering by ArnoldDolmetsch in England during theearly 20th century Renaissancefingering is less standardized partlybecause a number of different originalinstruments are used as models andpartly because makers wish to improvethe intonation tone quality andorplayability of certain notes Howeverthe following generalizations apply tomany of todayrsquos Renaissance-styleconsort recorders
First in the lower octave modernBaroque fingering works for mostnotes but is often too flat for the fourth scale degree (eg soprano F)requiring removal of finger 7 (right-hand pinky) and is too sharp for theraised fourth degree (eg soprano F)requiring addition of finger 7
Modern fingering is also usuallytoo sharp for the lowered seventhdegree (eg soprano B) The correctfingering for that note varies from oneinstrument to another
In the upper octave modernfingering works for the first third andfifth scale degrees (eg soprano C Eand G) but usually not for other notesSome notes require half-holing with aright-hand finger and notes above thefifth scale degree may require additionof several fingers to bring them in tuneHistorical Renaissance fingering forthe second scale degree (eg sopranoD) is especially awkward because all ofthe fingerholes and the thumbholemust be uncovered Therefore somemakers substitute modern fingering forthat note
Although Renaissance fingeringand meantone tuning are recom-mended for the best blend some
Q amp A___________________________________ Renaissance recorder fingering
Send questions to Carolyn Peskin QampA Editor 3559 Strathavon Road Shaker Heights OH44120 carolynpeskinstratosnet
32 March 2009 American Recorder
wwwAmericanRecorderorg March 2009 33
makers of handcrafted Renaissance recorders will provide modern fingeringandor equal temperament upon request and Moeck Verlag offers a choice ofRenaissance or modern fingering for most sizes of its factory-producedRenaissance Consort series
For a most satisfying blend Renaissance ensembles should purchase amatched set of recorders tuned and voiced to be played together Renaissanceconsort sets usually include two different alto recorders one in G (lowest note g)and one in F (lowest note f ) The ATTB combination with the G-alto is best formost of the quartet music composed between 1450 and 1550 while the SATBcombination with the F-alto is more practical for much late 16th-centuryrepertoire (Playing the G-alto requires learning G-alto fingering or elsetransposing the alto line down a whole tone and using F-alto fingering)
In addition to consort recorders some makers offer ldquoGanassirdquo sopranos andaltos based upon fingering charts in Silvestro Ganassirsquos recorder tutor Fontegarapublished in 1535 and a single original instrument in the Vienna Kunst-historisches Museum Because of their special bore design (cylindrical with aflaring bell) Ganassi recorders have a range of two octaves and a sixth withcumbersome fingerings in the third octave They are used mainly as soloinstruments for playing intricate ornaments of the type found in Fontegara
Also sometimes included in the ldquoRenaissancerdquo category are ldquotransitionalrdquo(early Baroque) recorders which are based upon originals from the first half ofthe 17th century They have a bore that is wider than a Baroque bore but contractssharply near the lower end resulting in strong low notes and at least a full two-octave range usually with modern fingering Most transitional recorders aresopranos or altos designed for playing Jacob van Eyckrsquos variation sets or thehighly ornamented Italian solo repertoire of the late-16th and early-17thcenturies
However wide-bore consortrecorders with a range of at least twooctaves and modern fingering shouldalso be regarded as transitionalinstruments They differ somewhat intimbre and volume from typicalRenaissance consort recorders
Handmade wide-borerecordersmdashconsort Ganassi andtransitionalmdashare obtainable frommakers who advertise in AmericanRecorder the Prescott Workshop andthe Von Huene Workshop in the USJean-Luc Boudreau in Canada andStephan Blezinger in GermanyContact them andor visit their websites to find out what kinds ofrecorders they are currently makingand to get an idea of their prices andwait times
Factory-produced wide-borerecorders from Kobliczek Moeck andMollenhauer are available frominstrument dealers who advertise inAR New and used recordersincluding wide-bore models fromimportant makers in the US andabroad are also obtainable from Uni-corn Music For further informationvisit wwwbuyrecorderscom For a comprehensive database of recordermakers worldwide see Nicholas SLanderrsquos ldquoExtant Recorder Makers amp Retailersrdquo at wwwrecorder
homepagenetmakershtml
REFERENCES
CONSULTEDBauer Winfried
wwwrecorder-fingeringscomIncludes interactive fingeringcharts from modern makers andhistorical treatises Charts forRenaissance consort recorders byAdriana Breukink Adrian BrownBob Marvin and Tom Prescottwere consulted
Brown Adrianwwwadrianbrownorgrec
order_typesconsorthtml
Our present-day ldquoregularrdquo recorders are
Baroque-derived instruments based loosely
upon surviving recorders from the
late 17th and early 18th centuries
34 March 2009 American Recorder
The Von Huene Workshop Incis pleased to announce agreements with
CoolsmaZamra
to serve as their authorised service agents in the US
For more than 40 years the von Huene Workshop has produced some of the finest recorders in the world Our skilled staff can revoice retune and repair even the most seriously damaged instruments All repairs are done right on the premises and most can be completed within a week
For warranty repairs please include a copy of your original sales receipt
j 65 Boylston Street Brookline MA 02445 i(617) 277-8690 Fax (617) 277-7217 servicevonhuenecom
An informative article aboutrecorder sizes in Renaissanceconsorts
Brown Adrian and David LasockildquoRenaissance Recorders andTheir Makersrdquo AmericanRecorder Vol XLVII No 1(January 2006) pp 19-31 An important article based upon Brownrsquos extensive researchon 120 of the 200 surviving 16th-century recorders
Ganassi Silvestro Opera IntitulataFontegara Ed Hildemarie Peter(Berlin-Lichterfelde RobertLienau 1959) Modern edition ofthe oldest known treatise devotedentirely to the recorder (publishedin 1535) Includes 16th-centuryfingering charts
Griscom Richard and David LasockiThe Recorder A Research andInformation Guide (New York andLondon Routledge 2003) Anannotated bibliography including
references on construction anddesign of historical recorders
Levin Philip ldquoQampArdquo AmericanRecorder Vol XXXVIII No 4(September 1997) p 27Explains in simple terms thedifference between Renaissanceand Baroque recorders
Morgan Fred ldquoA Recorder for theMusic of JJ van EyckrdquoAmerican Recorder Vol XXV No 2 (May 1984) pp 47-49Describes the bore design of arecorder suitable for playing Van Eyckrsquos variation sets andcompares it with bore designs ofother types of recorders
Myers Herbert W ldquoRecorderrdquochapter in A Performerrsquos Guide toRenaissance Music ed JefferyKite-Powell (New York SchirmerBooks 1994) A 2nd edition isnow available published in 2007by Indiana University Press
FEATURING MUSICA PACIFICA
JUDITH LINSENBERG
RECORDERS____JS BACH TRIO SONATAS Arr by
Linsenberg from Trio Sonatas for Organ BWV525-
530 Sonata No 1 in E
major (transp to B
)
BWV 525 Sonata No 2 in C minor (transp to E)
BWV526 Sonata No 3 in D minor (transp to G)
BWV 527 Sonata No 4 in E minor BWV 528
Sonata No 5 in C major (transp to F) BWV529
Sonata No 6 in G major (transp to C) BWV 530
Virgin Classics Veritas 1993
____FIRE BENEATH MY FINGERS Showcases
three legendary composers who were also
virtuoso performers Vivaldi Concerto in F major
after RV 98570 ldquoLa Tempesta di Marerdquo Sonata in
A minor RV86 Concerto in G minor RV106 Con-
certo in Bb major RV503 Sammartini Concerto in
F major Tartini Concerto in A major D91 Dorian
____MANCINI CONCERTI DI CAMERA Seven
sonatas by Francesco Mancini plus one work each
from his contemporaries Francesco Durante amp
Domenico Scarlatti Highly recommended citation
from the 2000 Vivaldi Prize for Recordings of Italian
Early Music--Giorgio Cini Foundation Dorian
____MARAIS MARIN PIEgraveCES EN TRIO POUR
LES FLUcircTES VIOLON amp DESSUS DE VIOLE
Maraiss complete works for two treble lines and
bass with varied instrumentation and orchestrations
2-CD set $24
____SCARLATTI CONCERTI DI CAMERA
Seven sonatas for various instrumentations no
poor relations to the composers much more widely-
known vocal output All recorder players should
certainly have thisndashEarly Music Review
____TELEMANN CHAMBER CANTATAS
Five cantatas from Harmonischer Gottesdienst two
sonatas from Sonatas Corellisantes 2003 Chamber
Music America WQXR Record Award for best
chamber music recordings
____VIVALDI LA NOTTE Concerti per strumenti
diversi Award-winning CD featuring five Vivaldi
concerti two sonatas
AND OTHER RECORDING
ARTISTS FROM CALIFORNIA ____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 American Bach Soloists Jeffrey
Thomas conductor Dan Laurin Hanneke van
Proosdij recorders Christmas Concerto featuring
unique 1725 London version with solos transcription
for two recorders instead of two solo violins in
three of the six concertos Delos
____CANCcedilONIEgraveR Annette Bauer recorder
multi-instrumentalist Tim Rayborn Shira Kammen
strings Phoebe Jevtovic voice in a new early
music group devoted to repertoire from the
12thndash15th centuries as well as traditional music
from related regions (the Balkans Scandinavia
Middle East) Medieval instrumental music played
on a variety of instruments including strings
recorders and percussion Medieval dances and
motets bring to life the rich world of ancient
European music-making
____SACRED AND SECULAR MUSIC FROM
RENAISSANCE GERMANY Ciaramella-Adam amp
Rotem Gilbert Doug Millikan Debra Nagy
recorders with other winds shawm sackbut amp
organ Medieval amp Renaissance sacred music with
reconstructions of folksongs amp arrangements based
on contemporary improvisation
____BURIED TREASURE TOPAZ amp SAPPHIRE
Ensemble Vermillian Frances Blaker recorders
Barbara Blaker Krumdieck cello Elisabeth Reed
gamba Katherine Heater harpsichord amp organ
Transcriptions of Buxtehudes Op 1 other pieces by
Buxtehude works by Biber Johann Schop
Schmelzer Fafarela 2007
____STOLEN JEWELS Ensemble Vermillian
Frances Blaker recorders Barbara Blaker
Krumdieck Elisabeth Reed Katherine Heater 17th-
century German music adapted by Blaker I love
violin music so I steal the music and rearrange it
for my own instrumentrdquo Buxtehude Op 1 Biber
Rosenmuller Krieger JM Bach Fafarela
Recordings
____SENFL (LUDWIG) Farallon Recorder Quartet
(Letitia Berlin Frances Blaker Louise Carslake
Hanneke van Proosdij) 23 lieder motets and
instrumental works of the German Renaissance
____DOLCE MUSICAndash A CONTEMPLATIVE
JOURNEY Eileen Hadidianflutes recorders
Natalie Cox harps Celtic Renaissance and
Medieval melodies for recorder and flute with
Celtic harp Healing Muses 2005
____REFLECTIONS MUSIC TO SOOTHE AND
UPLIFT THE SPIRIT Eileen Hadidian recorder amp
Baroque flute with Celtic harp and cello Celtic
traditional Renaissance amp Medieval melodies
Healing Muses
____AN EVENING WITH BACH Voices of Music
Hanneke van Proosdij Louis Carslake Dan Laurin
recorders Joanna Blendulf Elizabeth Blumenstock
Rodney Gehrke Lisa Grodin Katherine Kyme
Jennifer Lane Victoria Gunn Pich Susanne Ryden
William Skeen David Tayler Renaissance and
Baroque music centers on fine singing Instantly
recognizable Air on a G String Bachrsquos Prelude in
G Major (solo theorbo for rsquocello) plus lilting vocal
performancesmdashRydenrsquos weightless soprano on
Bist du bei mir Lanersquos rich alto on Es is vollbracht
____BACH amp TELEMANN SONATAS PRELUDES
amp FANTASIAS Voices of Music (Hanneke van
Proosdij Joanna Blendulf Rodney Gehrke William
Skeen David Tayler) Beautiful chamber music by
Bach and Telemann
IN STOCK (Partial listing)____ALLA TURCA FUX CALDARA BADIA
Matthias Maute amp Sophie Lariviegravere recorders
Monika Mauch soprano Vocal music of the church
accompanied by Ensemble Caprice plus sonatas
and other instrumental pieces Analekta
____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 John Daniels Sonja Lindblad
recorders Peter Sykes harpsichord Trio sonata
arrangement by Johann Christian Schickhardt
____LES
AMIS DU
BAROQUE
Paul Nauta recorder amp
Baroque flute Koen Dieltiens recorder Music by
Bassani Corelli Vivaldi etc Highlight Intl
____LES SEPT SAUTS BAROQUE CHAMBER
MUSIC AT THE STUTTGART COURT Matthias
Maute amp Sophie Lariviegravere recorders amp traverso
Ensemble Caprice Charming repertoire by
Schwartzkopff Bodino Detri Atma Classique
____TASTE OF PORTIQUE LEnsemble Portique
Early and contemporary chamber musicmdash
Bach Telemann Boismortier and others
____TELEMANN ALLA POLACCA REBELndash
Matthias Maute recorders amp traversondash
plays concerti and suites by GP Telemann Dorian
____TELEMANN CANONS AND DUOS Lisette
Kielson amp Patrick OMalley recorders LEnsemble
Portique Telemann Canons meacutelodieux amp Sonates
sans basse 2-CD set LEP Records
____20TH CENTURY MUSIC FOR RECORDER amp
PIANO Anita Randolfi recorders Music by Jacob
Bartok Leigh others for recorder amp piano
____VIVALDI AND THE BAROQUE GYPSIES
Matthias Maute amp Sophie Lariviegravere recorders
Ensemble Caprice Gypsy music taken from
Uhrovska zbierka (now Slovakia) plus Vivaldi
____VIVALDI SHADES OF RED CONCERTOS amp
SONATAS FOR RECORDER amp STRINGS Matthias
Maute recorders REBEL Stylish high octane
readings of some of Vivaldis most beloved pieces
including the popular and raucous Concerto alla
Rustica stunningly colorful Sonata on La Follia and
four exuberant recorder concerti Bridge
____WINDFIRE Charmaine Delmatier recorder
Steve Kostelnik classical guitar Terry Hale bass
Erik Hokkanen violin Refreshing mixture of Andrew
Lloyd Weber American blues flamenco Celtic and
one original piece ltwwwyermomusicomgt
Please indicate above the CDs you wish toorder and print clearly the following
Name ____________________________________
Daytime phone (_____)______________________
Address__________________________________
CityStateZip _____________________________
Check enclosed for
_____ single CDs x $____ = $______
_____ 2-CD sets x $____ = $______
TOTAL $______
Please charge the above amount to my
MasterCard Visa or AmEx
_______________________________________
Exp Date ____________
Cardholderrsquos signature ______________________
Mail to
ARS 1129 Ruth Dr St Louis MO 63122-1019 US
You may fax a credit card order to 314-966-4649
NEW You may order CDs online using PayPal at
wwwamericanrecorderorgordercdromshtm
Order your recorder discs
through the ARS CD Club
The ARS CD Club makes hard-to-find or limited release CDs by ARS members
available to ARS members at the special price listed (non-members slightly higher)
All CDs are $15 ARS members$17 Others unless marked otherwise Two-CD sets are
$24 ARS members$28 Others Add Shipping and Handling $2 for one CD $1 for each
additional CD An updated listing of all available CDs may be found at the ARS
web site ltwwwamericanrecorderorggt
The first meeting of the newly-formedFort Myers Recorder and Early
Music Ensemble was January 26 atthe Florida home of chapter rep Sue
Groskreutz For this year the groupis somewhat loosely organized andplans to meet for extended sight-reading Repertoire at the first meetingcomprised everything from Renais-sance duets to chamber music involv-ing three treble parts and continuo
Among the five musiciansattending the first meeting (photobelow front row Elizabeth Spang SueGroskreutz back row Suzanne FergusonSibylle Baumgartner Arlene Sowka) allplayed recorder three harpsichord
and one each played traverso violinand gamba Due to the scarcity ofrecorder players south of the Sarasotaarea modern string players are alsoincorporated into this ensemble
The group decided not to chargedues and to meet at Groskreutzrsquoshome For more information pleasecontact Groskreutz at 239-267-1752spgembarqmailcom Snowbirdsdrifting through the area are welcome
Last fall at the requestof a student Kay Hettich
(inset below right) taught abeginning recorder class atthe Redding (CA) Senior
Center The five-weekclass was so successful thatmost participants haveformed a bi-weekly noviceensemble (right) coachedby Hettichmdashwho consid-ers them her ldquohatchedeggsrdquo
A new batch of ldquoeggsrdquostarted to incubate when afive-week class began on February 20Other senior center members havebecome interested as they heard oftheir colleaguesrsquo success These noviceplayers comprise some who previouslyread music and played instruments as well as people who are totally new to music notation
One student has also formulated amaxim ldquoEveryone at age 40 ought tolearn to play the recorder if heshehasnrsquot alreadyrdquo Just think how theworld would be transformed byshifting our focus to music
After Lynn Whidden attendedthe Montreacuteal Recorder Festival lastfall when the ARS Board met inQuebec she joined the ARS and nowrelays news of the lively interest in therecorder exhibited by a group underthe new leadership of Brent Legg ofBrandon University in ManitobaCanada Although his hands wereldquostill partly frozenrdquo he wrote that theBrandon University Collegium
Musicum in collaboration with theWaverley Park Recorder Club is
preparing a spring concert calledldquoEnglandrsquos Golden AgerdquoRepertoire spans the 16th century
from Henry VIIIrsquos accession in 1509to the death in 1603 of Elizabeth Iand includes solo songs four- andfive-part settings of Renaissancedances (with dancers) three- to five-voice madrigals and ldquobig-bandrdquoarrangements of William Byrdrsquos TheBells and The Dargason as re-imaginedby Gustav Holst (further re-imaginedfor recorders and percussion)
Of the 15 collegium membersseven are encountering the recorderfor the first time since elementaryschool The Collegium Musicumpromotes the study of early music at the university and is open to theuniversity community and the generalpublic This year there are five com-munity participants with interest fromseveral more both within and outsideof the university For informationcontact BrentLegggmailcom
January 16 marked the thirdannual recorder workshop of threeFlorida groups the Pasco Collegium
Recorder Consort of Hudson theImperial Recorder Consort of
36 March 2009 American Recorder
Chapters
amp Consorts___________________________________Workshops and activities from
coast to coast in the US and Canada
Lakeland and the Pilgrim Pipers Recorder Consort of St Petersburg Theygathered for a morning tackling selections by Banchieri Monteverdi PurcellCorelli Mendelssohn Bach Mozart and Glen Shannon Each group presenteda piece for the other participants Sweet Georgia Brown by Ben Bernie (St Pete)a Sonata by Sammartini (Lakeland) and The Gospel Train arr by KW Ford(Pasco) The 29 participants were led by Marlene Cracraft (Pasco) Jane
Spencer (Lakeland) and Elizabeth Snedeker (St Pete) Tom Bickley (photo below) directed the fall workshop of the Mid-Peninsula
Recorder Orchestra in Cupertino CA The 30 players started with Gregorianchants written in ldquooldrdquo notation Bickley gave basic instruction on how tointerpret the notes and then had the group sing the chants prior to playing them
The workshop theme of ldquoThe Articulate Recorderrdquo was literally played out as the music presented used variations in tonguing phrasing and breathingOther repertoire included a Kyrie by Tomas Luis de Victoria Bachrsquos Jesu Joy ofManrsquos Desiring a double-choir piece by Gabrieli Christopher Tyersquos In NomineXIII and a Purcell chaconne The workshop ended with a rhythmically-challenging minimalist piece by Bickley entitled Beginning composed for theWaldorf School teacher training program George Greenwood reports that thegroup had a productive event and plans to ask Bickley to lead a future workshop
wwwAmericanRecorderorg March 2009 37
A Muse in the DesertThe sound of a pin dropping hellip thesound of eager minds and fingersabsorbing information and inspira-tion hellip the sounds of ldquoNuevaEspantildeardquo Spanish- and indigenous-influenced music of the 1600s in theNew World These were the soundsof the Desert Pipes (Phoenix AZ)chapterrsquos fall workshop given byEileen Hadidian On a Saturdaylast October 30 players from all overArizona gathered to learn from andbe inspired by the founder of a SanFrancisco Bay Area group dedicatedto sharing music for healing inhealthcare settings Healing Muses(wwwhealingmusesorg)
The day began with relaxationstretching and breathing exercisesfollowed by travels to Peruacute MexicoGuatemala and Colombiamdashhighchurch music vernacular pieces anda mixture of the two Participantsenjoyed the historical and contextualbackground provided as an overviewfor the day and for each piece
Remarkably the sound heardbetween pieces and passages was anenergy-filled quiet the attentivestillness of active engagement in theworkshop experiencemdashnot the chat-tering noodling and conversationsthat often occur when the musicstops That activity was reserved forthe breaks when participants couldenjoy the cool (at last) outdoorschat with Hadidian and peruse the popular garage sale (to benefitDesert Pipes) of previously-enjoyedbooks and other treasures
On Sunday Hadidian sharedher expertise and inspiration in indi-vidual and group coaching sessionsThe weekend was a special experi-ence and Desert Pipes memberslook forward to the next visit of this Healing Muse
Ann Koenig Scottsdale AZannisalesprocom
Members
of three
Florida
groups
met
in January
for a joint
workshop
CHAPTER NEWS
Chapter newsletter editors and publicity officers should send materials for publication toAmerican Recorder 7770 South High St Centennial CO 80122-3122
editoramericanrecorderorg Also send short articles about specific activities that haveincreased chapter membership or recognition or just the enjoyment your members get out of
being part of your chapter Digital photos should be at least 3rdquox4rdquox300dpi TIF or unedited JPG files Please send news to the AR address above and to the following
ARS Office 1129 Ruth Drive St Louis MO 63122-1019 ARSrecorderAmericanRecorderorg
and to Bonnie Kelly Chair Chapters amp Consorts Committee 45 Shawsheen Rd 16 Bedford MA 01730 bksharpaolcom
TO THE STARS
AND BEYONDThe cover of the November magazinegenerated a few comments Some werenrsquotsure how to interpret the title (in theartistrsquos native German it could besomething close to ldquostarlit moonrdquo)Longtime member Carolyn Peskin wrote to offer her vision of that cover
In the beginning the Great Spiritinvented Mr Sun to light the day andMiss Moon to light the nightHowever as Miss Moon floated up inthe sky all by herself like a big yellowballoon she began to feel very lonelyso one night to relieve her lonelinessshe decided to take out her recorderand make music
But when she started to playsomething miraculous happened Not only beautiful melodies but alsoyellow dust poured out of the bottomof her recorder and the dust particlesimmediately coalesced to form yellowstars As she continued playing moreand more stars were created and theyfloated up around her filling the nightsky
At last Miss Moon was happy fornot only was she herself able to enjoyher music but she now had a wholecrowd of starry companions to enjoy itwith her And if you listen very care-fully on a quiet night you might beable to hear her recorder and thatstarry choir humming along
Carolyn Peskin
LOCATING EARPLUGSI read with interest the QampA in theNovember lsquo08 AR regarding hearingloss and use of earplugs Where do you get musicianrsquos earplugs
Dolly Hirata Kensington CA
CAROLYN PESKIN PROVIDED THIS
INFORMATION Musicianrsquos earplugs arecustom made for individual usersThey can be purchased only fromlicensed hearing professionals (ieaudiologists and hearing instrumentspecialists) To find a licensed hearingprofessional in your area look underldquoaudiologyrdquo or ldquohearingrdquo in your localyellow pages
For information about how musi-cianrsquos earplugs are produced visitwwwetymoticcomephperme-w
tbaspx That web page also has a linkto contact information for authorizedlabs that make the custom earmolds formusicianrsquos earplugs If the yellow pagesdo not prove helpful those labs canrefer you to a licensed hearing pro-fessional in your area from whom youcan purchase musicianrsquos earplugs
MORE FROM CAROLYN
THIS TIME ABOUT OSKARIn the September 2008 AR the musicreview by Leslie Timmons of the Oskarpieces by Matthias Maute mentionedthat Carolyn Peskin had translated twoof the Oskar books from German toEnglish People can obtain thetranslations free of charge as Wordattachments by contacting her atCarolyn Peskin 3559 StrathavonRoad Shaker Heights OH 44120carolynpeskinstratosnet
ANOTHER KIND OF
MUSIC-READING
GLASSESIn the January 2009 issue of AmericanRecorder therersquos something (in myopinion) the ldquoRecorder with GlassesObbligatordquo article omitted which canenable a nearsighted musician to avoidneck strain in the use of bifocals
Irsquove found the solution to thisvexing problem is to have onersquos bifocalsconstructed differently [from] normalMy optometrist was willing to work
38 March 2009 American Recorder
Response___________________________________Two kinds of vision
the better to see with and (not) to hear with
Honeysuckle Music
Recorders amp accessories
Music for recorders amp viols
Jean Allison Olson1604 Portland AveSt Paul MN 55104
6516448545jeanhoneysucklemusiccom
Responses from our readers are welcomedand may be sent to American Recorder 7770 South High St Centennial CO
80122 Letters may be edited for length and consistency
ARS Membership Enrollment and Renewal I am a new member I am or have been a member
USCanadian Memberships Foreign Memberships $45 One Year $55 Foreign One Year $75 Sustaining (Receive a Hottetere Hands Pin) $100 Two Years $80 Two Years
LIFETIME MEMBERSHIP Single Dual Regular Lifetime Member $1000 (2) $1500 (4) 4 installments of $250 available) Loyalty Lifetime Member (1) $ 800 (3) $1200 (4) 4 installments of $200 available
(1) For members who have maintained membership for five consecutive years (2) $750 is Tax Deductible (3) $600 is Tax Deductible (4) Installments available Student Memberships Other Memberships (Enclose proof of full time enrollment) $65 One Year Workshop Membership
$25 USCanadian One Year $125 One Year Business Membership $45 USCanadian Two Years $30 Foreign One Year $5 Additional Charge for Dual Address or Dual Name
Do not list my name in the ARS Print Directory Do not list my name on the ARS Online Directory Do not release my name for recorder related mailings Do not contact me via email
My address telephone and email address are the same as last time
______________________________________ _________________________ Name Phone Number ______________________________________ _________________________ AddressCityStatePostal Code Email Address Please charge to (Circle one) VISAMasterCardAMEXDiscover CC________________________________ Expiration Date ______________ Signature of cardholder_______________________________________________________ Clearly Print Name as it appears on Card________________________________________
Renew by Mail Online By Phone or by Fax
Demographic Information (optional information collected only to enhance ARS services and provide statistics to grant makers)
I am a member of ARS Chapter or Consort____________________________ I am the Chapter Contact Your age Under 21 (21-30) (31-40) (41-50) (51-60) 61-70) (71+) Please check all that apply
I am a Professional Recorder Performer
I wish to be included in the list of Recorder Teachers in the ARS Directory and website I Teach (circle your choices) Children High School Youth College Students Adults Beginner Intermediate Advanced Pre-Professional Individuals Childrenrsquos Classes Adult Classes Ensembles Suzuki Orff JRS Leader Kodaly Where I Teach (circle your choices) Music Studio Public or private school Community Music School College Other _____________________
American Recorder Society 1129 Ruth Dr St Louis MO 63122-1019
Phone 314-966-4082Fax 314-966-4649
TollFree 800-491-9588ARSRecorderAmericanRecorderorg
wwwAmericanRecorderorg
with me [to find] an ideal (for me)placement size and focal length of thebifocal lens
Before visiting the optometristIrsquod had my wife measure the distancefrom my eyes to the music on mymusic stand With this measurementthe optometrist set up her machine toprepare a vision prescription for memaximized for this reading distance
When I look at my bifocals (withthem off) the lenses (through which Iread my music) occupy most of thelower two-thirds of my glasses (they are set very high and beginimmediately at the inner rims) Thisleaves the upper third and smallportions of the outside [of each lens]for focusing on the conductor As longas my stand is set low enough my necknever experiences any strain (even if Ihave to read three to a part) and Irsquove no problem in seeing theconductor (in sharp focus) either
For me trying to use glasses [toread] from a music stand [that] weredesigned for use in reading from acomputer screen also results in neckstrain (not to mention unreliability in aldquopressurerdquo situation) Having studiedTai Chi extensively and so being
wwwAmericanRecorderorg March 2009 39
There are lots ofsolutions to thepresbyopic musicianrsquosproblem but all involve compromises
40 March 2009 American Recorder
American Recorder Society PublicationsErich Katz Contemporary Music Series Members Non-MembersA Short Tale for Two Basses Suzanne M Angevine (Level II) (2 scores) $5 $8Dialogue and Dance Cecil Effinger (SATB)(Level II-III) (score amp parts) $10 $18Dorian Mood Sally Price (SATB) (Level II) (score amp parts) $10 $18Double Quartet for Recorders Peter Ballinger (Level II-III) (score amp parts) $10 $18Entrevista Frederic Palmer (SATB) (Level II) (2 scores amp 4 recorder parts) $8 $14Kyrie and Vocalise for Soprano Voice ampRecorders Stanley W Osborn $8 $14
(SATB) (Level II) (2 scores amp 4 recorder parts) Picnic Music Jeffrey Quick (SATB) (Level II) (score amp parts) $5 $8Six Short Pieces for Three Recorders edited by Alan Drake $8 $14
(3 scores) Vaclav Nelhybel (AATT) (Level II)Sonatina for Alto Recorder and Piano Anthony Burgess $7 $12
(Level II) (2 scores)Sonatine for Three Altos Lee Gannon (Level III) (score amp parts) $14 $26Suite of Jewish Folk Tunes Erich Katz (S SA8 AT) (Level II) (three scores) $10 $18
Musical Editions from the Membersrsquo Library ARS members 1 copy-$3 2 copies-$450 3-$6 4-$750 5-$10 6-$1150Non-members (editions over 2 years old) 1 copy-$5 2 copies-$850 3-$12 4-$15 5-$1950 6-$23The ARS is happy to provide photocopied enlargements of any Membersrsquo Library edition at the same prices Please specify ldquoMembersrsquo Library Enlargementrdquo
ARS Information BookletsARS members 1 booklet-$13 2 booklets-$23 3-$28 4-$35 5-$41 6-$47 7-$52Non-members 1 booklet-$18 2 booklets-$33 3-$44 4$55 5-$66 6-$76 7-$86
Education PublicationsThe ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996)
First copy free to ARS Members (mailed to new members as they join) replacement copies $3Guidebook to the ARS Personal Study Program (1996) Material formerly published in the Study Guide
and Study Guide Handbook plus additional resources Members $11 non-members $20ARS Music Lists (2002 with 2003 Supplement) Graded list of solos ensembles and method books
Members $9 non-members $15Package Deal available only to ARS members Guidebook and Music ListsSupplement ordered together $16Junior Recorder Society Leaderrsquos Resource Notebook
ARS members $20 non-members $40 (updates at reduced rates after initial purchase)$5 Dues for each JRS student member sponsored by an ARS member ($4 each for groups of 10+)
VideosRecorder Power Educational video from the ARS and recorder virtuoso John Tyson
An exciting resource about teaching recorder to young students ARS members may borrow a copy for onemonth by sending $5 to the ARS office along with the address to which the tape should be shipped
Pete Rose Video Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music Festival recitalFeatures Rose performing a variety of music and an interview of him by ARS member professional John Tyson
Other PublicationsChapter Handbook A resource on chapter operations for current chapter leaders or those considering forming an
ARS chapter ARS members $10 non-members $20 (updates free after initial purchase) One free copy sent toeach ARS chapter with 10 members or more
Consort Handbook Resource on consort topics such as group interaction rehearsing repertoire performingARS member prices CD $10 hard copy $20 combo price of CD and hard copy ordered together $25
Discography of the Recorder Vol I (1989) Compiled by Scott Paterson and David LasockiDiscography of the Recorder Vol II (1990-1994) Compiled by Scott Paterson
Either single volume ARS members $23 non-members $28Both Discography volumes together ARS members only $40
American Recorder Cumulative Index for Vols I-XXXX ARS members $20 non-members $32Index Supplement Vol XXXIV-XXXX ARS members $8 non-members $14
Shipping amp Handling FeesUnder $10 - add $3 $10-1999 - add $4 $20-2999 - add $5 $30-3999 - add $6 $40-4999 - add $7 All prices are inUS dollars For Canadian or foreign postage pay by credit card and actual postage is charged
Please make checks payable to ARS VISAMCAMEXDisc also accepted
ARS 1129 Ruth Drive St Louis MO 63122 US800-491-9588 ARSrecorderAmericanRecorderorg
Arioso and Jazzy Rondo (AB) Carolyn PeskinBerceusendashFantaisie (SATB) Jean BoivertBrucknerrsquos Ave Maria (SSATTBB)
Jennifer W Lehmann arrCanon for 4 Basses (BBBB) David P RuhlDancers (AT) Richard EastmanDifferent Quips (AATB) Stephan ChandlerElegy for Recorder Quartet (SATB) Carolyn PeskinElizabethan Delights (SAATB)
Jennifer W Lehmann arrFallen Leaves Fugal Fantasy (SATB) Dominic BohbotFour Airs from ldquoThe Beggarrsquos Operardquo (SATB)
Kearney Smith arrGloria in Excelsis (TTTB) Robert CowperIdyll (ATB) Stan McDanielImitations (AA) Laurie G AlbertsIn Memory of Andrew (ATB) David GoldsteinLay Your Shadow on the Sundials (TBgB)
Terry Winter OwensLeClercqrsquos Air (SATB) Richard E WoodLittle Girl Skipping and Alouette et al (SATBCb)
Timothy R Walsh
Los Pastores (SAAAT + perc) Virginia N Ebinger arrNew Rounds on Old Rhymes (4 var) Erich KatzOther Quips (ATBB) Stephan ChandlerPoinciana Rag (SATB) Laurie G AlbertsSanta Barbara Suite (SSAAT) Erich KatzSentimental Songs (SATB) David Goldstein arrSerie for Two Alto Recorders (AA) Frederic Palmer Slow Dance with Doubles (2 x SATB) Colin SterneSonata da Chiesa (SATB) Ann McKinleyS-O-S (SATB) Anthony St PierreThree Bantam Ballads (TB) Ann McKinleyThree Cleveland Scenes (SAT) Carolyn PeskinThree in Five (AAB) Karl A StetsonTracings in the Snow in Central Park (SAT)
Robert W ButtsTrios for Recorders (var) George T BachmannTriptych (AATB) Peter A RamseyTwo Bach Trios (SAB) William Long arrTwo Brahms Lieder (SATB) Thomas E Van Dahm arrVariations on ldquoDrmešrdquo (SATB) Martha BishopVintage Burgundy (SASATT)
Jennifer W Lehmann arr
Adding Percussion to Medieval and Renaissance Music Peggy Monroe
American Recorder Music Constance PrimusBurgundian Court amp Its Music Judith Whaley coord
Improve Your Consort Skills Susan CarduelisMusic for Mixed Ensembles Jennifer W LehmannPlaying Music for the Dance Louise AustinRecorder Care Scott Paterson
acutely aware of any kind of neckstrain when it begins to develop these ideas have been a big help to meIrsquom hoping they may be of help toother musicians as well
Best wishes to you And inanswer to your questionmdashyes the new[AR] format (with more white spacebetween the lines) is much easier toread (in my opinion)Your magazinejust keeps getting better and better
Very sincerely Ed Green WestSuburban (Chicago-area) Chapter
RESPONSE FROM DR BILL LONG
What Ed describes is a variant of theuse of conventional bifocals as musicglasses described on page 8 in thearticle Instead of lowering his musicstand into the field of view of hisbifocal segment Ed and his optome-trist have fabricated special purposebifocals with the segment really highso he can focus on his music instraight-ahead view That approachrestricts his distance vision to an areaabove his usual line of sight whichseems to work for Eds playing setup
Eds comments on the difficultiesin using conventional progressiveaddition lenses as music lenses con-firm what I said on page 9 Thats whymanufacturers have marketed special-ty progressive lenses designed specif-ically for intermediate distance taskslike computer use and playing music
There are lots of solutions to thepresbyopic musicians problem but all involve compromises The key toevaluating those compromises andchoosing the best solution for yourselfis to understand your needs and toenlist the help of a sympathetic visioncare specialistmdashjust as Ed did
Please change your
browserrsquos favorites list
AR online is now at wwwameri
canrecorderorgmembership
magazinehtm Send news to
editoramericanrecorderorg
FOUR FOUR-PART CANZONAS
(1608) BY GIOVANNI GABRIELI
ED GREG LEWIN Hawthorns Music RB 16 (Magnamusic) 1999 SATBSc 16 pp pts 4 pp $1950
Giovanni Gabrieli was probablyborn between 1554 and 1557 in theparish of San Geremia in Venice Thedetails of his early life are sketchy butit appears that he was born Giovannidi Fais and later changed his name toGabrieli out of respect to his uncleAndrea with whom he shared a closerelationship In fact in 1587 Gabrielidescribed himself ldquoas little less than asonrdquo It is commonly thought thatAndrea provided Giovanni with hisearly musical training Andrea whohad spent some time in Munichstudying under the great Orlando deLassus sent Giovanni to Munich for a similar period of study in theearly 1570s
Gabrieli remained in Munichuntil the death in 1579 of the dukeAlbrecht V who had been Lassusrsquosemployer for a number of years andwho was an enthusiastic patron of the arts particularly music With hisdeath a number of musicians lost theirjobs it seems as if Gabrieli were also a victim of such culling of talent(Within a generation the tide wouldturn and the Munich court wouldagain hire Venetian expatriates such as Priuli Valentini and Neri)
Upon his return to VeniceGabrieli was hired as a temporaryorganist at San Marco his positionbecoming permanent in 1585 For a few months that year uncle andnephew served together as first and
second organists in the chapel of thedoge In Giovannirsquos absence fromVenice there had been a plague thathad decimated the ranks of theprofessional musicians Andrea setabout rebuilding his forces at SanMarco by hiring a full-time windband consisting of Girolamo dallaCasa a renowned cornettist andviolist his two brothers who playedsackbut and later the cornett virtuosoGiovanni Bassano Giovanni Gabrieliaugmented these forces with addi-tional players and began composingthe large-scale ceremonial music forwhich he is so well known today
Giovanni was also elected to bethe organist and composer to theconfraternity of San Rocco in 1585and it is now thought that his largestpieces were intended for that venuewith its large central gallery andfrescos by Tintoretto instead of SanMarco Gabrieli held both thosepositions at the basilica of San Marcoand the Scuola Grande di San Roccountil he died in 1612 of a kidney stone
Although best known today forhis ceremonial and festival musicGabrieli was at home in smaller-scaleformats as well These four four-partcanzoni are taken from the 1608publication by the Venetian publisherAlessandro Raverji Canzoni per sonarecon ogni sorte di strumenti These werevery popular pieces to judge by themany collections in which they appear
Additionally like Gabrielirsquoskeyboard music they are found inother arrangements These four-partcanzoni lie well under the fingers inarrangements for keyboard and lute
As seen from the title Gabrielispecified no instrumentation but like asimilar edition of madrigals and battlepieces from a few years earlier a dis-tinction was made that they wereintended for wind instruments almostcertainly cornetts and sackbuts
Recorders were not unknown in Venice they were used regularly inthe confraternity of San GiovanniEvangelista where Giovanni BattistaRiccio was organist
These pieces are relativelysimplemdashplayable by beginning tointermediate ensembles They aremostly contrapuntal (with a fewhomophonic sections) and have few rhythmic eccentricities
These canzoni are found in manymodern brass editions but there arefew editions available to the recorderplayer This edition by Greg Lewin ofHawthorns Music might be consid-ered a ldquobare-bonesrdquo edition There islittle background information andeditorial practices are not specified
The music itself has a handwrittenlook that can be distracting but is easyenough to read Lewin has thought-fully supplied phrasing marks that willbe helpful for ensembles unused tothis style of music
Music
Reviews___________________________________ Infectious music created in spite of the plague
wwwAmericanRecorderorg March 2009 41
This is a good edition
for small ensembles that
canrsquot get eight players
together to play
Gabrielirsquos more famous
eight-part canzoni
42 March 2009 American Recorder
The parts are four pages but mycopy had all four pages printed on avery large page This is not a problemand there are no page turns
This is a good edition for smallensembles that canrsquot get eight playerstogether to play Gabrielirsquos morefamous eight-part canzoni Thesesmall-scale pieces are by no meansinferior to Gabrielirsquos more elaboratemusic and deserve to be better known
7 CANZONEN (1637) BY
TARQUINIO MERULA ED JOACHIM
ARNDT WITH CONTINUO REALIZATION
BY CLAUDIA SCHWEITZER MieroprintMusikverlag EM2088 (availabledirectly from wwwmieroprintcom)2005 SS or TT bc Sc 24 pp pts 8 pp$28
Tarquinio Merula was bornaround 1595 in either Busseto orCremona in Italy As was the case withso many composers of the day either alack of regular employment or a rest-less nature took him from his home inCremona to as far away as Warsaw He is found as the organist of thechurch and the chambers to the kingof Poland Sigismund III in 1624
Merula was one of the leadingexponents of the relatively new con-certante style pioneered by ClaudioMonteverdi and others in the seconddecade of the 17th century and may be described as one of the earliestBaroque composers His compositionsin the concertante style are fresh andunforcedmdashhe was born into this styleand didnrsquot encounter it as somethingnew as was the case with so many ofMonteverdirsquos contemporaries
After several years of peripateticexistence Merula found regularemployment in 1631 in Bergamo atthe church of San Maria MaggioreThe prior holder of the post of maestrodi cappella Alessandro Grandi haddied the previous year in the plagueMerula had signed a three-year
contract but by December 1632 hewas terminated with accusations thathe had molested several studentsMerula threatened a lawsuit to recoverhis lost wages but that threat wascountered with a pending criminalcharge lodged by the board ofgovernors of San Maria Maggiore By mid-1633 the matter was settledwith an apology from Merula and astatement that he relinquished allclaims to his salary
He then returned voluntarily toCremona where he stayed until 1635By 1638 Merula was once again inBergamomdashthis time as maestro dicappella and organist in the cathedralnext to San Maria Maggiore Asmight be expected there was con-siderable tension between the twochurches eventually resulting in theboard of San Maria Maggioreforbidding their musicians to perform under Merularsquos direction
He returned in 1646 to a familiarCremona post which he had heldthree times in various years and wherehe now settled downmdashthat of organistand maestro di cappella for Laudi dellaMadonna services in which he ledmusic at the main altar on Saturdaysand on vigils of Marian feasts
None of his employment issues
prevented the Pope from awardinghim the Order of the Golden SpurMerula was also elected to theAccademia dei Filomusi in BolognaHe died in 1665 in Cremona
His existing compositions showthe products of a lively mind Hisworks range from sacred songs andmotets to purely instrumental piecesnotably the ever-popular variations onvarious ground basses It is knownthat Merula was an accomplishedviolinist as well as a fine organist Hissurviving instrumental writing showsa predilection for strings In fact hewas one of the earliest composers tospecify string accompaniments tosacred motets
Merularsquos pieces look backwardtoward some of the more progressiveVenetian composers such as Monte-verdi while looking forward to thehigh Baroque with his innovative style
These seven canzoni like theearlier-published chaconne (EM2084)come from Merularsquos third bookpublished in 1637 CANZONI overo SONATE CONCERTATE perchiesa e camera a due et a tre delcavaliere This collection typifiesMerularsquos output pieces based onRenaissance-era ground basses arefound next to more ldquomodernrdquo sonatas
The original edition specifiesviolins and basso continuo This newedition is intended for recorders thespecific choice of which is up to theplayers Due to the relatively hightessitura tenor recorders work best inthese pieces (although listed as analternative soprano recorders tend to be on the screechy side)
Not surprisingly given Merularsquosskill as an organist the continuo partneeds a keyboard instrument forsuccessful realization Instead of beinga purely accompanying part the bassocontinuo part is an equal partner in these pieces the canzona ldquoLaRuggierardquo opens with a run that therecorders echo a few measures later
A more recorder-specific
edition intended for
altos would have been
ideal There is nothing
preventing the more
adventurous and
industrious players
from making their
own editions of this
delightful music
mentioned were a bit shrill A morerecorder-specific edition intended foraltos would have been ideal There isnothing preventing the moreadventurous and industrious playersfrom making their own editions of thisdelightful music
Prior to playing the previouslypublished chaconne I had notencountered MieroprintMusikverlag Mieroprintrsquos extensivecatalog has an equal focus on newmusic for recorders and on editions ofBaroque masters with emphasis on therecorder and flute Due to the lack of
wwwAmericanRecorderorg March 2009 43
are also available at
The Early Music Shop
of New England
Brookline MA
AESTHEacute
367-b de la Briquade
Blainville Queacutebec
Canada J7C 2C7
tel (450) 979-6091
wwwboudreau-flutesca
A bass viola da gamba or rsquocello is not necessary for these pieces and may infact make them sound heavy and ponderous rather than light and breezy as thismusic seems to be
More so than the above-mentioned chaconne these canzoni are written in avery idiomatic violin style with multiple examples of arpeggios In particular thecanzona ldquoLa Trecchardquo contains a notated example of a string tremolo figurerecurring through the piece ldquoLa Trecchardquo also dips well below the range of a Crecorder going down to low G the lowest string on the violin The editors havesupplied no alternative notes preferring to let the performers to fend forthemselves (in practice we took this passage up an octave with no problems)
The two recorder parts require virtuosity These upper parts are demandingwith the players needing to double-tongue in unison in order to negotiate themany runs of 16th notes and the shared rhythmic ldquolicksrdquo The harmoniclanguage unlike much of Merularsquos music is undemanding and contains none of the harmonic crunches for which he is famous
This is wonderful music that needs a couple of advanced recorder players fora successful performance The string idiosyncrasies can be overcome by advancedplayers and many of the editions of the era (although not this one) list thecornetto as an alternative to the violin so the use of wind instruments in the solo literature of the early Baroque was not unknown
Our experience with this edition left us with the opinion that these pieceswould have been better if transposed down a minor third so as to fit on a pair ofalto recorders (as is the case with much Baroque flute music to make it lie betteron the recorder) The tenors we used tended to sound a bit murky in the lowerregister next to the more aggressive harpsichord while the sopranos we tried as
KEY rec=recorder Srsquoo=sopraninoS=soprano A=alto T=tenor B=bassgB=great bass cB= contra bass Tr=treble qrt=quartet pf=piano fwd=foreword opt=optional perc=percussionpp=pages sc=score pt(s)=part(s)kbd=keyboard bc=basso continuohc=harpsichord PampH=postage andhandling Multiple reviews by one reviewerare followed by that reviewerrsquos name Pleasesubmit music for review to AR 7770 SHigh St Centennial CO 80122-3122 US
an American distributor this musicwill be hard to findmdashin fact can befound only at the time of this writingon their web site noted above But theeffort will be repaid
This edition is clear and easy toread and the parts require no pageturns The basso continuo realizationis simple and elegant
This is music deserving ofrediscovery My only quibble is thatthe editorial notes are all in GermanThis seems to be the practice ofGerman music publishers with thenotable exception of Moeck Otherpublishers of early music such asLondon Pro Musica routinelyprovide notes in English and German and often in French and Italian making their editionsaccessible to a wider audience
Frank Cone studied the recorderwith the late Ellen Perrin the viola dagamba with Carol Herman and thecornetto with Larry Johansen TheCalifornia multi-instrumentalist has been a member of the Orange CountyRecorder Society since 1985
Advertiser Index
AMERICAN ORFF-SCHULWERK ASSN 3
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AMHERST EARLY MUSIC FESTIVAL 17
STEPHAN BLEZINGER 24
JEAN-LUC BOUDREAU 21 39
BOSTON EARLY MUSIC FESTIVAL 7
CANTO ANTIGUO EARLY MUSIC WORKSHOP 13
COURTLY MUSIC UNLIMITED 20
EARLY MUSIC AMERICA 8
HONEYSUCKLE MUSIC 34
BILL LAZARrsquoS EARLY MUSIC 26
KEITH E LORAINE EARLY DOUBLE REED SERVICE 35
LOST IN TIME PRESS 11
MADISON EARLY MUSIC FESTIVAL 12
MAGNAMUSIC DISTRIBUTORS BC
MOECK VERLAG IFC
MOLLENHAUER RECORDERS IBC
PORT TOWNSEND WORKSHOP 14
PRESCOTT WORKSHOP 30
PROVINCETOWN BOOKSHOP 26
THE RECORDER MAGAZINE 4
THE RECORDER SHOP 6
SAN FRANCISCO EARLY MUSIC SOCIETY 18
SWEETHEART FLUTE CO 3
TEXAS TOOT 20
VON HUENE WORKSHOP INC 30
WICHITA BAND INSTRUMENT CO 21
DOMINIK ZUCHOWICZ 34
CONSIDER ADVERTISING IN
Full page $55223 page $43912 page $36613 page $28614 page $22316 page $17518 page $127112 page $ 951 column inch $ 58
Prices include web sitee-mail link directly from your ad in the online AR at wwwamericanrecorderorg
Circulation Includes the membership of theARS libraries and music organizations
Published five times per year January March May September November
Reservation Deadlines December 1 (January) February 1 (March) April 1 (May) August 1 (September) October 1 (November)
Rates good through November 2009 Pleaseinquire about discounts on multiple-issuecontracts inserts or other special requestsExtra charges for typesetting layout half-tones and size alterations 133-line screenrecommended Advertising subject toacceptance by magazine First-time adver-tisers must include payment with order
For more information contact the ARS office 1129 Ruth Drive St Louis MO63122-1019 800-491-9588 toll free 314-966-4082 phone 314-966-4649 faxadvertisingamericanrecorderorg
44 March 2009 American Recorder
Classified___________________________________
FOR SALE Cherrywood hurdy gurdy and hard-side case made by Kelischek bought 2005Originally $765 plus $89 for case Rarely usedBoth for $450 or make offer Please contact marjalocomcastnet Can ship
ASPIRE ANNOUNCE INSPIRE Afford-able PR for teachers and recitalists wwwrecitalroomcom
PHOTOS NEEDED of ARS events 1970sndash1990sto illustrate last chapters of Martha Bixlerrsquos histor-ical memoir about the ARS (to be posted online)E-mail scanned photos (300dpi JPG or TIF)arsrecorderamericanrecorderorg Hardcopies mail to ARS office to be scanned ampreturned Info 800-491-9588
T-SHIRT FOR ENSEMBLE PLAYERS to wear orshare Top 10 Reasons Why I Got Lost Wrongfingering bad lighting etc on blue cotton shirt$18 Highlighter tape and other goodies Beth amp Lindas Boutique as seen at BEMF CallLinda at 617-671-8694 or e-mail for brochurelindakushverizonnet
Where the havesand have-nots
of the recorder world can find each other
Classified rate for American Recorder 60centper word ten-word minimum ldquoFOR SALErdquoand ldquoWANTEDrdquo may be included in thecopy without counting Zip code is oneword phone e-mail or web page is twoPayment must accompany copy Deadlinesare one month before issue date Send copywith payment to ARS 1129 Ruth Drive St Louis MO 63122-1019
AMERICAN RECORDER (ISSN 0003-0724) 1129 Ruth Dr St Louis MO 63122-1019 is publishedbimonthly (January March May September and November) for its members by the AmericanRecorder Society Inc $20 of the annual $45 US membership dues in the ARS is for a subscriptionto American Recorder Articles reviews and letters to the editor reflect the viewpoint of their individ-ual authors Their appearance in this magazine does not imply official endorsement by the ARS
EDITORIAL DEADLINES November 15 (January) January 15 (March) March 15 (May) July 15(September) and September 15 (November) Submission of articles and photographs is welcomedArticles may be typed or sent as an attachment (Word or RTF preferred) to or text in an e-mail mes-sage They should be for the exclusive consideration of AR unless otherwise noted Photos may besent as prints or unedited JPG or 300dpi TIF files (minimum 3rdquox4rdquo) Advertisements may be sent inPDF or EPS format with fonts embedded
EDITORIAL OFFICE Gail Nickless Editor 7770 S High St Centennial CO 80122-3122 303-794-0114 (phone amp fax) editoramericanrecorderorg Books for review Editorial office Musicfor review Editorial office Recordings for review Tom Bickley 1811 Stuart St Berkeley CA 94703Cutting Edge Tim Broege 212 Second Ave Bradley Beach NJ 07720-1159 Chapter newslettersother reports Editorial office Postmaster Send address changes to ARS 1129 Ruth Drive St LouisMO 63122-1019 Periodicals postage paid at St Louis MO and at an additional mailing office
Chapter leaders
We know yoursquore out there
and that you want to share
your plans concerns
solutions and ideas with
other chapter leaders Visit
httpamericanrecorder
societywikispacescom
Recent Performances of Note
in New York CityLast November at the Chapel of theGeneral Theological Seminary inNew York City NY Chelsea Winds
Recorder Ensemble (Lucinda andBarrie Mosher Gregory EatonDavid Hurd and this author) offeredan all-Bach program It started withthe Ricercare a3 from the MusicalOffering transposed up a step to D minor and continued through 10 contrapuncti from Art of the Fugue
The final days of 2008 held somefine recorder playing RecorderistMatthias Maute joined 16 membersof the prestigious Chamber Music
Society of Lincoln Center in aprogram titled ldquoBaroque Collectionthe Beautiful and the Bizarrerdquo Theperformance included sonatas con-certos programmatic pieces and ariasby Pachelbel Muffat TelemannBiber Vivaldi and Handel Mautecontributed his graceful and fluidplaying to the Telemann Concerto in A Minor for alto recorder two violinsand basso continuo and also to theVivaldi Concerto in G Minor forrecorder oboe bassoon violin andcontinuo (R107)
The concert was presented in thelarge Rose Theater at the LincolnCenter Jazz Center on December 19and 21 If there were ever any doubtMaute made it very clear that therecorder could hold its own in thecompany of ldquomodernrdquo instrumentseven in a large concert space
Given as part of St Bartrsquos middaymidtown concert series a concert ofmore Telemann held very nice playingfrom Deborah Booth on December17 In addition to soprano and altorecorders Booth played Baroqueflute I particularly liked her renditionof the Telemann Partita in C Minor forsoprano recorder and continuo andthe alto recorder obbligato to the arialdquoEin stetes Zagenrdquo from Telemannrsquoscantata for Advent ldquoLauter Wonnerdquo
At the end of the liturgical seasonof Christmas the ensemble at theHoly Trinity Lutheran ChurchVespers series presented JS BachrsquosCantata No 152 ldquoTritt auf dieGlaubensbahnrdquo for the first Sundayafter Christmas (December 28) Thearia ldquoStein der uumlber alle Schaumltzerdquo
with its recorder obbligato played byLarry Zukof was lovely
Chelsea Winds had an interest-ing experience when we were invitedto play a short program for a UnitedNations conference on cooperationbetween the UN and the worldrsquosreligions (December 16) LabouisseHall where the concert was held wasfull of people very many in exoticattire I confess I was dismayed at thissight because I feared our program ofcontrapuncti from Bachrsquos Art of theFugue would make no sense to themany non-Westerners brought up inother music cultures
I need not have feared Themusic was enthusiastically receivedBachrsquos music really is universal
Anita Randolfi
wwwAmericanRecorderorg March 2009 9
Mary Halverson Waldo was a Suzuki teacher trainer for the
January Festival Suzuki in Lima Peruacute Pictured are the
Huancavelicanos who attended the festival from the city of
Huancavelica in the most poverty-stricken region of Peruacute
Padre William Lopez (center front) is the school master and
recorder teacher (being an excellent recorder player him-
self) They were extremely grateful to Corinne Newbegin
(OR) and Jane Harper (MN) who donated SATB recorders
in excellent condition for two vibrant Suzuki programs in
Colombia and Peruacute
If there were ever any
doubt Maute made it
very clear that the
recorder could hold its
own in the company of
ldquomodernrdquo instruments
10 March 2009 American Recorder
Awards and HonorsMusic educator and recorderistDeborah Greenblatt and DavidSeay of ldquoThe Old Schoolhouserdquo inAvoca NE were featured in theNovember 2008 International Musi-cian the official journal of the Ameri-can Federation of Musicians of theUS and Canada They have playedand sung folk music together for morethan 30 years The duo has publishedbooks for a variety of instruments fromrsquocello to tin whistle Among the latestare Barn Dance Fiddle Tunes for Two andSinging Cowboy Fiddling Tunes for TwoVisit wwwgreenblattandseaycom
for informationThe 2009 Borletti-Buitoni Trust
(BBT) Awards acknowledge thatsome instruments present a challengefor talented and ambitious youngclassical musicians striving for a solocareer Recorder player Eric Bosgraaf
(below) and harpsichordist Mahan
Esfahani are among those selected toreceive BBT financial assistance aswell as advice in such areas as publicrelations auditions and finding agents
BBT Award winner Bosgraaf ofThe Netherlands is hailed as one ofthe most gifted and versatile recorderplayers of his generationCurrent plansinclude solo performances with theDallas (TX) Symphony Orchestra andthe Dutch Radio Chamber Philhar-monic His deacutebut recording a three-CD set of music by Jacob van Eyckwas No 1 on the 2007 Dutch classical
music charts (see the CD review in theSeptember 2007 AR and an interviewwith Bosgraaf in the May 2008 ARsee also wwwerikbosgraafcom)
Iranian-born Esfahani who hasappeared in ensemble performancesreviewed in AR was a BBT Fellowshipwinner He makes his Wigmore Halldeacutebut in London as soloist with TheEnglish Concert this month
Two BBT awards of pound20000 eachand six fellowships of pound10000 eachwere given by the Trustrsquos artistic com-mitteemdashFranco Buitoni Adam Gate-house Martijn Sanders and MitsukoUchida See wwwbbtrustcom formore on the foundation and its policiesplus news video and audio of BBTmusicians (now 45 individuals and 14 ensembles from 22 countries)
Early Music America NewsEMA with support from a privatedonor will sponsor its third Medieval
Renaissance Performance Compe-
tition in 2009 The winner receives acash prize (the Unicorn Prize) and isguaranteed three concert performancessponsored by EMA and presenters inPittsburgh PA Milwaukee WI andSeattle WA The contestrsquos goal is to encourage the development ofemerging artists in the performance of Medieval and Renaissance music
Applicants must be ensembleswith at least two performers of age 39or younger who have not performedtogether for more than five years(ldquoemerging artistsrdquo) Repertoire islimited to the period of roughly 800-1550 AD performed on voice(s)andor period instrument(s) and in astyle that is historically informed The competition is open to members
(individual or organizational) of EMAwho reside in the US or Canada
Applications are due April 30Finalists will be selected by June 30and will receive hour-long coachingsessions with an early music artist and present live 20- to 30-minuteperformances in New York City NYin October
For application requirements visitwwwearlymusicorg
EMA has also announced twoearly music ensembles receiving its2008-09 Collegium Musicum
Grant Sacabuche at IndianaUniversityrsquos Early Music Institutedirected by Linda Pearse and theUNT Baroque Orchestra and
Collegium Singers from theUniversity of North Texas under thedirection of Lyle Nordstrom
Sacabuche performs vocal musicwith sackbuts and organ
UNT has one of the largest andmost active collegium programs inNorth America The most prestigiousensembles there are the 30-piece UNTBaroque Orchestra and 26-voiceCollegium Singers whose membersregularly perform at the Boston EarlyMusic Festival (BEMF)
Nordstrom the director of theseensembles was co-director with PaulOrsquoDette of The Musicians of SwanneAlley and was the founder and artisticdirector of the Atlanta (GA) BaroqueOrchestra He received EMArsquosThomas Binkley Award in 2000 for his work with collegiate ensembles atOakland University and Clayton State College
EMA Collegium MusicumGrants provide $1000 toward the costof bringing a college or universitystudent early music ensemble toperform in a BEMF fringe concert(odd-numbered years) or at the Berke-ley (CA) Festival (even-numberedyears) The two winners will performduring BEMF June 7-14
The Power of LoveJ U N E 6 - 1 4 2 0 0 9
featuring Claudio Monteverdirsquos sublime final opera
June 6 7 9 10 12 and 14 2009Stanford Calderwood Pavilion at the
Boston Center for the Arts
June 19 20 21 22 2009Mahaiwe Performing Arts Center
in Great Barrington MALrsquoincoronazione di Poppea replaces the previously announced operatic centerpiece Antiochus und Stratonica by Christoph Graupner
Tickets are on sale now at WWWBEMFORG and 617-868-BEMF
RECORDER EVENTS AT THE 2009 BOSTON EARLY MUSIC FESTIVAL
Join us for our weeklong extravaganza of early music with concerts by the worldrsquos leading early music soloists and ensembles including Stile Antico Trio Hantaiuml Ricercar Consort
Pieter Wispelwey rsquocello and Kristian Bezuidenhout fortepiano the BEMF Chamber Operapresentation of John Blowrsquos Venus and Adonis and Marc-Antoine Charpentierrsquos Acteacuteon
Flanders Recorder QuartetSunday June 14 at 1230pm
Paul Leenhouts Renaissance recorder
andGabe Shuford harpsichord amp organ
Wednesday June 10 at 11pm
Recorder Masterclass with Paul LeenhoutsThursday June 11 at 2pm
Visit WWWBEMFORG for a complete schedule of eventsregistration materials for the world-famous BEMF Exhibition Fringe Concerts
and Masterclasses and much more
Joe Lewnard winsPiffarorsquos Second Competition for Young RecorderPlayers
By Joan Kimball wwwpiffarocom
Piffarorsquos second competition for youngrecorder players ages 12 to18 washeld on January 10 at the SettlementMusic School in Philadelphia PAFive finalists chosen on the basis oftapes that they submitted in Novemberperformed before a small but enthu-siastic and supportive audience
A smattering of snow and ice keptaway some people who otherwisewould have attended Ironically the finalists had no trouble reachingPhiladelphia from distant snow capitalsof the USmdash Denver COMinneapolis MN and Chicago IL
Unique in this country as far asanyone knows this competition wasestablished in 2007 to pique theinterest of young recorder players andto encourage them to investigate therepertoire of the 15th century into theearly 17th century on recorders as wellas other early wind instruments Whilethese young players tend to focus on
18th-century and contemporary musicPiffaro hopes to convey to them theimportance of playingmdashand alsounderstanding the underlyingperformance practice issues ofmdashearlier repertoire
Joe Lewnard (at right withPiffarorsquos Joan Kimball) an 18-year-oldhigh school senior from the Chicagoarea was chosen as the winner byjudges Nina Stern from New YorkCity NY and Elissa Berardi ofPhiladelphia He has played recorderfor a number of yearsmdashstudying withAldo Abreu among othersmdashand hasattended the virtuoso program at theAmherst Early Music Workshop Alsoa trumpet player he has expressedinterest in taking up the cornettocombining his facile fingers with hisbrass embouchure
In recent months Lewnard hasbeen preparing repertoire for collegeand conservatory auditions and willapply to several schools His selectionsfor the competition were the unaccom-panied Ricercata prima by GiovanniBassano and two movements from asuite by Pierre Philidor
The other four finalists also playedwith poise and distinction in variedrepertoire (Renaissance to contem-porary) that showed their abilitiesThey were Ariel Branz (age 16) from
Boulder CO a student of LindaLunbeck Bryan Duerfeldt (15) fromMinneapolis a student of MaryHalverson Waldo Amy Pikler (16)from Chicago who studies withPatrick OrsquoMalley and Olivia Sohlen
(16) also from Minneapolis and astudent of Cleacutea Galhano
On March 7 Lewnard willappear again in Philadelphia pairedwith the competitionrsquos previous winnerAlexa Raine-Wright in a recital Thetwo young virtuosi (both of whom havewon ARS workshop scholarships) willperform a variety of 16th- 17th- and18th-century solos and duetsaccompanied by harpsichordistMarcia Kravis In addition Piffaromembers Joan Kimball Priscilla
Smith and Bob Wiemken will jointhem for a set of 16th-century workson Renaissance recorders
With two competitions success-fully completed Piffaro plans to holdanother one in two years and hopesthat young recorder players will start toprepare now Wersquod love to see moreyoung virtuosi coming our way
12 March 2009 American Recorder
Early Music America Magazine is the quarterlypublication for the Early Music Community inNorth America Professionals Students andAudience members
Articles on performance practice trends in thefield recording reviews and a new book reviewsdepartment
Call 888-722-5288 or email infoearlymusicorgfor a FREE sample issue
Last spring I had the honor andgood fortune to spend five weeks
at the Sitka Center for Art andEcology on the central Oregon coastas the recorder resident The recorderresidency is sponsored by the OregonCoast Recorder Societymdasha wonderfulgroup of people I had the chance tomeet and teach and to make musicwith while I was there Myparticipation was made possible inpart by a professional grant from theARS and also by the kind generosityof some of my loyal long-termstudents
The project I worked on while atSitka was an intensive study of Bachrsquossolo string musicmdashprimarily the rsquocellosuites and some of the violin partitasmdashwith the aim of preparing my own arrangements of them for aneventual recording
Although Irsquod been told before Iwent that Sitka was incredibly beautifuland a wonderful place to be Iapproached the residency with sometrepidation I wasnrsquot quite able toimagine it and wondered how I wouldsurvive so many weeks by myself in aremote location seven miles from thenearest townmdashand where Irsquod heardmost cell phones did not work (panic)When I arrived on April 9 I was metwith typical Oregon coast weather forthat time of the year (and many timesof the year) chilly temperatures andrain And Irsquod left sunny California for five weeks of this
I lived in what is called the TreeHousemdasha charming one-roomwooden cabin with a sleeping loft and a wood-burning stove insidemdashenveloped outside by a couple of giantSitka spruce trees After many failedattempts over several days one of myproudest accomplishments was finally
learning how to quickly and reliablybuild a fire in my wood stove My nextproudest accomplishment was learningthat one should not put wet logs on the top of the stove to dry This Idiscovered after setting off the smokealarm bringing the entire Sitka staffrunning to my aidmdashonly to find meoblivious up in the loft
It took me a week or so to getadjusted to my new life I wasnrsquot usedto being alonemdashwithout my dog farfrom civilizationmdashand with expansesof free time and no actual responsibil-ities I spent some of that time explor-ing the surrounding areas takingwalks down to the estuary throughforested woods and climbing to thetop of Cascade Head There I was metwith awe-inspiring views of the PacificOcean the coastline the mountainsand the estuary far below I soondiscovered that this was part of thetotal Sitka experience
After my first incredible climb tothe top of Cascade Head I began torelish the quiet peace and time alonethat Sitka afforded memdashsomething Inever imagined Irsquod feel given mygenerally extroverted nature Inaddition to reading writing andmeditating I was inspired to dive into
Linsenberg
on the
deck of
the Tree
House
wwwAmericanRecorderorg March 2009 13
By Judith Linsenberg
The author is founder and director ofthe Baroque ensemble Musica Pacificawhose performances and eight recordingson the Virgin Classics and Dorian labels
have received international acclaim She has performed throughout the US
and Europe including solo appearances atthe Hollywood Bowl and Lincoln Center
and has been featured with such leadingAmerican ensembles as the San Francisco
Symphony the San Francisco and LosAngeles Operas Philharmonia Baroque
American Bach Soloists and others
Her recording of the Bach organ trioswas sponsored in part by an
ARS Professional Grant The ARS CD Club carries some of her recordings
A Fulbright scholar to Austria shewas awarded the Soloist Diploma with
Highest Honors from the Vienna Academyof Music She is a summa cum laude
graduate of Princeton University holds anearly music doctorate from Stanford Uni-
versity and has been a visiting professor atthe Vienna Conservatory and Indiana
Universityrsquos Early Music Institute Visit wwwmusicapacificaorg
for more information
Suite Thoughts of Sitka
14 March 2009 American Recorder
my musical projects with renewed energy and enthusiasmI had the time not only to practice the Bach suites butalso to really study them in depthmdashanalyzing themlistening to and comparing different recordings andworking on my transcriptions of them Although it wasnrsquotpart of my original intention I now have a plan to publishmy arrangements of these pieces so theyrsquoll be available forothers to perform (While Frans Bruumlggen published hisarrangement of the first three suites in the 1970s to myknowledge there is only one other recorder editioncurrently available whose approach is quite different from mine)
I wasnrsquot however living in total isolation while at SitkaThere were artist residents of other media as well Kim awriter from New York state John and Robin a marriedcouple who were ceramicists from Washington state andtheir three daughters and Claudia an installation- andperformance-artist We became a community socializingwhen we werenrsquot working (and sometimes even when wewere) going on excursions to see the glorious naturalwonders of the Oregon coast having dinners together inour various residences and talking about our work
The setting provided the perfect atmosphere for theexchange of ideas and we began to collaborate on mutualprojects sometimes in unexpected ways Robin startedmaking ocarinas and I worked with her to design and tunethem While I immersed myself in Bachrsquos solo music flutesand musical themes began to appear in the images shepainted on her ceramic pieces Often after wersquod hung outtogether in the evening depictions of the stories I told herwould show up in her paintings over the next few daysFanciful illustrations of me playing to my dog Jake evenmade several appearances in her work (The photos aboveshow the ocarina she made for me)
Toward the end of my stay I also began collaboratingwith Claudia the installation artist Her work was creatinginstallations out of plastic bags fastened together to formdifferent naturalistic shapes which she then set up invarious locations around the Sitka campus and nearby
areas Together we created a performance piece that wepresented at the Open House at the end of our residenciesI provided music to accompany a performance that tookplace within her installation We worked together on usingthe music to express the various ideas in the installation andperformance and using the performance to express themusic in a visual way
Bachrsquos music can be very evocative and I chosemovements from the Bach suites that suggested the variousparts of the narrative she performed part of a slow preludeto depict nascent creatures emerging in a forest a C-majorbourree while they are coming to life a C-minor onesuggesting turmoil a fast 16th-note passage representingflight as they grow wings and fly and finally a wistfulsarabande as they gradually die away and disappear As in a ballet each medium enhanced the other and the wholebecame more than the sum of its parts illuminatingdifferent aspects of each and creating a more profoundeffect than either might have independently
During the Sitka open house Linsenberg plays
in an installation of plastic bag ldquocreaturesrdquo
There were other opportunitiesfor me to present the music I wasworking on Around the midpoint ofmy stay there I performed in a concertmarking the start of the annual Windsand Waves weekend workshop Iplayed one of my Bach suites thoughit was still a work in progress
The next day about 45 recorderplayers descended upon our quiet littleenclave turning it into a hubbub ofactivitymdashquite a change from the low-key atmosphere of the prior severalweeks Once I got over the initialculture shock of the influx of so manypeople I thoroughly enjoyed meetingand working with all of them A class I offered on the Bach suites enabledme to share some of the work Id beendoing conversely I got input from thestudents I taught that made me thinkdifferently about the piecesmdashforexample what about playing them on a subcontrabass recorder
Shortly after the workshop theSitka residents held a communityoutreach day at which we each demon-strated our work to children from anearby school I had been working onsome contemporary pieces withnaturalistic themes (fitting for thesetting) and this event gave me theopportunity to play some of them forthe kids They were fascinated by theextended techniques used to imitatebirds and other animals and of courseVan Eyckrsquos ldquoEngels Nachtegaeltjerdquowas a hit with them as well
As hard as it was for me to getused to Sitka and the residency at thebeginning of my stay it was evenharder to leave My departure datecame too soon Irsquod had time to finishtranscriptions of only three of thesuites
Saying good-bye to all the friendsIrsquod made theremdashthe other artists aswell as the recorder players Irsquod metmdashwas hard enough but leaving the
beauty of the place and the peace Irsquodfound there saddened me greatly
Sitka had changed me and ittransformed my relationship to themusic I played as well My experienceallowed me to tap into a deep placeinside myself in a way that I never hadbefore something I was then able tocommunicate through the music I wasplaying Bachrsquos music turned out to bethe perfect vehicle because it expressesin sound the same grandeur spiritu-ality and universalitymdashas anyone whohas heard a live performance of the B-minor mass can attestmdashas does theview from the top of Cascade Head
Since the conclusion of myresidency I have given severalperformances of the rsquocello suitesincluding some lecture-recitals onthem and on my arrangements moreare planned Irsquove begun working withstudents of instruments other than therecorder who are studying the rsquocellosuites And I continue to work on myarrangementsmdashalas five weeks wasjust not long enough to learn andadapt all six suites although I do plan to publish them in the future
My work at Sitka also inspired meto pick up a project I started over 10years ago but never brought tofruition preparing my arrangementsfor recorder violin and continuo of thesix Bach organ trios (that I recorded in1992) to be published soon by PRBProductions And I have no doubt thatthe Sitka experience will continue towork on me in ways Irsquom not evenconsciously aware of at this time
I would like to give my deep and heartfelt thanks to the followingindividuals and organizations to the
Sitka Center for making my stay there sowonderful and to its founders Jane andFrank Boyden who had the vision tocreate this magical place to the members ofthe Oregon Coast Recorder Society fortheir generosity in creating and sponsoringthe recorder residency to the ARS for its financial support and to my wonderfulstudents who made it possible for me toparticipate in this life-changing experience(you know who you are)
wwwAmericanRecorderorg March 2009 15
Lost in Time Press
New works andarrangementsfor recorder ensemble
Compositions byFrances BlakerPaul AshfordHendrik de Regtand others
InquiriesCorlu CollierPMB 3092226 N Coast HwyNewport Oregon 97365wwwlostintimepresscomcorluactionnetnet
Sitka had changed meand it transformed my relationship to the music I played as well
MARIN HEADLANDS
RECORDER WORKSHOP
Point Bonita YMCA near San Francisco CA
May 15-17
With each coming tide of that mightymetronome the Pacific Ocean and withspring peeping soon our MarinHeadlands Recorder Workshop 2009perched at the edge of the ocean andembraced in greenery gets nearer Againthis workshop will swell with harmoniesof recorders viols and perhaps apsaltery or drum Intermediate andadvanced players are warmly invited tojoin members of the sponsoring EastBay Chapter of the ARS a SFEMSaffiliate at this annual musical event
Music-making begins on Friday andcontinues through Sunday afternoon
including also one- and two-day options
This yearrsquos faculty includes a wonderfulmix of familiar and new faces DavidBarnett Tom Bickley Louise CarslakeRobert Dawson Lisa DykemanFrances Feldon Judith LinsenbergPeter Maund Fred Palmer and Glen Shannon
Music offerings will range from easilyplayable to challenging from delightfulPurcell and Renaissance music to jazzto works by a (very) living composer(led by the chap himself) Check theEBRS web site for updates
The workshop is held at the PointBonita YMCA one of very few publicfacilities on this largely undevelopedarea of California coast Set in a meadowwith short walks to Pacific Ocean vistasthe historic Point Bonita Lighthouseand remnants of WWII fortifications
it is a place to get away recharge andmeet new friends or re-connect withold The accommodations includedormitory-style rooms a large diningarea and playing spaces all on one levelRooms are also available for impromptuplaying sessions
Contact Anna Lisa Kronman
37 Meadow View Rd Orinda CA
94563 925-258-9442
annalisakronmangmailcom
symbolicsolutionscomebrs
BLOOMINGTON EARLY
MUSIC FESTIVAL
Bloomington INMay 15-25
Performances of Medieval RenaissanceBaroque and Classical music as well aseducational programs for concertgoersamateur performers and childrenPlease see BLEMForg for details
Contact Carol Huffman
PO Box 734 Bloomington
IN 47402 812-824-2412
specsorffyahoocom blemforg
WHITEWATER EARLY
MUSIC FESTIVAL (ARS)
University of Wisconsin Whitewater WI
June 5-7Directors Nancy Chabala Carol Stanger Pam Wiese
Our workshop is held on campus at theUniversity of WisconsinndashWhitewaterabout 60 miles SW of MilwaukeeClasses include focus and specialty areainstruction for all levels of recorderplaying as well as beginningmdashconsortviola da gamba wind band voicerecorder orchestra and mixed consort A variety of special interest classes onFriday evening and Saturday eveningparticipant gathering led by LouiseAustin The various classes include
16 March 2009 American Recorder
Summer Workshop Summer-y
The Madison Early Music Festival presents
Telescopic Vistas MEMF X and Music of the SpheresCelebrating the International Year of Astronomy
July 11-18 2009
Guest Artists amp Ensembles Faculty Recorder Artists Quicksilver with Marion Verbruggen Joan Kimball Piffaro The Renaissance Band Priscilla Smith The Newberry Consort Marion Verbruggen Venere Lute Quartet Robert Wiemken
Explore music from the days of Galileo and Kepler Celebrate the influence of astronomy on society arts and culture
in the 15th through 17th centuries
Our tenth anniversary festival features a seven-concert series and a week-long workshop with classes and ensembles for participants of all levels
For more information please call (608) 263-6670 or visit wwwmemfdcswiscedu
music from Medieval to modern
Several musicinstrument vendors onsite Dale Taylor will be on site forrepairs All ages are welcome as well as non-participants
Faculty includes Dale ArmentroutLouise Austin David Echelard CharlesFischer Shelley Gruskin LisetteKielson Laura Kuhlman PatrickOrsquoMalley Tulio Rondon KarenSnowberg Mary Halverson Waldo andTodd Wetherwax Brochures available
Contact Nancy Chabala
8609 45th St Lyons IL 60534-
1616 708-442-6053 (day)
630-789-6402 (fax)
nchabalamymailstationcom
(housingregistration)
thewiesessbcglobalnet (mailing
scholarships) cvstangeraolcom
(facultyfacilities)
INTERLOCHEN EARLY MUSIC
WORKSHOP
Interlochen Center for the Arts Interlochen MI
June 7-12 Director Mark Cudek
Make and enjoy Medieval andRenaissance music while learning new skills and techniques
Topics will include articulationornamentation improvisation andensemble arrangement in Medieval and
Renaissance music The workshopculminates with a participantperformance on period instruments such as recorders and other early windsviols lutes harpsichord and percussionVocalists are also welcome Participantswill supply their own instruments
Early registration is recommendedas space is limited
Contact Matthew Wiliford
Director ICCA PO Box 199
Interlochen MI 49643 231-
276-7441 231-276-5237 (fax)
collegeinterlochenorg
interlochenorgcollege
RENAISSANCE CHAMBER
MUSIC INSTITUTE
New England Conservatory of Music Boston MA
June 11-21
A unique opportunity for professionalmusicians and advanced students todiscover and explore one of the greatestrepertoires of Western music which iseminently suitable for all instruments
Players of modern and early instrumentsare encouraged to attend
Led by John Tyson director of theRenaissance music and dance ensembleRENAISSONICS who has performedand lectured worldwide including forthe Boston Symphony OrchestrarsquosTanglewood Institute
Introductory lectures will be followed byintense chamber music coaching in largeand small ensembles Concentration willbe on personal expression rhetoric andphrasing performance practice andornamentation The institute willculminate in a public performance at theNew England Conservatory of Music
Faculty John Tyson recorder LauraGulley violin Daniel Rowe rsquocello and guest artists
Contact Director of Summer
School New England
Conservatory of Music
290 Huntington Avenue Boston
MA 02115 617-585-1126
617-585-1135 (fax) newengland
conservatoryedusummer
wwwAmericanRecorderorg March 2009 17
Workshops carrying
ARS designation have
joined the ARS as
workshop members
Other shorter workshops
may be sponsored
periodically through the
year by ARS chapters and
are listed in the calendar
portion of each ARS
Newsletter as well as on
the ARS web site when
information becomes
available from presenters
Canto AntiguoWest Coast EarlyMusic and Dance
Featured Faculty
Beautiful CampusFully air-conditioned
For Information Call
800-358-6567
Early Music
WorkshopJuly 5-12 2009
Chapman UniversityOrange CA
Classes in
Baroque Music
Recorder Ensemble(all levels)
Vocal Ensemble
Renaissance Brassand Reeds
Viols
Collegium
Folk Dance
Thomas Axworthy
Mark DavenportRonald Glass
Janet Beazley
Carol LisekJim MaynardAlice Renken
wwwcantoantiguonet
18 March 2009 American Recorder
SUMMER TEXAS TOOT (ARS)
Concordia University Austin TXJune 14-20 Director Daniel Johnson
The Summer Texas Toot is a one-weekprogram of classes in Renaissance and Baroque music at all levels forrecorders viols singers plucked stringsRenaissance reeds and brass andharpsichord Our classes include anarray of small one-on-a-partRenaissance and Baroque ensemblesand larger mixed vocal and instrumentalgroups The size of the workshopenables us to create classes for all levelsof students from those of modest skills to advanced players and singers
Same Texas Toot hospitality andtraditionsmdashback in Austin but atConcordia Universityrsquos beautiful newcampus Classrooms dining and dormaccommodations are air-conditioned and easily walkable
Currently our featured faculty are Tish
Berlin (recorders) Tom Zajac (reedsand ensembles) Mary Springfels(viols) Becky Baxter (harp)mdashbut watchfor more faculty to be added soon
Contact Daniel Johnson
PO Box 4328 Austin TX 78765
512-371-0099 infotootorg
tootorg
SAN FRANCISCO EARLY MUSIC
SOCIETY BAROQUE MUSIC amp
DANCE WORKSHOP (ARS)
Sonoma State University Rohnert Park CA
June 14-20Directors Phebe Craig Kathleen Kraft Frances Blaker
A music-packed week of master classesconcerto evening coached ensemblesBaroque orchestra vocal and windensembles continuo classes concertsand lectures
Featuring recorder faculty FrancesBlaker and Cleacutea Galhano Other facultyChristine Brandes voice Phebe Craig
harpsichord Sand Dalton oboeKathleen Kraft flute Michael Sandviolin and orchestra Mary Springfelsviola da gamba Peter Sykesharpsichord Tanya Tomkins rsquocello
Contact Kathleen Kraft SFEMS
PO Box 10151 Berkeley CA
94709 707-874-2014
kkraftsonicnet sfemsorg
SAN FRANCISCO EARLY MUSIC
SOCIETY CHILDRENrsquoS MUSIC
DISCOVERY WORKSHOP (ARS)
Crowden Center for Music Berkeley CA
June 21-26 (day camp)Director Letitia Berlin
Early music and Renaissance socialhistory for youth ages 7-15 beginners to advanced students welcome Dailyschedule includes chamber musicmusicianship crafts costume-makingand games Friday night concert andtheater project presentation followed by potluck supper
Rebecca Ahrendt violJanet Beazley recorder
Tish Berlin re cord er co-direct orFrances Blaker recorder co-direct or
Vicki Bœckman recorderLouise Carslake recorder fl ute
Charles Coldwell recorder Rotem Gilbert recorder
Julie Jeff rey violShira Kammen viell e
Peter Maund per cus sionKim Pineda recorder
Ellen Seibert violPe ter Seibert recorder choir
Margriet Tindemans viol viell eBrent Wissick viol
Play early music in the spectacular Pacifi c Northwest Choose from classes in recorder viol fl ute and percussion Polish your skills andor take up a new instrument Sing and dance
Enjoy the faculty concert Take part in the student recital Make the most of your stay with a hike at nearby Mt Rainier or a visit to the Museum of Glass
For informat ion or to request a brochure call (206) 932-4623write to Port Townsend Early Music Workshop
1108frac12 Alki Ave SW Seattle WA 98116or vis it wwwseattle-recorderorg
July 12ndash18 2009
Port TownsendEarly Music Workshop
At the beautiful University of Puget Sound Tacoma WA
Tish Berlin amp Frances Blaker Co-Direct orsPresented by the Seattle Recorder Society
Please note that this is a day camp Out-of-town students may contact thedirector regarding accommodations withhost families Some financial aidavailable
Featuring recorder faculty Vida Bateauand Letitia Berlin Other facultyKatherine Heater dance ShiraKammen musicianship and theaterband Ron McKean harpsichord Carla Moore violin Farley Pearcersquocello and viola da gamba Allison Rollstheater project director
Contact Letitia Berlin SFEMS
PO Box 10151 Berkeley CA
94709 510-559-4670
tishberlinsbcglobalnet
sfemsorg
OBERLIN BAROQUE
PERFORMANCE INSTITUTE
Oberlin College Oberlin OHJune 21-July 5Directors Oberlin Baroque Ensemble (Cathy Meints Marilyn McDonald Michael Lynn Webb Wiggins) and artistic director Kenneth Slowik
Celebrating its 38th anniversary withMusic in London 1659ndash1759 thisinstitute offers instruction in Baroqueinstruments and voice Students of alllevelsmdashfrom beginning to Baroqueperformance to the professional levelmdashparticipate in master classes and coachedensembles with an international facultyof Baroque specialists Scholarships are available for qualified high schoolstudents
Contact Anna Hoffman
Conservatory of Music
77 West College St
Oberlin OH 44074
440-775-8044
440-775-8942 (fax)
ocbpioberlinedu
oberlineduconsummerbpi
WORLD FELLOWSHIP
EARLY MUSIC WEEK
Chocorua NHJune 25-July 2Directors Jane Hershey Larry Wallach
Faculty of eightmdashincluding JaneHershey Roy Sansom Pamela DellalJay Rosenberg Julian Cole AnneLegecircne Larry Wallach and JoshSholem-Schreibermdashin a beautifulWhite Mountain camp setting conducta week-long workshop in French earlymusic (late Medieval through Baroque)
Faculty and student concerts Englishcountry dancing special lecturesmorning and afternoon workshops inviols recorders voice mixed ensemblesSephardic music and Baroque chambermusic and classes in Feldenkrais bodywork
Camp facilities include hikingswimming boating camp gardenssupply kitchen with vegetables Very affordable rates
Contact Larry Wallach
69 Welcome St Great Barrington
MA 01230 413-528-7212 (day)
413-528-9065 (evening)
413-528-7365 (fax)
larrysimons-rockedu
worldfellowshiporg
INDIANAPOLIS EARLY
MUSIC FESTIVAL
Indianapolis INJune 26-July 19July 8-9 Mini Boxwood Workshop
The Indianapolis Early Music Festivalis the oldest continually running earlymusic concert series in the USPresented since 1967 our mission is toenrich educate and entertain audienceswith the music of Medieval Renais-sance Baroque and early Classical erasand feature exciting performers ofnational and international stature usinginstruments of the period and histori-cally informed styles and techniques
For 2009 we will present Reconstruction(June 26 ) Ex Umbris (June 27) ChrisNorman amp David Greenberg withRonn McFarlane amp Mark Cudek (July10) I Furiosi (July 12) HarmoniousBlacksmith (July 17) and the PeabodyConsort with Indiana Repertory Theatre(July 19) We also offer our secondannual Family Concert featuring thePeabody Consort on July 18mdash a freeconcert geared to young audiencemembers Several groups also offeroutreach events for younger (generallyhigh-school-aged) musicians and actors
In 2009 we also present a two-dayldquoMini Boxwoodrdquo workshop with Chris
wwwAmericanRecorderorg March 2009 19
Marin
Headlands
Recorder
Workshop
Norman (earlytraditional flutes andpipes) David Greenberg (Baroqueviolin and fiddle) and Ronn McFarlane(lute) on July 8-9
Contact emindyorg
SAN FRANCISCO EARLY MUSIC
SOCIETY MEDIEVAL amp
RENAISSANCE WORKSHOP (ARS)
Sonoma State University Rohnert Park CAJune 28-July 4Director Tom Zajac
Workshop theme Stories and LegendsOpen to singers and players of earlyinstruments (recorders violas da gambalutes shawms etc) Coaching by world-class specialists in Medieval and Renaissance music Classes forvoices recorders viols and alta capellavoice master class ensemble coachingstorytelling for musicians andstorytelling accompanimentRenaissance choir Medieval bandtheater project faculty and studentconcerts lectures and more
Scholarships as well as academic creditor continuing education credit areoffered Featuring recorder facultyFrances Blaker Annette Bauer DanStillman and Tom Zajac Other facultyPatrick Ball storytelling Celtic harpKaren Clark voice movement formusicians Julie Jeffrey gamba ShiraKammen Medieval strings music forstorytelling Drew Minter voice theaterproject Tim Rayborn Medieval stringspercussion music for storytelling Larry Rosenwald theater projectrhetorician in residence MarySpringfels gamba theater projectAnnette Bauer early notation DanStillman reeds alta capella ensembleTom Zajac sackbut Renaissance choir
Contact Tom Zajac SFEMS
PO Box 10151 Berkeley CA
94709 617-323-0617
medrenmailgmailcom
sfemsorg
MOUNTAIN COLLEGIUM (ARS)
Cullowhee NC June 28-July 4Director Patricia Petersen
Nestled in the Smoky MountainsWestern Carolina University provides alovely location for Mountain Collegiumwith comfortable accommodations in anew dorm and catered evening mealsThe workshopmdash at once informal andintensivemdash combines study of Renais-sance Baroque and contemporary musicand improvisation on recorder viol andother early instruments with opportu-nities to explore Celtic and othertraditional music on hurdy gurdymountain dulcimer and pennywhistle
Friendly participants of all levels andages welcome newcomers into theMountain Collegium family Varied classofferings time for informal music-making and evening English countrydancing bring students back year afteryear Faculty Valerie Austin AtossaKramer Jody Miller Patricia PetersenJohn Tyson (recorders other winds)Martha Bishop Lisle Kulbach HollyMaurer Gail Ann Schroeder Ann Stierli(strings) Lorraine Hammond JohnTrexler (traditional music)
Contact Patricia Petersen
1702 Vista St Durham NC
27701 919-683-9672
patpetersenearthlinknet
mountaincollegiummusicorg
GREAT LAKES SUZUKI FLUTE amp
RECORDER INSTITUTE
McMaster University Hamilton ON CanadaJuly 4-11 Teacher training Book 1July 7-11 Teacher training Book 2July 7-11 Student InstituteDirector David Gerry
Master classes group instructionrecitals plus enrichment classes forstudents Teacher training with MaryHalverson Waldo
Contact David Gerry 129 Locke
Street South Hamilton ON L8P
4A7 CANADA 905-525-9549
dgerrynasnet davidgerryca
CANTO ANTIGUO EARLY MUSIC
AND RECORDER WORKSHOP
Chapman University Orange CAJuly 5-12Directors Thomas Axworthy Ronald Glass
This one-week workshop is designed to broaden the performance skills ofexperienced students and introduceRenaissance and Baroque instrumentsand musical experiences to beginningand intermediate players Students at alllevels participate in instrumental vocaland dance instruction performance
The workshop takes place at ChapmanUniversity Studios dining hall andresidences are all air-conditioned Thisinvitingly landscaped peaceful campuswith garden paths is a mixture of historic and modern architecture
The theme of this yearrsquos workshop isMusic of the Italian Renaissance Dancesmasses motets and ceremonial musicwill resonate as we explore the music ofMonteverdi Palestrina Gesualdo et al
Faculty includes Thomas AxworthyJanet Beazley Mark Davenport RonGlass Carol Lisek Jim Maynard and Alice Renken
Contact Ronald Glass
129 Altadena Dr Pittsburgh
PA 15228-1003 800-358-6567
(day) 310-213-0237 (evening)
562-946-4081 (fax)
evanesa2aolcom
cantoantiguonet
CAMMAC EARLY MUSIC WEEK
Lake MacDonald Music Center Harrington QC Canada
July 5-12Directors Francis ColpronMarie-Nathalie Lacoursiegravere
CAMMAC provides a unique oppor-tunity to make music with family and
20 March 2009 American Recorder
friends in a beautiful setting north ofMontreacuteal QC under the guidance ofinternationally acclaimed professionalmusicians
In four daily 75-minute classes pluslectures early music lovers will have the opportunity to play to their heartrsquoscontent
Small ensembles and voice classes are setup ahead of time registration for otherclasses occurs on site the first eveningCourses include choir large instrumentalensemble many recorder and violclasses Medieval and Renaissanceensembles Orff method and Baroquedancing There are courses foradolescents and a program for children 4-11 years old
Special project in 2009 The Fairy Queenby Purcell with choir instrumentalensemble soloists and staging Keyfaculty Matthias Maute ChristopherJackson Laura Pudwell MargaretLittle Marie-Nathalie Lacoursiegravere
Contact Johanne Audet
85 Chemin CAMMAC Harrington
QC J8G 2T2 CANADA
888-622-8755 1
819-687-3323 (fax)
nationalcammacca
cammaccaenglishTabLM
Summershtml
MADISON EARLY
MUSIC FESTIVAL
University of WisconsinndashMadison July 11-18Directors Cheryl Bensman Rowe and Paul Rowe artistic Chelcy Bowles program
MEMF joins the 2009 InternationalYear of Astronomy in a global celebrationof astronomy and its contributions tosociety and culture including the 400thanniversary of the first astronomicalobservation made through a telescope byGalileo Galilei Galileorsquos fatherVincenzo was a musician and musictheorist who combined the practice andtheory of music with mathematicaldiscussion of harmonymdashand influenced
Galileorsquos experiments MEMFcelebrates its tenth season exploringworks of music and the arts inspired by ascientific discovery that had tremendousimpact on culture and civilization
MEMF was created to provide anopportunity for musicians scholarsteachers and early music enthusiasts togather and exchange information andideas about Medieval Renaissance andBaroque music and to bring acclaimedearly music artists to the Midwest toperform in beautiful Madison
Featured MEMF 2009 guest artists-in-residence include Marion VerbruggenThe Newberry Consort QuicksilverPiffaro and Venere Lute QuartetRecorder faculty members includeMarion Verbruggen Joan KimballPriscilla Smith and Robert Wiemken
Contact Chelcy Bowles University
of WisconsinndashMadison 720 Lowell
Center 610 Langdon St Madison
WI 53703 608-265-5629
608-262-1694 (fax)
musicdcswiscedu
memfdcswiscedu
PORT TOWNSEND
EARLY MUSIC WORKSHOP (ARS)
University of Puget Sound Tacoma WA
July 12-18Directors Letitia Berlin Frances Blaker
Join us this summer at our new locationwith a star-studded faculty a beautifultree-lined and easy-to-navigate campuswith accessible facilities and acurriculum that will leave you wishingthere were 48 hours in a day
Consort and technique classes forrecorder and viol consort and mixedrepertoire recorder master classpercussion for all levels Hildegard forsingers Baroque flute beginning violtheory workshop orchestra and moreMake an all-Medieval schedule or mix it up with a class from almostevery period of music
Work hard and play hard with friends
new and old Intense music-making thatwill inspire you during the workshop andthroughout the year
Directors Tish Berlin and FrancesBlaker eagerly await your arrival andanticipate a splendid workshopRecorder faculty Janet Beazley TishBerlin Frances Blaker Vicki BoeckmanLouise Carslake Charles ColdwellRotem Gilbert Kim Pineda
Contact Jo Baim Workshop
Administrator 1108 frac12 Alki
Ave SW Seattle WA 98116
206-932-4623
workshopseattle-recorderorg
seattle-recorderorg
wwwAmericanRecorderorg March 2009 21
Amherst Early Music FestivalJuly 12-19 and 19-26 2009
Connecticut College New London CT
Renaissance consortsBaroque ensemblesMaster classesRenaissance AcademyEarly notation and moreNo audition required
July 12-19Baroque Academy
July 19-26 Virtuoso Recorder Recorder Seminar
Audition deadline May 15
wwwamherstearlymusicorginfoamherstearlymusicorg(617) 744-1324
AMHERST EARLY MUSIC FESTIVAL
(ARS)
Connecticut College New London CT July 12-19 Baroque Academy July 19-26 Virtuoso Recorder Recorder SeminarRenaissance Academy
Director Marilyn Boenau
Music of England and Spain Two weeksof classes in most early instrumentsvoice dance and notation
Week 1 includes classes for recorderviol other early instruments voicedance and notation Special programsBaroque Academy Baroque AcademyOpera Project (Purcellrsquos Dioclesian)
July 18-19 Music amp InstrumentExhibition
Week 2 comprises classes for recorderviol other early instruments voice andnotation Special programs VirtuosoRecorder Recorder SeminarRenaissance Academy
Evening activities include Englishcountry dance madrigals and informalplaying sessions Connecticut College ineastern CT offers comfortable air-conditioned accommodations naturalareas for walking and a view of LongIsland Sound Scholarships and work-study aid available
Contact Marilyn Boenau
Director or Cathy Stein
Administrator 47 Prentiss St
Watertown MA 02472
617-744-1324 (day)
617-744-1327 (fax)
infoamherstearlymusicorg
amherstearlymusicorg
MIDEAST WORKSHOP (ARS)
LaRoche College Pittsburgh PAJuly 19-25Director Marilyn Carlson
Music of Spain 55-60 students of allability levels adults only Instruction forrecorder (all levels except novice) violharp flute You may enroll for recorder
viol flute as primary instrument harpvoice recorder viol as secondary instru-ment Large and small ensembles all-workshop ensemble (instruments andvoices) Renaissance band (recordersviols capped reeds voice) Medievalcollegium (puzzles amp canons) consorts(by level) vocal ensemble Also Englishcountry dance penny whistle We alsooffer viol-for-novice and harp-for-novice each providing the opportunityfor hands-on experience without owningan instrument Other classes on specialearly music topics and literature
Faculty Marilyn Carlson directorMartha Bixler Stewart Carter JudithDavidoff Eric Haas Mary JohnsonPeter Ramsey Kenneth Wollitz otherfaculty to be announced All facilities areair-conditioned
Contact Marilyn Carlson
1008 Afton Road Columbus OH
43221-1680 614-754-7233
mcarlsoncolumbusrrcom
mideastearlymusicaddrcom
22 March 2009 American Recorder
San Francisco Early Music SocietySummer Workshops 2009Recorder middot July 19ndash25 2009La Dolce Vita di Flauto middot Explore the full range of recorder music from the Middle Ages to the 21st century through ensemble work technique sessions and recorder orchestra For the devoted amateur all ages intermediate to advanced Friendly atmosphere small classes Quiet campus near all amenities Special offerings Recorder orchestra recorder master class coached informal playing Faculty Louise Carslake Frances Feldon Rotem Gilbert Katherine Heater Norbert Kunst Patrick OrsquoMalley and Hanneke van ProosdijInfo Frances Feldon 510-527-9840 franfelaolcom
Baroque Music amp Dance middot June 14ndash20 2009Music in Italian Cities middot Master classes recorder ensemble concerto evening coached ensembles classes concerts and lectures Featuring recorder faculty Frances Blaker and Clea GalhanoInfo Kathleen Kraft 707-874-2014 kkraftsonicnet
Medieval amp Renaissance Music middot June 28ndashJuly 4 2009Stories amp Legends middot Classes for voices recorders viols and alta capella voice master class ensemble coaching storytelling for musicians and storytelling accompaniment Renaissance choir medieval band theater project faculty and student concerts lectures and more Featuring recorder faculty Frances Blaker Annette Bauer Dan Stillman and Tom ZajacInfo Tom Zajac 617-323-0617 medrenmailgmailcom
Music Discovery middot June 21ndash26 2009Day camp for youth ages 7 to 15 Early music and Renaissance social history Instruction in recorder harpsichord strings chamber music musicianship crafts costume-making games and more Beginners to advanced students welcome Featuring recorder faculty Vida Bateau and Letitia BerlinInfo Letitia Berlin 510-559-4670 tishberlinsbcglobalnet For more information visit our web site wwwsfemsorg
SAN FRANCISCO EARLY MUSIC
SOCIETY RECORDER WORKSHOP
(ARS)
St Albertrsquos Priory Oakland CA July 19-25Directors Frances Feldon Katherine Heater
Jam-packed week of recorder ensembleplaying concerts and the opportunity toimprove your skills working with highlyrespected recorder specialists in afriendly yet serious atmosphere Explorethe full range of recorder music from theMiddle Ages Renaissance and Baroqueto the 21st century through ensemblework technique sessions and recorderorchestra For the devoted amateur of allages from intermediate to advanced
Small classes Quiet campus Specialofferings recorder orchestra recordermaster class coached informal playing
Featuring recorder faculty LouiseCarslake Frances Feldon RotemGilbert Norbert Kunst PatrickOrsquoMalley and Hanneke van ProosdijOther faculty Katherine Heaterharpsichord
Contact Frances Feldon SFEMS
PO Box 10151 Berkeley CA
94709 510-527-9840
franfelaolcom sfemsorg
WINDSWEPT MUSIC WORKSHOP
William Jewell College Liberty MOJuly 19-25Director Phyllis Pasley
Bring your artistry to life Strengthen the mindbody connection and exploreenergy and music at Creative MotionAlliancersquos 59th annual summerconference Windswept Professionalmusicians conductors teachers studentsand amateur music enthusiasts willdiscover barriers that inhibit the free flowof energy and learn the secrets of inner-directed artistic music-making Classesin piano voice instrumental musicexpressive arts and independent studyMaster class coaching and conductingopportunities available Using move-
ment exercises analysis and bodyresponses explore music and energy in a unique inter-generational workshopformat Opportunities for independentrecorder study and private lessons enrichthe music-making experience
Registration fee $50 prior to 51509Tuition room meals $535 adults $400students 12-18 (must attend with parentteacher or sponsor) special half-weekrate $275 (Sunday-Wednesday noon)Memberfamily discounts Three hoursgraduate credit ($225) 3 CEUs ($50)and private lessons ($25 each)
Contact Phyllis Pasley 2208
Clouds Peak Maryland Heights
MO 63043 314-628-9862
directorcreativemotionorg
creativemotionorg
BOXWOOD FESTIVAL CANADA
Lunenburg Nova Scotia CanadaJuly 19-26Director Chris Norman
Discover musical and dance traditionswhile visiting one of North Americarsquosmost exquisite 18th-century seasidetowns Concerts dances sessionsclasses lectures with leading artists in therealms of traditional folk early musicdance and improvisation Work study ampscholarships available Gourmet cuisine
Faculty Chris Norman directortraditional amp early flutes FrancisColpron recorder ensembles LisaBesnoziuk Baroque flute DavidGreenberg Cape Breton amp Baroqueviolin Edmund Brownless voice shape note singing Marie Bouchardharpsichord Robert Dick contemporarytechniques amp composition Conal O Grada Irish flute Jerry OrsquoSullivanpipes whistle Rod Garnett flutefundamentals ethnic flutes PierreChartrand social dance MarlysNorman ballet classical dance Rod Cameron flute maker Tempest Baroque
Contact 902-634-9994
boxwoodorg
musiqueroyalecom
MACPHAIL SUZUKI INSTITUTE
FOR PIANO GUITAR FLUTE
AND RECORDER
MacPhail Center for the Arts Minneapolis MNJuly 19 Every Child Canreg July 19-26 Recorder Book 1July 20-24 Student InstituteDirectors Cindy Malmin Mary Halverson Waldo (auditions)
Suzuki Clinicians Marilyn Taggartpiano Tadeusz Majewski piano DavidMadsen guitar Kathleen Schoenfluterecorder MacPhail Suzuki faculty
Sanctioned by the Suzuki Association ofthe Americas MacPhailrsquos SuzukiInstitute allows Suzuki students of allages to share in motivating enrichingand wide-ranging musical experiencesStudents work with master teachers andimprove skills technically and musicallyDaily classes and observation includeapplied study theoryreading skillsensemble skills chamber music perfor-mance practices composition improv-isation master classes recitals art andmusic world musicdrumming musichistory recitals and presentations TeenMusical Revue (ages 13-18) fashioncharacter sketches develop a frameworkor theme and present to an audience
Who may attend Suzuki students whohave completed the Twinkle Variations(preschoolndashgrade 12 parents or another
wwwAmericanRecorderorg March 2009 23
Amherst Early Music Festival
(photo by Marc Weinberg)
responsible interested adult must attendwith students under high school age)teacher traineesobservers Participantsmust arrange meals housing and trans-portation Teacher Training prerequi-sites Every Child Canreg before Book 1courses must be taken in order throughBook 2 Contact workshop regardingrequired audition and preparation
Contact Cindy Malmin
612-767-5461
malmincindymacphailorg
Mary Halverson Waldo
5679 Harding Lane Shorewood
MN 55331 952-470-5853
mhalvwaldogmailcom
INTERNATIONAL BAROQUE
INSTITUTE AT LONGY
Longy School of Music Cambridge MA
July 24-August 2Directors Paul Leenhouts co-director Phoebe Carrai
VenicendashDresden Connection InternationalMeeting Grounds Music of MonteverdiVeracini Hasse Heinichen MarcelloVivaldi Pisendel Albinoni ZelenkaLotti Schein Schutz Quantz Gabrieli
2009 faculty Paul Leenhouts recorderPhoebe Carrai rsquocello ElizabethBlumenstock violin Ricard Bordasvoice Arthur Haas harpsichord LucasHarris lute Ken Pierce early danceGonzalo Ruiz oboe Mary Springfels
viola da gamba Jed Wentz traverso
Contact Karen Burciaga Com-
munity Programs Registrar One
Follen St Cambridge MA 02138
617-876-0956 X1532 (day)
617-354-8841 (fax) karenbur
ciagalongyedu longyedu
RECORDER AT THE CLEARING
The Clearing Ellison Bay WIJuly 26-August 1Directors Pat Badger Adrianne Paffrath
Recorder ensemble has been a traditionat The Clearing for over 25 yearsEnsemble playing is the weekrsquos focusEach day begins with a warm-up ofvoices and bodies as we sing rounds andready our muscles for performanceDaytime sessions focus on rhythmicchallenges recorder technique andensemble blend emphasis is on growthprocess and most of all enjoyment To participate fully you need at leastintermediate skills on a C or F recorder
Adrianne Paffrath coached on recorder with ARS teachers She is music directorat Racinersquos First Presbyterian ChurchPatricia Badger has studied early musicinstruments natural and classicaltrumpet She is performing arts head ofThe Prairie School Jointly they haveperformed for Medieval festivals grapestompings Shakespeare celebrations anda circus parade
Contact The Clearing PO Box 65
Ellison Bay WI 54210-0065
877-854-3225 920-854-9751
(fax) clearingtheclearingorg
theclearingorg
AMERICAN RECORDER SOCIETY
FESTIVAL AND CONFERENCE
University of Missouri at St Louis St Louis MO
July 30-August 2
Attend the second ARS Festival andConference for one day ($150) or allweekend ($350)
Sessions include recorder techniquepedagogy introductions to Orff Suzukiand Flutes and Drums Around the Worldmethods improvisation roundtablediscussions how to conduct yourconsort coached playing sessions forMedieval Renaissance Baroque worldand contemporary repertoire recorderorchestra incorporating percussion intoyour ensemble Also recorder mainte-nance choosing a recorder building aweb site using Sibelius music softwareMini-concerts by the next generation ofprofessionals master classes concerts byMarion Verbruggen and the FarallonRecorder Quartet Exhibition ofrecorder builders music sellers andmore CEUs available
Presenters Louise Austin AnnetteBauer Tish Berlin Frances Blaker Joyce Callanan Louise Carslake
24 March 2009 American Recorder
The Summer Toot is once again in Austin at the beautiful new facility of Concordia University The lushly wooded campus offers air-conditioned classrooms dining and dorm accommodations and is backed by a nature preserve Please join us
Our featured faculty includes Tish Berlin Tom Zajac Mary Springfels The Texas Toot offers a one-week program of classes in Renaissance and Baroque music at all levels featuring expert instructors in re-corder viol early reeds lute harp and voice
Danny Johnson workshop director Susan Richter administrator For more info
httpwwwtootorg or email infotootorg
11th Annual Summer Texas Toot June 14-20 2009 mdash Austin Texas
Mark Davenport Cleacutea Galhano LisetteKielson Lorraine Krige JudithLinsenberg Peter Maund Nina SternMarion Verbruggen Leslie TimmonsJim Tinter Mary Halverson Waldo
Contact Yvonne Miller-Nixon
Conference Administrator
1129 Ruth Dr St Louis MO
63122 800-491-9588 (day)
arsconfplannercharternet
americanrecorderorg
EARLY MUSIC WEEK AT
PINEWOODS CAMP (ARS)
Pinewoods Camp Plymouth MA August 15-22 Director Sheila Beardslee
The Myth amp Magick Creativity andInspiration in Early Music Surely thedeities of Olympus will surround us atPinewoodsndashwhere the myths of earlymusic will be made clear and our staff rsquosldquomagickalrdquo skills will hone and perfectour knowledge and performance of early music and dance
If yoursquove never played a musical instru-ment (but wish you could) or if youstudied music years ago (and fear yoursquoveforgotten) classes in recorder and violwill get you started or help brush off therust Advanced and intermediate playersand singers choose from a wide array ofclasses led by an outstanding faculty of professionals and teachers of earlywinds (recorders reeds brass) strings(viols violin) harpsichord and voice
New staff faces this summer areAnonymous 4rsquos Susan Hellauer voiceand Lisa Terry viol We welcome backDorrie Olsson historical dance andScott Higgs English country dance
We relax with two ponds for swimmingcanoeing a camphouse deck for readingafternoon tea and lots of dancing EarlyMusic Week continues its long traditionof superb teaching in a welcoming com-munity enhanced by special eventspresentations concertsmdashand dancing
Advanced musicians work intensivelyamateurs are engaged and challengedand beginners are always made welcome
Contact Steve Howe Country
Dance and Song Society
PO Box 338 Haydenville MA
01039-0338 413-268-7426 X3
(day) 413-268-7471 (fax)
campcdssorg cdssorgem
MONTREacuteAL RECORDER FESTIVAL
McGill University Montreacuteal QC Canada
September 17-20Directors Matthias Maute Sophie Lariviegravere
Conference consort music recorderorchestra concertsmdashEnsemble Capriceand Quynade (Israel) solo recital byMaurice Steger (Switzerland)
Contact Ensemble Caprice 4841
Garnier Montreacuteal QC H2J 3S8
CANADA 514-523-3611
514-523-1322 (fax)
infoensemblecapricecom
ensemblecapricecom
HIDDEN VALLEY INSTITUTE
FOR THE ARTS
EARLY MUSIC ELDERHOSTEL
Carmel Valley CANovember 1-7 November 8-14Directors Letitia Berlin workshopPeter Meckel HVIA
Enroll for one or both weeks Adults ofall ages welcome
Week I intense classes for upper inter-
mediate to advanced levels Week Ifaculty Letitia Berlin Frances BlakerLouise Carslake Annette Bauer(recorder) David Morris (gamba)
Week II all levels except beginnerClasses include recorder technique viol consort Baroque chamber musicconsort classes for Medieval Renais-sance Baroque and contemporary reper-toire workshop orchestra Week IIfaculty Letitia Berlin Frances BlakerTBA (recorder) Shira Kammen (earlystrings singing Medieval topics) MarySpringfels (viola da gamba)
Evening events include faculty concertstudent concert free-lance playing FreeWednesday afternoon for more playingor sightseeing Improve your playing in asupportive friendly atmosphere withworld-class teachers
Contact Peter Meckel
PO Box 116 Carmel Valley CA
93924 831-659-3115
831-659-7442 (fax)
hvmsaolcom
hiddenvalleymusicorg
wwwAmericanRecorderorg March 2009 25
26 March 2009 American Recorder
Am
herst
AR
S
Festival and
Co
nference
CA
MM
AC
Early M
usic
Week
Canto
Antiguo
Reco
rd
er
at th
e
Clearing
Great L
akes
Suzuki
FluteR
ec
Hid
den
Valley
Eld
erh
ostel
Interlo
ch
en
Early M
usic
Inst
Lo
ngy Intl
Baro
que
Inst
Marin
Head
land
s
Mid
east
Mo
ntreacuteal
Reco
rd
er
Festival
COST $520TW $350T C$1014ED $860 $1035E TBA $799D $389T $675T $210ED $735D $130TNO OF DAYS 814 1-4 7 7 7 5-8 714 6 10 3 6 4ARS DISCOUNT NO YES NO YES NO NO NO NO NO NO NO NONO OF FAC RECORDER FAC 4315 1716 165 85 22 82 543 11 101 1010 96 66NO OF STUDENTS 150wk 60 110 35 19 45 35 20 50 75 60 50RECORDER CLASSLEVELS
LIHIAV
BLIHIAV
BLIHIAV
BLIHIAV LIHIA BLI
LIHIAV LIHIA AV
LIHIAV
BLIHIAV
BLIHIAV
SPECIAL CLASSES USING RECORDERS
CMRMB20ENMROT
RPMRMB20MROPTO
CMRMBRO
MRMBENROPT CRO
RPMPT
CMRMB20MROPT
RPCMRMBENMROPT MBMP RP20
RPCMRMB20ENMTO
CMRMBMRO
NON-RECORDERCLASSES
CWKVPSDO PO
CWKVDT CWVD C O KVPS
CWPKVPST WK VD
CWVPSDO
MUSICALACTIVITIES
FSLSPP FLO FSLSP FS SP FSLP FSP
SLSPPO FSLP P FSLP FS
RECREATION D GS BSTW D FBSW FSO OBSTWO S O G
OTHERS WELCOME SC S SC S S S S SDIRECTTRANSPORTATION SC SBCP SP BCLP BP SB CPUP CL PUP
SBCPUP
TRANSPORTATIONTERMINALS
A50B2 T2 A B T
A10B3 T5
A80B80
A50B10 T10
A20B20 T20
A16B16
A4B3 T3 A20
A15B10 T10
A4B3 T3
ROOMS SD SD SD SD SDC SD SD SDC DBATHS SSP SSPP SP P SSPP SSPP SP P S PFOOD CV C GV CV FV C F CV CV CHANDICAP ACCESS HCD HCD HCD HCD HC HCD HD HCD C HCD HCD C
KEYCOST Includes tuition room (single occupancy unless otherwise noted) meals plus other fees E=estimated T=tuition only D=double occupancy W=one week
NO of DAYS Includes arrival and departure daysARS DISCOUNT Discount offered for ARS members FACULTYRECORDER FACULTY Number of facultyrecorder faculty within that number STUDENTS Average over last two yearsRECORDER CLASS LEVELS B=beginners LI=low intermediate HI=high intermediate A=advanced V=very advanced
SPECIAL CLASSES USING RECORDERS RP=recorder pedagogy C=one-on-a-part consorts MR=mixed Renaissance ensembles MB=mixed Baroque ensembles 20=contemporary music EN=early notation M=master class RO=recorder orchestra P=private lessons available T=technique O=other
NON-RECORDER CLASSES C=choral W=other winds P=percussion K=keyboard V=viols PS=plucked stringsD=danceT=theory I=instrument building O=other
MUSICAL ACTIVITIES F=faculty concert S=student concert L=lecture SP=special production P=organized informal playing O=other
RECREATION D=dancing F=field trip G=gym B=biking S=swimming T=tennis W=waterfrontbeach O=otherOTHERS WELCOME S=non-playing spousesfriends C=children (day care not generally available)DIRECT TRANSPORTATION TO WORKSHOP S=shuttle from airport B=bus C=cab L=limo PU=will pick up P=free parking O=other
TRANSPORTATION TERMINALS A=air B=bus T=train (number indicates miles from workshop to nearest terminal)
ROOMS S=singles D=doubles (with ldquo+rdquo can accommodate up to triples) C=cabins O=other =Graduate dormsBATH FACILITIES S=shared SP=semi-private P=privateFOOD C=college style F=family style G=gourmet V=vegetarianHANDICAP ACCESS H=housing C=classrooms D=dining
INFORMATION SUPPLIED BY WORKSHOP DIRECTORS
2009 SUMMER RECORDER WORKSHOPS
Here are some suggestions foravoiding overuse syndromes Most obvious warm up This meansincreasing your practice time graduallybefore the workshop begins andwarming up yourself and yourinstrument before each rehearsal
Make your playing situation ascomfortable as possible Take along acushion back rest footstool whateverit takes the ear and hand cannot ab-sorb what the bottom cannot tolerate
Be sure your glasses are ideal for the distance from your eyes to themusic desk that usually amounts to anarmrsquos length away (You can select apair at your local drug or departmentstore if you have no serious astigma-
tism) If glare from bright light (thosemarvelous outdoor rehearsals) is aproblem for you you may find that ayellow tint for your glasses is a help
Get your bodily playing equip-ment in the best possible shape beforethe workshop a visit to the dentist tosmooth off a front tooth for a windplayer can make an enormous differ-ence in endurance A layer of plasticwrap over the teeth (before yoursquoveworn a hole in your lip) may also help
Once yoursquove arrived at the work-shop there are ways to ensure thatstress (inevitable) doesnrsquot becomedistress (mostly preventable)
Take reasonable breaks duringrehearsal time and use them to stretchA little aerobics like running in placetakes very little time and gets rid ofthat stiff-from-sitting feeling Get yourfellow ensemble players to massageeach othersrsquo shoulders Other fre-
Do you have a favorite article from years past in AR E-mail that information to Gail Nickless
editoramericanrecorderorg
wwwAmericanRecorderorg March 2009 27
Mo
untain
Co
llegium
Pinew
oo
ds
Early M
usic
Week
Po
rt
To
wnsend
SF
EM
S
Baro
que
SF
EM
S
Ch
ild
rens
SF
EM
S
Med
ieval amp
Renaissance
SF
EM
S
Reco
rd
er
Texas T
oo
t
Wh
itew
ater
Wind
sw
ept
Music
Wo
rksh
op
Wo
rld
Fello
wsh
ip
$800ED $890ED $975 $950 $370T $950 $950 $740E $245 $535D $850E COST7 8 7 7 5 7 7 7 3 6 7 NO OF DAYSNO NO NO YES YES YES YES YES NO NO NO ARS DISCOUNT
125 189 169 102 82 124 76 136 1110 131 83NO OF FAC RECORDER FAC
50 100 100 55 30 70 40 50 110 45 30 NO OF STUDENTSLIHIAV
BLIHIAV LIHI AV
LIHIAV
BLIHIAV LIHI AV LIHIA LIHIA
BLIHIAV
BLIHIAV
RECORDER CLASSLEVELS
CMRMB20TO
CMRMBENROT
MRMB20MROPT
MBMPTO
CMRMBPTO
CMRENMPTO
C20MROPTO
CMR20MPT
CMRMB20ROTO MP
CMRMBMRO
SPECIAL CLASSES USING RECORDERS
WVDTO
CWKVPSDT CPVT
CWKVPSTO
KVDTO
CWPVPSTO O
WKVPSTO
CWVTO
CWPKVD
CKVDT
NON-RECORDERCLASSES
FSLSPP FSP
FSLSPPO FSSP
FSLSPPO
FSLPO
FSLPO SPO FSL PO FSLP
MUSICALACTIVITIES
DGBS DSWFGBSTW
DGBST D
DGBST DO SO
DFSWO RECREATION
S S SC SC S S SC SC OTHERS WELCOME
P SC CPUP SCP SCP SBC LP SPUP P BPUDIRECTTRANSPORTATION
A50B15 T15
A15B7 T6 A59
A20B2 T5 A59
A12B4 T1 A40 A
A20B15 T28 B10
TRANSPORTATIONTERMINALS
SD SD S S CALL S S SD SD SD SD ROOMSSP S SP P P SP P S S S BATHSCGV FV CV CV CV CV CV CV CV FV FOODHCD CALL HCD HCD C HCD HCD HCD HCD HD HANDICAP ACCESS
AR50 AVOIDING ACHES amp PAINSBy Leacuteonie Jenkins MD (c1925- 2000) from the March 1993 AR Vol XXXIV1
quently overused parts such asforearms and hands also respond to massage Quick tutorial on massagestart stroking toward the body and inthe direction of the flow of the veinsmdashupstream from the sorest partgradually work down to include thesore spot Yoursquore trying to move overthe underlying muscle not to rub theskin Thatrsquos why a little oil helps
Your psyche may need some relieffrom overload too Most workshopsare in surroundings that lend them-selves to taking a walk finding a placeto meditate taking in some beauty In creating anything a musical per-formance no less than more static artforms breathing in is as necessary asbreathing out be sure you take time to do it
Not to be forgotten those partiesLate hours and alcohol are stressfultry to balance off the fun yoursquore havingwith your capacity for both Above allenjoy Thatrsquos why yoursquore going
2009 SUMMER RECORDER WORKSHOPS
By Bart Spanhove
The author has been principalprofessor of recorder at the Lemmens-
instituut Leuven (Belgium) since 1984He is also artistic director of the world
famous recorder ensemble the FlandersRecorder Quartet which is set to perform
in concert at the 2009 Boston EarlyMusic Festival He is often asked to serve
as a jury member for internationalrecorder competitions in Canada US
Germany The Netherlands and BelgiumHe has given numerous master classes andlecture demonstrations all over the world
Spanhove is co-author of thesuccessful recorder method Easy Going(Heinrichshofen) and wrote the much-
used book The Finishing Touch ofEnsemble Playing (Alamire 2000
and Moeck 2002 with translations inChinese and German) In 2009
The Recorder Music of Frans Geysenwill come out (Mieroprint)
Currently he is researching practicetechnique for the recorder Daily
Spanhove thinks about how to makepeople happier by making music and
playing the recorder
As a conclusion for the VirtuosoRecorder class during the AmherstWorkshop in 2008 we organized aldquoHappy Hourrdquo for our nine talentedstudents Mee-Jung Ahn (Korea)Emilie Hasselgren and Kristine West(Sweden) Anne Timberlake JosephLewnard Jacob Lodico and BrycePeltier (US) Emiliano Perez(Mexico) and Fanny Massy (France)participated in a quiz that I wrote thenight before with the assistance ofReine-Marie Verhagen
We combined questions regardingmusic theory with practical exercisessuch as middot How long can a player hold a
low f in one breath on an altorecorder (You get one point foreach second)
middot How many times through a scaleis a player able to play in 30seconds (For every octave of theF major scale you get one point)
middot How many different pieces fromthe recorder repertoire can aperson play in the course of twominutes (The other members ofthe group have to guess the nameof the composer before the playercan start the next piece)
middot In one minute list as manydifferent titles as you can fromDer Fluyten Lusthof (TheRecorderrsquos Pleasure Garden) of J J van EyckThe list of questions goes onAt the ldquoHappy Hourrdquo people
were divided into three groupsaccording to dates of each personrsquosbirthday When theoretical questionswere asked (see below) the pointsystem was devised as follows threepoints were awarded when the selected
person of a group could find theanswer himherself two points whenthe selected person needed the help ofthe other group members and onepoint if the group needed the help ofour gracious class assistant Reine-Marie Verhagen (she alwaysknew the answer) No points weregiven if the quizmaster had to supplythe answer
On the next page you find someof my questions There are morewhich we hope to run in a future issueof American Recorder
The quiz was full of fun andsuspense By the end people weremore nervous than when playing aconcert on stage Jacob Lodico of theUS was the winner at Amherst
28 March 2009 American Recorder
Education___________________________________ A quiz for recorder players
wwwAmericanRecorderorg March 2009 29
Try these questions yourselfAnswers appear at the end of thisarticle
The Quiz1 Give the name of Ganassirsquos
treatise of 1535 where heextensively describes the recorder playing and diminutions of his time
2 In which German city is therecorder company Moeck based
3 In the cantata Gottes Zeit ist dieallerbeste Zeit BWV106 JS Bach calls for two altorecorders Give another name for this cantata
4 Of which famous orchestra isFrans Bruumlggen the conductor
5 List three leading Japanesecomposers of excellent solo pieces for the recorder
6 Give the names of recordermagazines published inGermany England and the US
7 What is the fundamental tone of a fourth flute
8 List two recorder makers fromthe Baroque period in England
9 Whatrsquos the title of the recitativeand chorale in the Saint MatthewPassion where the recorder isused
10 Give the names of two famouspublishers in business around1700mdashone in London and one in Amsterdam
11 The opus 10 work by AntonioVivaldi includes six concertiSome of them have beautifulnames Give the names of thefirst three concerti of this opus
12 Whatrsquos a nickname for Jean Jacques Hotteterre
13 The combination of recorder andtraverso was rarely used in theBaroque time Can you name any composers who used thiscombination
14 Which king from 16th-centuryEngland owned a large collectionof recorders and also composedand enjoyed daily recorderplaying
15 How many movements compriseHandelrsquos Sonata in C Op 1 No 7 originally written forrecorder and basso continuo
16 Give the name of Praetoriusrsquostreatise from 1609 that describesthe whole recorder family
17 Name the author of the oldestrecorder method
18 Name Jan Jacob van Eyckrsquosdisability
19 Who pretended around 1930 thatthe recorder was a kind ofclarinet
20 Who doesnrsquot belong in thefollowing group Bertho DrieverKarel van Steenhoven MarionVerbruggen Paul LeenhoutsDaniel Bruumlggen
21 Name the two instrumentsindicated to play the sonataMeiner Mutter of Hans UlrichStaeps
22 Il Pastor Fido was not composedby Antonio Vivaldi but by aFrench composer What was hisname
23 Whatrsquos the nationality of themusic company Zen-On
24 CPE Bach composed abeautiful trio that includes a bassrecorder What are the other twoinstruments
25 Give the names of the fourmovements of Bachrsquos partita forsolo traverse flute BWV1013
26 Which excellent playersperformed as the recorder trioSour Cream
27 A recorder normally has eightfingerholes Despite this musichistory describes the recorder as ldquoune flucircte agrave neuf trousrdquo (a flute with nine fingerholes)Explain why
28 Give the French name for vibratoperformed by finger movementsalone on a wind instrument
29 Who wrote in his diaryldquohellipbeyond anything in the wholeworld the wind-music when the
Answers to
Bart Spanhoversquos Quiz1 La Fontegara2 Celle3 Actus Tragicus4 The Orchestra of the
Eighteenth Century5 R Hirose M Ishii and
M Shinohara
6 Windkanal or Tibia (both ofGermany) The Recorder(England) American Recorder(US)
7 B8 The most famous English
recorder makers around 1700Bressan and Stanesby (the latterbeing both senior and junior)
9 O Schmerz Hier zittert das gequaumllte Herz
10 Walsh (and Hare) (of London)Roger (of Amsterdam)
11 La Tempesta de Mare La Notte Il Gardelino
12 Le Romain13 JB Loeillet J J Quantz
JJ Hotteterre or J B de Boismortier
14 Henry VIII15 Five16 Syntagma Musicum17 Sebastian Virdung Musica
Getutscht und Ausgezogen (1511)18 Blindness19 Igor Stravinsky20 Marion Verbruggen21 Alto recorder and piano22 Nicolas Cheacutedeville23 Japanese24 Viola and cembalo25 Allemande Courante Sarabande
Bourreacutee26 Kees Boeke Walter van Hauwe
and Frans Bruumlggen27 Before 1670 the player could
choose how to hold the recordermdashleft hand or right hand at the topThis meant that recorder makersdrilled two holes to accommodatethe little finger of the hand thatended up at the bottom Theunused hole was sealed with beeswax
28 Flattement29 Samuel Pepys30 Flanders Recorder Quartet
30 March 2009 American Recorder
Lazarrsquos Early Music(866) 511-2981 jblazaraolcom
wwwLazarsEarlyMusiccom
292 Gibraltar Dr 108 Sunnyvale CA 94089
Strings amp Early Winds
ModernBaroque Strings Viols Vielle
Kuumlng Moeck Mollenhauer Paetzold Yamaha Ehlert
Wenner Baroque flutes
Wendy Ogle Lu-Mi Ifshin Snow
Competitive Prices
Sent on Approval
Personalized Service amp Advice
R
E
C
O
R
D
E
R
S
ldquoGO FOR NEO-BAROQUErdquo
Andrew Charlton Partita Piccola For 4 Recorders (SATB)
[Prelude Allemande Courante Musettemdash
a neo-baroque epitome] (Score amp Parts PBE-25) $795
Andrew Charlton Suite Moderne For 3 Recorders (ATB)
[Baroque shapes but Hindemithian harmony]
(3 Playing-Scores PBE-44) $995
Southwest of Baroque David Goldsteinrsquos ldquobaroque Suiterdquo
on Cowboy Songs For 2 Recorders (SA) (PBE-2) $350
The Provincetown Bookshop Inc
246 Commercial Street Provincetown MA 02657 Tel (508)487-0964
A good source for Recorder amp Viol Music of all publishers
Provincetown Bookshop Editions
angel comes down which is sosweet that it ravished me andindeed in a word did wrap upmy soul so that it made me reallysick just as I have formerly beenwhen in love with my wiferdquo
30 Whatrsquos the English name for afamous recorder ensemble calledin its country Vier op lsquon Rij
wwwAmericanRecorderorg March 2009 31
by Tim Broege timbroegeaolcom
December 11 2008 was a specialday for American music the
100th birthday of Americarsquos greatestliving composer Elliott Carter Cele-bratory concerts took place in manyvenues including Carnegie Hall inNew York There the Boston Sym-phony led by James Levine played anew work by Carter Interventions forpiano and orchestra The soloist wasanother well-known conductor DanielBarenboim who is no mean hand atthe keyboard to say the least
Itrsquos remarkable that wonderfulnew compositions continue to pourforth from Carterrsquos pen His musicsparkles and frolics packing lots of musical events into engrossingstructures Much of his music isavailable on CD so if you missed thecelebrations you can easily have yourown belated birthday party for Carter
Although he has never written for recorder (one of our prominent
recorder soloists should commissionhim) Carter has produced manychamber pieces featuring woodwindsSince many recorder players double orstarted out on woodwinds such piecesas the Sonata for Flute Oboe Cello ampHarpsichord (1952) Enchanted Preludes(1988) for flute and rsquocello Espritrudeesprit doux (1985) for flute andclarinet or the Oboe Quartet (2001)may hold special interest
If you missed Charlie Rosersquosexcellent interview (broadcast onDecember 10) with Carter Levine andBarenboim you can see it atwwwcharlierosecomview
interview9774mdashessential viewingfor fans of contemporary music
We note with sadness the passingon January 23 of another distin-guished American composer GeorgePerle An authority on the music ofAlban Berg and the Second VienneseSchool Perle developed a uniquelyrical style based upon a free approachto 12-tone and serial procedureswhich he dubbed ldquo12-tone tonalityrdquo I recommend listening to his SerenadeNo 3 for Piano amp Orchestra (1983) Six Etudes for Piano (1973-76) and the Pulitzer Prize-winning Wind Quintet No 4 (1985)
Another leading American com-poser Leon Kirchner is thankfully still with us having turned 90 onJanuary 24 Like Perle Kirchner has a highly personal and expressive styleA birthday concert was held at MillerTheater at Columbia University inNew York City NY Participatingmusicians included flutist PaulaRobison pianist Jeremy Denk and theClaremont Trio with the composerpresent to discuss his music
An excellent way to get to knowKirchnerrsquos music is through his stringquartets Just in time for his birthdayAlbany Records has released a fine CDof all four played by the Orion StringQuartet Quartet No 4 was written in2007 (when the composer was 87mdasha veritable youngster compared toCarter) The composer Allen Shawnhas described that quartet asldquoluminous and passionaterdquo words aptto describe much of Kirchnerrsquos output
Speaking of contemporary musicI have been spending pleasant hoursperusing the Catalog of ContemporaryBlockflute Music available online atwwwblokfluitorg from StichtingBlokfluit This Netherlands founda-tion offers a contemporary recordercatalog and a catalog of historicalrecorder music Access to both is byfree membership
For those who havenrsquot yet used thecontemporary catalog I urge you togive it a try You can search by manyparameters such as composer title orspecific instrumentation A search forldquovoice fluterdquo turned up a list thatincluded Moon Dances Three AmericanSketches by composer Walter Mays(intended for solo alto recorder butalso playable on tenor or voice flute)Searching the name of English com-poser Edmund Rubbra produced a listof eight works that employ recordersincluding the intriguing CantataPastorale opus 92 for high voice altorecorder rsquocello and harpsichord
Searching ldquofemale composersrdquo fora piece using ldquoBaroque altordquo yieldedAfter Meditation by Ros Bandt ofAustralia
What an easy and tremendouslyvaluable way to find new music
On the Cutting Edge___________________________________Birthdays composers and
recorder music catalogs
Elliot Carter
(photo by Meredith Heuer)
Question How does Renaissancefingering differ from standard
fingering on the recorder Is one superior tothe other Do you need a special recorder touse Renaissance fingering and if so can itbe played with regular recorders Is there afingering chart that shows RenaissancefingeringmdashWilliam BaumannWaterford WI
Answer from Carolyn Peskin Music composed in the
Renaissance the historical periodextending from about 1450 to 1600was predominantly vocal and highlycontrapuntal Recorders which oftendoubled singers at the octave orrendered vocal pieces instrumentallywere designed to make the individualmelodic lines clearly audible
Most 16th-century consortrecorders were one-piece instrumentswith large toneholes and a wide borethat contracted slightly starting nearthe upper fingerholes and thenexpanded gently near the lowest holesThat ldquochoke-borerdquo design togetherwith the voicing and tonehole con-figuration favored the fundamentaltone (first harmonic) producing astrong open sound that was aboutequally loud throughout theinstrumentrsquos range
Such recorders had a useful rangeof only about an octave plus a sixthwhich was nevertheless sufficient for the music of their day MostRenaissance-style consort recordersmade today are based loosely uponsurviving 16th-century instruments ofthe above type and are designed toapproximate the range timbre andvolume of those early instruments
Our present-day ldquoregularrdquorecorders are Baroque-derived instru-ments based loosely upon survivingrecorders from the late 17th and early18th centuries They are three-pieceinstruments with small toneholes and abore that is narrower and moretapering than a Renaissance boreextending their useful range upward totwo octaves plus a whole tone
Baroque recorders are soft andsweet-sounding in their bottom octavebut louder and brighter in the secondoctave Their lowest notes are espe-cially weak because they must be blowngently to prevent overblowing into thesecond octave Such instruments aresuitable for Baroque solo and chamberrepertoire but not very satisfying forRenaissance polyphony
Due to their different timbre andvolume Renaissance recorders will not blend well with Baroque onesFurthermore the most historicallyauthentic Renaissance-style recordersare tuned in a ldquomeantonerdquotemperament that facilitates the playingof pure major thirds Such instrumentsmake Renaissance music easier to playin tune but will produce intonationproblems if played with Baroquerecorders which are tuned in equaltemperament For the above reasonsRenaissance and Baroque recordersshould not be played together
Renaissance fingering will not work on todayrsquos neo-Baroquerecordersmdashmost of which haveldquomodernrdquo Baroque fingeringcommonly called ldquoEnglishrdquo fingering
because it was developed fromhistorical Baroque fingering by ArnoldDolmetsch in England during theearly 20th century Renaissancefingering is less standardized partlybecause a number of different originalinstruments are used as models andpartly because makers wish to improvethe intonation tone quality andorplayability of certain notes Howeverthe following generalizations apply tomany of todayrsquos Renaissance-styleconsort recorders
First in the lower octave modernBaroque fingering works for mostnotes but is often too flat for the fourth scale degree (eg soprano F)requiring removal of finger 7 (right-hand pinky) and is too sharp for theraised fourth degree (eg soprano F)requiring addition of finger 7
Modern fingering is also usuallytoo sharp for the lowered seventhdegree (eg soprano B) The correctfingering for that note varies from oneinstrument to another
In the upper octave modernfingering works for the first third andfifth scale degrees (eg soprano C Eand G) but usually not for other notesSome notes require half-holing with aright-hand finger and notes above thefifth scale degree may require additionof several fingers to bring them in tuneHistorical Renaissance fingering forthe second scale degree (eg sopranoD) is especially awkward because all ofthe fingerholes and the thumbholemust be uncovered Therefore somemakers substitute modern fingering forthat note
Although Renaissance fingeringand meantone tuning are recom-mended for the best blend some
Q amp A___________________________________ Renaissance recorder fingering
Send questions to Carolyn Peskin QampA Editor 3559 Strathavon Road Shaker Heights OH44120 carolynpeskinstratosnet
32 March 2009 American Recorder
wwwAmericanRecorderorg March 2009 33
makers of handcrafted Renaissance recorders will provide modern fingeringandor equal temperament upon request and Moeck Verlag offers a choice ofRenaissance or modern fingering for most sizes of its factory-producedRenaissance Consort series
For a most satisfying blend Renaissance ensembles should purchase amatched set of recorders tuned and voiced to be played together Renaissanceconsort sets usually include two different alto recorders one in G (lowest note g)and one in F (lowest note f ) The ATTB combination with the G-alto is best formost of the quartet music composed between 1450 and 1550 while the SATBcombination with the F-alto is more practical for much late 16th-centuryrepertoire (Playing the G-alto requires learning G-alto fingering or elsetransposing the alto line down a whole tone and using F-alto fingering)
In addition to consort recorders some makers offer ldquoGanassirdquo sopranos andaltos based upon fingering charts in Silvestro Ganassirsquos recorder tutor Fontegarapublished in 1535 and a single original instrument in the Vienna Kunst-historisches Museum Because of their special bore design (cylindrical with aflaring bell) Ganassi recorders have a range of two octaves and a sixth withcumbersome fingerings in the third octave They are used mainly as soloinstruments for playing intricate ornaments of the type found in Fontegara
Also sometimes included in the ldquoRenaissancerdquo category are ldquotransitionalrdquo(early Baroque) recorders which are based upon originals from the first half ofthe 17th century They have a bore that is wider than a Baroque bore but contractssharply near the lower end resulting in strong low notes and at least a full two-octave range usually with modern fingering Most transitional recorders aresopranos or altos designed for playing Jacob van Eyckrsquos variation sets or thehighly ornamented Italian solo repertoire of the late-16th and early-17thcenturies
However wide-bore consortrecorders with a range of at least twooctaves and modern fingering shouldalso be regarded as transitionalinstruments They differ somewhat intimbre and volume from typicalRenaissance consort recorders
Handmade wide-borerecordersmdashconsort Ganassi andtransitionalmdashare obtainable frommakers who advertise in AmericanRecorder the Prescott Workshop andthe Von Huene Workshop in the USJean-Luc Boudreau in Canada andStephan Blezinger in GermanyContact them andor visit their websites to find out what kinds ofrecorders they are currently makingand to get an idea of their prices andwait times
Factory-produced wide-borerecorders from Kobliczek Moeck andMollenhauer are available frominstrument dealers who advertise inAR New and used recordersincluding wide-bore models fromimportant makers in the US andabroad are also obtainable from Uni-corn Music For further informationvisit wwwbuyrecorderscom For a comprehensive database of recordermakers worldwide see Nicholas SLanderrsquos ldquoExtant Recorder Makers amp Retailersrdquo at wwwrecorder
homepagenetmakershtml
REFERENCES
CONSULTEDBauer Winfried
wwwrecorder-fingeringscomIncludes interactive fingeringcharts from modern makers andhistorical treatises Charts forRenaissance consort recorders byAdriana Breukink Adrian BrownBob Marvin and Tom Prescottwere consulted
Brown Adrianwwwadrianbrownorgrec
order_typesconsorthtml
Our present-day ldquoregularrdquo recorders are
Baroque-derived instruments based loosely
upon surviving recorders from the
late 17th and early 18th centuries
34 March 2009 American Recorder
The Von Huene Workshop Incis pleased to announce agreements with
CoolsmaZamra
to serve as their authorised service agents in the US
For more than 40 years the von Huene Workshop has produced some of the finest recorders in the world Our skilled staff can revoice retune and repair even the most seriously damaged instruments All repairs are done right on the premises and most can be completed within a week
For warranty repairs please include a copy of your original sales receipt
j 65 Boylston Street Brookline MA 02445 i(617) 277-8690 Fax (617) 277-7217 servicevonhuenecom
An informative article aboutrecorder sizes in Renaissanceconsorts
Brown Adrian and David LasockildquoRenaissance Recorders andTheir Makersrdquo AmericanRecorder Vol XLVII No 1(January 2006) pp 19-31 An important article based upon Brownrsquos extensive researchon 120 of the 200 surviving 16th-century recorders
Ganassi Silvestro Opera IntitulataFontegara Ed Hildemarie Peter(Berlin-Lichterfelde RobertLienau 1959) Modern edition ofthe oldest known treatise devotedentirely to the recorder (publishedin 1535) Includes 16th-centuryfingering charts
Griscom Richard and David LasockiThe Recorder A Research andInformation Guide (New York andLondon Routledge 2003) Anannotated bibliography including
references on construction anddesign of historical recorders
Levin Philip ldquoQampArdquo AmericanRecorder Vol XXXVIII No 4(September 1997) p 27Explains in simple terms thedifference between Renaissanceand Baroque recorders
Morgan Fred ldquoA Recorder for theMusic of JJ van EyckrdquoAmerican Recorder Vol XXV No 2 (May 1984) pp 47-49Describes the bore design of arecorder suitable for playing Van Eyckrsquos variation sets andcompares it with bore designs ofother types of recorders
Myers Herbert W ldquoRecorderrdquochapter in A Performerrsquos Guide toRenaissance Music ed JefferyKite-Powell (New York SchirmerBooks 1994) A 2nd edition isnow available published in 2007by Indiana University Press
FEATURING MUSICA PACIFICA
JUDITH LINSENBERG
RECORDERS____JS BACH TRIO SONATAS Arr by
Linsenberg from Trio Sonatas for Organ BWV525-
530 Sonata No 1 in E
major (transp to B
)
BWV 525 Sonata No 2 in C minor (transp to E)
BWV526 Sonata No 3 in D minor (transp to G)
BWV 527 Sonata No 4 in E minor BWV 528
Sonata No 5 in C major (transp to F) BWV529
Sonata No 6 in G major (transp to C) BWV 530
Virgin Classics Veritas 1993
____FIRE BENEATH MY FINGERS Showcases
three legendary composers who were also
virtuoso performers Vivaldi Concerto in F major
after RV 98570 ldquoLa Tempesta di Marerdquo Sonata in
A minor RV86 Concerto in G minor RV106 Con-
certo in Bb major RV503 Sammartini Concerto in
F major Tartini Concerto in A major D91 Dorian
____MANCINI CONCERTI DI CAMERA Seven
sonatas by Francesco Mancini plus one work each
from his contemporaries Francesco Durante amp
Domenico Scarlatti Highly recommended citation
from the 2000 Vivaldi Prize for Recordings of Italian
Early Music--Giorgio Cini Foundation Dorian
____MARAIS MARIN PIEgraveCES EN TRIO POUR
LES FLUcircTES VIOLON amp DESSUS DE VIOLE
Maraiss complete works for two treble lines and
bass with varied instrumentation and orchestrations
2-CD set $24
____SCARLATTI CONCERTI DI CAMERA
Seven sonatas for various instrumentations no
poor relations to the composers much more widely-
known vocal output All recorder players should
certainly have thisndashEarly Music Review
____TELEMANN CHAMBER CANTATAS
Five cantatas from Harmonischer Gottesdienst two
sonatas from Sonatas Corellisantes 2003 Chamber
Music America WQXR Record Award for best
chamber music recordings
____VIVALDI LA NOTTE Concerti per strumenti
diversi Award-winning CD featuring five Vivaldi
concerti two sonatas
AND OTHER RECORDING
ARTISTS FROM CALIFORNIA ____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 American Bach Soloists Jeffrey
Thomas conductor Dan Laurin Hanneke van
Proosdij recorders Christmas Concerto featuring
unique 1725 London version with solos transcription
for two recorders instead of two solo violins in
three of the six concertos Delos
____CANCcedilONIEgraveR Annette Bauer recorder
multi-instrumentalist Tim Rayborn Shira Kammen
strings Phoebe Jevtovic voice in a new early
music group devoted to repertoire from the
12thndash15th centuries as well as traditional music
from related regions (the Balkans Scandinavia
Middle East) Medieval instrumental music played
on a variety of instruments including strings
recorders and percussion Medieval dances and
motets bring to life the rich world of ancient
European music-making
____SACRED AND SECULAR MUSIC FROM
RENAISSANCE GERMANY Ciaramella-Adam amp
Rotem Gilbert Doug Millikan Debra Nagy
recorders with other winds shawm sackbut amp
organ Medieval amp Renaissance sacred music with
reconstructions of folksongs amp arrangements based
on contemporary improvisation
____BURIED TREASURE TOPAZ amp SAPPHIRE
Ensemble Vermillian Frances Blaker recorders
Barbara Blaker Krumdieck cello Elisabeth Reed
gamba Katherine Heater harpsichord amp organ
Transcriptions of Buxtehudes Op 1 other pieces by
Buxtehude works by Biber Johann Schop
Schmelzer Fafarela 2007
____STOLEN JEWELS Ensemble Vermillian
Frances Blaker recorders Barbara Blaker
Krumdieck Elisabeth Reed Katherine Heater 17th-
century German music adapted by Blaker I love
violin music so I steal the music and rearrange it
for my own instrumentrdquo Buxtehude Op 1 Biber
Rosenmuller Krieger JM Bach Fafarela
Recordings
____SENFL (LUDWIG) Farallon Recorder Quartet
(Letitia Berlin Frances Blaker Louise Carslake
Hanneke van Proosdij) 23 lieder motets and
instrumental works of the German Renaissance
____DOLCE MUSICAndash A CONTEMPLATIVE
JOURNEY Eileen Hadidianflutes recorders
Natalie Cox harps Celtic Renaissance and
Medieval melodies for recorder and flute with
Celtic harp Healing Muses 2005
____REFLECTIONS MUSIC TO SOOTHE AND
UPLIFT THE SPIRIT Eileen Hadidian recorder amp
Baroque flute with Celtic harp and cello Celtic
traditional Renaissance amp Medieval melodies
Healing Muses
____AN EVENING WITH BACH Voices of Music
Hanneke van Proosdij Louis Carslake Dan Laurin
recorders Joanna Blendulf Elizabeth Blumenstock
Rodney Gehrke Lisa Grodin Katherine Kyme
Jennifer Lane Victoria Gunn Pich Susanne Ryden
William Skeen David Tayler Renaissance and
Baroque music centers on fine singing Instantly
recognizable Air on a G String Bachrsquos Prelude in
G Major (solo theorbo for rsquocello) plus lilting vocal
performancesmdashRydenrsquos weightless soprano on
Bist du bei mir Lanersquos rich alto on Es is vollbracht
____BACH amp TELEMANN SONATAS PRELUDES
amp FANTASIAS Voices of Music (Hanneke van
Proosdij Joanna Blendulf Rodney Gehrke William
Skeen David Tayler) Beautiful chamber music by
Bach and Telemann
IN STOCK (Partial listing)____ALLA TURCA FUX CALDARA BADIA
Matthias Maute amp Sophie Lariviegravere recorders
Monika Mauch soprano Vocal music of the church
accompanied by Ensemble Caprice plus sonatas
and other instrumental pieces Analekta
____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 John Daniels Sonja Lindblad
recorders Peter Sykes harpsichord Trio sonata
arrangement by Johann Christian Schickhardt
____LES
AMIS DU
BAROQUE
Paul Nauta recorder amp
Baroque flute Koen Dieltiens recorder Music by
Bassani Corelli Vivaldi etc Highlight Intl
____LES SEPT SAUTS BAROQUE CHAMBER
MUSIC AT THE STUTTGART COURT Matthias
Maute amp Sophie Lariviegravere recorders amp traverso
Ensemble Caprice Charming repertoire by
Schwartzkopff Bodino Detri Atma Classique
____TASTE OF PORTIQUE LEnsemble Portique
Early and contemporary chamber musicmdash
Bach Telemann Boismortier and others
____TELEMANN ALLA POLACCA REBELndash
Matthias Maute recorders amp traversondash
plays concerti and suites by GP Telemann Dorian
____TELEMANN CANONS AND DUOS Lisette
Kielson amp Patrick OMalley recorders LEnsemble
Portique Telemann Canons meacutelodieux amp Sonates
sans basse 2-CD set LEP Records
____20TH CENTURY MUSIC FOR RECORDER amp
PIANO Anita Randolfi recorders Music by Jacob
Bartok Leigh others for recorder amp piano
____VIVALDI AND THE BAROQUE GYPSIES
Matthias Maute amp Sophie Lariviegravere recorders
Ensemble Caprice Gypsy music taken from
Uhrovska zbierka (now Slovakia) plus Vivaldi
____VIVALDI SHADES OF RED CONCERTOS amp
SONATAS FOR RECORDER amp STRINGS Matthias
Maute recorders REBEL Stylish high octane
readings of some of Vivaldis most beloved pieces
including the popular and raucous Concerto alla
Rustica stunningly colorful Sonata on La Follia and
four exuberant recorder concerti Bridge
____WINDFIRE Charmaine Delmatier recorder
Steve Kostelnik classical guitar Terry Hale bass
Erik Hokkanen violin Refreshing mixture of Andrew
Lloyd Weber American blues flamenco Celtic and
one original piece ltwwwyermomusicomgt
Please indicate above the CDs you wish toorder and print clearly the following
Name ____________________________________
Daytime phone (_____)______________________
Address__________________________________
CityStateZip _____________________________
Check enclosed for
_____ single CDs x $____ = $______
_____ 2-CD sets x $____ = $______
TOTAL $______
Please charge the above amount to my
MasterCard Visa or AmEx
_______________________________________
Exp Date ____________
Cardholderrsquos signature ______________________
Mail to
ARS 1129 Ruth Dr St Louis MO 63122-1019 US
You may fax a credit card order to 314-966-4649
NEW You may order CDs online using PayPal at
wwwamericanrecorderorgordercdromshtm
Order your recorder discs
through the ARS CD Club
The ARS CD Club makes hard-to-find or limited release CDs by ARS members
available to ARS members at the special price listed (non-members slightly higher)
All CDs are $15 ARS members$17 Others unless marked otherwise Two-CD sets are
$24 ARS members$28 Others Add Shipping and Handling $2 for one CD $1 for each
additional CD An updated listing of all available CDs may be found at the ARS
web site ltwwwamericanrecorderorggt
The first meeting of the newly-formedFort Myers Recorder and Early
Music Ensemble was January 26 atthe Florida home of chapter rep Sue
Groskreutz For this year the groupis somewhat loosely organized andplans to meet for extended sight-reading Repertoire at the first meetingcomprised everything from Renais-sance duets to chamber music involv-ing three treble parts and continuo
Among the five musiciansattending the first meeting (photobelow front row Elizabeth Spang SueGroskreutz back row Suzanne FergusonSibylle Baumgartner Arlene Sowka) allplayed recorder three harpsichord
and one each played traverso violinand gamba Due to the scarcity ofrecorder players south of the Sarasotaarea modern string players are alsoincorporated into this ensemble
The group decided not to chargedues and to meet at Groskreutzrsquoshome For more information pleasecontact Groskreutz at 239-267-1752spgembarqmailcom Snowbirdsdrifting through the area are welcome
Last fall at the requestof a student Kay Hettich
(inset below right) taught abeginning recorder class atthe Redding (CA) Senior
Center The five-weekclass was so successful thatmost participants haveformed a bi-weekly noviceensemble (right) coachedby Hettichmdashwho consid-ers them her ldquohatchedeggsrdquo
A new batch of ldquoeggsrdquostarted to incubate when afive-week class began on February 20Other senior center members havebecome interested as they heard oftheir colleaguesrsquo success These noviceplayers comprise some who previouslyread music and played instruments as well as people who are totally new to music notation
One student has also formulated amaxim ldquoEveryone at age 40 ought tolearn to play the recorder if heshehasnrsquot alreadyrdquo Just think how theworld would be transformed byshifting our focus to music
After Lynn Whidden attendedthe Montreacuteal Recorder Festival lastfall when the ARS Board met inQuebec she joined the ARS and nowrelays news of the lively interest in therecorder exhibited by a group underthe new leadership of Brent Legg ofBrandon University in ManitobaCanada Although his hands wereldquostill partly frozenrdquo he wrote that theBrandon University Collegium
Musicum in collaboration with theWaverley Park Recorder Club is
preparing a spring concert calledldquoEnglandrsquos Golden AgerdquoRepertoire spans the 16th century
from Henry VIIIrsquos accession in 1509to the death in 1603 of Elizabeth Iand includes solo songs four- andfive-part settings of Renaissancedances (with dancers) three- to five-voice madrigals and ldquobig-bandrdquoarrangements of William Byrdrsquos TheBells and The Dargason as re-imaginedby Gustav Holst (further re-imaginedfor recorders and percussion)
Of the 15 collegium membersseven are encountering the recorderfor the first time since elementaryschool The Collegium Musicumpromotes the study of early music at the university and is open to theuniversity community and the generalpublic This year there are five com-munity participants with interest fromseveral more both within and outsideof the university For informationcontact BrentLegggmailcom
January 16 marked the thirdannual recorder workshop of threeFlorida groups the Pasco Collegium
Recorder Consort of Hudson theImperial Recorder Consort of
36 March 2009 American Recorder
Chapters
amp Consorts___________________________________Workshops and activities from
coast to coast in the US and Canada
Lakeland and the Pilgrim Pipers Recorder Consort of St Petersburg Theygathered for a morning tackling selections by Banchieri Monteverdi PurcellCorelli Mendelssohn Bach Mozart and Glen Shannon Each group presenteda piece for the other participants Sweet Georgia Brown by Ben Bernie (St Pete)a Sonata by Sammartini (Lakeland) and The Gospel Train arr by KW Ford(Pasco) The 29 participants were led by Marlene Cracraft (Pasco) Jane
Spencer (Lakeland) and Elizabeth Snedeker (St Pete) Tom Bickley (photo below) directed the fall workshop of the Mid-Peninsula
Recorder Orchestra in Cupertino CA The 30 players started with Gregorianchants written in ldquooldrdquo notation Bickley gave basic instruction on how tointerpret the notes and then had the group sing the chants prior to playing them
The workshop theme of ldquoThe Articulate Recorderrdquo was literally played out as the music presented used variations in tonguing phrasing and breathingOther repertoire included a Kyrie by Tomas Luis de Victoria Bachrsquos Jesu Joy ofManrsquos Desiring a double-choir piece by Gabrieli Christopher Tyersquos In NomineXIII and a Purcell chaconne The workshop ended with a rhythmically-challenging minimalist piece by Bickley entitled Beginning composed for theWaldorf School teacher training program George Greenwood reports that thegroup had a productive event and plans to ask Bickley to lead a future workshop
wwwAmericanRecorderorg March 2009 37
A Muse in the DesertThe sound of a pin dropping hellip thesound of eager minds and fingersabsorbing information and inspira-tion hellip the sounds of ldquoNuevaEspantildeardquo Spanish- and indigenous-influenced music of the 1600s in theNew World These were the soundsof the Desert Pipes (Phoenix AZ)chapterrsquos fall workshop given byEileen Hadidian On a Saturdaylast October 30 players from all overArizona gathered to learn from andbe inspired by the founder of a SanFrancisco Bay Area group dedicatedto sharing music for healing inhealthcare settings Healing Muses(wwwhealingmusesorg)
The day began with relaxationstretching and breathing exercisesfollowed by travels to Peruacute MexicoGuatemala and Colombiamdashhighchurch music vernacular pieces anda mixture of the two Participantsenjoyed the historical and contextualbackground provided as an overviewfor the day and for each piece
Remarkably the sound heardbetween pieces and passages was anenergy-filled quiet the attentivestillness of active engagement in theworkshop experiencemdashnot the chat-tering noodling and conversationsthat often occur when the musicstops That activity was reserved forthe breaks when participants couldenjoy the cool (at last) outdoorschat with Hadidian and peruse the popular garage sale (to benefitDesert Pipes) of previously-enjoyedbooks and other treasures
On Sunday Hadidian sharedher expertise and inspiration in indi-vidual and group coaching sessionsThe weekend was a special experi-ence and Desert Pipes memberslook forward to the next visit of this Healing Muse
Ann Koenig Scottsdale AZannisalesprocom
Members
of three
Florida
groups
met
in January
for a joint
workshop
CHAPTER NEWS
Chapter newsletter editors and publicity officers should send materials for publication toAmerican Recorder 7770 South High St Centennial CO 80122-3122
editoramericanrecorderorg Also send short articles about specific activities that haveincreased chapter membership or recognition or just the enjoyment your members get out of
being part of your chapter Digital photos should be at least 3rdquox4rdquox300dpi TIF or unedited JPG files Please send news to the AR address above and to the following
ARS Office 1129 Ruth Drive St Louis MO 63122-1019 ARSrecorderAmericanRecorderorg
and to Bonnie Kelly Chair Chapters amp Consorts Committee 45 Shawsheen Rd 16 Bedford MA 01730 bksharpaolcom
TO THE STARS
AND BEYONDThe cover of the November magazinegenerated a few comments Some werenrsquotsure how to interpret the title (in theartistrsquos native German it could besomething close to ldquostarlit moonrdquo)Longtime member Carolyn Peskin wrote to offer her vision of that cover
In the beginning the Great Spiritinvented Mr Sun to light the day andMiss Moon to light the nightHowever as Miss Moon floated up inthe sky all by herself like a big yellowballoon she began to feel very lonelyso one night to relieve her lonelinessshe decided to take out her recorderand make music
But when she started to playsomething miraculous happened Not only beautiful melodies but alsoyellow dust poured out of the bottomof her recorder and the dust particlesimmediately coalesced to form yellowstars As she continued playing moreand more stars were created and theyfloated up around her filling the nightsky
At last Miss Moon was happy fornot only was she herself able to enjoyher music but she now had a wholecrowd of starry companions to enjoy itwith her And if you listen very care-fully on a quiet night you might beable to hear her recorder and thatstarry choir humming along
Carolyn Peskin
LOCATING EARPLUGSI read with interest the QampA in theNovember lsquo08 AR regarding hearingloss and use of earplugs Where do you get musicianrsquos earplugs
Dolly Hirata Kensington CA
CAROLYN PESKIN PROVIDED THIS
INFORMATION Musicianrsquos earplugs arecustom made for individual usersThey can be purchased only fromlicensed hearing professionals (ieaudiologists and hearing instrumentspecialists) To find a licensed hearingprofessional in your area look underldquoaudiologyrdquo or ldquohearingrdquo in your localyellow pages
For information about how musi-cianrsquos earplugs are produced visitwwwetymoticcomephperme-w
tbaspx That web page also has a linkto contact information for authorizedlabs that make the custom earmolds formusicianrsquos earplugs If the yellow pagesdo not prove helpful those labs canrefer you to a licensed hearing pro-fessional in your area from whom youcan purchase musicianrsquos earplugs
MORE FROM CAROLYN
THIS TIME ABOUT OSKARIn the September 2008 AR the musicreview by Leslie Timmons of the Oskarpieces by Matthias Maute mentionedthat Carolyn Peskin had translated twoof the Oskar books from German toEnglish People can obtain thetranslations free of charge as Wordattachments by contacting her atCarolyn Peskin 3559 StrathavonRoad Shaker Heights OH 44120carolynpeskinstratosnet
ANOTHER KIND OF
MUSIC-READING
GLASSESIn the January 2009 issue of AmericanRecorder therersquos something (in myopinion) the ldquoRecorder with GlassesObbligatordquo article omitted which canenable a nearsighted musician to avoidneck strain in the use of bifocals
Irsquove found the solution to thisvexing problem is to have onersquos bifocalsconstructed differently [from] normalMy optometrist was willing to work
38 March 2009 American Recorder
Response___________________________________Two kinds of vision
the better to see with and (not) to hear with
Honeysuckle Music
Recorders amp accessories
Music for recorders amp viols
Jean Allison Olson1604 Portland AveSt Paul MN 55104
6516448545jeanhoneysucklemusiccom
Responses from our readers are welcomedand may be sent to American Recorder 7770 South High St Centennial CO
80122 Letters may be edited for length and consistency
ARS Membership Enrollment and Renewal I am a new member I am or have been a member
USCanadian Memberships Foreign Memberships $45 One Year $55 Foreign One Year $75 Sustaining (Receive a Hottetere Hands Pin) $100 Two Years $80 Two Years
LIFETIME MEMBERSHIP Single Dual Regular Lifetime Member $1000 (2) $1500 (4) 4 installments of $250 available) Loyalty Lifetime Member (1) $ 800 (3) $1200 (4) 4 installments of $200 available
(1) For members who have maintained membership for five consecutive years (2) $750 is Tax Deductible (3) $600 is Tax Deductible (4) Installments available Student Memberships Other Memberships (Enclose proof of full time enrollment) $65 One Year Workshop Membership
$25 USCanadian One Year $125 One Year Business Membership $45 USCanadian Two Years $30 Foreign One Year $5 Additional Charge for Dual Address or Dual Name
Do not list my name in the ARS Print Directory Do not list my name on the ARS Online Directory Do not release my name for recorder related mailings Do not contact me via email
My address telephone and email address are the same as last time
______________________________________ _________________________ Name Phone Number ______________________________________ _________________________ AddressCityStatePostal Code Email Address Please charge to (Circle one) VISAMasterCardAMEXDiscover CC________________________________ Expiration Date ______________ Signature of cardholder_______________________________________________________ Clearly Print Name as it appears on Card________________________________________
Renew by Mail Online By Phone or by Fax
Demographic Information (optional information collected only to enhance ARS services and provide statistics to grant makers)
I am a member of ARS Chapter or Consort____________________________ I am the Chapter Contact Your age Under 21 (21-30) (31-40) (41-50) (51-60) 61-70) (71+) Please check all that apply
I am a Professional Recorder Performer
I wish to be included in the list of Recorder Teachers in the ARS Directory and website I Teach (circle your choices) Children High School Youth College Students Adults Beginner Intermediate Advanced Pre-Professional Individuals Childrenrsquos Classes Adult Classes Ensembles Suzuki Orff JRS Leader Kodaly Where I Teach (circle your choices) Music Studio Public or private school Community Music School College Other _____________________
American Recorder Society 1129 Ruth Dr St Louis MO 63122-1019
Phone 314-966-4082Fax 314-966-4649
TollFree 800-491-9588ARSRecorderAmericanRecorderorg
wwwAmericanRecorderorg
with me [to find] an ideal (for me)placement size and focal length of thebifocal lens
Before visiting the optometristIrsquod had my wife measure the distancefrom my eyes to the music on mymusic stand With this measurementthe optometrist set up her machine toprepare a vision prescription for memaximized for this reading distance
When I look at my bifocals (withthem off) the lenses (through which Iread my music) occupy most of thelower two-thirds of my glasses (they are set very high and beginimmediately at the inner rims) Thisleaves the upper third and smallportions of the outside [of each lens]for focusing on the conductor As longas my stand is set low enough my necknever experiences any strain (even if Ihave to read three to a part) and Irsquove no problem in seeing theconductor (in sharp focus) either
For me trying to use glasses [toread] from a music stand [that] weredesigned for use in reading from acomputer screen also results in neckstrain (not to mention unreliability in aldquopressurerdquo situation) Having studiedTai Chi extensively and so being
wwwAmericanRecorderorg March 2009 39
There are lots ofsolutions to thepresbyopic musicianrsquosproblem but all involve compromises
40 March 2009 American Recorder
American Recorder Society PublicationsErich Katz Contemporary Music Series Members Non-MembersA Short Tale for Two Basses Suzanne M Angevine (Level II) (2 scores) $5 $8Dialogue and Dance Cecil Effinger (SATB)(Level II-III) (score amp parts) $10 $18Dorian Mood Sally Price (SATB) (Level II) (score amp parts) $10 $18Double Quartet for Recorders Peter Ballinger (Level II-III) (score amp parts) $10 $18Entrevista Frederic Palmer (SATB) (Level II) (2 scores amp 4 recorder parts) $8 $14Kyrie and Vocalise for Soprano Voice ampRecorders Stanley W Osborn $8 $14
(SATB) (Level II) (2 scores amp 4 recorder parts) Picnic Music Jeffrey Quick (SATB) (Level II) (score amp parts) $5 $8Six Short Pieces for Three Recorders edited by Alan Drake $8 $14
(3 scores) Vaclav Nelhybel (AATT) (Level II)Sonatina for Alto Recorder and Piano Anthony Burgess $7 $12
(Level II) (2 scores)Sonatine for Three Altos Lee Gannon (Level III) (score amp parts) $14 $26Suite of Jewish Folk Tunes Erich Katz (S SA8 AT) (Level II) (three scores) $10 $18
Musical Editions from the Membersrsquo Library ARS members 1 copy-$3 2 copies-$450 3-$6 4-$750 5-$10 6-$1150Non-members (editions over 2 years old) 1 copy-$5 2 copies-$850 3-$12 4-$15 5-$1950 6-$23The ARS is happy to provide photocopied enlargements of any Membersrsquo Library edition at the same prices Please specify ldquoMembersrsquo Library Enlargementrdquo
ARS Information BookletsARS members 1 booklet-$13 2 booklets-$23 3-$28 4-$35 5-$41 6-$47 7-$52Non-members 1 booklet-$18 2 booklets-$33 3-$44 4$55 5-$66 6-$76 7-$86
Education PublicationsThe ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996)
First copy free to ARS Members (mailed to new members as they join) replacement copies $3Guidebook to the ARS Personal Study Program (1996) Material formerly published in the Study Guide
and Study Guide Handbook plus additional resources Members $11 non-members $20ARS Music Lists (2002 with 2003 Supplement) Graded list of solos ensembles and method books
Members $9 non-members $15Package Deal available only to ARS members Guidebook and Music ListsSupplement ordered together $16Junior Recorder Society Leaderrsquos Resource Notebook
ARS members $20 non-members $40 (updates at reduced rates after initial purchase)$5 Dues for each JRS student member sponsored by an ARS member ($4 each for groups of 10+)
VideosRecorder Power Educational video from the ARS and recorder virtuoso John Tyson
An exciting resource about teaching recorder to young students ARS members may borrow a copy for onemonth by sending $5 to the ARS office along with the address to which the tape should be shipped
Pete Rose Video Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music Festival recitalFeatures Rose performing a variety of music and an interview of him by ARS member professional John Tyson
Other PublicationsChapter Handbook A resource on chapter operations for current chapter leaders or those considering forming an
ARS chapter ARS members $10 non-members $20 (updates free after initial purchase) One free copy sent toeach ARS chapter with 10 members or more
Consort Handbook Resource on consort topics such as group interaction rehearsing repertoire performingARS member prices CD $10 hard copy $20 combo price of CD and hard copy ordered together $25
Discography of the Recorder Vol I (1989) Compiled by Scott Paterson and David LasockiDiscography of the Recorder Vol II (1990-1994) Compiled by Scott Paterson
Either single volume ARS members $23 non-members $28Both Discography volumes together ARS members only $40
American Recorder Cumulative Index for Vols I-XXXX ARS members $20 non-members $32Index Supplement Vol XXXIV-XXXX ARS members $8 non-members $14
Shipping amp Handling FeesUnder $10 - add $3 $10-1999 - add $4 $20-2999 - add $5 $30-3999 - add $6 $40-4999 - add $7 All prices are inUS dollars For Canadian or foreign postage pay by credit card and actual postage is charged
Please make checks payable to ARS VISAMCAMEXDisc also accepted
ARS 1129 Ruth Drive St Louis MO 63122 US800-491-9588 ARSrecorderAmericanRecorderorg
Arioso and Jazzy Rondo (AB) Carolyn PeskinBerceusendashFantaisie (SATB) Jean BoivertBrucknerrsquos Ave Maria (SSATTBB)
Jennifer W Lehmann arrCanon for 4 Basses (BBBB) David P RuhlDancers (AT) Richard EastmanDifferent Quips (AATB) Stephan ChandlerElegy for Recorder Quartet (SATB) Carolyn PeskinElizabethan Delights (SAATB)
Jennifer W Lehmann arrFallen Leaves Fugal Fantasy (SATB) Dominic BohbotFour Airs from ldquoThe Beggarrsquos Operardquo (SATB)
Kearney Smith arrGloria in Excelsis (TTTB) Robert CowperIdyll (ATB) Stan McDanielImitations (AA) Laurie G AlbertsIn Memory of Andrew (ATB) David GoldsteinLay Your Shadow on the Sundials (TBgB)
Terry Winter OwensLeClercqrsquos Air (SATB) Richard E WoodLittle Girl Skipping and Alouette et al (SATBCb)
Timothy R Walsh
Los Pastores (SAAAT + perc) Virginia N Ebinger arrNew Rounds on Old Rhymes (4 var) Erich KatzOther Quips (ATBB) Stephan ChandlerPoinciana Rag (SATB) Laurie G AlbertsSanta Barbara Suite (SSAAT) Erich KatzSentimental Songs (SATB) David Goldstein arrSerie for Two Alto Recorders (AA) Frederic Palmer Slow Dance with Doubles (2 x SATB) Colin SterneSonata da Chiesa (SATB) Ann McKinleyS-O-S (SATB) Anthony St PierreThree Bantam Ballads (TB) Ann McKinleyThree Cleveland Scenes (SAT) Carolyn PeskinThree in Five (AAB) Karl A StetsonTracings in the Snow in Central Park (SAT)
Robert W ButtsTrios for Recorders (var) George T BachmannTriptych (AATB) Peter A RamseyTwo Bach Trios (SAB) William Long arrTwo Brahms Lieder (SATB) Thomas E Van Dahm arrVariations on ldquoDrmešrdquo (SATB) Martha BishopVintage Burgundy (SASATT)
Jennifer W Lehmann arr
Adding Percussion to Medieval and Renaissance Music Peggy Monroe
American Recorder Music Constance PrimusBurgundian Court amp Its Music Judith Whaley coord
Improve Your Consort Skills Susan CarduelisMusic for Mixed Ensembles Jennifer W LehmannPlaying Music for the Dance Louise AustinRecorder Care Scott Paterson
acutely aware of any kind of neckstrain when it begins to develop these ideas have been a big help to meIrsquom hoping they may be of help toother musicians as well
Best wishes to you And inanswer to your questionmdashyes the new[AR] format (with more white spacebetween the lines) is much easier toread (in my opinion)Your magazinejust keeps getting better and better
Very sincerely Ed Green WestSuburban (Chicago-area) Chapter
RESPONSE FROM DR BILL LONG
What Ed describes is a variant of theuse of conventional bifocals as musicglasses described on page 8 in thearticle Instead of lowering his musicstand into the field of view of hisbifocal segment Ed and his optome-trist have fabricated special purposebifocals with the segment really highso he can focus on his music instraight-ahead view That approachrestricts his distance vision to an areaabove his usual line of sight whichseems to work for Eds playing setup
Eds comments on the difficultiesin using conventional progressiveaddition lenses as music lenses con-firm what I said on page 9 Thats whymanufacturers have marketed special-ty progressive lenses designed specif-ically for intermediate distance taskslike computer use and playing music
There are lots of solutions to thepresbyopic musicians problem but all involve compromises The key toevaluating those compromises andchoosing the best solution for yourselfis to understand your needs and toenlist the help of a sympathetic visioncare specialistmdashjust as Ed did
Please change your
browserrsquos favorites list
AR online is now at wwwameri
canrecorderorgmembership
magazinehtm Send news to
editoramericanrecorderorg
FOUR FOUR-PART CANZONAS
(1608) BY GIOVANNI GABRIELI
ED GREG LEWIN Hawthorns Music RB 16 (Magnamusic) 1999 SATBSc 16 pp pts 4 pp $1950
Giovanni Gabrieli was probablyborn between 1554 and 1557 in theparish of San Geremia in Venice Thedetails of his early life are sketchy butit appears that he was born Giovannidi Fais and later changed his name toGabrieli out of respect to his uncleAndrea with whom he shared a closerelationship In fact in 1587 Gabrielidescribed himself ldquoas little less than asonrdquo It is commonly thought thatAndrea provided Giovanni with hisearly musical training Andrea whohad spent some time in Munichstudying under the great Orlando deLassus sent Giovanni to Munich for a similar period of study in theearly 1570s
Gabrieli remained in Munichuntil the death in 1579 of the dukeAlbrecht V who had been Lassusrsquosemployer for a number of years andwho was an enthusiastic patron of the arts particularly music With hisdeath a number of musicians lost theirjobs it seems as if Gabrieli were also a victim of such culling of talent(Within a generation the tide wouldturn and the Munich court wouldagain hire Venetian expatriates such as Priuli Valentini and Neri)
Upon his return to VeniceGabrieli was hired as a temporaryorganist at San Marco his positionbecoming permanent in 1585 For a few months that year uncle andnephew served together as first and
second organists in the chapel of thedoge In Giovannirsquos absence fromVenice there had been a plague thathad decimated the ranks of theprofessional musicians Andrea setabout rebuilding his forces at SanMarco by hiring a full-time windband consisting of Girolamo dallaCasa a renowned cornettist andviolist his two brothers who playedsackbut and later the cornett virtuosoGiovanni Bassano Giovanni Gabrieliaugmented these forces with addi-tional players and began composingthe large-scale ceremonial music forwhich he is so well known today
Giovanni was also elected to bethe organist and composer to theconfraternity of San Rocco in 1585and it is now thought that his largestpieces were intended for that venuewith its large central gallery andfrescos by Tintoretto instead of SanMarco Gabrieli held both thosepositions at the basilica of San Marcoand the Scuola Grande di San Roccountil he died in 1612 of a kidney stone
Although best known today forhis ceremonial and festival musicGabrieli was at home in smaller-scaleformats as well These four four-partcanzoni are taken from the 1608publication by the Venetian publisherAlessandro Raverji Canzoni per sonarecon ogni sorte di strumenti These werevery popular pieces to judge by themany collections in which they appear
Additionally like Gabrielirsquoskeyboard music they are found inother arrangements These four-partcanzoni lie well under the fingers inarrangements for keyboard and lute
As seen from the title Gabrielispecified no instrumentation but like asimilar edition of madrigals and battlepieces from a few years earlier a dis-tinction was made that they wereintended for wind instruments almostcertainly cornetts and sackbuts
Recorders were not unknown in Venice they were used regularly inthe confraternity of San GiovanniEvangelista where Giovanni BattistaRiccio was organist
These pieces are relativelysimplemdashplayable by beginning tointermediate ensembles They aremostly contrapuntal (with a fewhomophonic sections) and have few rhythmic eccentricities
These canzoni are found in manymodern brass editions but there arefew editions available to the recorderplayer This edition by Greg Lewin ofHawthorns Music might be consid-ered a ldquobare-bonesrdquo edition There islittle background information andeditorial practices are not specified
The music itself has a handwrittenlook that can be distracting but is easyenough to read Lewin has thought-fully supplied phrasing marks that willbe helpful for ensembles unused tothis style of music
Music
Reviews___________________________________ Infectious music created in spite of the plague
wwwAmericanRecorderorg March 2009 41
This is a good edition
for small ensembles that
canrsquot get eight players
together to play
Gabrielirsquos more famous
eight-part canzoni
42 March 2009 American Recorder
The parts are four pages but mycopy had all four pages printed on avery large page This is not a problemand there are no page turns
This is a good edition for smallensembles that canrsquot get eight playerstogether to play Gabrielirsquos morefamous eight-part canzoni Thesesmall-scale pieces are by no meansinferior to Gabrielirsquos more elaboratemusic and deserve to be better known
7 CANZONEN (1637) BY
TARQUINIO MERULA ED JOACHIM
ARNDT WITH CONTINUO REALIZATION
BY CLAUDIA SCHWEITZER MieroprintMusikverlag EM2088 (availabledirectly from wwwmieroprintcom)2005 SS or TT bc Sc 24 pp pts 8 pp$28
Tarquinio Merula was bornaround 1595 in either Busseto orCremona in Italy As was the case withso many composers of the day either alack of regular employment or a rest-less nature took him from his home inCremona to as far away as Warsaw He is found as the organist of thechurch and the chambers to the kingof Poland Sigismund III in 1624
Merula was one of the leadingexponents of the relatively new con-certante style pioneered by ClaudioMonteverdi and others in the seconddecade of the 17th century and may be described as one of the earliestBaroque composers His compositionsin the concertante style are fresh andunforcedmdashhe was born into this styleand didnrsquot encounter it as somethingnew as was the case with so many ofMonteverdirsquos contemporaries
After several years of peripateticexistence Merula found regularemployment in 1631 in Bergamo atthe church of San Maria MaggioreThe prior holder of the post of maestrodi cappella Alessandro Grandi haddied the previous year in the plagueMerula had signed a three-year
contract but by December 1632 hewas terminated with accusations thathe had molested several studentsMerula threatened a lawsuit to recoverhis lost wages but that threat wascountered with a pending criminalcharge lodged by the board ofgovernors of San Maria Maggiore By mid-1633 the matter was settledwith an apology from Merula and astatement that he relinquished allclaims to his salary
He then returned voluntarily toCremona where he stayed until 1635By 1638 Merula was once again inBergamomdashthis time as maestro dicappella and organist in the cathedralnext to San Maria Maggiore Asmight be expected there was con-siderable tension between the twochurches eventually resulting in theboard of San Maria Maggioreforbidding their musicians to perform under Merularsquos direction
He returned in 1646 to a familiarCremona post which he had heldthree times in various years and wherehe now settled downmdashthat of organistand maestro di cappella for Laudi dellaMadonna services in which he ledmusic at the main altar on Saturdaysand on vigils of Marian feasts
None of his employment issues
prevented the Pope from awardinghim the Order of the Golden SpurMerula was also elected to theAccademia dei Filomusi in BolognaHe died in 1665 in Cremona
His existing compositions showthe products of a lively mind Hisworks range from sacred songs andmotets to purely instrumental piecesnotably the ever-popular variations onvarious ground basses It is knownthat Merula was an accomplishedviolinist as well as a fine organist Hissurviving instrumental writing showsa predilection for strings In fact hewas one of the earliest composers tospecify string accompaniments tosacred motets
Merularsquos pieces look backwardtoward some of the more progressiveVenetian composers such as Monte-verdi while looking forward to thehigh Baroque with his innovative style
These seven canzoni like theearlier-published chaconne (EM2084)come from Merularsquos third bookpublished in 1637 CANZONI overo SONATE CONCERTATE perchiesa e camera a due et a tre delcavaliere This collection typifiesMerularsquos output pieces based onRenaissance-era ground basses arefound next to more ldquomodernrdquo sonatas
The original edition specifiesviolins and basso continuo This newedition is intended for recorders thespecific choice of which is up to theplayers Due to the relatively hightessitura tenor recorders work best inthese pieces (although listed as analternative soprano recorders tend to be on the screechy side)
Not surprisingly given Merularsquosskill as an organist the continuo partneeds a keyboard instrument forsuccessful realization Instead of beinga purely accompanying part the bassocontinuo part is an equal partner in these pieces the canzona ldquoLaRuggierardquo opens with a run that therecorders echo a few measures later
A more recorder-specific
edition intended for
altos would have been
ideal There is nothing
preventing the more
adventurous and
industrious players
from making their
own editions of this
delightful music
mentioned were a bit shrill A morerecorder-specific edition intended foraltos would have been ideal There isnothing preventing the moreadventurous and industrious playersfrom making their own editions of thisdelightful music
Prior to playing the previouslypublished chaconne I had notencountered MieroprintMusikverlag Mieroprintrsquos extensivecatalog has an equal focus on newmusic for recorders and on editions ofBaroque masters with emphasis on therecorder and flute Due to the lack of
wwwAmericanRecorderorg March 2009 43
are also available at
The Early Music Shop
of New England
Brookline MA
AESTHEacute
367-b de la Briquade
Blainville Queacutebec
Canada J7C 2C7
tel (450) 979-6091
wwwboudreau-flutesca
A bass viola da gamba or rsquocello is not necessary for these pieces and may infact make them sound heavy and ponderous rather than light and breezy as thismusic seems to be
More so than the above-mentioned chaconne these canzoni are written in avery idiomatic violin style with multiple examples of arpeggios In particular thecanzona ldquoLa Trecchardquo contains a notated example of a string tremolo figurerecurring through the piece ldquoLa Trecchardquo also dips well below the range of a Crecorder going down to low G the lowest string on the violin The editors havesupplied no alternative notes preferring to let the performers to fend forthemselves (in practice we took this passage up an octave with no problems)
The two recorder parts require virtuosity These upper parts are demandingwith the players needing to double-tongue in unison in order to negotiate themany runs of 16th notes and the shared rhythmic ldquolicksrdquo The harmoniclanguage unlike much of Merularsquos music is undemanding and contains none of the harmonic crunches for which he is famous
This is wonderful music that needs a couple of advanced recorder players fora successful performance The string idiosyncrasies can be overcome by advancedplayers and many of the editions of the era (although not this one) list thecornetto as an alternative to the violin so the use of wind instruments in the solo literature of the early Baroque was not unknown
Our experience with this edition left us with the opinion that these pieceswould have been better if transposed down a minor third so as to fit on a pair ofalto recorders (as is the case with much Baroque flute music to make it lie betteron the recorder) The tenors we used tended to sound a bit murky in the lowerregister next to the more aggressive harpsichord while the sopranos we tried as
KEY rec=recorder Srsquoo=sopraninoS=soprano A=alto T=tenor B=bassgB=great bass cB= contra bass Tr=treble qrt=quartet pf=piano fwd=foreword opt=optional perc=percussionpp=pages sc=score pt(s)=part(s)kbd=keyboard bc=basso continuohc=harpsichord PampH=postage andhandling Multiple reviews by one reviewerare followed by that reviewerrsquos name Pleasesubmit music for review to AR 7770 SHigh St Centennial CO 80122-3122 US
an American distributor this musicwill be hard to findmdashin fact can befound only at the time of this writingon their web site noted above But theeffort will be repaid
This edition is clear and easy toread and the parts require no pageturns The basso continuo realizationis simple and elegant
This is music deserving ofrediscovery My only quibble is thatthe editorial notes are all in GermanThis seems to be the practice ofGerman music publishers with thenotable exception of Moeck Otherpublishers of early music such asLondon Pro Musica routinelyprovide notes in English and German and often in French and Italian making their editionsaccessible to a wider audience
Frank Cone studied the recorderwith the late Ellen Perrin the viola dagamba with Carol Herman and thecornetto with Larry Johansen TheCalifornia multi-instrumentalist has been a member of the Orange CountyRecorder Society since 1985
Advertiser Index
AMERICAN ORFF-SCHULWERK ASSN 3
AMERICAN RECORDER SOCIETY 31 35 36
AMHERST EARLY MUSIC FESTIVAL 17
STEPHAN BLEZINGER 24
JEAN-LUC BOUDREAU 21 39
BOSTON EARLY MUSIC FESTIVAL 7
CANTO ANTIGUO EARLY MUSIC WORKSHOP 13
COURTLY MUSIC UNLIMITED 20
EARLY MUSIC AMERICA 8
HONEYSUCKLE MUSIC 34
BILL LAZARrsquoS EARLY MUSIC 26
KEITH E LORAINE EARLY DOUBLE REED SERVICE 35
LOST IN TIME PRESS 11
MADISON EARLY MUSIC FESTIVAL 12
MAGNAMUSIC DISTRIBUTORS BC
MOECK VERLAG IFC
MOLLENHAUER RECORDERS IBC
PORT TOWNSEND WORKSHOP 14
PRESCOTT WORKSHOP 30
PROVINCETOWN BOOKSHOP 26
THE RECORDER MAGAZINE 4
THE RECORDER SHOP 6
SAN FRANCISCO EARLY MUSIC SOCIETY 18
SWEETHEART FLUTE CO 3
TEXAS TOOT 20
VON HUENE WORKSHOP INC 30
WICHITA BAND INSTRUMENT CO 21
DOMINIK ZUCHOWICZ 34
CONSIDER ADVERTISING IN
Full page $55223 page $43912 page $36613 page $28614 page $22316 page $17518 page $127112 page $ 951 column inch $ 58
Prices include web sitee-mail link directly from your ad in the online AR at wwwamericanrecorderorg
Circulation Includes the membership of theARS libraries and music organizations
Published five times per year January March May September November
Reservation Deadlines December 1 (January) February 1 (March) April 1 (May) August 1 (September) October 1 (November)
Rates good through November 2009 Pleaseinquire about discounts on multiple-issuecontracts inserts or other special requestsExtra charges for typesetting layout half-tones and size alterations 133-line screenrecommended Advertising subject toacceptance by magazine First-time adver-tisers must include payment with order
For more information contact the ARS office 1129 Ruth Drive St Louis MO63122-1019 800-491-9588 toll free 314-966-4082 phone 314-966-4649 faxadvertisingamericanrecorderorg
44 March 2009 American Recorder
Classified___________________________________
FOR SALE Cherrywood hurdy gurdy and hard-side case made by Kelischek bought 2005Originally $765 plus $89 for case Rarely usedBoth for $450 or make offer Please contact marjalocomcastnet Can ship
ASPIRE ANNOUNCE INSPIRE Afford-able PR for teachers and recitalists wwwrecitalroomcom
PHOTOS NEEDED of ARS events 1970sndash1990sto illustrate last chapters of Martha Bixlerrsquos histor-ical memoir about the ARS (to be posted online)E-mail scanned photos (300dpi JPG or TIF)arsrecorderamericanrecorderorg Hardcopies mail to ARS office to be scanned ampreturned Info 800-491-9588
T-SHIRT FOR ENSEMBLE PLAYERS to wear orshare Top 10 Reasons Why I Got Lost Wrongfingering bad lighting etc on blue cotton shirt$18 Highlighter tape and other goodies Beth amp Lindas Boutique as seen at BEMF CallLinda at 617-671-8694 or e-mail for brochurelindakushverizonnet
Where the havesand have-nots
of the recorder world can find each other
Classified rate for American Recorder 60centper word ten-word minimum ldquoFOR SALErdquoand ldquoWANTEDrdquo may be included in thecopy without counting Zip code is oneword phone e-mail or web page is twoPayment must accompany copy Deadlinesare one month before issue date Send copywith payment to ARS 1129 Ruth Drive St Louis MO 63122-1019
AMERICAN RECORDER (ISSN 0003-0724) 1129 Ruth Dr St Louis MO 63122-1019 is publishedbimonthly (January March May September and November) for its members by the AmericanRecorder Society Inc $20 of the annual $45 US membership dues in the ARS is for a subscriptionto American Recorder Articles reviews and letters to the editor reflect the viewpoint of their individ-ual authors Their appearance in this magazine does not imply official endorsement by the ARS
EDITORIAL DEADLINES November 15 (January) January 15 (March) March 15 (May) July 15(September) and September 15 (November) Submission of articles and photographs is welcomedArticles may be typed or sent as an attachment (Word or RTF preferred) to or text in an e-mail mes-sage They should be for the exclusive consideration of AR unless otherwise noted Photos may besent as prints or unedited JPG or 300dpi TIF files (minimum 3rdquox4rdquo) Advertisements may be sent inPDF or EPS format with fonts embedded
EDITORIAL OFFICE Gail Nickless Editor 7770 S High St Centennial CO 80122-3122 303-794-0114 (phone amp fax) editoramericanrecorderorg Books for review Editorial office Musicfor review Editorial office Recordings for review Tom Bickley 1811 Stuart St Berkeley CA 94703Cutting Edge Tim Broege 212 Second Ave Bradley Beach NJ 07720-1159 Chapter newslettersother reports Editorial office Postmaster Send address changes to ARS 1129 Ruth Drive St LouisMO 63122-1019 Periodicals postage paid at St Louis MO and at an additional mailing office
Chapter leaders
We know yoursquore out there
and that you want to share
your plans concerns
solutions and ideas with
other chapter leaders Visit
httpamericanrecorder
societywikispacescom
10 March 2009 American Recorder
Awards and HonorsMusic educator and recorderistDeborah Greenblatt and DavidSeay of ldquoThe Old Schoolhouserdquo inAvoca NE were featured in theNovember 2008 International Musi-cian the official journal of the Ameri-can Federation of Musicians of theUS and Canada They have playedand sung folk music together for morethan 30 years The duo has publishedbooks for a variety of instruments fromrsquocello to tin whistle Among the latestare Barn Dance Fiddle Tunes for Two andSinging Cowboy Fiddling Tunes for TwoVisit wwwgreenblattandseaycom
for informationThe 2009 Borletti-Buitoni Trust
(BBT) Awards acknowledge thatsome instruments present a challengefor talented and ambitious youngclassical musicians striving for a solocareer Recorder player Eric Bosgraaf
(below) and harpsichordist Mahan
Esfahani are among those selected toreceive BBT financial assistance aswell as advice in such areas as publicrelations auditions and finding agents
BBT Award winner Bosgraaf ofThe Netherlands is hailed as one ofthe most gifted and versatile recorderplayers of his generationCurrent plansinclude solo performances with theDallas (TX) Symphony Orchestra andthe Dutch Radio Chamber Philhar-monic His deacutebut recording a three-CD set of music by Jacob van Eyckwas No 1 on the 2007 Dutch classical
music charts (see the CD review in theSeptember 2007 AR and an interviewwith Bosgraaf in the May 2008 ARsee also wwwerikbosgraafcom)
Iranian-born Esfahani who hasappeared in ensemble performancesreviewed in AR was a BBT Fellowshipwinner He makes his Wigmore Halldeacutebut in London as soloist with TheEnglish Concert this month
Two BBT awards of pound20000 eachand six fellowships of pound10000 eachwere given by the Trustrsquos artistic com-mitteemdashFranco Buitoni Adam Gate-house Martijn Sanders and MitsukoUchida See wwwbbtrustcom formore on the foundation and its policiesplus news video and audio of BBTmusicians (now 45 individuals and 14 ensembles from 22 countries)
Early Music America NewsEMA with support from a privatedonor will sponsor its third Medieval
Renaissance Performance Compe-
tition in 2009 The winner receives acash prize (the Unicorn Prize) and isguaranteed three concert performancessponsored by EMA and presenters inPittsburgh PA Milwaukee WI andSeattle WA The contestrsquos goal is to encourage the development ofemerging artists in the performance of Medieval and Renaissance music
Applicants must be ensembleswith at least two performers of age 39or younger who have not performedtogether for more than five years(ldquoemerging artistsrdquo) Repertoire islimited to the period of roughly 800-1550 AD performed on voice(s)andor period instrument(s) and in astyle that is historically informed The competition is open to members
(individual or organizational) of EMAwho reside in the US or Canada
Applications are due April 30Finalists will be selected by June 30and will receive hour-long coachingsessions with an early music artist and present live 20- to 30-minuteperformances in New York City NYin October
For application requirements visitwwwearlymusicorg
EMA has also announced twoearly music ensembles receiving its2008-09 Collegium Musicum
Grant Sacabuche at IndianaUniversityrsquos Early Music Institutedirected by Linda Pearse and theUNT Baroque Orchestra and
Collegium Singers from theUniversity of North Texas under thedirection of Lyle Nordstrom
Sacabuche performs vocal musicwith sackbuts and organ
UNT has one of the largest andmost active collegium programs inNorth America The most prestigiousensembles there are the 30-piece UNTBaroque Orchestra and 26-voiceCollegium Singers whose membersregularly perform at the Boston EarlyMusic Festival (BEMF)
Nordstrom the director of theseensembles was co-director with PaulOrsquoDette of The Musicians of SwanneAlley and was the founder and artisticdirector of the Atlanta (GA) BaroqueOrchestra He received EMArsquosThomas Binkley Award in 2000 for his work with collegiate ensembles atOakland University and Clayton State College
EMA Collegium MusicumGrants provide $1000 toward the costof bringing a college or universitystudent early music ensemble toperform in a BEMF fringe concert(odd-numbered years) or at the Berke-ley (CA) Festival (even-numberedyears) The two winners will performduring BEMF June 7-14
The Power of LoveJ U N E 6 - 1 4 2 0 0 9
featuring Claudio Monteverdirsquos sublime final opera
June 6 7 9 10 12 and 14 2009Stanford Calderwood Pavilion at the
Boston Center for the Arts
June 19 20 21 22 2009Mahaiwe Performing Arts Center
in Great Barrington MALrsquoincoronazione di Poppea replaces the previously announced operatic centerpiece Antiochus und Stratonica by Christoph Graupner
Tickets are on sale now at WWWBEMFORG and 617-868-BEMF
RECORDER EVENTS AT THE 2009 BOSTON EARLY MUSIC FESTIVAL
Join us for our weeklong extravaganza of early music with concerts by the worldrsquos leading early music soloists and ensembles including Stile Antico Trio Hantaiuml Ricercar Consort
Pieter Wispelwey rsquocello and Kristian Bezuidenhout fortepiano the BEMF Chamber Operapresentation of John Blowrsquos Venus and Adonis and Marc-Antoine Charpentierrsquos Acteacuteon
Flanders Recorder QuartetSunday June 14 at 1230pm
Paul Leenhouts Renaissance recorder
andGabe Shuford harpsichord amp organ
Wednesday June 10 at 11pm
Recorder Masterclass with Paul LeenhoutsThursday June 11 at 2pm
Visit WWWBEMFORG for a complete schedule of eventsregistration materials for the world-famous BEMF Exhibition Fringe Concerts
and Masterclasses and much more
Joe Lewnard winsPiffarorsquos Second Competition for Young RecorderPlayers
By Joan Kimball wwwpiffarocom
Piffarorsquos second competition for youngrecorder players ages 12 to18 washeld on January 10 at the SettlementMusic School in Philadelphia PAFive finalists chosen on the basis oftapes that they submitted in Novemberperformed before a small but enthu-siastic and supportive audience
A smattering of snow and ice keptaway some people who otherwisewould have attended Ironically the finalists had no trouble reachingPhiladelphia from distant snow capitalsof the USmdash Denver COMinneapolis MN and Chicago IL
Unique in this country as far asanyone knows this competition wasestablished in 2007 to pique theinterest of young recorder players andto encourage them to investigate therepertoire of the 15th century into theearly 17th century on recorders as wellas other early wind instruments Whilethese young players tend to focus on
18th-century and contemporary musicPiffaro hopes to convey to them theimportance of playingmdashand alsounderstanding the underlyingperformance practice issues ofmdashearlier repertoire
Joe Lewnard (at right withPiffarorsquos Joan Kimball) an 18-year-oldhigh school senior from the Chicagoarea was chosen as the winner byjudges Nina Stern from New YorkCity NY and Elissa Berardi ofPhiladelphia He has played recorderfor a number of yearsmdashstudying withAldo Abreu among othersmdashand hasattended the virtuoso program at theAmherst Early Music Workshop Alsoa trumpet player he has expressedinterest in taking up the cornettocombining his facile fingers with hisbrass embouchure
In recent months Lewnard hasbeen preparing repertoire for collegeand conservatory auditions and willapply to several schools His selectionsfor the competition were the unaccom-panied Ricercata prima by GiovanniBassano and two movements from asuite by Pierre Philidor
The other four finalists also playedwith poise and distinction in variedrepertoire (Renaissance to contem-porary) that showed their abilitiesThey were Ariel Branz (age 16) from
Boulder CO a student of LindaLunbeck Bryan Duerfeldt (15) fromMinneapolis a student of MaryHalverson Waldo Amy Pikler (16)from Chicago who studies withPatrick OrsquoMalley and Olivia Sohlen
(16) also from Minneapolis and astudent of Cleacutea Galhano
On March 7 Lewnard willappear again in Philadelphia pairedwith the competitionrsquos previous winnerAlexa Raine-Wright in a recital Thetwo young virtuosi (both of whom havewon ARS workshop scholarships) willperform a variety of 16th- 17th- and18th-century solos and duetsaccompanied by harpsichordistMarcia Kravis In addition Piffaromembers Joan Kimball Priscilla
Smith and Bob Wiemken will jointhem for a set of 16th-century workson Renaissance recorders
With two competitions success-fully completed Piffaro plans to holdanother one in two years and hopesthat young recorder players will start toprepare now Wersquod love to see moreyoung virtuosi coming our way
12 March 2009 American Recorder
Early Music America Magazine is the quarterlypublication for the Early Music Community inNorth America Professionals Students andAudience members
Articles on performance practice trends in thefield recording reviews and a new book reviewsdepartment
Call 888-722-5288 or email infoearlymusicorgfor a FREE sample issue
Last spring I had the honor andgood fortune to spend five weeks
at the Sitka Center for Art andEcology on the central Oregon coastas the recorder resident The recorderresidency is sponsored by the OregonCoast Recorder Societymdasha wonderfulgroup of people I had the chance tomeet and teach and to make musicwith while I was there Myparticipation was made possible inpart by a professional grant from theARS and also by the kind generosityof some of my loyal long-termstudents
The project I worked on while atSitka was an intensive study of Bachrsquossolo string musicmdashprimarily the rsquocellosuites and some of the violin partitasmdashwith the aim of preparing my own arrangements of them for aneventual recording
Although Irsquod been told before Iwent that Sitka was incredibly beautifuland a wonderful place to be Iapproached the residency with sometrepidation I wasnrsquot quite able toimagine it and wondered how I wouldsurvive so many weeks by myself in aremote location seven miles from thenearest townmdashand where Irsquod heardmost cell phones did not work (panic)When I arrived on April 9 I was metwith typical Oregon coast weather forthat time of the year (and many timesof the year) chilly temperatures andrain And Irsquod left sunny California for five weeks of this
I lived in what is called the TreeHousemdasha charming one-roomwooden cabin with a sleeping loft and a wood-burning stove insidemdashenveloped outside by a couple of giantSitka spruce trees After many failedattempts over several days one of myproudest accomplishments was finally
learning how to quickly and reliablybuild a fire in my wood stove My nextproudest accomplishment was learningthat one should not put wet logs on the top of the stove to dry This Idiscovered after setting off the smokealarm bringing the entire Sitka staffrunning to my aidmdashonly to find meoblivious up in the loft
It took me a week or so to getadjusted to my new life I wasnrsquot usedto being alonemdashwithout my dog farfrom civilizationmdashand with expansesof free time and no actual responsibil-ities I spent some of that time explor-ing the surrounding areas takingwalks down to the estuary throughforested woods and climbing to thetop of Cascade Head There I was metwith awe-inspiring views of the PacificOcean the coastline the mountainsand the estuary far below I soondiscovered that this was part of thetotal Sitka experience
After my first incredible climb tothe top of Cascade Head I began torelish the quiet peace and time alonethat Sitka afforded memdashsomething Inever imagined Irsquod feel given mygenerally extroverted nature Inaddition to reading writing andmeditating I was inspired to dive into
Linsenberg
on the
deck of
the Tree
House
wwwAmericanRecorderorg March 2009 13
By Judith Linsenberg
The author is founder and director ofthe Baroque ensemble Musica Pacificawhose performances and eight recordingson the Virgin Classics and Dorian labels
have received international acclaim She has performed throughout the US
and Europe including solo appearances atthe Hollywood Bowl and Lincoln Center
and has been featured with such leadingAmerican ensembles as the San Francisco
Symphony the San Francisco and LosAngeles Operas Philharmonia Baroque
American Bach Soloists and others
Her recording of the Bach organ trioswas sponsored in part by an
ARS Professional Grant The ARS CD Club carries some of her recordings
A Fulbright scholar to Austria shewas awarded the Soloist Diploma with
Highest Honors from the Vienna Academyof Music She is a summa cum laude
graduate of Princeton University holds anearly music doctorate from Stanford Uni-
versity and has been a visiting professor atthe Vienna Conservatory and Indiana
Universityrsquos Early Music Institute Visit wwwmusicapacificaorg
for more information
Suite Thoughts of Sitka
14 March 2009 American Recorder
my musical projects with renewed energy and enthusiasmI had the time not only to practice the Bach suites butalso to really study them in depthmdashanalyzing themlistening to and comparing different recordings andworking on my transcriptions of them Although it wasnrsquotpart of my original intention I now have a plan to publishmy arrangements of these pieces so theyrsquoll be available forothers to perform (While Frans Bruumlggen published hisarrangement of the first three suites in the 1970s to myknowledge there is only one other recorder editioncurrently available whose approach is quite different from mine)
I wasnrsquot however living in total isolation while at SitkaThere were artist residents of other media as well Kim awriter from New York state John and Robin a marriedcouple who were ceramicists from Washington state andtheir three daughters and Claudia an installation- andperformance-artist We became a community socializingwhen we werenrsquot working (and sometimes even when wewere) going on excursions to see the glorious naturalwonders of the Oregon coast having dinners together inour various residences and talking about our work
The setting provided the perfect atmosphere for theexchange of ideas and we began to collaborate on mutualprojects sometimes in unexpected ways Robin startedmaking ocarinas and I worked with her to design and tunethem While I immersed myself in Bachrsquos solo music flutesand musical themes began to appear in the images shepainted on her ceramic pieces Often after wersquod hung outtogether in the evening depictions of the stories I told herwould show up in her paintings over the next few daysFanciful illustrations of me playing to my dog Jake evenmade several appearances in her work (The photos aboveshow the ocarina she made for me)
Toward the end of my stay I also began collaboratingwith Claudia the installation artist Her work was creatinginstallations out of plastic bags fastened together to formdifferent naturalistic shapes which she then set up invarious locations around the Sitka campus and nearby
areas Together we created a performance piece that wepresented at the Open House at the end of our residenciesI provided music to accompany a performance that tookplace within her installation We worked together on usingthe music to express the various ideas in the installation andperformance and using the performance to express themusic in a visual way
Bachrsquos music can be very evocative and I chosemovements from the Bach suites that suggested the variousparts of the narrative she performed part of a slow preludeto depict nascent creatures emerging in a forest a C-majorbourree while they are coming to life a C-minor onesuggesting turmoil a fast 16th-note passage representingflight as they grow wings and fly and finally a wistfulsarabande as they gradually die away and disappear As in a ballet each medium enhanced the other and the wholebecame more than the sum of its parts illuminatingdifferent aspects of each and creating a more profoundeffect than either might have independently
During the Sitka open house Linsenberg plays
in an installation of plastic bag ldquocreaturesrdquo
There were other opportunitiesfor me to present the music I wasworking on Around the midpoint ofmy stay there I performed in a concertmarking the start of the annual Windsand Waves weekend workshop Iplayed one of my Bach suites thoughit was still a work in progress
The next day about 45 recorderplayers descended upon our quiet littleenclave turning it into a hubbub ofactivitymdashquite a change from the low-key atmosphere of the prior severalweeks Once I got over the initialculture shock of the influx of so manypeople I thoroughly enjoyed meetingand working with all of them A class I offered on the Bach suites enabledme to share some of the work Id beendoing conversely I got input from thestudents I taught that made me thinkdifferently about the piecesmdashforexample what about playing them on a subcontrabass recorder
Shortly after the workshop theSitka residents held a communityoutreach day at which we each demon-strated our work to children from anearby school I had been working onsome contemporary pieces withnaturalistic themes (fitting for thesetting) and this event gave me theopportunity to play some of them forthe kids They were fascinated by theextended techniques used to imitatebirds and other animals and of courseVan Eyckrsquos ldquoEngels Nachtegaeltjerdquowas a hit with them as well
As hard as it was for me to getused to Sitka and the residency at thebeginning of my stay it was evenharder to leave My departure datecame too soon Irsquod had time to finishtranscriptions of only three of thesuites
Saying good-bye to all the friendsIrsquod made theremdashthe other artists aswell as the recorder players Irsquod metmdashwas hard enough but leaving the
beauty of the place and the peace Irsquodfound there saddened me greatly
Sitka had changed me and ittransformed my relationship to themusic I played as well My experienceallowed me to tap into a deep placeinside myself in a way that I never hadbefore something I was then able tocommunicate through the music I wasplaying Bachrsquos music turned out to bethe perfect vehicle because it expressesin sound the same grandeur spiritu-ality and universalitymdashas anyone whohas heard a live performance of the B-minor mass can attestmdashas does theview from the top of Cascade Head
Since the conclusion of myresidency I have given severalperformances of the rsquocello suitesincluding some lecture-recitals onthem and on my arrangements moreare planned Irsquove begun working withstudents of instruments other than therecorder who are studying the rsquocellosuites And I continue to work on myarrangementsmdashalas five weeks wasjust not long enough to learn andadapt all six suites although I do plan to publish them in the future
My work at Sitka also inspired meto pick up a project I started over 10years ago but never brought tofruition preparing my arrangementsfor recorder violin and continuo of thesix Bach organ trios (that I recorded in1992) to be published soon by PRBProductions And I have no doubt thatthe Sitka experience will continue towork on me in ways Irsquom not evenconsciously aware of at this time
I would like to give my deep and heartfelt thanks to the followingindividuals and organizations to the
Sitka Center for making my stay there sowonderful and to its founders Jane andFrank Boyden who had the vision tocreate this magical place to the members ofthe Oregon Coast Recorder Society fortheir generosity in creating and sponsoringthe recorder residency to the ARS for its financial support and to my wonderfulstudents who made it possible for me toparticipate in this life-changing experience(you know who you are)
wwwAmericanRecorderorg March 2009 15
Lost in Time Press
New works andarrangementsfor recorder ensemble
Compositions byFrances BlakerPaul AshfordHendrik de Regtand others
InquiriesCorlu CollierPMB 3092226 N Coast HwyNewport Oregon 97365wwwlostintimepresscomcorluactionnetnet
Sitka had changed meand it transformed my relationship to the music I played as well
MARIN HEADLANDS
RECORDER WORKSHOP
Point Bonita YMCA near San Francisco CA
May 15-17
With each coming tide of that mightymetronome the Pacific Ocean and withspring peeping soon our MarinHeadlands Recorder Workshop 2009perched at the edge of the ocean andembraced in greenery gets nearer Againthis workshop will swell with harmoniesof recorders viols and perhaps apsaltery or drum Intermediate andadvanced players are warmly invited tojoin members of the sponsoring EastBay Chapter of the ARS a SFEMSaffiliate at this annual musical event
Music-making begins on Friday andcontinues through Sunday afternoon
including also one- and two-day options
This yearrsquos faculty includes a wonderfulmix of familiar and new faces DavidBarnett Tom Bickley Louise CarslakeRobert Dawson Lisa DykemanFrances Feldon Judith LinsenbergPeter Maund Fred Palmer and Glen Shannon
Music offerings will range from easilyplayable to challenging from delightfulPurcell and Renaissance music to jazzto works by a (very) living composer(led by the chap himself) Check theEBRS web site for updates
The workshop is held at the PointBonita YMCA one of very few publicfacilities on this largely undevelopedarea of California coast Set in a meadowwith short walks to Pacific Ocean vistasthe historic Point Bonita Lighthouseand remnants of WWII fortifications
it is a place to get away recharge andmeet new friends or re-connect withold The accommodations includedormitory-style rooms a large diningarea and playing spaces all on one levelRooms are also available for impromptuplaying sessions
Contact Anna Lisa Kronman
37 Meadow View Rd Orinda CA
94563 925-258-9442
annalisakronmangmailcom
symbolicsolutionscomebrs
BLOOMINGTON EARLY
MUSIC FESTIVAL
Bloomington INMay 15-25
Performances of Medieval RenaissanceBaroque and Classical music as well aseducational programs for concertgoersamateur performers and childrenPlease see BLEMForg for details
Contact Carol Huffman
PO Box 734 Bloomington
IN 47402 812-824-2412
specsorffyahoocom blemforg
WHITEWATER EARLY
MUSIC FESTIVAL (ARS)
University of Wisconsin Whitewater WI
June 5-7Directors Nancy Chabala Carol Stanger Pam Wiese
Our workshop is held on campus at theUniversity of WisconsinndashWhitewaterabout 60 miles SW of MilwaukeeClasses include focus and specialty areainstruction for all levels of recorderplaying as well as beginningmdashconsortviola da gamba wind band voicerecorder orchestra and mixed consort A variety of special interest classes onFriday evening and Saturday eveningparticipant gathering led by LouiseAustin The various classes include
16 March 2009 American Recorder
Summer Workshop Summer-y
The Madison Early Music Festival presents
Telescopic Vistas MEMF X and Music of the SpheresCelebrating the International Year of Astronomy
July 11-18 2009
Guest Artists amp Ensembles Faculty Recorder Artists Quicksilver with Marion Verbruggen Joan Kimball Piffaro The Renaissance Band Priscilla Smith The Newberry Consort Marion Verbruggen Venere Lute Quartet Robert Wiemken
Explore music from the days of Galileo and Kepler Celebrate the influence of astronomy on society arts and culture
in the 15th through 17th centuries
Our tenth anniversary festival features a seven-concert series and a week-long workshop with classes and ensembles for participants of all levels
For more information please call (608) 263-6670 or visit wwwmemfdcswiscedu
music from Medieval to modern
Several musicinstrument vendors onsite Dale Taylor will be on site forrepairs All ages are welcome as well as non-participants
Faculty includes Dale ArmentroutLouise Austin David Echelard CharlesFischer Shelley Gruskin LisetteKielson Laura Kuhlman PatrickOrsquoMalley Tulio Rondon KarenSnowberg Mary Halverson Waldo andTodd Wetherwax Brochures available
Contact Nancy Chabala
8609 45th St Lyons IL 60534-
1616 708-442-6053 (day)
630-789-6402 (fax)
nchabalamymailstationcom
(housingregistration)
thewiesessbcglobalnet (mailing
scholarships) cvstangeraolcom
(facultyfacilities)
INTERLOCHEN EARLY MUSIC
WORKSHOP
Interlochen Center for the Arts Interlochen MI
June 7-12 Director Mark Cudek
Make and enjoy Medieval andRenaissance music while learning new skills and techniques
Topics will include articulationornamentation improvisation andensemble arrangement in Medieval and
Renaissance music The workshopculminates with a participantperformance on period instruments such as recorders and other early windsviols lutes harpsichord and percussionVocalists are also welcome Participantswill supply their own instruments
Early registration is recommendedas space is limited
Contact Matthew Wiliford
Director ICCA PO Box 199
Interlochen MI 49643 231-
276-7441 231-276-5237 (fax)
collegeinterlochenorg
interlochenorgcollege
RENAISSANCE CHAMBER
MUSIC INSTITUTE
New England Conservatory of Music Boston MA
June 11-21
A unique opportunity for professionalmusicians and advanced students todiscover and explore one of the greatestrepertoires of Western music which iseminently suitable for all instruments
Players of modern and early instrumentsare encouraged to attend
Led by John Tyson director of theRenaissance music and dance ensembleRENAISSONICS who has performedand lectured worldwide including forthe Boston Symphony OrchestrarsquosTanglewood Institute
Introductory lectures will be followed byintense chamber music coaching in largeand small ensembles Concentration willbe on personal expression rhetoric andphrasing performance practice andornamentation The institute willculminate in a public performance at theNew England Conservatory of Music
Faculty John Tyson recorder LauraGulley violin Daniel Rowe rsquocello and guest artists
Contact Director of Summer
School New England
Conservatory of Music
290 Huntington Avenue Boston
MA 02115 617-585-1126
617-585-1135 (fax) newengland
conservatoryedusummer
wwwAmericanRecorderorg March 2009 17
Workshops carrying
ARS designation have
joined the ARS as
workshop members
Other shorter workshops
may be sponsored
periodically through the
year by ARS chapters and
are listed in the calendar
portion of each ARS
Newsletter as well as on
the ARS web site when
information becomes
available from presenters
Canto AntiguoWest Coast EarlyMusic and Dance
Featured Faculty
Beautiful CampusFully air-conditioned
For Information Call
800-358-6567
Early Music
WorkshopJuly 5-12 2009
Chapman UniversityOrange CA
Classes in
Baroque Music
Recorder Ensemble(all levels)
Vocal Ensemble
Renaissance Brassand Reeds
Viols
Collegium
Folk Dance
Thomas Axworthy
Mark DavenportRonald Glass
Janet Beazley
Carol LisekJim MaynardAlice Renken
wwwcantoantiguonet
18 March 2009 American Recorder
SUMMER TEXAS TOOT (ARS)
Concordia University Austin TXJune 14-20 Director Daniel Johnson
The Summer Texas Toot is a one-weekprogram of classes in Renaissance and Baroque music at all levels forrecorders viols singers plucked stringsRenaissance reeds and brass andharpsichord Our classes include anarray of small one-on-a-partRenaissance and Baroque ensemblesand larger mixed vocal and instrumentalgroups The size of the workshopenables us to create classes for all levelsof students from those of modest skills to advanced players and singers
Same Texas Toot hospitality andtraditionsmdashback in Austin but atConcordia Universityrsquos beautiful newcampus Classrooms dining and dormaccommodations are air-conditioned and easily walkable
Currently our featured faculty are Tish
Berlin (recorders) Tom Zajac (reedsand ensembles) Mary Springfels(viols) Becky Baxter (harp)mdashbut watchfor more faculty to be added soon
Contact Daniel Johnson
PO Box 4328 Austin TX 78765
512-371-0099 infotootorg
tootorg
SAN FRANCISCO EARLY MUSIC
SOCIETY BAROQUE MUSIC amp
DANCE WORKSHOP (ARS)
Sonoma State University Rohnert Park CA
June 14-20Directors Phebe Craig Kathleen Kraft Frances Blaker
A music-packed week of master classesconcerto evening coached ensemblesBaroque orchestra vocal and windensembles continuo classes concertsand lectures
Featuring recorder faculty FrancesBlaker and Cleacutea Galhano Other facultyChristine Brandes voice Phebe Craig
harpsichord Sand Dalton oboeKathleen Kraft flute Michael Sandviolin and orchestra Mary Springfelsviola da gamba Peter Sykesharpsichord Tanya Tomkins rsquocello
Contact Kathleen Kraft SFEMS
PO Box 10151 Berkeley CA
94709 707-874-2014
kkraftsonicnet sfemsorg
SAN FRANCISCO EARLY MUSIC
SOCIETY CHILDRENrsquoS MUSIC
DISCOVERY WORKSHOP (ARS)
Crowden Center for Music Berkeley CA
June 21-26 (day camp)Director Letitia Berlin
Early music and Renaissance socialhistory for youth ages 7-15 beginners to advanced students welcome Dailyschedule includes chamber musicmusicianship crafts costume-makingand games Friday night concert andtheater project presentation followed by potluck supper
Rebecca Ahrendt violJanet Beazley recorder
Tish Berlin re cord er co-direct orFrances Blaker recorder co-direct or
Vicki Bœckman recorderLouise Carslake recorder fl ute
Charles Coldwell recorder Rotem Gilbert recorder
Julie Jeff rey violShira Kammen viell e
Peter Maund per cus sionKim Pineda recorder
Ellen Seibert violPe ter Seibert recorder choir
Margriet Tindemans viol viell eBrent Wissick viol
Play early music in the spectacular Pacifi c Northwest Choose from classes in recorder viol fl ute and percussion Polish your skills andor take up a new instrument Sing and dance
Enjoy the faculty concert Take part in the student recital Make the most of your stay with a hike at nearby Mt Rainier or a visit to the Museum of Glass
For informat ion or to request a brochure call (206) 932-4623write to Port Townsend Early Music Workshop
1108frac12 Alki Ave SW Seattle WA 98116or vis it wwwseattle-recorderorg
July 12ndash18 2009
Port TownsendEarly Music Workshop
At the beautiful University of Puget Sound Tacoma WA
Tish Berlin amp Frances Blaker Co-Direct orsPresented by the Seattle Recorder Society
Please note that this is a day camp Out-of-town students may contact thedirector regarding accommodations withhost families Some financial aidavailable
Featuring recorder faculty Vida Bateauand Letitia Berlin Other facultyKatherine Heater dance ShiraKammen musicianship and theaterband Ron McKean harpsichord Carla Moore violin Farley Pearcersquocello and viola da gamba Allison Rollstheater project director
Contact Letitia Berlin SFEMS
PO Box 10151 Berkeley CA
94709 510-559-4670
tishberlinsbcglobalnet
sfemsorg
OBERLIN BAROQUE
PERFORMANCE INSTITUTE
Oberlin College Oberlin OHJune 21-July 5Directors Oberlin Baroque Ensemble (Cathy Meints Marilyn McDonald Michael Lynn Webb Wiggins) and artistic director Kenneth Slowik
Celebrating its 38th anniversary withMusic in London 1659ndash1759 thisinstitute offers instruction in Baroqueinstruments and voice Students of alllevelsmdashfrom beginning to Baroqueperformance to the professional levelmdashparticipate in master classes and coachedensembles with an international facultyof Baroque specialists Scholarships are available for qualified high schoolstudents
Contact Anna Hoffman
Conservatory of Music
77 West College St
Oberlin OH 44074
440-775-8044
440-775-8942 (fax)
ocbpioberlinedu
oberlineduconsummerbpi
WORLD FELLOWSHIP
EARLY MUSIC WEEK
Chocorua NHJune 25-July 2Directors Jane Hershey Larry Wallach
Faculty of eightmdashincluding JaneHershey Roy Sansom Pamela DellalJay Rosenberg Julian Cole AnneLegecircne Larry Wallach and JoshSholem-Schreibermdashin a beautifulWhite Mountain camp setting conducta week-long workshop in French earlymusic (late Medieval through Baroque)
Faculty and student concerts Englishcountry dancing special lecturesmorning and afternoon workshops inviols recorders voice mixed ensemblesSephardic music and Baroque chambermusic and classes in Feldenkrais bodywork
Camp facilities include hikingswimming boating camp gardenssupply kitchen with vegetables Very affordable rates
Contact Larry Wallach
69 Welcome St Great Barrington
MA 01230 413-528-7212 (day)
413-528-9065 (evening)
413-528-7365 (fax)
larrysimons-rockedu
worldfellowshiporg
INDIANAPOLIS EARLY
MUSIC FESTIVAL
Indianapolis INJune 26-July 19July 8-9 Mini Boxwood Workshop
The Indianapolis Early Music Festivalis the oldest continually running earlymusic concert series in the USPresented since 1967 our mission is toenrich educate and entertain audienceswith the music of Medieval Renais-sance Baroque and early Classical erasand feature exciting performers ofnational and international stature usinginstruments of the period and histori-cally informed styles and techniques
For 2009 we will present Reconstruction(June 26 ) Ex Umbris (June 27) ChrisNorman amp David Greenberg withRonn McFarlane amp Mark Cudek (July10) I Furiosi (July 12) HarmoniousBlacksmith (July 17) and the PeabodyConsort with Indiana Repertory Theatre(July 19) We also offer our secondannual Family Concert featuring thePeabody Consort on July 18mdash a freeconcert geared to young audiencemembers Several groups also offeroutreach events for younger (generallyhigh-school-aged) musicians and actors
In 2009 we also present a two-dayldquoMini Boxwoodrdquo workshop with Chris
wwwAmericanRecorderorg March 2009 19
Marin
Headlands
Recorder
Workshop
Norman (earlytraditional flutes andpipes) David Greenberg (Baroqueviolin and fiddle) and Ronn McFarlane(lute) on July 8-9
Contact emindyorg
SAN FRANCISCO EARLY MUSIC
SOCIETY MEDIEVAL amp
RENAISSANCE WORKSHOP (ARS)
Sonoma State University Rohnert Park CAJune 28-July 4Director Tom Zajac
Workshop theme Stories and LegendsOpen to singers and players of earlyinstruments (recorders violas da gambalutes shawms etc) Coaching by world-class specialists in Medieval and Renaissance music Classes forvoices recorders viols and alta capellavoice master class ensemble coachingstorytelling for musicians andstorytelling accompanimentRenaissance choir Medieval bandtheater project faculty and studentconcerts lectures and more
Scholarships as well as academic creditor continuing education credit areoffered Featuring recorder facultyFrances Blaker Annette Bauer DanStillman and Tom Zajac Other facultyPatrick Ball storytelling Celtic harpKaren Clark voice movement formusicians Julie Jeffrey gamba ShiraKammen Medieval strings music forstorytelling Drew Minter voice theaterproject Tim Rayborn Medieval stringspercussion music for storytelling Larry Rosenwald theater projectrhetorician in residence MarySpringfels gamba theater projectAnnette Bauer early notation DanStillman reeds alta capella ensembleTom Zajac sackbut Renaissance choir
Contact Tom Zajac SFEMS
PO Box 10151 Berkeley CA
94709 617-323-0617
medrenmailgmailcom
sfemsorg
MOUNTAIN COLLEGIUM (ARS)
Cullowhee NC June 28-July 4Director Patricia Petersen
Nestled in the Smoky MountainsWestern Carolina University provides alovely location for Mountain Collegiumwith comfortable accommodations in anew dorm and catered evening mealsThe workshopmdash at once informal andintensivemdash combines study of Renais-sance Baroque and contemporary musicand improvisation on recorder viol andother early instruments with opportu-nities to explore Celtic and othertraditional music on hurdy gurdymountain dulcimer and pennywhistle
Friendly participants of all levels andages welcome newcomers into theMountain Collegium family Varied classofferings time for informal music-making and evening English countrydancing bring students back year afteryear Faculty Valerie Austin AtossaKramer Jody Miller Patricia PetersenJohn Tyson (recorders other winds)Martha Bishop Lisle Kulbach HollyMaurer Gail Ann Schroeder Ann Stierli(strings) Lorraine Hammond JohnTrexler (traditional music)
Contact Patricia Petersen
1702 Vista St Durham NC
27701 919-683-9672
patpetersenearthlinknet
mountaincollegiummusicorg
GREAT LAKES SUZUKI FLUTE amp
RECORDER INSTITUTE
McMaster University Hamilton ON CanadaJuly 4-11 Teacher training Book 1July 7-11 Teacher training Book 2July 7-11 Student InstituteDirector David Gerry
Master classes group instructionrecitals plus enrichment classes forstudents Teacher training with MaryHalverson Waldo
Contact David Gerry 129 Locke
Street South Hamilton ON L8P
4A7 CANADA 905-525-9549
dgerrynasnet davidgerryca
CANTO ANTIGUO EARLY MUSIC
AND RECORDER WORKSHOP
Chapman University Orange CAJuly 5-12Directors Thomas Axworthy Ronald Glass
This one-week workshop is designed to broaden the performance skills ofexperienced students and introduceRenaissance and Baroque instrumentsand musical experiences to beginningand intermediate players Students at alllevels participate in instrumental vocaland dance instruction performance
The workshop takes place at ChapmanUniversity Studios dining hall andresidences are all air-conditioned Thisinvitingly landscaped peaceful campuswith garden paths is a mixture of historic and modern architecture
The theme of this yearrsquos workshop isMusic of the Italian Renaissance Dancesmasses motets and ceremonial musicwill resonate as we explore the music ofMonteverdi Palestrina Gesualdo et al
Faculty includes Thomas AxworthyJanet Beazley Mark Davenport RonGlass Carol Lisek Jim Maynard and Alice Renken
Contact Ronald Glass
129 Altadena Dr Pittsburgh
PA 15228-1003 800-358-6567
(day) 310-213-0237 (evening)
562-946-4081 (fax)
evanesa2aolcom
cantoantiguonet
CAMMAC EARLY MUSIC WEEK
Lake MacDonald Music Center Harrington QC Canada
July 5-12Directors Francis ColpronMarie-Nathalie Lacoursiegravere
CAMMAC provides a unique oppor-tunity to make music with family and
20 March 2009 American Recorder
friends in a beautiful setting north ofMontreacuteal QC under the guidance ofinternationally acclaimed professionalmusicians
In four daily 75-minute classes pluslectures early music lovers will have the opportunity to play to their heartrsquoscontent
Small ensembles and voice classes are setup ahead of time registration for otherclasses occurs on site the first eveningCourses include choir large instrumentalensemble many recorder and violclasses Medieval and Renaissanceensembles Orff method and Baroquedancing There are courses foradolescents and a program for children 4-11 years old
Special project in 2009 The Fairy Queenby Purcell with choir instrumentalensemble soloists and staging Keyfaculty Matthias Maute ChristopherJackson Laura Pudwell MargaretLittle Marie-Nathalie Lacoursiegravere
Contact Johanne Audet
85 Chemin CAMMAC Harrington
QC J8G 2T2 CANADA
888-622-8755 1
819-687-3323 (fax)
nationalcammacca
cammaccaenglishTabLM
Summershtml
MADISON EARLY
MUSIC FESTIVAL
University of WisconsinndashMadison July 11-18Directors Cheryl Bensman Rowe and Paul Rowe artistic Chelcy Bowles program
MEMF joins the 2009 InternationalYear of Astronomy in a global celebrationof astronomy and its contributions tosociety and culture including the 400thanniversary of the first astronomicalobservation made through a telescope byGalileo Galilei Galileorsquos fatherVincenzo was a musician and musictheorist who combined the practice andtheory of music with mathematicaldiscussion of harmonymdashand influenced
Galileorsquos experiments MEMFcelebrates its tenth season exploringworks of music and the arts inspired by ascientific discovery that had tremendousimpact on culture and civilization
MEMF was created to provide anopportunity for musicians scholarsteachers and early music enthusiasts togather and exchange information andideas about Medieval Renaissance andBaroque music and to bring acclaimedearly music artists to the Midwest toperform in beautiful Madison
Featured MEMF 2009 guest artists-in-residence include Marion VerbruggenThe Newberry Consort QuicksilverPiffaro and Venere Lute QuartetRecorder faculty members includeMarion Verbruggen Joan KimballPriscilla Smith and Robert Wiemken
Contact Chelcy Bowles University
of WisconsinndashMadison 720 Lowell
Center 610 Langdon St Madison
WI 53703 608-265-5629
608-262-1694 (fax)
musicdcswiscedu
memfdcswiscedu
PORT TOWNSEND
EARLY MUSIC WORKSHOP (ARS)
University of Puget Sound Tacoma WA
July 12-18Directors Letitia Berlin Frances Blaker
Join us this summer at our new locationwith a star-studded faculty a beautifultree-lined and easy-to-navigate campuswith accessible facilities and acurriculum that will leave you wishingthere were 48 hours in a day
Consort and technique classes forrecorder and viol consort and mixedrepertoire recorder master classpercussion for all levels Hildegard forsingers Baroque flute beginning violtheory workshop orchestra and moreMake an all-Medieval schedule or mix it up with a class from almostevery period of music
Work hard and play hard with friends
new and old Intense music-making thatwill inspire you during the workshop andthroughout the year
Directors Tish Berlin and FrancesBlaker eagerly await your arrival andanticipate a splendid workshopRecorder faculty Janet Beazley TishBerlin Frances Blaker Vicki BoeckmanLouise Carslake Charles ColdwellRotem Gilbert Kim Pineda
Contact Jo Baim Workshop
Administrator 1108 frac12 Alki
Ave SW Seattle WA 98116
206-932-4623
workshopseattle-recorderorg
seattle-recorderorg
wwwAmericanRecorderorg March 2009 21
Amherst Early Music FestivalJuly 12-19 and 19-26 2009
Connecticut College New London CT
Renaissance consortsBaroque ensemblesMaster classesRenaissance AcademyEarly notation and moreNo audition required
July 12-19Baroque Academy
July 19-26 Virtuoso Recorder Recorder Seminar
Audition deadline May 15
wwwamherstearlymusicorginfoamherstearlymusicorg(617) 744-1324
AMHERST EARLY MUSIC FESTIVAL
(ARS)
Connecticut College New London CT July 12-19 Baroque Academy July 19-26 Virtuoso Recorder Recorder SeminarRenaissance Academy
Director Marilyn Boenau
Music of England and Spain Two weeksof classes in most early instrumentsvoice dance and notation
Week 1 includes classes for recorderviol other early instruments voicedance and notation Special programsBaroque Academy Baroque AcademyOpera Project (Purcellrsquos Dioclesian)
July 18-19 Music amp InstrumentExhibition
Week 2 comprises classes for recorderviol other early instruments voice andnotation Special programs VirtuosoRecorder Recorder SeminarRenaissance Academy
Evening activities include Englishcountry dance madrigals and informalplaying sessions Connecticut College ineastern CT offers comfortable air-conditioned accommodations naturalareas for walking and a view of LongIsland Sound Scholarships and work-study aid available
Contact Marilyn Boenau
Director or Cathy Stein
Administrator 47 Prentiss St
Watertown MA 02472
617-744-1324 (day)
617-744-1327 (fax)
infoamherstearlymusicorg
amherstearlymusicorg
MIDEAST WORKSHOP (ARS)
LaRoche College Pittsburgh PAJuly 19-25Director Marilyn Carlson
Music of Spain 55-60 students of allability levels adults only Instruction forrecorder (all levels except novice) violharp flute You may enroll for recorder
viol flute as primary instrument harpvoice recorder viol as secondary instru-ment Large and small ensembles all-workshop ensemble (instruments andvoices) Renaissance band (recordersviols capped reeds voice) Medievalcollegium (puzzles amp canons) consorts(by level) vocal ensemble Also Englishcountry dance penny whistle We alsooffer viol-for-novice and harp-for-novice each providing the opportunityfor hands-on experience without owningan instrument Other classes on specialearly music topics and literature
Faculty Marilyn Carlson directorMartha Bixler Stewart Carter JudithDavidoff Eric Haas Mary JohnsonPeter Ramsey Kenneth Wollitz otherfaculty to be announced All facilities areair-conditioned
Contact Marilyn Carlson
1008 Afton Road Columbus OH
43221-1680 614-754-7233
mcarlsoncolumbusrrcom
mideastearlymusicaddrcom
22 March 2009 American Recorder
San Francisco Early Music SocietySummer Workshops 2009Recorder middot July 19ndash25 2009La Dolce Vita di Flauto middot Explore the full range of recorder music from the Middle Ages to the 21st century through ensemble work technique sessions and recorder orchestra For the devoted amateur all ages intermediate to advanced Friendly atmosphere small classes Quiet campus near all amenities Special offerings Recorder orchestra recorder master class coached informal playing Faculty Louise Carslake Frances Feldon Rotem Gilbert Katherine Heater Norbert Kunst Patrick OrsquoMalley and Hanneke van ProosdijInfo Frances Feldon 510-527-9840 franfelaolcom
Baroque Music amp Dance middot June 14ndash20 2009Music in Italian Cities middot Master classes recorder ensemble concerto evening coached ensembles classes concerts and lectures Featuring recorder faculty Frances Blaker and Clea GalhanoInfo Kathleen Kraft 707-874-2014 kkraftsonicnet
Medieval amp Renaissance Music middot June 28ndashJuly 4 2009Stories amp Legends middot Classes for voices recorders viols and alta capella voice master class ensemble coaching storytelling for musicians and storytelling accompaniment Renaissance choir medieval band theater project faculty and student concerts lectures and more Featuring recorder faculty Frances Blaker Annette Bauer Dan Stillman and Tom ZajacInfo Tom Zajac 617-323-0617 medrenmailgmailcom
Music Discovery middot June 21ndash26 2009Day camp for youth ages 7 to 15 Early music and Renaissance social history Instruction in recorder harpsichord strings chamber music musicianship crafts costume-making games and more Beginners to advanced students welcome Featuring recorder faculty Vida Bateau and Letitia BerlinInfo Letitia Berlin 510-559-4670 tishberlinsbcglobalnet For more information visit our web site wwwsfemsorg
SAN FRANCISCO EARLY MUSIC
SOCIETY RECORDER WORKSHOP
(ARS)
St Albertrsquos Priory Oakland CA July 19-25Directors Frances Feldon Katherine Heater
Jam-packed week of recorder ensembleplaying concerts and the opportunity toimprove your skills working with highlyrespected recorder specialists in afriendly yet serious atmosphere Explorethe full range of recorder music from theMiddle Ages Renaissance and Baroqueto the 21st century through ensemblework technique sessions and recorderorchestra For the devoted amateur of allages from intermediate to advanced
Small classes Quiet campus Specialofferings recorder orchestra recordermaster class coached informal playing
Featuring recorder faculty LouiseCarslake Frances Feldon RotemGilbert Norbert Kunst PatrickOrsquoMalley and Hanneke van ProosdijOther faculty Katherine Heaterharpsichord
Contact Frances Feldon SFEMS
PO Box 10151 Berkeley CA
94709 510-527-9840
franfelaolcom sfemsorg
WINDSWEPT MUSIC WORKSHOP
William Jewell College Liberty MOJuly 19-25Director Phyllis Pasley
Bring your artistry to life Strengthen the mindbody connection and exploreenergy and music at Creative MotionAlliancersquos 59th annual summerconference Windswept Professionalmusicians conductors teachers studentsand amateur music enthusiasts willdiscover barriers that inhibit the free flowof energy and learn the secrets of inner-directed artistic music-making Classesin piano voice instrumental musicexpressive arts and independent studyMaster class coaching and conductingopportunities available Using move-
ment exercises analysis and bodyresponses explore music and energy in a unique inter-generational workshopformat Opportunities for independentrecorder study and private lessons enrichthe music-making experience
Registration fee $50 prior to 51509Tuition room meals $535 adults $400students 12-18 (must attend with parentteacher or sponsor) special half-weekrate $275 (Sunday-Wednesday noon)Memberfamily discounts Three hoursgraduate credit ($225) 3 CEUs ($50)and private lessons ($25 each)
Contact Phyllis Pasley 2208
Clouds Peak Maryland Heights
MO 63043 314-628-9862
directorcreativemotionorg
creativemotionorg
BOXWOOD FESTIVAL CANADA
Lunenburg Nova Scotia CanadaJuly 19-26Director Chris Norman
Discover musical and dance traditionswhile visiting one of North Americarsquosmost exquisite 18th-century seasidetowns Concerts dances sessionsclasses lectures with leading artists in therealms of traditional folk early musicdance and improvisation Work study ampscholarships available Gourmet cuisine
Faculty Chris Norman directortraditional amp early flutes FrancisColpron recorder ensembles LisaBesnoziuk Baroque flute DavidGreenberg Cape Breton amp Baroqueviolin Edmund Brownless voice shape note singing Marie Bouchardharpsichord Robert Dick contemporarytechniques amp composition Conal O Grada Irish flute Jerry OrsquoSullivanpipes whistle Rod Garnett flutefundamentals ethnic flutes PierreChartrand social dance MarlysNorman ballet classical dance Rod Cameron flute maker Tempest Baroque
Contact 902-634-9994
boxwoodorg
musiqueroyalecom
MACPHAIL SUZUKI INSTITUTE
FOR PIANO GUITAR FLUTE
AND RECORDER
MacPhail Center for the Arts Minneapolis MNJuly 19 Every Child Canreg July 19-26 Recorder Book 1July 20-24 Student InstituteDirectors Cindy Malmin Mary Halverson Waldo (auditions)
Suzuki Clinicians Marilyn Taggartpiano Tadeusz Majewski piano DavidMadsen guitar Kathleen Schoenfluterecorder MacPhail Suzuki faculty
Sanctioned by the Suzuki Association ofthe Americas MacPhailrsquos SuzukiInstitute allows Suzuki students of allages to share in motivating enrichingand wide-ranging musical experiencesStudents work with master teachers andimprove skills technically and musicallyDaily classes and observation includeapplied study theoryreading skillsensemble skills chamber music perfor-mance practices composition improv-isation master classes recitals art andmusic world musicdrumming musichistory recitals and presentations TeenMusical Revue (ages 13-18) fashioncharacter sketches develop a frameworkor theme and present to an audience
Who may attend Suzuki students whohave completed the Twinkle Variations(preschoolndashgrade 12 parents or another
wwwAmericanRecorderorg March 2009 23
Amherst Early Music Festival
(photo by Marc Weinberg)
responsible interested adult must attendwith students under high school age)teacher traineesobservers Participantsmust arrange meals housing and trans-portation Teacher Training prerequi-sites Every Child Canreg before Book 1courses must be taken in order throughBook 2 Contact workshop regardingrequired audition and preparation
Contact Cindy Malmin
612-767-5461
malmincindymacphailorg
Mary Halverson Waldo
5679 Harding Lane Shorewood
MN 55331 952-470-5853
mhalvwaldogmailcom
INTERNATIONAL BAROQUE
INSTITUTE AT LONGY
Longy School of Music Cambridge MA
July 24-August 2Directors Paul Leenhouts co-director Phoebe Carrai
VenicendashDresden Connection InternationalMeeting Grounds Music of MonteverdiVeracini Hasse Heinichen MarcelloVivaldi Pisendel Albinoni ZelenkaLotti Schein Schutz Quantz Gabrieli
2009 faculty Paul Leenhouts recorderPhoebe Carrai rsquocello ElizabethBlumenstock violin Ricard Bordasvoice Arthur Haas harpsichord LucasHarris lute Ken Pierce early danceGonzalo Ruiz oboe Mary Springfels
viola da gamba Jed Wentz traverso
Contact Karen Burciaga Com-
munity Programs Registrar One
Follen St Cambridge MA 02138
617-876-0956 X1532 (day)
617-354-8841 (fax) karenbur
ciagalongyedu longyedu
RECORDER AT THE CLEARING
The Clearing Ellison Bay WIJuly 26-August 1Directors Pat Badger Adrianne Paffrath
Recorder ensemble has been a traditionat The Clearing for over 25 yearsEnsemble playing is the weekrsquos focusEach day begins with a warm-up ofvoices and bodies as we sing rounds andready our muscles for performanceDaytime sessions focus on rhythmicchallenges recorder technique andensemble blend emphasis is on growthprocess and most of all enjoyment To participate fully you need at leastintermediate skills on a C or F recorder
Adrianne Paffrath coached on recorder with ARS teachers She is music directorat Racinersquos First Presbyterian ChurchPatricia Badger has studied early musicinstruments natural and classicaltrumpet She is performing arts head ofThe Prairie School Jointly they haveperformed for Medieval festivals grapestompings Shakespeare celebrations anda circus parade
Contact The Clearing PO Box 65
Ellison Bay WI 54210-0065
877-854-3225 920-854-9751
(fax) clearingtheclearingorg
theclearingorg
AMERICAN RECORDER SOCIETY
FESTIVAL AND CONFERENCE
University of Missouri at St Louis St Louis MO
July 30-August 2
Attend the second ARS Festival andConference for one day ($150) or allweekend ($350)
Sessions include recorder techniquepedagogy introductions to Orff Suzukiand Flutes and Drums Around the Worldmethods improvisation roundtablediscussions how to conduct yourconsort coached playing sessions forMedieval Renaissance Baroque worldand contemporary repertoire recorderorchestra incorporating percussion intoyour ensemble Also recorder mainte-nance choosing a recorder building aweb site using Sibelius music softwareMini-concerts by the next generation ofprofessionals master classes concerts byMarion Verbruggen and the FarallonRecorder Quartet Exhibition ofrecorder builders music sellers andmore CEUs available
Presenters Louise Austin AnnetteBauer Tish Berlin Frances Blaker Joyce Callanan Louise Carslake
24 March 2009 American Recorder
The Summer Toot is once again in Austin at the beautiful new facility of Concordia University The lushly wooded campus offers air-conditioned classrooms dining and dorm accommodations and is backed by a nature preserve Please join us
Our featured faculty includes Tish Berlin Tom Zajac Mary Springfels The Texas Toot offers a one-week program of classes in Renaissance and Baroque music at all levels featuring expert instructors in re-corder viol early reeds lute harp and voice
Danny Johnson workshop director Susan Richter administrator For more info
httpwwwtootorg or email infotootorg
11th Annual Summer Texas Toot June 14-20 2009 mdash Austin Texas
Mark Davenport Cleacutea Galhano LisetteKielson Lorraine Krige JudithLinsenberg Peter Maund Nina SternMarion Verbruggen Leslie TimmonsJim Tinter Mary Halverson Waldo
Contact Yvonne Miller-Nixon
Conference Administrator
1129 Ruth Dr St Louis MO
63122 800-491-9588 (day)
arsconfplannercharternet
americanrecorderorg
EARLY MUSIC WEEK AT
PINEWOODS CAMP (ARS)
Pinewoods Camp Plymouth MA August 15-22 Director Sheila Beardslee
The Myth amp Magick Creativity andInspiration in Early Music Surely thedeities of Olympus will surround us atPinewoodsndashwhere the myths of earlymusic will be made clear and our staff rsquosldquomagickalrdquo skills will hone and perfectour knowledge and performance of early music and dance
If yoursquove never played a musical instru-ment (but wish you could) or if youstudied music years ago (and fear yoursquoveforgotten) classes in recorder and violwill get you started or help brush off therust Advanced and intermediate playersand singers choose from a wide array ofclasses led by an outstanding faculty of professionals and teachers of earlywinds (recorders reeds brass) strings(viols violin) harpsichord and voice
New staff faces this summer areAnonymous 4rsquos Susan Hellauer voiceand Lisa Terry viol We welcome backDorrie Olsson historical dance andScott Higgs English country dance
We relax with two ponds for swimmingcanoeing a camphouse deck for readingafternoon tea and lots of dancing EarlyMusic Week continues its long traditionof superb teaching in a welcoming com-munity enhanced by special eventspresentations concertsmdashand dancing
Advanced musicians work intensivelyamateurs are engaged and challengedand beginners are always made welcome
Contact Steve Howe Country
Dance and Song Society
PO Box 338 Haydenville MA
01039-0338 413-268-7426 X3
(day) 413-268-7471 (fax)
campcdssorg cdssorgem
MONTREacuteAL RECORDER FESTIVAL
McGill University Montreacuteal QC Canada
September 17-20Directors Matthias Maute Sophie Lariviegravere
Conference consort music recorderorchestra concertsmdashEnsemble Capriceand Quynade (Israel) solo recital byMaurice Steger (Switzerland)
Contact Ensemble Caprice 4841
Garnier Montreacuteal QC H2J 3S8
CANADA 514-523-3611
514-523-1322 (fax)
infoensemblecapricecom
ensemblecapricecom
HIDDEN VALLEY INSTITUTE
FOR THE ARTS
EARLY MUSIC ELDERHOSTEL
Carmel Valley CANovember 1-7 November 8-14Directors Letitia Berlin workshopPeter Meckel HVIA
Enroll for one or both weeks Adults ofall ages welcome
Week I intense classes for upper inter-
mediate to advanced levels Week Ifaculty Letitia Berlin Frances BlakerLouise Carslake Annette Bauer(recorder) David Morris (gamba)
Week II all levels except beginnerClasses include recorder technique viol consort Baroque chamber musicconsort classes for Medieval Renais-sance Baroque and contemporary reper-toire workshop orchestra Week IIfaculty Letitia Berlin Frances BlakerTBA (recorder) Shira Kammen (earlystrings singing Medieval topics) MarySpringfels (viola da gamba)
Evening events include faculty concertstudent concert free-lance playing FreeWednesday afternoon for more playingor sightseeing Improve your playing in asupportive friendly atmosphere withworld-class teachers
Contact Peter Meckel
PO Box 116 Carmel Valley CA
93924 831-659-3115
831-659-7442 (fax)
hvmsaolcom
hiddenvalleymusicorg
wwwAmericanRecorderorg March 2009 25
26 March 2009 American Recorder
Am
herst
AR
S
Festival and
Co
nference
CA
MM
AC
Early M
usic
Week
Canto
Antiguo
Reco
rd
er
at th
e
Clearing
Great L
akes
Suzuki
FluteR
ec
Hid
den
Valley
Eld
erh
ostel
Interlo
ch
en
Early M
usic
Inst
Lo
ngy Intl
Baro
que
Inst
Marin
Head
land
s
Mid
east
Mo
ntreacuteal
Reco
rd
er
Festival
COST $520TW $350T C$1014ED $860 $1035E TBA $799D $389T $675T $210ED $735D $130TNO OF DAYS 814 1-4 7 7 7 5-8 714 6 10 3 6 4ARS DISCOUNT NO YES NO YES NO NO NO NO NO NO NO NONO OF FAC RECORDER FAC 4315 1716 165 85 22 82 543 11 101 1010 96 66NO OF STUDENTS 150wk 60 110 35 19 45 35 20 50 75 60 50RECORDER CLASSLEVELS
LIHIAV
BLIHIAV
BLIHIAV
BLIHIAV LIHIA BLI
LIHIAV LIHIA AV
LIHIAV
BLIHIAV
BLIHIAV
SPECIAL CLASSES USING RECORDERS
CMRMB20ENMROT
RPMRMB20MROPTO
CMRMBRO
MRMBENROPT CRO
RPMPT
CMRMB20MROPT
RPCMRMBENMROPT MBMP RP20
RPCMRMB20ENMTO
CMRMBMRO
NON-RECORDERCLASSES
CWKVPSDO PO
CWKVDT CWVD C O KVPS
CWPKVPST WK VD
CWVPSDO
MUSICALACTIVITIES
FSLSPP FLO FSLSP FS SP FSLP FSP
SLSPPO FSLP P FSLP FS
RECREATION D GS BSTW D FBSW FSO OBSTWO S O G
OTHERS WELCOME SC S SC S S S S SDIRECTTRANSPORTATION SC SBCP SP BCLP BP SB CPUP CL PUP
SBCPUP
TRANSPORTATIONTERMINALS
A50B2 T2 A B T
A10B3 T5
A80B80
A50B10 T10
A20B20 T20
A16B16
A4B3 T3 A20
A15B10 T10
A4B3 T3
ROOMS SD SD SD SD SDC SD SD SDC DBATHS SSP SSPP SP P SSPP SSPP SP P S PFOOD CV C GV CV FV C F CV CV CHANDICAP ACCESS HCD HCD HCD HCD HC HCD HD HCD C HCD HCD C
KEYCOST Includes tuition room (single occupancy unless otherwise noted) meals plus other fees E=estimated T=tuition only D=double occupancy W=one week
NO of DAYS Includes arrival and departure daysARS DISCOUNT Discount offered for ARS members FACULTYRECORDER FACULTY Number of facultyrecorder faculty within that number STUDENTS Average over last two yearsRECORDER CLASS LEVELS B=beginners LI=low intermediate HI=high intermediate A=advanced V=very advanced
SPECIAL CLASSES USING RECORDERS RP=recorder pedagogy C=one-on-a-part consorts MR=mixed Renaissance ensembles MB=mixed Baroque ensembles 20=contemporary music EN=early notation M=master class RO=recorder orchestra P=private lessons available T=technique O=other
NON-RECORDER CLASSES C=choral W=other winds P=percussion K=keyboard V=viols PS=plucked stringsD=danceT=theory I=instrument building O=other
MUSICAL ACTIVITIES F=faculty concert S=student concert L=lecture SP=special production P=organized informal playing O=other
RECREATION D=dancing F=field trip G=gym B=biking S=swimming T=tennis W=waterfrontbeach O=otherOTHERS WELCOME S=non-playing spousesfriends C=children (day care not generally available)DIRECT TRANSPORTATION TO WORKSHOP S=shuttle from airport B=bus C=cab L=limo PU=will pick up P=free parking O=other
TRANSPORTATION TERMINALS A=air B=bus T=train (number indicates miles from workshop to nearest terminal)
ROOMS S=singles D=doubles (with ldquo+rdquo can accommodate up to triples) C=cabins O=other =Graduate dormsBATH FACILITIES S=shared SP=semi-private P=privateFOOD C=college style F=family style G=gourmet V=vegetarianHANDICAP ACCESS H=housing C=classrooms D=dining
INFORMATION SUPPLIED BY WORKSHOP DIRECTORS
2009 SUMMER RECORDER WORKSHOPS
Here are some suggestions foravoiding overuse syndromes Most obvious warm up This meansincreasing your practice time graduallybefore the workshop begins andwarming up yourself and yourinstrument before each rehearsal
Make your playing situation ascomfortable as possible Take along acushion back rest footstool whateverit takes the ear and hand cannot ab-sorb what the bottom cannot tolerate
Be sure your glasses are ideal for the distance from your eyes to themusic desk that usually amounts to anarmrsquos length away (You can select apair at your local drug or departmentstore if you have no serious astigma-
tism) If glare from bright light (thosemarvelous outdoor rehearsals) is aproblem for you you may find that ayellow tint for your glasses is a help
Get your bodily playing equip-ment in the best possible shape beforethe workshop a visit to the dentist tosmooth off a front tooth for a windplayer can make an enormous differ-ence in endurance A layer of plasticwrap over the teeth (before yoursquoveworn a hole in your lip) may also help
Once yoursquove arrived at the work-shop there are ways to ensure thatstress (inevitable) doesnrsquot becomedistress (mostly preventable)
Take reasonable breaks duringrehearsal time and use them to stretchA little aerobics like running in placetakes very little time and gets rid ofthat stiff-from-sitting feeling Get yourfellow ensemble players to massageeach othersrsquo shoulders Other fre-
Do you have a favorite article from years past in AR E-mail that information to Gail Nickless
editoramericanrecorderorg
wwwAmericanRecorderorg March 2009 27
Mo
untain
Co
llegium
Pinew
oo
ds
Early M
usic
Week
Po
rt
To
wnsend
SF
EM
S
Baro
que
SF
EM
S
Ch
ild
rens
SF
EM
S
Med
ieval amp
Renaissance
SF
EM
S
Reco
rd
er
Texas T
oo
t
Wh
itew
ater
Wind
sw
ept
Music
Wo
rksh
op
Wo
rld
Fello
wsh
ip
$800ED $890ED $975 $950 $370T $950 $950 $740E $245 $535D $850E COST7 8 7 7 5 7 7 7 3 6 7 NO OF DAYSNO NO NO YES YES YES YES YES NO NO NO ARS DISCOUNT
125 189 169 102 82 124 76 136 1110 131 83NO OF FAC RECORDER FAC
50 100 100 55 30 70 40 50 110 45 30 NO OF STUDENTSLIHIAV
BLIHIAV LIHI AV
LIHIAV
BLIHIAV LIHI AV LIHIA LIHIA
BLIHIAV
BLIHIAV
RECORDER CLASSLEVELS
CMRMB20TO
CMRMBENROT
MRMB20MROPT
MBMPTO
CMRMBPTO
CMRENMPTO
C20MROPTO
CMR20MPT
CMRMB20ROTO MP
CMRMBMRO
SPECIAL CLASSES USING RECORDERS
WVDTO
CWKVPSDT CPVT
CWKVPSTO
KVDTO
CWPVPSTO O
WKVPSTO
CWVTO
CWPKVD
CKVDT
NON-RECORDERCLASSES
FSLSPP FSP
FSLSPPO FSSP
FSLSPPO
FSLPO
FSLPO SPO FSL PO FSLP
MUSICALACTIVITIES
DGBS DSWFGBSTW
DGBST D
DGBST DO SO
DFSWO RECREATION
S S SC SC S S SC SC OTHERS WELCOME
P SC CPUP SCP SCP SBC LP SPUP P BPUDIRECTTRANSPORTATION
A50B15 T15
A15B7 T6 A59
A20B2 T5 A59
A12B4 T1 A40 A
A20B15 T28 B10
TRANSPORTATIONTERMINALS
SD SD S S CALL S S SD SD SD SD ROOMSSP S SP P P SP P S S S BATHSCGV FV CV CV CV CV CV CV CV FV FOODHCD CALL HCD HCD C HCD HCD HCD HCD HD HANDICAP ACCESS
AR50 AVOIDING ACHES amp PAINSBy Leacuteonie Jenkins MD (c1925- 2000) from the March 1993 AR Vol XXXIV1
quently overused parts such asforearms and hands also respond to massage Quick tutorial on massagestart stroking toward the body and inthe direction of the flow of the veinsmdashupstream from the sorest partgradually work down to include thesore spot Yoursquore trying to move overthe underlying muscle not to rub theskin Thatrsquos why a little oil helps
Your psyche may need some relieffrom overload too Most workshopsare in surroundings that lend them-selves to taking a walk finding a placeto meditate taking in some beauty In creating anything a musical per-formance no less than more static artforms breathing in is as necessary asbreathing out be sure you take time to do it
Not to be forgotten those partiesLate hours and alcohol are stressfultry to balance off the fun yoursquore havingwith your capacity for both Above allenjoy Thatrsquos why yoursquore going
2009 SUMMER RECORDER WORKSHOPS
By Bart Spanhove
The author has been principalprofessor of recorder at the Lemmens-
instituut Leuven (Belgium) since 1984He is also artistic director of the world
famous recorder ensemble the FlandersRecorder Quartet which is set to perform
in concert at the 2009 Boston EarlyMusic Festival He is often asked to serve
as a jury member for internationalrecorder competitions in Canada US
Germany The Netherlands and BelgiumHe has given numerous master classes andlecture demonstrations all over the world
Spanhove is co-author of thesuccessful recorder method Easy Going(Heinrichshofen) and wrote the much-
used book The Finishing Touch ofEnsemble Playing (Alamire 2000
and Moeck 2002 with translations inChinese and German) In 2009
The Recorder Music of Frans Geysenwill come out (Mieroprint)
Currently he is researching practicetechnique for the recorder Daily
Spanhove thinks about how to makepeople happier by making music and
playing the recorder
As a conclusion for the VirtuosoRecorder class during the AmherstWorkshop in 2008 we organized aldquoHappy Hourrdquo for our nine talentedstudents Mee-Jung Ahn (Korea)Emilie Hasselgren and Kristine West(Sweden) Anne Timberlake JosephLewnard Jacob Lodico and BrycePeltier (US) Emiliano Perez(Mexico) and Fanny Massy (France)participated in a quiz that I wrote thenight before with the assistance ofReine-Marie Verhagen
We combined questions regardingmusic theory with practical exercisessuch as middot How long can a player hold a
low f in one breath on an altorecorder (You get one point foreach second)
middot How many times through a scaleis a player able to play in 30seconds (For every octave of theF major scale you get one point)
middot How many different pieces fromthe recorder repertoire can aperson play in the course of twominutes (The other members ofthe group have to guess the nameof the composer before the playercan start the next piece)
middot In one minute list as manydifferent titles as you can fromDer Fluyten Lusthof (TheRecorderrsquos Pleasure Garden) of J J van EyckThe list of questions goes onAt the ldquoHappy Hourrdquo people
were divided into three groupsaccording to dates of each personrsquosbirthday When theoretical questionswere asked (see below) the pointsystem was devised as follows threepoints were awarded when the selected
person of a group could find theanswer himherself two points whenthe selected person needed the help ofthe other group members and onepoint if the group needed the help ofour gracious class assistant Reine-Marie Verhagen (she alwaysknew the answer) No points weregiven if the quizmaster had to supplythe answer
On the next page you find someof my questions There are morewhich we hope to run in a future issueof American Recorder
The quiz was full of fun andsuspense By the end people weremore nervous than when playing aconcert on stage Jacob Lodico of theUS was the winner at Amherst
28 March 2009 American Recorder
Education___________________________________ A quiz for recorder players
wwwAmericanRecorderorg March 2009 29
Try these questions yourselfAnswers appear at the end of thisarticle
The Quiz1 Give the name of Ganassirsquos
treatise of 1535 where heextensively describes the recorder playing and diminutions of his time
2 In which German city is therecorder company Moeck based
3 In the cantata Gottes Zeit ist dieallerbeste Zeit BWV106 JS Bach calls for two altorecorders Give another name for this cantata
4 Of which famous orchestra isFrans Bruumlggen the conductor
5 List three leading Japanesecomposers of excellent solo pieces for the recorder
6 Give the names of recordermagazines published inGermany England and the US
7 What is the fundamental tone of a fourth flute
8 List two recorder makers fromthe Baroque period in England
9 Whatrsquos the title of the recitativeand chorale in the Saint MatthewPassion where the recorder isused
10 Give the names of two famouspublishers in business around1700mdashone in London and one in Amsterdam
11 The opus 10 work by AntonioVivaldi includes six concertiSome of them have beautifulnames Give the names of thefirst three concerti of this opus
12 Whatrsquos a nickname for Jean Jacques Hotteterre
13 The combination of recorder andtraverso was rarely used in theBaroque time Can you name any composers who used thiscombination
14 Which king from 16th-centuryEngland owned a large collectionof recorders and also composedand enjoyed daily recorderplaying
15 How many movements compriseHandelrsquos Sonata in C Op 1 No 7 originally written forrecorder and basso continuo
16 Give the name of Praetoriusrsquostreatise from 1609 that describesthe whole recorder family
17 Name the author of the oldestrecorder method
18 Name Jan Jacob van Eyckrsquosdisability
19 Who pretended around 1930 thatthe recorder was a kind ofclarinet
20 Who doesnrsquot belong in thefollowing group Bertho DrieverKarel van Steenhoven MarionVerbruggen Paul LeenhoutsDaniel Bruumlggen
21 Name the two instrumentsindicated to play the sonataMeiner Mutter of Hans UlrichStaeps
22 Il Pastor Fido was not composedby Antonio Vivaldi but by aFrench composer What was hisname
23 Whatrsquos the nationality of themusic company Zen-On
24 CPE Bach composed abeautiful trio that includes a bassrecorder What are the other twoinstruments
25 Give the names of the fourmovements of Bachrsquos partita forsolo traverse flute BWV1013
26 Which excellent playersperformed as the recorder trioSour Cream
27 A recorder normally has eightfingerholes Despite this musichistory describes the recorder as ldquoune flucircte agrave neuf trousrdquo (a flute with nine fingerholes)Explain why
28 Give the French name for vibratoperformed by finger movementsalone on a wind instrument
29 Who wrote in his diaryldquohellipbeyond anything in the wholeworld the wind-music when the
Answers to
Bart Spanhoversquos Quiz1 La Fontegara2 Celle3 Actus Tragicus4 The Orchestra of the
Eighteenth Century5 R Hirose M Ishii and
M Shinohara
6 Windkanal or Tibia (both ofGermany) The Recorder(England) American Recorder(US)
7 B8 The most famous English
recorder makers around 1700Bressan and Stanesby (the latterbeing both senior and junior)
9 O Schmerz Hier zittert das gequaumllte Herz
10 Walsh (and Hare) (of London)Roger (of Amsterdam)
11 La Tempesta de Mare La Notte Il Gardelino
12 Le Romain13 JB Loeillet J J Quantz
JJ Hotteterre or J B de Boismortier
14 Henry VIII15 Five16 Syntagma Musicum17 Sebastian Virdung Musica
Getutscht und Ausgezogen (1511)18 Blindness19 Igor Stravinsky20 Marion Verbruggen21 Alto recorder and piano22 Nicolas Cheacutedeville23 Japanese24 Viola and cembalo25 Allemande Courante Sarabande
Bourreacutee26 Kees Boeke Walter van Hauwe
and Frans Bruumlggen27 Before 1670 the player could
choose how to hold the recordermdashleft hand or right hand at the topThis meant that recorder makersdrilled two holes to accommodatethe little finger of the hand thatended up at the bottom Theunused hole was sealed with beeswax
28 Flattement29 Samuel Pepys30 Flanders Recorder Quartet
30 March 2009 American Recorder
Lazarrsquos Early Music(866) 511-2981 jblazaraolcom
wwwLazarsEarlyMusiccom
292 Gibraltar Dr 108 Sunnyvale CA 94089
Strings amp Early Winds
ModernBaroque Strings Viols Vielle
Kuumlng Moeck Mollenhauer Paetzold Yamaha Ehlert
Wenner Baroque flutes
Wendy Ogle Lu-Mi Ifshin Snow
Competitive Prices
Sent on Approval
Personalized Service amp Advice
R
E
C
O
R
D
E
R
S
ldquoGO FOR NEO-BAROQUErdquo
Andrew Charlton Partita Piccola For 4 Recorders (SATB)
[Prelude Allemande Courante Musettemdash
a neo-baroque epitome] (Score amp Parts PBE-25) $795
Andrew Charlton Suite Moderne For 3 Recorders (ATB)
[Baroque shapes but Hindemithian harmony]
(3 Playing-Scores PBE-44) $995
Southwest of Baroque David Goldsteinrsquos ldquobaroque Suiterdquo
on Cowboy Songs For 2 Recorders (SA) (PBE-2) $350
The Provincetown Bookshop Inc
246 Commercial Street Provincetown MA 02657 Tel (508)487-0964
A good source for Recorder amp Viol Music of all publishers
Provincetown Bookshop Editions
angel comes down which is sosweet that it ravished me andindeed in a word did wrap upmy soul so that it made me reallysick just as I have formerly beenwhen in love with my wiferdquo
30 Whatrsquos the English name for afamous recorder ensemble calledin its country Vier op lsquon Rij
wwwAmericanRecorderorg March 2009 31
by Tim Broege timbroegeaolcom
December 11 2008 was a specialday for American music the
100th birthday of Americarsquos greatestliving composer Elliott Carter Cele-bratory concerts took place in manyvenues including Carnegie Hall inNew York There the Boston Sym-phony led by James Levine played anew work by Carter Interventions forpiano and orchestra The soloist wasanother well-known conductor DanielBarenboim who is no mean hand atthe keyboard to say the least
Itrsquos remarkable that wonderfulnew compositions continue to pourforth from Carterrsquos pen His musicsparkles and frolics packing lots of musical events into engrossingstructures Much of his music isavailable on CD so if you missed thecelebrations you can easily have yourown belated birthday party for Carter
Although he has never written for recorder (one of our prominent
recorder soloists should commissionhim) Carter has produced manychamber pieces featuring woodwindsSince many recorder players double orstarted out on woodwinds such piecesas the Sonata for Flute Oboe Cello ampHarpsichord (1952) Enchanted Preludes(1988) for flute and rsquocello Espritrudeesprit doux (1985) for flute andclarinet or the Oboe Quartet (2001)may hold special interest
If you missed Charlie Rosersquosexcellent interview (broadcast onDecember 10) with Carter Levine andBarenboim you can see it atwwwcharlierosecomview
interview9774mdashessential viewingfor fans of contemporary music
We note with sadness the passingon January 23 of another distin-guished American composer GeorgePerle An authority on the music ofAlban Berg and the Second VienneseSchool Perle developed a uniquelyrical style based upon a free approachto 12-tone and serial procedureswhich he dubbed ldquo12-tone tonalityrdquo I recommend listening to his SerenadeNo 3 for Piano amp Orchestra (1983) Six Etudes for Piano (1973-76) and the Pulitzer Prize-winning Wind Quintet No 4 (1985)
Another leading American com-poser Leon Kirchner is thankfully still with us having turned 90 onJanuary 24 Like Perle Kirchner has a highly personal and expressive styleA birthday concert was held at MillerTheater at Columbia University inNew York City NY Participatingmusicians included flutist PaulaRobison pianist Jeremy Denk and theClaremont Trio with the composerpresent to discuss his music
An excellent way to get to knowKirchnerrsquos music is through his stringquartets Just in time for his birthdayAlbany Records has released a fine CDof all four played by the Orion StringQuartet Quartet No 4 was written in2007 (when the composer was 87mdasha veritable youngster compared toCarter) The composer Allen Shawnhas described that quartet asldquoluminous and passionaterdquo words aptto describe much of Kirchnerrsquos output
Speaking of contemporary musicI have been spending pleasant hoursperusing the Catalog of ContemporaryBlockflute Music available online atwwwblokfluitorg from StichtingBlokfluit This Netherlands founda-tion offers a contemporary recordercatalog and a catalog of historicalrecorder music Access to both is byfree membership
For those who havenrsquot yet used thecontemporary catalog I urge you togive it a try You can search by manyparameters such as composer title orspecific instrumentation A search forldquovoice fluterdquo turned up a list thatincluded Moon Dances Three AmericanSketches by composer Walter Mays(intended for solo alto recorder butalso playable on tenor or voice flute)Searching the name of English com-poser Edmund Rubbra produced a listof eight works that employ recordersincluding the intriguing CantataPastorale opus 92 for high voice altorecorder rsquocello and harpsichord
Searching ldquofemale composersrdquo fora piece using ldquoBaroque altordquo yieldedAfter Meditation by Ros Bandt ofAustralia
What an easy and tremendouslyvaluable way to find new music
On the Cutting Edge___________________________________Birthdays composers and
recorder music catalogs
Elliot Carter
(photo by Meredith Heuer)
Question How does Renaissancefingering differ from standard
fingering on the recorder Is one superior tothe other Do you need a special recorder touse Renaissance fingering and if so can itbe played with regular recorders Is there afingering chart that shows RenaissancefingeringmdashWilliam BaumannWaterford WI
Answer from Carolyn Peskin Music composed in the
Renaissance the historical periodextending from about 1450 to 1600was predominantly vocal and highlycontrapuntal Recorders which oftendoubled singers at the octave orrendered vocal pieces instrumentallywere designed to make the individualmelodic lines clearly audible
Most 16th-century consortrecorders were one-piece instrumentswith large toneholes and a wide borethat contracted slightly starting nearthe upper fingerholes and thenexpanded gently near the lowest holesThat ldquochoke-borerdquo design togetherwith the voicing and tonehole con-figuration favored the fundamentaltone (first harmonic) producing astrong open sound that was aboutequally loud throughout theinstrumentrsquos range
Such recorders had a useful rangeof only about an octave plus a sixthwhich was nevertheless sufficient for the music of their day MostRenaissance-style consort recordersmade today are based loosely uponsurviving 16th-century instruments ofthe above type and are designed toapproximate the range timbre andvolume of those early instruments
Our present-day ldquoregularrdquorecorders are Baroque-derived instru-ments based loosely upon survivingrecorders from the late 17th and early18th centuries They are three-pieceinstruments with small toneholes and abore that is narrower and moretapering than a Renaissance boreextending their useful range upward totwo octaves plus a whole tone
Baroque recorders are soft andsweet-sounding in their bottom octavebut louder and brighter in the secondoctave Their lowest notes are espe-cially weak because they must be blowngently to prevent overblowing into thesecond octave Such instruments aresuitable for Baroque solo and chamberrepertoire but not very satisfying forRenaissance polyphony
Due to their different timbre andvolume Renaissance recorders will not blend well with Baroque onesFurthermore the most historicallyauthentic Renaissance-style recordersare tuned in a ldquomeantonerdquotemperament that facilitates the playingof pure major thirds Such instrumentsmake Renaissance music easier to playin tune but will produce intonationproblems if played with Baroquerecorders which are tuned in equaltemperament For the above reasonsRenaissance and Baroque recordersshould not be played together
Renaissance fingering will not work on todayrsquos neo-Baroquerecordersmdashmost of which haveldquomodernrdquo Baroque fingeringcommonly called ldquoEnglishrdquo fingering
because it was developed fromhistorical Baroque fingering by ArnoldDolmetsch in England during theearly 20th century Renaissancefingering is less standardized partlybecause a number of different originalinstruments are used as models andpartly because makers wish to improvethe intonation tone quality andorplayability of certain notes Howeverthe following generalizations apply tomany of todayrsquos Renaissance-styleconsort recorders
First in the lower octave modernBaroque fingering works for mostnotes but is often too flat for the fourth scale degree (eg soprano F)requiring removal of finger 7 (right-hand pinky) and is too sharp for theraised fourth degree (eg soprano F)requiring addition of finger 7
Modern fingering is also usuallytoo sharp for the lowered seventhdegree (eg soprano B) The correctfingering for that note varies from oneinstrument to another
In the upper octave modernfingering works for the first third andfifth scale degrees (eg soprano C Eand G) but usually not for other notesSome notes require half-holing with aright-hand finger and notes above thefifth scale degree may require additionof several fingers to bring them in tuneHistorical Renaissance fingering forthe second scale degree (eg sopranoD) is especially awkward because all ofthe fingerholes and the thumbholemust be uncovered Therefore somemakers substitute modern fingering forthat note
Although Renaissance fingeringand meantone tuning are recom-mended for the best blend some
Q amp A___________________________________ Renaissance recorder fingering
Send questions to Carolyn Peskin QampA Editor 3559 Strathavon Road Shaker Heights OH44120 carolynpeskinstratosnet
32 March 2009 American Recorder
wwwAmericanRecorderorg March 2009 33
makers of handcrafted Renaissance recorders will provide modern fingeringandor equal temperament upon request and Moeck Verlag offers a choice ofRenaissance or modern fingering for most sizes of its factory-producedRenaissance Consort series
For a most satisfying blend Renaissance ensembles should purchase amatched set of recorders tuned and voiced to be played together Renaissanceconsort sets usually include two different alto recorders one in G (lowest note g)and one in F (lowest note f ) The ATTB combination with the G-alto is best formost of the quartet music composed between 1450 and 1550 while the SATBcombination with the F-alto is more practical for much late 16th-centuryrepertoire (Playing the G-alto requires learning G-alto fingering or elsetransposing the alto line down a whole tone and using F-alto fingering)
In addition to consort recorders some makers offer ldquoGanassirdquo sopranos andaltos based upon fingering charts in Silvestro Ganassirsquos recorder tutor Fontegarapublished in 1535 and a single original instrument in the Vienna Kunst-historisches Museum Because of their special bore design (cylindrical with aflaring bell) Ganassi recorders have a range of two octaves and a sixth withcumbersome fingerings in the third octave They are used mainly as soloinstruments for playing intricate ornaments of the type found in Fontegara
Also sometimes included in the ldquoRenaissancerdquo category are ldquotransitionalrdquo(early Baroque) recorders which are based upon originals from the first half ofthe 17th century They have a bore that is wider than a Baroque bore but contractssharply near the lower end resulting in strong low notes and at least a full two-octave range usually with modern fingering Most transitional recorders aresopranos or altos designed for playing Jacob van Eyckrsquos variation sets or thehighly ornamented Italian solo repertoire of the late-16th and early-17thcenturies
However wide-bore consortrecorders with a range of at least twooctaves and modern fingering shouldalso be regarded as transitionalinstruments They differ somewhat intimbre and volume from typicalRenaissance consort recorders
Handmade wide-borerecordersmdashconsort Ganassi andtransitionalmdashare obtainable frommakers who advertise in AmericanRecorder the Prescott Workshop andthe Von Huene Workshop in the USJean-Luc Boudreau in Canada andStephan Blezinger in GermanyContact them andor visit their websites to find out what kinds ofrecorders they are currently makingand to get an idea of their prices andwait times
Factory-produced wide-borerecorders from Kobliczek Moeck andMollenhauer are available frominstrument dealers who advertise inAR New and used recordersincluding wide-bore models fromimportant makers in the US andabroad are also obtainable from Uni-corn Music For further informationvisit wwwbuyrecorderscom For a comprehensive database of recordermakers worldwide see Nicholas SLanderrsquos ldquoExtant Recorder Makers amp Retailersrdquo at wwwrecorder
homepagenetmakershtml
REFERENCES
CONSULTEDBauer Winfried
wwwrecorder-fingeringscomIncludes interactive fingeringcharts from modern makers andhistorical treatises Charts forRenaissance consort recorders byAdriana Breukink Adrian BrownBob Marvin and Tom Prescottwere consulted
Brown Adrianwwwadrianbrownorgrec
order_typesconsorthtml
Our present-day ldquoregularrdquo recorders are
Baroque-derived instruments based loosely
upon surviving recorders from the
late 17th and early 18th centuries
34 March 2009 American Recorder
The Von Huene Workshop Incis pleased to announce agreements with
CoolsmaZamra
to serve as their authorised service agents in the US
For more than 40 years the von Huene Workshop has produced some of the finest recorders in the world Our skilled staff can revoice retune and repair even the most seriously damaged instruments All repairs are done right on the premises and most can be completed within a week
For warranty repairs please include a copy of your original sales receipt
j 65 Boylston Street Brookline MA 02445 i(617) 277-8690 Fax (617) 277-7217 servicevonhuenecom
An informative article aboutrecorder sizes in Renaissanceconsorts
Brown Adrian and David LasockildquoRenaissance Recorders andTheir Makersrdquo AmericanRecorder Vol XLVII No 1(January 2006) pp 19-31 An important article based upon Brownrsquos extensive researchon 120 of the 200 surviving 16th-century recorders
Ganassi Silvestro Opera IntitulataFontegara Ed Hildemarie Peter(Berlin-Lichterfelde RobertLienau 1959) Modern edition ofthe oldest known treatise devotedentirely to the recorder (publishedin 1535) Includes 16th-centuryfingering charts
Griscom Richard and David LasockiThe Recorder A Research andInformation Guide (New York andLondon Routledge 2003) Anannotated bibliography including
references on construction anddesign of historical recorders
Levin Philip ldquoQampArdquo AmericanRecorder Vol XXXVIII No 4(September 1997) p 27Explains in simple terms thedifference between Renaissanceand Baroque recorders
Morgan Fred ldquoA Recorder for theMusic of JJ van EyckrdquoAmerican Recorder Vol XXV No 2 (May 1984) pp 47-49Describes the bore design of arecorder suitable for playing Van Eyckrsquos variation sets andcompares it with bore designs ofother types of recorders
Myers Herbert W ldquoRecorderrdquochapter in A Performerrsquos Guide toRenaissance Music ed JefferyKite-Powell (New York SchirmerBooks 1994) A 2nd edition isnow available published in 2007by Indiana University Press
FEATURING MUSICA PACIFICA
JUDITH LINSENBERG
RECORDERS____JS BACH TRIO SONATAS Arr by
Linsenberg from Trio Sonatas for Organ BWV525-
530 Sonata No 1 in E
major (transp to B
)
BWV 525 Sonata No 2 in C minor (transp to E)
BWV526 Sonata No 3 in D minor (transp to G)
BWV 527 Sonata No 4 in E minor BWV 528
Sonata No 5 in C major (transp to F) BWV529
Sonata No 6 in G major (transp to C) BWV 530
Virgin Classics Veritas 1993
____FIRE BENEATH MY FINGERS Showcases
three legendary composers who were also
virtuoso performers Vivaldi Concerto in F major
after RV 98570 ldquoLa Tempesta di Marerdquo Sonata in
A minor RV86 Concerto in G minor RV106 Con-
certo in Bb major RV503 Sammartini Concerto in
F major Tartini Concerto in A major D91 Dorian
____MANCINI CONCERTI DI CAMERA Seven
sonatas by Francesco Mancini plus one work each
from his contemporaries Francesco Durante amp
Domenico Scarlatti Highly recommended citation
from the 2000 Vivaldi Prize for Recordings of Italian
Early Music--Giorgio Cini Foundation Dorian
____MARAIS MARIN PIEgraveCES EN TRIO POUR
LES FLUcircTES VIOLON amp DESSUS DE VIOLE
Maraiss complete works for two treble lines and
bass with varied instrumentation and orchestrations
2-CD set $24
____SCARLATTI CONCERTI DI CAMERA
Seven sonatas for various instrumentations no
poor relations to the composers much more widely-
known vocal output All recorder players should
certainly have thisndashEarly Music Review
____TELEMANN CHAMBER CANTATAS
Five cantatas from Harmonischer Gottesdienst two
sonatas from Sonatas Corellisantes 2003 Chamber
Music America WQXR Record Award for best
chamber music recordings
____VIVALDI LA NOTTE Concerti per strumenti
diversi Award-winning CD featuring five Vivaldi
concerti two sonatas
AND OTHER RECORDING
ARTISTS FROM CALIFORNIA ____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 American Bach Soloists Jeffrey
Thomas conductor Dan Laurin Hanneke van
Proosdij recorders Christmas Concerto featuring
unique 1725 London version with solos transcription
for two recorders instead of two solo violins in
three of the six concertos Delos
____CANCcedilONIEgraveR Annette Bauer recorder
multi-instrumentalist Tim Rayborn Shira Kammen
strings Phoebe Jevtovic voice in a new early
music group devoted to repertoire from the
12thndash15th centuries as well as traditional music
from related regions (the Balkans Scandinavia
Middle East) Medieval instrumental music played
on a variety of instruments including strings
recorders and percussion Medieval dances and
motets bring to life the rich world of ancient
European music-making
____SACRED AND SECULAR MUSIC FROM
RENAISSANCE GERMANY Ciaramella-Adam amp
Rotem Gilbert Doug Millikan Debra Nagy
recorders with other winds shawm sackbut amp
organ Medieval amp Renaissance sacred music with
reconstructions of folksongs amp arrangements based
on contemporary improvisation
____BURIED TREASURE TOPAZ amp SAPPHIRE
Ensemble Vermillian Frances Blaker recorders
Barbara Blaker Krumdieck cello Elisabeth Reed
gamba Katherine Heater harpsichord amp organ
Transcriptions of Buxtehudes Op 1 other pieces by
Buxtehude works by Biber Johann Schop
Schmelzer Fafarela 2007
____STOLEN JEWELS Ensemble Vermillian
Frances Blaker recorders Barbara Blaker
Krumdieck Elisabeth Reed Katherine Heater 17th-
century German music adapted by Blaker I love
violin music so I steal the music and rearrange it
for my own instrumentrdquo Buxtehude Op 1 Biber
Rosenmuller Krieger JM Bach Fafarela
Recordings
____SENFL (LUDWIG) Farallon Recorder Quartet
(Letitia Berlin Frances Blaker Louise Carslake
Hanneke van Proosdij) 23 lieder motets and
instrumental works of the German Renaissance
____DOLCE MUSICAndash A CONTEMPLATIVE
JOURNEY Eileen Hadidianflutes recorders
Natalie Cox harps Celtic Renaissance and
Medieval melodies for recorder and flute with
Celtic harp Healing Muses 2005
____REFLECTIONS MUSIC TO SOOTHE AND
UPLIFT THE SPIRIT Eileen Hadidian recorder amp
Baroque flute with Celtic harp and cello Celtic
traditional Renaissance amp Medieval melodies
Healing Muses
____AN EVENING WITH BACH Voices of Music
Hanneke van Proosdij Louis Carslake Dan Laurin
recorders Joanna Blendulf Elizabeth Blumenstock
Rodney Gehrke Lisa Grodin Katherine Kyme
Jennifer Lane Victoria Gunn Pich Susanne Ryden
William Skeen David Tayler Renaissance and
Baroque music centers on fine singing Instantly
recognizable Air on a G String Bachrsquos Prelude in
G Major (solo theorbo for rsquocello) plus lilting vocal
performancesmdashRydenrsquos weightless soprano on
Bist du bei mir Lanersquos rich alto on Es is vollbracht
____BACH amp TELEMANN SONATAS PRELUDES
amp FANTASIAS Voices of Music (Hanneke van
Proosdij Joanna Blendulf Rodney Gehrke William
Skeen David Tayler) Beautiful chamber music by
Bach and Telemann
IN STOCK (Partial listing)____ALLA TURCA FUX CALDARA BADIA
Matthias Maute amp Sophie Lariviegravere recorders
Monika Mauch soprano Vocal music of the church
accompanied by Ensemble Caprice plus sonatas
and other instrumental pieces Analekta
____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 John Daniels Sonja Lindblad
recorders Peter Sykes harpsichord Trio sonata
arrangement by Johann Christian Schickhardt
____LES
AMIS DU
BAROQUE
Paul Nauta recorder amp
Baroque flute Koen Dieltiens recorder Music by
Bassani Corelli Vivaldi etc Highlight Intl
____LES SEPT SAUTS BAROQUE CHAMBER
MUSIC AT THE STUTTGART COURT Matthias
Maute amp Sophie Lariviegravere recorders amp traverso
Ensemble Caprice Charming repertoire by
Schwartzkopff Bodino Detri Atma Classique
____TASTE OF PORTIQUE LEnsemble Portique
Early and contemporary chamber musicmdash
Bach Telemann Boismortier and others
____TELEMANN ALLA POLACCA REBELndash
Matthias Maute recorders amp traversondash
plays concerti and suites by GP Telemann Dorian
____TELEMANN CANONS AND DUOS Lisette
Kielson amp Patrick OMalley recorders LEnsemble
Portique Telemann Canons meacutelodieux amp Sonates
sans basse 2-CD set LEP Records
____20TH CENTURY MUSIC FOR RECORDER amp
PIANO Anita Randolfi recorders Music by Jacob
Bartok Leigh others for recorder amp piano
____VIVALDI AND THE BAROQUE GYPSIES
Matthias Maute amp Sophie Lariviegravere recorders
Ensemble Caprice Gypsy music taken from
Uhrovska zbierka (now Slovakia) plus Vivaldi
____VIVALDI SHADES OF RED CONCERTOS amp
SONATAS FOR RECORDER amp STRINGS Matthias
Maute recorders REBEL Stylish high octane
readings of some of Vivaldis most beloved pieces
including the popular and raucous Concerto alla
Rustica stunningly colorful Sonata on La Follia and
four exuberant recorder concerti Bridge
____WINDFIRE Charmaine Delmatier recorder
Steve Kostelnik classical guitar Terry Hale bass
Erik Hokkanen violin Refreshing mixture of Andrew
Lloyd Weber American blues flamenco Celtic and
one original piece ltwwwyermomusicomgt
Please indicate above the CDs you wish toorder and print clearly the following
Name ____________________________________
Daytime phone (_____)______________________
Address__________________________________
CityStateZip _____________________________
Check enclosed for
_____ single CDs x $____ = $______
_____ 2-CD sets x $____ = $______
TOTAL $______
Please charge the above amount to my
MasterCard Visa or AmEx
_______________________________________
Exp Date ____________
Cardholderrsquos signature ______________________
Mail to
ARS 1129 Ruth Dr St Louis MO 63122-1019 US
You may fax a credit card order to 314-966-4649
NEW You may order CDs online using PayPal at
wwwamericanrecorderorgordercdromshtm
Order your recorder discs
through the ARS CD Club
The ARS CD Club makes hard-to-find or limited release CDs by ARS members
available to ARS members at the special price listed (non-members slightly higher)
All CDs are $15 ARS members$17 Others unless marked otherwise Two-CD sets are
$24 ARS members$28 Others Add Shipping and Handling $2 for one CD $1 for each
additional CD An updated listing of all available CDs may be found at the ARS
web site ltwwwamericanrecorderorggt
The first meeting of the newly-formedFort Myers Recorder and Early
Music Ensemble was January 26 atthe Florida home of chapter rep Sue
Groskreutz For this year the groupis somewhat loosely organized andplans to meet for extended sight-reading Repertoire at the first meetingcomprised everything from Renais-sance duets to chamber music involv-ing three treble parts and continuo
Among the five musiciansattending the first meeting (photobelow front row Elizabeth Spang SueGroskreutz back row Suzanne FergusonSibylle Baumgartner Arlene Sowka) allplayed recorder three harpsichord
and one each played traverso violinand gamba Due to the scarcity ofrecorder players south of the Sarasotaarea modern string players are alsoincorporated into this ensemble
The group decided not to chargedues and to meet at Groskreutzrsquoshome For more information pleasecontact Groskreutz at 239-267-1752spgembarqmailcom Snowbirdsdrifting through the area are welcome
Last fall at the requestof a student Kay Hettich
(inset below right) taught abeginning recorder class atthe Redding (CA) Senior
Center The five-weekclass was so successful thatmost participants haveformed a bi-weekly noviceensemble (right) coachedby Hettichmdashwho consid-ers them her ldquohatchedeggsrdquo
A new batch of ldquoeggsrdquostarted to incubate when afive-week class began on February 20Other senior center members havebecome interested as they heard oftheir colleaguesrsquo success These noviceplayers comprise some who previouslyread music and played instruments as well as people who are totally new to music notation
One student has also formulated amaxim ldquoEveryone at age 40 ought tolearn to play the recorder if heshehasnrsquot alreadyrdquo Just think how theworld would be transformed byshifting our focus to music
After Lynn Whidden attendedthe Montreacuteal Recorder Festival lastfall when the ARS Board met inQuebec she joined the ARS and nowrelays news of the lively interest in therecorder exhibited by a group underthe new leadership of Brent Legg ofBrandon University in ManitobaCanada Although his hands wereldquostill partly frozenrdquo he wrote that theBrandon University Collegium
Musicum in collaboration with theWaverley Park Recorder Club is
preparing a spring concert calledldquoEnglandrsquos Golden AgerdquoRepertoire spans the 16th century
from Henry VIIIrsquos accession in 1509to the death in 1603 of Elizabeth Iand includes solo songs four- andfive-part settings of Renaissancedances (with dancers) three- to five-voice madrigals and ldquobig-bandrdquoarrangements of William Byrdrsquos TheBells and The Dargason as re-imaginedby Gustav Holst (further re-imaginedfor recorders and percussion)
Of the 15 collegium membersseven are encountering the recorderfor the first time since elementaryschool The Collegium Musicumpromotes the study of early music at the university and is open to theuniversity community and the generalpublic This year there are five com-munity participants with interest fromseveral more both within and outsideof the university For informationcontact BrentLegggmailcom
January 16 marked the thirdannual recorder workshop of threeFlorida groups the Pasco Collegium
Recorder Consort of Hudson theImperial Recorder Consort of
36 March 2009 American Recorder
Chapters
amp Consorts___________________________________Workshops and activities from
coast to coast in the US and Canada
Lakeland and the Pilgrim Pipers Recorder Consort of St Petersburg Theygathered for a morning tackling selections by Banchieri Monteverdi PurcellCorelli Mendelssohn Bach Mozart and Glen Shannon Each group presenteda piece for the other participants Sweet Georgia Brown by Ben Bernie (St Pete)a Sonata by Sammartini (Lakeland) and The Gospel Train arr by KW Ford(Pasco) The 29 participants were led by Marlene Cracraft (Pasco) Jane
Spencer (Lakeland) and Elizabeth Snedeker (St Pete) Tom Bickley (photo below) directed the fall workshop of the Mid-Peninsula
Recorder Orchestra in Cupertino CA The 30 players started with Gregorianchants written in ldquooldrdquo notation Bickley gave basic instruction on how tointerpret the notes and then had the group sing the chants prior to playing them
The workshop theme of ldquoThe Articulate Recorderrdquo was literally played out as the music presented used variations in tonguing phrasing and breathingOther repertoire included a Kyrie by Tomas Luis de Victoria Bachrsquos Jesu Joy ofManrsquos Desiring a double-choir piece by Gabrieli Christopher Tyersquos In NomineXIII and a Purcell chaconne The workshop ended with a rhythmically-challenging minimalist piece by Bickley entitled Beginning composed for theWaldorf School teacher training program George Greenwood reports that thegroup had a productive event and plans to ask Bickley to lead a future workshop
wwwAmericanRecorderorg March 2009 37
A Muse in the DesertThe sound of a pin dropping hellip thesound of eager minds and fingersabsorbing information and inspira-tion hellip the sounds of ldquoNuevaEspantildeardquo Spanish- and indigenous-influenced music of the 1600s in theNew World These were the soundsof the Desert Pipes (Phoenix AZ)chapterrsquos fall workshop given byEileen Hadidian On a Saturdaylast October 30 players from all overArizona gathered to learn from andbe inspired by the founder of a SanFrancisco Bay Area group dedicatedto sharing music for healing inhealthcare settings Healing Muses(wwwhealingmusesorg)
The day began with relaxationstretching and breathing exercisesfollowed by travels to Peruacute MexicoGuatemala and Colombiamdashhighchurch music vernacular pieces anda mixture of the two Participantsenjoyed the historical and contextualbackground provided as an overviewfor the day and for each piece
Remarkably the sound heardbetween pieces and passages was anenergy-filled quiet the attentivestillness of active engagement in theworkshop experiencemdashnot the chat-tering noodling and conversationsthat often occur when the musicstops That activity was reserved forthe breaks when participants couldenjoy the cool (at last) outdoorschat with Hadidian and peruse the popular garage sale (to benefitDesert Pipes) of previously-enjoyedbooks and other treasures
On Sunday Hadidian sharedher expertise and inspiration in indi-vidual and group coaching sessionsThe weekend was a special experi-ence and Desert Pipes memberslook forward to the next visit of this Healing Muse
Ann Koenig Scottsdale AZannisalesprocom
Members
of three
Florida
groups
met
in January
for a joint
workshop
CHAPTER NEWS
Chapter newsletter editors and publicity officers should send materials for publication toAmerican Recorder 7770 South High St Centennial CO 80122-3122
editoramericanrecorderorg Also send short articles about specific activities that haveincreased chapter membership or recognition or just the enjoyment your members get out of
being part of your chapter Digital photos should be at least 3rdquox4rdquox300dpi TIF or unedited JPG files Please send news to the AR address above and to the following
ARS Office 1129 Ruth Drive St Louis MO 63122-1019 ARSrecorderAmericanRecorderorg
and to Bonnie Kelly Chair Chapters amp Consorts Committee 45 Shawsheen Rd 16 Bedford MA 01730 bksharpaolcom
TO THE STARS
AND BEYONDThe cover of the November magazinegenerated a few comments Some werenrsquotsure how to interpret the title (in theartistrsquos native German it could besomething close to ldquostarlit moonrdquo)Longtime member Carolyn Peskin wrote to offer her vision of that cover
In the beginning the Great Spiritinvented Mr Sun to light the day andMiss Moon to light the nightHowever as Miss Moon floated up inthe sky all by herself like a big yellowballoon she began to feel very lonelyso one night to relieve her lonelinessshe decided to take out her recorderand make music
But when she started to playsomething miraculous happened Not only beautiful melodies but alsoyellow dust poured out of the bottomof her recorder and the dust particlesimmediately coalesced to form yellowstars As she continued playing moreand more stars were created and theyfloated up around her filling the nightsky
At last Miss Moon was happy fornot only was she herself able to enjoyher music but she now had a wholecrowd of starry companions to enjoy itwith her And if you listen very care-fully on a quiet night you might beable to hear her recorder and thatstarry choir humming along
Carolyn Peskin
LOCATING EARPLUGSI read with interest the QampA in theNovember lsquo08 AR regarding hearingloss and use of earplugs Where do you get musicianrsquos earplugs
Dolly Hirata Kensington CA
CAROLYN PESKIN PROVIDED THIS
INFORMATION Musicianrsquos earplugs arecustom made for individual usersThey can be purchased only fromlicensed hearing professionals (ieaudiologists and hearing instrumentspecialists) To find a licensed hearingprofessional in your area look underldquoaudiologyrdquo or ldquohearingrdquo in your localyellow pages
For information about how musi-cianrsquos earplugs are produced visitwwwetymoticcomephperme-w
tbaspx That web page also has a linkto contact information for authorizedlabs that make the custom earmolds formusicianrsquos earplugs If the yellow pagesdo not prove helpful those labs canrefer you to a licensed hearing pro-fessional in your area from whom youcan purchase musicianrsquos earplugs
MORE FROM CAROLYN
THIS TIME ABOUT OSKARIn the September 2008 AR the musicreview by Leslie Timmons of the Oskarpieces by Matthias Maute mentionedthat Carolyn Peskin had translated twoof the Oskar books from German toEnglish People can obtain thetranslations free of charge as Wordattachments by contacting her atCarolyn Peskin 3559 StrathavonRoad Shaker Heights OH 44120carolynpeskinstratosnet
ANOTHER KIND OF
MUSIC-READING
GLASSESIn the January 2009 issue of AmericanRecorder therersquos something (in myopinion) the ldquoRecorder with GlassesObbligatordquo article omitted which canenable a nearsighted musician to avoidneck strain in the use of bifocals
Irsquove found the solution to thisvexing problem is to have onersquos bifocalsconstructed differently [from] normalMy optometrist was willing to work
38 March 2009 American Recorder
Response___________________________________Two kinds of vision
the better to see with and (not) to hear with
Honeysuckle Music
Recorders amp accessories
Music for recorders amp viols
Jean Allison Olson1604 Portland AveSt Paul MN 55104
6516448545jeanhoneysucklemusiccom
Responses from our readers are welcomedand may be sent to American Recorder 7770 South High St Centennial CO
80122 Letters may be edited for length and consistency
ARS Membership Enrollment and Renewal I am a new member I am or have been a member
USCanadian Memberships Foreign Memberships $45 One Year $55 Foreign One Year $75 Sustaining (Receive a Hottetere Hands Pin) $100 Two Years $80 Two Years
LIFETIME MEMBERSHIP Single Dual Regular Lifetime Member $1000 (2) $1500 (4) 4 installments of $250 available) Loyalty Lifetime Member (1) $ 800 (3) $1200 (4) 4 installments of $200 available
(1) For members who have maintained membership for five consecutive years (2) $750 is Tax Deductible (3) $600 is Tax Deductible (4) Installments available Student Memberships Other Memberships (Enclose proof of full time enrollment) $65 One Year Workshop Membership
$25 USCanadian One Year $125 One Year Business Membership $45 USCanadian Two Years $30 Foreign One Year $5 Additional Charge for Dual Address or Dual Name
Do not list my name in the ARS Print Directory Do not list my name on the ARS Online Directory Do not release my name for recorder related mailings Do not contact me via email
My address telephone and email address are the same as last time
______________________________________ _________________________ Name Phone Number ______________________________________ _________________________ AddressCityStatePostal Code Email Address Please charge to (Circle one) VISAMasterCardAMEXDiscover CC________________________________ Expiration Date ______________ Signature of cardholder_______________________________________________________ Clearly Print Name as it appears on Card________________________________________
Renew by Mail Online By Phone or by Fax
Demographic Information (optional information collected only to enhance ARS services and provide statistics to grant makers)
I am a member of ARS Chapter or Consort____________________________ I am the Chapter Contact Your age Under 21 (21-30) (31-40) (41-50) (51-60) 61-70) (71+) Please check all that apply
I am a Professional Recorder Performer
I wish to be included in the list of Recorder Teachers in the ARS Directory and website I Teach (circle your choices) Children High School Youth College Students Adults Beginner Intermediate Advanced Pre-Professional Individuals Childrenrsquos Classes Adult Classes Ensembles Suzuki Orff JRS Leader Kodaly Where I Teach (circle your choices) Music Studio Public or private school Community Music School College Other _____________________
American Recorder Society 1129 Ruth Dr St Louis MO 63122-1019
Phone 314-966-4082Fax 314-966-4649
TollFree 800-491-9588ARSRecorderAmericanRecorderorg
wwwAmericanRecorderorg
with me [to find] an ideal (for me)placement size and focal length of thebifocal lens
Before visiting the optometristIrsquod had my wife measure the distancefrom my eyes to the music on mymusic stand With this measurementthe optometrist set up her machine toprepare a vision prescription for memaximized for this reading distance
When I look at my bifocals (withthem off) the lenses (through which Iread my music) occupy most of thelower two-thirds of my glasses (they are set very high and beginimmediately at the inner rims) Thisleaves the upper third and smallportions of the outside [of each lens]for focusing on the conductor As longas my stand is set low enough my necknever experiences any strain (even if Ihave to read three to a part) and Irsquove no problem in seeing theconductor (in sharp focus) either
For me trying to use glasses [toread] from a music stand [that] weredesigned for use in reading from acomputer screen also results in neckstrain (not to mention unreliability in aldquopressurerdquo situation) Having studiedTai Chi extensively and so being
wwwAmericanRecorderorg March 2009 39
There are lots ofsolutions to thepresbyopic musicianrsquosproblem but all involve compromises
40 March 2009 American Recorder
American Recorder Society PublicationsErich Katz Contemporary Music Series Members Non-MembersA Short Tale for Two Basses Suzanne M Angevine (Level II) (2 scores) $5 $8Dialogue and Dance Cecil Effinger (SATB)(Level II-III) (score amp parts) $10 $18Dorian Mood Sally Price (SATB) (Level II) (score amp parts) $10 $18Double Quartet for Recorders Peter Ballinger (Level II-III) (score amp parts) $10 $18Entrevista Frederic Palmer (SATB) (Level II) (2 scores amp 4 recorder parts) $8 $14Kyrie and Vocalise for Soprano Voice ampRecorders Stanley W Osborn $8 $14
(SATB) (Level II) (2 scores amp 4 recorder parts) Picnic Music Jeffrey Quick (SATB) (Level II) (score amp parts) $5 $8Six Short Pieces for Three Recorders edited by Alan Drake $8 $14
(3 scores) Vaclav Nelhybel (AATT) (Level II)Sonatina for Alto Recorder and Piano Anthony Burgess $7 $12
(Level II) (2 scores)Sonatine for Three Altos Lee Gannon (Level III) (score amp parts) $14 $26Suite of Jewish Folk Tunes Erich Katz (S SA8 AT) (Level II) (three scores) $10 $18
Musical Editions from the Membersrsquo Library ARS members 1 copy-$3 2 copies-$450 3-$6 4-$750 5-$10 6-$1150Non-members (editions over 2 years old) 1 copy-$5 2 copies-$850 3-$12 4-$15 5-$1950 6-$23The ARS is happy to provide photocopied enlargements of any Membersrsquo Library edition at the same prices Please specify ldquoMembersrsquo Library Enlargementrdquo
ARS Information BookletsARS members 1 booklet-$13 2 booklets-$23 3-$28 4-$35 5-$41 6-$47 7-$52Non-members 1 booklet-$18 2 booklets-$33 3-$44 4$55 5-$66 6-$76 7-$86
Education PublicationsThe ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996)
First copy free to ARS Members (mailed to new members as they join) replacement copies $3Guidebook to the ARS Personal Study Program (1996) Material formerly published in the Study Guide
and Study Guide Handbook plus additional resources Members $11 non-members $20ARS Music Lists (2002 with 2003 Supplement) Graded list of solos ensembles and method books
Members $9 non-members $15Package Deal available only to ARS members Guidebook and Music ListsSupplement ordered together $16Junior Recorder Society Leaderrsquos Resource Notebook
ARS members $20 non-members $40 (updates at reduced rates after initial purchase)$5 Dues for each JRS student member sponsored by an ARS member ($4 each for groups of 10+)
VideosRecorder Power Educational video from the ARS and recorder virtuoso John Tyson
An exciting resource about teaching recorder to young students ARS members may borrow a copy for onemonth by sending $5 to the ARS office along with the address to which the tape should be shipped
Pete Rose Video Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music Festival recitalFeatures Rose performing a variety of music and an interview of him by ARS member professional John Tyson
Other PublicationsChapter Handbook A resource on chapter operations for current chapter leaders or those considering forming an
ARS chapter ARS members $10 non-members $20 (updates free after initial purchase) One free copy sent toeach ARS chapter with 10 members or more
Consort Handbook Resource on consort topics such as group interaction rehearsing repertoire performingARS member prices CD $10 hard copy $20 combo price of CD and hard copy ordered together $25
Discography of the Recorder Vol I (1989) Compiled by Scott Paterson and David LasockiDiscography of the Recorder Vol II (1990-1994) Compiled by Scott Paterson
Either single volume ARS members $23 non-members $28Both Discography volumes together ARS members only $40
American Recorder Cumulative Index for Vols I-XXXX ARS members $20 non-members $32Index Supplement Vol XXXIV-XXXX ARS members $8 non-members $14
Shipping amp Handling FeesUnder $10 - add $3 $10-1999 - add $4 $20-2999 - add $5 $30-3999 - add $6 $40-4999 - add $7 All prices are inUS dollars For Canadian or foreign postage pay by credit card and actual postage is charged
Please make checks payable to ARS VISAMCAMEXDisc also accepted
ARS 1129 Ruth Drive St Louis MO 63122 US800-491-9588 ARSrecorderAmericanRecorderorg
Arioso and Jazzy Rondo (AB) Carolyn PeskinBerceusendashFantaisie (SATB) Jean BoivertBrucknerrsquos Ave Maria (SSATTBB)
Jennifer W Lehmann arrCanon for 4 Basses (BBBB) David P RuhlDancers (AT) Richard EastmanDifferent Quips (AATB) Stephan ChandlerElegy for Recorder Quartet (SATB) Carolyn PeskinElizabethan Delights (SAATB)
Jennifer W Lehmann arrFallen Leaves Fugal Fantasy (SATB) Dominic BohbotFour Airs from ldquoThe Beggarrsquos Operardquo (SATB)
Kearney Smith arrGloria in Excelsis (TTTB) Robert CowperIdyll (ATB) Stan McDanielImitations (AA) Laurie G AlbertsIn Memory of Andrew (ATB) David GoldsteinLay Your Shadow on the Sundials (TBgB)
Terry Winter OwensLeClercqrsquos Air (SATB) Richard E WoodLittle Girl Skipping and Alouette et al (SATBCb)
Timothy R Walsh
Los Pastores (SAAAT + perc) Virginia N Ebinger arrNew Rounds on Old Rhymes (4 var) Erich KatzOther Quips (ATBB) Stephan ChandlerPoinciana Rag (SATB) Laurie G AlbertsSanta Barbara Suite (SSAAT) Erich KatzSentimental Songs (SATB) David Goldstein arrSerie for Two Alto Recorders (AA) Frederic Palmer Slow Dance with Doubles (2 x SATB) Colin SterneSonata da Chiesa (SATB) Ann McKinleyS-O-S (SATB) Anthony St PierreThree Bantam Ballads (TB) Ann McKinleyThree Cleveland Scenes (SAT) Carolyn PeskinThree in Five (AAB) Karl A StetsonTracings in the Snow in Central Park (SAT)
Robert W ButtsTrios for Recorders (var) George T BachmannTriptych (AATB) Peter A RamseyTwo Bach Trios (SAB) William Long arrTwo Brahms Lieder (SATB) Thomas E Van Dahm arrVariations on ldquoDrmešrdquo (SATB) Martha BishopVintage Burgundy (SASATT)
Jennifer W Lehmann arr
Adding Percussion to Medieval and Renaissance Music Peggy Monroe
American Recorder Music Constance PrimusBurgundian Court amp Its Music Judith Whaley coord
Improve Your Consort Skills Susan CarduelisMusic for Mixed Ensembles Jennifer W LehmannPlaying Music for the Dance Louise AustinRecorder Care Scott Paterson
acutely aware of any kind of neckstrain when it begins to develop these ideas have been a big help to meIrsquom hoping they may be of help toother musicians as well
Best wishes to you And inanswer to your questionmdashyes the new[AR] format (with more white spacebetween the lines) is much easier toread (in my opinion)Your magazinejust keeps getting better and better
Very sincerely Ed Green WestSuburban (Chicago-area) Chapter
RESPONSE FROM DR BILL LONG
What Ed describes is a variant of theuse of conventional bifocals as musicglasses described on page 8 in thearticle Instead of lowering his musicstand into the field of view of hisbifocal segment Ed and his optome-trist have fabricated special purposebifocals with the segment really highso he can focus on his music instraight-ahead view That approachrestricts his distance vision to an areaabove his usual line of sight whichseems to work for Eds playing setup
Eds comments on the difficultiesin using conventional progressiveaddition lenses as music lenses con-firm what I said on page 9 Thats whymanufacturers have marketed special-ty progressive lenses designed specif-ically for intermediate distance taskslike computer use and playing music
There are lots of solutions to thepresbyopic musicians problem but all involve compromises The key toevaluating those compromises andchoosing the best solution for yourselfis to understand your needs and toenlist the help of a sympathetic visioncare specialistmdashjust as Ed did
Please change your
browserrsquos favorites list
AR online is now at wwwameri
canrecorderorgmembership
magazinehtm Send news to
editoramericanrecorderorg
FOUR FOUR-PART CANZONAS
(1608) BY GIOVANNI GABRIELI
ED GREG LEWIN Hawthorns Music RB 16 (Magnamusic) 1999 SATBSc 16 pp pts 4 pp $1950
Giovanni Gabrieli was probablyborn between 1554 and 1557 in theparish of San Geremia in Venice Thedetails of his early life are sketchy butit appears that he was born Giovannidi Fais and later changed his name toGabrieli out of respect to his uncleAndrea with whom he shared a closerelationship In fact in 1587 Gabrielidescribed himself ldquoas little less than asonrdquo It is commonly thought thatAndrea provided Giovanni with hisearly musical training Andrea whohad spent some time in Munichstudying under the great Orlando deLassus sent Giovanni to Munich for a similar period of study in theearly 1570s
Gabrieli remained in Munichuntil the death in 1579 of the dukeAlbrecht V who had been Lassusrsquosemployer for a number of years andwho was an enthusiastic patron of the arts particularly music With hisdeath a number of musicians lost theirjobs it seems as if Gabrieli were also a victim of such culling of talent(Within a generation the tide wouldturn and the Munich court wouldagain hire Venetian expatriates such as Priuli Valentini and Neri)
Upon his return to VeniceGabrieli was hired as a temporaryorganist at San Marco his positionbecoming permanent in 1585 For a few months that year uncle andnephew served together as first and
second organists in the chapel of thedoge In Giovannirsquos absence fromVenice there had been a plague thathad decimated the ranks of theprofessional musicians Andrea setabout rebuilding his forces at SanMarco by hiring a full-time windband consisting of Girolamo dallaCasa a renowned cornettist andviolist his two brothers who playedsackbut and later the cornett virtuosoGiovanni Bassano Giovanni Gabrieliaugmented these forces with addi-tional players and began composingthe large-scale ceremonial music forwhich he is so well known today
Giovanni was also elected to bethe organist and composer to theconfraternity of San Rocco in 1585and it is now thought that his largestpieces were intended for that venuewith its large central gallery andfrescos by Tintoretto instead of SanMarco Gabrieli held both thosepositions at the basilica of San Marcoand the Scuola Grande di San Roccountil he died in 1612 of a kidney stone
Although best known today forhis ceremonial and festival musicGabrieli was at home in smaller-scaleformats as well These four four-partcanzoni are taken from the 1608publication by the Venetian publisherAlessandro Raverji Canzoni per sonarecon ogni sorte di strumenti These werevery popular pieces to judge by themany collections in which they appear
Additionally like Gabrielirsquoskeyboard music they are found inother arrangements These four-partcanzoni lie well under the fingers inarrangements for keyboard and lute
As seen from the title Gabrielispecified no instrumentation but like asimilar edition of madrigals and battlepieces from a few years earlier a dis-tinction was made that they wereintended for wind instruments almostcertainly cornetts and sackbuts
Recorders were not unknown in Venice they were used regularly inthe confraternity of San GiovanniEvangelista where Giovanni BattistaRiccio was organist
These pieces are relativelysimplemdashplayable by beginning tointermediate ensembles They aremostly contrapuntal (with a fewhomophonic sections) and have few rhythmic eccentricities
These canzoni are found in manymodern brass editions but there arefew editions available to the recorderplayer This edition by Greg Lewin ofHawthorns Music might be consid-ered a ldquobare-bonesrdquo edition There islittle background information andeditorial practices are not specified
The music itself has a handwrittenlook that can be distracting but is easyenough to read Lewin has thought-fully supplied phrasing marks that willbe helpful for ensembles unused tothis style of music
Music
Reviews___________________________________ Infectious music created in spite of the plague
wwwAmericanRecorderorg March 2009 41
This is a good edition
for small ensembles that
canrsquot get eight players
together to play
Gabrielirsquos more famous
eight-part canzoni
42 March 2009 American Recorder
The parts are four pages but mycopy had all four pages printed on avery large page This is not a problemand there are no page turns
This is a good edition for smallensembles that canrsquot get eight playerstogether to play Gabrielirsquos morefamous eight-part canzoni Thesesmall-scale pieces are by no meansinferior to Gabrielirsquos more elaboratemusic and deserve to be better known
7 CANZONEN (1637) BY
TARQUINIO MERULA ED JOACHIM
ARNDT WITH CONTINUO REALIZATION
BY CLAUDIA SCHWEITZER MieroprintMusikverlag EM2088 (availabledirectly from wwwmieroprintcom)2005 SS or TT bc Sc 24 pp pts 8 pp$28
Tarquinio Merula was bornaround 1595 in either Busseto orCremona in Italy As was the case withso many composers of the day either alack of regular employment or a rest-less nature took him from his home inCremona to as far away as Warsaw He is found as the organist of thechurch and the chambers to the kingof Poland Sigismund III in 1624
Merula was one of the leadingexponents of the relatively new con-certante style pioneered by ClaudioMonteverdi and others in the seconddecade of the 17th century and may be described as one of the earliestBaroque composers His compositionsin the concertante style are fresh andunforcedmdashhe was born into this styleand didnrsquot encounter it as somethingnew as was the case with so many ofMonteverdirsquos contemporaries
After several years of peripateticexistence Merula found regularemployment in 1631 in Bergamo atthe church of San Maria MaggioreThe prior holder of the post of maestrodi cappella Alessandro Grandi haddied the previous year in the plagueMerula had signed a three-year
contract but by December 1632 hewas terminated with accusations thathe had molested several studentsMerula threatened a lawsuit to recoverhis lost wages but that threat wascountered with a pending criminalcharge lodged by the board ofgovernors of San Maria Maggiore By mid-1633 the matter was settledwith an apology from Merula and astatement that he relinquished allclaims to his salary
He then returned voluntarily toCremona where he stayed until 1635By 1638 Merula was once again inBergamomdashthis time as maestro dicappella and organist in the cathedralnext to San Maria Maggiore Asmight be expected there was con-siderable tension between the twochurches eventually resulting in theboard of San Maria Maggioreforbidding their musicians to perform under Merularsquos direction
He returned in 1646 to a familiarCremona post which he had heldthree times in various years and wherehe now settled downmdashthat of organistand maestro di cappella for Laudi dellaMadonna services in which he ledmusic at the main altar on Saturdaysand on vigils of Marian feasts
None of his employment issues
prevented the Pope from awardinghim the Order of the Golden SpurMerula was also elected to theAccademia dei Filomusi in BolognaHe died in 1665 in Cremona
His existing compositions showthe products of a lively mind Hisworks range from sacred songs andmotets to purely instrumental piecesnotably the ever-popular variations onvarious ground basses It is knownthat Merula was an accomplishedviolinist as well as a fine organist Hissurviving instrumental writing showsa predilection for strings In fact hewas one of the earliest composers tospecify string accompaniments tosacred motets
Merularsquos pieces look backwardtoward some of the more progressiveVenetian composers such as Monte-verdi while looking forward to thehigh Baroque with his innovative style
These seven canzoni like theearlier-published chaconne (EM2084)come from Merularsquos third bookpublished in 1637 CANZONI overo SONATE CONCERTATE perchiesa e camera a due et a tre delcavaliere This collection typifiesMerularsquos output pieces based onRenaissance-era ground basses arefound next to more ldquomodernrdquo sonatas
The original edition specifiesviolins and basso continuo This newedition is intended for recorders thespecific choice of which is up to theplayers Due to the relatively hightessitura tenor recorders work best inthese pieces (although listed as analternative soprano recorders tend to be on the screechy side)
Not surprisingly given Merularsquosskill as an organist the continuo partneeds a keyboard instrument forsuccessful realization Instead of beinga purely accompanying part the bassocontinuo part is an equal partner in these pieces the canzona ldquoLaRuggierardquo opens with a run that therecorders echo a few measures later
A more recorder-specific
edition intended for
altos would have been
ideal There is nothing
preventing the more
adventurous and
industrious players
from making their
own editions of this
delightful music
mentioned were a bit shrill A morerecorder-specific edition intended foraltos would have been ideal There isnothing preventing the moreadventurous and industrious playersfrom making their own editions of thisdelightful music
Prior to playing the previouslypublished chaconne I had notencountered MieroprintMusikverlag Mieroprintrsquos extensivecatalog has an equal focus on newmusic for recorders and on editions ofBaroque masters with emphasis on therecorder and flute Due to the lack of
wwwAmericanRecorderorg March 2009 43
are also available at
The Early Music Shop
of New England
Brookline MA
AESTHEacute
367-b de la Briquade
Blainville Queacutebec
Canada J7C 2C7
tel (450) 979-6091
wwwboudreau-flutesca
A bass viola da gamba or rsquocello is not necessary for these pieces and may infact make them sound heavy and ponderous rather than light and breezy as thismusic seems to be
More so than the above-mentioned chaconne these canzoni are written in avery idiomatic violin style with multiple examples of arpeggios In particular thecanzona ldquoLa Trecchardquo contains a notated example of a string tremolo figurerecurring through the piece ldquoLa Trecchardquo also dips well below the range of a Crecorder going down to low G the lowest string on the violin The editors havesupplied no alternative notes preferring to let the performers to fend forthemselves (in practice we took this passage up an octave with no problems)
The two recorder parts require virtuosity These upper parts are demandingwith the players needing to double-tongue in unison in order to negotiate themany runs of 16th notes and the shared rhythmic ldquolicksrdquo The harmoniclanguage unlike much of Merularsquos music is undemanding and contains none of the harmonic crunches for which he is famous
This is wonderful music that needs a couple of advanced recorder players fora successful performance The string idiosyncrasies can be overcome by advancedplayers and many of the editions of the era (although not this one) list thecornetto as an alternative to the violin so the use of wind instruments in the solo literature of the early Baroque was not unknown
Our experience with this edition left us with the opinion that these pieceswould have been better if transposed down a minor third so as to fit on a pair ofalto recorders (as is the case with much Baroque flute music to make it lie betteron the recorder) The tenors we used tended to sound a bit murky in the lowerregister next to the more aggressive harpsichord while the sopranos we tried as
KEY rec=recorder Srsquoo=sopraninoS=soprano A=alto T=tenor B=bassgB=great bass cB= contra bass Tr=treble qrt=quartet pf=piano fwd=foreword opt=optional perc=percussionpp=pages sc=score pt(s)=part(s)kbd=keyboard bc=basso continuohc=harpsichord PampH=postage andhandling Multiple reviews by one reviewerare followed by that reviewerrsquos name Pleasesubmit music for review to AR 7770 SHigh St Centennial CO 80122-3122 US
an American distributor this musicwill be hard to findmdashin fact can befound only at the time of this writingon their web site noted above But theeffort will be repaid
This edition is clear and easy toread and the parts require no pageturns The basso continuo realizationis simple and elegant
This is music deserving ofrediscovery My only quibble is thatthe editorial notes are all in GermanThis seems to be the practice ofGerman music publishers with thenotable exception of Moeck Otherpublishers of early music such asLondon Pro Musica routinelyprovide notes in English and German and often in French and Italian making their editionsaccessible to a wider audience
Frank Cone studied the recorderwith the late Ellen Perrin the viola dagamba with Carol Herman and thecornetto with Larry Johansen TheCalifornia multi-instrumentalist has been a member of the Orange CountyRecorder Society since 1985
Advertiser Index
AMERICAN ORFF-SCHULWERK ASSN 3
AMERICAN RECORDER SOCIETY 31 35 36
AMHERST EARLY MUSIC FESTIVAL 17
STEPHAN BLEZINGER 24
JEAN-LUC BOUDREAU 21 39
BOSTON EARLY MUSIC FESTIVAL 7
CANTO ANTIGUO EARLY MUSIC WORKSHOP 13
COURTLY MUSIC UNLIMITED 20
EARLY MUSIC AMERICA 8
HONEYSUCKLE MUSIC 34
BILL LAZARrsquoS EARLY MUSIC 26
KEITH E LORAINE EARLY DOUBLE REED SERVICE 35
LOST IN TIME PRESS 11
MADISON EARLY MUSIC FESTIVAL 12
MAGNAMUSIC DISTRIBUTORS BC
MOECK VERLAG IFC
MOLLENHAUER RECORDERS IBC
PORT TOWNSEND WORKSHOP 14
PRESCOTT WORKSHOP 30
PROVINCETOWN BOOKSHOP 26
THE RECORDER MAGAZINE 4
THE RECORDER SHOP 6
SAN FRANCISCO EARLY MUSIC SOCIETY 18
SWEETHEART FLUTE CO 3
TEXAS TOOT 20
VON HUENE WORKSHOP INC 30
WICHITA BAND INSTRUMENT CO 21
DOMINIK ZUCHOWICZ 34
CONSIDER ADVERTISING IN
Full page $55223 page $43912 page $36613 page $28614 page $22316 page $17518 page $127112 page $ 951 column inch $ 58
Prices include web sitee-mail link directly from your ad in the online AR at wwwamericanrecorderorg
Circulation Includes the membership of theARS libraries and music organizations
Published five times per year January March May September November
Reservation Deadlines December 1 (January) February 1 (March) April 1 (May) August 1 (September) October 1 (November)
Rates good through November 2009 Pleaseinquire about discounts on multiple-issuecontracts inserts or other special requestsExtra charges for typesetting layout half-tones and size alterations 133-line screenrecommended Advertising subject toacceptance by magazine First-time adver-tisers must include payment with order
For more information contact the ARS office 1129 Ruth Drive St Louis MO63122-1019 800-491-9588 toll free 314-966-4082 phone 314-966-4649 faxadvertisingamericanrecorderorg
44 March 2009 American Recorder
Classified___________________________________
FOR SALE Cherrywood hurdy gurdy and hard-side case made by Kelischek bought 2005Originally $765 plus $89 for case Rarely usedBoth for $450 or make offer Please contact marjalocomcastnet Can ship
ASPIRE ANNOUNCE INSPIRE Afford-able PR for teachers and recitalists wwwrecitalroomcom
PHOTOS NEEDED of ARS events 1970sndash1990sto illustrate last chapters of Martha Bixlerrsquos histor-ical memoir about the ARS (to be posted online)E-mail scanned photos (300dpi JPG or TIF)arsrecorderamericanrecorderorg Hardcopies mail to ARS office to be scanned ampreturned Info 800-491-9588
T-SHIRT FOR ENSEMBLE PLAYERS to wear orshare Top 10 Reasons Why I Got Lost Wrongfingering bad lighting etc on blue cotton shirt$18 Highlighter tape and other goodies Beth amp Lindas Boutique as seen at BEMF CallLinda at 617-671-8694 or e-mail for brochurelindakushverizonnet
Where the havesand have-nots
of the recorder world can find each other
Classified rate for American Recorder 60centper word ten-word minimum ldquoFOR SALErdquoand ldquoWANTEDrdquo may be included in thecopy without counting Zip code is oneword phone e-mail or web page is twoPayment must accompany copy Deadlinesare one month before issue date Send copywith payment to ARS 1129 Ruth Drive St Louis MO 63122-1019
AMERICAN RECORDER (ISSN 0003-0724) 1129 Ruth Dr St Louis MO 63122-1019 is publishedbimonthly (January March May September and November) for its members by the AmericanRecorder Society Inc $20 of the annual $45 US membership dues in the ARS is for a subscriptionto American Recorder Articles reviews and letters to the editor reflect the viewpoint of their individ-ual authors Their appearance in this magazine does not imply official endorsement by the ARS
EDITORIAL DEADLINES November 15 (January) January 15 (March) March 15 (May) July 15(September) and September 15 (November) Submission of articles and photographs is welcomedArticles may be typed or sent as an attachment (Word or RTF preferred) to or text in an e-mail mes-sage They should be for the exclusive consideration of AR unless otherwise noted Photos may besent as prints or unedited JPG or 300dpi TIF files (minimum 3rdquox4rdquo) Advertisements may be sent inPDF or EPS format with fonts embedded
EDITORIAL OFFICE Gail Nickless Editor 7770 S High St Centennial CO 80122-3122 303-794-0114 (phone amp fax) editoramericanrecorderorg Books for review Editorial office Musicfor review Editorial office Recordings for review Tom Bickley 1811 Stuart St Berkeley CA 94703Cutting Edge Tim Broege 212 Second Ave Bradley Beach NJ 07720-1159 Chapter newslettersother reports Editorial office Postmaster Send address changes to ARS 1129 Ruth Drive St LouisMO 63122-1019 Periodicals postage paid at St Louis MO and at an additional mailing office
Chapter leaders
We know yoursquore out there
and that you want to share
your plans concerns
solutions and ideas with
other chapter leaders Visit
httpamericanrecorder
societywikispacescom
The Power of LoveJ U N E 6 - 1 4 2 0 0 9
featuring Claudio Monteverdirsquos sublime final opera
June 6 7 9 10 12 and 14 2009Stanford Calderwood Pavilion at the
Boston Center for the Arts
June 19 20 21 22 2009Mahaiwe Performing Arts Center
in Great Barrington MALrsquoincoronazione di Poppea replaces the previously announced operatic centerpiece Antiochus und Stratonica by Christoph Graupner
Tickets are on sale now at WWWBEMFORG and 617-868-BEMF
RECORDER EVENTS AT THE 2009 BOSTON EARLY MUSIC FESTIVAL
Join us for our weeklong extravaganza of early music with concerts by the worldrsquos leading early music soloists and ensembles including Stile Antico Trio Hantaiuml Ricercar Consort
Pieter Wispelwey rsquocello and Kristian Bezuidenhout fortepiano the BEMF Chamber Operapresentation of John Blowrsquos Venus and Adonis and Marc-Antoine Charpentierrsquos Acteacuteon
Flanders Recorder QuartetSunday June 14 at 1230pm
Paul Leenhouts Renaissance recorder
andGabe Shuford harpsichord amp organ
Wednesday June 10 at 11pm
Recorder Masterclass with Paul LeenhoutsThursday June 11 at 2pm
Visit WWWBEMFORG for a complete schedule of eventsregistration materials for the world-famous BEMF Exhibition Fringe Concerts
and Masterclasses and much more
Joe Lewnard winsPiffarorsquos Second Competition for Young RecorderPlayers
By Joan Kimball wwwpiffarocom
Piffarorsquos second competition for youngrecorder players ages 12 to18 washeld on January 10 at the SettlementMusic School in Philadelphia PAFive finalists chosen on the basis oftapes that they submitted in Novemberperformed before a small but enthu-siastic and supportive audience
A smattering of snow and ice keptaway some people who otherwisewould have attended Ironically the finalists had no trouble reachingPhiladelphia from distant snow capitalsof the USmdash Denver COMinneapolis MN and Chicago IL
Unique in this country as far asanyone knows this competition wasestablished in 2007 to pique theinterest of young recorder players andto encourage them to investigate therepertoire of the 15th century into theearly 17th century on recorders as wellas other early wind instruments Whilethese young players tend to focus on
18th-century and contemporary musicPiffaro hopes to convey to them theimportance of playingmdashand alsounderstanding the underlyingperformance practice issues ofmdashearlier repertoire
Joe Lewnard (at right withPiffarorsquos Joan Kimball) an 18-year-oldhigh school senior from the Chicagoarea was chosen as the winner byjudges Nina Stern from New YorkCity NY and Elissa Berardi ofPhiladelphia He has played recorderfor a number of yearsmdashstudying withAldo Abreu among othersmdashand hasattended the virtuoso program at theAmherst Early Music Workshop Alsoa trumpet player he has expressedinterest in taking up the cornettocombining his facile fingers with hisbrass embouchure
In recent months Lewnard hasbeen preparing repertoire for collegeand conservatory auditions and willapply to several schools His selectionsfor the competition were the unaccom-panied Ricercata prima by GiovanniBassano and two movements from asuite by Pierre Philidor
The other four finalists also playedwith poise and distinction in variedrepertoire (Renaissance to contem-porary) that showed their abilitiesThey were Ariel Branz (age 16) from
Boulder CO a student of LindaLunbeck Bryan Duerfeldt (15) fromMinneapolis a student of MaryHalverson Waldo Amy Pikler (16)from Chicago who studies withPatrick OrsquoMalley and Olivia Sohlen
(16) also from Minneapolis and astudent of Cleacutea Galhano
On March 7 Lewnard willappear again in Philadelphia pairedwith the competitionrsquos previous winnerAlexa Raine-Wright in a recital Thetwo young virtuosi (both of whom havewon ARS workshop scholarships) willperform a variety of 16th- 17th- and18th-century solos and duetsaccompanied by harpsichordistMarcia Kravis In addition Piffaromembers Joan Kimball Priscilla
Smith and Bob Wiemken will jointhem for a set of 16th-century workson Renaissance recorders
With two competitions success-fully completed Piffaro plans to holdanother one in two years and hopesthat young recorder players will start toprepare now Wersquod love to see moreyoung virtuosi coming our way
12 March 2009 American Recorder
Early Music America Magazine is the quarterlypublication for the Early Music Community inNorth America Professionals Students andAudience members
Articles on performance practice trends in thefield recording reviews and a new book reviewsdepartment
Call 888-722-5288 or email infoearlymusicorgfor a FREE sample issue
Last spring I had the honor andgood fortune to spend five weeks
at the Sitka Center for Art andEcology on the central Oregon coastas the recorder resident The recorderresidency is sponsored by the OregonCoast Recorder Societymdasha wonderfulgroup of people I had the chance tomeet and teach and to make musicwith while I was there Myparticipation was made possible inpart by a professional grant from theARS and also by the kind generosityof some of my loyal long-termstudents
The project I worked on while atSitka was an intensive study of Bachrsquossolo string musicmdashprimarily the rsquocellosuites and some of the violin partitasmdashwith the aim of preparing my own arrangements of them for aneventual recording
Although Irsquod been told before Iwent that Sitka was incredibly beautifuland a wonderful place to be Iapproached the residency with sometrepidation I wasnrsquot quite able toimagine it and wondered how I wouldsurvive so many weeks by myself in aremote location seven miles from thenearest townmdashand where Irsquod heardmost cell phones did not work (panic)When I arrived on April 9 I was metwith typical Oregon coast weather forthat time of the year (and many timesof the year) chilly temperatures andrain And Irsquod left sunny California for five weeks of this
I lived in what is called the TreeHousemdasha charming one-roomwooden cabin with a sleeping loft and a wood-burning stove insidemdashenveloped outside by a couple of giantSitka spruce trees After many failedattempts over several days one of myproudest accomplishments was finally
learning how to quickly and reliablybuild a fire in my wood stove My nextproudest accomplishment was learningthat one should not put wet logs on the top of the stove to dry This Idiscovered after setting off the smokealarm bringing the entire Sitka staffrunning to my aidmdashonly to find meoblivious up in the loft
It took me a week or so to getadjusted to my new life I wasnrsquot usedto being alonemdashwithout my dog farfrom civilizationmdashand with expansesof free time and no actual responsibil-ities I spent some of that time explor-ing the surrounding areas takingwalks down to the estuary throughforested woods and climbing to thetop of Cascade Head There I was metwith awe-inspiring views of the PacificOcean the coastline the mountainsand the estuary far below I soondiscovered that this was part of thetotal Sitka experience
After my first incredible climb tothe top of Cascade Head I began torelish the quiet peace and time alonethat Sitka afforded memdashsomething Inever imagined Irsquod feel given mygenerally extroverted nature Inaddition to reading writing andmeditating I was inspired to dive into
Linsenberg
on the
deck of
the Tree
House
wwwAmericanRecorderorg March 2009 13
By Judith Linsenberg
The author is founder and director ofthe Baroque ensemble Musica Pacificawhose performances and eight recordingson the Virgin Classics and Dorian labels
have received international acclaim She has performed throughout the US
and Europe including solo appearances atthe Hollywood Bowl and Lincoln Center
and has been featured with such leadingAmerican ensembles as the San Francisco
Symphony the San Francisco and LosAngeles Operas Philharmonia Baroque
American Bach Soloists and others
Her recording of the Bach organ trioswas sponsored in part by an
ARS Professional Grant The ARS CD Club carries some of her recordings
A Fulbright scholar to Austria shewas awarded the Soloist Diploma with
Highest Honors from the Vienna Academyof Music She is a summa cum laude
graduate of Princeton University holds anearly music doctorate from Stanford Uni-
versity and has been a visiting professor atthe Vienna Conservatory and Indiana
Universityrsquos Early Music Institute Visit wwwmusicapacificaorg
for more information
Suite Thoughts of Sitka
14 March 2009 American Recorder
my musical projects with renewed energy and enthusiasmI had the time not only to practice the Bach suites butalso to really study them in depthmdashanalyzing themlistening to and comparing different recordings andworking on my transcriptions of them Although it wasnrsquotpart of my original intention I now have a plan to publishmy arrangements of these pieces so theyrsquoll be available forothers to perform (While Frans Bruumlggen published hisarrangement of the first three suites in the 1970s to myknowledge there is only one other recorder editioncurrently available whose approach is quite different from mine)
I wasnrsquot however living in total isolation while at SitkaThere were artist residents of other media as well Kim awriter from New York state John and Robin a marriedcouple who were ceramicists from Washington state andtheir three daughters and Claudia an installation- andperformance-artist We became a community socializingwhen we werenrsquot working (and sometimes even when wewere) going on excursions to see the glorious naturalwonders of the Oregon coast having dinners together inour various residences and talking about our work
The setting provided the perfect atmosphere for theexchange of ideas and we began to collaborate on mutualprojects sometimes in unexpected ways Robin startedmaking ocarinas and I worked with her to design and tunethem While I immersed myself in Bachrsquos solo music flutesand musical themes began to appear in the images shepainted on her ceramic pieces Often after wersquod hung outtogether in the evening depictions of the stories I told herwould show up in her paintings over the next few daysFanciful illustrations of me playing to my dog Jake evenmade several appearances in her work (The photos aboveshow the ocarina she made for me)
Toward the end of my stay I also began collaboratingwith Claudia the installation artist Her work was creatinginstallations out of plastic bags fastened together to formdifferent naturalistic shapes which she then set up invarious locations around the Sitka campus and nearby
areas Together we created a performance piece that wepresented at the Open House at the end of our residenciesI provided music to accompany a performance that tookplace within her installation We worked together on usingthe music to express the various ideas in the installation andperformance and using the performance to express themusic in a visual way
Bachrsquos music can be very evocative and I chosemovements from the Bach suites that suggested the variousparts of the narrative she performed part of a slow preludeto depict nascent creatures emerging in a forest a C-majorbourree while they are coming to life a C-minor onesuggesting turmoil a fast 16th-note passage representingflight as they grow wings and fly and finally a wistfulsarabande as they gradually die away and disappear As in a ballet each medium enhanced the other and the wholebecame more than the sum of its parts illuminatingdifferent aspects of each and creating a more profoundeffect than either might have independently
During the Sitka open house Linsenberg plays
in an installation of plastic bag ldquocreaturesrdquo
There were other opportunitiesfor me to present the music I wasworking on Around the midpoint ofmy stay there I performed in a concertmarking the start of the annual Windsand Waves weekend workshop Iplayed one of my Bach suites thoughit was still a work in progress
The next day about 45 recorderplayers descended upon our quiet littleenclave turning it into a hubbub ofactivitymdashquite a change from the low-key atmosphere of the prior severalweeks Once I got over the initialculture shock of the influx of so manypeople I thoroughly enjoyed meetingand working with all of them A class I offered on the Bach suites enabledme to share some of the work Id beendoing conversely I got input from thestudents I taught that made me thinkdifferently about the piecesmdashforexample what about playing them on a subcontrabass recorder
Shortly after the workshop theSitka residents held a communityoutreach day at which we each demon-strated our work to children from anearby school I had been working onsome contemporary pieces withnaturalistic themes (fitting for thesetting) and this event gave me theopportunity to play some of them forthe kids They were fascinated by theextended techniques used to imitatebirds and other animals and of courseVan Eyckrsquos ldquoEngels Nachtegaeltjerdquowas a hit with them as well
As hard as it was for me to getused to Sitka and the residency at thebeginning of my stay it was evenharder to leave My departure datecame too soon Irsquod had time to finishtranscriptions of only three of thesuites
Saying good-bye to all the friendsIrsquod made theremdashthe other artists aswell as the recorder players Irsquod metmdashwas hard enough but leaving the
beauty of the place and the peace Irsquodfound there saddened me greatly
Sitka had changed me and ittransformed my relationship to themusic I played as well My experienceallowed me to tap into a deep placeinside myself in a way that I never hadbefore something I was then able tocommunicate through the music I wasplaying Bachrsquos music turned out to bethe perfect vehicle because it expressesin sound the same grandeur spiritu-ality and universalitymdashas anyone whohas heard a live performance of the B-minor mass can attestmdashas does theview from the top of Cascade Head
Since the conclusion of myresidency I have given severalperformances of the rsquocello suitesincluding some lecture-recitals onthem and on my arrangements moreare planned Irsquove begun working withstudents of instruments other than therecorder who are studying the rsquocellosuites And I continue to work on myarrangementsmdashalas five weeks wasjust not long enough to learn andadapt all six suites although I do plan to publish them in the future
My work at Sitka also inspired meto pick up a project I started over 10years ago but never brought tofruition preparing my arrangementsfor recorder violin and continuo of thesix Bach organ trios (that I recorded in1992) to be published soon by PRBProductions And I have no doubt thatthe Sitka experience will continue towork on me in ways Irsquom not evenconsciously aware of at this time
I would like to give my deep and heartfelt thanks to the followingindividuals and organizations to the
Sitka Center for making my stay there sowonderful and to its founders Jane andFrank Boyden who had the vision tocreate this magical place to the members ofthe Oregon Coast Recorder Society fortheir generosity in creating and sponsoringthe recorder residency to the ARS for its financial support and to my wonderfulstudents who made it possible for me toparticipate in this life-changing experience(you know who you are)
wwwAmericanRecorderorg March 2009 15
Lost in Time Press
New works andarrangementsfor recorder ensemble
Compositions byFrances BlakerPaul AshfordHendrik de Regtand others
InquiriesCorlu CollierPMB 3092226 N Coast HwyNewport Oregon 97365wwwlostintimepresscomcorluactionnetnet
Sitka had changed meand it transformed my relationship to the music I played as well
MARIN HEADLANDS
RECORDER WORKSHOP
Point Bonita YMCA near San Francisco CA
May 15-17
With each coming tide of that mightymetronome the Pacific Ocean and withspring peeping soon our MarinHeadlands Recorder Workshop 2009perched at the edge of the ocean andembraced in greenery gets nearer Againthis workshop will swell with harmoniesof recorders viols and perhaps apsaltery or drum Intermediate andadvanced players are warmly invited tojoin members of the sponsoring EastBay Chapter of the ARS a SFEMSaffiliate at this annual musical event
Music-making begins on Friday andcontinues through Sunday afternoon
including also one- and two-day options
This yearrsquos faculty includes a wonderfulmix of familiar and new faces DavidBarnett Tom Bickley Louise CarslakeRobert Dawson Lisa DykemanFrances Feldon Judith LinsenbergPeter Maund Fred Palmer and Glen Shannon
Music offerings will range from easilyplayable to challenging from delightfulPurcell and Renaissance music to jazzto works by a (very) living composer(led by the chap himself) Check theEBRS web site for updates
The workshop is held at the PointBonita YMCA one of very few publicfacilities on this largely undevelopedarea of California coast Set in a meadowwith short walks to Pacific Ocean vistasthe historic Point Bonita Lighthouseand remnants of WWII fortifications
it is a place to get away recharge andmeet new friends or re-connect withold The accommodations includedormitory-style rooms a large diningarea and playing spaces all on one levelRooms are also available for impromptuplaying sessions
Contact Anna Lisa Kronman
37 Meadow View Rd Orinda CA
94563 925-258-9442
annalisakronmangmailcom
symbolicsolutionscomebrs
BLOOMINGTON EARLY
MUSIC FESTIVAL
Bloomington INMay 15-25
Performances of Medieval RenaissanceBaroque and Classical music as well aseducational programs for concertgoersamateur performers and childrenPlease see BLEMForg for details
Contact Carol Huffman
PO Box 734 Bloomington
IN 47402 812-824-2412
specsorffyahoocom blemforg
WHITEWATER EARLY
MUSIC FESTIVAL (ARS)
University of Wisconsin Whitewater WI
June 5-7Directors Nancy Chabala Carol Stanger Pam Wiese
Our workshop is held on campus at theUniversity of WisconsinndashWhitewaterabout 60 miles SW of MilwaukeeClasses include focus and specialty areainstruction for all levels of recorderplaying as well as beginningmdashconsortviola da gamba wind band voicerecorder orchestra and mixed consort A variety of special interest classes onFriday evening and Saturday eveningparticipant gathering led by LouiseAustin The various classes include
16 March 2009 American Recorder
Summer Workshop Summer-y
The Madison Early Music Festival presents
Telescopic Vistas MEMF X and Music of the SpheresCelebrating the International Year of Astronomy
July 11-18 2009
Guest Artists amp Ensembles Faculty Recorder Artists Quicksilver with Marion Verbruggen Joan Kimball Piffaro The Renaissance Band Priscilla Smith The Newberry Consort Marion Verbruggen Venere Lute Quartet Robert Wiemken
Explore music from the days of Galileo and Kepler Celebrate the influence of astronomy on society arts and culture
in the 15th through 17th centuries
Our tenth anniversary festival features a seven-concert series and a week-long workshop with classes and ensembles for participants of all levels
For more information please call (608) 263-6670 or visit wwwmemfdcswiscedu
music from Medieval to modern
Several musicinstrument vendors onsite Dale Taylor will be on site forrepairs All ages are welcome as well as non-participants
Faculty includes Dale ArmentroutLouise Austin David Echelard CharlesFischer Shelley Gruskin LisetteKielson Laura Kuhlman PatrickOrsquoMalley Tulio Rondon KarenSnowberg Mary Halverson Waldo andTodd Wetherwax Brochures available
Contact Nancy Chabala
8609 45th St Lyons IL 60534-
1616 708-442-6053 (day)
630-789-6402 (fax)
nchabalamymailstationcom
(housingregistration)
thewiesessbcglobalnet (mailing
scholarships) cvstangeraolcom
(facultyfacilities)
INTERLOCHEN EARLY MUSIC
WORKSHOP
Interlochen Center for the Arts Interlochen MI
June 7-12 Director Mark Cudek
Make and enjoy Medieval andRenaissance music while learning new skills and techniques
Topics will include articulationornamentation improvisation andensemble arrangement in Medieval and
Renaissance music The workshopculminates with a participantperformance on period instruments such as recorders and other early windsviols lutes harpsichord and percussionVocalists are also welcome Participantswill supply their own instruments
Early registration is recommendedas space is limited
Contact Matthew Wiliford
Director ICCA PO Box 199
Interlochen MI 49643 231-
276-7441 231-276-5237 (fax)
collegeinterlochenorg
interlochenorgcollege
RENAISSANCE CHAMBER
MUSIC INSTITUTE
New England Conservatory of Music Boston MA
June 11-21
A unique opportunity for professionalmusicians and advanced students todiscover and explore one of the greatestrepertoires of Western music which iseminently suitable for all instruments
Players of modern and early instrumentsare encouraged to attend
Led by John Tyson director of theRenaissance music and dance ensembleRENAISSONICS who has performedand lectured worldwide including forthe Boston Symphony OrchestrarsquosTanglewood Institute
Introductory lectures will be followed byintense chamber music coaching in largeand small ensembles Concentration willbe on personal expression rhetoric andphrasing performance practice andornamentation The institute willculminate in a public performance at theNew England Conservatory of Music
Faculty John Tyson recorder LauraGulley violin Daniel Rowe rsquocello and guest artists
Contact Director of Summer
School New England
Conservatory of Music
290 Huntington Avenue Boston
MA 02115 617-585-1126
617-585-1135 (fax) newengland
conservatoryedusummer
wwwAmericanRecorderorg March 2009 17
Workshops carrying
ARS designation have
joined the ARS as
workshop members
Other shorter workshops
may be sponsored
periodically through the
year by ARS chapters and
are listed in the calendar
portion of each ARS
Newsletter as well as on
the ARS web site when
information becomes
available from presenters
Canto AntiguoWest Coast EarlyMusic and Dance
Featured Faculty
Beautiful CampusFully air-conditioned
For Information Call
800-358-6567
Early Music
WorkshopJuly 5-12 2009
Chapman UniversityOrange CA
Classes in
Baroque Music
Recorder Ensemble(all levels)
Vocal Ensemble
Renaissance Brassand Reeds
Viols
Collegium
Folk Dance
Thomas Axworthy
Mark DavenportRonald Glass
Janet Beazley
Carol LisekJim MaynardAlice Renken
wwwcantoantiguonet
18 March 2009 American Recorder
SUMMER TEXAS TOOT (ARS)
Concordia University Austin TXJune 14-20 Director Daniel Johnson
The Summer Texas Toot is a one-weekprogram of classes in Renaissance and Baroque music at all levels forrecorders viols singers plucked stringsRenaissance reeds and brass andharpsichord Our classes include anarray of small one-on-a-partRenaissance and Baroque ensemblesand larger mixed vocal and instrumentalgroups The size of the workshopenables us to create classes for all levelsof students from those of modest skills to advanced players and singers
Same Texas Toot hospitality andtraditionsmdashback in Austin but atConcordia Universityrsquos beautiful newcampus Classrooms dining and dormaccommodations are air-conditioned and easily walkable
Currently our featured faculty are Tish
Berlin (recorders) Tom Zajac (reedsand ensembles) Mary Springfels(viols) Becky Baxter (harp)mdashbut watchfor more faculty to be added soon
Contact Daniel Johnson
PO Box 4328 Austin TX 78765
512-371-0099 infotootorg
tootorg
SAN FRANCISCO EARLY MUSIC
SOCIETY BAROQUE MUSIC amp
DANCE WORKSHOP (ARS)
Sonoma State University Rohnert Park CA
June 14-20Directors Phebe Craig Kathleen Kraft Frances Blaker
A music-packed week of master classesconcerto evening coached ensemblesBaroque orchestra vocal and windensembles continuo classes concertsand lectures
Featuring recorder faculty FrancesBlaker and Cleacutea Galhano Other facultyChristine Brandes voice Phebe Craig
harpsichord Sand Dalton oboeKathleen Kraft flute Michael Sandviolin and orchestra Mary Springfelsviola da gamba Peter Sykesharpsichord Tanya Tomkins rsquocello
Contact Kathleen Kraft SFEMS
PO Box 10151 Berkeley CA
94709 707-874-2014
kkraftsonicnet sfemsorg
SAN FRANCISCO EARLY MUSIC
SOCIETY CHILDRENrsquoS MUSIC
DISCOVERY WORKSHOP (ARS)
Crowden Center for Music Berkeley CA
June 21-26 (day camp)Director Letitia Berlin
Early music and Renaissance socialhistory for youth ages 7-15 beginners to advanced students welcome Dailyschedule includes chamber musicmusicianship crafts costume-makingand games Friday night concert andtheater project presentation followed by potluck supper
Rebecca Ahrendt violJanet Beazley recorder
Tish Berlin re cord er co-direct orFrances Blaker recorder co-direct or
Vicki Bœckman recorderLouise Carslake recorder fl ute
Charles Coldwell recorder Rotem Gilbert recorder
Julie Jeff rey violShira Kammen viell e
Peter Maund per cus sionKim Pineda recorder
Ellen Seibert violPe ter Seibert recorder choir
Margriet Tindemans viol viell eBrent Wissick viol
Play early music in the spectacular Pacifi c Northwest Choose from classes in recorder viol fl ute and percussion Polish your skills andor take up a new instrument Sing and dance
Enjoy the faculty concert Take part in the student recital Make the most of your stay with a hike at nearby Mt Rainier or a visit to the Museum of Glass
For informat ion or to request a brochure call (206) 932-4623write to Port Townsend Early Music Workshop
1108frac12 Alki Ave SW Seattle WA 98116or vis it wwwseattle-recorderorg
July 12ndash18 2009
Port TownsendEarly Music Workshop
At the beautiful University of Puget Sound Tacoma WA
Tish Berlin amp Frances Blaker Co-Direct orsPresented by the Seattle Recorder Society
Please note that this is a day camp Out-of-town students may contact thedirector regarding accommodations withhost families Some financial aidavailable
Featuring recorder faculty Vida Bateauand Letitia Berlin Other facultyKatherine Heater dance ShiraKammen musicianship and theaterband Ron McKean harpsichord Carla Moore violin Farley Pearcersquocello and viola da gamba Allison Rollstheater project director
Contact Letitia Berlin SFEMS
PO Box 10151 Berkeley CA
94709 510-559-4670
tishberlinsbcglobalnet
sfemsorg
OBERLIN BAROQUE
PERFORMANCE INSTITUTE
Oberlin College Oberlin OHJune 21-July 5Directors Oberlin Baroque Ensemble (Cathy Meints Marilyn McDonald Michael Lynn Webb Wiggins) and artistic director Kenneth Slowik
Celebrating its 38th anniversary withMusic in London 1659ndash1759 thisinstitute offers instruction in Baroqueinstruments and voice Students of alllevelsmdashfrom beginning to Baroqueperformance to the professional levelmdashparticipate in master classes and coachedensembles with an international facultyof Baroque specialists Scholarships are available for qualified high schoolstudents
Contact Anna Hoffman
Conservatory of Music
77 West College St
Oberlin OH 44074
440-775-8044
440-775-8942 (fax)
ocbpioberlinedu
oberlineduconsummerbpi
WORLD FELLOWSHIP
EARLY MUSIC WEEK
Chocorua NHJune 25-July 2Directors Jane Hershey Larry Wallach
Faculty of eightmdashincluding JaneHershey Roy Sansom Pamela DellalJay Rosenberg Julian Cole AnneLegecircne Larry Wallach and JoshSholem-Schreibermdashin a beautifulWhite Mountain camp setting conducta week-long workshop in French earlymusic (late Medieval through Baroque)
Faculty and student concerts Englishcountry dancing special lecturesmorning and afternoon workshops inviols recorders voice mixed ensemblesSephardic music and Baroque chambermusic and classes in Feldenkrais bodywork
Camp facilities include hikingswimming boating camp gardenssupply kitchen with vegetables Very affordable rates
Contact Larry Wallach
69 Welcome St Great Barrington
MA 01230 413-528-7212 (day)
413-528-9065 (evening)
413-528-7365 (fax)
larrysimons-rockedu
worldfellowshiporg
INDIANAPOLIS EARLY
MUSIC FESTIVAL
Indianapolis INJune 26-July 19July 8-9 Mini Boxwood Workshop
The Indianapolis Early Music Festivalis the oldest continually running earlymusic concert series in the USPresented since 1967 our mission is toenrich educate and entertain audienceswith the music of Medieval Renais-sance Baroque and early Classical erasand feature exciting performers ofnational and international stature usinginstruments of the period and histori-cally informed styles and techniques
For 2009 we will present Reconstruction(June 26 ) Ex Umbris (June 27) ChrisNorman amp David Greenberg withRonn McFarlane amp Mark Cudek (July10) I Furiosi (July 12) HarmoniousBlacksmith (July 17) and the PeabodyConsort with Indiana Repertory Theatre(July 19) We also offer our secondannual Family Concert featuring thePeabody Consort on July 18mdash a freeconcert geared to young audiencemembers Several groups also offeroutreach events for younger (generallyhigh-school-aged) musicians and actors
In 2009 we also present a two-dayldquoMini Boxwoodrdquo workshop with Chris
wwwAmericanRecorderorg March 2009 19
Marin
Headlands
Recorder
Workshop
Norman (earlytraditional flutes andpipes) David Greenberg (Baroqueviolin and fiddle) and Ronn McFarlane(lute) on July 8-9
Contact emindyorg
SAN FRANCISCO EARLY MUSIC
SOCIETY MEDIEVAL amp
RENAISSANCE WORKSHOP (ARS)
Sonoma State University Rohnert Park CAJune 28-July 4Director Tom Zajac
Workshop theme Stories and LegendsOpen to singers and players of earlyinstruments (recorders violas da gambalutes shawms etc) Coaching by world-class specialists in Medieval and Renaissance music Classes forvoices recorders viols and alta capellavoice master class ensemble coachingstorytelling for musicians andstorytelling accompanimentRenaissance choir Medieval bandtheater project faculty and studentconcerts lectures and more
Scholarships as well as academic creditor continuing education credit areoffered Featuring recorder facultyFrances Blaker Annette Bauer DanStillman and Tom Zajac Other facultyPatrick Ball storytelling Celtic harpKaren Clark voice movement formusicians Julie Jeffrey gamba ShiraKammen Medieval strings music forstorytelling Drew Minter voice theaterproject Tim Rayborn Medieval stringspercussion music for storytelling Larry Rosenwald theater projectrhetorician in residence MarySpringfels gamba theater projectAnnette Bauer early notation DanStillman reeds alta capella ensembleTom Zajac sackbut Renaissance choir
Contact Tom Zajac SFEMS
PO Box 10151 Berkeley CA
94709 617-323-0617
medrenmailgmailcom
sfemsorg
MOUNTAIN COLLEGIUM (ARS)
Cullowhee NC June 28-July 4Director Patricia Petersen
Nestled in the Smoky MountainsWestern Carolina University provides alovely location for Mountain Collegiumwith comfortable accommodations in anew dorm and catered evening mealsThe workshopmdash at once informal andintensivemdash combines study of Renais-sance Baroque and contemporary musicand improvisation on recorder viol andother early instruments with opportu-nities to explore Celtic and othertraditional music on hurdy gurdymountain dulcimer and pennywhistle
Friendly participants of all levels andages welcome newcomers into theMountain Collegium family Varied classofferings time for informal music-making and evening English countrydancing bring students back year afteryear Faculty Valerie Austin AtossaKramer Jody Miller Patricia PetersenJohn Tyson (recorders other winds)Martha Bishop Lisle Kulbach HollyMaurer Gail Ann Schroeder Ann Stierli(strings) Lorraine Hammond JohnTrexler (traditional music)
Contact Patricia Petersen
1702 Vista St Durham NC
27701 919-683-9672
patpetersenearthlinknet
mountaincollegiummusicorg
GREAT LAKES SUZUKI FLUTE amp
RECORDER INSTITUTE
McMaster University Hamilton ON CanadaJuly 4-11 Teacher training Book 1July 7-11 Teacher training Book 2July 7-11 Student InstituteDirector David Gerry
Master classes group instructionrecitals plus enrichment classes forstudents Teacher training with MaryHalverson Waldo
Contact David Gerry 129 Locke
Street South Hamilton ON L8P
4A7 CANADA 905-525-9549
dgerrynasnet davidgerryca
CANTO ANTIGUO EARLY MUSIC
AND RECORDER WORKSHOP
Chapman University Orange CAJuly 5-12Directors Thomas Axworthy Ronald Glass
This one-week workshop is designed to broaden the performance skills ofexperienced students and introduceRenaissance and Baroque instrumentsand musical experiences to beginningand intermediate players Students at alllevels participate in instrumental vocaland dance instruction performance
The workshop takes place at ChapmanUniversity Studios dining hall andresidences are all air-conditioned Thisinvitingly landscaped peaceful campuswith garden paths is a mixture of historic and modern architecture
The theme of this yearrsquos workshop isMusic of the Italian Renaissance Dancesmasses motets and ceremonial musicwill resonate as we explore the music ofMonteverdi Palestrina Gesualdo et al
Faculty includes Thomas AxworthyJanet Beazley Mark Davenport RonGlass Carol Lisek Jim Maynard and Alice Renken
Contact Ronald Glass
129 Altadena Dr Pittsburgh
PA 15228-1003 800-358-6567
(day) 310-213-0237 (evening)
562-946-4081 (fax)
evanesa2aolcom
cantoantiguonet
CAMMAC EARLY MUSIC WEEK
Lake MacDonald Music Center Harrington QC Canada
July 5-12Directors Francis ColpronMarie-Nathalie Lacoursiegravere
CAMMAC provides a unique oppor-tunity to make music with family and
20 March 2009 American Recorder
friends in a beautiful setting north ofMontreacuteal QC under the guidance ofinternationally acclaimed professionalmusicians
In four daily 75-minute classes pluslectures early music lovers will have the opportunity to play to their heartrsquoscontent
Small ensembles and voice classes are setup ahead of time registration for otherclasses occurs on site the first eveningCourses include choir large instrumentalensemble many recorder and violclasses Medieval and Renaissanceensembles Orff method and Baroquedancing There are courses foradolescents and a program for children 4-11 years old
Special project in 2009 The Fairy Queenby Purcell with choir instrumentalensemble soloists and staging Keyfaculty Matthias Maute ChristopherJackson Laura Pudwell MargaretLittle Marie-Nathalie Lacoursiegravere
Contact Johanne Audet
85 Chemin CAMMAC Harrington
QC J8G 2T2 CANADA
888-622-8755 1
819-687-3323 (fax)
nationalcammacca
cammaccaenglishTabLM
Summershtml
MADISON EARLY
MUSIC FESTIVAL
University of WisconsinndashMadison July 11-18Directors Cheryl Bensman Rowe and Paul Rowe artistic Chelcy Bowles program
MEMF joins the 2009 InternationalYear of Astronomy in a global celebrationof astronomy and its contributions tosociety and culture including the 400thanniversary of the first astronomicalobservation made through a telescope byGalileo Galilei Galileorsquos fatherVincenzo was a musician and musictheorist who combined the practice andtheory of music with mathematicaldiscussion of harmonymdashand influenced
Galileorsquos experiments MEMFcelebrates its tenth season exploringworks of music and the arts inspired by ascientific discovery that had tremendousimpact on culture and civilization
MEMF was created to provide anopportunity for musicians scholarsteachers and early music enthusiasts togather and exchange information andideas about Medieval Renaissance andBaroque music and to bring acclaimedearly music artists to the Midwest toperform in beautiful Madison
Featured MEMF 2009 guest artists-in-residence include Marion VerbruggenThe Newberry Consort QuicksilverPiffaro and Venere Lute QuartetRecorder faculty members includeMarion Verbruggen Joan KimballPriscilla Smith and Robert Wiemken
Contact Chelcy Bowles University
of WisconsinndashMadison 720 Lowell
Center 610 Langdon St Madison
WI 53703 608-265-5629
608-262-1694 (fax)
musicdcswiscedu
memfdcswiscedu
PORT TOWNSEND
EARLY MUSIC WORKSHOP (ARS)
University of Puget Sound Tacoma WA
July 12-18Directors Letitia Berlin Frances Blaker
Join us this summer at our new locationwith a star-studded faculty a beautifultree-lined and easy-to-navigate campuswith accessible facilities and acurriculum that will leave you wishingthere were 48 hours in a day
Consort and technique classes forrecorder and viol consort and mixedrepertoire recorder master classpercussion for all levels Hildegard forsingers Baroque flute beginning violtheory workshop orchestra and moreMake an all-Medieval schedule or mix it up with a class from almostevery period of music
Work hard and play hard with friends
new and old Intense music-making thatwill inspire you during the workshop andthroughout the year
Directors Tish Berlin and FrancesBlaker eagerly await your arrival andanticipate a splendid workshopRecorder faculty Janet Beazley TishBerlin Frances Blaker Vicki BoeckmanLouise Carslake Charles ColdwellRotem Gilbert Kim Pineda
Contact Jo Baim Workshop
Administrator 1108 frac12 Alki
Ave SW Seattle WA 98116
206-932-4623
workshopseattle-recorderorg
seattle-recorderorg
wwwAmericanRecorderorg March 2009 21
Amherst Early Music FestivalJuly 12-19 and 19-26 2009
Connecticut College New London CT
Renaissance consortsBaroque ensemblesMaster classesRenaissance AcademyEarly notation and moreNo audition required
July 12-19Baroque Academy
July 19-26 Virtuoso Recorder Recorder Seminar
Audition deadline May 15
wwwamherstearlymusicorginfoamherstearlymusicorg(617) 744-1324
AMHERST EARLY MUSIC FESTIVAL
(ARS)
Connecticut College New London CT July 12-19 Baroque Academy July 19-26 Virtuoso Recorder Recorder SeminarRenaissance Academy
Director Marilyn Boenau
Music of England and Spain Two weeksof classes in most early instrumentsvoice dance and notation
Week 1 includes classes for recorderviol other early instruments voicedance and notation Special programsBaroque Academy Baroque AcademyOpera Project (Purcellrsquos Dioclesian)
July 18-19 Music amp InstrumentExhibition
Week 2 comprises classes for recorderviol other early instruments voice andnotation Special programs VirtuosoRecorder Recorder SeminarRenaissance Academy
Evening activities include Englishcountry dance madrigals and informalplaying sessions Connecticut College ineastern CT offers comfortable air-conditioned accommodations naturalareas for walking and a view of LongIsland Sound Scholarships and work-study aid available
Contact Marilyn Boenau
Director or Cathy Stein
Administrator 47 Prentiss St
Watertown MA 02472
617-744-1324 (day)
617-744-1327 (fax)
infoamherstearlymusicorg
amherstearlymusicorg
MIDEAST WORKSHOP (ARS)
LaRoche College Pittsburgh PAJuly 19-25Director Marilyn Carlson
Music of Spain 55-60 students of allability levels adults only Instruction forrecorder (all levels except novice) violharp flute You may enroll for recorder
viol flute as primary instrument harpvoice recorder viol as secondary instru-ment Large and small ensembles all-workshop ensemble (instruments andvoices) Renaissance band (recordersviols capped reeds voice) Medievalcollegium (puzzles amp canons) consorts(by level) vocal ensemble Also Englishcountry dance penny whistle We alsooffer viol-for-novice and harp-for-novice each providing the opportunityfor hands-on experience without owningan instrument Other classes on specialearly music topics and literature
Faculty Marilyn Carlson directorMartha Bixler Stewart Carter JudithDavidoff Eric Haas Mary JohnsonPeter Ramsey Kenneth Wollitz otherfaculty to be announced All facilities areair-conditioned
Contact Marilyn Carlson
1008 Afton Road Columbus OH
43221-1680 614-754-7233
mcarlsoncolumbusrrcom
mideastearlymusicaddrcom
22 March 2009 American Recorder
San Francisco Early Music SocietySummer Workshops 2009Recorder middot July 19ndash25 2009La Dolce Vita di Flauto middot Explore the full range of recorder music from the Middle Ages to the 21st century through ensemble work technique sessions and recorder orchestra For the devoted amateur all ages intermediate to advanced Friendly atmosphere small classes Quiet campus near all amenities Special offerings Recorder orchestra recorder master class coached informal playing Faculty Louise Carslake Frances Feldon Rotem Gilbert Katherine Heater Norbert Kunst Patrick OrsquoMalley and Hanneke van ProosdijInfo Frances Feldon 510-527-9840 franfelaolcom
Baroque Music amp Dance middot June 14ndash20 2009Music in Italian Cities middot Master classes recorder ensemble concerto evening coached ensembles classes concerts and lectures Featuring recorder faculty Frances Blaker and Clea GalhanoInfo Kathleen Kraft 707-874-2014 kkraftsonicnet
Medieval amp Renaissance Music middot June 28ndashJuly 4 2009Stories amp Legends middot Classes for voices recorders viols and alta capella voice master class ensemble coaching storytelling for musicians and storytelling accompaniment Renaissance choir medieval band theater project faculty and student concerts lectures and more Featuring recorder faculty Frances Blaker Annette Bauer Dan Stillman and Tom ZajacInfo Tom Zajac 617-323-0617 medrenmailgmailcom
Music Discovery middot June 21ndash26 2009Day camp for youth ages 7 to 15 Early music and Renaissance social history Instruction in recorder harpsichord strings chamber music musicianship crafts costume-making games and more Beginners to advanced students welcome Featuring recorder faculty Vida Bateau and Letitia BerlinInfo Letitia Berlin 510-559-4670 tishberlinsbcglobalnet For more information visit our web site wwwsfemsorg
SAN FRANCISCO EARLY MUSIC
SOCIETY RECORDER WORKSHOP
(ARS)
St Albertrsquos Priory Oakland CA July 19-25Directors Frances Feldon Katherine Heater
Jam-packed week of recorder ensembleplaying concerts and the opportunity toimprove your skills working with highlyrespected recorder specialists in afriendly yet serious atmosphere Explorethe full range of recorder music from theMiddle Ages Renaissance and Baroqueto the 21st century through ensemblework technique sessions and recorderorchestra For the devoted amateur of allages from intermediate to advanced
Small classes Quiet campus Specialofferings recorder orchestra recordermaster class coached informal playing
Featuring recorder faculty LouiseCarslake Frances Feldon RotemGilbert Norbert Kunst PatrickOrsquoMalley and Hanneke van ProosdijOther faculty Katherine Heaterharpsichord
Contact Frances Feldon SFEMS
PO Box 10151 Berkeley CA
94709 510-527-9840
franfelaolcom sfemsorg
WINDSWEPT MUSIC WORKSHOP
William Jewell College Liberty MOJuly 19-25Director Phyllis Pasley
Bring your artistry to life Strengthen the mindbody connection and exploreenergy and music at Creative MotionAlliancersquos 59th annual summerconference Windswept Professionalmusicians conductors teachers studentsand amateur music enthusiasts willdiscover barriers that inhibit the free flowof energy and learn the secrets of inner-directed artistic music-making Classesin piano voice instrumental musicexpressive arts and independent studyMaster class coaching and conductingopportunities available Using move-
ment exercises analysis and bodyresponses explore music and energy in a unique inter-generational workshopformat Opportunities for independentrecorder study and private lessons enrichthe music-making experience
Registration fee $50 prior to 51509Tuition room meals $535 adults $400students 12-18 (must attend with parentteacher or sponsor) special half-weekrate $275 (Sunday-Wednesday noon)Memberfamily discounts Three hoursgraduate credit ($225) 3 CEUs ($50)and private lessons ($25 each)
Contact Phyllis Pasley 2208
Clouds Peak Maryland Heights
MO 63043 314-628-9862
directorcreativemotionorg
creativemotionorg
BOXWOOD FESTIVAL CANADA
Lunenburg Nova Scotia CanadaJuly 19-26Director Chris Norman
Discover musical and dance traditionswhile visiting one of North Americarsquosmost exquisite 18th-century seasidetowns Concerts dances sessionsclasses lectures with leading artists in therealms of traditional folk early musicdance and improvisation Work study ampscholarships available Gourmet cuisine
Faculty Chris Norman directortraditional amp early flutes FrancisColpron recorder ensembles LisaBesnoziuk Baroque flute DavidGreenberg Cape Breton amp Baroqueviolin Edmund Brownless voice shape note singing Marie Bouchardharpsichord Robert Dick contemporarytechniques amp composition Conal O Grada Irish flute Jerry OrsquoSullivanpipes whistle Rod Garnett flutefundamentals ethnic flutes PierreChartrand social dance MarlysNorman ballet classical dance Rod Cameron flute maker Tempest Baroque
Contact 902-634-9994
boxwoodorg
musiqueroyalecom
MACPHAIL SUZUKI INSTITUTE
FOR PIANO GUITAR FLUTE
AND RECORDER
MacPhail Center for the Arts Minneapolis MNJuly 19 Every Child Canreg July 19-26 Recorder Book 1July 20-24 Student InstituteDirectors Cindy Malmin Mary Halverson Waldo (auditions)
Suzuki Clinicians Marilyn Taggartpiano Tadeusz Majewski piano DavidMadsen guitar Kathleen Schoenfluterecorder MacPhail Suzuki faculty
Sanctioned by the Suzuki Association ofthe Americas MacPhailrsquos SuzukiInstitute allows Suzuki students of allages to share in motivating enrichingand wide-ranging musical experiencesStudents work with master teachers andimprove skills technically and musicallyDaily classes and observation includeapplied study theoryreading skillsensemble skills chamber music perfor-mance practices composition improv-isation master classes recitals art andmusic world musicdrumming musichistory recitals and presentations TeenMusical Revue (ages 13-18) fashioncharacter sketches develop a frameworkor theme and present to an audience
Who may attend Suzuki students whohave completed the Twinkle Variations(preschoolndashgrade 12 parents or another
wwwAmericanRecorderorg March 2009 23
Amherst Early Music Festival
(photo by Marc Weinberg)
responsible interested adult must attendwith students under high school age)teacher traineesobservers Participantsmust arrange meals housing and trans-portation Teacher Training prerequi-sites Every Child Canreg before Book 1courses must be taken in order throughBook 2 Contact workshop regardingrequired audition and preparation
Contact Cindy Malmin
612-767-5461
malmincindymacphailorg
Mary Halverson Waldo
5679 Harding Lane Shorewood
MN 55331 952-470-5853
mhalvwaldogmailcom
INTERNATIONAL BAROQUE
INSTITUTE AT LONGY
Longy School of Music Cambridge MA
July 24-August 2Directors Paul Leenhouts co-director Phoebe Carrai
VenicendashDresden Connection InternationalMeeting Grounds Music of MonteverdiVeracini Hasse Heinichen MarcelloVivaldi Pisendel Albinoni ZelenkaLotti Schein Schutz Quantz Gabrieli
2009 faculty Paul Leenhouts recorderPhoebe Carrai rsquocello ElizabethBlumenstock violin Ricard Bordasvoice Arthur Haas harpsichord LucasHarris lute Ken Pierce early danceGonzalo Ruiz oboe Mary Springfels
viola da gamba Jed Wentz traverso
Contact Karen Burciaga Com-
munity Programs Registrar One
Follen St Cambridge MA 02138
617-876-0956 X1532 (day)
617-354-8841 (fax) karenbur
ciagalongyedu longyedu
RECORDER AT THE CLEARING
The Clearing Ellison Bay WIJuly 26-August 1Directors Pat Badger Adrianne Paffrath
Recorder ensemble has been a traditionat The Clearing for over 25 yearsEnsemble playing is the weekrsquos focusEach day begins with a warm-up ofvoices and bodies as we sing rounds andready our muscles for performanceDaytime sessions focus on rhythmicchallenges recorder technique andensemble blend emphasis is on growthprocess and most of all enjoyment To participate fully you need at leastintermediate skills on a C or F recorder
Adrianne Paffrath coached on recorder with ARS teachers She is music directorat Racinersquos First Presbyterian ChurchPatricia Badger has studied early musicinstruments natural and classicaltrumpet She is performing arts head ofThe Prairie School Jointly they haveperformed for Medieval festivals grapestompings Shakespeare celebrations anda circus parade
Contact The Clearing PO Box 65
Ellison Bay WI 54210-0065
877-854-3225 920-854-9751
(fax) clearingtheclearingorg
theclearingorg
AMERICAN RECORDER SOCIETY
FESTIVAL AND CONFERENCE
University of Missouri at St Louis St Louis MO
July 30-August 2
Attend the second ARS Festival andConference for one day ($150) or allweekend ($350)
Sessions include recorder techniquepedagogy introductions to Orff Suzukiand Flutes and Drums Around the Worldmethods improvisation roundtablediscussions how to conduct yourconsort coached playing sessions forMedieval Renaissance Baroque worldand contemporary repertoire recorderorchestra incorporating percussion intoyour ensemble Also recorder mainte-nance choosing a recorder building aweb site using Sibelius music softwareMini-concerts by the next generation ofprofessionals master classes concerts byMarion Verbruggen and the FarallonRecorder Quartet Exhibition ofrecorder builders music sellers andmore CEUs available
Presenters Louise Austin AnnetteBauer Tish Berlin Frances Blaker Joyce Callanan Louise Carslake
24 March 2009 American Recorder
The Summer Toot is once again in Austin at the beautiful new facility of Concordia University The lushly wooded campus offers air-conditioned classrooms dining and dorm accommodations and is backed by a nature preserve Please join us
Our featured faculty includes Tish Berlin Tom Zajac Mary Springfels The Texas Toot offers a one-week program of classes in Renaissance and Baroque music at all levels featuring expert instructors in re-corder viol early reeds lute harp and voice
Danny Johnson workshop director Susan Richter administrator For more info
httpwwwtootorg or email infotootorg
11th Annual Summer Texas Toot June 14-20 2009 mdash Austin Texas
Mark Davenport Cleacutea Galhano LisetteKielson Lorraine Krige JudithLinsenberg Peter Maund Nina SternMarion Verbruggen Leslie TimmonsJim Tinter Mary Halverson Waldo
Contact Yvonne Miller-Nixon
Conference Administrator
1129 Ruth Dr St Louis MO
63122 800-491-9588 (day)
arsconfplannercharternet
americanrecorderorg
EARLY MUSIC WEEK AT
PINEWOODS CAMP (ARS)
Pinewoods Camp Plymouth MA August 15-22 Director Sheila Beardslee
The Myth amp Magick Creativity andInspiration in Early Music Surely thedeities of Olympus will surround us atPinewoodsndashwhere the myths of earlymusic will be made clear and our staff rsquosldquomagickalrdquo skills will hone and perfectour knowledge and performance of early music and dance
If yoursquove never played a musical instru-ment (but wish you could) or if youstudied music years ago (and fear yoursquoveforgotten) classes in recorder and violwill get you started or help brush off therust Advanced and intermediate playersand singers choose from a wide array ofclasses led by an outstanding faculty of professionals and teachers of earlywinds (recorders reeds brass) strings(viols violin) harpsichord and voice
New staff faces this summer areAnonymous 4rsquos Susan Hellauer voiceand Lisa Terry viol We welcome backDorrie Olsson historical dance andScott Higgs English country dance
We relax with two ponds for swimmingcanoeing a camphouse deck for readingafternoon tea and lots of dancing EarlyMusic Week continues its long traditionof superb teaching in a welcoming com-munity enhanced by special eventspresentations concertsmdashand dancing
Advanced musicians work intensivelyamateurs are engaged and challengedand beginners are always made welcome
Contact Steve Howe Country
Dance and Song Society
PO Box 338 Haydenville MA
01039-0338 413-268-7426 X3
(day) 413-268-7471 (fax)
campcdssorg cdssorgem
MONTREacuteAL RECORDER FESTIVAL
McGill University Montreacuteal QC Canada
September 17-20Directors Matthias Maute Sophie Lariviegravere
Conference consort music recorderorchestra concertsmdashEnsemble Capriceand Quynade (Israel) solo recital byMaurice Steger (Switzerland)
Contact Ensemble Caprice 4841
Garnier Montreacuteal QC H2J 3S8
CANADA 514-523-3611
514-523-1322 (fax)
infoensemblecapricecom
ensemblecapricecom
HIDDEN VALLEY INSTITUTE
FOR THE ARTS
EARLY MUSIC ELDERHOSTEL
Carmel Valley CANovember 1-7 November 8-14Directors Letitia Berlin workshopPeter Meckel HVIA
Enroll for one or both weeks Adults ofall ages welcome
Week I intense classes for upper inter-
mediate to advanced levels Week Ifaculty Letitia Berlin Frances BlakerLouise Carslake Annette Bauer(recorder) David Morris (gamba)
Week II all levels except beginnerClasses include recorder technique viol consort Baroque chamber musicconsort classes for Medieval Renais-sance Baroque and contemporary reper-toire workshop orchestra Week IIfaculty Letitia Berlin Frances BlakerTBA (recorder) Shira Kammen (earlystrings singing Medieval topics) MarySpringfels (viola da gamba)
Evening events include faculty concertstudent concert free-lance playing FreeWednesday afternoon for more playingor sightseeing Improve your playing in asupportive friendly atmosphere withworld-class teachers
Contact Peter Meckel
PO Box 116 Carmel Valley CA
93924 831-659-3115
831-659-7442 (fax)
hvmsaolcom
hiddenvalleymusicorg
wwwAmericanRecorderorg March 2009 25
26 March 2009 American Recorder
Am
herst
AR
S
Festival and
Co
nference
CA
MM
AC
Early M
usic
Week
Canto
Antiguo
Reco
rd
er
at th
e
Clearing
Great L
akes
Suzuki
FluteR
ec
Hid
den
Valley
Eld
erh
ostel
Interlo
ch
en
Early M
usic
Inst
Lo
ngy Intl
Baro
que
Inst
Marin
Head
land
s
Mid
east
Mo
ntreacuteal
Reco
rd
er
Festival
COST $520TW $350T C$1014ED $860 $1035E TBA $799D $389T $675T $210ED $735D $130TNO OF DAYS 814 1-4 7 7 7 5-8 714 6 10 3 6 4ARS DISCOUNT NO YES NO YES NO NO NO NO NO NO NO NONO OF FAC RECORDER FAC 4315 1716 165 85 22 82 543 11 101 1010 96 66NO OF STUDENTS 150wk 60 110 35 19 45 35 20 50 75 60 50RECORDER CLASSLEVELS
LIHIAV
BLIHIAV
BLIHIAV
BLIHIAV LIHIA BLI
LIHIAV LIHIA AV
LIHIAV
BLIHIAV
BLIHIAV
SPECIAL CLASSES USING RECORDERS
CMRMB20ENMROT
RPMRMB20MROPTO
CMRMBRO
MRMBENROPT CRO
RPMPT
CMRMB20MROPT
RPCMRMBENMROPT MBMP RP20
RPCMRMB20ENMTO
CMRMBMRO
NON-RECORDERCLASSES
CWKVPSDO PO
CWKVDT CWVD C O KVPS
CWPKVPST WK VD
CWVPSDO
MUSICALACTIVITIES
FSLSPP FLO FSLSP FS SP FSLP FSP
SLSPPO FSLP P FSLP FS
RECREATION D GS BSTW D FBSW FSO OBSTWO S O G
OTHERS WELCOME SC S SC S S S S SDIRECTTRANSPORTATION SC SBCP SP BCLP BP SB CPUP CL PUP
SBCPUP
TRANSPORTATIONTERMINALS
A50B2 T2 A B T
A10B3 T5
A80B80
A50B10 T10
A20B20 T20
A16B16
A4B3 T3 A20
A15B10 T10
A4B3 T3
ROOMS SD SD SD SD SDC SD SD SDC DBATHS SSP SSPP SP P SSPP SSPP SP P S PFOOD CV C GV CV FV C F CV CV CHANDICAP ACCESS HCD HCD HCD HCD HC HCD HD HCD C HCD HCD C
KEYCOST Includes tuition room (single occupancy unless otherwise noted) meals plus other fees E=estimated T=tuition only D=double occupancy W=one week
NO of DAYS Includes arrival and departure daysARS DISCOUNT Discount offered for ARS members FACULTYRECORDER FACULTY Number of facultyrecorder faculty within that number STUDENTS Average over last two yearsRECORDER CLASS LEVELS B=beginners LI=low intermediate HI=high intermediate A=advanced V=very advanced
SPECIAL CLASSES USING RECORDERS RP=recorder pedagogy C=one-on-a-part consorts MR=mixed Renaissance ensembles MB=mixed Baroque ensembles 20=contemporary music EN=early notation M=master class RO=recorder orchestra P=private lessons available T=technique O=other
NON-RECORDER CLASSES C=choral W=other winds P=percussion K=keyboard V=viols PS=plucked stringsD=danceT=theory I=instrument building O=other
MUSICAL ACTIVITIES F=faculty concert S=student concert L=lecture SP=special production P=organized informal playing O=other
RECREATION D=dancing F=field trip G=gym B=biking S=swimming T=tennis W=waterfrontbeach O=otherOTHERS WELCOME S=non-playing spousesfriends C=children (day care not generally available)DIRECT TRANSPORTATION TO WORKSHOP S=shuttle from airport B=bus C=cab L=limo PU=will pick up P=free parking O=other
TRANSPORTATION TERMINALS A=air B=bus T=train (number indicates miles from workshop to nearest terminal)
ROOMS S=singles D=doubles (with ldquo+rdquo can accommodate up to triples) C=cabins O=other =Graduate dormsBATH FACILITIES S=shared SP=semi-private P=privateFOOD C=college style F=family style G=gourmet V=vegetarianHANDICAP ACCESS H=housing C=classrooms D=dining
INFORMATION SUPPLIED BY WORKSHOP DIRECTORS
2009 SUMMER RECORDER WORKSHOPS
Here are some suggestions foravoiding overuse syndromes Most obvious warm up This meansincreasing your practice time graduallybefore the workshop begins andwarming up yourself and yourinstrument before each rehearsal
Make your playing situation ascomfortable as possible Take along acushion back rest footstool whateverit takes the ear and hand cannot ab-sorb what the bottom cannot tolerate
Be sure your glasses are ideal for the distance from your eyes to themusic desk that usually amounts to anarmrsquos length away (You can select apair at your local drug or departmentstore if you have no serious astigma-
tism) If glare from bright light (thosemarvelous outdoor rehearsals) is aproblem for you you may find that ayellow tint for your glasses is a help
Get your bodily playing equip-ment in the best possible shape beforethe workshop a visit to the dentist tosmooth off a front tooth for a windplayer can make an enormous differ-ence in endurance A layer of plasticwrap over the teeth (before yoursquoveworn a hole in your lip) may also help
Once yoursquove arrived at the work-shop there are ways to ensure thatstress (inevitable) doesnrsquot becomedistress (mostly preventable)
Take reasonable breaks duringrehearsal time and use them to stretchA little aerobics like running in placetakes very little time and gets rid ofthat stiff-from-sitting feeling Get yourfellow ensemble players to massageeach othersrsquo shoulders Other fre-
Do you have a favorite article from years past in AR E-mail that information to Gail Nickless
editoramericanrecorderorg
wwwAmericanRecorderorg March 2009 27
Mo
untain
Co
llegium
Pinew
oo
ds
Early M
usic
Week
Po
rt
To
wnsend
SF
EM
S
Baro
que
SF
EM
S
Ch
ild
rens
SF
EM
S
Med
ieval amp
Renaissance
SF
EM
S
Reco
rd
er
Texas T
oo
t
Wh
itew
ater
Wind
sw
ept
Music
Wo
rksh
op
Wo
rld
Fello
wsh
ip
$800ED $890ED $975 $950 $370T $950 $950 $740E $245 $535D $850E COST7 8 7 7 5 7 7 7 3 6 7 NO OF DAYSNO NO NO YES YES YES YES YES NO NO NO ARS DISCOUNT
125 189 169 102 82 124 76 136 1110 131 83NO OF FAC RECORDER FAC
50 100 100 55 30 70 40 50 110 45 30 NO OF STUDENTSLIHIAV
BLIHIAV LIHI AV
LIHIAV
BLIHIAV LIHI AV LIHIA LIHIA
BLIHIAV
BLIHIAV
RECORDER CLASSLEVELS
CMRMB20TO
CMRMBENROT
MRMB20MROPT
MBMPTO
CMRMBPTO
CMRENMPTO
C20MROPTO
CMR20MPT
CMRMB20ROTO MP
CMRMBMRO
SPECIAL CLASSES USING RECORDERS
WVDTO
CWKVPSDT CPVT
CWKVPSTO
KVDTO
CWPVPSTO O
WKVPSTO
CWVTO
CWPKVD
CKVDT
NON-RECORDERCLASSES
FSLSPP FSP
FSLSPPO FSSP
FSLSPPO
FSLPO
FSLPO SPO FSL PO FSLP
MUSICALACTIVITIES
DGBS DSWFGBSTW
DGBST D
DGBST DO SO
DFSWO RECREATION
S S SC SC S S SC SC OTHERS WELCOME
P SC CPUP SCP SCP SBC LP SPUP P BPUDIRECTTRANSPORTATION
A50B15 T15
A15B7 T6 A59
A20B2 T5 A59
A12B4 T1 A40 A
A20B15 T28 B10
TRANSPORTATIONTERMINALS
SD SD S S CALL S S SD SD SD SD ROOMSSP S SP P P SP P S S S BATHSCGV FV CV CV CV CV CV CV CV FV FOODHCD CALL HCD HCD C HCD HCD HCD HCD HD HANDICAP ACCESS
AR50 AVOIDING ACHES amp PAINSBy Leacuteonie Jenkins MD (c1925- 2000) from the March 1993 AR Vol XXXIV1
quently overused parts such asforearms and hands also respond to massage Quick tutorial on massagestart stroking toward the body and inthe direction of the flow of the veinsmdashupstream from the sorest partgradually work down to include thesore spot Yoursquore trying to move overthe underlying muscle not to rub theskin Thatrsquos why a little oil helps
Your psyche may need some relieffrom overload too Most workshopsare in surroundings that lend them-selves to taking a walk finding a placeto meditate taking in some beauty In creating anything a musical per-formance no less than more static artforms breathing in is as necessary asbreathing out be sure you take time to do it
Not to be forgotten those partiesLate hours and alcohol are stressfultry to balance off the fun yoursquore havingwith your capacity for both Above allenjoy Thatrsquos why yoursquore going
2009 SUMMER RECORDER WORKSHOPS
By Bart Spanhove
The author has been principalprofessor of recorder at the Lemmens-
instituut Leuven (Belgium) since 1984He is also artistic director of the world
famous recorder ensemble the FlandersRecorder Quartet which is set to perform
in concert at the 2009 Boston EarlyMusic Festival He is often asked to serve
as a jury member for internationalrecorder competitions in Canada US
Germany The Netherlands and BelgiumHe has given numerous master classes andlecture demonstrations all over the world
Spanhove is co-author of thesuccessful recorder method Easy Going(Heinrichshofen) and wrote the much-
used book The Finishing Touch ofEnsemble Playing (Alamire 2000
and Moeck 2002 with translations inChinese and German) In 2009
The Recorder Music of Frans Geysenwill come out (Mieroprint)
Currently he is researching practicetechnique for the recorder Daily
Spanhove thinks about how to makepeople happier by making music and
playing the recorder
As a conclusion for the VirtuosoRecorder class during the AmherstWorkshop in 2008 we organized aldquoHappy Hourrdquo for our nine talentedstudents Mee-Jung Ahn (Korea)Emilie Hasselgren and Kristine West(Sweden) Anne Timberlake JosephLewnard Jacob Lodico and BrycePeltier (US) Emiliano Perez(Mexico) and Fanny Massy (France)participated in a quiz that I wrote thenight before with the assistance ofReine-Marie Verhagen
We combined questions regardingmusic theory with practical exercisessuch as middot How long can a player hold a
low f in one breath on an altorecorder (You get one point foreach second)
middot How many times through a scaleis a player able to play in 30seconds (For every octave of theF major scale you get one point)
middot How many different pieces fromthe recorder repertoire can aperson play in the course of twominutes (The other members ofthe group have to guess the nameof the composer before the playercan start the next piece)
middot In one minute list as manydifferent titles as you can fromDer Fluyten Lusthof (TheRecorderrsquos Pleasure Garden) of J J van EyckThe list of questions goes onAt the ldquoHappy Hourrdquo people
were divided into three groupsaccording to dates of each personrsquosbirthday When theoretical questionswere asked (see below) the pointsystem was devised as follows threepoints were awarded when the selected
person of a group could find theanswer himherself two points whenthe selected person needed the help ofthe other group members and onepoint if the group needed the help ofour gracious class assistant Reine-Marie Verhagen (she alwaysknew the answer) No points weregiven if the quizmaster had to supplythe answer
On the next page you find someof my questions There are morewhich we hope to run in a future issueof American Recorder
The quiz was full of fun andsuspense By the end people weremore nervous than when playing aconcert on stage Jacob Lodico of theUS was the winner at Amherst
28 March 2009 American Recorder
Education___________________________________ A quiz for recorder players
wwwAmericanRecorderorg March 2009 29
Try these questions yourselfAnswers appear at the end of thisarticle
The Quiz1 Give the name of Ganassirsquos
treatise of 1535 where heextensively describes the recorder playing and diminutions of his time
2 In which German city is therecorder company Moeck based
3 In the cantata Gottes Zeit ist dieallerbeste Zeit BWV106 JS Bach calls for two altorecorders Give another name for this cantata
4 Of which famous orchestra isFrans Bruumlggen the conductor
5 List three leading Japanesecomposers of excellent solo pieces for the recorder
6 Give the names of recordermagazines published inGermany England and the US
7 What is the fundamental tone of a fourth flute
8 List two recorder makers fromthe Baroque period in England
9 Whatrsquos the title of the recitativeand chorale in the Saint MatthewPassion where the recorder isused
10 Give the names of two famouspublishers in business around1700mdashone in London and one in Amsterdam
11 The opus 10 work by AntonioVivaldi includes six concertiSome of them have beautifulnames Give the names of thefirst three concerti of this opus
12 Whatrsquos a nickname for Jean Jacques Hotteterre
13 The combination of recorder andtraverso was rarely used in theBaroque time Can you name any composers who used thiscombination
14 Which king from 16th-centuryEngland owned a large collectionof recorders and also composedand enjoyed daily recorderplaying
15 How many movements compriseHandelrsquos Sonata in C Op 1 No 7 originally written forrecorder and basso continuo
16 Give the name of Praetoriusrsquostreatise from 1609 that describesthe whole recorder family
17 Name the author of the oldestrecorder method
18 Name Jan Jacob van Eyckrsquosdisability
19 Who pretended around 1930 thatthe recorder was a kind ofclarinet
20 Who doesnrsquot belong in thefollowing group Bertho DrieverKarel van Steenhoven MarionVerbruggen Paul LeenhoutsDaniel Bruumlggen
21 Name the two instrumentsindicated to play the sonataMeiner Mutter of Hans UlrichStaeps
22 Il Pastor Fido was not composedby Antonio Vivaldi but by aFrench composer What was hisname
23 Whatrsquos the nationality of themusic company Zen-On
24 CPE Bach composed abeautiful trio that includes a bassrecorder What are the other twoinstruments
25 Give the names of the fourmovements of Bachrsquos partita forsolo traverse flute BWV1013
26 Which excellent playersperformed as the recorder trioSour Cream
27 A recorder normally has eightfingerholes Despite this musichistory describes the recorder as ldquoune flucircte agrave neuf trousrdquo (a flute with nine fingerholes)Explain why
28 Give the French name for vibratoperformed by finger movementsalone on a wind instrument
29 Who wrote in his diaryldquohellipbeyond anything in the wholeworld the wind-music when the
Answers to
Bart Spanhoversquos Quiz1 La Fontegara2 Celle3 Actus Tragicus4 The Orchestra of the
Eighteenth Century5 R Hirose M Ishii and
M Shinohara
6 Windkanal or Tibia (both ofGermany) The Recorder(England) American Recorder(US)
7 B8 The most famous English
recorder makers around 1700Bressan and Stanesby (the latterbeing both senior and junior)
9 O Schmerz Hier zittert das gequaumllte Herz
10 Walsh (and Hare) (of London)Roger (of Amsterdam)
11 La Tempesta de Mare La Notte Il Gardelino
12 Le Romain13 JB Loeillet J J Quantz
JJ Hotteterre or J B de Boismortier
14 Henry VIII15 Five16 Syntagma Musicum17 Sebastian Virdung Musica
Getutscht und Ausgezogen (1511)18 Blindness19 Igor Stravinsky20 Marion Verbruggen21 Alto recorder and piano22 Nicolas Cheacutedeville23 Japanese24 Viola and cembalo25 Allemande Courante Sarabande
Bourreacutee26 Kees Boeke Walter van Hauwe
and Frans Bruumlggen27 Before 1670 the player could
choose how to hold the recordermdashleft hand or right hand at the topThis meant that recorder makersdrilled two holes to accommodatethe little finger of the hand thatended up at the bottom Theunused hole was sealed with beeswax
28 Flattement29 Samuel Pepys30 Flanders Recorder Quartet
30 March 2009 American Recorder
Lazarrsquos Early Music(866) 511-2981 jblazaraolcom
wwwLazarsEarlyMusiccom
292 Gibraltar Dr 108 Sunnyvale CA 94089
Strings amp Early Winds
ModernBaroque Strings Viols Vielle
Kuumlng Moeck Mollenhauer Paetzold Yamaha Ehlert
Wenner Baroque flutes
Wendy Ogle Lu-Mi Ifshin Snow
Competitive Prices
Sent on Approval
Personalized Service amp Advice
R
E
C
O
R
D
E
R
S
ldquoGO FOR NEO-BAROQUErdquo
Andrew Charlton Partita Piccola For 4 Recorders (SATB)
[Prelude Allemande Courante Musettemdash
a neo-baroque epitome] (Score amp Parts PBE-25) $795
Andrew Charlton Suite Moderne For 3 Recorders (ATB)
[Baroque shapes but Hindemithian harmony]
(3 Playing-Scores PBE-44) $995
Southwest of Baroque David Goldsteinrsquos ldquobaroque Suiterdquo
on Cowboy Songs For 2 Recorders (SA) (PBE-2) $350
The Provincetown Bookshop Inc
246 Commercial Street Provincetown MA 02657 Tel (508)487-0964
A good source for Recorder amp Viol Music of all publishers
Provincetown Bookshop Editions
angel comes down which is sosweet that it ravished me andindeed in a word did wrap upmy soul so that it made me reallysick just as I have formerly beenwhen in love with my wiferdquo
30 Whatrsquos the English name for afamous recorder ensemble calledin its country Vier op lsquon Rij
wwwAmericanRecorderorg March 2009 31
by Tim Broege timbroegeaolcom
December 11 2008 was a specialday for American music the
100th birthday of Americarsquos greatestliving composer Elliott Carter Cele-bratory concerts took place in manyvenues including Carnegie Hall inNew York There the Boston Sym-phony led by James Levine played anew work by Carter Interventions forpiano and orchestra The soloist wasanother well-known conductor DanielBarenboim who is no mean hand atthe keyboard to say the least
Itrsquos remarkable that wonderfulnew compositions continue to pourforth from Carterrsquos pen His musicsparkles and frolics packing lots of musical events into engrossingstructures Much of his music isavailable on CD so if you missed thecelebrations you can easily have yourown belated birthday party for Carter
Although he has never written for recorder (one of our prominent
recorder soloists should commissionhim) Carter has produced manychamber pieces featuring woodwindsSince many recorder players double orstarted out on woodwinds such piecesas the Sonata for Flute Oboe Cello ampHarpsichord (1952) Enchanted Preludes(1988) for flute and rsquocello Espritrudeesprit doux (1985) for flute andclarinet or the Oboe Quartet (2001)may hold special interest
If you missed Charlie Rosersquosexcellent interview (broadcast onDecember 10) with Carter Levine andBarenboim you can see it atwwwcharlierosecomview
interview9774mdashessential viewingfor fans of contemporary music
We note with sadness the passingon January 23 of another distin-guished American composer GeorgePerle An authority on the music ofAlban Berg and the Second VienneseSchool Perle developed a uniquelyrical style based upon a free approachto 12-tone and serial procedureswhich he dubbed ldquo12-tone tonalityrdquo I recommend listening to his SerenadeNo 3 for Piano amp Orchestra (1983) Six Etudes for Piano (1973-76) and the Pulitzer Prize-winning Wind Quintet No 4 (1985)
Another leading American com-poser Leon Kirchner is thankfully still with us having turned 90 onJanuary 24 Like Perle Kirchner has a highly personal and expressive styleA birthday concert was held at MillerTheater at Columbia University inNew York City NY Participatingmusicians included flutist PaulaRobison pianist Jeremy Denk and theClaremont Trio with the composerpresent to discuss his music
An excellent way to get to knowKirchnerrsquos music is through his stringquartets Just in time for his birthdayAlbany Records has released a fine CDof all four played by the Orion StringQuartet Quartet No 4 was written in2007 (when the composer was 87mdasha veritable youngster compared toCarter) The composer Allen Shawnhas described that quartet asldquoluminous and passionaterdquo words aptto describe much of Kirchnerrsquos output
Speaking of contemporary musicI have been spending pleasant hoursperusing the Catalog of ContemporaryBlockflute Music available online atwwwblokfluitorg from StichtingBlokfluit This Netherlands founda-tion offers a contemporary recordercatalog and a catalog of historicalrecorder music Access to both is byfree membership
For those who havenrsquot yet used thecontemporary catalog I urge you togive it a try You can search by manyparameters such as composer title orspecific instrumentation A search forldquovoice fluterdquo turned up a list thatincluded Moon Dances Three AmericanSketches by composer Walter Mays(intended for solo alto recorder butalso playable on tenor or voice flute)Searching the name of English com-poser Edmund Rubbra produced a listof eight works that employ recordersincluding the intriguing CantataPastorale opus 92 for high voice altorecorder rsquocello and harpsichord
Searching ldquofemale composersrdquo fora piece using ldquoBaroque altordquo yieldedAfter Meditation by Ros Bandt ofAustralia
What an easy and tremendouslyvaluable way to find new music
On the Cutting Edge___________________________________Birthdays composers and
recorder music catalogs
Elliot Carter
(photo by Meredith Heuer)
Question How does Renaissancefingering differ from standard
fingering on the recorder Is one superior tothe other Do you need a special recorder touse Renaissance fingering and if so can itbe played with regular recorders Is there afingering chart that shows RenaissancefingeringmdashWilliam BaumannWaterford WI
Answer from Carolyn Peskin Music composed in the
Renaissance the historical periodextending from about 1450 to 1600was predominantly vocal and highlycontrapuntal Recorders which oftendoubled singers at the octave orrendered vocal pieces instrumentallywere designed to make the individualmelodic lines clearly audible
Most 16th-century consortrecorders were one-piece instrumentswith large toneholes and a wide borethat contracted slightly starting nearthe upper fingerholes and thenexpanded gently near the lowest holesThat ldquochoke-borerdquo design togetherwith the voicing and tonehole con-figuration favored the fundamentaltone (first harmonic) producing astrong open sound that was aboutequally loud throughout theinstrumentrsquos range
Such recorders had a useful rangeof only about an octave plus a sixthwhich was nevertheless sufficient for the music of their day MostRenaissance-style consort recordersmade today are based loosely uponsurviving 16th-century instruments ofthe above type and are designed toapproximate the range timbre andvolume of those early instruments
Our present-day ldquoregularrdquorecorders are Baroque-derived instru-ments based loosely upon survivingrecorders from the late 17th and early18th centuries They are three-pieceinstruments with small toneholes and abore that is narrower and moretapering than a Renaissance boreextending their useful range upward totwo octaves plus a whole tone
Baroque recorders are soft andsweet-sounding in their bottom octavebut louder and brighter in the secondoctave Their lowest notes are espe-cially weak because they must be blowngently to prevent overblowing into thesecond octave Such instruments aresuitable for Baroque solo and chamberrepertoire but not very satisfying forRenaissance polyphony
Due to their different timbre andvolume Renaissance recorders will not blend well with Baroque onesFurthermore the most historicallyauthentic Renaissance-style recordersare tuned in a ldquomeantonerdquotemperament that facilitates the playingof pure major thirds Such instrumentsmake Renaissance music easier to playin tune but will produce intonationproblems if played with Baroquerecorders which are tuned in equaltemperament For the above reasonsRenaissance and Baroque recordersshould not be played together
Renaissance fingering will not work on todayrsquos neo-Baroquerecordersmdashmost of which haveldquomodernrdquo Baroque fingeringcommonly called ldquoEnglishrdquo fingering
because it was developed fromhistorical Baroque fingering by ArnoldDolmetsch in England during theearly 20th century Renaissancefingering is less standardized partlybecause a number of different originalinstruments are used as models andpartly because makers wish to improvethe intonation tone quality andorplayability of certain notes Howeverthe following generalizations apply tomany of todayrsquos Renaissance-styleconsort recorders
First in the lower octave modernBaroque fingering works for mostnotes but is often too flat for the fourth scale degree (eg soprano F)requiring removal of finger 7 (right-hand pinky) and is too sharp for theraised fourth degree (eg soprano F)requiring addition of finger 7
Modern fingering is also usuallytoo sharp for the lowered seventhdegree (eg soprano B) The correctfingering for that note varies from oneinstrument to another
In the upper octave modernfingering works for the first third andfifth scale degrees (eg soprano C Eand G) but usually not for other notesSome notes require half-holing with aright-hand finger and notes above thefifth scale degree may require additionof several fingers to bring them in tuneHistorical Renaissance fingering forthe second scale degree (eg sopranoD) is especially awkward because all ofthe fingerholes and the thumbholemust be uncovered Therefore somemakers substitute modern fingering forthat note
Although Renaissance fingeringand meantone tuning are recom-mended for the best blend some
Q amp A___________________________________ Renaissance recorder fingering
Send questions to Carolyn Peskin QampA Editor 3559 Strathavon Road Shaker Heights OH44120 carolynpeskinstratosnet
32 March 2009 American Recorder
wwwAmericanRecorderorg March 2009 33
makers of handcrafted Renaissance recorders will provide modern fingeringandor equal temperament upon request and Moeck Verlag offers a choice ofRenaissance or modern fingering for most sizes of its factory-producedRenaissance Consort series
For a most satisfying blend Renaissance ensembles should purchase amatched set of recorders tuned and voiced to be played together Renaissanceconsort sets usually include two different alto recorders one in G (lowest note g)and one in F (lowest note f ) The ATTB combination with the G-alto is best formost of the quartet music composed between 1450 and 1550 while the SATBcombination with the F-alto is more practical for much late 16th-centuryrepertoire (Playing the G-alto requires learning G-alto fingering or elsetransposing the alto line down a whole tone and using F-alto fingering)
In addition to consort recorders some makers offer ldquoGanassirdquo sopranos andaltos based upon fingering charts in Silvestro Ganassirsquos recorder tutor Fontegarapublished in 1535 and a single original instrument in the Vienna Kunst-historisches Museum Because of their special bore design (cylindrical with aflaring bell) Ganassi recorders have a range of two octaves and a sixth withcumbersome fingerings in the third octave They are used mainly as soloinstruments for playing intricate ornaments of the type found in Fontegara
Also sometimes included in the ldquoRenaissancerdquo category are ldquotransitionalrdquo(early Baroque) recorders which are based upon originals from the first half ofthe 17th century They have a bore that is wider than a Baroque bore but contractssharply near the lower end resulting in strong low notes and at least a full two-octave range usually with modern fingering Most transitional recorders aresopranos or altos designed for playing Jacob van Eyckrsquos variation sets or thehighly ornamented Italian solo repertoire of the late-16th and early-17thcenturies
However wide-bore consortrecorders with a range of at least twooctaves and modern fingering shouldalso be regarded as transitionalinstruments They differ somewhat intimbre and volume from typicalRenaissance consort recorders
Handmade wide-borerecordersmdashconsort Ganassi andtransitionalmdashare obtainable frommakers who advertise in AmericanRecorder the Prescott Workshop andthe Von Huene Workshop in the USJean-Luc Boudreau in Canada andStephan Blezinger in GermanyContact them andor visit their websites to find out what kinds ofrecorders they are currently makingand to get an idea of their prices andwait times
Factory-produced wide-borerecorders from Kobliczek Moeck andMollenhauer are available frominstrument dealers who advertise inAR New and used recordersincluding wide-bore models fromimportant makers in the US andabroad are also obtainable from Uni-corn Music For further informationvisit wwwbuyrecorderscom For a comprehensive database of recordermakers worldwide see Nicholas SLanderrsquos ldquoExtant Recorder Makers amp Retailersrdquo at wwwrecorder
homepagenetmakershtml
REFERENCES
CONSULTEDBauer Winfried
wwwrecorder-fingeringscomIncludes interactive fingeringcharts from modern makers andhistorical treatises Charts forRenaissance consort recorders byAdriana Breukink Adrian BrownBob Marvin and Tom Prescottwere consulted
Brown Adrianwwwadrianbrownorgrec
order_typesconsorthtml
Our present-day ldquoregularrdquo recorders are
Baroque-derived instruments based loosely
upon surviving recorders from the
late 17th and early 18th centuries
34 March 2009 American Recorder
The Von Huene Workshop Incis pleased to announce agreements with
CoolsmaZamra
to serve as their authorised service agents in the US
For more than 40 years the von Huene Workshop has produced some of the finest recorders in the world Our skilled staff can revoice retune and repair even the most seriously damaged instruments All repairs are done right on the premises and most can be completed within a week
For warranty repairs please include a copy of your original sales receipt
j 65 Boylston Street Brookline MA 02445 i(617) 277-8690 Fax (617) 277-7217 servicevonhuenecom
An informative article aboutrecorder sizes in Renaissanceconsorts
Brown Adrian and David LasockildquoRenaissance Recorders andTheir Makersrdquo AmericanRecorder Vol XLVII No 1(January 2006) pp 19-31 An important article based upon Brownrsquos extensive researchon 120 of the 200 surviving 16th-century recorders
Ganassi Silvestro Opera IntitulataFontegara Ed Hildemarie Peter(Berlin-Lichterfelde RobertLienau 1959) Modern edition ofthe oldest known treatise devotedentirely to the recorder (publishedin 1535) Includes 16th-centuryfingering charts
Griscom Richard and David LasockiThe Recorder A Research andInformation Guide (New York andLondon Routledge 2003) Anannotated bibliography including
references on construction anddesign of historical recorders
Levin Philip ldquoQampArdquo AmericanRecorder Vol XXXVIII No 4(September 1997) p 27Explains in simple terms thedifference between Renaissanceand Baroque recorders
Morgan Fred ldquoA Recorder for theMusic of JJ van EyckrdquoAmerican Recorder Vol XXV No 2 (May 1984) pp 47-49Describes the bore design of arecorder suitable for playing Van Eyckrsquos variation sets andcompares it with bore designs ofother types of recorders
Myers Herbert W ldquoRecorderrdquochapter in A Performerrsquos Guide toRenaissance Music ed JefferyKite-Powell (New York SchirmerBooks 1994) A 2nd edition isnow available published in 2007by Indiana University Press
FEATURING MUSICA PACIFICA
JUDITH LINSENBERG
RECORDERS____JS BACH TRIO SONATAS Arr by
Linsenberg from Trio Sonatas for Organ BWV525-
530 Sonata No 1 in E
major (transp to B
)
BWV 525 Sonata No 2 in C minor (transp to E)
BWV526 Sonata No 3 in D minor (transp to G)
BWV 527 Sonata No 4 in E minor BWV 528
Sonata No 5 in C major (transp to F) BWV529
Sonata No 6 in G major (transp to C) BWV 530
Virgin Classics Veritas 1993
____FIRE BENEATH MY FINGERS Showcases
three legendary composers who were also
virtuoso performers Vivaldi Concerto in F major
after RV 98570 ldquoLa Tempesta di Marerdquo Sonata in
A minor RV86 Concerto in G minor RV106 Con-
certo in Bb major RV503 Sammartini Concerto in
F major Tartini Concerto in A major D91 Dorian
____MANCINI CONCERTI DI CAMERA Seven
sonatas by Francesco Mancini plus one work each
from his contemporaries Francesco Durante amp
Domenico Scarlatti Highly recommended citation
from the 2000 Vivaldi Prize for Recordings of Italian
Early Music--Giorgio Cini Foundation Dorian
____MARAIS MARIN PIEgraveCES EN TRIO POUR
LES FLUcircTES VIOLON amp DESSUS DE VIOLE
Maraiss complete works for two treble lines and
bass with varied instrumentation and orchestrations
2-CD set $24
____SCARLATTI CONCERTI DI CAMERA
Seven sonatas for various instrumentations no
poor relations to the composers much more widely-
known vocal output All recorder players should
certainly have thisndashEarly Music Review
____TELEMANN CHAMBER CANTATAS
Five cantatas from Harmonischer Gottesdienst two
sonatas from Sonatas Corellisantes 2003 Chamber
Music America WQXR Record Award for best
chamber music recordings
____VIVALDI LA NOTTE Concerti per strumenti
diversi Award-winning CD featuring five Vivaldi
concerti two sonatas
AND OTHER RECORDING
ARTISTS FROM CALIFORNIA ____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 American Bach Soloists Jeffrey
Thomas conductor Dan Laurin Hanneke van
Proosdij recorders Christmas Concerto featuring
unique 1725 London version with solos transcription
for two recorders instead of two solo violins in
three of the six concertos Delos
____CANCcedilONIEgraveR Annette Bauer recorder
multi-instrumentalist Tim Rayborn Shira Kammen
strings Phoebe Jevtovic voice in a new early
music group devoted to repertoire from the
12thndash15th centuries as well as traditional music
from related regions (the Balkans Scandinavia
Middle East) Medieval instrumental music played
on a variety of instruments including strings
recorders and percussion Medieval dances and
motets bring to life the rich world of ancient
European music-making
____SACRED AND SECULAR MUSIC FROM
RENAISSANCE GERMANY Ciaramella-Adam amp
Rotem Gilbert Doug Millikan Debra Nagy
recorders with other winds shawm sackbut amp
organ Medieval amp Renaissance sacred music with
reconstructions of folksongs amp arrangements based
on contemporary improvisation
____BURIED TREASURE TOPAZ amp SAPPHIRE
Ensemble Vermillian Frances Blaker recorders
Barbara Blaker Krumdieck cello Elisabeth Reed
gamba Katherine Heater harpsichord amp organ
Transcriptions of Buxtehudes Op 1 other pieces by
Buxtehude works by Biber Johann Schop
Schmelzer Fafarela 2007
____STOLEN JEWELS Ensemble Vermillian
Frances Blaker recorders Barbara Blaker
Krumdieck Elisabeth Reed Katherine Heater 17th-
century German music adapted by Blaker I love
violin music so I steal the music and rearrange it
for my own instrumentrdquo Buxtehude Op 1 Biber
Rosenmuller Krieger JM Bach Fafarela
Recordings
____SENFL (LUDWIG) Farallon Recorder Quartet
(Letitia Berlin Frances Blaker Louise Carslake
Hanneke van Proosdij) 23 lieder motets and
instrumental works of the German Renaissance
____DOLCE MUSICAndash A CONTEMPLATIVE
JOURNEY Eileen Hadidianflutes recorders
Natalie Cox harps Celtic Renaissance and
Medieval melodies for recorder and flute with
Celtic harp Healing Muses 2005
____REFLECTIONS MUSIC TO SOOTHE AND
UPLIFT THE SPIRIT Eileen Hadidian recorder amp
Baroque flute with Celtic harp and cello Celtic
traditional Renaissance amp Medieval melodies
Healing Muses
____AN EVENING WITH BACH Voices of Music
Hanneke van Proosdij Louis Carslake Dan Laurin
recorders Joanna Blendulf Elizabeth Blumenstock
Rodney Gehrke Lisa Grodin Katherine Kyme
Jennifer Lane Victoria Gunn Pich Susanne Ryden
William Skeen David Tayler Renaissance and
Baroque music centers on fine singing Instantly
recognizable Air on a G String Bachrsquos Prelude in
G Major (solo theorbo for rsquocello) plus lilting vocal
performancesmdashRydenrsquos weightless soprano on
Bist du bei mir Lanersquos rich alto on Es is vollbracht
____BACH amp TELEMANN SONATAS PRELUDES
amp FANTASIAS Voices of Music (Hanneke van
Proosdij Joanna Blendulf Rodney Gehrke William
Skeen David Tayler) Beautiful chamber music by
Bach and Telemann
IN STOCK (Partial listing)____ALLA TURCA FUX CALDARA BADIA
Matthias Maute amp Sophie Lariviegravere recorders
Monika Mauch soprano Vocal music of the church
accompanied by Ensemble Caprice plus sonatas
and other instrumental pieces Analekta
____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 John Daniels Sonja Lindblad
recorders Peter Sykes harpsichord Trio sonata
arrangement by Johann Christian Schickhardt
____LES
AMIS DU
BAROQUE
Paul Nauta recorder amp
Baroque flute Koen Dieltiens recorder Music by
Bassani Corelli Vivaldi etc Highlight Intl
____LES SEPT SAUTS BAROQUE CHAMBER
MUSIC AT THE STUTTGART COURT Matthias
Maute amp Sophie Lariviegravere recorders amp traverso
Ensemble Caprice Charming repertoire by
Schwartzkopff Bodino Detri Atma Classique
____TASTE OF PORTIQUE LEnsemble Portique
Early and contemporary chamber musicmdash
Bach Telemann Boismortier and others
____TELEMANN ALLA POLACCA REBELndash
Matthias Maute recorders amp traversondash
plays concerti and suites by GP Telemann Dorian
____TELEMANN CANONS AND DUOS Lisette
Kielson amp Patrick OMalley recorders LEnsemble
Portique Telemann Canons meacutelodieux amp Sonates
sans basse 2-CD set LEP Records
____20TH CENTURY MUSIC FOR RECORDER amp
PIANO Anita Randolfi recorders Music by Jacob
Bartok Leigh others for recorder amp piano
____VIVALDI AND THE BAROQUE GYPSIES
Matthias Maute amp Sophie Lariviegravere recorders
Ensemble Caprice Gypsy music taken from
Uhrovska zbierka (now Slovakia) plus Vivaldi
____VIVALDI SHADES OF RED CONCERTOS amp
SONATAS FOR RECORDER amp STRINGS Matthias
Maute recorders REBEL Stylish high octane
readings of some of Vivaldis most beloved pieces
including the popular and raucous Concerto alla
Rustica stunningly colorful Sonata on La Follia and
four exuberant recorder concerti Bridge
____WINDFIRE Charmaine Delmatier recorder
Steve Kostelnik classical guitar Terry Hale bass
Erik Hokkanen violin Refreshing mixture of Andrew
Lloyd Weber American blues flamenco Celtic and
one original piece ltwwwyermomusicomgt
Please indicate above the CDs you wish toorder and print clearly the following
Name ____________________________________
Daytime phone (_____)______________________
Address__________________________________
CityStateZip _____________________________
Check enclosed for
_____ single CDs x $____ = $______
_____ 2-CD sets x $____ = $______
TOTAL $______
Please charge the above amount to my
MasterCard Visa or AmEx
_______________________________________
Exp Date ____________
Cardholderrsquos signature ______________________
Mail to
ARS 1129 Ruth Dr St Louis MO 63122-1019 US
You may fax a credit card order to 314-966-4649
NEW You may order CDs online using PayPal at
wwwamericanrecorderorgordercdromshtm
Order your recorder discs
through the ARS CD Club
The ARS CD Club makes hard-to-find or limited release CDs by ARS members
available to ARS members at the special price listed (non-members slightly higher)
All CDs are $15 ARS members$17 Others unless marked otherwise Two-CD sets are
$24 ARS members$28 Others Add Shipping and Handling $2 for one CD $1 for each
additional CD An updated listing of all available CDs may be found at the ARS
web site ltwwwamericanrecorderorggt
The first meeting of the newly-formedFort Myers Recorder and Early
Music Ensemble was January 26 atthe Florida home of chapter rep Sue
Groskreutz For this year the groupis somewhat loosely organized andplans to meet for extended sight-reading Repertoire at the first meetingcomprised everything from Renais-sance duets to chamber music involv-ing three treble parts and continuo
Among the five musiciansattending the first meeting (photobelow front row Elizabeth Spang SueGroskreutz back row Suzanne FergusonSibylle Baumgartner Arlene Sowka) allplayed recorder three harpsichord
and one each played traverso violinand gamba Due to the scarcity ofrecorder players south of the Sarasotaarea modern string players are alsoincorporated into this ensemble
The group decided not to chargedues and to meet at Groskreutzrsquoshome For more information pleasecontact Groskreutz at 239-267-1752spgembarqmailcom Snowbirdsdrifting through the area are welcome
Last fall at the requestof a student Kay Hettich
(inset below right) taught abeginning recorder class atthe Redding (CA) Senior
Center The five-weekclass was so successful thatmost participants haveformed a bi-weekly noviceensemble (right) coachedby Hettichmdashwho consid-ers them her ldquohatchedeggsrdquo
A new batch of ldquoeggsrdquostarted to incubate when afive-week class began on February 20Other senior center members havebecome interested as they heard oftheir colleaguesrsquo success These noviceplayers comprise some who previouslyread music and played instruments as well as people who are totally new to music notation
One student has also formulated amaxim ldquoEveryone at age 40 ought tolearn to play the recorder if heshehasnrsquot alreadyrdquo Just think how theworld would be transformed byshifting our focus to music
After Lynn Whidden attendedthe Montreacuteal Recorder Festival lastfall when the ARS Board met inQuebec she joined the ARS and nowrelays news of the lively interest in therecorder exhibited by a group underthe new leadership of Brent Legg ofBrandon University in ManitobaCanada Although his hands wereldquostill partly frozenrdquo he wrote that theBrandon University Collegium
Musicum in collaboration with theWaverley Park Recorder Club is
preparing a spring concert calledldquoEnglandrsquos Golden AgerdquoRepertoire spans the 16th century
from Henry VIIIrsquos accession in 1509to the death in 1603 of Elizabeth Iand includes solo songs four- andfive-part settings of Renaissancedances (with dancers) three- to five-voice madrigals and ldquobig-bandrdquoarrangements of William Byrdrsquos TheBells and The Dargason as re-imaginedby Gustav Holst (further re-imaginedfor recorders and percussion)
Of the 15 collegium membersseven are encountering the recorderfor the first time since elementaryschool The Collegium Musicumpromotes the study of early music at the university and is open to theuniversity community and the generalpublic This year there are five com-munity participants with interest fromseveral more both within and outsideof the university For informationcontact BrentLegggmailcom
January 16 marked the thirdannual recorder workshop of threeFlorida groups the Pasco Collegium
Recorder Consort of Hudson theImperial Recorder Consort of
36 March 2009 American Recorder
Chapters
amp Consorts___________________________________Workshops and activities from
coast to coast in the US and Canada
Lakeland and the Pilgrim Pipers Recorder Consort of St Petersburg Theygathered for a morning tackling selections by Banchieri Monteverdi PurcellCorelli Mendelssohn Bach Mozart and Glen Shannon Each group presenteda piece for the other participants Sweet Georgia Brown by Ben Bernie (St Pete)a Sonata by Sammartini (Lakeland) and The Gospel Train arr by KW Ford(Pasco) The 29 participants were led by Marlene Cracraft (Pasco) Jane
Spencer (Lakeland) and Elizabeth Snedeker (St Pete) Tom Bickley (photo below) directed the fall workshop of the Mid-Peninsula
Recorder Orchestra in Cupertino CA The 30 players started with Gregorianchants written in ldquooldrdquo notation Bickley gave basic instruction on how tointerpret the notes and then had the group sing the chants prior to playing them
The workshop theme of ldquoThe Articulate Recorderrdquo was literally played out as the music presented used variations in tonguing phrasing and breathingOther repertoire included a Kyrie by Tomas Luis de Victoria Bachrsquos Jesu Joy ofManrsquos Desiring a double-choir piece by Gabrieli Christopher Tyersquos In NomineXIII and a Purcell chaconne The workshop ended with a rhythmically-challenging minimalist piece by Bickley entitled Beginning composed for theWaldorf School teacher training program George Greenwood reports that thegroup had a productive event and plans to ask Bickley to lead a future workshop
wwwAmericanRecorderorg March 2009 37
A Muse in the DesertThe sound of a pin dropping hellip thesound of eager minds and fingersabsorbing information and inspira-tion hellip the sounds of ldquoNuevaEspantildeardquo Spanish- and indigenous-influenced music of the 1600s in theNew World These were the soundsof the Desert Pipes (Phoenix AZ)chapterrsquos fall workshop given byEileen Hadidian On a Saturdaylast October 30 players from all overArizona gathered to learn from andbe inspired by the founder of a SanFrancisco Bay Area group dedicatedto sharing music for healing inhealthcare settings Healing Muses(wwwhealingmusesorg)
The day began with relaxationstretching and breathing exercisesfollowed by travels to Peruacute MexicoGuatemala and Colombiamdashhighchurch music vernacular pieces anda mixture of the two Participantsenjoyed the historical and contextualbackground provided as an overviewfor the day and for each piece
Remarkably the sound heardbetween pieces and passages was anenergy-filled quiet the attentivestillness of active engagement in theworkshop experiencemdashnot the chat-tering noodling and conversationsthat often occur when the musicstops That activity was reserved forthe breaks when participants couldenjoy the cool (at last) outdoorschat with Hadidian and peruse the popular garage sale (to benefitDesert Pipes) of previously-enjoyedbooks and other treasures
On Sunday Hadidian sharedher expertise and inspiration in indi-vidual and group coaching sessionsThe weekend was a special experi-ence and Desert Pipes memberslook forward to the next visit of this Healing Muse
Ann Koenig Scottsdale AZannisalesprocom
Members
of three
Florida
groups
met
in January
for a joint
workshop
CHAPTER NEWS
Chapter newsletter editors and publicity officers should send materials for publication toAmerican Recorder 7770 South High St Centennial CO 80122-3122
editoramericanrecorderorg Also send short articles about specific activities that haveincreased chapter membership or recognition or just the enjoyment your members get out of
being part of your chapter Digital photos should be at least 3rdquox4rdquox300dpi TIF or unedited JPG files Please send news to the AR address above and to the following
ARS Office 1129 Ruth Drive St Louis MO 63122-1019 ARSrecorderAmericanRecorderorg
and to Bonnie Kelly Chair Chapters amp Consorts Committee 45 Shawsheen Rd 16 Bedford MA 01730 bksharpaolcom
TO THE STARS
AND BEYONDThe cover of the November magazinegenerated a few comments Some werenrsquotsure how to interpret the title (in theartistrsquos native German it could besomething close to ldquostarlit moonrdquo)Longtime member Carolyn Peskin wrote to offer her vision of that cover
In the beginning the Great Spiritinvented Mr Sun to light the day andMiss Moon to light the nightHowever as Miss Moon floated up inthe sky all by herself like a big yellowballoon she began to feel very lonelyso one night to relieve her lonelinessshe decided to take out her recorderand make music
But when she started to playsomething miraculous happened Not only beautiful melodies but alsoyellow dust poured out of the bottomof her recorder and the dust particlesimmediately coalesced to form yellowstars As she continued playing moreand more stars were created and theyfloated up around her filling the nightsky
At last Miss Moon was happy fornot only was she herself able to enjoyher music but she now had a wholecrowd of starry companions to enjoy itwith her And if you listen very care-fully on a quiet night you might beable to hear her recorder and thatstarry choir humming along
Carolyn Peskin
LOCATING EARPLUGSI read with interest the QampA in theNovember lsquo08 AR regarding hearingloss and use of earplugs Where do you get musicianrsquos earplugs
Dolly Hirata Kensington CA
CAROLYN PESKIN PROVIDED THIS
INFORMATION Musicianrsquos earplugs arecustom made for individual usersThey can be purchased only fromlicensed hearing professionals (ieaudiologists and hearing instrumentspecialists) To find a licensed hearingprofessional in your area look underldquoaudiologyrdquo or ldquohearingrdquo in your localyellow pages
For information about how musi-cianrsquos earplugs are produced visitwwwetymoticcomephperme-w
tbaspx That web page also has a linkto contact information for authorizedlabs that make the custom earmolds formusicianrsquos earplugs If the yellow pagesdo not prove helpful those labs canrefer you to a licensed hearing pro-fessional in your area from whom youcan purchase musicianrsquos earplugs
MORE FROM CAROLYN
THIS TIME ABOUT OSKARIn the September 2008 AR the musicreview by Leslie Timmons of the Oskarpieces by Matthias Maute mentionedthat Carolyn Peskin had translated twoof the Oskar books from German toEnglish People can obtain thetranslations free of charge as Wordattachments by contacting her atCarolyn Peskin 3559 StrathavonRoad Shaker Heights OH 44120carolynpeskinstratosnet
ANOTHER KIND OF
MUSIC-READING
GLASSESIn the January 2009 issue of AmericanRecorder therersquos something (in myopinion) the ldquoRecorder with GlassesObbligatordquo article omitted which canenable a nearsighted musician to avoidneck strain in the use of bifocals
Irsquove found the solution to thisvexing problem is to have onersquos bifocalsconstructed differently [from] normalMy optometrist was willing to work
38 March 2009 American Recorder
Response___________________________________Two kinds of vision
the better to see with and (not) to hear with
Honeysuckle Music
Recorders amp accessories
Music for recorders amp viols
Jean Allison Olson1604 Portland AveSt Paul MN 55104
6516448545jeanhoneysucklemusiccom
Responses from our readers are welcomedand may be sent to American Recorder 7770 South High St Centennial CO
80122 Letters may be edited for length and consistency
ARS Membership Enrollment and Renewal I am a new member I am or have been a member
USCanadian Memberships Foreign Memberships $45 One Year $55 Foreign One Year $75 Sustaining (Receive a Hottetere Hands Pin) $100 Two Years $80 Two Years
LIFETIME MEMBERSHIP Single Dual Regular Lifetime Member $1000 (2) $1500 (4) 4 installments of $250 available) Loyalty Lifetime Member (1) $ 800 (3) $1200 (4) 4 installments of $200 available
(1) For members who have maintained membership for five consecutive years (2) $750 is Tax Deductible (3) $600 is Tax Deductible (4) Installments available Student Memberships Other Memberships (Enclose proof of full time enrollment) $65 One Year Workshop Membership
$25 USCanadian One Year $125 One Year Business Membership $45 USCanadian Two Years $30 Foreign One Year $5 Additional Charge for Dual Address or Dual Name
Do not list my name in the ARS Print Directory Do not list my name on the ARS Online Directory Do not release my name for recorder related mailings Do not contact me via email
My address telephone and email address are the same as last time
______________________________________ _________________________ Name Phone Number ______________________________________ _________________________ AddressCityStatePostal Code Email Address Please charge to (Circle one) VISAMasterCardAMEXDiscover CC________________________________ Expiration Date ______________ Signature of cardholder_______________________________________________________ Clearly Print Name as it appears on Card________________________________________
Renew by Mail Online By Phone or by Fax
Demographic Information (optional information collected only to enhance ARS services and provide statistics to grant makers)
I am a member of ARS Chapter or Consort____________________________ I am the Chapter Contact Your age Under 21 (21-30) (31-40) (41-50) (51-60) 61-70) (71+) Please check all that apply
I am a Professional Recorder Performer
I wish to be included in the list of Recorder Teachers in the ARS Directory and website I Teach (circle your choices) Children High School Youth College Students Adults Beginner Intermediate Advanced Pre-Professional Individuals Childrenrsquos Classes Adult Classes Ensembles Suzuki Orff JRS Leader Kodaly Where I Teach (circle your choices) Music Studio Public or private school Community Music School College Other _____________________
American Recorder Society 1129 Ruth Dr St Louis MO 63122-1019
Phone 314-966-4082Fax 314-966-4649
TollFree 800-491-9588ARSRecorderAmericanRecorderorg
wwwAmericanRecorderorg
with me [to find] an ideal (for me)placement size and focal length of thebifocal lens
Before visiting the optometristIrsquod had my wife measure the distancefrom my eyes to the music on mymusic stand With this measurementthe optometrist set up her machine toprepare a vision prescription for memaximized for this reading distance
When I look at my bifocals (withthem off) the lenses (through which Iread my music) occupy most of thelower two-thirds of my glasses (they are set very high and beginimmediately at the inner rims) Thisleaves the upper third and smallportions of the outside [of each lens]for focusing on the conductor As longas my stand is set low enough my necknever experiences any strain (even if Ihave to read three to a part) and Irsquove no problem in seeing theconductor (in sharp focus) either
For me trying to use glasses [toread] from a music stand [that] weredesigned for use in reading from acomputer screen also results in neckstrain (not to mention unreliability in aldquopressurerdquo situation) Having studiedTai Chi extensively and so being
wwwAmericanRecorderorg March 2009 39
There are lots ofsolutions to thepresbyopic musicianrsquosproblem but all involve compromises
40 March 2009 American Recorder
American Recorder Society PublicationsErich Katz Contemporary Music Series Members Non-MembersA Short Tale for Two Basses Suzanne M Angevine (Level II) (2 scores) $5 $8Dialogue and Dance Cecil Effinger (SATB)(Level II-III) (score amp parts) $10 $18Dorian Mood Sally Price (SATB) (Level II) (score amp parts) $10 $18Double Quartet for Recorders Peter Ballinger (Level II-III) (score amp parts) $10 $18Entrevista Frederic Palmer (SATB) (Level II) (2 scores amp 4 recorder parts) $8 $14Kyrie and Vocalise for Soprano Voice ampRecorders Stanley W Osborn $8 $14
(SATB) (Level II) (2 scores amp 4 recorder parts) Picnic Music Jeffrey Quick (SATB) (Level II) (score amp parts) $5 $8Six Short Pieces for Three Recorders edited by Alan Drake $8 $14
(3 scores) Vaclav Nelhybel (AATT) (Level II)Sonatina for Alto Recorder and Piano Anthony Burgess $7 $12
(Level II) (2 scores)Sonatine for Three Altos Lee Gannon (Level III) (score amp parts) $14 $26Suite of Jewish Folk Tunes Erich Katz (S SA8 AT) (Level II) (three scores) $10 $18
Musical Editions from the Membersrsquo Library ARS members 1 copy-$3 2 copies-$450 3-$6 4-$750 5-$10 6-$1150Non-members (editions over 2 years old) 1 copy-$5 2 copies-$850 3-$12 4-$15 5-$1950 6-$23The ARS is happy to provide photocopied enlargements of any Membersrsquo Library edition at the same prices Please specify ldquoMembersrsquo Library Enlargementrdquo
ARS Information BookletsARS members 1 booklet-$13 2 booklets-$23 3-$28 4-$35 5-$41 6-$47 7-$52Non-members 1 booklet-$18 2 booklets-$33 3-$44 4$55 5-$66 6-$76 7-$86
Education PublicationsThe ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996)
First copy free to ARS Members (mailed to new members as they join) replacement copies $3Guidebook to the ARS Personal Study Program (1996) Material formerly published in the Study Guide
and Study Guide Handbook plus additional resources Members $11 non-members $20ARS Music Lists (2002 with 2003 Supplement) Graded list of solos ensembles and method books
Members $9 non-members $15Package Deal available only to ARS members Guidebook and Music ListsSupplement ordered together $16Junior Recorder Society Leaderrsquos Resource Notebook
ARS members $20 non-members $40 (updates at reduced rates after initial purchase)$5 Dues for each JRS student member sponsored by an ARS member ($4 each for groups of 10+)
VideosRecorder Power Educational video from the ARS and recorder virtuoso John Tyson
An exciting resource about teaching recorder to young students ARS members may borrow a copy for onemonth by sending $5 to the ARS office along with the address to which the tape should be shipped
Pete Rose Video Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music Festival recitalFeatures Rose performing a variety of music and an interview of him by ARS member professional John Tyson
Other PublicationsChapter Handbook A resource on chapter operations for current chapter leaders or those considering forming an
ARS chapter ARS members $10 non-members $20 (updates free after initial purchase) One free copy sent toeach ARS chapter with 10 members or more
Consort Handbook Resource on consort topics such as group interaction rehearsing repertoire performingARS member prices CD $10 hard copy $20 combo price of CD and hard copy ordered together $25
Discography of the Recorder Vol I (1989) Compiled by Scott Paterson and David LasockiDiscography of the Recorder Vol II (1990-1994) Compiled by Scott Paterson
Either single volume ARS members $23 non-members $28Both Discography volumes together ARS members only $40
American Recorder Cumulative Index for Vols I-XXXX ARS members $20 non-members $32Index Supplement Vol XXXIV-XXXX ARS members $8 non-members $14
Shipping amp Handling FeesUnder $10 - add $3 $10-1999 - add $4 $20-2999 - add $5 $30-3999 - add $6 $40-4999 - add $7 All prices are inUS dollars For Canadian or foreign postage pay by credit card and actual postage is charged
Please make checks payable to ARS VISAMCAMEXDisc also accepted
ARS 1129 Ruth Drive St Louis MO 63122 US800-491-9588 ARSrecorderAmericanRecorderorg
Arioso and Jazzy Rondo (AB) Carolyn PeskinBerceusendashFantaisie (SATB) Jean BoivertBrucknerrsquos Ave Maria (SSATTBB)
Jennifer W Lehmann arrCanon for 4 Basses (BBBB) David P RuhlDancers (AT) Richard EastmanDifferent Quips (AATB) Stephan ChandlerElegy for Recorder Quartet (SATB) Carolyn PeskinElizabethan Delights (SAATB)
Jennifer W Lehmann arrFallen Leaves Fugal Fantasy (SATB) Dominic BohbotFour Airs from ldquoThe Beggarrsquos Operardquo (SATB)
Kearney Smith arrGloria in Excelsis (TTTB) Robert CowperIdyll (ATB) Stan McDanielImitations (AA) Laurie G AlbertsIn Memory of Andrew (ATB) David GoldsteinLay Your Shadow on the Sundials (TBgB)
Terry Winter OwensLeClercqrsquos Air (SATB) Richard E WoodLittle Girl Skipping and Alouette et al (SATBCb)
Timothy R Walsh
Los Pastores (SAAAT + perc) Virginia N Ebinger arrNew Rounds on Old Rhymes (4 var) Erich KatzOther Quips (ATBB) Stephan ChandlerPoinciana Rag (SATB) Laurie G AlbertsSanta Barbara Suite (SSAAT) Erich KatzSentimental Songs (SATB) David Goldstein arrSerie for Two Alto Recorders (AA) Frederic Palmer Slow Dance with Doubles (2 x SATB) Colin SterneSonata da Chiesa (SATB) Ann McKinleyS-O-S (SATB) Anthony St PierreThree Bantam Ballads (TB) Ann McKinleyThree Cleveland Scenes (SAT) Carolyn PeskinThree in Five (AAB) Karl A StetsonTracings in the Snow in Central Park (SAT)
Robert W ButtsTrios for Recorders (var) George T BachmannTriptych (AATB) Peter A RamseyTwo Bach Trios (SAB) William Long arrTwo Brahms Lieder (SATB) Thomas E Van Dahm arrVariations on ldquoDrmešrdquo (SATB) Martha BishopVintage Burgundy (SASATT)
Jennifer W Lehmann arr
Adding Percussion to Medieval and Renaissance Music Peggy Monroe
American Recorder Music Constance PrimusBurgundian Court amp Its Music Judith Whaley coord
Improve Your Consort Skills Susan CarduelisMusic for Mixed Ensembles Jennifer W LehmannPlaying Music for the Dance Louise AustinRecorder Care Scott Paterson
acutely aware of any kind of neckstrain when it begins to develop these ideas have been a big help to meIrsquom hoping they may be of help toother musicians as well
Best wishes to you And inanswer to your questionmdashyes the new[AR] format (with more white spacebetween the lines) is much easier toread (in my opinion)Your magazinejust keeps getting better and better
Very sincerely Ed Green WestSuburban (Chicago-area) Chapter
RESPONSE FROM DR BILL LONG
What Ed describes is a variant of theuse of conventional bifocals as musicglasses described on page 8 in thearticle Instead of lowering his musicstand into the field of view of hisbifocal segment Ed and his optome-trist have fabricated special purposebifocals with the segment really highso he can focus on his music instraight-ahead view That approachrestricts his distance vision to an areaabove his usual line of sight whichseems to work for Eds playing setup
Eds comments on the difficultiesin using conventional progressiveaddition lenses as music lenses con-firm what I said on page 9 Thats whymanufacturers have marketed special-ty progressive lenses designed specif-ically for intermediate distance taskslike computer use and playing music
There are lots of solutions to thepresbyopic musicians problem but all involve compromises The key toevaluating those compromises andchoosing the best solution for yourselfis to understand your needs and toenlist the help of a sympathetic visioncare specialistmdashjust as Ed did
Please change your
browserrsquos favorites list
AR online is now at wwwameri
canrecorderorgmembership
magazinehtm Send news to
editoramericanrecorderorg
FOUR FOUR-PART CANZONAS
(1608) BY GIOVANNI GABRIELI
ED GREG LEWIN Hawthorns Music RB 16 (Magnamusic) 1999 SATBSc 16 pp pts 4 pp $1950
Giovanni Gabrieli was probablyborn between 1554 and 1557 in theparish of San Geremia in Venice Thedetails of his early life are sketchy butit appears that he was born Giovannidi Fais and later changed his name toGabrieli out of respect to his uncleAndrea with whom he shared a closerelationship In fact in 1587 Gabrielidescribed himself ldquoas little less than asonrdquo It is commonly thought thatAndrea provided Giovanni with hisearly musical training Andrea whohad spent some time in Munichstudying under the great Orlando deLassus sent Giovanni to Munich for a similar period of study in theearly 1570s
Gabrieli remained in Munichuntil the death in 1579 of the dukeAlbrecht V who had been Lassusrsquosemployer for a number of years andwho was an enthusiastic patron of the arts particularly music With hisdeath a number of musicians lost theirjobs it seems as if Gabrieli were also a victim of such culling of talent(Within a generation the tide wouldturn and the Munich court wouldagain hire Venetian expatriates such as Priuli Valentini and Neri)
Upon his return to VeniceGabrieli was hired as a temporaryorganist at San Marco his positionbecoming permanent in 1585 For a few months that year uncle andnephew served together as first and
second organists in the chapel of thedoge In Giovannirsquos absence fromVenice there had been a plague thathad decimated the ranks of theprofessional musicians Andrea setabout rebuilding his forces at SanMarco by hiring a full-time windband consisting of Girolamo dallaCasa a renowned cornettist andviolist his two brothers who playedsackbut and later the cornett virtuosoGiovanni Bassano Giovanni Gabrieliaugmented these forces with addi-tional players and began composingthe large-scale ceremonial music forwhich he is so well known today
Giovanni was also elected to bethe organist and composer to theconfraternity of San Rocco in 1585and it is now thought that his largestpieces were intended for that venuewith its large central gallery andfrescos by Tintoretto instead of SanMarco Gabrieli held both thosepositions at the basilica of San Marcoand the Scuola Grande di San Roccountil he died in 1612 of a kidney stone
Although best known today forhis ceremonial and festival musicGabrieli was at home in smaller-scaleformats as well These four four-partcanzoni are taken from the 1608publication by the Venetian publisherAlessandro Raverji Canzoni per sonarecon ogni sorte di strumenti These werevery popular pieces to judge by themany collections in which they appear
Additionally like Gabrielirsquoskeyboard music they are found inother arrangements These four-partcanzoni lie well under the fingers inarrangements for keyboard and lute
As seen from the title Gabrielispecified no instrumentation but like asimilar edition of madrigals and battlepieces from a few years earlier a dis-tinction was made that they wereintended for wind instruments almostcertainly cornetts and sackbuts
Recorders were not unknown in Venice they were used regularly inthe confraternity of San GiovanniEvangelista where Giovanni BattistaRiccio was organist
These pieces are relativelysimplemdashplayable by beginning tointermediate ensembles They aremostly contrapuntal (with a fewhomophonic sections) and have few rhythmic eccentricities
These canzoni are found in manymodern brass editions but there arefew editions available to the recorderplayer This edition by Greg Lewin ofHawthorns Music might be consid-ered a ldquobare-bonesrdquo edition There islittle background information andeditorial practices are not specified
The music itself has a handwrittenlook that can be distracting but is easyenough to read Lewin has thought-fully supplied phrasing marks that willbe helpful for ensembles unused tothis style of music
Music
Reviews___________________________________ Infectious music created in spite of the plague
wwwAmericanRecorderorg March 2009 41
This is a good edition
for small ensembles that
canrsquot get eight players
together to play
Gabrielirsquos more famous
eight-part canzoni
42 March 2009 American Recorder
The parts are four pages but mycopy had all four pages printed on avery large page This is not a problemand there are no page turns
This is a good edition for smallensembles that canrsquot get eight playerstogether to play Gabrielirsquos morefamous eight-part canzoni Thesesmall-scale pieces are by no meansinferior to Gabrielirsquos more elaboratemusic and deserve to be better known
7 CANZONEN (1637) BY
TARQUINIO MERULA ED JOACHIM
ARNDT WITH CONTINUO REALIZATION
BY CLAUDIA SCHWEITZER MieroprintMusikverlag EM2088 (availabledirectly from wwwmieroprintcom)2005 SS or TT bc Sc 24 pp pts 8 pp$28
Tarquinio Merula was bornaround 1595 in either Busseto orCremona in Italy As was the case withso many composers of the day either alack of regular employment or a rest-less nature took him from his home inCremona to as far away as Warsaw He is found as the organist of thechurch and the chambers to the kingof Poland Sigismund III in 1624
Merula was one of the leadingexponents of the relatively new con-certante style pioneered by ClaudioMonteverdi and others in the seconddecade of the 17th century and may be described as one of the earliestBaroque composers His compositionsin the concertante style are fresh andunforcedmdashhe was born into this styleand didnrsquot encounter it as somethingnew as was the case with so many ofMonteverdirsquos contemporaries
After several years of peripateticexistence Merula found regularemployment in 1631 in Bergamo atthe church of San Maria MaggioreThe prior holder of the post of maestrodi cappella Alessandro Grandi haddied the previous year in the plagueMerula had signed a three-year
contract but by December 1632 hewas terminated with accusations thathe had molested several studentsMerula threatened a lawsuit to recoverhis lost wages but that threat wascountered with a pending criminalcharge lodged by the board ofgovernors of San Maria Maggiore By mid-1633 the matter was settledwith an apology from Merula and astatement that he relinquished allclaims to his salary
He then returned voluntarily toCremona where he stayed until 1635By 1638 Merula was once again inBergamomdashthis time as maestro dicappella and organist in the cathedralnext to San Maria Maggiore Asmight be expected there was con-siderable tension between the twochurches eventually resulting in theboard of San Maria Maggioreforbidding their musicians to perform under Merularsquos direction
He returned in 1646 to a familiarCremona post which he had heldthree times in various years and wherehe now settled downmdashthat of organistand maestro di cappella for Laudi dellaMadonna services in which he ledmusic at the main altar on Saturdaysand on vigils of Marian feasts
None of his employment issues
prevented the Pope from awardinghim the Order of the Golden SpurMerula was also elected to theAccademia dei Filomusi in BolognaHe died in 1665 in Cremona
His existing compositions showthe products of a lively mind Hisworks range from sacred songs andmotets to purely instrumental piecesnotably the ever-popular variations onvarious ground basses It is knownthat Merula was an accomplishedviolinist as well as a fine organist Hissurviving instrumental writing showsa predilection for strings In fact hewas one of the earliest composers tospecify string accompaniments tosacred motets
Merularsquos pieces look backwardtoward some of the more progressiveVenetian composers such as Monte-verdi while looking forward to thehigh Baroque with his innovative style
These seven canzoni like theearlier-published chaconne (EM2084)come from Merularsquos third bookpublished in 1637 CANZONI overo SONATE CONCERTATE perchiesa e camera a due et a tre delcavaliere This collection typifiesMerularsquos output pieces based onRenaissance-era ground basses arefound next to more ldquomodernrdquo sonatas
The original edition specifiesviolins and basso continuo This newedition is intended for recorders thespecific choice of which is up to theplayers Due to the relatively hightessitura tenor recorders work best inthese pieces (although listed as analternative soprano recorders tend to be on the screechy side)
Not surprisingly given Merularsquosskill as an organist the continuo partneeds a keyboard instrument forsuccessful realization Instead of beinga purely accompanying part the bassocontinuo part is an equal partner in these pieces the canzona ldquoLaRuggierardquo opens with a run that therecorders echo a few measures later
A more recorder-specific
edition intended for
altos would have been
ideal There is nothing
preventing the more
adventurous and
industrious players
from making their
own editions of this
delightful music
mentioned were a bit shrill A morerecorder-specific edition intended foraltos would have been ideal There isnothing preventing the moreadventurous and industrious playersfrom making their own editions of thisdelightful music
Prior to playing the previouslypublished chaconne I had notencountered MieroprintMusikverlag Mieroprintrsquos extensivecatalog has an equal focus on newmusic for recorders and on editions ofBaroque masters with emphasis on therecorder and flute Due to the lack of
wwwAmericanRecorderorg March 2009 43
are also available at
The Early Music Shop
of New England
Brookline MA
AESTHEacute
367-b de la Briquade
Blainville Queacutebec
Canada J7C 2C7
tel (450) 979-6091
wwwboudreau-flutesca
A bass viola da gamba or rsquocello is not necessary for these pieces and may infact make them sound heavy and ponderous rather than light and breezy as thismusic seems to be
More so than the above-mentioned chaconne these canzoni are written in avery idiomatic violin style with multiple examples of arpeggios In particular thecanzona ldquoLa Trecchardquo contains a notated example of a string tremolo figurerecurring through the piece ldquoLa Trecchardquo also dips well below the range of a Crecorder going down to low G the lowest string on the violin The editors havesupplied no alternative notes preferring to let the performers to fend forthemselves (in practice we took this passage up an octave with no problems)
The two recorder parts require virtuosity These upper parts are demandingwith the players needing to double-tongue in unison in order to negotiate themany runs of 16th notes and the shared rhythmic ldquolicksrdquo The harmoniclanguage unlike much of Merularsquos music is undemanding and contains none of the harmonic crunches for which he is famous
This is wonderful music that needs a couple of advanced recorder players fora successful performance The string idiosyncrasies can be overcome by advancedplayers and many of the editions of the era (although not this one) list thecornetto as an alternative to the violin so the use of wind instruments in the solo literature of the early Baroque was not unknown
Our experience with this edition left us with the opinion that these pieceswould have been better if transposed down a minor third so as to fit on a pair ofalto recorders (as is the case with much Baroque flute music to make it lie betteron the recorder) The tenors we used tended to sound a bit murky in the lowerregister next to the more aggressive harpsichord while the sopranos we tried as
KEY rec=recorder Srsquoo=sopraninoS=soprano A=alto T=tenor B=bassgB=great bass cB= contra bass Tr=treble qrt=quartet pf=piano fwd=foreword opt=optional perc=percussionpp=pages sc=score pt(s)=part(s)kbd=keyboard bc=basso continuohc=harpsichord PampH=postage andhandling Multiple reviews by one reviewerare followed by that reviewerrsquos name Pleasesubmit music for review to AR 7770 SHigh St Centennial CO 80122-3122 US
an American distributor this musicwill be hard to findmdashin fact can befound only at the time of this writingon their web site noted above But theeffort will be repaid
This edition is clear and easy toread and the parts require no pageturns The basso continuo realizationis simple and elegant
This is music deserving ofrediscovery My only quibble is thatthe editorial notes are all in GermanThis seems to be the practice ofGerman music publishers with thenotable exception of Moeck Otherpublishers of early music such asLondon Pro Musica routinelyprovide notes in English and German and often in French and Italian making their editionsaccessible to a wider audience
Frank Cone studied the recorderwith the late Ellen Perrin the viola dagamba with Carol Herman and thecornetto with Larry Johansen TheCalifornia multi-instrumentalist has been a member of the Orange CountyRecorder Society since 1985
Advertiser Index
AMERICAN ORFF-SCHULWERK ASSN 3
AMERICAN RECORDER SOCIETY 31 35 36
AMHERST EARLY MUSIC FESTIVAL 17
STEPHAN BLEZINGER 24
JEAN-LUC BOUDREAU 21 39
BOSTON EARLY MUSIC FESTIVAL 7
CANTO ANTIGUO EARLY MUSIC WORKSHOP 13
COURTLY MUSIC UNLIMITED 20
EARLY MUSIC AMERICA 8
HONEYSUCKLE MUSIC 34
BILL LAZARrsquoS EARLY MUSIC 26
KEITH E LORAINE EARLY DOUBLE REED SERVICE 35
LOST IN TIME PRESS 11
MADISON EARLY MUSIC FESTIVAL 12
MAGNAMUSIC DISTRIBUTORS BC
MOECK VERLAG IFC
MOLLENHAUER RECORDERS IBC
PORT TOWNSEND WORKSHOP 14
PRESCOTT WORKSHOP 30
PROVINCETOWN BOOKSHOP 26
THE RECORDER MAGAZINE 4
THE RECORDER SHOP 6
SAN FRANCISCO EARLY MUSIC SOCIETY 18
SWEETHEART FLUTE CO 3
TEXAS TOOT 20
VON HUENE WORKSHOP INC 30
WICHITA BAND INSTRUMENT CO 21
DOMINIK ZUCHOWICZ 34
CONSIDER ADVERTISING IN
Full page $55223 page $43912 page $36613 page $28614 page $22316 page $17518 page $127112 page $ 951 column inch $ 58
Prices include web sitee-mail link directly from your ad in the online AR at wwwamericanrecorderorg
Circulation Includes the membership of theARS libraries and music organizations
Published five times per year January March May September November
Reservation Deadlines December 1 (January) February 1 (March) April 1 (May) August 1 (September) October 1 (November)
Rates good through November 2009 Pleaseinquire about discounts on multiple-issuecontracts inserts or other special requestsExtra charges for typesetting layout half-tones and size alterations 133-line screenrecommended Advertising subject toacceptance by magazine First-time adver-tisers must include payment with order
For more information contact the ARS office 1129 Ruth Drive St Louis MO63122-1019 800-491-9588 toll free 314-966-4082 phone 314-966-4649 faxadvertisingamericanrecorderorg
44 March 2009 American Recorder
Classified___________________________________
FOR SALE Cherrywood hurdy gurdy and hard-side case made by Kelischek bought 2005Originally $765 plus $89 for case Rarely usedBoth for $450 or make offer Please contact marjalocomcastnet Can ship
ASPIRE ANNOUNCE INSPIRE Afford-able PR for teachers and recitalists wwwrecitalroomcom
PHOTOS NEEDED of ARS events 1970sndash1990sto illustrate last chapters of Martha Bixlerrsquos histor-ical memoir about the ARS (to be posted online)E-mail scanned photos (300dpi JPG or TIF)arsrecorderamericanrecorderorg Hardcopies mail to ARS office to be scanned ampreturned Info 800-491-9588
T-SHIRT FOR ENSEMBLE PLAYERS to wear orshare Top 10 Reasons Why I Got Lost Wrongfingering bad lighting etc on blue cotton shirt$18 Highlighter tape and other goodies Beth amp Lindas Boutique as seen at BEMF CallLinda at 617-671-8694 or e-mail for brochurelindakushverizonnet
Where the havesand have-nots
of the recorder world can find each other
Classified rate for American Recorder 60centper word ten-word minimum ldquoFOR SALErdquoand ldquoWANTEDrdquo may be included in thecopy without counting Zip code is oneword phone e-mail or web page is twoPayment must accompany copy Deadlinesare one month before issue date Send copywith payment to ARS 1129 Ruth Drive St Louis MO 63122-1019
AMERICAN RECORDER (ISSN 0003-0724) 1129 Ruth Dr St Louis MO 63122-1019 is publishedbimonthly (January March May September and November) for its members by the AmericanRecorder Society Inc $20 of the annual $45 US membership dues in the ARS is for a subscriptionto American Recorder Articles reviews and letters to the editor reflect the viewpoint of their individ-ual authors Their appearance in this magazine does not imply official endorsement by the ARS
EDITORIAL DEADLINES November 15 (January) January 15 (March) March 15 (May) July 15(September) and September 15 (November) Submission of articles and photographs is welcomedArticles may be typed or sent as an attachment (Word or RTF preferred) to or text in an e-mail mes-sage They should be for the exclusive consideration of AR unless otherwise noted Photos may besent as prints or unedited JPG or 300dpi TIF files (minimum 3rdquox4rdquo) Advertisements may be sent inPDF or EPS format with fonts embedded
EDITORIAL OFFICE Gail Nickless Editor 7770 S High St Centennial CO 80122-3122 303-794-0114 (phone amp fax) editoramericanrecorderorg Books for review Editorial office Musicfor review Editorial office Recordings for review Tom Bickley 1811 Stuart St Berkeley CA 94703Cutting Edge Tim Broege 212 Second Ave Bradley Beach NJ 07720-1159 Chapter newslettersother reports Editorial office Postmaster Send address changes to ARS 1129 Ruth Drive St LouisMO 63122-1019 Periodicals postage paid at St Louis MO and at an additional mailing office
Chapter leaders
We know yoursquore out there
and that you want to share
your plans concerns
solutions and ideas with
other chapter leaders Visit
httpamericanrecorder
societywikispacescom
Joe Lewnard winsPiffarorsquos Second Competition for Young RecorderPlayers
By Joan Kimball wwwpiffarocom
Piffarorsquos second competition for youngrecorder players ages 12 to18 washeld on January 10 at the SettlementMusic School in Philadelphia PAFive finalists chosen on the basis oftapes that they submitted in Novemberperformed before a small but enthu-siastic and supportive audience
A smattering of snow and ice keptaway some people who otherwisewould have attended Ironically the finalists had no trouble reachingPhiladelphia from distant snow capitalsof the USmdash Denver COMinneapolis MN and Chicago IL
Unique in this country as far asanyone knows this competition wasestablished in 2007 to pique theinterest of young recorder players andto encourage them to investigate therepertoire of the 15th century into theearly 17th century on recorders as wellas other early wind instruments Whilethese young players tend to focus on
18th-century and contemporary musicPiffaro hopes to convey to them theimportance of playingmdashand alsounderstanding the underlyingperformance practice issues ofmdashearlier repertoire
Joe Lewnard (at right withPiffarorsquos Joan Kimball) an 18-year-oldhigh school senior from the Chicagoarea was chosen as the winner byjudges Nina Stern from New YorkCity NY and Elissa Berardi ofPhiladelphia He has played recorderfor a number of yearsmdashstudying withAldo Abreu among othersmdashand hasattended the virtuoso program at theAmherst Early Music Workshop Alsoa trumpet player he has expressedinterest in taking up the cornettocombining his facile fingers with hisbrass embouchure
In recent months Lewnard hasbeen preparing repertoire for collegeand conservatory auditions and willapply to several schools His selectionsfor the competition were the unaccom-panied Ricercata prima by GiovanniBassano and two movements from asuite by Pierre Philidor
The other four finalists also playedwith poise and distinction in variedrepertoire (Renaissance to contem-porary) that showed their abilitiesThey were Ariel Branz (age 16) from
Boulder CO a student of LindaLunbeck Bryan Duerfeldt (15) fromMinneapolis a student of MaryHalverson Waldo Amy Pikler (16)from Chicago who studies withPatrick OrsquoMalley and Olivia Sohlen
(16) also from Minneapolis and astudent of Cleacutea Galhano
On March 7 Lewnard willappear again in Philadelphia pairedwith the competitionrsquos previous winnerAlexa Raine-Wright in a recital Thetwo young virtuosi (both of whom havewon ARS workshop scholarships) willperform a variety of 16th- 17th- and18th-century solos and duetsaccompanied by harpsichordistMarcia Kravis In addition Piffaromembers Joan Kimball Priscilla
Smith and Bob Wiemken will jointhem for a set of 16th-century workson Renaissance recorders
With two competitions success-fully completed Piffaro plans to holdanother one in two years and hopesthat young recorder players will start toprepare now Wersquod love to see moreyoung virtuosi coming our way
12 March 2009 American Recorder
Early Music America Magazine is the quarterlypublication for the Early Music Community inNorth America Professionals Students andAudience members
Articles on performance practice trends in thefield recording reviews and a new book reviewsdepartment
Call 888-722-5288 or email infoearlymusicorgfor a FREE sample issue
Last spring I had the honor andgood fortune to spend five weeks
at the Sitka Center for Art andEcology on the central Oregon coastas the recorder resident The recorderresidency is sponsored by the OregonCoast Recorder Societymdasha wonderfulgroup of people I had the chance tomeet and teach and to make musicwith while I was there Myparticipation was made possible inpart by a professional grant from theARS and also by the kind generosityof some of my loyal long-termstudents
The project I worked on while atSitka was an intensive study of Bachrsquossolo string musicmdashprimarily the rsquocellosuites and some of the violin partitasmdashwith the aim of preparing my own arrangements of them for aneventual recording
Although Irsquod been told before Iwent that Sitka was incredibly beautifuland a wonderful place to be Iapproached the residency with sometrepidation I wasnrsquot quite able toimagine it and wondered how I wouldsurvive so many weeks by myself in aremote location seven miles from thenearest townmdashand where Irsquod heardmost cell phones did not work (panic)When I arrived on April 9 I was metwith typical Oregon coast weather forthat time of the year (and many timesof the year) chilly temperatures andrain And Irsquod left sunny California for five weeks of this
I lived in what is called the TreeHousemdasha charming one-roomwooden cabin with a sleeping loft and a wood-burning stove insidemdashenveloped outside by a couple of giantSitka spruce trees After many failedattempts over several days one of myproudest accomplishments was finally
learning how to quickly and reliablybuild a fire in my wood stove My nextproudest accomplishment was learningthat one should not put wet logs on the top of the stove to dry This Idiscovered after setting off the smokealarm bringing the entire Sitka staffrunning to my aidmdashonly to find meoblivious up in the loft
It took me a week or so to getadjusted to my new life I wasnrsquot usedto being alonemdashwithout my dog farfrom civilizationmdashand with expansesof free time and no actual responsibil-ities I spent some of that time explor-ing the surrounding areas takingwalks down to the estuary throughforested woods and climbing to thetop of Cascade Head There I was metwith awe-inspiring views of the PacificOcean the coastline the mountainsand the estuary far below I soondiscovered that this was part of thetotal Sitka experience
After my first incredible climb tothe top of Cascade Head I began torelish the quiet peace and time alonethat Sitka afforded memdashsomething Inever imagined Irsquod feel given mygenerally extroverted nature Inaddition to reading writing andmeditating I was inspired to dive into
Linsenberg
on the
deck of
the Tree
House
wwwAmericanRecorderorg March 2009 13
By Judith Linsenberg
The author is founder and director ofthe Baroque ensemble Musica Pacificawhose performances and eight recordingson the Virgin Classics and Dorian labels
have received international acclaim She has performed throughout the US
and Europe including solo appearances atthe Hollywood Bowl and Lincoln Center
and has been featured with such leadingAmerican ensembles as the San Francisco
Symphony the San Francisco and LosAngeles Operas Philharmonia Baroque
American Bach Soloists and others
Her recording of the Bach organ trioswas sponsored in part by an
ARS Professional Grant The ARS CD Club carries some of her recordings
A Fulbright scholar to Austria shewas awarded the Soloist Diploma with
Highest Honors from the Vienna Academyof Music She is a summa cum laude
graduate of Princeton University holds anearly music doctorate from Stanford Uni-
versity and has been a visiting professor atthe Vienna Conservatory and Indiana
Universityrsquos Early Music Institute Visit wwwmusicapacificaorg
for more information
Suite Thoughts of Sitka
14 March 2009 American Recorder
my musical projects with renewed energy and enthusiasmI had the time not only to practice the Bach suites butalso to really study them in depthmdashanalyzing themlistening to and comparing different recordings andworking on my transcriptions of them Although it wasnrsquotpart of my original intention I now have a plan to publishmy arrangements of these pieces so theyrsquoll be available forothers to perform (While Frans Bruumlggen published hisarrangement of the first three suites in the 1970s to myknowledge there is only one other recorder editioncurrently available whose approach is quite different from mine)
I wasnrsquot however living in total isolation while at SitkaThere were artist residents of other media as well Kim awriter from New York state John and Robin a marriedcouple who were ceramicists from Washington state andtheir three daughters and Claudia an installation- andperformance-artist We became a community socializingwhen we werenrsquot working (and sometimes even when wewere) going on excursions to see the glorious naturalwonders of the Oregon coast having dinners together inour various residences and talking about our work
The setting provided the perfect atmosphere for theexchange of ideas and we began to collaborate on mutualprojects sometimes in unexpected ways Robin startedmaking ocarinas and I worked with her to design and tunethem While I immersed myself in Bachrsquos solo music flutesand musical themes began to appear in the images shepainted on her ceramic pieces Often after wersquod hung outtogether in the evening depictions of the stories I told herwould show up in her paintings over the next few daysFanciful illustrations of me playing to my dog Jake evenmade several appearances in her work (The photos aboveshow the ocarina she made for me)
Toward the end of my stay I also began collaboratingwith Claudia the installation artist Her work was creatinginstallations out of plastic bags fastened together to formdifferent naturalistic shapes which she then set up invarious locations around the Sitka campus and nearby
areas Together we created a performance piece that wepresented at the Open House at the end of our residenciesI provided music to accompany a performance that tookplace within her installation We worked together on usingthe music to express the various ideas in the installation andperformance and using the performance to express themusic in a visual way
Bachrsquos music can be very evocative and I chosemovements from the Bach suites that suggested the variousparts of the narrative she performed part of a slow preludeto depict nascent creatures emerging in a forest a C-majorbourree while they are coming to life a C-minor onesuggesting turmoil a fast 16th-note passage representingflight as they grow wings and fly and finally a wistfulsarabande as they gradually die away and disappear As in a ballet each medium enhanced the other and the wholebecame more than the sum of its parts illuminatingdifferent aspects of each and creating a more profoundeffect than either might have independently
During the Sitka open house Linsenberg plays
in an installation of plastic bag ldquocreaturesrdquo
There were other opportunitiesfor me to present the music I wasworking on Around the midpoint ofmy stay there I performed in a concertmarking the start of the annual Windsand Waves weekend workshop Iplayed one of my Bach suites thoughit was still a work in progress
The next day about 45 recorderplayers descended upon our quiet littleenclave turning it into a hubbub ofactivitymdashquite a change from the low-key atmosphere of the prior severalweeks Once I got over the initialculture shock of the influx of so manypeople I thoroughly enjoyed meetingand working with all of them A class I offered on the Bach suites enabledme to share some of the work Id beendoing conversely I got input from thestudents I taught that made me thinkdifferently about the piecesmdashforexample what about playing them on a subcontrabass recorder
Shortly after the workshop theSitka residents held a communityoutreach day at which we each demon-strated our work to children from anearby school I had been working onsome contemporary pieces withnaturalistic themes (fitting for thesetting) and this event gave me theopportunity to play some of them forthe kids They were fascinated by theextended techniques used to imitatebirds and other animals and of courseVan Eyckrsquos ldquoEngels Nachtegaeltjerdquowas a hit with them as well
As hard as it was for me to getused to Sitka and the residency at thebeginning of my stay it was evenharder to leave My departure datecame too soon Irsquod had time to finishtranscriptions of only three of thesuites
Saying good-bye to all the friendsIrsquod made theremdashthe other artists aswell as the recorder players Irsquod metmdashwas hard enough but leaving the
beauty of the place and the peace Irsquodfound there saddened me greatly
Sitka had changed me and ittransformed my relationship to themusic I played as well My experienceallowed me to tap into a deep placeinside myself in a way that I never hadbefore something I was then able tocommunicate through the music I wasplaying Bachrsquos music turned out to bethe perfect vehicle because it expressesin sound the same grandeur spiritu-ality and universalitymdashas anyone whohas heard a live performance of the B-minor mass can attestmdashas does theview from the top of Cascade Head
Since the conclusion of myresidency I have given severalperformances of the rsquocello suitesincluding some lecture-recitals onthem and on my arrangements moreare planned Irsquove begun working withstudents of instruments other than therecorder who are studying the rsquocellosuites And I continue to work on myarrangementsmdashalas five weeks wasjust not long enough to learn andadapt all six suites although I do plan to publish them in the future
My work at Sitka also inspired meto pick up a project I started over 10years ago but never brought tofruition preparing my arrangementsfor recorder violin and continuo of thesix Bach organ trios (that I recorded in1992) to be published soon by PRBProductions And I have no doubt thatthe Sitka experience will continue towork on me in ways Irsquom not evenconsciously aware of at this time
I would like to give my deep and heartfelt thanks to the followingindividuals and organizations to the
Sitka Center for making my stay there sowonderful and to its founders Jane andFrank Boyden who had the vision tocreate this magical place to the members ofthe Oregon Coast Recorder Society fortheir generosity in creating and sponsoringthe recorder residency to the ARS for its financial support and to my wonderfulstudents who made it possible for me toparticipate in this life-changing experience(you know who you are)
wwwAmericanRecorderorg March 2009 15
Lost in Time Press
New works andarrangementsfor recorder ensemble
Compositions byFrances BlakerPaul AshfordHendrik de Regtand others
InquiriesCorlu CollierPMB 3092226 N Coast HwyNewport Oregon 97365wwwlostintimepresscomcorluactionnetnet
Sitka had changed meand it transformed my relationship to the music I played as well
MARIN HEADLANDS
RECORDER WORKSHOP
Point Bonita YMCA near San Francisco CA
May 15-17
With each coming tide of that mightymetronome the Pacific Ocean and withspring peeping soon our MarinHeadlands Recorder Workshop 2009perched at the edge of the ocean andembraced in greenery gets nearer Againthis workshop will swell with harmoniesof recorders viols and perhaps apsaltery or drum Intermediate andadvanced players are warmly invited tojoin members of the sponsoring EastBay Chapter of the ARS a SFEMSaffiliate at this annual musical event
Music-making begins on Friday andcontinues through Sunday afternoon
including also one- and two-day options
This yearrsquos faculty includes a wonderfulmix of familiar and new faces DavidBarnett Tom Bickley Louise CarslakeRobert Dawson Lisa DykemanFrances Feldon Judith LinsenbergPeter Maund Fred Palmer and Glen Shannon
Music offerings will range from easilyplayable to challenging from delightfulPurcell and Renaissance music to jazzto works by a (very) living composer(led by the chap himself) Check theEBRS web site for updates
The workshop is held at the PointBonita YMCA one of very few publicfacilities on this largely undevelopedarea of California coast Set in a meadowwith short walks to Pacific Ocean vistasthe historic Point Bonita Lighthouseand remnants of WWII fortifications
it is a place to get away recharge andmeet new friends or re-connect withold The accommodations includedormitory-style rooms a large diningarea and playing spaces all on one levelRooms are also available for impromptuplaying sessions
Contact Anna Lisa Kronman
37 Meadow View Rd Orinda CA
94563 925-258-9442
annalisakronmangmailcom
symbolicsolutionscomebrs
BLOOMINGTON EARLY
MUSIC FESTIVAL
Bloomington INMay 15-25
Performances of Medieval RenaissanceBaroque and Classical music as well aseducational programs for concertgoersamateur performers and childrenPlease see BLEMForg for details
Contact Carol Huffman
PO Box 734 Bloomington
IN 47402 812-824-2412
specsorffyahoocom blemforg
WHITEWATER EARLY
MUSIC FESTIVAL (ARS)
University of Wisconsin Whitewater WI
June 5-7Directors Nancy Chabala Carol Stanger Pam Wiese
Our workshop is held on campus at theUniversity of WisconsinndashWhitewaterabout 60 miles SW of MilwaukeeClasses include focus and specialty areainstruction for all levels of recorderplaying as well as beginningmdashconsortviola da gamba wind band voicerecorder orchestra and mixed consort A variety of special interest classes onFriday evening and Saturday eveningparticipant gathering led by LouiseAustin The various classes include
16 March 2009 American Recorder
Summer Workshop Summer-y
The Madison Early Music Festival presents
Telescopic Vistas MEMF X and Music of the SpheresCelebrating the International Year of Astronomy
July 11-18 2009
Guest Artists amp Ensembles Faculty Recorder Artists Quicksilver with Marion Verbruggen Joan Kimball Piffaro The Renaissance Band Priscilla Smith The Newberry Consort Marion Verbruggen Venere Lute Quartet Robert Wiemken
Explore music from the days of Galileo and Kepler Celebrate the influence of astronomy on society arts and culture
in the 15th through 17th centuries
Our tenth anniversary festival features a seven-concert series and a week-long workshop with classes and ensembles for participants of all levels
For more information please call (608) 263-6670 or visit wwwmemfdcswiscedu
music from Medieval to modern
Several musicinstrument vendors onsite Dale Taylor will be on site forrepairs All ages are welcome as well as non-participants
Faculty includes Dale ArmentroutLouise Austin David Echelard CharlesFischer Shelley Gruskin LisetteKielson Laura Kuhlman PatrickOrsquoMalley Tulio Rondon KarenSnowberg Mary Halverson Waldo andTodd Wetherwax Brochures available
Contact Nancy Chabala
8609 45th St Lyons IL 60534-
1616 708-442-6053 (day)
630-789-6402 (fax)
nchabalamymailstationcom
(housingregistration)
thewiesessbcglobalnet (mailing
scholarships) cvstangeraolcom
(facultyfacilities)
INTERLOCHEN EARLY MUSIC
WORKSHOP
Interlochen Center for the Arts Interlochen MI
June 7-12 Director Mark Cudek
Make and enjoy Medieval andRenaissance music while learning new skills and techniques
Topics will include articulationornamentation improvisation andensemble arrangement in Medieval and
Renaissance music The workshopculminates with a participantperformance on period instruments such as recorders and other early windsviols lutes harpsichord and percussionVocalists are also welcome Participantswill supply their own instruments
Early registration is recommendedas space is limited
Contact Matthew Wiliford
Director ICCA PO Box 199
Interlochen MI 49643 231-
276-7441 231-276-5237 (fax)
collegeinterlochenorg
interlochenorgcollege
RENAISSANCE CHAMBER
MUSIC INSTITUTE
New England Conservatory of Music Boston MA
June 11-21
A unique opportunity for professionalmusicians and advanced students todiscover and explore one of the greatestrepertoires of Western music which iseminently suitable for all instruments
Players of modern and early instrumentsare encouraged to attend
Led by John Tyson director of theRenaissance music and dance ensembleRENAISSONICS who has performedand lectured worldwide including forthe Boston Symphony OrchestrarsquosTanglewood Institute
Introductory lectures will be followed byintense chamber music coaching in largeand small ensembles Concentration willbe on personal expression rhetoric andphrasing performance practice andornamentation The institute willculminate in a public performance at theNew England Conservatory of Music
Faculty John Tyson recorder LauraGulley violin Daniel Rowe rsquocello and guest artists
Contact Director of Summer
School New England
Conservatory of Music
290 Huntington Avenue Boston
MA 02115 617-585-1126
617-585-1135 (fax) newengland
conservatoryedusummer
wwwAmericanRecorderorg March 2009 17
Workshops carrying
ARS designation have
joined the ARS as
workshop members
Other shorter workshops
may be sponsored
periodically through the
year by ARS chapters and
are listed in the calendar
portion of each ARS
Newsletter as well as on
the ARS web site when
information becomes
available from presenters
Canto AntiguoWest Coast EarlyMusic and Dance
Featured Faculty
Beautiful CampusFully air-conditioned
For Information Call
800-358-6567
Early Music
WorkshopJuly 5-12 2009
Chapman UniversityOrange CA
Classes in
Baroque Music
Recorder Ensemble(all levels)
Vocal Ensemble
Renaissance Brassand Reeds
Viols
Collegium
Folk Dance
Thomas Axworthy
Mark DavenportRonald Glass
Janet Beazley
Carol LisekJim MaynardAlice Renken
wwwcantoantiguonet
18 March 2009 American Recorder
SUMMER TEXAS TOOT (ARS)
Concordia University Austin TXJune 14-20 Director Daniel Johnson
The Summer Texas Toot is a one-weekprogram of classes in Renaissance and Baroque music at all levels forrecorders viols singers plucked stringsRenaissance reeds and brass andharpsichord Our classes include anarray of small one-on-a-partRenaissance and Baroque ensemblesand larger mixed vocal and instrumentalgroups The size of the workshopenables us to create classes for all levelsof students from those of modest skills to advanced players and singers
Same Texas Toot hospitality andtraditionsmdashback in Austin but atConcordia Universityrsquos beautiful newcampus Classrooms dining and dormaccommodations are air-conditioned and easily walkable
Currently our featured faculty are Tish
Berlin (recorders) Tom Zajac (reedsand ensembles) Mary Springfels(viols) Becky Baxter (harp)mdashbut watchfor more faculty to be added soon
Contact Daniel Johnson
PO Box 4328 Austin TX 78765
512-371-0099 infotootorg
tootorg
SAN FRANCISCO EARLY MUSIC
SOCIETY BAROQUE MUSIC amp
DANCE WORKSHOP (ARS)
Sonoma State University Rohnert Park CA
June 14-20Directors Phebe Craig Kathleen Kraft Frances Blaker
A music-packed week of master classesconcerto evening coached ensemblesBaroque orchestra vocal and windensembles continuo classes concertsand lectures
Featuring recorder faculty FrancesBlaker and Cleacutea Galhano Other facultyChristine Brandes voice Phebe Craig
harpsichord Sand Dalton oboeKathleen Kraft flute Michael Sandviolin and orchestra Mary Springfelsviola da gamba Peter Sykesharpsichord Tanya Tomkins rsquocello
Contact Kathleen Kraft SFEMS
PO Box 10151 Berkeley CA
94709 707-874-2014
kkraftsonicnet sfemsorg
SAN FRANCISCO EARLY MUSIC
SOCIETY CHILDRENrsquoS MUSIC
DISCOVERY WORKSHOP (ARS)
Crowden Center for Music Berkeley CA
June 21-26 (day camp)Director Letitia Berlin
Early music and Renaissance socialhistory for youth ages 7-15 beginners to advanced students welcome Dailyschedule includes chamber musicmusicianship crafts costume-makingand games Friday night concert andtheater project presentation followed by potluck supper
Rebecca Ahrendt violJanet Beazley recorder
Tish Berlin re cord er co-direct orFrances Blaker recorder co-direct or
Vicki Bœckman recorderLouise Carslake recorder fl ute
Charles Coldwell recorder Rotem Gilbert recorder
Julie Jeff rey violShira Kammen viell e
Peter Maund per cus sionKim Pineda recorder
Ellen Seibert violPe ter Seibert recorder choir
Margriet Tindemans viol viell eBrent Wissick viol
Play early music in the spectacular Pacifi c Northwest Choose from classes in recorder viol fl ute and percussion Polish your skills andor take up a new instrument Sing and dance
Enjoy the faculty concert Take part in the student recital Make the most of your stay with a hike at nearby Mt Rainier or a visit to the Museum of Glass
For informat ion or to request a brochure call (206) 932-4623write to Port Townsend Early Music Workshop
1108frac12 Alki Ave SW Seattle WA 98116or vis it wwwseattle-recorderorg
July 12ndash18 2009
Port TownsendEarly Music Workshop
At the beautiful University of Puget Sound Tacoma WA
Tish Berlin amp Frances Blaker Co-Direct orsPresented by the Seattle Recorder Society
Please note that this is a day camp Out-of-town students may contact thedirector regarding accommodations withhost families Some financial aidavailable
Featuring recorder faculty Vida Bateauand Letitia Berlin Other facultyKatherine Heater dance ShiraKammen musicianship and theaterband Ron McKean harpsichord Carla Moore violin Farley Pearcersquocello and viola da gamba Allison Rollstheater project director
Contact Letitia Berlin SFEMS
PO Box 10151 Berkeley CA
94709 510-559-4670
tishberlinsbcglobalnet
sfemsorg
OBERLIN BAROQUE
PERFORMANCE INSTITUTE
Oberlin College Oberlin OHJune 21-July 5Directors Oberlin Baroque Ensemble (Cathy Meints Marilyn McDonald Michael Lynn Webb Wiggins) and artistic director Kenneth Slowik
Celebrating its 38th anniversary withMusic in London 1659ndash1759 thisinstitute offers instruction in Baroqueinstruments and voice Students of alllevelsmdashfrom beginning to Baroqueperformance to the professional levelmdashparticipate in master classes and coachedensembles with an international facultyof Baroque specialists Scholarships are available for qualified high schoolstudents
Contact Anna Hoffman
Conservatory of Music
77 West College St
Oberlin OH 44074
440-775-8044
440-775-8942 (fax)
ocbpioberlinedu
oberlineduconsummerbpi
WORLD FELLOWSHIP
EARLY MUSIC WEEK
Chocorua NHJune 25-July 2Directors Jane Hershey Larry Wallach
Faculty of eightmdashincluding JaneHershey Roy Sansom Pamela DellalJay Rosenberg Julian Cole AnneLegecircne Larry Wallach and JoshSholem-Schreibermdashin a beautifulWhite Mountain camp setting conducta week-long workshop in French earlymusic (late Medieval through Baroque)
Faculty and student concerts Englishcountry dancing special lecturesmorning and afternoon workshops inviols recorders voice mixed ensemblesSephardic music and Baroque chambermusic and classes in Feldenkrais bodywork
Camp facilities include hikingswimming boating camp gardenssupply kitchen with vegetables Very affordable rates
Contact Larry Wallach
69 Welcome St Great Barrington
MA 01230 413-528-7212 (day)
413-528-9065 (evening)
413-528-7365 (fax)
larrysimons-rockedu
worldfellowshiporg
INDIANAPOLIS EARLY
MUSIC FESTIVAL
Indianapolis INJune 26-July 19July 8-9 Mini Boxwood Workshop
The Indianapolis Early Music Festivalis the oldest continually running earlymusic concert series in the USPresented since 1967 our mission is toenrich educate and entertain audienceswith the music of Medieval Renais-sance Baroque and early Classical erasand feature exciting performers ofnational and international stature usinginstruments of the period and histori-cally informed styles and techniques
For 2009 we will present Reconstruction(June 26 ) Ex Umbris (June 27) ChrisNorman amp David Greenberg withRonn McFarlane amp Mark Cudek (July10) I Furiosi (July 12) HarmoniousBlacksmith (July 17) and the PeabodyConsort with Indiana Repertory Theatre(July 19) We also offer our secondannual Family Concert featuring thePeabody Consort on July 18mdash a freeconcert geared to young audiencemembers Several groups also offeroutreach events for younger (generallyhigh-school-aged) musicians and actors
In 2009 we also present a two-dayldquoMini Boxwoodrdquo workshop with Chris
wwwAmericanRecorderorg March 2009 19
Marin
Headlands
Recorder
Workshop
Norman (earlytraditional flutes andpipes) David Greenberg (Baroqueviolin and fiddle) and Ronn McFarlane(lute) on July 8-9
Contact emindyorg
SAN FRANCISCO EARLY MUSIC
SOCIETY MEDIEVAL amp
RENAISSANCE WORKSHOP (ARS)
Sonoma State University Rohnert Park CAJune 28-July 4Director Tom Zajac
Workshop theme Stories and LegendsOpen to singers and players of earlyinstruments (recorders violas da gambalutes shawms etc) Coaching by world-class specialists in Medieval and Renaissance music Classes forvoices recorders viols and alta capellavoice master class ensemble coachingstorytelling for musicians andstorytelling accompanimentRenaissance choir Medieval bandtheater project faculty and studentconcerts lectures and more
Scholarships as well as academic creditor continuing education credit areoffered Featuring recorder facultyFrances Blaker Annette Bauer DanStillman and Tom Zajac Other facultyPatrick Ball storytelling Celtic harpKaren Clark voice movement formusicians Julie Jeffrey gamba ShiraKammen Medieval strings music forstorytelling Drew Minter voice theaterproject Tim Rayborn Medieval stringspercussion music for storytelling Larry Rosenwald theater projectrhetorician in residence MarySpringfels gamba theater projectAnnette Bauer early notation DanStillman reeds alta capella ensembleTom Zajac sackbut Renaissance choir
Contact Tom Zajac SFEMS
PO Box 10151 Berkeley CA
94709 617-323-0617
medrenmailgmailcom
sfemsorg
MOUNTAIN COLLEGIUM (ARS)
Cullowhee NC June 28-July 4Director Patricia Petersen
Nestled in the Smoky MountainsWestern Carolina University provides alovely location for Mountain Collegiumwith comfortable accommodations in anew dorm and catered evening mealsThe workshopmdash at once informal andintensivemdash combines study of Renais-sance Baroque and contemporary musicand improvisation on recorder viol andother early instruments with opportu-nities to explore Celtic and othertraditional music on hurdy gurdymountain dulcimer and pennywhistle
Friendly participants of all levels andages welcome newcomers into theMountain Collegium family Varied classofferings time for informal music-making and evening English countrydancing bring students back year afteryear Faculty Valerie Austin AtossaKramer Jody Miller Patricia PetersenJohn Tyson (recorders other winds)Martha Bishop Lisle Kulbach HollyMaurer Gail Ann Schroeder Ann Stierli(strings) Lorraine Hammond JohnTrexler (traditional music)
Contact Patricia Petersen
1702 Vista St Durham NC
27701 919-683-9672
patpetersenearthlinknet
mountaincollegiummusicorg
GREAT LAKES SUZUKI FLUTE amp
RECORDER INSTITUTE
McMaster University Hamilton ON CanadaJuly 4-11 Teacher training Book 1July 7-11 Teacher training Book 2July 7-11 Student InstituteDirector David Gerry
Master classes group instructionrecitals plus enrichment classes forstudents Teacher training with MaryHalverson Waldo
Contact David Gerry 129 Locke
Street South Hamilton ON L8P
4A7 CANADA 905-525-9549
dgerrynasnet davidgerryca
CANTO ANTIGUO EARLY MUSIC
AND RECORDER WORKSHOP
Chapman University Orange CAJuly 5-12Directors Thomas Axworthy Ronald Glass
This one-week workshop is designed to broaden the performance skills ofexperienced students and introduceRenaissance and Baroque instrumentsand musical experiences to beginningand intermediate players Students at alllevels participate in instrumental vocaland dance instruction performance
The workshop takes place at ChapmanUniversity Studios dining hall andresidences are all air-conditioned Thisinvitingly landscaped peaceful campuswith garden paths is a mixture of historic and modern architecture
The theme of this yearrsquos workshop isMusic of the Italian Renaissance Dancesmasses motets and ceremonial musicwill resonate as we explore the music ofMonteverdi Palestrina Gesualdo et al
Faculty includes Thomas AxworthyJanet Beazley Mark Davenport RonGlass Carol Lisek Jim Maynard and Alice Renken
Contact Ronald Glass
129 Altadena Dr Pittsburgh
PA 15228-1003 800-358-6567
(day) 310-213-0237 (evening)
562-946-4081 (fax)
evanesa2aolcom
cantoantiguonet
CAMMAC EARLY MUSIC WEEK
Lake MacDonald Music Center Harrington QC Canada
July 5-12Directors Francis ColpronMarie-Nathalie Lacoursiegravere
CAMMAC provides a unique oppor-tunity to make music with family and
20 March 2009 American Recorder
friends in a beautiful setting north ofMontreacuteal QC under the guidance ofinternationally acclaimed professionalmusicians
In four daily 75-minute classes pluslectures early music lovers will have the opportunity to play to their heartrsquoscontent
Small ensembles and voice classes are setup ahead of time registration for otherclasses occurs on site the first eveningCourses include choir large instrumentalensemble many recorder and violclasses Medieval and Renaissanceensembles Orff method and Baroquedancing There are courses foradolescents and a program for children 4-11 years old
Special project in 2009 The Fairy Queenby Purcell with choir instrumentalensemble soloists and staging Keyfaculty Matthias Maute ChristopherJackson Laura Pudwell MargaretLittle Marie-Nathalie Lacoursiegravere
Contact Johanne Audet
85 Chemin CAMMAC Harrington
QC J8G 2T2 CANADA
888-622-8755 1
819-687-3323 (fax)
nationalcammacca
cammaccaenglishTabLM
Summershtml
MADISON EARLY
MUSIC FESTIVAL
University of WisconsinndashMadison July 11-18Directors Cheryl Bensman Rowe and Paul Rowe artistic Chelcy Bowles program
MEMF joins the 2009 InternationalYear of Astronomy in a global celebrationof astronomy and its contributions tosociety and culture including the 400thanniversary of the first astronomicalobservation made through a telescope byGalileo Galilei Galileorsquos fatherVincenzo was a musician and musictheorist who combined the practice andtheory of music with mathematicaldiscussion of harmonymdashand influenced
Galileorsquos experiments MEMFcelebrates its tenth season exploringworks of music and the arts inspired by ascientific discovery that had tremendousimpact on culture and civilization
MEMF was created to provide anopportunity for musicians scholarsteachers and early music enthusiasts togather and exchange information andideas about Medieval Renaissance andBaroque music and to bring acclaimedearly music artists to the Midwest toperform in beautiful Madison
Featured MEMF 2009 guest artists-in-residence include Marion VerbruggenThe Newberry Consort QuicksilverPiffaro and Venere Lute QuartetRecorder faculty members includeMarion Verbruggen Joan KimballPriscilla Smith and Robert Wiemken
Contact Chelcy Bowles University
of WisconsinndashMadison 720 Lowell
Center 610 Langdon St Madison
WI 53703 608-265-5629
608-262-1694 (fax)
musicdcswiscedu
memfdcswiscedu
PORT TOWNSEND
EARLY MUSIC WORKSHOP (ARS)
University of Puget Sound Tacoma WA
July 12-18Directors Letitia Berlin Frances Blaker
Join us this summer at our new locationwith a star-studded faculty a beautifultree-lined and easy-to-navigate campuswith accessible facilities and acurriculum that will leave you wishingthere were 48 hours in a day
Consort and technique classes forrecorder and viol consort and mixedrepertoire recorder master classpercussion for all levels Hildegard forsingers Baroque flute beginning violtheory workshop orchestra and moreMake an all-Medieval schedule or mix it up with a class from almostevery period of music
Work hard and play hard with friends
new and old Intense music-making thatwill inspire you during the workshop andthroughout the year
Directors Tish Berlin and FrancesBlaker eagerly await your arrival andanticipate a splendid workshopRecorder faculty Janet Beazley TishBerlin Frances Blaker Vicki BoeckmanLouise Carslake Charles ColdwellRotem Gilbert Kim Pineda
Contact Jo Baim Workshop
Administrator 1108 frac12 Alki
Ave SW Seattle WA 98116
206-932-4623
workshopseattle-recorderorg
seattle-recorderorg
wwwAmericanRecorderorg March 2009 21
Amherst Early Music FestivalJuly 12-19 and 19-26 2009
Connecticut College New London CT
Renaissance consortsBaroque ensemblesMaster classesRenaissance AcademyEarly notation and moreNo audition required
July 12-19Baroque Academy
July 19-26 Virtuoso Recorder Recorder Seminar
Audition deadline May 15
wwwamherstearlymusicorginfoamherstearlymusicorg(617) 744-1324
AMHERST EARLY MUSIC FESTIVAL
(ARS)
Connecticut College New London CT July 12-19 Baroque Academy July 19-26 Virtuoso Recorder Recorder SeminarRenaissance Academy
Director Marilyn Boenau
Music of England and Spain Two weeksof classes in most early instrumentsvoice dance and notation
Week 1 includes classes for recorderviol other early instruments voicedance and notation Special programsBaroque Academy Baroque AcademyOpera Project (Purcellrsquos Dioclesian)
July 18-19 Music amp InstrumentExhibition
Week 2 comprises classes for recorderviol other early instruments voice andnotation Special programs VirtuosoRecorder Recorder SeminarRenaissance Academy
Evening activities include Englishcountry dance madrigals and informalplaying sessions Connecticut College ineastern CT offers comfortable air-conditioned accommodations naturalareas for walking and a view of LongIsland Sound Scholarships and work-study aid available
Contact Marilyn Boenau
Director or Cathy Stein
Administrator 47 Prentiss St
Watertown MA 02472
617-744-1324 (day)
617-744-1327 (fax)
infoamherstearlymusicorg
amherstearlymusicorg
MIDEAST WORKSHOP (ARS)
LaRoche College Pittsburgh PAJuly 19-25Director Marilyn Carlson
Music of Spain 55-60 students of allability levels adults only Instruction forrecorder (all levels except novice) violharp flute You may enroll for recorder
viol flute as primary instrument harpvoice recorder viol as secondary instru-ment Large and small ensembles all-workshop ensemble (instruments andvoices) Renaissance band (recordersviols capped reeds voice) Medievalcollegium (puzzles amp canons) consorts(by level) vocal ensemble Also Englishcountry dance penny whistle We alsooffer viol-for-novice and harp-for-novice each providing the opportunityfor hands-on experience without owningan instrument Other classes on specialearly music topics and literature
Faculty Marilyn Carlson directorMartha Bixler Stewart Carter JudithDavidoff Eric Haas Mary JohnsonPeter Ramsey Kenneth Wollitz otherfaculty to be announced All facilities areair-conditioned
Contact Marilyn Carlson
1008 Afton Road Columbus OH
43221-1680 614-754-7233
mcarlsoncolumbusrrcom
mideastearlymusicaddrcom
22 March 2009 American Recorder
San Francisco Early Music SocietySummer Workshops 2009Recorder middot July 19ndash25 2009La Dolce Vita di Flauto middot Explore the full range of recorder music from the Middle Ages to the 21st century through ensemble work technique sessions and recorder orchestra For the devoted amateur all ages intermediate to advanced Friendly atmosphere small classes Quiet campus near all amenities Special offerings Recorder orchestra recorder master class coached informal playing Faculty Louise Carslake Frances Feldon Rotem Gilbert Katherine Heater Norbert Kunst Patrick OrsquoMalley and Hanneke van ProosdijInfo Frances Feldon 510-527-9840 franfelaolcom
Baroque Music amp Dance middot June 14ndash20 2009Music in Italian Cities middot Master classes recorder ensemble concerto evening coached ensembles classes concerts and lectures Featuring recorder faculty Frances Blaker and Clea GalhanoInfo Kathleen Kraft 707-874-2014 kkraftsonicnet
Medieval amp Renaissance Music middot June 28ndashJuly 4 2009Stories amp Legends middot Classes for voices recorders viols and alta capella voice master class ensemble coaching storytelling for musicians and storytelling accompaniment Renaissance choir medieval band theater project faculty and student concerts lectures and more Featuring recorder faculty Frances Blaker Annette Bauer Dan Stillman and Tom ZajacInfo Tom Zajac 617-323-0617 medrenmailgmailcom
Music Discovery middot June 21ndash26 2009Day camp for youth ages 7 to 15 Early music and Renaissance social history Instruction in recorder harpsichord strings chamber music musicianship crafts costume-making games and more Beginners to advanced students welcome Featuring recorder faculty Vida Bateau and Letitia BerlinInfo Letitia Berlin 510-559-4670 tishberlinsbcglobalnet For more information visit our web site wwwsfemsorg
SAN FRANCISCO EARLY MUSIC
SOCIETY RECORDER WORKSHOP
(ARS)
St Albertrsquos Priory Oakland CA July 19-25Directors Frances Feldon Katherine Heater
Jam-packed week of recorder ensembleplaying concerts and the opportunity toimprove your skills working with highlyrespected recorder specialists in afriendly yet serious atmosphere Explorethe full range of recorder music from theMiddle Ages Renaissance and Baroqueto the 21st century through ensemblework technique sessions and recorderorchestra For the devoted amateur of allages from intermediate to advanced
Small classes Quiet campus Specialofferings recorder orchestra recordermaster class coached informal playing
Featuring recorder faculty LouiseCarslake Frances Feldon RotemGilbert Norbert Kunst PatrickOrsquoMalley and Hanneke van ProosdijOther faculty Katherine Heaterharpsichord
Contact Frances Feldon SFEMS
PO Box 10151 Berkeley CA
94709 510-527-9840
franfelaolcom sfemsorg
WINDSWEPT MUSIC WORKSHOP
William Jewell College Liberty MOJuly 19-25Director Phyllis Pasley
Bring your artistry to life Strengthen the mindbody connection and exploreenergy and music at Creative MotionAlliancersquos 59th annual summerconference Windswept Professionalmusicians conductors teachers studentsand amateur music enthusiasts willdiscover barriers that inhibit the free flowof energy and learn the secrets of inner-directed artistic music-making Classesin piano voice instrumental musicexpressive arts and independent studyMaster class coaching and conductingopportunities available Using move-
ment exercises analysis and bodyresponses explore music and energy in a unique inter-generational workshopformat Opportunities for independentrecorder study and private lessons enrichthe music-making experience
Registration fee $50 prior to 51509Tuition room meals $535 adults $400students 12-18 (must attend with parentteacher or sponsor) special half-weekrate $275 (Sunday-Wednesday noon)Memberfamily discounts Three hoursgraduate credit ($225) 3 CEUs ($50)and private lessons ($25 each)
Contact Phyllis Pasley 2208
Clouds Peak Maryland Heights
MO 63043 314-628-9862
directorcreativemotionorg
creativemotionorg
BOXWOOD FESTIVAL CANADA
Lunenburg Nova Scotia CanadaJuly 19-26Director Chris Norman
Discover musical and dance traditionswhile visiting one of North Americarsquosmost exquisite 18th-century seasidetowns Concerts dances sessionsclasses lectures with leading artists in therealms of traditional folk early musicdance and improvisation Work study ampscholarships available Gourmet cuisine
Faculty Chris Norman directortraditional amp early flutes FrancisColpron recorder ensembles LisaBesnoziuk Baroque flute DavidGreenberg Cape Breton amp Baroqueviolin Edmund Brownless voice shape note singing Marie Bouchardharpsichord Robert Dick contemporarytechniques amp composition Conal O Grada Irish flute Jerry OrsquoSullivanpipes whistle Rod Garnett flutefundamentals ethnic flutes PierreChartrand social dance MarlysNorman ballet classical dance Rod Cameron flute maker Tempest Baroque
Contact 902-634-9994
boxwoodorg
musiqueroyalecom
MACPHAIL SUZUKI INSTITUTE
FOR PIANO GUITAR FLUTE
AND RECORDER
MacPhail Center for the Arts Minneapolis MNJuly 19 Every Child Canreg July 19-26 Recorder Book 1July 20-24 Student InstituteDirectors Cindy Malmin Mary Halverson Waldo (auditions)
Suzuki Clinicians Marilyn Taggartpiano Tadeusz Majewski piano DavidMadsen guitar Kathleen Schoenfluterecorder MacPhail Suzuki faculty
Sanctioned by the Suzuki Association ofthe Americas MacPhailrsquos SuzukiInstitute allows Suzuki students of allages to share in motivating enrichingand wide-ranging musical experiencesStudents work with master teachers andimprove skills technically and musicallyDaily classes and observation includeapplied study theoryreading skillsensemble skills chamber music perfor-mance practices composition improv-isation master classes recitals art andmusic world musicdrumming musichistory recitals and presentations TeenMusical Revue (ages 13-18) fashioncharacter sketches develop a frameworkor theme and present to an audience
Who may attend Suzuki students whohave completed the Twinkle Variations(preschoolndashgrade 12 parents or another
wwwAmericanRecorderorg March 2009 23
Amherst Early Music Festival
(photo by Marc Weinberg)
responsible interested adult must attendwith students under high school age)teacher traineesobservers Participantsmust arrange meals housing and trans-portation Teacher Training prerequi-sites Every Child Canreg before Book 1courses must be taken in order throughBook 2 Contact workshop regardingrequired audition and preparation
Contact Cindy Malmin
612-767-5461
malmincindymacphailorg
Mary Halverson Waldo
5679 Harding Lane Shorewood
MN 55331 952-470-5853
mhalvwaldogmailcom
INTERNATIONAL BAROQUE
INSTITUTE AT LONGY
Longy School of Music Cambridge MA
July 24-August 2Directors Paul Leenhouts co-director Phoebe Carrai
VenicendashDresden Connection InternationalMeeting Grounds Music of MonteverdiVeracini Hasse Heinichen MarcelloVivaldi Pisendel Albinoni ZelenkaLotti Schein Schutz Quantz Gabrieli
2009 faculty Paul Leenhouts recorderPhoebe Carrai rsquocello ElizabethBlumenstock violin Ricard Bordasvoice Arthur Haas harpsichord LucasHarris lute Ken Pierce early danceGonzalo Ruiz oboe Mary Springfels
viola da gamba Jed Wentz traverso
Contact Karen Burciaga Com-
munity Programs Registrar One
Follen St Cambridge MA 02138
617-876-0956 X1532 (day)
617-354-8841 (fax) karenbur
ciagalongyedu longyedu
RECORDER AT THE CLEARING
The Clearing Ellison Bay WIJuly 26-August 1Directors Pat Badger Adrianne Paffrath
Recorder ensemble has been a traditionat The Clearing for over 25 yearsEnsemble playing is the weekrsquos focusEach day begins with a warm-up ofvoices and bodies as we sing rounds andready our muscles for performanceDaytime sessions focus on rhythmicchallenges recorder technique andensemble blend emphasis is on growthprocess and most of all enjoyment To participate fully you need at leastintermediate skills on a C or F recorder
Adrianne Paffrath coached on recorder with ARS teachers She is music directorat Racinersquos First Presbyterian ChurchPatricia Badger has studied early musicinstruments natural and classicaltrumpet She is performing arts head ofThe Prairie School Jointly they haveperformed for Medieval festivals grapestompings Shakespeare celebrations anda circus parade
Contact The Clearing PO Box 65
Ellison Bay WI 54210-0065
877-854-3225 920-854-9751
(fax) clearingtheclearingorg
theclearingorg
AMERICAN RECORDER SOCIETY
FESTIVAL AND CONFERENCE
University of Missouri at St Louis St Louis MO
July 30-August 2
Attend the second ARS Festival andConference for one day ($150) or allweekend ($350)
Sessions include recorder techniquepedagogy introductions to Orff Suzukiand Flutes and Drums Around the Worldmethods improvisation roundtablediscussions how to conduct yourconsort coached playing sessions forMedieval Renaissance Baroque worldand contemporary repertoire recorderorchestra incorporating percussion intoyour ensemble Also recorder mainte-nance choosing a recorder building aweb site using Sibelius music softwareMini-concerts by the next generation ofprofessionals master classes concerts byMarion Verbruggen and the FarallonRecorder Quartet Exhibition ofrecorder builders music sellers andmore CEUs available
Presenters Louise Austin AnnetteBauer Tish Berlin Frances Blaker Joyce Callanan Louise Carslake
24 March 2009 American Recorder
The Summer Toot is once again in Austin at the beautiful new facility of Concordia University The lushly wooded campus offers air-conditioned classrooms dining and dorm accommodations and is backed by a nature preserve Please join us
Our featured faculty includes Tish Berlin Tom Zajac Mary Springfels The Texas Toot offers a one-week program of classes in Renaissance and Baroque music at all levels featuring expert instructors in re-corder viol early reeds lute harp and voice
Danny Johnson workshop director Susan Richter administrator For more info
httpwwwtootorg or email infotootorg
11th Annual Summer Texas Toot June 14-20 2009 mdash Austin Texas
Mark Davenport Cleacutea Galhano LisetteKielson Lorraine Krige JudithLinsenberg Peter Maund Nina SternMarion Verbruggen Leslie TimmonsJim Tinter Mary Halverson Waldo
Contact Yvonne Miller-Nixon
Conference Administrator
1129 Ruth Dr St Louis MO
63122 800-491-9588 (day)
arsconfplannercharternet
americanrecorderorg
EARLY MUSIC WEEK AT
PINEWOODS CAMP (ARS)
Pinewoods Camp Plymouth MA August 15-22 Director Sheila Beardslee
The Myth amp Magick Creativity andInspiration in Early Music Surely thedeities of Olympus will surround us atPinewoodsndashwhere the myths of earlymusic will be made clear and our staff rsquosldquomagickalrdquo skills will hone and perfectour knowledge and performance of early music and dance
If yoursquove never played a musical instru-ment (but wish you could) or if youstudied music years ago (and fear yoursquoveforgotten) classes in recorder and violwill get you started or help brush off therust Advanced and intermediate playersand singers choose from a wide array ofclasses led by an outstanding faculty of professionals and teachers of earlywinds (recorders reeds brass) strings(viols violin) harpsichord and voice
New staff faces this summer areAnonymous 4rsquos Susan Hellauer voiceand Lisa Terry viol We welcome backDorrie Olsson historical dance andScott Higgs English country dance
We relax with two ponds for swimmingcanoeing a camphouse deck for readingafternoon tea and lots of dancing EarlyMusic Week continues its long traditionof superb teaching in a welcoming com-munity enhanced by special eventspresentations concertsmdashand dancing
Advanced musicians work intensivelyamateurs are engaged and challengedand beginners are always made welcome
Contact Steve Howe Country
Dance and Song Society
PO Box 338 Haydenville MA
01039-0338 413-268-7426 X3
(day) 413-268-7471 (fax)
campcdssorg cdssorgem
MONTREacuteAL RECORDER FESTIVAL
McGill University Montreacuteal QC Canada
September 17-20Directors Matthias Maute Sophie Lariviegravere
Conference consort music recorderorchestra concertsmdashEnsemble Capriceand Quynade (Israel) solo recital byMaurice Steger (Switzerland)
Contact Ensemble Caprice 4841
Garnier Montreacuteal QC H2J 3S8
CANADA 514-523-3611
514-523-1322 (fax)
infoensemblecapricecom
ensemblecapricecom
HIDDEN VALLEY INSTITUTE
FOR THE ARTS
EARLY MUSIC ELDERHOSTEL
Carmel Valley CANovember 1-7 November 8-14Directors Letitia Berlin workshopPeter Meckel HVIA
Enroll for one or both weeks Adults ofall ages welcome
Week I intense classes for upper inter-
mediate to advanced levels Week Ifaculty Letitia Berlin Frances BlakerLouise Carslake Annette Bauer(recorder) David Morris (gamba)
Week II all levels except beginnerClasses include recorder technique viol consort Baroque chamber musicconsort classes for Medieval Renais-sance Baroque and contemporary reper-toire workshop orchestra Week IIfaculty Letitia Berlin Frances BlakerTBA (recorder) Shira Kammen (earlystrings singing Medieval topics) MarySpringfels (viola da gamba)
Evening events include faculty concertstudent concert free-lance playing FreeWednesday afternoon for more playingor sightseeing Improve your playing in asupportive friendly atmosphere withworld-class teachers
Contact Peter Meckel
PO Box 116 Carmel Valley CA
93924 831-659-3115
831-659-7442 (fax)
hvmsaolcom
hiddenvalleymusicorg
wwwAmericanRecorderorg March 2009 25
26 March 2009 American Recorder
Am
herst
AR
S
Festival and
Co
nference
CA
MM
AC
Early M
usic
Week
Canto
Antiguo
Reco
rd
er
at th
e
Clearing
Great L
akes
Suzuki
FluteR
ec
Hid
den
Valley
Eld
erh
ostel
Interlo
ch
en
Early M
usic
Inst
Lo
ngy Intl
Baro
que
Inst
Marin
Head
land
s
Mid
east
Mo
ntreacuteal
Reco
rd
er
Festival
COST $520TW $350T C$1014ED $860 $1035E TBA $799D $389T $675T $210ED $735D $130TNO OF DAYS 814 1-4 7 7 7 5-8 714 6 10 3 6 4ARS DISCOUNT NO YES NO YES NO NO NO NO NO NO NO NONO OF FAC RECORDER FAC 4315 1716 165 85 22 82 543 11 101 1010 96 66NO OF STUDENTS 150wk 60 110 35 19 45 35 20 50 75 60 50RECORDER CLASSLEVELS
LIHIAV
BLIHIAV
BLIHIAV
BLIHIAV LIHIA BLI
LIHIAV LIHIA AV
LIHIAV
BLIHIAV
BLIHIAV
SPECIAL CLASSES USING RECORDERS
CMRMB20ENMROT
RPMRMB20MROPTO
CMRMBRO
MRMBENROPT CRO
RPMPT
CMRMB20MROPT
RPCMRMBENMROPT MBMP RP20
RPCMRMB20ENMTO
CMRMBMRO
NON-RECORDERCLASSES
CWKVPSDO PO
CWKVDT CWVD C O KVPS
CWPKVPST WK VD
CWVPSDO
MUSICALACTIVITIES
FSLSPP FLO FSLSP FS SP FSLP FSP
SLSPPO FSLP P FSLP FS
RECREATION D GS BSTW D FBSW FSO OBSTWO S O G
OTHERS WELCOME SC S SC S S S S SDIRECTTRANSPORTATION SC SBCP SP BCLP BP SB CPUP CL PUP
SBCPUP
TRANSPORTATIONTERMINALS
A50B2 T2 A B T
A10B3 T5
A80B80
A50B10 T10
A20B20 T20
A16B16
A4B3 T3 A20
A15B10 T10
A4B3 T3
ROOMS SD SD SD SD SDC SD SD SDC DBATHS SSP SSPP SP P SSPP SSPP SP P S PFOOD CV C GV CV FV C F CV CV CHANDICAP ACCESS HCD HCD HCD HCD HC HCD HD HCD C HCD HCD C
KEYCOST Includes tuition room (single occupancy unless otherwise noted) meals plus other fees E=estimated T=tuition only D=double occupancy W=one week
NO of DAYS Includes arrival and departure daysARS DISCOUNT Discount offered for ARS members FACULTYRECORDER FACULTY Number of facultyrecorder faculty within that number STUDENTS Average over last two yearsRECORDER CLASS LEVELS B=beginners LI=low intermediate HI=high intermediate A=advanced V=very advanced
SPECIAL CLASSES USING RECORDERS RP=recorder pedagogy C=one-on-a-part consorts MR=mixed Renaissance ensembles MB=mixed Baroque ensembles 20=contemporary music EN=early notation M=master class RO=recorder orchestra P=private lessons available T=technique O=other
NON-RECORDER CLASSES C=choral W=other winds P=percussion K=keyboard V=viols PS=plucked stringsD=danceT=theory I=instrument building O=other
MUSICAL ACTIVITIES F=faculty concert S=student concert L=lecture SP=special production P=organized informal playing O=other
RECREATION D=dancing F=field trip G=gym B=biking S=swimming T=tennis W=waterfrontbeach O=otherOTHERS WELCOME S=non-playing spousesfriends C=children (day care not generally available)DIRECT TRANSPORTATION TO WORKSHOP S=shuttle from airport B=bus C=cab L=limo PU=will pick up P=free parking O=other
TRANSPORTATION TERMINALS A=air B=bus T=train (number indicates miles from workshop to nearest terminal)
ROOMS S=singles D=doubles (with ldquo+rdquo can accommodate up to triples) C=cabins O=other =Graduate dormsBATH FACILITIES S=shared SP=semi-private P=privateFOOD C=college style F=family style G=gourmet V=vegetarianHANDICAP ACCESS H=housing C=classrooms D=dining
INFORMATION SUPPLIED BY WORKSHOP DIRECTORS
2009 SUMMER RECORDER WORKSHOPS
Here are some suggestions foravoiding overuse syndromes Most obvious warm up This meansincreasing your practice time graduallybefore the workshop begins andwarming up yourself and yourinstrument before each rehearsal
Make your playing situation ascomfortable as possible Take along acushion back rest footstool whateverit takes the ear and hand cannot ab-sorb what the bottom cannot tolerate
Be sure your glasses are ideal for the distance from your eyes to themusic desk that usually amounts to anarmrsquos length away (You can select apair at your local drug or departmentstore if you have no serious astigma-
tism) If glare from bright light (thosemarvelous outdoor rehearsals) is aproblem for you you may find that ayellow tint for your glasses is a help
Get your bodily playing equip-ment in the best possible shape beforethe workshop a visit to the dentist tosmooth off a front tooth for a windplayer can make an enormous differ-ence in endurance A layer of plasticwrap over the teeth (before yoursquoveworn a hole in your lip) may also help
Once yoursquove arrived at the work-shop there are ways to ensure thatstress (inevitable) doesnrsquot becomedistress (mostly preventable)
Take reasonable breaks duringrehearsal time and use them to stretchA little aerobics like running in placetakes very little time and gets rid ofthat stiff-from-sitting feeling Get yourfellow ensemble players to massageeach othersrsquo shoulders Other fre-
Do you have a favorite article from years past in AR E-mail that information to Gail Nickless
editoramericanrecorderorg
wwwAmericanRecorderorg March 2009 27
Mo
untain
Co
llegium
Pinew
oo
ds
Early M
usic
Week
Po
rt
To
wnsend
SF
EM
S
Baro
que
SF
EM
S
Ch
ild
rens
SF
EM
S
Med
ieval amp
Renaissance
SF
EM
S
Reco
rd
er
Texas T
oo
t
Wh
itew
ater
Wind
sw
ept
Music
Wo
rksh
op
Wo
rld
Fello
wsh
ip
$800ED $890ED $975 $950 $370T $950 $950 $740E $245 $535D $850E COST7 8 7 7 5 7 7 7 3 6 7 NO OF DAYSNO NO NO YES YES YES YES YES NO NO NO ARS DISCOUNT
125 189 169 102 82 124 76 136 1110 131 83NO OF FAC RECORDER FAC
50 100 100 55 30 70 40 50 110 45 30 NO OF STUDENTSLIHIAV
BLIHIAV LIHI AV
LIHIAV
BLIHIAV LIHI AV LIHIA LIHIA
BLIHIAV
BLIHIAV
RECORDER CLASSLEVELS
CMRMB20TO
CMRMBENROT
MRMB20MROPT
MBMPTO
CMRMBPTO
CMRENMPTO
C20MROPTO
CMR20MPT
CMRMB20ROTO MP
CMRMBMRO
SPECIAL CLASSES USING RECORDERS
WVDTO
CWKVPSDT CPVT
CWKVPSTO
KVDTO
CWPVPSTO O
WKVPSTO
CWVTO
CWPKVD
CKVDT
NON-RECORDERCLASSES
FSLSPP FSP
FSLSPPO FSSP
FSLSPPO
FSLPO
FSLPO SPO FSL PO FSLP
MUSICALACTIVITIES
DGBS DSWFGBSTW
DGBST D
DGBST DO SO
DFSWO RECREATION
S S SC SC S S SC SC OTHERS WELCOME
P SC CPUP SCP SCP SBC LP SPUP P BPUDIRECTTRANSPORTATION
A50B15 T15
A15B7 T6 A59
A20B2 T5 A59
A12B4 T1 A40 A
A20B15 T28 B10
TRANSPORTATIONTERMINALS
SD SD S S CALL S S SD SD SD SD ROOMSSP S SP P P SP P S S S BATHSCGV FV CV CV CV CV CV CV CV FV FOODHCD CALL HCD HCD C HCD HCD HCD HCD HD HANDICAP ACCESS
AR50 AVOIDING ACHES amp PAINSBy Leacuteonie Jenkins MD (c1925- 2000) from the March 1993 AR Vol XXXIV1
quently overused parts such asforearms and hands also respond to massage Quick tutorial on massagestart stroking toward the body and inthe direction of the flow of the veinsmdashupstream from the sorest partgradually work down to include thesore spot Yoursquore trying to move overthe underlying muscle not to rub theskin Thatrsquos why a little oil helps
Your psyche may need some relieffrom overload too Most workshopsare in surroundings that lend them-selves to taking a walk finding a placeto meditate taking in some beauty In creating anything a musical per-formance no less than more static artforms breathing in is as necessary asbreathing out be sure you take time to do it
Not to be forgotten those partiesLate hours and alcohol are stressfultry to balance off the fun yoursquore havingwith your capacity for both Above allenjoy Thatrsquos why yoursquore going
2009 SUMMER RECORDER WORKSHOPS
By Bart Spanhove
The author has been principalprofessor of recorder at the Lemmens-
instituut Leuven (Belgium) since 1984He is also artistic director of the world
famous recorder ensemble the FlandersRecorder Quartet which is set to perform
in concert at the 2009 Boston EarlyMusic Festival He is often asked to serve
as a jury member for internationalrecorder competitions in Canada US
Germany The Netherlands and BelgiumHe has given numerous master classes andlecture demonstrations all over the world
Spanhove is co-author of thesuccessful recorder method Easy Going(Heinrichshofen) and wrote the much-
used book The Finishing Touch ofEnsemble Playing (Alamire 2000
and Moeck 2002 with translations inChinese and German) In 2009
The Recorder Music of Frans Geysenwill come out (Mieroprint)
Currently he is researching practicetechnique for the recorder Daily
Spanhove thinks about how to makepeople happier by making music and
playing the recorder
As a conclusion for the VirtuosoRecorder class during the AmherstWorkshop in 2008 we organized aldquoHappy Hourrdquo for our nine talentedstudents Mee-Jung Ahn (Korea)Emilie Hasselgren and Kristine West(Sweden) Anne Timberlake JosephLewnard Jacob Lodico and BrycePeltier (US) Emiliano Perez(Mexico) and Fanny Massy (France)participated in a quiz that I wrote thenight before with the assistance ofReine-Marie Verhagen
We combined questions regardingmusic theory with practical exercisessuch as middot How long can a player hold a
low f in one breath on an altorecorder (You get one point foreach second)
middot How many times through a scaleis a player able to play in 30seconds (For every octave of theF major scale you get one point)
middot How many different pieces fromthe recorder repertoire can aperson play in the course of twominutes (The other members ofthe group have to guess the nameof the composer before the playercan start the next piece)
middot In one minute list as manydifferent titles as you can fromDer Fluyten Lusthof (TheRecorderrsquos Pleasure Garden) of J J van EyckThe list of questions goes onAt the ldquoHappy Hourrdquo people
were divided into three groupsaccording to dates of each personrsquosbirthday When theoretical questionswere asked (see below) the pointsystem was devised as follows threepoints were awarded when the selected
person of a group could find theanswer himherself two points whenthe selected person needed the help ofthe other group members and onepoint if the group needed the help ofour gracious class assistant Reine-Marie Verhagen (she alwaysknew the answer) No points weregiven if the quizmaster had to supplythe answer
On the next page you find someof my questions There are morewhich we hope to run in a future issueof American Recorder
The quiz was full of fun andsuspense By the end people weremore nervous than when playing aconcert on stage Jacob Lodico of theUS was the winner at Amherst
28 March 2009 American Recorder
Education___________________________________ A quiz for recorder players
wwwAmericanRecorderorg March 2009 29
Try these questions yourselfAnswers appear at the end of thisarticle
The Quiz1 Give the name of Ganassirsquos
treatise of 1535 where heextensively describes the recorder playing and diminutions of his time
2 In which German city is therecorder company Moeck based
3 In the cantata Gottes Zeit ist dieallerbeste Zeit BWV106 JS Bach calls for two altorecorders Give another name for this cantata
4 Of which famous orchestra isFrans Bruumlggen the conductor
5 List three leading Japanesecomposers of excellent solo pieces for the recorder
6 Give the names of recordermagazines published inGermany England and the US
7 What is the fundamental tone of a fourth flute
8 List two recorder makers fromthe Baroque period in England
9 Whatrsquos the title of the recitativeand chorale in the Saint MatthewPassion where the recorder isused
10 Give the names of two famouspublishers in business around1700mdashone in London and one in Amsterdam
11 The opus 10 work by AntonioVivaldi includes six concertiSome of them have beautifulnames Give the names of thefirst three concerti of this opus
12 Whatrsquos a nickname for Jean Jacques Hotteterre
13 The combination of recorder andtraverso was rarely used in theBaroque time Can you name any composers who used thiscombination
14 Which king from 16th-centuryEngland owned a large collectionof recorders and also composedand enjoyed daily recorderplaying
15 How many movements compriseHandelrsquos Sonata in C Op 1 No 7 originally written forrecorder and basso continuo
16 Give the name of Praetoriusrsquostreatise from 1609 that describesthe whole recorder family
17 Name the author of the oldestrecorder method
18 Name Jan Jacob van Eyckrsquosdisability
19 Who pretended around 1930 thatthe recorder was a kind ofclarinet
20 Who doesnrsquot belong in thefollowing group Bertho DrieverKarel van Steenhoven MarionVerbruggen Paul LeenhoutsDaniel Bruumlggen
21 Name the two instrumentsindicated to play the sonataMeiner Mutter of Hans UlrichStaeps
22 Il Pastor Fido was not composedby Antonio Vivaldi but by aFrench composer What was hisname
23 Whatrsquos the nationality of themusic company Zen-On
24 CPE Bach composed abeautiful trio that includes a bassrecorder What are the other twoinstruments
25 Give the names of the fourmovements of Bachrsquos partita forsolo traverse flute BWV1013
26 Which excellent playersperformed as the recorder trioSour Cream
27 A recorder normally has eightfingerholes Despite this musichistory describes the recorder as ldquoune flucircte agrave neuf trousrdquo (a flute with nine fingerholes)Explain why
28 Give the French name for vibratoperformed by finger movementsalone on a wind instrument
29 Who wrote in his diaryldquohellipbeyond anything in the wholeworld the wind-music when the
Answers to
Bart Spanhoversquos Quiz1 La Fontegara2 Celle3 Actus Tragicus4 The Orchestra of the
Eighteenth Century5 R Hirose M Ishii and
M Shinohara
6 Windkanal or Tibia (both ofGermany) The Recorder(England) American Recorder(US)
7 B8 The most famous English
recorder makers around 1700Bressan and Stanesby (the latterbeing both senior and junior)
9 O Schmerz Hier zittert das gequaumllte Herz
10 Walsh (and Hare) (of London)Roger (of Amsterdam)
11 La Tempesta de Mare La Notte Il Gardelino
12 Le Romain13 JB Loeillet J J Quantz
JJ Hotteterre or J B de Boismortier
14 Henry VIII15 Five16 Syntagma Musicum17 Sebastian Virdung Musica
Getutscht und Ausgezogen (1511)18 Blindness19 Igor Stravinsky20 Marion Verbruggen21 Alto recorder and piano22 Nicolas Cheacutedeville23 Japanese24 Viola and cembalo25 Allemande Courante Sarabande
Bourreacutee26 Kees Boeke Walter van Hauwe
and Frans Bruumlggen27 Before 1670 the player could
choose how to hold the recordermdashleft hand or right hand at the topThis meant that recorder makersdrilled two holes to accommodatethe little finger of the hand thatended up at the bottom Theunused hole was sealed with beeswax
28 Flattement29 Samuel Pepys30 Flanders Recorder Quartet
30 March 2009 American Recorder
Lazarrsquos Early Music(866) 511-2981 jblazaraolcom
wwwLazarsEarlyMusiccom
292 Gibraltar Dr 108 Sunnyvale CA 94089
Strings amp Early Winds
ModernBaroque Strings Viols Vielle
Kuumlng Moeck Mollenhauer Paetzold Yamaha Ehlert
Wenner Baroque flutes
Wendy Ogle Lu-Mi Ifshin Snow
Competitive Prices
Sent on Approval
Personalized Service amp Advice
R
E
C
O
R
D
E
R
S
ldquoGO FOR NEO-BAROQUErdquo
Andrew Charlton Partita Piccola For 4 Recorders (SATB)
[Prelude Allemande Courante Musettemdash
a neo-baroque epitome] (Score amp Parts PBE-25) $795
Andrew Charlton Suite Moderne For 3 Recorders (ATB)
[Baroque shapes but Hindemithian harmony]
(3 Playing-Scores PBE-44) $995
Southwest of Baroque David Goldsteinrsquos ldquobaroque Suiterdquo
on Cowboy Songs For 2 Recorders (SA) (PBE-2) $350
The Provincetown Bookshop Inc
246 Commercial Street Provincetown MA 02657 Tel (508)487-0964
A good source for Recorder amp Viol Music of all publishers
Provincetown Bookshop Editions
angel comes down which is sosweet that it ravished me andindeed in a word did wrap upmy soul so that it made me reallysick just as I have formerly beenwhen in love with my wiferdquo
30 Whatrsquos the English name for afamous recorder ensemble calledin its country Vier op lsquon Rij
wwwAmericanRecorderorg March 2009 31
by Tim Broege timbroegeaolcom
December 11 2008 was a specialday for American music the
100th birthday of Americarsquos greatestliving composer Elliott Carter Cele-bratory concerts took place in manyvenues including Carnegie Hall inNew York There the Boston Sym-phony led by James Levine played anew work by Carter Interventions forpiano and orchestra The soloist wasanother well-known conductor DanielBarenboim who is no mean hand atthe keyboard to say the least
Itrsquos remarkable that wonderfulnew compositions continue to pourforth from Carterrsquos pen His musicsparkles and frolics packing lots of musical events into engrossingstructures Much of his music isavailable on CD so if you missed thecelebrations you can easily have yourown belated birthday party for Carter
Although he has never written for recorder (one of our prominent
recorder soloists should commissionhim) Carter has produced manychamber pieces featuring woodwindsSince many recorder players double orstarted out on woodwinds such piecesas the Sonata for Flute Oboe Cello ampHarpsichord (1952) Enchanted Preludes(1988) for flute and rsquocello Espritrudeesprit doux (1985) for flute andclarinet or the Oboe Quartet (2001)may hold special interest
If you missed Charlie Rosersquosexcellent interview (broadcast onDecember 10) with Carter Levine andBarenboim you can see it atwwwcharlierosecomview
interview9774mdashessential viewingfor fans of contemporary music
We note with sadness the passingon January 23 of another distin-guished American composer GeorgePerle An authority on the music ofAlban Berg and the Second VienneseSchool Perle developed a uniquelyrical style based upon a free approachto 12-tone and serial procedureswhich he dubbed ldquo12-tone tonalityrdquo I recommend listening to his SerenadeNo 3 for Piano amp Orchestra (1983) Six Etudes for Piano (1973-76) and the Pulitzer Prize-winning Wind Quintet No 4 (1985)
Another leading American com-poser Leon Kirchner is thankfully still with us having turned 90 onJanuary 24 Like Perle Kirchner has a highly personal and expressive styleA birthday concert was held at MillerTheater at Columbia University inNew York City NY Participatingmusicians included flutist PaulaRobison pianist Jeremy Denk and theClaremont Trio with the composerpresent to discuss his music
An excellent way to get to knowKirchnerrsquos music is through his stringquartets Just in time for his birthdayAlbany Records has released a fine CDof all four played by the Orion StringQuartet Quartet No 4 was written in2007 (when the composer was 87mdasha veritable youngster compared toCarter) The composer Allen Shawnhas described that quartet asldquoluminous and passionaterdquo words aptto describe much of Kirchnerrsquos output
Speaking of contemporary musicI have been spending pleasant hoursperusing the Catalog of ContemporaryBlockflute Music available online atwwwblokfluitorg from StichtingBlokfluit This Netherlands founda-tion offers a contemporary recordercatalog and a catalog of historicalrecorder music Access to both is byfree membership
For those who havenrsquot yet used thecontemporary catalog I urge you togive it a try You can search by manyparameters such as composer title orspecific instrumentation A search forldquovoice fluterdquo turned up a list thatincluded Moon Dances Three AmericanSketches by composer Walter Mays(intended for solo alto recorder butalso playable on tenor or voice flute)Searching the name of English com-poser Edmund Rubbra produced a listof eight works that employ recordersincluding the intriguing CantataPastorale opus 92 for high voice altorecorder rsquocello and harpsichord
Searching ldquofemale composersrdquo fora piece using ldquoBaroque altordquo yieldedAfter Meditation by Ros Bandt ofAustralia
What an easy and tremendouslyvaluable way to find new music
On the Cutting Edge___________________________________Birthdays composers and
recorder music catalogs
Elliot Carter
(photo by Meredith Heuer)
Question How does Renaissancefingering differ from standard
fingering on the recorder Is one superior tothe other Do you need a special recorder touse Renaissance fingering and if so can itbe played with regular recorders Is there afingering chart that shows RenaissancefingeringmdashWilliam BaumannWaterford WI
Answer from Carolyn Peskin Music composed in the
Renaissance the historical periodextending from about 1450 to 1600was predominantly vocal and highlycontrapuntal Recorders which oftendoubled singers at the octave orrendered vocal pieces instrumentallywere designed to make the individualmelodic lines clearly audible
Most 16th-century consortrecorders were one-piece instrumentswith large toneholes and a wide borethat contracted slightly starting nearthe upper fingerholes and thenexpanded gently near the lowest holesThat ldquochoke-borerdquo design togetherwith the voicing and tonehole con-figuration favored the fundamentaltone (first harmonic) producing astrong open sound that was aboutequally loud throughout theinstrumentrsquos range
Such recorders had a useful rangeof only about an octave plus a sixthwhich was nevertheless sufficient for the music of their day MostRenaissance-style consort recordersmade today are based loosely uponsurviving 16th-century instruments ofthe above type and are designed toapproximate the range timbre andvolume of those early instruments
Our present-day ldquoregularrdquorecorders are Baroque-derived instru-ments based loosely upon survivingrecorders from the late 17th and early18th centuries They are three-pieceinstruments with small toneholes and abore that is narrower and moretapering than a Renaissance boreextending their useful range upward totwo octaves plus a whole tone
Baroque recorders are soft andsweet-sounding in their bottom octavebut louder and brighter in the secondoctave Their lowest notes are espe-cially weak because they must be blowngently to prevent overblowing into thesecond octave Such instruments aresuitable for Baroque solo and chamberrepertoire but not very satisfying forRenaissance polyphony
Due to their different timbre andvolume Renaissance recorders will not blend well with Baroque onesFurthermore the most historicallyauthentic Renaissance-style recordersare tuned in a ldquomeantonerdquotemperament that facilitates the playingof pure major thirds Such instrumentsmake Renaissance music easier to playin tune but will produce intonationproblems if played with Baroquerecorders which are tuned in equaltemperament For the above reasonsRenaissance and Baroque recordersshould not be played together
Renaissance fingering will not work on todayrsquos neo-Baroquerecordersmdashmost of which haveldquomodernrdquo Baroque fingeringcommonly called ldquoEnglishrdquo fingering
because it was developed fromhistorical Baroque fingering by ArnoldDolmetsch in England during theearly 20th century Renaissancefingering is less standardized partlybecause a number of different originalinstruments are used as models andpartly because makers wish to improvethe intonation tone quality andorplayability of certain notes Howeverthe following generalizations apply tomany of todayrsquos Renaissance-styleconsort recorders
First in the lower octave modernBaroque fingering works for mostnotes but is often too flat for the fourth scale degree (eg soprano F)requiring removal of finger 7 (right-hand pinky) and is too sharp for theraised fourth degree (eg soprano F)requiring addition of finger 7
Modern fingering is also usuallytoo sharp for the lowered seventhdegree (eg soprano B) The correctfingering for that note varies from oneinstrument to another
In the upper octave modernfingering works for the first third andfifth scale degrees (eg soprano C Eand G) but usually not for other notesSome notes require half-holing with aright-hand finger and notes above thefifth scale degree may require additionof several fingers to bring them in tuneHistorical Renaissance fingering forthe second scale degree (eg sopranoD) is especially awkward because all ofthe fingerholes and the thumbholemust be uncovered Therefore somemakers substitute modern fingering forthat note
Although Renaissance fingeringand meantone tuning are recom-mended for the best blend some
Q amp A___________________________________ Renaissance recorder fingering
Send questions to Carolyn Peskin QampA Editor 3559 Strathavon Road Shaker Heights OH44120 carolynpeskinstratosnet
32 March 2009 American Recorder
wwwAmericanRecorderorg March 2009 33
makers of handcrafted Renaissance recorders will provide modern fingeringandor equal temperament upon request and Moeck Verlag offers a choice ofRenaissance or modern fingering for most sizes of its factory-producedRenaissance Consort series
For a most satisfying blend Renaissance ensembles should purchase amatched set of recorders tuned and voiced to be played together Renaissanceconsort sets usually include two different alto recorders one in G (lowest note g)and one in F (lowest note f ) The ATTB combination with the G-alto is best formost of the quartet music composed between 1450 and 1550 while the SATBcombination with the F-alto is more practical for much late 16th-centuryrepertoire (Playing the G-alto requires learning G-alto fingering or elsetransposing the alto line down a whole tone and using F-alto fingering)
In addition to consort recorders some makers offer ldquoGanassirdquo sopranos andaltos based upon fingering charts in Silvestro Ganassirsquos recorder tutor Fontegarapublished in 1535 and a single original instrument in the Vienna Kunst-historisches Museum Because of their special bore design (cylindrical with aflaring bell) Ganassi recorders have a range of two octaves and a sixth withcumbersome fingerings in the third octave They are used mainly as soloinstruments for playing intricate ornaments of the type found in Fontegara
Also sometimes included in the ldquoRenaissancerdquo category are ldquotransitionalrdquo(early Baroque) recorders which are based upon originals from the first half ofthe 17th century They have a bore that is wider than a Baroque bore but contractssharply near the lower end resulting in strong low notes and at least a full two-octave range usually with modern fingering Most transitional recorders aresopranos or altos designed for playing Jacob van Eyckrsquos variation sets or thehighly ornamented Italian solo repertoire of the late-16th and early-17thcenturies
However wide-bore consortrecorders with a range of at least twooctaves and modern fingering shouldalso be regarded as transitionalinstruments They differ somewhat intimbre and volume from typicalRenaissance consort recorders
Handmade wide-borerecordersmdashconsort Ganassi andtransitionalmdashare obtainable frommakers who advertise in AmericanRecorder the Prescott Workshop andthe Von Huene Workshop in the USJean-Luc Boudreau in Canada andStephan Blezinger in GermanyContact them andor visit their websites to find out what kinds ofrecorders they are currently makingand to get an idea of their prices andwait times
Factory-produced wide-borerecorders from Kobliczek Moeck andMollenhauer are available frominstrument dealers who advertise inAR New and used recordersincluding wide-bore models fromimportant makers in the US andabroad are also obtainable from Uni-corn Music For further informationvisit wwwbuyrecorderscom For a comprehensive database of recordermakers worldwide see Nicholas SLanderrsquos ldquoExtant Recorder Makers amp Retailersrdquo at wwwrecorder
homepagenetmakershtml
REFERENCES
CONSULTEDBauer Winfried
wwwrecorder-fingeringscomIncludes interactive fingeringcharts from modern makers andhistorical treatises Charts forRenaissance consort recorders byAdriana Breukink Adrian BrownBob Marvin and Tom Prescottwere consulted
Brown Adrianwwwadrianbrownorgrec
order_typesconsorthtml
Our present-day ldquoregularrdquo recorders are
Baroque-derived instruments based loosely
upon surviving recorders from the
late 17th and early 18th centuries
34 March 2009 American Recorder
The Von Huene Workshop Incis pleased to announce agreements with
CoolsmaZamra
to serve as their authorised service agents in the US
For more than 40 years the von Huene Workshop has produced some of the finest recorders in the world Our skilled staff can revoice retune and repair even the most seriously damaged instruments All repairs are done right on the premises and most can be completed within a week
For warranty repairs please include a copy of your original sales receipt
j 65 Boylston Street Brookline MA 02445 i(617) 277-8690 Fax (617) 277-7217 servicevonhuenecom
An informative article aboutrecorder sizes in Renaissanceconsorts
Brown Adrian and David LasockildquoRenaissance Recorders andTheir Makersrdquo AmericanRecorder Vol XLVII No 1(January 2006) pp 19-31 An important article based upon Brownrsquos extensive researchon 120 of the 200 surviving 16th-century recorders
Ganassi Silvestro Opera IntitulataFontegara Ed Hildemarie Peter(Berlin-Lichterfelde RobertLienau 1959) Modern edition ofthe oldest known treatise devotedentirely to the recorder (publishedin 1535) Includes 16th-centuryfingering charts
Griscom Richard and David LasockiThe Recorder A Research andInformation Guide (New York andLondon Routledge 2003) Anannotated bibliography including
references on construction anddesign of historical recorders
Levin Philip ldquoQampArdquo AmericanRecorder Vol XXXVIII No 4(September 1997) p 27Explains in simple terms thedifference between Renaissanceand Baroque recorders
Morgan Fred ldquoA Recorder for theMusic of JJ van EyckrdquoAmerican Recorder Vol XXV No 2 (May 1984) pp 47-49Describes the bore design of arecorder suitable for playing Van Eyckrsquos variation sets andcompares it with bore designs ofother types of recorders
Myers Herbert W ldquoRecorderrdquochapter in A Performerrsquos Guide toRenaissance Music ed JefferyKite-Powell (New York SchirmerBooks 1994) A 2nd edition isnow available published in 2007by Indiana University Press
FEATURING MUSICA PACIFICA
JUDITH LINSENBERG
RECORDERS____JS BACH TRIO SONATAS Arr by
Linsenberg from Trio Sonatas for Organ BWV525-
530 Sonata No 1 in E
major (transp to B
)
BWV 525 Sonata No 2 in C minor (transp to E)
BWV526 Sonata No 3 in D minor (transp to G)
BWV 527 Sonata No 4 in E minor BWV 528
Sonata No 5 in C major (transp to F) BWV529
Sonata No 6 in G major (transp to C) BWV 530
Virgin Classics Veritas 1993
____FIRE BENEATH MY FINGERS Showcases
three legendary composers who were also
virtuoso performers Vivaldi Concerto in F major
after RV 98570 ldquoLa Tempesta di Marerdquo Sonata in
A minor RV86 Concerto in G minor RV106 Con-
certo in Bb major RV503 Sammartini Concerto in
F major Tartini Concerto in A major D91 Dorian
____MANCINI CONCERTI DI CAMERA Seven
sonatas by Francesco Mancini plus one work each
from his contemporaries Francesco Durante amp
Domenico Scarlatti Highly recommended citation
from the 2000 Vivaldi Prize for Recordings of Italian
Early Music--Giorgio Cini Foundation Dorian
____MARAIS MARIN PIEgraveCES EN TRIO POUR
LES FLUcircTES VIOLON amp DESSUS DE VIOLE
Maraiss complete works for two treble lines and
bass with varied instrumentation and orchestrations
2-CD set $24
____SCARLATTI CONCERTI DI CAMERA
Seven sonatas for various instrumentations no
poor relations to the composers much more widely-
known vocal output All recorder players should
certainly have thisndashEarly Music Review
____TELEMANN CHAMBER CANTATAS
Five cantatas from Harmonischer Gottesdienst two
sonatas from Sonatas Corellisantes 2003 Chamber
Music America WQXR Record Award for best
chamber music recordings
____VIVALDI LA NOTTE Concerti per strumenti
diversi Award-winning CD featuring five Vivaldi
concerti two sonatas
AND OTHER RECORDING
ARTISTS FROM CALIFORNIA ____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 American Bach Soloists Jeffrey
Thomas conductor Dan Laurin Hanneke van
Proosdij recorders Christmas Concerto featuring
unique 1725 London version with solos transcription
for two recorders instead of two solo violins in
three of the six concertos Delos
____CANCcedilONIEgraveR Annette Bauer recorder
multi-instrumentalist Tim Rayborn Shira Kammen
strings Phoebe Jevtovic voice in a new early
music group devoted to repertoire from the
12thndash15th centuries as well as traditional music
from related regions (the Balkans Scandinavia
Middle East) Medieval instrumental music played
on a variety of instruments including strings
recorders and percussion Medieval dances and
motets bring to life the rich world of ancient
European music-making
____SACRED AND SECULAR MUSIC FROM
RENAISSANCE GERMANY Ciaramella-Adam amp
Rotem Gilbert Doug Millikan Debra Nagy
recorders with other winds shawm sackbut amp
organ Medieval amp Renaissance sacred music with
reconstructions of folksongs amp arrangements based
on contemporary improvisation
____BURIED TREASURE TOPAZ amp SAPPHIRE
Ensemble Vermillian Frances Blaker recorders
Barbara Blaker Krumdieck cello Elisabeth Reed
gamba Katherine Heater harpsichord amp organ
Transcriptions of Buxtehudes Op 1 other pieces by
Buxtehude works by Biber Johann Schop
Schmelzer Fafarela 2007
____STOLEN JEWELS Ensemble Vermillian
Frances Blaker recorders Barbara Blaker
Krumdieck Elisabeth Reed Katherine Heater 17th-
century German music adapted by Blaker I love
violin music so I steal the music and rearrange it
for my own instrumentrdquo Buxtehude Op 1 Biber
Rosenmuller Krieger JM Bach Fafarela
Recordings
____SENFL (LUDWIG) Farallon Recorder Quartet
(Letitia Berlin Frances Blaker Louise Carslake
Hanneke van Proosdij) 23 lieder motets and
instrumental works of the German Renaissance
____DOLCE MUSICAndash A CONTEMPLATIVE
JOURNEY Eileen Hadidianflutes recorders
Natalie Cox harps Celtic Renaissance and
Medieval melodies for recorder and flute with
Celtic harp Healing Muses 2005
____REFLECTIONS MUSIC TO SOOTHE AND
UPLIFT THE SPIRIT Eileen Hadidian recorder amp
Baroque flute with Celtic harp and cello Celtic
traditional Renaissance amp Medieval melodies
Healing Muses
____AN EVENING WITH BACH Voices of Music
Hanneke van Proosdij Louis Carslake Dan Laurin
recorders Joanna Blendulf Elizabeth Blumenstock
Rodney Gehrke Lisa Grodin Katherine Kyme
Jennifer Lane Victoria Gunn Pich Susanne Ryden
William Skeen David Tayler Renaissance and
Baroque music centers on fine singing Instantly
recognizable Air on a G String Bachrsquos Prelude in
G Major (solo theorbo for rsquocello) plus lilting vocal
performancesmdashRydenrsquos weightless soprano on
Bist du bei mir Lanersquos rich alto on Es is vollbracht
____BACH amp TELEMANN SONATAS PRELUDES
amp FANTASIAS Voices of Music (Hanneke van
Proosdij Joanna Blendulf Rodney Gehrke William
Skeen David Tayler) Beautiful chamber music by
Bach and Telemann
IN STOCK (Partial listing)____ALLA TURCA FUX CALDARA BADIA
Matthias Maute amp Sophie Lariviegravere recorders
Monika Mauch soprano Vocal music of the church
accompanied by Ensemble Caprice plus sonatas
and other instrumental pieces Analekta
____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 John Daniels Sonja Lindblad
recorders Peter Sykes harpsichord Trio sonata
arrangement by Johann Christian Schickhardt
____LES
AMIS DU
BAROQUE
Paul Nauta recorder amp
Baroque flute Koen Dieltiens recorder Music by
Bassani Corelli Vivaldi etc Highlight Intl
____LES SEPT SAUTS BAROQUE CHAMBER
MUSIC AT THE STUTTGART COURT Matthias
Maute amp Sophie Lariviegravere recorders amp traverso
Ensemble Caprice Charming repertoire by
Schwartzkopff Bodino Detri Atma Classique
____TASTE OF PORTIQUE LEnsemble Portique
Early and contemporary chamber musicmdash
Bach Telemann Boismortier and others
____TELEMANN ALLA POLACCA REBELndash
Matthias Maute recorders amp traversondash
plays concerti and suites by GP Telemann Dorian
____TELEMANN CANONS AND DUOS Lisette
Kielson amp Patrick OMalley recorders LEnsemble
Portique Telemann Canons meacutelodieux amp Sonates
sans basse 2-CD set LEP Records
____20TH CENTURY MUSIC FOR RECORDER amp
PIANO Anita Randolfi recorders Music by Jacob
Bartok Leigh others for recorder amp piano
____VIVALDI AND THE BAROQUE GYPSIES
Matthias Maute amp Sophie Lariviegravere recorders
Ensemble Caprice Gypsy music taken from
Uhrovska zbierka (now Slovakia) plus Vivaldi
____VIVALDI SHADES OF RED CONCERTOS amp
SONATAS FOR RECORDER amp STRINGS Matthias
Maute recorders REBEL Stylish high octane
readings of some of Vivaldis most beloved pieces
including the popular and raucous Concerto alla
Rustica stunningly colorful Sonata on La Follia and
four exuberant recorder concerti Bridge
____WINDFIRE Charmaine Delmatier recorder
Steve Kostelnik classical guitar Terry Hale bass
Erik Hokkanen violin Refreshing mixture of Andrew
Lloyd Weber American blues flamenco Celtic and
one original piece ltwwwyermomusicomgt
Please indicate above the CDs you wish toorder and print clearly the following
Name ____________________________________
Daytime phone (_____)______________________
Address__________________________________
CityStateZip _____________________________
Check enclosed for
_____ single CDs x $____ = $______
_____ 2-CD sets x $____ = $______
TOTAL $______
Please charge the above amount to my
MasterCard Visa or AmEx
_______________________________________
Exp Date ____________
Cardholderrsquos signature ______________________
Mail to
ARS 1129 Ruth Dr St Louis MO 63122-1019 US
You may fax a credit card order to 314-966-4649
NEW You may order CDs online using PayPal at
wwwamericanrecorderorgordercdromshtm
Order your recorder discs
through the ARS CD Club
The ARS CD Club makes hard-to-find or limited release CDs by ARS members
available to ARS members at the special price listed (non-members slightly higher)
All CDs are $15 ARS members$17 Others unless marked otherwise Two-CD sets are
$24 ARS members$28 Others Add Shipping and Handling $2 for one CD $1 for each
additional CD An updated listing of all available CDs may be found at the ARS
web site ltwwwamericanrecorderorggt
The first meeting of the newly-formedFort Myers Recorder and Early
Music Ensemble was January 26 atthe Florida home of chapter rep Sue
Groskreutz For this year the groupis somewhat loosely organized andplans to meet for extended sight-reading Repertoire at the first meetingcomprised everything from Renais-sance duets to chamber music involv-ing three treble parts and continuo
Among the five musiciansattending the first meeting (photobelow front row Elizabeth Spang SueGroskreutz back row Suzanne FergusonSibylle Baumgartner Arlene Sowka) allplayed recorder three harpsichord
and one each played traverso violinand gamba Due to the scarcity ofrecorder players south of the Sarasotaarea modern string players are alsoincorporated into this ensemble
The group decided not to chargedues and to meet at Groskreutzrsquoshome For more information pleasecontact Groskreutz at 239-267-1752spgembarqmailcom Snowbirdsdrifting through the area are welcome
Last fall at the requestof a student Kay Hettich
(inset below right) taught abeginning recorder class atthe Redding (CA) Senior
Center The five-weekclass was so successful thatmost participants haveformed a bi-weekly noviceensemble (right) coachedby Hettichmdashwho consid-ers them her ldquohatchedeggsrdquo
A new batch of ldquoeggsrdquostarted to incubate when afive-week class began on February 20Other senior center members havebecome interested as they heard oftheir colleaguesrsquo success These noviceplayers comprise some who previouslyread music and played instruments as well as people who are totally new to music notation
One student has also formulated amaxim ldquoEveryone at age 40 ought tolearn to play the recorder if heshehasnrsquot alreadyrdquo Just think how theworld would be transformed byshifting our focus to music
After Lynn Whidden attendedthe Montreacuteal Recorder Festival lastfall when the ARS Board met inQuebec she joined the ARS and nowrelays news of the lively interest in therecorder exhibited by a group underthe new leadership of Brent Legg ofBrandon University in ManitobaCanada Although his hands wereldquostill partly frozenrdquo he wrote that theBrandon University Collegium
Musicum in collaboration with theWaverley Park Recorder Club is
preparing a spring concert calledldquoEnglandrsquos Golden AgerdquoRepertoire spans the 16th century
from Henry VIIIrsquos accession in 1509to the death in 1603 of Elizabeth Iand includes solo songs four- andfive-part settings of Renaissancedances (with dancers) three- to five-voice madrigals and ldquobig-bandrdquoarrangements of William Byrdrsquos TheBells and The Dargason as re-imaginedby Gustav Holst (further re-imaginedfor recorders and percussion)
Of the 15 collegium membersseven are encountering the recorderfor the first time since elementaryschool The Collegium Musicumpromotes the study of early music at the university and is open to theuniversity community and the generalpublic This year there are five com-munity participants with interest fromseveral more both within and outsideof the university For informationcontact BrentLegggmailcom
January 16 marked the thirdannual recorder workshop of threeFlorida groups the Pasco Collegium
Recorder Consort of Hudson theImperial Recorder Consort of
36 March 2009 American Recorder
Chapters
amp Consorts___________________________________Workshops and activities from
coast to coast in the US and Canada
Lakeland and the Pilgrim Pipers Recorder Consort of St Petersburg Theygathered for a morning tackling selections by Banchieri Monteverdi PurcellCorelli Mendelssohn Bach Mozart and Glen Shannon Each group presenteda piece for the other participants Sweet Georgia Brown by Ben Bernie (St Pete)a Sonata by Sammartini (Lakeland) and The Gospel Train arr by KW Ford(Pasco) The 29 participants were led by Marlene Cracraft (Pasco) Jane
Spencer (Lakeland) and Elizabeth Snedeker (St Pete) Tom Bickley (photo below) directed the fall workshop of the Mid-Peninsula
Recorder Orchestra in Cupertino CA The 30 players started with Gregorianchants written in ldquooldrdquo notation Bickley gave basic instruction on how tointerpret the notes and then had the group sing the chants prior to playing them
The workshop theme of ldquoThe Articulate Recorderrdquo was literally played out as the music presented used variations in tonguing phrasing and breathingOther repertoire included a Kyrie by Tomas Luis de Victoria Bachrsquos Jesu Joy ofManrsquos Desiring a double-choir piece by Gabrieli Christopher Tyersquos In NomineXIII and a Purcell chaconne The workshop ended with a rhythmically-challenging minimalist piece by Bickley entitled Beginning composed for theWaldorf School teacher training program George Greenwood reports that thegroup had a productive event and plans to ask Bickley to lead a future workshop
wwwAmericanRecorderorg March 2009 37
A Muse in the DesertThe sound of a pin dropping hellip thesound of eager minds and fingersabsorbing information and inspira-tion hellip the sounds of ldquoNuevaEspantildeardquo Spanish- and indigenous-influenced music of the 1600s in theNew World These were the soundsof the Desert Pipes (Phoenix AZ)chapterrsquos fall workshop given byEileen Hadidian On a Saturdaylast October 30 players from all overArizona gathered to learn from andbe inspired by the founder of a SanFrancisco Bay Area group dedicatedto sharing music for healing inhealthcare settings Healing Muses(wwwhealingmusesorg)
The day began with relaxationstretching and breathing exercisesfollowed by travels to Peruacute MexicoGuatemala and Colombiamdashhighchurch music vernacular pieces anda mixture of the two Participantsenjoyed the historical and contextualbackground provided as an overviewfor the day and for each piece
Remarkably the sound heardbetween pieces and passages was anenergy-filled quiet the attentivestillness of active engagement in theworkshop experiencemdashnot the chat-tering noodling and conversationsthat often occur when the musicstops That activity was reserved forthe breaks when participants couldenjoy the cool (at last) outdoorschat with Hadidian and peruse the popular garage sale (to benefitDesert Pipes) of previously-enjoyedbooks and other treasures
On Sunday Hadidian sharedher expertise and inspiration in indi-vidual and group coaching sessionsThe weekend was a special experi-ence and Desert Pipes memberslook forward to the next visit of this Healing Muse
Ann Koenig Scottsdale AZannisalesprocom
Members
of three
Florida
groups
met
in January
for a joint
workshop
CHAPTER NEWS
Chapter newsletter editors and publicity officers should send materials for publication toAmerican Recorder 7770 South High St Centennial CO 80122-3122
editoramericanrecorderorg Also send short articles about specific activities that haveincreased chapter membership or recognition or just the enjoyment your members get out of
being part of your chapter Digital photos should be at least 3rdquox4rdquox300dpi TIF or unedited JPG files Please send news to the AR address above and to the following
ARS Office 1129 Ruth Drive St Louis MO 63122-1019 ARSrecorderAmericanRecorderorg
and to Bonnie Kelly Chair Chapters amp Consorts Committee 45 Shawsheen Rd 16 Bedford MA 01730 bksharpaolcom
TO THE STARS
AND BEYONDThe cover of the November magazinegenerated a few comments Some werenrsquotsure how to interpret the title (in theartistrsquos native German it could besomething close to ldquostarlit moonrdquo)Longtime member Carolyn Peskin wrote to offer her vision of that cover
In the beginning the Great Spiritinvented Mr Sun to light the day andMiss Moon to light the nightHowever as Miss Moon floated up inthe sky all by herself like a big yellowballoon she began to feel very lonelyso one night to relieve her lonelinessshe decided to take out her recorderand make music
But when she started to playsomething miraculous happened Not only beautiful melodies but alsoyellow dust poured out of the bottomof her recorder and the dust particlesimmediately coalesced to form yellowstars As she continued playing moreand more stars were created and theyfloated up around her filling the nightsky
At last Miss Moon was happy fornot only was she herself able to enjoyher music but she now had a wholecrowd of starry companions to enjoy itwith her And if you listen very care-fully on a quiet night you might beable to hear her recorder and thatstarry choir humming along
Carolyn Peskin
LOCATING EARPLUGSI read with interest the QampA in theNovember lsquo08 AR regarding hearingloss and use of earplugs Where do you get musicianrsquos earplugs
Dolly Hirata Kensington CA
CAROLYN PESKIN PROVIDED THIS
INFORMATION Musicianrsquos earplugs arecustom made for individual usersThey can be purchased only fromlicensed hearing professionals (ieaudiologists and hearing instrumentspecialists) To find a licensed hearingprofessional in your area look underldquoaudiologyrdquo or ldquohearingrdquo in your localyellow pages
For information about how musi-cianrsquos earplugs are produced visitwwwetymoticcomephperme-w
tbaspx That web page also has a linkto contact information for authorizedlabs that make the custom earmolds formusicianrsquos earplugs If the yellow pagesdo not prove helpful those labs canrefer you to a licensed hearing pro-fessional in your area from whom youcan purchase musicianrsquos earplugs
MORE FROM CAROLYN
THIS TIME ABOUT OSKARIn the September 2008 AR the musicreview by Leslie Timmons of the Oskarpieces by Matthias Maute mentionedthat Carolyn Peskin had translated twoof the Oskar books from German toEnglish People can obtain thetranslations free of charge as Wordattachments by contacting her atCarolyn Peskin 3559 StrathavonRoad Shaker Heights OH 44120carolynpeskinstratosnet
ANOTHER KIND OF
MUSIC-READING
GLASSESIn the January 2009 issue of AmericanRecorder therersquos something (in myopinion) the ldquoRecorder with GlassesObbligatordquo article omitted which canenable a nearsighted musician to avoidneck strain in the use of bifocals
Irsquove found the solution to thisvexing problem is to have onersquos bifocalsconstructed differently [from] normalMy optometrist was willing to work
38 March 2009 American Recorder
Response___________________________________Two kinds of vision
the better to see with and (not) to hear with
Honeysuckle Music
Recorders amp accessories
Music for recorders amp viols
Jean Allison Olson1604 Portland AveSt Paul MN 55104
6516448545jeanhoneysucklemusiccom
Responses from our readers are welcomedand may be sent to American Recorder 7770 South High St Centennial CO
80122 Letters may be edited for length and consistency
ARS Membership Enrollment and Renewal I am a new member I am or have been a member
USCanadian Memberships Foreign Memberships $45 One Year $55 Foreign One Year $75 Sustaining (Receive a Hottetere Hands Pin) $100 Two Years $80 Two Years
LIFETIME MEMBERSHIP Single Dual Regular Lifetime Member $1000 (2) $1500 (4) 4 installments of $250 available) Loyalty Lifetime Member (1) $ 800 (3) $1200 (4) 4 installments of $200 available
(1) For members who have maintained membership for five consecutive years (2) $750 is Tax Deductible (3) $600 is Tax Deductible (4) Installments available Student Memberships Other Memberships (Enclose proof of full time enrollment) $65 One Year Workshop Membership
$25 USCanadian One Year $125 One Year Business Membership $45 USCanadian Two Years $30 Foreign One Year $5 Additional Charge for Dual Address or Dual Name
Do not list my name in the ARS Print Directory Do not list my name on the ARS Online Directory Do not release my name for recorder related mailings Do not contact me via email
My address telephone and email address are the same as last time
______________________________________ _________________________ Name Phone Number ______________________________________ _________________________ AddressCityStatePostal Code Email Address Please charge to (Circle one) VISAMasterCardAMEXDiscover CC________________________________ Expiration Date ______________ Signature of cardholder_______________________________________________________ Clearly Print Name as it appears on Card________________________________________
Renew by Mail Online By Phone or by Fax
Demographic Information (optional information collected only to enhance ARS services and provide statistics to grant makers)
I am a member of ARS Chapter or Consort____________________________ I am the Chapter Contact Your age Under 21 (21-30) (31-40) (41-50) (51-60) 61-70) (71+) Please check all that apply
I am a Professional Recorder Performer
I wish to be included in the list of Recorder Teachers in the ARS Directory and website I Teach (circle your choices) Children High School Youth College Students Adults Beginner Intermediate Advanced Pre-Professional Individuals Childrenrsquos Classes Adult Classes Ensembles Suzuki Orff JRS Leader Kodaly Where I Teach (circle your choices) Music Studio Public or private school Community Music School College Other _____________________
American Recorder Society 1129 Ruth Dr St Louis MO 63122-1019
Phone 314-966-4082Fax 314-966-4649
TollFree 800-491-9588ARSRecorderAmericanRecorderorg
wwwAmericanRecorderorg
with me [to find] an ideal (for me)placement size and focal length of thebifocal lens
Before visiting the optometristIrsquod had my wife measure the distancefrom my eyes to the music on mymusic stand With this measurementthe optometrist set up her machine toprepare a vision prescription for memaximized for this reading distance
When I look at my bifocals (withthem off) the lenses (through which Iread my music) occupy most of thelower two-thirds of my glasses (they are set very high and beginimmediately at the inner rims) Thisleaves the upper third and smallportions of the outside [of each lens]for focusing on the conductor As longas my stand is set low enough my necknever experiences any strain (even if Ihave to read three to a part) and Irsquove no problem in seeing theconductor (in sharp focus) either
For me trying to use glasses [toread] from a music stand [that] weredesigned for use in reading from acomputer screen also results in neckstrain (not to mention unreliability in aldquopressurerdquo situation) Having studiedTai Chi extensively and so being
wwwAmericanRecorderorg March 2009 39
There are lots ofsolutions to thepresbyopic musicianrsquosproblem but all involve compromises
40 March 2009 American Recorder
American Recorder Society PublicationsErich Katz Contemporary Music Series Members Non-MembersA Short Tale for Two Basses Suzanne M Angevine (Level II) (2 scores) $5 $8Dialogue and Dance Cecil Effinger (SATB)(Level II-III) (score amp parts) $10 $18Dorian Mood Sally Price (SATB) (Level II) (score amp parts) $10 $18Double Quartet for Recorders Peter Ballinger (Level II-III) (score amp parts) $10 $18Entrevista Frederic Palmer (SATB) (Level II) (2 scores amp 4 recorder parts) $8 $14Kyrie and Vocalise for Soprano Voice ampRecorders Stanley W Osborn $8 $14
(SATB) (Level II) (2 scores amp 4 recorder parts) Picnic Music Jeffrey Quick (SATB) (Level II) (score amp parts) $5 $8Six Short Pieces for Three Recorders edited by Alan Drake $8 $14
(3 scores) Vaclav Nelhybel (AATT) (Level II)Sonatina for Alto Recorder and Piano Anthony Burgess $7 $12
(Level II) (2 scores)Sonatine for Three Altos Lee Gannon (Level III) (score amp parts) $14 $26Suite of Jewish Folk Tunes Erich Katz (S SA8 AT) (Level II) (three scores) $10 $18
Musical Editions from the Membersrsquo Library ARS members 1 copy-$3 2 copies-$450 3-$6 4-$750 5-$10 6-$1150Non-members (editions over 2 years old) 1 copy-$5 2 copies-$850 3-$12 4-$15 5-$1950 6-$23The ARS is happy to provide photocopied enlargements of any Membersrsquo Library edition at the same prices Please specify ldquoMembersrsquo Library Enlargementrdquo
ARS Information BookletsARS members 1 booklet-$13 2 booklets-$23 3-$28 4-$35 5-$41 6-$47 7-$52Non-members 1 booklet-$18 2 booklets-$33 3-$44 4$55 5-$66 6-$76 7-$86
Education PublicationsThe ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996)
First copy free to ARS Members (mailed to new members as they join) replacement copies $3Guidebook to the ARS Personal Study Program (1996) Material formerly published in the Study Guide
and Study Guide Handbook plus additional resources Members $11 non-members $20ARS Music Lists (2002 with 2003 Supplement) Graded list of solos ensembles and method books
Members $9 non-members $15Package Deal available only to ARS members Guidebook and Music ListsSupplement ordered together $16Junior Recorder Society Leaderrsquos Resource Notebook
ARS members $20 non-members $40 (updates at reduced rates after initial purchase)$5 Dues for each JRS student member sponsored by an ARS member ($4 each for groups of 10+)
VideosRecorder Power Educational video from the ARS and recorder virtuoso John Tyson
An exciting resource about teaching recorder to young students ARS members may borrow a copy for onemonth by sending $5 to the ARS office along with the address to which the tape should be shipped
Pete Rose Video Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music Festival recitalFeatures Rose performing a variety of music and an interview of him by ARS member professional John Tyson
Other PublicationsChapter Handbook A resource on chapter operations for current chapter leaders or those considering forming an
ARS chapter ARS members $10 non-members $20 (updates free after initial purchase) One free copy sent toeach ARS chapter with 10 members or more
Consort Handbook Resource on consort topics such as group interaction rehearsing repertoire performingARS member prices CD $10 hard copy $20 combo price of CD and hard copy ordered together $25
Discography of the Recorder Vol I (1989) Compiled by Scott Paterson and David LasockiDiscography of the Recorder Vol II (1990-1994) Compiled by Scott Paterson
Either single volume ARS members $23 non-members $28Both Discography volumes together ARS members only $40
American Recorder Cumulative Index for Vols I-XXXX ARS members $20 non-members $32Index Supplement Vol XXXIV-XXXX ARS members $8 non-members $14
Shipping amp Handling FeesUnder $10 - add $3 $10-1999 - add $4 $20-2999 - add $5 $30-3999 - add $6 $40-4999 - add $7 All prices are inUS dollars For Canadian or foreign postage pay by credit card and actual postage is charged
Please make checks payable to ARS VISAMCAMEXDisc also accepted
ARS 1129 Ruth Drive St Louis MO 63122 US800-491-9588 ARSrecorderAmericanRecorderorg
Arioso and Jazzy Rondo (AB) Carolyn PeskinBerceusendashFantaisie (SATB) Jean BoivertBrucknerrsquos Ave Maria (SSATTBB)
Jennifer W Lehmann arrCanon for 4 Basses (BBBB) David P RuhlDancers (AT) Richard EastmanDifferent Quips (AATB) Stephan ChandlerElegy for Recorder Quartet (SATB) Carolyn PeskinElizabethan Delights (SAATB)
Jennifer W Lehmann arrFallen Leaves Fugal Fantasy (SATB) Dominic BohbotFour Airs from ldquoThe Beggarrsquos Operardquo (SATB)
Kearney Smith arrGloria in Excelsis (TTTB) Robert CowperIdyll (ATB) Stan McDanielImitations (AA) Laurie G AlbertsIn Memory of Andrew (ATB) David GoldsteinLay Your Shadow on the Sundials (TBgB)
Terry Winter OwensLeClercqrsquos Air (SATB) Richard E WoodLittle Girl Skipping and Alouette et al (SATBCb)
Timothy R Walsh
Los Pastores (SAAAT + perc) Virginia N Ebinger arrNew Rounds on Old Rhymes (4 var) Erich KatzOther Quips (ATBB) Stephan ChandlerPoinciana Rag (SATB) Laurie G AlbertsSanta Barbara Suite (SSAAT) Erich KatzSentimental Songs (SATB) David Goldstein arrSerie for Two Alto Recorders (AA) Frederic Palmer Slow Dance with Doubles (2 x SATB) Colin SterneSonata da Chiesa (SATB) Ann McKinleyS-O-S (SATB) Anthony St PierreThree Bantam Ballads (TB) Ann McKinleyThree Cleveland Scenes (SAT) Carolyn PeskinThree in Five (AAB) Karl A StetsonTracings in the Snow in Central Park (SAT)
Robert W ButtsTrios for Recorders (var) George T BachmannTriptych (AATB) Peter A RamseyTwo Bach Trios (SAB) William Long arrTwo Brahms Lieder (SATB) Thomas E Van Dahm arrVariations on ldquoDrmešrdquo (SATB) Martha BishopVintage Burgundy (SASATT)
Jennifer W Lehmann arr
Adding Percussion to Medieval and Renaissance Music Peggy Monroe
American Recorder Music Constance PrimusBurgundian Court amp Its Music Judith Whaley coord
Improve Your Consort Skills Susan CarduelisMusic for Mixed Ensembles Jennifer W LehmannPlaying Music for the Dance Louise AustinRecorder Care Scott Paterson
acutely aware of any kind of neckstrain when it begins to develop these ideas have been a big help to meIrsquom hoping they may be of help toother musicians as well
Best wishes to you And inanswer to your questionmdashyes the new[AR] format (with more white spacebetween the lines) is much easier toread (in my opinion)Your magazinejust keeps getting better and better
Very sincerely Ed Green WestSuburban (Chicago-area) Chapter
RESPONSE FROM DR BILL LONG
What Ed describes is a variant of theuse of conventional bifocals as musicglasses described on page 8 in thearticle Instead of lowering his musicstand into the field of view of hisbifocal segment Ed and his optome-trist have fabricated special purposebifocals with the segment really highso he can focus on his music instraight-ahead view That approachrestricts his distance vision to an areaabove his usual line of sight whichseems to work for Eds playing setup
Eds comments on the difficultiesin using conventional progressiveaddition lenses as music lenses con-firm what I said on page 9 Thats whymanufacturers have marketed special-ty progressive lenses designed specif-ically for intermediate distance taskslike computer use and playing music
There are lots of solutions to thepresbyopic musicians problem but all involve compromises The key toevaluating those compromises andchoosing the best solution for yourselfis to understand your needs and toenlist the help of a sympathetic visioncare specialistmdashjust as Ed did
Please change your
browserrsquos favorites list
AR online is now at wwwameri
canrecorderorgmembership
magazinehtm Send news to
editoramericanrecorderorg
FOUR FOUR-PART CANZONAS
(1608) BY GIOVANNI GABRIELI
ED GREG LEWIN Hawthorns Music RB 16 (Magnamusic) 1999 SATBSc 16 pp pts 4 pp $1950
Giovanni Gabrieli was probablyborn between 1554 and 1557 in theparish of San Geremia in Venice Thedetails of his early life are sketchy butit appears that he was born Giovannidi Fais and later changed his name toGabrieli out of respect to his uncleAndrea with whom he shared a closerelationship In fact in 1587 Gabrielidescribed himself ldquoas little less than asonrdquo It is commonly thought thatAndrea provided Giovanni with hisearly musical training Andrea whohad spent some time in Munichstudying under the great Orlando deLassus sent Giovanni to Munich for a similar period of study in theearly 1570s
Gabrieli remained in Munichuntil the death in 1579 of the dukeAlbrecht V who had been Lassusrsquosemployer for a number of years andwho was an enthusiastic patron of the arts particularly music With hisdeath a number of musicians lost theirjobs it seems as if Gabrieli were also a victim of such culling of talent(Within a generation the tide wouldturn and the Munich court wouldagain hire Venetian expatriates such as Priuli Valentini and Neri)
Upon his return to VeniceGabrieli was hired as a temporaryorganist at San Marco his positionbecoming permanent in 1585 For a few months that year uncle andnephew served together as first and
second organists in the chapel of thedoge In Giovannirsquos absence fromVenice there had been a plague thathad decimated the ranks of theprofessional musicians Andrea setabout rebuilding his forces at SanMarco by hiring a full-time windband consisting of Girolamo dallaCasa a renowned cornettist andviolist his two brothers who playedsackbut and later the cornett virtuosoGiovanni Bassano Giovanni Gabrieliaugmented these forces with addi-tional players and began composingthe large-scale ceremonial music forwhich he is so well known today
Giovanni was also elected to bethe organist and composer to theconfraternity of San Rocco in 1585and it is now thought that his largestpieces were intended for that venuewith its large central gallery andfrescos by Tintoretto instead of SanMarco Gabrieli held both thosepositions at the basilica of San Marcoand the Scuola Grande di San Roccountil he died in 1612 of a kidney stone
Although best known today forhis ceremonial and festival musicGabrieli was at home in smaller-scaleformats as well These four four-partcanzoni are taken from the 1608publication by the Venetian publisherAlessandro Raverji Canzoni per sonarecon ogni sorte di strumenti These werevery popular pieces to judge by themany collections in which they appear
Additionally like Gabrielirsquoskeyboard music they are found inother arrangements These four-partcanzoni lie well under the fingers inarrangements for keyboard and lute
As seen from the title Gabrielispecified no instrumentation but like asimilar edition of madrigals and battlepieces from a few years earlier a dis-tinction was made that they wereintended for wind instruments almostcertainly cornetts and sackbuts
Recorders were not unknown in Venice they were used regularly inthe confraternity of San GiovanniEvangelista where Giovanni BattistaRiccio was organist
These pieces are relativelysimplemdashplayable by beginning tointermediate ensembles They aremostly contrapuntal (with a fewhomophonic sections) and have few rhythmic eccentricities
These canzoni are found in manymodern brass editions but there arefew editions available to the recorderplayer This edition by Greg Lewin ofHawthorns Music might be consid-ered a ldquobare-bonesrdquo edition There islittle background information andeditorial practices are not specified
The music itself has a handwrittenlook that can be distracting but is easyenough to read Lewin has thought-fully supplied phrasing marks that willbe helpful for ensembles unused tothis style of music
Music
Reviews___________________________________ Infectious music created in spite of the plague
wwwAmericanRecorderorg March 2009 41
This is a good edition
for small ensembles that
canrsquot get eight players
together to play
Gabrielirsquos more famous
eight-part canzoni
42 March 2009 American Recorder
The parts are four pages but mycopy had all four pages printed on avery large page This is not a problemand there are no page turns
This is a good edition for smallensembles that canrsquot get eight playerstogether to play Gabrielirsquos morefamous eight-part canzoni Thesesmall-scale pieces are by no meansinferior to Gabrielirsquos more elaboratemusic and deserve to be better known
7 CANZONEN (1637) BY
TARQUINIO MERULA ED JOACHIM
ARNDT WITH CONTINUO REALIZATION
BY CLAUDIA SCHWEITZER MieroprintMusikverlag EM2088 (availabledirectly from wwwmieroprintcom)2005 SS or TT bc Sc 24 pp pts 8 pp$28
Tarquinio Merula was bornaround 1595 in either Busseto orCremona in Italy As was the case withso many composers of the day either alack of regular employment or a rest-less nature took him from his home inCremona to as far away as Warsaw He is found as the organist of thechurch and the chambers to the kingof Poland Sigismund III in 1624
Merula was one of the leadingexponents of the relatively new con-certante style pioneered by ClaudioMonteverdi and others in the seconddecade of the 17th century and may be described as one of the earliestBaroque composers His compositionsin the concertante style are fresh andunforcedmdashhe was born into this styleand didnrsquot encounter it as somethingnew as was the case with so many ofMonteverdirsquos contemporaries
After several years of peripateticexistence Merula found regularemployment in 1631 in Bergamo atthe church of San Maria MaggioreThe prior holder of the post of maestrodi cappella Alessandro Grandi haddied the previous year in the plagueMerula had signed a three-year
contract but by December 1632 hewas terminated with accusations thathe had molested several studentsMerula threatened a lawsuit to recoverhis lost wages but that threat wascountered with a pending criminalcharge lodged by the board ofgovernors of San Maria Maggiore By mid-1633 the matter was settledwith an apology from Merula and astatement that he relinquished allclaims to his salary
He then returned voluntarily toCremona where he stayed until 1635By 1638 Merula was once again inBergamomdashthis time as maestro dicappella and organist in the cathedralnext to San Maria Maggiore Asmight be expected there was con-siderable tension between the twochurches eventually resulting in theboard of San Maria Maggioreforbidding their musicians to perform under Merularsquos direction
He returned in 1646 to a familiarCremona post which he had heldthree times in various years and wherehe now settled downmdashthat of organistand maestro di cappella for Laudi dellaMadonna services in which he ledmusic at the main altar on Saturdaysand on vigils of Marian feasts
None of his employment issues
prevented the Pope from awardinghim the Order of the Golden SpurMerula was also elected to theAccademia dei Filomusi in BolognaHe died in 1665 in Cremona
His existing compositions showthe products of a lively mind Hisworks range from sacred songs andmotets to purely instrumental piecesnotably the ever-popular variations onvarious ground basses It is knownthat Merula was an accomplishedviolinist as well as a fine organist Hissurviving instrumental writing showsa predilection for strings In fact hewas one of the earliest composers tospecify string accompaniments tosacred motets
Merularsquos pieces look backwardtoward some of the more progressiveVenetian composers such as Monte-verdi while looking forward to thehigh Baroque with his innovative style
These seven canzoni like theearlier-published chaconne (EM2084)come from Merularsquos third bookpublished in 1637 CANZONI overo SONATE CONCERTATE perchiesa e camera a due et a tre delcavaliere This collection typifiesMerularsquos output pieces based onRenaissance-era ground basses arefound next to more ldquomodernrdquo sonatas
The original edition specifiesviolins and basso continuo This newedition is intended for recorders thespecific choice of which is up to theplayers Due to the relatively hightessitura tenor recorders work best inthese pieces (although listed as analternative soprano recorders tend to be on the screechy side)
Not surprisingly given Merularsquosskill as an organist the continuo partneeds a keyboard instrument forsuccessful realization Instead of beinga purely accompanying part the bassocontinuo part is an equal partner in these pieces the canzona ldquoLaRuggierardquo opens with a run that therecorders echo a few measures later
A more recorder-specific
edition intended for
altos would have been
ideal There is nothing
preventing the more
adventurous and
industrious players
from making their
own editions of this
delightful music
mentioned were a bit shrill A morerecorder-specific edition intended foraltos would have been ideal There isnothing preventing the moreadventurous and industrious playersfrom making their own editions of thisdelightful music
Prior to playing the previouslypublished chaconne I had notencountered MieroprintMusikverlag Mieroprintrsquos extensivecatalog has an equal focus on newmusic for recorders and on editions ofBaroque masters with emphasis on therecorder and flute Due to the lack of
wwwAmericanRecorderorg March 2009 43
are also available at
The Early Music Shop
of New England
Brookline MA
AESTHEacute
367-b de la Briquade
Blainville Queacutebec
Canada J7C 2C7
tel (450) 979-6091
wwwboudreau-flutesca
A bass viola da gamba or rsquocello is not necessary for these pieces and may infact make them sound heavy and ponderous rather than light and breezy as thismusic seems to be
More so than the above-mentioned chaconne these canzoni are written in avery idiomatic violin style with multiple examples of arpeggios In particular thecanzona ldquoLa Trecchardquo contains a notated example of a string tremolo figurerecurring through the piece ldquoLa Trecchardquo also dips well below the range of a Crecorder going down to low G the lowest string on the violin The editors havesupplied no alternative notes preferring to let the performers to fend forthemselves (in practice we took this passage up an octave with no problems)
The two recorder parts require virtuosity These upper parts are demandingwith the players needing to double-tongue in unison in order to negotiate themany runs of 16th notes and the shared rhythmic ldquolicksrdquo The harmoniclanguage unlike much of Merularsquos music is undemanding and contains none of the harmonic crunches for which he is famous
This is wonderful music that needs a couple of advanced recorder players fora successful performance The string idiosyncrasies can be overcome by advancedplayers and many of the editions of the era (although not this one) list thecornetto as an alternative to the violin so the use of wind instruments in the solo literature of the early Baroque was not unknown
Our experience with this edition left us with the opinion that these pieceswould have been better if transposed down a minor third so as to fit on a pair ofalto recorders (as is the case with much Baroque flute music to make it lie betteron the recorder) The tenors we used tended to sound a bit murky in the lowerregister next to the more aggressive harpsichord while the sopranos we tried as
KEY rec=recorder Srsquoo=sopraninoS=soprano A=alto T=tenor B=bassgB=great bass cB= contra bass Tr=treble qrt=quartet pf=piano fwd=foreword opt=optional perc=percussionpp=pages sc=score pt(s)=part(s)kbd=keyboard bc=basso continuohc=harpsichord PampH=postage andhandling Multiple reviews by one reviewerare followed by that reviewerrsquos name Pleasesubmit music for review to AR 7770 SHigh St Centennial CO 80122-3122 US
an American distributor this musicwill be hard to findmdashin fact can befound only at the time of this writingon their web site noted above But theeffort will be repaid
This edition is clear and easy toread and the parts require no pageturns The basso continuo realizationis simple and elegant
This is music deserving ofrediscovery My only quibble is thatthe editorial notes are all in GermanThis seems to be the practice ofGerman music publishers with thenotable exception of Moeck Otherpublishers of early music such asLondon Pro Musica routinelyprovide notes in English and German and often in French and Italian making their editionsaccessible to a wider audience
Frank Cone studied the recorderwith the late Ellen Perrin the viola dagamba with Carol Herman and thecornetto with Larry Johansen TheCalifornia multi-instrumentalist has been a member of the Orange CountyRecorder Society since 1985
Advertiser Index
AMERICAN ORFF-SCHULWERK ASSN 3
AMERICAN RECORDER SOCIETY 31 35 36
AMHERST EARLY MUSIC FESTIVAL 17
STEPHAN BLEZINGER 24
JEAN-LUC BOUDREAU 21 39
BOSTON EARLY MUSIC FESTIVAL 7
CANTO ANTIGUO EARLY MUSIC WORKSHOP 13
COURTLY MUSIC UNLIMITED 20
EARLY MUSIC AMERICA 8
HONEYSUCKLE MUSIC 34
BILL LAZARrsquoS EARLY MUSIC 26
KEITH E LORAINE EARLY DOUBLE REED SERVICE 35
LOST IN TIME PRESS 11
MADISON EARLY MUSIC FESTIVAL 12
MAGNAMUSIC DISTRIBUTORS BC
MOECK VERLAG IFC
MOLLENHAUER RECORDERS IBC
PORT TOWNSEND WORKSHOP 14
PRESCOTT WORKSHOP 30
PROVINCETOWN BOOKSHOP 26
THE RECORDER MAGAZINE 4
THE RECORDER SHOP 6
SAN FRANCISCO EARLY MUSIC SOCIETY 18
SWEETHEART FLUTE CO 3
TEXAS TOOT 20
VON HUENE WORKSHOP INC 30
WICHITA BAND INSTRUMENT CO 21
DOMINIK ZUCHOWICZ 34
CONSIDER ADVERTISING IN
Full page $55223 page $43912 page $36613 page $28614 page $22316 page $17518 page $127112 page $ 951 column inch $ 58
Prices include web sitee-mail link directly from your ad in the online AR at wwwamericanrecorderorg
Circulation Includes the membership of theARS libraries and music organizations
Published five times per year January March May September November
Reservation Deadlines December 1 (January) February 1 (March) April 1 (May) August 1 (September) October 1 (November)
Rates good through November 2009 Pleaseinquire about discounts on multiple-issuecontracts inserts or other special requestsExtra charges for typesetting layout half-tones and size alterations 133-line screenrecommended Advertising subject toacceptance by magazine First-time adver-tisers must include payment with order
For more information contact the ARS office 1129 Ruth Drive St Louis MO63122-1019 800-491-9588 toll free 314-966-4082 phone 314-966-4649 faxadvertisingamericanrecorderorg
44 March 2009 American Recorder
Classified___________________________________
FOR SALE Cherrywood hurdy gurdy and hard-side case made by Kelischek bought 2005Originally $765 plus $89 for case Rarely usedBoth for $450 or make offer Please contact marjalocomcastnet Can ship
ASPIRE ANNOUNCE INSPIRE Afford-able PR for teachers and recitalists wwwrecitalroomcom
PHOTOS NEEDED of ARS events 1970sndash1990sto illustrate last chapters of Martha Bixlerrsquos histor-ical memoir about the ARS (to be posted online)E-mail scanned photos (300dpi JPG or TIF)arsrecorderamericanrecorderorg Hardcopies mail to ARS office to be scanned ampreturned Info 800-491-9588
T-SHIRT FOR ENSEMBLE PLAYERS to wear orshare Top 10 Reasons Why I Got Lost Wrongfingering bad lighting etc on blue cotton shirt$18 Highlighter tape and other goodies Beth amp Lindas Boutique as seen at BEMF CallLinda at 617-671-8694 or e-mail for brochurelindakushverizonnet
Where the havesand have-nots
of the recorder world can find each other
Classified rate for American Recorder 60centper word ten-word minimum ldquoFOR SALErdquoand ldquoWANTEDrdquo may be included in thecopy without counting Zip code is oneword phone e-mail or web page is twoPayment must accompany copy Deadlinesare one month before issue date Send copywith payment to ARS 1129 Ruth Drive St Louis MO 63122-1019
AMERICAN RECORDER (ISSN 0003-0724) 1129 Ruth Dr St Louis MO 63122-1019 is publishedbimonthly (January March May September and November) for its members by the AmericanRecorder Society Inc $20 of the annual $45 US membership dues in the ARS is for a subscriptionto American Recorder Articles reviews and letters to the editor reflect the viewpoint of their individ-ual authors Their appearance in this magazine does not imply official endorsement by the ARS
EDITORIAL DEADLINES November 15 (January) January 15 (March) March 15 (May) July 15(September) and September 15 (November) Submission of articles and photographs is welcomedArticles may be typed or sent as an attachment (Word or RTF preferred) to or text in an e-mail mes-sage They should be for the exclusive consideration of AR unless otherwise noted Photos may besent as prints or unedited JPG or 300dpi TIF files (minimum 3rdquox4rdquo) Advertisements may be sent inPDF or EPS format with fonts embedded
EDITORIAL OFFICE Gail Nickless Editor 7770 S High St Centennial CO 80122-3122 303-794-0114 (phone amp fax) editoramericanrecorderorg Books for review Editorial office Musicfor review Editorial office Recordings for review Tom Bickley 1811 Stuart St Berkeley CA 94703Cutting Edge Tim Broege 212 Second Ave Bradley Beach NJ 07720-1159 Chapter newslettersother reports Editorial office Postmaster Send address changes to ARS 1129 Ruth Drive St LouisMO 63122-1019 Periodicals postage paid at St Louis MO and at an additional mailing office
Chapter leaders
We know yoursquore out there
and that you want to share
your plans concerns
solutions and ideas with
other chapter leaders Visit
httpamericanrecorder
societywikispacescom
Last spring I had the honor andgood fortune to spend five weeks
at the Sitka Center for Art andEcology on the central Oregon coastas the recorder resident The recorderresidency is sponsored by the OregonCoast Recorder Societymdasha wonderfulgroup of people I had the chance tomeet and teach and to make musicwith while I was there Myparticipation was made possible inpart by a professional grant from theARS and also by the kind generosityof some of my loyal long-termstudents
The project I worked on while atSitka was an intensive study of Bachrsquossolo string musicmdashprimarily the rsquocellosuites and some of the violin partitasmdashwith the aim of preparing my own arrangements of them for aneventual recording
Although Irsquod been told before Iwent that Sitka was incredibly beautifuland a wonderful place to be Iapproached the residency with sometrepidation I wasnrsquot quite able toimagine it and wondered how I wouldsurvive so many weeks by myself in aremote location seven miles from thenearest townmdashand where Irsquod heardmost cell phones did not work (panic)When I arrived on April 9 I was metwith typical Oregon coast weather forthat time of the year (and many timesof the year) chilly temperatures andrain And Irsquod left sunny California for five weeks of this
I lived in what is called the TreeHousemdasha charming one-roomwooden cabin with a sleeping loft and a wood-burning stove insidemdashenveloped outside by a couple of giantSitka spruce trees After many failedattempts over several days one of myproudest accomplishments was finally
learning how to quickly and reliablybuild a fire in my wood stove My nextproudest accomplishment was learningthat one should not put wet logs on the top of the stove to dry This Idiscovered after setting off the smokealarm bringing the entire Sitka staffrunning to my aidmdashonly to find meoblivious up in the loft
It took me a week or so to getadjusted to my new life I wasnrsquot usedto being alonemdashwithout my dog farfrom civilizationmdashand with expansesof free time and no actual responsibil-ities I spent some of that time explor-ing the surrounding areas takingwalks down to the estuary throughforested woods and climbing to thetop of Cascade Head There I was metwith awe-inspiring views of the PacificOcean the coastline the mountainsand the estuary far below I soondiscovered that this was part of thetotal Sitka experience
After my first incredible climb tothe top of Cascade Head I began torelish the quiet peace and time alonethat Sitka afforded memdashsomething Inever imagined Irsquod feel given mygenerally extroverted nature Inaddition to reading writing andmeditating I was inspired to dive into
Linsenberg
on the
deck of
the Tree
House
wwwAmericanRecorderorg March 2009 13
By Judith Linsenberg
The author is founder and director ofthe Baroque ensemble Musica Pacificawhose performances and eight recordingson the Virgin Classics and Dorian labels
have received international acclaim She has performed throughout the US
and Europe including solo appearances atthe Hollywood Bowl and Lincoln Center
and has been featured with such leadingAmerican ensembles as the San Francisco
Symphony the San Francisco and LosAngeles Operas Philharmonia Baroque
American Bach Soloists and others
Her recording of the Bach organ trioswas sponsored in part by an
ARS Professional Grant The ARS CD Club carries some of her recordings
A Fulbright scholar to Austria shewas awarded the Soloist Diploma with
Highest Honors from the Vienna Academyof Music She is a summa cum laude
graduate of Princeton University holds anearly music doctorate from Stanford Uni-
versity and has been a visiting professor atthe Vienna Conservatory and Indiana
Universityrsquos Early Music Institute Visit wwwmusicapacificaorg
for more information
Suite Thoughts of Sitka
14 March 2009 American Recorder
my musical projects with renewed energy and enthusiasmI had the time not only to practice the Bach suites butalso to really study them in depthmdashanalyzing themlistening to and comparing different recordings andworking on my transcriptions of them Although it wasnrsquotpart of my original intention I now have a plan to publishmy arrangements of these pieces so theyrsquoll be available forothers to perform (While Frans Bruumlggen published hisarrangement of the first three suites in the 1970s to myknowledge there is only one other recorder editioncurrently available whose approach is quite different from mine)
I wasnrsquot however living in total isolation while at SitkaThere were artist residents of other media as well Kim awriter from New York state John and Robin a marriedcouple who were ceramicists from Washington state andtheir three daughters and Claudia an installation- andperformance-artist We became a community socializingwhen we werenrsquot working (and sometimes even when wewere) going on excursions to see the glorious naturalwonders of the Oregon coast having dinners together inour various residences and talking about our work
The setting provided the perfect atmosphere for theexchange of ideas and we began to collaborate on mutualprojects sometimes in unexpected ways Robin startedmaking ocarinas and I worked with her to design and tunethem While I immersed myself in Bachrsquos solo music flutesand musical themes began to appear in the images shepainted on her ceramic pieces Often after wersquod hung outtogether in the evening depictions of the stories I told herwould show up in her paintings over the next few daysFanciful illustrations of me playing to my dog Jake evenmade several appearances in her work (The photos aboveshow the ocarina she made for me)
Toward the end of my stay I also began collaboratingwith Claudia the installation artist Her work was creatinginstallations out of plastic bags fastened together to formdifferent naturalistic shapes which she then set up invarious locations around the Sitka campus and nearby
areas Together we created a performance piece that wepresented at the Open House at the end of our residenciesI provided music to accompany a performance that tookplace within her installation We worked together on usingthe music to express the various ideas in the installation andperformance and using the performance to express themusic in a visual way
Bachrsquos music can be very evocative and I chosemovements from the Bach suites that suggested the variousparts of the narrative she performed part of a slow preludeto depict nascent creatures emerging in a forest a C-majorbourree while they are coming to life a C-minor onesuggesting turmoil a fast 16th-note passage representingflight as they grow wings and fly and finally a wistfulsarabande as they gradually die away and disappear As in a ballet each medium enhanced the other and the wholebecame more than the sum of its parts illuminatingdifferent aspects of each and creating a more profoundeffect than either might have independently
During the Sitka open house Linsenberg plays
in an installation of plastic bag ldquocreaturesrdquo
There were other opportunitiesfor me to present the music I wasworking on Around the midpoint ofmy stay there I performed in a concertmarking the start of the annual Windsand Waves weekend workshop Iplayed one of my Bach suites thoughit was still a work in progress
The next day about 45 recorderplayers descended upon our quiet littleenclave turning it into a hubbub ofactivitymdashquite a change from the low-key atmosphere of the prior severalweeks Once I got over the initialculture shock of the influx of so manypeople I thoroughly enjoyed meetingand working with all of them A class I offered on the Bach suites enabledme to share some of the work Id beendoing conversely I got input from thestudents I taught that made me thinkdifferently about the piecesmdashforexample what about playing them on a subcontrabass recorder
Shortly after the workshop theSitka residents held a communityoutreach day at which we each demon-strated our work to children from anearby school I had been working onsome contemporary pieces withnaturalistic themes (fitting for thesetting) and this event gave me theopportunity to play some of them forthe kids They were fascinated by theextended techniques used to imitatebirds and other animals and of courseVan Eyckrsquos ldquoEngels Nachtegaeltjerdquowas a hit with them as well
As hard as it was for me to getused to Sitka and the residency at thebeginning of my stay it was evenharder to leave My departure datecame too soon Irsquod had time to finishtranscriptions of only three of thesuites
Saying good-bye to all the friendsIrsquod made theremdashthe other artists aswell as the recorder players Irsquod metmdashwas hard enough but leaving the
beauty of the place and the peace Irsquodfound there saddened me greatly
Sitka had changed me and ittransformed my relationship to themusic I played as well My experienceallowed me to tap into a deep placeinside myself in a way that I never hadbefore something I was then able tocommunicate through the music I wasplaying Bachrsquos music turned out to bethe perfect vehicle because it expressesin sound the same grandeur spiritu-ality and universalitymdashas anyone whohas heard a live performance of the B-minor mass can attestmdashas does theview from the top of Cascade Head
Since the conclusion of myresidency I have given severalperformances of the rsquocello suitesincluding some lecture-recitals onthem and on my arrangements moreare planned Irsquove begun working withstudents of instruments other than therecorder who are studying the rsquocellosuites And I continue to work on myarrangementsmdashalas five weeks wasjust not long enough to learn andadapt all six suites although I do plan to publish them in the future
My work at Sitka also inspired meto pick up a project I started over 10years ago but never brought tofruition preparing my arrangementsfor recorder violin and continuo of thesix Bach organ trios (that I recorded in1992) to be published soon by PRBProductions And I have no doubt thatthe Sitka experience will continue towork on me in ways Irsquom not evenconsciously aware of at this time
I would like to give my deep and heartfelt thanks to the followingindividuals and organizations to the
Sitka Center for making my stay there sowonderful and to its founders Jane andFrank Boyden who had the vision tocreate this magical place to the members ofthe Oregon Coast Recorder Society fortheir generosity in creating and sponsoringthe recorder residency to the ARS for its financial support and to my wonderfulstudents who made it possible for me toparticipate in this life-changing experience(you know who you are)
wwwAmericanRecorderorg March 2009 15
Lost in Time Press
New works andarrangementsfor recorder ensemble
Compositions byFrances BlakerPaul AshfordHendrik de Regtand others
InquiriesCorlu CollierPMB 3092226 N Coast HwyNewport Oregon 97365wwwlostintimepresscomcorluactionnetnet
Sitka had changed meand it transformed my relationship to the music I played as well
MARIN HEADLANDS
RECORDER WORKSHOP
Point Bonita YMCA near San Francisco CA
May 15-17
With each coming tide of that mightymetronome the Pacific Ocean and withspring peeping soon our MarinHeadlands Recorder Workshop 2009perched at the edge of the ocean andembraced in greenery gets nearer Againthis workshop will swell with harmoniesof recorders viols and perhaps apsaltery or drum Intermediate andadvanced players are warmly invited tojoin members of the sponsoring EastBay Chapter of the ARS a SFEMSaffiliate at this annual musical event
Music-making begins on Friday andcontinues through Sunday afternoon
including also one- and two-day options
This yearrsquos faculty includes a wonderfulmix of familiar and new faces DavidBarnett Tom Bickley Louise CarslakeRobert Dawson Lisa DykemanFrances Feldon Judith LinsenbergPeter Maund Fred Palmer and Glen Shannon
Music offerings will range from easilyplayable to challenging from delightfulPurcell and Renaissance music to jazzto works by a (very) living composer(led by the chap himself) Check theEBRS web site for updates
The workshop is held at the PointBonita YMCA one of very few publicfacilities on this largely undevelopedarea of California coast Set in a meadowwith short walks to Pacific Ocean vistasthe historic Point Bonita Lighthouseand remnants of WWII fortifications
it is a place to get away recharge andmeet new friends or re-connect withold The accommodations includedormitory-style rooms a large diningarea and playing spaces all on one levelRooms are also available for impromptuplaying sessions
Contact Anna Lisa Kronman
37 Meadow View Rd Orinda CA
94563 925-258-9442
annalisakronmangmailcom
symbolicsolutionscomebrs
BLOOMINGTON EARLY
MUSIC FESTIVAL
Bloomington INMay 15-25
Performances of Medieval RenaissanceBaroque and Classical music as well aseducational programs for concertgoersamateur performers and childrenPlease see BLEMForg for details
Contact Carol Huffman
PO Box 734 Bloomington
IN 47402 812-824-2412
specsorffyahoocom blemforg
WHITEWATER EARLY
MUSIC FESTIVAL (ARS)
University of Wisconsin Whitewater WI
June 5-7Directors Nancy Chabala Carol Stanger Pam Wiese
Our workshop is held on campus at theUniversity of WisconsinndashWhitewaterabout 60 miles SW of MilwaukeeClasses include focus and specialty areainstruction for all levels of recorderplaying as well as beginningmdashconsortviola da gamba wind band voicerecorder orchestra and mixed consort A variety of special interest classes onFriday evening and Saturday eveningparticipant gathering led by LouiseAustin The various classes include
16 March 2009 American Recorder
Summer Workshop Summer-y
The Madison Early Music Festival presents
Telescopic Vistas MEMF X and Music of the SpheresCelebrating the International Year of Astronomy
July 11-18 2009
Guest Artists amp Ensembles Faculty Recorder Artists Quicksilver with Marion Verbruggen Joan Kimball Piffaro The Renaissance Band Priscilla Smith The Newberry Consort Marion Verbruggen Venere Lute Quartet Robert Wiemken
Explore music from the days of Galileo and Kepler Celebrate the influence of astronomy on society arts and culture
in the 15th through 17th centuries
Our tenth anniversary festival features a seven-concert series and a week-long workshop with classes and ensembles for participants of all levels
For more information please call (608) 263-6670 or visit wwwmemfdcswiscedu
music from Medieval to modern
Several musicinstrument vendors onsite Dale Taylor will be on site forrepairs All ages are welcome as well as non-participants
Faculty includes Dale ArmentroutLouise Austin David Echelard CharlesFischer Shelley Gruskin LisetteKielson Laura Kuhlman PatrickOrsquoMalley Tulio Rondon KarenSnowberg Mary Halverson Waldo andTodd Wetherwax Brochures available
Contact Nancy Chabala
8609 45th St Lyons IL 60534-
1616 708-442-6053 (day)
630-789-6402 (fax)
nchabalamymailstationcom
(housingregistration)
thewiesessbcglobalnet (mailing
scholarships) cvstangeraolcom
(facultyfacilities)
INTERLOCHEN EARLY MUSIC
WORKSHOP
Interlochen Center for the Arts Interlochen MI
June 7-12 Director Mark Cudek
Make and enjoy Medieval andRenaissance music while learning new skills and techniques
Topics will include articulationornamentation improvisation andensemble arrangement in Medieval and
Renaissance music The workshopculminates with a participantperformance on period instruments such as recorders and other early windsviols lutes harpsichord and percussionVocalists are also welcome Participantswill supply their own instruments
Early registration is recommendedas space is limited
Contact Matthew Wiliford
Director ICCA PO Box 199
Interlochen MI 49643 231-
276-7441 231-276-5237 (fax)
collegeinterlochenorg
interlochenorgcollege
RENAISSANCE CHAMBER
MUSIC INSTITUTE
New England Conservatory of Music Boston MA
June 11-21
A unique opportunity for professionalmusicians and advanced students todiscover and explore one of the greatestrepertoires of Western music which iseminently suitable for all instruments
Players of modern and early instrumentsare encouraged to attend
Led by John Tyson director of theRenaissance music and dance ensembleRENAISSONICS who has performedand lectured worldwide including forthe Boston Symphony OrchestrarsquosTanglewood Institute
Introductory lectures will be followed byintense chamber music coaching in largeand small ensembles Concentration willbe on personal expression rhetoric andphrasing performance practice andornamentation The institute willculminate in a public performance at theNew England Conservatory of Music
Faculty John Tyson recorder LauraGulley violin Daniel Rowe rsquocello and guest artists
Contact Director of Summer
School New England
Conservatory of Music
290 Huntington Avenue Boston
MA 02115 617-585-1126
617-585-1135 (fax) newengland
conservatoryedusummer
wwwAmericanRecorderorg March 2009 17
Workshops carrying
ARS designation have
joined the ARS as
workshop members
Other shorter workshops
may be sponsored
periodically through the
year by ARS chapters and
are listed in the calendar
portion of each ARS
Newsletter as well as on
the ARS web site when
information becomes
available from presenters
Canto AntiguoWest Coast EarlyMusic and Dance
Featured Faculty
Beautiful CampusFully air-conditioned
For Information Call
800-358-6567
Early Music
WorkshopJuly 5-12 2009
Chapman UniversityOrange CA
Classes in
Baroque Music
Recorder Ensemble(all levels)
Vocal Ensemble
Renaissance Brassand Reeds
Viols
Collegium
Folk Dance
Thomas Axworthy
Mark DavenportRonald Glass
Janet Beazley
Carol LisekJim MaynardAlice Renken
wwwcantoantiguonet
18 March 2009 American Recorder
SUMMER TEXAS TOOT (ARS)
Concordia University Austin TXJune 14-20 Director Daniel Johnson
The Summer Texas Toot is a one-weekprogram of classes in Renaissance and Baroque music at all levels forrecorders viols singers plucked stringsRenaissance reeds and brass andharpsichord Our classes include anarray of small one-on-a-partRenaissance and Baroque ensemblesand larger mixed vocal and instrumentalgroups The size of the workshopenables us to create classes for all levelsof students from those of modest skills to advanced players and singers
Same Texas Toot hospitality andtraditionsmdashback in Austin but atConcordia Universityrsquos beautiful newcampus Classrooms dining and dormaccommodations are air-conditioned and easily walkable
Currently our featured faculty are Tish
Berlin (recorders) Tom Zajac (reedsand ensembles) Mary Springfels(viols) Becky Baxter (harp)mdashbut watchfor more faculty to be added soon
Contact Daniel Johnson
PO Box 4328 Austin TX 78765
512-371-0099 infotootorg
tootorg
SAN FRANCISCO EARLY MUSIC
SOCIETY BAROQUE MUSIC amp
DANCE WORKSHOP (ARS)
Sonoma State University Rohnert Park CA
June 14-20Directors Phebe Craig Kathleen Kraft Frances Blaker
A music-packed week of master classesconcerto evening coached ensemblesBaroque orchestra vocal and windensembles continuo classes concertsand lectures
Featuring recorder faculty FrancesBlaker and Cleacutea Galhano Other facultyChristine Brandes voice Phebe Craig
harpsichord Sand Dalton oboeKathleen Kraft flute Michael Sandviolin and orchestra Mary Springfelsviola da gamba Peter Sykesharpsichord Tanya Tomkins rsquocello
Contact Kathleen Kraft SFEMS
PO Box 10151 Berkeley CA
94709 707-874-2014
kkraftsonicnet sfemsorg
SAN FRANCISCO EARLY MUSIC
SOCIETY CHILDRENrsquoS MUSIC
DISCOVERY WORKSHOP (ARS)
Crowden Center for Music Berkeley CA
June 21-26 (day camp)Director Letitia Berlin
Early music and Renaissance socialhistory for youth ages 7-15 beginners to advanced students welcome Dailyschedule includes chamber musicmusicianship crafts costume-makingand games Friday night concert andtheater project presentation followed by potluck supper
Rebecca Ahrendt violJanet Beazley recorder
Tish Berlin re cord er co-direct orFrances Blaker recorder co-direct or
Vicki Bœckman recorderLouise Carslake recorder fl ute
Charles Coldwell recorder Rotem Gilbert recorder
Julie Jeff rey violShira Kammen viell e
Peter Maund per cus sionKim Pineda recorder
Ellen Seibert violPe ter Seibert recorder choir
Margriet Tindemans viol viell eBrent Wissick viol
Play early music in the spectacular Pacifi c Northwest Choose from classes in recorder viol fl ute and percussion Polish your skills andor take up a new instrument Sing and dance
Enjoy the faculty concert Take part in the student recital Make the most of your stay with a hike at nearby Mt Rainier or a visit to the Museum of Glass
For informat ion or to request a brochure call (206) 932-4623write to Port Townsend Early Music Workshop
1108frac12 Alki Ave SW Seattle WA 98116or vis it wwwseattle-recorderorg
July 12ndash18 2009
Port TownsendEarly Music Workshop
At the beautiful University of Puget Sound Tacoma WA
Tish Berlin amp Frances Blaker Co-Direct orsPresented by the Seattle Recorder Society
Please note that this is a day camp Out-of-town students may contact thedirector regarding accommodations withhost families Some financial aidavailable
Featuring recorder faculty Vida Bateauand Letitia Berlin Other facultyKatherine Heater dance ShiraKammen musicianship and theaterband Ron McKean harpsichord Carla Moore violin Farley Pearcersquocello and viola da gamba Allison Rollstheater project director
Contact Letitia Berlin SFEMS
PO Box 10151 Berkeley CA
94709 510-559-4670
tishberlinsbcglobalnet
sfemsorg
OBERLIN BAROQUE
PERFORMANCE INSTITUTE
Oberlin College Oberlin OHJune 21-July 5Directors Oberlin Baroque Ensemble (Cathy Meints Marilyn McDonald Michael Lynn Webb Wiggins) and artistic director Kenneth Slowik
Celebrating its 38th anniversary withMusic in London 1659ndash1759 thisinstitute offers instruction in Baroqueinstruments and voice Students of alllevelsmdashfrom beginning to Baroqueperformance to the professional levelmdashparticipate in master classes and coachedensembles with an international facultyof Baroque specialists Scholarships are available for qualified high schoolstudents
Contact Anna Hoffman
Conservatory of Music
77 West College St
Oberlin OH 44074
440-775-8044
440-775-8942 (fax)
ocbpioberlinedu
oberlineduconsummerbpi
WORLD FELLOWSHIP
EARLY MUSIC WEEK
Chocorua NHJune 25-July 2Directors Jane Hershey Larry Wallach
Faculty of eightmdashincluding JaneHershey Roy Sansom Pamela DellalJay Rosenberg Julian Cole AnneLegecircne Larry Wallach and JoshSholem-Schreibermdashin a beautifulWhite Mountain camp setting conducta week-long workshop in French earlymusic (late Medieval through Baroque)
Faculty and student concerts Englishcountry dancing special lecturesmorning and afternoon workshops inviols recorders voice mixed ensemblesSephardic music and Baroque chambermusic and classes in Feldenkrais bodywork
Camp facilities include hikingswimming boating camp gardenssupply kitchen with vegetables Very affordable rates
Contact Larry Wallach
69 Welcome St Great Barrington
MA 01230 413-528-7212 (day)
413-528-9065 (evening)
413-528-7365 (fax)
larrysimons-rockedu
worldfellowshiporg
INDIANAPOLIS EARLY
MUSIC FESTIVAL
Indianapolis INJune 26-July 19July 8-9 Mini Boxwood Workshop
The Indianapolis Early Music Festivalis the oldest continually running earlymusic concert series in the USPresented since 1967 our mission is toenrich educate and entertain audienceswith the music of Medieval Renais-sance Baroque and early Classical erasand feature exciting performers ofnational and international stature usinginstruments of the period and histori-cally informed styles and techniques
For 2009 we will present Reconstruction(June 26 ) Ex Umbris (June 27) ChrisNorman amp David Greenberg withRonn McFarlane amp Mark Cudek (July10) I Furiosi (July 12) HarmoniousBlacksmith (July 17) and the PeabodyConsort with Indiana Repertory Theatre(July 19) We also offer our secondannual Family Concert featuring thePeabody Consort on July 18mdash a freeconcert geared to young audiencemembers Several groups also offeroutreach events for younger (generallyhigh-school-aged) musicians and actors
In 2009 we also present a two-dayldquoMini Boxwoodrdquo workshop with Chris
wwwAmericanRecorderorg March 2009 19
Marin
Headlands
Recorder
Workshop
Norman (earlytraditional flutes andpipes) David Greenberg (Baroqueviolin and fiddle) and Ronn McFarlane(lute) on July 8-9
Contact emindyorg
SAN FRANCISCO EARLY MUSIC
SOCIETY MEDIEVAL amp
RENAISSANCE WORKSHOP (ARS)
Sonoma State University Rohnert Park CAJune 28-July 4Director Tom Zajac
Workshop theme Stories and LegendsOpen to singers and players of earlyinstruments (recorders violas da gambalutes shawms etc) Coaching by world-class specialists in Medieval and Renaissance music Classes forvoices recorders viols and alta capellavoice master class ensemble coachingstorytelling for musicians andstorytelling accompanimentRenaissance choir Medieval bandtheater project faculty and studentconcerts lectures and more
Scholarships as well as academic creditor continuing education credit areoffered Featuring recorder facultyFrances Blaker Annette Bauer DanStillman and Tom Zajac Other facultyPatrick Ball storytelling Celtic harpKaren Clark voice movement formusicians Julie Jeffrey gamba ShiraKammen Medieval strings music forstorytelling Drew Minter voice theaterproject Tim Rayborn Medieval stringspercussion music for storytelling Larry Rosenwald theater projectrhetorician in residence MarySpringfels gamba theater projectAnnette Bauer early notation DanStillman reeds alta capella ensembleTom Zajac sackbut Renaissance choir
Contact Tom Zajac SFEMS
PO Box 10151 Berkeley CA
94709 617-323-0617
medrenmailgmailcom
sfemsorg
MOUNTAIN COLLEGIUM (ARS)
Cullowhee NC June 28-July 4Director Patricia Petersen
Nestled in the Smoky MountainsWestern Carolina University provides alovely location for Mountain Collegiumwith comfortable accommodations in anew dorm and catered evening mealsThe workshopmdash at once informal andintensivemdash combines study of Renais-sance Baroque and contemporary musicand improvisation on recorder viol andother early instruments with opportu-nities to explore Celtic and othertraditional music on hurdy gurdymountain dulcimer and pennywhistle
Friendly participants of all levels andages welcome newcomers into theMountain Collegium family Varied classofferings time for informal music-making and evening English countrydancing bring students back year afteryear Faculty Valerie Austin AtossaKramer Jody Miller Patricia PetersenJohn Tyson (recorders other winds)Martha Bishop Lisle Kulbach HollyMaurer Gail Ann Schroeder Ann Stierli(strings) Lorraine Hammond JohnTrexler (traditional music)
Contact Patricia Petersen
1702 Vista St Durham NC
27701 919-683-9672
patpetersenearthlinknet
mountaincollegiummusicorg
GREAT LAKES SUZUKI FLUTE amp
RECORDER INSTITUTE
McMaster University Hamilton ON CanadaJuly 4-11 Teacher training Book 1July 7-11 Teacher training Book 2July 7-11 Student InstituteDirector David Gerry
Master classes group instructionrecitals plus enrichment classes forstudents Teacher training with MaryHalverson Waldo
Contact David Gerry 129 Locke
Street South Hamilton ON L8P
4A7 CANADA 905-525-9549
dgerrynasnet davidgerryca
CANTO ANTIGUO EARLY MUSIC
AND RECORDER WORKSHOP
Chapman University Orange CAJuly 5-12Directors Thomas Axworthy Ronald Glass
This one-week workshop is designed to broaden the performance skills ofexperienced students and introduceRenaissance and Baroque instrumentsand musical experiences to beginningand intermediate players Students at alllevels participate in instrumental vocaland dance instruction performance
The workshop takes place at ChapmanUniversity Studios dining hall andresidences are all air-conditioned Thisinvitingly landscaped peaceful campuswith garden paths is a mixture of historic and modern architecture
The theme of this yearrsquos workshop isMusic of the Italian Renaissance Dancesmasses motets and ceremonial musicwill resonate as we explore the music ofMonteverdi Palestrina Gesualdo et al
Faculty includes Thomas AxworthyJanet Beazley Mark Davenport RonGlass Carol Lisek Jim Maynard and Alice Renken
Contact Ronald Glass
129 Altadena Dr Pittsburgh
PA 15228-1003 800-358-6567
(day) 310-213-0237 (evening)
562-946-4081 (fax)
evanesa2aolcom
cantoantiguonet
CAMMAC EARLY MUSIC WEEK
Lake MacDonald Music Center Harrington QC Canada
July 5-12Directors Francis ColpronMarie-Nathalie Lacoursiegravere
CAMMAC provides a unique oppor-tunity to make music with family and
20 March 2009 American Recorder
friends in a beautiful setting north ofMontreacuteal QC under the guidance ofinternationally acclaimed professionalmusicians
In four daily 75-minute classes pluslectures early music lovers will have the opportunity to play to their heartrsquoscontent
Small ensembles and voice classes are setup ahead of time registration for otherclasses occurs on site the first eveningCourses include choir large instrumentalensemble many recorder and violclasses Medieval and Renaissanceensembles Orff method and Baroquedancing There are courses foradolescents and a program for children 4-11 years old
Special project in 2009 The Fairy Queenby Purcell with choir instrumentalensemble soloists and staging Keyfaculty Matthias Maute ChristopherJackson Laura Pudwell MargaretLittle Marie-Nathalie Lacoursiegravere
Contact Johanne Audet
85 Chemin CAMMAC Harrington
QC J8G 2T2 CANADA
888-622-8755 1
819-687-3323 (fax)
nationalcammacca
cammaccaenglishTabLM
Summershtml
MADISON EARLY
MUSIC FESTIVAL
University of WisconsinndashMadison July 11-18Directors Cheryl Bensman Rowe and Paul Rowe artistic Chelcy Bowles program
MEMF joins the 2009 InternationalYear of Astronomy in a global celebrationof astronomy and its contributions tosociety and culture including the 400thanniversary of the first astronomicalobservation made through a telescope byGalileo Galilei Galileorsquos fatherVincenzo was a musician and musictheorist who combined the practice andtheory of music with mathematicaldiscussion of harmonymdashand influenced
Galileorsquos experiments MEMFcelebrates its tenth season exploringworks of music and the arts inspired by ascientific discovery that had tremendousimpact on culture and civilization
MEMF was created to provide anopportunity for musicians scholarsteachers and early music enthusiasts togather and exchange information andideas about Medieval Renaissance andBaroque music and to bring acclaimedearly music artists to the Midwest toperform in beautiful Madison
Featured MEMF 2009 guest artists-in-residence include Marion VerbruggenThe Newberry Consort QuicksilverPiffaro and Venere Lute QuartetRecorder faculty members includeMarion Verbruggen Joan KimballPriscilla Smith and Robert Wiemken
Contact Chelcy Bowles University
of WisconsinndashMadison 720 Lowell
Center 610 Langdon St Madison
WI 53703 608-265-5629
608-262-1694 (fax)
musicdcswiscedu
memfdcswiscedu
PORT TOWNSEND
EARLY MUSIC WORKSHOP (ARS)
University of Puget Sound Tacoma WA
July 12-18Directors Letitia Berlin Frances Blaker
Join us this summer at our new locationwith a star-studded faculty a beautifultree-lined and easy-to-navigate campuswith accessible facilities and acurriculum that will leave you wishingthere were 48 hours in a day
Consort and technique classes forrecorder and viol consort and mixedrepertoire recorder master classpercussion for all levels Hildegard forsingers Baroque flute beginning violtheory workshop orchestra and moreMake an all-Medieval schedule or mix it up with a class from almostevery period of music
Work hard and play hard with friends
new and old Intense music-making thatwill inspire you during the workshop andthroughout the year
Directors Tish Berlin and FrancesBlaker eagerly await your arrival andanticipate a splendid workshopRecorder faculty Janet Beazley TishBerlin Frances Blaker Vicki BoeckmanLouise Carslake Charles ColdwellRotem Gilbert Kim Pineda
Contact Jo Baim Workshop
Administrator 1108 frac12 Alki
Ave SW Seattle WA 98116
206-932-4623
workshopseattle-recorderorg
seattle-recorderorg
wwwAmericanRecorderorg March 2009 21
Amherst Early Music FestivalJuly 12-19 and 19-26 2009
Connecticut College New London CT
Renaissance consortsBaroque ensemblesMaster classesRenaissance AcademyEarly notation and moreNo audition required
July 12-19Baroque Academy
July 19-26 Virtuoso Recorder Recorder Seminar
Audition deadline May 15
wwwamherstearlymusicorginfoamherstearlymusicorg(617) 744-1324
AMHERST EARLY MUSIC FESTIVAL
(ARS)
Connecticut College New London CT July 12-19 Baroque Academy July 19-26 Virtuoso Recorder Recorder SeminarRenaissance Academy
Director Marilyn Boenau
Music of England and Spain Two weeksof classes in most early instrumentsvoice dance and notation
Week 1 includes classes for recorderviol other early instruments voicedance and notation Special programsBaroque Academy Baroque AcademyOpera Project (Purcellrsquos Dioclesian)
July 18-19 Music amp InstrumentExhibition
Week 2 comprises classes for recorderviol other early instruments voice andnotation Special programs VirtuosoRecorder Recorder SeminarRenaissance Academy
Evening activities include Englishcountry dance madrigals and informalplaying sessions Connecticut College ineastern CT offers comfortable air-conditioned accommodations naturalareas for walking and a view of LongIsland Sound Scholarships and work-study aid available
Contact Marilyn Boenau
Director or Cathy Stein
Administrator 47 Prentiss St
Watertown MA 02472
617-744-1324 (day)
617-744-1327 (fax)
infoamherstearlymusicorg
amherstearlymusicorg
MIDEAST WORKSHOP (ARS)
LaRoche College Pittsburgh PAJuly 19-25Director Marilyn Carlson
Music of Spain 55-60 students of allability levels adults only Instruction forrecorder (all levels except novice) violharp flute You may enroll for recorder
viol flute as primary instrument harpvoice recorder viol as secondary instru-ment Large and small ensembles all-workshop ensemble (instruments andvoices) Renaissance band (recordersviols capped reeds voice) Medievalcollegium (puzzles amp canons) consorts(by level) vocal ensemble Also Englishcountry dance penny whistle We alsooffer viol-for-novice and harp-for-novice each providing the opportunityfor hands-on experience without owningan instrument Other classes on specialearly music topics and literature
Faculty Marilyn Carlson directorMartha Bixler Stewart Carter JudithDavidoff Eric Haas Mary JohnsonPeter Ramsey Kenneth Wollitz otherfaculty to be announced All facilities areair-conditioned
Contact Marilyn Carlson
1008 Afton Road Columbus OH
43221-1680 614-754-7233
mcarlsoncolumbusrrcom
mideastearlymusicaddrcom
22 March 2009 American Recorder
San Francisco Early Music SocietySummer Workshops 2009Recorder middot July 19ndash25 2009La Dolce Vita di Flauto middot Explore the full range of recorder music from the Middle Ages to the 21st century through ensemble work technique sessions and recorder orchestra For the devoted amateur all ages intermediate to advanced Friendly atmosphere small classes Quiet campus near all amenities Special offerings Recorder orchestra recorder master class coached informal playing Faculty Louise Carslake Frances Feldon Rotem Gilbert Katherine Heater Norbert Kunst Patrick OrsquoMalley and Hanneke van ProosdijInfo Frances Feldon 510-527-9840 franfelaolcom
Baroque Music amp Dance middot June 14ndash20 2009Music in Italian Cities middot Master classes recorder ensemble concerto evening coached ensembles classes concerts and lectures Featuring recorder faculty Frances Blaker and Clea GalhanoInfo Kathleen Kraft 707-874-2014 kkraftsonicnet
Medieval amp Renaissance Music middot June 28ndashJuly 4 2009Stories amp Legends middot Classes for voices recorders viols and alta capella voice master class ensemble coaching storytelling for musicians and storytelling accompaniment Renaissance choir medieval band theater project faculty and student concerts lectures and more Featuring recorder faculty Frances Blaker Annette Bauer Dan Stillman and Tom ZajacInfo Tom Zajac 617-323-0617 medrenmailgmailcom
Music Discovery middot June 21ndash26 2009Day camp for youth ages 7 to 15 Early music and Renaissance social history Instruction in recorder harpsichord strings chamber music musicianship crafts costume-making games and more Beginners to advanced students welcome Featuring recorder faculty Vida Bateau and Letitia BerlinInfo Letitia Berlin 510-559-4670 tishberlinsbcglobalnet For more information visit our web site wwwsfemsorg
SAN FRANCISCO EARLY MUSIC
SOCIETY RECORDER WORKSHOP
(ARS)
St Albertrsquos Priory Oakland CA July 19-25Directors Frances Feldon Katherine Heater
Jam-packed week of recorder ensembleplaying concerts and the opportunity toimprove your skills working with highlyrespected recorder specialists in afriendly yet serious atmosphere Explorethe full range of recorder music from theMiddle Ages Renaissance and Baroqueto the 21st century through ensemblework technique sessions and recorderorchestra For the devoted amateur of allages from intermediate to advanced
Small classes Quiet campus Specialofferings recorder orchestra recordermaster class coached informal playing
Featuring recorder faculty LouiseCarslake Frances Feldon RotemGilbert Norbert Kunst PatrickOrsquoMalley and Hanneke van ProosdijOther faculty Katherine Heaterharpsichord
Contact Frances Feldon SFEMS
PO Box 10151 Berkeley CA
94709 510-527-9840
franfelaolcom sfemsorg
WINDSWEPT MUSIC WORKSHOP
William Jewell College Liberty MOJuly 19-25Director Phyllis Pasley
Bring your artistry to life Strengthen the mindbody connection and exploreenergy and music at Creative MotionAlliancersquos 59th annual summerconference Windswept Professionalmusicians conductors teachers studentsand amateur music enthusiasts willdiscover barriers that inhibit the free flowof energy and learn the secrets of inner-directed artistic music-making Classesin piano voice instrumental musicexpressive arts and independent studyMaster class coaching and conductingopportunities available Using move-
ment exercises analysis and bodyresponses explore music and energy in a unique inter-generational workshopformat Opportunities for independentrecorder study and private lessons enrichthe music-making experience
Registration fee $50 prior to 51509Tuition room meals $535 adults $400students 12-18 (must attend with parentteacher or sponsor) special half-weekrate $275 (Sunday-Wednesday noon)Memberfamily discounts Three hoursgraduate credit ($225) 3 CEUs ($50)and private lessons ($25 each)
Contact Phyllis Pasley 2208
Clouds Peak Maryland Heights
MO 63043 314-628-9862
directorcreativemotionorg
creativemotionorg
BOXWOOD FESTIVAL CANADA
Lunenburg Nova Scotia CanadaJuly 19-26Director Chris Norman
Discover musical and dance traditionswhile visiting one of North Americarsquosmost exquisite 18th-century seasidetowns Concerts dances sessionsclasses lectures with leading artists in therealms of traditional folk early musicdance and improvisation Work study ampscholarships available Gourmet cuisine
Faculty Chris Norman directortraditional amp early flutes FrancisColpron recorder ensembles LisaBesnoziuk Baroque flute DavidGreenberg Cape Breton amp Baroqueviolin Edmund Brownless voice shape note singing Marie Bouchardharpsichord Robert Dick contemporarytechniques amp composition Conal O Grada Irish flute Jerry OrsquoSullivanpipes whistle Rod Garnett flutefundamentals ethnic flutes PierreChartrand social dance MarlysNorman ballet classical dance Rod Cameron flute maker Tempest Baroque
Contact 902-634-9994
boxwoodorg
musiqueroyalecom
MACPHAIL SUZUKI INSTITUTE
FOR PIANO GUITAR FLUTE
AND RECORDER
MacPhail Center for the Arts Minneapolis MNJuly 19 Every Child Canreg July 19-26 Recorder Book 1July 20-24 Student InstituteDirectors Cindy Malmin Mary Halverson Waldo (auditions)
Suzuki Clinicians Marilyn Taggartpiano Tadeusz Majewski piano DavidMadsen guitar Kathleen Schoenfluterecorder MacPhail Suzuki faculty
Sanctioned by the Suzuki Association ofthe Americas MacPhailrsquos SuzukiInstitute allows Suzuki students of allages to share in motivating enrichingand wide-ranging musical experiencesStudents work with master teachers andimprove skills technically and musicallyDaily classes and observation includeapplied study theoryreading skillsensemble skills chamber music perfor-mance practices composition improv-isation master classes recitals art andmusic world musicdrumming musichistory recitals and presentations TeenMusical Revue (ages 13-18) fashioncharacter sketches develop a frameworkor theme and present to an audience
Who may attend Suzuki students whohave completed the Twinkle Variations(preschoolndashgrade 12 parents or another
wwwAmericanRecorderorg March 2009 23
Amherst Early Music Festival
(photo by Marc Weinberg)
responsible interested adult must attendwith students under high school age)teacher traineesobservers Participantsmust arrange meals housing and trans-portation Teacher Training prerequi-sites Every Child Canreg before Book 1courses must be taken in order throughBook 2 Contact workshop regardingrequired audition and preparation
Contact Cindy Malmin
612-767-5461
malmincindymacphailorg
Mary Halverson Waldo
5679 Harding Lane Shorewood
MN 55331 952-470-5853
mhalvwaldogmailcom
INTERNATIONAL BAROQUE
INSTITUTE AT LONGY
Longy School of Music Cambridge MA
July 24-August 2Directors Paul Leenhouts co-director Phoebe Carrai
VenicendashDresden Connection InternationalMeeting Grounds Music of MonteverdiVeracini Hasse Heinichen MarcelloVivaldi Pisendel Albinoni ZelenkaLotti Schein Schutz Quantz Gabrieli
2009 faculty Paul Leenhouts recorderPhoebe Carrai rsquocello ElizabethBlumenstock violin Ricard Bordasvoice Arthur Haas harpsichord LucasHarris lute Ken Pierce early danceGonzalo Ruiz oboe Mary Springfels
viola da gamba Jed Wentz traverso
Contact Karen Burciaga Com-
munity Programs Registrar One
Follen St Cambridge MA 02138
617-876-0956 X1532 (day)
617-354-8841 (fax) karenbur
ciagalongyedu longyedu
RECORDER AT THE CLEARING
The Clearing Ellison Bay WIJuly 26-August 1Directors Pat Badger Adrianne Paffrath
Recorder ensemble has been a traditionat The Clearing for over 25 yearsEnsemble playing is the weekrsquos focusEach day begins with a warm-up ofvoices and bodies as we sing rounds andready our muscles for performanceDaytime sessions focus on rhythmicchallenges recorder technique andensemble blend emphasis is on growthprocess and most of all enjoyment To participate fully you need at leastintermediate skills on a C or F recorder
Adrianne Paffrath coached on recorder with ARS teachers She is music directorat Racinersquos First Presbyterian ChurchPatricia Badger has studied early musicinstruments natural and classicaltrumpet She is performing arts head ofThe Prairie School Jointly they haveperformed for Medieval festivals grapestompings Shakespeare celebrations anda circus parade
Contact The Clearing PO Box 65
Ellison Bay WI 54210-0065
877-854-3225 920-854-9751
(fax) clearingtheclearingorg
theclearingorg
AMERICAN RECORDER SOCIETY
FESTIVAL AND CONFERENCE
University of Missouri at St Louis St Louis MO
July 30-August 2
Attend the second ARS Festival andConference for one day ($150) or allweekend ($350)
Sessions include recorder techniquepedagogy introductions to Orff Suzukiand Flutes and Drums Around the Worldmethods improvisation roundtablediscussions how to conduct yourconsort coached playing sessions forMedieval Renaissance Baroque worldand contemporary repertoire recorderorchestra incorporating percussion intoyour ensemble Also recorder mainte-nance choosing a recorder building aweb site using Sibelius music softwareMini-concerts by the next generation ofprofessionals master classes concerts byMarion Verbruggen and the FarallonRecorder Quartet Exhibition ofrecorder builders music sellers andmore CEUs available
Presenters Louise Austin AnnetteBauer Tish Berlin Frances Blaker Joyce Callanan Louise Carslake
24 March 2009 American Recorder
The Summer Toot is once again in Austin at the beautiful new facility of Concordia University The lushly wooded campus offers air-conditioned classrooms dining and dorm accommodations and is backed by a nature preserve Please join us
Our featured faculty includes Tish Berlin Tom Zajac Mary Springfels The Texas Toot offers a one-week program of classes in Renaissance and Baroque music at all levels featuring expert instructors in re-corder viol early reeds lute harp and voice
Danny Johnson workshop director Susan Richter administrator For more info
httpwwwtootorg or email infotootorg
11th Annual Summer Texas Toot June 14-20 2009 mdash Austin Texas
Mark Davenport Cleacutea Galhano LisetteKielson Lorraine Krige JudithLinsenberg Peter Maund Nina SternMarion Verbruggen Leslie TimmonsJim Tinter Mary Halverson Waldo
Contact Yvonne Miller-Nixon
Conference Administrator
1129 Ruth Dr St Louis MO
63122 800-491-9588 (day)
arsconfplannercharternet
americanrecorderorg
EARLY MUSIC WEEK AT
PINEWOODS CAMP (ARS)
Pinewoods Camp Plymouth MA August 15-22 Director Sheila Beardslee
The Myth amp Magick Creativity andInspiration in Early Music Surely thedeities of Olympus will surround us atPinewoodsndashwhere the myths of earlymusic will be made clear and our staff rsquosldquomagickalrdquo skills will hone and perfectour knowledge and performance of early music and dance
If yoursquove never played a musical instru-ment (but wish you could) or if youstudied music years ago (and fear yoursquoveforgotten) classes in recorder and violwill get you started or help brush off therust Advanced and intermediate playersand singers choose from a wide array ofclasses led by an outstanding faculty of professionals and teachers of earlywinds (recorders reeds brass) strings(viols violin) harpsichord and voice
New staff faces this summer areAnonymous 4rsquos Susan Hellauer voiceand Lisa Terry viol We welcome backDorrie Olsson historical dance andScott Higgs English country dance
We relax with two ponds for swimmingcanoeing a camphouse deck for readingafternoon tea and lots of dancing EarlyMusic Week continues its long traditionof superb teaching in a welcoming com-munity enhanced by special eventspresentations concertsmdashand dancing
Advanced musicians work intensivelyamateurs are engaged and challengedand beginners are always made welcome
Contact Steve Howe Country
Dance and Song Society
PO Box 338 Haydenville MA
01039-0338 413-268-7426 X3
(day) 413-268-7471 (fax)
campcdssorg cdssorgem
MONTREacuteAL RECORDER FESTIVAL
McGill University Montreacuteal QC Canada
September 17-20Directors Matthias Maute Sophie Lariviegravere
Conference consort music recorderorchestra concertsmdashEnsemble Capriceand Quynade (Israel) solo recital byMaurice Steger (Switzerland)
Contact Ensemble Caprice 4841
Garnier Montreacuteal QC H2J 3S8
CANADA 514-523-3611
514-523-1322 (fax)
infoensemblecapricecom
ensemblecapricecom
HIDDEN VALLEY INSTITUTE
FOR THE ARTS
EARLY MUSIC ELDERHOSTEL
Carmel Valley CANovember 1-7 November 8-14Directors Letitia Berlin workshopPeter Meckel HVIA
Enroll for one or both weeks Adults ofall ages welcome
Week I intense classes for upper inter-
mediate to advanced levels Week Ifaculty Letitia Berlin Frances BlakerLouise Carslake Annette Bauer(recorder) David Morris (gamba)
Week II all levels except beginnerClasses include recorder technique viol consort Baroque chamber musicconsort classes for Medieval Renais-sance Baroque and contemporary reper-toire workshop orchestra Week IIfaculty Letitia Berlin Frances BlakerTBA (recorder) Shira Kammen (earlystrings singing Medieval topics) MarySpringfels (viola da gamba)
Evening events include faculty concertstudent concert free-lance playing FreeWednesday afternoon for more playingor sightseeing Improve your playing in asupportive friendly atmosphere withworld-class teachers
Contact Peter Meckel
PO Box 116 Carmel Valley CA
93924 831-659-3115
831-659-7442 (fax)
hvmsaolcom
hiddenvalleymusicorg
wwwAmericanRecorderorg March 2009 25
26 March 2009 American Recorder
Am
herst
AR
S
Festival and
Co
nference
CA
MM
AC
Early M
usic
Week
Canto
Antiguo
Reco
rd
er
at th
e
Clearing
Great L
akes
Suzuki
FluteR
ec
Hid
den
Valley
Eld
erh
ostel
Interlo
ch
en
Early M
usic
Inst
Lo
ngy Intl
Baro
que
Inst
Marin
Head
land
s
Mid
east
Mo
ntreacuteal
Reco
rd
er
Festival
COST $520TW $350T C$1014ED $860 $1035E TBA $799D $389T $675T $210ED $735D $130TNO OF DAYS 814 1-4 7 7 7 5-8 714 6 10 3 6 4ARS DISCOUNT NO YES NO YES NO NO NO NO NO NO NO NONO OF FAC RECORDER FAC 4315 1716 165 85 22 82 543 11 101 1010 96 66NO OF STUDENTS 150wk 60 110 35 19 45 35 20 50 75 60 50RECORDER CLASSLEVELS
LIHIAV
BLIHIAV
BLIHIAV
BLIHIAV LIHIA BLI
LIHIAV LIHIA AV
LIHIAV
BLIHIAV
BLIHIAV
SPECIAL CLASSES USING RECORDERS
CMRMB20ENMROT
RPMRMB20MROPTO
CMRMBRO
MRMBENROPT CRO
RPMPT
CMRMB20MROPT
RPCMRMBENMROPT MBMP RP20
RPCMRMB20ENMTO
CMRMBMRO
NON-RECORDERCLASSES
CWKVPSDO PO
CWKVDT CWVD C O KVPS
CWPKVPST WK VD
CWVPSDO
MUSICALACTIVITIES
FSLSPP FLO FSLSP FS SP FSLP FSP
SLSPPO FSLP P FSLP FS
RECREATION D GS BSTW D FBSW FSO OBSTWO S O G
OTHERS WELCOME SC S SC S S S S SDIRECTTRANSPORTATION SC SBCP SP BCLP BP SB CPUP CL PUP
SBCPUP
TRANSPORTATIONTERMINALS
A50B2 T2 A B T
A10B3 T5
A80B80
A50B10 T10
A20B20 T20
A16B16
A4B3 T3 A20
A15B10 T10
A4B3 T3
ROOMS SD SD SD SD SDC SD SD SDC DBATHS SSP SSPP SP P SSPP SSPP SP P S PFOOD CV C GV CV FV C F CV CV CHANDICAP ACCESS HCD HCD HCD HCD HC HCD HD HCD C HCD HCD C
KEYCOST Includes tuition room (single occupancy unless otherwise noted) meals plus other fees E=estimated T=tuition only D=double occupancy W=one week
NO of DAYS Includes arrival and departure daysARS DISCOUNT Discount offered for ARS members FACULTYRECORDER FACULTY Number of facultyrecorder faculty within that number STUDENTS Average over last two yearsRECORDER CLASS LEVELS B=beginners LI=low intermediate HI=high intermediate A=advanced V=very advanced
SPECIAL CLASSES USING RECORDERS RP=recorder pedagogy C=one-on-a-part consorts MR=mixed Renaissance ensembles MB=mixed Baroque ensembles 20=contemporary music EN=early notation M=master class RO=recorder orchestra P=private lessons available T=technique O=other
NON-RECORDER CLASSES C=choral W=other winds P=percussion K=keyboard V=viols PS=plucked stringsD=danceT=theory I=instrument building O=other
MUSICAL ACTIVITIES F=faculty concert S=student concert L=lecture SP=special production P=organized informal playing O=other
RECREATION D=dancing F=field trip G=gym B=biking S=swimming T=tennis W=waterfrontbeach O=otherOTHERS WELCOME S=non-playing spousesfriends C=children (day care not generally available)DIRECT TRANSPORTATION TO WORKSHOP S=shuttle from airport B=bus C=cab L=limo PU=will pick up P=free parking O=other
TRANSPORTATION TERMINALS A=air B=bus T=train (number indicates miles from workshop to nearest terminal)
ROOMS S=singles D=doubles (with ldquo+rdquo can accommodate up to triples) C=cabins O=other =Graduate dormsBATH FACILITIES S=shared SP=semi-private P=privateFOOD C=college style F=family style G=gourmet V=vegetarianHANDICAP ACCESS H=housing C=classrooms D=dining
INFORMATION SUPPLIED BY WORKSHOP DIRECTORS
2009 SUMMER RECORDER WORKSHOPS
Here are some suggestions foravoiding overuse syndromes Most obvious warm up This meansincreasing your practice time graduallybefore the workshop begins andwarming up yourself and yourinstrument before each rehearsal
Make your playing situation ascomfortable as possible Take along acushion back rest footstool whateverit takes the ear and hand cannot ab-sorb what the bottom cannot tolerate
Be sure your glasses are ideal for the distance from your eyes to themusic desk that usually amounts to anarmrsquos length away (You can select apair at your local drug or departmentstore if you have no serious astigma-
tism) If glare from bright light (thosemarvelous outdoor rehearsals) is aproblem for you you may find that ayellow tint for your glasses is a help
Get your bodily playing equip-ment in the best possible shape beforethe workshop a visit to the dentist tosmooth off a front tooth for a windplayer can make an enormous differ-ence in endurance A layer of plasticwrap over the teeth (before yoursquoveworn a hole in your lip) may also help
Once yoursquove arrived at the work-shop there are ways to ensure thatstress (inevitable) doesnrsquot becomedistress (mostly preventable)
Take reasonable breaks duringrehearsal time and use them to stretchA little aerobics like running in placetakes very little time and gets rid ofthat stiff-from-sitting feeling Get yourfellow ensemble players to massageeach othersrsquo shoulders Other fre-
Do you have a favorite article from years past in AR E-mail that information to Gail Nickless
editoramericanrecorderorg
wwwAmericanRecorderorg March 2009 27
Mo
untain
Co
llegium
Pinew
oo
ds
Early M
usic
Week
Po
rt
To
wnsend
SF
EM
S
Baro
que
SF
EM
S
Ch
ild
rens
SF
EM
S
Med
ieval amp
Renaissance
SF
EM
S
Reco
rd
er
Texas T
oo
t
Wh
itew
ater
Wind
sw
ept
Music
Wo
rksh
op
Wo
rld
Fello
wsh
ip
$800ED $890ED $975 $950 $370T $950 $950 $740E $245 $535D $850E COST7 8 7 7 5 7 7 7 3 6 7 NO OF DAYSNO NO NO YES YES YES YES YES NO NO NO ARS DISCOUNT
125 189 169 102 82 124 76 136 1110 131 83NO OF FAC RECORDER FAC
50 100 100 55 30 70 40 50 110 45 30 NO OF STUDENTSLIHIAV
BLIHIAV LIHI AV
LIHIAV
BLIHIAV LIHI AV LIHIA LIHIA
BLIHIAV
BLIHIAV
RECORDER CLASSLEVELS
CMRMB20TO
CMRMBENROT
MRMB20MROPT
MBMPTO
CMRMBPTO
CMRENMPTO
C20MROPTO
CMR20MPT
CMRMB20ROTO MP
CMRMBMRO
SPECIAL CLASSES USING RECORDERS
WVDTO
CWKVPSDT CPVT
CWKVPSTO
KVDTO
CWPVPSTO O
WKVPSTO
CWVTO
CWPKVD
CKVDT
NON-RECORDERCLASSES
FSLSPP FSP
FSLSPPO FSSP
FSLSPPO
FSLPO
FSLPO SPO FSL PO FSLP
MUSICALACTIVITIES
DGBS DSWFGBSTW
DGBST D
DGBST DO SO
DFSWO RECREATION
S S SC SC S S SC SC OTHERS WELCOME
P SC CPUP SCP SCP SBC LP SPUP P BPUDIRECTTRANSPORTATION
A50B15 T15
A15B7 T6 A59
A20B2 T5 A59
A12B4 T1 A40 A
A20B15 T28 B10
TRANSPORTATIONTERMINALS
SD SD S S CALL S S SD SD SD SD ROOMSSP S SP P P SP P S S S BATHSCGV FV CV CV CV CV CV CV CV FV FOODHCD CALL HCD HCD C HCD HCD HCD HCD HD HANDICAP ACCESS
AR50 AVOIDING ACHES amp PAINSBy Leacuteonie Jenkins MD (c1925- 2000) from the March 1993 AR Vol XXXIV1
quently overused parts such asforearms and hands also respond to massage Quick tutorial on massagestart stroking toward the body and inthe direction of the flow of the veinsmdashupstream from the sorest partgradually work down to include thesore spot Yoursquore trying to move overthe underlying muscle not to rub theskin Thatrsquos why a little oil helps
Your psyche may need some relieffrom overload too Most workshopsare in surroundings that lend them-selves to taking a walk finding a placeto meditate taking in some beauty In creating anything a musical per-formance no less than more static artforms breathing in is as necessary asbreathing out be sure you take time to do it
Not to be forgotten those partiesLate hours and alcohol are stressfultry to balance off the fun yoursquore havingwith your capacity for both Above allenjoy Thatrsquos why yoursquore going
2009 SUMMER RECORDER WORKSHOPS
By Bart Spanhove
The author has been principalprofessor of recorder at the Lemmens-
instituut Leuven (Belgium) since 1984He is also artistic director of the world
famous recorder ensemble the FlandersRecorder Quartet which is set to perform
in concert at the 2009 Boston EarlyMusic Festival He is often asked to serve
as a jury member for internationalrecorder competitions in Canada US
Germany The Netherlands and BelgiumHe has given numerous master classes andlecture demonstrations all over the world
Spanhove is co-author of thesuccessful recorder method Easy Going(Heinrichshofen) and wrote the much-
used book The Finishing Touch ofEnsemble Playing (Alamire 2000
and Moeck 2002 with translations inChinese and German) In 2009
The Recorder Music of Frans Geysenwill come out (Mieroprint)
Currently he is researching practicetechnique for the recorder Daily
Spanhove thinks about how to makepeople happier by making music and
playing the recorder
As a conclusion for the VirtuosoRecorder class during the AmherstWorkshop in 2008 we organized aldquoHappy Hourrdquo for our nine talentedstudents Mee-Jung Ahn (Korea)Emilie Hasselgren and Kristine West(Sweden) Anne Timberlake JosephLewnard Jacob Lodico and BrycePeltier (US) Emiliano Perez(Mexico) and Fanny Massy (France)participated in a quiz that I wrote thenight before with the assistance ofReine-Marie Verhagen
We combined questions regardingmusic theory with practical exercisessuch as middot How long can a player hold a
low f in one breath on an altorecorder (You get one point foreach second)
middot How many times through a scaleis a player able to play in 30seconds (For every octave of theF major scale you get one point)
middot How many different pieces fromthe recorder repertoire can aperson play in the course of twominutes (The other members ofthe group have to guess the nameof the composer before the playercan start the next piece)
middot In one minute list as manydifferent titles as you can fromDer Fluyten Lusthof (TheRecorderrsquos Pleasure Garden) of J J van EyckThe list of questions goes onAt the ldquoHappy Hourrdquo people
were divided into three groupsaccording to dates of each personrsquosbirthday When theoretical questionswere asked (see below) the pointsystem was devised as follows threepoints were awarded when the selected
person of a group could find theanswer himherself two points whenthe selected person needed the help ofthe other group members and onepoint if the group needed the help ofour gracious class assistant Reine-Marie Verhagen (she alwaysknew the answer) No points weregiven if the quizmaster had to supplythe answer
On the next page you find someof my questions There are morewhich we hope to run in a future issueof American Recorder
The quiz was full of fun andsuspense By the end people weremore nervous than when playing aconcert on stage Jacob Lodico of theUS was the winner at Amherst
28 March 2009 American Recorder
Education___________________________________ A quiz for recorder players
wwwAmericanRecorderorg March 2009 29
Try these questions yourselfAnswers appear at the end of thisarticle
The Quiz1 Give the name of Ganassirsquos
treatise of 1535 where heextensively describes the recorder playing and diminutions of his time
2 In which German city is therecorder company Moeck based
3 In the cantata Gottes Zeit ist dieallerbeste Zeit BWV106 JS Bach calls for two altorecorders Give another name for this cantata
4 Of which famous orchestra isFrans Bruumlggen the conductor
5 List three leading Japanesecomposers of excellent solo pieces for the recorder
6 Give the names of recordermagazines published inGermany England and the US
7 What is the fundamental tone of a fourth flute
8 List two recorder makers fromthe Baroque period in England
9 Whatrsquos the title of the recitativeand chorale in the Saint MatthewPassion where the recorder isused
10 Give the names of two famouspublishers in business around1700mdashone in London and one in Amsterdam
11 The opus 10 work by AntonioVivaldi includes six concertiSome of them have beautifulnames Give the names of thefirst three concerti of this opus
12 Whatrsquos a nickname for Jean Jacques Hotteterre
13 The combination of recorder andtraverso was rarely used in theBaroque time Can you name any composers who used thiscombination
14 Which king from 16th-centuryEngland owned a large collectionof recorders and also composedand enjoyed daily recorderplaying
15 How many movements compriseHandelrsquos Sonata in C Op 1 No 7 originally written forrecorder and basso continuo
16 Give the name of Praetoriusrsquostreatise from 1609 that describesthe whole recorder family
17 Name the author of the oldestrecorder method
18 Name Jan Jacob van Eyckrsquosdisability
19 Who pretended around 1930 thatthe recorder was a kind ofclarinet
20 Who doesnrsquot belong in thefollowing group Bertho DrieverKarel van Steenhoven MarionVerbruggen Paul LeenhoutsDaniel Bruumlggen
21 Name the two instrumentsindicated to play the sonataMeiner Mutter of Hans UlrichStaeps
22 Il Pastor Fido was not composedby Antonio Vivaldi but by aFrench composer What was hisname
23 Whatrsquos the nationality of themusic company Zen-On
24 CPE Bach composed abeautiful trio that includes a bassrecorder What are the other twoinstruments
25 Give the names of the fourmovements of Bachrsquos partita forsolo traverse flute BWV1013
26 Which excellent playersperformed as the recorder trioSour Cream
27 A recorder normally has eightfingerholes Despite this musichistory describes the recorder as ldquoune flucircte agrave neuf trousrdquo (a flute with nine fingerholes)Explain why
28 Give the French name for vibratoperformed by finger movementsalone on a wind instrument
29 Who wrote in his diaryldquohellipbeyond anything in the wholeworld the wind-music when the
Answers to
Bart Spanhoversquos Quiz1 La Fontegara2 Celle3 Actus Tragicus4 The Orchestra of the
Eighteenth Century5 R Hirose M Ishii and
M Shinohara
6 Windkanal or Tibia (both ofGermany) The Recorder(England) American Recorder(US)
7 B8 The most famous English
recorder makers around 1700Bressan and Stanesby (the latterbeing both senior and junior)
9 O Schmerz Hier zittert das gequaumllte Herz
10 Walsh (and Hare) (of London)Roger (of Amsterdam)
11 La Tempesta de Mare La Notte Il Gardelino
12 Le Romain13 JB Loeillet J J Quantz
JJ Hotteterre or J B de Boismortier
14 Henry VIII15 Five16 Syntagma Musicum17 Sebastian Virdung Musica
Getutscht und Ausgezogen (1511)18 Blindness19 Igor Stravinsky20 Marion Verbruggen21 Alto recorder and piano22 Nicolas Cheacutedeville23 Japanese24 Viola and cembalo25 Allemande Courante Sarabande
Bourreacutee26 Kees Boeke Walter van Hauwe
and Frans Bruumlggen27 Before 1670 the player could
choose how to hold the recordermdashleft hand or right hand at the topThis meant that recorder makersdrilled two holes to accommodatethe little finger of the hand thatended up at the bottom Theunused hole was sealed with beeswax
28 Flattement29 Samuel Pepys30 Flanders Recorder Quartet
30 March 2009 American Recorder
Lazarrsquos Early Music(866) 511-2981 jblazaraolcom
wwwLazarsEarlyMusiccom
292 Gibraltar Dr 108 Sunnyvale CA 94089
Strings amp Early Winds
ModernBaroque Strings Viols Vielle
Kuumlng Moeck Mollenhauer Paetzold Yamaha Ehlert
Wenner Baroque flutes
Wendy Ogle Lu-Mi Ifshin Snow
Competitive Prices
Sent on Approval
Personalized Service amp Advice
R
E
C
O
R
D
E
R
S
ldquoGO FOR NEO-BAROQUErdquo
Andrew Charlton Partita Piccola For 4 Recorders (SATB)
[Prelude Allemande Courante Musettemdash
a neo-baroque epitome] (Score amp Parts PBE-25) $795
Andrew Charlton Suite Moderne For 3 Recorders (ATB)
[Baroque shapes but Hindemithian harmony]
(3 Playing-Scores PBE-44) $995
Southwest of Baroque David Goldsteinrsquos ldquobaroque Suiterdquo
on Cowboy Songs For 2 Recorders (SA) (PBE-2) $350
The Provincetown Bookshop Inc
246 Commercial Street Provincetown MA 02657 Tel (508)487-0964
A good source for Recorder amp Viol Music of all publishers
Provincetown Bookshop Editions
angel comes down which is sosweet that it ravished me andindeed in a word did wrap upmy soul so that it made me reallysick just as I have formerly beenwhen in love with my wiferdquo
30 Whatrsquos the English name for afamous recorder ensemble calledin its country Vier op lsquon Rij
wwwAmericanRecorderorg March 2009 31
by Tim Broege timbroegeaolcom
December 11 2008 was a specialday for American music the
100th birthday of Americarsquos greatestliving composer Elliott Carter Cele-bratory concerts took place in manyvenues including Carnegie Hall inNew York There the Boston Sym-phony led by James Levine played anew work by Carter Interventions forpiano and orchestra The soloist wasanother well-known conductor DanielBarenboim who is no mean hand atthe keyboard to say the least
Itrsquos remarkable that wonderfulnew compositions continue to pourforth from Carterrsquos pen His musicsparkles and frolics packing lots of musical events into engrossingstructures Much of his music isavailable on CD so if you missed thecelebrations you can easily have yourown belated birthday party for Carter
Although he has never written for recorder (one of our prominent
recorder soloists should commissionhim) Carter has produced manychamber pieces featuring woodwindsSince many recorder players double orstarted out on woodwinds such piecesas the Sonata for Flute Oboe Cello ampHarpsichord (1952) Enchanted Preludes(1988) for flute and rsquocello Espritrudeesprit doux (1985) for flute andclarinet or the Oboe Quartet (2001)may hold special interest
If you missed Charlie Rosersquosexcellent interview (broadcast onDecember 10) with Carter Levine andBarenboim you can see it atwwwcharlierosecomview
interview9774mdashessential viewingfor fans of contemporary music
We note with sadness the passingon January 23 of another distin-guished American composer GeorgePerle An authority on the music ofAlban Berg and the Second VienneseSchool Perle developed a uniquelyrical style based upon a free approachto 12-tone and serial procedureswhich he dubbed ldquo12-tone tonalityrdquo I recommend listening to his SerenadeNo 3 for Piano amp Orchestra (1983) Six Etudes for Piano (1973-76) and the Pulitzer Prize-winning Wind Quintet No 4 (1985)
Another leading American com-poser Leon Kirchner is thankfully still with us having turned 90 onJanuary 24 Like Perle Kirchner has a highly personal and expressive styleA birthday concert was held at MillerTheater at Columbia University inNew York City NY Participatingmusicians included flutist PaulaRobison pianist Jeremy Denk and theClaremont Trio with the composerpresent to discuss his music
An excellent way to get to knowKirchnerrsquos music is through his stringquartets Just in time for his birthdayAlbany Records has released a fine CDof all four played by the Orion StringQuartet Quartet No 4 was written in2007 (when the composer was 87mdasha veritable youngster compared toCarter) The composer Allen Shawnhas described that quartet asldquoluminous and passionaterdquo words aptto describe much of Kirchnerrsquos output
Speaking of contemporary musicI have been spending pleasant hoursperusing the Catalog of ContemporaryBlockflute Music available online atwwwblokfluitorg from StichtingBlokfluit This Netherlands founda-tion offers a contemporary recordercatalog and a catalog of historicalrecorder music Access to both is byfree membership
For those who havenrsquot yet used thecontemporary catalog I urge you togive it a try You can search by manyparameters such as composer title orspecific instrumentation A search forldquovoice fluterdquo turned up a list thatincluded Moon Dances Three AmericanSketches by composer Walter Mays(intended for solo alto recorder butalso playable on tenor or voice flute)Searching the name of English com-poser Edmund Rubbra produced a listof eight works that employ recordersincluding the intriguing CantataPastorale opus 92 for high voice altorecorder rsquocello and harpsichord
Searching ldquofemale composersrdquo fora piece using ldquoBaroque altordquo yieldedAfter Meditation by Ros Bandt ofAustralia
What an easy and tremendouslyvaluable way to find new music
On the Cutting Edge___________________________________Birthdays composers and
recorder music catalogs
Elliot Carter
(photo by Meredith Heuer)
Question How does Renaissancefingering differ from standard
fingering on the recorder Is one superior tothe other Do you need a special recorder touse Renaissance fingering and if so can itbe played with regular recorders Is there afingering chart that shows RenaissancefingeringmdashWilliam BaumannWaterford WI
Answer from Carolyn Peskin Music composed in the
Renaissance the historical periodextending from about 1450 to 1600was predominantly vocal and highlycontrapuntal Recorders which oftendoubled singers at the octave orrendered vocal pieces instrumentallywere designed to make the individualmelodic lines clearly audible
Most 16th-century consortrecorders were one-piece instrumentswith large toneholes and a wide borethat contracted slightly starting nearthe upper fingerholes and thenexpanded gently near the lowest holesThat ldquochoke-borerdquo design togetherwith the voicing and tonehole con-figuration favored the fundamentaltone (first harmonic) producing astrong open sound that was aboutequally loud throughout theinstrumentrsquos range
Such recorders had a useful rangeof only about an octave plus a sixthwhich was nevertheless sufficient for the music of their day MostRenaissance-style consort recordersmade today are based loosely uponsurviving 16th-century instruments ofthe above type and are designed toapproximate the range timbre andvolume of those early instruments
Our present-day ldquoregularrdquorecorders are Baroque-derived instru-ments based loosely upon survivingrecorders from the late 17th and early18th centuries They are three-pieceinstruments with small toneholes and abore that is narrower and moretapering than a Renaissance boreextending their useful range upward totwo octaves plus a whole tone
Baroque recorders are soft andsweet-sounding in their bottom octavebut louder and brighter in the secondoctave Their lowest notes are espe-cially weak because they must be blowngently to prevent overblowing into thesecond octave Such instruments aresuitable for Baroque solo and chamberrepertoire but not very satisfying forRenaissance polyphony
Due to their different timbre andvolume Renaissance recorders will not blend well with Baroque onesFurthermore the most historicallyauthentic Renaissance-style recordersare tuned in a ldquomeantonerdquotemperament that facilitates the playingof pure major thirds Such instrumentsmake Renaissance music easier to playin tune but will produce intonationproblems if played with Baroquerecorders which are tuned in equaltemperament For the above reasonsRenaissance and Baroque recordersshould not be played together
Renaissance fingering will not work on todayrsquos neo-Baroquerecordersmdashmost of which haveldquomodernrdquo Baroque fingeringcommonly called ldquoEnglishrdquo fingering
because it was developed fromhistorical Baroque fingering by ArnoldDolmetsch in England during theearly 20th century Renaissancefingering is less standardized partlybecause a number of different originalinstruments are used as models andpartly because makers wish to improvethe intonation tone quality andorplayability of certain notes Howeverthe following generalizations apply tomany of todayrsquos Renaissance-styleconsort recorders
First in the lower octave modernBaroque fingering works for mostnotes but is often too flat for the fourth scale degree (eg soprano F)requiring removal of finger 7 (right-hand pinky) and is too sharp for theraised fourth degree (eg soprano F)requiring addition of finger 7
Modern fingering is also usuallytoo sharp for the lowered seventhdegree (eg soprano B) The correctfingering for that note varies from oneinstrument to another
In the upper octave modernfingering works for the first third andfifth scale degrees (eg soprano C Eand G) but usually not for other notesSome notes require half-holing with aright-hand finger and notes above thefifth scale degree may require additionof several fingers to bring them in tuneHistorical Renaissance fingering forthe second scale degree (eg sopranoD) is especially awkward because all ofthe fingerholes and the thumbholemust be uncovered Therefore somemakers substitute modern fingering forthat note
Although Renaissance fingeringand meantone tuning are recom-mended for the best blend some
Q amp A___________________________________ Renaissance recorder fingering
Send questions to Carolyn Peskin QampA Editor 3559 Strathavon Road Shaker Heights OH44120 carolynpeskinstratosnet
32 March 2009 American Recorder
wwwAmericanRecorderorg March 2009 33
makers of handcrafted Renaissance recorders will provide modern fingeringandor equal temperament upon request and Moeck Verlag offers a choice ofRenaissance or modern fingering for most sizes of its factory-producedRenaissance Consort series
For a most satisfying blend Renaissance ensembles should purchase amatched set of recorders tuned and voiced to be played together Renaissanceconsort sets usually include two different alto recorders one in G (lowest note g)and one in F (lowest note f ) The ATTB combination with the G-alto is best formost of the quartet music composed between 1450 and 1550 while the SATBcombination with the F-alto is more practical for much late 16th-centuryrepertoire (Playing the G-alto requires learning G-alto fingering or elsetransposing the alto line down a whole tone and using F-alto fingering)
In addition to consort recorders some makers offer ldquoGanassirdquo sopranos andaltos based upon fingering charts in Silvestro Ganassirsquos recorder tutor Fontegarapublished in 1535 and a single original instrument in the Vienna Kunst-historisches Museum Because of their special bore design (cylindrical with aflaring bell) Ganassi recorders have a range of two octaves and a sixth withcumbersome fingerings in the third octave They are used mainly as soloinstruments for playing intricate ornaments of the type found in Fontegara
Also sometimes included in the ldquoRenaissancerdquo category are ldquotransitionalrdquo(early Baroque) recorders which are based upon originals from the first half ofthe 17th century They have a bore that is wider than a Baroque bore but contractssharply near the lower end resulting in strong low notes and at least a full two-octave range usually with modern fingering Most transitional recorders aresopranos or altos designed for playing Jacob van Eyckrsquos variation sets or thehighly ornamented Italian solo repertoire of the late-16th and early-17thcenturies
However wide-bore consortrecorders with a range of at least twooctaves and modern fingering shouldalso be regarded as transitionalinstruments They differ somewhat intimbre and volume from typicalRenaissance consort recorders
Handmade wide-borerecordersmdashconsort Ganassi andtransitionalmdashare obtainable frommakers who advertise in AmericanRecorder the Prescott Workshop andthe Von Huene Workshop in the USJean-Luc Boudreau in Canada andStephan Blezinger in GermanyContact them andor visit their websites to find out what kinds ofrecorders they are currently makingand to get an idea of their prices andwait times
Factory-produced wide-borerecorders from Kobliczek Moeck andMollenhauer are available frominstrument dealers who advertise inAR New and used recordersincluding wide-bore models fromimportant makers in the US andabroad are also obtainable from Uni-corn Music For further informationvisit wwwbuyrecorderscom For a comprehensive database of recordermakers worldwide see Nicholas SLanderrsquos ldquoExtant Recorder Makers amp Retailersrdquo at wwwrecorder
homepagenetmakershtml
REFERENCES
CONSULTEDBauer Winfried
wwwrecorder-fingeringscomIncludes interactive fingeringcharts from modern makers andhistorical treatises Charts forRenaissance consort recorders byAdriana Breukink Adrian BrownBob Marvin and Tom Prescottwere consulted
Brown Adrianwwwadrianbrownorgrec
order_typesconsorthtml
Our present-day ldquoregularrdquo recorders are
Baroque-derived instruments based loosely
upon surviving recorders from the
late 17th and early 18th centuries
34 March 2009 American Recorder
The Von Huene Workshop Incis pleased to announce agreements with
CoolsmaZamra
to serve as their authorised service agents in the US
For more than 40 years the von Huene Workshop has produced some of the finest recorders in the world Our skilled staff can revoice retune and repair even the most seriously damaged instruments All repairs are done right on the premises and most can be completed within a week
For warranty repairs please include a copy of your original sales receipt
j 65 Boylston Street Brookline MA 02445 i(617) 277-8690 Fax (617) 277-7217 servicevonhuenecom
An informative article aboutrecorder sizes in Renaissanceconsorts
Brown Adrian and David LasockildquoRenaissance Recorders andTheir Makersrdquo AmericanRecorder Vol XLVII No 1(January 2006) pp 19-31 An important article based upon Brownrsquos extensive researchon 120 of the 200 surviving 16th-century recorders
Ganassi Silvestro Opera IntitulataFontegara Ed Hildemarie Peter(Berlin-Lichterfelde RobertLienau 1959) Modern edition ofthe oldest known treatise devotedentirely to the recorder (publishedin 1535) Includes 16th-centuryfingering charts
Griscom Richard and David LasockiThe Recorder A Research andInformation Guide (New York andLondon Routledge 2003) Anannotated bibliography including
references on construction anddesign of historical recorders
Levin Philip ldquoQampArdquo AmericanRecorder Vol XXXVIII No 4(September 1997) p 27Explains in simple terms thedifference between Renaissanceand Baroque recorders
Morgan Fred ldquoA Recorder for theMusic of JJ van EyckrdquoAmerican Recorder Vol XXV No 2 (May 1984) pp 47-49Describes the bore design of arecorder suitable for playing Van Eyckrsquos variation sets andcompares it with bore designs ofother types of recorders
Myers Herbert W ldquoRecorderrdquochapter in A Performerrsquos Guide toRenaissance Music ed JefferyKite-Powell (New York SchirmerBooks 1994) A 2nd edition isnow available published in 2007by Indiana University Press
FEATURING MUSICA PACIFICA
JUDITH LINSENBERG
RECORDERS____JS BACH TRIO SONATAS Arr by
Linsenberg from Trio Sonatas for Organ BWV525-
530 Sonata No 1 in E
major (transp to B
)
BWV 525 Sonata No 2 in C minor (transp to E)
BWV526 Sonata No 3 in D minor (transp to G)
BWV 527 Sonata No 4 in E minor BWV 528
Sonata No 5 in C major (transp to F) BWV529
Sonata No 6 in G major (transp to C) BWV 530
Virgin Classics Veritas 1993
____FIRE BENEATH MY FINGERS Showcases
three legendary composers who were also
virtuoso performers Vivaldi Concerto in F major
after RV 98570 ldquoLa Tempesta di Marerdquo Sonata in
A minor RV86 Concerto in G minor RV106 Con-
certo in Bb major RV503 Sammartini Concerto in
F major Tartini Concerto in A major D91 Dorian
____MANCINI CONCERTI DI CAMERA Seven
sonatas by Francesco Mancini plus one work each
from his contemporaries Francesco Durante amp
Domenico Scarlatti Highly recommended citation
from the 2000 Vivaldi Prize for Recordings of Italian
Early Music--Giorgio Cini Foundation Dorian
____MARAIS MARIN PIEgraveCES EN TRIO POUR
LES FLUcircTES VIOLON amp DESSUS DE VIOLE
Maraiss complete works for two treble lines and
bass with varied instrumentation and orchestrations
2-CD set $24
____SCARLATTI CONCERTI DI CAMERA
Seven sonatas for various instrumentations no
poor relations to the composers much more widely-
known vocal output All recorder players should
certainly have thisndashEarly Music Review
____TELEMANN CHAMBER CANTATAS
Five cantatas from Harmonischer Gottesdienst two
sonatas from Sonatas Corellisantes 2003 Chamber
Music America WQXR Record Award for best
chamber music recordings
____VIVALDI LA NOTTE Concerti per strumenti
diversi Award-winning CD featuring five Vivaldi
concerti two sonatas
AND OTHER RECORDING
ARTISTS FROM CALIFORNIA ____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 American Bach Soloists Jeffrey
Thomas conductor Dan Laurin Hanneke van
Proosdij recorders Christmas Concerto featuring
unique 1725 London version with solos transcription
for two recorders instead of two solo violins in
three of the six concertos Delos
____CANCcedilONIEgraveR Annette Bauer recorder
multi-instrumentalist Tim Rayborn Shira Kammen
strings Phoebe Jevtovic voice in a new early
music group devoted to repertoire from the
12thndash15th centuries as well as traditional music
from related regions (the Balkans Scandinavia
Middle East) Medieval instrumental music played
on a variety of instruments including strings
recorders and percussion Medieval dances and
motets bring to life the rich world of ancient
European music-making
____SACRED AND SECULAR MUSIC FROM
RENAISSANCE GERMANY Ciaramella-Adam amp
Rotem Gilbert Doug Millikan Debra Nagy
recorders with other winds shawm sackbut amp
organ Medieval amp Renaissance sacred music with
reconstructions of folksongs amp arrangements based
on contemporary improvisation
____BURIED TREASURE TOPAZ amp SAPPHIRE
Ensemble Vermillian Frances Blaker recorders
Barbara Blaker Krumdieck cello Elisabeth Reed
gamba Katherine Heater harpsichord amp organ
Transcriptions of Buxtehudes Op 1 other pieces by
Buxtehude works by Biber Johann Schop
Schmelzer Fafarela 2007
____STOLEN JEWELS Ensemble Vermillian
Frances Blaker recorders Barbara Blaker
Krumdieck Elisabeth Reed Katherine Heater 17th-
century German music adapted by Blaker I love
violin music so I steal the music and rearrange it
for my own instrumentrdquo Buxtehude Op 1 Biber
Rosenmuller Krieger JM Bach Fafarela
Recordings
____SENFL (LUDWIG) Farallon Recorder Quartet
(Letitia Berlin Frances Blaker Louise Carslake
Hanneke van Proosdij) 23 lieder motets and
instrumental works of the German Renaissance
____DOLCE MUSICAndash A CONTEMPLATIVE
JOURNEY Eileen Hadidianflutes recorders
Natalie Cox harps Celtic Renaissance and
Medieval melodies for recorder and flute with
Celtic harp Healing Muses 2005
____REFLECTIONS MUSIC TO SOOTHE AND
UPLIFT THE SPIRIT Eileen Hadidian recorder amp
Baroque flute with Celtic harp and cello Celtic
traditional Renaissance amp Medieval melodies
Healing Muses
____AN EVENING WITH BACH Voices of Music
Hanneke van Proosdij Louis Carslake Dan Laurin
recorders Joanna Blendulf Elizabeth Blumenstock
Rodney Gehrke Lisa Grodin Katherine Kyme
Jennifer Lane Victoria Gunn Pich Susanne Ryden
William Skeen David Tayler Renaissance and
Baroque music centers on fine singing Instantly
recognizable Air on a G String Bachrsquos Prelude in
G Major (solo theorbo for rsquocello) plus lilting vocal
performancesmdashRydenrsquos weightless soprano on
Bist du bei mir Lanersquos rich alto on Es is vollbracht
____BACH amp TELEMANN SONATAS PRELUDES
amp FANTASIAS Voices of Music (Hanneke van
Proosdij Joanna Blendulf Rodney Gehrke William
Skeen David Tayler) Beautiful chamber music by
Bach and Telemann
IN STOCK (Partial listing)____ALLA TURCA FUX CALDARA BADIA
Matthias Maute amp Sophie Lariviegravere recorders
Monika Mauch soprano Vocal music of the church
accompanied by Ensemble Caprice plus sonatas
and other instrumental pieces Analekta
____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 John Daniels Sonja Lindblad
recorders Peter Sykes harpsichord Trio sonata
arrangement by Johann Christian Schickhardt
____LES
AMIS DU
BAROQUE
Paul Nauta recorder amp
Baroque flute Koen Dieltiens recorder Music by
Bassani Corelli Vivaldi etc Highlight Intl
____LES SEPT SAUTS BAROQUE CHAMBER
MUSIC AT THE STUTTGART COURT Matthias
Maute amp Sophie Lariviegravere recorders amp traverso
Ensemble Caprice Charming repertoire by
Schwartzkopff Bodino Detri Atma Classique
____TASTE OF PORTIQUE LEnsemble Portique
Early and contemporary chamber musicmdash
Bach Telemann Boismortier and others
____TELEMANN ALLA POLACCA REBELndash
Matthias Maute recorders amp traversondash
plays concerti and suites by GP Telemann Dorian
____TELEMANN CANONS AND DUOS Lisette
Kielson amp Patrick OMalley recorders LEnsemble
Portique Telemann Canons meacutelodieux amp Sonates
sans basse 2-CD set LEP Records
____20TH CENTURY MUSIC FOR RECORDER amp
PIANO Anita Randolfi recorders Music by Jacob
Bartok Leigh others for recorder amp piano
____VIVALDI AND THE BAROQUE GYPSIES
Matthias Maute amp Sophie Lariviegravere recorders
Ensemble Caprice Gypsy music taken from
Uhrovska zbierka (now Slovakia) plus Vivaldi
____VIVALDI SHADES OF RED CONCERTOS amp
SONATAS FOR RECORDER amp STRINGS Matthias
Maute recorders REBEL Stylish high octane
readings of some of Vivaldis most beloved pieces
including the popular and raucous Concerto alla
Rustica stunningly colorful Sonata on La Follia and
four exuberant recorder concerti Bridge
____WINDFIRE Charmaine Delmatier recorder
Steve Kostelnik classical guitar Terry Hale bass
Erik Hokkanen violin Refreshing mixture of Andrew
Lloyd Weber American blues flamenco Celtic and
one original piece ltwwwyermomusicomgt
Please indicate above the CDs you wish toorder and print clearly the following
Name ____________________________________
Daytime phone (_____)______________________
Address__________________________________
CityStateZip _____________________________
Check enclosed for
_____ single CDs x $____ = $______
_____ 2-CD sets x $____ = $______
TOTAL $______
Please charge the above amount to my
MasterCard Visa or AmEx
_______________________________________
Exp Date ____________
Cardholderrsquos signature ______________________
Mail to
ARS 1129 Ruth Dr St Louis MO 63122-1019 US
You may fax a credit card order to 314-966-4649
NEW You may order CDs online using PayPal at
wwwamericanrecorderorgordercdromshtm
Order your recorder discs
through the ARS CD Club
The ARS CD Club makes hard-to-find or limited release CDs by ARS members
available to ARS members at the special price listed (non-members slightly higher)
All CDs are $15 ARS members$17 Others unless marked otherwise Two-CD sets are
$24 ARS members$28 Others Add Shipping and Handling $2 for one CD $1 for each
additional CD An updated listing of all available CDs may be found at the ARS
web site ltwwwamericanrecorderorggt
The first meeting of the newly-formedFort Myers Recorder and Early
Music Ensemble was January 26 atthe Florida home of chapter rep Sue
Groskreutz For this year the groupis somewhat loosely organized andplans to meet for extended sight-reading Repertoire at the first meetingcomprised everything from Renais-sance duets to chamber music involv-ing three treble parts and continuo
Among the five musiciansattending the first meeting (photobelow front row Elizabeth Spang SueGroskreutz back row Suzanne FergusonSibylle Baumgartner Arlene Sowka) allplayed recorder three harpsichord
and one each played traverso violinand gamba Due to the scarcity ofrecorder players south of the Sarasotaarea modern string players are alsoincorporated into this ensemble
The group decided not to chargedues and to meet at Groskreutzrsquoshome For more information pleasecontact Groskreutz at 239-267-1752spgembarqmailcom Snowbirdsdrifting through the area are welcome
Last fall at the requestof a student Kay Hettich
(inset below right) taught abeginning recorder class atthe Redding (CA) Senior
Center The five-weekclass was so successful thatmost participants haveformed a bi-weekly noviceensemble (right) coachedby Hettichmdashwho consid-ers them her ldquohatchedeggsrdquo
A new batch of ldquoeggsrdquostarted to incubate when afive-week class began on February 20Other senior center members havebecome interested as they heard oftheir colleaguesrsquo success These noviceplayers comprise some who previouslyread music and played instruments as well as people who are totally new to music notation
One student has also formulated amaxim ldquoEveryone at age 40 ought tolearn to play the recorder if heshehasnrsquot alreadyrdquo Just think how theworld would be transformed byshifting our focus to music
After Lynn Whidden attendedthe Montreacuteal Recorder Festival lastfall when the ARS Board met inQuebec she joined the ARS and nowrelays news of the lively interest in therecorder exhibited by a group underthe new leadership of Brent Legg ofBrandon University in ManitobaCanada Although his hands wereldquostill partly frozenrdquo he wrote that theBrandon University Collegium
Musicum in collaboration with theWaverley Park Recorder Club is
preparing a spring concert calledldquoEnglandrsquos Golden AgerdquoRepertoire spans the 16th century
from Henry VIIIrsquos accession in 1509to the death in 1603 of Elizabeth Iand includes solo songs four- andfive-part settings of Renaissancedances (with dancers) three- to five-voice madrigals and ldquobig-bandrdquoarrangements of William Byrdrsquos TheBells and The Dargason as re-imaginedby Gustav Holst (further re-imaginedfor recorders and percussion)
Of the 15 collegium membersseven are encountering the recorderfor the first time since elementaryschool The Collegium Musicumpromotes the study of early music at the university and is open to theuniversity community and the generalpublic This year there are five com-munity participants with interest fromseveral more both within and outsideof the university For informationcontact BrentLegggmailcom
January 16 marked the thirdannual recorder workshop of threeFlorida groups the Pasco Collegium
Recorder Consort of Hudson theImperial Recorder Consort of
36 March 2009 American Recorder
Chapters
amp Consorts___________________________________Workshops and activities from
coast to coast in the US and Canada
Lakeland and the Pilgrim Pipers Recorder Consort of St Petersburg Theygathered for a morning tackling selections by Banchieri Monteverdi PurcellCorelli Mendelssohn Bach Mozart and Glen Shannon Each group presenteda piece for the other participants Sweet Georgia Brown by Ben Bernie (St Pete)a Sonata by Sammartini (Lakeland) and The Gospel Train arr by KW Ford(Pasco) The 29 participants were led by Marlene Cracraft (Pasco) Jane
Spencer (Lakeland) and Elizabeth Snedeker (St Pete) Tom Bickley (photo below) directed the fall workshop of the Mid-Peninsula
Recorder Orchestra in Cupertino CA The 30 players started with Gregorianchants written in ldquooldrdquo notation Bickley gave basic instruction on how tointerpret the notes and then had the group sing the chants prior to playing them
The workshop theme of ldquoThe Articulate Recorderrdquo was literally played out as the music presented used variations in tonguing phrasing and breathingOther repertoire included a Kyrie by Tomas Luis de Victoria Bachrsquos Jesu Joy ofManrsquos Desiring a double-choir piece by Gabrieli Christopher Tyersquos In NomineXIII and a Purcell chaconne The workshop ended with a rhythmically-challenging minimalist piece by Bickley entitled Beginning composed for theWaldorf School teacher training program George Greenwood reports that thegroup had a productive event and plans to ask Bickley to lead a future workshop
wwwAmericanRecorderorg March 2009 37
A Muse in the DesertThe sound of a pin dropping hellip thesound of eager minds and fingersabsorbing information and inspira-tion hellip the sounds of ldquoNuevaEspantildeardquo Spanish- and indigenous-influenced music of the 1600s in theNew World These were the soundsof the Desert Pipes (Phoenix AZ)chapterrsquos fall workshop given byEileen Hadidian On a Saturdaylast October 30 players from all overArizona gathered to learn from andbe inspired by the founder of a SanFrancisco Bay Area group dedicatedto sharing music for healing inhealthcare settings Healing Muses(wwwhealingmusesorg)
The day began with relaxationstretching and breathing exercisesfollowed by travels to Peruacute MexicoGuatemala and Colombiamdashhighchurch music vernacular pieces anda mixture of the two Participantsenjoyed the historical and contextualbackground provided as an overviewfor the day and for each piece
Remarkably the sound heardbetween pieces and passages was anenergy-filled quiet the attentivestillness of active engagement in theworkshop experiencemdashnot the chat-tering noodling and conversationsthat often occur when the musicstops That activity was reserved forthe breaks when participants couldenjoy the cool (at last) outdoorschat with Hadidian and peruse the popular garage sale (to benefitDesert Pipes) of previously-enjoyedbooks and other treasures
On Sunday Hadidian sharedher expertise and inspiration in indi-vidual and group coaching sessionsThe weekend was a special experi-ence and Desert Pipes memberslook forward to the next visit of this Healing Muse
Ann Koenig Scottsdale AZannisalesprocom
Members
of three
Florida
groups
met
in January
for a joint
workshop
CHAPTER NEWS
Chapter newsletter editors and publicity officers should send materials for publication toAmerican Recorder 7770 South High St Centennial CO 80122-3122
editoramericanrecorderorg Also send short articles about specific activities that haveincreased chapter membership or recognition or just the enjoyment your members get out of
being part of your chapter Digital photos should be at least 3rdquox4rdquox300dpi TIF or unedited JPG files Please send news to the AR address above and to the following
ARS Office 1129 Ruth Drive St Louis MO 63122-1019 ARSrecorderAmericanRecorderorg
and to Bonnie Kelly Chair Chapters amp Consorts Committee 45 Shawsheen Rd 16 Bedford MA 01730 bksharpaolcom
TO THE STARS
AND BEYONDThe cover of the November magazinegenerated a few comments Some werenrsquotsure how to interpret the title (in theartistrsquos native German it could besomething close to ldquostarlit moonrdquo)Longtime member Carolyn Peskin wrote to offer her vision of that cover
In the beginning the Great Spiritinvented Mr Sun to light the day andMiss Moon to light the nightHowever as Miss Moon floated up inthe sky all by herself like a big yellowballoon she began to feel very lonelyso one night to relieve her lonelinessshe decided to take out her recorderand make music
But when she started to playsomething miraculous happened Not only beautiful melodies but alsoyellow dust poured out of the bottomof her recorder and the dust particlesimmediately coalesced to form yellowstars As she continued playing moreand more stars were created and theyfloated up around her filling the nightsky
At last Miss Moon was happy fornot only was she herself able to enjoyher music but she now had a wholecrowd of starry companions to enjoy itwith her And if you listen very care-fully on a quiet night you might beable to hear her recorder and thatstarry choir humming along
Carolyn Peskin
LOCATING EARPLUGSI read with interest the QampA in theNovember lsquo08 AR regarding hearingloss and use of earplugs Where do you get musicianrsquos earplugs
Dolly Hirata Kensington CA
CAROLYN PESKIN PROVIDED THIS
INFORMATION Musicianrsquos earplugs arecustom made for individual usersThey can be purchased only fromlicensed hearing professionals (ieaudiologists and hearing instrumentspecialists) To find a licensed hearingprofessional in your area look underldquoaudiologyrdquo or ldquohearingrdquo in your localyellow pages
For information about how musi-cianrsquos earplugs are produced visitwwwetymoticcomephperme-w
tbaspx That web page also has a linkto contact information for authorizedlabs that make the custom earmolds formusicianrsquos earplugs If the yellow pagesdo not prove helpful those labs canrefer you to a licensed hearing pro-fessional in your area from whom youcan purchase musicianrsquos earplugs
MORE FROM CAROLYN
THIS TIME ABOUT OSKARIn the September 2008 AR the musicreview by Leslie Timmons of the Oskarpieces by Matthias Maute mentionedthat Carolyn Peskin had translated twoof the Oskar books from German toEnglish People can obtain thetranslations free of charge as Wordattachments by contacting her atCarolyn Peskin 3559 StrathavonRoad Shaker Heights OH 44120carolynpeskinstratosnet
ANOTHER KIND OF
MUSIC-READING
GLASSESIn the January 2009 issue of AmericanRecorder therersquos something (in myopinion) the ldquoRecorder with GlassesObbligatordquo article omitted which canenable a nearsighted musician to avoidneck strain in the use of bifocals
Irsquove found the solution to thisvexing problem is to have onersquos bifocalsconstructed differently [from] normalMy optometrist was willing to work
38 March 2009 American Recorder
Response___________________________________Two kinds of vision
the better to see with and (not) to hear with
Honeysuckle Music
Recorders amp accessories
Music for recorders amp viols
Jean Allison Olson1604 Portland AveSt Paul MN 55104
6516448545jeanhoneysucklemusiccom
Responses from our readers are welcomedand may be sent to American Recorder 7770 South High St Centennial CO
80122 Letters may be edited for length and consistency
ARS Membership Enrollment and Renewal I am a new member I am or have been a member
USCanadian Memberships Foreign Memberships $45 One Year $55 Foreign One Year $75 Sustaining (Receive a Hottetere Hands Pin) $100 Two Years $80 Two Years
LIFETIME MEMBERSHIP Single Dual Regular Lifetime Member $1000 (2) $1500 (4) 4 installments of $250 available) Loyalty Lifetime Member (1) $ 800 (3) $1200 (4) 4 installments of $200 available
(1) For members who have maintained membership for five consecutive years (2) $750 is Tax Deductible (3) $600 is Tax Deductible (4) Installments available Student Memberships Other Memberships (Enclose proof of full time enrollment) $65 One Year Workshop Membership
$25 USCanadian One Year $125 One Year Business Membership $45 USCanadian Two Years $30 Foreign One Year $5 Additional Charge for Dual Address or Dual Name
Do not list my name in the ARS Print Directory Do not list my name on the ARS Online Directory Do not release my name for recorder related mailings Do not contact me via email
My address telephone and email address are the same as last time
______________________________________ _________________________ Name Phone Number ______________________________________ _________________________ AddressCityStatePostal Code Email Address Please charge to (Circle one) VISAMasterCardAMEXDiscover CC________________________________ Expiration Date ______________ Signature of cardholder_______________________________________________________ Clearly Print Name as it appears on Card________________________________________
Renew by Mail Online By Phone or by Fax
Demographic Information (optional information collected only to enhance ARS services and provide statistics to grant makers)
I am a member of ARS Chapter or Consort____________________________ I am the Chapter Contact Your age Under 21 (21-30) (31-40) (41-50) (51-60) 61-70) (71+) Please check all that apply
I am a Professional Recorder Performer
I wish to be included in the list of Recorder Teachers in the ARS Directory and website I Teach (circle your choices) Children High School Youth College Students Adults Beginner Intermediate Advanced Pre-Professional Individuals Childrenrsquos Classes Adult Classes Ensembles Suzuki Orff JRS Leader Kodaly Where I Teach (circle your choices) Music Studio Public or private school Community Music School College Other _____________________
American Recorder Society 1129 Ruth Dr St Louis MO 63122-1019
Phone 314-966-4082Fax 314-966-4649
TollFree 800-491-9588ARSRecorderAmericanRecorderorg
wwwAmericanRecorderorg
with me [to find] an ideal (for me)placement size and focal length of thebifocal lens
Before visiting the optometristIrsquod had my wife measure the distancefrom my eyes to the music on mymusic stand With this measurementthe optometrist set up her machine toprepare a vision prescription for memaximized for this reading distance
When I look at my bifocals (withthem off) the lenses (through which Iread my music) occupy most of thelower two-thirds of my glasses (they are set very high and beginimmediately at the inner rims) Thisleaves the upper third and smallportions of the outside [of each lens]for focusing on the conductor As longas my stand is set low enough my necknever experiences any strain (even if Ihave to read three to a part) and Irsquove no problem in seeing theconductor (in sharp focus) either
For me trying to use glasses [toread] from a music stand [that] weredesigned for use in reading from acomputer screen also results in neckstrain (not to mention unreliability in aldquopressurerdquo situation) Having studiedTai Chi extensively and so being
wwwAmericanRecorderorg March 2009 39
There are lots ofsolutions to thepresbyopic musicianrsquosproblem but all involve compromises
40 March 2009 American Recorder
American Recorder Society PublicationsErich Katz Contemporary Music Series Members Non-MembersA Short Tale for Two Basses Suzanne M Angevine (Level II) (2 scores) $5 $8Dialogue and Dance Cecil Effinger (SATB)(Level II-III) (score amp parts) $10 $18Dorian Mood Sally Price (SATB) (Level II) (score amp parts) $10 $18Double Quartet for Recorders Peter Ballinger (Level II-III) (score amp parts) $10 $18Entrevista Frederic Palmer (SATB) (Level II) (2 scores amp 4 recorder parts) $8 $14Kyrie and Vocalise for Soprano Voice ampRecorders Stanley W Osborn $8 $14
(SATB) (Level II) (2 scores amp 4 recorder parts) Picnic Music Jeffrey Quick (SATB) (Level II) (score amp parts) $5 $8Six Short Pieces for Three Recorders edited by Alan Drake $8 $14
(3 scores) Vaclav Nelhybel (AATT) (Level II)Sonatina for Alto Recorder and Piano Anthony Burgess $7 $12
(Level II) (2 scores)Sonatine for Three Altos Lee Gannon (Level III) (score amp parts) $14 $26Suite of Jewish Folk Tunes Erich Katz (S SA8 AT) (Level II) (three scores) $10 $18
Musical Editions from the Membersrsquo Library ARS members 1 copy-$3 2 copies-$450 3-$6 4-$750 5-$10 6-$1150Non-members (editions over 2 years old) 1 copy-$5 2 copies-$850 3-$12 4-$15 5-$1950 6-$23The ARS is happy to provide photocopied enlargements of any Membersrsquo Library edition at the same prices Please specify ldquoMembersrsquo Library Enlargementrdquo
ARS Information BookletsARS members 1 booklet-$13 2 booklets-$23 3-$28 4-$35 5-$41 6-$47 7-$52Non-members 1 booklet-$18 2 booklets-$33 3-$44 4$55 5-$66 6-$76 7-$86
Education PublicationsThe ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996)
First copy free to ARS Members (mailed to new members as they join) replacement copies $3Guidebook to the ARS Personal Study Program (1996) Material formerly published in the Study Guide
and Study Guide Handbook plus additional resources Members $11 non-members $20ARS Music Lists (2002 with 2003 Supplement) Graded list of solos ensembles and method books
Members $9 non-members $15Package Deal available only to ARS members Guidebook and Music ListsSupplement ordered together $16Junior Recorder Society Leaderrsquos Resource Notebook
ARS members $20 non-members $40 (updates at reduced rates after initial purchase)$5 Dues for each JRS student member sponsored by an ARS member ($4 each for groups of 10+)
VideosRecorder Power Educational video from the ARS and recorder virtuoso John Tyson
An exciting resource about teaching recorder to young students ARS members may borrow a copy for onemonth by sending $5 to the ARS office along with the address to which the tape should be shipped
Pete Rose Video Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music Festival recitalFeatures Rose performing a variety of music and an interview of him by ARS member professional John Tyson
Other PublicationsChapter Handbook A resource on chapter operations for current chapter leaders or those considering forming an
ARS chapter ARS members $10 non-members $20 (updates free after initial purchase) One free copy sent toeach ARS chapter with 10 members or more
Consort Handbook Resource on consort topics such as group interaction rehearsing repertoire performingARS member prices CD $10 hard copy $20 combo price of CD and hard copy ordered together $25
Discography of the Recorder Vol I (1989) Compiled by Scott Paterson and David LasockiDiscography of the Recorder Vol II (1990-1994) Compiled by Scott Paterson
Either single volume ARS members $23 non-members $28Both Discography volumes together ARS members only $40
American Recorder Cumulative Index for Vols I-XXXX ARS members $20 non-members $32Index Supplement Vol XXXIV-XXXX ARS members $8 non-members $14
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Please make checks payable to ARS VISAMCAMEXDisc also accepted
ARS 1129 Ruth Drive St Louis MO 63122 US800-491-9588 ARSrecorderAmericanRecorderorg
Arioso and Jazzy Rondo (AB) Carolyn PeskinBerceusendashFantaisie (SATB) Jean BoivertBrucknerrsquos Ave Maria (SSATTBB)
Jennifer W Lehmann arrCanon for 4 Basses (BBBB) David P RuhlDancers (AT) Richard EastmanDifferent Quips (AATB) Stephan ChandlerElegy for Recorder Quartet (SATB) Carolyn PeskinElizabethan Delights (SAATB)
Jennifer W Lehmann arrFallen Leaves Fugal Fantasy (SATB) Dominic BohbotFour Airs from ldquoThe Beggarrsquos Operardquo (SATB)
Kearney Smith arrGloria in Excelsis (TTTB) Robert CowperIdyll (ATB) Stan McDanielImitations (AA) Laurie G AlbertsIn Memory of Andrew (ATB) David GoldsteinLay Your Shadow on the Sundials (TBgB)
Terry Winter OwensLeClercqrsquos Air (SATB) Richard E WoodLittle Girl Skipping and Alouette et al (SATBCb)
Timothy R Walsh
Los Pastores (SAAAT + perc) Virginia N Ebinger arrNew Rounds on Old Rhymes (4 var) Erich KatzOther Quips (ATBB) Stephan ChandlerPoinciana Rag (SATB) Laurie G AlbertsSanta Barbara Suite (SSAAT) Erich KatzSentimental Songs (SATB) David Goldstein arrSerie for Two Alto Recorders (AA) Frederic Palmer Slow Dance with Doubles (2 x SATB) Colin SterneSonata da Chiesa (SATB) Ann McKinleyS-O-S (SATB) Anthony St PierreThree Bantam Ballads (TB) Ann McKinleyThree Cleveland Scenes (SAT) Carolyn PeskinThree in Five (AAB) Karl A StetsonTracings in the Snow in Central Park (SAT)
Robert W ButtsTrios for Recorders (var) George T BachmannTriptych (AATB) Peter A RamseyTwo Bach Trios (SAB) William Long arrTwo Brahms Lieder (SATB) Thomas E Van Dahm arrVariations on ldquoDrmešrdquo (SATB) Martha BishopVintage Burgundy (SASATT)
Jennifer W Lehmann arr
Adding Percussion to Medieval and Renaissance Music Peggy Monroe
American Recorder Music Constance PrimusBurgundian Court amp Its Music Judith Whaley coord
Improve Your Consort Skills Susan CarduelisMusic for Mixed Ensembles Jennifer W LehmannPlaying Music for the Dance Louise AustinRecorder Care Scott Paterson
acutely aware of any kind of neckstrain when it begins to develop these ideas have been a big help to meIrsquom hoping they may be of help toother musicians as well
Best wishes to you And inanswer to your questionmdashyes the new[AR] format (with more white spacebetween the lines) is much easier toread (in my opinion)Your magazinejust keeps getting better and better
Very sincerely Ed Green WestSuburban (Chicago-area) Chapter
RESPONSE FROM DR BILL LONG
What Ed describes is a variant of theuse of conventional bifocals as musicglasses described on page 8 in thearticle Instead of lowering his musicstand into the field of view of hisbifocal segment Ed and his optome-trist have fabricated special purposebifocals with the segment really highso he can focus on his music instraight-ahead view That approachrestricts his distance vision to an areaabove his usual line of sight whichseems to work for Eds playing setup
Eds comments on the difficultiesin using conventional progressiveaddition lenses as music lenses con-firm what I said on page 9 Thats whymanufacturers have marketed special-ty progressive lenses designed specif-ically for intermediate distance taskslike computer use and playing music
There are lots of solutions to thepresbyopic musicians problem but all involve compromises The key toevaluating those compromises andchoosing the best solution for yourselfis to understand your needs and toenlist the help of a sympathetic visioncare specialistmdashjust as Ed did
Please change your
browserrsquos favorites list
AR online is now at wwwameri
canrecorderorgmembership
magazinehtm Send news to
editoramericanrecorderorg
FOUR FOUR-PART CANZONAS
(1608) BY GIOVANNI GABRIELI
ED GREG LEWIN Hawthorns Music RB 16 (Magnamusic) 1999 SATBSc 16 pp pts 4 pp $1950
Giovanni Gabrieli was probablyborn between 1554 and 1557 in theparish of San Geremia in Venice Thedetails of his early life are sketchy butit appears that he was born Giovannidi Fais and later changed his name toGabrieli out of respect to his uncleAndrea with whom he shared a closerelationship In fact in 1587 Gabrielidescribed himself ldquoas little less than asonrdquo It is commonly thought thatAndrea provided Giovanni with hisearly musical training Andrea whohad spent some time in Munichstudying under the great Orlando deLassus sent Giovanni to Munich for a similar period of study in theearly 1570s
Gabrieli remained in Munichuntil the death in 1579 of the dukeAlbrecht V who had been Lassusrsquosemployer for a number of years andwho was an enthusiastic patron of the arts particularly music With hisdeath a number of musicians lost theirjobs it seems as if Gabrieli were also a victim of such culling of talent(Within a generation the tide wouldturn and the Munich court wouldagain hire Venetian expatriates such as Priuli Valentini and Neri)
Upon his return to VeniceGabrieli was hired as a temporaryorganist at San Marco his positionbecoming permanent in 1585 For a few months that year uncle andnephew served together as first and
second organists in the chapel of thedoge In Giovannirsquos absence fromVenice there had been a plague thathad decimated the ranks of theprofessional musicians Andrea setabout rebuilding his forces at SanMarco by hiring a full-time windband consisting of Girolamo dallaCasa a renowned cornettist andviolist his two brothers who playedsackbut and later the cornett virtuosoGiovanni Bassano Giovanni Gabrieliaugmented these forces with addi-tional players and began composingthe large-scale ceremonial music forwhich he is so well known today
Giovanni was also elected to bethe organist and composer to theconfraternity of San Rocco in 1585and it is now thought that his largestpieces were intended for that venuewith its large central gallery andfrescos by Tintoretto instead of SanMarco Gabrieli held both thosepositions at the basilica of San Marcoand the Scuola Grande di San Roccountil he died in 1612 of a kidney stone
Although best known today forhis ceremonial and festival musicGabrieli was at home in smaller-scaleformats as well These four four-partcanzoni are taken from the 1608publication by the Venetian publisherAlessandro Raverji Canzoni per sonarecon ogni sorte di strumenti These werevery popular pieces to judge by themany collections in which they appear
Additionally like Gabrielirsquoskeyboard music they are found inother arrangements These four-partcanzoni lie well under the fingers inarrangements for keyboard and lute
As seen from the title Gabrielispecified no instrumentation but like asimilar edition of madrigals and battlepieces from a few years earlier a dis-tinction was made that they wereintended for wind instruments almostcertainly cornetts and sackbuts
Recorders were not unknown in Venice they were used regularly inthe confraternity of San GiovanniEvangelista where Giovanni BattistaRiccio was organist
These pieces are relativelysimplemdashplayable by beginning tointermediate ensembles They aremostly contrapuntal (with a fewhomophonic sections) and have few rhythmic eccentricities
These canzoni are found in manymodern brass editions but there arefew editions available to the recorderplayer This edition by Greg Lewin ofHawthorns Music might be consid-ered a ldquobare-bonesrdquo edition There islittle background information andeditorial practices are not specified
The music itself has a handwrittenlook that can be distracting but is easyenough to read Lewin has thought-fully supplied phrasing marks that willbe helpful for ensembles unused tothis style of music
Music
Reviews___________________________________ Infectious music created in spite of the plague
wwwAmericanRecorderorg March 2009 41
This is a good edition
for small ensembles that
canrsquot get eight players
together to play
Gabrielirsquos more famous
eight-part canzoni
42 March 2009 American Recorder
The parts are four pages but mycopy had all four pages printed on avery large page This is not a problemand there are no page turns
This is a good edition for smallensembles that canrsquot get eight playerstogether to play Gabrielirsquos morefamous eight-part canzoni Thesesmall-scale pieces are by no meansinferior to Gabrielirsquos more elaboratemusic and deserve to be better known
7 CANZONEN (1637) BY
TARQUINIO MERULA ED JOACHIM
ARNDT WITH CONTINUO REALIZATION
BY CLAUDIA SCHWEITZER MieroprintMusikverlag EM2088 (availabledirectly from wwwmieroprintcom)2005 SS or TT bc Sc 24 pp pts 8 pp$28
Tarquinio Merula was bornaround 1595 in either Busseto orCremona in Italy As was the case withso many composers of the day either alack of regular employment or a rest-less nature took him from his home inCremona to as far away as Warsaw He is found as the organist of thechurch and the chambers to the kingof Poland Sigismund III in 1624
Merula was one of the leadingexponents of the relatively new con-certante style pioneered by ClaudioMonteverdi and others in the seconddecade of the 17th century and may be described as one of the earliestBaroque composers His compositionsin the concertante style are fresh andunforcedmdashhe was born into this styleand didnrsquot encounter it as somethingnew as was the case with so many ofMonteverdirsquos contemporaries
After several years of peripateticexistence Merula found regularemployment in 1631 in Bergamo atthe church of San Maria MaggioreThe prior holder of the post of maestrodi cappella Alessandro Grandi haddied the previous year in the plagueMerula had signed a three-year
contract but by December 1632 hewas terminated with accusations thathe had molested several studentsMerula threatened a lawsuit to recoverhis lost wages but that threat wascountered with a pending criminalcharge lodged by the board ofgovernors of San Maria Maggiore By mid-1633 the matter was settledwith an apology from Merula and astatement that he relinquished allclaims to his salary
He then returned voluntarily toCremona where he stayed until 1635By 1638 Merula was once again inBergamomdashthis time as maestro dicappella and organist in the cathedralnext to San Maria Maggiore Asmight be expected there was con-siderable tension between the twochurches eventually resulting in theboard of San Maria Maggioreforbidding their musicians to perform under Merularsquos direction
He returned in 1646 to a familiarCremona post which he had heldthree times in various years and wherehe now settled downmdashthat of organistand maestro di cappella for Laudi dellaMadonna services in which he ledmusic at the main altar on Saturdaysand on vigils of Marian feasts
None of his employment issues
prevented the Pope from awardinghim the Order of the Golden SpurMerula was also elected to theAccademia dei Filomusi in BolognaHe died in 1665 in Cremona
His existing compositions showthe products of a lively mind Hisworks range from sacred songs andmotets to purely instrumental piecesnotably the ever-popular variations onvarious ground basses It is knownthat Merula was an accomplishedviolinist as well as a fine organist Hissurviving instrumental writing showsa predilection for strings In fact hewas one of the earliest composers tospecify string accompaniments tosacred motets
Merularsquos pieces look backwardtoward some of the more progressiveVenetian composers such as Monte-verdi while looking forward to thehigh Baroque with his innovative style
These seven canzoni like theearlier-published chaconne (EM2084)come from Merularsquos third bookpublished in 1637 CANZONI overo SONATE CONCERTATE perchiesa e camera a due et a tre delcavaliere This collection typifiesMerularsquos output pieces based onRenaissance-era ground basses arefound next to more ldquomodernrdquo sonatas
The original edition specifiesviolins and basso continuo This newedition is intended for recorders thespecific choice of which is up to theplayers Due to the relatively hightessitura tenor recorders work best inthese pieces (although listed as analternative soprano recorders tend to be on the screechy side)
Not surprisingly given Merularsquosskill as an organist the continuo partneeds a keyboard instrument forsuccessful realization Instead of beinga purely accompanying part the bassocontinuo part is an equal partner in these pieces the canzona ldquoLaRuggierardquo opens with a run that therecorders echo a few measures later
A more recorder-specific
edition intended for
altos would have been
ideal There is nothing
preventing the more
adventurous and
industrious players
from making their
own editions of this
delightful music
mentioned were a bit shrill A morerecorder-specific edition intended foraltos would have been ideal There isnothing preventing the moreadventurous and industrious playersfrom making their own editions of thisdelightful music
Prior to playing the previouslypublished chaconne I had notencountered MieroprintMusikverlag Mieroprintrsquos extensivecatalog has an equal focus on newmusic for recorders and on editions ofBaroque masters with emphasis on therecorder and flute Due to the lack of
wwwAmericanRecorderorg March 2009 43
are also available at
The Early Music Shop
of New England
Brookline MA
AESTHEacute
367-b de la Briquade
Blainville Queacutebec
Canada J7C 2C7
tel (450) 979-6091
wwwboudreau-flutesca
A bass viola da gamba or rsquocello is not necessary for these pieces and may infact make them sound heavy and ponderous rather than light and breezy as thismusic seems to be
More so than the above-mentioned chaconne these canzoni are written in avery idiomatic violin style with multiple examples of arpeggios In particular thecanzona ldquoLa Trecchardquo contains a notated example of a string tremolo figurerecurring through the piece ldquoLa Trecchardquo also dips well below the range of a Crecorder going down to low G the lowest string on the violin The editors havesupplied no alternative notes preferring to let the performers to fend forthemselves (in practice we took this passage up an octave with no problems)
The two recorder parts require virtuosity These upper parts are demandingwith the players needing to double-tongue in unison in order to negotiate themany runs of 16th notes and the shared rhythmic ldquolicksrdquo The harmoniclanguage unlike much of Merularsquos music is undemanding and contains none of the harmonic crunches for which he is famous
This is wonderful music that needs a couple of advanced recorder players fora successful performance The string idiosyncrasies can be overcome by advancedplayers and many of the editions of the era (although not this one) list thecornetto as an alternative to the violin so the use of wind instruments in the solo literature of the early Baroque was not unknown
Our experience with this edition left us with the opinion that these pieceswould have been better if transposed down a minor third so as to fit on a pair ofalto recorders (as is the case with much Baroque flute music to make it lie betteron the recorder) The tenors we used tended to sound a bit murky in the lowerregister next to the more aggressive harpsichord while the sopranos we tried as
KEY rec=recorder Srsquoo=sopraninoS=soprano A=alto T=tenor B=bassgB=great bass cB= contra bass Tr=treble qrt=quartet pf=piano fwd=foreword opt=optional perc=percussionpp=pages sc=score pt(s)=part(s)kbd=keyboard bc=basso continuohc=harpsichord PampH=postage andhandling Multiple reviews by one reviewerare followed by that reviewerrsquos name Pleasesubmit music for review to AR 7770 SHigh St Centennial CO 80122-3122 US
an American distributor this musicwill be hard to findmdashin fact can befound only at the time of this writingon their web site noted above But theeffort will be repaid
This edition is clear and easy toread and the parts require no pageturns The basso continuo realizationis simple and elegant
This is music deserving ofrediscovery My only quibble is thatthe editorial notes are all in GermanThis seems to be the practice ofGerman music publishers with thenotable exception of Moeck Otherpublishers of early music such asLondon Pro Musica routinelyprovide notes in English and German and often in French and Italian making their editionsaccessible to a wider audience
Frank Cone studied the recorderwith the late Ellen Perrin the viola dagamba with Carol Herman and thecornetto with Larry Johansen TheCalifornia multi-instrumentalist has been a member of the Orange CountyRecorder Society since 1985
Advertiser Index
AMERICAN ORFF-SCHULWERK ASSN 3
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AMHERST EARLY MUSIC FESTIVAL 17
STEPHAN BLEZINGER 24
JEAN-LUC BOUDREAU 21 39
BOSTON EARLY MUSIC FESTIVAL 7
CANTO ANTIGUO EARLY MUSIC WORKSHOP 13
COURTLY MUSIC UNLIMITED 20
EARLY MUSIC AMERICA 8
HONEYSUCKLE MUSIC 34
BILL LAZARrsquoS EARLY MUSIC 26
KEITH E LORAINE EARLY DOUBLE REED SERVICE 35
LOST IN TIME PRESS 11
MADISON EARLY MUSIC FESTIVAL 12
MAGNAMUSIC DISTRIBUTORS BC
MOECK VERLAG IFC
MOLLENHAUER RECORDERS IBC
PORT TOWNSEND WORKSHOP 14
PRESCOTT WORKSHOP 30
PROVINCETOWN BOOKSHOP 26
THE RECORDER MAGAZINE 4
THE RECORDER SHOP 6
SAN FRANCISCO EARLY MUSIC SOCIETY 18
SWEETHEART FLUTE CO 3
TEXAS TOOT 20
VON HUENE WORKSHOP INC 30
WICHITA BAND INSTRUMENT CO 21
DOMINIK ZUCHOWICZ 34
CONSIDER ADVERTISING IN
Full page $55223 page $43912 page $36613 page $28614 page $22316 page $17518 page $127112 page $ 951 column inch $ 58
Prices include web sitee-mail link directly from your ad in the online AR at wwwamericanrecorderorg
Circulation Includes the membership of theARS libraries and music organizations
Published five times per year January March May September November
Reservation Deadlines December 1 (January) February 1 (March) April 1 (May) August 1 (September) October 1 (November)
Rates good through November 2009 Pleaseinquire about discounts on multiple-issuecontracts inserts or other special requestsExtra charges for typesetting layout half-tones and size alterations 133-line screenrecommended Advertising subject toacceptance by magazine First-time adver-tisers must include payment with order
For more information contact the ARS office 1129 Ruth Drive St Louis MO63122-1019 800-491-9588 toll free 314-966-4082 phone 314-966-4649 faxadvertisingamericanrecorderorg
44 March 2009 American Recorder
Classified___________________________________
FOR SALE Cherrywood hurdy gurdy and hard-side case made by Kelischek bought 2005Originally $765 plus $89 for case Rarely usedBoth for $450 or make offer Please contact marjalocomcastnet Can ship
ASPIRE ANNOUNCE INSPIRE Afford-able PR for teachers and recitalists wwwrecitalroomcom
PHOTOS NEEDED of ARS events 1970sndash1990sto illustrate last chapters of Martha Bixlerrsquos histor-ical memoir about the ARS (to be posted online)E-mail scanned photos (300dpi JPG or TIF)arsrecorderamericanrecorderorg Hardcopies mail to ARS office to be scanned ampreturned Info 800-491-9588
T-SHIRT FOR ENSEMBLE PLAYERS to wear orshare Top 10 Reasons Why I Got Lost Wrongfingering bad lighting etc on blue cotton shirt$18 Highlighter tape and other goodies Beth amp Lindas Boutique as seen at BEMF CallLinda at 617-671-8694 or e-mail for brochurelindakushverizonnet
Where the havesand have-nots
of the recorder world can find each other
Classified rate for American Recorder 60centper word ten-word minimum ldquoFOR SALErdquoand ldquoWANTEDrdquo may be included in thecopy without counting Zip code is oneword phone e-mail or web page is twoPayment must accompany copy Deadlinesare one month before issue date Send copywith payment to ARS 1129 Ruth Drive St Louis MO 63122-1019
AMERICAN RECORDER (ISSN 0003-0724) 1129 Ruth Dr St Louis MO 63122-1019 is publishedbimonthly (January March May September and November) for its members by the AmericanRecorder Society Inc $20 of the annual $45 US membership dues in the ARS is for a subscriptionto American Recorder Articles reviews and letters to the editor reflect the viewpoint of their individ-ual authors Their appearance in this magazine does not imply official endorsement by the ARS
EDITORIAL DEADLINES November 15 (January) January 15 (March) March 15 (May) July 15(September) and September 15 (November) Submission of articles and photographs is welcomedArticles may be typed or sent as an attachment (Word or RTF preferred) to or text in an e-mail mes-sage They should be for the exclusive consideration of AR unless otherwise noted Photos may besent as prints or unedited JPG or 300dpi TIF files (minimum 3rdquox4rdquo) Advertisements may be sent inPDF or EPS format with fonts embedded
EDITORIAL OFFICE Gail Nickless Editor 7770 S High St Centennial CO 80122-3122 303-794-0114 (phone amp fax) editoramericanrecorderorg Books for review Editorial office Musicfor review Editorial office Recordings for review Tom Bickley 1811 Stuart St Berkeley CA 94703Cutting Edge Tim Broege 212 Second Ave Bradley Beach NJ 07720-1159 Chapter newslettersother reports Editorial office Postmaster Send address changes to ARS 1129 Ruth Drive St LouisMO 63122-1019 Periodicals postage paid at St Louis MO and at an additional mailing office
Chapter leaders
We know yoursquore out there
and that you want to share
your plans concerns
solutions and ideas with
other chapter leaders Visit
httpamericanrecorder
societywikispacescom
14 March 2009 American Recorder
my musical projects with renewed energy and enthusiasmI had the time not only to practice the Bach suites butalso to really study them in depthmdashanalyzing themlistening to and comparing different recordings andworking on my transcriptions of them Although it wasnrsquotpart of my original intention I now have a plan to publishmy arrangements of these pieces so theyrsquoll be available forothers to perform (While Frans Bruumlggen published hisarrangement of the first three suites in the 1970s to myknowledge there is only one other recorder editioncurrently available whose approach is quite different from mine)
I wasnrsquot however living in total isolation while at SitkaThere were artist residents of other media as well Kim awriter from New York state John and Robin a marriedcouple who were ceramicists from Washington state andtheir three daughters and Claudia an installation- andperformance-artist We became a community socializingwhen we werenrsquot working (and sometimes even when wewere) going on excursions to see the glorious naturalwonders of the Oregon coast having dinners together inour various residences and talking about our work
The setting provided the perfect atmosphere for theexchange of ideas and we began to collaborate on mutualprojects sometimes in unexpected ways Robin startedmaking ocarinas and I worked with her to design and tunethem While I immersed myself in Bachrsquos solo music flutesand musical themes began to appear in the images shepainted on her ceramic pieces Often after wersquod hung outtogether in the evening depictions of the stories I told herwould show up in her paintings over the next few daysFanciful illustrations of me playing to my dog Jake evenmade several appearances in her work (The photos aboveshow the ocarina she made for me)
Toward the end of my stay I also began collaboratingwith Claudia the installation artist Her work was creatinginstallations out of plastic bags fastened together to formdifferent naturalistic shapes which she then set up invarious locations around the Sitka campus and nearby
areas Together we created a performance piece that wepresented at the Open House at the end of our residenciesI provided music to accompany a performance that tookplace within her installation We worked together on usingthe music to express the various ideas in the installation andperformance and using the performance to express themusic in a visual way
Bachrsquos music can be very evocative and I chosemovements from the Bach suites that suggested the variousparts of the narrative she performed part of a slow preludeto depict nascent creatures emerging in a forest a C-majorbourree while they are coming to life a C-minor onesuggesting turmoil a fast 16th-note passage representingflight as they grow wings and fly and finally a wistfulsarabande as they gradually die away and disappear As in a ballet each medium enhanced the other and the wholebecame more than the sum of its parts illuminatingdifferent aspects of each and creating a more profoundeffect than either might have independently
During the Sitka open house Linsenberg plays
in an installation of plastic bag ldquocreaturesrdquo
There were other opportunitiesfor me to present the music I wasworking on Around the midpoint ofmy stay there I performed in a concertmarking the start of the annual Windsand Waves weekend workshop Iplayed one of my Bach suites thoughit was still a work in progress
The next day about 45 recorderplayers descended upon our quiet littleenclave turning it into a hubbub ofactivitymdashquite a change from the low-key atmosphere of the prior severalweeks Once I got over the initialculture shock of the influx of so manypeople I thoroughly enjoyed meetingand working with all of them A class I offered on the Bach suites enabledme to share some of the work Id beendoing conversely I got input from thestudents I taught that made me thinkdifferently about the piecesmdashforexample what about playing them on a subcontrabass recorder
Shortly after the workshop theSitka residents held a communityoutreach day at which we each demon-strated our work to children from anearby school I had been working onsome contemporary pieces withnaturalistic themes (fitting for thesetting) and this event gave me theopportunity to play some of them forthe kids They were fascinated by theextended techniques used to imitatebirds and other animals and of courseVan Eyckrsquos ldquoEngels Nachtegaeltjerdquowas a hit with them as well
As hard as it was for me to getused to Sitka and the residency at thebeginning of my stay it was evenharder to leave My departure datecame too soon Irsquod had time to finishtranscriptions of only three of thesuites
Saying good-bye to all the friendsIrsquod made theremdashthe other artists aswell as the recorder players Irsquod metmdashwas hard enough but leaving the
beauty of the place and the peace Irsquodfound there saddened me greatly
Sitka had changed me and ittransformed my relationship to themusic I played as well My experienceallowed me to tap into a deep placeinside myself in a way that I never hadbefore something I was then able tocommunicate through the music I wasplaying Bachrsquos music turned out to bethe perfect vehicle because it expressesin sound the same grandeur spiritu-ality and universalitymdashas anyone whohas heard a live performance of the B-minor mass can attestmdashas does theview from the top of Cascade Head
Since the conclusion of myresidency I have given severalperformances of the rsquocello suitesincluding some lecture-recitals onthem and on my arrangements moreare planned Irsquove begun working withstudents of instruments other than therecorder who are studying the rsquocellosuites And I continue to work on myarrangementsmdashalas five weeks wasjust not long enough to learn andadapt all six suites although I do plan to publish them in the future
My work at Sitka also inspired meto pick up a project I started over 10years ago but never brought tofruition preparing my arrangementsfor recorder violin and continuo of thesix Bach organ trios (that I recorded in1992) to be published soon by PRBProductions And I have no doubt thatthe Sitka experience will continue towork on me in ways Irsquom not evenconsciously aware of at this time
I would like to give my deep and heartfelt thanks to the followingindividuals and organizations to the
Sitka Center for making my stay there sowonderful and to its founders Jane andFrank Boyden who had the vision tocreate this magical place to the members ofthe Oregon Coast Recorder Society fortheir generosity in creating and sponsoringthe recorder residency to the ARS for its financial support and to my wonderfulstudents who made it possible for me toparticipate in this life-changing experience(you know who you are)
wwwAmericanRecorderorg March 2009 15
Lost in Time Press
New works andarrangementsfor recorder ensemble
Compositions byFrances BlakerPaul AshfordHendrik de Regtand others
InquiriesCorlu CollierPMB 3092226 N Coast HwyNewport Oregon 97365wwwlostintimepresscomcorluactionnetnet
Sitka had changed meand it transformed my relationship to the music I played as well
MARIN HEADLANDS
RECORDER WORKSHOP
Point Bonita YMCA near San Francisco CA
May 15-17
With each coming tide of that mightymetronome the Pacific Ocean and withspring peeping soon our MarinHeadlands Recorder Workshop 2009perched at the edge of the ocean andembraced in greenery gets nearer Againthis workshop will swell with harmoniesof recorders viols and perhaps apsaltery or drum Intermediate andadvanced players are warmly invited tojoin members of the sponsoring EastBay Chapter of the ARS a SFEMSaffiliate at this annual musical event
Music-making begins on Friday andcontinues through Sunday afternoon
including also one- and two-day options
This yearrsquos faculty includes a wonderfulmix of familiar and new faces DavidBarnett Tom Bickley Louise CarslakeRobert Dawson Lisa DykemanFrances Feldon Judith LinsenbergPeter Maund Fred Palmer and Glen Shannon
Music offerings will range from easilyplayable to challenging from delightfulPurcell and Renaissance music to jazzto works by a (very) living composer(led by the chap himself) Check theEBRS web site for updates
The workshop is held at the PointBonita YMCA one of very few publicfacilities on this largely undevelopedarea of California coast Set in a meadowwith short walks to Pacific Ocean vistasthe historic Point Bonita Lighthouseand remnants of WWII fortifications
it is a place to get away recharge andmeet new friends or re-connect withold The accommodations includedormitory-style rooms a large diningarea and playing spaces all on one levelRooms are also available for impromptuplaying sessions
Contact Anna Lisa Kronman
37 Meadow View Rd Orinda CA
94563 925-258-9442
annalisakronmangmailcom
symbolicsolutionscomebrs
BLOOMINGTON EARLY
MUSIC FESTIVAL
Bloomington INMay 15-25
Performances of Medieval RenaissanceBaroque and Classical music as well aseducational programs for concertgoersamateur performers and childrenPlease see BLEMForg for details
Contact Carol Huffman
PO Box 734 Bloomington
IN 47402 812-824-2412
specsorffyahoocom blemforg
WHITEWATER EARLY
MUSIC FESTIVAL (ARS)
University of Wisconsin Whitewater WI
June 5-7Directors Nancy Chabala Carol Stanger Pam Wiese
Our workshop is held on campus at theUniversity of WisconsinndashWhitewaterabout 60 miles SW of MilwaukeeClasses include focus and specialty areainstruction for all levels of recorderplaying as well as beginningmdashconsortviola da gamba wind band voicerecorder orchestra and mixed consort A variety of special interest classes onFriday evening and Saturday eveningparticipant gathering led by LouiseAustin The various classes include
16 March 2009 American Recorder
Summer Workshop Summer-y
The Madison Early Music Festival presents
Telescopic Vistas MEMF X and Music of the SpheresCelebrating the International Year of Astronomy
July 11-18 2009
Guest Artists amp Ensembles Faculty Recorder Artists Quicksilver with Marion Verbruggen Joan Kimball Piffaro The Renaissance Band Priscilla Smith The Newberry Consort Marion Verbruggen Venere Lute Quartet Robert Wiemken
Explore music from the days of Galileo and Kepler Celebrate the influence of astronomy on society arts and culture
in the 15th through 17th centuries
Our tenth anniversary festival features a seven-concert series and a week-long workshop with classes and ensembles for participants of all levels
For more information please call (608) 263-6670 or visit wwwmemfdcswiscedu
music from Medieval to modern
Several musicinstrument vendors onsite Dale Taylor will be on site forrepairs All ages are welcome as well as non-participants
Faculty includes Dale ArmentroutLouise Austin David Echelard CharlesFischer Shelley Gruskin LisetteKielson Laura Kuhlman PatrickOrsquoMalley Tulio Rondon KarenSnowberg Mary Halverson Waldo andTodd Wetherwax Brochures available
Contact Nancy Chabala
8609 45th St Lyons IL 60534-
1616 708-442-6053 (day)
630-789-6402 (fax)
nchabalamymailstationcom
(housingregistration)
thewiesessbcglobalnet (mailing
scholarships) cvstangeraolcom
(facultyfacilities)
INTERLOCHEN EARLY MUSIC
WORKSHOP
Interlochen Center for the Arts Interlochen MI
June 7-12 Director Mark Cudek
Make and enjoy Medieval andRenaissance music while learning new skills and techniques
Topics will include articulationornamentation improvisation andensemble arrangement in Medieval and
Renaissance music The workshopculminates with a participantperformance on period instruments such as recorders and other early windsviols lutes harpsichord and percussionVocalists are also welcome Participantswill supply their own instruments
Early registration is recommendedas space is limited
Contact Matthew Wiliford
Director ICCA PO Box 199
Interlochen MI 49643 231-
276-7441 231-276-5237 (fax)
collegeinterlochenorg
interlochenorgcollege
RENAISSANCE CHAMBER
MUSIC INSTITUTE
New England Conservatory of Music Boston MA
June 11-21
A unique opportunity for professionalmusicians and advanced students todiscover and explore one of the greatestrepertoires of Western music which iseminently suitable for all instruments
Players of modern and early instrumentsare encouraged to attend
Led by John Tyson director of theRenaissance music and dance ensembleRENAISSONICS who has performedand lectured worldwide including forthe Boston Symphony OrchestrarsquosTanglewood Institute
Introductory lectures will be followed byintense chamber music coaching in largeand small ensembles Concentration willbe on personal expression rhetoric andphrasing performance practice andornamentation The institute willculminate in a public performance at theNew England Conservatory of Music
Faculty John Tyson recorder LauraGulley violin Daniel Rowe rsquocello and guest artists
Contact Director of Summer
School New England
Conservatory of Music
290 Huntington Avenue Boston
MA 02115 617-585-1126
617-585-1135 (fax) newengland
conservatoryedusummer
wwwAmericanRecorderorg March 2009 17
Workshops carrying
ARS designation have
joined the ARS as
workshop members
Other shorter workshops
may be sponsored
periodically through the
year by ARS chapters and
are listed in the calendar
portion of each ARS
Newsletter as well as on
the ARS web site when
information becomes
available from presenters
Canto AntiguoWest Coast EarlyMusic and Dance
Featured Faculty
Beautiful CampusFully air-conditioned
For Information Call
800-358-6567
Early Music
WorkshopJuly 5-12 2009
Chapman UniversityOrange CA
Classes in
Baroque Music
Recorder Ensemble(all levels)
Vocal Ensemble
Renaissance Brassand Reeds
Viols
Collegium
Folk Dance
Thomas Axworthy
Mark DavenportRonald Glass
Janet Beazley
Carol LisekJim MaynardAlice Renken
wwwcantoantiguonet
18 March 2009 American Recorder
SUMMER TEXAS TOOT (ARS)
Concordia University Austin TXJune 14-20 Director Daniel Johnson
The Summer Texas Toot is a one-weekprogram of classes in Renaissance and Baroque music at all levels forrecorders viols singers plucked stringsRenaissance reeds and brass andharpsichord Our classes include anarray of small one-on-a-partRenaissance and Baroque ensemblesand larger mixed vocal and instrumentalgroups The size of the workshopenables us to create classes for all levelsof students from those of modest skills to advanced players and singers
Same Texas Toot hospitality andtraditionsmdashback in Austin but atConcordia Universityrsquos beautiful newcampus Classrooms dining and dormaccommodations are air-conditioned and easily walkable
Currently our featured faculty are Tish
Berlin (recorders) Tom Zajac (reedsand ensembles) Mary Springfels(viols) Becky Baxter (harp)mdashbut watchfor more faculty to be added soon
Contact Daniel Johnson
PO Box 4328 Austin TX 78765
512-371-0099 infotootorg
tootorg
SAN FRANCISCO EARLY MUSIC
SOCIETY BAROQUE MUSIC amp
DANCE WORKSHOP (ARS)
Sonoma State University Rohnert Park CA
June 14-20Directors Phebe Craig Kathleen Kraft Frances Blaker
A music-packed week of master classesconcerto evening coached ensemblesBaroque orchestra vocal and windensembles continuo classes concertsand lectures
Featuring recorder faculty FrancesBlaker and Cleacutea Galhano Other facultyChristine Brandes voice Phebe Craig
harpsichord Sand Dalton oboeKathleen Kraft flute Michael Sandviolin and orchestra Mary Springfelsviola da gamba Peter Sykesharpsichord Tanya Tomkins rsquocello
Contact Kathleen Kraft SFEMS
PO Box 10151 Berkeley CA
94709 707-874-2014
kkraftsonicnet sfemsorg
SAN FRANCISCO EARLY MUSIC
SOCIETY CHILDRENrsquoS MUSIC
DISCOVERY WORKSHOP (ARS)
Crowden Center for Music Berkeley CA
June 21-26 (day camp)Director Letitia Berlin
Early music and Renaissance socialhistory for youth ages 7-15 beginners to advanced students welcome Dailyschedule includes chamber musicmusicianship crafts costume-makingand games Friday night concert andtheater project presentation followed by potluck supper
Rebecca Ahrendt violJanet Beazley recorder
Tish Berlin re cord er co-direct orFrances Blaker recorder co-direct or
Vicki Bœckman recorderLouise Carslake recorder fl ute
Charles Coldwell recorder Rotem Gilbert recorder
Julie Jeff rey violShira Kammen viell e
Peter Maund per cus sionKim Pineda recorder
Ellen Seibert violPe ter Seibert recorder choir
Margriet Tindemans viol viell eBrent Wissick viol
Play early music in the spectacular Pacifi c Northwest Choose from classes in recorder viol fl ute and percussion Polish your skills andor take up a new instrument Sing and dance
Enjoy the faculty concert Take part in the student recital Make the most of your stay with a hike at nearby Mt Rainier or a visit to the Museum of Glass
For informat ion or to request a brochure call (206) 932-4623write to Port Townsend Early Music Workshop
1108frac12 Alki Ave SW Seattle WA 98116or vis it wwwseattle-recorderorg
July 12ndash18 2009
Port TownsendEarly Music Workshop
At the beautiful University of Puget Sound Tacoma WA
Tish Berlin amp Frances Blaker Co-Direct orsPresented by the Seattle Recorder Society
Please note that this is a day camp Out-of-town students may contact thedirector regarding accommodations withhost families Some financial aidavailable
Featuring recorder faculty Vida Bateauand Letitia Berlin Other facultyKatherine Heater dance ShiraKammen musicianship and theaterband Ron McKean harpsichord Carla Moore violin Farley Pearcersquocello and viola da gamba Allison Rollstheater project director
Contact Letitia Berlin SFEMS
PO Box 10151 Berkeley CA
94709 510-559-4670
tishberlinsbcglobalnet
sfemsorg
OBERLIN BAROQUE
PERFORMANCE INSTITUTE
Oberlin College Oberlin OHJune 21-July 5Directors Oberlin Baroque Ensemble (Cathy Meints Marilyn McDonald Michael Lynn Webb Wiggins) and artistic director Kenneth Slowik
Celebrating its 38th anniversary withMusic in London 1659ndash1759 thisinstitute offers instruction in Baroqueinstruments and voice Students of alllevelsmdashfrom beginning to Baroqueperformance to the professional levelmdashparticipate in master classes and coachedensembles with an international facultyof Baroque specialists Scholarships are available for qualified high schoolstudents
Contact Anna Hoffman
Conservatory of Music
77 West College St
Oberlin OH 44074
440-775-8044
440-775-8942 (fax)
ocbpioberlinedu
oberlineduconsummerbpi
WORLD FELLOWSHIP
EARLY MUSIC WEEK
Chocorua NHJune 25-July 2Directors Jane Hershey Larry Wallach
Faculty of eightmdashincluding JaneHershey Roy Sansom Pamela DellalJay Rosenberg Julian Cole AnneLegecircne Larry Wallach and JoshSholem-Schreibermdashin a beautifulWhite Mountain camp setting conducta week-long workshop in French earlymusic (late Medieval through Baroque)
Faculty and student concerts Englishcountry dancing special lecturesmorning and afternoon workshops inviols recorders voice mixed ensemblesSephardic music and Baroque chambermusic and classes in Feldenkrais bodywork
Camp facilities include hikingswimming boating camp gardenssupply kitchen with vegetables Very affordable rates
Contact Larry Wallach
69 Welcome St Great Barrington
MA 01230 413-528-7212 (day)
413-528-9065 (evening)
413-528-7365 (fax)
larrysimons-rockedu
worldfellowshiporg
INDIANAPOLIS EARLY
MUSIC FESTIVAL
Indianapolis INJune 26-July 19July 8-9 Mini Boxwood Workshop
The Indianapolis Early Music Festivalis the oldest continually running earlymusic concert series in the USPresented since 1967 our mission is toenrich educate and entertain audienceswith the music of Medieval Renais-sance Baroque and early Classical erasand feature exciting performers ofnational and international stature usinginstruments of the period and histori-cally informed styles and techniques
For 2009 we will present Reconstruction(June 26 ) Ex Umbris (June 27) ChrisNorman amp David Greenberg withRonn McFarlane amp Mark Cudek (July10) I Furiosi (July 12) HarmoniousBlacksmith (July 17) and the PeabodyConsort with Indiana Repertory Theatre(July 19) We also offer our secondannual Family Concert featuring thePeabody Consort on July 18mdash a freeconcert geared to young audiencemembers Several groups also offeroutreach events for younger (generallyhigh-school-aged) musicians and actors
In 2009 we also present a two-dayldquoMini Boxwoodrdquo workshop with Chris
wwwAmericanRecorderorg March 2009 19
Marin
Headlands
Recorder
Workshop
Norman (earlytraditional flutes andpipes) David Greenberg (Baroqueviolin and fiddle) and Ronn McFarlane(lute) on July 8-9
Contact emindyorg
SAN FRANCISCO EARLY MUSIC
SOCIETY MEDIEVAL amp
RENAISSANCE WORKSHOP (ARS)
Sonoma State University Rohnert Park CAJune 28-July 4Director Tom Zajac
Workshop theme Stories and LegendsOpen to singers and players of earlyinstruments (recorders violas da gambalutes shawms etc) Coaching by world-class specialists in Medieval and Renaissance music Classes forvoices recorders viols and alta capellavoice master class ensemble coachingstorytelling for musicians andstorytelling accompanimentRenaissance choir Medieval bandtheater project faculty and studentconcerts lectures and more
Scholarships as well as academic creditor continuing education credit areoffered Featuring recorder facultyFrances Blaker Annette Bauer DanStillman and Tom Zajac Other facultyPatrick Ball storytelling Celtic harpKaren Clark voice movement formusicians Julie Jeffrey gamba ShiraKammen Medieval strings music forstorytelling Drew Minter voice theaterproject Tim Rayborn Medieval stringspercussion music for storytelling Larry Rosenwald theater projectrhetorician in residence MarySpringfels gamba theater projectAnnette Bauer early notation DanStillman reeds alta capella ensembleTom Zajac sackbut Renaissance choir
Contact Tom Zajac SFEMS
PO Box 10151 Berkeley CA
94709 617-323-0617
medrenmailgmailcom
sfemsorg
MOUNTAIN COLLEGIUM (ARS)
Cullowhee NC June 28-July 4Director Patricia Petersen
Nestled in the Smoky MountainsWestern Carolina University provides alovely location for Mountain Collegiumwith comfortable accommodations in anew dorm and catered evening mealsThe workshopmdash at once informal andintensivemdash combines study of Renais-sance Baroque and contemporary musicand improvisation on recorder viol andother early instruments with opportu-nities to explore Celtic and othertraditional music on hurdy gurdymountain dulcimer and pennywhistle
Friendly participants of all levels andages welcome newcomers into theMountain Collegium family Varied classofferings time for informal music-making and evening English countrydancing bring students back year afteryear Faculty Valerie Austin AtossaKramer Jody Miller Patricia PetersenJohn Tyson (recorders other winds)Martha Bishop Lisle Kulbach HollyMaurer Gail Ann Schroeder Ann Stierli(strings) Lorraine Hammond JohnTrexler (traditional music)
Contact Patricia Petersen
1702 Vista St Durham NC
27701 919-683-9672
patpetersenearthlinknet
mountaincollegiummusicorg
GREAT LAKES SUZUKI FLUTE amp
RECORDER INSTITUTE
McMaster University Hamilton ON CanadaJuly 4-11 Teacher training Book 1July 7-11 Teacher training Book 2July 7-11 Student InstituteDirector David Gerry
Master classes group instructionrecitals plus enrichment classes forstudents Teacher training with MaryHalverson Waldo
Contact David Gerry 129 Locke
Street South Hamilton ON L8P
4A7 CANADA 905-525-9549
dgerrynasnet davidgerryca
CANTO ANTIGUO EARLY MUSIC
AND RECORDER WORKSHOP
Chapman University Orange CAJuly 5-12Directors Thomas Axworthy Ronald Glass
This one-week workshop is designed to broaden the performance skills ofexperienced students and introduceRenaissance and Baroque instrumentsand musical experiences to beginningand intermediate players Students at alllevels participate in instrumental vocaland dance instruction performance
The workshop takes place at ChapmanUniversity Studios dining hall andresidences are all air-conditioned Thisinvitingly landscaped peaceful campuswith garden paths is a mixture of historic and modern architecture
The theme of this yearrsquos workshop isMusic of the Italian Renaissance Dancesmasses motets and ceremonial musicwill resonate as we explore the music ofMonteverdi Palestrina Gesualdo et al
Faculty includes Thomas AxworthyJanet Beazley Mark Davenport RonGlass Carol Lisek Jim Maynard and Alice Renken
Contact Ronald Glass
129 Altadena Dr Pittsburgh
PA 15228-1003 800-358-6567
(day) 310-213-0237 (evening)
562-946-4081 (fax)
evanesa2aolcom
cantoantiguonet
CAMMAC EARLY MUSIC WEEK
Lake MacDonald Music Center Harrington QC Canada
July 5-12Directors Francis ColpronMarie-Nathalie Lacoursiegravere
CAMMAC provides a unique oppor-tunity to make music with family and
20 March 2009 American Recorder
friends in a beautiful setting north ofMontreacuteal QC under the guidance ofinternationally acclaimed professionalmusicians
In four daily 75-minute classes pluslectures early music lovers will have the opportunity to play to their heartrsquoscontent
Small ensembles and voice classes are setup ahead of time registration for otherclasses occurs on site the first eveningCourses include choir large instrumentalensemble many recorder and violclasses Medieval and Renaissanceensembles Orff method and Baroquedancing There are courses foradolescents and a program for children 4-11 years old
Special project in 2009 The Fairy Queenby Purcell with choir instrumentalensemble soloists and staging Keyfaculty Matthias Maute ChristopherJackson Laura Pudwell MargaretLittle Marie-Nathalie Lacoursiegravere
Contact Johanne Audet
85 Chemin CAMMAC Harrington
QC J8G 2T2 CANADA
888-622-8755 1
819-687-3323 (fax)
nationalcammacca
cammaccaenglishTabLM
Summershtml
MADISON EARLY
MUSIC FESTIVAL
University of WisconsinndashMadison July 11-18Directors Cheryl Bensman Rowe and Paul Rowe artistic Chelcy Bowles program
MEMF joins the 2009 InternationalYear of Astronomy in a global celebrationof astronomy and its contributions tosociety and culture including the 400thanniversary of the first astronomicalobservation made through a telescope byGalileo Galilei Galileorsquos fatherVincenzo was a musician and musictheorist who combined the practice andtheory of music with mathematicaldiscussion of harmonymdashand influenced
Galileorsquos experiments MEMFcelebrates its tenth season exploringworks of music and the arts inspired by ascientific discovery that had tremendousimpact on culture and civilization
MEMF was created to provide anopportunity for musicians scholarsteachers and early music enthusiasts togather and exchange information andideas about Medieval Renaissance andBaroque music and to bring acclaimedearly music artists to the Midwest toperform in beautiful Madison
Featured MEMF 2009 guest artists-in-residence include Marion VerbruggenThe Newberry Consort QuicksilverPiffaro and Venere Lute QuartetRecorder faculty members includeMarion Verbruggen Joan KimballPriscilla Smith and Robert Wiemken
Contact Chelcy Bowles University
of WisconsinndashMadison 720 Lowell
Center 610 Langdon St Madison
WI 53703 608-265-5629
608-262-1694 (fax)
musicdcswiscedu
memfdcswiscedu
PORT TOWNSEND
EARLY MUSIC WORKSHOP (ARS)
University of Puget Sound Tacoma WA
July 12-18Directors Letitia Berlin Frances Blaker
Join us this summer at our new locationwith a star-studded faculty a beautifultree-lined and easy-to-navigate campuswith accessible facilities and acurriculum that will leave you wishingthere were 48 hours in a day
Consort and technique classes forrecorder and viol consort and mixedrepertoire recorder master classpercussion for all levels Hildegard forsingers Baroque flute beginning violtheory workshop orchestra and moreMake an all-Medieval schedule or mix it up with a class from almostevery period of music
Work hard and play hard with friends
new and old Intense music-making thatwill inspire you during the workshop andthroughout the year
Directors Tish Berlin and FrancesBlaker eagerly await your arrival andanticipate a splendid workshopRecorder faculty Janet Beazley TishBerlin Frances Blaker Vicki BoeckmanLouise Carslake Charles ColdwellRotem Gilbert Kim Pineda
Contact Jo Baim Workshop
Administrator 1108 frac12 Alki
Ave SW Seattle WA 98116
206-932-4623
workshopseattle-recorderorg
seattle-recorderorg
wwwAmericanRecorderorg March 2009 21
Amherst Early Music FestivalJuly 12-19 and 19-26 2009
Connecticut College New London CT
Renaissance consortsBaroque ensemblesMaster classesRenaissance AcademyEarly notation and moreNo audition required
July 12-19Baroque Academy
July 19-26 Virtuoso Recorder Recorder Seminar
Audition deadline May 15
wwwamherstearlymusicorginfoamherstearlymusicorg(617) 744-1324
AMHERST EARLY MUSIC FESTIVAL
(ARS)
Connecticut College New London CT July 12-19 Baroque Academy July 19-26 Virtuoso Recorder Recorder SeminarRenaissance Academy
Director Marilyn Boenau
Music of England and Spain Two weeksof classes in most early instrumentsvoice dance and notation
Week 1 includes classes for recorderviol other early instruments voicedance and notation Special programsBaroque Academy Baroque AcademyOpera Project (Purcellrsquos Dioclesian)
July 18-19 Music amp InstrumentExhibition
Week 2 comprises classes for recorderviol other early instruments voice andnotation Special programs VirtuosoRecorder Recorder SeminarRenaissance Academy
Evening activities include Englishcountry dance madrigals and informalplaying sessions Connecticut College ineastern CT offers comfortable air-conditioned accommodations naturalareas for walking and a view of LongIsland Sound Scholarships and work-study aid available
Contact Marilyn Boenau
Director or Cathy Stein
Administrator 47 Prentiss St
Watertown MA 02472
617-744-1324 (day)
617-744-1327 (fax)
infoamherstearlymusicorg
amherstearlymusicorg
MIDEAST WORKSHOP (ARS)
LaRoche College Pittsburgh PAJuly 19-25Director Marilyn Carlson
Music of Spain 55-60 students of allability levels adults only Instruction forrecorder (all levels except novice) violharp flute You may enroll for recorder
viol flute as primary instrument harpvoice recorder viol as secondary instru-ment Large and small ensembles all-workshop ensemble (instruments andvoices) Renaissance band (recordersviols capped reeds voice) Medievalcollegium (puzzles amp canons) consorts(by level) vocal ensemble Also Englishcountry dance penny whistle We alsooffer viol-for-novice and harp-for-novice each providing the opportunityfor hands-on experience without owningan instrument Other classes on specialearly music topics and literature
Faculty Marilyn Carlson directorMartha Bixler Stewart Carter JudithDavidoff Eric Haas Mary JohnsonPeter Ramsey Kenneth Wollitz otherfaculty to be announced All facilities areair-conditioned
Contact Marilyn Carlson
1008 Afton Road Columbus OH
43221-1680 614-754-7233
mcarlsoncolumbusrrcom
mideastearlymusicaddrcom
22 March 2009 American Recorder
San Francisco Early Music SocietySummer Workshops 2009Recorder middot July 19ndash25 2009La Dolce Vita di Flauto middot Explore the full range of recorder music from the Middle Ages to the 21st century through ensemble work technique sessions and recorder orchestra For the devoted amateur all ages intermediate to advanced Friendly atmosphere small classes Quiet campus near all amenities Special offerings Recorder orchestra recorder master class coached informal playing Faculty Louise Carslake Frances Feldon Rotem Gilbert Katherine Heater Norbert Kunst Patrick OrsquoMalley and Hanneke van ProosdijInfo Frances Feldon 510-527-9840 franfelaolcom
Baroque Music amp Dance middot June 14ndash20 2009Music in Italian Cities middot Master classes recorder ensemble concerto evening coached ensembles classes concerts and lectures Featuring recorder faculty Frances Blaker and Clea GalhanoInfo Kathleen Kraft 707-874-2014 kkraftsonicnet
Medieval amp Renaissance Music middot June 28ndashJuly 4 2009Stories amp Legends middot Classes for voices recorders viols and alta capella voice master class ensemble coaching storytelling for musicians and storytelling accompaniment Renaissance choir medieval band theater project faculty and student concerts lectures and more Featuring recorder faculty Frances Blaker Annette Bauer Dan Stillman and Tom ZajacInfo Tom Zajac 617-323-0617 medrenmailgmailcom
Music Discovery middot June 21ndash26 2009Day camp for youth ages 7 to 15 Early music and Renaissance social history Instruction in recorder harpsichord strings chamber music musicianship crafts costume-making games and more Beginners to advanced students welcome Featuring recorder faculty Vida Bateau and Letitia BerlinInfo Letitia Berlin 510-559-4670 tishberlinsbcglobalnet For more information visit our web site wwwsfemsorg
SAN FRANCISCO EARLY MUSIC
SOCIETY RECORDER WORKSHOP
(ARS)
St Albertrsquos Priory Oakland CA July 19-25Directors Frances Feldon Katherine Heater
Jam-packed week of recorder ensembleplaying concerts and the opportunity toimprove your skills working with highlyrespected recorder specialists in afriendly yet serious atmosphere Explorethe full range of recorder music from theMiddle Ages Renaissance and Baroqueto the 21st century through ensemblework technique sessions and recorderorchestra For the devoted amateur of allages from intermediate to advanced
Small classes Quiet campus Specialofferings recorder orchestra recordermaster class coached informal playing
Featuring recorder faculty LouiseCarslake Frances Feldon RotemGilbert Norbert Kunst PatrickOrsquoMalley and Hanneke van ProosdijOther faculty Katherine Heaterharpsichord
Contact Frances Feldon SFEMS
PO Box 10151 Berkeley CA
94709 510-527-9840
franfelaolcom sfemsorg
WINDSWEPT MUSIC WORKSHOP
William Jewell College Liberty MOJuly 19-25Director Phyllis Pasley
Bring your artistry to life Strengthen the mindbody connection and exploreenergy and music at Creative MotionAlliancersquos 59th annual summerconference Windswept Professionalmusicians conductors teachers studentsand amateur music enthusiasts willdiscover barriers that inhibit the free flowof energy and learn the secrets of inner-directed artistic music-making Classesin piano voice instrumental musicexpressive arts and independent studyMaster class coaching and conductingopportunities available Using move-
ment exercises analysis and bodyresponses explore music and energy in a unique inter-generational workshopformat Opportunities for independentrecorder study and private lessons enrichthe music-making experience
Registration fee $50 prior to 51509Tuition room meals $535 adults $400students 12-18 (must attend with parentteacher or sponsor) special half-weekrate $275 (Sunday-Wednesday noon)Memberfamily discounts Three hoursgraduate credit ($225) 3 CEUs ($50)and private lessons ($25 each)
Contact Phyllis Pasley 2208
Clouds Peak Maryland Heights
MO 63043 314-628-9862
directorcreativemotionorg
creativemotionorg
BOXWOOD FESTIVAL CANADA
Lunenburg Nova Scotia CanadaJuly 19-26Director Chris Norman
Discover musical and dance traditionswhile visiting one of North Americarsquosmost exquisite 18th-century seasidetowns Concerts dances sessionsclasses lectures with leading artists in therealms of traditional folk early musicdance and improvisation Work study ampscholarships available Gourmet cuisine
Faculty Chris Norman directortraditional amp early flutes FrancisColpron recorder ensembles LisaBesnoziuk Baroque flute DavidGreenberg Cape Breton amp Baroqueviolin Edmund Brownless voice shape note singing Marie Bouchardharpsichord Robert Dick contemporarytechniques amp composition Conal O Grada Irish flute Jerry OrsquoSullivanpipes whistle Rod Garnett flutefundamentals ethnic flutes PierreChartrand social dance MarlysNorman ballet classical dance Rod Cameron flute maker Tempest Baroque
Contact 902-634-9994
boxwoodorg
musiqueroyalecom
MACPHAIL SUZUKI INSTITUTE
FOR PIANO GUITAR FLUTE
AND RECORDER
MacPhail Center for the Arts Minneapolis MNJuly 19 Every Child Canreg July 19-26 Recorder Book 1July 20-24 Student InstituteDirectors Cindy Malmin Mary Halverson Waldo (auditions)
Suzuki Clinicians Marilyn Taggartpiano Tadeusz Majewski piano DavidMadsen guitar Kathleen Schoenfluterecorder MacPhail Suzuki faculty
Sanctioned by the Suzuki Association ofthe Americas MacPhailrsquos SuzukiInstitute allows Suzuki students of allages to share in motivating enrichingand wide-ranging musical experiencesStudents work with master teachers andimprove skills technically and musicallyDaily classes and observation includeapplied study theoryreading skillsensemble skills chamber music perfor-mance practices composition improv-isation master classes recitals art andmusic world musicdrumming musichistory recitals and presentations TeenMusical Revue (ages 13-18) fashioncharacter sketches develop a frameworkor theme and present to an audience
Who may attend Suzuki students whohave completed the Twinkle Variations(preschoolndashgrade 12 parents or another
wwwAmericanRecorderorg March 2009 23
Amherst Early Music Festival
(photo by Marc Weinberg)
responsible interested adult must attendwith students under high school age)teacher traineesobservers Participantsmust arrange meals housing and trans-portation Teacher Training prerequi-sites Every Child Canreg before Book 1courses must be taken in order throughBook 2 Contact workshop regardingrequired audition and preparation
Contact Cindy Malmin
612-767-5461
malmincindymacphailorg
Mary Halverson Waldo
5679 Harding Lane Shorewood
MN 55331 952-470-5853
mhalvwaldogmailcom
INTERNATIONAL BAROQUE
INSTITUTE AT LONGY
Longy School of Music Cambridge MA
July 24-August 2Directors Paul Leenhouts co-director Phoebe Carrai
VenicendashDresden Connection InternationalMeeting Grounds Music of MonteverdiVeracini Hasse Heinichen MarcelloVivaldi Pisendel Albinoni ZelenkaLotti Schein Schutz Quantz Gabrieli
2009 faculty Paul Leenhouts recorderPhoebe Carrai rsquocello ElizabethBlumenstock violin Ricard Bordasvoice Arthur Haas harpsichord LucasHarris lute Ken Pierce early danceGonzalo Ruiz oboe Mary Springfels
viola da gamba Jed Wentz traverso
Contact Karen Burciaga Com-
munity Programs Registrar One
Follen St Cambridge MA 02138
617-876-0956 X1532 (day)
617-354-8841 (fax) karenbur
ciagalongyedu longyedu
RECORDER AT THE CLEARING
The Clearing Ellison Bay WIJuly 26-August 1Directors Pat Badger Adrianne Paffrath
Recorder ensemble has been a traditionat The Clearing for over 25 yearsEnsemble playing is the weekrsquos focusEach day begins with a warm-up ofvoices and bodies as we sing rounds andready our muscles for performanceDaytime sessions focus on rhythmicchallenges recorder technique andensemble blend emphasis is on growthprocess and most of all enjoyment To participate fully you need at leastintermediate skills on a C or F recorder
Adrianne Paffrath coached on recorder with ARS teachers She is music directorat Racinersquos First Presbyterian ChurchPatricia Badger has studied early musicinstruments natural and classicaltrumpet She is performing arts head ofThe Prairie School Jointly they haveperformed for Medieval festivals grapestompings Shakespeare celebrations anda circus parade
Contact The Clearing PO Box 65
Ellison Bay WI 54210-0065
877-854-3225 920-854-9751
(fax) clearingtheclearingorg
theclearingorg
AMERICAN RECORDER SOCIETY
FESTIVAL AND CONFERENCE
University of Missouri at St Louis St Louis MO
July 30-August 2
Attend the second ARS Festival andConference for one day ($150) or allweekend ($350)
Sessions include recorder techniquepedagogy introductions to Orff Suzukiand Flutes and Drums Around the Worldmethods improvisation roundtablediscussions how to conduct yourconsort coached playing sessions forMedieval Renaissance Baroque worldand contemporary repertoire recorderorchestra incorporating percussion intoyour ensemble Also recorder mainte-nance choosing a recorder building aweb site using Sibelius music softwareMini-concerts by the next generation ofprofessionals master classes concerts byMarion Verbruggen and the FarallonRecorder Quartet Exhibition ofrecorder builders music sellers andmore CEUs available
Presenters Louise Austin AnnetteBauer Tish Berlin Frances Blaker Joyce Callanan Louise Carslake
24 March 2009 American Recorder
The Summer Toot is once again in Austin at the beautiful new facility of Concordia University The lushly wooded campus offers air-conditioned classrooms dining and dorm accommodations and is backed by a nature preserve Please join us
Our featured faculty includes Tish Berlin Tom Zajac Mary Springfels The Texas Toot offers a one-week program of classes in Renaissance and Baroque music at all levels featuring expert instructors in re-corder viol early reeds lute harp and voice
Danny Johnson workshop director Susan Richter administrator For more info
httpwwwtootorg or email infotootorg
11th Annual Summer Texas Toot June 14-20 2009 mdash Austin Texas
Mark Davenport Cleacutea Galhano LisetteKielson Lorraine Krige JudithLinsenberg Peter Maund Nina SternMarion Verbruggen Leslie TimmonsJim Tinter Mary Halverson Waldo
Contact Yvonne Miller-Nixon
Conference Administrator
1129 Ruth Dr St Louis MO
63122 800-491-9588 (day)
arsconfplannercharternet
americanrecorderorg
EARLY MUSIC WEEK AT
PINEWOODS CAMP (ARS)
Pinewoods Camp Plymouth MA August 15-22 Director Sheila Beardslee
The Myth amp Magick Creativity andInspiration in Early Music Surely thedeities of Olympus will surround us atPinewoodsndashwhere the myths of earlymusic will be made clear and our staff rsquosldquomagickalrdquo skills will hone and perfectour knowledge and performance of early music and dance
If yoursquove never played a musical instru-ment (but wish you could) or if youstudied music years ago (and fear yoursquoveforgotten) classes in recorder and violwill get you started or help brush off therust Advanced and intermediate playersand singers choose from a wide array ofclasses led by an outstanding faculty of professionals and teachers of earlywinds (recorders reeds brass) strings(viols violin) harpsichord and voice
New staff faces this summer areAnonymous 4rsquos Susan Hellauer voiceand Lisa Terry viol We welcome backDorrie Olsson historical dance andScott Higgs English country dance
We relax with two ponds for swimmingcanoeing a camphouse deck for readingafternoon tea and lots of dancing EarlyMusic Week continues its long traditionof superb teaching in a welcoming com-munity enhanced by special eventspresentations concertsmdashand dancing
Advanced musicians work intensivelyamateurs are engaged and challengedand beginners are always made welcome
Contact Steve Howe Country
Dance and Song Society
PO Box 338 Haydenville MA
01039-0338 413-268-7426 X3
(day) 413-268-7471 (fax)
campcdssorg cdssorgem
MONTREacuteAL RECORDER FESTIVAL
McGill University Montreacuteal QC Canada
September 17-20Directors Matthias Maute Sophie Lariviegravere
Conference consort music recorderorchestra concertsmdashEnsemble Capriceand Quynade (Israel) solo recital byMaurice Steger (Switzerland)
Contact Ensemble Caprice 4841
Garnier Montreacuteal QC H2J 3S8
CANADA 514-523-3611
514-523-1322 (fax)
infoensemblecapricecom
ensemblecapricecom
HIDDEN VALLEY INSTITUTE
FOR THE ARTS
EARLY MUSIC ELDERHOSTEL
Carmel Valley CANovember 1-7 November 8-14Directors Letitia Berlin workshopPeter Meckel HVIA
Enroll for one or both weeks Adults ofall ages welcome
Week I intense classes for upper inter-
mediate to advanced levels Week Ifaculty Letitia Berlin Frances BlakerLouise Carslake Annette Bauer(recorder) David Morris (gamba)
Week II all levels except beginnerClasses include recorder technique viol consort Baroque chamber musicconsort classes for Medieval Renais-sance Baroque and contemporary reper-toire workshop orchestra Week IIfaculty Letitia Berlin Frances BlakerTBA (recorder) Shira Kammen (earlystrings singing Medieval topics) MarySpringfels (viola da gamba)
Evening events include faculty concertstudent concert free-lance playing FreeWednesday afternoon for more playingor sightseeing Improve your playing in asupportive friendly atmosphere withworld-class teachers
Contact Peter Meckel
PO Box 116 Carmel Valley CA
93924 831-659-3115
831-659-7442 (fax)
hvmsaolcom
hiddenvalleymusicorg
wwwAmericanRecorderorg March 2009 25
26 March 2009 American Recorder
Am
herst
AR
S
Festival and
Co
nference
CA
MM
AC
Early M
usic
Week
Canto
Antiguo
Reco
rd
er
at th
e
Clearing
Great L
akes
Suzuki
FluteR
ec
Hid
den
Valley
Eld
erh
ostel
Interlo
ch
en
Early M
usic
Inst
Lo
ngy Intl
Baro
que
Inst
Marin
Head
land
s
Mid
east
Mo
ntreacuteal
Reco
rd
er
Festival
COST $520TW $350T C$1014ED $860 $1035E TBA $799D $389T $675T $210ED $735D $130TNO OF DAYS 814 1-4 7 7 7 5-8 714 6 10 3 6 4ARS DISCOUNT NO YES NO YES NO NO NO NO NO NO NO NONO OF FAC RECORDER FAC 4315 1716 165 85 22 82 543 11 101 1010 96 66NO OF STUDENTS 150wk 60 110 35 19 45 35 20 50 75 60 50RECORDER CLASSLEVELS
LIHIAV
BLIHIAV
BLIHIAV
BLIHIAV LIHIA BLI
LIHIAV LIHIA AV
LIHIAV
BLIHIAV
BLIHIAV
SPECIAL CLASSES USING RECORDERS
CMRMB20ENMROT
RPMRMB20MROPTO
CMRMBRO
MRMBENROPT CRO
RPMPT
CMRMB20MROPT
RPCMRMBENMROPT MBMP RP20
RPCMRMB20ENMTO
CMRMBMRO
NON-RECORDERCLASSES
CWKVPSDO PO
CWKVDT CWVD C O KVPS
CWPKVPST WK VD
CWVPSDO
MUSICALACTIVITIES
FSLSPP FLO FSLSP FS SP FSLP FSP
SLSPPO FSLP P FSLP FS
RECREATION D GS BSTW D FBSW FSO OBSTWO S O G
OTHERS WELCOME SC S SC S S S S SDIRECTTRANSPORTATION SC SBCP SP BCLP BP SB CPUP CL PUP
SBCPUP
TRANSPORTATIONTERMINALS
A50B2 T2 A B T
A10B3 T5
A80B80
A50B10 T10
A20B20 T20
A16B16
A4B3 T3 A20
A15B10 T10
A4B3 T3
ROOMS SD SD SD SD SDC SD SD SDC DBATHS SSP SSPP SP P SSPP SSPP SP P S PFOOD CV C GV CV FV C F CV CV CHANDICAP ACCESS HCD HCD HCD HCD HC HCD HD HCD C HCD HCD C
KEYCOST Includes tuition room (single occupancy unless otherwise noted) meals plus other fees E=estimated T=tuition only D=double occupancy W=one week
NO of DAYS Includes arrival and departure daysARS DISCOUNT Discount offered for ARS members FACULTYRECORDER FACULTY Number of facultyrecorder faculty within that number STUDENTS Average over last two yearsRECORDER CLASS LEVELS B=beginners LI=low intermediate HI=high intermediate A=advanced V=very advanced
SPECIAL CLASSES USING RECORDERS RP=recorder pedagogy C=one-on-a-part consorts MR=mixed Renaissance ensembles MB=mixed Baroque ensembles 20=contemporary music EN=early notation M=master class RO=recorder orchestra P=private lessons available T=technique O=other
NON-RECORDER CLASSES C=choral W=other winds P=percussion K=keyboard V=viols PS=plucked stringsD=danceT=theory I=instrument building O=other
MUSICAL ACTIVITIES F=faculty concert S=student concert L=lecture SP=special production P=organized informal playing O=other
RECREATION D=dancing F=field trip G=gym B=biking S=swimming T=tennis W=waterfrontbeach O=otherOTHERS WELCOME S=non-playing spousesfriends C=children (day care not generally available)DIRECT TRANSPORTATION TO WORKSHOP S=shuttle from airport B=bus C=cab L=limo PU=will pick up P=free parking O=other
TRANSPORTATION TERMINALS A=air B=bus T=train (number indicates miles from workshop to nearest terminal)
ROOMS S=singles D=doubles (with ldquo+rdquo can accommodate up to triples) C=cabins O=other =Graduate dormsBATH FACILITIES S=shared SP=semi-private P=privateFOOD C=college style F=family style G=gourmet V=vegetarianHANDICAP ACCESS H=housing C=classrooms D=dining
INFORMATION SUPPLIED BY WORKSHOP DIRECTORS
2009 SUMMER RECORDER WORKSHOPS
Here are some suggestions foravoiding overuse syndromes Most obvious warm up This meansincreasing your practice time graduallybefore the workshop begins andwarming up yourself and yourinstrument before each rehearsal
Make your playing situation ascomfortable as possible Take along acushion back rest footstool whateverit takes the ear and hand cannot ab-sorb what the bottom cannot tolerate
Be sure your glasses are ideal for the distance from your eyes to themusic desk that usually amounts to anarmrsquos length away (You can select apair at your local drug or departmentstore if you have no serious astigma-
tism) If glare from bright light (thosemarvelous outdoor rehearsals) is aproblem for you you may find that ayellow tint for your glasses is a help
Get your bodily playing equip-ment in the best possible shape beforethe workshop a visit to the dentist tosmooth off a front tooth for a windplayer can make an enormous differ-ence in endurance A layer of plasticwrap over the teeth (before yoursquoveworn a hole in your lip) may also help
Once yoursquove arrived at the work-shop there are ways to ensure thatstress (inevitable) doesnrsquot becomedistress (mostly preventable)
Take reasonable breaks duringrehearsal time and use them to stretchA little aerobics like running in placetakes very little time and gets rid ofthat stiff-from-sitting feeling Get yourfellow ensemble players to massageeach othersrsquo shoulders Other fre-
Do you have a favorite article from years past in AR E-mail that information to Gail Nickless
editoramericanrecorderorg
wwwAmericanRecorderorg March 2009 27
Mo
untain
Co
llegium
Pinew
oo
ds
Early M
usic
Week
Po
rt
To
wnsend
SF
EM
S
Baro
que
SF
EM
S
Ch
ild
rens
SF
EM
S
Med
ieval amp
Renaissance
SF
EM
S
Reco
rd
er
Texas T
oo
t
Wh
itew
ater
Wind
sw
ept
Music
Wo
rksh
op
Wo
rld
Fello
wsh
ip
$800ED $890ED $975 $950 $370T $950 $950 $740E $245 $535D $850E COST7 8 7 7 5 7 7 7 3 6 7 NO OF DAYSNO NO NO YES YES YES YES YES NO NO NO ARS DISCOUNT
125 189 169 102 82 124 76 136 1110 131 83NO OF FAC RECORDER FAC
50 100 100 55 30 70 40 50 110 45 30 NO OF STUDENTSLIHIAV
BLIHIAV LIHI AV
LIHIAV
BLIHIAV LIHI AV LIHIA LIHIA
BLIHIAV
BLIHIAV
RECORDER CLASSLEVELS
CMRMB20TO
CMRMBENROT
MRMB20MROPT
MBMPTO
CMRMBPTO
CMRENMPTO
C20MROPTO
CMR20MPT
CMRMB20ROTO MP
CMRMBMRO
SPECIAL CLASSES USING RECORDERS
WVDTO
CWKVPSDT CPVT
CWKVPSTO
KVDTO
CWPVPSTO O
WKVPSTO
CWVTO
CWPKVD
CKVDT
NON-RECORDERCLASSES
FSLSPP FSP
FSLSPPO FSSP
FSLSPPO
FSLPO
FSLPO SPO FSL PO FSLP
MUSICALACTIVITIES
DGBS DSWFGBSTW
DGBST D
DGBST DO SO
DFSWO RECREATION
S S SC SC S S SC SC OTHERS WELCOME
P SC CPUP SCP SCP SBC LP SPUP P BPUDIRECTTRANSPORTATION
A50B15 T15
A15B7 T6 A59
A20B2 T5 A59
A12B4 T1 A40 A
A20B15 T28 B10
TRANSPORTATIONTERMINALS
SD SD S S CALL S S SD SD SD SD ROOMSSP S SP P P SP P S S S BATHSCGV FV CV CV CV CV CV CV CV FV FOODHCD CALL HCD HCD C HCD HCD HCD HCD HD HANDICAP ACCESS
AR50 AVOIDING ACHES amp PAINSBy Leacuteonie Jenkins MD (c1925- 2000) from the March 1993 AR Vol XXXIV1
quently overused parts such asforearms and hands also respond to massage Quick tutorial on massagestart stroking toward the body and inthe direction of the flow of the veinsmdashupstream from the sorest partgradually work down to include thesore spot Yoursquore trying to move overthe underlying muscle not to rub theskin Thatrsquos why a little oil helps
Your psyche may need some relieffrom overload too Most workshopsare in surroundings that lend them-selves to taking a walk finding a placeto meditate taking in some beauty In creating anything a musical per-formance no less than more static artforms breathing in is as necessary asbreathing out be sure you take time to do it
Not to be forgotten those partiesLate hours and alcohol are stressfultry to balance off the fun yoursquore havingwith your capacity for both Above allenjoy Thatrsquos why yoursquore going
2009 SUMMER RECORDER WORKSHOPS
By Bart Spanhove
The author has been principalprofessor of recorder at the Lemmens-
instituut Leuven (Belgium) since 1984He is also artistic director of the world
famous recorder ensemble the FlandersRecorder Quartet which is set to perform
in concert at the 2009 Boston EarlyMusic Festival He is often asked to serve
as a jury member for internationalrecorder competitions in Canada US
Germany The Netherlands and BelgiumHe has given numerous master classes andlecture demonstrations all over the world
Spanhove is co-author of thesuccessful recorder method Easy Going(Heinrichshofen) and wrote the much-
used book The Finishing Touch ofEnsemble Playing (Alamire 2000
and Moeck 2002 with translations inChinese and German) In 2009
The Recorder Music of Frans Geysenwill come out (Mieroprint)
Currently he is researching practicetechnique for the recorder Daily
Spanhove thinks about how to makepeople happier by making music and
playing the recorder
As a conclusion for the VirtuosoRecorder class during the AmherstWorkshop in 2008 we organized aldquoHappy Hourrdquo for our nine talentedstudents Mee-Jung Ahn (Korea)Emilie Hasselgren and Kristine West(Sweden) Anne Timberlake JosephLewnard Jacob Lodico and BrycePeltier (US) Emiliano Perez(Mexico) and Fanny Massy (France)participated in a quiz that I wrote thenight before with the assistance ofReine-Marie Verhagen
We combined questions regardingmusic theory with practical exercisessuch as middot How long can a player hold a
low f in one breath on an altorecorder (You get one point foreach second)
middot How many times through a scaleis a player able to play in 30seconds (For every octave of theF major scale you get one point)
middot How many different pieces fromthe recorder repertoire can aperson play in the course of twominutes (The other members ofthe group have to guess the nameof the composer before the playercan start the next piece)
middot In one minute list as manydifferent titles as you can fromDer Fluyten Lusthof (TheRecorderrsquos Pleasure Garden) of J J van EyckThe list of questions goes onAt the ldquoHappy Hourrdquo people
were divided into three groupsaccording to dates of each personrsquosbirthday When theoretical questionswere asked (see below) the pointsystem was devised as follows threepoints were awarded when the selected
person of a group could find theanswer himherself two points whenthe selected person needed the help ofthe other group members and onepoint if the group needed the help ofour gracious class assistant Reine-Marie Verhagen (she alwaysknew the answer) No points weregiven if the quizmaster had to supplythe answer
On the next page you find someof my questions There are morewhich we hope to run in a future issueof American Recorder
The quiz was full of fun andsuspense By the end people weremore nervous than when playing aconcert on stage Jacob Lodico of theUS was the winner at Amherst
28 March 2009 American Recorder
Education___________________________________ A quiz for recorder players
wwwAmericanRecorderorg March 2009 29
Try these questions yourselfAnswers appear at the end of thisarticle
The Quiz1 Give the name of Ganassirsquos
treatise of 1535 where heextensively describes the recorder playing and diminutions of his time
2 In which German city is therecorder company Moeck based
3 In the cantata Gottes Zeit ist dieallerbeste Zeit BWV106 JS Bach calls for two altorecorders Give another name for this cantata
4 Of which famous orchestra isFrans Bruumlggen the conductor
5 List three leading Japanesecomposers of excellent solo pieces for the recorder
6 Give the names of recordermagazines published inGermany England and the US
7 What is the fundamental tone of a fourth flute
8 List two recorder makers fromthe Baroque period in England
9 Whatrsquos the title of the recitativeand chorale in the Saint MatthewPassion where the recorder isused
10 Give the names of two famouspublishers in business around1700mdashone in London and one in Amsterdam
11 The opus 10 work by AntonioVivaldi includes six concertiSome of them have beautifulnames Give the names of thefirst three concerti of this opus
12 Whatrsquos a nickname for Jean Jacques Hotteterre
13 The combination of recorder andtraverso was rarely used in theBaroque time Can you name any composers who used thiscombination
14 Which king from 16th-centuryEngland owned a large collectionof recorders and also composedand enjoyed daily recorderplaying
15 How many movements compriseHandelrsquos Sonata in C Op 1 No 7 originally written forrecorder and basso continuo
16 Give the name of Praetoriusrsquostreatise from 1609 that describesthe whole recorder family
17 Name the author of the oldestrecorder method
18 Name Jan Jacob van Eyckrsquosdisability
19 Who pretended around 1930 thatthe recorder was a kind ofclarinet
20 Who doesnrsquot belong in thefollowing group Bertho DrieverKarel van Steenhoven MarionVerbruggen Paul LeenhoutsDaniel Bruumlggen
21 Name the two instrumentsindicated to play the sonataMeiner Mutter of Hans UlrichStaeps
22 Il Pastor Fido was not composedby Antonio Vivaldi but by aFrench composer What was hisname
23 Whatrsquos the nationality of themusic company Zen-On
24 CPE Bach composed abeautiful trio that includes a bassrecorder What are the other twoinstruments
25 Give the names of the fourmovements of Bachrsquos partita forsolo traverse flute BWV1013
26 Which excellent playersperformed as the recorder trioSour Cream
27 A recorder normally has eightfingerholes Despite this musichistory describes the recorder as ldquoune flucircte agrave neuf trousrdquo (a flute with nine fingerholes)Explain why
28 Give the French name for vibratoperformed by finger movementsalone on a wind instrument
29 Who wrote in his diaryldquohellipbeyond anything in the wholeworld the wind-music when the
Answers to
Bart Spanhoversquos Quiz1 La Fontegara2 Celle3 Actus Tragicus4 The Orchestra of the
Eighteenth Century5 R Hirose M Ishii and
M Shinohara
6 Windkanal or Tibia (both ofGermany) The Recorder(England) American Recorder(US)
7 B8 The most famous English
recorder makers around 1700Bressan and Stanesby (the latterbeing both senior and junior)
9 O Schmerz Hier zittert das gequaumllte Herz
10 Walsh (and Hare) (of London)Roger (of Amsterdam)
11 La Tempesta de Mare La Notte Il Gardelino
12 Le Romain13 JB Loeillet J J Quantz
JJ Hotteterre or J B de Boismortier
14 Henry VIII15 Five16 Syntagma Musicum17 Sebastian Virdung Musica
Getutscht und Ausgezogen (1511)18 Blindness19 Igor Stravinsky20 Marion Verbruggen21 Alto recorder and piano22 Nicolas Cheacutedeville23 Japanese24 Viola and cembalo25 Allemande Courante Sarabande
Bourreacutee26 Kees Boeke Walter van Hauwe
and Frans Bruumlggen27 Before 1670 the player could
choose how to hold the recordermdashleft hand or right hand at the topThis meant that recorder makersdrilled two holes to accommodatethe little finger of the hand thatended up at the bottom Theunused hole was sealed with beeswax
28 Flattement29 Samuel Pepys30 Flanders Recorder Quartet
30 March 2009 American Recorder
Lazarrsquos Early Music(866) 511-2981 jblazaraolcom
wwwLazarsEarlyMusiccom
292 Gibraltar Dr 108 Sunnyvale CA 94089
Strings amp Early Winds
ModernBaroque Strings Viols Vielle
Kuumlng Moeck Mollenhauer Paetzold Yamaha Ehlert
Wenner Baroque flutes
Wendy Ogle Lu-Mi Ifshin Snow
Competitive Prices
Sent on Approval
Personalized Service amp Advice
R
E
C
O
R
D
E
R
S
ldquoGO FOR NEO-BAROQUErdquo
Andrew Charlton Partita Piccola For 4 Recorders (SATB)
[Prelude Allemande Courante Musettemdash
a neo-baroque epitome] (Score amp Parts PBE-25) $795
Andrew Charlton Suite Moderne For 3 Recorders (ATB)
[Baroque shapes but Hindemithian harmony]
(3 Playing-Scores PBE-44) $995
Southwest of Baroque David Goldsteinrsquos ldquobaroque Suiterdquo
on Cowboy Songs For 2 Recorders (SA) (PBE-2) $350
The Provincetown Bookshop Inc
246 Commercial Street Provincetown MA 02657 Tel (508)487-0964
A good source for Recorder amp Viol Music of all publishers
Provincetown Bookshop Editions
angel comes down which is sosweet that it ravished me andindeed in a word did wrap upmy soul so that it made me reallysick just as I have formerly beenwhen in love with my wiferdquo
30 Whatrsquos the English name for afamous recorder ensemble calledin its country Vier op lsquon Rij
wwwAmericanRecorderorg March 2009 31
by Tim Broege timbroegeaolcom
December 11 2008 was a specialday for American music the
100th birthday of Americarsquos greatestliving composer Elliott Carter Cele-bratory concerts took place in manyvenues including Carnegie Hall inNew York There the Boston Sym-phony led by James Levine played anew work by Carter Interventions forpiano and orchestra The soloist wasanother well-known conductor DanielBarenboim who is no mean hand atthe keyboard to say the least
Itrsquos remarkable that wonderfulnew compositions continue to pourforth from Carterrsquos pen His musicsparkles and frolics packing lots of musical events into engrossingstructures Much of his music isavailable on CD so if you missed thecelebrations you can easily have yourown belated birthday party for Carter
Although he has never written for recorder (one of our prominent
recorder soloists should commissionhim) Carter has produced manychamber pieces featuring woodwindsSince many recorder players double orstarted out on woodwinds such piecesas the Sonata for Flute Oboe Cello ampHarpsichord (1952) Enchanted Preludes(1988) for flute and rsquocello Espritrudeesprit doux (1985) for flute andclarinet or the Oboe Quartet (2001)may hold special interest
If you missed Charlie Rosersquosexcellent interview (broadcast onDecember 10) with Carter Levine andBarenboim you can see it atwwwcharlierosecomview
interview9774mdashessential viewingfor fans of contemporary music
We note with sadness the passingon January 23 of another distin-guished American composer GeorgePerle An authority on the music ofAlban Berg and the Second VienneseSchool Perle developed a uniquelyrical style based upon a free approachto 12-tone and serial procedureswhich he dubbed ldquo12-tone tonalityrdquo I recommend listening to his SerenadeNo 3 for Piano amp Orchestra (1983) Six Etudes for Piano (1973-76) and the Pulitzer Prize-winning Wind Quintet No 4 (1985)
Another leading American com-poser Leon Kirchner is thankfully still with us having turned 90 onJanuary 24 Like Perle Kirchner has a highly personal and expressive styleA birthday concert was held at MillerTheater at Columbia University inNew York City NY Participatingmusicians included flutist PaulaRobison pianist Jeremy Denk and theClaremont Trio with the composerpresent to discuss his music
An excellent way to get to knowKirchnerrsquos music is through his stringquartets Just in time for his birthdayAlbany Records has released a fine CDof all four played by the Orion StringQuartet Quartet No 4 was written in2007 (when the composer was 87mdasha veritable youngster compared toCarter) The composer Allen Shawnhas described that quartet asldquoluminous and passionaterdquo words aptto describe much of Kirchnerrsquos output
Speaking of contemporary musicI have been spending pleasant hoursperusing the Catalog of ContemporaryBlockflute Music available online atwwwblokfluitorg from StichtingBlokfluit This Netherlands founda-tion offers a contemporary recordercatalog and a catalog of historicalrecorder music Access to both is byfree membership
For those who havenrsquot yet used thecontemporary catalog I urge you togive it a try You can search by manyparameters such as composer title orspecific instrumentation A search forldquovoice fluterdquo turned up a list thatincluded Moon Dances Three AmericanSketches by composer Walter Mays(intended for solo alto recorder butalso playable on tenor or voice flute)Searching the name of English com-poser Edmund Rubbra produced a listof eight works that employ recordersincluding the intriguing CantataPastorale opus 92 for high voice altorecorder rsquocello and harpsichord
Searching ldquofemale composersrdquo fora piece using ldquoBaroque altordquo yieldedAfter Meditation by Ros Bandt ofAustralia
What an easy and tremendouslyvaluable way to find new music
On the Cutting Edge___________________________________Birthdays composers and
recorder music catalogs
Elliot Carter
(photo by Meredith Heuer)
Question How does Renaissancefingering differ from standard
fingering on the recorder Is one superior tothe other Do you need a special recorder touse Renaissance fingering and if so can itbe played with regular recorders Is there afingering chart that shows RenaissancefingeringmdashWilliam BaumannWaterford WI
Answer from Carolyn Peskin Music composed in the
Renaissance the historical periodextending from about 1450 to 1600was predominantly vocal and highlycontrapuntal Recorders which oftendoubled singers at the octave orrendered vocal pieces instrumentallywere designed to make the individualmelodic lines clearly audible
Most 16th-century consortrecorders were one-piece instrumentswith large toneholes and a wide borethat contracted slightly starting nearthe upper fingerholes and thenexpanded gently near the lowest holesThat ldquochoke-borerdquo design togetherwith the voicing and tonehole con-figuration favored the fundamentaltone (first harmonic) producing astrong open sound that was aboutequally loud throughout theinstrumentrsquos range
Such recorders had a useful rangeof only about an octave plus a sixthwhich was nevertheless sufficient for the music of their day MostRenaissance-style consort recordersmade today are based loosely uponsurviving 16th-century instruments ofthe above type and are designed toapproximate the range timbre andvolume of those early instruments
Our present-day ldquoregularrdquorecorders are Baroque-derived instru-ments based loosely upon survivingrecorders from the late 17th and early18th centuries They are three-pieceinstruments with small toneholes and abore that is narrower and moretapering than a Renaissance boreextending their useful range upward totwo octaves plus a whole tone
Baroque recorders are soft andsweet-sounding in their bottom octavebut louder and brighter in the secondoctave Their lowest notes are espe-cially weak because they must be blowngently to prevent overblowing into thesecond octave Such instruments aresuitable for Baroque solo and chamberrepertoire but not very satisfying forRenaissance polyphony
Due to their different timbre andvolume Renaissance recorders will not blend well with Baroque onesFurthermore the most historicallyauthentic Renaissance-style recordersare tuned in a ldquomeantonerdquotemperament that facilitates the playingof pure major thirds Such instrumentsmake Renaissance music easier to playin tune but will produce intonationproblems if played with Baroquerecorders which are tuned in equaltemperament For the above reasonsRenaissance and Baroque recordersshould not be played together
Renaissance fingering will not work on todayrsquos neo-Baroquerecordersmdashmost of which haveldquomodernrdquo Baroque fingeringcommonly called ldquoEnglishrdquo fingering
because it was developed fromhistorical Baroque fingering by ArnoldDolmetsch in England during theearly 20th century Renaissancefingering is less standardized partlybecause a number of different originalinstruments are used as models andpartly because makers wish to improvethe intonation tone quality andorplayability of certain notes Howeverthe following generalizations apply tomany of todayrsquos Renaissance-styleconsort recorders
First in the lower octave modernBaroque fingering works for mostnotes but is often too flat for the fourth scale degree (eg soprano F)requiring removal of finger 7 (right-hand pinky) and is too sharp for theraised fourth degree (eg soprano F)requiring addition of finger 7
Modern fingering is also usuallytoo sharp for the lowered seventhdegree (eg soprano B) The correctfingering for that note varies from oneinstrument to another
In the upper octave modernfingering works for the first third andfifth scale degrees (eg soprano C Eand G) but usually not for other notesSome notes require half-holing with aright-hand finger and notes above thefifth scale degree may require additionof several fingers to bring them in tuneHistorical Renaissance fingering forthe second scale degree (eg sopranoD) is especially awkward because all ofthe fingerholes and the thumbholemust be uncovered Therefore somemakers substitute modern fingering forthat note
Although Renaissance fingeringand meantone tuning are recom-mended for the best blend some
Q amp A___________________________________ Renaissance recorder fingering
Send questions to Carolyn Peskin QampA Editor 3559 Strathavon Road Shaker Heights OH44120 carolynpeskinstratosnet
32 March 2009 American Recorder
wwwAmericanRecorderorg March 2009 33
makers of handcrafted Renaissance recorders will provide modern fingeringandor equal temperament upon request and Moeck Verlag offers a choice ofRenaissance or modern fingering for most sizes of its factory-producedRenaissance Consort series
For a most satisfying blend Renaissance ensembles should purchase amatched set of recorders tuned and voiced to be played together Renaissanceconsort sets usually include two different alto recorders one in G (lowest note g)and one in F (lowest note f ) The ATTB combination with the G-alto is best formost of the quartet music composed between 1450 and 1550 while the SATBcombination with the F-alto is more practical for much late 16th-centuryrepertoire (Playing the G-alto requires learning G-alto fingering or elsetransposing the alto line down a whole tone and using F-alto fingering)
In addition to consort recorders some makers offer ldquoGanassirdquo sopranos andaltos based upon fingering charts in Silvestro Ganassirsquos recorder tutor Fontegarapublished in 1535 and a single original instrument in the Vienna Kunst-historisches Museum Because of their special bore design (cylindrical with aflaring bell) Ganassi recorders have a range of two octaves and a sixth withcumbersome fingerings in the third octave They are used mainly as soloinstruments for playing intricate ornaments of the type found in Fontegara
Also sometimes included in the ldquoRenaissancerdquo category are ldquotransitionalrdquo(early Baroque) recorders which are based upon originals from the first half ofthe 17th century They have a bore that is wider than a Baroque bore but contractssharply near the lower end resulting in strong low notes and at least a full two-octave range usually with modern fingering Most transitional recorders aresopranos or altos designed for playing Jacob van Eyckrsquos variation sets or thehighly ornamented Italian solo repertoire of the late-16th and early-17thcenturies
However wide-bore consortrecorders with a range of at least twooctaves and modern fingering shouldalso be regarded as transitionalinstruments They differ somewhat intimbre and volume from typicalRenaissance consort recorders
Handmade wide-borerecordersmdashconsort Ganassi andtransitionalmdashare obtainable frommakers who advertise in AmericanRecorder the Prescott Workshop andthe Von Huene Workshop in the USJean-Luc Boudreau in Canada andStephan Blezinger in GermanyContact them andor visit their websites to find out what kinds ofrecorders they are currently makingand to get an idea of their prices andwait times
Factory-produced wide-borerecorders from Kobliczek Moeck andMollenhauer are available frominstrument dealers who advertise inAR New and used recordersincluding wide-bore models fromimportant makers in the US andabroad are also obtainable from Uni-corn Music For further informationvisit wwwbuyrecorderscom For a comprehensive database of recordermakers worldwide see Nicholas SLanderrsquos ldquoExtant Recorder Makers amp Retailersrdquo at wwwrecorder
homepagenetmakershtml
REFERENCES
CONSULTEDBauer Winfried
wwwrecorder-fingeringscomIncludes interactive fingeringcharts from modern makers andhistorical treatises Charts forRenaissance consort recorders byAdriana Breukink Adrian BrownBob Marvin and Tom Prescottwere consulted
Brown Adrianwwwadrianbrownorgrec
order_typesconsorthtml
Our present-day ldquoregularrdquo recorders are
Baroque-derived instruments based loosely
upon surviving recorders from the
late 17th and early 18th centuries
34 March 2009 American Recorder
The Von Huene Workshop Incis pleased to announce agreements with
CoolsmaZamra
to serve as their authorised service agents in the US
For more than 40 years the von Huene Workshop has produced some of the finest recorders in the world Our skilled staff can revoice retune and repair even the most seriously damaged instruments All repairs are done right on the premises and most can be completed within a week
For warranty repairs please include a copy of your original sales receipt
j 65 Boylston Street Brookline MA 02445 i(617) 277-8690 Fax (617) 277-7217 servicevonhuenecom
An informative article aboutrecorder sizes in Renaissanceconsorts
Brown Adrian and David LasockildquoRenaissance Recorders andTheir Makersrdquo AmericanRecorder Vol XLVII No 1(January 2006) pp 19-31 An important article based upon Brownrsquos extensive researchon 120 of the 200 surviving 16th-century recorders
Ganassi Silvestro Opera IntitulataFontegara Ed Hildemarie Peter(Berlin-Lichterfelde RobertLienau 1959) Modern edition ofthe oldest known treatise devotedentirely to the recorder (publishedin 1535) Includes 16th-centuryfingering charts
Griscom Richard and David LasockiThe Recorder A Research andInformation Guide (New York andLondon Routledge 2003) Anannotated bibliography including
references on construction anddesign of historical recorders
Levin Philip ldquoQampArdquo AmericanRecorder Vol XXXVIII No 4(September 1997) p 27Explains in simple terms thedifference between Renaissanceand Baroque recorders
Morgan Fred ldquoA Recorder for theMusic of JJ van EyckrdquoAmerican Recorder Vol XXV No 2 (May 1984) pp 47-49Describes the bore design of arecorder suitable for playing Van Eyckrsquos variation sets andcompares it with bore designs ofother types of recorders
Myers Herbert W ldquoRecorderrdquochapter in A Performerrsquos Guide toRenaissance Music ed JefferyKite-Powell (New York SchirmerBooks 1994) A 2nd edition isnow available published in 2007by Indiana University Press
FEATURING MUSICA PACIFICA
JUDITH LINSENBERG
RECORDERS____JS BACH TRIO SONATAS Arr by
Linsenberg from Trio Sonatas for Organ BWV525-
530 Sonata No 1 in E
major (transp to B
)
BWV 525 Sonata No 2 in C minor (transp to E)
BWV526 Sonata No 3 in D minor (transp to G)
BWV 527 Sonata No 4 in E minor BWV 528
Sonata No 5 in C major (transp to F) BWV529
Sonata No 6 in G major (transp to C) BWV 530
Virgin Classics Veritas 1993
____FIRE BENEATH MY FINGERS Showcases
three legendary composers who were also
virtuoso performers Vivaldi Concerto in F major
after RV 98570 ldquoLa Tempesta di Marerdquo Sonata in
A minor RV86 Concerto in G minor RV106 Con-
certo in Bb major RV503 Sammartini Concerto in
F major Tartini Concerto in A major D91 Dorian
____MANCINI CONCERTI DI CAMERA Seven
sonatas by Francesco Mancini plus one work each
from his contemporaries Francesco Durante amp
Domenico Scarlatti Highly recommended citation
from the 2000 Vivaldi Prize for Recordings of Italian
Early Music--Giorgio Cini Foundation Dorian
____MARAIS MARIN PIEgraveCES EN TRIO POUR
LES FLUcircTES VIOLON amp DESSUS DE VIOLE
Maraiss complete works for two treble lines and
bass with varied instrumentation and orchestrations
2-CD set $24
____SCARLATTI CONCERTI DI CAMERA
Seven sonatas for various instrumentations no
poor relations to the composers much more widely-
known vocal output All recorder players should
certainly have thisndashEarly Music Review
____TELEMANN CHAMBER CANTATAS
Five cantatas from Harmonischer Gottesdienst two
sonatas from Sonatas Corellisantes 2003 Chamber
Music America WQXR Record Award for best
chamber music recordings
____VIVALDI LA NOTTE Concerti per strumenti
diversi Award-winning CD featuring five Vivaldi
concerti two sonatas
AND OTHER RECORDING
ARTISTS FROM CALIFORNIA ____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 American Bach Soloists Jeffrey
Thomas conductor Dan Laurin Hanneke van
Proosdij recorders Christmas Concerto featuring
unique 1725 London version with solos transcription
for two recorders instead of two solo violins in
three of the six concertos Delos
____CANCcedilONIEgraveR Annette Bauer recorder
multi-instrumentalist Tim Rayborn Shira Kammen
strings Phoebe Jevtovic voice in a new early
music group devoted to repertoire from the
12thndash15th centuries as well as traditional music
from related regions (the Balkans Scandinavia
Middle East) Medieval instrumental music played
on a variety of instruments including strings
recorders and percussion Medieval dances and
motets bring to life the rich world of ancient
European music-making
____SACRED AND SECULAR MUSIC FROM
RENAISSANCE GERMANY Ciaramella-Adam amp
Rotem Gilbert Doug Millikan Debra Nagy
recorders with other winds shawm sackbut amp
organ Medieval amp Renaissance sacred music with
reconstructions of folksongs amp arrangements based
on contemporary improvisation
____BURIED TREASURE TOPAZ amp SAPPHIRE
Ensemble Vermillian Frances Blaker recorders
Barbara Blaker Krumdieck cello Elisabeth Reed
gamba Katherine Heater harpsichord amp organ
Transcriptions of Buxtehudes Op 1 other pieces by
Buxtehude works by Biber Johann Schop
Schmelzer Fafarela 2007
____STOLEN JEWELS Ensemble Vermillian
Frances Blaker recorders Barbara Blaker
Krumdieck Elisabeth Reed Katherine Heater 17th-
century German music adapted by Blaker I love
violin music so I steal the music and rearrange it
for my own instrumentrdquo Buxtehude Op 1 Biber
Rosenmuller Krieger JM Bach Fafarela
Recordings
____SENFL (LUDWIG) Farallon Recorder Quartet
(Letitia Berlin Frances Blaker Louise Carslake
Hanneke van Proosdij) 23 lieder motets and
instrumental works of the German Renaissance
____DOLCE MUSICAndash A CONTEMPLATIVE
JOURNEY Eileen Hadidianflutes recorders
Natalie Cox harps Celtic Renaissance and
Medieval melodies for recorder and flute with
Celtic harp Healing Muses 2005
____REFLECTIONS MUSIC TO SOOTHE AND
UPLIFT THE SPIRIT Eileen Hadidian recorder amp
Baroque flute with Celtic harp and cello Celtic
traditional Renaissance amp Medieval melodies
Healing Muses
____AN EVENING WITH BACH Voices of Music
Hanneke van Proosdij Louis Carslake Dan Laurin
recorders Joanna Blendulf Elizabeth Blumenstock
Rodney Gehrke Lisa Grodin Katherine Kyme
Jennifer Lane Victoria Gunn Pich Susanne Ryden
William Skeen David Tayler Renaissance and
Baroque music centers on fine singing Instantly
recognizable Air on a G String Bachrsquos Prelude in
G Major (solo theorbo for rsquocello) plus lilting vocal
performancesmdashRydenrsquos weightless soprano on
Bist du bei mir Lanersquos rich alto on Es is vollbracht
____BACH amp TELEMANN SONATAS PRELUDES
amp FANTASIAS Voices of Music (Hanneke van
Proosdij Joanna Blendulf Rodney Gehrke William
Skeen David Tayler) Beautiful chamber music by
Bach and Telemann
IN STOCK (Partial listing)____ALLA TURCA FUX CALDARA BADIA
Matthias Maute amp Sophie Lariviegravere recorders
Monika Mauch soprano Vocal music of the church
accompanied by Ensemble Caprice plus sonatas
and other instrumental pieces Analekta
____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 John Daniels Sonja Lindblad
recorders Peter Sykes harpsichord Trio sonata
arrangement by Johann Christian Schickhardt
____LES
AMIS DU
BAROQUE
Paul Nauta recorder amp
Baroque flute Koen Dieltiens recorder Music by
Bassani Corelli Vivaldi etc Highlight Intl
____LES SEPT SAUTS BAROQUE CHAMBER
MUSIC AT THE STUTTGART COURT Matthias
Maute amp Sophie Lariviegravere recorders amp traverso
Ensemble Caprice Charming repertoire by
Schwartzkopff Bodino Detri Atma Classique
____TASTE OF PORTIQUE LEnsemble Portique
Early and contemporary chamber musicmdash
Bach Telemann Boismortier and others
____TELEMANN ALLA POLACCA REBELndash
Matthias Maute recorders amp traversondash
plays concerti and suites by GP Telemann Dorian
____TELEMANN CANONS AND DUOS Lisette
Kielson amp Patrick OMalley recorders LEnsemble
Portique Telemann Canons meacutelodieux amp Sonates
sans basse 2-CD set LEP Records
____20TH CENTURY MUSIC FOR RECORDER amp
PIANO Anita Randolfi recorders Music by Jacob
Bartok Leigh others for recorder amp piano
____VIVALDI AND THE BAROQUE GYPSIES
Matthias Maute amp Sophie Lariviegravere recorders
Ensemble Caprice Gypsy music taken from
Uhrovska zbierka (now Slovakia) plus Vivaldi
____VIVALDI SHADES OF RED CONCERTOS amp
SONATAS FOR RECORDER amp STRINGS Matthias
Maute recorders REBEL Stylish high octane
readings of some of Vivaldis most beloved pieces
including the popular and raucous Concerto alla
Rustica stunningly colorful Sonata on La Follia and
four exuberant recorder concerti Bridge
____WINDFIRE Charmaine Delmatier recorder
Steve Kostelnik classical guitar Terry Hale bass
Erik Hokkanen violin Refreshing mixture of Andrew
Lloyd Weber American blues flamenco Celtic and
one original piece ltwwwyermomusicomgt
Please indicate above the CDs you wish toorder and print clearly the following
Name ____________________________________
Daytime phone (_____)______________________
Address__________________________________
CityStateZip _____________________________
Check enclosed for
_____ single CDs x $____ = $______
_____ 2-CD sets x $____ = $______
TOTAL $______
Please charge the above amount to my
MasterCard Visa or AmEx
_______________________________________
Exp Date ____________
Cardholderrsquos signature ______________________
Mail to
ARS 1129 Ruth Dr St Louis MO 63122-1019 US
You may fax a credit card order to 314-966-4649
NEW You may order CDs online using PayPal at
wwwamericanrecorderorgordercdromshtm
Order your recorder discs
through the ARS CD Club
The ARS CD Club makes hard-to-find or limited release CDs by ARS members
available to ARS members at the special price listed (non-members slightly higher)
All CDs are $15 ARS members$17 Others unless marked otherwise Two-CD sets are
$24 ARS members$28 Others Add Shipping and Handling $2 for one CD $1 for each
additional CD An updated listing of all available CDs may be found at the ARS
web site ltwwwamericanrecorderorggt
The first meeting of the newly-formedFort Myers Recorder and Early
Music Ensemble was January 26 atthe Florida home of chapter rep Sue
Groskreutz For this year the groupis somewhat loosely organized andplans to meet for extended sight-reading Repertoire at the first meetingcomprised everything from Renais-sance duets to chamber music involv-ing three treble parts and continuo
Among the five musiciansattending the first meeting (photobelow front row Elizabeth Spang SueGroskreutz back row Suzanne FergusonSibylle Baumgartner Arlene Sowka) allplayed recorder three harpsichord
and one each played traverso violinand gamba Due to the scarcity ofrecorder players south of the Sarasotaarea modern string players are alsoincorporated into this ensemble
The group decided not to chargedues and to meet at Groskreutzrsquoshome For more information pleasecontact Groskreutz at 239-267-1752spgembarqmailcom Snowbirdsdrifting through the area are welcome
Last fall at the requestof a student Kay Hettich
(inset below right) taught abeginning recorder class atthe Redding (CA) Senior
Center The five-weekclass was so successful thatmost participants haveformed a bi-weekly noviceensemble (right) coachedby Hettichmdashwho consid-ers them her ldquohatchedeggsrdquo
A new batch of ldquoeggsrdquostarted to incubate when afive-week class began on February 20Other senior center members havebecome interested as they heard oftheir colleaguesrsquo success These noviceplayers comprise some who previouslyread music and played instruments as well as people who are totally new to music notation
One student has also formulated amaxim ldquoEveryone at age 40 ought tolearn to play the recorder if heshehasnrsquot alreadyrdquo Just think how theworld would be transformed byshifting our focus to music
After Lynn Whidden attendedthe Montreacuteal Recorder Festival lastfall when the ARS Board met inQuebec she joined the ARS and nowrelays news of the lively interest in therecorder exhibited by a group underthe new leadership of Brent Legg ofBrandon University in ManitobaCanada Although his hands wereldquostill partly frozenrdquo he wrote that theBrandon University Collegium
Musicum in collaboration with theWaverley Park Recorder Club is
preparing a spring concert calledldquoEnglandrsquos Golden AgerdquoRepertoire spans the 16th century
from Henry VIIIrsquos accession in 1509to the death in 1603 of Elizabeth Iand includes solo songs four- andfive-part settings of Renaissancedances (with dancers) three- to five-voice madrigals and ldquobig-bandrdquoarrangements of William Byrdrsquos TheBells and The Dargason as re-imaginedby Gustav Holst (further re-imaginedfor recorders and percussion)
Of the 15 collegium membersseven are encountering the recorderfor the first time since elementaryschool The Collegium Musicumpromotes the study of early music at the university and is open to theuniversity community and the generalpublic This year there are five com-munity participants with interest fromseveral more both within and outsideof the university For informationcontact BrentLegggmailcom
January 16 marked the thirdannual recorder workshop of threeFlorida groups the Pasco Collegium
Recorder Consort of Hudson theImperial Recorder Consort of
36 March 2009 American Recorder
Chapters
amp Consorts___________________________________Workshops and activities from
coast to coast in the US and Canada
Lakeland and the Pilgrim Pipers Recorder Consort of St Petersburg Theygathered for a morning tackling selections by Banchieri Monteverdi PurcellCorelli Mendelssohn Bach Mozart and Glen Shannon Each group presenteda piece for the other participants Sweet Georgia Brown by Ben Bernie (St Pete)a Sonata by Sammartini (Lakeland) and The Gospel Train arr by KW Ford(Pasco) The 29 participants were led by Marlene Cracraft (Pasco) Jane
Spencer (Lakeland) and Elizabeth Snedeker (St Pete) Tom Bickley (photo below) directed the fall workshop of the Mid-Peninsula
Recorder Orchestra in Cupertino CA The 30 players started with Gregorianchants written in ldquooldrdquo notation Bickley gave basic instruction on how tointerpret the notes and then had the group sing the chants prior to playing them
The workshop theme of ldquoThe Articulate Recorderrdquo was literally played out as the music presented used variations in tonguing phrasing and breathingOther repertoire included a Kyrie by Tomas Luis de Victoria Bachrsquos Jesu Joy ofManrsquos Desiring a double-choir piece by Gabrieli Christopher Tyersquos In NomineXIII and a Purcell chaconne The workshop ended with a rhythmically-challenging minimalist piece by Bickley entitled Beginning composed for theWaldorf School teacher training program George Greenwood reports that thegroup had a productive event and plans to ask Bickley to lead a future workshop
wwwAmericanRecorderorg March 2009 37
A Muse in the DesertThe sound of a pin dropping hellip thesound of eager minds and fingersabsorbing information and inspira-tion hellip the sounds of ldquoNuevaEspantildeardquo Spanish- and indigenous-influenced music of the 1600s in theNew World These were the soundsof the Desert Pipes (Phoenix AZ)chapterrsquos fall workshop given byEileen Hadidian On a Saturdaylast October 30 players from all overArizona gathered to learn from andbe inspired by the founder of a SanFrancisco Bay Area group dedicatedto sharing music for healing inhealthcare settings Healing Muses(wwwhealingmusesorg)
The day began with relaxationstretching and breathing exercisesfollowed by travels to Peruacute MexicoGuatemala and Colombiamdashhighchurch music vernacular pieces anda mixture of the two Participantsenjoyed the historical and contextualbackground provided as an overviewfor the day and for each piece
Remarkably the sound heardbetween pieces and passages was anenergy-filled quiet the attentivestillness of active engagement in theworkshop experiencemdashnot the chat-tering noodling and conversationsthat often occur when the musicstops That activity was reserved forthe breaks when participants couldenjoy the cool (at last) outdoorschat with Hadidian and peruse the popular garage sale (to benefitDesert Pipes) of previously-enjoyedbooks and other treasures
On Sunday Hadidian sharedher expertise and inspiration in indi-vidual and group coaching sessionsThe weekend was a special experi-ence and Desert Pipes memberslook forward to the next visit of this Healing Muse
Ann Koenig Scottsdale AZannisalesprocom
Members
of three
Florida
groups
met
in January
for a joint
workshop
CHAPTER NEWS
Chapter newsletter editors and publicity officers should send materials for publication toAmerican Recorder 7770 South High St Centennial CO 80122-3122
editoramericanrecorderorg Also send short articles about specific activities that haveincreased chapter membership or recognition or just the enjoyment your members get out of
being part of your chapter Digital photos should be at least 3rdquox4rdquox300dpi TIF or unedited JPG files Please send news to the AR address above and to the following
ARS Office 1129 Ruth Drive St Louis MO 63122-1019 ARSrecorderAmericanRecorderorg
and to Bonnie Kelly Chair Chapters amp Consorts Committee 45 Shawsheen Rd 16 Bedford MA 01730 bksharpaolcom
TO THE STARS
AND BEYONDThe cover of the November magazinegenerated a few comments Some werenrsquotsure how to interpret the title (in theartistrsquos native German it could besomething close to ldquostarlit moonrdquo)Longtime member Carolyn Peskin wrote to offer her vision of that cover
In the beginning the Great Spiritinvented Mr Sun to light the day andMiss Moon to light the nightHowever as Miss Moon floated up inthe sky all by herself like a big yellowballoon she began to feel very lonelyso one night to relieve her lonelinessshe decided to take out her recorderand make music
But when she started to playsomething miraculous happened Not only beautiful melodies but alsoyellow dust poured out of the bottomof her recorder and the dust particlesimmediately coalesced to form yellowstars As she continued playing moreand more stars were created and theyfloated up around her filling the nightsky
At last Miss Moon was happy fornot only was she herself able to enjoyher music but she now had a wholecrowd of starry companions to enjoy itwith her And if you listen very care-fully on a quiet night you might beable to hear her recorder and thatstarry choir humming along
Carolyn Peskin
LOCATING EARPLUGSI read with interest the QampA in theNovember lsquo08 AR regarding hearingloss and use of earplugs Where do you get musicianrsquos earplugs
Dolly Hirata Kensington CA
CAROLYN PESKIN PROVIDED THIS
INFORMATION Musicianrsquos earplugs arecustom made for individual usersThey can be purchased only fromlicensed hearing professionals (ieaudiologists and hearing instrumentspecialists) To find a licensed hearingprofessional in your area look underldquoaudiologyrdquo or ldquohearingrdquo in your localyellow pages
For information about how musi-cianrsquos earplugs are produced visitwwwetymoticcomephperme-w
tbaspx That web page also has a linkto contact information for authorizedlabs that make the custom earmolds formusicianrsquos earplugs If the yellow pagesdo not prove helpful those labs canrefer you to a licensed hearing pro-fessional in your area from whom youcan purchase musicianrsquos earplugs
MORE FROM CAROLYN
THIS TIME ABOUT OSKARIn the September 2008 AR the musicreview by Leslie Timmons of the Oskarpieces by Matthias Maute mentionedthat Carolyn Peskin had translated twoof the Oskar books from German toEnglish People can obtain thetranslations free of charge as Wordattachments by contacting her atCarolyn Peskin 3559 StrathavonRoad Shaker Heights OH 44120carolynpeskinstratosnet
ANOTHER KIND OF
MUSIC-READING
GLASSESIn the January 2009 issue of AmericanRecorder therersquos something (in myopinion) the ldquoRecorder with GlassesObbligatordquo article omitted which canenable a nearsighted musician to avoidneck strain in the use of bifocals
Irsquove found the solution to thisvexing problem is to have onersquos bifocalsconstructed differently [from] normalMy optometrist was willing to work
38 March 2009 American Recorder
Response___________________________________Two kinds of vision
the better to see with and (not) to hear with
Honeysuckle Music
Recorders amp accessories
Music for recorders amp viols
Jean Allison Olson1604 Portland AveSt Paul MN 55104
6516448545jeanhoneysucklemusiccom
Responses from our readers are welcomedand may be sent to American Recorder 7770 South High St Centennial CO
80122 Letters may be edited for length and consistency
ARS Membership Enrollment and Renewal I am a new member I am or have been a member
USCanadian Memberships Foreign Memberships $45 One Year $55 Foreign One Year $75 Sustaining (Receive a Hottetere Hands Pin) $100 Two Years $80 Two Years
LIFETIME MEMBERSHIP Single Dual Regular Lifetime Member $1000 (2) $1500 (4) 4 installments of $250 available) Loyalty Lifetime Member (1) $ 800 (3) $1200 (4) 4 installments of $200 available
(1) For members who have maintained membership for five consecutive years (2) $750 is Tax Deductible (3) $600 is Tax Deductible (4) Installments available Student Memberships Other Memberships (Enclose proof of full time enrollment) $65 One Year Workshop Membership
$25 USCanadian One Year $125 One Year Business Membership $45 USCanadian Two Years $30 Foreign One Year $5 Additional Charge for Dual Address or Dual Name
Do not list my name in the ARS Print Directory Do not list my name on the ARS Online Directory Do not release my name for recorder related mailings Do not contact me via email
My address telephone and email address are the same as last time
______________________________________ _________________________ Name Phone Number ______________________________________ _________________________ AddressCityStatePostal Code Email Address Please charge to (Circle one) VISAMasterCardAMEXDiscover CC________________________________ Expiration Date ______________ Signature of cardholder_______________________________________________________ Clearly Print Name as it appears on Card________________________________________
Renew by Mail Online By Phone or by Fax
Demographic Information (optional information collected only to enhance ARS services and provide statistics to grant makers)
I am a member of ARS Chapter or Consort____________________________ I am the Chapter Contact Your age Under 21 (21-30) (31-40) (41-50) (51-60) 61-70) (71+) Please check all that apply
I am a Professional Recorder Performer
I wish to be included in the list of Recorder Teachers in the ARS Directory and website I Teach (circle your choices) Children High School Youth College Students Adults Beginner Intermediate Advanced Pre-Professional Individuals Childrenrsquos Classes Adult Classes Ensembles Suzuki Orff JRS Leader Kodaly Where I Teach (circle your choices) Music Studio Public or private school Community Music School College Other _____________________
American Recorder Society 1129 Ruth Dr St Louis MO 63122-1019
Phone 314-966-4082Fax 314-966-4649
TollFree 800-491-9588ARSRecorderAmericanRecorderorg
wwwAmericanRecorderorg
with me [to find] an ideal (for me)placement size and focal length of thebifocal lens
Before visiting the optometristIrsquod had my wife measure the distancefrom my eyes to the music on mymusic stand With this measurementthe optometrist set up her machine toprepare a vision prescription for memaximized for this reading distance
When I look at my bifocals (withthem off) the lenses (through which Iread my music) occupy most of thelower two-thirds of my glasses (they are set very high and beginimmediately at the inner rims) Thisleaves the upper third and smallportions of the outside [of each lens]for focusing on the conductor As longas my stand is set low enough my necknever experiences any strain (even if Ihave to read three to a part) and Irsquove no problem in seeing theconductor (in sharp focus) either
For me trying to use glasses [toread] from a music stand [that] weredesigned for use in reading from acomputer screen also results in neckstrain (not to mention unreliability in aldquopressurerdquo situation) Having studiedTai Chi extensively and so being
wwwAmericanRecorderorg March 2009 39
There are lots ofsolutions to thepresbyopic musicianrsquosproblem but all involve compromises
40 March 2009 American Recorder
American Recorder Society PublicationsErich Katz Contemporary Music Series Members Non-MembersA Short Tale for Two Basses Suzanne M Angevine (Level II) (2 scores) $5 $8Dialogue and Dance Cecil Effinger (SATB)(Level II-III) (score amp parts) $10 $18Dorian Mood Sally Price (SATB) (Level II) (score amp parts) $10 $18Double Quartet for Recorders Peter Ballinger (Level II-III) (score amp parts) $10 $18Entrevista Frederic Palmer (SATB) (Level II) (2 scores amp 4 recorder parts) $8 $14Kyrie and Vocalise for Soprano Voice ampRecorders Stanley W Osborn $8 $14
(SATB) (Level II) (2 scores amp 4 recorder parts) Picnic Music Jeffrey Quick (SATB) (Level II) (score amp parts) $5 $8Six Short Pieces for Three Recorders edited by Alan Drake $8 $14
(3 scores) Vaclav Nelhybel (AATT) (Level II)Sonatina for Alto Recorder and Piano Anthony Burgess $7 $12
(Level II) (2 scores)Sonatine for Three Altos Lee Gannon (Level III) (score amp parts) $14 $26Suite of Jewish Folk Tunes Erich Katz (S SA8 AT) (Level II) (three scores) $10 $18
Musical Editions from the Membersrsquo Library ARS members 1 copy-$3 2 copies-$450 3-$6 4-$750 5-$10 6-$1150Non-members (editions over 2 years old) 1 copy-$5 2 copies-$850 3-$12 4-$15 5-$1950 6-$23The ARS is happy to provide photocopied enlargements of any Membersrsquo Library edition at the same prices Please specify ldquoMembersrsquo Library Enlargementrdquo
ARS Information BookletsARS members 1 booklet-$13 2 booklets-$23 3-$28 4-$35 5-$41 6-$47 7-$52Non-members 1 booklet-$18 2 booklets-$33 3-$44 4$55 5-$66 6-$76 7-$86
Education PublicationsThe ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996)
First copy free to ARS Members (mailed to new members as they join) replacement copies $3Guidebook to the ARS Personal Study Program (1996) Material formerly published in the Study Guide
and Study Guide Handbook plus additional resources Members $11 non-members $20ARS Music Lists (2002 with 2003 Supplement) Graded list of solos ensembles and method books
Members $9 non-members $15Package Deal available only to ARS members Guidebook and Music ListsSupplement ordered together $16Junior Recorder Society Leaderrsquos Resource Notebook
ARS members $20 non-members $40 (updates at reduced rates after initial purchase)$5 Dues for each JRS student member sponsored by an ARS member ($4 each for groups of 10+)
VideosRecorder Power Educational video from the ARS and recorder virtuoso John Tyson
An exciting resource about teaching recorder to young students ARS members may borrow a copy for onemonth by sending $5 to the ARS office along with the address to which the tape should be shipped
Pete Rose Video Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music Festival recitalFeatures Rose performing a variety of music and an interview of him by ARS member professional John Tyson
Other PublicationsChapter Handbook A resource on chapter operations for current chapter leaders or those considering forming an
ARS chapter ARS members $10 non-members $20 (updates free after initial purchase) One free copy sent toeach ARS chapter with 10 members or more
Consort Handbook Resource on consort topics such as group interaction rehearsing repertoire performingARS member prices CD $10 hard copy $20 combo price of CD and hard copy ordered together $25
Discography of the Recorder Vol I (1989) Compiled by Scott Paterson and David LasockiDiscography of the Recorder Vol II (1990-1994) Compiled by Scott Paterson
Either single volume ARS members $23 non-members $28Both Discography volumes together ARS members only $40
American Recorder Cumulative Index for Vols I-XXXX ARS members $20 non-members $32Index Supplement Vol XXXIV-XXXX ARS members $8 non-members $14
Shipping amp Handling FeesUnder $10 - add $3 $10-1999 - add $4 $20-2999 - add $5 $30-3999 - add $6 $40-4999 - add $7 All prices are inUS dollars For Canadian or foreign postage pay by credit card and actual postage is charged
Please make checks payable to ARS VISAMCAMEXDisc also accepted
ARS 1129 Ruth Drive St Louis MO 63122 US800-491-9588 ARSrecorderAmericanRecorderorg
Arioso and Jazzy Rondo (AB) Carolyn PeskinBerceusendashFantaisie (SATB) Jean BoivertBrucknerrsquos Ave Maria (SSATTBB)
Jennifer W Lehmann arrCanon for 4 Basses (BBBB) David P RuhlDancers (AT) Richard EastmanDifferent Quips (AATB) Stephan ChandlerElegy for Recorder Quartet (SATB) Carolyn PeskinElizabethan Delights (SAATB)
Jennifer W Lehmann arrFallen Leaves Fugal Fantasy (SATB) Dominic BohbotFour Airs from ldquoThe Beggarrsquos Operardquo (SATB)
Kearney Smith arrGloria in Excelsis (TTTB) Robert CowperIdyll (ATB) Stan McDanielImitations (AA) Laurie G AlbertsIn Memory of Andrew (ATB) David GoldsteinLay Your Shadow on the Sundials (TBgB)
Terry Winter OwensLeClercqrsquos Air (SATB) Richard E WoodLittle Girl Skipping and Alouette et al (SATBCb)
Timothy R Walsh
Los Pastores (SAAAT + perc) Virginia N Ebinger arrNew Rounds on Old Rhymes (4 var) Erich KatzOther Quips (ATBB) Stephan ChandlerPoinciana Rag (SATB) Laurie G AlbertsSanta Barbara Suite (SSAAT) Erich KatzSentimental Songs (SATB) David Goldstein arrSerie for Two Alto Recorders (AA) Frederic Palmer Slow Dance with Doubles (2 x SATB) Colin SterneSonata da Chiesa (SATB) Ann McKinleyS-O-S (SATB) Anthony St PierreThree Bantam Ballads (TB) Ann McKinleyThree Cleveland Scenes (SAT) Carolyn PeskinThree in Five (AAB) Karl A StetsonTracings in the Snow in Central Park (SAT)
Robert W ButtsTrios for Recorders (var) George T BachmannTriptych (AATB) Peter A RamseyTwo Bach Trios (SAB) William Long arrTwo Brahms Lieder (SATB) Thomas E Van Dahm arrVariations on ldquoDrmešrdquo (SATB) Martha BishopVintage Burgundy (SASATT)
Jennifer W Lehmann arr
Adding Percussion to Medieval and Renaissance Music Peggy Monroe
American Recorder Music Constance PrimusBurgundian Court amp Its Music Judith Whaley coord
Improve Your Consort Skills Susan CarduelisMusic for Mixed Ensembles Jennifer W LehmannPlaying Music for the Dance Louise AustinRecorder Care Scott Paterson
acutely aware of any kind of neckstrain when it begins to develop these ideas have been a big help to meIrsquom hoping they may be of help toother musicians as well
Best wishes to you And inanswer to your questionmdashyes the new[AR] format (with more white spacebetween the lines) is much easier toread (in my opinion)Your magazinejust keeps getting better and better
Very sincerely Ed Green WestSuburban (Chicago-area) Chapter
RESPONSE FROM DR BILL LONG
What Ed describes is a variant of theuse of conventional bifocals as musicglasses described on page 8 in thearticle Instead of lowering his musicstand into the field of view of hisbifocal segment Ed and his optome-trist have fabricated special purposebifocals with the segment really highso he can focus on his music instraight-ahead view That approachrestricts his distance vision to an areaabove his usual line of sight whichseems to work for Eds playing setup
Eds comments on the difficultiesin using conventional progressiveaddition lenses as music lenses con-firm what I said on page 9 Thats whymanufacturers have marketed special-ty progressive lenses designed specif-ically for intermediate distance taskslike computer use and playing music
There are lots of solutions to thepresbyopic musicians problem but all involve compromises The key toevaluating those compromises andchoosing the best solution for yourselfis to understand your needs and toenlist the help of a sympathetic visioncare specialistmdashjust as Ed did
Please change your
browserrsquos favorites list
AR online is now at wwwameri
canrecorderorgmembership
magazinehtm Send news to
editoramericanrecorderorg
FOUR FOUR-PART CANZONAS
(1608) BY GIOVANNI GABRIELI
ED GREG LEWIN Hawthorns Music RB 16 (Magnamusic) 1999 SATBSc 16 pp pts 4 pp $1950
Giovanni Gabrieli was probablyborn between 1554 and 1557 in theparish of San Geremia in Venice Thedetails of his early life are sketchy butit appears that he was born Giovannidi Fais and later changed his name toGabrieli out of respect to his uncleAndrea with whom he shared a closerelationship In fact in 1587 Gabrielidescribed himself ldquoas little less than asonrdquo It is commonly thought thatAndrea provided Giovanni with hisearly musical training Andrea whohad spent some time in Munichstudying under the great Orlando deLassus sent Giovanni to Munich for a similar period of study in theearly 1570s
Gabrieli remained in Munichuntil the death in 1579 of the dukeAlbrecht V who had been Lassusrsquosemployer for a number of years andwho was an enthusiastic patron of the arts particularly music With hisdeath a number of musicians lost theirjobs it seems as if Gabrieli were also a victim of such culling of talent(Within a generation the tide wouldturn and the Munich court wouldagain hire Venetian expatriates such as Priuli Valentini and Neri)
Upon his return to VeniceGabrieli was hired as a temporaryorganist at San Marco his positionbecoming permanent in 1585 For a few months that year uncle andnephew served together as first and
second organists in the chapel of thedoge In Giovannirsquos absence fromVenice there had been a plague thathad decimated the ranks of theprofessional musicians Andrea setabout rebuilding his forces at SanMarco by hiring a full-time windband consisting of Girolamo dallaCasa a renowned cornettist andviolist his two brothers who playedsackbut and later the cornett virtuosoGiovanni Bassano Giovanni Gabrieliaugmented these forces with addi-tional players and began composingthe large-scale ceremonial music forwhich he is so well known today
Giovanni was also elected to bethe organist and composer to theconfraternity of San Rocco in 1585and it is now thought that his largestpieces were intended for that venuewith its large central gallery andfrescos by Tintoretto instead of SanMarco Gabrieli held both thosepositions at the basilica of San Marcoand the Scuola Grande di San Roccountil he died in 1612 of a kidney stone
Although best known today forhis ceremonial and festival musicGabrieli was at home in smaller-scaleformats as well These four four-partcanzoni are taken from the 1608publication by the Venetian publisherAlessandro Raverji Canzoni per sonarecon ogni sorte di strumenti These werevery popular pieces to judge by themany collections in which they appear
Additionally like Gabrielirsquoskeyboard music they are found inother arrangements These four-partcanzoni lie well under the fingers inarrangements for keyboard and lute
As seen from the title Gabrielispecified no instrumentation but like asimilar edition of madrigals and battlepieces from a few years earlier a dis-tinction was made that they wereintended for wind instruments almostcertainly cornetts and sackbuts
Recorders were not unknown in Venice they were used regularly inthe confraternity of San GiovanniEvangelista where Giovanni BattistaRiccio was organist
These pieces are relativelysimplemdashplayable by beginning tointermediate ensembles They aremostly contrapuntal (with a fewhomophonic sections) and have few rhythmic eccentricities
These canzoni are found in manymodern brass editions but there arefew editions available to the recorderplayer This edition by Greg Lewin ofHawthorns Music might be consid-ered a ldquobare-bonesrdquo edition There islittle background information andeditorial practices are not specified
The music itself has a handwrittenlook that can be distracting but is easyenough to read Lewin has thought-fully supplied phrasing marks that willbe helpful for ensembles unused tothis style of music
Music
Reviews___________________________________ Infectious music created in spite of the plague
wwwAmericanRecorderorg March 2009 41
This is a good edition
for small ensembles that
canrsquot get eight players
together to play
Gabrielirsquos more famous
eight-part canzoni
42 March 2009 American Recorder
The parts are four pages but mycopy had all four pages printed on avery large page This is not a problemand there are no page turns
This is a good edition for smallensembles that canrsquot get eight playerstogether to play Gabrielirsquos morefamous eight-part canzoni Thesesmall-scale pieces are by no meansinferior to Gabrielirsquos more elaboratemusic and deserve to be better known
7 CANZONEN (1637) BY
TARQUINIO MERULA ED JOACHIM
ARNDT WITH CONTINUO REALIZATION
BY CLAUDIA SCHWEITZER MieroprintMusikverlag EM2088 (availabledirectly from wwwmieroprintcom)2005 SS or TT bc Sc 24 pp pts 8 pp$28
Tarquinio Merula was bornaround 1595 in either Busseto orCremona in Italy As was the case withso many composers of the day either alack of regular employment or a rest-less nature took him from his home inCremona to as far away as Warsaw He is found as the organist of thechurch and the chambers to the kingof Poland Sigismund III in 1624
Merula was one of the leadingexponents of the relatively new con-certante style pioneered by ClaudioMonteverdi and others in the seconddecade of the 17th century and may be described as one of the earliestBaroque composers His compositionsin the concertante style are fresh andunforcedmdashhe was born into this styleand didnrsquot encounter it as somethingnew as was the case with so many ofMonteverdirsquos contemporaries
After several years of peripateticexistence Merula found regularemployment in 1631 in Bergamo atthe church of San Maria MaggioreThe prior holder of the post of maestrodi cappella Alessandro Grandi haddied the previous year in the plagueMerula had signed a three-year
contract but by December 1632 hewas terminated with accusations thathe had molested several studentsMerula threatened a lawsuit to recoverhis lost wages but that threat wascountered with a pending criminalcharge lodged by the board ofgovernors of San Maria Maggiore By mid-1633 the matter was settledwith an apology from Merula and astatement that he relinquished allclaims to his salary
He then returned voluntarily toCremona where he stayed until 1635By 1638 Merula was once again inBergamomdashthis time as maestro dicappella and organist in the cathedralnext to San Maria Maggiore Asmight be expected there was con-siderable tension between the twochurches eventually resulting in theboard of San Maria Maggioreforbidding their musicians to perform under Merularsquos direction
He returned in 1646 to a familiarCremona post which he had heldthree times in various years and wherehe now settled downmdashthat of organistand maestro di cappella for Laudi dellaMadonna services in which he ledmusic at the main altar on Saturdaysand on vigils of Marian feasts
None of his employment issues
prevented the Pope from awardinghim the Order of the Golden SpurMerula was also elected to theAccademia dei Filomusi in BolognaHe died in 1665 in Cremona
His existing compositions showthe products of a lively mind Hisworks range from sacred songs andmotets to purely instrumental piecesnotably the ever-popular variations onvarious ground basses It is knownthat Merula was an accomplishedviolinist as well as a fine organist Hissurviving instrumental writing showsa predilection for strings In fact hewas one of the earliest composers tospecify string accompaniments tosacred motets
Merularsquos pieces look backwardtoward some of the more progressiveVenetian composers such as Monte-verdi while looking forward to thehigh Baroque with his innovative style
These seven canzoni like theearlier-published chaconne (EM2084)come from Merularsquos third bookpublished in 1637 CANZONI overo SONATE CONCERTATE perchiesa e camera a due et a tre delcavaliere This collection typifiesMerularsquos output pieces based onRenaissance-era ground basses arefound next to more ldquomodernrdquo sonatas
The original edition specifiesviolins and basso continuo This newedition is intended for recorders thespecific choice of which is up to theplayers Due to the relatively hightessitura tenor recorders work best inthese pieces (although listed as analternative soprano recorders tend to be on the screechy side)
Not surprisingly given Merularsquosskill as an organist the continuo partneeds a keyboard instrument forsuccessful realization Instead of beinga purely accompanying part the bassocontinuo part is an equal partner in these pieces the canzona ldquoLaRuggierardquo opens with a run that therecorders echo a few measures later
A more recorder-specific
edition intended for
altos would have been
ideal There is nothing
preventing the more
adventurous and
industrious players
from making their
own editions of this
delightful music
mentioned were a bit shrill A morerecorder-specific edition intended foraltos would have been ideal There isnothing preventing the moreadventurous and industrious playersfrom making their own editions of thisdelightful music
Prior to playing the previouslypublished chaconne I had notencountered MieroprintMusikverlag Mieroprintrsquos extensivecatalog has an equal focus on newmusic for recorders and on editions ofBaroque masters with emphasis on therecorder and flute Due to the lack of
wwwAmericanRecorderorg March 2009 43
are also available at
The Early Music Shop
of New England
Brookline MA
AESTHEacute
367-b de la Briquade
Blainville Queacutebec
Canada J7C 2C7
tel (450) 979-6091
wwwboudreau-flutesca
A bass viola da gamba or rsquocello is not necessary for these pieces and may infact make them sound heavy and ponderous rather than light and breezy as thismusic seems to be
More so than the above-mentioned chaconne these canzoni are written in avery idiomatic violin style with multiple examples of arpeggios In particular thecanzona ldquoLa Trecchardquo contains a notated example of a string tremolo figurerecurring through the piece ldquoLa Trecchardquo also dips well below the range of a Crecorder going down to low G the lowest string on the violin The editors havesupplied no alternative notes preferring to let the performers to fend forthemselves (in practice we took this passage up an octave with no problems)
The two recorder parts require virtuosity These upper parts are demandingwith the players needing to double-tongue in unison in order to negotiate themany runs of 16th notes and the shared rhythmic ldquolicksrdquo The harmoniclanguage unlike much of Merularsquos music is undemanding and contains none of the harmonic crunches for which he is famous
This is wonderful music that needs a couple of advanced recorder players fora successful performance The string idiosyncrasies can be overcome by advancedplayers and many of the editions of the era (although not this one) list thecornetto as an alternative to the violin so the use of wind instruments in the solo literature of the early Baroque was not unknown
Our experience with this edition left us with the opinion that these pieceswould have been better if transposed down a minor third so as to fit on a pair ofalto recorders (as is the case with much Baroque flute music to make it lie betteron the recorder) The tenors we used tended to sound a bit murky in the lowerregister next to the more aggressive harpsichord while the sopranos we tried as
KEY rec=recorder Srsquoo=sopraninoS=soprano A=alto T=tenor B=bassgB=great bass cB= contra bass Tr=treble qrt=quartet pf=piano fwd=foreword opt=optional perc=percussionpp=pages sc=score pt(s)=part(s)kbd=keyboard bc=basso continuohc=harpsichord PampH=postage andhandling Multiple reviews by one reviewerare followed by that reviewerrsquos name Pleasesubmit music for review to AR 7770 SHigh St Centennial CO 80122-3122 US
an American distributor this musicwill be hard to findmdashin fact can befound only at the time of this writingon their web site noted above But theeffort will be repaid
This edition is clear and easy toread and the parts require no pageturns The basso continuo realizationis simple and elegant
This is music deserving ofrediscovery My only quibble is thatthe editorial notes are all in GermanThis seems to be the practice ofGerman music publishers with thenotable exception of Moeck Otherpublishers of early music such asLondon Pro Musica routinelyprovide notes in English and German and often in French and Italian making their editionsaccessible to a wider audience
Frank Cone studied the recorderwith the late Ellen Perrin the viola dagamba with Carol Herman and thecornetto with Larry Johansen TheCalifornia multi-instrumentalist has been a member of the Orange CountyRecorder Society since 1985
Advertiser Index
AMERICAN ORFF-SCHULWERK ASSN 3
AMERICAN RECORDER SOCIETY 31 35 36
AMHERST EARLY MUSIC FESTIVAL 17
STEPHAN BLEZINGER 24
JEAN-LUC BOUDREAU 21 39
BOSTON EARLY MUSIC FESTIVAL 7
CANTO ANTIGUO EARLY MUSIC WORKSHOP 13
COURTLY MUSIC UNLIMITED 20
EARLY MUSIC AMERICA 8
HONEYSUCKLE MUSIC 34
BILL LAZARrsquoS EARLY MUSIC 26
KEITH E LORAINE EARLY DOUBLE REED SERVICE 35
LOST IN TIME PRESS 11
MADISON EARLY MUSIC FESTIVAL 12
MAGNAMUSIC DISTRIBUTORS BC
MOECK VERLAG IFC
MOLLENHAUER RECORDERS IBC
PORT TOWNSEND WORKSHOP 14
PRESCOTT WORKSHOP 30
PROVINCETOWN BOOKSHOP 26
THE RECORDER MAGAZINE 4
THE RECORDER SHOP 6
SAN FRANCISCO EARLY MUSIC SOCIETY 18
SWEETHEART FLUTE CO 3
TEXAS TOOT 20
VON HUENE WORKSHOP INC 30
WICHITA BAND INSTRUMENT CO 21
DOMINIK ZUCHOWICZ 34
CONSIDER ADVERTISING IN
Full page $55223 page $43912 page $36613 page $28614 page $22316 page $17518 page $127112 page $ 951 column inch $ 58
Prices include web sitee-mail link directly from your ad in the online AR at wwwamericanrecorderorg
Circulation Includes the membership of theARS libraries and music organizations
Published five times per year January March May September November
Reservation Deadlines December 1 (January) February 1 (March) April 1 (May) August 1 (September) October 1 (November)
Rates good through November 2009 Pleaseinquire about discounts on multiple-issuecontracts inserts or other special requestsExtra charges for typesetting layout half-tones and size alterations 133-line screenrecommended Advertising subject toacceptance by magazine First-time adver-tisers must include payment with order
For more information contact the ARS office 1129 Ruth Drive St Louis MO63122-1019 800-491-9588 toll free 314-966-4082 phone 314-966-4649 faxadvertisingamericanrecorderorg
44 March 2009 American Recorder
Classified___________________________________
FOR SALE Cherrywood hurdy gurdy and hard-side case made by Kelischek bought 2005Originally $765 plus $89 for case Rarely usedBoth for $450 or make offer Please contact marjalocomcastnet Can ship
ASPIRE ANNOUNCE INSPIRE Afford-able PR for teachers and recitalists wwwrecitalroomcom
PHOTOS NEEDED of ARS events 1970sndash1990sto illustrate last chapters of Martha Bixlerrsquos histor-ical memoir about the ARS (to be posted online)E-mail scanned photos (300dpi JPG or TIF)arsrecorderamericanrecorderorg Hardcopies mail to ARS office to be scanned ampreturned Info 800-491-9588
T-SHIRT FOR ENSEMBLE PLAYERS to wear orshare Top 10 Reasons Why I Got Lost Wrongfingering bad lighting etc on blue cotton shirt$18 Highlighter tape and other goodies Beth amp Lindas Boutique as seen at BEMF CallLinda at 617-671-8694 or e-mail for brochurelindakushverizonnet
Where the havesand have-nots
of the recorder world can find each other
Classified rate for American Recorder 60centper word ten-word minimum ldquoFOR SALErdquoand ldquoWANTEDrdquo may be included in thecopy without counting Zip code is oneword phone e-mail or web page is twoPayment must accompany copy Deadlinesare one month before issue date Send copywith payment to ARS 1129 Ruth Drive St Louis MO 63122-1019
AMERICAN RECORDER (ISSN 0003-0724) 1129 Ruth Dr St Louis MO 63122-1019 is publishedbimonthly (January March May September and November) for its members by the AmericanRecorder Society Inc $20 of the annual $45 US membership dues in the ARS is for a subscriptionto American Recorder Articles reviews and letters to the editor reflect the viewpoint of their individ-ual authors Their appearance in this magazine does not imply official endorsement by the ARS
EDITORIAL DEADLINES November 15 (January) January 15 (March) March 15 (May) July 15(September) and September 15 (November) Submission of articles and photographs is welcomedArticles may be typed or sent as an attachment (Word or RTF preferred) to or text in an e-mail mes-sage They should be for the exclusive consideration of AR unless otherwise noted Photos may besent as prints or unedited JPG or 300dpi TIF files (minimum 3rdquox4rdquo) Advertisements may be sent inPDF or EPS format with fonts embedded
EDITORIAL OFFICE Gail Nickless Editor 7770 S High St Centennial CO 80122-3122 303-794-0114 (phone amp fax) editoramericanrecorderorg Books for review Editorial office Musicfor review Editorial office Recordings for review Tom Bickley 1811 Stuart St Berkeley CA 94703Cutting Edge Tim Broege 212 Second Ave Bradley Beach NJ 07720-1159 Chapter newslettersother reports Editorial office Postmaster Send address changes to ARS 1129 Ruth Drive St LouisMO 63122-1019 Periodicals postage paid at St Louis MO and at an additional mailing office
Chapter leaders
We know yoursquore out there
and that you want to share
your plans concerns
solutions and ideas with
other chapter leaders Visit
httpamericanrecorder
societywikispacescom
There were other opportunitiesfor me to present the music I wasworking on Around the midpoint ofmy stay there I performed in a concertmarking the start of the annual Windsand Waves weekend workshop Iplayed one of my Bach suites thoughit was still a work in progress
The next day about 45 recorderplayers descended upon our quiet littleenclave turning it into a hubbub ofactivitymdashquite a change from the low-key atmosphere of the prior severalweeks Once I got over the initialculture shock of the influx of so manypeople I thoroughly enjoyed meetingand working with all of them A class I offered on the Bach suites enabledme to share some of the work Id beendoing conversely I got input from thestudents I taught that made me thinkdifferently about the piecesmdashforexample what about playing them on a subcontrabass recorder
Shortly after the workshop theSitka residents held a communityoutreach day at which we each demon-strated our work to children from anearby school I had been working onsome contemporary pieces withnaturalistic themes (fitting for thesetting) and this event gave me theopportunity to play some of them forthe kids They were fascinated by theextended techniques used to imitatebirds and other animals and of courseVan Eyckrsquos ldquoEngels Nachtegaeltjerdquowas a hit with them as well
As hard as it was for me to getused to Sitka and the residency at thebeginning of my stay it was evenharder to leave My departure datecame too soon Irsquod had time to finishtranscriptions of only three of thesuites
Saying good-bye to all the friendsIrsquod made theremdashthe other artists aswell as the recorder players Irsquod metmdashwas hard enough but leaving the
beauty of the place and the peace Irsquodfound there saddened me greatly
Sitka had changed me and ittransformed my relationship to themusic I played as well My experienceallowed me to tap into a deep placeinside myself in a way that I never hadbefore something I was then able tocommunicate through the music I wasplaying Bachrsquos music turned out to bethe perfect vehicle because it expressesin sound the same grandeur spiritu-ality and universalitymdashas anyone whohas heard a live performance of the B-minor mass can attestmdashas does theview from the top of Cascade Head
Since the conclusion of myresidency I have given severalperformances of the rsquocello suitesincluding some lecture-recitals onthem and on my arrangements moreare planned Irsquove begun working withstudents of instruments other than therecorder who are studying the rsquocellosuites And I continue to work on myarrangementsmdashalas five weeks wasjust not long enough to learn andadapt all six suites although I do plan to publish them in the future
My work at Sitka also inspired meto pick up a project I started over 10years ago but never brought tofruition preparing my arrangementsfor recorder violin and continuo of thesix Bach organ trios (that I recorded in1992) to be published soon by PRBProductions And I have no doubt thatthe Sitka experience will continue towork on me in ways Irsquom not evenconsciously aware of at this time
I would like to give my deep and heartfelt thanks to the followingindividuals and organizations to the
Sitka Center for making my stay there sowonderful and to its founders Jane andFrank Boyden who had the vision tocreate this magical place to the members ofthe Oregon Coast Recorder Society fortheir generosity in creating and sponsoringthe recorder residency to the ARS for its financial support and to my wonderfulstudents who made it possible for me toparticipate in this life-changing experience(you know who you are)
wwwAmericanRecorderorg March 2009 15
Lost in Time Press
New works andarrangementsfor recorder ensemble
Compositions byFrances BlakerPaul AshfordHendrik de Regtand others
InquiriesCorlu CollierPMB 3092226 N Coast HwyNewport Oregon 97365wwwlostintimepresscomcorluactionnetnet
Sitka had changed meand it transformed my relationship to the music I played as well
MARIN HEADLANDS
RECORDER WORKSHOP
Point Bonita YMCA near San Francisco CA
May 15-17
With each coming tide of that mightymetronome the Pacific Ocean and withspring peeping soon our MarinHeadlands Recorder Workshop 2009perched at the edge of the ocean andembraced in greenery gets nearer Againthis workshop will swell with harmoniesof recorders viols and perhaps apsaltery or drum Intermediate andadvanced players are warmly invited tojoin members of the sponsoring EastBay Chapter of the ARS a SFEMSaffiliate at this annual musical event
Music-making begins on Friday andcontinues through Sunday afternoon
including also one- and two-day options
This yearrsquos faculty includes a wonderfulmix of familiar and new faces DavidBarnett Tom Bickley Louise CarslakeRobert Dawson Lisa DykemanFrances Feldon Judith LinsenbergPeter Maund Fred Palmer and Glen Shannon
Music offerings will range from easilyplayable to challenging from delightfulPurcell and Renaissance music to jazzto works by a (very) living composer(led by the chap himself) Check theEBRS web site for updates
The workshop is held at the PointBonita YMCA one of very few publicfacilities on this largely undevelopedarea of California coast Set in a meadowwith short walks to Pacific Ocean vistasthe historic Point Bonita Lighthouseand remnants of WWII fortifications
it is a place to get away recharge andmeet new friends or re-connect withold The accommodations includedormitory-style rooms a large diningarea and playing spaces all on one levelRooms are also available for impromptuplaying sessions
Contact Anna Lisa Kronman
37 Meadow View Rd Orinda CA
94563 925-258-9442
annalisakronmangmailcom
symbolicsolutionscomebrs
BLOOMINGTON EARLY
MUSIC FESTIVAL
Bloomington INMay 15-25
Performances of Medieval RenaissanceBaroque and Classical music as well aseducational programs for concertgoersamateur performers and childrenPlease see BLEMForg for details
Contact Carol Huffman
PO Box 734 Bloomington
IN 47402 812-824-2412
specsorffyahoocom blemforg
WHITEWATER EARLY
MUSIC FESTIVAL (ARS)
University of Wisconsin Whitewater WI
June 5-7Directors Nancy Chabala Carol Stanger Pam Wiese
Our workshop is held on campus at theUniversity of WisconsinndashWhitewaterabout 60 miles SW of MilwaukeeClasses include focus and specialty areainstruction for all levels of recorderplaying as well as beginningmdashconsortviola da gamba wind band voicerecorder orchestra and mixed consort A variety of special interest classes onFriday evening and Saturday eveningparticipant gathering led by LouiseAustin The various classes include
16 March 2009 American Recorder
Summer Workshop Summer-y
The Madison Early Music Festival presents
Telescopic Vistas MEMF X and Music of the SpheresCelebrating the International Year of Astronomy
July 11-18 2009
Guest Artists amp Ensembles Faculty Recorder Artists Quicksilver with Marion Verbruggen Joan Kimball Piffaro The Renaissance Band Priscilla Smith The Newberry Consort Marion Verbruggen Venere Lute Quartet Robert Wiemken
Explore music from the days of Galileo and Kepler Celebrate the influence of astronomy on society arts and culture
in the 15th through 17th centuries
Our tenth anniversary festival features a seven-concert series and a week-long workshop with classes and ensembles for participants of all levels
For more information please call (608) 263-6670 or visit wwwmemfdcswiscedu
music from Medieval to modern
Several musicinstrument vendors onsite Dale Taylor will be on site forrepairs All ages are welcome as well as non-participants
Faculty includes Dale ArmentroutLouise Austin David Echelard CharlesFischer Shelley Gruskin LisetteKielson Laura Kuhlman PatrickOrsquoMalley Tulio Rondon KarenSnowberg Mary Halverson Waldo andTodd Wetherwax Brochures available
Contact Nancy Chabala
8609 45th St Lyons IL 60534-
1616 708-442-6053 (day)
630-789-6402 (fax)
nchabalamymailstationcom
(housingregistration)
thewiesessbcglobalnet (mailing
scholarships) cvstangeraolcom
(facultyfacilities)
INTERLOCHEN EARLY MUSIC
WORKSHOP
Interlochen Center for the Arts Interlochen MI
June 7-12 Director Mark Cudek
Make and enjoy Medieval andRenaissance music while learning new skills and techniques
Topics will include articulationornamentation improvisation andensemble arrangement in Medieval and
Renaissance music The workshopculminates with a participantperformance on period instruments such as recorders and other early windsviols lutes harpsichord and percussionVocalists are also welcome Participantswill supply their own instruments
Early registration is recommendedas space is limited
Contact Matthew Wiliford
Director ICCA PO Box 199
Interlochen MI 49643 231-
276-7441 231-276-5237 (fax)
collegeinterlochenorg
interlochenorgcollege
RENAISSANCE CHAMBER
MUSIC INSTITUTE
New England Conservatory of Music Boston MA
June 11-21
A unique opportunity for professionalmusicians and advanced students todiscover and explore one of the greatestrepertoires of Western music which iseminently suitable for all instruments
Players of modern and early instrumentsare encouraged to attend
Led by John Tyson director of theRenaissance music and dance ensembleRENAISSONICS who has performedand lectured worldwide including forthe Boston Symphony OrchestrarsquosTanglewood Institute
Introductory lectures will be followed byintense chamber music coaching in largeand small ensembles Concentration willbe on personal expression rhetoric andphrasing performance practice andornamentation The institute willculminate in a public performance at theNew England Conservatory of Music
Faculty John Tyson recorder LauraGulley violin Daniel Rowe rsquocello and guest artists
Contact Director of Summer
School New England
Conservatory of Music
290 Huntington Avenue Boston
MA 02115 617-585-1126
617-585-1135 (fax) newengland
conservatoryedusummer
wwwAmericanRecorderorg March 2009 17
Workshops carrying
ARS designation have
joined the ARS as
workshop members
Other shorter workshops
may be sponsored
periodically through the
year by ARS chapters and
are listed in the calendar
portion of each ARS
Newsletter as well as on
the ARS web site when
information becomes
available from presenters
Canto AntiguoWest Coast EarlyMusic and Dance
Featured Faculty
Beautiful CampusFully air-conditioned
For Information Call
800-358-6567
Early Music
WorkshopJuly 5-12 2009
Chapman UniversityOrange CA
Classes in
Baroque Music
Recorder Ensemble(all levels)
Vocal Ensemble
Renaissance Brassand Reeds
Viols
Collegium
Folk Dance
Thomas Axworthy
Mark DavenportRonald Glass
Janet Beazley
Carol LisekJim MaynardAlice Renken
wwwcantoantiguonet
18 March 2009 American Recorder
SUMMER TEXAS TOOT (ARS)
Concordia University Austin TXJune 14-20 Director Daniel Johnson
The Summer Texas Toot is a one-weekprogram of classes in Renaissance and Baroque music at all levels forrecorders viols singers plucked stringsRenaissance reeds and brass andharpsichord Our classes include anarray of small one-on-a-partRenaissance and Baroque ensemblesand larger mixed vocal and instrumentalgroups The size of the workshopenables us to create classes for all levelsof students from those of modest skills to advanced players and singers
Same Texas Toot hospitality andtraditionsmdashback in Austin but atConcordia Universityrsquos beautiful newcampus Classrooms dining and dormaccommodations are air-conditioned and easily walkable
Currently our featured faculty are Tish
Berlin (recorders) Tom Zajac (reedsand ensembles) Mary Springfels(viols) Becky Baxter (harp)mdashbut watchfor more faculty to be added soon
Contact Daniel Johnson
PO Box 4328 Austin TX 78765
512-371-0099 infotootorg
tootorg
SAN FRANCISCO EARLY MUSIC
SOCIETY BAROQUE MUSIC amp
DANCE WORKSHOP (ARS)
Sonoma State University Rohnert Park CA
June 14-20Directors Phebe Craig Kathleen Kraft Frances Blaker
A music-packed week of master classesconcerto evening coached ensemblesBaroque orchestra vocal and windensembles continuo classes concertsand lectures
Featuring recorder faculty FrancesBlaker and Cleacutea Galhano Other facultyChristine Brandes voice Phebe Craig
harpsichord Sand Dalton oboeKathleen Kraft flute Michael Sandviolin and orchestra Mary Springfelsviola da gamba Peter Sykesharpsichord Tanya Tomkins rsquocello
Contact Kathleen Kraft SFEMS
PO Box 10151 Berkeley CA
94709 707-874-2014
kkraftsonicnet sfemsorg
SAN FRANCISCO EARLY MUSIC
SOCIETY CHILDRENrsquoS MUSIC
DISCOVERY WORKSHOP (ARS)
Crowden Center for Music Berkeley CA
June 21-26 (day camp)Director Letitia Berlin
Early music and Renaissance socialhistory for youth ages 7-15 beginners to advanced students welcome Dailyschedule includes chamber musicmusicianship crafts costume-makingand games Friday night concert andtheater project presentation followed by potluck supper
Rebecca Ahrendt violJanet Beazley recorder
Tish Berlin re cord er co-direct orFrances Blaker recorder co-direct or
Vicki Bœckman recorderLouise Carslake recorder fl ute
Charles Coldwell recorder Rotem Gilbert recorder
Julie Jeff rey violShira Kammen viell e
Peter Maund per cus sionKim Pineda recorder
Ellen Seibert violPe ter Seibert recorder choir
Margriet Tindemans viol viell eBrent Wissick viol
Play early music in the spectacular Pacifi c Northwest Choose from classes in recorder viol fl ute and percussion Polish your skills andor take up a new instrument Sing and dance
Enjoy the faculty concert Take part in the student recital Make the most of your stay with a hike at nearby Mt Rainier or a visit to the Museum of Glass
For informat ion or to request a brochure call (206) 932-4623write to Port Townsend Early Music Workshop
1108frac12 Alki Ave SW Seattle WA 98116or vis it wwwseattle-recorderorg
July 12ndash18 2009
Port TownsendEarly Music Workshop
At the beautiful University of Puget Sound Tacoma WA
Tish Berlin amp Frances Blaker Co-Direct orsPresented by the Seattle Recorder Society
Please note that this is a day camp Out-of-town students may contact thedirector regarding accommodations withhost families Some financial aidavailable
Featuring recorder faculty Vida Bateauand Letitia Berlin Other facultyKatherine Heater dance ShiraKammen musicianship and theaterband Ron McKean harpsichord Carla Moore violin Farley Pearcersquocello and viola da gamba Allison Rollstheater project director
Contact Letitia Berlin SFEMS
PO Box 10151 Berkeley CA
94709 510-559-4670
tishberlinsbcglobalnet
sfemsorg
OBERLIN BAROQUE
PERFORMANCE INSTITUTE
Oberlin College Oberlin OHJune 21-July 5Directors Oberlin Baroque Ensemble (Cathy Meints Marilyn McDonald Michael Lynn Webb Wiggins) and artistic director Kenneth Slowik
Celebrating its 38th anniversary withMusic in London 1659ndash1759 thisinstitute offers instruction in Baroqueinstruments and voice Students of alllevelsmdashfrom beginning to Baroqueperformance to the professional levelmdashparticipate in master classes and coachedensembles with an international facultyof Baroque specialists Scholarships are available for qualified high schoolstudents
Contact Anna Hoffman
Conservatory of Music
77 West College St
Oberlin OH 44074
440-775-8044
440-775-8942 (fax)
ocbpioberlinedu
oberlineduconsummerbpi
WORLD FELLOWSHIP
EARLY MUSIC WEEK
Chocorua NHJune 25-July 2Directors Jane Hershey Larry Wallach
Faculty of eightmdashincluding JaneHershey Roy Sansom Pamela DellalJay Rosenberg Julian Cole AnneLegecircne Larry Wallach and JoshSholem-Schreibermdashin a beautifulWhite Mountain camp setting conducta week-long workshop in French earlymusic (late Medieval through Baroque)
Faculty and student concerts Englishcountry dancing special lecturesmorning and afternoon workshops inviols recorders voice mixed ensemblesSephardic music and Baroque chambermusic and classes in Feldenkrais bodywork
Camp facilities include hikingswimming boating camp gardenssupply kitchen with vegetables Very affordable rates
Contact Larry Wallach
69 Welcome St Great Barrington
MA 01230 413-528-7212 (day)
413-528-9065 (evening)
413-528-7365 (fax)
larrysimons-rockedu
worldfellowshiporg
INDIANAPOLIS EARLY
MUSIC FESTIVAL
Indianapolis INJune 26-July 19July 8-9 Mini Boxwood Workshop
The Indianapolis Early Music Festivalis the oldest continually running earlymusic concert series in the USPresented since 1967 our mission is toenrich educate and entertain audienceswith the music of Medieval Renais-sance Baroque and early Classical erasand feature exciting performers ofnational and international stature usinginstruments of the period and histori-cally informed styles and techniques
For 2009 we will present Reconstruction(June 26 ) Ex Umbris (June 27) ChrisNorman amp David Greenberg withRonn McFarlane amp Mark Cudek (July10) I Furiosi (July 12) HarmoniousBlacksmith (July 17) and the PeabodyConsort with Indiana Repertory Theatre(July 19) We also offer our secondannual Family Concert featuring thePeabody Consort on July 18mdash a freeconcert geared to young audiencemembers Several groups also offeroutreach events for younger (generallyhigh-school-aged) musicians and actors
In 2009 we also present a two-dayldquoMini Boxwoodrdquo workshop with Chris
wwwAmericanRecorderorg March 2009 19
Marin
Headlands
Recorder
Workshop
Norman (earlytraditional flutes andpipes) David Greenberg (Baroqueviolin and fiddle) and Ronn McFarlane(lute) on July 8-9
Contact emindyorg
SAN FRANCISCO EARLY MUSIC
SOCIETY MEDIEVAL amp
RENAISSANCE WORKSHOP (ARS)
Sonoma State University Rohnert Park CAJune 28-July 4Director Tom Zajac
Workshop theme Stories and LegendsOpen to singers and players of earlyinstruments (recorders violas da gambalutes shawms etc) Coaching by world-class specialists in Medieval and Renaissance music Classes forvoices recorders viols and alta capellavoice master class ensemble coachingstorytelling for musicians andstorytelling accompanimentRenaissance choir Medieval bandtheater project faculty and studentconcerts lectures and more
Scholarships as well as academic creditor continuing education credit areoffered Featuring recorder facultyFrances Blaker Annette Bauer DanStillman and Tom Zajac Other facultyPatrick Ball storytelling Celtic harpKaren Clark voice movement formusicians Julie Jeffrey gamba ShiraKammen Medieval strings music forstorytelling Drew Minter voice theaterproject Tim Rayborn Medieval stringspercussion music for storytelling Larry Rosenwald theater projectrhetorician in residence MarySpringfels gamba theater projectAnnette Bauer early notation DanStillman reeds alta capella ensembleTom Zajac sackbut Renaissance choir
Contact Tom Zajac SFEMS
PO Box 10151 Berkeley CA
94709 617-323-0617
medrenmailgmailcom
sfemsorg
MOUNTAIN COLLEGIUM (ARS)
Cullowhee NC June 28-July 4Director Patricia Petersen
Nestled in the Smoky MountainsWestern Carolina University provides alovely location for Mountain Collegiumwith comfortable accommodations in anew dorm and catered evening mealsThe workshopmdash at once informal andintensivemdash combines study of Renais-sance Baroque and contemporary musicand improvisation on recorder viol andother early instruments with opportu-nities to explore Celtic and othertraditional music on hurdy gurdymountain dulcimer and pennywhistle
Friendly participants of all levels andages welcome newcomers into theMountain Collegium family Varied classofferings time for informal music-making and evening English countrydancing bring students back year afteryear Faculty Valerie Austin AtossaKramer Jody Miller Patricia PetersenJohn Tyson (recorders other winds)Martha Bishop Lisle Kulbach HollyMaurer Gail Ann Schroeder Ann Stierli(strings) Lorraine Hammond JohnTrexler (traditional music)
Contact Patricia Petersen
1702 Vista St Durham NC
27701 919-683-9672
patpetersenearthlinknet
mountaincollegiummusicorg
GREAT LAKES SUZUKI FLUTE amp
RECORDER INSTITUTE
McMaster University Hamilton ON CanadaJuly 4-11 Teacher training Book 1July 7-11 Teacher training Book 2July 7-11 Student InstituteDirector David Gerry
Master classes group instructionrecitals plus enrichment classes forstudents Teacher training with MaryHalverson Waldo
Contact David Gerry 129 Locke
Street South Hamilton ON L8P
4A7 CANADA 905-525-9549
dgerrynasnet davidgerryca
CANTO ANTIGUO EARLY MUSIC
AND RECORDER WORKSHOP
Chapman University Orange CAJuly 5-12Directors Thomas Axworthy Ronald Glass
This one-week workshop is designed to broaden the performance skills ofexperienced students and introduceRenaissance and Baroque instrumentsand musical experiences to beginningand intermediate players Students at alllevels participate in instrumental vocaland dance instruction performance
The workshop takes place at ChapmanUniversity Studios dining hall andresidences are all air-conditioned Thisinvitingly landscaped peaceful campuswith garden paths is a mixture of historic and modern architecture
The theme of this yearrsquos workshop isMusic of the Italian Renaissance Dancesmasses motets and ceremonial musicwill resonate as we explore the music ofMonteverdi Palestrina Gesualdo et al
Faculty includes Thomas AxworthyJanet Beazley Mark Davenport RonGlass Carol Lisek Jim Maynard and Alice Renken
Contact Ronald Glass
129 Altadena Dr Pittsburgh
PA 15228-1003 800-358-6567
(day) 310-213-0237 (evening)
562-946-4081 (fax)
evanesa2aolcom
cantoantiguonet
CAMMAC EARLY MUSIC WEEK
Lake MacDonald Music Center Harrington QC Canada
July 5-12Directors Francis ColpronMarie-Nathalie Lacoursiegravere
CAMMAC provides a unique oppor-tunity to make music with family and
20 March 2009 American Recorder
friends in a beautiful setting north ofMontreacuteal QC under the guidance ofinternationally acclaimed professionalmusicians
In four daily 75-minute classes pluslectures early music lovers will have the opportunity to play to their heartrsquoscontent
Small ensembles and voice classes are setup ahead of time registration for otherclasses occurs on site the first eveningCourses include choir large instrumentalensemble many recorder and violclasses Medieval and Renaissanceensembles Orff method and Baroquedancing There are courses foradolescents and a program for children 4-11 years old
Special project in 2009 The Fairy Queenby Purcell with choir instrumentalensemble soloists and staging Keyfaculty Matthias Maute ChristopherJackson Laura Pudwell MargaretLittle Marie-Nathalie Lacoursiegravere
Contact Johanne Audet
85 Chemin CAMMAC Harrington
QC J8G 2T2 CANADA
888-622-8755 1
819-687-3323 (fax)
nationalcammacca
cammaccaenglishTabLM
Summershtml
MADISON EARLY
MUSIC FESTIVAL
University of WisconsinndashMadison July 11-18Directors Cheryl Bensman Rowe and Paul Rowe artistic Chelcy Bowles program
MEMF joins the 2009 InternationalYear of Astronomy in a global celebrationof astronomy and its contributions tosociety and culture including the 400thanniversary of the first astronomicalobservation made through a telescope byGalileo Galilei Galileorsquos fatherVincenzo was a musician and musictheorist who combined the practice andtheory of music with mathematicaldiscussion of harmonymdashand influenced
Galileorsquos experiments MEMFcelebrates its tenth season exploringworks of music and the arts inspired by ascientific discovery that had tremendousimpact on culture and civilization
MEMF was created to provide anopportunity for musicians scholarsteachers and early music enthusiasts togather and exchange information andideas about Medieval Renaissance andBaroque music and to bring acclaimedearly music artists to the Midwest toperform in beautiful Madison
Featured MEMF 2009 guest artists-in-residence include Marion VerbruggenThe Newberry Consort QuicksilverPiffaro and Venere Lute QuartetRecorder faculty members includeMarion Verbruggen Joan KimballPriscilla Smith and Robert Wiemken
Contact Chelcy Bowles University
of WisconsinndashMadison 720 Lowell
Center 610 Langdon St Madison
WI 53703 608-265-5629
608-262-1694 (fax)
musicdcswiscedu
memfdcswiscedu
PORT TOWNSEND
EARLY MUSIC WORKSHOP (ARS)
University of Puget Sound Tacoma WA
July 12-18Directors Letitia Berlin Frances Blaker
Join us this summer at our new locationwith a star-studded faculty a beautifultree-lined and easy-to-navigate campuswith accessible facilities and acurriculum that will leave you wishingthere were 48 hours in a day
Consort and technique classes forrecorder and viol consort and mixedrepertoire recorder master classpercussion for all levels Hildegard forsingers Baroque flute beginning violtheory workshop orchestra and moreMake an all-Medieval schedule or mix it up with a class from almostevery period of music
Work hard and play hard with friends
new and old Intense music-making thatwill inspire you during the workshop andthroughout the year
Directors Tish Berlin and FrancesBlaker eagerly await your arrival andanticipate a splendid workshopRecorder faculty Janet Beazley TishBerlin Frances Blaker Vicki BoeckmanLouise Carslake Charles ColdwellRotem Gilbert Kim Pineda
Contact Jo Baim Workshop
Administrator 1108 frac12 Alki
Ave SW Seattle WA 98116
206-932-4623
workshopseattle-recorderorg
seattle-recorderorg
wwwAmericanRecorderorg March 2009 21
Amherst Early Music FestivalJuly 12-19 and 19-26 2009
Connecticut College New London CT
Renaissance consortsBaroque ensemblesMaster classesRenaissance AcademyEarly notation and moreNo audition required
July 12-19Baroque Academy
July 19-26 Virtuoso Recorder Recorder Seminar
Audition deadline May 15
wwwamherstearlymusicorginfoamherstearlymusicorg(617) 744-1324
AMHERST EARLY MUSIC FESTIVAL
(ARS)
Connecticut College New London CT July 12-19 Baroque Academy July 19-26 Virtuoso Recorder Recorder SeminarRenaissance Academy
Director Marilyn Boenau
Music of England and Spain Two weeksof classes in most early instrumentsvoice dance and notation
Week 1 includes classes for recorderviol other early instruments voicedance and notation Special programsBaroque Academy Baroque AcademyOpera Project (Purcellrsquos Dioclesian)
July 18-19 Music amp InstrumentExhibition
Week 2 comprises classes for recorderviol other early instruments voice andnotation Special programs VirtuosoRecorder Recorder SeminarRenaissance Academy
Evening activities include Englishcountry dance madrigals and informalplaying sessions Connecticut College ineastern CT offers comfortable air-conditioned accommodations naturalareas for walking and a view of LongIsland Sound Scholarships and work-study aid available
Contact Marilyn Boenau
Director or Cathy Stein
Administrator 47 Prentiss St
Watertown MA 02472
617-744-1324 (day)
617-744-1327 (fax)
infoamherstearlymusicorg
amherstearlymusicorg
MIDEAST WORKSHOP (ARS)
LaRoche College Pittsburgh PAJuly 19-25Director Marilyn Carlson
Music of Spain 55-60 students of allability levels adults only Instruction forrecorder (all levels except novice) violharp flute You may enroll for recorder
viol flute as primary instrument harpvoice recorder viol as secondary instru-ment Large and small ensembles all-workshop ensemble (instruments andvoices) Renaissance band (recordersviols capped reeds voice) Medievalcollegium (puzzles amp canons) consorts(by level) vocal ensemble Also Englishcountry dance penny whistle We alsooffer viol-for-novice and harp-for-novice each providing the opportunityfor hands-on experience without owningan instrument Other classes on specialearly music topics and literature
Faculty Marilyn Carlson directorMartha Bixler Stewart Carter JudithDavidoff Eric Haas Mary JohnsonPeter Ramsey Kenneth Wollitz otherfaculty to be announced All facilities areair-conditioned
Contact Marilyn Carlson
1008 Afton Road Columbus OH
43221-1680 614-754-7233
mcarlsoncolumbusrrcom
mideastearlymusicaddrcom
22 March 2009 American Recorder
San Francisco Early Music SocietySummer Workshops 2009Recorder middot July 19ndash25 2009La Dolce Vita di Flauto middot Explore the full range of recorder music from the Middle Ages to the 21st century through ensemble work technique sessions and recorder orchestra For the devoted amateur all ages intermediate to advanced Friendly atmosphere small classes Quiet campus near all amenities Special offerings Recorder orchestra recorder master class coached informal playing Faculty Louise Carslake Frances Feldon Rotem Gilbert Katherine Heater Norbert Kunst Patrick OrsquoMalley and Hanneke van ProosdijInfo Frances Feldon 510-527-9840 franfelaolcom
Baroque Music amp Dance middot June 14ndash20 2009Music in Italian Cities middot Master classes recorder ensemble concerto evening coached ensembles classes concerts and lectures Featuring recorder faculty Frances Blaker and Clea GalhanoInfo Kathleen Kraft 707-874-2014 kkraftsonicnet
Medieval amp Renaissance Music middot June 28ndashJuly 4 2009Stories amp Legends middot Classes for voices recorders viols and alta capella voice master class ensemble coaching storytelling for musicians and storytelling accompaniment Renaissance choir medieval band theater project faculty and student concerts lectures and more Featuring recorder faculty Frances Blaker Annette Bauer Dan Stillman and Tom ZajacInfo Tom Zajac 617-323-0617 medrenmailgmailcom
Music Discovery middot June 21ndash26 2009Day camp for youth ages 7 to 15 Early music and Renaissance social history Instruction in recorder harpsichord strings chamber music musicianship crafts costume-making games and more Beginners to advanced students welcome Featuring recorder faculty Vida Bateau and Letitia BerlinInfo Letitia Berlin 510-559-4670 tishberlinsbcglobalnet For more information visit our web site wwwsfemsorg
SAN FRANCISCO EARLY MUSIC
SOCIETY RECORDER WORKSHOP
(ARS)
St Albertrsquos Priory Oakland CA July 19-25Directors Frances Feldon Katherine Heater
Jam-packed week of recorder ensembleplaying concerts and the opportunity toimprove your skills working with highlyrespected recorder specialists in afriendly yet serious atmosphere Explorethe full range of recorder music from theMiddle Ages Renaissance and Baroqueto the 21st century through ensemblework technique sessions and recorderorchestra For the devoted amateur of allages from intermediate to advanced
Small classes Quiet campus Specialofferings recorder orchestra recordermaster class coached informal playing
Featuring recorder faculty LouiseCarslake Frances Feldon RotemGilbert Norbert Kunst PatrickOrsquoMalley and Hanneke van ProosdijOther faculty Katherine Heaterharpsichord
Contact Frances Feldon SFEMS
PO Box 10151 Berkeley CA
94709 510-527-9840
franfelaolcom sfemsorg
WINDSWEPT MUSIC WORKSHOP
William Jewell College Liberty MOJuly 19-25Director Phyllis Pasley
Bring your artistry to life Strengthen the mindbody connection and exploreenergy and music at Creative MotionAlliancersquos 59th annual summerconference Windswept Professionalmusicians conductors teachers studentsand amateur music enthusiasts willdiscover barriers that inhibit the free flowof energy and learn the secrets of inner-directed artistic music-making Classesin piano voice instrumental musicexpressive arts and independent studyMaster class coaching and conductingopportunities available Using move-
ment exercises analysis and bodyresponses explore music and energy in a unique inter-generational workshopformat Opportunities for independentrecorder study and private lessons enrichthe music-making experience
Registration fee $50 prior to 51509Tuition room meals $535 adults $400students 12-18 (must attend with parentteacher or sponsor) special half-weekrate $275 (Sunday-Wednesday noon)Memberfamily discounts Three hoursgraduate credit ($225) 3 CEUs ($50)and private lessons ($25 each)
Contact Phyllis Pasley 2208
Clouds Peak Maryland Heights
MO 63043 314-628-9862
directorcreativemotionorg
creativemotionorg
BOXWOOD FESTIVAL CANADA
Lunenburg Nova Scotia CanadaJuly 19-26Director Chris Norman
Discover musical and dance traditionswhile visiting one of North Americarsquosmost exquisite 18th-century seasidetowns Concerts dances sessionsclasses lectures with leading artists in therealms of traditional folk early musicdance and improvisation Work study ampscholarships available Gourmet cuisine
Faculty Chris Norman directortraditional amp early flutes FrancisColpron recorder ensembles LisaBesnoziuk Baroque flute DavidGreenberg Cape Breton amp Baroqueviolin Edmund Brownless voice shape note singing Marie Bouchardharpsichord Robert Dick contemporarytechniques amp composition Conal O Grada Irish flute Jerry OrsquoSullivanpipes whistle Rod Garnett flutefundamentals ethnic flutes PierreChartrand social dance MarlysNorman ballet classical dance Rod Cameron flute maker Tempest Baroque
Contact 902-634-9994
boxwoodorg
musiqueroyalecom
MACPHAIL SUZUKI INSTITUTE
FOR PIANO GUITAR FLUTE
AND RECORDER
MacPhail Center for the Arts Minneapolis MNJuly 19 Every Child Canreg July 19-26 Recorder Book 1July 20-24 Student InstituteDirectors Cindy Malmin Mary Halverson Waldo (auditions)
Suzuki Clinicians Marilyn Taggartpiano Tadeusz Majewski piano DavidMadsen guitar Kathleen Schoenfluterecorder MacPhail Suzuki faculty
Sanctioned by the Suzuki Association ofthe Americas MacPhailrsquos SuzukiInstitute allows Suzuki students of allages to share in motivating enrichingand wide-ranging musical experiencesStudents work with master teachers andimprove skills technically and musicallyDaily classes and observation includeapplied study theoryreading skillsensemble skills chamber music perfor-mance practices composition improv-isation master classes recitals art andmusic world musicdrumming musichistory recitals and presentations TeenMusical Revue (ages 13-18) fashioncharacter sketches develop a frameworkor theme and present to an audience
Who may attend Suzuki students whohave completed the Twinkle Variations(preschoolndashgrade 12 parents or another
wwwAmericanRecorderorg March 2009 23
Amherst Early Music Festival
(photo by Marc Weinberg)
responsible interested adult must attendwith students under high school age)teacher traineesobservers Participantsmust arrange meals housing and trans-portation Teacher Training prerequi-sites Every Child Canreg before Book 1courses must be taken in order throughBook 2 Contact workshop regardingrequired audition and preparation
Contact Cindy Malmin
612-767-5461
malmincindymacphailorg
Mary Halverson Waldo
5679 Harding Lane Shorewood
MN 55331 952-470-5853
mhalvwaldogmailcom
INTERNATIONAL BAROQUE
INSTITUTE AT LONGY
Longy School of Music Cambridge MA
July 24-August 2Directors Paul Leenhouts co-director Phoebe Carrai
VenicendashDresden Connection InternationalMeeting Grounds Music of MonteverdiVeracini Hasse Heinichen MarcelloVivaldi Pisendel Albinoni ZelenkaLotti Schein Schutz Quantz Gabrieli
2009 faculty Paul Leenhouts recorderPhoebe Carrai rsquocello ElizabethBlumenstock violin Ricard Bordasvoice Arthur Haas harpsichord LucasHarris lute Ken Pierce early danceGonzalo Ruiz oboe Mary Springfels
viola da gamba Jed Wentz traverso
Contact Karen Burciaga Com-
munity Programs Registrar One
Follen St Cambridge MA 02138
617-876-0956 X1532 (day)
617-354-8841 (fax) karenbur
ciagalongyedu longyedu
RECORDER AT THE CLEARING
The Clearing Ellison Bay WIJuly 26-August 1Directors Pat Badger Adrianne Paffrath
Recorder ensemble has been a traditionat The Clearing for over 25 yearsEnsemble playing is the weekrsquos focusEach day begins with a warm-up ofvoices and bodies as we sing rounds andready our muscles for performanceDaytime sessions focus on rhythmicchallenges recorder technique andensemble blend emphasis is on growthprocess and most of all enjoyment To participate fully you need at leastintermediate skills on a C or F recorder
Adrianne Paffrath coached on recorder with ARS teachers She is music directorat Racinersquos First Presbyterian ChurchPatricia Badger has studied early musicinstruments natural and classicaltrumpet She is performing arts head ofThe Prairie School Jointly they haveperformed for Medieval festivals grapestompings Shakespeare celebrations anda circus parade
Contact The Clearing PO Box 65
Ellison Bay WI 54210-0065
877-854-3225 920-854-9751
(fax) clearingtheclearingorg
theclearingorg
AMERICAN RECORDER SOCIETY
FESTIVAL AND CONFERENCE
University of Missouri at St Louis St Louis MO
July 30-August 2
Attend the second ARS Festival andConference for one day ($150) or allweekend ($350)
Sessions include recorder techniquepedagogy introductions to Orff Suzukiand Flutes and Drums Around the Worldmethods improvisation roundtablediscussions how to conduct yourconsort coached playing sessions forMedieval Renaissance Baroque worldand contemporary repertoire recorderorchestra incorporating percussion intoyour ensemble Also recorder mainte-nance choosing a recorder building aweb site using Sibelius music softwareMini-concerts by the next generation ofprofessionals master classes concerts byMarion Verbruggen and the FarallonRecorder Quartet Exhibition ofrecorder builders music sellers andmore CEUs available
Presenters Louise Austin AnnetteBauer Tish Berlin Frances Blaker Joyce Callanan Louise Carslake
24 March 2009 American Recorder
The Summer Toot is once again in Austin at the beautiful new facility of Concordia University The lushly wooded campus offers air-conditioned classrooms dining and dorm accommodations and is backed by a nature preserve Please join us
Our featured faculty includes Tish Berlin Tom Zajac Mary Springfels The Texas Toot offers a one-week program of classes in Renaissance and Baroque music at all levels featuring expert instructors in re-corder viol early reeds lute harp and voice
Danny Johnson workshop director Susan Richter administrator For more info
httpwwwtootorg or email infotootorg
11th Annual Summer Texas Toot June 14-20 2009 mdash Austin Texas
Mark Davenport Cleacutea Galhano LisetteKielson Lorraine Krige JudithLinsenberg Peter Maund Nina SternMarion Verbruggen Leslie TimmonsJim Tinter Mary Halverson Waldo
Contact Yvonne Miller-Nixon
Conference Administrator
1129 Ruth Dr St Louis MO
63122 800-491-9588 (day)
arsconfplannercharternet
americanrecorderorg
EARLY MUSIC WEEK AT
PINEWOODS CAMP (ARS)
Pinewoods Camp Plymouth MA August 15-22 Director Sheila Beardslee
The Myth amp Magick Creativity andInspiration in Early Music Surely thedeities of Olympus will surround us atPinewoodsndashwhere the myths of earlymusic will be made clear and our staff rsquosldquomagickalrdquo skills will hone and perfectour knowledge and performance of early music and dance
If yoursquove never played a musical instru-ment (but wish you could) or if youstudied music years ago (and fear yoursquoveforgotten) classes in recorder and violwill get you started or help brush off therust Advanced and intermediate playersand singers choose from a wide array ofclasses led by an outstanding faculty of professionals and teachers of earlywinds (recorders reeds brass) strings(viols violin) harpsichord and voice
New staff faces this summer areAnonymous 4rsquos Susan Hellauer voiceand Lisa Terry viol We welcome backDorrie Olsson historical dance andScott Higgs English country dance
We relax with two ponds for swimmingcanoeing a camphouse deck for readingafternoon tea and lots of dancing EarlyMusic Week continues its long traditionof superb teaching in a welcoming com-munity enhanced by special eventspresentations concertsmdashand dancing
Advanced musicians work intensivelyamateurs are engaged and challengedand beginners are always made welcome
Contact Steve Howe Country
Dance and Song Society
PO Box 338 Haydenville MA
01039-0338 413-268-7426 X3
(day) 413-268-7471 (fax)
campcdssorg cdssorgem
MONTREacuteAL RECORDER FESTIVAL
McGill University Montreacuteal QC Canada
September 17-20Directors Matthias Maute Sophie Lariviegravere
Conference consort music recorderorchestra concertsmdashEnsemble Capriceand Quynade (Israel) solo recital byMaurice Steger (Switzerland)
Contact Ensemble Caprice 4841
Garnier Montreacuteal QC H2J 3S8
CANADA 514-523-3611
514-523-1322 (fax)
infoensemblecapricecom
ensemblecapricecom
HIDDEN VALLEY INSTITUTE
FOR THE ARTS
EARLY MUSIC ELDERHOSTEL
Carmel Valley CANovember 1-7 November 8-14Directors Letitia Berlin workshopPeter Meckel HVIA
Enroll for one or both weeks Adults ofall ages welcome
Week I intense classes for upper inter-
mediate to advanced levels Week Ifaculty Letitia Berlin Frances BlakerLouise Carslake Annette Bauer(recorder) David Morris (gamba)
Week II all levels except beginnerClasses include recorder technique viol consort Baroque chamber musicconsort classes for Medieval Renais-sance Baroque and contemporary reper-toire workshop orchestra Week IIfaculty Letitia Berlin Frances BlakerTBA (recorder) Shira Kammen (earlystrings singing Medieval topics) MarySpringfels (viola da gamba)
Evening events include faculty concertstudent concert free-lance playing FreeWednesday afternoon for more playingor sightseeing Improve your playing in asupportive friendly atmosphere withworld-class teachers
Contact Peter Meckel
PO Box 116 Carmel Valley CA
93924 831-659-3115
831-659-7442 (fax)
hvmsaolcom
hiddenvalleymusicorg
wwwAmericanRecorderorg March 2009 25
26 March 2009 American Recorder
Am
herst
AR
S
Festival and
Co
nference
CA
MM
AC
Early M
usic
Week
Canto
Antiguo
Reco
rd
er
at th
e
Clearing
Great L
akes
Suzuki
FluteR
ec
Hid
den
Valley
Eld
erh
ostel
Interlo
ch
en
Early M
usic
Inst
Lo
ngy Intl
Baro
que
Inst
Marin
Head
land
s
Mid
east
Mo
ntreacuteal
Reco
rd
er
Festival
COST $520TW $350T C$1014ED $860 $1035E TBA $799D $389T $675T $210ED $735D $130TNO OF DAYS 814 1-4 7 7 7 5-8 714 6 10 3 6 4ARS DISCOUNT NO YES NO YES NO NO NO NO NO NO NO NONO OF FAC RECORDER FAC 4315 1716 165 85 22 82 543 11 101 1010 96 66NO OF STUDENTS 150wk 60 110 35 19 45 35 20 50 75 60 50RECORDER CLASSLEVELS
LIHIAV
BLIHIAV
BLIHIAV
BLIHIAV LIHIA BLI
LIHIAV LIHIA AV
LIHIAV
BLIHIAV
BLIHIAV
SPECIAL CLASSES USING RECORDERS
CMRMB20ENMROT
RPMRMB20MROPTO
CMRMBRO
MRMBENROPT CRO
RPMPT
CMRMB20MROPT
RPCMRMBENMROPT MBMP RP20
RPCMRMB20ENMTO
CMRMBMRO
NON-RECORDERCLASSES
CWKVPSDO PO
CWKVDT CWVD C O KVPS
CWPKVPST WK VD
CWVPSDO
MUSICALACTIVITIES
FSLSPP FLO FSLSP FS SP FSLP FSP
SLSPPO FSLP P FSLP FS
RECREATION D GS BSTW D FBSW FSO OBSTWO S O G
OTHERS WELCOME SC S SC S S S S SDIRECTTRANSPORTATION SC SBCP SP BCLP BP SB CPUP CL PUP
SBCPUP
TRANSPORTATIONTERMINALS
A50B2 T2 A B T
A10B3 T5
A80B80
A50B10 T10
A20B20 T20
A16B16
A4B3 T3 A20
A15B10 T10
A4B3 T3
ROOMS SD SD SD SD SDC SD SD SDC DBATHS SSP SSPP SP P SSPP SSPP SP P S PFOOD CV C GV CV FV C F CV CV CHANDICAP ACCESS HCD HCD HCD HCD HC HCD HD HCD C HCD HCD C
KEYCOST Includes tuition room (single occupancy unless otherwise noted) meals plus other fees E=estimated T=tuition only D=double occupancy W=one week
NO of DAYS Includes arrival and departure daysARS DISCOUNT Discount offered for ARS members FACULTYRECORDER FACULTY Number of facultyrecorder faculty within that number STUDENTS Average over last two yearsRECORDER CLASS LEVELS B=beginners LI=low intermediate HI=high intermediate A=advanced V=very advanced
SPECIAL CLASSES USING RECORDERS RP=recorder pedagogy C=one-on-a-part consorts MR=mixed Renaissance ensembles MB=mixed Baroque ensembles 20=contemporary music EN=early notation M=master class RO=recorder orchestra P=private lessons available T=technique O=other
NON-RECORDER CLASSES C=choral W=other winds P=percussion K=keyboard V=viols PS=plucked stringsD=danceT=theory I=instrument building O=other
MUSICAL ACTIVITIES F=faculty concert S=student concert L=lecture SP=special production P=organized informal playing O=other
RECREATION D=dancing F=field trip G=gym B=biking S=swimming T=tennis W=waterfrontbeach O=otherOTHERS WELCOME S=non-playing spousesfriends C=children (day care not generally available)DIRECT TRANSPORTATION TO WORKSHOP S=shuttle from airport B=bus C=cab L=limo PU=will pick up P=free parking O=other
TRANSPORTATION TERMINALS A=air B=bus T=train (number indicates miles from workshop to nearest terminal)
ROOMS S=singles D=doubles (with ldquo+rdquo can accommodate up to triples) C=cabins O=other =Graduate dormsBATH FACILITIES S=shared SP=semi-private P=privateFOOD C=college style F=family style G=gourmet V=vegetarianHANDICAP ACCESS H=housing C=classrooms D=dining
INFORMATION SUPPLIED BY WORKSHOP DIRECTORS
2009 SUMMER RECORDER WORKSHOPS
Here are some suggestions foravoiding overuse syndromes Most obvious warm up This meansincreasing your practice time graduallybefore the workshop begins andwarming up yourself and yourinstrument before each rehearsal
Make your playing situation ascomfortable as possible Take along acushion back rest footstool whateverit takes the ear and hand cannot ab-sorb what the bottom cannot tolerate
Be sure your glasses are ideal for the distance from your eyes to themusic desk that usually amounts to anarmrsquos length away (You can select apair at your local drug or departmentstore if you have no serious astigma-
tism) If glare from bright light (thosemarvelous outdoor rehearsals) is aproblem for you you may find that ayellow tint for your glasses is a help
Get your bodily playing equip-ment in the best possible shape beforethe workshop a visit to the dentist tosmooth off a front tooth for a windplayer can make an enormous differ-ence in endurance A layer of plasticwrap over the teeth (before yoursquoveworn a hole in your lip) may also help
Once yoursquove arrived at the work-shop there are ways to ensure thatstress (inevitable) doesnrsquot becomedistress (mostly preventable)
Take reasonable breaks duringrehearsal time and use them to stretchA little aerobics like running in placetakes very little time and gets rid ofthat stiff-from-sitting feeling Get yourfellow ensemble players to massageeach othersrsquo shoulders Other fre-
Do you have a favorite article from years past in AR E-mail that information to Gail Nickless
editoramericanrecorderorg
wwwAmericanRecorderorg March 2009 27
Mo
untain
Co
llegium
Pinew
oo
ds
Early M
usic
Week
Po
rt
To
wnsend
SF
EM
S
Baro
que
SF
EM
S
Ch
ild
rens
SF
EM
S
Med
ieval amp
Renaissance
SF
EM
S
Reco
rd
er
Texas T
oo
t
Wh
itew
ater
Wind
sw
ept
Music
Wo
rksh
op
Wo
rld
Fello
wsh
ip
$800ED $890ED $975 $950 $370T $950 $950 $740E $245 $535D $850E COST7 8 7 7 5 7 7 7 3 6 7 NO OF DAYSNO NO NO YES YES YES YES YES NO NO NO ARS DISCOUNT
125 189 169 102 82 124 76 136 1110 131 83NO OF FAC RECORDER FAC
50 100 100 55 30 70 40 50 110 45 30 NO OF STUDENTSLIHIAV
BLIHIAV LIHI AV
LIHIAV
BLIHIAV LIHI AV LIHIA LIHIA
BLIHIAV
BLIHIAV
RECORDER CLASSLEVELS
CMRMB20TO
CMRMBENROT
MRMB20MROPT
MBMPTO
CMRMBPTO
CMRENMPTO
C20MROPTO
CMR20MPT
CMRMB20ROTO MP
CMRMBMRO
SPECIAL CLASSES USING RECORDERS
WVDTO
CWKVPSDT CPVT
CWKVPSTO
KVDTO
CWPVPSTO O
WKVPSTO
CWVTO
CWPKVD
CKVDT
NON-RECORDERCLASSES
FSLSPP FSP
FSLSPPO FSSP
FSLSPPO
FSLPO
FSLPO SPO FSL PO FSLP
MUSICALACTIVITIES
DGBS DSWFGBSTW
DGBST D
DGBST DO SO
DFSWO RECREATION
S S SC SC S S SC SC OTHERS WELCOME
P SC CPUP SCP SCP SBC LP SPUP P BPUDIRECTTRANSPORTATION
A50B15 T15
A15B7 T6 A59
A20B2 T5 A59
A12B4 T1 A40 A
A20B15 T28 B10
TRANSPORTATIONTERMINALS
SD SD S S CALL S S SD SD SD SD ROOMSSP S SP P P SP P S S S BATHSCGV FV CV CV CV CV CV CV CV FV FOODHCD CALL HCD HCD C HCD HCD HCD HCD HD HANDICAP ACCESS
AR50 AVOIDING ACHES amp PAINSBy Leacuteonie Jenkins MD (c1925- 2000) from the March 1993 AR Vol XXXIV1
quently overused parts such asforearms and hands also respond to massage Quick tutorial on massagestart stroking toward the body and inthe direction of the flow of the veinsmdashupstream from the sorest partgradually work down to include thesore spot Yoursquore trying to move overthe underlying muscle not to rub theskin Thatrsquos why a little oil helps
Your psyche may need some relieffrom overload too Most workshopsare in surroundings that lend them-selves to taking a walk finding a placeto meditate taking in some beauty In creating anything a musical per-formance no less than more static artforms breathing in is as necessary asbreathing out be sure you take time to do it
Not to be forgotten those partiesLate hours and alcohol are stressfultry to balance off the fun yoursquore havingwith your capacity for both Above allenjoy Thatrsquos why yoursquore going
2009 SUMMER RECORDER WORKSHOPS
By Bart Spanhove
The author has been principalprofessor of recorder at the Lemmens-
instituut Leuven (Belgium) since 1984He is also artistic director of the world
famous recorder ensemble the FlandersRecorder Quartet which is set to perform
in concert at the 2009 Boston EarlyMusic Festival He is often asked to serve
as a jury member for internationalrecorder competitions in Canada US
Germany The Netherlands and BelgiumHe has given numerous master classes andlecture demonstrations all over the world
Spanhove is co-author of thesuccessful recorder method Easy Going(Heinrichshofen) and wrote the much-
used book The Finishing Touch ofEnsemble Playing (Alamire 2000
and Moeck 2002 with translations inChinese and German) In 2009
The Recorder Music of Frans Geysenwill come out (Mieroprint)
Currently he is researching practicetechnique for the recorder Daily
Spanhove thinks about how to makepeople happier by making music and
playing the recorder
As a conclusion for the VirtuosoRecorder class during the AmherstWorkshop in 2008 we organized aldquoHappy Hourrdquo for our nine talentedstudents Mee-Jung Ahn (Korea)Emilie Hasselgren and Kristine West(Sweden) Anne Timberlake JosephLewnard Jacob Lodico and BrycePeltier (US) Emiliano Perez(Mexico) and Fanny Massy (France)participated in a quiz that I wrote thenight before with the assistance ofReine-Marie Verhagen
We combined questions regardingmusic theory with practical exercisessuch as middot How long can a player hold a
low f in one breath on an altorecorder (You get one point foreach second)
middot How many times through a scaleis a player able to play in 30seconds (For every octave of theF major scale you get one point)
middot How many different pieces fromthe recorder repertoire can aperson play in the course of twominutes (The other members ofthe group have to guess the nameof the composer before the playercan start the next piece)
middot In one minute list as manydifferent titles as you can fromDer Fluyten Lusthof (TheRecorderrsquos Pleasure Garden) of J J van EyckThe list of questions goes onAt the ldquoHappy Hourrdquo people
were divided into three groupsaccording to dates of each personrsquosbirthday When theoretical questionswere asked (see below) the pointsystem was devised as follows threepoints were awarded when the selected
person of a group could find theanswer himherself two points whenthe selected person needed the help ofthe other group members and onepoint if the group needed the help ofour gracious class assistant Reine-Marie Verhagen (she alwaysknew the answer) No points weregiven if the quizmaster had to supplythe answer
On the next page you find someof my questions There are morewhich we hope to run in a future issueof American Recorder
The quiz was full of fun andsuspense By the end people weremore nervous than when playing aconcert on stage Jacob Lodico of theUS was the winner at Amherst
28 March 2009 American Recorder
Education___________________________________ A quiz for recorder players
wwwAmericanRecorderorg March 2009 29
Try these questions yourselfAnswers appear at the end of thisarticle
The Quiz1 Give the name of Ganassirsquos
treatise of 1535 where heextensively describes the recorder playing and diminutions of his time
2 In which German city is therecorder company Moeck based
3 In the cantata Gottes Zeit ist dieallerbeste Zeit BWV106 JS Bach calls for two altorecorders Give another name for this cantata
4 Of which famous orchestra isFrans Bruumlggen the conductor
5 List three leading Japanesecomposers of excellent solo pieces for the recorder
6 Give the names of recordermagazines published inGermany England and the US
7 What is the fundamental tone of a fourth flute
8 List two recorder makers fromthe Baroque period in England
9 Whatrsquos the title of the recitativeand chorale in the Saint MatthewPassion where the recorder isused
10 Give the names of two famouspublishers in business around1700mdashone in London and one in Amsterdam
11 The opus 10 work by AntonioVivaldi includes six concertiSome of them have beautifulnames Give the names of thefirst three concerti of this opus
12 Whatrsquos a nickname for Jean Jacques Hotteterre
13 The combination of recorder andtraverso was rarely used in theBaroque time Can you name any composers who used thiscombination
14 Which king from 16th-centuryEngland owned a large collectionof recorders and also composedand enjoyed daily recorderplaying
15 How many movements compriseHandelrsquos Sonata in C Op 1 No 7 originally written forrecorder and basso continuo
16 Give the name of Praetoriusrsquostreatise from 1609 that describesthe whole recorder family
17 Name the author of the oldestrecorder method
18 Name Jan Jacob van Eyckrsquosdisability
19 Who pretended around 1930 thatthe recorder was a kind ofclarinet
20 Who doesnrsquot belong in thefollowing group Bertho DrieverKarel van Steenhoven MarionVerbruggen Paul LeenhoutsDaniel Bruumlggen
21 Name the two instrumentsindicated to play the sonataMeiner Mutter of Hans UlrichStaeps
22 Il Pastor Fido was not composedby Antonio Vivaldi but by aFrench composer What was hisname
23 Whatrsquos the nationality of themusic company Zen-On
24 CPE Bach composed abeautiful trio that includes a bassrecorder What are the other twoinstruments
25 Give the names of the fourmovements of Bachrsquos partita forsolo traverse flute BWV1013
26 Which excellent playersperformed as the recorder trioSour Cream
27 A recorder normally has eightfingerholes Despite this musichistory describes the recorder as ldquoune flucircte agrave neuf trousrdquo (a flute with nine fingerholes)Explain why
28 Give the French name for vibratoperformed by finger movementsalone on a wind instrument
29 Who wrote in his diaryldquohellipbeyond anything in the wholeworld the wind-music when the
Answers to
Bart Spanhoversquos Quiz1 La Fontegara2 Celle3 Actus Tragicus4 The Orchestra of the
Eighteenth Century5 R Hirose M Ishii and
M Shinohara
6 Windkanal or Tibia (both ofGermany) The Recorder(England) American Recorder(US)
7 B8 The most famous English
recorder makers around 1700Bressan and Stanesby (the latterbeing both senior and junior)
9 O Schmerz Hier zittert das gequaumllte Herz
10 Walsh (and Hare) (of London)Roger (of Amsterdam)
11 La Tempesta de Mare La Notte Il Gardelino
12 Le Romain13 JB Loeillet J J Quantz
JJ Hotteterre or J B de Boismortier
14 Henry VIII15 Five16 Syntagma Musicum17 Sebastian Virdung Musica
Getutscht und Ausgezogen (1511)18 Blindness19 Igor Stravinsky20 Marion Verbruggen21 Alto recorder and piano22 Nicolas Cheacutedeville23 Japanese24 Viola and cembalo25 Allemande Courante Sarabande
Bourreacutee26 Kees Boeke Walter van Hauwe
and Frans Bruumlggen27 Before 1670 the player could
choose how to hold the recordermdashleft hand or right hand at the topThis meant that recorder makersdrilled two holes to accommodatethe little finger of the hand thatended up at the bottom Theunused hole was sealed with beeswax
28 Flattement29 Samuel Pepys30 Flanders Recorder Quartet
30 March 2009 American Recorder
Lazarrsquos Early Music(866) 511-2981 jblazaraolcom
wwwLazarsEarlyMusiccom
292 Gibraltar Dr 108 Sunnyvale CA 94089
Strings amp Early Winds
ModernBaroque Strings Viols Vielle
Kuumlng Moeck Mollenhauer Paetzold Yamaha Ehlert
Wenner Baroque flutes
Wendy Ogle Lu-Mi Ifshin Snow
Competitive Prices
Sent on Approval
Personalized Service amp Advice
R
E
C
O
R
D
E
R
S
ldquoGO FOR NEO-BAROQUErdquo
Andrew Charlton Partita Piccola For 4 Recorders (SATB)
[Prelude Allemande Courante Musettemdash
a neo-baroque epitome] (Score amp Parts PBE-25) $795
Andrew Charlton Suite Moderne For 3 Recorders (ATB)
[Baroque shapes but Hindemithian harmony]
(3 Playing-Scores PBE-44) $995
Southwest of Baroque David Goldsteinrsquos ldquobaroque Suiterdquo
on Cowboy Songs For 2 Recorders (SA) (PBE-2) $350
The Provincetown Bookshop Inc
246 Commercial Street Provincetown MA 02657 Tel (508)487-0964
A good source for Recorder amp Viol Music of all publishers
Provincetown Bookshop Editions
angel comes down which is sosweet that it ravished me andindeed in a word did wrap upmy soul so that it made me reallysick just as I have formerly beenwhen in love with my wiferdquo
30 Whatrsquos the English name for afamous recorder ensemble calledin its country Vier op lsquon Rij
wwwAmericanRecorderorg March 2009 31
by Tim Broege timbroegeaolcom
December 11 2008 was a specialday for American music the
100th birthday of Americarsquos greatestliving composer Elliott Carter Cele-bratory concerts took place in manyvenues including Carnegie Hall inNew York There the Boston Sym-phony led by James Levine played anew work by Carter Interventions forpiano and orchestra The soloist wasanother well-known conductor DanielBarenboim who is no mean hand atthe keyboard to say the least
Itrsquos remarkable that wonderfulnew compositions continue to pourforth from Carterrsquos pen His musicsparkles and frolics packing lots of musical events into engrossingstructures Much of his music isavailable on CD so if you missed thecelebrations you can easily have yourown belated birthday party for Carter
Although he has never written for recorder (one of our prominent
recorder soloists should commissionhim) Carter has produced manychamber pieces featuring woodwindsSince many recorder players double orstarted out on woodwinds such piecesas the Sonata for Flute Oboe Cello ampHarpsichord (1952) Enchanted Preludes(1988) for flute and rsquocello Espritrudeesprit doux (1985) for flute andclarinet or the Oboe Quartet (2001)may hold special interest
If you missed Charlie Rosersquosexcellent interview (broadcast onDecember 10) with Carter Levine andBarenboim you can see it atwwwcharlierosecomview
interview9774mdashessential viewingfor fans of contemporary music
We note with sadness the passingon January 23 of another distin-guished American composer GeorgePerle An authority on the music ofAlban Berg and the Second VienneseSchool Perle developed a uniquelyrical style based upon a free approachto 12-tone and serial procedureswhich he dubbed ldquo12-tone tonalityrdquo I recommend listening to his SerenadeNo 3 for Piano amp Orchestra (1983) Six Etudes for Piano (1973-76) and the Pulitzer Prize-winning Wind Quintet No 4 (1985)
Another leading American com-poser Leon Kirchner is thankfully still with us having turned 90 onJanuary 24 Like Perle Kirchner has a highly personal and expressive styleA birthday concert was held at MillerTheater at Columbia University inNew York City NY Participatingmusicians included flutist PaulaRobison pianist Jeremy Denk and theClaremont Trio with the composerpresent to discuss his music
An excellent way to get to knowKirchnerrsquos music is through his stringquartets Just in time for his birthdayAlbany Records has released a fine CDof all four played by the Orion StringQuartet Quartet No 4 was written in2007 (when the composer was 87mdasha veritable youngster compared toCarter) The composer Allen Shawnhas described that quartet asldquoluminous and passionaterdquo words aptto describe much of Kirchnerrsquos output
Speaking of contemporary musicI have been spending pleasant hoursperusing the Catalog of ContemporaryBlockflute Music available online atwwwblokfluitorg from StichtingBlokfluit This Netherlands founda-tion offers a contemporary recordercatalog and a catalog of historicalrecorder music Access to both is byfree membership
For those who havenrsquot yet used thecontemporary catalog I urge you togive it a try You can search by manyparameters such as composer title orspecific instrumentation A search forldquovoice fluterdquo turned up a list thatincluded Moon Dances Three AmericanSketches by composer Walter Mays(intended for solo alto recorder butalso playable on tenor or voice flute)Searching the name of English com-poser Edmund Rubbra produced a listof eight works that employ recordersincluding the intriguing CantataPastorale opus 92 for high voice altorecorder rsquocello and harpsichord
Searching ldquofemale composersrdquo fora piece using ldquoBaroque altordquo yieldedAfter Meditation by Ros Bandt ofAustralia
What an easy and tremendouslyvaluable way to find new music
On the Cutting Edge___________________________________Birthdays composers and
recorder music catalogs
Elliot Carter
(photo by Meredith Heuer)
Question How does Renaissancefingering differ from standard
fingering on the recorder Is one superior tothe other Do you need a special recorder touse Renaissance fingering and if so can itbe played with regular recorders Is there afingering chart that shows RenaissancefingeringmdashWilliam BaumannWaterford WI
Answer from Carolyn Peskin Music composed in the
Renaissance the historical periodextending from about 1450 to 1600was predominantly vocal and highlycontrapuntal Recorders which oftendoubled singers at the octave orrendered vocal pieces instrumentallywere designed to make the individualmelodic lines clearly audible
Most 16th-century consortrecorders were one-piece instrumentswith large toneholes and a wide borethat contracted slightly starting nearthe upper fingerholes and thenexpanded gently near the lowest holesThat ldquochoke-borerdquo design togetherwith the voicing and tonehole con-figuration favored the fundamentaltone (first harmonic) producing astrong open sound that was aboutequally loud throughout theinstrumentrsquos range
Such recorders had a useful rangeof only about an octave plus a sixthwhich was nevertheless sufficient for the music of their day MostRenaissance-style consort recordersmade today are based loosely uponsurviving 16th-century instruments ofthe above type and are designed toapproximate the range timbre andvolume of those early instruments
Our present-day ldquoregularrdquorecorders are Baroque-derived instru-ments based loosely upon survivingrecorders from the late 17th and early18th centuries They are three-pieceinstruments with small toneholes and abore that is narrower and moretapering than a Renaissance boreextending their useful range upward totwo octaves plus a whole tone
Baroque recorders are soft andsweet-sounding in their bottom octavebut louder and brighter in the secondoctave Their lowest notes are espe-cially weak because they must be blowngently to prevent overblowing into thesecond octave Such instruments aresuitable for Baroque solo and chamberrepertoire but not very satisfying forRenaissance polyphony
Due to their different timbre andvolume Renaissance recorders will not blend well with Baroque onesFurthermore the most historicallyauthentic Renaissance-style recordersare tuned in a ldquomeantonerdquotemperament that facilitates the playingof pure major thirds Such instrumentsmake Renaissance music easier to playin tune but will produce intonationproblems if played with Baroquerecorders which are tuned in equaltemperament For the above reasonsRenaissance and Baroque recordersshould not be played together
Renaissance fingering will not work on todayrsquos neo-Baroquerecordersmdashmost of which haveldquomodernrdquo Baroque fingeringcommonly called ldquoEnglishrdquo fingering
because it was developed fromhistorical Baroque fingering by ArnoldDolmetsch in England during theearly 20th century Renaissancefingering is less standardized partlybecause a number of different originalinstruments are used as models andpartly because makers wish to improvethe intonation tone quality andorplayability of certain notes Howeverthe following generalizations apply tomany of todayrsquos Renaissance-styleconsort recorders
First in the lower octave modernBaroque fingering works for mostnotes but is often too flat for the fourth scale degree (eg soprano F)requiring removal of finger 7 (right-hand pinky) and is too sharp for theraised fourth degree (eg soprano F)requiring addition of finger 7
Modern fingering is also usuallytoo sharp for the lowered seventhdegree (eg soprano B) The correctfingering for that note varies from oneinstrument to another
In the upper octave modernfingering works for the first third andfifth scale degrees (eg soprano C Eand G) but usually not for other notesSome notes require half-holing with aright-hand finger and notes above thefifth scale degree may require additionof several fingers to bring them in tuneHistorical Renaissance fingering forthe second scale degree (eg sopranoD) is especially awkward because all ofthe fingerholes and the thumbholemust be uncovered Therefore somemakers substitute modern fingering forthat note
Although Renaissance fingeringand meantone tuning are recom-mended for the best blend some
Q amp A___________________________________ Renaissance recorder fingering
Send questions to Carolyn Peskin QampA Editor 3559 Strathavon Road Shaker Heights OH44120 carolynpeskinstratosnet
32 March 2009 American Recorder
wwwAmericanRecorderorg March 2009 33
makers of handcrafted Renaissance recorders will provide modern fingeringandor equal temperament upon request and Moeck Verlag offers a choice ofRenaissance or modern fingering for most sizes of its factory-producedRenaissance Consort series
For a most satisfying blend Renaissance ensembles should purchase amatched set of recorders tuned and voiced to be played together Renaissanceconsort sets usually include two different alto recorders one in G (lowest note g)and one in F (lowest note f ) The ATTB combination with the G-alto is best formost of the quartet music composed between 1450 and 1550 while the SATBcombination with the F-alto is more practical for much late 16th-centuryrepertoire (Playing the G-alto requires learning G-alto fingering or elsetransposing the alto line down a whole tone and using F-alto fingering)
In addition to consort recorders some makers offer ldquoGanassirdquo sopranos andaltos based upon fingering charts in Silvestro Ganassirsquos recorder tutor Fontegarapublished in 1535 and a single original instrument in the Vienna Kunst-historisches Museum Because of their special bore design (cylindrical with aflaring bell) Ganassi recorders have a range of two octaves and a sixth withcumbersome fingerings in the third octave They are used mainly as soloinstruments for playing intricate ornaments of the type found in Fontegara
Also sometimes included in the ldquoRenaissancerdquo category are ldquotransitionalrdquo(early Baroque) recorders which are based upon originals from the first half ofthe 17th century They have a bore that is wider than a Baroque bore but contractssharply near the lower end resulting in strong low notes and at least a full two-octave range usually with modern fingering Most transitional recorders aresopranos or altos designed for playing Jacob van Eyckrsquos variation sets or thehighly ornamented Italian solo repertoire of the late-16th and early-17thcenturies
However wide-bore consortrecorders with a range of at least twooctaves and modern fingering shouldalso be regarded as transitionalinstruments They differ somewhat intimbre and volume from typicalRenaissance consort recorders
Handmade wide-borerecordersmdashconsort Ganassi andtransitionalmdashare obtainable frommakers who advertise in AmericanRecorder the Prescott Workshop andthe Von Huene Workshop in the USJean-Luc Boudreau in Canada andStephan Blezinger in GermanyContact them andor visit their websites to find out what kinds ofrecorders they are currently makingand to get an idea of their prices andwait times
Factory-produced wide-borerecorders from Kobliczek Moeck andMollenhauer are available frominstrument dealers who advertise inAR New and used recordersincluding wide-bore models fromimportant makers in the US andabroad are also obtainable from Uni-corn Music For further informationvisit wwwbuyrecorderscom For a comprehensive database of recordermakers worldwide see Nicholas SLanderrsquos ldquoExtant Recorder Makers amp Retailersrdquo at wwwrecorder
homepagenetmakershtml
REFERENCES
CONSULTEDBauer Winfried
wwwrecorder-fingeringscomIncludes interactive fingeringcharts from modern makers andhistorical treatises Charts forRenaissance consort recorders byAdriana Breukink Adrian BrownBob Marvin and Tom Prescottwere consulted
Brown Adrianwwwadrianbrownorgrec
order_typesconsorthtml
Our present-day ldquoregularrdquo recorders are
Baroque-derived instruments based loosely
upon surviving recorders from the
late 17th and early 18th centuries
34 March 2009 American Recorder
The Von Huene Workshop Incis pleased to announce agreements with
CoolsmaZamra
to serve as their authorised service agents in the US
For more than 40 years the von Huene Workshop has produced some of the finest recorders in the world Our skilled staff can revoice retune and repair even the most seriously damaged instruments All repairs are done right on the premises and most can be completed within a week
For warranty repairs please include a copy of your original sales receipt
j 65 Boylston Street Brookline MA 02445 i(617) 277-8690 Fax (617) 277-7217 servicevonhuenecom
An informative article aboutrecorder sizes in Renaissanceconsorts
Brown Adrian and David LasockildquoRenaissance Recorders andTheir Makersrdquo AmericanRecorder Vol XLVII No 1(January 2006) pp 19-31 An important article based upon Brownrsquos extensive researchon 120 of the 200 surviving 16th-century recorders
Ganassi Silvestro Opera IntitulataFontegara Ed Hildemarie Peter(Berlin-Lichterfelde RobertLienau 1959) Modern edition ofthe oldest known treatise devotedentirely to the recorder (publishedin 1535) Includes 16th-centuryfingering charts
Griscom Richard and David LasockiThe Recorder A Research andInformation Guide (New York andLondon Routledge 2003) Anannotated bibliography including
references on construction anddesign of historical recorders
Levin Philip ldquoQampArdquo AmericanRecorder Vol XXXVIII No 4(September 1997) p 27Explains in simple terms thedifference between Renaissanceand Baroque recorders
Morgan Fred ldquoA Recorder for theMusic of JJ van EyckrdquoAmerican Recorder Vol XXV No 2 (May 1984) pp 47-49Describes the bore design of arecorder suitable for playing Van Eyckrsquos variation sets andcompares it with bore designs ofother types of recorders
Myers Herbert W ldquoRecorderrdquochapter in A Performerrsquos Guide toRenaissance Music ed JefferyKite-Powell (New York SchirmerBooks 1994) A 2nd edition isnow available published in 2007by Indiana University Press
FEATURING MUSICA PACIFICA
JUDITH LINSENBERG
RECORDERS____JS BACH TRIO SONATAS Arr by
Linsenberg from Trio Sonatas for Organ BWV525-
530 Sonata No 1 in E
major (transp to B
)
BWV 525 Sonata No 2 in C minor (transp to E)
BWV526 Sonata No 3 in D minor (transp to G)
BWV 527 Sonata No 4 in E minor BWV 528
Sonata No 5 in C major (transp to F) BWV529
Sonata No 6 in G major (transp to C) BWV 530
Virgin Classics Veritas 1993
____FIRE BENEATH MY FINGERS Showcases
three legendary composers who were also
virtuoso performers Vivaldi Concerto in F major
after RV 98570 ldquoLa Tempesta di Marerdquo Sonata in
A minor RV86 Concerto in G minor RV106 Con-
certo in Bb major RV503 Sammartini Concerto in
F major Tartini Concerto in A major D91 Dorian
____MANCINI CONCERTI DI CAMERA Seven
sonatas by Francesco Mancini plus one work each
from his contemporaries Francesco Durante amp
Domenico Scarlatti Highly recommended citation
from the 2000 Vivaldi Prize for Recordings of Italian
Early Music--Giorgio Cini Foundation Dorian
____MARAIS MARIN PIEgraveCES EN TRIO POUR
LES FLUcircTES VIOLON amp DESSUS DE VIOLE
Maraiss complete works for two treble lines and
bass with varied instrumentation and orchestrations
2-CD set $24
____SCARLATTI CONCERTI DI CAMERA
Seven sonatas for various instrumentations no
poor relations to the composers much more widely-
known vocal output All recorder players should
certainly have thisndashEarly Music Review
____TELEMANN CHAMBER CANTATAS
Five cantatas from Harmonischer Gottesdienst two
sonatas from Sonatas Corellisantes 2003 Chamber
Music America WQXR Record Award for best
chamber music recordings
____VIVALDI LA NOTTE Concerti per strumenti
diversi Award-winning CD featuring five Vivaldi
concerti two sonatas
AND OTHER RECORDING
ARTISTS FROM CALIFORNIA ____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 American Bach Soloists Jeffrey
Thomas conductor Dan Laurin Hanneke van
Proosdij recorders Christmas Concerto featuring
unique 1725 London version with solos transcription
for two recorders instead of two solo violins in
three of the six concertos Delos
____CANCcedilONIEgraveR Annette Bauer recorder
multi-instrumentalist Tim Rayborn Shira Kammen
strings Phoebe Jevtovic voice in a new early
music group devoted to repertoire from the
12thndash15th centuries as well as traditional music
from related regions (the Balkans Scandinavia
Middle East) Medieval instrumental music played
on a variety of instruments including strings
recorders and percussion Medieval dances and
motets bring to life the rich world of ancient
European music-making
____SACRED AND SECULAR MUSIC FROM
RENAISSANCE GERMANY Ciaramella-Adam amp
Rotem Gilbert Doug Millikan Debra Nagy
recorders with other winds shawm sackbut amp
organ Medieval amp Renaissance sacred music with
reconstructions of folksongs amp arrangements based
on contemporary improvisation
____BURIED TREASURE TOPAZ amp SAPPHIRE
Ensemble Vermillian Frances Blaker recorders
Barbara Blaker Krumdieck cello Elisabeth Reed
gamba Katherine Heater harpsichord amp organ
Transcriptions of Buxtehudes Op 1 other pieces by
Buxtehude works by Biber Johann Schop
Schmelzer Fafarela 2007
____STOLEN JEWELS Ensemble Vermillian
Frances Blaker recorders Barbara Blaker
Krumdieck Elisabeth Reed Katherine Heater 17th-
century German music adapted by Blaker I love
violin music so I steal the music and rearrange it
for my own instrumentrdquo Buxtehude Op 1 Biber
Rosenmuller Krieger JM Bach Fafarela
Recordings
____SENFL (LUDWIG) Farallon Recorder Quartet
(Letitia Berlin Frances Blaker Louise Carslake
Hanneke van Proosdij) 23 lieder motets and
instrumental works of the German Renaissance
____DOLCE MUSICAndash A CONTEMPLATIVE
JOURNEY Eileen Hadidianflutes recorders
Natalie Cox harps Celtic Renaissance and
Medieval melodies for recorder and flute with
Celtic harp Healing Muses 2005
____REFLECTIONS MUSIC TO SOOTHE AND
UPLIFT THE SPIRIT Eileen Hadidian recorder amp
Baroque flute with Celtic harp and cello Celtic
traditional Renaissance amp Medieval melodies
Healing Muses
____AN EVENING WITH BACH Voices of Music
Hanneke van Proosdij Louis Carslake Dan Laurin
recorders Joanna Blendulf Elizabeth Blumenstock
Rodney Gehrke Lisa Grodin Katherine Kyme
Jennifer Lane Victoria Gunn Pich Susanne Ryden
William Skeen David Tayler Renaissance and
Baroque music centers on fine singing Instantly
recognizable Air on a G String Bachrsquos Prelude in
G Major (solo theorbo for rsquocello) plus lilting vocal
performancesmdashRydenrsquos weightless soprano on
Bist du bei mir Lanersquos rich alto on Es is vollbracht
____BACH amp TELEMANN SONATAS PRELUDES
amp FANTASIAS Voices of Music (Hanneke van
Proosdij Joanna Blendulf Rodney Gehrke William
Skeen David Tayler) Beautiful chamber music by
Bach and Telemann
IN STOCK (Partial listing)____ALLA TURCA FUX CALDARA BADIA
Matthias Maute amp Sophie Lariviegravere recorders
Monika Mauch soprano Vocal music of the church
accompanied by Ensemble Caprice plus sonatas
and other instrumental pieces Analekta
____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 John Daniels Sonja Lindblad
recorders Peter Sykes harpsichord Trio sonata
arrangement by Johann Christian Schickhardt
____LES
AMIS DU
BAROQUE
Paul Nauta recorder amp
Baroque flute Koen Dieltiens recorder Music by
Bassani Corelli Vivaldi etc Highlight Intl
____LES SEPT SAUTS BAROQUE CHAMBER
MUSIC AT THE STUTTGART COURT Matthias
Maute amp Sophie Lariviegravere recorders amp traverso
Ensemble Caprice Charming repertoire by
Schwartzkopff Bodino Detri Atma Classique
____TASTE OF PORTIQUE LEnsemble Portique
Early and contemporary chamber musicmdash
Bach Telemann Boismortier and others
____TELEMANN ALLA POLACCA REBELndash
Matthias Maute recorders amp traversondash
plays concerti and suites by GP Telemann Dorian
____TELEMANN CANONS AND DUOS Lisette
Kielson amp Patrick OMalley recorders LEnsemble
Portique Telemann Canons meacutelodieux amp Sonates
sans basse 2-CD set LEP Records
____20TH CENTURY MUSIC FOR RECORDER amp
PIANO Anita Randolfi recorders Music by Jacob
Bartok Leigh others for recorder amp piano
____VIVALDI AND THE BAROQUE GYPSIES
Matthias Maute amp Sophie Lariviegravere recorders
Ensemble Caprice Gypsy music taken from
Uhrovska zbierka (now Slovakia) plus Vivaldi
____VIVALDI SHADES OF RED CONCERTOS amp
SONATAS FOR RECORDER amp STRINGS Matthias
Maute recorders REBEL Stylish high octane
readings of some of Vivaldis most beloved pieces
including the popular and raucous Concerto alla
Rustica stunningly colorful Sonata on La Follia and
four exuberant recorder concerti Bridge
____WINDFIRE Charmaine Delmatier recorder
Steve Kostelnik classical guitar Terry Hale bass
Erik Hokkanen violin Refreshing mixture of Andrew
Lloyd Weber American blues flamenco Celtic and
one original piece ltwwwyermomusicomgt
Please indicate above the CDs you wish toorder and print clearly the following
Name ____________________________________
Daytime phone (_____)______________________
Address__________________________________
CityStateZip _____________________________
Check enclosed for
_____ single CDs x $____ = $______
_____ 2-CD sets x $____ = $______
TOTAL $______
Please charge the above amount to my
MasterCard Visa or AmEx
_______________________________________
Exp Date ____________
Cardholderrsquos signature ______________________
Mail to
ARS 1129 Ruth Dr St Louis MO 63122-1019 US
You may fax a credit card order to 314-966-4649
NEW You may order CDs online using PayPal at
wwwamericanrecorderorgordercdromshtm
Order your recorder discs
through the ARS CD Club
The ARS CD Club makes hard-to-find or limited release CDs by ARS members
available to ARS members at the special price listed (non-members slightly higher)
All CDs are $15 ARS members$17 Others unless marked otherwise Two-CD sets are
$24 ARS members$28 Others Add Shipping and Handling $2 for one CD $1 for each
additional CD An updated listing of all available CDs may be found at the ARS
web site ltwwwamericanrecorderorggt
The first meeting of the newly-formedFort Myers Recorder and Early
Music Ensemble was January 26 atthe Florida home of chapter rep Sue
Groskreutz For this year the groupis somewhat loosely organized andplans to meet for extended sight-reading Repertoire at the first meetingcomprised everything from Renais-sance duets to chamber music involv-ing three treble parts and continuo
Among the five musiciansattending the first meeting (photobelow front row Elizabeth Spang SueGroskreutz back row Suzanne FergusonSibylle Baumgartner Arlene Sowka) allplayed recorder three harpsichord
and one each played traverso violinand gamba Due to the scarcity ofrecorder players south of the Sarasotaarea modern string players are alsoincorporated into this ensemble
The group decided not to chargedues and to meet at Groskreutzrsquoshome For more information pleasecontact Groskreutz at 239-267-1752spgembarqmailcom Snowbirdsdrifting through the area are welcome
Last fall at the requestof a student Kay Hettich
(inset below right) taught abeginning recorder class atthe Redding (CA) Senior
Center The five-weekclass was so successful thatmost participants haveformed a bi-weekly noviceensemble (right) coachedby Hettichmdashwho consid-ers them her ldquohatchedeggsrdquo
A new batch of ldquoeggsrdquostarted to incubate when afive-week class began on February 20Other senior center members havebecome interested as they heard oftheir colleaguesrsquo success These noviceplayers comprise some who previouslyread music and played instruments as well as people who are totally new to music notation
One student has also formulated amaxim ldquoEveryone at age 40 ought tolearn to play the recorder if heshehasnrsquot alreadyrdquo Just think how theworld would be transformed byshifting our focus to music
After Lynn Whidden attendedthe Montreacuteal Recorder Festival lastfall when the ARS Board met inQuebec she joined the ARS and nowrelays news of the lively interest in therecorder exhibited by a group underthe new leadership of Brent Legg ofBrandon University in ManitobaCanada Although his hands wereldquostill partly frozenrdquo he wrote that theBrandon University Collegium
Musicum in collaboration with theWaverley Park Recorder Club is
preparing a spring concert calledldquoEnglandrsquos Golden AgerdquoRepertoire spans the 16th century
from Henry VIIIrsquos accession in 1509to the death in 1603 of Elizabeth Iand includes solo songs four- andfive-part settings of Renaissancedances (with dancers) three- to five-voice madrigals and ldquobig-bandrdquoarrangements of William Byrdrsquos TheBells and The Dargason as re-imaginedby Gustav Holst (further re-imaginedfor recorders and percussion)
Of the 15 collegium membersseven are encountering the recorderfor the first time since elementaryschool The Collegium Musicumpromotes the study of early music at the university and is open to theuniversity community and the generalpublic This year there are five com-munity participants with interest fromseveral more both within and outsideof the university For informationcontact BrentLegggmailcom
January 16 marked the thirdannual recorder workshop of threeFlorida groups the Pasco Collegium
Recorder Consort of Hudson theImperial Recorder Consort of
36 March 2009 American Recorder
Chapters
amp Consorts___________________________________Workshops and activities from
coast to coast in the US and Canada
Lakeland and the Pilgrim Pipers Recorder Consort of St Petersburg Theygathered for a morning tackling selections by Banchieri Monteverdi PurcellCorelli Mendelssohn Bach Mozart and Glen Shannon Each group presenteda piece for the other participants Sweet Georgia Brown by Ben Bernie (St Pete)a Sonata by Sammartini (Lakeland) and The Gospel Train arr by KW Ford(Pasco) The 29 participants were led by Marlene Cracraft (Pasco) Jane
Spencer (Lakeland) and Elizabeth Snedeker (St Pete) Tom Bickley (photo below) directed the fall workshop of the Mid-Peninsula
Recorder Orchestra in Cupertino CA The 30 players started with Gregorianchants written in ldquooldrdquo notation Bickley gave basic instruction on how tointerpret the notes and then had the group sing the chants prior to playing them
The workshop theme of ldquoThe Articulate Recorderrdquo was literally played out as the music presented used variations in tonguing phrasing and breathingOther repertoire included a Kyrie by Tomas Luis de Victoria Bachrsquos Jesu Joy ofManrsquos Desiring a double-choir piece by Gabrieli Christopher Tyersquos In NomineXIII and a Purcell chaconne The workshop ended with a rhythmically-challenging minimalist piece by Bickley entitled Beginning composed for theWaldorf School teacher training program George Greenwood reports that thegroup had a productive event and plans to ask Bickley to lead a future workshop
wwwAmericanRecorderorg March 2009 37
A Muse in the DesertThe sound of a pin dropping hellip thesound of eager minds and fingersabsorbing information and inspira-tion hellip the sounds of ldquoNuevaEspantildeardquo Spanish- and indigenous-influenced music of the 1600s in theNew World These were the soundsof the Desert Pipes (Phoenix AZ)chapterrsquos fall workshop given byEileen Hadidian On a Saturdaylast October 30 players from all overArizona gathered to learn from andbe inspired by the founder of a SanFrancisco Bay Area group dedicatedto sharing music for healing inhealthcare settings Healing Muses(wwwhealingmusesorg)
The day began with relaxationstretching and breathing exercisesfollowed by travels to Peruacute MexicoGuatemala and Colombiamdashhighchurch music vernacular pieces anda mixture of the two Participantsenjoyed the historical and contextualbackground provided as an overviewfor the day and for each piece
Remarkably the sound heardbetween pieces and passages was anenergy-filled quiet the attentivestillness of active engagement in theworkshop experiencemdashnot the chat-tering noodling and conversationsthat often occur when the musicstops That activity was reserved forthe breaks when participants couldenjoy the cool (at last) outdoorschat with Hadidian and peruse the popular garage sale (to benefitDesert Pipes) of previously-enjoyedbooks and other treasures
On Sunday Hadidian sharedher expertise and inspiration in indi-vidual and group coaching sessionsThe weekend was a special experi-ence and Desert Pipes memberslook forward to the next visit of this Healing Muse
Ann Koenig Scottsdale AZannisalesprocom
Members
of three
Florida
groups
met
in January
for a joint
workshop
CHAPTER NEWS
Chapter newsletter editors and publicity officers should send materials for publication toAmerican Recorder 7770 South High St Centennial CO 80122-3122
editoramericanrecorderorg Also send short articles about specific activities that haveincreased chapter membership or recognition or just the enjoyment your members get out of
being part of your chapter Digital photos should be at least 3rdquox4rdquox300dpi TIF or unedited JPG files Please send news to the AR address above and to the following
ARS Office 1129 Ruth Drive St Louis MO 63122-1019 ARSrecorderAmericanRecorderorg
and to Bonnie Kelly Chair Chapters amp Consorts Committee 45 Shawsheen Rd 16 Bedford MA 01730 bksharpaolcom
TO THE STARS
AND BEYONDThe cover of the November magazinegenerated a few comments Some werenrsquotsure how to interpret the title (in theartistrsquos native German it could besomething close to ldquostarlit moonrdquo)Longtime member Carolyn Peskin wrote to offer her vision of that cover
In the beginning the Great Spiritinvented Mr Sun to light the day andMiss Moon to light the nightHowever as Miss Moon floated up inthe sky all by herself like a big yellowballoon she began to feel very lonelyso one night to relieve her lonelinessshe decided to take out her recorderand make music
But when she started to playsomething miraculous happened Not only beautiful melodies but alsoyellow dust poured out of the bottomof her recorder and the dust particlesimmediately coalesced to form yellowstars As she continued playing moreand more stars were created and theyfloated up around her filling the nightsky
At last Miss Moon was happy fornot only was she herself able to enjoyher music but she now had a wholecrowd of starry companions to enjoy itwith her And if you listen very care-fully on a quiet night you might beable to hear her recorder and thatstarry choir humming along
Carolyn Peskin
LOCATING EARPLUGSI read with interest the QampA in theNovember lsquo08 AR regarding hearingloss and use of earplugs Where do you get musicianrsquos earplugs
Dolly Hirata Kensington CA
CAROLYN PESKIN PROVIDED THIS
INFORMATION Musicianrsquos earplugs arecustom made for individual usersThey can be purchased only fromlicensed hearing professionals (ieaudiologists and hearing instrumentspecialists) To find a licensed hearingprofessional in your area look underldquoaudiologyrdquo or ldquohearingrdquo in your localyellow pages
For information about how musi-cianrsquos earplugs are produced visitwwwetymoticcomephperme-w
tbaspx That web page also has a linkto contact information for authorizedlabs that make the custom earmolds formusicianrsquos earplugs If the yellow pagesdo not prove helpful those labs canrefer you to a licensed hearing pro-fessional in your area from whom youcan purchase musicianrsquos earplugs
MORE FROM CAROLYN
THIS TIME ABOUT OSKARIn the September 2008 AR the musicreview by Leslie Timmons of the Oskarpieces by Matthias Maute mentionedthat Carolyn Peskin had translated twoof the Oskar books from German toEnglish People can obtain thetranslations free of charge as Wordattachments by contacting her atCarolyn Peskin 3559 StrathavonRoad Shaker Heights OH 44120carolynpeskinstratosnet
ANOTHER KIND OF
MUSIC-READING
GLASSESIn the January 2009 issue of AmericanRecorder therersquos something (in myopinion) the ldquoRecorder with GlassesObbligatordquo article omitted which canenable a nearsighted musician to avoidneck strain in the use of bifocals
Irsquove found the solution to thisvexing problem is to have onersquos bifocalsconstructed differently [from] normalMy optometrist was willing to work
38 March 2009 American Recorder
Response___________________________________Two kinds of vision
the better to see with and (not) to hear with
Honeysuckle Music
Recorders amp accessories
Music for recorders amp viols
Jean Allison Olson1604 Portland AveSt Paul MN 55104
6516448545jeanhoneysucklemusiccom
Responses from our readers are welcomedand may be sent to American Recorder 7770 South High St Centennial CO
80122 Letters may be edited for length and consistency
ARS Membership Enrollment and Renewal I am a new member I am or have been a member
USCanadian Memberships Foreign Memberships $45 One Year $55 Foreign One Year $75 Sustaining (Receive a Hottetere Hands Pin) $100 Two Years $80 Two Years
LIFETIME MEMBERSHIP Single Dual Regular Lifetime Member $1000 (2) $1500 (4) 4 installments of $250 available) Loyalty Lifetime Member (1) $ 800 (3) $1200 (4) 4 installments of $200 available
(1) For members who have maintained membership for five consecutive years (2) $750 is Tax Deductible (3) $600 is Tax Deductible (4) Installments available Student Memberships Other Memberships (Enclose proof of full time enrollment) $65 One Year Workshop Membership
$25 USCanadian One Year $125 One Year Business Membership $45 USCanadian Two Years $30 Foreign One Year $5 Additional Charge for Dual Address or Dual Name
Do not list my name in the ARS Print Directory Do not list my name on the ARS Online Directory Do not release my name for recorder related mailings Do not contact me via email
My address telephone and email address are the same as last time
______________________________________ _________________________ Name Phone Number ______________________________________ _________________________ AddressCityStatePostal Code Email Address Please charge to (Circle one) VISAMasterCardAMEXDiscover CC________________________________ Expiration Date ______________ Signature of cardholder_______________________________________________________ Clearly Print Name as it appears on Card________________________________________
Renew by Mail Online By Phone or by Fax
Demographic Information (optional information collected only to enhance ARS services and provide statistics to grant makers)
I am a member of ARS Chapter or Consort____________________________ I am the Chapter Contact Your age Under 21 (21-30) (31-40) (41-50) (51-60) 61-70) (71+) Please check all that apply
I am a Professional Recorder Performer
I wish to be included in the list of Recorder Teachers in the ARS Directory and website I Teach (circle your choices) Children High School Youth College Students Adults Beginner Intermediate Advanced Pre-Professional Individuals Childrenrsquos Classes Adult Classes Ensembles Suzuki Orff JRS Leader Kodaly Where I Teach (circle your choices) Music Studio Public or private school Community Music School College Other _____________________
American Recorder Society 1129 Ruth Dr St Louis MO 63122-1019
Phone 314-966-4082Fax 314-966-4649
TollFree 800-491-9588ARSRecorderAmericanRecorderorg
wwwAmericanRecorderorg
with me [to find] an ideal (for me)placement size and focal length of thebifocal lens
Before visiting the optometristIrsquod had my wife measure the distancefrom my eyes to the music on mymusic stand With this measurementthe optometrist set up her machine toprepare a vision prescription for memaximized for this reading distance
When I look at my bifocals (withthem off) the lenses (through which Iread my music) occupy most of thelower two-thirds of my glasses (they are set very high and beginimmediately at the inner rims) Thisleaves the upper third and smallportions of the outside [of each lens]for focusing on the conductor As longas my stand is set low enough my necknever experiences any strain (even if Ihave to read three to a part) and Irsquove no problem in seeing theconductor (in sharp focus) either
For me trying to use glasses [toread] from a music stand [that] weredesigned for use in reading from acomputer screen also results in neckstrain (not to mention unreliability in aldquopressurerdquo situation) Having studiedTai Chi extensively and so being
wwwAmericanRecorderorg March 2009 39
There are lots ofsolutions to thepresbyopic musicianrsquosproblem but all involve compromises
40 March 2009 American Recorder
American Recorder Society PublicationsErich Katz Contemporary Music Series Members Non-MembersA Short Tale for Two Basses Suzanne M Angevine (Level II) (2 scores) $5 $8Dialogue and Dance Cecil Effinger (SATB)(Level II-III) (score amp parts) $10 $18Dorian Mood Sally Price (SATB) (Level II) (score amp parts) $10 $18Double Quartet for Recorders Peter Ballinger (Level II-III) (score amp parts) $10 $18Entrevista Frederic Palmer (SATB) (Level II) (2 scores amp 4 recorder parts) $8 $14Kyrie and Vocalise for Soprano Voice ampRecorders Stanley W Osborn $8 $14
(SATB) (Level II) (2 scores amp 4 recorder parts) Picnic Music Jeffrey Quick (SATB) (Level II) (score amp parts) $5 $8Six Short Pieces for Three Recorders edited by Alan Drake $8 $14
(3 scores) Vaclav Nelhybel (AATT) (Level II)Sonatina for Alto Recorder and Piano Anthony Burgess $7 $12
(Level II) (2 scores)Sonatine for Three Altos Lee Gannon (Level III) (score amp parts) $14 $26Suite of Jewish Folk Tunes Erich Katz (S SA8 AT) (Level II) (three scores) $10 $18
Musical Editions from the Membersrsquo Library ARS members 1 copy-$3 2 copies-$450 3-$6 4-$750 5-$10 6-$1150Non-members (editions over 2 years old) 1 copy-$5 2 copies-$850 3-$12 4-$15 5-$1950 6-$23The ARS is happy to provide photocopied enlargements of any Membersrsquo Library edition at the same prices Please specify ldquoMembersrsquo Library Enlargementrdquo
ARS Information BookletsARS members 1 booklet-$13 2 booklets-$23 3-$28 4-$35 5-$41 6-$47 7-$52Non-members 1 booklet-$18 2 booklets-$33 3-$44 4$55 5-$66 6-$76 7-$86
Education PublicationsThe ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996)
First copy free to ARS Members (mailed to new members as they join) replacement copies $3Guidebook to the ARS Personal Study Program (1996) Material formerly published in the Study Guide
and Study Guide Handbook plus additional resources Members $11 non-members $20ARS Music Lists (2002 with 2003 Supplement) Graded list of solos ensembles and method books
Members $9 non-members $15Package Deal available only to ARS members Guidebook and Music ListsSupplement ordered together $16Junior Recorder Society Leaderrsquos Resource Notebook
ARS members $20 non-members $40 (updates at reduced rates after initial purchase)$5 Dues for each JRS student member sponsored by an ARS member ($4 each for groups of 10+)
VideosRecorder Power Educational video from the ARS and recorder virtuoso John Tyson
An exciting resource about teaching recorder to young students ARS members may borrow a copy for onemonth by sending $5 to the ARS office along with the address to which the tape should be shipped
Pete Rose Video Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music Festival recitalFeatures Rose performing a variety of music and an interview of him by ARS member professional John Tyson
Other PublicationsChapter Handbook A resource on chapter operations for current chapter leaders or those considering forming an
ARS chapter ARS members $10 non-members $20 (updates free after initial purchase) One free copy sent toeach ARS chapter with 10 members or more
Consort Handbook Resource on consort topics such as group interaction rehearsing repertoire performingARS member prices CD $10 hard copy $20 combo price of CD and hard copy ordered together $25
Discography of the Recorder Vol I (1989) Compiled by Scott Paterson and David LasockiDiscography of the Recorder Vol II (1990-1994) Compiled by Scott Paterson
Either single volume ARS members $23 non-members $28Both Discography volumes together ARS members only $40
American Recorder Cumulative Index for Vols I-XXXX ARS members $20 non-members $32Index Supplement Vol XXXIV-XXXX ARS members $8 non-members $14
Shipping amp Handling FeesUnder $10 - add $3 $10-1999 - add $4 $20-2999 - add $5 $30-3999 - add $6 $40-4999 - add $7 All prices are inUS dollars For Canadian or foreign postage pay by credit card and actual postage is charged
Please make checks payable to ARS VISAMCAMEXDisc also accepted
ARS 1129 Ruth Drive St Louis MO 63122 US800-491-9588 ARSrecorderAmericanRecorderorg
Arioso and Jazzy Rondo (AB) Carolyn PeskinBerceusendashFantaisie (SATB) Jean BoivertBrucknerrsquos Ave Maria (SSATTBB)
Jennifer W Lehmann arrCanon for 4 Basses (BBBB) David P RuhlDancers (AT) Richard EastmanDifferent Quips (AATB) Stephan ChandlerElegy for Recorder Quartet (SATB) Carolyn PeskinElizabethan Delights (SAATB)
Jennifer W Lehmann arrFallen Leaves Fugal Fantasy (SATB) Dominic BohbotFour Airs from ldquoThe Beggarrsquos Operardquo (SATB)
Kearney Smith arrGloria in Excelsis (TTTB) Robert CowperIdyll (ATB) Stan McDanielImitations (AA) Laurie G AlbertsIn Memory of Andrew (ATB) David GoldsteinLay Your Shadow on the Sundials (TBgB)
Terry Winter OwensLeClercqrsquos Air (SATB) Richard E WoodLittle Girl Skipping and Alouette et al (SATBCb)
Timothy R Walsh
Los Pastores (SAAAT + perc) Virginia N Ebinger arrNew Rounds on Old Rhymes (4 var) Erich KatzOther Quips (ATBB) Stephan ChandlerPoinciana Rag (SATB) Laurie G AlbertsSanta Barbara Suite (SSAAT) Erich KatzSentimental Songs (SATB) David Goldstein arrSerie for Two Alto Recorders (AA) Frederic Palmer Slow Dance with Doubles (2 x SATB) Colin SterneSonata da Chiesa (SATB) Ann McKinleyS-O-S (SATB) Anthony St PierreThree Bantam Ballads (TB) Ann McKinleyThree Cleveland Scenes (SAT) Carolyn PeskinThree in Five (AAB) Karl A StetsonTracings in the Snow in Central Park (SAT)
Robert W ButtsTrios for Recorders (var) George T BachmannTriptych (AATB) Peter A RamseyTwo Bach Trios (SAB) William Long arrTwo Brahms Lieder (SATB) Thomas E Van Dahm arrVariations on ldquoDrmešrdquo (SATB) Martha BishopVintage Burgundy (SASATT)
Jennifer W Lehmann arr
Adding Percussion to Medieval and Renaissance Music Peggy Monroe
American Recorder Music Constance PrimusBurgundian Court amp Its Music Judith Whaley coord
Improve Your Consort Skills Susan CarduelisMusic for Mixed Ensembles Jennifer W LehmannPlaying Music for the Dance Louise AustinRecorder Care Scott Paterson
acutely aware of any kind of neckstrain when it begins to develop these ideas have been a big help to meIrsquom hoping they may be of help toother musicians as well
Best wishes to you And inanswer to your questionmdashyes the new[AR] format (with more white spacebetween the lines) is much easier toread (in my opinion)Your magazinejust keeps getting better and better
Very sincerely Ed Green WestSuburban (Chicago-area) Chapter
RESPONSE FROM DR BILL LONG
What Ed describes is a variant of theuse of conventional bifocals as musicglasses described on page 8 in thearticle Instead of lowering his musicstand into the field of view of hisbifocal segment Ed and his optome-trist have fabricated special purposebifocals with the segment really highso he can focus on his music instraight-ahead view That approachrestricts his distance vision to an areaabove his usual line of sight whichseems to work for Eds playing setup
Eds comments on the difficultiesin using conventional progressiveaddition lenses as music lenses con-firm what I said on page 9 Thats whymanufacturers have marketed special-ty progressive lenses designed specif-ically for intermediate distance taskslike computer use and playing music
There are lots of solutions to thepresbyopic musicians problem but all involve compromises The key toevaluating those compromises andchoosing the best solution for yourselfis to understand your needs and toenlist the help of a sympathetic visioncare specialistmdashjust as Ed did
Please change your
browserrsquos favorites list
AR online is now at wwwameri
canrecorderorgmembership
magazinehtm Send news to
editoramericanrecorderorg
FOUR FOUR-PART CANZONAS
(1608) BY GIOVANNI GABRIELI
ED GREG LEWIN Hawthorns Music RB 16 (Magnamusic) 1999 SATBSc 16 pp pts 4 pp $1950
Giovanni Gabrieli was probablyborn between 1554 and 1557 in theparish of San Geremia in Venice Thedetails of his early life are sketchy butit appears that he was born Giovannidi Fais and later changed his name toGabrieli out of respect to his uncleAndrea with whom he shared a closerelationship In fact in 1587 Gabrielidescribed himself ldquoas little less than asonrdquo It is commonly thought thatAndrea provided Giovanni with hisearly musical training Andrea whohad spent some time in Munichstudying under the great Orlando deLassus sent Giovanni to Munich for a similar period of study in theearly 1570s
Gabrieli remained in Munichuntil the death in 1579 of the dukeAlbrecht V who had been Lassusrsquosemployer for a number of years andwho was an enthusiastic patron of the arts particularly music With hisdeath a number of musicians lost theirjobs it seems as if Gabrieli were also a victim of such culling of talent(Within a generation the tide wouldturn and the Munich court wouldagain hire Venetian expatriates such as Priuli Valentini and Neri)
Upon his return to VeniceGabrieli was hired as a temporaryorganist at San Marco his positionbecoming permanent in 1585 For a few months that year uncle andnephew served together as first and
second organists in the chapel of thedoge In Giovannirsquos absence fromVenice there had been a plague thathad decimated the ranks of theprofessional musicians Andrea setabout rebuilding his forces at SanMarco by hiring a full-time windband consisting of Girolamo dallaCasa a renowned cornettist andviolist his two brothers who playedsackbut and later the cornett virtuosoGiovanni Bassano Giovanni Gabrieliaugmented these forces with addi-tional players and began composingthe large-scale ceremonial music forwhich he is so well known today
Giovanni was also elected to bethe organist and composer to theconfraternity of San Rocco in 1585and it is now thought that his largestpieces were intended for that venuewith its large central gallery andfrescos by Tintoretto instead of SanMarco Gabrieli held both thosepositions at the basilica of San Marcoand the Scuola Grande di San Roccountil he died in 1612 of a kidney stone
Although best known today forhis ceremonial and festival musicGabrieli was at home in smaller-scaleformats as well These four four-partcanzoni are taken from the 1608publication by the Venetian publisherAlessandro Raverji Canzoni per sonarecon ogni sorte di strumenti These werevery popular pieces to judge by themany collections in which they appear
Additionally like Gabrielirsquoskeyboard music they are found inother arrangements These four-partcanzoni lie well under the fingers inarrangements for keyboard and lute
As seen from the title Gabrielispecified no instrumentation but like asimilar edition of madrigals and battlepieces from a few years earlier a dis-tinction was made that they wereintended for wind instruments almostcertainly cornetts and sackbuts
Recorders were not unknown in Venice they were used regularly inthe confraternity of San GiovanniEvangelista where Giovanni BattistaRiccio was organist
These pieces are relativelysimplemdashplayable by beginning tointermediate ensembles They aremostly contrapuntal (with a fewhomophonic sections) and have few rhythmic eccentricities
These canzoni are found in manymodern brass editions but there arefew editions available to the recorderplayer This edition by Greg Lewin ofHawthorns Music might be consid-ered a ldquobare-bonesrdquo edition There islittle background information andeditorial practices are not specified
The music itself has a handwrittenlook that can be distracting but is easyenough to read Lewin has thought-fully supplied phrasing marks that willbe helpful for ensembles unused tothis style of music
Music
Reviews___________________________________ Infectious music created in spite of the plague
wwwAmericanRecorderorg March 2009 41
This is a good edition
for small ensembles that
canrsquot get eight players
together to play
Gabrielirsquos more famous
eight-part canzoni
42 March 2009 American Recorder
The parts are four pages but mycopy had all four pages printed on avery large page This is not a problemand there are no page turns
This is a good edition for smallensembles that canrsquot get eight playerstogether to play Gabrielirsquos morefamous eight-part canzoni Thesesmall-scale pieces are by no meansinferior to Gabrielirsquos more elaboratemusic and deserve to be better known
7 CANZONEN (1637) BY
TARQUINIO MERULA ED JOACHIM
ARNDT WITH CONTINUO REALIZATION
BY CLAUDIA SCHWEITZER MieroprintMusikverlag EM2088 (availabledirectly from wwwmieroprintcom)2005 SS or TT bc Sc 24 pp pts 8 pp$28
Tarquinio Merula was bornaround 1595 in either Busseto orCremona in Italy As was the case withso many composers of the day either alack of regular employment or a rest-less nature took him from his home inCremona to as far away as Warsaw He is found as the organist of thechurch and the chambers to the kingof Poland Sigismund III in 1624
Merula was one of the leadingexponents of the relatively new con-certante style pioneered by ClaudioMonteverdi and others in the seconddecade of the 17th century and may be described as one of the earliestBaroque composers His compositionsin the concertante style are fresh andunforcedmdashhe was born into this styleand didnrsquot encounter it as somethingnew as was the case with so many ofMonteverdirsquos contemporaries
After several years of peripateticexistence Merula found regularemployment in 1631 in Bergamo atthe church of San Maria MaggioreThe prior holder of the post of maestrodi cappella Alessandro Grandi haddied the previous year in the plagueMerula had signed a three-year
contract but by December 1632 hewas terminated with accusations thathe had molested several studentsMerula threatened a lawsuit to recoverhis lost wages but that threat wascountered with a pending criminalcharge lodged by the board ofgovernors of San Maria Maggiore By mid-1633 the matter was settledwith an apology from Merula and astatement that he relinquished allclaims to his salary
He then returned voluntarily toCremona where he stayed until 1635By 1638 Merula was once again inBergamomdashthis time as maestro dicappella and organist in the cathedralnext to San Maria Maggiore Asmight be expected there was con-siderable tension between the twochurches eventually resulting in theboard of San Maria Maggioreforbidding their musicians to perform under Merularsquos direction
He returned in 1646 to a familiarCremona post which he had heldthree times in various years and wherehe now settled downmdashthat of organistand maestro di cappella for Laudi dellaMadonna services in which he ledmusic at the main altar on Saturdaysand on vigils of Marian feasts
None of his employment issues
prevented the Pope from awardinghim the Order of the Golden SpurMerula was also elected to theAccademia dei Filomusi in BolognaHe died in 1665 in Cremona
His existing compositions showthe products of a lively mind Hisworks range from sacred songs andmotets to purely instrumental piecesnotably the ever-popular variations onvarious ground basses It is knownthat Merula was an accomplishedviolinist as well as a fine organist Hissurviving instrumental writing showsa predilection for strings In fact hewas one of the earliest composers tospecify string accompaniments tosacred motets
Merularsquos pieces look backwardtoward some of the more progressiveVenetian composers such as Monte-verdi while looking forward to thehigh Baroque with his innovative style
These seven canzoni like theearlier-published chaconne (EM2084)come from Merularsquos third bookpublished in 1637 CANZONI overo SONATE CONCERTATE perchiesa e camera a due et a tre delcavaliere This collection typifiesMerularsquos output pieces based onRenaissance-era ground basses arefound next to more ldquomodernrdquo sonatas
The original edition specifiesviolins and basso continuo This newedition is intended for recorders thespecific choice of which is up to theplayers Due to the relatively hightessitura tenor recorders work best inthese pieces (although listed as analternative soprano recorders tend to be on the screechy side)
Not surprisingly given Merularsquosskill as an organist the continuo partneeds a keyboard instrument forsuccessful realization Instead of beinga purely accompanying part the bassocontinuo part is an equal partner in these pieces the canzona ldquoLaRuggierardquo opens with a run that therecorders echo a few measures later
A more recorder-specific
edition intended for
altos would have been
ideal There is nothing
preventing the more
adventurous and
industrious players
from making their
own editions of this
delightful music
mentioned were a bit shrill A morerecorder-specific edition intended foraltos would have been ideal There isnothing preventing the moreadventurous and industrious playersfrom making their own editions of thisdelightful music
Prior to playing the previouslypublished chaconne I had notencountered MieroprintMusikverlag Mieroprintrsquos extensivecatalog has an equal focus on newmusic for recorders and on editions ofBaroque masters with emphasis on therecorder and flute Due to the lack of
wwwAmericanRecorderorg March 2009 43
are also available at
The Early Music Shop
of New England
Brookline MA
AESTHEacute
367-b de la Briquade
Blainville Queacutebec
Canada J7C 2C7
tel (450) 979-6091
wwwboudreau-flutesca
A bass viola da gamba or rsquocello is not necessary for these pieces and may infact make them sound heavy and ponderous rather than light and breezy as thismusic seems to be
More so than the above-mentioned chaconne these canzoni are written in avery idiomatic violin style with multiple examples of arpeggios In particular thecanzona ldquoLa Trecchardquo contains a notated example of a string tremolo figurerecurring through the piece ldquoLa Trecchardquo also dips well below the range of a Crecorder going down to low G the lowest string on the violin The editors havesupplied no alternative notes preferring to let the performers to fend forthemselves (in practice we took this passage up an octave with no problems)
The two recorder parts require virtuosity These upper parts are demandingwith the players needing to double-tongue in unison in order to negotiate themany runs of 16th notes and the shared rhythmic ldquolicksrdquo The harmoniclanguage unlike much of Merularsquos music is undemanding and contains none of the harmonic crunches for which he is famous
This is wonderful music that needs a couple of advanced recorder players fora successful performance The string idiosyncrasies can be overcome by advancedplayers and many of the editions of the era (although not this one) list thecornetto as an alternative to the violin so the use of wind instruments in the solo literature of the early Baroque was not unknown
Our experience with this edition left us with the opinion that these pieceswould have been better if transposed down a minor third so as to fit on a pair ofalto recorders (as is the case with much Baroque flute music to make it lie betteron the recorder) The tenors we used tended to sound a bit murky in the lowerregister next to the more aggressive harpsichord while the sopranos we tried as
KEY rec=recorder Srsquoo=sopraninoS=soprano A=alto T=tenor B=bassgB=great bass cB= contra bass Tr=treble qrt=quartet pf=piano fwd=foreword opt=optional perc=percussionpp=pages sc=score pt(s)=part(s)kbd=keyboard bc=basso continuohc=harpsichord PampH=postage andhandling Multiple reviews by one reviewerare followed by that reviewerrsquos name Pleasesubmit music for review to AR 7770 SHigh St Centennial CO 80122-3122 US
an American distributor this musicwill be hard to findmdashin fact can befound only at the time of this writingon their web site noted above But theeffort will be repaid
This edition is clear and easy toread and the parts require no pageturns The basso continuo realizationis simple and elegant
This is music deserving ofrediscovery My only quibble is thatthe editorial notes are all in GermanThis seems to be the practice ofGerman music publishers with thenotable exception of Moeck Otherpublishers of early music such asLondon Pro Musica routinelyprovide notes in English and German and often in French and Italian making their editionsaccessible to a wider audience
Frank Cone studied the recorderwith the late Ellen Perrin the viola dagamba with Carol Herman and thecornetto with Larry Johansen TheCalifornia multi-instrumentalist has been a member of the Orange CountyRecorder Society since 1985
Advertiser Index
AMERICAN ORFF-SCHULWERK ASSN 3
AMERICAN RECORDER SOCIETY 31 35 36
AMHERST EARLY MUSIC FESTIVAL 17
STEPHAN BLEZINGER 24
JEAN-LUC BOUDREAU 21 39
BOSTON EARLY MUSIC FESTIVAL 7
CANTO ANTIGUO EARLY MUSIC WORKSHOP 13
COURTLY MUSIC UNLIMITED 20
EARLY MUSIC AMERICA 8
HONEYSUCKLE MUSIC 34
BILL LAZARrsquoS EARLY MUSIC 26
KEITH E LORAINE EARLY DOUBLE REED SERVICE 35
LOST IN TIME PRESS 11
MADISON EARLY MUSIC FESTIVAL 12
MAGNAMUSIC DISTRIBUTORS BC
MOECK VERLAG IFC
MOLLENHAUER RECORDERS IBC
PORT TOWNSEND WORKSHOP 14
PRESCOTT WORKSHOP 30
PROVINCETOWN BOOKSHOP 26
THE RECORDER MAGAZINE 4
THE RECORDER SHOP 6
SAN FRANCISCO EARLY MUSIC SOCIETY 18
SWEETHEART FLUTE CO 3
TEXAS TOOT 20
VON HUENE WORKSHOP INC 30
WICHITA BAND INSTRUMENT CO 21
DOMINIK ZUCHOWICZ 34
CONSIDER ADVERTISING IN
Full page $55223 page $43912 page $36613 page $28614 page $22316 page $17518 page $127112 page $ 951 column inch $ 58
Prices include web sitee-mail link directly from your ad in the online AR at wwwamericanrecorderorg
Circulation Includes the membership of theARS libraries and music organizations
Published five times per year January March May September November
Reservation Deadlines December 1 (January) February 1 (March) April 1 (May) August 1 (September) October 1 (November)
Rates good through November 2009 Pleaseinquire about discounts on multiple-issuecontracts inserts or other special requestsExtra charges for typesetting layout half-tones and size alterations 133-line screenrecommended Advertising subject toacceptance by magazine First-time adver-tisers must include payment with order
For more information contact the ARS office 1129 Ruth Drive St Louis MO63122-1019 800-491-9588 toll free 314-966-4082 phone 314-966-4649 faxadvertisingamericanrecorderorg
44 March 2009 American Recorder
Classified___________________________________
FOR SALE Cherrywood hurdy gurdy and hard-side case made by Kelischek bought 2005Originally $765 plus $89 for case Rarely usedBoth for $450 or make offer Please contact marjalocomcastnet Can ship
ASPIRE ANNOUNCE INSPIRE Afford-able PR for teachers and recitalists wwwrecitalroomcom
PHOTOS NEEDED of ARS events 1970sndash1990sto illustrate last chapters of Martha Bixlerrsquos histor-ical memoir about the ARS (to be posted online)E-mail scanned photos (300dpi JPG or TIF)arsrecorderamericanrecorderorg Hardcopies mail to ARS office to be scanned ampreturned Info 800-491-9588
T-SHIRT FOR ENSEMBLE PLAYERS to wear orshare Top 10 Reasons Why I Got Lost Wrongfingering bad lighting etc on blue cotton shirt$18 Highlighter tape and other goodies Beth amp Lindas Boutique as seen at BEMF CallLinda at 617-671-8694 or e-mail for brochurelindakushverizonnet
Where the havesand have-nots
of the recorder world can find each other
Classified rate for American Recorder 60centper word ten-word minimum ldquoFOR SALErdquoand ldquoWANTEDrdquo may be included in thecopy without counting Zip code is oneword phone e-mail or web page is twoPayment must accompany copy Deadlinesare one month before issue date Send copywith payment to ARS 1129 Ruth Drive St Louis MO 63122-1019
AMERICAN RECORDER (ISSN 0003-0724) 1129 Ruth Dr St Louis MO 63122-1019 is publishedbimonthly (January March May September and November) for its members by the AmericanRecorder Society Inc $20 of the annual $45 US membership dues in the ARS is for a subscriptionto American Recorder Articles reviews and letters to the editor reflect the viewpoint of their individ-ual authors Their appearance in this magazine does not imply official endorsement by the ARS
EDITORIAL DEADLINES November 15 (January) January 15 (March) March 15 (May) July 15(September) and September 15 (November) Submission of articles and photographs is welcomedArticles may be typed or sent as an attachment (Word or RTF preferred) to or text in an e-mail mes-sage They should be for the exclusive consideration of AR unless otherwise noted Photos may besent as prints or unedited JPG or 300dpi TIF files (minimum 3rdquox4rdquo) Advertisements may be sent inPDF or EPS format with fonts embedded
EDITORIAL OFFICE Gail Nickless Editor 7770 S High St Centennial CO 80122-3122 303-794-0114 (phone amp fax) editoramericanrecorderorg Books for review Editorial office Musicfor review Editorial office Recordings for review Tom Bickley 1811 Stuart St Berkeley CA 94703Cutting Edge Tim Broege 212 Second Ave Bradley Beach NJ 07720-1159 Chapter newslettersother reports Editorial office Postmaster Send address changes to ARS 1129 Ruth Drive St LouisMO 63122-1019 Periodicals postage paid at St Louis MO and at an additional mailing office
Chapter leaders
We know yoursquore out there
and that you want to share
your plans concerns
solutions and ideas with
other chapter leaders Visit
httpamericanrecorder
societywikispacescom
MARIN HEADLANDS
RECORDER WORKSHOP
Point Bonita YMCA near San Francisco CA
May 15-17
With each coming tide of that mightymetronome the Pacific Ocean and withspring peeping soon our MarinHeadlands Recorder Workshop 2009perched at the edge of the ocean andembraced in greenery gets nearer Againthis workshop will swell with harmoniesof recorders viols and perhaps apsaltery or drum Intermediate andadvanced players are warmly invited tojoin members of the sponsoring EastBay Chapter of the ARS a SFEMSaffiliate at this annual musical event
Music-making begins on Friday andcontinues through Sunday afternoon
including also one- and two-day options
This yearrsquos faculty includes a wonderfulmix of familiar and new faces DavidBarnett Tom Bickley Louise CarslakeRobert Dawson Lisa DykemanFrances Feldon Judith LinsenbergPeter Maund Fred Palmer and Glen Shannon
Music offerings will range from easilyplayable to challenging from delightfulPurcell and Renaissance music to jazzto works by a (very) living composer(led by the chap himself) Check theEBRS web site for updates
The workshop is held at the PointBonita YMCA one of very few publicfacilities on this largely undevelopedarea of California coast Set in a meadowwith short walks to Pacific Ocean vistasthe historic Point Bonita Lighthouseand remnants of WWII fortifications
it is a place to get away recharge andmeet new friends or re-connect withold The accommodations includedormitory-style rooms a large diningarea and playing spaces all on one levelRooms are also available for impromptuplaying sessions
Contact Anna Lisa Kronman
37 Meadow View Rd Orinda CA
94563 925-258-9442
annalisakronmangmailcom
symbolicsolutionscomebrs
BLOOMINGTON EARLY
MUSIC FESTIVAL
Bloomington INMay 15-25
Performances of Medieval RenaissanceBaroque and Classical music as well aseducational programs for concertgoersamateur performers and childrenPlease see BLEMForg for details
Contact Carol Huffman
PO Box 734 Bloomington
IN 47402 812-824-2412
specsorffyahoocom blemforg
WHITEWATER EARLY
MUSIC FESTIVAL (ARS)
University of Wisconsin Whitewater WI
June 5-7Directors Nancy Chabala Carol Stanger Pam Wiese
Our workshop is held on campus at theUniversity of WisconsinndashWhitewaterabout 60 miles SW of MilwaukeeClasses include focus and specialty areainstruction for all levels of recorderplaying as well as beginningmdashconsortviola da gamba wind band voicerecorder orchestra and mixed consort A variety of special interest classes onFriday evening and Saturday eveningparticipant gathering led by LouiseAustin The various classes include
16 March 2009 American Recorder
Summer Workshop Summer-y
The Madison Early Music Festival presents
Telescopic Vistas MEMF X and Music of the SpheresCelebrating the International Year of Astronomy
July 11-18 2009
Guest Artists amp Ensembles Faculty Recorder Artists Quicksilver with Marion Verbruggen Joan Kimball Piffaro The Renaissance Band Priscilla Smith The Newberry Consort Marion Verbruggen Venere Lute Quartet Robert Wiemken
Explore music from the days of Galileo and Kepler Celebrate the influence of astronomy on society arts and culture
in the 15th through 17th centuries
Our tenth anniversary festival features a seven-concert series and a week-long workshop with classes and ensembles for participants of all levels
For more information please call (608) 263-6670 or visit wwwmemfdcswiscedu
music from Medieval to modern
Several musicinstrument vendors onsite Dale Taylor will be on site forrepairs All ages are welcome as well as non-participants
Faculty includes Dale ArmentroutLouise Austin David Echelard CharlesFischer Shelley Gruskin LisetteKielson Laura Kuhlman PatrickOrsquoMalley Tulio Rondon KarenSnowberg Mary Halverson Waldo andTodd Wetherwax Brochures available
Contact Nancy Chabala
8609 45th St Lyons IL 60534-
1616 708-442-6053 (day)
630-789-6402 (fax)
nchabalamymailstationcom
(housingregistration)
thewiesessbcglobalnet (mailing
scholarships) cvstangeraolcom
(facultyfacilities)
INTERLOCHEN EARLY MUSIC
WORKSHOP
Interlochen Center for the Arts Interlochen MI
June 7-12 Director Mark Cudek
Make and enjoy Medieval andRenaissance music while learning new skills and techniques
Topics will include articulationornamentation improvisation andensemble arrangement in Medieval and
Renaissance music The workshopculminates with a participantperformance on period instruments such as recorders and other early windsviols lutes harpsichord and percussionVocalists are also welcome Participantswill supply their own instruments
Early registration is recommendedas space is limited
Contact Matthew Wiliford
Director ICCA PO Box 199
Interlochen MI 49643 231-
276-7441 231-276-5237 (fax)
collegeinterlochenorg
interlochenorgcollege
RENAISSANCE CHAMBER
MUSIC INSTITUTE
New England Conservatory of Music Boston MA
June 11-21
A unique opportunity for professionalmusicians and advanced students todiscover and explore one of the greatestrepertoires of Western music which iseminently suitable for all instruments
Players of modern and early instrumentsare encouraged to attend
Led by John Tyson director of theRenaissance music and dance ensembleRENAISSONICS who has performedand lectured worldwide including forthe Boston Symphony OrchestrarsquosTanglewood Institute
Introductory lectures will be followed byintense chamber music coaching in largeand small ensembles Concentration willbe on personal expression rhetoric andphrasing performance practice andornamentation The institute willculminate in a public performance at theNew England Conservatory of Music
Faculty John Tyson recorder LauraGulley violin Daniel Rowe rsquocello and guest artists
Contact Director of Summer
School New England
Conservatory of Music
290 Huntington Avenue Boston
MA 02115 617-585-1126
617-585-1135 (fax) newengland
conservatoryedusummer
wwwAmericanRecorderorg March 2009 17
Workshops carrying
ARS designation have
joined the ARS as
workshop members
Other shorter workshops
may be sponsored
periodically through the
year by ARS chapters and
are listed in the calendar
portion of each ARS
Newsletter as well as on
the ARS web site when
information becomes
available from presenters
Canto AntiguoWest Coast EarlyMusic and Dance
Featured Faculty
Beautiful CampusFully air-conditioned
For Information Call
800-358-6567
Early Music
WorkshopJuly 5-12 2009
Chapman UniversityOrange CA
Classes in
Baroque Music
Recorder Ensemble(all levels)
Vocal Ensemble
Renaissance Brassand Reeds
Viols
Collegium
Folk Dance
Thomas Axworthy
Mark DavenportRonald Glass
Janet Beazley
Carol LisekJim MaynardAlice Renken
wwwcantoantiguonet
18 March 2009 American Recorder
SUMMER TEXAS TOOT (ARS)
Concordia University Austin TXJune 14-20 Director Daniel Johnson
The Summer Texas Toot is a one-weekprogram of classes in Renaissance and Baroque music at all levels forrecorders viols singers plucked stringsRenaissance reeds and brass andharpsichord Our classes include anarray of small one-on-a-partRenaissance and Baroque ensemblesand larger mixed vocal and instrumentalgroups The size of the workshopenables us to create classes for all levelsof students from those of modest skills to advanced players and singers
Same Texas Toot hospitality andtraditionsmdashback in Austin but atConcordia Universityrsquos beautiful newcampus Classrooms dining and dormaccommodations are air-conditioned and easily walkable
Currently our featured faculty are Tish
Berlin (recorders) Tom Zajac (reedsand ensembles) Mary Springfels(viols) Becky Baxter (harp)mdashbut watchfor more faculty to be added soon
Contact Daniel Johnson
PO Box 4328 Austin TX 78765
512-371-0099 infotootorg
tootorg
SAN FRANCISCO EARLY MUSIC
SOCIETY BAROQUE MUSIC amp
DANCE WORKSHOP (ARS)
Sonoma State University Rohnert Park CA
June 14-20Directors Phebe Craig Kathleen Kraft Frances Blaker
A music-packed week of master classesconcerto evening coached ensemblesBaroque orchestra vocal and windensembles continuo classes concertsand lectures
Featuring recorder faculty FrancesBlaker and Cleacutea Galhano Other facultyChristine Brandes voice Phebe Craig
harpsichord Sand Dalton oboeKathleen Kraft flute Michael Sandviolin and orchestra Mary Springfelsviola da gamba Peter Sykesharpsichord Tanya Tomkins rsquocello
Contact Kathleen Kraft SFEMS
PO Box 10151 Berkeley CA
94709 707-874-2014
kkraftsonicnet sfemsorg
SAN FRANCISCO EARLY MUSIC
SOCIETY CHILDRENrsquoS MUSIC
DISCOVERY WORKSHOP (ARS)
Crowden Center for Music Berkeley CA
June 21-26 (day camp)Director Letitia Berlin
Early music and Renaissance socialhistory for youth ages 7-15 beginners to advanced students welcome Dailyschedule includes chamber musicmusicianship crafts costume-makingand games Friday night concert andtheater project presentation followed by potluck supper
Rebecca Ahrendt violJanet Beazley recorder
Tish Berlin re cord er co-direct orFrances Blaker recorder co-direct or
Vicki Bœckman recorderLouise Carslake recorder fl ute
Charles Coldwell recorder Rotem Gilbert recorder
Julie Jeff rey violShira Kammen viell e
Peter Maund per cus sionKim Pineda recorder
Ellen Seibert violPe ter Seibert recorder choir
Margriet Tindemans viol viell eBrent Wissick viol
Play early music in the spectacular Pacifi c Northwest Choose from classes in recorder viol fl ute and percussion Polish your skills andor take up a new instrument Sing and dance
Enjoy the faculty concert Take part in the student recital Make the most of your stay with a hike at nearby Mt Rainier or a visit to the Museum of Glass
For informat ion or to request a brochure call (206) 932-4623write to Port Townsend Early Music Workshop
1108frac12 Alki Ave SW Seattle WA 98116or vis it wwwseattle-recorderorg
July 12ndash18 2009
Port TownsendEarly Music Workshop
At the beautiful University of Puget Sound Tacoma WA
Tish Berlin amp Frances Blaker Co-Direct orsPresented by the Seattle Recorder Society
Please note that this is a day camp Out-of-town students may contact thedirector regarding accommodations withhost families Some financial aidavailable
Featuring recorder faculty Vida Bateauand Letitia Berlin Other facultyKatherine Heater dance ShiraKammen musicianship and theaterband Ron McKean harpsichord Carla Moore violin Farley Pearcersquocello and viola da gamba Allison Rollstheater project director
Contact Letitia Berlin SFEMS
PO Box 10151 Berkeley CA
94709 510-559-4670
tishberlinsbcglobalnet
sfemsorg
OBERLIN BAROQUE
PERFORMANCE INSTITUTE
Oberlin College Oberlin OHJune 21-July 5Directors Oberlin Baroque Ensemble (Cathy Meints Marilyn McDonald Michael Lynn Webb Wiggins) and artistic director Kenneth Slowik
Celebrating its 38th anniversary withMusic in London 1659ndash1759 thisinstitute offers instruction in Baroqueinstruments and voice Students of alllevelsmdashfrom beginning to Baroqueperformance to the professional levelmdashparticipate in master classes and coachedensembles with an international facultyof Baroque specialists Scholarships are available for qualified high schoolstudents
Contact Anna Hoffman
Conservatory of Music
77 West College St
Oberlin OH 44074
440-775-8044
440-775-8942 (fax)
ocbpioberlinedu
oberlineduconsummerbpi
WORLD FELLOWSHIP
EARLY MUSIC WEEK
Chocorua NHJune 25-July 2Directors Jane Hershey Larry Wallach
Faculty of eightmdashincluding JaneHershey Roy Sansom Pamela DellalJay Rosenberg Julian Cole AnneLegecircne Larry Wallach and JoshSholem-Schreibermdashin a beautifulWhite Mountain camp setting conducta week-long workshop in French earlymusic (late Medieval through Baroque)
Faculty and student concerts Englishcountry dancing special lecturesmorning and afternoon workshops inviols recorders voice mixed ensemblesSephardic music and Baroque chambermusic and classes in Feldenkrais bodywork
Camp facilities include hikingswimming boating camp gardenssupply kitchen with vegetables Very affordable rates
Contact Larry Wallach
69 Welcome St Great Barrington
MA 01230 413-528-7212 (day)
413-528-9065 (evening)
413-528-7365 (fax)
larrysimons-rockedu
worldfellowshiporg
INDIANAPOLIS EARLY
MUSIC FESTIVAL
Indianapolis INJune 26-July 19July 8-9 Mini Boxwood Workshop
The Indianapolis Early Music Festivalis the oldest continually running earlymusic concert series in the USPresented since 1967 our mission is toenrich educate and entertain audienceswith the music of Medieval Renais-sance Baroque and early Classical erasand feature exciting performers ofnational and international stature usinginstruments of the period and histori-cally informed styles and techniques
For 2009 we will present Reconstruction(June 26 ) Ex Umbris (June 27) ChrisNorman amp David Greenberg withRonn McFarlane amp Mark Cudek (July10) I Furiosi (July 12) HarmoniousBlacksmith (July 17) and the PeabodyConsort with Indiana Repertory Theatre(July 19) We also offer our secondannual Family Concert featuring thePeabody Consort on July 18mdash a freeconcert geared to young audiencemembers Several groups also offeroutreach events for younger (generallyhigh-school-aged) musicians and actors
In 2009 we also present a two-dayldquoMini Boxwoodrdquo workshop with Chris
wwwAmericanRecorderorg March 2009 19
Marin
Headlands
Recorder
Workshop
Norman (earlytraditional flutes andpipes) David Greenberg (Baroqueviolin and fiddle) and Ronn McFarlane(lute) on July 8-9
Contact emindyorg
SAN FRANCISCO EARLY MUSIC
SOCIETY MEDIEVAL amp
RENAISSANCE WORKSHOP (ARS)
Sonoma State University Rohnert Park CAJune 28-July 4Director Tom Zajac
Workshop theme Stories and LegendsOpen to singers and players of earlyinstruments (recorders violas da gambalutes shawms etc) Coaching by world-class specialists in Medieval and Renaissance music Classes forvoices recorders viols and alta capellavoice master class ensemble coachingstorytelling for musicians andstorytelling accompanimentRenaissance choir Medieval bandtheater project faculty and studentconcerts lectures and more
Scholarships as well as academic creditor continuing education credit areoffered Featuring recorder facultyFrances Blaker Annette Bauer DanStillman and Tom Zajac Other facultyPatrick Ball storytelling Celtic harpKaren Clark voice movement formusicians Julie Jeffrey gamba ShiraKammen Medieval strings music forstorytelling Drew Minter voice theaterproject Tim Rayborn Medieval stringspercussion music for storytelling Larry Rosenwald theater projectrhetorician in residence MarySpringfels gamba theater projectAnnette Bauer early notation DanStillman reeds alta capella ensembleTom Zajac sackbut Renaissance choir
Contact Tom Zajac SFEMS
PO Box 10151 Berkeley CA
94709 617-323-0617
medrenmailgmailcom
sfemsorg
MOUNTAIN COLLEGIUM (ARS)
Cullowhee NC June 28-July 4Director Patricia Petersen
Nestled in the Smoky MountainsWestern Carolina University provides alovely location for Mountain Collegiumwith comfortable accommodations in anew dorm and catered evening mealsThe workshopmdash at once informal andintensivemdash combines study of Renais-sance Baroque and contemporary musicand improvisation on recorder viol andother early instruments with opportu-nities to explore Celtic and othertraditional music on hurdy gurdymountain dulcimer and pennywhistle
Friendly participants of all levels andages welcome newcomers into theMountain Collegium family Varied classofferings time for informal music-making and evening English countrydancing bring students back year afteryear Faculty Valerie Austin AtossaKramer Jody Miller Patricia PetersenJohn Tyson (recorders other winds)Martha Bishop Lisle Kulbach HollyMaurer Gail Ann Schroeder Ann Stierli(strings) Lorraine Hammond JohnTrexler (traditional music)
Contact Patricia Petersen
1702 Vista St Durham NC
27701 919-683-9672
patpetersenearthlinknet
mountaincollegiummusicorg
GREAT LAKES SUZUKI FLUTE amp
RECORDER INSTITUTE
McMaster University Hamilton ON CanadaJuly 4-11 Teacher training Book 1July 7-11 Teacher training Book 2July 7-11 Student InstituteDirector David Gerry
Master classes group instructionrecitals plus enrichment classes forstudents Teacher training with MaryHalverson Waldo
Contact David Gerry 129 Locke
Street South Hamilton ON L8P
4A7 CANADA 905-525-9549
dgerrynasnet davidgerryca
CANTO ANTIGUO EARLY MUSIC
AND RECORDER WORKSHOP
Chapman University Orange CAJuly 5-12Directors Thomas Axworthy Ronald Glass
This one-week workshop is designed to broaden the performance skills ofexperienced students and introduceRenaissance and Baroque instrumentsand musical experiences to beginningand intermediate players Students at alllevels participate in instrumental vocaland dance instruction performance
The workshop takes place at ChapmanUniversity Studios dining hall andresidences are all air-conditioned Thisinvitingly landscaped peaceful campuswith garden paths is a mixture of historic and modern architecture
The theme of this yearrsquos workshop isMusic of the Italian Renaissance Dancesmasses motets and ceremonial musicwill resonate as we explore the music ofMonteverdi Palestrina Gesualdo et al
Faculty includes Thomas AxworthyJanet Beazley Mark Davenport RonGlass Carol Lisek Jim Maynard and Alice Renken
Contact Ronald Glass
129 Altadena Dr Pittsburgh
PA 15228-1003 800-358-6567
(day) 310-213-0237 (evening)
562-946-4081 (fax)
evanesa2aolcom
cantoantiguonet
CAMMAC EARLY MUSIC WEEK
Lake MacDonald Music Center Harrington QC Canada
July 5-12Directors Francis ColpronMarie-Nathalie Lacoursiegravere
CAMMAC provides a unique oppor-tunity to make music with family and
20 March 2009 American Recorder
friends in a beautiful setting north ofMontreacuteal QC under the guidance ofinternationally acclaimed professionalmusicians
In four daily 75-minute classes pluslectures early music lovers will have the opportunity to play to their heartrsquoscontent
Small ensembles and voice classes are setup ahead of time registration for otherclasses occurs on site the first eveningCourses include choir large instrumentalensemble many recorder and violclasses Medieval and Renaissanceensembles Orff method and Baroquedancing There are courses foradolescents and a program for children 4-11 years old
Special project in 2009 The Fairy Queenby Purcell with choir instrumentalensemble soloists and staging Keyfaculty Matthias Maute ChristopherJackson Laura Pudwell MargaretLittle Marie-Nathalie Lacoursiegravere
Contact Johanne Audet
85 Chemin CAMMAC Harrington
QC J8G 2T2 CANADA
888-622-8755 1
819-687-3323 (fax)
nationalcammacca
cammaccaenglishTabLM
Summershtml
MADISON EARLY
MUSIC FESTIVAL
University of WisconsinndashMadison July 11-18Directors Cheryl Bensman Rowe and Paul Rowe artistic Chelcy Bowles program
MEMF joins the 2009 InternationalYear of Astronomy in a global celebrationof astronomy and its contributions tosociety and culture including the 400thanniversary of the first astronomicalobservation made through a telescope byGalileo Galilei Galileorsquos fatherVincenzo was a musician and musictheorist who combined the practice andtheory of music with mathematicaldiscussion of harmonymdashand influenced
Galileorsquos experiments MEMFcelebrates its tenth season exploringworks of music and the arts inspired by ascientific discovery that had tremendousimpact on culture and civilization
MEMF was created to provide anopportunity for musicians scholarsteachers and early music enthusiasts togather and exchange information andideas about Medieval Renaissance andBaroque music and to bring acclaimedearly music artists to the Midwest toperform in beautiful Madison
Featured MEMF 2009 guest artists-in-residence include Marion VerbruggenThe Newberry Consort QuicksilverPiffaro and Venere Lute QuartetRecorder faculty members includeMarion Verbruggen Joan KimballPriscilla Smith and Robert Wiemken
Contact Chelcy Bowles University
of WisconsinndashMadison 720 Lowell
Center 610 Langdon St Madison
WI 53703 608-265-5629
608-262-1694 (fax)
musicdcswiscedu
memfdcswiscedu
PORT TOWNSEND
EARLY MUSIC WORKSHOP (ARS)
University of Puget Sound Tacoma WA
July 12-18Directors Letitia Berlin Frances Blaker
Join us this summer at our new locationwith a star-studded faculty a beautifultree-lined and easy-to-navigate campuswith accessible facilities and acurriculum that will leave you wishingthere were 48 hours in a day
Consort and technique classes forrecorder and viol consort and mixedrepertoire recorder master classpercussion for all levels Hildegard forsingers Baroque flute beginning violtheory workshop orchestra and moreMake an all-Medieval schedule or mix it up with a class from almostevery period of music
Work hard and play hard with friends
new and old Intense music-making thatwill inspire you during the workshop andthroughout the year
Directors Tish Berlin and FrancesBlaker eagerly await your arrival andanticipate a splendid workshopRecorder faculty Janet Beazley TishBerlin Frances Blaker Vicki BoeckmanLouise Carslake Charles ColdwellRotem Gilbert Kim Pineda
Contact Jo Baim Workshop
Administrator 1108 frac12 Alki
Ave SW Seattle WA 98116
206-932-4623
workshopseattle-recorderorg
seattle-recorderorg
wwwAmericanRecorderorg March 2009 21
Amherst Early Music FestivalJuly 12-19 and 19-26 2009
Connecticut College New London CT
Renaissance consortsBaroque ensemblesMaster classesRenaissance AcademyEarly notation and moreNo audition required
July 12-19Baroque Academy
July 19-26 Virtuoso Recorder Recorder Seminar
Audition deadline May 15
wwwamherstearlymusicorginfoamherstearlymusicorg(617) 744-1324
AMHERST EARLY MUSIC FESTIVAL
(ARS)
Connecticut College New London CT July 12-19 Baroque Academy July 19-26 Virtuoso Recorder Recorder SeminarRenaissance Academy
Director Marilyn Boenau
Music of England and Spain Two weeksof classes in most early instrumentsvoice dance and notation
Week 1 includes classes for recorderviol other early instruments voicedance and notation Special programsBaroque Academy Baroque AcademyOpera Project (Purcellrsquos Dioclesian)
July 18-19 Music amp InstrumentExhibition
Week 2 comprises classes for recorderviol other early instruments voice andnotation Special programs VirtuosoRecorder Recorder SeminarRenaissance Academy
Evening activities include Englishcountry dance madrigals and informalplaying sessions Connecticut College ineastern CT offers comfortable air-conditioned accommodations naturalareas for walking and a view of LongIsland Sound Scholarships and work-study aid available
Contact Marilyn Boenau
Director or Cathy Stein
Administrator 47 Prentiss St
Watertown MA 02472
617-744-1324 (day)
617-744-1327 (fax)
infoamherstearlymusicorg
amherstearlymusicorg
MIDEAST WORKSHOP (ARS)
LaRoche College Pittsburgh PAJuly 19-25Director Marilyn Carlson
Music of Spain 55-60 students of allability levels adults only Instruction forrecorder (all levels except novice) violharp flute You may enroll for recorder
viol flute as primary instrument harpvoice recorder viol as secondary instru-ment Large and small ensembles all-workshop ensemble (instruments andvoices) Renaissance band (recordersviols capped reeds voice) Medievalcollegium (puzzles amp canons) consorts(by level) vocal ensemble Also Englishcountry dance penny whistle We alsooffer viol-for-novice and harp-for-novice each providing the opportunityfor hands-on experience without owningan instrument Other classes on specialearly music topics and literature
Faculty Marilyn Carlson directorMartha Bixler Stewart Carter JudithDavidoff Eric Haas Mary JohnsonPeter Ramsey Kenneth Wollitz otherfaculty to be announced All facilities areair-conditioned
Contact Marilyn Carlson
1008 Afton Road Columbus OH
43221-1680 614-754-7233
mcarlsoncolumbusrrcom
mideastearlymusicaddrcom
22 March 2009 American Recorder
San Francisco Early Music SocietySummer Workshops 2009Recorder middot July 19ndash25 2009La Dolce Vita di Flauto middot Explore the full range of recorder music from the Middle Ages to the 21st century through ensemble work technique sessions and recorder orchestra For the devoted amateur all ages intermediate to advanced Friendly atmosphere small classes Quiet campus near all amenities Special offerings Recorder orchestra recorder master class coached informal playing Faculty Louise Carslake Frances Feldon Rotem Gilbert Katherine Heater Norbert Kunst Patrick OrsquoMalley and Hanneke van ProosdijInfo Frances Feldon 510-527-9840 franfelaolcom
Baroque Music amp Dance middot June 14ndash20 2009Music in Italian Cities middot Master classes recorder ensemble concerto evening coached ensembles classes concerts and lectures Featuring recorder faculty Frances Blaker and Clea GalhanoInfo Kathleen Kraft 707-874-2014 kkraftsonicnet
Medieval amp Renaissance Music middot June 28ndashJuly 4 2009Stories amp Legends middot Classes for voices recorders viols and alta capella voice master class ensemble coaching storytelling for musicians and storytelling accompaniment Renaissance choir medieval band theater project faculty and student concerts lectures and more Featuring recorder faculty Frances Blaker Annette Bauer Dan Stillman and Tom ZajacInfo Tom Zajac 617-323-0617 medrenmailgmailcom
Music Discovery middot June 21ndash26 2009Day camp for youth ages 7 to 15 Early music and Renaissance social history Instruction in recorder harpsichord strings chamber music musicianship crafts costume-making games and more Beginners to advanced students welcome Featuring recorder faculty Vida Bateau and Letitia BerlinInfo Letitia Berlin 510-559-4670 tishberlinsbcglobalnet For more information visit our web site wwwsfemsorg
SAN FRANCISCO EARLY MUSIC
SOCIETY RECORDER WORKSHOP
(ARS)
St Albertrsquos Priory Oakland CA July 19-25Directors Frances Feldon Katherine Heater
Jam-packed week of recorder ensembleplaying concerts and the opportunity toimprove your skills working with highlyrespected recorder specialists in afriendly yet serious atmosphere Explorethe full range of recorder music from theMiddle Ages Renaissance and Baroqueto the 21st century through ensemblework technique sessions and recorderorchestra For the devoted amateur of allages from intermediate to advanced
Small classes Quiet campus Specialofferings recorder orchestra recordermaster class coached informal playing
Featuring recorder faculty LouiseCarslake Frances Feldon RotemGilbert Norbert Kunst PatrickOrsquoMalley and Hanneke van ProosdijOther faculty Katherine Heaterharpsichord
Contact Frances Feldon SFEMS
PO Box 10151 Berkeley CA
94709 510-527-9840
franfelaolcom sfemsorg
WINDSWEPT MUSIC WORKSHOP
William Jewell College Liberty MOJuly 19-25Director Phyllis Pasley
Bring your artistry to life Strengthen the mindbody connection and exploreenergy and music at Creative MotionAlliancersquos 59th annual summerconference Windswept Professionalmusicians conductors teachers studentsand amateur music enthusiasts willdiscover barriers that inhibit the free flowof energy and learn the secrets of inner-directed artistic music-making Classesin piano voice instrumental musicexpressive arts and independent studyMaster class coaching and conductingopportunities available Using move-
ment exercises analysis and bodyresponses explore music and energy in a unique inter-generational workshopformat Opportunities for independentrecorder study and private lessons enrichthe music-making experience
Registration fee $50 prior to 51509Tuition room meals $535 adults $400students 12-18 (must attend with parentteacher or sponsor) special half-weekrate $275 (Sunday-Wednesday noon)Memberfamily discounts Three hoursgraduate credit ($225) 3 CEUs ($50)and private lessons ($25 each)
Contact Phyllis Pasley 2208
Clouds Peak Maryland Heights
MO 63043 314-628-9862
directorcreativemotionorg
creativemotionorg
BOXWOOD FESTIVAL CANADA
Lunenburg Nova Scotia CanadaJuly 19-26Director Chris Norman
Discover musical and dance traditionswhile visiting one of North Americarsquosmost exquisite 18th-century seasidetowns Concerts dances sessionsclasses lectures with leading artists in therealms of traditional folk early musicdance and improvisation Work study ampscholarships available Gourmet cuisine
Faculty Chris Norman directortraditional amp early flutes FrancisColpron recorder ensembles LisaBesnoziuk Baroque flute DavidGreenberg Cape Breton amp Baroqueviolin Edmund Brownless voice shape note singing Marie Bouchardharpsichord Robert Dick contemporarytechniques amp composition Conal O Grada Irish flute Jerry OrsquoSullivanpipes whistle Rod Garnett flutefundamentals ethnic flutes PierreChartrand social dance MarlysNorman ballet classical dance Rod Cameron flute maker Tempest Baroque
Contact 902-634-9994
boxwoodorg
musiqueroyalecom
MACPHAIL SUZUKI INSTITUTE
FOR PIANO GUITAR FLUTE
AND RECORDER
MacPhail Center for the Arts Minneapolis MNJuly 19 Every Child Canreg July 19-26 Recorder Book 1July 20-24 Student InstituteDirectors Cindy Malmin Mary Halverson Waldo (auditions)
Suzuki Clinicians Marilyn Taggartpiano Tadeusz Majewski piano DavidMadsen guitar Kathleen Schoenfluterecorder MacPhail Suzuki faculty
Sanctioned by the Suzuki Association ofthe Americas MacPhailrsquos SuzukiInstitute allows Suzuki students of allages to share in motivating enrichingand wide-ranging musical experiencesStudents work with master teachers andimprove skills technically and musicallyDaily classes and observation includeapplied study theoryreading skillsensemble skills chamber music perfor-mance practices composition improv-isation master classes recitals art andmusic world musicdrumming musichistory recitals and presentations TeenMusical Revue (ages 13-18) fashioncharacter sketches develop a frameworkor theme and present to an audience
Who may attend Suzuki students whohave completed the Twinkle Variations(preschoolndashgrade 12 parents or another
wwwAmericanRecorderorg March 2009 23
Amherst Early Music Festival
(photo by Marc Weinberg)
responsible interested adult must attendwith students under high school age)teacher traineesobservers Participantsmust arrange meals housing and trans-portation Teacher Training prerequi-sites Every Child Canreg before Book 1courses must be taken in order throughBook 2 Contact workshop regardingrequired audition and preparation
Contact Cindy Malmin
612-767-5461
malmincindymacphailorg
Mary Halverson Waldo
5679 Harding Lane Shorewood
MN 55331 952-470-5853
mhalvwaldogmailcom
INTERNATIONAL BAROQUE
INSTITUTE AT LONGY
Longy School of Music Cambridge MA
July 24-August 2Directors Paul Leenhouts co-director Phoebe Carrai
VenicendashDresden Connection InternationalMeeting Grounds Music of MonteverdiVeracini Hasse Heinichen MarcelloVivaldi Pisendel Albinoni ZelenkaLotti Schein Schutz Quantz Gabrieli
2009 faculty Paul Leenhouts recorderPhoebe Carrai rsquocello ElizabethBlumenstock violin Ricard Bordasvoice Arthur Haas harpsichord LucasHarris lute Ken Pierce early danceGonzalo Ruiz oboe Mary Springfels
viola da gamba Jed Wentz traverso
Contact Karen Burciaga Com-
munity Programs Registrar One
Follen St Cambridge MA 02138
617-876-0956 X1532 (day)
617-354-8841 (fax) karenbur
ciagalongyedu longyedu
RECORDER AT THE CLEARING
The Clearing Ellison Bay WIJuly 26-August 1Directors Pat Badger Adrianne Paffrath
Recorder ensemble has been a traditionat The Clearing for over 25 yearsEnsemble playing is the weekrsquos focusEach day begins with a warm-up ofvoices and bodies as we sing rounds andready our muscles for performanceDaytime sessions focus on rhythmicchallenges recorder technique andensemble blend emphasis is on growthprocess and most of all enjoyment To participate fully you need at leastintermediate skills on a C or F recorder
Adrianne Paffrath coached on recorder with ARS teachers She is music directorat Racinersquos First Presbyterian ChurchPatricia Badger has studied early musicinstruments natural and classicaltrumpet She is performing arts head ofThe Prairie School Jointly they haveperformed for Medieval festivals grapestompings Shakespeare celebrations anda circus parade
Contact The Clearing PO Box 65
Ellison Bay WI 54210-0065
877-854-3225 920-854-9751
(fax) clearingtheclearingorg
theclearingorg
AMERICAN RECORDER SOCIETY
FESTIVAL AND CONFERENCE
University of Missouri at St Louis St Louis MO
July 30-August 2
Attend the second ARS Festival andConference for one day ($150) or allweekend ($350)
Sessions include recorder techniquepedagogy introductions to Orff Suzukiand Flutes and Drums Around the Worldmethods improvisation roundtablediscussions how to conduct yourconsort coached playing sessions forMedieval Renaissance Baroque worldand contemporary repertoire recorderorchestra incorporating percussion intoyour ensemble Also recorder mainte-nance choosing a recorder building aweb site using Sibelius music softwareMini-concerts by the next generation ofprofessionals master classes concerts byMarion Verbruggen and the FarallonRecorder Quartet Exhibition ofrecorder builders music sellers andmore CEUs available
Presenters Louise Austin AnnetteBauer Tish Berlin Frances Blaker Joyce Callanan Louise Carslake
24 March 2009 American Recorder
The Summer Toot is once again in Austin at the beautiful new facility of Concordia University The lushly wooded campus offers air-conditioned classrooms dining and dorm accommodations and is backed by a nature preserve Please join us
Our featured faculty includes Tish Berlin Tom Zajac Mary Springfels The Texas Toot offers a one-week program of classes in Renaissance and Baroque music at all levels featuring expert instructors in re-corder viol early reeds lute harp and voice
Danny Johnson workshop director Susan Richter administrator For more info
httpwwwtootorg or email infotootorg
11th Annual Summer Texas Toot June 14-20 2009 mdash Austin Texas
Mark Davenport Cleacutea Galhano LisetteKielson Lorraine Krige JudithLinsenberg Peter Maund Nina SternMarion Verbruggen Leslie TimmonsJim Tinter Mary Halverson Waldo
Contact Yvonne Miller-Nixon
Conference Administrator
1129 Ruth Dr St Louis MO
63122 800-491-9588 (day)
arsconfplannercharternet
americanrecorderorg
EARLY MUSIC WEEK AT
PINEWOODS CAMP (ARS)
Pinewoods Camp Plymouth MA August 15-22 Director Sheila Beardslee
The Myth amp Magick Creativity andInspiration in Early Music Surely thedeities of Olympus will surround us atPinewoodsndashwhere the myths of earlymusic will be made clear and our staff rsquosldquomagickalrdquo skills will hone and perfectour knowledge and performance of early music and dance
If yoursquove never played a musical instru-ment (but wish you could) or if youstudied music years ago (and fear yoursquoveforgotten) classes in recorder and violwill get you started or help brush off therust Advanced and intermediate playersand singers choose from a wide array ofclasses led by an outstanding faculty of professionals and teachers of earlywinds (recorders reeds brass) strings(viols violin) harpsichord and voice
New staff faces this summer areAnonymous 4rsquos Susan Hellauer voiceand Lisa Terry viol We welcome backDorrie Olsson historical dance andScott Higgs English country dance
We relax with two ponds for swimmingcanoeing a camphouse deck for readingafternoon tea and lots of dancing EarlyMusic Week continues its long traditionof superb teaching in a welcoming com-munity enhanced by special eventspresentations concertsmdashand dancing
Advanced musicians work intensivelyamateurs are engaged and challengedand beginners are always made welcome
Contact Steve Howe Country
Dance and Song Society
PO Box 338 Haydenville MA
01039-0338 413-268-7426 X3
(day) 413-268-7471 (fax)
campcdssorg cdssorgem
MONTREacuteAL RECORDER FESTIVAL
McGill University Montreacuteal QC Canada
September 17-20Directors Matthias Maute Sophie Lariviegravere
Conference consort music recorderorchestra concertsmdashEnsemble Capriceand Quynade (Israel) solo recital byMaurice Steger (Switzerland)
Contact Ensemble Caprice 4841
Garnier Montreacuteal QC H2J 3S8
CANADA 514-523-3611
514-523-1322 (fax)
infoensemblecapricecom
ensemblecapricecom
HIDDEN VALLEY INSTITUTE
FOR THE ARTS
EARLY MUSIC ELDERHOSTEL
Carmel Valley CANovember 1-7 November 8-14Directors Letitia Berlin workshopPeter Meckel HVIA
Enroll for one or both weeks Adults ofall ages welcome
Week I intense classes for upper inter-
mediate to advanced levels Week Ifaculty Letitia Berlin Frances BlakerLouise Carslake Annette Bauer(recorder) David Morris (gamba)
Week II all levels except beginnerClasses include recorder technique viol consort Baroque chamber musicconsort classes for Medieval Renais-sance Baroque and contemporary reper-toire workshop orchestra Week IIfaculty Letitia Berlin Frances BlakerTBA (recorder) Shira Kammen (earlystrings singing Medieval topics) MarySpringfels (viola da gamba)
Evening events include faculty concertstudent concert free-lance playing FreeWednesday afternoon for more playingor sightseeing Improve your playing in asupportive friendly atmosphere withworld-class teachers
Contact Peter Meckel
PO Box 116 Carmel Valley CA
93924 831-659-3115
831-659-7442 (fax)
hvmsaolcom
hiddenvalleymusicorg
wwwAmericanRecorderorg March 2009 25
26 March 2009 American Recorder
Am
herst
AR
S
Festival and
Co
nference
CA
MM
AC
Early M
usic
Week
Canto
Antiguo
Reco
rd
er
at th
e
Clearing
Great L
akes
Suzuki
FluteR
ec
Hid
den
Valley
Eld
erh
ostel
Interlo
ch
en
Early M
usic
Inst
Lo
ngy Intl
Baro
que
Inst
Marin
Head
land
s
Mid
east
Mo
ntreacuteal
Reco
rd
er
Festival
COST $520TW $350T C$1014ED $860 $1035E TBA $799D $389T $675T $210ED $735D $130TNO OF DAYS 814 1-4 7 7 7 5-8 714 6 10 3 6 4ARS DISCOUNT NO YES NO YES NO NO NO NO NO NO NO NONO OF FAC RECORDER FAC 4315 1716 165 85 22 82 543 11 101 1010 96 66NO OF STUDENTS 150wk 60 110 35 19 45 35 20 50 75 60 50RECORDER CLASSLEVELS
LIHIAV
BLIHIAV
BLIHIAV
BLIHIAV LIHIA BLI
LIHIAV LIHIA AV
LIHIAV
BLIHIAV
BLIHIAV
SPECIAL CLASSES USING RECORDERS
CMRMB20ENMROT
RPMRMB20MROPTO
CMRMBRO
MRMBENROPT CRO
RPMPT
CMRMB20MROPT
RPCMRMBENMROPT MBMP RP20
RPCMRMB20ENMTO
CMRMBMRO
NON-RECORDERCLASSES
CWKVPSDO PO
CWKVDT CWVD C O KVPS
CWPKVPST WK VD
CWVPSDO
MUSICALACTIVITIES
FSLSPP FLO FSLSP FS SP FSLP FSP
SLSPPO FSLP P FSLP FS
RECREATION D GS BSTW D FBSW FSO OBSTWO S O G
OTHERS WELCOME SC S SC S S S S SDIRECTTRANSPORTATION SC SBCP SP BCLP BP SB CPUP CL PUP
SBCPUP
TRANSPORTATIONTERMINALS
A50B2 T2 A B T
A10B3 T5
A80B80
A50B10 T10
A20B20 T20
A16B16
A4B3 T3 A20
A15B10 T10
A4B3 T3
ROOMS SD SD SD SD SDC SD SD SDC DBATHS SSP SSPP SP P SSPP SSPP SP P S PFOOD CV C GV CV FV C F CV CV CHANDICAP ACCESS HCD HCD HCD HCD HC HCD HD HCD C HCD HCD C
KEYCOST Includes tuition room (single occupancy unless otherwise noted) meals plus other fees E=estimated T=tuition only D=double occupancy W=one week
NO of DAYS Includes arrival and departure daysARS DISCOUNT Discount offered for ARS members FACULTYRECORDER FACULTY Number of facultyrecorder faculty within that number STUDENTS Average over last two yearsRECORDER CLASS LEVELS B=beginners LI=low intermediate HI=high intermediate A=advanced V=very advanced
SPECIAL CLASSES USING RECORDERS RP=recorder pedagogy C=one-on-a-part consorts MR=mixed Renaissance ensembles MB=mixed Baroque ensembles 20=contemporary music EN=early notation M=master class RO=recorder orchestra P=private lessons available T=technique O=other
NON-RECORDER CLASSES C=choral W=other winds P=percussion K=keyboard V=viols PS=plucked stringsD=danceT=theory I=instrument building O=other
MUSICAL ACTIVITIES F=faculty concert S=student concert L=lecture SP=special production P=organized informal playing O=other
RECREATION D=dancing F=field trip G=gym B=biking S=swimming T=tennis W=waterfrontbeach O=otherOTHERS WELCOME S=non-playing spousesfriends C=children (day care not generally available)DIRECT TRANSPORTATION TO WORKSHOP S=shuttle from airport B=bus C=cab L=limo PU=will pick up P=free parking O=other
TRANSPORTATION TERMINALS A=air B=bus T=train (number indicates miles from workshop to nearest terminal)
ROOMS S=singles D=doubles (with ldquo+rdquo can accommodate up to triples) C=cabins O=other =Graduate dormsBATH FACILITIES S=shared SP=semi-private P=privateFOOD C=college style F=family style G=gourmet V=vegetarianHANDICAP ACCESS H=housing C=classrooms D=dining
INFORMATION SUPPLIED BY WORKSHOP DIRECTORS
2009 SUMMER RECORDER WORKSHOPS
Here are some suggestions foravoiding overuse syndromes Most obvious warm up This meansincreasing your practice time graduallybefore the workshop begins andwarming up yourself and yourinstrument before each rehearsal
Make your playing situation ascomfortable as possible Take along acushion back rest footstool whateverit takes the ear and hand cannot ab-sorb what the bottom cannot tolerate
Be sure your glasses are ideal for the distance from your eyes to themusic desk that usually amounts to anarmrsquos length away (You can select apair at your local drug or departmentstore if you have no serious astigma-
tism) If glare from bright light (thosemarvelous outdoor rehearsals) is aproblem for you you may find that ayellow tint for your glasses is a help
Get your bodily playing equip-ment in the best possible shape beforethe workshop a visit to the dentist tosmooth off a front tooth for a windplayer can make an enormous differ-ence in endurance A layer of plasticwrap over the teeth (before yoursquoveworn a hole in your lip) may also help
Once yoursquove arrived at the work-shop there are ways to ensure thatstress (inevitable) doesnrsquot becomedistress (mostly preventable)
Take reasonable breaks duringrehearsal time and use them to stretchA little aerobics like running in placetakes very little time and gets rid ofthat stiff-from-sitting feeling Get yourfellow ensemble players to massageeach othersrsquo shoulders Other fre-
Do you have a favorite article from years past in AR E-mail that information to Gail Nickless
editoramericanrecorderorg
wwwAmericanRecorderorg March 2009 27
Mo
untain
Co
llegium
Pinew
oo
ds
Early M
usic
Week
Po
rt
To
wnsend
SF
EM
S
Baro
que
SF
EM
S
Ch
ild
rens
SF
EM
S
Med
ieval amp
Renaissance
SF
EM
S
Reco
rd
er
Texas T
oo
t
Wh
itew
ater
Wind
sw
ept
Music
Wo
rksh
op
Wo
rld
Fello
wsh
ip
$800ED $890ED $975 $950 $370T $950 $950 $740E $245 $535D $850E COST7 8 7 7 5 7 7 7 3 6 7 NO OF DAYSNO NO NO YES YES YES YES YES NO NO NO ARS DISCOUNT
125 189 169 102 82 124 76 136 1110 131 83NO OF FAC RECORDER FAC
50 100 100 55 30 70 40 50 110 45 30 NO OF STUDENTSLIHIAV
BLIHIAV LIHI AV
LIHIAV
BLIHIAV LIHI AV LIHIA LIHIA
BLIHIAV
BLIHIAV
RECORDER CLASSLEVELS
CMRMB20TO
CMRMBENROT
MRMB20MROPT
MBMPTO
CMRMBPTO
CMRENMPTO
C20MROPTO
CMR20MPT
CMRMB20ROTO MP
CMRMBMRO
SPECIAL CLASSES USING RECORDERS
WVDTO
CWKVPSDT CPVT
CWKVPSTO
KVDTO
CWPVPSTO O
WKVPSTO
CWVTO
CWPKVD
CKVDT
NON-RECORDERCLASSES
FSLSPP FSP
FSLSPPO FSSP
FSLSPPO
FSLPO
FSLPO SPO FSL PO FSLP
MUSICALACTIVITIES
DGBS DSWFGBSTW
DGBST D
DGBST DO SO
DFSWO RECREATION
S S SC SC S S SC SC OTHERS WELCOME
P SC CPUP SCP SCP SBC LP SPUP P BPUDIRECTTRANSPORTATION
A50B15 T15
A15B7 T6 A59
A20B2 T5 A59
A12B4 T1 A40 A
A20B15 T28 B10
TRANSPORTATIONTERMINALS
SD SD S S CALL S S SD SD SD SD ROOMSSP S SP P P SP P S S S BATHSCGV FV CV CV CV CV CV CV CV FV FOODHCD CALL HCD HCD C HCD HCD HCD HCD HD HANDICAP ACCESS
AR50 AVOIDING ACHES amp PAINSBy Leacuteonie Jenkins MD (c1925- 2000) from the March 1993 AR Vol XXXIV1
quently overused parts such asforearms and hands also respond to massage Quick tutorial on massagestart stroking toward the body and inthe direction of the flow of the veinsmdashupstream from the sorest partgradually work down to include thesore spot Yoursquore trying to move overthe underlying muscle not to rub theskin Thatrsquos why a little oil helps
Your psyche may need some relieffrom overload too Most workshopsare in surroundings that lend them-selves to taking a walk finding a placeto meditate taking in some beauty In creating anything a musical per-formance no less than more static artforms breathing in is as necessary asbreathing out be sure you take time to do it
Not to be forgotten those partiesLate hours and alcohol are stressfultry to balance off the fun yoursquore havingwith your capacity for both Above allenjoy Thatrsquos why yoursquore going
2009 SUMMER RECORDER WORKSHOPS
By Bart Spanhove
The author has been principalprofessor of recorder at the Lemmens-
instituut Leuven (Belgium) since 1984He is also artistic director of the world
famous recorder ensemble the FlandersRecorder Quartet which is set to perform
in concert at the 2009 Boston EarlyMusic Festival He is often asked to serve
as a jury member for internationalrecorder competitions in Canada US
Germany The Netherlands and BelgiumHe has given numerous master classes andlecture demonstrations all over the world
Spanhove is co-author of thesuccessful recorder method Easy Going(Heinrichshofen) and wrote the much-
used book The Finishing Touch ofEnsemble Playing (Alamire 2000
and Moeck 2002 with translations inChinese and German) In 2009
The Recorder Music of Frans Geysenwill come out (Mieroprint)
Currently he is researching practicetechnique for the recorder Daily
Spanhove thinks about how to makepeople happier by making music and
playing the recorder
As a conclusion for the VirtuosoRecorder class during the AmherstWorkshop in 2008 we organized aldquoHappy Hourrdquo for our nine talentedstudents Mee-Jung Ahn (Korea)Emilie Hasselgren and Kristine West(Sweden) Anne Timberlake JosephLewnard Jacob Lodico and BrycePeltier (US) Emiliano Perez(Mexico) and Fanny Massy (France)participated in a quiz that I wrote thenight before with the assistance ofReine-Marie Verhagen
We combined questions regardingmusic theory with practical exercisessuch as middot How long can a player hold a
low f in one breath on an altorecorder (You get one point foreach second)
middot How many times through a scaleis a player able to play in 30seconds (For every octave of theF major scale you get one point)
middot How many different pieces fromthe recorder repertoire can aperson play in the course of twominutes (The other members ofthe group have to guess the nameof the composer before the playercan start the next piece)
middot In one minute list as manydifferent titles as you can fromDer Fluyten Lusthof (TheRecorderrsquos Pleasure Garden) of J J van EyckThe list of questions goes onAt the ldquoHappy Hourrdquo people
were divided into three groupsaccording to dates of each personrsquosbirthday When theoretical questionswere asked (see below) the pointsystem was devised as follows threepoints were awarded when the selected
person of a group could find theanswer himherself two points whenthe selected person needed the help ofthe other group members and onepoint if the group needed the help ofour gracious class assistant Reine-Marie Verhagen (she alwaysknew the answer) No points weregiven if the quizmaster had to supplythe answer
On the next page you find someof my questions There are morewhich we hope to run in a future issueof American Recorder
The quiz was full of fun andsuspense By the end people weremore nervous than when playing aconcert on stage Jacob Lodico of theUS was the winner at Amherst
28 March 2009 American Recorder
Education___________________________________ A quiz for recorder players
wwwAmericanRecorderorg March 2009 29
Try these questions yourselfAnswers appear at the end of thisarticle
The Quiz1 Give the name of Ganassirsquos
treatise of 1535 where heextensively describes the recorder playing and diminutions of his time
2 In which German city is therecorder company Moeck based
3 In the cantata Gottes Zeit ist dieallerbeste Zeit BWV106 JS Bach calls for two altorecorders Give another name for this cantata
4 Of which famous orchestra isFrans Bruumlggen the conductor
5 List three leading Japanesecomposers of excellent solo pieces for the recorder
6 Give the names of recordermagazines published inGermany England and the US
7 What is the fundamental tone of a fourth flute
8 List two recorder makers fromthe Baroque period in England
9 Whatrsquos the title of the recitativeand chorale in the Saint MatthewPassion where the recorder isused
10 Give the names of two famouspublishers in business around1700mdashone in London and one in Amsterdam
11 The opus 10 work by AntonioVivaldi includes six concertiSome of them have beautifulnames Give the names of thefirst three concerti of this opus
12 Whatrsquos a nickname for Jean Jacques Hotteterre
13 The combination of recorder andtraverso was rarely used in theBaroque time Can you name any composers who used thiscombination
14 Which king from 16th-centuryEngland owned a large collectionof recorders and also composedand enjoyed daily recorderplaying
15 How many movements compriseHandelrsquos Sonata in C Op 1 No 7 originally written forrecorder and basso continuo
16 Give the name of Praetoriusrsquostreatise from 1609 that describesthe whole recorder family
17 Name the author of the oldestrecorder method
18 Name Jan Jacob van Eyckrsquosdisability
19 Who pretended around 1930 thatthe recorder was a kind ofclarinet
20 Who doesnrsquot belong in thefollowing group Bertho DrieverKarel van Steenhoven MarionVerbruggen Paul LeenhoutsDaniel Bruumlggen
21 Name the two instrumentsindicated to play the sonataMeiner Mutter of Hans UlrichStaeps
22 Il Pastor Fido was not composedby Antonio Vivaldi but by aFrench composer What was hisname
23 Whatrsquos the nationality of themusic company Zen-On
24 CPE Bach composed abeautiful trio that includes a bassrecorder What are the other twoinstruments
25 Give the names of the fourmovements of Bachrsquos partita forsolo traverse flute BWV1013
26 Which excellent playersperformed as the recorder trioSour Cream
27 A recorder normally has eightfingerholes Despite this musichistory describes the recorder as ldquoune flucircte agrave neuf trousrdquo (a flute with nine fingerholes)Explain why
28 Give the French name for vibratoperformed by finger movementsalone on a wind instrument
29 Who wrote in his diaryldquohellipbeyond anything in the wholeworld the wind-music when the
Answers to
Bart Spanhoversquos Quiz1 La Fontegara2 Celle3 Actus Tragicus4 The Orchestra of the
Eighteenth Century5 R Hirose M Ishii and
M Shinohara
6 Windkanal or Tibia (both ofGermany) The Recorder(England) American Recorder(US)
7 B8 The most famous English
recorder makers around 1700Bressan and Stanesby (the latterbeing both senior and junior)
9 O Schmerz Hier zittert das gequaumllte Herz
10 Walsh (and Hare) (of London)Roger (of Amsterdam)
11 La Tempesta de Mare La Notte Il Gardelino
12 Le Romain13 JB Loeillet J J Quantz
JJ Hotteterre or J B de Boismortier
14 Henry VIII15 Five16 Syntagma Musicum17 Sebastian Virdung Musica
Getutscht und Ausgezogen (1511)18 Blindness19 Igor Stravinsky20 Marion Verbruggen21 Alto recorder and piano22 Nicolas Cheacutedeville23 Japanese24 Viola and cembalo25 Allemande Courante Sarabande
Bourreacutee26 Kees Boeke Walter van Hauwe
and Frans Bruumlggen27 Before 1670 the player could
choose how to hold the recordermdashleft hand or right hand at the topThis meant that recorder makersdrilled two holes to accommodatethe little finger of the hand thatended up at the bottom Theunused hole was sealed with beeswax
28 Flattement29 Samuel Pepys30 Flanders Recorder Quartet
30 March 2009 American Recorder
Lazarrsquos Early Music(866) 511-2981 jblazaraolcom
wwwLazarsEarlyMusiccom
292 Gibraltar Dr 108 Sunnyvale CA 94089
Strings amp Early Winds
ModernBaroque Strings Viols Vielle
Kuumlng Moeck Mollenhauer Paetzold Yamaha Ehlert
Wenner Baroque flutes
Wendy Ogle Lu-Mi Ifshin Snow
Competitive Prices
Sent on Approval
Personalized Service amp Advice
R
E
C
O
R
D
E
R
S
ldquoGO FOR NEO-BAROQUErdquo
Andrew Charlton Partita Piccola For 4 Recorders (SATB)
[Prelude Allemande Courante Musettemdash
a neo-baroque epitome] (Score amp Parts PBE-25) $795
Andrew Charlton Suite Moderne For 3 Recorders (ATB)
[Baroque shapes but Hindemithian harmony]
(3 Playing-Scores PBE-44) $995
Southwest of Baroque David Goldsteinrsquos ldquobaroque Suiterdquo
on Cowboy Songs For 2 Recorders (SA) (PBE-2) $350
The Provincetown Bookshop Inc
246 Commercial Street Provincetown MA 02657 Tel (508)487-0964
A good source for Recorder amp Viol Music of all publishers
Provincetown Bookshop Editions
angel comes down which is sosweet that it ravished me andindeed in a word did wrap upmy soul so that it made me reallysick just as I have formerly beenwhen in love with my wiferdquo
30 Whatrsquos the English name for afamous recorder ensemble calledin its country Vier op lsquon Rij
wwwAmericanRecorderorg March 2009 31
by Tim Broege timbroegeaolcom
December 11 2008 was a specialday for American music the
100th birthday of Americarsquos greatestliving composer Elliott Carter Cele-bratory concerts took place in manyvenues including Carnegie Hall inNew York There the Boston Sym-phony led by James Levine played anew work by Carter Interventions forpiano and orchestra The soloist wasanother well-known conductor DanielBarenboim who is no mean hand atthe keyboard to say the least
Itrsquos remarkable that wonderfulnew compositions continue to pourforth from Carterrsquos pen His musicsparkles and frolics packing lots of musical events into engrossingstructures Much of his music isavailable on CD so if you missed thecelebrations you can easily have yourown belated birthday party for Carter
Although he has never written for recorder (one of our prominent
recorder soloists should commissionhim) Carter has produced manychamber pieces featuring woodwindsSince many recorder players double orstarted out on woodwinds such piecesas the Sonata for Flute Oboe Cello ampHarpsichord (1952) Enchanted Preludes(1988) for flute and rsquocello Espritrudeesprit doux (1985) for flute andclarinet or the Oboe Quartet (2001)may hold special interest
If you missed Charlie Rosersquosexcellent interview (broadcast onDecember 10) with Carter Levine andBarenboim you can see it atwwwcharlierosecomview
interview9774mdashessential viewingfor fans of contemporary music
We note with sadness the passingon January 23 of another distin-guished American composer GeorgePerle An authority on the music ofAlban Berg and the Second VienneseSchool Perle developed a uniquelyrical style based upon a free approachto 12-tone and serial procedureswhich he dubbed ldquo12-tone tonalityrdquo I recommend listening to his SerenadeNo 3 for Piano amp Orchestra (1983) Six Etudes for Piano (1973-76) and the Pulitzer Prize-winning Wind Quintet No 4 (1985)
Another leading American com-poser Leon Kirchner is thankfully still with us having turned 90 onJanuary 24 Like Perle Kirchner has a highly personal and expressive styleA birthday concert was held at MillerTheater at Columbia University inNew York City NY Participatingmusicians included flutist PaulaRobison pianist Jeremy Denk and theClaremont Trio with the composerpresent to discuss his music
An excellent way to get to knowKirchnerrsquos music is through his stringquartets Just in time for his birthdayAlbany Records has released a fine CDof all four played by the Orion StringQuartet Quartet No 4 was written in2007 (when the composer was 87mdasha veritable youngster compared toCarter) The composer Allen Shawnhas described that quartet asldquoluminous and passionaterdquo words aptto describe much of Kirchnerrsquos output
Speaking of contemporary musicI have been spending pleasant hoursperusing the Catalog of ContemporaryBlockflute Music available online atwwwblokfluitorg from StichtingBlokfluit This Netherlands founda-tion offers a contemporary recordercatalog and a catalog of historicalrecorder music Access to both is byfree membership
For those who havenrsquot yet used thecontemporary catalog I urge you togive it a try You can search by manyparameters such as composer title orspecific instrumentation A search forldquovoice fluterdquo turned up a list thatincluded Moon Dances Three AmericanSketches by composer Walter Mays(intended for solo alto recorder butalso playable on tenor or voice flute)Searching the name of English com-poser Edmund Rubbra produced a listof eight works that employ recordersincluding the intriguing CantataPastorale opus 92 for high voice altorecorder rsquocello and harpsichord
Searching ldquofemale composersrdquo fora piece using ldquoBaroque altordquo yieldedAfter Meditation by Ros Bandt ofAustralia
What an easy and tremendouslyvaluable way to find new music
On the Cutting Edge___________________________________Birthdays composers and
recorder music catalogs
Elliot Carter
(photo by Meredith Heuer)
Question How does Renaissancefingering differ from standard
fingering on the recorder Is one superior tothe other Do you need a special recorder touse Renaissance fingering and if so can itbe played with regular recorders Is there afingering chart that shows RenaissancefingeringmdashWilliam BaumannWaterford WI
Answer from Carolyn Peskin Music composed in the
Renaissance the historical periodextending from about 1450 to 1600was predominantly vocal and highlycontrapuntal Recorders which oftendoubled singers at the octave orrendered vocal pieces instrumentallywere designed to make the individualmelodic lines clearly audible
Most 16th-century consortrecorders were one-piece instrumentswith large toneholes and a wide borethat contracted slightly starting nearthe upper fingerholes and thenexpanded gently near the lowest holesThat ldquochoke-borerdquo design togetherwith the voicing and tonehole con-figuration favored the fundamentaltone (first harmonic) producing astrong open sound that was aboutequally loud throughout theinstrumentrsquos range
Such recorders had a useful rangeof only about an octave plus a sixthwhich was nevertheless sufficient for the music of their day MostRenaissance-style consort recordersmade today are based loosely uponsurviving 16th-century instruments ofthe above type and are designed toapproximate the range timbre andvolume of those early instruments
Our present-day ldquoregularrdquorecorders are Baroque-derived instru-ments based loosely upon survivingrecorders from the late 17th and early18th centuries They are three-pieceinstruments with small toneholes and abore that is narrower and moretapering than a Renaissance boreextending their useful range upward totwo octaves plus a whole tone
Baroque recorders are soft andsweet-sounding in their bottom octavebut louder and brighter in the secondoctave Their lowest notes are espe-cially weak because they must be blowngently to prevent overblowing into thesecond octave Such instruments aresuitable for Baroque solo and chamberrepertoire but not very satisfying forRenaissance polyphony
Due to their different timbre andvolume Renaissance recorders will not blend well with Baroque onesFurthermore the most historicallyauthentic Renaissance-style recordersare tuned in a ldquomeantonerdquotemperament that facilitates the playingof pure major thirds Such instrumentsmake Renaissance music easier to playin tune but will produce intonationproblems if played with Baroquerecorders which are tuned in equaltemperament For the above reasonsRenaissance and Baroque recordersshould not be played together
Renaissance fingering will not work on todayrsquos neo-Baroquerecordersmdashmost of which haveldquomodernrdquo Baroque fingeringcommonly called ldquoEnglishrdquo fingering
because it was developed fromhistorical Baroque fingering by ArnoldDolmetsch in England during theearly 20th century Renaissancefingering is less standardized partlybecause a number of different originalinstruments are used as models andpartly because makers wish to improvethe intonation tone quality andorplayability of certain notes Howeverthe following generalizations apply tomany of todayrsquos Renaissance-styleconsort recorders
First in the lower octave modernBaroque fingering works for mostnotes but is often too flat for the fourth scale degree (eg soprano F)requiring removal of finger 7 (right-hand pinky) and is too sharp for theraised fourth degree (eg soprano F)requiring addition of finger 7
Modern fingering is also usuallytoo sharp for the lowered seventhdegree (eg soprano B) The correctfingering for that note varies from oneinstrument to another
In the upper octave modernfingering works for the first third andfifth scale degrees (eg soprano C Eand G) but usually not for other notesSome notes require half-holing with aright-hand finger and notes above thefifth scale degree may require additionof several fingers to bring them in tuneHistorical Renaissance fingering forthe second scale degree (eg sopranoD) is especially awkward because all ofthe fingerholes and the thumbholemust be uncovered Therefore somemakers substitute modern fingering forthat note
Although Renaissance fingeringand meantone tuning are recom-mended for the best blend some
Q amp A___________________________________ Renaissance recorder fingering
Send questions to Carolyn Peskin QampA Editor 3559 Strathavon Road Shaker Heights OH44120 carolynpeskinstratosnet
32 March 2009 American Recorder
wwwAmericanRecorderorg March 2009 33
makers of handcrafted Renaissance recorders will provide modern fingeringandor equal temperament upon request and Moeck Verlag offers a choice ofRenaissance or modern fingering for most sizes of its factory-producedRenaissance Consort series
For a most satisfying blend Renaissance ensembles should purchase amatched set of recorders tuned and voiced to be played together Renaissanceconsort sets usually include two different alto recorders one in G (lowest note g)and one in F (lowest note f ) The ATTB combination with the G-alto is best formost of the quartet music composed between 1450 and 1550 while the SATBcombination with the F-alto is more practical for much late 16th-centuryrepertoire (Playing the G-alto requires learning G-alto fingering or elsetransposing the alto line down a whole tone and using F-alto fingering)
In addition to consort recorders some makers offer ldquoGanassirdquo sopranos andaltos based upon fingering charts in Silvestro Ganassirsquos recorder tutor Fontegarapublished in 1535 and a single original instrument in the Vienna Kunst-historisches Museum Because of their special bore design (cylindrical with aflaring bell) Ganassi recorders have a range of two octaves and a sixth withcumbersome fingerings in the third octave They are used mainly as soloinstruments for playing intricate ornaments of the type found in Fontegara
Also sometimes included in the ldquoRenaissancerdquo category are ldquotransitionalrdquo(early Baroque) recorders which are based upon originals from the first half ofthe 17th century They have a bore that is wider than a Baroque bore but contractssharply near the lower end resulting in strong low notes and at least a full two-octave range usually with modern fingering Most transitional recorders aresopranos or altos designed for playing Jacob van Eyckrsquos variation sets or thehighly ornamented Italian solo repertoire of the late-16th and early-17thcenturies
However wide-bore consortrecorders with a range of at least twooctaves and modern fingering shouldalso be regarded as transitionalinstruments They differ somewhat intimbre and volume from typicalRenaissance consort recorders
Handmade wide-borerecordersmdashconsort Ganassi andtransitionalmdashare obtainable frommakers who advertise in AmericanRecorder the Prescott Workshop andthe Von Huene Workshop in the USJean-Luc Boudreau in Canada andStephan Blezinger in GermanyContact them andor visit their websites to find out what kinds ofrecorders they are currently makingand to get an idea of their prices andwait times
Factory-produced wide-borerecorders from Kobliczek Moeck andMollenhauer are available frominstrument dealers who advertise inAR New and used recordersincluding wide-bore models fromimportant makers in the US andabroad are also obtainable from Uni-corn Music For further informationvisit wwwbuyrecorderscom For a comprehensive database of recordermakers worldwide see Nicholas SLanderrsquos ldquoExtant Recorder Makers amp Retailersrdquo at wwwrecorder
homepagenetmakershtml
REFERENCES
CONSULTEDBauer Winfried
wwwrecorder-fingeringscomIncludes interactive fingeringcharts from modern makers andhistorical treatises Charts forRenaissance consort recorders byAdriana Breukink Adrian BrownBob Marvin and Tom Prescottwere consulted
Brown Adrianwwwadrianbrownorgrec
order_typesconsorthtml
Our present-day ldquoregularrdquo recorders are
Baroque-derived instruments based loosely
upon surviving recorders from the
late 17th and early 18th centuries
34 March 2009 American Recorder
The Von Huene Workshop Incis pleased to announce agreements with
CoolsmaZamra
to serve as their authorised service agents in the US
For more than 40 years the von Huene Workshop has produced some of the finest recorders in the world Our skilled staff can revoice retune and repair even the most seriously damaged instruments All repairs are done right on the premises and most can be completed within a week
For warranty repairs please include a copy of your original sales receipt
j 65 Boylston Street Brookline MA 02445 i(617) 277-8690 Fax (617) 277-7217 servicevonhuenecom
An informative article aboutrecorder sizes in Renaissanceconsorts
Brown Adrian and David LasockildquoRenaissance Recorders andTheir Makersrdquo AmericanRecorder Vol XLVII No 1(January 2006) pp 19-31 An important article based upon Brownrsquos extensive researchon 120 of the 200 surviving 16th-century recorders
Ganassi Silvestro Opera IntitulataFontegara Ed Hildemarie Peter(Berlin-Lichterfelde RobertLienau 1959) Modern edition ofthe oldest known treatise devotedentirely to the recorder (publishedin 1535) Includes 16th-centuryfingering charts
Griscom Richard and David LasockiThe Recorder A Research andInformation Guide (New York andLondon Routledge 2003) Anannotated bibliography including
references on construction anddesign of historical recorders
Levin Philip ldquoQampArdquo AmericanRecorder Vol XXXVIII No 4(September 1997) p 27Explains in simple terms thedifference between Renaissanceand Baroque recorders
Morgan Fred ldquoA Recorder for theMusic of JJ van EyckrdquoAmerican Recorder Vol XXV No 2 (May 1984) pp 47-49Describes the bore design of arecorder suitable for playing Van Eyckrsquos variation sets andcompares it with bore designs ofother types of recorders
Myers Herbert W ldquoRecorderrdquochapter in A Performerrsquos Guide toRenaissance Music ed JefferyKite-Powell (New York SchirmerBooks 1994) A 2nd edition isnow available published in 2007by Indiana University Press
FEATURING MUSICA PACIFICA
JUDITH LINSENBERG
RECORDERS____JS BACH TRIO SONATAS Arr by
Linsenberg from Trio Sonatas for Organ BWV525-
530 Sonata No 1 in E
major (transp to B
)
BWV 525 Sonata No 2 in C minor (transp to E)
BWV526 Sonata No 3 in D minor (transp to G)
BWV 527 Sonata No 4 in E minor BWV 528
Sonata No 5 in C major (transp to F) BWV529
Sonata No 6 in G major (transp to C) BWV 530
Virgin Classics Veritas 1993
____FIRE BENEATH MY FINGERS Showcases
three legendary composers who were also
virtuoso performers Vivaldi Concerto in F major
after RV 98570 ldquoLa Tempesta di Marerdquo Sonata in
A minor RV86 Concerto in G minor RV106 Con-
certo in Bb major RV503 Sammartini Concerto in
F major Tartini Concerto in A major D91 Dorian
____MANCINI CONCERTI DI CAMERA Seven
sonatas by Francesco Mancini plus one work each
from his contemporaries Francesco Durante amp
Domenico Scarlatti Highly recommended citation
from the 2000 Vivaldi Prize for Recordings of Italian
Early Music--Giorgio Cini Foundation Dorian
____MARAIS MARIN PIEgraveCES EN TRIO POUR
LES FLUcircTES VIOLON amp DESSUS DE VIOLE
Maraiss complete works for two treble lines and
bass with varied instrumentation and orchestrations
2-CD set $24
____SCARLATTI CONCERTI DI CAMERA
Seven sonatas for various instrumentations no
poor relations to the composers much more widely-
known vocal output All recorder players should
certainly have thisndashEarly Music Review
____TELEMANN CHAMBER CANTATAS
Five cantatas from Harmonischer Gottesdienst two
sonatas from Sonatas Corellisantes 2003 Chamber
Music America WQXR Record Award for best
chamber music recordings
____VIVALDI LA NOTTE Concerti per strumenti
diversi Award-winning CD featuring five Vivaldi
concerti two sonatas
AND OTHER RECORDING
ARTISTS FROM CALIFORNIA ____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 American Bach Soloists Jeffrey
Thomas conductor Dan Laurin Hanneke van
Proosdij recorders Christmas Concerto featuring
unique 1725 London version with solos transcription
for two recorders instead of two solo violins in
three of the six concertos Delos
____CANCcedilONIEgraveR Annette Bauer recorder
multi-instrumentalist Tim Rayborn Shira Kammen
strings Phoebe Jevtovic voice in a new early
music group devoted to repertoire from the
12thndash15th centuries as well as traditional music
from related regions (the Balkans Scandinavia
Middle East) Medieval instrumental music played
on a variety of instruments including strings
recorders and percussion Medieval dances and
motets bring to life the rich world of ancient
European music-making
____SACRED AND SECULAR MUSIC FROM
RENAISSANCE GERMANY Ciaramella-Adam amp
Rotem Gilbert Doug Millikan Debra Nagy
recorders with other winds shawm sackbut amp
organ Medieval amp Renaissance sacred music with
reconstructions of folksongs amp arrangements based
on contemporary improvisation
____BURIED TREASURE TOPAZ amp SAPPHIRE
Ensemble Vermillian Frances Blaker recorders
Barbara Blaker Krumdieck cello Elisabeth Reed
gamba Katherine Heater harpsichord amp organ
Transcriptions of Buxtehudes Op 1 other pieces by
Buxtehude works by Biber Johann Schop
Schmelzer Fafarela 2007
____STOLEN JEWELS Ensemble Vermillian
Frances Blaker recorders Barbara Blaker
Krumdieck Elisabeth Reed Katherine Heater 17th-
century German music adapted by Blaker I love
violin music so I steal the music and rearrange it
for my own instrumentrdquo Buxtehude Op 1 Biber
Rosenmuller Krieger JM Bach Fafarela
Recordings
____SENFL (LUDWIG) Farallon Recorder Quartet
(Letitia Berlin Frances Blaker Louise Carslake
Hanneke van Proosdij) 23 lieder motets and
instrumental works of the German Renaissance
____DOLCE MUSICAndash A CONTEMPLATIVE
JOURNEY Eileen Hadidianflutes recorders
Natalie Cox harps Celtic Renaissance and
Medieval melodies for recorder and flute with
Celtic harp Healing Muses 2005
____REFLECTIONS MUSIC TO SOOTHE AND
UPLIFT THE SPIRIT Eileen Hadidian recorder amp
Baroque flute with Celtic harp and cello Celtic
traditional Renaissance amp Medieval melodies
Healing Muses
____AN EVENING WITH BACH Voices of Music
Hanneke van Proosdij Louis Carslake Dan Laurin
recorders Joanna Blendulf Elizabeth Blumenstock
Rodney Gehrke Lisa Grodin Katherine Kyme
Jennifer Lane Victoria Gunn Pich Susanne Ryden
William Skeen David Tayler Renaissance and
Baroque music centers on fine singing Instantly
recognizable Air on a G String Bachrsquos Prelude in
G Major (solo theorbo for rsquocello) plus lilting vocal
performancesmdashRydenrsquos weightless soprano on
Bist du bei mir Lanersquos rich alto on Es is vollbracht
____BACH amp TELEMANN SONATAS PRELUDES
amp FANTASIAS Voices of Music (Hanneke van
Proosdij Joanna Blendulf Rodney Gehrke William
Skeen David Tayler) Beautiful chamber music by
Bach and Telemann
IN STOCK (Partial listing)____ALLA TURCA FUX CALDARA BADIA
Matthias Maute amp Sophie Lariviegravere recorders
Monika Mauch soprano Vocal music of the church
accompanied by Ensemble Caprice plus sonatas
and other instrumental pieces Analekta
____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 John Daniels Sonja Lindblad
recorders Peter Sykes harpsichord Trio sonata
arrangement by Johann Christian Schickhardt
____LES
AMIS DU
BAROQUE
Paul Nauta recorder amp
Baroque flute Koen Dieltiens recorder Music by
Bassani Corelli Vivaldi etc Highlight Intl
____LES SEPT SAUTS BAROQUE CHAMBER
MUSIC AT THE STUTTGART COURT Matthias
Maute amp Sophie Lariviegravere recorders amp traverso
Ensemble Caprice Charming repertoire by
Schwartzkopff Bodino Detri Atma Classique
____TASTE OF PORTIQUE LEnsemble Portique
Early and contemporary chamber musicmdash
Bach Telemann Boismortier and others
____TELEMANN ALLA POLACCA REBELndash
Matthias Maute recorders amp traversondash
plays concerti and suites by GP Telemann Dorian
____TELEMANN CANONS AND DUOS Lisette
Kielson amp Patrick OMalley recorders LEnsemble
Portique Telemann Canons meacutelodieux amp Sonates
sans basse 2-CD set LEP Records
____20TH CENTURY MUSIC FOR RECORDER amp
PIANO Anita Randolfi recorders Music by Jacob
Bartok Leigh others for recorder amp piano
____VIVALDI AND THE BAROQUE GYPSIES
Matthias Maute amp Sophie Lariviegravere recorders
Ensemble Caprice Gypsy music taken from
Uhrovska zbierka (now Slovakia) plus Vivaldi
____VIVALDI SHADES OF RED CONCERTOS amp
SONATAS FOR RECORDER amp STRINGS Matthias
Maute recorders REBEL Stylish high octane
readings of some of Vivaldis most beloved pieces
including the popular and raucous Concerto alla
Rustica stunningly colorful Sonata on La Follia and
four exuberant recorder concerti Bridge
____WINDFIRE Charmaine Delmatier recorder
Steve Kostelnik classical guitar Terry Hale bass
Erik Hokkanen violin Refreshing mixture of Andrew
Lloyd Weber American blues flamenco Celtic and
one original piece ltwwwyermomusicomgt
Please indicate above the CDs you wish toorder and print clearly the following
Name ____________________________________
Daytime phone (_____)______________________
Address__________________________________
CityStateZip _____________________________
Check enclosed for
_____ single CDs x $____ = $______
_____ 2-CD sets x $____ = $______
TOTAL $______
Please charge the above amount to my
MasterCard Visa or AmEx
_______________________________________
Exp Date ____________
Cardholderrsquos signature ______________________
Mail to
ARS 1129 Ruth Dr St Louis MO 63122-1019 US
You may fax a credit card order to 314-966-4649
NEW You may order CDs online using PayPal at
wwwamericanrecorderorgordercdromshtm
Order your recorder discs
through the ARS CD Club
The ARS CD Club makes hard-to-find or limited release CDs by ARS members
available to ARS members at the special price listed (non-members slightly higher)
All CDs are $15 ARS members$17 Others unless marked otherwise Two-CD sets are
$24 ARS members$28 Others Add Shipping and Handling $2 for one CD $1 for each
additional CD An updated listing of all available CDs may be found at the ARS
web site ltwwwamericanrecorderorggt
The first meeting of the newly-formedFort Myers Recorder and Early
Music Ensemble was January 26 atthe Florida home of chapter rep Sue
Groskreutz For this year the groupis somewhat loosely organized andplans to meet for extended sight-reading Repertoire at the first meetingcomprised everything from Renais-sance duets to chamber music involv-ing three treble parts and continuo
Among the five musiciansattending the first meeting (photobelow front row Elizabeth Spang SueGroskreutz back row Suzanne FergusonSibylle Baumgartner Arlene Sowka) allplayed recorder three harpsichord
and one each played traverso violinand gamba Due to the scarcity ofrecorder players south of the Sarasotaarea modern string players are alsoincorporated into this ensemble
The group decided not to chargedues and to meet at Groskreutzrsquoshome For more information pleasecontact Groskreutz at 239-267-1752spgembarqmailcom Snowbirdsdrifting through the area are welcome
Last fall at the requestof a student Kay Hettich
(inset below right) taught abeginning recorder class atthe Redding (CA) Senior
Center The five-weekclass was so successful thatmost participants haveformed a bi-weekly noviceensemble (right) coachedby Hettichmdashwho consid-ers them her ldquohatchedeggsrdquo
A new batch of ldquoeggsrdquostarted to incubate when afive-week class began on February 20Other senior center members havebecome interested as they heard oftheir colleaguesrsquo success These noviceplayers comprise some who previouslyread music and played instruments as well as people who are totally new to music notation
One student has also formulated amaxim ldquoEveryone at age 40 ought tolearn to play the recorder if heshehasnrsquot alreadyrdquo Just think how theworld would be transformed byshifting our focus to music
After Lynn Whidden attendedthe Montreacuteal Recorder Festival lastfall when the ARS Board met inQuebec she joined the ARS and nowrelays news of the lively interest in therecorder exhibited by a group underthe new leadership of Brent Legg ofBrandon University in ManitobaCanada Although his hands wereldquostill partly frozenrdquo he wrote that theBrandon University Collegium
Musicum in collaboration with theWaverley Park Recorder Club is
preparing a spring concert calledldquoEnglandrsquos Golden AgerdquoRepertoire spans the 16th century
from Henry VIIIrsquos accession in 1509to the death in 1603 of Elizabeth Iand includes solo songs four- andfive-part settings of Renaissancedances (with dancers) three- to five-voice madrigals and ldquobig-bandrdquoarrangements of William Byrdrsquos TheBells and The Dargason as re-imaginedby Gustav Holst (further re-imaginedfor recorders and percussion)
Of the 15 collegium membersseven are encountering the recorderfor the first time since elementaryschool The Collegium Musicumpromotes the study of early music at the university and is open to theuniversity community and the generalpublic This year there are five com-munity participants with interest fromseveral more both within and outsideof the university For informationcontact BrentLegggmailcom
January 16 marked the thirdannual recorder workshop of threeFlorida groups the Pasco Collegium
Recorder Consort of Hudson theImperial Recorder Consort of
36 March 2009 American Recorder
Chapters
amp Consorts___________________________________Workshops and activities from
coast to coast in the US and Canada
Lakeland and the Pilgrim Pipers Recorder Consort of St Petersburg Theygathered for a morning tackling selections by Banchieri Monteverdi PurcellCorelli Mendelssohn Bach Mozart and Glen Shannon Each group presenteda piece for the other participants Sweet Georgia Brown by Ben Bernie (St Pete)a Sonata by Sammartini (Lakeland) and The Gospel Train arr by KW Ford(Pasco) The 29 participants were led by Marlene Cracraft (Pasco) Jane
Spencer (Lakeland) and Elizabeth Snedeker (St Pete) Tom Bickley (photo below) directed the fall workshop of the Mid-Peninsula
Recorder Orchestra in Cupertino CA The 30 players started with Gregorianchants written in ldquooldrdquo notation Bickley gave basic instruction on how tointerpret the notes and then had the group sing the chants prior to playing them
The workshop theme of ldquoThe Articulate Recorderrdquo was literally played out as the music presented used variations in tonguing phrasing and breathingOther repertoire included a Kyrie by Tomas Luis de Victoria Bachrsquos Jesu Joy ofManrsquos Desiring a double-choir piece by Gabrieli Christopher Tyersquos In NomineXIII and a Purcell chaconne The workshop ended with a rhythmically-challenging minimalist piece by Bickley entitled Beginning composed for theWaldorf School teacher training program George Greenwood reports that thegroup had a productive event and plans to ask Bickley to lead a future workshop
wwwAmericanRecorderorg March 2009 37
A Muse in the DesertThe sound of a pin dropping hellip thesound of eager minds and fingersabsorbing information and inspira-tion hellip the sounds of ldquoNuevaEspantildeardquo Spanish- and indigenous-influenced music of the 1600s in theNew World These were the soundsof the Desert Pipes (Phoenix AZ)chapterrsquos fall workshop given byEileen Hadidian On a Saturdaylast October 30 players from all overArizona gathered to learn from andbe inspired by the founder of a SanFrancisco Bay Area group dedicatedto sharing music for healing inhealthcare settings Healing Muses(wwwhealingmusesorg)
The day began with relaxationstretching and breathing exercisesfollowed by travels to Peruacute MexicoGuatemala and Colombiamdashhighchurch music vernacular pieces anda mixture of the two Participantsenjoyed the historical and contextualbackground provided as an overviewfor the day and for each piece
Remarkably the sound heardbetween pieces and passages was anenergy-filled quiet the attentivestillness of active engagement in theworkshop experiencemdashnot the chat-tering noodling and conversationsthat often occur when the musicstops That activity was reserved forthe breaks when participants couldenjoy the cool (at last) outdoorschat with Hadidian and peruse the popular garage sale (to benefitDesert Pipes) of previously-enjoyedbooks and other treasures
On Sunday Hadidian sharedher expertise and inspiration in indi-vidual and group coaching sessionsThe weekend was a special experi-ence and Desert Pipes memberslook forward to the next visit of this Healing Muse
Ann Koenig Scottsdale AZannisalesprocom
Members
of three
Florida
groups
met
in January
for a joint
workshop
CHAPTER NEWS
Chapter newsletter editors and publicity officers should send materials for publication toAmerican Recorder 7770 South High St Centennial CO 80122-3122
editoramericanrecorderorg Also send short articles about specific activities that haveincreased chapter membership or recognition or just the enjoyment your members get out of
being part of your chapter Digital photos should be at least 3rdquox4rdquox300dpi TIF or unedited JPG files Please send news to the AR address above and to the following
ARS Office 1129 Ruth Drive St Louis MO 63122-1019 ARSrecorderAmericanRecorderorg
and to Bonnie Kelly Chair Chapters amp Consorts Committee 45 Shawsheen Rd 16 Bedford MA 01730 bksharpaolcom
TO THE STARS
AND BEYONDThe cover of the November magazinegenerated a few comments Some werenrsquotsure how to interpret the title (in theartistrsquos native German it could besomething close to ldquostarlit moonrdquo)Longtime member Carolyn Peskin wrote to offer her vision of that cover
In the beginning the Great Spiritinvented Mr Sun to light the day andMiss Moon to light the nightHowever as Miss Moon floated up inthe sky all by herself like a big yellowballoon she began to feel very lonelyso one night to relieve her lonelinessshe decided to take out her recorderand make music
But when she started to playsomething miraculous happened Not only beautiful melodies but alsoyellow dust poured out of the bottomof her recorder and the dust particlesimmediately coalesced to form yellowstars As she continued playing moreand more stars were created and theyfloated up around her filling the nightsky
At last Miss Moon was happy fornot only was she herself able to enjoyher music but she now had a wholecrowd of starry companions to enjoy itwith her And if you listen very care-fully on a quiet night you might beable to hear her recorder and thatstarry choir humming along
Carolyn Peskin
LOCATING EARPLUGSI read with interest the QampA in theNovember lsquo08 AR regarding hearingloss and use of earplugs Where do you get musicianrsquos earplugs
Dolly Hirata Kensington CA
CAROLYN PESKIN PROVIDED THIS
INFORMATION Musicianrsquos earplugs arecustom made for individual usersThey can be purchased only fromlicensed hearing professionals (ieaudiologists and hearing instrumentspecialists) To find a licensed hearingprofessional in your area look underldquoaudiologyrdquo or ldquohearingrdquo in your localyellow pages
For information about how musi-cianrsquos earplugs are produced visitwwwetymoticcomephperme-w
tbaspx That web page also has a linkto contact information for authorizedlabs that make the custom earmolds formusicianrsquos earplugs If the yellow pagesdo not prove helpful those labs canrefer you to a licensed hearing pro-fessional in your area from whom youcan purchase musicianrsquos earplugs
MORE FROM CAROLYN
THIS TIME ABOUT OSKARIn the September 2008 AR the musicreview by Leslie Timmons of the Oskarpieces by Matthias Maute mentionedthat Carolyn Peskin had translated twoof the Oskar books from German toEnglish People can obtain thetranslations free of charge as Wordattachments by contacting her atCarolyn Peskin 3559 StrathavonRoad Shaker Heights OH 44120carolynpeskinstratosnet
ANOTHER KIND OF
MUSIC-READING
GLASSESIn the January 2009 issue of AmericanRecorder therersquos something (in myopinion) the ldquoRecorder with GlassesObbligatordquo article omitted which canenable a nearsighted musician to avoidneck strain in the use of bifocals
Irsquove found the solution to thisvexing problem is to have onersquos bifocalsconstructed differently [from] normalMy optometrist was willing to work
38 March 2009 American Recorder
Response___________________________________Two kinds of vision
the better to see with and (not) to hear with
Honeysuckle Music
Recorders amp accessories
Music for recorders amp viols
Jean Allison Olson1604 Portland AveSt Paul MN 55104
6516448545jeanhoneysucklemusiccom
Responses from our readers are welcomedand may be sent to American Recorder 7770 South High St Centennial CO
80122 Letters may be edited for length and consistency
ARS Membership Enrollment and Renewal I am a new member I am or have been a member
USCanadian Memberships Foreign Memberships $45 One Year $55 Foreign One Year $75 Sustaining (Receive a Hottetere Hands Pin) $100 Two Years $80 Two Years
LIFETIME MEMBERSHIP Single Dual Regular Lifetime Member $1000 (2) $1500 (4) 4 installments of $250 available) Loyalty Lifetime Member (1) $ 800 (3) $1200 (4) 4 installments of $200 available
(1) For members who have maintained membership for five consecutive years (2) $750 is Tax Deductible (3) $600 is Tax Deductible (4) Installments available Student Memberships Other Memberships (Enclose proof of full time enrollment) $65 One Year Workshop Membership
$25 USCanadian One Year $125 One Year Business Membership $45 USCanadian Two Years $30 Foreign One Year $5 Additional Charge for Dual Address or Dual Name
Do not list my name in the ARS Print Directory Do not list my name on the ARS Online Directory Do not release my name for recorder related mailings Do not contact me via email
My address telephone and email address are the same as last time
______________________________________ _________________________ Name Phone Number ______________________________________ _________________________ AddressCityStatePostal Code Email Address Please charge to (Circle one) VISAMasterCardAMEXDiscover CC________________________________ Expiration Date ______________ Signature of cardholder_______________________________________________________ Clearly Print Name as it appears on Card________________________________________
Renew by Mail Online By Phone or by Fax
Demographic Information (optional information collected only to enhance ARS services and provide statistics to grant makers)
I am a member of ARS Chapter or Consort____________________________ I am the Chapter Contact Your age Under 21 (21-30) (31-40) (41-50) (51-60) 61-70) (71+) Please check all that apply
I am a Professional Recorder Performer
I wish to be included in the list of Recorder Teachers in the ARS Directory and website I Teach (circle your choices) Children High School Youth College Students Adults Beginner Intermediate Advanced Pre-Professional Individuals Childrenrsquos Classes Adult Classes Ensembles Suzuki Orff JRS Leader Kodaly Where I Teach (circle your choices) Music Studio Public or private school Community Music School College Other _____________________
American Recorder Society 1129 Ruth Dr St Louis MO 63122-1019
Phone 314-966-4082Fax 314-966-4649
TollFree 800-491-9588ARSRecorderAmericanRecorderorg
wwwAmericanRecorderorg
with me [to find] an ideal (for me)placement size and focal length of thebifocal lens
Before visiting the optometristIrsquod had my wife measure the distancefrom my eyes to the music on mymusic stand With this measurementthe optometrist set up her machine toprepare a vision prescription for memaximized for this reading distance
When I look at my bifocals (withthem off) the lenses (through which Iread my music) occupy most of thelower two-thirds of my glasses (they are set very high and beginimmediately at the inner rims) Thisleaves the upper third and smallportions of the outside [of each lens]for focusing on the conductor As longas my stand is set low enough my necknever experiences any strain (even if Ihave to read three to a part) and Irsquove no problem in seeing theconductor (in sharp focus) either
For me trying to use glasses [toread] from a music stand [that] weredesigned for use in reading from acomputer screen also results in neckstrain (not to mention unreliability in aldquopressurerdquo situation) Having studiedTai Chi extensively and so being
wwwAmericanRecorderorg March 2009 39
There are lots ofsolutions to thepresbyopic musicianrsquosproblem but all involve compromises
40 March 2009 American Recorder
American Recorder Society PublicationsErich Katz Contemporary Music Series Members Non-MembersA Short Tale for Two Basses Suzanne M Angevine (Level II) (2 scores) $5 $8Dialogue and Dance Cecil Effinger (SATB)(Level II-III) (score amp parts) $10 $18Dorian Mood Sally Price (SATB) (Level II) (score amp parts) $10 $18Double Quartet for Recorders Peter Ballinger (Level II-III) (score amp parts) $10 $18Entrevista Frederic Palmer (SATB) (Level II) (2 scores amp 4 recorder parts) $8 $14Kyrie and Vocalise for Soprano Voice ampRecorders Stanley W Osborn $8 $14
(SATB) (Level II) (2 scores amp 4 recorder parts) Picnic Music Jeffrey Quick (SATB) (Level II) (score amp parts) $5 $8Six Short Pieces for Three Recorders edited by Alan Drake $8 $14
(3 scores) Vaclav Nelhybel (AATT) (Level II)Sonatina for Alto Recorder and Piano Anthony Burgess $7 $12
(Level II) (2 scores)Sonatine for Three Altos Lee Gannon (Level III) (score amp parts) $14 $26Suite of Jewish Folk Tunes Erich Katz (S SA8 AT) (Level II) (three scores) $10 $18
Musical Editions from the Membersrsquo Library ARS members 1 copy-$3 2 copies-$450 3-$6 4-$750 5-$10 6-$1150Non-members (editions over 2 years old) 1 copy-$5 2 copies-$850 3-$12 4-$15 5-$1950 6-$23The ARS is happy to provide photocopied enlargements of any Membersrsquo Library edition at the same prices Please specify ldquoMembersrsquo Library Enlargementrdquo
ARS Information BookletsARS members 1 booklet-$13 2 booklets-$23 3-$28 4-$35 5-$41 6-$47 7-$52Non-members 1 booklet-$18 2 booklets-$33 3-$44 4$55 5-$66 6-$76 7-$86
Education PublicationsThe ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996)
First copy free to ARS Members (mailed to new members as they join) replacement copies $3Guidebook to the ARS Personal Study Program (1996) Material formerly published in the Study Guide
and Study Guide Handbook plus additional resources Members $11 non-members $20ARS Music Lists (2002 with 2003 Supplement) Graded list of solos ensembles and method books
Members $9 non-members $15Package Deal available only to ARS members Guidebook and Music ListsSupplement ordered together $16Junior Recorder Society Leaderrsquos Resource Notebook
ARS members $20 non-members $40 (updates at reduced rates after initial purchase)$5 Dues for each JRS student member sponsored by an ARS member ($4 each for groups of 10+)
VideosRecorder Power Educational video from the ARS and recorder virtuoso John Tyson
An exciting resource about teaching recorder to young students ARS members may borrow a copy for onemonth by sending $5 to the ARS office along with the address to which the tape should be shipped
Pete Rose Video Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music Festival recitalFeatures Rose performing a variety of music and an interview of him by ARS member professional John Tyson
Other PublicationsChapter Handbook A resource on chapter operations for current chapter leaders or those considering forming an
ARS chapter ARS members $10 non-members $20 (updates free after initial purchase) One free copy sent toeach ARS chapter with 10 members or more
Consort Handbook Resource on consort topics such as group interaction rehearsing repertoire performingARS member prices CD $10 hard copy $20 combo price of CD and hard copy ordered together $25
Discography of the Recorder Vol I (1989) Compiled by Scott Paterson and David LasockiDiscography of the Recorder Vol II (1990-1994) Compiled by Scott Paterson
Either single volume ARS members $23 non-members $28Both Discography volumes together ARS members only $40
American Recorder Cumulative Index for Vols I-XXXX ARS members $20 non-members $32Index Supplement Vol XXXIV-XXXX ARS members $8 non-members $14
Shipping amp Handling FeesUnder $10 - add $3 $10-1999 - add $4 $20-2999 - add $5 $30-3999 - add $6 $40-4999 - add $7 All prices are inUS dollars For Canadian or foreign postage pay by credit card and actual postage is charged
Please make checks payable to ARS VISAMCAMEXDisc also accepted
ARS 1129 Ruth Drive St Louis MO 63122 US800-491-9588 ARSrecorderAmericanRecorderorg
Arioso and Jazzy Rondo (AB) Carolyn PeskinBerceusendashFantaisie (SATB) Jean BoivertBrucknerrsquos Ave Maria (SSATTBB)
Jennifer W Lehmann arrCanon for 4 Basses (BBBB) David P RuhlDancers (AT) Richard EastmanDifferent Quips (AATB) Stephan ChandlerElegy for Recorder Quartet (SATB) Carolyn PeskinElizabethan Delights (SAATB)
Jennifer W Lehmann arrFallen Leaves Fugal Fantasy (SATB) Dominic BohbotFour Airs from ldquoThe Beggarrsquos Operardquo (SATB)
Kearney Smith arrGloria in Excelsis (TTTB) Robert CowperIdyll (ATB) Stan McDanielImitations (AA) Laurie G AlbertsIn Memory of Andrew (ATB) David GoldsteinLay Your Shadow on the Sundials (TBgB)
Terry Winter OwensLeClercqrsquos Air (SATB) Richard E WoodLittle Girl Skipping and Alouette et al (SATBCb)
Timothy R Walsh
Los Pastores (SAAAT + perc) Virginia N Ebinger arrNew Rounds on Old Rhymes (4 var) Erich KatzOther Quips (ATBB) Stephan ChandlerPoinciana Rag (SATB) Laurie G AlbertsSanta Barbara Suite (SSAAT) Erich KatzSentimental Songs (SATB) David Goldstein arrSerie for Two Alto Recorders (AA) Frederic Palmer Slow Dance with Doubles (2 x SATB) Colin SterneSonata da Chiesa (SATB) Ann McKinleyS-O-S (SATB) Anthony St PierreThree Bantam Ballads (TB) Ann McKinleyThree Cleveland Scenes (SAT) Carolyn PeskinThree in Five (AAB) Karl A StetsonTracings in the Snow in Central Park (SAT)
Robert W ButtsTrios for Recorders (var) George T BachmannTriptych (AATB) Peter A RamseyTwo Bach Trios (SAB) William Long arrTwo Brahms Lieder (SATB) Thomas E Van Dahm arrVariations on ldquoDrmešrdquo (SATB) Martha BishopVintage Burgundy (SASATT)
Jennifer W Lehmann arr
Adding Percussion to Medieval and Renaissance Music Peggy Monroe
American Recorder Music Constance PrimusBurgundian Court amp Its Music Judith Whaley coord
Improve Your Consort Skills Susan CarduelisMusic for Mixed Ensembles Jennifer W LehmannPlaying Music for the Dance Louise AustinRecorder Care Scott Paterson
acutely aware of any kind of neckstrain when it begins to develop these ideas have been a big help to meIrsquom hoping they may be of help toother musicians as well
Best wishes to you And inanswer to your questionmdashyes the new[AR] format (with more white spacebetween the lines) is much easier toread (in my opinion)Your magazinejust keeps getting better and better
Very sincerely Ed Green WestSuburban (Chicago-area) Chapter
RESPONSE FROM DR BILL LONG
What Ed describes is a variant of theuse of conventional bifocals as musicglasses described on page 8 in thearticle Instead of lowering his musicstand into the field of view of hisbifocal segment Ed and his optome-trist have fabricated special purposebifocals with the segment really highso he can focus on his music instraight-ahead view That approachrestricts his distance vision to an areaabove his usual line of sight whichseems to work for Eds playing setup
Eds comments on the difficultiesin using conventional progressiveaddition lenses as music lenses con-firm what I said on page 9 Thats whymanufacturers have marketed special-ty progressive lenses designed specif-ically for intermediate distance taskslike computer use and playing music
There are lots of solutions to thepresbyopic musicians problem but all involve compromises The key toevaluating those compromises andchoosing the best solution for yourselfis to understand your needs and toenlist the help of a sympathetic visioncare specialistmdashjust as Ed did
Please change your
browserrsquos favorites list
AR online is now at wwwameri
canrecorderorgmembership
magazinehtm Send news to
editoramericanrecorderorg
FOUR FOUR-PART CANZONAS
(1608) BY GIOVANNI GABRIELI
ED GREG LEWIN Hawthorns Music RB 16 (Magnamusic) 1999 SATBSc 16 pp pts 4 pp $1950
Giovanni Gabrieli was probablyborn between 1554 and 1557 in theparish of San Geremia in Venice Thedetails of his early life are sketchy butit appears that he was born Giovannidi Fais and later changed his name toGabrieli out of respect to his uncleAndrea with whom he shared a closerelationship In fact in 1587 Gabrielidescribed himself ldquoas little less than asonrdquo It is commonly thought thatAndrea provided Giovanni with hisearly musical training Andrea whohad spent some time in Munichstudying under the great Orlando deLassus sent Giovanni to Munich for a similar period of study in theearly 1570s
Gabrieli remained in Munichuntil the death in 1579 of the dukeAlbrecht V who had been Lassusrsquosemployer for a number of years andwho was an enthusiastic patron of the arts particularly music With hisdeath a number of musicians lost theirjobs it seems as if Gabrieli were also a victim of such culling of talent(Within a generation the tide wouldturn and the Munich court wouldagain hire Venetian expatriates such as Priuli Valentini and Neri)
Upon his return to VeniceGabrieli was hired as a temporaryorganist at San Marco his positionbecoming permanent in 1585 For a few months that year uncle andnephew served together as first and
second organists in the chapel of thedoge In Giovannirsquos absence fromVenice there had been a plague thathad decimated the ranks of theprofessional musicians Andrea setabout rebuilding his forces at SanMarco by hiring a full-time windband consisting of Girolamo dallaCasa a renowned cornettist andviolist his two brothers who playedsackbut and later the cornett virtuosoGiovanni Bassano Giovanni Gabrieliaugmented these forces with addi-tional players and began composingthe large-scale ceremonial music forwhich he is so well known today
Giovanni was also elected to bethe organist and composer to theconfraternity of San Rocco in 1585and it is now thought that his largestpieces were intended for that venuewith its large central gallery andfrescos by Tintoretto instead of SanMarco Gabrieli held both thosepositions at the basilica of San Marcoand the Scuola Grande di San Roccountil he died in 1612 of a kidney stone
Although best known today forhis ceremonial and festival musicGabrieli was at home in smaller-scaleformats as well These four four-partcanzoni are taken from the 1608publication by the Venetian publisherAlessandro Raverji Canzoni per sonarecon ogni sorte di strumenti These werevery popular pieces to judge by themany collections in which they appear
Additionally like Gabrielirsquoskeyboard music they are found inother arrangements These four-partcanzoni lie well under the fingers inarrangements for keyboard and lute
As seen from the title Gabrielispecified no instrumentation but like asimilar edition of madrigals and battlepieces from a few years earlier a dis-tinction was made that they wereintended for wind instruments almostcertainly cornetts and sackbuts
Recorders were not unknown in Venice they were used regularly inthe confraternity of San GiovanniEvangelista where Giovanni BattistaRiccio was organist
These pieces are relativelysimplemdashplayable by beginning tointermediate ensembles They aremostly contrapuntal (with a fewhomophonic sections) and have few rhythmic eccentricities
These canzoni are found in manymodern brass editions but there arefew editions available to the recorderplayer This edition by Greg Lewin ofHawthorns Music might be consid-ered a ldquobare-bonesrdquo edition There islittle background information andeditorial practices are not specified
The music itself has a handwrittenlook that can be distracting but is easyenough to read Lewin has thought-fully supplied phrasing marks that willbe helpful for ensembles unused tothis style of music
Music
Reviews___________________________________ Infectious music created in spite of the plague
wwwAmericanRecorderorg March 2009 41
This is a good edition
for small ensembles that
canrsquot get eight players
together to play
Gabrielirsquos more famous
eight-part canzoni
42 March 2009 American Recorder
The parts are four pages but mycopy had all four pages printed on avery large page This is not a problemand there are no page turns
This is a good edition for smallensembles that canrsquot get eight playerstogether to play Gabrielirsquos morefamous eight-part canzoni Thesesmall-scale pieces are by no meansinferior to Gabrielirsquos more elaboratemusic and deserve to be better known
7 CANZONEN (1637) BY
TARQUINIO MERULA ED JOACHIM
ARNDT WITH CONTINUO REALIZATION
BY CLAUDIA SCHWEITZER MieroprintMusikverlag EM2088 (availabledirectly from wwwmieroprintcom)2005 SS or TT bc Sc 24 pp pts 8 pp$28
Tarquinio Merula was bornaround 1595 in either Busseto orCremona in Italy As was the case withso many composers of the day either alack of regular employment or a rest-less nature took him from his home inCremona to as far away as Warsaw He is found as the organist of thechurch and the chambers to the kingof Poland Sigismund III in 1624
Merula was one of the leadingexponents of the relatively new con-certante style pioneered by ClaudioMonteverdi and others in the seconddecade of the 17th century and may be described as one of the earliestBaroque composers His compositionsin the concertante style are fresh andunforcedmdashhe was born into this styleand didnrsquot encounter it as somethingnew as was the case with so many ofMonteverdirsquos contemporaries
After several years of peripateticexistence Merula found regularemployment in 1631 in Bergamo atthe church of San Maria MaggioreThe prior holder of the post of maestrodi cappella Alessandro Grandi haddied the previous year in the plagueMerula had signed a three-year
contract but by December 1632 hewas terminated with accusations thathe had molested several studentsMerula threatened a lawsuit to recoverhis lost wages but that threat wascountered with a pending criminalcharge lodged by the board ofgovernors of San Maria Maggiore By mid-1633 the matter was settledwith an apology from Merula and astatement that he relinquished allclaims to his salary
He then returned voluntarily toCremona where he stayed until 1635By 1638 Merula was once again inBergamomdashthis time as maestro dicappella and organist in the cathedralnext to San Maria Maggiore Asmight be expected there was con-siderable tension between the twochurches eventually resulting in theboard of San Maria Maggioreforbidding their musicians to perform under Merularsquos direction
He returned in 1646 to a familiarCremona post which he had heldthree times in various years and wherehe now settled downmdashthat of organistand maestro di cappella for Laudi dellaMadonna services in which he ledmusic at the main altar on Saturdaysand on vigils of Marian feasts
None of his employment issues
prevented the Pope from awardinghim the Order of the Golden SpurMerula was also elected to theAccademia dei Filomusi in BolognaHe died in 1665 in Cremona
His existing compositions showthe products of a lively mind Hisworks range from sacred songs andmotets to purely instrumental piecesnotably the ever-popular variations onvarious ground basses It is knownthat Merula was an accomplishedviolinist as well as a fine organist Hissurviving instrumental writing showsa predilection for strings In fact hewas one of the earliest composers tospecify string accompaniments tosacred motets
Merularsquos pieces look backwardtoward some of the more progressiveVenetian composers such as Monte-verdi while looking forward to thehigh Baroque with his innovative style
These seven canzoni like theearlier-published chaconne (EM2084)come from Merularsquos third bookpublished in 1637 CANZONI overo SONATE CONCERTATE perchiesa e camera a due et a tre delcavaliere This collection typifiesMerularsquos output pieces based onRenaissance-era ground basses arefound next to more ldquomodernrdquo sonatas
The original edition specifiesviolins and basso continuo This newedition is intended for recorders thespecific choice of which is up to theplayers Due to the relatively hightessitura tenor recorders work best inthese pieces (although listed as analternative soprano recorders tend to be on the screechy side)
Not surprisingly given Merularsquosskill as an organist the continuo partneeds a keyboard instrument forsuccessful realization Instead of beinga purely accompanying part the bassocontinuo part is an equal partner in these pieces the canzona ldquoLaRuggierardquo opens with a run that therecorders echo a few measures later
A more recorder-specific
edition intended for
altos would have been
ideal There is nothing
preventing the more
adventurous and
industrious players
from making their
own editions of this
delightful music
mentioned were a bit shrill A morerecorder-specific edition intended foraltos would have been ideal There isnothing preventing the moreadventurous and industrious playersfrom making their own editions of thisdelightful music
Prior to playing the previouslypublished chaconne I had notencountered MieroprintMusikverlag Mieroprintrsquos extensivecatalog has an equal focus on newmusic for recorders and on editions ofBaroque masters with emphasis on therecorder and flute Due to the lack of
wwwAmericanRecorderorg March 2009 43
are also available at
The Early Music Shop
of New England
Brookline MA
AESTHEacute
367-b de la Briquade
Blainville Queacutebec
Canada J7C 2C7
tel (450) 979-6091
wwwboudreau-flutesca
A bass viola da gamba or rsquocello is not necessary for these pieces and may infact make them sound heavy and ponderous rather than light and breezy as thismusic seems to be
More so than the above-mentioned chaconne these canzoni are written in avery idiomatic violin style with multiple examples of arpeggios In particular thecanzona ldquoLa Trecchardquo contains a notated example of a string tremolo figurerecurring through the piece ldquoLa Trecchardquo also dips well below the range of a Crecorder going down to low G the lowest string on the violin The editors havesupplied no alternative notes preferring to let the performers to fend forthemselves (in practice we took this passage up an octave with no problems)
The two recorder parts require virtuosity These upper parts are demandingwith the players needing to double-tongue in unison in order to negotiate themany runs of 16th notes and the shared rhythmic ldquolicksrdquo The harmoniclanguage unlike much of Merularsquos music is undemanding and contains none of the harmonic crunches for which he is famous
This is wonderful music that needs a couple of advanced recorder players fora successful performance The string idiosyncrasies can be overcome by advancedplayers and many of the editions of the era (although not this one) list thecornetto as an alternative to the violin so the use of wind instruments in the solo literature of the early Baroque was not unknown
Our experience with this edition left us with the opinion that these pieceswould have been better if transposed down a minor third so as to fit on a pair ofalto recorders (as is the case with much Baroque flute music to make it lie betteron the recorder) The tenors we used tended to sound a bit murky in the lowerregister next to the more aggressive harpsichord while the sopranos we tried as
KEY rec=recorder Srsquoo=sopraninoS=soprano A=alto T=tenor B=bassgB=great bass cB= contra bass Tr=treble qrt=quartet pf=piano fwd=foreword opt=optional perc=percussionpp=pages sc=score pt(s)=part(s)kbd=keyboard bc=basso continuohc=harpsichord PampH=postage andhandling Multiple reviews by one reviewerare followed by that reviewerrsquos name Pleasesubmit music for review to AR 7770 SHigh St Centennial CO 80122-3122 US
an American distributor this musicwill be hard to findmdashin fact can befound only at the time of this writingon their web site noted above But theeffort will be repaid
This edition is clear and easy toread and the parts require no pageturns The basso continuo realizationis simple and elegant
This is music deserving ofrediscovery My only quibble is thatthe editorial notes are all in GermanThis seems to be the practice ofGerman music publishers with thenotable exception of Moeck Otherpublishers of early music such asLondon Pro Musica routinelyprovide notes in English and German and often in French and Italian making their editionsaccessible to a wider audience
Frank Cone studied the recorderwith the late Ellen Perrin the viola dagamba with Carol Herman and thecornetto with Larry Johansen TheCalifornia multi-instrumentalist has been a member of the Orange CountyRecorder Society since 1985
Advertiser Index
AMERICAN ORFF-SCHULWERK ASSN 3
AMERICAN RECORDER SOCIETY 31 35 36
AMHERST EARLY MUSIC FESTIVAL 17
STEPHAN BLEZINGER 24
JEAN-LUC BOUDREAU 21 39
BOSTON EARLY MUSIC FESTIVAL 7
CANTO ANTIGUO EARLY MUSIC WORKSHOP 13
COURTLY MUSIC UNLIMITED 20
EARLY MUSIC AMERICA 8
HONEYSUCKLE MUSIC 34
BILL LAZARrsquoS EARLY MUSIC 26
KEITH E LORAINE EARLY DOUBLE REED SERVICE 35
LOST IN TIME PRESS 11
MADISON EARLY MUSIC FESTIVAL 12
MAGNAMUSIC DISTRIBUTORS BC
MOECK VERLAG IFC
MOLLENHAUER RECORDERS IBC
PORT TOWNSEND WORKSHOP 14
PRESCOTT WORKSHOP 30
PROVINCETOWN BOOKSHOP 26
THE RECORDER MAGAZINE 4
THE RECORDER SHOP 6
SAN FRANCISCO EARLY MUSIC SOCIETY 18
SWEETHEART FLUTE CO 3
TEXAS TOOT 20
VON HUENE WORKSHOP INC 30
WICHITA BAND INSTRUMENT CO 21
DOMINIK ZUCHOWICZ 34
CONSIDER ADVERTISING IN
Full page $55223 page $43912 page $36613 page $28614 page $22316 page $17518 page $127112 page $ 951 column inch $ 58
Prices include web sitee-mail link directly from your ad in the online AR at wwwamericanrecorderorg
Circulation Includes the membership of theARS libraries and music organizations
Published five times per year January March May September November
Reservation Deadlines December 1 (January) February 1 (March) April 1 (May) August 1 (September) October 1 (November)
Rates good through November 2009 Pleaseinquire about discounts on multiple-issuecontracts inserts or other special requestsExtra charges for typesetting layout half-tones and size alterations 133-line screenrecommended Advertising subject toacceptance by magazine First-time adver-tisers must include payment with order
For more information contact the ARS office 1129 Ruth Drive St Louis MO63122-1019 800-491-9588 toll free 314-966-4082 phone 314-966-4649 faxadvertisingamericanrecorderorg
44 March 2009 American Recorder
Classified___________________________________
FOR SALE Cherrywood hurdy gurdy and hard-side case made by Kelischek bought 2005Originally $765 plus $89 for case Rarely usedBoth for $450 or make offer Please contact marjalocomcastnet Can ship
ASPIRE ANNOUNCE INSPIRE Afford-able PR for teachers and recitalists wwwrecitalroomcom
PHOTOS NEEDED of ARS events 1970sndash1990sto illustrate last chapters of Martha Bixlerrsquos histor-ical memoir about the ARS (to be posted online)E-mail scanned photos (300dpi JPG or TIF)arsrecorderamericanrecorderorg Hardcopies mail to ARS office to be scanned ampreturned Info 800-491-9588
T-SHIRT FOR ENSEMBLE PLAYERS to wear orshare Top 10 Reasons Why I Got Lost Wrongfingering bad lighting etc on blue cotton shirt$18 Highlighter tape and other goodies Beth amp Lindas Boutique as seen at BEMF CallLinda at 617-671-8694 or e-mail for brochurelindakushverizonnet
Where the havesand have-nots
of the recorder world can find each other
Classified rate for American Recorder 60centper word ten-word minimum ldquoFOR SALErdquoand ldquoWANTEDrdquo may be included in thecopy without counting Zip code is oneword phone e-mail or web page is twoPayment must accompany copy Deadlinesare one month before issue date Send copywith payment to ARS 1129 Ruth Drive St Louis MO 63122-1019
AMERICAN RECORDER (ISSN 0003-0724) 1129 Ruth Dr St Louis MO 63122-1019 is publishedbimonthly (January March May September and November) for its members by the AmericanRecorder Society Inc $20 of the annual $45 US membership dues in the ARS is for a subscriptionto American Recorder Articles reviews and letters to the editor reflect the viewpoint of their individ-ual authors Their appearance in this magazine does not imply official endorsement by the ARS
EDITORIAL DEADLINES November 15 (January) January 15 (March) March 15 (May) July 15(September) and September 15 (November) Submission of articles and photographs is welcomedArticles may be typed or sent as an attachment (Word or RTF preferred) to or text in an e-mail mes-sage They should be for the exclusive consideration of AR unless otherwise noted Photos may besent as prints or unedited JPG or 300dpi TIF files (minimum 3rdquox4rdquo) Advertisements may be sent inPDF or EPS format with fonts embedded
EDITORIAL OFFICE Gail Nickless Editor 7770 S High St Centennial CO 80122-3122 303-794-0114 (phone amp fax) editoramericanrecorderorg Books for review Editorial office Musicfor review Editorial office Recordings for review Tom Bickley 1811 Stuart St Berkeley CA 94703Cutting Edge Tim Broege 212 Second Ave Bradley Beach NJ 07720-1159 Chapter newslettersother reports Editorial office Postmaster Send address changes to ARS 1129 Ruth Drive St LouisMO 63122-1019 Periodicals postage paid at St Louis MO and at an additional mailing office
Chapter leaders
We know yoursquore out there
and that you want to share
your plans concerns
solutions and ideas with
other chapter leaders Visit
httpamericanrecorder
societywikispacescom
music from Medieval to modern
Several musicinstrument vendors onsite Dale Taylor will be on site forrepairs All ages are welcome as well as non-participants
Faculty includes Dale ArmentroutLouise Austin David Echelard CharlesFischer Shelley Gruskin LisetteKielson Laura Kuhlman PatrickOrsquoMalley Tulio Rondon KarenSnowberg Mary Halverson Waldo andTodd Wetherwax Brochures available
Contact Nancy Chabala
8609 45th St Lyons IL 60534-
1616 708-442-6053 (day)
630-789-6402 (fax)
nchabalamymailstationcom
(housingregistration)
thewiesessbcglobalnet (mailing
scholarships) cvstangeraolcom
(facultyfacilities)
INTERLOCHEN EARLY MUSIC
WORKSHOP
Interlochen Center for the Arts Interlochen MI
June 7-12 Director Mark Cudek
Make and enjoy Medieval andRenaissance music while learning new skills and techniques
Topics will include articulationornamentation improvisation andensemble arrangement in Medieval and
Renaissance music The workshopculminates with a participantperformance on period instruments such as recorders and other early windsviols lutes harpsichord and percussionVocalists are also welcome Participantswill supply their own instruments
Early registration is recommendedas space is limited
Contact Matthew Wiliford
Director ICCA PO Box 199
Interlochen MI 49643 231-
276-7441 231-276-5237 (fax)
collegeinterlochenorg
interlochenorgcollege
RENAISSANCE CHAMBER
MUSIC INSTITUTE
New England Conservatory of Music Boston MA
June 11-21
A unique opportunity for professionalmusicians and advanced students todiscover and explore one of the greatestrepertoires of Western music which iseminently suitable for all instruments
Players of modern and early instrumentsare encouraged to attend
Led by John Tyson director of theRenaissance music and dance ensembleRENAISSONICS who has performedand lectured worldwide including forthe Boston Symphony OrchestrarsquosTanglewood Institute
Introductory lectures will be followed byintense chamber music coaching in largeand small ensembles Concentration willbe on personal expression rhetoric andphrasing performance practice andornamentation The institute willculminate in a public performance at theNew England Conservatory of Music
Faculty John Tyson recorder LauraGulley violin Daniel Rowe rsquocello and guest artists
Contact Director of Summer
School New England
Conservatory of Music
290 Huntington Avenue Boston
MA 02115 617-585-1126
617-585-1135 (fax) newengland
conservatoryedusummer
wwwAmericanRecorderorg March 2009 17
Workshops carrying
ARS designation have
joined the ARS as
workshop members
Other shorter workshops
may be sponsored
periodically through the
year by ARS chapters and
are listed in the calendar
portion of each ARS
Newsletter as well as on
the ARS web site when
information becomes
available from presenters
Canto AntiguoWest Coast EarlyMusic and Dance
Featured Faculty
Beautiful CampusFully air-conditioned
For Information Call
800-358-6567
Early Music
WorkshopJuly 5-12 2009
Chapman UniversityOrange CA
Classes in
Baroque Music
Recorder Ensemble(all levels)
Vocal Ensemble
Renaissance Brassand Reeds
Viols
Collegium
Folk Dance
Thomas Axworthy
Mark DavenportRonald Glass
Janet Beazley
Carol LisekJim MaynardAlice Renken
wwwcantoantiguonet
18 March 2009 American Recorder
SUMMER TEXAS TOOT (ARS)
Concordia University Austin TXJune 14-20 Director Daniel Johnson
The Summer Texas Toot is a one-weekprogram of classes in Renaissance and Baroque music at all levels forrecorders viols singers plucked stringsRenaissance reeds and brass andharpsichord Our classes include anarray of small one-on-a-partRenaissance and Baroque ensemblesand larger mixed vocal and instrumentalgroups The size of the workshopenables us to create classes for all levelsof students from those of modest skills to advanced players and singers
Same Texas Toot hospitality andtraditionsmdashback in Austin but atConcordia Universityrsquos beautiful newcampus Classrooms dining and dormaccommodations are air-conditioned and easily walkable
Currently our featured faculty are Tish
Berlin (recorders) Tom Zajac (reedsand ensembles) Mary Springfels(viols) Becky Baxter (harp)mdashbut watchfor more faculty to be added soon
Contact Daniel Johnson
PO Box 4328 Austin TX 78765
512-371-0099 infotootorg
tootorg
SAN FRANCISCO EARLY MUSIC
SOCIETY BAROQUE MUSIC amp
DANCE WORKSHOP (ARS)
Sonoma State University Rohnert Park CA
June 14-20Directors Phebe Craig Kathleen Kraft Frances Blaker
A music-packed week of master classesconcerto evening coached ensemblesBaroque orchestra vocal and windensembles continuo classes concertsand lectures
Featuring recorder faculty FrancesBlaker and Cleacutea Galhano Other facultyChristine Brandes voice Phebe Craig
harpsichord Sand Dalton oboeKathleen Kraft flute Michael Sandviolin and orchestra Mary Springfelsviola da gamba Peter Sykesharpsichord Tanya Tomkins rsquocello
Contact Kathleen Kraft SFEMS
PO Box 10151 Berkeley CA
94709 707-874-2014
kkraftsonicnet sfemsorg
SAN FRANCISCO EARLY MUSIC
SOCIETY CHILDRENrsquoS MUSIC
DISCOVERY WORKSHOP (ARS)
Crowden Center for Music Berkeley CA
June 21-26 (day camp)Director Letitia Berlin
Early music and Renaissance socialhistory for youth ages 7-15 beginners to advanced students welcome Dailyschedule includes chamber musicmusicianship crafts costume-makingand games Friday night concert andtheater project presentation followed by potluck supper
Rebecca Ahrendt violJanet Beazley recorder
Tish Berlin re cord er co-direct orFrances Blaker recorder co-direct or
Vicki Bœckman recorderLouise Carslake recorder fl ute
Charles Coldwell recorder Rotem Gilbert recorder
Julie Jeff rey violShira Kammen viell e
Peter Maund per cus sionKim Pineda recorder
Ellen Seibert violPe ter Seibert recorder choir
Margriet Tindemans viol viell eBrent Wissick viol
Play early music in the spectacular Pacifi c Northwest Choose from classes in recorder viol fl ute and percussion Polish your skills andor take up a new instrument Sing and dance
Enjoy the faculty concert Take part in the student recital Make the most of your stay with a hike at nearby Mt Rainier or a visit to the Museum of Glass
For informat ion or to request a brochure call (206) 932-4623write to Port Townsend Early Music Workshop
1108frac12 Alki Ave SW Seattle WA 98116or vis it wwwseattle-recorderorg
July 12ndash18 2009
Port TownsendEarly Music Workshop
At the beautiful University of Puget Sound Tacoma WA
Tish Berlin amp Frances Blaker Co-Direct orsPresented by the Seattle Recorder Society
Please note that this is a day camp Out-of-town students may contact thedirector regarding accommodations withhost families Some financial aidavailable
Featuring recorder faculty Vida Bateauand Letitia Berlin Other facultyKatherine Heater dance ShiraKammen musicianship and theaterband Ron McKean harpsichord Carla Moore violin Farley Pearcersquocello and viola da gamba Allison Rollstheater project director
Contact Letitia Berlin SFEMS
PO Box 10151 Berkeley CA
94709 510-559-4670
tishberlinsbcglobalnet
sfemsorg
OBERLIN BAROQUE
PERFORMANCE INSTITUTE
Oberlin College Oberlin OHJune 21-July 5Directors Oberlin Baroque Ensemble (Cathy Meints Marilyn McDonald Michael Lynn Webb Wiggins) and artistic director Kenneth Slowik
Celebrating its 38th anniversary withMusic in London 1659ndash1759 thisinstitute offers instruction in Baroqueinstruments and voice Students of alllevelsmdashfrom beginning to Baroqueperformance to the professional levelmdashparticipate in master classes and coachedensembles with an international facultyof Baroque specialists Scholarships are available for qualified high schoolstudents
Contact Anna Hoffman
Conservatory of Music
77 West College St
Oberlin OH 44074
440-775-8044
440-775-8942 (fax)
ocbpioberlinedu
oberlineduconsummerbpi
WORLD FELLOWSHIP
EARLY MUSIC WEEK
Chocorua NHJune 25-July 2Directors Jane Hershey Larry Wallach
Faculty of eightmdashincluding JaneHershey Roy Sansom Pamela DellalJay Rosenberg Julian Cole AnneLegecircne Larry Wallach and JoshSholem-Schreibermdashin a beautifulWhite Mountain camp setting conducta week-long workshop in French earlymusic (late Medieval through Baroque)
Faculty and student concerts Englishcountry dancing special lecturesmorning and afternoon workshops inviols recorders voice mixed ensemblesSephardic music and Baroque chambermusic and classes in Feldenkrais bodywork
Camp facilities include hikingswimming boating camp gardenssupply kitchen with vegetables Very affordable rates
Contact Larry Wallach
69 Welcome St Great Barrington
MA 01230 413-528-7212 (day)
413-528-9065 (evening)
413-528-7365 (fax)
larrysimons-rockedu
worldfellowshiporg
INDIANAPOLIS EARLY
MUSIC FESTIVAL
Indianapolis INJune 26-July 19July 8-9 Mini Boxwood Workshop
The Indianapolis Early Music Festivalis the oldest continually running earlymusic concert series in the USPresented since 1967 our mission is toenrich educate and entertain audienceswith the music of Medieval Renais-sance Baroque and early Classical erasand feature exciting performers ofnational and international stature usinginstruments of the period and histori-cally informed styles and techniques
For 2009 we will present Reconstruction(June 26 ) Ex Umbris (June 27) ChrisNorman amp David Greenberg withRonn McFarlane amp Mark Cudek (July10) I Furiosi (July 12) HarmoniousBlacksmith (July 17) and the PeabodyConsort with Indiana Repertory Theatre(July 19) We also offer our secondannual Family Concert featuring thePeabody Consort on July 18mdash a freeconcert geared to young audiencemembers Several groups also offeroutreach events for younger (generallyhigh-school-aged) musicians and actors
In 2009 we also present a two-dayldquoMini Boxwoodrdquo workshop with Chris
wwwAmericanRecorderorg March 2009 19
Marin
Headlands
Recorder
Workshop
Norman (earlytraditional flutes andpipes) David Greenberg (Baroqueviolin and fiddle) and Ronn McFarlane(lute) on July 8-9
Contact emindyorg
SAN FRANCISCO EARLY MUSIC
SOCIETY MEDIEVAL amp
RENAISSANCE WORKSHOP (ARS)
Sonoma State University Rohnert Park CAJune 28-July 4Director Tom Zajac
Workshop theme Stories and LegendsOpen to singers and players of earlyinstruments (recorders violas da gambalutes shawms etc) Coaching by world-class specialists in Medieval and Renaissance music Classes forvoices recorders viols and alta capellavoice master class ensemble coachingstorytelling for musicians andstorytelling accompanimentRenaissance choir Medieval bandtheater project faculty and studentconcerts lectures and more
Scholarships as well as academic creditor continuing education credit areoffered Featuring recorder facultyFrances Blaker Annette Bauer DanStillman and Tom Zajac Other facultyPatrick Ball storytelling Celtic harpKaren Clark voice movement formusicians Julie Jeffrey gamba ShiraKammen Medieval strings music forstorytelling Drew Minter voice theaterproject Tim Rayborn Medieval stringspercussion music for storytelling Larry Rosenwald theater projectrhetorician in residence MarySpringfels gamba theater projectAnnette Bauer early notation DanStillman reeds alta capella ensembleTom Zajac sackbut Renaissance choir
Contact Tom Zajac SFEMS
PO Box 10151 Berkeley CA
94709 617-323-0617
medrenmailgmailcom
sfemsorg
MOUNTAIN COLLEGIUM (ARS)
Cullowhee NC June 28-July 4Director Patricia Petersen
Nestled in the Smoky MountainsWestern Carolina University provides alovely location for Mountain Collegiumwith comfortable accommodations in anew dorm and catered evening mealsThe workshopmdash at once informal andintensivemdash combines study of Renais-sance Baroque and contemporary musicand improvisation on recorder viol andother early instruments with opportu-nities to explore Celtic and othertraditional music on hurdy gurdymountain dulcimer and pennywhistle
Friendly participants of all levels andages welcome newcomers into theMountain Collegium family Varied classofferings time for informal music-making and evening English countrydancing bring students back year afteryear Faculty Valerie Austin AtossaKramer Jody Miller Patricia PetersenJohn Tyson (recorders other winds)Martha Bishop Lisle Kulbach HollyMaurer Gail Ann Schroeder Ann Stierli(strings) Lorraine Hammond JohnTrexler (traditional music)
Contact Patricia Petersen
1702 Vista St Durham NC
27701 919-683-9672
patpetersenearthlinknet
mountaincollegiummusicorg
GREAT LAKES SUZUKI FLUTE amp
RECORDER INSTITUTE
McMaster University Hamilton ON CanadaJuly 4-11 Teacher training Book 1July 7-11 Teacher training Book 2July 7-11 Student InstituteDirector David Gerry
Master classes group instructionrecitals plus enrichment classes forstudents Teacher training with MaryHalverson Waldo
Contact David Gerry 129 Locke
Street South Hamilton ON L8P
4A7 CANADA 905-525-9549
dgerrynasnet davidgerryca
CANTO ANTIGUO EARLY MUSIC
AND RECORDER WORKSHOP
Chapman University Orange CAJuly 5-12Directors Thomas Axworthy Ronald Glass
This one-week workshop is designed to broaden the performance skills ofexperienced students and introduceRenaissance and Baroque instrumentsand musical experiences to beginningand intermediate players Students at alllevels participate in instrumental vocaland dance instruction performance
The workshop takes place at ChapmanUniversity Studios dining hall andresidences are all air-conditioned Thisinvitingly landscaped peaceful campuswith garden paths is a mixture of historic and modern architecture
The theme of this yearrsquos workshop isMusic of the Italian Renaissance Dancesmasses motets and ceremonial musicwill resonate as we explore the music ofMonteverdi Palestrina Gesualdo et al
Faculty includes Thomas AxworthyJanet Beazley Mark Davenport RonGlass Carol Lisek Jim Maynard and Alice Renken
Contact Ronald Glass
129 Altadena Dr Pittsburgh
PA 15228-1003 800-358-6567
(day) 310-213-0237 (evening)
562-946-4081 (fax)
evanesa2aolcom
cantoantiguonet
CAMMAC EARLY MUSIC WEEK
Lake MacDonald Music Center Harrington QC Canada
July 5-12Directors Francis ColpronMarie-Nathalie Lacoursiegravere
CAMMAC provides a unique oppor-tunity to make music with family and
20 March 2009 American Recorder
friends in a beautiful setting north ofMontreacuteal QC under the guidance ofinternationally acclaimed professionalmusicians
In four daily 75-minute classes pluslectures early music lovers will have the opportunity to play to their heartrsquoscontent
Small ensembles and voice classes are setup ahead of time registration for otherclasses occurs on site the first eveningCourses include choir large instrumentalensemble many recorder and violclasses Medieval and Renaissanceensembles Orff method and Baroquedancing There are courses foradolescents and a program for children 4-11 years old
Special project in 2009 The Fairy Queenby Purcell with choir instrumentalensemble soloists and staging Keyfaculty Matthias Maute ChristopherJackson Laura Pudwell MargaretLittle Marie-Nathalie Lacoursiegravere
Contact Johanne Audet
85 Chemin CAMMAC Harrington
QC J8G 2T2 CANADA
888-622-8755 1
819-687-3323 (fax)
nationalcammacca
cammaccaenglishTabLM
Summershtml
MADISON EARLY
MUSIC FESTIVAL
University of WisconsinndashMadison July 11-18Directors Cheryl Bensman Rowe and Paul Rowe artistic Chelcy Bowles program
MEMF joins the 2009 InternationalYear of Astronomy in a global celebrationof astronomy and its contributions tosociety and culture including the 400thanniversary of the first astronomicalobservation made through a telescope byGalileo Galilei Galileorsquos fatherVincenzo was a musician and musictheorist who combined the practice andtheory of music with mathematicaldiscussion of harmonymdashand influenced
Galileorsquos experiments MEMFcelebrates its tenth season exploringworks of music and the arts inspired by ascientific discovery that had tremendousimpact on culture and civilization
MEMF was created to provide anopportunity for musicians scholarsteachers and early music enthusiasts togather and exchange information andideas about Medieval Renaissance andBaroque music and to bring acclaimedearly music artists to the Midwest toperform in beautiful Madison
Featured MEMF 2009 guest artists-in-residence include Marion VerbruggenThe Newberry Consort QuicksilverPiffaro and Venere Lute QuartetRecorder faculty members includeMarion Verbruggen Joan KimballPriscilla Smith and Robert Wiemken
Contact Chelcy Bowles University
of WisconsinndashMadison 720 Lowell
Center 610 Langdon St Madison
WI 53703 608-265-5629
608-262-1694 (fax)
musicdcswiscedu
memfdcswiscedu
PORT TOWNSEND
EARLY MUSIC WORKSHOP (ARS)
University of Puget Sound Tacoma WA
July 12-18Directors Letitia Berlin Frances Blaker
Join us this summer at our new locationwith a star-studded faculty a beautifultree-lined and easy-to-navigate campuswith accessible facilities and acurriculum that will leave you wishingthere were 48 hours in a day
Consort and technique classes forrecorder and viol consort and mixedrepertoire recorder master classpercussion for all levels Hildegard forsingers Baroque flute beginning violtheory workshop orchestra and moreMake an all-Medieval schedule or mix it up with a class from almostevery period of music
Work hard and play hard with friends
new and old Intense music-making thatwill inspire you during the workshop andthroughout the year
Directors Tish Berlin and FrancesBlaker eagerly await your arrival andanticipate a splendid workshopRecorder faculty Janet Beazley TishBerlin Frances Blaker Vicki BoeckmanLouise Carslake Charles ColdwellRotem Gilbert Kim Pineda
Contact Jo Baim Workshop
Administrator 1108 frac12 Alki
Ave SW Seattle WA 98116
206-932-4623
workshopseattle-recorderorg
seattle-recorderorg
wwwAmericanRecorderorg March 2009 21
Amherst Early Music FestivalJuly 12-19 and 19-26 2009
Connecticut College New London CT
Renaissance consortsBaroque ensemblesMaster classesRenaissance AcademyEarly notation and moreNo audition required
July 12-19Baroque Academy
July 19-26 Virtuoso Recorder Recorder Seminar
Audition deadline May 15
wwwamherstearlymusicorginfoamherstearlymusicorg(617) 744-1324
AMHERST EARLY MUSIC FESTIVAL
(ARS)
Connecticut College New London CT July 12-19 Baroque Academy July 19-26 Virtuoso Recorder Recorder SeminarRenaissance Academy
Director Marilyn Boenau
Music of England and Spain Two weeksof classes in most early instrumentsvoice dance and notation
Week 1 includes classes for recorderviol other early instruments voicedance and notation Special programsBaroque Academy Baroque AcademyOpera Project (Purcellrsquos Dioclesian)
July 18-19 Music amp InstrumentExhibition
Week 2 comprises classes for recorderviol other early instruments voice andnotation Special programs VirtuosoRecorder Recorder SeminarRenaissance Academy
Evening activities include Englishcountry dance madrigals and informalplaying sessions Connecticut College ineastern CT offers comfortable air-conditioned accommodations naturalareas for walking and a view of LongIsland Sound Scholarships and work-study aid available
Contact Marilyn Boenau
Director or Cathy Stein
Administrator 47 Prentiss St
Watertown MA 02472
617-744-1324 (day)
617-744-1327 (fax)
infoamherstearlymusicorg
amherstearlymusicorg
MIDEAST WORKSHOP (ARS)
LaRoche College Pittsburgh PAJuly 19-25Director Marilyn Carlson
Music of Spain 55-60 students of allability levels adults only Instruction forrecorder (all levels except novice) violharp flute You may enroll for recorder
viol flute as primary instrument harpvoice recorder viol as secondary instru-ment Large and small ensembles all-workshop ensemble (instruments andvoices) Renaissance band (recordersviols capped reeds voice) Medievalcollegium (puzzles amp canons) consorts(by level) vocal ensemble Also Englishcountry dance penny whistle We alsooffer viol-for-novice and harp-for-novice each providing the opportunityfor hands-on experience without owningan instrument Other classes on specialearly music topics and literature
Faculty Marilyn Carlson directorMartha Bixler Stewart Carter JudithDavidoff Eric Haas Mary JohnsonPeter Ramsey Kenneth Wollitz otherfaculty to be announced All facilities areair-conditioned
Contact Marilyn Carlson
1008 Afton Road Columbus OH
43221-1680 614-754-7233
mcarlsoncolumbusrrcom
mideastearlymusicaddrcom
22 March 2009 American Recorder
San Francisco Early Music SocietySummer Workshops 2009Recorder middot July 19ndash25 2009La Dolce Vita di Flauto middot Explore the full range of recorder music from the Middle Ages to the 21st century through ensemble work technique sessions and recorder orchestra For the devoted amateur all ages intermediate to advanced Friendly atmosphere small classes Quiet campus near all amenities Special offerings Recorder orchestra recorder master class coached informal playing Faculty Louise Carslake Frances Feldon Rotem Gilbert Katherine Heater Norbert Kunst Patrick OrsquoMalley and Hanneke van ProosdijInfo Frances Feldon 510-527-9840 franfelaolcom
Baroque Music amp Dance middot June 14ndash20 2009Music in Italian Cities middot Master classes recorder ensemble concerto evening coached ensembles classes concerts and lectures Featuring recorder faculty Frances Blaker and Clea GalhanoInfo Kathleen Kraft 707-874-2014 kkraftsonicnet
Medieval amp Renaissance Music middot June 28ndashJuly 4 2009Stories amp Legends middot Classes for voices recorders viols and alta capella voice master class ensemble coaching storytelling for musicians and storytelling accompaniment Renaissance choir medieval band theater project faculty and student concerts lectures and more Featuring recorder faculty Frances Blaker Annette Bauer Dan Stillman and Tom ZajacInfo Tom Zajac 617-323-0617 medrenmailgmailcom
Music Discovery middot June 21ndash26 2009Day camp for youth ages 7 to 15 Early music and Renaissance social history Instruction in recorder harpsichord strings chamber music musicianship crafts costume-making games and more Beginners to advanced students welcome Featuring recorder faculty Vida Bateau and Letitia BerlinInfo Letitia Berlin 510-559-4670 tishberlinsbcglobalnet For more information visit our web site wwwsfemsorg
SAN FRANCISCO EARLY MUSIC
SOCIETY RECORDER WORKSHOP
(ARS)
St Albertrsquos Priory Oakland CA July 19-25Directors Frances Feldon Katherine Heater
Jam-packed week of recorder ensembleplaying concerts and the opportunity toimprove your skills working with highlyrespected recorder specialists in afriendly yet serious atmosphere Explorethe full range of recorder music from theMiddle Ages Renaissance and Baroqueto the 21st century through ensemblework technique sessions and recorderorchestra For the devoted amateur of allages from intermediate to advanced
Small classes Quiet campus Specialofferings recorder orchestra recordermaster class coached informal playing
Featuring recorder faculty LouiseCarslake Frances Feldon RotemGilbert Norbert Kunst PatrickOrsquoMalley and Hanneke van ProosdijOther faculty Katherine Heaterharpsichord
Contact Frances Feldon SFEMS
PO Box 10151 Berkeley CA
94709 510-527-9840
franfelaolcom sfemsorg
WINDSWEPT MUSIC WORKSHOP
William Jewell College Liberty MOJuly 19-25Director Phyllis Pasley
Bring your artistry to life Strengthen the mindbody connection and exploreenergy and music at Creative MotionAlliancersquos 59th annual summerconference Windswept Professionalmusicians conductors teachers studentsand amateur music enthusiasts willdiscover barriers that inhibit the free flowof energy and learn the secrets of inner-directed artistic music-making Classesin piano voice instrumental musicexpressive arts and independent studyMaster class coaching and conductingopportunities available Using move-
ment exercises analysis and bodyresponses explore music and energy in a unique inter-generational workshopformat Opportunities for independentrecorder study and private lessons enrichthe music-making experience
Registration fee $50 prior to 51509Tuition room meals $535 adults $400students 12-18 (must attend with parentteacher or sponsor) special half-weekrate $275 (Sunday-Wednesday noon)Memberfamily discounts Three hoursgraduate credit ($225) 3 CEUs ($50)and private lessons ($25 each)
Contact Phyllis Pasley 2208
Clouds Peak Maryland Heights
MO 63043 314-628-9862
directorcreativemotionorg
creativemotionorg
BOXWOOD FESTIVAL CANADA
Lunenburg Nova Scotia CanadaJuly 19-26Director Chris Norman
Discover musical and dance traditionswhile visiting one of North Americarsquosmost exquisite 18th-century seasidetowns Concerts dances sessionsclasses lectures with leading artists in therealms of traditional folk early musicdance and improvisation Work study ampscholarships available Gourmet cuisine
Faculty Chris Norman directortraditional amp early flutes FrancisColpron recorder ensembles LisaBesnoziuk Baroque flute DavidGreenberg Cape Breton amp Baroqueviolin Edmund Brownless voice shape note singing Marie Bouchardharpsichord Robert Dick contemporarytechniques amp composition Conal O Grada Irish flute Jerry OrsquoSullivanpipes whistle Rod Garnett flutefundamentals ethnic flutes PierreChartrand social dance MarlysNorman ballet classical dance Rod Cameron flute maker Tempest Baroque
Contact 902-634-9994
boxwoodorg
musiqueroyalecom
MACPHAIL SUZUKI INSTITUTE
FOR PIANO GUITAR FLUTE
AND RECORDER
MacPhail Center for the Arts Minneapolis MNJuly 19 Every Child Canreg July 19-26 Recorder Book 1July 20-24 Student InstituteDirectors Cindy Malmin Mary Halverson Waldo (auditions)
Suzuki Clinicians Marilyn Taggartpiano Tadeusz Majewski piano DavidMadsen guitar Kathleen Schoenfluterecorder MacPhail Suzuki faculty
Sanctioned by the Suzuki Association ofthe Americas MacPhailrsquos SuzukiInstitute allows Suzuki students of allages to share in motivating enrichingand wide-ranging musical experiencesStudents work with master teachers andimprove skills technically and musicallyDaily classes and observation includeapplied study theoryreading skillsensemble skills chamber music perfor-mance practices composition improv-isation master classes recitals art andmusic world musicdrumming musichistory recitals and presentations TeenMusical Revue (ages 13-18) fashioncharacter sketches develop a frameworkor theme and present to an audience
Who may attend Suzuki students whohave completed the Twinkle Variations(preschoolndashgrade 12 parents or another
wwwAmericanRecorderorg March 2009 23
Amherst Early Music Festival
(photo by Marc Weinberg)
responsible interested adult must attendwith students under high school age)teacher traineesobservers Participantsmust arrange meals housing and trans-portation Teacher Training prerequi-sites Every Child Canreg before Book 1courses must be taken in order throughBook 2 Contact workshop regardingrequired audition and preparation
Contact Cindy Malmin
612-767-5461
malmincindymacphailorg
Mary Halverson Waldo
5679 Harding Lane Shorewood
MN 55331 952-470-5853
mhalvwaldogmailcom
INTERNATIONAL BAROQUE
INSTITUTE AT LONGY
Longy School of Music Cambridge MA
July 24-August 2Directors Paul Leenhouts co-director Phoebe Carrai
VenicendashDresden Connection InternationalMeeting Grounds Music of MonteverdiVeracini Hasse Heinichen MarcelloVivaldi Pisendel Albinoni ZelenkaLotti Schein Schutz Quantz Gabrieli
2009 faculty Paul Leenhouts recorderPhoebe Carrai rsquocello ElizabethBlumenstock violin Ricard Bordasvoice Arthur Haas harpsichord LucasHarris lute Ken Pierce early danceGonzalo Ruiz oboe Mary Springfels
viola da gamba Jed Wentz traverso
Contact Karen Burciaga Com-
munity Programs Registrar One
Follen St Cambridge MA 02138
617-876-0956 X1532 (day)
617-354-8841 (fax) karenbur
ciagalongyedu longyedu
RECORDER AT THE CLEARING
The Clearing Ellison Bay WIJuly 26-August 1Directors Pat Badger Adrianne Paffrath
Recorder ensemble has been a traditionat The Clearing for over 25 yearsEnsemble playing is the weekrsquos focusEach day begins with a warm-up ofvoices and bodies as we sing rounds andready our muscles for performanceDaytime sessions focus on rhythmicchallenges recorder technique andensemble blend emphasis is on growthprocess and most of all enjoyment To participate fully you need at leastintermediate skills on a C or F recorder
Adrianne Paffrath coached on recorder with ARS teachers She is music directorat Racinersquos First Presbyterian ChurchPatricia Badger has studied early musicinstruments natural and classicaltrumpet She is performing arts head ofThe Prairie School Jointly they haveperformed for Medieval festivals grapestompings Shakespeare celebrations anda circus parade
Contact The Clearing PO Box 65
Ellison Bay WI 54210-0065
877-854-3225 920-854-9751
(fax) clearingtheclearingorg
theclearingorg
AMERICAN RECORDER SOCIETY
FESTIVAL AND CONFERENCE
University of Missouri at St Louis St Louis MO
July 30-August 2
Attend the second ARS Festival andConference for one day ($150) or allweekend ($350)
Sessions include recorder techniquepedagogy introductions to Orff Suzukiand Flutes and Drums Around the Worldmethods improvisation roundtablediscussions how to conduct yourconsort coached playing sessions forMedieval Renaissance Baroque worldand contemporary repertoire recorderorchestra incorporating percussion intoyour ensemble Also recorder mainte-nance choosing a recorder building aweb site using Sibelius music softwareMini-concerts by the next generation ofprofessionals master classes concerts byMarion Verbruggen and the FarallonRecorder Quartet Exhibition ofrecorder builders music sellers andmore CEUs available
Presenters Louise Austin AnnetteBauer Tish Berlin Frances Blaker Joyce Callanan Louise Carslake
24 March 2009 American Recorder
The Summer Toot is once again in Austin at the beautiful new facility of Concordia University The lushly wooded campus offers air-conditioned classrooms dining and dorm accommodations and is backed by a nature preserve Please join us
Our featured faculty includes Tish Berlin Tom Zajac Mary Springfels The Texas Toot offers a one-week program of classes in Renaissance and Baroque music at all levels featuring expert instructors in re-corder viol early reeds lute harp and voice
Danny Johnson workshop director Susan Richter administrator For more info
httpwwwtootorg or email infotootorg
11th Annual Summer Texas Toot June 14-20 2009 mdash Austin Texas
Mark Davenport Cleacutea Galhano LisetteKielson Lorraine Krige JudithLinsenberg Peter Maund Nina SternMarion Verbruggen Leslie TimmonsJim Tinter Mary Halverson Waldo
Contact Yvonne Miller-Nixon
Conference Administrator
1129 Ruth Dr St Louis MO
63122 800-491-9588 (day)
arsconfplannercharternet
americanrecorderorg
EARLY MUSIC WEEK AT
PINEWOODS CAMP (ARS)
Pinewoods Camp Plymouth MA August 15-22 Director Sheila Beardslee
The Myth amp Magick Creativity andInspiration in Early Music Surely thedeities of Olympus will surround us atPinewoodsndashwhere the myths of earlymusic will be made clear and our staff rsquosldquomagickalrdquo skills will hone and perfectour knowledge and performance of early music and dance
If yoursquove never played a musical instru-ment (but wish you could) or if youstudied music years ago (and fear yoursquoveforgotten) classes in recorder and violwill get you started or help brush off therust Advanced and intermediate playersand singers choose from a wide array ofclasses led by an outstanding faculty of professionals and teachers of earlywinds (recorders reeds brass) strings(viols violin) harpsichord and voice
New staff faces this summer areAnonymous 4rsquos Susan Hellauer voiceand Lisa Terry viol We welcome backDorrie Olsson historical dance andScott Higgs English country dance
We relax with two ponds for swimmingcanoeing a camphouse deck for readingafternoon tea and lots of dancing EarlyMusic Week continues its long traditionof superb teaching in a welcoming com-munity enhanced by special eventspresentations concertsmdashand dancing
Advanced musicians work intensivelyamateurs are engaged and challengedand beginners are always made welcome
Contact Steve Howe Country
Dance and Song Society
PO Box 338 Haydenville MA
01039-0338 413-268-7426 X3
(day) 413-268-7471 (fax)
campcdssorg cdssorgem
MONTREacuteAL RECORDER FESTIVAL
McGill University Montreacuteal QC Canada
September 17-20Directors Matthias Maute Sophie Lariviegravere
Conference consort music recorderorchestra concertsmdashEnsemble Capriceand Quynade (Israel) solo recital byMaurice Steger (Switzerland)
Contact Ensemble Caprice 4841
Garnier Montreacuteal QC H2J 3S8
CANADA 514-523-3611
514-523-1322 (fax)
infoensemblecapricecom
ensemblecapricecom
HIDDEN VALLEY INSTITUTE
FOR THE ARTS
EARLY MUSIC ELDERHOSTEL
Carmel Valley CANovember 1-7 November 8-14Directors Letitia Berlin workshopPeter Meckel HVIA
Enroll for one or both weeks Adults ofall ages welcome
Week I intense classes for upper inter-
mediate to advanced levels Week Ifaculty Letitia Berlin Frances BlakerLouise Carslake Annette Bauer(recorder) David Morris (gamba)
Week II all levels except beginnerClasses include recorder technique viol consort Baroque chamber musicconsort classes for Medieval Renais-sance Baroque and contemporary reper-toire workshop orchestra Week IIfaculty Letitia Berlin Frances BlakerTBA (recorder) Shira Kammen (earlystrings singing Medieval topics) MarySpringfels (viola da gamba)
Evening events include faculty concertstudent concert free-lance playing FreeWednesday afternoon for more playingor sightseeing Improve your playing in asupportive friendly atmosphere withworld-class teachers
Contact Peter Meckel
PO Box 116 Carmel Valley CA
93924 831-659-3115
831-659-7442 (fax)
hvmsaolcom
hiddenvalleymusicorg
wwwAmericanRecorderorg March 2009 25
26 March 2009 American Recorder
Am
herst
AR
S
Festival and
Co
nference
CA
MM
AC
Early M
usic
Week
Canto
Antiguo
Reco
rd
er
at th
e
Clearing
Great L
akes
Suzuki
FluteR
ec
Hid
den
Valley
Eld
erh
ostel
Interlo
ch
en
Early M
usic
Inst
Lo
ngy Intl
Baro
que
Inst
Marin
Head
land
s
Mid
east
Mo
ntreacuteal
Reco
rd
er
Festival
COST $520TW $350T C$1014ED $860 $1035E TBA $799D $389T $675T $210ED $735D $130TNO OF DAYS 814 1-4 7 7 7 5-8 714 6 10 3 6 4ARS DISCOUNT NO YES NO YES NO NO NO NO NO NO NO NONO OF FAC RECORDER FAC 4315 1716 165 85 22 82 543 11 101 1010 96 66NO OF STUDENTS 150wk 60 110 35 19 45 35 20 50 75 60 50RECORDER CLASSLEVELS
LIHIAV
BLIHIAV
BLIHIAV
BLIHIAV LIHIA BLI
LIHIAV LIHIA AV
LIHIAV
BLIHIAV
BLIHIAV
SPECIAL CLASSES USING RECORDERS
CMRMB20ENMROT
RPMRMB20MROPTO
CMRMBRO
MRMBENROPT CRO
RPMPT
CMRMB20MROPT
RPCMRMBENMROPT MBMP RP20
RPCMRMB20ENMTO
CMRMBMRO
NON-RECORDERCLASSES
CWKVPSDO PO
CWKVDT CWVD C O KVPS
CWPKVPST WK VD
CWVPSDO
MUSICALACTIVITIES
FSLSPP FLO FSLSP FS SP FSLP FSP
SLSPPO FSLP P FSLP FS
RECREATION D GS BSTW D FBSW FSO OBSTWO S O G
OTHERS WELCOME SC S SC S S S S SDIRECTTRANSPORTATION SC SBCP SP BCLP BP SB CPUP CL PUP
SBCPUP
TRANSPORTATIONTERMINALS
A50B2 T2 A B T
A10B3 T5
A80B80
A50B10 T10
A20B20 T20
A16B16
A4B3 T3 A20
A15B10 T10
A4B3 T3
ROOMS SD SD SD SD SDC SD SD SDC DBATHS SSP SSPP SP P SSPP SSPP SP P S PFOOD CV C GV CV FV C F CV CV CHANDICAP ACCESS HCD HCD HCD HCD HC HCD HD HCD C HCD HCD C
KEYCOST Includes tuition room (single occupancy unless otherwise noted) meals plus other fees E=estimated T=tuition only D=double occupancy W=one week
NO of DAYS Includes arrival and departure daysARS DISCOUNT Discount offered for ARS members FACULTYRECORDER FACULTY Number of facultyrecorder faculty within that number STUDENTS Average over last two yearsRECORDER CLASS LEVELS B=beginners LI=low intermediate HI=high intermediate A=advanced V=very advanced
SPECIAL CLASSES USING RECORDERS RP=recorder pedagogy C=one-on-a-part consorts MR=mixed Renaissance ensembles MB=mixed Baroque ensembles 20=contemporary music EN=early notation M=master class RO=recorder orchestra P=private lessons available T=technique O=other
NON-RECORDER CLASSES C=choral W=other winds P=percussion K=keyboard V=viols PS=plucked stringsD=danceT=theory I=instrument building O=other
MUSICAL ACTIVITIES F=faculty concert S=student concert L=lecture SP=special production P=organized informal playing O=other
RECREATION D=dancing F=field trip G=gym B=biking S=swimming T=tennis W=waterfrontbeach O=otherOTHERS WELCOME S=non-playing spousesfriends C=children (day care not generally available)DIRECT TRANSPORTATION TO WORKSHOP S=shuttle from airport B=bus C=cab L=limo PU=will pick up P=free parking O=other
TRANSPORTATION TERMINALS A=air B=bus T=train (number indicates miles from workshop to nearest terminal)
ROOMS S=singles D=doubles (with ldquo+rdquo can accommodate up to triples) C=cabins O=other =Graduate dormsBATH FACILITIES S=shared SP=semi-private P=privateFOOD C=college style F=family style G=gourmet V=vegetarianHANDICAP ACCESS H=housing C=classrooms D=dining
INFORMATION SUPPLIED BY WORKSHOP DIRECTORS
2009 SUMMER RECORDER WORKSHOPS
Here are some suggestions foravoiding overuse syndromes Most obvious warm up This meansincreasing your practice time graduallybefore the workshop begins andwarming up yourself and yourinstrument before each rehearsal
Make your playing situation ascomfortable as possible Take along acushion back rest footstool whateverit takes the ear and hand cannot ab-sorb what the bottom cannot tolerate
Be sure your glasses are ideal for the distance from your eyes to themusic desk that usually amounts to anarmrsquos length away (You can select apair at your local drug or departmentstore if you have no serious astigma-
tism) If glare from bright light (thosemarvelous outdoor rehearsals) is aproblem for you you may find that ayellow tint for your glasses is a help
Get your bodily playing equip-ment in the best possible shape beforethe workshop a visit to the dentist tosmooth off a front tooth for a windplayer can make an enormous differ-ence in endurance A layer of plasticwrap over the teeth (before yoursquoveworn a hole in your lip) may also help
Once yoursquove arrived at the work-shop there are ways to ensure thatstress (inevitable) doesnrsquot becomedistress (mostly preventable)
Take reasonable breaks duringrehearsal time and use them to stretchA little aerobics like running in placetakes very little time and gets rid ofthat stiff-from-sitting feeling Get yourfellow ensemble players to massageeach othersrsquo shoulders Other fre-
Do you have a favorite article from years past in AR E-mail that information to Gail Nickless
editoramericanrecorderorg
wwwAmericanRecorderorg March 2009 27
Mo
untain
Co
llegium
Pinew
oo
ds
Early M
usic
Week
Po
rt
To
wnsend
SF
EM
S
Baro
que
SF
EM
S
Ch
ild
rens
SF
EM
S
Med
ieval amp
Renaissance
SF
EM
S
Reco
rd
er
Texas T
oo
t
Wh
itew
ater
Wind
sw
ept
Music
Wo
rksh
op
Wo
rld
Fello
wsh
ip
$800ED $890ED $975 $950 $370T $950 $950 $740E $245 $535D $850E COST7 8 7 7 5 7 7 7 3 6 7 NO OF DAYSNO NO NO YES YES YES YES YES NO NO NO ARS DISCOUNT
125 189 169 102 82 124 76 136 1110 131 83NO OF FAC RECORDER FAC
50 100 100 55 30 70 40 50 110 45 30 NO OF STUDENTSLIHIAV
BLIHIAV LIHI AV
LIHIAV
BLIHIAV LIHI AV LIHIA LIHIA
BLIHIAV
BLIHIAV
RECORDER CLASSLEVELS
CMRMB20TO
CMRMBENROT
MRMB20MROPT
MBMPTO
CMRMBPTO
CMRENMPTO
C20MROPTO
CMR20MPT
CMRMB20ROTO MP
CMRMBMRO
SPECIAL CLASSES USING RECORDERS
WVDTO
CWKVPSDT CPVT
CWKVPSTO
KVDTO
CWPVPSTO O
WKVPSTO
CWVTO
CWPKVD
CKVDT
NON-RECORDERCLASSES
FSLSPP FSP
FSLSPPO FSSP
FSLSPPO
FSLPO
FSLPO SPO FSL PO FSLP
MUSICALACTIVITIES
DGBS DSWFGBSTW
DGBST D
DGBST DO SO
DFSWO RECREATION
S S SC SC S S SC SC OTHERS WELCOME
P SC CPUP SCP SCP SBC LP SPUP P BPUDIRECTTRANSPORTATION
A50B15 T15
A15B7 T6 A59
A20B2 T5 A59
A12B4 T1 A40 A
A20B15 T28 B10
TRANSPORTATIONTERMINALS
SD SD S S CALL S S SD SD SD SD ROOMSSP S SP P P SP P S S S BATHSCGV FV CV CV CV CV CV CV CV FV FOODHCD CALL HCD HCD C HCD HCD HCD HCD HD HANDICAP ACCESS
AR50 AVOIDING ACHES amp PAINSBy Leacuteonie Jenkins MD (c1925- 2000) from the March 1993 AR Vol XXXIV1
quently overused parts such asforearms and hands also respond to massage Quick tutorial on massagestart stroking toward the body and inthe direction of the flow of the veinsmdashupstream from the sorest partgradually work down to include thesore spot Yoursquore trying to move overthe underlying muscle not to rub theskin Thatrsquos why a little oil helps
Your psyche may need some relieffrom overload too Most workshopsare in surroundings that lend them-selves to taking a walk finding a placeto meditate taking in some beauty In creating anything a musical per-formance no less than more static artforms breathing in is as necessary asbreathing out be sure you take time to do it
Not to be forgotten those partiesLate hours and alcohol are stressfultry to balance off the fun yoursquore havingwith your capacity for both Above allenjoy Thatrsquos why yoursquore going
2009 SUMMER RECORDER WORKSHOPS
By Bart Spanhove
The author has been principalprofessor of recorder at the Lemmens-
instituut Leuven (Belgium) since 1984He is also artistic director of the world
famous recorder ensemble the FlandersRecorder Quartet which is set to perform
in concert at the 2009 Boston EarlyMusic Festival He is often asked to serve
as a jury member for internationalrecorder competitions in Canada US
Germany The Netherlands and BelgiumHe has given numerous master classes andlecture demonstrations all over the world
Spanhove is co-author of thesuccessful recorder method Easy Going(Heinrichshofen) and wrote the much-
used book The Finishing Touch ofEnsemble Playing (Alamire 2000
and Moeck 2002 with translations inChinese and German) In 2009
The Recorder Music of Frans Geysenwill come out (Mieroprint)
Currently he is researching practicetechnique for the recorder Daily
Spanhove thinks about how to makepeople happier by making music and
playing the recorder
As a conclusion for the VirtuosoRecorder class during the AmherstWorkshop in 2008 we organized aldquoHappy Hourrdquo for our nine talentedstudents Mee-Jung Ahn (Korea)Emilie Hasselgren and Kristine West(Sweden) Anne Timberlake JosephLewnard Jacob Lodico and BrycePeltier (US) Emiliano Perez(Mexico) and Fanny Massy (France)participated in a quiz that I wrote thenight before with the assistance ofReine-Marie Verhagen
We combined questions regardingmusic theory with practical exercisessuch as middot How long can a player hold a
low f in one breath on an altorecorder (You get one point foreach second)
middot How many times through a scaleis a player able to play in 30seconds (For every octave of theF major scale you get one point)
middot How many different pieces fromthe recorder repertoire can aperson play in the course of twominutes (The other members ofthe group have to guess the nameof the composer before the playercan start the next piece)
middot In one minute list as manydifferent titles as you can fromDer Fluyten Lusthof (TheRecorderrsquos Pleasure Garden) of J J van EyckThe list of questions goes onAt the ldquoHappy Hourrdquo people
were divided into three groupsaccording to dates of each personrsquosbirthday When theoretical questionswere asked (see below) the pointsystem was devised as follows threepoints were awarded when the selected
person of a group could find theanswer himherself two points whenthe selected person needed the help ofthe other group members and onepoint if the group needed the help ofour gracious class assistant Reine-Marie Verhagen (she alwaysknew the answer) No points weregiven if the quizmaster had to supplythe answer
On the next page you find someof my questions There are morewhich we hope to run in a future issueof American Recorder
The quiz was full of fun andsuspense By the end people weremore nervous than when playing aconcert on stage Jacob Lodico of theUS was the winner at Amherst
28 March 2009 American Recorder
Education___________________________________ A quiz for recorder players
wwwAmericanRecorderorg March 2009 29
Try these questions yourselfAnswers appear at the end of thisarticle
The Quiz1 Give the name of Ganassirsquos
treatise of 1535 where heextensively describes the recorder playing and diminutions of his time
2 In which German city is therecorder company Moeck based
3 In the cantata Gottes Zeit ist dieallerbeste Zeit BWV106 JS Bach calls for two altorecorders Give another name for this cantata
4 Of which famous orchestra isFrans Bruumlggen the conductor
5 List three leading Japanesecomposers of excellent solo pieces for the recorder
6 Give the names of recordermagazines published inGermany England and the US
7 What is the fundamental tone of a fourth flute
8 List two recorder makers fromthe Baroque period in England
9 Whatrsquos the title of the recitativeand chorale in the Saint MatthewPassion where the recorder isused
10 Give the names of two famouspublishers in business around1700mdashone in London and one in Amsterdam
11 The opus 10 work by AntonioVivaldi includes six concertiSome of them have beautifulnames Give the names of thefirst three concerti of this opus
12 Whatrsquos a nickname for Jean Jacques Hotteterre
13 The combination of recorder andtraverso was rarely used in theBaroque time Can you name any composers who used thiscombination
14 Which king from 16th-centuryEngland owned a large collectionof recorders and also composedand enjoyed daily recorderplaying
15 How many movements compriseHandelrsquos Sonata in C Op 1 No 7 originally written forrecorder and basso continuo
16 Give the name of Praetoriusrsquostreatise from 1609 that describesthe whole recorder family
17 Name the author of the oldestrecorder method
18 Name Jan Jacob van Eyckrsquosdisability
19 Who pretended around 1930 thatthe recorder was a kind ofclarinet
20 Who doesnrsquot belong in thefollowing group Bertho DrieverKarel van Steenhoven MarionVerbruggen Paul LeenhoutsDaniel Bruumlggen
21 Name the two instrumentsindicated to play the sonataMeiner Mutter of Hans UlrichStaeps
22 Il Pastor Fido was not composedby Antonio Vivaldi but by aFrench composer What was hisname
23 Whatrsquos the nationality of themusic company Zen-On
24 CPE Bach composed abeautiful trio that includes a bassrecorder What are the other twoinstruments
25 Give the names of the fourmovements of Bachrsquos partita forsolo traverse flute BWV1013
26 Which excellent playersperformed as the recorder trioSour Cream
27 A recorder normally has eightfingerholes Despite this musichistory describes the recorder as ldquoune flucircte agrave neuf trousrdquo (a flute with nine fingerholes)Explain why
28 Give the French name for vibratoperformed by finger movementsalone on a wind instrument
29 Who wrote in his diaryldquohellipbeyond anything in the wholeworld the wind-music when the
Answers to
Bart Spanhoversquos Quiz1 La Fontegara2 Celle3 Actus Tragicus4 The Orchestra of the
Eighteenth Century5 R Hirose M Ishii and
M Shinohara
6 Windkanal or Tibia (both ofGermany) The Recorder(England) American Recorder(US)
7 B8 The most famous English
recorder makers around 1700Bressan and Stanesby (the latterbeing both senior and junior)
9 O Schmerz Hier zittert das gequaumllte Herz
10 Walsh (and Hare) (of London)Roger (of Amsterdam)
11 La Tempesta de Mare La Notte Il Gardelino
12 Le Romain13 JB Loeillet J J Quantz
JJ Hotteterre or J B de Boismortier
14 Henry VIII15 Five16 Syntagma Musicum17 Sebastian Virdung Musica
Getutscht und Ausgezogen (1511)18 Blindness19 Igor Stravinsky20 Marion Verbruggen21 Alto recorder and piano22 Nicolas Cheacutedeville23 Japanese24 Viola and cembalo25 Allemande Courante Sarabande
Bourreacutee26 Kees Boeke Walter van Hauwe
and Frans Bruumlggen27 Before 1670 the player could
choose how to hold the recordermdashleft hand or right hand at the topThis meant that recorder makersdrilled two holes to accommodatethe little finger of the hand thatended up at the bottom Theunused hole was sealed with beeswax
28 Flattement29 Samuel Pepys30 Flanders Recorder Quartet
30 March 2009 American Recorder
Lazarrsquos Early Music(866) 511-2981 jblazaraolcom
wwwLazarsEarlyMusiccom
292 Gibraltar Dr 108 Sunnyvale CA 94089
Strings amp Early Winds
ModernBaroque Strings Viols Vielle
Kuumlng Moeck Mollenhauer Paetzold Yamaha Ehlert
Wenner Baroque flutes
Wendy Ogle Lu-Mi Ifshin Snow
Competitive Prices
Sent on Approval
Personalized Service amp Advice
R
E
C
O
R
D
E
R
S
ldquoGO FOR NEO-BAROQUErdquo
Andrew Charlton Partita Piccola For 4 Recorders (SATB)
[Prelude Allemande Courante Musettemdash
a neo-baroque epitome] (Score amp Parts PBE-25) $795
Andrew Charlton Suite Moderne For 3 Recorders (ATB)
[Baroque shapes but Hindemithian harmony]
(3 Playing-Scores PBE-44) $995
Southwest of Baroque David Goldsteinrsquos ldquobaroque Suiterdquo
on Cowboy Songs For 2 Recorders (SA) (PBE-2) $350
The Provincetown Bookshop Inc
246 Commercial Street Provincetown MA 02657 Tel (508)487-0964
A good source for Recorder amp Viol Music of all publishers
Provincetown Bookshop Editions
angel comes down which is sosweet that it ravished me andindeed in a word did wrap upmy soul so that it made me reallysick just as I have formerly beenwhen in love with my wiferdquo
30 Whatrsquos the English name for afamous recorder ensemble calledin its country Vier op lsquon Rij
wwwAmericanRecorderorg March 2009 31
by Tim Broege timbroegeaolcom
December 11 2008 was a specialday for American music the
100th birthday of Americarsquos greatestliving composer Elliott Carter Cele-bratory concerts took place in manyvenues including Carnegie Hall inNew York There the Boston Sym-phony led by James Levine played anew work by Carter Interventions forpiano and orchestra The soloist wasanother well-known conductor DanielBarenboim who is no mean hand atthe keyboard to say the least
Itrsquos remarkable that wonderfulnew compositions continue to pourforth from Carterrsquos pen His musicsparkles and frolics packing lots of musical events into engrossingstructures Much of his music isavailable on CD so if you missed thecelebrations you can easily have yourown belated birthday party for Carter
Although he has never written for recorder (one of our prominent
recorder soloists should commissionhim) Carter has produced manychamber pieces featuring woodwindsSince many recorder players double orstarted out on woodwinds such piecesas the Sonata for Flute Oboe Cello ampHarpsichord (1952) Enchanted Preludes(1988) for flute and rsquocello Espritrudeesprit doux (1985) for flute andclarinet or the Oboe Quartet (2001)may hold special interest
If you missed Charlie Rosersquosexcellent interview (broadcast onDecember 10) with Carter Levine andBarenboim you can see it atwwwcharlierosecomview
interview9774mdashessential viewingfor fans of contemporary music
We note with sadness the passingon January 23 of another distin-guished American composer GeorgePerle An authority on the music ofAlban Berg and the Second VienneseSchool Perle developed a uniquelyrical style based upon a free approachto 12-tone and serial procedureswhich he dubbed ldquo12-tone tonalityrdquo I recommend listening to his SerenadeNo 3 for Piano amp Orchestra (1983) Six Etudes for Piano (1973-76) and the Pulitzer Prize-winning Wind Quintet No 4 (1985)
Another leading American com-poser Leon Kirchner is thankfully still with us having turned 90 onJanuary 24 Like Perle Kirchner has a highly personal and expressive styleA birthday concert was held at MillerTheater at Columbia University inNew York City NY Participatingmusicians included flutist PaulaRobison pianist Jeremy Denk and theClaremont Trio with the composerpresent to discuss his music
An excellent way to get to knowKirchnerrsquos music is through his stringquartets Just in time for his birthdayAlbany Records has released a fine CDof all four played by the Orion StringQuartet Quartet No 4 was written in2007 (when the composer was 87mdasha veritable youngster compared toCarter) The composer Allen Shawnhas described that quartet asldquoluminous and passionaterdquo words aptto describe much of Kirchnerrsquos output
Speaking of contemporary musicI have been spending pleasant hoursperusing the Catalog of ContemporaryBlockflute Music available online atwwwblokfluitorg from StichtingBlokfluit This Netherlands founda-tion offers a contemporary recordercatalog and a catalog of historicalrecorder music Access to both is byfree membership
For those who havenrsquot yet used thecontemporary catalog I urge you togive it a try You can search by manyparameters such as composer title orspecific instrumentation A search forldquovoice fluterdquo turned up a list thatincluded Moon Dances Three AmericanSketches by composer Walter Mays(intended for solo alto recorder butalso playable on tenor or voice flute)Searching the name of English com-poser Edmund Rubbra produced a listof eight works that employ recordersincluding the intriguing CantataPastorale opus 92 for high voice altorecorder rsquocello and harpsichord
Searching ldquofemale composersrdquo fora piece using ldquoBaroque altordquo yieldedAfter Meditation by Ros Bandt ofAustralia
What an easy and tremendouslyvaluable way to find new music
On the Cutting Edge___________________________________Birthdays composers and
recorder music catalogs
Elliot Carter
(photo by Meredith Heuer)
Question How does Renaissancefingering differ from standard
fingering on the recorder Is one superior tothe other Do you need a special recorder touse Renaissance fingering and if so can itbe played with regular recorders Is there afingering chart that shows RenaissancefingeringmdashWilliam BaumannWaterford WI
Answer from Carolyn Peskin Music composed in the
Renaissance the historical periodextending from about 1450 to 1600was predominantly vocal and highlycontrapuntal Recorders which oftendoubled singers at the octave orrendered vocal pieces instrumentallywere designed to make the individualmelodic lines clearly audible
Most 16th-century consortrecorders were one-piece instrumentswith large toneholes and a wide borethat contracted slightly starting nearthe upper fingerholes and thenexpanded gently near the lowest holesThat ldquochoke-borerdquo design togetherwith the voicing and tonehole con-figuration favored the fundamentaltone (first harmonic) producing astrong open sound that was aboutequally loud throughout theinstrumentrsquos range
Such recorders had a useful rangeof only about an octave plus a sixthwhich was nevertheless sufficient for the music of their day MostRenaissance-style consort recordersmade today are based loosely uponsurviving 16th-century instruments ofthe above type and are designed toapproximate the range timbre andvolume of those early instruments
Our present-day ldquoregularrdquorecorders are Baroque-derived instru-ments based loosely upon survivingrecorders from the late 17th and early18th centuries They are three-pieceinstruments with small toneholes and abore that is narrower and moretapering than a Renaissance boreextending their useful range upward totwo octaves plus a whole tone
Baroque recorders are soft andsweet-sounding in their bottom octavebut louder and brighter in the secondoctave Their lowest notes are espe-cially weak because they must be blowngently to prevent overblowing into thesecond octave Such instruments aresuitable for Baroque solo and chamberrepertoire but not very satisfying forRenaissance polyphony
Due to their different timbre andvolume Renaissance recorders will not blend well with Baroque onesFurthermore the most historicallyauthentic Renaissance-style recordersare tuned in a ldquomeantonerdquotemperament that facilitates the playingof pure major thirds Such instrumentsmake Renaissance music easier to playin tune but will produce intonationproblems if played with Baroquerecorders which are tuned in equaltemperament For the above reasonsRenaissance and Baroque recordersshould not be played together
Renaissance fingering will not work on todayrsquos neo-Baroquerecordersmdashmost of which haveldquomodernrdquo Baroque fingeringcommonly called ldquoEnglishrdquo fingering
because it was developed fromhistorical Baroque fingering by ArnoldDolmetsch in England during theearly 20th century Renaissancefingering is less standardized partlybecause a number of different originalinstruments are used as models andpartly because makers wish to improvethe intonation tone quality andorplayability of certain notes Howeverthe following generalizations apply tomany of todayrsquos Renaissance-styleconsort recorders
First in the lower octave modernBaroque fingering works for mostnotes but is often too flat for the fourth scale degree (eg soprano F)requiring removal of finger 7 (right-hand pinky) and is too sharp for theraised fourth degree (eg soprano F)requiring addition of finger 7
Modern fingering is also usuallytoo sharp for the lowered seventhdegree (eg soprano B) The correctfingering for that note varies from oneinstrument to another
In the upper octave modernfingering works for the first third andfifth scale degrees (eg soprano C Eand G) but usually not for other notesSome notes require half-holing with aright-hand finger and notes above thefifth scale degree may require additionof several fingers to bring them in tuneHistorical Renaissance fingering forthe second scale degree (eg sopranoD) is especially awkward because all ofthe fingerholes and the thumbholemust be uncovered Therefore somemakers substitute modern fingering forthat note
Although Renaissance fingeringand meantone tuning are recom-mended for the best blend some
Q amp A___________________________________ Renaissance recorder fingering
Send questions to Carolyn Peskin QampA Editor 3559 Strathavon Road Shaker Heights OH44120 carolynpeskinstratosnet
32 March 2009 American Recorder
wwwAmericanRecorderorg March 2009 33
makers of handcrafted Renaissance recorders will provide modern fingeringandor equal temperament upon request and Moeck Verlag offers a choice ofRenaissance or modern fingering for most sizes of its factory-producedRenaissance Consort series
For a most satisfying blend Renaissance ensembles should purchase amatched set of recorders tuned and voiced to be played together Renaissanceconsort sets usually include two different alto recorders one in G (lowest note g)and one in F (lowest note f ) The ATTB combination with the G-alto is best formost of the quartet music composed between 1450 and 1550 while the SATBcombination with the F-alto is more practical for much late 16th-centuryrepertoire (Playing the G-alto requires learning G-alto fingering or elsetransposing the alto line down a whole tone and using F-alto fingering)
In addition to consort recorders some makers offer ldquoGanassirdquo sopranos andaltos based upon fingering charts in Silvestro Ganassirsquos recorder tutor Fontegarapublished in 1535 and a single original instrument in the Vienna Kunst-historisches Museum Because of their special bore design (cylindrical with aflaring bell) Ganassi recorders have a range of two octaves and a sixth withcumbersome fingerings in the third octave They are used mainly as soloinstruments for playing intricate ornaments of the type found in Fontegara
Also sometimes included in the ldquoRenaissancerdquo category are ldquotransitionalrdquo(early Baroque) recorders which are based upon originals from the first half ofthe 17th century They have a bore that is wider than a Baroque bore but contractssharply near the lower end resulting in strong low notes and at least a full two-octave range usually with modern fingering Most transitional recorders aresopranos or altos designed for playing Jacob van Eyckrsquos variation sets or thehighly ornamented Italian solo repertoire of the late-16th and early-17thcenturies
However wide-bore consortrecorders with a range of at least twooctaves and modern fingering shouldalso be regarded as transitionalinstruments They differ somewhat intimbre and volume from typicalRenaissance consort recorders
Handmade wide-borerecordersmdashconsort Ganassi andtransitionalmdashare obtainable frommakers who advertise in AmericanRecorder the Prescott Workshop andthe Von Huene Workshop in the USJean-Luc Boudreau in Canada andStephan Blezinger in GermanyContact them andor visit their websites to find out what kinds ofrecorders they are currently makingand to get an idea of their prices andwait times
Factory-produced wide-borerecorders from Kobliczek Moeck andMollenhauer are available frominstrument dealers who advertise inAR New and used recordersincluding wide-bore models fromimportant makers in the US andabroad are also obtainable from Uni-corn Music For further informationvisit wwwbuyrecorderscom For a comprehensive database of recordermakers worldwide see Nicholas SLanderrsquos ldquoExtant Recorder Makers amp Retailersrdquo at wwwrecorder
homepagenetmakershtml
REFERENCES
CONSULTEDBauer Winfried
wwwrecorder-fingeringscomIncludes interactive fingeringcharts from modern makers andhistorical treatises Charts forRenaissance consort recorders byAdriana Breukink Adrian BrownBob Marvin and Tom Prescottwere consulted
Brown Adrianwwwadrianbrownorgrec
order_typesconsorthtml
Our present-day ldquoregularrdquo recorders are
Baroque-derived instruments based loosely
upon surviving recorders from the
late 17th and early 18th centuries
34 March 2009 American Recorder
The Von Huene Workshop Incis pleased to announce agreements with
CoolsmaZamra
to serve as their authorised service agents in the US
For more than 40 years the von Huene Workshop has produced some of the finest recorders in the world Our skilled staff can revoice retune and repair even the most seriously damaged instruments All repairs are done right on the premises and most can be completed within a week
For warranty repairs please include a copy of your original sales receipt
j 65 Boylston Street Brookline MA 02445 i(617) 277-8690 Fax (617) 277-7217 servicevonhuenecom
An informative article aboutrecorder sizes in Renaissanceconsorts
Brown Adrian and David LasockildquoRenaissance Recorders andTheir Makersrdquo AmericanRecorder Vol XLVII No 1(January 2006) pp 19-31 An important article based upon Brownrsquos extensive researchon 120 of the 200 surviving 16th-century recorders
Ganassi Silvestro Opera IntitulataFontegara Ed Hildemarie Peter(Berlin-Lichterfelde RobertLienau 1959) Modern edition ofthe oldest known treatise devotedentirely to the recorder (publishedin 1535) Includes 16th-centuryfingering charts
Griscom Richard and David LasockiThe Recorder A Research andInformation Guide (New York andLondon Routledge 2003) Anannotated bibliography including
references on construction anddesign of historical recorders
Levin Philip ldquoQampArdquo AmericanRecorder Vol XXXVIII No 4(September 1997) p 27Explains in simple terms thedifference between Renaissanceand Baroque recorders
Morgan Fred ldquoA Recorder for theMusic of JJ van EyckrdquoAmerican Recorder Vol XXV No 2 (May 1984) pp 47-49Describes the bore design of arecorder suitable for playing Van Eyckrsquos variation sets andcompares it with bore designs ofother types of recorders
Myers Herbert W ldquoRecorderrdquochapter in A Performerrsquos Guide toRenaissance Music ed JefferyKite-Powell (New York SchirmerBooks 1994) A 2nd edition isnow available published in 2007by Indiana University Press
FEATURING MUSICA PACIFICA
JUDITH LINSENBERG
RECORDERS____JS BACH TRIO SONATAS Arr by
Linsenberg from Trio Sonatas for Organ BWV525-
530 Sonata No 1 in E
major (transp to B
)
BWV 525 Sonata No 2 in C minor (transp to E)
BWV526 Sonata No 3 in D minor (transp to G)
BWV 527 Sonata No 4 in E minor BWV 528
Sonata No 5 in C major (transp to F) BWV529
Sonata No 6 in G major (transp to C) BWV 530
Virgin Classics Veritas 1993
____FIRE BENEATH MY FINGERS Showcases
three legendary composers who were also
virtuoso performers Vivaldi Concerto in F major
after RV 98570 ldquoLa Tempesta di Marerdquo Sonata in
A minor RV86 Concerto in G minor RV106 Con-
certo in Bb major RV503 Sammartini Concerto in
F major Tartini Concerto in A major D91 Dorian
____MANCINI CONCERTI DI CAMERA Seven
sonatas by Francesco Mancini plus one work each
from his contemporaries Francesco Durante amp
Domenico Scarlatti Highly recommended citation
from the 2000 Vivaldi Prize for Recordings of Italian
Early Music--Giorgio Cini Foundation Dorian
____MARAIS MARIN PIEgraveCES EN TRIO POUR
LES FLUcircTES VIOLON amp DESSUS DE VIOLE
Maraiss complete works for two treble lines and
bass with varied instrumentation and orchestrations
2-CD set $24
____SCARLATTI CONCERTI DI CAMERA
Seven sonatas for various instrumentations no
poor relations to the composers much more widely-
known vocal output All recorder players should
certainly have thisndashEarly Music Review
____TELEMANN CHAMBER CANTATAS
Five cantatas from Harmonischer Gottesdienst two
sonatas from Sonatas Corellisantes 2003 Chamber
Music America WQXR Record Award for best
chamber music recordings
____VIVALDI LA NOTTE Concerti per strumenti
diversi Award-winning CD featuring five Vivaldi
concerti two sonatas
AND OTHER RECORDING
ARTISTS FROM CALIFORNIA ____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 American Bach Soloists Jeffrey
Thomas conductor Dan Laurin Hanneke van
Proosdij recorders Christmas Concerto featuring
unique 1725 London version with solos transcription
for two recorders instead of two solo violins in
three of the six concertos Delos
____CANCcedilONIEgraveR Annette Bauer recorder
multi-instrumentalist Tim Rayborn Shira Kammen
strings Phoebe Jevtovic voice in a new early
music group devoted to repertoire from the
12thndash15th centuries as well as traditional music
from related regions (the Balkans Scandinavia
Middle East) Medieval instrumental music played
on a variety of instruments including strings
recorders and percussion Medieval dances and
motets bring to life the rich world of ancient
European music-making
____SACRED AND SECULAR MUSIC FROM
RENAISSANCE GERMANY Ciaramella-Adam amp
Rotem Gilbert Doug Millikan Debra Nagy
recorders with other winds shawm sackbut amp
organ Medieval amp Renaissance sacred music with
reconstructions of folksongs amp arrangements based
on contemporary improvisation
____BURIED TREASURE TOPAZ amp SAPPHIRE
Ensemble Vermillian Frances Blaker recorders
Barbara Blaker Krumdieck cello Elisabeth Reed
gamba Katherine Heater harpsichord amp organ
Transcriptions of Buxtehudes Op 1 other pieces by
Buxtehude works by Biber Johann Schop
Schmelzer Fafarela 2007
____STOLEN JEWELS Ensemble Vermillian
Frances Blaker recorders Barbara Blaker
Krumdieck Elisabeth Reed Katherine Heater 17th-
century German music adapted by Blaker I love
violin music so I steal the music and rearrange it
for my own instrumentrdquo Buxtehude Op 1 Biber
Rosenmuller Krieger JM Bach Fafarela
Recordings
____SENFL (LUDWIG) Farallon Recorder Quartet
(Letitia Berlin Frances Blaker Louise Carslake
Hanneke van Proosdij) 23 lieder motets and
instrumental works of the German Renaissance
____DOLCE MUSICAndash A CONTEMPLATIVE
JOURNEY Eileen Hadidianflutes recorders
Natalie Cox harps Celtic Renaissance and
Medieval melodies for recorder and flute with
Celtic harp Healing Muses 2005
____REFLECTIONS MUSIC TO SOOTHE AND
UPLIFT THE SPIRIT Eileen Hadidian recorder amp
Baroque flute with Celtic harp and cello Celtic
traditional Renaissance amp Medieval melodies
Healing Muses
____AN EVENING WITH BACH Voices of Music
Hanneke van Proosdij Louis Carslake Dan Laurin
recorders Joanna Blendulf Elizabeth Blumenstock
Rodney Gehrke Lisa Grodin Katherine Kyme
Jennifer Lane Victoria Gunn Pich Susanne Ryden
William Skeen David Tayler Renaissance and
Baroque music centers on fine singing Instantly
recognizable Air on a G String Bachrsquos Prelude in
G Major (solo theorbo for rsquocello) plus lilting vocal
performancesmdashRydenrsquos weightless soprano on
Bist du bei mir Lanersquos rich alto on Es is vollbracht
____BACH amp TELEMANN SONATAS PRELUDES
amp FANTASIAS Voices of Music (Hanneke van
Proosdij Joanna Blendulf Rodney Gehrke William
Skeen David Tayler) Beautiful chamber music by
Bach and Telemann
IN STOCK (Partial listing)____ALLA TURCA FUX CALDARA BADIA
Matthias Maute amp Sophie Lariviegravere recorders
Monika Mauch soprano Vocal music of the church
accompanied by Ensemble Caprice plus sonatas
and other instrumental pieces Analekta
____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 John Daniels Sonja Lindblad
recorders Peter Sykes harpsichord Trio sonata
arrangement by Johann Christian Schickhardt
____LES
AMIS DU
BAROQUE
Paul Nauta recorder amp
Baroque flute Koen Dieltiens recorder Music by
Bassani Corelli Vivaldi etc Highlight Intl
____LES SEPT SAUTS BAROQUE CHAMBER
MUSIC AT THE STUTTGART COURT Matthias
Maute amp Sophie Lariviegravere recorders amp traverso
Ensemble Caprice Charming repertoire by
Schwartzkopff Bodino Detri Atma Classique
____TASTE OF PORTIQUE LEnsemble Portique
Early and contemporary chamber musicmdash
Bach Telemann Boismortier and others
____TELEMANN ALLA POLACCA REBELndash
Matthias Maute recorders amp traversondash
plays concerti and suites by GP Telemann Dorian
____TELEMANN CANONS AND DUOS Lisette
Kielson amp Patrick OMalley recorders LEnsemble
Portique Telemann Canons meacutelodieux amp Sonates
sans basse 2-CD set LEP Records
____20TH CENTURY MUSIC FOR RECORDER amp
PIANO Anita Randolfi recorders Music by Jacob
Bartok Leigh others for recorder amp piano
____VIVALDI AND THE BAROQUE GYPSIES
Matthias Maute amp Sophie Lariviegravere recorders
Ensemble Caprice Gypsy music taken from
Uhrovska zbierka (now Slovakia) plus Vivaldi
____VIVALDI SHADES OF RED CONCERTOS amp
SONATAS FOR RECORDER amp STRINGS Matthias
Maute recorders REBEL Stylish high octane
readings of some of Vivaldis most beloved pieces
including the popular and raucous Concerto alla
Rustica stunningly colorful Sonata on La Follia and
four exuberant recorder concerti Bridge
____WINDFIRE Charmaine Delmatier recorder
Steve Kostelnik classical guitar Terry Hale bass
Erik Hokkanen violin Refreshing mixture of Andrew
Lloyd Weber American blues flamenco Celtic and
one original piece ltwwwyermomusicomgt
Please indicate above the CDs you wish toorder and print clearly the following
Name ____________________________________
Daytime phone (_____)______________________
Address__________________________________
CityStateZip _____________________________
Check enclosed for
_____ single CDs x $____ = $______
_____ 2-CD sets x $____ = $______
TOTAL $______
Please charge the above amount to my
MasterCard Visa or AmEx
_______________________________________
Exp Date ____________
Cardholderrsquos signature ______________________
Mail to
ARS 1129 Ruth Dr St Louis MO 63122-1019 US
You may fax a credit card order to 314-966-4649
NEW You may order CDs online using PayPal at
wwwamericanrecorderorgordercdromshtm
Order your recorder discs
through the ARS CD Club
The ARS CD Club makes hard-to-find or limited release CDs by ARS members
available to ARS members at the special price listed (non-members slightly higher)
All CDs are $15 ARS members$17 Others unless marked otherwise Two-CD sets are
$24 ARS members$28 Others Add Shipping and Handling $2 for one CD $1 for each
additional CD An updated listing of all available CDs may be found at the ARS
web site ltwwwamericanrecorderorggt
The first meeting of the newly-formedFort Myers Recorder and Early
Music Ensemble was January 26 atthe Florida home of chapter rep Sue
Groskreutz For this year the groupis somewhat loosely organized andplans to meet for extended sight-reading Repertoire at the first meetingcomprised everything from Renais-sance duets to chamber music involv-ing three treble parts and continuo
Among the five musiciansattending the first meeting (photobelow front row Elizabeth Spang SueGroskreutz back row Suzanne FergusonSibylle Baumgartner Arlene Sowka) allplayed recorder three harpsichord
and one each played traverso violinand gamba Due to the scarcity ofrecorder players south of the Sarasotaarea modern string players are alsoincorporated into this ensemble
The group decided not to chargedues and to meet at Groskreutzrsquoshome For more information pleasecontact Groskreutz at 239-267-1752spgembarqmailcom Snowbirdsdrifting through the area are welcome
Last fall at the requestof a student Kay Hettich
(inset below right) taught abeginning recorder class atthe Redding (CA) Senior
Center The five-weekclass was so successful thatmost participants haveformed a bi-weekly noviceensemble (right) coachedby Hettichmdashwho consid-ers them her ldquohatchedeggsrdquo
A new batch of ldquoeggsrdquostarted to incubate when afive-week class began on February 20Other senior center members havebecome interested as they heard oftheir colleaguesrsquo success These noviceplayers comprise some who previouslyread music and played instruments as well as people who are totally new to music notation
One student has also formulated amaxim ldquoEveryone at age 40 ought tolearn to play the recorder if heshehasnrsquot alreadyrdquo Just think how theworld would be transformed byshifting our focus to music
After Lynn Whidden attendedthe Montreacuteal Recorder Festival lastfall when the ARS Board met inQuebec she joined the ARS and nowrelays news of the lively interest in therecorder exhibited by a group underthe new leadership of Brent Legg ofBrandon University in ManitobaCanada Although his hands wereldquostill partly frozenrdquo he wrote that theBrandon University Collegium
Musicum in collaboration with theWaverley Park Recorder Club is
preparing a spring concert calledldquoEnglandrsquos Golden AgerdquoRepertoire spans the 16th century
from Henry VIIIrsquos accession in 1509to the death in 1603 of Elizabeth Iand includes solo songs four- andfive-part settings of Renaissancedances (with dancers) three- to five-voice madrigals and ldquobig-bandrdquoarrangements of William Byrdrsquos TheBells and The Dargason as re-imaginedby Gustav Holst (further re-imaginedfor recorders and percussion)
Of the 15 collegium membersseven are encountering the recorderfor the first time since elementaryschool The Collegium Musicumpromotes the study of early music at the university and is open to theuniversity community and the generalpublic This year there are five com-munity participants with interest fromseveral more both within and outsideof the university For informationcontact BrentLegggmailcom
January 16 marked the thirdannual recorder workshop of threeFlorida groups the Pasco Collegium
Recorder Consort of Hudson theImperial Recorder Consort of
36 March 2009 American Recorder
Chapters
amp Consorts___________________________________Workshops and activities from
coast to coast in the US and Canada
Lakeland and the Pilgrim Pipers Recorder Consort of St Petersburg Theygathered for a morning tackling selections by Banchieri Monteverdi PurcellCorelli Mendelssohn Bach Mozart and Glen Shannon Each group presenteda piece for the other participants Sweet Georgia Brown by Ben Bernie (St Pete)a Sonata by Sammartini (Lakeland) and The Gospel Train arr by KW Ford(Pasco) The 29 participants were led by Marlene Cracraft (Pasco) Jane
Spencer (Lakeland) and Elizabeth Snedeker (St Pete) Tom Bickley (photo below) directed the fall workshop of the Mid-Peninsula
Recorder Orchestra in Cupertino CA The 30 players started with Gregorianchants written in ldquooldrdquo notation Bickley gave basic instruction on how tointerpret the notes and then had the group sing the chants prior to playing them
The workshop theme of ldquoThe Articulate Recorderrdquo was literally played out as the music presented used variations in tonguing phrasing and breathingOther repertoire included a Kyrie by Tomas Luis de Victoria Bachrsquos Jesu Joy ofManrsquos Desiring a double-choir piece by Gabrieli Christopher Tyersquos In NomineXIII and a Purcell chaconne The workshop ended with a rhythmically-challenging minimalist piece by Bickley entitled Beginning composed for theWaldorf School teacher training program George Greenwood reports that thegroup had a productive event and plans to ask Bickley to lead a future workshop
wwwAmericanRecorderorg March 2009 37
A Muse in the DesertThe sound of a pin dropping hellip thesound of eager minds and fingersabsorbing information and inspira-tion hellip the sounds of ldquoNuevaEspantildeardquo Spanish- and indigenous-influenced music of the 1600s in theNew World These were the soundsof the Desert Pipes (Phoenix AZ)chapterrsquos fall workshop given byEileen Hadidian On a Saturdaylast October 30 players from all overArizona gathered to learn from andbe inspired by the founder of a SanFrancisco Bay Area group dedicatedto sharing music for healing inhealthcare settings Healing Muses(wwwhealingmusesorg)
The day began with relaxationstretching and breathing exercisesfollowed by travels to Peruacute MexicoGuatemala and Colombiamdashhighchurch music vernacular pieces anda mixture of the two Participantsenjoyed the historical and contextualbackground provided as an overviewfor the day and for each piece
Remarkably the sound heardbetween pieces and passages was anenergy-filled quiet the attentivestillness of active engagement in theworkshop experiencemdashnot the chat-tering noodling and conversationsthat often occur when the musicstops That activity was reserved forthe breaks when participants couldenjoy the cool (at last) outdoorschat with Hadidian and peruse the popular garage sale (to benefitDesert Pipes) of previously-enjoyedbooks and other treasures
On Sunday Hadidian sharedher expertise and inspiration in indi-vidual and group coaching sessionsThe weekend was a special experi-ence and Desert Pipes memberslook forward to the next visit of this Healing Muse
Ann Koenig Scottsdale AZannisalesprocom
Members
of three
Florida
groups
met
in January
for a joint
workshop
CHAPTER NEWS
Chapter newsletter editors and publicity officers should send materials for publication toAmerican Recorder 7770 South High St Centennial CO 80122-3122
editoramericanrecorderorg Also send short articles about specific activities that haveincreased chapter membership or recognition or just the enjoyment your members get out of
being part of your chapter Digital photos should be at least 3rdquox4rdquox300dpi TIF or unedited JPG files Please send news to the AR address above and to the following
ARS Office 1129 Ruth Drive St Louis MO 63122-1019 ARSrecorderAmericanRecorderorg
and to Bonnie Kelly Chair Chapters amp Consorts Committee 45 Shawsheen Rd 16 Bedford MA 01730 bksharpaolcom
TO THE STARS
AND BEYONDThe cover of the November magazinegenerated a few comments Some werenrsquotsure how to interpret the title (in theartistrsquos native German it could besomething close to ldquostarlit moonrdquo)Longtime member Carolyn Peskin wrote to offer her vision of that cover
In the beginning the Great Spiritinvented Mr Sun to light the day andMiss Moon to light the nightHowever as Miss Moon floated up inthe sky all by herself like a big yellowballoon she began to feel very lonelyso one night to relieve her lonelinessshe decided to take out her recorderand make music
But when she started to playsomething miraculous happened Not only beautiful melodies but alsoyellow dust poured out of the bottomof her recorder and the dust particlesimmediately coalesced to form yellowstars As she continued playing moreand more stars were created and theyfloated up around her filling the nightsky
At last Miss Moon was happy fornot only was she herself able to enjoyher music but she now had a wholecrowd of starry companions to enjoy itwith her And if you listen very care-fully on a quiet night you might beable to hear her recorder and thatstarry choir humming along
Carolyn Peskin
LOCATING EARPLUGSI read with interest the QampA in theNovember lsquo08 AR regarding hearingloss and use of earplugs Where do you get musicianrsquos earplugs
Dolly Hirata Kensington CA
CAROLYN PESKIN PROVIDED THIS
INFORMATION Musicianrsquos earplugs arecustom made for individual usersThey can be purchased only fromlicensed hearing professionals (ieaudiologists and hearing instrumentspecialists) To find a licensed hearingprofessional in your area look underldquoaudiologyrdquo or ldquohearingrdquo in your localyellow pages
For information about how musi-cianrsquos earplugs are produced visitwwwetymoticcomephperme-w
tbaspx That web page also has a linkto contact information for authorizedlabs that make the custom earmolds formusicianrsquos earplugs If the yellow pagesdo not prove helpful those labs canrefer you to a licensed hearing pro-fessional in your area from whom youcan purchase musicianrsquos earplugs
MORE FROM CAROLYN
THIS TIME ABOUT OSKARIn the September 2008 AR the musicreview by Leslie Timmons of the Oskarpieces by Matthias Maute mentionedthat Carolyn Peskin had translated twoof the Oskar books from German toEnglish People can obtain thetranslations free of charge as Wordattachments by contacting her atCarolyn Peskin 3559 StrathavonRoad Shaker Heights OH 44120carolynpeskinstratosnet
ANOTHER KIND OF
MUSIC-READING
GLASSESIn the January 2009 issue of AmericanRecorder therersquos something (in myopinion) the ldquoRecorder with GlassesObbligatordquo article omitted which canenable a nearsighted musician to avoidneck strain in the use of bifocals
Irsquove found the solution to thisvexing problem is to have onersquos bifocalsconstructed differently [from] normalMy optometrist was willing to work
38 March 2009 American Recorder
Response___________________________________Two kinds of vision
the better to see with and (not) to hear with
Honeysuckle Music
Recorders amp accessories
Music for recorders amp viols
Jean Allison Olson1604 Portland AveSt Paul MN 55104
6516448545jeanhoneysucklemusiccom
Responses from our readers are welcomedand may be sent to American Recorder 7770 South High St Centennial CO
80122 Letters may be edited for length and consistency
ARS Membership Enrollment and Renewal I am a new member I am or have been a member
USCanadian Memberships Foreign Memberships $45 One Year $55 Foreign One Year $75 Sustaining (Receive a Hottetere Hands Pin) $100 Two Years $80 Two Years
LIFETIME MEMBERSHIP Single Dual Regular Lifetime Member $1000 (2) $1500 (4) 4 installments of $250 available) Loyalty Lifetime Member (1) $ 800 (3) $1200 (4) 4 installments of $200 available
(1) For members who have maintained membership for five consecutive years (2) $750 is Tax Deductible (3) $600 is Tax Deductible (4) Installments available Student Memberships Other Memberships (Enclose proof of full time enrollment) $65 One Year Workshop Membership
$25 USCanadian One Year $125 One Year Business Membership $45 USCanadian Two Years $30 Foreign One Year $5 Additional Charge for Dual Address or Dual Name
Do not list my name in the ARS Print Directory Do not list my name on the ARS Online Directory Do not release my name for recorder related mailings Do not contact me via email
My address telephone and email address are the same as last time
______________________________________ _________________________ Name Phone Number ______________________________________ _________________________ AddressCityStatePostal Code Email Address Please charge to (Circle one) VISAMasterCardAMEXDiscover CC________________________________ Expiration Date ______________ Signature of cardholder_______________________________________________________ Clearly Print Name as it appears on Card________________________________________
Renew by Mail Online By Phone or by Fax
Demographic Information (optional information collected only to enhance ARS services and provide statistics to grant makers)
I am a member of ARS Chapter or Consort____________________________ I am the Chapter Contact Your age Under 21 (21-30) (31-40) (41-50) (51-60) 61-70) (71+) Please check all that apply
I am a Professional Recorder Performer
I wish to be included in the list of Recorder Teachers in the ARS Directory and website I Teach (circle your choices) Children High School Youth College Students Adults Beginner Intermediate Advanced Pre-Professional Individuals Childrenrsquos Classes Adult Classes Ensembles Suzuki Orff JRS Leader Kodaly Where I Teach (circle your choices) Music Studio Public or private school Community Music School College Other _____________________
American Recorder Society 1129 Ruth Dr St Louis MO 63122-1019
Phone 314-966-4082Fax 314-966-4649
TollFree 800-491-9588ARSRecorderAmericanRecorderorg
wwwAmericanRecorderorg
with me [to find] an ideal (for me)placement size and focal length of thebifocal lens
Before visiting the optometristIrsquod had my wife measure the distancefrom my eyes to the music on mymusic stand With this measurementthe optometrist set up her machine toprepare a vision prescription for memaximized for this reading distance
When I look at my bifocals (withthem off) the lenses (through which Iread my music) occupy most of thelower two-thirds of my glasses (they are set very high and beginimmediately at the inner rims) Thisleaves the upper third and smallportions of the outside [of each lens]for focusing on the conductor As longas my stand is set low enough my necknever experiences any strain (even if Ihave to read three to a part) and Irsquove no problem in seeing theconductor (in sharp focus) either
For me trying to use glasses [toread] from a music stand [that] weredesigned for use in reading from acomputer screen also results in neckstrain (not to mention unreliability in aldquopressurerdquo situation) Having studiedTai Chi extensively and so being
wwwAmericanRecorderorg March 2009 39
There are lots ofsolutions to thepresbyopic musicianrsquosproblem but all involve compromises
40 March 2009 American Recorder
American Recorder Society PublicationsErich Katz Contemporary Music Series Members Non-MembersA Short Tale for Two Basses Suzanne M Angevine (Level II) (2 scores) $5 $8Dialogue and Dance Cecil Effinger (SATB)(Level II-III) (score amp parts) $10 $18Dorian Mood Sally Price (SATB) (Level II) (score amp parts) $10 $18Double Quartet for Recorders Peter Ballinger (Level II-III) (score amp parts) $10 $18Entrevista Frederic Palmer (SATB) (Level II) (2 scores amp 4 recorder parts) $8 $14Kyrie and Vocalise for Soprano Voice ampRecorders Stanley W Osborn $8 $14
(SATB) (Level II) (2 scores amp 4 recorder parts) Picnic Music Jeffrey Quick (SATB) (Level II) (score amp parts) $5 $8Six Short Pieces for Three Recorders edited by Alan Drake $8 $14
(3 scores) Vaclav Nelhybel (AATT) (Level II)Sonatina for Alto Recorder and Piano Anthony Burgess $7 $12
(Level II) (2 scores)Sonatine for Three Altos Lee Gannon (Level III) (score amp parts) $14 $26Suite of Jewish Folk Tunes Erich Katz (S SA8 AT) (Level II) (three scores) $10 $18
Musical Editions from the Membersrsquo Library ARS members 1 copy-$3 2 copies-$450 3-$6 4-$750 5-$10 6-$1150Non-members (editions over 2 years old) 1 copy-$5 2 copies-$850 3-$12 4-$15 5-$1950 6-$23The ARS is happy to provide photocopied enlargements of any Membersrsquo Library edition at the same prices Please specify ldquoMembersrsquo Library Enlargementrdquo
ARS Information BookletsARS members 1 booklet-$13 2 booklets-$23 3-$28 4-$35 5-$41 6-$47 7-$52Non-members 1 booklet-$18 2 booklets-$33 3-$44 4$55 5-$66 6-$76 7-$86
Education PublicationsThe ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996)
First copy free to ARS Members (mailed to new members as they join) replacement copies $3Guidebook to the ARS Personal Study Program (1996) Material formerly published in the Study Guide
and Study Guide Handbook plus additional resources Members $11 non-members $20ARS Music Lists (2002 with 2003 Supplement) Graded list of solos ensembles and method books
Members $9 non-members $15Package Deal available only to ARS members Guidebook and Music ListsSupplement ordered together $16Junior Recorder Society Leaderrsquos Resource Notebook
ARS members $20 non-members $40 (updates at reduced rates after initial purchase)$5 Dues for each JRS student member sponsored by an ARS member ($4 each for groups of 10+)
VideosRecorder Power Educational video from the ARS and recorder virtuoso John Tyson
An exciting resource about teaching recorder to young students ARS members may borrow a copy for onemonth by sending $5 to the ARS office along with the address to which the tape should be shipped
Pete Rose Video Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music Festival recitalFeatures Rose performing a variety of music and an interview of him by ARS member professional John Tyson
Other PublicationsChapter Handbook A resource on chapter operations for current chapter leaders or those considering forming an
ARS chapter ARS members $10 non-members $20 (updates free after initial purchase) One free copy sent toeach ARS chapter with 10 members or more
Consort Handbook Resource on consort topics such as group interaction rehearsing repertoire performingARS member prices CD $10 hard copy $20 combo price of CD and hard copy ordered together $25
Discography of the Recorder Vol I (1989) Compiled by Scott Paterson and David LasockiDiscography of the Recorder Vol II (1990-1994) Compiled by Scott Paterson
Either single volume ARS members $23 non-members $28Both Discography volumes together ARS members only $40
American Recorder Cumulative Index for Vols I-XXXX ARS members $20 non-members $32Index Supplement Vol XXXIV-XXXX ARS members $8 non-members $14
Shipping amp Handling FeesUnder $10 - add $3 $10-1999 - add $4 $20-2999 - add $5 $30-3999 - add $6 $40-4999 - add $7 All prices are inUS dollars For Canadian or foreign postage pay by credit card and actual postage is charged
Please make checks payable to ARS VISAMCAMEXDisc also accepted
ARS 1129 Ruth Drive St Louis MO 63122 US800-491-9588 ARSrecorderAmericanRecorderorg
Arioso and Jazzy Rondo (AB) Carolyn PeskinBerceusendashFantaisie (SATB) Jean BoivertBrucknerrsquos Ave Maria (SSATTBB)
Jennifer W Lehmann arrCanon for 4 Basses (BBBB) David P RuhlDancers (AT) Richard EastmanDifferent Quips (AATB) Stephan ChandlerElegy for Recorder Quartet (SATB) Carolyn PeskinElizabethan Delights (SAATB)
Jennifer W Lehmann arrFallen Leaves Fugal Fantasy (SATB) Dominic BohbotFour Airs from ldquoThe Beggarrsquos Operardquo (SATB)
Kearney Smith arrGloria in Excelsis (TTTB) Robert CowperIdyll (ATB) Stan McDanielImitations (AA) Laurie G AlbertsIn Memory of Andrew (ATB) David GoldsteinLay Your Shadow on the Sundials (TBgB)
Terry Winter OwensLeClercqrsquos Air (SATB) Richard E WoodLittle Girl Skipping and Alouette et al (SATBCb)
Timothy R Walsh
Los Pastores (SAAAT + perc) Virginia N Ebinger arrNew Rounds on Old Rhymes (4 var) Erich KatzOther Quips (ATBB) Stephan ChandlerPoinciana Rag (SATB) Laurie G AlbertsSanta Barbara Suite (SSAAT) Erich KatzSentimental Songs (SATB) David Goldstein arrSerie for Two Alto Recorders (AA) Frederic Palmer Slow Dance with Doubles (2 x SATB) Colin SterneSonata da Chiesa (SATB) Ann McKinleyS-O-S (SATB) Anthony St PierreThree Bantam Ballads (TB) Ann McKinleyThree Cleveland Scenes (SAT) Carolyn PeskinThree in Five (AAB) Karl A StetsonTracings in the Snow in Central Park (SAT)
Robert W ButtsTrios for Recorders (var) George T BachmannTriptych (AATB) Peter A RamseyTwo Bach Trios (SAB) William Long arrTwo Brahms Lieder (SATB) Thomas E Van Dahm arrVariations on ldquoDrmešrdquo (SATB) Martha BishopVintage Burgundy (SASATT)
Jennifer W Lehmann arr
Adding Percussion to Medieval and Renaissance Music Peggy Monroe
American Recorder Music Constance PrimusBurgundian Court amp Its Music Judith Whaley coord
Improve Your Consort Skills Susan CarduelisMusic for Mixed Ensembles Jennifer W LehmannPlaying Music for the Dance Louise AustinRecorder Care Scott Paterson
acutely aware of any kind of neckstrain when it begins to develop these ideas have been a big help to meIrsquom hoping they may be of help toother musicians as well
Best wishes to you And inanswer to your questionmdashyes the new[AR] format (with more white spacebetween the lines) is much easier toread (in my opinion)Your magazinejust keeps getting better and better
Very sincerely Ed Green WestSuburban (Chicago-area) Chapter
RESPONSE FROM DR BILL LONG
What Ed describes is a variant of theuse of conventional bifocals as musicglasses described on page 8 in thearticle Instead of lowering his musicstand into the field of view of hisbifocal segment Ed and his optome-trist have fabricated special purposebifocals with the segment really highso he can focus on his music instraight-ahead view That approachrestricts his distance vision to an areaabove his usual line of sight whichseems to work for Eds playing setup
Eds comments on the difficultiesin using conventional progressiveaddition lenses as music lenses con-firm what I said on page 9 Thats whymanufacturers have marketed special-ty progressive lenses designed specif-ically for intermediate distance taskslike computer use and playing music
There are lots of solutions to thepresbyopic musicians problem but all involve compromises The key toevaluating those compromises andchoosing the best solution for yourselfis to understand your needs and toenlist the help of a sympathetic visioncare specialistmdashjust as Ed did
Please change your
browserrsquos favorites list
AR online is now at wwwameri
canrecorderorgmembership
magazinehtm Send news to
editoramericanrecorderorg
FOUR FOUR-PART CANZONAS
(1608) BY GIOVANNI GABRIELI
ED GREG LEWIN Hawthorns Music RB 16 (Magnamusic) 1999 SATBSc 16 pp pts 4 pp $1950
Giovanni Gabrieli was probablyborn between 1554 and 1557 in theparish of San Geremia in Venice Thedetails of his early life are sketchy butit appears that he was born Giovannidi Fais and later changed his name toGabrieli out of respect to his uncleAndrea with whom he shared a closerelationship In fact in 1587 Gabrielidescribed himself ldquoas little less than asonrdquo It is commonly thought thatAndrea provided Giovanni with hisearly musical training Andrea whohad spent some time in Munichstudying under the great Orlando deLassus sent Giovanni to Munich for a similar period of study in theearly 1570s
Gabrieli remained in Munichuntil the death in 1579 of the dukeAlbrecht V who had been Lassusrsquosemployer for a number of years andwho was an enthusiastic patron of the arts particularly music With hisdeath a number of musicians lost theirjobs it seems as if Gabrieli were also a victim of such culling of talent(Within a generation the tide wouldturn and the Munich court wouldagain hire Venetian expatriates such as Priuli Valentini and Neri)
Upon his return to VeniceGabrieli was hired as a temporaryorganist at San Marco his positionbecoming permanent in 1585 For a few months that year uncle andnephew served together as first and
second organists in the chapel of thedoge In Giovannirsquos absence fromVenice there had been a plague thathad decimated the ranks of theprofessional musicians Andrea setabout rebuilding his forces at SanMarco by hiring a full-time windband consisting of Girolamo dallaCasa a renowned cornettist andviolist his two brothers who playedsackbut and later the cornett virtuosoGiovanni Bassano Giovanni Gabrieliaugmented these forces with addi-tional players and began composingthe large-scale ceremonial music forwhich he is so well known today
Giovanni was also elected to bethe organist and composer to theconfraternity of San Rocco in 1585and it is now thought that his largestpieces were intended for that venuewith its large central gallery andfrescos by Tintoretto instead of SanMarco Gabrieli held both thosepositions at the basilica of San Marcoand the Scuola Grande di San Roccountil he died in 1612 of a kidney stone
Although best known today forhis ceremonial and festival musicGabrieli was at home in smaller-scaleformats as well These four four-partcanzoni are taken from the 1608publication by the Venetian publisherAlessandro Raverji Canzoni per sonarecon ogni sorte di strumenti These werevery popular pieces to judge by themany collections in which they appear
Additionally like Gabrielirsquoskeyboard music they are found inother arrangements These four-partcanzoni lie well under the fingers inarrangements for keyboard and lute
As seen from the title Gabrielispecified no instrumentation but like asimilar edition of madrigals and battlepieces from a few years earlier a dis-tinction was made that they wereintended for wind instruments almostcertainly cornetts and sackbuts
Recorders were not unknown in Venice they were used regularly inthe confraternity of San GiovanniEvangelista where Giovanni BattistaRiccio was organist
These pieces are relativelysimplemdashplayable by beginning tointermediate ensembles They aremostly contrapuntal (with a fewhomophonic sections) and have few rhythmic eccentricities
These canzoni are found in manymodern brass editions but there arefew editions available to the recorderplayer This edition by Greg Lewin ofHawthorns Music might be consid-ered a ldquobare-bonesrdquo edition There islittle background information andeditorial practices are not specified
The music itself has a handwrittenlook that can be distracting but is easyenough to read Lewin has thought-fully supplied phrasing marks that willbe helpful for ensembles unused tothis style of music
Music
Reviews___________________________________ Infectious music created in spite of the plague
wwwAmericanRecorderorg March 2009 41
This is a good edition
for small ensembles that
canrsquot get eight players
together to play
Gabrielirsquos more famous
eight-part canzoni
42 March 2009 American Recorder
The parts are four pages but mycopy had all four pages printed on avery large page This is not a problemand there are no page turns
This is a good edition for smallensembles that canrsquot get eight playerstogether to play Gabrielirsquos morefamous eight-part canzoni Thesesmall-scale pieces are by no meansinferior to Gabrielirsquos more elaboratemusic and deserve to be better known
7 CANZONEN (1637) BY
TARQUINIO MERULA ED JOACHIM
ARNDT WITH CONTINUO REALIZATION
BY CLAUDIA SCHWEITZER MieroprintMusikverlag EM2088 (availabledirectly from wwwmieroprintcom)2005 SS or TT bc Sc 24 pp pts 8 pp$28
Tarquinio Merula was bornaround 1595 in either Busseto orCremona in Italy As was the case withso many composers of the day either alack of regular employment or a rest-less nature took him from his home inCremona to as far away as Warsaw He is found as the organist of thechurch and the chambers to the kingof Poland Sigismund III in 1624
Merula was one of the leadingexponents of the relatively new con-certante style pioneered by ClaudioMonteverdi and others in the seconddecade of the 17th century and may be described as one of the earliestBaroque composers His compositionsin the concertante style are fresh andunforcedmdashhe was born into this styleand didnrsquot encounter it as somethingnew as was the case with so many ofMonteverdirsquos contemporaries
After several years of peripateticexistence Merula found regularemployment in 1631 in Bergamo atthe church of San Maria MaggioreThe prior holder of the post of maestrodi cappella Alessandro Grandi haddied the previous year in the plagueMerula had signed a three-year
contract but by December 1632 hewas terminated with accusations thathe had molested several studentsMerula threatened a lawsuit to recoverhis lost wages but that threat wascountered with a pending criminalcharge lodged by the board ofgovernors of San Maria Maggiore By mid-1633 the matter was settledwith an apology from Merula and astatement that he relinquished allclaims to his salary
He then returned voluntarily toCremona where he stayed until 1635By 1638 Merula was once again inBergamomdashthis time as maestro dicappella and organist in the cathedralnext to San Maria Maggiore Asmight be expected there was con-siderable tension between the twochurches eventually resulting in theboard of San Maria Maggioreforbidding their musicians to perform under Merularsquos direction
He returned in 1646 to a familiarCremona post which he had heldthree times in various years and wherehe now settled downmdashthat of organistand maestro di cappella for Laudi dellaMadonna services in which he ledmusic at the main altar on Saturdaysand on vigils of Marian feasts
None of his employment issues
prevented the Pope from awardinghim the Order of the Golden SpurMerula was also elected to theAccademia dei Filomusi in BolognaHe died in 1665 in Cremona
His existing compositions showthe products of a lively mind Hisworks range from sacred songs andmotets to purely instrumental piecesnotably the ever-popular variations onvarious ground basses It is knownthat Merula was an accomplishedviolinist as well as a fine organist Hissurviving instrumental writing showsa predilection for strings In fact hewas one of the earliest composers tospecify string accompaniments tosacred motets
Merularsquos pieces look backwardtoward some of the more progressiveVenetian composers such as Monte-verdi while looking forward to thehigh Baroque with his innovative style
These seven canzoni like theearlier-published chaconne (EM2084)come from Merularsquos third bookpublished in 1637 CANZONI overo SONATE CONCERTATE perchiesa e camera a due et a tre delcavaliere This collection typifiesMerularsquos output pieces based onRenaissance-era ground basses arefound next to more ldquomodernrdquo sonatas
The original edition specifiesviolins and basso continuo This newedition is intended for recorders thespecific choice of which is up to theplayers Due to the relatively hightessitura tenor recorders work best inthese pieces (although listed as analternative soprano recorders tend to be on the screechy side)
Not surprisingly given Merularsquosskill as an organist the continuo partneeds a keyboard instrument forsuccessful realization Instead of beinga purely accompanying part the bassocontinuo part is an equal partner in these pieces the canzona ldquoLaRuggierardquo opens with a run that therecorders echo a few measures later
A more recorder-specific
edition intended for
altos would have been
ideal There is nothing
preventing the more
adventurous and
industrious players
from making their
own editions of this
delightful music
mentioned were a bit shrill A morerecorder-specific edition intended foraltos would have been ideal There isnothing preventing the moreadventurous and industrious playersfrom making their own editions of thisdelightful music
Prior to playing the previouslypublished chaconne I had notencountered MieroprintMusikverlag Mieroprintrsquos extensivecatalog has an equal focus on newmusic for recorders and on editions ofBaroque masters with emphasis on therecorder and flute Due to the lack of
wwwAmericanRecorderorg March 2009 43
are also available at
The Early Music Shop
of New England
Brookline MA
AESTHEacute
367-b de la Briquade
Blainville Queacutebec
Canada J7C 2C7
tel (450) 979-6091
wwwboudreau-flutesca
A bass viola da gamba or rsquocello is not necessary for these pieces and may infact make them sound heavy and ponderous rather than light and breezy as thismusic seems to be
More so than the above-mentioned chaconne these canzoni are written in avery idiomatic violin style with multiple examples of arpeggios In particular thecanzona ldquoLa Trecchardquo contains a notated example of a string tremolo figurerecurring through the piece ldquoLa Trecchardquo also dips well below the range of a Crecorder going down to low G the lowest string on the violin The editors havesupplied no alternative notes preferring to let the performers to fend forthemselves (in practice we took this passage up an octave with no problems)
The two recorder parts require virtuosity These upper parts are demandingwith the players needing to double-tongue in unison in order to negotiate themany runs of 16th notes and the shared rhythmic ldquolicksrdquo The harmoniclanguage unlike much of Merularsquos music is undemanding and contains none of the harmonic crunches for which he is famous
This is wonderful music that needs a couple of advanced recorder players fora successful performance The string idiosyncrasies can be overcome by advancedplayers and many of the editions of the era (although not this one) list thecornetto as an alternative to the violin so the use of wind instruments in the solo literature of the early Baroque was not unknown
Our experience with this edition left us with the opinion that these pieceswould have been better if transposed down a minor third so as to fit on a pair ofalto recorders (as is the case with much Baroque flute music to make it lie betteron the recorder) The tenors we used tended to sound a bit murky in the lowerregister next to the more aggressive harpsichord while the sopranos we tried as
KEY rec=recorder Srsquoo=sopraninoS=soprano A=alto T=tenor B=bassgB=great bass cB= contra bass Tr=treble qrt=quartet pf=piano fwd=foreword opt=optional perc=percussionpp=pages sc=score pt(s)=part(s)kbd=keyboard bc=basso continuohc=harpsichord PampH=postage andhandling Multiple reviews by one reviewerare followed by that reviewerrsquos name Pleasesubmit music for review to AR 7770 SHigh St Centennial CO 80122-3122 US
an American distributor this musicwill be hard to findmdashin fact can befound only at the time of this writingon their web site noted above But theeffort will be repaid
This edition is clear and easy toread and the parts require no pageturns The basso continuo realizationis simple and elegant
This is music deserving ofrediscovery My only quibble is thatthe editorial notes are all in GermanThis seems to be the practice ofGerman music publishers with thenotable exception of Moeck Otherpublishers of early music such asLondon Pro Musica routinelyprovide notes in English and German and often in French and Italian making their editionsaccessible to a wider audience
Frank Cone studied the recorderwith the late Ellen Perrin the viola dagamba with Carol Herman and thecornetto with Larry Johansen TheCalifornia multi-instrumentalist has been a member of the Orange CountyRecorder Society since 1985
Advertiser Index
AMERICAN ORFF-SCHULWERK ASSN 3
AMERICAN RECORDER SOCIETY 31 35 36
AMHERST EARLY MUSIC FESTIVAL 17
STEPHAN BLEZINGER 24
JEAN-LUC BOUDREAU 21 39
BOSTON EARLY MUSIC FESTIVAL 7
CANTO ANTIGUO EARLY MUSIC WORKSHOP 13
COURTLY MUSIC UNLIMITED 20
EARLY MUSIC AMERICA 8
HONEYSUCKLE MUSIC 34
BILL LAZARrsquoS EARLY MUSIC 26
KEITH E LORAINE EARLY DOUBLE REED SERVICE 35
LOST IN TIME PRESS 11
MADISON EARLY MUSIC FESTIVAL 12
MAGNAMUSIC DISTRIBUTORS BC
MOECK VERLAG IFC
MOLLENHAUER RECORDERS IBC
PORT TOWNSEND WORKSHOP 14
PRESCOTT WORKSHOP 30
PROVINCETOWN BOOKSHOP 26
THE RECORDER MAGAZINE 4
THE RECORDER SHOP 6
SAN FRANCISCO EARLY MUSIC SOCIETY 18
SWEETHEART FLUTE CO 3
TEXAS TOOT 20
VON HUENE WORKSHOP INC 30
WICHITA BAND INSTRUMENT CO 21
DOMINIK ZUCHOWICZ 34
CONSIDER ADVERTISING IN
Full page $55223 page $43912 page $36613 page $28614 page $22316 page $17518 page $127112 page $ 951 column inch $ 58
Prices include web sitee-mail link directly from your ad in the online AR at wwwamericanrecorderorg
Circulation Includes the membership of theARS libraries and music organizations
Published five times per year January March May September November
Reservation Deadlines December 1 (January) February 1 (March) April 1 (May) August 1 (September) October 1 (November)
Rates good through November 2009 Pleaseinquire about discounts on multiple-issuecontracts inserts or other special requestsExtra charges for typesetting layout half-tones and size alterations 133-line screenrecommended Advertising subject toacceptance by magazine First-time adver-tisers must include payment with order
For more information contact the ARS office 1129 Ruth Drive St Louis MO63122-1019 800-491-9588 toll free 314-966-4082 phone 314-966-4649 faxadvertisingamericanrecorderorg
44 March 2009 American Recorder
Classified___________________________________
FOR SALE Cherrywood hurdy gurdy and hard-side case made by Kelischek bought 2005Originally $765 plus $89 for case Rarely usedBoth for $450 or make offer Please contact marjalocomcastnet Can ship
ASPIRE ANNOUNCE INSPIRE Afford-able PR for teachers and recitalists wwwrecitalroomcom
PHOTOS NEEDED of ARS events 1970sndash1990sto illustrate last chapters of Martha Bixlerrsquos histor-ical memoir about the ARS (to be posted online)E-mail scanned photos (300dpi JPG or TIF)arsrecorderamericanrecorderorg Hardcopies mail to ARS office to be scanned ampreturned Info 800-491-9588
T-SHIRT FOR ENSEMBLE PLAYERS to wear orshare Top 10 Reasons Why I Got Lost Wrongfingering bad lighting etc on blue cotton shirt$18 Highlighter tape and other goodies Beth amp Lindas Boutique as seen at BEMF CallLinda at 617-671-8694 or e-mail for brochurelindakushverizonnet
Where the havesand have-nots
of the recorder world can find each other
Classified rate for American Recorder 60centper word ten-word minimum ldquoFOR SALErdquoand ldquoWANTEDrdquo may be included in thecopy without counting Zip code is oneword phone e-mail or web page is twoPayment must accompany copy Deadlinesare one month before issue date Send copywith payment to ARS 1129 Ruth Drive St Louis MO 63122-1019
AMERICAN RECORDER (ISSN 0003-0724) 1129 Ruth Dr St Louis MO 63122-1019 is publishedbimonthly (January March May September and November) for its members by the AmericanRecorder Society Inc $20 of the annual $45 US membership dues in the ARS is for a subscriptionto American Recorder Articles reviews and letters to the editor reflect the viewpoint of their individ-ual authors Their appearance in this magazine does not imply official endorsement by the ARS
EDITORIAL DEADLINES November 15 (January) January 15 (March) March 15 (May) July 15(September) and September 15 (November) Submission of articles and photographs is welcomedArticles may be typed or sent as an attachment (Word or RTF preferred) to or text in an e-mail mes-sage They should be for the exclusive consideration of AR unless otherwise noted Photos may besent as prints or unedited JPG or 300dpi TIF files (minimum 3rdquox4rdquo) Advertisements may be sent inPDF or EPS format with fonts embedded
EDITORIAL OFFICE Gail Nickless Editor 7770 S High St Centennial CO 80122-3122 303-794-0114 (phone amp fax) editoramericanrecorderorg Books for review Editorial office Musicfor review Editorial office Recordings for review Tom Bickley 1811 Stuart St Berkeley CA 94703Cutting Edge Tim Broege 212 Second Ave Bradley Beach NJ 07720-1159 Chapter newslettersother reports Editorial office Postmaster Send address changes to ARS 1129 Ruth Drive St LouisMO 63122-1019 Periodicals postage paid at St Louis MO and at an additional mailing office
Chapter leaders
We know yoursquore out there
and that you want to share
your plans concerns
solutions and ideas with
other chapter leaders Visit
httpamericanrecorder
societywikispacescom
18 March 2009 American Recorder
SUMMER TEXAS TOOT (ARS)
Concordia University Austin TXJune 14-20 Director Daniel Johnson
The Summer Texas Toot is a one-weekprogram of classes in Renaissance and Baroque music at all levels forrecorders viols singers plucked stringsRenaissance reeds and brass andharpsichord Our classes include anarray of small one-on-a-partRenaissance and Baroque ensemblesand larger mixed vocal and instrumentalgroups The size of the workshopenables us to create classes for all levelsof students from those of modest skills to advanced players and singers
Same Texas Toot hospitality andtraditionsmdashback in Austin but atConcordia Universityrsquos beautiful newcampus Classrooms dining and dormaccommodations are air-conditioned and easily walkable
Currently our featured faculty are Tish
Berlin (recorders) Tom Zajac (reedsand ensembles) Mary Springfels(viols) Becky Baxter (harp)mdashbut watchfor more faculty to be added soon
Contact Daniel Johnson
PO Box 4328 Austin TX 78765
512-371-0099 infotootorg
tootorg
SAN FRANCISCO EARLY MUSIC
SOCIETY BAROQUE MUSIC amp
DANCE WORKSHOP (ARS)
Sonoma State University Rohnert Park CA
June 14-20Directors Phebe Craig Kathleen Kraft Frances Blaker
A music-packed week of master classesconcerto evening coached ensemblesBaroque orchestra vocal and windensembles continuo classes concertsand lectures
Featuring recorder faculty FrancesBlaker and Cleacutea Galhano Other facultyChristine Brandes voice Phebe Craig
harpsichord Sand Dalton oboeKathleen Kraft flute Michael Sandviolin and orchestra Mary Springfelsviola da gamba Peter Sykesharpsichord Tanya Tomkins rsquocello
Contact Kathleen Kraft SFEMS
PO Box 10151 Berkeley CA
94709 707-874-2014
kkraftsonicnet sfemsorg
SAN FRANCISCO EARLY MUSIC
SOCIETY CHILDRENrsquoS MUSIC
DISCOVERY WORKSHOP (ARS)
Crowden Center for Music Berkeley CA
June 21-26 (day camp)Director Letitia Berlin
Early music and Renaissance socialhistory for youth ages 7-15 beginners to advanced students welcome Dailyschedule includes chamber musicmusicianship crafts costume-makingand games Friday night concert andtheater project presentation followed by potluck supper
Rebecca Ahrendt violJanet Beazley recorder
Tish Berlin re cord er co-direct orFrances Blaker recorder co-direct or
Vicki Bœckman recorderLouise Carslake recorder fl ute
Charles Coldwell recorder Rotem Gilbert recorder
Julie Jeff rey violShira Kammen viell e
Peter Maund per cus sionKim Pineda recorder
Ellen Seibert violPe ter Seibert recorder choir
Margriet Tindemans viol viell eBrent Wissick viol
Play early music in the spectacular Pacifi c Northwest Choose from classes in recorder viol fl ute and percussion Polish your skills andor take up a new instrument Sing and dance
Enjoy the faculty concert Take part in the student recital Make the most of your stay with a hike at nearby Mt Rainier or a visit to the Museum of Glass
For informat ion or to request a brochure call (206) 932-4623write to Port Townsend Early Music Workshop
1108frac12 Alki Ave SW Seattle WA 98116or vis it wwwseattle-recorderorg
July 12ndash18 2009
Port TownsendEarly Music Workshop
At the beautiful University of Puget Sound Tacoma WA
Tish Berlin amp Frances Blaker Co-Direct orsPresented by the Seattle Recorder Society
Please note that this is a day camp Out-of-town students may contact thedirector regarding accommodations withhost families Some financial aidavailable
Featuring recorder faculty Vida Bateauand Letitia Berlin Other facultyKatherine Heater dance ShiraKammen musicianship and theaterband Ron McKean harpsichord Carla Moore violin Farley Pearcersquocello and viola da gamba Allison Rollstheater project director
Contact Letitia Berlin SFEMS
PO Box 10151 Berkeley CA
94709 510-559-4670
tishberlinsbcglobalnet
sfemsorg
OBERLIN BAROQUE
PERFORMANCE INSTITUTE
Oberlin College Oberlin OHJune 21-July 5Directors Oberlin Baroque Ensemble (Cathy Meints Marilyn McDonald Michael Lynn Webb Wiggins) and artistic director Kenneth Slowik
Celebrating its 38th anniversary withMusic in London 1659ndash1759 thisinstitute offers instruction in Baroqueinstruments and voice Students of alllevelsmdashfrom beginning to Baroqueperformance to the professional levelmdashparticipate in master classes and coachedensembles with an international facultyof Baroque specialists Scholarships are available for qualified high schoolstudents
Contact Anna Hoffman
Conservatory of Music
77 West College St
Oberlin OH 44074
440-775-8044
440-775-8942 (fax)
ocbpioberlinedu
oberlineduconsummerbpi
WORLD FELLOWSHIP
EARLY MUSIC WEEK
Chocorua NHJune 25-July 2Directors Jane Hershey Larry Wallach
Faculty of eightmdashincluding JaneHershey Roy Sansom Pamela DellalJay Rosenberg Julian Cole AnneLegecircne Larry Wallach and JoshSholem-Schreibermdashin a beautifulWhite Mountain camp setting conducta week-long workshop in French earlymusic (late Medieval through Baroque)
Faculty and student concerts Englishcountry dancing special lecturesmorning and afternoon workshops inviols recorders voice mixed ensemblesSephardic music and Baroque chambermusic and classes in Feldenkrais bodywork
Camp facilities include hikingswimming boating camp gardenssupply kitchen with vegetables Very affordable rates
Contact Larry Wallach
69 Welcome St Great Barrington
MA 01230 413-528-7212 (day)
413-528-9065 (evening)
413-528-7365 (fax)
larrysimons-rockedu
worldfellowshiporg
INDIANAPOLIS EARLY
MUSIC FESTIVAL
Indianapolis INJune 26-July 19July 8-9 Mini Boxwood Workshop
The Indianapolis Early Music Festivalis the oldest continually running earlymusic concert series in the USPresented since 1967 our mission is toenrich educate and entertain audienceswith the music of Medieval Renais-sance Baroque and early Classical erasand feature exciting performers ofnational and international stature usinginstruments of the period and histori-cally informed styles and techniques
For 2009 we will present Reconstruction(June 26 ) Ex Umbris (June 27) ChrisNorman amp David Greenberg withRonn McFarlane amp Mark Cudek (July10) I Furiosi (July 12) HarmoniousBlacksmith (July 17) and the PeabodyConsort with Indiana Repertory Theatre(July 19) We also offer our secondannual Family Concert featuring thePeabody Consort on July 18mdash a freeconcert geared to young audiencemembers Several groups also offeroutreach events for younger (generallyhigh-school-aged) musicians and actors
In 2009 we also present a two-dayldquoMini Boxwoodrdquo workshop with Chris
wwwAmericanRecorderorg March 2009 19
Marin
Headlands
Recorder
Workshop
Norman (earlytraditional flutes andpipes) David Greenberg (Baroqueviolin and fiddle) and Ronn McFarlane(lute) on July 8-9
Contact emindyorg
SAN FRANCISCO EARLY MUSIC
SOCIETY MEDIEVAL amp
RENAISSANCE WORKSHOP (ARS)
Sonoma State University Rohnert Park CAJune 28-July 4Director Tom Zajac
Workshop theme Stories and LegendsOpen to singers and players of earlyinstruments (recorders violas da gambalutes shawms etc) Coaching by world-class specialists in Medieval and Renaissance music Classes forvoices recorders viols and alta capellavoice master class ensemble coachingstorytelling for musicians andstorytelling accompanimentRenaissance choir Medieval bandtheater project faculty and studentconcerts lectures and more
Scholarships as well as academic creditor continuing education credit areoffered Featuring recorder facultyFrances Blaker Annette Bauer DanStillman and Tom Zajac Other facultyPatrick Ball storytelling Celtic harpKaren Clark voice movement formusicians Julie Jeffrey gamba ShiraKammen Medieval strings music forstorytelling Drew Minter voice theaterproject Tim Rayborn Medieval stringspercussion music for storytelling Larry Rosenwald theater projectrhetorician in residence MarySpringfels gamba theater projectAnnette Bauer early notation DanStillman reeds alta capella ensembleTom Zajac sackbut Renaissance choir
Contact Tom Zajac SFEMS
PO Box 10151 Berkeley CA
94709 617-323-0617
medrenmailgmailcom
sfemsorg
MOUNTAIN COLLEGIUM (ARS)
Cullowhee NC June 28-July 4Director Patricia Petersen
Nestled in the Smoky MountainsWestern Carolina University provides alovely location for Mountain Collegiumwith comfortable accommodations in anew dorm and catered evening mealsThe workshopmdash at once informal andintensivemdash combines study of Renais-sance Baroque and contemporary musicand improvisation on recorder viol andother early instruments with opportu-nities to explore Celtic and othertraditional music on hurdy gurdymountain dulcimer and pennywhistle
Friendly participants of all levels andages welcome newcomers into theMountain Collegium family Varied classofferings time for informal music-making and evening English countrydancing bring students back year afteryear Faculty Valerie Austin AtossaKramer Jody Miller Patricia PetersenJohn Tyson (recorders other winds)Martha Bishop Lisle Kulbach HollyMaurer Gail Ann Schroeder Ann Stierli(strings) Lorraine Hammond JohnTrexler (traditional music)
Contact Patricia Petersen
1702 Vista St Durham NC
27701 919-683-9672
patpetersenearthlinknet
mountaincollegiummusicorg
GREAT LAKES SUZUKI FLUTE amp
RECORDER INSTITUTE
McMaster University Hamilton ON CanadaJuly 4-11 Teacher training Book 1July 7-11 Teacher training Book 2July 7-11 Student InstituteDirector David Gerry
Master classes group instructionrecitals plus enrichment classes forstudents Teacher training with MaryHalverson Waldo
Contact David Gerry 129 Locke
Street South Hamilton ON L8P
4A7 CANADA 905-525-9549
dgerrynasnet davidgerryca
CANTO ANTIGUO EARLY MUSIC
AND RECORDER WORKSHOP
Chapman University Orange CAJuly 5-12Directors Thomas Axworthy Ronald Glass
This one-week workshop is designed to broaden the performance skills ofexperienced students and introduceRenaissance and Baroque instrumentsand musical experiences to beginningand intermediate players Students at alllevels participate in instrumental vocaland dance instruction performance
The workshop takes place at ChapmanUniversity Studios dining hall andresidences are all air-conditioned Thisinvitingly landscaped peaceful campuswith garden paths is a mixture of historic and modern architecture
The theme of this yearrsquos workshop isMusic of the Italian Renaissance Dancesmasses motets and ceremonial musicwill resonate as we explore the music ofMonteverdi Palestrina Gesualdo et al
Faculty includes Thomas AxworthyJanet Beazley Mark Davenport RonGlass Carol Lisek Jim Maynard and Alice Renken
Contact Ronald Glass
129 Altadena Dr Pittsburgh
PA 15228-1003 800-358-6567
(day) 310-213-0237 (evening)
562-946-4081 (fax)
evanesa2aolcom
cantoantiguonet
CAMMAC EARLY MUSIC WEEK
Lake MacDonald Music Center Harrington QC Canada
July 5-12Directors Francis ColpronMarie-Nathalie Lacoursiegravere
CAMMAC provides a unique oppor-tunity to make music with family and
20 March 2009 American Recorder
friends in a beautiful setting north ofMontreacuteal QC under the guidance ofinternationally acclaimed professionalmusicians
In four daily 75-minute classes pluslectures early music lovers will have the opportunity to play to their heartrsquoscontent
Small ensembles and voice classes are setup ahead of time registration for otherclasses occurs on site the first eveningCourses include choir large instrumentalensemble many recorder and violclasses Medieval and Renaissanceensembles Orff method and Baroquedancing There are courses foradolescents and a program for children 4-11 years old
Special project in 2009 The Fairy Queenby Purcell with choir instrumentalensemble soloists and staging Keyfaculty Matthias Maute ChristopherJackson Laura Pudwell MargaretLittle Marie-Nathalie Lacoursiegravere
Contact Johanne Audet
85 Chemin CAMMAC Harrington
QC J8G 2T2 CANADA
888-622-8755 1
819-687-3323 (fax)
nationalcammacca
cammaccaenglishTabLM
Summershtml
MADISON EARLY
MUSIC FESTIVAL
University of WisconsinndashMadison July 11-18Directors Cheryl Bensman Rowe and Paul Rowe artistic Chelcy Bowles program
MEMF joins the 2009 InternationalYear of Astronomy in a global celebrationof astronomy and its contributions tosociety and culture including the 400thanniversary of the first astronomicalobservation made through a telescope byGalileo Galilei Galileorsquos fatherVincenzo was a musician and musictheorist who combined the practice andtheory of music with mathematicaldiscussion of harmonymdashand influenced
Galileorsquos experiments MEMFcelebrates its tenth season exploringworks of music and the arts inspired by ascientific discovery that had tremendousimpact on culture and civilization
MEMF was created to provide anopportunity for musicians scholarsteachers and early music enthusiasts togather and exchange information andideas about Medieval Renaissance andBaroque music and to bring acclaimedearly music artists to the Midwest toperform in beautiful Madison
Featured MEMF 2009 guest artists-in-residence include Marion VerbruggenThe Newberry Consort QuicksilverPiffaro and Venere Lute QuartetRecorder faculty members includeMarion Verbruggen Joan KimballPriscilla Smith and Robert Wiemken
Contact Chelcy Bowles University
of WisconsinndashMadison 720 Lowell
Center 610 Langdon St Madison
WI 53703 608-265-5629
608-262-1694 (fax)
musicdcswiscedu
memfdcswiscedu
PORT TOWNSEND
EARLY MUSIC WORKSHOP (ARS)
University of Puget Sound Tacoma WA
July 12-18Directors Letitia Berlin Frances Blaker
Join us this summer at our new locationwith a star-studded faculty a beautifultree-lined and easy-to-navigate campuswith accessible facilities and acurriculum that will leave you wishingthere were 48 hours in a day
Consort and technique classes forrecorder and viol consort and mixedrepertoire recorder master classpercussion for all levels Hildegard forsingers Baroque flute beginning violtheory workshop orchestra and moreMake an all-Medieval schedule or mix it up with a class from almostevery period of music
Work hard and play hard with friends
new and old Intense music-making thatwill inspire you during the workshop andthroughout the year
Directors Tish Berlin and FrancesBlaker eagerly await your arrival andanticipate a splendid workshopRecorder faculty Janet Beazley TishBerlin Frances Blaker Vicki BoeckmanLouise Carslake Charles ColdwellRotem Gilbert Kim Pineda
Contact Jo Baim Workshop
Administrator 1108 frac12 Alki
Ave SW Seattle WA 98116
206-932-4623
workshopseattle-recorderorg
seattle-recorderorg
wwwAmericanRecorderorg March 2009 21
Amherst Early Music FestivalJuly 12-19 and 19-26 2009
Connecticut College New London CT
Renaissance consortsBaroque ensemblesMaster classesRenaissance AcademyEarly notation and moreNo audition required
July 12-19Baroque Academy
July 19-26 Virtuoso Recorder Recorder Seminar
Audition deadline May 15
wwwamherstearlymusicorginfoamherstearlymusicorg(617) 744-1324
AMHERST EARLY MUSIC FESTIVAL
(ARS)
Connecticut College New London CT July 12-19 Baroque Academy July 19-26 Virtuoso Recorder Recorder SeminarRenaissance Academy
Director Marilyn Boenau
Music of England and Spain Two weeksof classes in most early instrumentsvoice dance and notation
Week 1 includes classes for recorderviol other early instruments voicedance and notation Special programsBaroque Academy Baroque AcademyOpera Project (Purcellrsquos Dioclesian)
July 18-19 Music amp InstrumentExhibition
Week 2 comprises classes for recorderviol other early instruments voice andnotation Special programs VirtuosoRecorder Recorder SeminarRenaissance Academy
Evening activities include Englishcountry dance madrigals and informalplaying sessions Connecticut College ineastern CT offers comfortable air-conditioned accommodations naturalareas for walking and a view of LongIsland Sound Scholarships and work-study aid available
Contact Marilyn Boenau
Director or Cathy Stein
Administrator 47 Prentiss St
Watertown MA 02472
617-744-1324 (day)
617-744-1327 (fax)
infoamherstearlymusicorg
amherstearlymusicorg
MIDEAST WORKSHOP (ARS)
LaRoche College Pittsburgh PAJuly 19-25Director Marilyn Carlson
Music of Spain 55-60 students of allability levels adults only Instruction forrecorder (all levels except novice) violharp flute You may enroll for recorder
viol flute as primary instrument harpvoice recorder viol as secondary instru-ment Large and small ensembles all-workshop ensemble (instruments andvoices) Renaissance band (recordersviols capped reeds voice) Medievalcollegium (puzzles amp canons) consorts(by level) vocal ensemble Also Englishcountry dance penny whistle We alsooffer viol-for-novice and harp-for-novice each providing the opportunityfor hands-on experience without owningan instrument Other classes on specialearly music topics and literature
Faculty Marilyn Carlson directorMartha Bixler Stewart Carter JudithDavidoff Eric Haas Mary JohnsonPeter Ramsey Kenneth Wollitz otherfaculty to be announced All facilities areair-conditioned
Contact Marilyn Carlson
1008 Afton Road Columbus OH
43221-1680 614-754-7233
mcarlsoncolumbusrrcom
mideastearlymusicaddrcom
22 March 2009 American Recorder
San Francisco Early Music SocietySummer Workshops 2009Recorder middot July 19ndash25 2009La Dolce Vita di Flauto middot Explore the full range of recorder music from the Middle Ages to the 21st century through ensemble work technique sessions and recorder orchestra For the devoted amateur all ages intermediate to advanced Friendly atmosphere small classes Quiet campus near all amenities Special offerings Recorder orchestra recorder master class coached informal playing Faculty Louise Carslake Frances Feldon Rotem Gilbert Katherine Heater Norbert Kunst Patrick OrsquoMalley and Hanneke van ProosdijInfo Frances Feldon 510-527-9840 franfelaolcom
Baroque Music amp Dance middot June 14ndash20 2009Music in Italian Cities middot Master classes recorder ensemble concerto evening coached ensembles classes concerts and lectures Featuring recorder faculty Frances Blaker and Clea GalhanoInfo Kathleen Kraft 707-874-2014 kkraftsonicnet
Medieval amp Renaissance Music middot June 28ndashJuly 4 2009Stories amp Legends middot Classes for voices recorders viols and alta capella voice master class ensemble coaching storytelling for musicians and storytelling accompaniment Renaissance choir medieval band theater project faculty and student concerts lectures and more Featuring recorder faculty Frances Blaker Annette Bauer Dan Stillman and Tom ZajacInfo Tom Zajac 617-323-0617 medrenmailgmailcom
Music Discovery middot June 21ndash26 2009Day camp for youth ages 7 to 15 Early music and Renaissance social history Instruction in recorder harpsichord strings chamber music musicianship crafts costume-making games and more Beginners to advanced students welcome Featuring recorder faculty Vida Bateau and Letitia BerlinInfo Letitia Berlin 510-559-4670 tishberlinsbcglobalnet For more information visit our web site wwwsfemsorg
SAN FRANCISCO EARLY MUSIC
SOCIETY RECORDER WORKSHOP
(ARS)
St Albertrsquos Priory Oakland CA July 19-25Directors Frances Feldon Katherine Heater
Jam-packed week of recorder ensembleplaying concerts and the opportunity toimprove your skills working with highlyrespected recorder specialists in afriendly yet serious atmosphere Explorethe full range of recorder music from theMiddle Ages Renaissance and Baroqueto the 21st century through ensemblework technique sessions and recorderorchestra For the devoted amateur of allages from intermediate to advanced
Small classes Quiet campus Specialofferings recorder orchestra recordermaster class coached informal playing
Featuring recorder faculty LouiseCarslake Frances Feldon RotemGilbert Norbert Kunst PatrickOrsquoMalley and Hanneke van ProosdijOther faculty Katherine Heaterharpsichord
Contact Frances Feldon SFEMS
PO Box 10151 Berkeley CA
94709 510-527-9840
franfelaolcom sfemsorg
WINDSWEPT MUSIC WORKSHOP
William Jewell College Liberty MOJuly 19-25Director Phyllis Pasley
Bring your artistry to life Strengthen the mindbody connection and exploreenergy and music at Creative MotionAlliancersquos 59th annual summerconference Windswept Professionalmusicians conductors teachers studentsand amateur music enthusiasts willdiscover barriers that inhibit the free flowof energy and learn the secrets of inner-directed artistic music-making Classesin piano voice instrumental musicexpressive arts and independent studyMaster class coaching and conductingopportunities available Using move-
ment exercises analysis and bodyresponses explore music and energy in a unique inter-generational workshopformat Opportunities for independentrecorder study and private lessons enrichthe music-making experience
Registration fee $50 prior to 51509Tuition room meals $535 adults $400students 12-18 (must attend with parentteacher or sponsor) special half-weekrate $275 (Sunday-Wednesday noon)Memberfamily discounts Three hoursgraduate credit ($225) 3 CEUs ($50)and private lessons ($25 each)
Contact Phyllis Pasley 2208
Clouds Peak Maryland Heights
MO 63043 314-628-9862
directorcreativemotionorg
creativemotionorg
BOXWOOD FESTIVAL CANADA
Lunenburg Nova Scotia CanadaJuly 19-26Director Chris Norman
Discover musical and dance traditionswhile visiting one of North Americarsquosmost exquisite 18th-century seasidetowns Concerts dances sessionsclasses lectures with leading artists in therealms of traditional folk early musicdance and improvisation Work study ampscholarships available Gourmet cuisine
Faculty Chris Norman directortraditional amp early flutes FrancisColpron recorder ensembles LisaBesnoziuk Baroque flute DavidGreenberg Cape Breton amp Baroqueviolin Edmund Brownless voice shape note singing Marie Bouchardharpsichord Robert Dick contemporarytechniques amp composition Conal O Grada Irish flute Jerry OrsquoSullivanpipes whistle Rod Garnett flutefundamentals ethnic flutes PierreChartrand social dance MarlysNorman ballet classical dance Rod Cameron flute maker Tempest Baroque
Contact 902-634-9994
boxwoodorg
musiqueroyalecom
MACPHAIL SUZUKI INSTITUTE
FOR PIANO GUITAR FLUTE
AND RECORDER
MacPhail Center for the Arts Minneapolis MNJuly 19 Every Child Canreg July 19-26 Recorder Book 1July 20-24 Student InstituteDirectors Cindy Malmin Mary Halverson Waldo (auditions)
Suzuki Clinicians Marilyn Taggartpiano Tadeusz Majewski piano DavidMadsen guitar Kathleen Schoenfluterecorder MacPhail Suzuki faculty
Sanctioned by the Suzuki Association ofthe Americas MacPhailrsquos SuzukiInstitute allows Suzuki students of allages to share in motivating enrichingand wide-ranging musical experiencesStudents work with master teachers andimprove skills technically and musicallyDaily classes and observation includeapplied study theoryreading skillsensemble skills chamber music perfor-mance practices composition improv-isation master classes recitals art andmusic world musicdrumming musichistory recitals and presentations TeenMusical Revue (ages 13-18) fashioncharacter sketches develop a frameworkor theme and present to an audience
Who may attend Suzuki students whohave completed the Twinkle Variations(preschoolndashgrade 12 parents or another
wwwAmericanRecorderorg March 2009 23
Amherst Early Music Festival
(photo by Marc Weinberg)
responsible interested adult must attendwith students under high school age)teacher traineesobservers Participantsmust arrange meals housing and trans-portation Teacher Training prerequi-sites Every Child Canreg before Book 1courses must be taken in order throughBook 2 Contact workshop regardingrequired audition and preparation
Contact Cindy Malmin
612-767-5461
malmincindymacphailorg
Mary Halverson Waldo
5679 Harding Lane Shorewood
MN 55331 952-470-5853
mhalvwaldogmailcom
INTERNATIONAL BAROQUE
INSTITUTE AT LONGY
Longy School of Music Cambridge MA
July 24-August 2Directors Paul Leenhouts co-director Phoebe Carrai
VenicendashDresden Connection InternationalMeeting Grounds Music of MonteverdiVeracini Hasse Heinichen MarcelloVivaldi Pisendel Albinoni ZelenkaLotti Schein Schutz Quantz Gabrieli
2009 faculty Paul Leenhouts recorderPhoebe Carrai rsquocello ElizabethBlumenstock violin Ricard Bordasvoice Arthur Haas harpsichord LucasHarris lute Ken Pierce early danceGonzalo Ruiz oboe Mary Springfels
viola da gamba Jed Wentz traverso
Contact Karen Burciaga Com-
munity Programs Registrar One
Follen St Cambridge MA 02138
617-876-0956 X1532 (day)
617-354-8841 (fax) karenbur
ciagalongyedu longyedu
RECORDER AT THE CLEARING
The Clearing Ellison Bay WIJuly 26-August 1Directors Pat Badger Adrianne Paffrath
Recorder ensemble has been a traditionat The Clearing for over 25 yearsEnsemble playing is the weekrsquos focusEach day begins with a warm-up ofvoices and bodies as we sing rounds andready our muscles for performanceDaytime sessions focus on rhythmicchallenges recorder technique andensemble blend emphasis is on growthprocess and most of all enjoyment To participate fully you need at leastintermediate skills on a C or F recorder
Adrianne Paffrath coached on recorder with ARS teachers She is music directorat Racinersquos First Presbyterian ChurchPatricia Badger has studied early musicinstruments natural and classicaltrumpet She is performing arts head ofThe Prairie School Jointly they haveperformed for Medieval festivals grapestompings Shakespeare celebrations anda circus parade
Contact The Clearing PO Box 65
Ellison Bay WI 54210-0065
877-854-3225 920-854-9751
(fax) clearingtheclearingorg
theclearingorg
AMERICAN RECORDER SOCIETY
FESTIVAL AND CONFERENCE
University of Missouri at St Louis St Louis MO
July 30-August 2
Attend the second ARS Festival andConference for one day ($150) or allweekend ($350)
Sessions include recorder techniquepedagogy introductions to Orff Suzukiand Flutes and Drums Around the Worldmethods improvisation roundtablediscussions how to conduct yourconsort coached playing sessions forMedieval Renaissance Baroque worldand contemporary repertoire recorderorchestra incorporating percussion intoyour ensemble Also recorder mainte-nance choosing a recorder building aweb site using Sibelius music softwareMini-concerts by the next generation ofprofessionals master classes concerts byMarion Verbruggen and the FarallonRecorder Quartet Exhibition ofrecorder builders music sellers andmore CEUs available
Presenters Louise Austin AnnetteBauer Tish Berlin Frances Blaker Joyce Callanan Louise Carslake
24 March 2009 American Recorder
The Summer Toot is once again in Austin at the beautiful new facility of Concordia University The lushly wooded campus offers air-conditioned classrooms dining and dorm accommodations and is backed by a nature preserve Please join us
Our featured faculty includes Tish Berlin Tom Zajac Mary Springfels The Texas Toot offers a one-week program of classes in Renaissance and Baroque music at all levels featuring expert instructors in re-corder viol early reeds lute harp and voice
Danny Johnson workshop director Susan Richter administrator For more info
httpwwwtootorg or email infotootorg
11th Annual Summer Texas Toot June 14-20 2009 mdash Austin Texas
Mark Davenport Cleacutea Galhano LisetteKielson Lorraine Krige JudithLinsenberg Peter Maund Nina SternMarion Verbruggen Leslie TimmonsJim Tinter Mary Halverson Waldo
Contact Yvonne Miller-Nixon
Conference Administrator
1129 Ruth Dr St Louis MO
63122 800-491-9588 (day)
arsconfplannercharternet
americanrecorderorg
EARLY MUSIC WEEK AT
PINEWOODS CAMP (ARS)
Pinewoods Camp Plymouth MA August 15-22 Director Sheila Beardslee
The Myth amp Magick Creativity andInspiration in Early Music Surely thedeities of Olympus will surround us atPinewoodsndashwhere the myths of earlymusic will be made clear and our staff rsquosldquomagickalrdquo skills will hone and perfectour knowledge and performance of early music and dance
If yoursquove never played a musical instru-ment (but wish you could) or if youstudied music years ago (and fear yoursquoveforgotten) classes in recorder and violwill get you started or help brush off therust Advanced and intermediate playersand singers choose from a wide array ofclasses led by an outstanding faculty of professionals and teachers of earlywinds (recorders reeds brass) strings(viols violin) harpsichord and voice
New staff faces this summer areAnonymous 4rsquos Susan Hellauer voiceand Lisa Terry viol We welcome backDorrie Olsson historical dance andScott Higgs English country dance
We relax with two ponds for swimmingcanoeing a camphouse deck for readingafternoon tea and lots of dancing EarlyMusic Week continues its long traditionof superb teaching in a welcoming com-munity enhanced by special eventspresentations concertsmdashand dancing
Advanced musicians work intensivelyamateurs are engaged and challengedand beginners are always made welcome
Contact Steve Howe Country
Dance and Song Society
PO Box 338 Haydenville MA
01039-0338 413-268-7426 X3
(day) 413-268-7471 (fax)
campcdssorg cdssorgem
MONTREacuteAL RECORDER FESTIVAL
McGill University Montreacuteal QC Canada
September 17-20Directors Matthias Maute Sophie Lariviegravere
Conference consort music recorderorchestra concertsmdashEnsemble Capriceand Quynade (Israel) solo recital byMaurice Steger (Switzerland)
Contact Ensemble Caprice 4841
Garnier Montreacuteal QC H2J 3S8
CANADA 514-523-3611
514-523-1322 (fax)
infoensemblecapricecom
ensemblecapricecom
HIDDEN VALLEY INSTITUTE
FOR THE ARTS
EARLY MUSIC ELDERHOSTEL
Carmel Valley CANovember 1-7 November 8-14Directors Letitia Berlin workshopPeter Meckel HVIA
Enroll for one or both weeks Adults ofall ages welcome
Week I intense classes for upper inter-
mediate to advanced levels Week Ifaculty Letitia Berlin Frances BlakerLouise Carslake Annette Bauer(recorder) David Morris (gamba)
Week II all levels except beginnerClasses include recorder technique viol consort Baroque chamber musicconsort classes for Medieval Renais-sance Baroque and contemporary reper-toire workshop orchestra Week IIfaculty Letitia Berlin Frances BlakerTBA (recorder) Shira Kammen (earlystrings singing Medieval topics) MarySpringfels (viola da gamba)
Evening events include faculty concertstudent concert free-lance playing FreeWednesday afternoon for more playingor sightseeing Improve your playing in asupportive friendly atmosphere withworld-class teachers
Contact Peter Meckel
PO Box 116 Carmel Valley CA
93924 831-659-3115
831-659-7442 (fax)
hvmsaolcom
hiddenvalleymusicorg
wwwAmericanRecorderorg March 2009 25
26 March 2009 American Recorder
Am
herst
AR
S
Festival and
Co
nference
CA
MM
AC
Early M
usic
Week
Canto
Antiguo
Reco
rd
er
at th
e
Clearing
Great L
akes
Suzuki
FluteR
ec
Hid
den
Valley
Eld
erh
ostel
Interlo
ch
en
Early M
usic
Inst
Lo
ngy Intl
Baro
que
Inst
Marin
Head
land
s
Mid
east
Mo
ntreacuteal
Reco
rd
er
Festival
COST $520TW $350T C$1014ED $860 $1035E TBA $799D $389T $675T $210ED $735D $130TNO OF DAYS 814 1-4 7 7 7 5-8 714 6 10 3 6 4ARS DISCOUNT NO YES NO YES NO NO NO NO NO NO NO NONO OF FAC RECORDER FAC 4315 1716 165 85 22 82 543 11 101 1010 96 66NO OF STUDENTS 150wk 60 110 35 19 45 35 20 50 75 60 50RECORDER CLASSLEVELS
LIHIAV
BLIHIAV
BLIHIAV
BLIHIAV LIHIA BLI
LIHIAV LIHIA AV
LIHIAV
BLIHIAV
BLIHIAV
SPECIAL CLASSES USING RECORDERS
CMRMB20ENMROT
RPMRMB20MROPTO
CMRMBRO
MRMBENROPT CRO
RPMPT
CMRMB20MROPT
RPCMRMBENMROPT MBMP RP20
RPCMRMB20ENMTO
CMRMBMRO
NON-RECORDERCLASSES
CWKVPSDO PO
CWKVDT CWVD C O KVPS
CWPKVPST WK VD
CWVPSDO
MUSICALACTIVITIES
FSLSPP FLO FSLSP FS SP FSLP FSP
SLSPPO FSLP P FSLP FS
RECREATION D GS BSTW D FBSW FSO OBSTWO S O G
OTHERS WELCOME SC S SC S S S S SDIRECTTRANSPORTATION SC SBCP SP BCLP BP SB CPUP CL PUP
SBCPUP
TRANSPORTATIONTERMINALS
A50B2 T2 A B T
A10B3 T5
A80B80
A50B10 T10
A20B20 T20
A16B16
A4B3 T3 A20
A15B10 T10
A4B3 T3
ROOMS SD SD SD SD SDC SD SD SDC DBATHS SSP SSPP SP P SSPP SSPP SP P S PFOOD CV C GV CV FV C F CV CV CHANDICAP ACCESS HCD HCD HCD HCD HC HCD HD HCD C HCD HCD C
KEYCOST Includes tuition room (single occupancy unless otherwise noted) meals plus other fees E=estimated T=tuition only D=double occupancy W=one week
NO of DAYS Includes arrival and departure daysARS DISCOUNT Discount offered for ARS members FACULTYRECORDER FACULTY Number of facultyrecorder faculty within that number STUDENTS Average over last two yearsRECORDER CLASS LEVELS B=beginners LI=low intermediate HI=high intermediate A=advanced V=very advanced
SPECIAL CLASSES USING RECORDERS RP=recorder pedagogy C=one-on-a-part consorts MR=mixed Renaissance ensembles MB=mixed Baroque ensembles 20=contemporary music EN=early notation M=master class RO=recorder orchestra P=private lessons available T=technique O=other
NON-RECORDER CLASSES C=choral W=other winds P=percussion K=keyboard V=viols PS=plucked stringsD=danceT=theory I=instrument building O=other
MUSICAL ACTIVITIES F=faculty concert S=student concert L=lecture SP=special production P=organized informal playing O=other
RECREATION D=dancing F=field trip G=gym B=biking S=swimming T=tennis W=waterfrontbeach O=otherOTHERS WELCOME S=non-playing spousesfriends C=children (day care not generally available)DIRECT TRANSPORTATION TO WORKSHOP S=shuttle from airport B=bus C=cab L=limo PU=will pick up P=free parking O=other
TRANSPORTATION TERMINALS A=air B=bus T=train (number indicates miles from workshop to nearest terminal)
ROOMS S=singles D=doubles (with ldquo+rdquo can accommodate up to triples) C=cabins O=other =Graduate dormsBATH FACILITIES S=shared SP=semi-private P=privateFOOD C=college style F=family style G=gourmet V=vegetarianHANDICAP ACCESS H=housing C=classrooms D=dining
INFORMATION SUPPLIED BY WORKSHOP DIRECTORS
2009 SUMMER RECORDER WORKSHOPS
Here are some suggestions foravoiding overuse syndromes Most obvious warm up This meansincreasing your practice time graduallybefore the workshop begins andwarming up yourself and yourinstrument before each rehearsal
Make your playing situation ascomfortable as possible Take along acushion back rest footstool whateverit takes the ear and hand cannot ab-sorb what the bottom cannot tolerate
Be sure your glasses are ideal for the distance from your eyes to themusic desk that usually amounts to anarmrsquos length away (You can select apair at your local drug or departmentstore if you have no serious astigma-
tism) If glare from bright light (thosemarvelous outdoor rehearsals) is aproblem for you you may find that ayellow tint for your glasses is a help
Get your bodily playing equip-ment in the best possible shape beforethe workshop a visit to the dentist tosmooth off a front tooth for a windplayer can make an enormous differ-ence in endurance A layer of plasticwrap over the teeth (before yoursquoveworn a hole in your lip) may also help
Once yoursquove arrived at the work-shop there are ways to ensure thatstress (inevitable) doesnrsquot becomedistress (mostly preventable)
Take reasonable breaks duringrehearsal time and use them to stretchA little aerobics like running in placetakes very little time and gets rid ofthat stiff-from-sitting feeling Get yourfellow ensemble players to massageeach othersrsquo shoulders Other fre-
Do you have a favorite article from years past in AR E-mail that information to Gail Nickless
editoramericanrecorderorg
wwwAmericanRecorderorg March 2009 27
Mo
untain
Co
llegium
Pinew
oo
ds
Early M
usic
Week
Po
rt
To
wnsend
SF
EM
S
Baro
que
SF
EM
S
Ch
ild
rens
SF
EM
S
Med
ieval amp
Renaissance
SF
EM
S
Reco
rd
er
Texas T
oo
t
Wh
itew
ater
Wind
sw
ept
Music
Wo
rksh
op
Wo
rld
Fello
wsh
ip
$800ED $890ED $975 $950 $370T $950 $950 $740E $245 $535D $850E COST7 8 7 7 5 7 7 7 3 6 7 NO OF DAYSNO NO NO YES YES YES YES YES NO NO NO ARS DISCOUNT
125 189 169 102 82 124 76 136 1110 131 83NO OF FAC RECORDER FAC
50 100 100 55 30 70 40 50 110 45 30 NO OF STUDENTSLIHIAV
BLIHIAV LIHI AV
LIHIAV
BLIHIAV LIHI AV LIHIA LIHIA
BLIHIAV
BLIHIAV
RECORDER CLASSLEVELS
CMRMB20TO
CMRMBENROT
MRMB20MROPT
MBMPTO
CMRMBPTO
CMRENMPTO
C20MROPTO
CMR20MPT
CMRMB20ROTO MP
CMRMBMRO
SPECIAL CLASSES USING RECORDERS
WVDTO
CWKVPSDT CPVT
CWKVPSTO
KVDTO
CWPVPSTO O
WKVPSTO
CWVTO
CWPKVD
CKVDT
NON-RECORDERCLASSES
FSLSPP FSP
FSLSPPO FSSP
FSLSPPO
FSLPO
FSLPO SPO FSL PO FSLP
MUSICALACTIVITIES
DGBS DSWFGBSTW
DGBST D
DGBST DO SO
DFSWO RECREATION
S S SC SC S S SC SC OTHERS WELCOME
P SC CPUP SCP SCP SBC LP SPUP P BPUDIRECTTRANSPORTATION
A50B15 T15
A15B7 T6 A59
A20B2 T5 A59
A12B4 T1 A40 A
A20B15 T28 B10
TRANSPORTATIONTERMINALS
SD SD S S CALL S S SD SD SD SD ROOMSSP S SP P P SP P S S S BATHSCGV FV CV CV CV CV CV CV CV FV FOODHCD CALL HCD HCD C HCD HCD HCD HCD HD HANDICAP ACCESS
AR50 AVOIDING ACHES amp PAINSBy Leacuteonie Jenkins MD (c1925- 2000) from the March 1993 AR Vol XXXIV1
quently overused parts such asforearms and hands also respond to massage Quick tutorial on massagestart stroking toward the body and inthe direction of the flow of the veinsmdashupstream from the sorest partgradually work down to include thesore spot Yoursquore trying to move overthe underlying muscle not to rub theskin Thatrsquos why a little oil helps
Your psyche may need some relieffrom overload too Most workshopsare in surroundings that lend them-selves to taking a walk finding a placeto meditate taking in some beauty In creating anything a musical per-formance no less than more static artforms breathing in is as necessary asbreathing out be sure you take time to do it
Not to be forgotten those partiesLate hours and alcohol are stressfultry to balance off the fun yoursquore havingwith your capacity for both Above allenjoy Thatrsquos why yoursquore going
2009 SUMMER RECORDER WORKSHOPS
By Bart Spanhove
The author has been principalprofessor of recorder at the Lemmens-
instituut Leuven (Belgium) since 1984He is also artistic director of the world
famous recorder ensemble the FlandersRecorder Quartet which is set to perform
in concert at the 2009 Boston EarlyMusic Festival He is often asked to serve
as a jury member for internationalrecorder competitions in Canada US
Germany The Netherlands and BelgiumHe has given numerous master classes andlecture demonstrations all over the world
Spanhove is co-author of thesuccessful recorder method Easy Going(Heinrichshofen) and wrote the much-
used book The Finishing Touch ofEnsemble Playing (Alamire 2000
and Moeck 2002 with translations inChinese and German) In 2009
The Recorder Music of Frans Geysenwill come out (Mieroprint)
Currently he is researching practicetechnique for the recorder Daily
Spanhove thinks about how to makepeople happier by making music and
playing the recorder
As a conclusion for the VirtuosoRecorder class during the AmherstWorkshop in 2008 we organized aldquoHappy Hourrdquo for our nine talentedstudents Mee-Jung Ahn (Korea)Emilie Hasselgren and Kristine West(Sweden) Anne Timberlake JosephLewnard Jacob Lodico and BrycePeltier (US) Emiliano Perez(Mexico) and Fanny Massy (France)participated in a quiz that I wrote thenight before with the assistance ofReine-Marie Verhagen
We combined questions regardingmusic theory with practical exercisessuch as middot How long can a player hold a
low f in one breath on an altorecorder (You get one point foreach second)
middot How many times through a scaleis a player able to play in 30seconds (For every octave of theF major scale you get one point)
middot How many different pieces fromthe recorder repertoire can aperson play in the course of twominutes (The other members ofthe group have to guess the nameof the composer before the playercan start the next piece)
middot In one minute list as manydifferent titles as you can fromDer Fluyten Lusthof (TheRecorderrsquos Pleasure Garden) of J J van EyckThe list of questions goes onAt the ldquoHappy Hourrdquo people
were divided into three groupsaccording to dates of each personrsquosbirthday When theoretical questionswere asked (see below) the pointsystem was devised as follows threepoints were awarded when the selected
person of a group could find theanswer himherself two points whenthe selected person needed the help ofthe other group members and onepoint if the group needed the help ofour gracious class assistant Reine-Marie Verhagen (she alwaysknew the answer) No points weregiven if the quizmaster had to supplythe answer
On the next page you find someof my questions There are morewhich we hope to run in a future issueof American Recorder
The quiz was full of fun andsuspense By the end people weremore nervous than when playing aconcert on stage Jacob Lodico of theUS was the winner at Amherst
28 March 2009 American Recorder
Education___________________________________ A quiz for recorder players
wwwAmericanRecorderorg March 2009 29
Try these questions yourselfAnswers appear at the end of thisarticle
The Quiz1 Give the name of Ganassirsquos
treatise of 1535 where heextensively describes the recorder playing and diminutions of his time
2 In which German city is therecorder company Moeck based
3 In the cantata Gottes Zeit ist dieallerbeste Zeit BWV106 JS Bach calls for two altorecorders Give another name for this cantata
4 Of which famous orchestra isFrans Bruumlggen the conductor
5 List three leading Japanesecomposers of excellent solo pieces for the recorder
6 Give the names of recordermagazines published inGermany England and the US
7 What is the fundamental tone of a fourth flute
8 List two recorder makers fromthe Baroque period in England
9 Whatrsquos the title of the recitativeand chorale in the Saint MatthewPassion where the recorder isused
10 Give the names of two famouspublishers in business around1700mdashone in London and one in Amsterdam
11 The opus 10 work by AntonioVivaldi includes six concertiSome of them have beautifulnames Give the names of thefirst three concerti of this opus
12 Whatrsquos a nickname for Jean Jacques Hotteterre
13 The combination of recorder andtraverso was rarely used in theBaroque time Can you name any composers who used thiscombination
14 Which king from 16th-centuryEngland owned a large collectionof recorders and also composedand enjoyed daily recorderplaying
15 How many movements compriseHandelrsquos Sonata in C Op 1 No 7 originally written forrecorder and basso continuo
16 Give the name of Praetoriusrsquostreatise from 1609 that describesthe whole recorder family
17 Name the author of the oldestrecorder method
18 Name Jan Jacob van Eyckrsquosdisability
19 Who pretended around 1930 thatthe recorder was a kind ofclarinet
20 Who doesnrsquot belong in thefollowing group Bertho DrieverKarel van Steenhoven MarionVerbruggen Paul LeenhoutsDaniel Bruumlggen
21 Name the two instrumentsindicated to play the sonataMeiner Mutter of Hans UlrichStaeps
22 Il Pastor Fido was not composedby Antonio Vivaldi but by aFrench composer What was hisname
23 Whatrsquos the nationality of themusic company Zen-On
24 CPE Bach composed abeautiful trio that includes a bassrecorder What are the other twoinstruments
25 Give the names of the fourmovements of Bachrsquos partita forsolo traverse flute BWV1013
26 Which excellent playersperformed as the recorder trioSour Cream
27 A recorder normally has eightfingerholes Despite this musichistory describes the recorder as ldquoune flucircte agrave neuf trousrdquo (a flute with nine fingerholes)Explain why
28 Give the French name for vibratoperformed by finger movementsalone on a wind instrument
29 Who wrote in his diaryldquohellipbeyond anything in the wholeworld the wind-music when the
Answers to
Bart Spanhoversquos Quiz1 La Fontegara2 Celle3 Actus Tragicus4 The Orchestra of the
Eighteenth Century5 R Hirose M Ishii and
M Shinohara
6 Windkanal or Tibia (both ofGermany) The Recorder(England) American Recorder(US)
7 B8 The most famous English
recorder makers around 1700Bressan and Stanesby (the latterbeing both senior and junior)
9 O Schmerz Hier zittert das gequaumllte Herz
10 Walsh (and Hare) (of London)Roger (of Amsterdam)
11 La Tempesta de Mare La Notte Il Gardelino
12 Le Romain13 JB Loeillet J J Quantz
JJ Hotteterre or J B de Boismortier
14 Henry VIII15 Five16 Syntagma Musicum17 Sebastian Virdung Musica
Getutscht und Ausgezogen (1511)18 Blindness19 Igor Stravinsky20 Marion Verbruggen21 Alto recorder and piano22 Nicolas Cheacutedeville23 Japanese24 Viola and cembalo25 Allemande Courante Sarabande
Bourreacutee26 Kees Boeke Walter van Hauwe
and Frans Bruumlggen27 Before 1670 the player could
choose how to hold the recordermdashleft hand or right hand at the topThis meant that recorder makersdrilled two holes to accommodatethe little finger of the hand thatended up at the bottom Theunused hole was sealed with beeswax
28 Flattement29 Samuel Pepys30 Flanders Recorder Quartet
30 March 2009 American Recorder
Lazarrsquos Early Music(866) 511-2981 jblazaraolcom
wwwLazarsEarlyMusiccom
292 Gibraltar Dr 108 Sunnyvale CA 94089
Strings amp Early Winds
ModernBaroque Strings Viols Vielle
Kuumlng Moeck Mollenhauer Paetzold Yamaha Ehlert
Wenner Baroque flutes
Wendy Ogle Lu-Mi Ifshin Snow
Competitive Prices
Sent on Approval
Personalized Service amp Advice
R
E
C
O
R
D
E
R
S
ldquoGO FOR NEO-BAROQUErdquo
Andrew Charlton Partita Piccola For 4 Recorders (SATB)
[Prelude Allemande Courante Musettemdash
a neo-baroque epitome] (Score amp Parts PBE-25) $795
Andrew Charlton Suite Moderne For 3 Recorders (ATB)
[Baroque shapes but Hindemithian harmony]
(3 Playing-Scores PBE-44) $995
Southwest of Baroque David Goldsteinrsquos ldquobaroque Suiterdquo
on Cowboy Songs For 2 Recorders (SA) (PBE-2) $350
The Provincetown Bookshop Inc
246 Commercial Street Provincetown MA 02657 Tel (508)487-0964
A good source for Recorder amp Viol Music of all publishers
Provincetown Bookshop Editions
angel comes down which is sosweet that it ravished me andindeed in a word did wrap upmy soul so that it made me reallysick just as I have formerly beenwhen in love with my wiferdquo
30 Whatrsquos the English name for afamous recorder ensemble calledin its country Vier op lsquon Rij
wwwAmericanRecorderorg March 2009 31
by Tim Broege timbroegeaolcom
December 11 2008 was a specialday for American music the
100th birthday of Americarsquos greatestliving composer Elliott Carter Cele-bratory concerts took place in manyvenues including Carnegie Hall inNew York There the Boston Sym-phony led by James Levine played anew work by Carter Interventions forpiano and orchestra The soloist wasanother well-known conductor DanielBarenboim who is no mean hand atthe keyboard to say the least
Itrsquos remarkable that wonderfulnew compositions continue to pourforth from Carterrsquos pen His musicsparkles and frolics packing lots of musical events into engrossingstructures Much of his music isavailable on CD so if you missed thecelebrations you can easily have yourown belated birthday party for Carter
Although he has never written for recorder (one of our prominent
recorder soloists should commissionhim) Carter has produced manychamber pieces featuring woodwindsSince many recorder players double orstarted out on woodwinds such piecesas the Sonata for Flute Oboe Cello ampHarpsichord (1952) Enchanted Preludes(1988) for flute and rsquocello Espritrudeesprit doux (1985) for flute andclarinet or the Oboe Quartet (2001)may hold special interest
If you missed Charlie Rosersquosexcellent interview (broadcast onDecember 10) with Carter Levine andBarenboim you can see it atwwwcharlierosecomview
interview9774mdashessential viewingfor fans of contemporary music
We note with sadness the passingon January 23 of another distin-guished American composer GeorgePerle An authority on the music ofAlban Berg and the Second VienneseSchool Perle developed a uniquelyrical style based upon a free approachto 12-tone and serial procedureswhich he dubbed ldquo12-tone tonalityrdquo I recommend listening to his SerenadeNo 3 for Piano amp Orchestra (1983) Six Etudes for Piano (1973-76) and the Pulitzer Prize-winning Wind Quintet No 4 (1985)
Another leading American com-poser Leon Kirchner is thankfully still with us having turned 90 onJanuary 24 Like Perle Kirchner has a highly personal and expressive styleA birthday concert was held at MillerTheater at Columbia University inNew York City NY Participatingmusicians included flutist PaulaRobison pianist Jeremy Denk and theClaremont Trio with the composerpresent to discuss his music
An excellent way to get to knowKirchnerrsquos music is through his stringquartets Just in time for his birthdayAlbany Records has released a fine CDof all four played by the Orion StringQuartet Quartet No 4 was written in2007 (when the composer was 87mdasha veritable youngster compared toCarter) The composer Allen Shawnhas described that quartet asldquoluminous and passionaterdquo words aptto describe much of Kirchnerrsquos output
Speaking of contemporary musicI have been spending pleasant hoursperusing the Catalog of ContemporaryBlockflute Music available online atwwwblokfluitorg from StichtingBlokfluit This Netherlands founda-tion offers a contemporary recordercatalog and a catalog of historicalrecorder music Access to both is byfree membership
For those who havenrsquot yet used thecontemporary catalog I urge you togive it a try You can search by manyparameters such as composer title orspecific instrumentation A search forldquovoice fluterdquo turned up a list thatincluded Moon Dances Three AmericanSketches by composer Walter Mays(intended for solo alto recorder butalso playable on tenor or voice flute)Searching the name of English com-poser Edmund Rubbra produced a listof eight works that employ recordersincluding the intriguing CantataPastorale opus 92 for high voice altorecorder rsquocello and harpsichord
Searching ldquofemale composersrdquo fora piece using ldquoBaroque altordquo yieldedAfter Meditation by Ros Bandt ofAustralia
What an easy and tremendouslyvaluable way to find new music
On the Cutting Edge___________________________________Birthdays composers and
recorder music catalogs
Elliot Carter
(photo by Meredith Heuer)
Question How does Renaissancefingering differ from standard
fingering on the recorder Is one superior tothe other Do you need a special recorder touse Renaissance fingering and if so can itbe played with regular recorders Is there afingering chart that shows RenaissancefingeringmdashWilliam BaumannWaterford WI
Answer from Carolyn Peskin Music composed in the
Renaissance the historical periodextending from about 1450 to 1600was predominantly vocal and highlycontrapuntal Recorders which oftendoubled singers at the octave orrendered vocal pieces instrumentallywere designed to make the individualmelodic lines clearly audible
Most 16th-century consortrecorders were one-piece instrumentswith large toneholes and a wide borethat contracted slightly starting nearthe upper fingerholes and thenexpanded gently near the lowest holesThat ldquochoke-borerdquo design togetherwith the voicing and tonehole con-figuration favored the fundamentaltone (first harmonic) producing astrong open sound that was aboutequally loud throughout theinstrumentrsquos range
Such recorders had a useful rangeof only about an octave plus a sixthwhich was nevertheless sufficient for the music of their day MostRenaissance-style consort recordersmade today are based loosely uponsurviving 16th-century instruments ofthe above type and are designed toapproximate the range timbre andvolume of those early instruments
Our present-day ldquoregularrdquorecorders are Baroque-derived instru-ments based loosely upon survivingrecorders from the late 17th and early18th centuries They are three-pieceinstruments with small toneholes and abore that is narrower and moretapering than a Renaissance boreextending their useful range upward totwo octaves plus a whole tone
Baroque recorders are soft andsweet-sounding in their bottom octavebut louder and brighter in the secondoctave Their lowest notes are espe-cially weak because they must be blowngently to prevent overblowing into thesecond octave Such instruments aresuitable for Baroque solo and chamberrepertoire but not very satisfying forRenaissance polyphony
Due to their different timbre andvolume Renaissance recorders will not blend well with Baroque onesFurthermore the most historicallyauthentic Renaissance-style recordersare tuned in a ldquomeantonerdquotemperament that facilitates the playingof pure major thirds Such instrumentsmake Renaissance music easier to playin tune but will produce intonationproblems if played with Baroquerecorders which are tuned in equaltemperament For the above reasonsRenaissance and Baroque recordersshould not be played together
Renaissance fingering will not work on todayrsquos neo-Baroquerecordersmdashmost of which haveldquomodernrdquo Baroque fingeringcommonly called ldquoEnglishrdquo fingering
because it was developed fromhistorical Baroque fingering by ArnoldDolmetsch in England during theearly 20th century Renaissancefingering is less standardized partlybecause a number of different originalinstruments are used as models andpartly because makers wish to improvethe intonation tone quality andorplayability of certain notes Howeverthe following generalizations apply tomany of todayrsquos Renaissance-styleconsort recorders
First in the lower octave modernBaroque fingering works for mostnotes but is often too flat for the fourth scale degree (eg soprano F)requiring removal of finger 7 (right-hand pinky) and is too sharp for theraised fourth degree (eg soprano F)requiring addition of finger 7
Modern fingering is also usuallytoo sharp for the lowered seventhdegree (eg soprano B) The correctfingering for that note varies from oneinstrument to another
In the upper octave modernfingering works for the first third andfifth scale degrees (eg soprano C Eand G) but usually not for other notesSome notes require half-holing with aright-hand finger and notes above thefifth scale degree may require additionof several fingers to bring them in tuneHistorical Renaissance fingering forthe second scale degree (eg sopranoD) is especially awkward because all ofthe fingerholes and the thumbholemust be uncovered Therefore somemakers substitute modern fingering forthat note
Although Renaissance fingeringand meantone tuning are recom-mended for the best blend some
Q amp A___________________________________ Renaissance recorder fingering
Send questions to Carolyn Peskin QampA Editor 3559 Strathavon Road Shaker Heights OH44120 carolynpeskinstratosnet
32 March 2009 American Recorder
wwwAmericanRecorderorg March 2009 33
makers of handcrafted Renaissance recorders will provide modern fingeringandor equal temperament upon request and Moeck Verlag offers a choice ofRenaissance or modern fingering for most sizes of its factory-producedRenaissance Consort series
For a most satisfying blend Renaissance ensembles should purchase amatched set of recorders tuned and voiced to be played together Renaissanceconsort sets usually include two different alto recorders one in G (lowest note g)and one in F (lowest note f ) The ATTB combination with the G-alto is best formost of the quartet music composed between 1450 and 1550 while the SATBcombination with the F-alto is more practical for much late 16th-centuryrepertoire (Playing the G-alto requires learning G-alto fingering or elsetransposing the alto line down a whole tone and using F-alto fingering)
In addition to consort recorders some makers offer ldquoGanassirdquo sopranos andaltos based upon fingering charts in Silvestro Ganassirsquos recorder tutor Fontegarapublished in 1535 and a single original instrument in the Vienna Kunst-historisches Museum Because of their special bore design (cylindrical with aflaring bell) Ganassi recorders have a range of two octaves and a sixth withcumbersome fingerings in the third octave They are used mainly as soloinstruments for playing intricate ornaments of the type found in Fontegara
Also sometimes included in the ldquoRenaissancerdquo category are ldquotransitionalrdquo(early Baroque) recorders which are based upon originals from the first half ofthe 17th century They have a bore that is wider than a Baroque bore but contractssharply near the lower end resulting in strong low notes and at least a full two-octave range usually with modern fingering Most transitional recorders aresopranos or altos designed for playing Jacob van Eyckrsquos variation sets or thehighly ornamented Italian solo repertoire of the late-16th and early-17thcenturies
However wide-bore consortrecorders with a range of at least twooctaves and modern fingering shouldalso be regarded as transitionalinstruments They differ somewhat intimbre and volume from typicalRenaissance consort recorders
Handmade wide-borerecordersmdashconsort Ganassi andtransitionalmdashare obtainable frommakers who advertise in AmericanRecorder the Prescott Workshop andthe Von Huene Workshop in the USJean-Luc Boudreau in Canada andStephan Blezinger in GermanyContact them andor visit their websites to find out what kinds ofrecorders they are currently makingand to get an idea of their prices andwait times
Factory-produced wide-borerecorders from Kobliczek Moeck andMollenhauer are available frominstrument dealers who advertise inAR New and used recordersincluding wide-bore models fromimportant makers in the US andabroad are also obtainable from Uni-corn Music For further informationvisit wwwbuyrecorderscom For a comprehensive database of recordermakers worldwide see Nicholas SLanderrsquos ldquoExtant Recorder Makers amp Retailersrdquo at wwwrecorder
homepagenetmakershtml
REFERENCES
CONSULTEDBauer Winfried
wwwrecorder-fingeringscomIncludes interactive fingeringcharts from modern makers andhistorical treatises Charts forRenaissance consort recorders byAdriana Breukink Adrian BrownBob Marvin and Tom Prescottwere consulted
Brown Adrianwwwadrianbrownorgrec
order_typesconsorthtml
Our present-day ldquoregularrdquo recorders are
Baroque-derived instruments based loosely
upon surviving recorders from the
late 17th and early 18th centuries
34 March 2009 American Recorder
The Von Huene Workshop Incis pleased to announce agreements with
CoolsmaZamra
to serve as their authorised service agents in the US
For more than 40 years the von Huene Workshop has produced some of the finest recorders in the world Our skilled staff can revoice retune and repair even the most seriously damaged instruments All repairs are done right on the premises and most can be completed within a week
For warranty repairs please include a copy of your original sales receipt
j 65 Boylston Street Brookline MA 02445 i(617) 277-8690 Fax (617) 277-7217 servicevonhuenecom
An informative article aboutrecorder sizes in Renaissanceconsorts
Brown Adrian and David LasockildquoRenaissance Recorders andTheir Makersrdquo AmericanRecorder Vol XLVII No 1(January 2006) pp 19-31 An important article based upon Brownrsquos extensive researchon 120 of the 200 surviving 16th-century recorders
Ganassi Silvestro Opera IntitulataFontegara Ed Hildemarie Peter(Berlin-Lichterfelde RobertLienau 1959) Modern edition ofthe oldest known treatise devotedentirely to the recorder (publishedin 1535) Includes 16th-centuryfingering charts
Griscom Richard and David LasockiThe Recorder A Research andInformation Guide (New York andLondon Routledge 2003) Anannotated bibliography including
references on construction anddesign of historical recorders
Levin Philip ldquoQampArdquo AmericanRecorder Vol XXXVIII No 4(September 1997) p 27Explains in simple terms thedifference between Renaissanceand Baroque recorders
Morgan Fred ldquoA Recorder for theMusic of JJ van EyckrdquoAmerican Recorder Vol XXV No 2 (May 1984) pp 47-49Describes the bore design of arecorder suitable for playing Van Eyckrsquos variation sets andcompares it with bore designs ofother types of recorders
Myers Herbert W ldquoRecorderrdquochapter in A Performerrsquos Guide toRenaissance Music ed JefferyKite-Powell (New York SchirmerBooks 1994) A 2nd edition isnow available published in 2007by Indiana University Press
FEATURING MUSICA PACIFICA
JUDITH LINSENBERG
RECORDERS____JS BACH TRIO SONATAS Arr by
Linsenberg from Trio Sonatas for Organ BWV525-
530 Sonata No 1 in E
major (transp to B
)
BWV 525 Sonata No 2 in C minor (transp to E)
BWV526 Sonata No 3 in D minor (transp to G)
BWV 527 Sonata No 4 in E minor BWV 528
Sonata No 5 in C major (transp to F) BWV529
Sonata No 6 in G major (transp to C) BWV 530
Virgin Classics Veritas 1993
____FIRE BENEATH MY FINGERS Showcases
three legendary composers who were also
virtuoso performers Vivaldi Concerto in F major
after RV 98570 ldquoLa Tempesta di Marerdquo Sonata in
A minor RV86 Concerto in G minor RV106 Con-
certo in Bb major RV503 Sammartini Concerto in
F major Tartini Concerto in A major D91 Dorian
____MANCINI CONCERTI DI CAMERA Seven
sonatas by Francesco Mancini plus one work each
from his contemporaries Francesco Durante amp
Domenico Scarlatti Highly recommended citation
from the 2000 Vivaldi Prize for Recordings of Italian
Early Music--Giorgio Cini Foundation Dorian
____MARAIS MARIN PIEgraveCES EN TRIO POUR
LES FLUcircTES VIOLON amp DESSUS DE VIOLE
Maraiss complete works for two treble lines and
bass with varied instrumentation and orchestrations
2-CD set $24
____SCARLATTI CONCERTI DI CAMERA
Seven sonatas for various instrumentations no
poor relations to the composers much more widely-
known vocal output All recorder players should
certainly have thisndashEarly Music Review
____TELEMANN CHAMBER CANTATAS
Five cantatas from Harmonischer Gottesdienst two
sonatas from Sonatas Corellisantes 2003 Chamber
Music America WQXR Record Award for best
chamber music recordings
____VIVALDI LA NOTTE Concerti per strumenti
diversi Award-winning CD featuring five Vivaldi
concerti two sonatas
AND OTHER RECORDING
ARTISTS FROM CALIFORNIA ____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 American Bach Soloists Jeffrey
Thomas conductor Dan Laurin Hanneke van
Proosdij recorders Christmas Concerto featuring
unique 1725 London version with solos transcription
for two recorders instead of two solo violins in
three of the six concertos Delos
____CANCcedilONIEgraveR Annette Bauer recorder
multi-instrumentalist Tim Rayborn Shira Kammen
strings Phoebe Jevtovic voice in a new early
music group devoted to repertoire from the
12thndash15th centuries as well as traditional music
from related regions (the Balkans Scandinavia
Middle East) Medieval instrumental music played
on a variety of instruments including strings
recorders and percussion Medieval dances and
motets bring to life the rich world of ancient
European music-making
____SACRED AND SECULAR MUSIC FROM
RENAISSANCE GERMANY Ciaramella-Adam amp
Rotem Gilbert Doug Millikan Debra Nagy
recorders with other winds shawm sackbut amp
organ Medieval amp Renaissance sacred music with
reconstructions of folksongs amp arrangements based
on contemporary improvisation
____BURIED TREASURE TOPAZ amp SAPPHIRE
Ensemble Vermillian Frances Blaker recorders
Barbara Blaker Krumdieck cello Elisabeth Reed
gamba Katherine Heater harpsichord amp organ
Transcriptions of Buxtehudes Op 1 other pieces by
Buxtehude works by Biber Johann Schop
Schmelzer Fafarela 2007
____STOLEN JEWELS Ensemble Vermillian
Frances Blaker recorders Barbara Blaker
Krumdieck Elisabeth Reed Katherine Heater 17th-
century German music adapted by Blaker I love
violin music so I steal the music and rearrange it
for my own instrumentrdquo Buxtehude Op 1 Biber
Rosenmuller Krieger JM Bach Fafarela
Recordings
____SENFL (LUDWIG) Farallon Recorder Quartet
(Letitia Berlin Frances Blaker Louise Carslake
Hanneke van Proosdij) 23 lieder motets and
instrumental works of the German Renaissance
____DOLCE MUSICAndash A CONTEMPLATIVE
JOURNEY Eileen Hadidianflutes recorders
Natalie Cox harps Celtic Renaissance and
Medieval melodies for recorder and flute with
Celtic harp Healing Muses 2005
____REFLECTIONS MUSIC TO SOOTHE AND
UPLIFT THE SPIRIT Eileen Hadidian recorder amp
Baroque flute with Celtic harp and cello Celtic
traditional Renaissance amp Medieval melodies
Healing Muses
____AN EVENING WITH BACH Voices of Music
Hanneke van Proosdij Louis Carslake Dan Laurin
recorders Joanna Blendulf Elizabeth Blumenstock
Rodney Gehrke Lisa Grodin Katherine Kyme
Jennifer Lane Victoria Gunn Pich Susanne Ryden
William Skeen David Tayler Renaissance and
Baroque music centers on fine singing Instantly
recognizable Air on a G String Bachrsquos Prelude in
G Major (solo theorbo for rsquocello) plus lilting vocal
performancesmdashRydenrsquos weightless soprano on
Bist du bei mir Lanersquos rich alto on Es is vollbracht
____BACH amp TELEMANN SONATAS PRELUDES
amp FANTASIAS Voices of Music (Hanneke van
Proosdij Joanna Blendulf Rodney Gehrke William
Skeen David Tayler) Beautiful chamber music by
Bach and Telemann
IN STOCK (Partial listing)____ALLA TURCA FUX CALDARA BADIA
Matthias Maute amp Sophie Lariviegravere recorders
Monika Mauch soprano Vocal music of the church
accompanied by Ensemble Caprice plus sonatas
and other instrumental pieces Analekta
____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 John Daniels Sonja Lindblad
recorders Peter Sykes harpsichord Trio sonata
arrangement by Johann Christian Schickhardt
____LES
AMIS DU
BAROQUE
Paul Nauta recorder amp
Baroque flute Koen Dieltiens recorder Music by
Bassani Corelli Vivaldi etc Highlight Intl
____LES SEPT SAUTS BAROQUE CHAMBER
MUSIC AT THE STUTTGART COURT Matthias
Maute amp Sophie Lariviegravere recorders amp traverso
Ensemble Caprice Charming repertoire by
Schwartzkopff Bodino Detri Atma Classique
____TASTE OF PORTIQUE LEnsemble Portique
Early and contemporary chamber musicmdash
Bach Telemann Boismortier and others
____TELEMANN ALLA POLACCA REBELndash
Matthias Maute recorders amp traversondash
plays concerti and suites by GP Telemann Dorian
____TELEMANN CANONS AND DUOS Lisette
Kielson amp Patrick OMalley recorders LEnsemble
Portique Telemann Canons meacutelodieux amp Sonates
sans basse 2-CD set LEP Records
____20TH CENTURY MUSIC FOR RECORDER amp
PIANO Anita Randolfi recorders Music by Jacob
Bartok Leigh others for recorder amp piano
____VIVALDI AND THE BAROQUE GYPSIES
Matthias Maute amp Sophie Lariviegravere recorders
Ensemble Caprice Gypsy music taken from
Uhrovska zbierka (now Slovakia) plus Vivaldi
____VIVALDI SHADES OF RED CONCERTOS amp
SONATAS FOR RECORDER amp STRINGS Matthias
Maute recorders REBEL Stylish high octane
readings of some of Vivaldis most beloved pieces
including the popular and raucous Concerto alla
Rustica stunningly colorful Sonata on La Follia and
four exuberant recorder concerti Bridge
____WINDFIRE Charmaine Delmatier recorder
Steve Kostelnik classical guitar Terry Hale bass
Erik Hokkanen violin Refreshing mixture of Andrew
Lloyd Weber American blues flamenco Celtic and
one original piece ltwwwyermomusicomgt
Please indicate above the CDs you wish toorder and print clearly the following
Name ____________________________________
Daytime phone (_____)______________________
Address__________________________________
CityStateZip _____________________________
Check enclosed for
_____ single CDs x $____ = $______
_____ 2-CD sets x $____ = $______
TOTAL $______
Please charge the above amount to my
MasterCard Visa or AmEx
_______________________________________
Exp Date ____________
Cardholderrsquos signature ______________________
Mail to
ARS 1129 Ruth Dr St Louis MO 63122-1019 US
You may fax a credit card order to 314-966-4649
NEW You may order CDs online using PayPal at
wwwamericanrecorderorgordercdromshtm
Order your recorder discs
through the ARS CD Club
The ARS CD Club makes hard-to-find or limited release CDs by ARS members
available to ARS members at the special price listed (non-members slightly higher)
All CDs are $15 ARS members$17 Others unless marked otherwise Two-CD sets are
$24 ARS members$28 Others Add Shipping and Handling $2 for one CD $1 for each
additional CD An updated listing of all available CDs may be found at the ARS
web site ltwwwamericanrecorderorggt
The first meeting of the newly-formedFort Myers Recorder and Early
Music Ensemble was January 26 atthe Florida home of chapter rep Sue
Groskreutz For this year the groupis somewhat loosely organized andplans to meet for extended sight-reading Repertoire at the first meetingcomprised everything from Renais-sance duets to chamber music involv-ing three treble parts and continuo
Among the five musiciansattending the first meeting (photobelow front row Elizabeth Spang SueGroskreutz back row Suzanne FergusonSibylle Baumgartner Arlene Sowka) allplayed recorder three harpsichord
and one each played traverso violinand gamba Due to the scarcity ofrecorder players south of the Sarasotaarea modern string players are alsoincorporated into this ensemble
The group decided not to chargedues and to meet at Groskreutzrsquoshome For more information pleasecontact Groskreutz at 239-267-1752spgembarqmailcom Snowbirdsdrifting through the area are welcome
Last fall at the requestof a student Kay Hettich
(inset below right) taught abeginning recorder class atthe Redding (CA) Senior
Center The five-weekclass was so successful thatmost participants haveformed a bi-weekly noviceensemble (right) coachedby Hettichmdashwho consid-ers them her ldquohatchedeggsrdquo
A new batch of ldquoeggsrdquostarted to incubate when afive-week class began on February 20Other senior center members havebecome interested as they heard oftheir colleaguesrsquo success These noviceplayers comprise some who previouslyread music and played instruments as well as people who are totally new to music notation
One student has also formulated amaxim ldquoEveryone at age 40 ought tolearn to play the recorder if heshehasnrsquot alreadyrdquo Just think how theworld would be transformed byshifting our focus to music
After Lynn Whidden attendedthe Montreacuteal Recorder Festival lastfall when the ARS Board met inQuebec she joined the ARS and nowrelays news of the lively interest in therecorder exhibited by a group underthe new leadership of Brent Legg ofBrandon University in ManitobaCanada Although his hands wereldquostill partly frozenrdquo he wrote that theBrandon University Collegium
Musicum in collaboration with theWaverley Park Recorder Club is
preparing a spring concert calledldquoEnglandrsquos Golden AgerdquoRepertoire spans the 16th century
from Henry VIIIrsquos accession in 1509to the death in 1603 of Elizabeth Iand includes solo songs four- andfive-part settings of Renaissancedances (with dancers) three- to five-voice madrigals and ldquobig-bandrdquoarrangements of William Byrdrsquos TheBells and The Dargason as re-imaginedby Gustav Holst (further re-imaginedfor recorders and percussion)
Of the 15 collegium membersseven are encountering the recorderfor the first time since elementaryschool The Collegium Musicumpromotes the study of early music at the university and is open to theuniversity community and the generalpublic This year there are five com-munity participants with interest fromseveral more both within and outsideof the university For informationcontact BrentLegggmailcom
January 16 marked the thirdannual recorder workshop of threeFlorida groups the Pasco Collegium
Recorder Consort of Hudson theImperial Recorder Consort of
36 March 2009 American Recorder
Chapters
amp Consorts___________________________________Workshops and activities from
coast to coast in the US and Canada
Lakeland and the Pilgrim Pipers Recorder Consort of St Petersburg Theygathered for a morning tackling selections by Banchieri Monteverdi PurcellCorelli Mendelssohn Bach Mozart and Glen Shannon Each group presenteda piece for the other participants Sweet Georgia Brown by Ben Bernie (St Pete)a Sonata by Sammartini (Lakeland) and The Gospel Train arr by KW Ford(Pasco) The 29 participants were led by Marlene Cracraft (Pasco) Jane
Spencer (Lakeland) and Elizabeth Snedeker (St Pete) Tom Bickley (photo below) directed the fall workshop of the Mid-Peninsula
Recorder Orchestra in Cupertino CA The 30 players started with Gregorianchants written in ldquooldrdquo notation Bickley gave basic instruction on how tointerpret the notes and then had the group sing the chants prior to playing them
The workshop theme of ldquoThe Articulate Recorderrdquo was literally played out as the music presented used variations in tonguing phrasing and breathingOther repertoire included a Kyrie by Tomas Luis de Victoria Bachrsquos Jesu Joy ofManrsquos Desiring a double-choir piece by Gabrieli Christopher Tyersquos In NomineXIII and a Purcell chaconne The workshop ended with a rhythmically-challenging minimalist piece by Bickley entitled Beginning composed for theWaldorf School teacher training program George Greenwood reports that thegroup had a productive event and plans to ask Bickley to lead a future workshop
wwwAmericanRecorderorg March 2009 37
A Muse in the DesertThe sound of a pin dropping hellip thesound of eager minds and fingersabsorbing information and inspira-tion hellip the sounds of ldquoNuevaEspantildeardquo Spanish- and indigenous-influenced music of the 1600s in theNew World These were the soundsof the Desert Pipes (Phoenix AZ)chapterrsquos fall workshop given byEileen Hadidian On a Saturdaylast October 30 players from all overArizona gathered to learn from andbe inspired by the founder of a SanFrancisco Bay Area group dedicatedto sharing music for healing inhealthcare settings Healing Muses(wwwhealingmusesorg)
The day began with relaxationstretching and breathing exercisesfollowed by travels to Peruacute MexicoGuatemala and Colombiamdashhighchurch music vernacular pieces anda mixture of the two Participantsenjoyed the historical and contextualbackground provided as an overviewfor the day and for each piece
Remarkably the sound heardbetween pieces and passages was anenergy-filled quiet the attentivestillness of active engagement in theworkshop experiencemdashnot the chat-tering noodling and conversationsthat often occur when the musicstops That activity was reserved forthe breaks when participants couldenjoy the cool (at last) outdoorschat with Hadidian and peruse the popular garage sale (to benefitDesert Pipes) of previously-enjoyedbooks and other treasures
On Sunday Hadidian sharedher expertise and inspiration in indi-vidual and group coaching sessionsThe weekend was a special experi-ence and Desert Pipes memberslook forward to the next visit of this Healing Muse
Ann Koenig Scottsdale AZannisalesprocom
Members
of three
Florida
groups
met
in January
for a joint
workshop
CHAPTER NEWS
Chapter newsletter editors and publicity officers should send materials for publication toAmerican Recorder 7770 South High St Centennial CO 80122-3122
editoramericanrecorderorg Also send short articles about specific activities that haveincreased chapter membership or recognition or just the enjoyment your members get out of
being part of your chapter Digital photos should be at least 3rdquox4rdquox300dpi TIF or unedited JPG files Please send news to the AR address above and to the following
ARS Office 1129 Ruth Drive St Louis MO 63122-1019 ARSrecorderAmericanRecorderorg
and to Bonnie Kelly Chair Chapters amp Consorts Committee 45 Shawsheen Rd 16 Bedford MA 01730 bksharpaolcom
TO THE STARS
AND BEYONDThe cover of the November magazinegenerated a few comments Some werenrsquotsure how to interpret the title (in theartistrsquos native German it could besomething close to ldquostarlit moonrdquo)Longtime member Carolyn Peskin wrote to offer her vision of that cover
In the beginning the Great Spiritinvented Mr Sun to light the day andMiss Moon to light the nightHowever as Miss Moon floated up inthe sky all by herself like a big yellowballoon she began to feel very lonelyso one night to relieve her lonelinessshe decided to take out her recorderand make music
But when she started to playsomething miraculous happened Not only beautiful melodies but alsoyellow dust poured out of the bottomof her recorder and the dust particlesimmediately coalesced to form yellowstars As she continued playing moreand more stars were created and theyfloated up around her filling the nightsky
At last Miss Moon was happy fornot only was she herself able to enjoyher music but she now had a wholecrowd of starry companions to enjoy itwith her And if you listen very care-fully on a quiet night you might beable to hear her recorder and thatstarry choir humming along
Carolyn Peskin
LOCATING EARPLUGSI read with interest the QampA in theNovember lsquo08 AR regarding hearingloss and use of earplugs Where do you get musicianrsquos earplugs
Dolly Hirata Kensington CA
CAROLYN PESKIN PROVIDED THIS
INFORMATION Musicianrsquos earplugs arecustom made for individual usersThey can be purchased only fromlicensed hearing professionals (ieaudiologists and hearing instrumentspecialists) To find a licensed hearingprofessional in your area look underldquoaudiologyrdquo or ldquohearingrdquo in your localyellow pages
For information about how musi-cianrsquos earplugs are produced visitwwwetymoticcomephperme-w
tbaspx That web page also has a linkto contact information for authorizedlabs that make the custom earmolds formusicianrsquos earplugs If the yellow pagesdo not prove helpful those labs canrefer you to a licensed hearing pro-fessional in your area from whom youcan purchase musicianrsquos earplugs
MORE FROM CAROLYN
THIS TIME ABOUT OSKARIn the September 2008 AR the musicreview by Leslie Timmons of the Oskarpieces by Matthias Maute mentionedthat Carolyn Peskin had translated twoof the Oskar books from German toEnglish People can obtain thetranslations free of charge as Wordattachments by contacting her atCarolyn Peskin 3559 StrathavonRoad Shaker Heights OH 44120carolynpeskinstratosnet
ANOTHER KIND OF
MUSIC-READING
GLASSESIn the January 2009 issue of AmericanRecorder therersquos something (in myopinion) the ldquoRecorder with GlassesObbligatordquo article omitted which canenable a nearsighted musician to avoidneck strain in the use of bifocals
Irsquove found the solution to thisvexing problem is to have onersquos bifocalsconstructed differently [from] normalMy optometrist was willing to work
38 March 2009 American Recorder
Response___________________________________Two kinds of vision
the better to see with and (not) to hear with
Honeysuckle Music
Recorders amp accessories
Music for recorders amp viols
Jean Allison Olson1604 Portland AveSt Paul MN 55104
6516448545jeanhoneysucklemusiccom
Responses from our readers are welcomedand may be sent to American Recorder 7770 South High St Centennial CO
80122 Letters may be edited for length and consistency
ARS Membership Enrollment and Renewal I am a new member I am or have been a member
USCanadian Memberships Foreign Memberships $45 One Year $55 Foreign One Year $75 Sustaining (Receive a Hottetere Hands Pin) $100 Two Years $80 Two Years
LIFETIME MEMBERSHIP Single Dual Regular Lifetime Member $1000 (2) $1500 (4) 4 installments of $250 available) Loyalty Lifetime Member (1) $ 800 (3) $1200 (4) 4 installments of $200 available
(1) For members who have maintained membership for five consecutive years (2) $750 is Tax Deductible (3) $600 is Tax Deductible (4) Installments available Student Memberships Other Memberships (Enclose proof of full time enrollment) $65 One Year Workshop Membership
$25 USCanadian One Year $125 One Year Business Membership $45 USCanadian Two Years $30 Foreign One Year $5 Additional Charge for Dual Address or Dual Name
Do not list my name in the ARS Print Directory Do not list my name on the ARS Online Directory Do not release my name for recorder related mailings Do not contact me via email
My address telephone and email address are the same as last time
______________________________________ _________________________ Name Phone Number ______________________________________ _________________________ AddressCityStatePostal Code Email Address Please charge to (Circle one) VISAMasterCardAMEXDiscover CC________________________________ Expiration Date ______________ Signature of cardholder_______________________________________________________ Clearly Print Name as it appears on Card________________________________________
Renew by Mail Online By Phone or by Fax
Demographic Information (optional information collected only to enhance ARS services and provide statistics to grant makers)
I am a member of ARS Chapter or Consort____________________________ I am the Chapter Contact Your age Under 21 (21-30) (31-40) (41-50) (51-60) 61-70) (71+) Please check all that apply
I am a Professional Recorder Performer
I wish to be included in the list of Recorder Teachers in the ARS Directory and website I Teach (circle your choices) Children High School Youth College Students Adults Beginner Intermediate Advanced Pre-Professional Individuals Childrenrsquos Classes Adult Classes Ensembles Suzuki Orff JRS Leader Kodaly Where I Teach (circle your choices) Music Studio Public or private school Community Music School College Other _____________________
American Recorder Society 1129 Ruth Dr St Louis MO 63122-1019
Phone 314-966-4082Fax 314-966-4649
TollFree 800-491-9588ARSRecorderAmericanRecorderorg
wwwAmericanRecorderorg
with me [to find] an ideal (for me)placement size and focal length of thebifocal lens
Before visiting the optometristIrsquod had my wife measure the distancefrom my eyes to the music on mymusic stand With this measurementthe optometrist set up her machine toprepare a vision prescription for memaximized for this reading distance
When I look at my bifocals (withthem off) the lenses (through which Iread my music) occupy most of thelower two-thirds of my glasses (they are set very high and beginimmediately at the inner rims) Thisleaves the upper third and smallportions of the outside [of each lens]for focusing on the conductor As longas my stand is set low enough my necknever experiences any strain (even if Ihave to read three to a part) and Irsquove no problem in seeing theconductor (in sharp focus) either
For me trying to use glasses [toread] from a music stand [that] weredesigned for use in reading from acomputer screen also results in neckstrain (not to mention unreliability in aldquopressurerdquo situation) Having studiedTai Chi extensively and so being
wwwAmericanRecorderorg March 2009 39
There are lots ofsolutions to thepresbyopic musicianrsquosproblem but all involve compromises
40 March 2009 American Recorder
American Recorder Society PublicationsErich Katz Contemporary Music Series Members Non-MembersA Short Tale for Two Basses Suzanne M Angevine (Level II) (2 scores) $5 $8Dialogue and Dance Cecil Effinger (SATB)(Level II-III) (score amp parts) $10 $18Dorian Mood Sally Price (SATB) (Level II) (score amp parts) $10 $18Double Quartet for Recorders Peter Ballinger (Level II-III) (score amp parts) $10 $18Entrevista Frederic Palmer (SATB) (Level II) (2 scores amp 4 recorder parts) $8 $14Kyrie and Vocalise for Soprano Voice ampRecorders Stanley W Osborn $8 $14
(SATB) (Level II) (2 scores amp 4 recorder parts) Picnic Music Jeffrey Quick (SATB) (Level II) (score amp parts) $5 $8Six Short Pieces for Three Recorders edited by Alan Drake $8 $14
(3 scores) Vaclav Nelhybel (AATT) (Level II)Sonatina for Alto Recorder and Piano Anthony Burgess $7 $12
(Level II) (2 scores)Sonatine for Three Altos Lee Gannon (Level III) (score amp parts) $14 $26Suite of Jewish Folk Tunes Erich Katz (S SA8 AT) (Level II) (three scores) $10 $18
Musical Editions from the Membersrsquo Library ARS members 1 copy-$3 2 copies-$450 3-$6 4-$750 5-$10 6-$1150Non-members (editions over 2 years old) 1 copy-$5 2 copies-$850 3-$12 4-$15 5-$1950 6-$23The ARS is happy to provide photocopied enlargements of any Membersrsquo Library edition at the same prices Please specify ldquoMembersrsquo Library Enlargementrdquo
ARS Information BookletsARS members 1 booklet-$13 2 booklets-$23 3-$28 4-$35 5-$41 6-$47 7-$52Non-members 1 booklet-$18 2 booklets-$33 3-$44 4$55 5-$66 6-$76 7-$86
Education PublicationsThe ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996)
First copy free to ARS Members (mailed to new members as they join) replacement copies $3Guidebook to the ARS Personal Study Program (1996) Material formerly published in the Study Guide
and Study Guide Handbook plus additional resources Members $11 non-members $20ARS Music Lists (2002 with 2003 Supplement) Graded list of solos ensembles and method books
Members $9 non-members $15Package Deal available only to ARS members Guidebook and Music ListsSupplement ordered together $16Junior Recorder Society Leaderrsquos Resource Notebook
ARS members $20 non-members $40 (updates at reduced rates after initial purchase)$5 Dues for each JRS student member sponsored by an ARS member ($4 each for groups of 10+)
VideosRecorder Power Educational video from the ARS and recorder virtuoso John Tyson
An exciting resource about teaching recorder to young students ARS members may borrow a copy for onemonth by sending $5 to the ARS office along with the address to which the tape should be shipped
Pete Rose Video Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music Festival recitalFeatures Rose performing a variety of music and an interview of him by ARS member professional John Tyson
Other PublicationsChapter Handbook A resource on chapter operations for current chapter leaders or those considering forming an
ARS chapter ARS members $10 non-members $20 (updates free after initial purchase) One free copy sent toeach ARS chapter with 10 members or more
Consort Handbook Resource on consort topics such as group interaction rehearsing repertoire performingARS member prices CD $10 hard copy $20 combo price of CD and hard copy ordered together $25
Discography of the Recorder Vol I (1989) Compiled by Scott Paterson and David LasockiDiscography of the Recorder Vol II (1990-1994) Compiled by Scott Paterson
Either single volume ARS members $23 non-members $28Both Discography volumes together ARS members only $40
American Recorder Cumulative Index for Vols I-XXXX ARS members $20 non-members $32Index Supplement Vol XXXIV-XXXX ARS members $8 non-members $14
Shipping amp Handling FeesUnder $10 - add $3 $10-1999 - add $4 $20-2999 - add $5 $30-3999 - add $6 $40-4999 - add $7 All prices are inUS dollars For Canadian or foreign postage pay by credit card and actual postage is charged
Please make checks payable to ARS VISAMCAMEXDisc also accepted
ARS 1129 Ruth Drive St Louis MO 63122 US800-491-9588 ARSrecorderAmericanRecorderorg
Arioso and Jazzy Rondo (AB) Carolyn PeskinBerceusendashFantaisie (SATB) Jean BoivertBrucknerrsquos Ave Maria (SSATTBB)
Jennifer W Lehmann arrCanon for 4 Basses (BBBB) David P RuhlDancers (AT) Richard EastmanDifferent Quips (AATB) Stephan ChandlerElegy for Recorder Quartet (SATB) Carolyn PeskinElizabethan Delights (SAATB)
Jennifer W Lehmann arrFallen Leaves Fugal Fantasy (SATB) Dominic BohbotFour Airs from ldquoThe Beggarrsquos Operardquo (SATB)
Kearney Smith arrGloria in Excelsis (TTTB) Robert CowperIdyll (ATB) Stan McDanielImitations (AA) Laurie G AlbertsIn Memory of Andrew (ATB) David GoldsteinLay Your Shadow on the Sundials (TBgB)
Terry Winter OwensLeClercqrsquos Air (SATB) Richard E WoodLittle Girl Skipping and Alouette et al (SATBCb)
Timothy R Walsh
Los Pastores (SAAAT + perc) Virginia N Ebinger arrNew Rounds on Old Rhymes (4 var) Erich KatzOther Quips (ATBB) Stephan ChandlerPoinciana Rag (SATB) Laurie G AlbertsSanta Barbara Suite (SSAAT) Erich KatzSentimental Songs (SATB) David Goldstein arrSerie for Two Alto Recorders (AA) Frederic Palmer Slow Dance with Doubles (2 x SATB) Colin SterneSonata da Chiesa (SATB) Ann McKinleyS-O-S (SATB) Anthony St PierreThree Bantam Ballads (TB) Ann McKinleyThree Cleveland Scenes (SAT) Carolyn PeskinThree in Five (AAB) Karl A StetsonTracings in the Snow in Central Park (SAT)
Robert W ButtsTrios for Recorders (var) George T BachmannTriptych (AATB) Peter A RamseyTwo Bach Trios (SAB) William Long arrTwo Brahms Lieder (SATB) Thomas E Van Dahm arrVariations on ldquoDrmešrdquo (SATB) Martha BishopVintage Burgundy (SASATT)
Jennifer W Lehmann arr
Adding Percussion to Medieval and Renaissance Music Peggy Monroe
American Recorder Music Constance PrimusBurgundian Court amp Its Music Judith Whaley coord
Improve Your Consort Skills Susan CarduelisMusic for Mixed Ensembles Jennifer W LehmannPlaying Music for the Dance Louise AustinRecorder Care Scott Paterson
acutely aware of any kind of neckstrain when it begins to develop these ideas have been a big help to meIrsquom hoping they may be of help toother musicians as well
Best wishes to you And inanswer to your questionmdashyes the new[AR] format (with more white spacebetween the lines) is much easier toread (in my opinion)Your magazinejust keeps getting better and better
Very sincerely Ed Green WestSuburban (Chicago-area) Chapter
RESPONSE FROM DR BILL LONG
What Ed describes is a variant of theuse of conventional bifocals as musicglasses described on page 8 in thearticle Instead of lowering his musicstand into the field of view of hisbifocal segment Ed and his optome-trist have fabricated special purposebifocals with the segment really highso he can focus on his music instraight-ahead view That approachrestricts his distance vision to an areaabove his usual line of sight whichseems to work for Eds playing setup
Eds comments on the difficultiesin using conventional progressiveaddition lenses as music lenses con-firm what I said on page 9 Thats whymanufacturers have marketed special-ty progressive lenses designed specif-ically for intermediate distance taskslike computer use and playing music
There are lots of solutions to thepresbyopic musicians problem but all involve compromises The key toevaluating those compromises andchoosing the best solution for yourselfis to understand your needs and toenlist the help of a sympathetic visioncare specialistmdashjust as Ed did
Please change your
browserrsquos favorites list
AR online is now at wwwameri
canrecorderorgmembership
magazinehtm Send news to
editoramericanrecorderorg
FOUR FOUR-PART CANZONAS
(1608) BY GIOVANNI GABRIELI
ED GREG LEWIN Hawthorns Music RB 16 (Magnamusic) 1999 SATBSc 16 pp pts 4 pp $1950
Giovanni Gabrieli was probablyborn between 1554 and 1557 in theparish of San Geremia in Venice Thedetails of his early life are sketchy butit appears that he was born Giovannidi Fais and later changed his name toGabrieli out of respect to his uncleAndrea with whom he shared a closerelationship In fact in 1587 Gabrielidescribed himself ldquoas little less than asonrdquo It is commonly thought thatAndrea provided Giovanni with hisearly musical training Andrea whohad spent some time in Munichstudying under the great Orlando deLassus sent Giovanni to Munich for a similar period of study in theearly 1570s
Gabrieli remained in Munichuntil the death in 1579 of the dukeAlbrecht V who had been Lassusrsquosemployer for a number of years andwho was an enthusiastic patron of the arts particularly music With hisdeath a number of musicians lost theirjobs it seems as if Gabrieli were also a victim of such culling of talent(Within a generation the tide wouldturn and the Munich court wouldagain hire Venetian expatriates such as Priuli Valentini and Neri)
Upon his return to VeniceGabrieli was hired as a temporaryorganist at San Marco his positionbecoming permanent in 1585 For a few months that year uncle andnephew served together as first and
second organists in the chapel of thedoge In Giovannirsquos absence fromVenice there had been a plague thathad decimated the ranks of theprofessional musicians Andrea setabout rebuilding his forces at SanMarco by hiring a full-time windband consisting of Girolamo dallaCasa a renowned cornettist andviolist his two brothers who playedsackbut and later the cornett virtuosoGiovanni Bassano Giovanni Gabrieliaugmented these forces with addi-tional players and began composingthe large-scale ceremonial music forwhich he is so well known today
Giovanni was also elected to bethe organist and composer to theconfraternity of San Rocco in 1585and it is now thought that his largestpieces were intended for that venuewith its large central gallery andfrescos by Tintoretto instead of SanMarco Gabrieli held both thosepositions at the basilica of San Marcoand the Scuola Grande di San Roccountil he died in 1612 of a kidney stone
Although best known today forhis ceremonial and festival musicGabrieli was at home in smaller-scaleformats as well These four four-partcanzoni are taken from the 1608publication by the Venetian publisherAlessandro Raverji Canzoni per sonarecon ogni sorte di strumenti These werevery popular pieces to judge by themany collections in which they appear
Additionally like Gabrielirsquoskeyboard music they are found inother arrangements These four-partcanzoni lie well under the fingers inarrangements for keyboard and lute
As seen from the title Gabrielispecified no instrumentation but like asimilar edition of madrigals and battlepieces from a few years earlier a dis-tinction was made that they wereintended for wind instruments almostcertainly cornetts and sackbuts
Recorders were not unknown in Venice they were used regularly inthe confraternity of San GiovanniEvangelista where Giovanni BattistaRiccio was organist
These pieces are relativelysimplemdashplayable by beginning tointermediate ensembles They aremostly contrapuntal (with a fewhomophonic sections) and have few rhythmic eccentricities
These canzoni are found in manymodern brass editions but there arefew editions available to the recorderplayer This edition by Greg Lewin ofHawthorns Music might be consid-ered a ldquobare-bonesrdquo edition There islittle background information andeditorial practices are not specified
The music itself has a handwrittenlook that can be distracting but is easyenough to read Lewin has thought-fully supplied phrasing marks that willbe helpful for ensembles unused tothis style of music
Music
Reviews___________________________________ Infectious music created in spite of the plague
wwwAmericanRecorderorg March 2009 41
This is a good edition
for small ensembles that
canrsquot get eight players
together to play
Gabrielirsquos more famous
eight-part canzoni
42 March 2009 American Recorder
The parts are four pages but mycopy had all four pages printed on avery large page This is not a problemand there are no page turns
This is a good edition for smallensembles that canrsquot get eight playerstogether to play Gabrielirsquos morefamous eight-part canzoni Thesesmall-scale pieces are by no meansinferior to Gabrielirsquos more elaboratemusic and deserve to be better known
7 CANZONEN (1637) BY
TARQUINIO MERULA ED JOACHIM
ARNDT WITH CONTINUO REALIZATION
BY CLAUDIA SCHWEITZER MieroprintMusikverlag EM2088 (availabledirectly from wwwmieroprintcom)2005 SS or TT bc Sc 24 pp pts 8 pp$28
Tarquinio Merula was bornaround 1595 in either Busseto orCremona in Italy As was the case withso many composers of the day either alack of regular employment or a rest-less nature took him from his home inCremona to as far away as Warsaw He is found as the organist of thechurch and the chambers to the kingof Poland Sigismund III in 1624
Merula was one of the leadingexponents of the relatively new con-certante style pioneered by ClaudioMonteverdi and others in the seconddecade of the 17th century and may be described as one of the earliestBaroque composers His compositionsin the concertante style are fresh andunforcedmdashhe was born into this styleand didnrsquot encounter it as somethingnew as was the case with so many ofMonteverdirsquos contemporaries
After several years of peripateticexistence Merula found regularemployment in 1631 in Bergamo atthe church of San Maria MaggioreThe prior holder of the post of maestrodi cappella Alessandro Grandi haddied the previous year in the plagueMerula had signed a three-year
contract but by December 1632 hewas terminated with accusations thathe had molested several studentsMerula threatened a lawsuit to recoverhis lost wages but that threat wascountered with a pending criminalcharge lodged by the board ofgovernors of San Maria Maggiore By mid-1633 the matter was settledwith an apology from Merula and astatement that he relinquished allclaims to his salary
He then returned voluntarily toCremona where he stayed until 1635By 1638 Merula was once again inBergamomdashthis time as maestro dicappella and organist in the cathedralnext to San Maria Maggiore Asmight be expected there was con-siderable tension between the twochurches eventually resulting in theboard of San Maria Maggioreforbidding their musicians to perform under Merularsquos direction
He returned in 1646 to a familiarCremona post which he had heldthree times in various years and wherehe now settled downmdashthat of organistand maestro di cappella for Laudi dellaMadonna services in which he ledmusic at the main altar on Saturdaysand on vigils of Marian feasts
None of his employment issues
prevented the Pope from awardinghim the Order of the Golden SpurMerula was also elected to theAccademia dei Filomusi in BolognaHe died in 1665 in Cremona
His existing compositions showthe products of a lively mind Hisworks range from sacred songs andmotets to purely instrumental piecesnotably the ever-popular variations onvarious ground basses It is knownthat Merula was an accomplishedviolinist as well as a fine organist Hissurviving instrumental writing showsa predilection for strings In fact hewas one of the earliest composers tospecify string accompaniments tosacred motets
Merularsquos pieces look backwardtoward some of the more progressiveVenetian composers such as Monte-verdi while looking forward to thehigh Baroque with his innovative style
These seven canzoni like theearlier-published chaconne (EM2084)come from Merularsquos third bookpublished in 1637 CANZONI overo SONATE CONCERTATE perchiesa e camera a due et a tre delcavaliere This collection typifiesMerularsquos output pieces based onRenaissance-era ground basses arefound next to more ldquomodernrdquo sonatas
The original edition specifiesviolins and basso continuo This newedition is intended for recorders thespecific choice of which is up to theplayers Due to the relatively hightessitura tenor recorders work best inthese pieces (although listed as analternative soprano recorders tend to be on the screechy side)
Not surprisingly given Merularsquosskill as an organist the continuo partneeds a keyboard instrument forsuccessful realization Instead of beinga purely accompanying part the bassocontinuo part is an equal partner in these pieces the canzona ldquoLaRuggierardquo opens with a run that therecorders echo a few measures later
A more recorder-specific
edition intended for
altos would have been
ideal There is nothing
preventing the more
adventurous and
industrious players
from making their
own editions of this
delightful music
mentioned were a bit shrill A morerecorder-specific edition intended foraltos would have been ideal There isnothing preventing the moreadventurous and industrious playersfrom making their own editions of thisdelightful music
Prior to playing the previouslypublished chaconne I had notencountered MieroprintMusikverlag Mieroprintrsquos extensivecatalog has an equal focus on newmusic for recorders and on editions ofBaroque masters with emphasis on therecorder and flute Due to the lack of
wwwAmericanRecorderorg March 2009 43
are also available at
The Early Music Shop
of New England
Brookline MA
AESTHEacute
367-b de la Briquade
Blainville Queacutebec
Canada J7C 2C7
tel (450) 979-6091
wwwboudreau-flutesca
A bass viola da gamba or rsquocello is not necessary for these pieces and may infact make them sound heavy and ponderous rather than light and breezy as thismusic seems to be
More so than the above-mentioned chaconne these canzoni are written in avery idiomatic violin style with multiple examples of arpeggios In particular thecanzona ldquoLa Trecchardquo contains a notated example of a string tremolo figurerecurring through the piece ldquoLa Trecchardquo also dips well below the range of a Crecorder going down to low G the lowest string on the violin The editors havesupplied no alternative notes preferring to let the performers to fend forthemselves (in practice we took this passage up an octave with no problems)
The two recorder parts require virtuosity These upper parts are demandingwith the players needing to double-tongue in unison in order to negotiate themany runs of 16th notes and the shared rhythmic ldquolicksrdquo The harmoniclanguage unlike much of Merularsquos music is undemanding and contains none of the harmonic crunches for which he is famous
This is wonderful music that needs a couple of advanced recorder players fora successful performance The string idiosyncrasies can be overcome by advancedplayers and many of the editions of the era (although not this one) list thecornetto as an alternative to the violin so the use of wind instruments in the solo literature of the early Baroque was not unknown
Our experience with this edition left us with the opinion that these pieceswould have been better if transposed down a minor third so as to fit on a pair ofalto recorders (as is the case with much Baroque flute music to make it lie betteron the recorder) The tenors we used tended to sound a bit murky in the lowerregister next to the more aggressive harpsichord while the sopranos we tried as
KEY rec=recorder Srsquoo=sopraninoS=soprano A=alto T=tenor B=bassgB=great bass cB= contra bass Tr=treble qrt=quartet pf=piano fwd=foreword opt=optional perc=percussionpp=pages sc=score pt(s)=part(s)kbd=keyboard bc=basso continuohc=harpsichord PampH=postage andhandling Multiple reviews by one reviewerare followed by that reviewerrsquos name Pleasesubmit music for review to AR 7770 SHigh St Centennial CO 80122-3122 US
an American distributor this musicwill be hard to findmdashin fact can befound only at the time of this writingon their web site noted above But theeffort will be repaid
This edition is clear and easy toread and the parts require no pageturns The basso continuo realizationis simple and elegant
This is music deserving ofrediscovery My only quibble is thatthe editorial notes are all in GermanThis seems to be the practice ofGerman music publishers with thenotable exception of Moeck Otherpublishers of early music such asLondon Pro Musica routinelyprovide notes in English and German and often in French and Italian making their editionsaccessible to a wider audience
Frank Cone studied the recorderwith the late Ellen Perrin the viola dagamba with Carol Herman and thecornetto with Larry Johansen TheCalifornia multi-instrumentalist has been a member of the Orange CountyRecorder Society since 1985
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JEAN-LUC BOUDREAU 21 39
BOSTON EARLY MUSIC FESTIVAL 7
CANTO ANTIGUO EARLY MUSIC WORKSHOP 13
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EARLY MUSIC AMERICA 8
HONEYSUCKLE MUSIC 34
BILL LAZARrsquoS EARLY MUSIC 26
KEITH E LORAINE EARLY DOUBLE REED SERVICE 35
LOST IN TIME PRESS 11
MADISON EARLY MUSIC FESTIVAL 12
MAGNAMUSIC DISTRIBUTORS BC
MOECK VERLAG IFC
MOLLENHAUER RECORDERS IBC
PORT TOWNSEND WORKSHOP 14
PRESCOTT WORKSHOP 30
PROVINCETOWN BOOKSHOP 26
THE RECORDER MAGAZINE 4
THE RECORDER SHOP 6
SAN FRANCISCO EARLY MUSIC SOCIETY 18
SWEETHEART FLUTE CO 3
TEXAS TOOT 20
VON HUENE WORKSHOP INC 30
WICHITA BAND INSTRUMENT CO 21
DOMINIK ZUCHOWICZ 34
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Full page $55223 page $43912 page $36613 page $28614 page $22316 page $17518 page $127112 page $ 951 column inch $ 58
Prices include web sitee-mail link directly from your ad in the online AR at wwwamericanrecorderorg
Circulation Includes the membership of theARS libraries and music organizations
Published five times per year January March May September November
Reservation Deadlines December 1 (January) February 1 (March) April 1 (May) August 1 (September) October 1 (November)
Rates good through November 2009 Pleaseinquire about discounts on multiple-issuecontracts inserts or other special requestsExtra charges for typesetting layout half-tones and size alterations 133-line screenrecommended Advertising subject toacceptance by magazine First-time adver-tisers must include payment with order
For more information contact the ARS office 1129 Ruth Drive St Louis MO63122-1019 800-491-9588 toll free 314-966-4082 phone 314-966-4649 faxadvertisingamericanrecorderorg
44 March 2009 American Recorder
Classified___________________________________
FOR SALE Cherrywood hurdy gurdy and hard-side case made by Kelischek bought 2005Originally $765 plus $89 for case Rarely usedBoth for $450 or make offer Please contact marjalocomcastnet Can ship
ASPIRE ANNOUNCE INSPIRE Afford-able PR for teachers and recitalists wwwrecitalroomcom
PHOTOS NEEDED of ARS events 1970sndash1990sto illustrate last chapters of Martha Bixlerrsquos histor-ical memoir about the ARS (to be posted online)E-mail scanned photos (300dpi JPG or TIF)arsrecorderamericanrecorderorg Hardcopies mail to ARS office to be scanned ampreturned Info 800-491-9588
T-SHIRT FOR ENSEMBLE PLAYERS to wear orshare Top 10 Reasons Why I Got Lost Wrongfingering bad lighting etc on blue cotton shirt$18 Highlighter tape and other goodies Beth amp Lindas Boutique as seen at BEMF CallLinda at 617-671-8694 or e-mail for brochurelindakushverizonnet
Where the havesand have-nots
of the recorder world can find each other
Classified rate for American Recorder 60centper word ten-word minimum ldquoFOR SALErdquoand ldquoWANTEDrdquo may be included in thecopy without counting Zip code is oneword phone e-mail or web page is twoPayment must accompany copy Deadlinesare one month before issue date Send copywith payment to ARS 1129 Ruth Drive St Louis MO 63122-1019
AMERICAN RECORDER (ISSN 0003-0724) 1129 Ruth Dr St Louis MO 63122-1019 is publishedbimonthly (January March May September and November) for its members by the AmericanRecorder Society Inc $20 of the annual $45 US membership dues in the ARS is for a subscriptionto American Recorder Articles reviews and letters to the editor reflect the viewpoint of their individ-ual authors Their appearance in this magazine does not imply official endorsement by the ARS
EDITORIAL DEADLINES November 15 (January) January 15 (March) March 15 (May) July 15(September) and September 15 (November) Submission of articles and photographs is welcomedArticles may be typed or sent as an attachment (Word or RTF preferred) to or text in an e-mail mes-sage They should be for the exclusive consideration of AR unless otherwise noted Photos may besent as prints or unedited JPG or 300dpi TIF files (minimum 3rdquox4rdquo) Advertisements may be sent inPDF or EPS format with fonts embedded
EDITORIAL OFFICE Gail Nickless Editor 7770 S High St Centennial CO 80122-3122 303-794-0114 (phone amp fax) editoramericanrecorderorg Books for review Editorial office Musicfor review Editorial office Recordings for review Tom Bickley 1811 Stuart St Berkeley CA 94703Cutting Edge Tim Broege 212 Second Ave Bradley Beach NJ 07720-1159 Chapter newslettersother reports Editorial office Postmaster Send address changes to ARS 1129 Ruth Drive St LouisMO 63122-1019 Periodicals postage paid at St Louis MO and at an additional mailing office
Chapter leaders
We know yoursquore out there
and that you want to share
your plans concerns
solutions and ideas with
other chapter leaders Visit
httpamericanrecorder
societywikispacescom
Please note that this is a day camp Out-of-town students may contact thedirector regarding accommodations withhost families Some financial aidavailable
Featuring recorder faculty Vida Bateauand Letitia Berlin Other facultyKatherine Heater dance ShiraKammen musicianship and theaterband Ron McKean harpsichord Carla Moore violin Farley Pearcersquocello and viola da gamba Allison Rollstheater project director
Contact Letitia Berlin SFEMS
PO Box 10151 Berkeley CA
94709 510-559-4670
tishberlinsbcglobalnet
sfemsorg
OBERLIN BAROQUE
PERFORMANCE INSTITUTE
Oberlin College Oberlin OHJune 21-July 5Directors Oberlin Baroque Ensemble (Cathy Meints Marilyn McDonald Michael Lynn Webb Wiggins) and artistic director Kenneth Slowik
Celebrating its 38th anniversary withMusic in London 1659ndash1759 thisinstitute offers instruction in Baroqueinstruments and voice Students of alllevelsmdashfrom beginning to Baroqueperformance to the professional levelmdashparticipate in master classes and coachedensembles with an international facultyof Baroque specialists Scholarships are available for qualified high schoolstudents
Contact Anna Hoffman
Conservatory of Music
77 West College St
Oberlin OH 44074
440-775-8044
440-775-8942 (fax)
ocbpioberlinedu
oberlineduconsummerbpi
WORLD FELLOWSHIP
EARLY MUSIC WEEK
Chocorua NHJune 25-July 2Directors Jane Hershey Larry Wallach
Faculty of eightmdashincluding JaneHershey Roy Sansom Pamela DellalJay Rosenberg Julian Cole AnneLegecircne Larry Wallach and JoshSholem-Schreibermdashin a beautifulWhite Mountain camp setting conducta week-long workshop in French earlymusic (late Medieval through Baroque)
Faculty and student concerts Englishcountry dancing special lecturesmorning and afternoon workshops inviols recorders voice mixed ensemblesSephardic music and Baroque chambermusic and classes in Feldenkrais bodywork
Camp facilities include hikingswimming boating camp gardenssupply kitchen with vegetables Very affordable rates
Contact Larry Wallach
69 Welcome St Great Barrington
MA 01230 413-528-7212 (day)
413-528-9065 (evening)
413-528-7365 (fax)
larrysimons-rockedu
worldfellowshiporg
INDIANAPOLIS EARLY
MUSIC FESTIVAL
Indianapolis INJune 26-July 19July 8-9 Mini Boxwood Workshop
The Indianapolis Early Music Festivalis the oldest continually running earlymusic concert series in the USPresented since 1967 our mission is toenrich educate and entertain audienceswith the music of Medieval Renais-sance Baroque and early Classical erasand feature exciting performers ofnational and international stature usinginstruments of the period and histori-cally informed styles and techniques
For 2009 we will present Reconstruction(June 26 ) Ex Umbris (June 27) ChrisNorman amp David Greenberg withRonn McFarlane amp Mark Cudek (July10) I Furiosi (July 12) HarmoniousBlacksmith (July 17) and the PeabodyConsort with Indiana Repertory Theatre(July 19) We also offer our secondannual Family Concert featuring thePeabody Consort on July 18mdash a freeconcert geared to young audiencemembers Several groups also offeroutreach events for younger (generallyhigh-school-aged) musicians and actors
In 2009 we also present a two-dayldquoMini Boxwoodrdquo workshop with Chris
wwwAmericanRecorderorg March 2009 19
Marin
Headlands
Recorder
Workshop
Norman (earlytraditional flutes andpipes) David Greenberg (Baroqueviolin and fiddle) and Ronn McFarlane(lute) on July 8-9
Contact emindyorg
SAN FRANCISCO EARLY MUSIC
SOCIETY MEDIEVAL amp
RENAISSANCE WORKSHOP (ARS)
Sonoma State University Rohnert Park CAJune 28-July 4Director Tom Zajac
Workshop theme Stories and LegendsOpen to singers and players of earlyinstruments (recorders violas da gambalutes shawms etc) Coaching by world-class specialists in Medieval and Renaissance music Classes forvoices recorders viols and alta capellavoice master class ensemble coachingstorytelling for musicians andstorytelling accompanimentRenaissance choir Medieval bandtheater project faculty and studentconcerts lectures and more
Scholarships as well as academic creditor continuing education credit areoffered Featuring recorder facultyFrances Blaker Annette Bauer DanStillman and Tom Zajac Other facultyPatrick Ball storytelling Celtic harpKaren Clark voice movement formusicians Julie Jeffrey gamba ShiraKammen Medieval strings music forstorytelling Drew Minter voice theaterproject Tim Rayborn Medieval stringspercussion music for storytelling Larry Rosenwald theater projectrhetorician in residence MarySpringfels gamba theater projectAnnette Bauer early notation DanStillman reeds alta capella ensembleTom Zajac sackbut Renaissance choir
Contact Tom Zajac SFEMS
PO Box 10151 Berkeley CA
94709 617-323-0617
medrenmailgmailcom
sfemsorg
MOUNTAIN COLLEGIUM (ARS)
Cullowhee NC June 28-July 4Director Patricia Petersen
Nestled in the Smoky MountainsWestern Carolina University provides alovely location for Mountain Collegiumwith comfortable accommodations in anew dorm and catered evening mealsThe workshopmdash at once informal andintensivemdash combines study of Renais-sance Baroque and contemporary musicand improvisation on recorder viol andother early instruments with opportu-nities to explore Celtic and othertraditional music on hurdy gurdymountain dulcimer and pennywhistle
Friendly participants of all levels andages welcome newcomers into theMountain Collegium family Varied classofferings time for informal music-making and evening English countrydancing bring students back year afteryear Faculty Valerie Austin AtossaKramer Jody Miller Patricia PetersenJohn Tyson (recorders other winds)Martha Bishop Lisle Kulbach HollyMaurer Gail Ann Schroeder Ann Stierli(strings) Lorraine Hammond JohnTrexler (traditional music)
Contact Patricia Petersen
1702 Vista St Durham NC
27701 919-683-9672
patpetersenearthlinknet
mountaincollegiummusicorg
GREAT LAKES SUZUKI FLUTE amp
RECORDER INSTITUTE
McMaster University Hamilton ON CanadaJuly 4-11 Teacher training Book 1July 7-11 Teacher training Book 2July 7-11 Student InstituteDirector David Gerry
Master classes group instructionrecitals plus enrichment classes forstudents Teacher training with MaryHalverson Waldo
Contact David Gerry 129 Locke
Street South Hamilton ON L8P
4A7 CANADA 905-525-9549
dgerrynasnet davidgerryca
CANTO ANTIGUO EARLY MUSIC
AND RECORDER WORKSHOP
Chapman University Orange CAJuly 5-12Directors Thomas Axworthy Ronald Glass
This one-week workshop is designed to broaden the performance skills ofexperienced students and introduceRenaissance and Baroque instrumentsand musical experiences to beginningand intermediate players Students at alllevels participate in instrumental vocaland dance instruction performance
The workshop takes place at ChapmanUniversity Studios dining hall andresidences are all air-conditioned Thisinvitingly landscaped peaceful campuswith garden paths is a mixture of historic and modern architecture
The theme of this yearrsquos workshop isMusic of the Italian Renaissance Dancesmasses motets and ceremonial musicwill resonate as we explore the music ofMonteverdi Palestrina Gesualdo et al
Faculty includes Thomas AxworthyJanet Beazley Mark Davenport RonGlass Carol Lisek Jim Maynard and Alice Renken
Contact Ronald Glass
129 Altadena Dr Pittsburgh
PA 15228-1003 800-358-6567
(day) 310-213-0237 (evening)
562-946-4081 (fax)
evanesa2aolcom
cantoantiguonet
CAMMAC EARLY MUSIC WEEK
Lake MacDonald Music Center Harrington QC Canada
July 5-12Directors Francis ColpronMarie-Nathalie Lacoursiegravere
CAMMAC provides a unique oppor-tunity to make music with family and
20 March 2009 American Recorder
friends in a beautiful setting north ofMontreacuteal QC under the guidance ofinternationally acclaimed professionalmusicians
In four daily 75-minute classes pluslectures early music lovers will have the opportunity to play to their heartrsquoscontent
Small ensembles and voice classes are setup ahead of time registration for otherclasses occurs on site the first eveningCourses include choir large instrumentalensemble many recorder and violclasses Medieval and Renaissanceensembles Orff method and Baroquedancing There are courses foradolescents and a program for children 4-11 years old
Special project in 2009 The Fairy Queenby Purcell with choir instrumentalensemble soloists and staging Keyfaculty Matthias Maute ChristopherJackson Laura Pudwell MargaretLittle Marie-Nathalie Lacoursiegravere
Contact Johanne Audet
85 Chemin CAMMAC Harrington
QC J8G 2T2 CANADA
888-622-8755 1
819-687-3323 (fax)
nationalcammacca
cammaccaenglishTabLM
Summershtml
MADISON EARLY
MUSIC FESTIVAL
University of WisconsinndashMadison July 11-18Directors Cheryl Bensman Rowe and Paul Rowe artistic Chelcy Bowles program
MEMF joins the 2009 InternationalYear of Astronomy in a global celebrationof astronomy and its contributions tosociety and culture including the 400thanniversary of the first astronomicalobservation made through a telescope byGalileo Galilei Galileorsquos fatherVincenzo was a musician and musictheorist who combined the practice andtheory of music with mathematicaldiscussion of harmonymdashand influenced
Galileorsquos experiments MEMFcelebrates its tenth season exploringworks of music and the arts inspired by ascientific discovery that had tremendousimpact on culture and civilization
MEMF was created to provide anopportunity for musicians scholarsteachers and early music enthusiasts togather and exchange information andideas about Medieval Renaissance andBaroque music and to bring acclaimedearly music artists to the Midwest toperform in beautiful Madison
Featured MEMF 2009 guest artists-in-residence include Marion VerbruggenThe Newberry Consort QuicksilverPiffaro and Venere Lute QuartetRecorder faculty members includeMarion Verbruggen Joan KimballPriscilla Smith and Robert Wiemken
Contact Chelcy Bowles University
of WisconsinndashMadison 720 Lowell
Center 610 Langdon St Madison
WI 53703 608-265-5629
608-262-1694 (fax)
musicdcswiscedu
memfdcswiscedu
PORT TOWNSEND
EARLY MUSIC WORKSHOP (ARS)
University of Puget Sound Tacoma WA
July 12-18Directors Letitia Berlin Frances Blaker
Join us this summer at our new locationwith a star-studded faculty a beautifultree-lined and easy-to-navigate campuswith accessible facilities and acurriculum that will leave you wishingthere were 48 hours in a day
Consort and technique classes forrecorder and viol consort and mixedrepertoire recorder master classpercussion for all levels Hildegard forsingers Baroque flute beginning violtheory workshop orchestra and moreMake an all-Medieval schedule or mix it up with a class from almostevery period of music
Work hard and play hard with friends
new and old Intense music-making thatwill inspire you during the workshop andthroughout the year
Directors Tish Berlin and FrancesBlaker eagerly await your arrival andanticipate a splendid workshopRecorder faculty Janet Beazley TishBerlin Frances Blaker Vicki BoeckmanLouise Carslake Charles ColdwellRotem Gilbert Kim Pineda
Contact Jo Baim Workshop
Administrator 1108 frac12 Alki
Ave SW Seattle WA 98116
206-932-4623
workshopseattle-recorderorg
seattle-recorderorg
wwwAmericanRecorderorg March 2009 21
Amherst Early Music FestivalJuly 12-19 and 19-26 2009
Connecticut College New London CT
Renaissance consortsBaroque ensemblesMaster classesRenaissance AcademyEarly notation and moreNo audition required
July 12-19Baroque Academy
July 19-26 Virtuoso Recorder Recorder Seminar
Audition deadline May 15
wwwamherstearlymusicorginfoamherstearlymusicorg(617) 744-1324
AMHERST EARLY MUSIC FESTIVAL
(ARS)
Connecticut College New London CT July 12-19 Baroque Academy July 19-26 Virtuoso Recorder Recorder SeminarRenaissance Academy
Director Marilyn Boenau
Music of England and Spain Two weeksof classes in most early instrumentsvoice dance and notation
Week 1 includes classes for recorderviol other early instruments voicedance and notation Special programsBaroque Academy Baroque AcademyOpera Project (Purcellrsquos Dioclesian)
July 18-19 Music amp InstrumentExhibition
Week 2 comprises classes for recorderviol other early instruments voice andnotation Special programs VirtuosoRecorder Recorder SeminarRenaissance Academy
Evening activities include Englishcountry dance madrigals and informalplaying sessions Connecticut College ineastern CT offers comfortable air-conditioned accommodations naturalareas for walking and a view of LongIsland Sound Scholarships and work-study aid available
Contact Marilyn Boenau
Director or Cathy Stein
Administrator 47 Prentiss St
Watertown MA 02472
617-744-1324 (day)
617-744-1327 (fax)
infoamherstearlymusicorg
amherstearlymusicorg
MIDEAST WORKSHOP (ARS)
LaRoche College Pittsburgh PAJuly 19-25Director Marilyn Carlson
Music of Spain 55-60 students of allability levels adults only Instruction forrecorder (all levels except novice) violharp flute You may enroll for recorder
viol flute as primary instrument harpvoice recorder viol as secondary instru-ment Large and small ensembles all-workshop ensemble (instruments andvoices) Renaissance band (recordersviols capped reeds voice) Medievalcollegium (puzzles amp canons) consorts(by level) vocal ensemble Also Englishcountry dance penny whistle We alsooffer viol-for-novice and harp-for-novice each providing the opportunityfor hands-on experience without owningan instrument Other classes on specialearly music topics and literature
Faculty Marilyn Carlson directorMartha Bixler Stewart Carter JudithDavidoff Eric Haas Mary JohnsonPeter Ramsey Kenneth Wollitz otherfaculty to be announced All facilities areair-conditioned
Contact Marilyn Carlson
1008 Afton Road Columbus OH
43221-1680 614-754-7233
mcarlsoncolumbusrrcom
mideastearlymusicaddrcom
22 March 2009 American Recorder
San Francisco Early Music SocietySummer Workshops 2009Recorder middot July 19ndash25 2009La Dolce Vita di Flauto middot Explore the full range of recorder music from the Middle Ages to the 21st century through ensemble work technique sessions and recorder orchestra For the devoted amateur all ages intermediate to advanced Friendly atmosphere small classes Quiet campus near all amenities Special offerings Recorder orchestra recorder master class coached informal playing Faculty Louise Carslake Frances Feldon Rotem Gilbert Katherine Heater Norbert Kunst Patrick OrsquoMalley and Hanneke van ProosdijInfo Frances Feldon 510-527-9840 franfelaolcom
Baroque Music amp Dance middot June 14ndash20 2009Music in Italian Cities middot Master classes recorder ensemble concerto evening coached ensembles classes concerts and lectures Featuring recorder faculty Frances Blaker and Clea GalhanoInfo Kathleen Kraft 707-874-2014 kkraftsonicnet
Medieval amp Renaissance Music middot June 28ndashJuly 4 2009Stories amp Legends middot Classes for voices recorders viols and alta capella voice master class ensemble coaching storytelling for musicians and storytelling accompaniment Renaissance choir medieval band theater project faculty and student concerts lectures and more Featuring recorder faculty Frances Blaker Annette Bauer Dan Stillman and Tom ZajacInfo Tom Zajac 617-323-0617 medrenmailgmailcom
Music Discovery middot June 21ndash26 2009Day camp for youth ages 7 to 15 Early music and Renaissance social history Instruction in recorder harpsichord strings chamber music musicianship crafts costume-making games and more Beginners to advanced students welcome Featuring recorder faculty Vida Bateau and Letitia BerlinInfo Letitia Berlin 510-559-4670 tishberlinsbcglobalnet For more information visit our web site wwwsfemsorg
SAN FRANCISCO EARLY MUSIC
SOCIETY RECORDER WORKSHOP
(ARS)
St Albertrsquos Priory Oakland CA July 19-25Directors Frances Feldon Katherine Heater
Jam-packed week of recorder ensembleplaying concerts and the opportunity toimprove your skills working with highlyrespected recorder specialists in afriendly yet serious atmosphere Explorethe full range of recorder music from theMiddle Ages Renaissance and Baroqueto the 21st century through ensemblework technique sessions and recorderorchestra For the devoted amateur of allages from intermediate to advanced
Small classes Quiet campus Specialofferings recorder orchestra recordermaster class coached informal playing
Featuring recorder faculty LouiseCarslake Frances Feldon RotemGilbert Norbert Kunst PatrickOrsquoMalley and Hanneke van ProosdijOther faculty Katherine Heaterharpsichord
Contact Frances Feldon SFEMS
PO Box 10151 Berkeley CA
94709 510-527-9840
franfelaolcom sfemsorg
WINDSWEPT MUSIC WORKSHOP
William Jewell College Liberty MOJuly 19-25Director Phyllis Pasley
Bring your artistry to life Strengthen the mindbody connection and exploreenergy and music at Creative MotionAlliancersquos 59th annual summerconference Windswept Professionalmusicians conductors teachers studentsand amateur music enthusiasts willdiscover barriers that inhibit the free flowof energy and learn the secrets of inner-directed artistic music-making Classesin piano voice instrumental musicexpressive arts and independent studyMaster class coaching and conductingopportunities available Using move-
ment exercises analysis and bodyresponses explore music and energy in a unique inter-generational workshopformat Opportunities for independentrecorder study and private lessons enrichthe music-making experience
Registration fee $50 prior to 51509Tuition room meals $535 adults $400students 12-18 (must attend with parentteacher or sponsor) special half-weekrate $275 (Sunday-Wednesday noon)Memberfamily discounts Three hoursgraduate credit ($225) 3 CEUs ($50)and private lessons ($25 each)
Contact Phyllis Pasley 2208
Clouds Peak Maryland Heights
MO 63043 314-628-9862
directorcreativemotionorg
creativemotionorg
BOXWOOD FESTIVAL CANADA
Lunenburg Nova Scotia CanadaJuly 19-26Director Chris Norman
Discover musical and dance traditionswhile visiting one of North Americarsquosmost exquisite 18th-century seasidetowns Concerts dances sessionsclasses lectures with leading artists in therealms of traditional folk early musicdance and improvisation Work study ampscholarships available Gourmet cuisine
Faculty Chris Norman directortraditional amp early flutes FrancisColpron recorder ensembles LisaBesnoziuk Baroque flute DavidGreenberg Cape Breton amp Baroqueviolin Edmund Brownless voice shape note singing Marie Bouchardharpsichord Robert Dick contemporarytechniques amp composition Conal O Grada Irish flute Jerry OrsquoSullivanpipes whistle Rod Garnett flutefundamentals ethnic flutes PierreChartrand social dance MarlysNorman ballet classical dance Rod Cameron flute maker Tempest Baroque
Contact 902-634-9994
boxwoodorg
musiqueroyalecom
MACPHAIL SUZUKI INSTITUTE
FOR PIANO GUITAR FLUTE
AND RECORDER
MacPhail Center for the Arts Minneapolis MNJuly 19 Every Child Canreg July 19-26 Recorder Book 1July 20-24 Student InstituteDirectors Cindy Malmin Mary Halverson Waldo (auditions)
Suzuki Clinicians Marilyn Taggartpiano Tadeusz Majewski piano DavidMadsen guitar Kathleen Schoenfluterecorder MacPhail Suzuki faculty
Sanctioned by the Suzuki Association ofthe Americas MacPhailrsquos SuzukiInstitute allows Suzuki students of allages to share in motivating enrichingand wide-ranging musical experiencesStudents work with master teachers andimprove skills technically and musicallyDaily classes and observation includeapplied study theoryreading skillsensemble skills chamber music perfor-mance practices composition improv-isation master classes recitals art andmusic world musicdrumming musichistory recitals and presentations TeenMusical Revue (ages 13-18) fashioncharacter sketches develop a frameworkor theme and present to an audience
Who may attend Suzuki students whohave completed the Twinkle Variations(preschoolndashgrade 12 parents or another
wwwAmericanRecorderorg March 2009 23
Amherst Early Music Festival
(photo by Marc Weinberg)
responsible interested adult must attendwith students under high school age)teacher traineesobservers Participantsmust arrange meals housing and trans-portation Teacher Training prerequi-sites Every Child Canreg before Book 1courses must be taken in order throughBook 2 Contact workshop regardingrequired audition and preparation
Contact Cindy Malmin
612-767-5461
malmincindymacphailorg
Mary Halverson Waldo
5679 Harding Lane Shorewood
MN 55331 952-470-5853
mhalvwaldogmailcom
INTERNATIONAL BAROQUE
INSTITUTE AT LONGY
Longy School of Music Cambridge MA
July 24-August 2Directors Paul Leenhouts co-director Phoebe Carrai
VenicendashDresden Connection InternationalMeeting Grounds Music of MonteverdiVeracini Hasse Heinichen MarcelloVivaldi Pisendel Albinoni ZelenkaLotti Schein Schutz Quantz Gabrieli
2009 faculty Paul Leenhouts recorderPhoebe Carrai rsquocello ElizabethBlumenstock violin Ricard Bordasvoice Arthur Haas harpsichord LucasHarris lute Ken Pierce early danceGonzalo Ruiz oboe Mary Springfels
viola da gamba Jed Wentz traverso
Contact Karen Burciaga Com-
munity Programs Registrar One
Follen St Cambridge MA 02138
617-876-0956 X1532 (day)
617-354-8841 (fax) karenbur
ciagalongyedu longyedu
RECORDER AT THE CLEARING
The Clearing Ellison Bay WIJuly 26-August 1Directors Pat Badger Adrianne Paffrath
Recorder ensemble has been a traditionat The Clearing for over 25 yearsEnsemble playing is the weekrsquos focusEach day begins with a warm-up ofvoices and bodies as we sing rounds andready our muscles for performanceDaytime sessions focus on rhythmicchallenges recorder technique andensemble blend emphasis is on growthprocess and most of all enjoyment To participate fully you need at leastintermediate skills on a C or F recorder
Adrianne Paffrath coached on recorder with ARS teachers She is music directorat Racinersquos First Presbyterian ChurchPatricia Badger has studied early musicinstruments natural and classicaltrumpet She is performing arts head ofThe Prairie School Jointly they haveperformed for Medieval festivals grapestompings Shakespeare celebrations anda circus parade
Contact The Clearing PO Box 65
Ellison Bay WI 54210-0065
877-854-3225 920-854-9751
(fax) clearingtheclearingorg
theclearingorg
AMERICAN RECORDER SOCIETY
FESTIVAL AND CONFERENCE
University of Missouri at St Louis St Louis MO
July 30-August 2
Attend the second ARS Festival andConference for one day ($150) or allweekend ($350)
Sessions include recorder techniquepedagogy introductions to Orff Suzukiand Flutes and Drums Around the Worldmethods improvisation roundtablediscussions how to conduct yourconsort coached playing sessions forMedieval Renaissance Baroque worldand contemporary repertoire recorderorchestra incorporating percussion intoyour ensemble Also recorder mainte-nance choosing a recorder building aweb site using Sibelius music softwareMini-concerts by the next generation ofprofessionals master classes concerts byMarion Verbruggen and the FarallonRecorder Quartet Exhibition ofrecorder builders music sellers andmore CEUs available
Presenters Louise Austin AnnetteBauer Tish Berlin Frances Blaker Joyce Callanan Louise Carslake
24 March 2009 American Recorder
The Summer Toot is once again in Austin at the beautiful new facility of Concordia University The lushly wooded campus offers air-conditioned classrooms dining and dorm accommodations and is backed by a nature preserve Please join us
Our featured faculty includes Tish Berlin Tom Zajac Mary Springfels The Texas Toot offers a one-week program of classes in Renaissance and Baroque music at all levels featuring expert instructors in re-corder viol early reeds lute harp and voice
Danny Johnson workshop director Susan Richter administrator For more info
httpwwwtootorg or email infotootorg
11th Annual Summer Texas Toot June 14-20 2009 mdash Austin Texas
Mark Davenport Cleacutea Galhano LisetteKielson Lorraine Krige JudithLinsenberg Peter Maund Nina SternMarion Verbruggen Leslie TimmonsJim Tinter Mary Halverson Waldo
Contact Yvonne Miller-Nixon
Conference Administrator
1129 Ruth Dr St Louis MO
63122 800-491-9588 (day)
arsconfplannercharternet
americanrecorderorg
EARLY MUSIC WEEK AT
PINEWOODS CAMP (ARS)
Pinewoods Camp Plymouth MA August 15-22 Director Sheila Beardslee
The Myth amp Magick Creativity andInspiration in Early Music Surely thedeities of Olympus will surround us atPinewoodsndashwhere the myths of earlymusic will be made clear and our staff rsquosldquomagickalrdquo skills will hone and perfectour knowledge and performance of early music and dance
If yoursquove never played a musical instru-ment (but wish you could) or if youstudied music years ago (and fear yoursquoveforgotten) classes in recorder and violwill get you started or help brush off therust Advanced and intermediate playersand singers choose from a wide array ofclasses led by an outstanding faculty of professionals and teachers of earlywinds (recorders reeds brass) strings(viols violin) harpsichord and voice
New staff faces this summer areAnonymous 4rsquos Susan Hellauer voiceand Lisa Terry viol We welcome backDorrie Olsson historical dance andScott Higgs English country dance
We relax with two ponds for swimmingcanoeing a camphouse deck for readingafternoon tea and lots of dancing EarlyMusic Week continues its long traditionof superb teaching in a welcoming com-munity enhanced by special eventspresentations concertsmdashand dancing
Advanced musicians work intensivelyamateurs are engaged and challengedand beginners are always made welcome
Contact Steve Howe Country
Dance and Song Society
PO Box 338 Haydenville MA
01039-0338 413-268-7426 X3
(day) 413-268-7471 (fax)
campcdssorg cdssorgem
MONTREacuteAL RECORDER FESTIVAL
McGill University Montreacuteal QC Canada
September 17-20Directors Matthias Maute Sophie Lariviegravere
Conference consort music recorderorchestra concertsmdashEnsemble Capriceand Quynade (Israel) solo recital byMaurice Steger (Switzerland)
Contact Ensemble Caprice 4841
Garnier Montreacuteal QC H2J 3S8
CANADA 514-523-3611
514-523-1322 (fax)
infoensemblecapricecom
ensemblecapricecom
HIDDEN VALLEY INSTITUTE
FOR THE ARTS
EARLY MUSIC ELDERHOSTEL
Carmel Valley CANovember 1-7 November 8-14Directors Letitia Berlin workshopPeter Meckel HVIA
Enroll for one or both weeks Adults ofall ages welcome
Week I intense classes for upper inter-
mediate to advanced levels Week Ifaculty Letitia Berlin Frances BlakerLouise Carslake Annette Bauer(recorder) David Morris (gamba)
Week II all levels except beginnerClasses include recorder technique viol consort Baroque chamber musicconsort classes for Medieval Renais-sance Baroque and contemporary reper-toire workshop orchestra Week IIfaculty Letitia Berlin Frances BlakerTBA (recorder) Shira Kammen (earlystrings singing Medieval topics) MarySpringfels (viola da gamba)
Evening events include faculty concertstudent concert free-lance playing FreeWednesday afternoon for more playingor sightseeing Improve your playing in asupportive friendly atmosphere withworld-class teachers
Contact Peter Meckel
PO Box 116 Carmel Valley CA
93924 831-659-3115
831-659-7442 (fax)
hvmsaolcom
hiddenvalleymusicorg
wwwAmericanRecorderorg March 2009 25
26 March 2009 American Recorder
Am
herst
AR
S
Festival and
Co
nference
CA
MM
AC
Early M
usic
Week
Canto
Antiguo
Reco
rd
er
at th
e
Clearing
Great L
akes
Suzuki
FluteR
ec
Hid
den
Valley
Eld
erh
ostel
Interlo
ch
en
Early M
usic
Inst
Lo
ngy Intl
Baro
que
Inst
Marin
Head
land
s
Mid
east
Mo
ntreacuteal
Reco
rd
er
Festival
COST $520TW $350T C$1014ED $860 $1035E TBA $799D $389T $675T $210ED $735D $130TNO OF DAYS 814 1-4 7 7 7 5-8 714 6 10 3 6 4ARS DISCOUNT NO YES NO YES NO NO NO NO NO NO NO NONO OF FAC RECORDER FAC 4315 1716 165 85 22 82 543 11 101 1010 96 66NO OF STUDENTS 150wk 60 110 35 19 45 35 20 50 75 60 50RECORDER CLASSLEVELS
LIHIAV
BLIHIAV
BLIHIAV
BLIHIAV LIHIA BLI
LIHIAV LIHIA AV
LIHIAV
BLIHIAV
BLIHIAV
SPECIAL CLASSES USING RECORDERS
CMRMB20ENMROT
RPMRMB20MROPTO
CMRMBRO
MRMBENROPT CRO
RPMPT
CMRMB20MROPT
RPCMRMBENMROPT MBMP RP20
RPCMRMB20ENMTO
CMRMBMRO
NON-RECORDERCLASSES
CWKVPSDO PO
CWKVDT CWVD C O KVPS
CWPKVPST WK VD
CWVPSDO
MUSICALACTIVITIES
FSLSPP FLO FSLSP FS SP FSLP FSP
SLSPPO FSLP P FSLP FS
RECREATION D GS BSTW D FBSW FSO OBSTWO S O G
OTHERS WELCOME SC S SC S S S S SDIRECTTRANSPORTATION SC SBCP SP BCLP BP SB CPUP CL PUP
SBCPUP
TRANSPORTATIONTERMINALS
A50B2 T2 A B T
A10B3 T5
A80B80
A50B10 T10
A20B20 T20
A16B16
A4B3 T3 A20
A15B10 T10
A4B3 T3
ROOMS SD SD SD SD SDC SD SD SDC DBATHS SSP SSPP SP P SSPP SSPP SP P S PFOOD CV C GV CV FV C F CV CV CHANDICAP ACCESS HCD HCD HCD HCD HC HCD HD HCD C HCD HCD C
KEYCOST Includes tuition room (single occupancy unless otherwise noted) meals plus other fees E=estimated T=tuition only D=double occupancy W=one week
NO of DAYS Includes arrival and departure daysARS DISCOUNT Discount offered for ARS members FACULTYRECORDER FACULTY Number of facultyrecorder faculty within that number STUDENTS Average over last two yearsRECORDER CLASS LEVELS B=beginners LI=low intermediate HI=high intermediate A=advanced V=very advanced
SPECIAL CLASSES USING RECORDERS RP=recorder pedagogy C=one-on-a-part consorts MR=mixed Renaissance ensembles MB=mixed Baroque ensembles 20=contemporary music EN=early notation M=master class RO=recorder orchestra P=private lessons available T=technique O=other
NON-RECORDER CLASSES C=choral W=other winds P=percussion K=keyboard V=viols PS=plucked stringsD=danceT=theory I=instrument building O=other
MUSICAL ACTIVITIES F=faculty concert S=student concert L=lecture SP=special production P=organized informal playing O=other
RECREATION D=dancing F=field trip G=gym B=biking S=swimming T=tennis W=waterfrontbeach O=otherOTHERS WELCOME S=non-playing spousesfriends C=children (day care not generally available)DIRECT TRANSPORTATION TO WORKSHOP S=shuttle from airport B=bus C=cab L=limo PU=will pick up P=free parking O=other
TRANSPORTATION TERMINALS A=air B=bus T=train (number indicates miles from workshop to nearest terminal)
ROOMS S=singles D=doubles (with ldquo+rdquo can accommodate up to triples) C=cabins O=other =Graduate dormsBATH FACILITIES S=shared SP=semi-private P=privateFOOD C=college style F=family style G=gourmet V=vegetarianHANDICAP ACCESS H=housing C=classrooms D=dining
INFORMATION SUPPLIED BY WORKSHOP DIRECTORS
2009 SUMMER RECORDER WORKSHOPS
Here are some suggestions foravoiding overuse syndromes Most obvious warm up This meansincreasing your practice time graduallybefore the workshop begins andwarming up yourself and yourinstrument before each rehearsal
Make your playing situation ascomfortable as possible Take along acushion back rest footstool whateverit takes the ear and hand cannot ab-sorb what the bottom cannot tolerate
Be sure your glasses are ideal for the distance from your eyes to themusic desk that usually amounts to anarmrsquos length away (You can select apair at your local drug or departmentstore if you have no serious astigma-
tism) If glare from bright light (thosemarvelous outdoor rehearsals) is aproblem for you you may find that ayellow tint for your glasses is a help
Get your bodily playing equip-ment in the best possible shape beforethe workshop a visit to the dentist tosmooth off a front tooth for a windplayer can make an enormous differ-ence in endurance A layer of plasticwrap over the teeth (before yoursquoveworn a hole in your lip) may also help
Once yoursquove arrived at the work-shop there are ways to ensure thatstress (inevitable) doesnrsquot becomedistress (mostly preventable)
Take reasonable breaks duringrehearsal time and use them to stretchA little aerobics like running in placetakes very little time and gets rid ofthat stiff-from-sitting feeling Get yourfellow ensemble players to massageeach othersrsquo shoulders Other fre-
Do you have a favorite article from years past in AR E-mail that information to Gail Nickless
editoramericanrecorderorg
wwwAmericanRecorderorg March 2009 27
Mo
untain
Co
llegium
Pinew
oo
ds
Early M
usic
Week
Po
rt
To
wnsend
SF
EM
S
Baro
que
SF
EM
S
Ch
ild
rens
SF
EM
S
Med
ieval amp
Renaissance
SF
EM
S
Reco
rd
er
Texas T
oo
t
Wh
itew
ater
Wind
sw
ept
Music
Wo
rksh
op
Wo
rld
Fello
wsh
ip
$800ED $890ED $975 $950 $370T $950 $950 $740E $245 $535D $850E COST7 8 7 7 5 7 7 7 3 6 7 NO OF DAYSNO NO NO YES YES YES YES YES NO NO NO ARS DISCOUNT
125 189 169 102 82 124 76 136 1110 131 83NO OF FAC RECORDER FAC
50 100 100 55 30 70 40 50 110 45 30 NO OF STUDENTSLIHIAV
BLIHIAV LIHI AV
LIHIAV
BLIHIAV LIHI AV LIHIA LIHIA
BLIHIAV
BLIHIAV
RECORDER CLASSLEVELS
CMRMB20TO
CMRMBENROT
MRMB20MROPT
MBMPTO
CMRMBPTO
CMRENMPTO
C20MROPTO
CMR20MPT
CMRMB20ROTO MP
CMRMBMRO
SPECIAL CLASSES USING RECORDERS
WVDTO
CWKVPSDT CPVT
CWKVPSTO
KVDTO
CWPVPSTO O
WKVPSTO
CWVTO
CWPKVD
CKVDT
NON-RECORDERCLASSES
FSLSPP FSP
FSLSPPO FSSP
FSLSPPO
FSLPO
FSLPO SPO FSL PO FSLP
MUSICALACTIVITIES
DGBS DSWFGBSTW
DGBST D
DGBST DO SO
DFSWO RECREATION
S S SC SC S S SC SC OTHERS WELCOME
P SC CPUP SCP SCP SBC LP SPUP P BPUDIRECTTRANSPORTATION
A50B15 T15
A15B7 T6 A59
A20B2 T5 A59
A12B4 T1 A40 A
A20B15 T28 B10
TRANSPORTATIONTERMINALS
SD SD S S CALL S S SD SD SD SD ROOMSSP S SP P P SP P S S S BATHSCGV FV CV CV CV CV CV CV CV FV FOODHCD CALL HCD HCD C HCD HCD HCD HCD HD HANDICAP ACCESS
AR50 AVOIDING ACHES amp PAINSBy Leacuteonie Jenkins MD (c1925- 2000) from the March 1993 AR Vol XXXIV1
quently overused parts such asforearms and hands also respond to massage Quick tutorial on massagestart stroking toward the body and inthe direction of the flow of the veinsmdashupstream from the sorest partgradually work down to include thesore spot Yoursquore trying to move overthe underlying muscle not to rub theskin Thatrsquos why a little oil helps
Your psyche may need some relieffrom overload too Most workshopsare in surroundings that lend them-selves to taking a walk finding a placeto meditate taking in some beauty In creating anything a musical per-formance no less than more static artforms breathing in is as necessary asbreathing out be sure you take time to do it
Not to be forgotten those partiesLate hours and alcohol are stressfultry to balance off the fun yoursquore havingwith your capacity for both Above allenjoy Thatrsquos why yoursquore going
2009 SUMMER RECORDER WORKSHOPS
By Bart Spanhove
The author has been principalprofessor of recorder at the Lemmens-
instituut Leuven (Belgium) since 1984He is also artistic director of the world
famous recorder ensemble the FlandersRecorder Quartet which is set to perform
in concert at the 2009 Boston EarlyMusic Festival He is often asked to serve
as a jury member for internationalrecorder competitions in Canada US
Germany The Netherlands and BelgiumHe has given numerous master classes andlecture demonstrations all over the world
Spanhove is co-author of thesuccessful recorder method Easy Going(Heinrichshofen) and wrote the much-
used book The Finishing Touch ofEnsemble Playing (Alamire 2000
and Moeck 2002 with translations inChinese and German) In 2009
The Recorder Music of Frans Geysenwill come out (Mieroprint)
Currently he is researching practicetechnique for the recorder Daily
Spanhove thinks about how to makepeople happier by making music and
playing the recorder
As a conclusion for the VirtuosoRecorder class during the AmherstWorkshop in 2008 we organized aldquoHappy Hourrdquo for our nine talentedstudents Mee-Jung Ahn (Korea)Emilie Hasselgren and Kristine West(Sweden) Anne Timberlake JosephLewnard Jacob Lodico and BrycePeltier (US) Emiliano Perez(Mexico) and Fanny Massy (France)participated in a quiz that I wrote thenight before with the assistance ofReine-Marie Verhagen
We combined questions regardingmusic theory with practical exercisessuch as middot How long can a player hold a
low f in one breath on an altorecorder (You get one point foreach second)
middot How many times through a scaleis a player able to play in 30seconds (For every octave of theF major scale you get one point)
middot How many different pieces fromthe recorder repertoire can aperson play in the course of twominutes (The other members ofthe group have to guess the nameof the composer before the playercan start the next piece)
middot In one minute list as manydifferent titles as you can fromDer Fluyten Lusthof (TheRecorderrsquos Pleasure Garden) of J J van EyckThe list of questions goes onAt the ldquoHappy Hourrdquo people
were divided into three groupsaccording to dates of each personrsquosbirthday When theoretical questionswere asked (see below) the pointsystem was devised as follows threepoints were awarded when the selected
person of a group could find theanswer himherself two points whenthe selected person needed the help ofthe other group members and onepoint if the group needed the help ofour gracious class assistant Reine-Marie Verhagen (she alwaysknew the answer) No points weregiven if the quizmaster had to supplythe answer
On the next page you find someof my questions There are morewhich we hope to run in a future issueof American Recorder
The quiz was full of fun andsuspense By the end people weremore nervous than when playing aconcert on stage Jacob Lodico of theUS was the winner at Amherst
28 March 2009 American Recorder
Education___________________________________ A quiz for recorder players
wwwAmericanRecorderorg March 2009 29
Try these questions yourselfAnswers appear at the end of thisarticle
The Quiz1 Give the name of Ganassirsquos
treatise of 1535 where heextensively describes the recorder playing and diminutions of his time
2 In which German city is therecorder company Moeck based
3 In the cantata Gottes Zeit ist dieallerbeste Zeit BWV106 JS Bach calls for two altorecorders Give another name for this cantata
4 Of which famous orchestra isFrans Bruumlggen the conductor
5 List three leading Japanesecomposers of excellent solo pieces for the recorder
6 Give the names of recordermagazines published inGermany England and the US
7 What is the fundamental tone of a fourth flute
8 List two recorder makers fromthe Baroque period in England
9 Whatrsquos the title of the recitativeand chorale in the Saint MatthewPassion where the recorder isused
10 Give the names of two famouspublishers in business around1700mdashone in London and one in Amsterdam
11 The opus 10 work by AntonioVivaldi includes six concertiSome of them have beautifulnames Give the names of thefirst three concerti of this opus
12 Whatrsquos a nickname for Jean Jacques Hotteterre
13 The combination of recorder andtraverso was rarely used in theBaroque time Can you name any composers who used thiscombination
14 Which king from 16th-centuryEngland owned a large collectionof recorders and also composedand enjoyed daily recorderplaying
15 How many movements compriseHandelrsquos Sonata in C Op 1 No 7 originally written forrecorder and basso continuo
16 Give the name of Praetoriusrsquostreatise from 1609 that describesthe whole recorder family
17 Name the author of the oldestrecorder method
18 Name Jan Jacob van Eyckrsquosdisability
19 Who pretended around 1930 thatthe recorder was a kind ofclarinet
20 Who doesnrsquot belong in thefollowing group Bertho DrieverKarel van Steenhoven MarionVerbruggen Paul LeenhoutsDaniel Bruumlggen
21 Name the two instrumentsindicated to play the sonataMeiner Mutter of Hans UlrichStaeps
22 Il Pastor Fido was not composedby Antonio Vivaldi but by aFrench composer What was hisname
23 Whatrsquos the nationality of themusic company Zen-On
24 CPE Bach composed abeautiful trio that includes a bassrecorder What are the other twoinstruments
25 Give the names of the fourmovements of Bachrsquos partita forsolo traverse flute BWV1013
26 Which excellent playersperformed as the recorder trioSour Cream
27 A recorder normally has eightfingerholes Despite this musichistory describes the recorder as ldquoune flucircte agrave neuf trousrdquo (a flute with nine fingerholes)Explain why
28 Give the French name for vibratoperformed by finger movementsalone on a wind instrument
29 Who wrote in his diaryldquohellipbeyond anything in the wholeworld the wind-music when the
Answers to
Bart Spanhoversquos Quiz1 La Fontegara2 Celle3 Actus Tragicus4 The Orchestra of the
Eighteenth Century5 R Hirose M Ishii and
M Shinohara
6 Windkanal or Tibia (both ofGermany) The Recorder(England) American Recorder(US)
7 B8 The most famous English
recorder makers around 1700Bressan and Stanesby (the latterbeing both senior and junior)
9 O Schmerz Hier zittert das gequaumllte Herz
10 Walsh (and Hare) (of London)Roger (of Amsterdam)
11 La Tempesta de Mare La Notte Il Gardelino
12 Le Romain13 JB Loeillet J J Quantz
JJ Hotteterre or J B de Boismortier
14 Henry VIII15 Five16 Syntagma Musicum17 Sebastian Virdung Musica
Getutscht und Ausgezogen (1511)18 Blindness19 Igor Stravinsky20 Marion Verbruggen21 Alto recorder and piano22 Nicolas Cheacutedeville23 Japanese24 Viola and cembalo25 Allemande Courante Sarabande
Bourreacutee26 Kees Boeke Walter van Hauwe
and Frans Bruumlggen27 Before 1670 the player could
choose how to hold the recordermdashleft hand or right hand at the topThis meant that recorder makersdrilled two holes to accommodatethe little finger of the hand thatended up at the bottom Theunused hole was sealed with beeswax
28 Flattement29 Samuel Pepys30 Flanders Recorder Quartet
30 March 2009 American Recorder
Lazarrsquos Early Music(866) 511-2981 jblazaraolcom
wwwLazarsEarlyMusiccom
292 Gibraltar Dr 108 Sunnyvale CA 94089
Strings amp Early Winds
ModernBaroque Strings Viols Vielle
Kuumlng Moeck Mollenhauer Paetzold Yamaha Ehlert
Wenner Baroque flutes
Wendy Ogle Lu-Mi Ifshin Snow
Competitive Prices
Sent on Approval
Personalized Service amp Advice
R
E
C
O
R
D
E
R
S
ldquoGO FOR NEO-BAROQUErdquo
Andrew Charlton Partita Piccola For 4 Recorders (SATB)
[Prelude Allemande Courante Musettemdash
a neo-baroque epitome] (Score amp Parts PBE-25) $795
Andrew Charlton Suite Moderne For 3 Recorders (ATB)
[Baroque shapes but Hindemithian harmony]
(3 Playing-Scores PBE-44) $995
Southwest of Baroque David Goldsteinrsquos ldquobaroque Suiterdquo
on Cowboy Songs For 2 Recorders (SA) (PBE-2) $350
The Provincetown Bookshop Inc
246 Commercial Street Provincetown MA 02657 Tel (508)487-0964
A good source for Recorder amp Viol Music of all publishers
Provincetown Bookshop Editions
angel comes down which is sosweet that it ravished me andindeed in a word did wrap upmy soul so that it made me reallysick just as I have formerly beenwhen in love with my wiferdquo
30 Whatrsquos the English name for afamous recorder ensemble calledin its country Vier op lsquon Rij
wwwAmericanRecorderorg March 2009 31
by Tim Broege timbroegeaolcom
December 11 2008 was a specialday for American music the
100th birthday of Americarsquos greatestliving composer Elliott Carter Cele-bratory concerts took place in manyvenues including Carnegie Hall inNew York There the Boston Sym-phony led by James Levine played anew work by Carter Interventions forpiano and orchestra The soloist wasanother well-known conductor DanielBarenboim who is no mean hand atthe keyboard to say the least
Itrsquos remarkable that wonderfulnew compositions continue to pourforth from Carterrsquos pen His musicsparkles and frolics packing lots of musical events into engrossingstructures Much of his music isavailable on CD so if you missed thecelebrations you can easily have yourown belated birthday party for Carter
Although he has never written for recorder (one of our prominent
recorder soloists should commissionhim) Carter has produced manychamber pieces featuring woodwindsSince many recorder players double orstarted out on woodwinds such piecesas the Sonata for Flute Oboe Cello ampHarpsichord (1952) Enchanted Preludes(1988) for flute and rsquocello Espritrudeesprit doux (1985) for flute andclarinet or the Oboe Quartet (2001)may hold special interest
If you missed Charlie Rosersquosexcellent interview (broadcast onDecember 10) with Carter Levine andBarenboim you can see it atwwwcharlierosecomview
interview9774mdashessential viewingfor fans of contemporary music
We note with sadness the passingon January 23 of another distin-guished American composer GeorgePerle An authority on the music ofAlban Berg and the Second VienneseSchool Perle developed a uniquelyrical style based upon a free approachto 12-tone and serial procedureswhich he dubbed ldquo12-tone tonalityrdquo I recommend listening to his SerenadeNo 3 for Piano amp Orchestra (1983) Six Etudes for Piano (1973-76) and the Pulitzer Prize-winning Wind Quintet No 4 (1985)
Another leading American com-poser Leon Kirchner is thankfully still with us having turned 90 onJanuary 24 Like Perle Kirchner has a highly personal and expressive styleA birthday concert was held at MillerTheater at Columbia University inNew York City NY Participatingmusicians included flutist PaulaRobison pianist Jeremy Denk and theClaremont Trio with the composerpresent to discuss his music
An excellent way to get to knowKirchnerrsquos music is through his stringquartets Just in time for his birthdayAlbany Records has released a fine CDof all four played by the Orion StringQuartet Quartet No 4 was written in2007 (when the composer was 87mdasha veritable youngster compared toCarter) The composer Allen Shawnhas described that quartet asldquoluminous and passionaterdquo words aptto describe much of Kirchnerrsquos output
Speaking of contemporary musicI have been spending pleasant hoursperusing the Catalog of ContemporaryBlockflute Music available online atwwwblokfluitorg from StichtingBlokfluit This Netherlands founda-tion offers a contemporary recordercatalog and a catalog of historicalrecorder music Access to both is byfree membership
For those who havenrsquot yet used thecontemporary catalog I urge you togive it a try You can search by manyparameters such as composer title orspecific instrumentation A search forldquovoice fluterdquo turned up a list thatincluded Moon Dances Three AmericanSketches by composer Walter Mays(intended for solo alto recorder butalso playable on tenor or voice flute)Searching the name of English com-poser Edmund Rubbra produced a listof eight works that employ recordersincluding the intriguing CantataPastorale opus 92 for high voice altorecorder rsquocello and harpsichord
Searching ldquofemale composersrdquo fora piece using ldquoBaroque altordquo yieldedAfter Meditation by Ros Bandt ofAustralia
What an easy and tremendouslyvaluable way to find new music
On the Cutting Edge___________________________________Birthdays composers and
recorder music catalogs
Elliot Carter
(photo by Meredith Heuer)
Question How does Renaissancefingering differ from standard
fingering on the recorder Is one superior tothe other Do you need a special recorder touse Renaissance fingering and if so can itbe played with regular recorders Is there afingering chart that shows RenaissancefingeringmdashWilliam BaumannWaterford WI
Answer from Carolyn Peskin Music composed in the
Renaissance the historical periodextending from about 1450 to 1600was predominantly vocal and highlycontrapuntal Recorders which oftendoubled singers at the octave orrendered vocal pieces instrumentallywere designed to make the individualmelodic lines clearly audible
Most 16th-century consortrecorders were one-piece instrumentswith large toneholes and a wide borethat contracted slightly starting nearthe upper fingerholes and thenexpanded gently near the lowest holesThat ldquochoke-borerdquo design togetherwith the voicing and tonehole con-figuration favored the fundamentaltone (first harmonic) producing astrong open sound that was aboutequally loud throughout theinstrumentrsquos range
Such recorders had a useful rangeof only about an octave plus a sixthwhich was nevertheless sufficient for the music of their day MostRenaissance-style consort recordersmade today are based loosely uponsurviving 16th-century instruments ofthe above type and are designed toapproximate the range timbre andvolume of those early instruments
Our present-day ldquoregularrdquorecorders are Baroque-derived instru-ments based loosely upon survivingrecorders from the late 17th and early18th centuries They are three-pieceinstruments with small toneholes and abore that is narrower and moretapering than a Renaissance boreextending their useful range upward totwo octaves plus a whole tone
Baroque recorders are soft andsweet-sounding in their bottom octavebut louder and brighter in the secondoctave Their lowest notes are espe-cially weak because they must be blowngently to prevent overblowing into thesecond octave Such instruments aresuitable for Baroque solo and chamberrepertoire but not very satisfying forRenaissance polyphony
Due to their different timbre andvolume Renaissance recorders will not blend well with Baroque onesFurthermore the most historicallyauthentic Renaissance-style recordersare tuned in a ldquomeantonerdquotemperament that facilitates the playingof pure major thirds Such instrumentsmake Renaissance music easier to playin tune but will produce intonationproblems if played with Baroquerecorders which are tuned in equaltemperament For the above reasonsRenaissance and Baroque recordersshould not be played together
Renaissance fingering will not work on todayrsquos neo-Baroquerecordersmdashmost of which haveldquomodernrdquo Baroque fingeringcommonly called ldquoEnglishrdquo fingering
because it was developed fromhistorical Baroque fingering by ArnoldDolmetsch in England during theearly 20th century Renaissancefingering is less standardized partlybecause a number of different originalinstruments are used as models andpartly because makers wish to improvethe intonation tone quality andorplayability of certain notes Howeverthe following generalizations apply tomany of todayrsquos Renaissance-styleconsort recorders
First in the lower octave modernBaroque fingering works for mostnotes but is often too flat for the fourth scale degree (eg soprano F)requiring removal of finger 7 (right-hand pinky) and is too sharp for theraised fourth degree (eg soprano F)requiring addition of finger 7
Modern fingering is also usuallytoo sharp for the lowered seventhdegree (eg soprano B) The correctfingering for that note varies from oneinstrument to another
In the upper octave modernfingering works for the first third andfifth scale degrees (eg soprano C Eand G) but usually not for other notesSome notes require half-holing with aright-hand finger and notes above thefifth scale degree may require additionof several fingers to bring them in tuneHistorical Renaissance fingering forthe second scale degree (eg sopranoD) is especially awkward because all ofthe fingerholes and the thumbholemust be uncovered Therefore somemakers substitute modern fingering forthat note
Although Renaissance fingeringand meantone tuning are recom-mended for the best blend some
Q amp A___________________________________ Renaissance recorder fingering
Send questions to Carolyn Peskin QampA Editor 3559 Strathavon Road Shaker Heights OH44120 carolynpeskinstratosnet
32 March 2009 American Recorder
wwwAmericanRecorderorg March 2009 33
makers of handcrafted Renaissance recorders will provide modern fingeringandor equal temperament upon request and Moeck Verlag offers a choice ofRenaissance or modern fingering for most sizes of its factory-producedRenaissance Consort series
For a most satisfying blend Renaissance ensembles should purchase amatched set of recorders tuned and voiced to be played together Renaissanceconsort sets usually include two different alto recorders one in G (lowest note g)and one in F (lowest note f ) The ATTB combination with the G-alto is best formost of the quartet music composed between 1450 and 1550 while the SATBcombination with the F-alto is more practical for much late 16th-centuryrepertoire (Playing the G-alto requires learning G-alto fingering or elsetransposing the alto line down a whole tone and using F-alto fingering)
In addition to consort recorders some makers offer ldquoGanassirdquo sopranos andaltos based upon fingering charts in Silvestro Ganassirsquos recorder tutor Fontegarapublished in 1535 and a single original instrument in the Vienna Kunst-historisches Museum Because of their special bore design (cylindrical with aflaring bell) Ganassi recorders have a range of two octaves and a sixth withcumbersome fingerings in the third octave They are used mainly as soloinstruments for playing intricate ornaments of the type found in Fontegara
Also sometimes included in the ldquoRenaissancerdquo category are ldquotransitionalrdquo(early Baroque) recorders which are based upon originals from the first half ofthe 17th century They have a bore that is wider than a Baroque bore but contractssharply near the lower end resulting in strong low notes and at least a full two-octave range usually with modern fingering Most transitional recorders aresopranos or altos designed for playing Jacob van Eyckrsquos variation sets or thehighly ornamented Italian solo repertoire of the late-16th and early-17thcenturies
However wide-bore consortrecorders with a range of at least twooctaves and modern fingering shouldalso be regarded as transitionalinstruments They differ somewhat intimbre and volume from typicalRenaissance consort recorders
Handmade wide-borerecordersmdashconsort Ganassi andtransitionalmdashare obtainable frommakers who advertise in AmericanRecorder the Prescott Workshop andthe Von Huene Workshop in the USJean-Luc Boudreau in Canada andStephan Blezinger in GermanyContact them andor visit their websites to find out what kinds ofrecorders they are currently makingand to get an idea of their prices andwait times
Factory-produced wide-borerecorders from Kobliczek Moeck andMollenhauer are available frominstrument dealers who advertise inAR New and used recordersincluding wide-bore models fromimportant makers in the US andabroad are also obtainable from Uni-corn Music For further informationvisit wwwbuyrecorderscom For a comprehensive database of recordermakers worldwide see Nicholas SLanderrsquos ldquoExtant Recorder Makers amp Retailersrdquo at wwwrecorder
homepagenetmakershtml
REFERENCES
CONSULTEDBauer Winfried
wwwrecorder-fingeringscomIncludes interactive fingeringcharts from modern makers andhistorical treatises Charts forRenaissance consort recorders byAdriana Breukink Adrian BrownBob Marvin and Tom Prescottwere consulted
Brown Adrianwwwadrianbrownorgrec
order_typesconsorthtml
Our present-day ldquoregularrdquo recorders are
Baroque-derived instruments based loosely
upon surviving recorders from the
late 17th and early 18th centuries
34 March 2009 American Recorder
The Von Huene Workshop Incis pleased to announce agreements with
CoolsmaZamra
to serve as their authorised service agents in the US
For more than 40 years the von Huene Workshop has produced some of the finest recorders in the world Our skilled staff can revoice retune and repair even the most seriously damaged instruments All repairs are done right on the premises and most can be completed within a week
For warranty repairs please include a copy of your original sales receipt
j 65 Boylston Street Brookline MA 02445 i(617) 277-8690 Fax (617) 277-7217 servicevonhuenecom
An informative article aboutrecorder sizes in Renaissanceconsorts
Brown Adrian and David LasockildquoRenaissance Recorders andTheir Makersrdquo AmericanRecorder Vol XLVII No 1(January 2006) pp 19-31 An important article based upon Brownrsquos extensive researchon 120 of the 200 surviving 16th-century recorders
Ganassi Silvestro Opera IntitulataFontegara Ed Hildemarie Peter(Berlin-Lichterfelde RobertLienau 1959) Modern edition ofthe oldest known treatise devotedentirely to the recorder (publishedin 1535) Includes 16th-centuryfingering charts
Griscom Richard and David LasockiThe Recorder A Research andInformation Guide (New York andLondon Routledge 2003) Anannotated bibliography including
references on construction anddesign of historical recorders
Levin Philip ldquoQampArdquo AmericanRecorder Vol XXXVIII No 4(September 1997) p 27Explains in simple terms thedifference between Renaissanceand Baroque recorders
Morgan Fred ldquoA Recorder for theMusic of JJ van EyckrdquoAmerican Recorder Vol XXV No 2 (May 1984) pp 47-49Describes the bore design of arecorder suitable for playing Van Eyckrsquos variation sets andcompares it with bore designs ofother types of recorders
Myers Herbert W ldquoRecorderrdquochapter in A Performerrsquos Guide toRenaissance Music ed JefferyKite-Powell (New York SchirmerBooks 1994) A 2nd edition isnow available published in 2007by Indiana University Press
FEATURING MUSICA PACIFICA
JUDITH LINSENBERG
RECORDERS____JS BACH TRIO SONATAS Arr by
Linsenberg from Trio Sonatas for Organ BWV525-
530 Sonata No 1 in E
major (transp to B
)
BWV 525 Sonata No 2 in C minor (transp to E)
BWV526 Sonata No 3 in D minor (transp to G)
BWV 527 Sonata No 4 in E minor BWV 528
Sonata No 5 in C major (transp to F) BWV529
Sonata No 6 in G major (transp to C) BWV 530
Virgin Classics Veritas 1993
____FIRE BENEATH MY FINGERS Showcases
three legendary composers who were also
virtuoso performers Vivaldi Concerto in F major
after RV 98570 ldquoLa Tempesta di Marerdquo Sonata in
A minor RV86 Concerto in G minor RV106 Con-
certo in Bb major RV503 Sammartini Concerto in
F major Tartini Concerto in A major D91 Dorian
____MANCINI CONCERTI DI CAMERA Seven
sonatas by Francesco Mancini plus one work each
from his contemporaries Francesco Durante amp
Domenico Scarlatti Highly recommended citation
from the 2000 Vivaldi Prize for Recordings of Italian
Early Music--Giorgio Cini Foundation Dorian
____MARAIS MARIN PIEgraveCES EN TRIO POUR
LES FLUcircTES VIOLON amp DESSUS DE VIOLE
Maraiss complete works for two treble lines and
bass with varied instrumentation and orchestrations
2-CD set $24
____SCARLATTI CONCERTI DI CAMERA
Seven sonatas for various instrumentations no
poor relations to the composers much more widely-
known vocal output All recorder players should
certainly have thisndashEarly Music Review
____TELEMANN CHAMBER CANTATAS
Five cantatas from Harmonischer Gottesdienst two
sonatas from Sonatas Corellisantes 2003 Chamber
Music America WQXR Record Award for best
chamber music recordings
____VIVALDI LA NOTTE Concerti per strumenti
diversi Award-winning CD featuring five Vivaldi
concerti two sonatas
AND OTHER RECORDING
ARTISTS FROM CALIFORNIA ____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 American Bach Soloists Jeffrey
Thomas conductor Dan Laurin Hanneke van
Proosdij recorders Christmas Concerto featuring
unique 1725 London version with solos transcription
for two recorders instead of two solo violins in
three of the six concertos Delos
____CANCcedilONIEgraveR Annette Bauer recorder
multi-instrumentalist Tim Rayborn Shira Kammen
strings Phoebe Jevtovic voice in a new early
music group devoted to repertoire from the
12thndash15th centuries as well as traditional music
from related regions (the Balkans Scandinavia
Middle East) Medieval instrumental music played
on a variety of instruments including strings
recorders and percussion Medieval dances and
motets bring to life the rich world of ancient
European music-making
____SACRED AND SECULAR MUSIC FROM
RENAISSANCE GERMANY Ciaramella-Adam amp
Rotem Gilbert Doug Millikan Debra Nagy
recorders with other winds shawm sackbut amp
organ Medieval amp Renaissance sacred music with
reconstructions of folksongs amp arrangements based
on contemporary improvisation
____BURIED TREASURE TOPAZ amp SAPPHIRE
Ensemble Vermillian Frances Blaker recorders
Barbara Blaker Krumdieck cello Elisabeth Reed
gamba Katherine Heater harpsichord amp organ
Transcriptions of Buxtehudes Op 1 other pieces by
Buxtehude works by Biber Johann Schop
Schmelzer Fafarela 2007
____STOLEN JEWELS Ensemble Vermillian
Frances Blaker recorders Barbara Blaker
Krumdieck Elisabeth Reed Katherine Heater 17th-
century German music adapted by Blaker I love
violin music so I steal the music and rearrange it
for my own instrumentrdquo Buxtehude Op 1 Biber
Rosenmuller Krieger JM Bach Fafarela
Recordings
____SENFL (LUDWIG) Farallon Recorder Quartet
(Letitia Berlin Frances Blaker Louise Carslake
Hanneke van Proosdij) 23 lieder motets and
instrumental works of the German Renaissance
____DOLCE MUSICAndash A CONTEMPLATIVE
JOURNEY Eileen Hadidianflutes recorders
Natalie Cox harps Celtic Renaissance and
Medieval melodies for recorder and flute with
Celtic harp Healing Muses 2005
____REFLECTIONS MUSIC TO SOOTHE AND
UPLIFT THE SPIRIT Eileen Hadidian recorder amp
Baroque flute with Celtic harp and cello Celtic
traditional Renaissance amp Medieval melodies
Healing Muses
____AN EVENING WITH BACH Voices of Music
Hanneke van Proosdij Louis Carslake Dan Laurin
recorders Joanna Blendulf Elizabeth Blumenstock
Rodney Gehrke Lisa Grodin Katherine Kyme
Jennifer Lane Victoria Gunn Pich Susanne Ryden
William Skeen David Tayler Renaissance and
Baroque music centers on fine singing Instantly
recognizable Air on a G String Bachrsquos Prelude in
G Major (solo theorbo for rsquocello) plus lilting vocal
performancesmdashRydenrsquos weightless soprano on
Bist du bei mir Lanersquos rich alto on Es is vollbracht
____BACH amp TELEMANN SONATAS PRELUDES
amp FANTASIAS Voices of Music (Hanneke van
Proosdij Joanna Blendulf Rodney Gehrke William
Skeen David Tayler) Beautiful chamber music by
Bach and Telemann
IN STOCK (Partial listing)____ALLA TURCA FUX CALDARA BADIA
Matthias Maute amp Sophie Lariviegravere recorders
Monika Mauch soprano Vocal music of the church
accompanied by Ensemble Caprice plus sonatas
and other instrumental pieces Analekta
____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 John Daniels Sonja Lindblad
recorders Peter Sykes harpsichord Trio sonata
arrangement by Johann Christian Schickhardt
____LES
AMIS DU
BAROQUE
Paul Nauta recorder amp
Baroque flute Koen Dieltiens recorder Music by
Bassani Corelli Vivaldi etc Highlight Intl
____LES SEPT SAUTS BAROQUE CHAMBER
MUSIC AT THE STUTTGART COURT Matthias
Maute amp Sophie Lariviegravere recorders amp traverso
Ensemble Caprice Charming repertoire by
Schwartzkopff Bodino Detri Atma Classique
____TASTE OF PORTIQUE LEnsemble Portique
Early and contemporary chamber musicmdash
Bach Telemann Boismortier and others
____TELEMANN ALLA POLACCA REBELndash
Matthias Maute recorders amp traversondash
plays concerti and suites by GP Telemann Dorian
____TELEMANN CANONS AND DUOS Lisette
Kielson amp Patrick OMalley recorders LEnsemble
Portique Telemann Canons meacutelodieux amp Sonates
sans basse 2-CD set LEP Records
____20TH CENTURY MUSIC FOR RECORDER amp
PIANO Anita Randolfi recorders Music by Jacob
Bartok Leigh others for recorder amp piano
____VIVALDI AND THE BAROQUE GYPSIES
Matthias Maute amp Sophie Lariviegravere recorders
Ensemble Caprice Gypsy music taken from
Uhrovska zbierka (now Slovakia) plus Vivaldi
____VIVALDI SHADES OF RED CONCERTOS amp
SONATAS FOR RECORDER amp STRINGS Matthias
Maute recorders REBEL Stylish high octane
readings of some of Vivaldis most beloved pieces
including the popular and raucous Concerto alla
Rustica stunningly colorful Sonata on La Follia and
four exuberant recorder concerti Bridge
____WINDFIRE Charmaine Delmatier recorder
Steve Kostelnik classical guitar Terry Hale bass
Erik Hokkanen violin Refreshing mixture of Andrew
Lloyd Weber American blues flamenco Celtic and
one original piece ltwwwyermomusicomgt
Please indicate above the CDs you wish toorder and print clearly the following
Name ____________________________________
Daytime phone (_____)______________________
Address__________________________________
CityStateZip _____________________________
Check enclosed for
_____ single CDs x $____ = $______
_____ 2-CD sets x $____ = $______
TOTAL $______
Please charge the above amount to my
MasterCard Visa or AmEx
_______________________________________
Exp Date ____________
Cardholderrsquos signature ______________________
Mail to
ARS 1129 Ruth Dr St Louis MO 63122-1019 US
You may fax a credit card order to 314-966-4649
NEW You may order CDs online using PayPal at
wwwamericanrecorderorgordercdromshtm
Order your recorder discs
through the ARS CD Club
The ARS CD Club makes hard-to-find or limited release CDs by ARS members
available to ARS members at the special price listed (non-members slightly higher)
All CDs are $15 ARS members$17 Others unless marked otherwise Two-CD sets are
$24 ARS members$28 Others Add Shipping and Handling $2 for one CD $1 for each
additional CD An updated listing of all available CDs may be found at the ARS
web site ltwwwamericanrecorderorggt
The first meeting of the newly-formedFort Myers Recorder and Early
Music Ensemble was January 26 atthe Florida home of chapter rep Sue
Groskreutz For this year the groupis somewhat loosely organized andplans to meet for extended sight-reading Repertoire at the first meetingcomprised everything from Renais-sance duets to chamber music involv-ing three treble parts and continuo
Among the five musiciansattending the first meeting (photobelow front row Elizabeth Spang SueGroskreutz back row Suzanne FergusonSibylle Baumgartner Arlene Sowka) allplayed recorder three harpsichord
and one each played traverso violinand gamba Due to the scarcity ofrecorder players south of the Sarasotaarea modern string players are alsoincorporated into this ensemble
The group decided not to chargedues and to meet at Groskreutzrsquoshome For more information pleasecontact Groskreutz at 239-267-1752spgembarqmailcom Snowbirdsdrifting through the area are welcome
Last fall at the requestof a student Kay Hettich
(inset below right) taught abeginning recorder class atthe Redding (CA) Senior
Center The five-weekclass was so successful thatmost participants haveformed a bi-weekly noviceensemble (right) coachedby Hettichmdashwho consid-ers them her ldquohatchedeggsrdquo
A new batch of ldquoeggsrdquostarted to incubate when afive-week class began on February 20Other senior center members havebecome interested as they heard oftheir colleaguesrsquo success These noviceplayers comprise some who previouslyread music and played instruments as well as people who are totally new to music notation
One student has also formulated amaxim ldquoEveryone at age 40 ought tolearn to play the recorder if heshehasnrsquot alreadyrdquo Just think how theworld would be transformed byshifting our focus to music
After Lynn Whidden attendedthe Montreacuteal Recorder Festival lastfall when the ARS Board met inQuebec she joined the ARS and nowrelays news of the lively interest in therecorder exhibited by a group underthe new leadership of Brent Legg ofBrandon University in ManitobaCanada Although his hands wereldquostill partly frozenrdquo he wrote that theBrandon University Collegium
Musicum in collaboration with theWaverley Park Recorder Club is
preparing a spring concert calledldquoEnglandrsquos Golden AgerdquoRepertoire spans the 16th century
from Henry VIIIrsquos accession in 1509to the death in 1603 of Elizabeth Iand includes solo songs four- andfive-part settings of Renaissancedances (with dancers) three- to five-voice madrigals and ldquobig-bandrdquoarrangements of William Byrdrsquos TheBells and The Dargason as re-imaginedby Gustav Holst (further re-imaginedfor recorders and percussion)
Of the 15 collegium membersseven are encountering the recorderfor the first time since elementaryschool The Collegium Musicumpromotes the study of early music at the university and is open to theuniversity community and the generalpublic This year there are five com-munity participants with interest fromseveral more both within and outsideof the university For informationcontact BrentLegggmailcom
January 16 marked the thirdannual recorder workshop of threeFlorida groups the Pasco Collegium
Recorder Consort of Hudson theImperial Recorder Consort of
36 March 2009 American Recorder
Chapters
amp Consorts___________________________________Workshops and activities from
coast to coast in the US and Canada
Lakeland and the Pilgrim Pipers Recorder Consort of St Petersburg Theygathered for a morning tackling selections by Banchieri Monteverdi PurcellCorelli Mendelssohn Bach Mozart and Glen Shannon Each group presenteda piece for the other participants Sweet Georgia Brown by Ben Bernie (St Pete)a Sonata by Sammartini (Lakeland) and The Gospel Train arr by KW Ford(Pasco) The 29 participants were led by Marlene Cracraft (Pasco) Jane
Spencer (Lakeland) and Elizabeth Snedeker (St Pete) Tom Bickley (photo below) directed the fall workshop of the Mid-Peninsula
Recorder Orchestra in Cupertino CA The 30 players started with Gregorianchants written in ldquooldrdquo notation Bickley gave basic instruction on how tointerpret the notes and then had the group sing the chants prior to playing them
The workshop theme of ldquoThe Articulate Recorderrdquo was literally played out as the music presented used variations in tonguing phrasing and breathingOther repertoire included a Kyrie by Tomas Luis de Victoria Bachrsquos Jesu Joy ofManrsquos Desiring a double-choir piece by Gabrieli Christopher Tyersquos In NomineXIII and a Purcell chaconne The workshop ended with a rhythmically-challenging minimalist piece by Bickley entitled Beginning composed for theWaldorf School teacher training program George Greenwood reports that thegroup had a productive event and plans to ask Bickley to lead a future workshop
wwwAmericanRecorderorg March 2009 37
A Muse in the DesertThe sound of a pin dropping hellip thesound of eager minds and fingersabsorbing information and inspira-tion hellip the sounds of ldquoNuevaEspantildeardquo Spanish- and indigenous-influenced music of the 1600s in theNew World These were the soundsof the Desert Pipes (Phoenix AZ)chapterrsquos fall workshop given byEileen Hadidian On a Saturdaylast October 30 players from all overArizona gathered to learn from andbe inspired by the founder of a SanFrancisco Bay Area group dedicatedto sharing music for healing inhealthcare settings Healing Muses(wwwhealingmusesorg)
The day began with relaxationstretching and breathing exercisesfollowed by travels to Peruacute MexicoGuatemala and Colombiamdashhighchurch music vernacular pieces anda mixture of the two Participantsenjoyed the historical and contextualbackground provided as an overviewfor the day and for each piece
Remarkably the sound heardbetween pieces and passages was anenergy-filled quiet the attentivestillness of active engagement in theworkshop experiencemdashnot the chat-tering noodling and conversationsthat often occur when the musicstops That activity was reserved forthe breaks when participants couldenjoy the cool (at last) outdoorschat with Hadidian and peruse the popular garage sale (to benefitDesert Pipes) of previously-enjoyedbooks and other treasures
On Sunday Hadidian sharedher expertise and inspiration in indi-vidual and group coaching sessionsThe weekend was a special experi-ence and Desert Pipes memberslook forward to the next visit of this Healing Muse
Ann Koenig Scottsdale AZannisalesprocom
Members
of three
Florida
groups
met
in January
for a joint
workshop
CHAPTER NEWS
Chapter newsletter editors and publicity officers should send materials for publication toAmerican Recorder 7770 South High St Centennial CO 80122-3122
editoramericanrecorderorg Also send short articles about specific activities that haveincreased chapter membership or recognition or just the enjoyment your members get out of
being part of your chapter Digital photos should be at least 3rdquox4rdquox300dpi TIF or unedited JPG files Please send news to the AR address above and to the following
ARS Office 1129 Ruth Drive St Louis MO 63122-1019 ARSrecorderAmericanRecorderorg
and to Bonnie Kelly Chair Chapters amp Consorts Committee 45 Shawsheen Rd 16 Bedford MA 01730 bksharpaolcom
TO THE STARS
AND BEYONDThe cover of the November magazinegenerated a few comments Some werenrsquotsure how to interpret the title (in theartistrsquos native German it could besomething close to ldquostarlit moonrdquo)Longtime member Carolyn Peskin wrote to offer her vision of that cover
In the beginning the Great Spiritinvented Mr Sun to light the day andMiss Moon to light the nightHowever as Miss Moon floated up inthe sky all by herself like a big yellowballoon she began to feel very lonelyso one night to relieve her lonelinessshe decided to take out her recorderand make music
But when she started to playsomething miraculous happened Not only beautiful melodies but alsoyellow dust poured out of the bottomof her recorder and the dust particlesimmediately coalesced to form yellowstars As she continued playing moreand more stars were created and theyfloated up around her filling the nightsky
At last Miss Moon was happy fornot only was she herself able to enjoyher music but she now had a wholecrowd of starry companions to enjoy itwith her And if you listen very care-fully on a quiet night you might beable to hear her recorder and thatstarry choir humming along
Carolyn Peskin
LOCATING EARPLUGSI read with interest the QampA in theNovember lsquo08 AR regarding hearingloss and use of earplugs Where do you get musicianrsquos earplugs
Dolly Hirata Kensington CA
CAROLYN PESKIN PROVIDED THIS
INFORMATION Musicianrsquos earplugs arecustom made for individual usersThey can be purchased only fromlicensed hearing professionals (ieaudiologists and hearing instrumentspecialists) To find a licensed hearingprofessional in your area look underldquoaudiologyrdquo or ldquohearingrdquo in your localyellow pages
For information about how musi-cianrsquos earplugs are produced visitwwwetymoticcomephperme-w
tbaspx That web page also has a linkto contact information for authorizedlabs that make the custom earmolds formusicianrsquos earplugs If the yellow pagesdo not prove helpful those labs canrefer you to a licensed hearing pro-fessional in your area from whom youcan purchase musicianrsquos earplugs
MORE FROM CAROLYN
THIS TIME ABOUT OSKARIn the September 2008 AR the musicreview by Leslie Timmons of the Oskarpieces by Matthias Maute mentionedthat Carolyn Peskin had translated twoof the Oskar books from German toEnglish People can obtain thetranslations free of charge as Wordattachments by contacting her atCarolyn Peskin 3559 StrathavonRoad Shaker Heights OH 44120carolynpeskinstratosnet
ANOTHER KIND OF
MUSIC-READING
GLASSESIn the January 2009 issue of AmericanRecorder therersquos something (in myopinion) the ldquoRecorder with GlassesObbligatordquo article omitted which canenable a nearsighted musician to avoidneck strain in the use of bifocals
Irsquove found the solution to thisvexing problem is to have onersquos bifocalsconstructed differently [from] normalMy optometrist was willing to work
38 March 2009 American Recorder
Response___________________________________Two kinds of vision
the better to see with and (not) to hear with
Honeysuckle Music
Recorders amp accessories
Music for recorders amp viols
Jean Allison Olson1604 Portland AveSt Paul MN 55104
6516448545jeanhoneysucklemusiccom
Responses from our readers are welcomedand may be sent to American Recorder 7770 South High St Centennial CO
80122 Letters may be edited for length and consistency
ARS Membership Enrollment and Renewal I am a new member I am or have been a member
USCanadian Memberships Foreign Memberships $45 One Year $55 Foreign One Year $75 Sustaining (Receive a Hottetere Hands Pin) $100 Two Years $80 Two Years
LIFETIME MEMBERSHIP Single Dual Regular Lifetime Member $1000 (2) $1500 (4) 4 installments of $250 available) Loyalty Lifetime Member (1) $ 800 (3) $1200 (4) 4 installments of $200 available
(1) For members who have maintained membership for five consecutive years (2) $750 is Tax Deductible (3) $600 is Tax Deductible (4) Installments available Student Memberships Other Memberships (Enclose proof of full time enrollment) $65 One Year Workshop Membership
$25 USCanadian One Year $125 One Year Business Membership $45 USCanadian Two Years $30 Foreign One Year $5 Additional Charge for Dual Address or Dual Name
Do not list my name in the ARS Print Directory Do not list my name on the ARS Online Directory Do not release my name for recorder related mailings Do not contact me via email
My address telephone and email address are the same as last time
______________________________________ _________________________ Name Phone Number ______________________________________ _________________________ AddressCityStatePostal Code Email Address Please charge to (Circle one) VISAMasterCardAMEXDiscover CC________________________________ Expiration Date ______________ Signature of cardholder_______________________________________________________ Clearly Print Name as it appears on Card________________________________________
Renew by Mail Online By Phone or by Fax
Demographic Information (optional information collected only to enhance ARS services and provide statistics to grant makers)
I am a member of ARS Chapter or Consort____________________________ I am the Chapter Contact Your age Under 21 (21-30) (31-40) (41-50) (51-60) 61-70) (71+) Please check all that apply
I am a Professional Recorder Performer
I wish to be included in the list of Recorder Teachers in the ARS Directory and website I Teach (circle your choices) Children High School Youth College Students Adults Beginner Intermediate Advanced Pre-Professional Individuals Childrenrsquos Classes Adult Classes Ensembles Suzuki Orff JRS Leader Kodaly Where I Teach (circle your choices) Music Studio Public or private school Community Music School College Other _____________________
American Recorder Society 1129 Ruth Dr St Louis MO 63122-1019
Phone 314-966-4082Fax 314-966-4649
TollFree 800-491-9588ARSRecorderAmericanRecorderorg
wwwAmericanRecorderorg
with me [to find] an ideal (for me)placement size and focal length of thebifocal lens
Before visiting the optometristIrsquod had my wife measure the distancefrom my eyes to the music on mymusic stand With this measurementthe optometrist set up her machine toprepare a vision prescription for memaximized for this reading distance
When I look at my bifocals (withthem off) the lenses (through which Iread my music) occupy most of thelower two-thirds of my glasses (they are set very high and beginimmediately at the inner rims) Thisleaves the upper third and smallportions of the outside [of each lens]for focusing on the conductor As longas my stand is set low enough my necknever experiences any strain (even if Ihave to read three to a part) and Irsquove no problem in seeing theconductor (in sharp focus) either
For me trying to use glasses [toread] from a music stand [that] weredesigned for use in reading from acomputer screen also results in neckstrain (not to mention unreliability in aldquopressurerdquo situation) Having studiedTai Chi extensively and so being
wwwAmericanRecorderorg March 2009 39
There are lots ofsolutions to thepresbyopic musicianrsquosproblem but all involve compromises
40 March 2009 American Recorder
American Recorder Society PublicationsErich Katz Contemporary Music Series Members Non-MembersA Short Tale for Two Basses Suzanne M Angevine (Level II) (2 scores) $5 $8Dialogue and Dance Cecil Effinger (SATB)(Level II-III) (score amp parts) $10 $18Dorian Mood Sally Price (SATB) (Level II) (score amp parts) $10 $18Double Quartet for Recorders Peter Ballinger (Level II-III) (score amp parts) $10 $18Entrevista Frederic Palmer (SATB) (Level II) (2 scores amp 4 recorder parts) $8 $14Kyrie and Vocalise for Soprano Voice ampRecorders Stanley W Osborn $8 $14
(SATB) (Level II) (2 scores amp 4 recorder parts) Picnic Music Jeffrey Quick (SATB) (Level II) (score amp parts) $5 $8Six Short Pieces for Three Recorders edited by Alan Drake $8 $14
(3 scores) Vaclav Nelhybel (AATT) (Level II)Sonatina for Alto Recorder and Piano Anthony Burgess $7 $12
(Level II) (2 scores)Sonatine for Three Altos Lee Gannon (Level III) (score amp parts) $14 $26Suite of Jewish Folk Tunes Erich Katz (S SA8 AT) (Level II) (three scores) $10 $18
Musical Editions from the Membersrsquo Library ARS members 1 copy-$3 2 copies-$450 3-$6 4-$750 5-$10 6-$1150Non-members (editions over 2 years old) 1 copy-$5 2 copies-$850 3-$12 4-$15 5-$1950 6-$23The ARS is happy to provide photocopied enlargements of any Membersrsquo Library edition at the same prices Please specify ldquoMembersrsquo Library Enlargementrdquo
ARS Information BookletsARS members 1 booklet-$13 2 booklets-$23 3-$28 4-$35 5-$41 6-$47 7-$52Non-members 1 booklet-$18 2 booklets-$33 3-$44 4$55 5-$66 6-$76 7-$86
Education PublicationsThe ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996)
First copy free to ARS Members (mailed to new members as they join) replacement copies $3Guidebook to the ARS Personal Study Program (1996) Material formerly published in the Study Guide
and Study Guide Handbook plus additional resources Members $11 non-members $20ARS Music Lists (2002 with 2003 Supplement) Graded list of solos ensembles and method books
Members $9 non-members $15Package Deal available only to ARS members Guidebook and Music ListsSupplement ordered together $16Junior Recorder Society Leaderrsquos Resource Notebook
ARS members $20 non-members $40 (updates at reduced rates after initial purchase)$5 Dues for each JRS student member sponsored by an ARS member ($4 each for groups of 10+)
VideosRecorder Power Educational video from the ARS and recorder virtuoso John Tyson
An exciting resource about teaching recorder to young students ARS members may borrow a copy for onemonth by sending $5 to the ARS office along with the address to which the tape should be shipped
Pete Rose Video Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music Festival recitalFeatures Rose performing a variety of music and an interview of him by ARS member professional John Tyson
Other PublicationsChapter Handbook A resource on chapter operations for current chapter leaders or those considering forming an
ARS chapter ARS members $10 non-members $20 (updates free after initial purchase) One free copy sent toeach ARS chapter with 10 members or more
Consort Handbook Resource on consort topics such as group interaction rehearsing repertoire performingARS member prices CD $10 hard copy $20 combo price of CD and hard copy ordered together $25
Discography of the Recorder Vol I (1989) Compiled by Scott Paterson and David LasockiDiscography of the Recorder Vol II (1990-1994) Compiled by Scott Paterson
Either single volume ARS members $23 non-members $28Both Discography volumes together ARS members only $40
American Recorder Cumulative Index for Vols I-XXXX ARS members $20 non-members $32Index Supplement Vol XXXIV-XXXX ARS members $8 non-members $14
Shipping amp Handling FeesUnder $10 - add $3 $10-1999 - add $4 $20-2999 - add $5 $30-3999 - add $6 $40-4999 - add $7 All prices are inUS dollars For Canadian or foreign postage pay by credit card and actual postage is charged
Please make checks payable to ARS VISAMCAMEXDisc also accepted
ARS 1129 Ruth Drive St Louis MO 63122 US800-491-9588 ARSrecorderAmericanRecorderorg
Arioso and Jazzy Rondo (AB) Carolyn PeskinBerceusendashFantaisie (SATB) Jean BoivertBrucknerrsquos Ave Maria (SSATTBB)
Jennifer W Lehmann arrCanon for 4 Basses (BBBB) David P RuhlDancers (AT) Richard EastmanDifferent Quips (AATB) Stephan ChandlerElegy for Recorder Quartet (SATB) Carolyn PeskinElizabethan Delights (SAATB)
Jennifer W Lehmann arrFallen Leaves Fugal Fantasy (SATB) Dominic BohbotFour Airs from ldquoThe Beggarrsquos Operardquo (SATB)
Kearney Smith arrGloria in Excelsis (TTTB) Robert CowperIdyll (ATB) Stan McDanielImitations (AA) Laurie G AlbertsIn Memory of Andrew (ATB) David GoldsteinLay Your Shadow on the Sundials (TBgB)
Terry Winter OwensLeClercqrsquos Air (SATB) Richard E WoodLittle Girl Skipping and Alouette et al (SATBCb)
Timothy R Walsh
Los Pastores (SAAAT + perc) Virginia N Ebinger arrNew Rounds on Old Rhymes (4 var) Erich KatzOther Quips (ATBB) Stephan ChandlerPoinciana Rag (SATB) Laurie G AlbertsSanta Barbara Suite (SSAAT) Erich KatzSentimental Songs (SATB) David Goldstein arrSerie for Two Alto Recorders (AA) Frederic Palmer Slow Dance with Doubles (2 x SATB) Colin SterneSonata da Chiesa (SATB) Ann McKinleyS-O-S (SATB) Anthony St PierreThree Bantam Ballads (TB) Ann McKinleyThree Cleveland Scenes (SAT) Carolyn PeskinThree in Five (AAB) Karl A StetsonTracings in the Snow in Central Park (SAT)
Robert W ButtsTrios for Recorders (var) George T BachmannTriptych (AATB) Peter A RamseyTwo Bach Trios (SAB) William Long arrTwo Brahms Lieder (SATB) Thomas E Van Dahm arrVariations on ldquoDrmešrdquo (SATB) Martha BishopVintage Burgundy (SASATT)
Jennifer W Lehmann arr
Adding Percussion to Medieval and Renaissance Music Peggy Monroe
American Recorder Music Constance PrimusBurgundian Court amp Its Music Judith Whaley coord
Improve Your Consort Skills Susan CarduelisMusic for Mixed Ensembles Jennifer W LehmannPlaying Music for the Dance Louise AustinRecorder Care Scott Paterson
acutely aware of any kind of neckstrain when it begins to develop these ideas have been a big help to meIrsquom hoping they may be of help toother musicians as well
Best wishes to you And inanswer to your questionmdashyes the new[AR] format (with more white spacebetween the lines) is much easier toread (in my opinion)Your magazinejust keeps getting better and better
Very sincerely Ed Green WestSuburban (Chicago-area) Chapter
RESPONSE FROM DR BILL LONG
What Ed describes is a variant of theuse of conventional bifocals as musicglasses described on page 8 in thearticle Instead of lowering his musicstand into the field of view of hisbifocal segment Ed and his optome-trist have fabricated special purposebifocals with the segment really highso he can focus on his music instraight-ahead view That approachrestricts his distance vision to an areaabove his usual line of sight whichseems to work for Eds playing setup
Eds comments on the difficultiesin using conventional progressiveaddition lenses as music lenses con-firm what I said on page 9 Thats whymanufacturers have marketed special-ty progressive lenses designed specif-ically for intermediate distance taskslike computer use and playing music
There are lots of solutions to thepresbyopic musicians problem but all involve compromises The key toevaluating those compromises andchoosing the best solution for yourselfis to understand your needs and toenlist the help of a sympathetic visioncare specialistmdashjust as Ed did
Please change your
browserrsquos favorites list
AR online is now at wwwameri
canrecorderorgmembership
magazinehtm Send news to
editoramericanrecorderorg
FOUR FOUR-PART CANZONAS
(1608) BY GIOVANNI GABRIELI
ED GREG LEWIN Hawthorns Music RB 16 (Magnamusic) 1999 SATBSc 16 pp pts 4 pp $1950
Giovanni Gabrieli was probablyborn between 1554 and 1557 in theparish of San Geremia in Venice Thedetails of his early life are sketchy butit appears that he was born Giovannidi Fais and later changed his name toGabrieli out of respect to his uncleAndrea with whom he shared a closerelationship In fact in 1587 Gabrielidescribed himself ldquoas little less than asonrdquo It is commonly thought thatAndrea provided Giovanni with hisearly musical training Andrea whohad spent some time in Munichstudying under the great Orlando deLassus sent Giovanni to Munich for a similar period of study in theearly 1570s
Gabrieli remained in Munichuntil the death in 1579 of the dukeAlbrecht V who had been Lassusrsquosemployer for a number of years andwho was an enthusiastic patron of the arts particularly music With hisdeath a number of musicians lost theirjobs it seems as if Gabrieli were also a victim of such culling of talent(Within a generation the tide wouldturn and the Munich court wouldagain hire Venetian expatriates such as Priuli Valentini and Neri)
Upon his return to VeniceGabrieli was hired as a temporaryorganist at San Marco his positionbecoming permanent in 1585 For a few months that year uncle andnephew served together as first and
second organists in the chapel of thedoge In Giovannirsquos absence fromVenice there had been a plague thathad decimated the ranks of theprofessional musicians Andrea setabout rebuilding his forces at SanMarco by hiring a full-time windband consisting of Girolamo dallaCasa a renowned cornettist andviolist his two brothers who playedsackbut and later the cornett virtuosoGiovanni Bassano Giovanni Gabrieliaugmented these forces with addi-tional players and began composingthe large-scale ceremonial music forwhich he is so well known today
Giovanni was also elected to bethe organist and composer to theconfraternity of San Rocco in 1585and it is now thought that his largestpieces were intended for that venuewith its large central gallery andfrescos by Tintoretto instead of SanMarco Gabrieli held both thosepositions at the basilica of San Marcoand the Scuola Grande di San Roccountil he died in 1612 of a kidney stone
Although best known today forhis ceremonial and festival musicGabrieli was at home in smaller-scaleformats as well These four four-partcanzoni are taken from the 1608publication by the Venetian publisherAlessandro Raverji Canzoni per sonarecon ogni sorte di strumenti These werevery popular pieces to judge by themany collections in which they appear
Additionally like Gabrielirsquoskeyboard music they are found inother arrangements These four-partcanzoni lie well under the fingers inarrangements for keyboard and lute
As seen from the title Gabrielispecified no instrumentation but like asimilar edition of madrigals and battlepieces from a few years earlier a dis-tinction was made that they wereintended for wind instruments almostcertainly cornetts and sackbuts
Recorders were not unknown in Venice they were used regularly inthe confraternity of San GiovanniEvangelista where Giovanni BattistaRiccio was organist
These pieces are relativelysimplemdashplayable by beginning tointermediate ensembles They aremostly contrapuntal (with a fewhomophonic sections) and have few rhythmic eccentricities
These canzoni are found in manymodern brass editions but there arefew editions available to the recorderplayer This edition by Greg Lewin ofHawthorns Music might be consid-ered a ldquobare-bonesrdquo edition There islittle background information andeditorial practices are not specified
The music itself has a handwrittenlook that can be distracting but is easyenough to read Lewin has thought-fully supplied phrasing marks that willbe helpful for ensembles unused tothis style of music
Music
Reviews___________________________________ Infectious music created in spite of the plague
wwwAmericanRecorderorg March 2009 41
This is a good edition
for small ensembles that
canrsquot get eight players
together to play
Gabrielirsquos more famous
eight-part canzoni
42 March 2009 American Recorder
The parts are four pages but mycopy had all four pages printed on avery large page This is not a problemand there are no page turns
This is a good edition for smallensembles that canrsquot get eight playerstogether to play Gabrielirsquos morefamous eight-part canzoni Thesesmall-scale pieces are by no meansinferior to Gabrielirsquos more elaboratemusic and deserve to be better known
7 CANZONEN (1637) BY
TARQUINIO MERULA ED JOACHIM
ARNDT WITH CONTINUO REALIZATION
BY CLAUDIA SCHWEITZER MieroprintMusikverlag EM2088 (availabledirectly from wwwmieroprintcom)2005 SS or TT bc Sc 24 pp pts 8 pp$28
Tarquinio Merula was bornaround 1595 in either Busseto orCremona in Italy As was the case withso many composers of the day either alack of regular employment or a rest-less nature took him from his home inCremona to as far away as Warsaw He is found as the organist of thechurch and the chambers to the kingof Poland Sigismund III in 1624
Merula was one of the leadingexponents of the relatively new con-certante style pioneered by ClaudioMonteverdi and others in the seconddecade of the 17th century and may be described as one of the earliestBaroque composers His compositionsin the concertante style are fresh andunforcedmdashhe was born into this styleand didnrsquot encounter it as somethingnew as was the case with so many ofMonteverdirsquos contemporaries
After several years of peripateticexistence Merula found regularemployment in 1631 in Bergamo atthe church of San Maria MaggioreThe prior holder of the post of maestrodi cappella Alessandro Grandi haddied the previous year in the plagueMerula had signed a three-year
contract but by December 1632 hewas terminated with accusations thathe had molested several studentsMerula threatened a lawsuit to recoverhis lost wages but that threat wascountered with a pending criminalcharge lodged by the board ofgovernors of San Maria Maggiore By mid-1633 the matter was settledwith an apology from Merula and astatement that he relinquished allclaims to his salary
He then returned voluntarily toCremona where he stayed until 1635By 1638 Merula was once again inBergamomdashthis time as maestro dicappella and organist in the cathedralnext to San Maria Maggiore Asmight be expected there was con-siderable tension between the twochurches eventually resulting in theboard of San Maria Maggioreforbidding their musicians to perform under Merularsquos direction
He returned in 1646 to a familiarCremona post which he had heldthree times in various years and wherehe now settled downmdashthat of organistand maestro di cappella for Laudi dellaMadonna services in which he ledmusic at the main altar on Saturdaysand on vigils of Marian feasts
None of his employment issues
prevented the Pope from awardinghim the Order of the Golden SpurMerula was also elected to theAccademia dei Filomusi in BolognaHe died in 1665 in Cremona
His existing compositions showthe products of a lively mind Hisworks range from sacred songs andmotets to purely instrumental piecesnotably the ever-popular variations onvarious ground basses It is knownthat Merula was an accomplishedviolinist as well as a fine organist Hissurviving instrumental writing showsa predilection for strings In fact hewas one of the earliest composers tospecify string accompaniments tosacred motets
Merularsquos pieces look backwardtoward some of the more progressiveVenetian composers such as Monte-verdi while looking forward to thehigh Baroque with his innovative style
These seven canzoni like theearlier-published chaconne (EM2084)come from Merularsquos third bookpublished in 1637 CANZONI overo SONATE CONCERTATE perchiesa e camera a due et a tre delcavaliere This collection typifiesMerularsquos output pieces based onRenaissance-era ground basses arefound next to more ldquomodernrdquo sonatas
The original edition specifiesviolins and basso continuo This newedition is intended for recorders thespecific choice of which is up to theplayers Due to the relatively hightessitura tenor recorders work best inthese pieces (although listed as analternative soprano recorders tend to be on the screechy side)
Not surprisingly given Merularsquosskill as an organist the continuo partneeds a keyboard instrument forsuccessful realization Instead of beinga purely accompanying part the bassocontinuo part is an equal partner in these pieces the canzona ldquoLaRuggierardquo opens with a run that therecorders echo a few measures later
A more recorder-specific
edition intended for
altos would have been
ideal There is nothing
preventing the more
adventurous and
industrious players
from making their
own editions of this
delightful music
mentioned were a bit shrill A morerecorder-specific edition intended foraltos would have been ideal There isnothing preventing the moreadventurous and industrious playersfrom making their own editions of thisdelightful music
Prior to playing the previouslypublished chaconne I had notencountered MieroprintMusikverlag Mieroprintrsquos extensivecatalog has an equal focus on newmusic for recorders and on editions ofBaroque masters with emphasis on therecorder and flute Due to the lack of
wwwAmericanRecorderorg March 2009 43
are also available at
The Early Music Shop
of New England
Brookline MA
AESTHEacute
367-b de la Briquade
Blainville Queacutebec
Canada J7C 2C7
tel (450) 979-6091
wwwboudreau-flutesca
A bass viola da gamba or rsquocello is not necessary for these pieces and may infact make them sound heavy and ponderous rather than light and breezy as thismusic seems to be
More so than the above-mentioned chaconne these canzoni are written in avery idiomatic violin style with multiple examples of arpeggios In particular thecanzona ldquoLa Trecchardquo contains a notated example of a string tremolo figurerecurring through the piece ldquoLa Trecchardquo also dips well below the range of a Crecorder going down to low G the lowest string on the violin The editors havesupplied no alternative notes preferring to let the performers to fend forthemselves (in practice we took this passage up an octave with no problems)
The two recorder parts require virtuosity These upper parts are demandingwith the players needing to double-tongue in unison in order to negotiate themany runs of 16th notes and the shared rhythmic ldquolicksrdquo The harmoniclanguage unlike much of Merularsquos music is undemanding and contains none of the harmonic crunches for which he is famous
This is wonderful music that needs a couple of advanced recorder players fora successful performance The string idiosyncrasies can be overcome by advancedplayers and many of the editions of the era (although not this one) list thecornetto as an alternative to the violin so the use of wind instruments in the solo literature of the early Baroque was not unknown
Our experience with this edition left us with the opinion that these pieceswould have been better if transposed down a minor third so as to fit on a pair ofalto recorders (as is the case with much Baroque flute music to make it lie betteron the recorder) The tenors we used tended to sound a bit murky in the lowerregister next to the more aggressive harpsichord while the sopranos we tried as
KEY rec=recorder Srsquoo=sopraninoS=soprano A=alto T=tenor B=bassgB=great bass cB= contra bass Tr=treble qrt=quartet pf=piano fwd=foreword opt=optional perc=percussionpp=pages sc=score pt(s)=part(s)kbd=keyboard bc=basso continuohc=harpsichord PampH=postage andhandling Multiple reviews by one reviewerare followed by that reviewerrsquos name Pleasesubmit music for review to AR 7770 SHigh St Centennial CO 80122-3122 US
an American distributor this musicwill be hard to findmdashin fact can befound only at the time of this writingon their web site noted above But theeffort will be repaid
This edition is clear and easy toread and the parts require no pageturns The basso continuo realizationis simple and elegant
This is music deserving ofrediscovery My only quibble is thatthe editorial notes are all in GermanThis seems to be the practice ofGerman music publishers with thenotable exception of Moeck Otherpublishers of early music such asLondon Pro Musica routinelyprovide notes in English and German and often in French and Italian making their editionsaccessible to a wider audience
Frank Cone studied the recorderwith the late Ellen Perrin the viola dagamba with Carol Herman and thecornetto with Larry Johansen TheCalifornia multi-instrumentalist has been a member of the Orange CountyRecorder Society since 1985
Advertiser Index
AMERICAN ORFF-SCHULWERK ASSN 3
AMERICAN RECORDER SOCIETY 31 35 36
AMHERST EARLY MUSIC FESTIVAL 17
STEPHAN BLEZINGER 24
JEAN-LUC BOUDREAU 21 39
BOSTON EARLY MUSIC FESTIVAL 7
CANTO ANTIGUO EARLY MUSIC WORKSHOP 13
COURTLY MUSIC UNLIMITED 20
EARLY MUSIC AMERICA 8
HONEYSUCKLE MUSIC 34
BILL LAZARrsquoS EARLY MUSIC 26
KEITH E LORAINE EARLY DOUBLE REED SERVICE 35
LOST IN TIME PRESS 11
MADISON EARLY MUSIC FESTIVAL 12
MAGNAMUSIC DISTRIBUTORS BC
MOECK VERLAG IFC
MOLLENHAUER RECORDERS IBC
PORT TOWNSEND WORKSHOP 14
PRESCOTT WORKSHOP 30
PROVINCETOWN BOOKSHOP 26
THE RECORDER MAGAZINE 4
THE RECORDER SHOP 6
SAN FRANCISCO EARLY MUSIC SOCIETY 18
SWEETHEART FLUTE CO 3
TEXAS TOOT 20
VON HUENE WORKSHOP INC 30
WICHITA BAND INSTRUMENT CO 21
DOMINIK ZUCHOWICZ 34
CONSIDER ADVERTISING IN
Full page $55223 page $43912 page $36613 page $28614 page $22316 page $17518 page $127112 page $ 951 column inch $ 58
Prices include web sitee-mail link directly from your ad in the online AR at wwwamericanrecorderorg
Circulation Includes the membership of theARS libraries and music organizations
Published five times per year January March May September November
Reservation Deadlines December 1 (January) February 1 (March) April 1 (May) August 1 (September) October 1 (November)
Rates good through November 2009 Pleaseinquire about discounts on multiple-issuecontracts inserts or other special requestsExtra charges for typesetting layout half-tones and size alterations 133-line screenrecommended Advertising subject toacceptance by magazine First-time adver-tisers must include payment with order
For more information contact the ARS office 1129 Ruth Drive St Louis MO63122-1019 800-491-9588 toll free 314-966-4082 phone 314-966-4649 faxadvertisingamericanrecorderorg
44 March 2009 American Recorder
Classified___________________________________
FOR SALE Cherrywood hurdy gurdy and hard-side case made by Kelischek bought 2005Originally $765 plus $89 for case Rarely usedBoth for $450 or make offer Please contact marjalocomcastnet Can ship
ASPIRE ANNOUNCE INSPIRE Afford-able PR for teachers and recitalists wwwrecitalroomcom
PHOTOS NEEDED of ARS events 1970sndash1990sto illustrate last chapters of Martha Bixlerrsquos histor-ical memoir about the ARS (to be posted online)E-mail scanned photos (300dpi JPG or TIF)arsrecorderamericanrecorderorg Hardcopies mail to ARS office to be scanned ampreturned Info 800-491-9588
T-SHIRT FOR ENSEMBLE PLAYERS to wear orshare Top 10 Reasons Why I Got Lost Wrongfingering bad lighting etc on blue cotton shirt$18 Highlighter tape and other goodies Beth amp Lindas Boutique as seen at BEMF CallLinda at 617-671-8694 or e-mail for brochurelindakushverizonnet
Where the havesand have-nots
of the recorder world can find each other
Classified rate for American Recorder 60centper word ten-word minimum ldquoFOR SALErdquoand ldquoWANTEDrdquo may be included in thecopy without counting Zip code is oneword phone e-mail or web page is twoPayment must accompany copy Deadlinesare one month before issue date Send copywith payment to ARS 1129 Ruth Drive St Louis MO 63122-1019
AMERICAN RECORDER (ISSN 0003-0724) 1129 Ruth Dr St Louis MO 63122-1019 is publishedbimonthly (January March May September and November) for its members by the AmericanRecorder Society Inc $20 of the annual $45 US membership dues in the ARS is for a subscriptionto American Recorder Articles reviews and letters to the editor reflect the viewpoint of their individ-ual authors Their appearance in this magazine does not imply official endorsement by the ARS
EDITORIAL DEADLINES November 15 (January) January 15 (March) March 15 (May) July 15(September) and September 15 (November) Submission of articles and photographs is welcomedArticles may be typed or sent as an attachment (Word or RTF preferred) to or text in an e-mail mes-sage They should be for the exclusive consideration of AR unless otherwise noted Photos may besent as prints or unedited JPG or 300dpi TIF files (minimum 3rdquox4rdquo) Advertisements may be sent inPDF or EPS format with fonts embedded
EDITORIAL OFFICE Gail Nickless Editor 7770 S High St Centennial CO 80122-3122 303-794-0114 (phone amp fax) editoramericanrecorderorg Books for review Editorial office Musicfor review Editorial office Recordings for review Tom Bickley 1811 Stuart St Berkeley CA 94703Cutting Edge Tim Broege 212 Second Ave Bradley Beach NJ 07720-1159 Chapter newslettersother reports Editorial office Postmaster Send address changes to ARS 1129 Ruth Drive St LouisMO 63122-1019 Periodicals postage paid at St Louis MO and at an additional mailing office
Chapter leaders
We know yoursquore out there
and that you want to share
your plans concerns
solutions and ideas with
other chapter leaders Visit
httpamericanrecorder
societywikispacescom
Norman (earlytraditional flutes andpipes) David Greenberg (Baroqueviolin and fiddle) and Ronn McFarlane(lute) on July 8-9
Contact emindyorg
SAN FRANCISCO EARLY MUSIC
SOCIETY MEDIEVAL amp
RENAISSANCE WORKSHOP (ARS)
Sonoma State University Rohnert Park CAJune 28-July 4Director Tom Zajac
Workshop theme Stories and LegendsOpen to singers and players of earlyinstruments (recorders violas da gambalutes shawms etc) Coaching by world-class specialists in Medieval and Renaissance music Classes forvoices recorders viols and alta capellavoice master class ensemble coachingstorytelling for musicians andstorytelling accompanimentRenaissance choir Medieval bandtheater project faculty and studentconcerts lectures and more
Scholarships as well as academic creditor continuing education credit areoffered Featuring recorder facultyFrances Blaker Annette Bauer DanStillman and Tom Zajac Other facultyPatrick Ball storytelling Celtic harpKaren Clark voice movement formusicians Julie Jeffrey gamba ShiraKammen Medieval strings music forstorytelling Drew Minter voice theaterproject Tim Rayborn Medieval stringspercussion music for storytelling Larry Rosenwald theater projectrhetorician in residence MarySpringfels gamba theater projectAnnette Bauer early notation DanStillman reeds alta capella ensembleTom Zajac sackbut Renaissance choir
Contact Tom Zajac SFEMS
PO Box 10151 Berkeley CA
94709 617-323-0617
medrenmailgmailcom
sfemsorg
MOUNTAIN COLLEGIUM (ARS)
Cullowhee NC June 28-July 4Director Patricia Petersen
Nestled in the Smoky MountainsWestern Carolina University provides alovely location for Mountain Collegiumwith comfortable accommodations in anew dorm and catered evening mealsThe workshopmdash at once informal andintensivemdash combines study of Renais-sance Baroque and contemporary musicand improvisation on recorder viol andother early instruments with opportu-nities to explore Celtic and othertraditional music on hurdy gurdymountain dulcimer and pennywhistle
Friendly participants of all levels andages welcome newcomers into theMountain Collegium family Varied classofferings time for informal music-making and evening English countrydancing bring students back year afteryear Faculty Valerie Austin AtossaKramer Jody Miller Patricia PetersenJohn Tyson (recorders other winds)Martha Bishop Lisle Kulbach HollyMaurer Gail Ann Schroeder Ann Stierli(strings) Lorraine Hammond JohnTrexler (traditional music)
Contact Patricia Petersen
1702 Vista St Durham NC
27701 919-683-9672
patpetersenearthlinknet
mountaincollegiummusicorg
GREAT LAKES SUZUKI FLUTE amp
RECORDER INSTITUTE
McMaster University Hamilton ON CanadaJuly 4-11 Teacher training Book 1July 7-11 Teacher training Book 2July 7-11 Student InstituteDirector David Gerry
Master classes group instructionrecitals plus enrichment classes forstudents Teacher training with MaryHalverson Waldo
Contact David Gerry 129 Locke
Street South Hamilton ON L8P
4A7 CANADA 905-525-9549
dgerrynasnet davidgerryca
CANTO ANTIGUO EARLY MUSIC
AND RECORDER WORKSHOP
Chapman University Orange CAJuly 5-12Directors Thomas Axworthy Ronald Glass
This one-week workshop is designed to broaden the performance skills ofexperienced students and introduceRenaissance and Baroque instrumentsand musical experiences to beginningand intermediate players Students at alllevels participate in instrumental vocaland dance instruction performance
The workshop takes place at ChapmanUniversity Studios dining hall andresidences are all air-conditioned Thisinvitingly landscaped peaceful campuswith garden paths is a mixture of historic and modern architecture
The theme of this yearrsquos workshop isMusic of the Italian Renaissance Dancesmasses motets and ceremonial musicwill resonate as we explore the music ofMonteverdi Palestrina Gesualdo et al
Faculty includes Thomas AxworthyJanet Beazley Mark Davenport RonGlass Carol Lisek Jim Maynard and Alice Renken
Contact Ronald Glass
129 Altadena Dr Pittsburgh
PA 15228-1003 800-358-6567
(day) 310-213-0237 (evening)
562-946-4081 (fax)
evanesa2aolcom
cantoantiguonet
CAMMAC EARLY MUSIC WEEK
Lake MacDonald Music Center Harrington QC Canada
July 5-12Directors Francis ColpronMarie-Nathalie Lacoursiegravere
CAMMAC provides a unique oppor-tunity to make music with family and
20 March 2009 American Recorder
friends in a beautiful setting north ofMontreacuteal QC under the guidance ofinternationally acclaimed professionalmusicians
In four daily 75-minute classes pluslectures early music lovers will have the opportunity to play to their heartrsquoscontent
Small ensembles and voice classes are setup ahead of time registration for otherclasses occurs on site the first eveningCourses include choir large instrumentalensemble many recorder and violclasses Medieval and Renaissanceensembles Orff method and Baroquedancing There are courses foradolescents and a program for children 4-11 years old
Special project in 2009 The Fairy Queenby Purcell with choir instrumentalensemble soloists and staging Keyfaculty Matthias Maute ChristopherJackson Laura Pudwell MargaretLittle Marie-Nathalie Lacoursiegravere
Contact Johanne Audet
85 Chemin CAMMAC Harrington
QC J8G 2T2 CANADA
888-622-8755 1
819-687-3323 (fax)
nationalcammacca
cammaccaenglishTabLM
Summershtml
MADISON EARLY
MUSIC FESTIVAL
University of WisconsinndashMadison July 11-18Directors Cheryl Bensman Rowe and Paul Rowe artistic Chelcy Bowles program
MEMF joins the 2009 InternationalYear of Astronomy in a global celebrationof astronomy and its contributions tosociety and culture including the 400thanniversary of the first astronomicalobservation made through a telescope byGalileo Galilei Galileorsquos fatherVincenzo was a musician and musictheorist who combined the practice andtheory of music with mathematicaldiscussion of harmonymdashand influenced
Galileorsquos experiments MEMFcelebrates its tenth season exploringworks of music and the arts inspired by ascientific discovery that had tremendousimpact on culture and civilization
MEMF was created to provide anopportunity for musicians scholarsteachers and early music enthusiasts togather and exchange information andideas about Medieval Renaissance andBaroque music and to bring acclaimedearly music artists to the Midwest toperform in beautiful Madison
Featured MEMF 2009 guest artists-in-residence include Marion VerbruggenThe Newberry Consort QuicksilverPiffaro and Venere Lute QuartetRecorder faculty members includeMarion Verbruggen Joan KimballPriscilla Smith and Robert Wiemken
Contact Chelcy Bowles University
of WisconsinndashMadison 720 Lowell
Center 610 Langdon St Madison
WI 53703 608-265-5629
608-262-1694 (fax)
musicdcswiscedu
memfdcswiscedu
PORT TOWNSEND
EARLY MUSIC WORKSHOP (ARS)
University of Puget Sound Tacoma WA
July 12-18Directors Letitia Berlin Frances Blaker
Join us this summer at our new locationwith a star-studded faculty a beautifultree-lined and easy-to-navigate campuswith accessible facilities and acurriculum that will leave you wishingthere were 48 hours in a day
Consort and technique classes forrecorder and viol consort and mixedrepertoire recorder master classpercussion for all levels Hildegard forsingers Baroque flute beginning violtheory workshop orchestra and moreMake an all-Medieval schedule or mix it up with a class from almostevery period of music
Work hard and play hard with friends
new and old Intense music-making thatwill inspire you during the workshop andthroughout the year
Directors Tish Berlin and FrancesBlaker eagerly await your arrival andanticipate a splendid workshopRecorder faculty Janet Beazley TishBerlin Frances Blaker Vicki BoeckmanLouise Carslake Charles ColdwellRotem Gilbert Kim Pineda
Contact Jo Baim Workshop
Administrator 1108 frac12 Alki
Ave SW Seattle WA 98116
206-932-4623
workshopseattle-recorderorg
seattle-recorderorg
wwwAmericanRecorderorg March 2009 21
Amherst Early Music FestivalJuly 12-19 and 19-26 2009
Connecticut College New London CT
Renaissance consortsBaroque ensemblesMaster classesRenaissance AcademyEarly notation and moreNo audition required
July 12-19Baroque Academy
July 19-26 Virtuoso Recorder Recorder Seminar
Audition deadline May 15
wwwamherstearlymusicorginfoamherstearlymusicorg(617) 744-1324
AMHERST EARLY MUSIC FESTIVAL
(ARS)
Connecticut College New London CT July 12-19 Baroque Academy July 19-26 Virtuoso Recorder Recorder SeminarRenaissance Academy
Director Marilyn Boenau
Music of England and Spain Two weeksof classes in most early instrumentsvoice dance and notation
Week 1 includes classes for recorderviol other early instruments voicedance and notation Special programsBaroque Academy Baroque AcademyOpera Project (Purcellrsquos Dioclesian)
July 18-19 Music amp InstrumentExhibition
Week 2 comprises classes for recorderviol other early instruments voice andnotation Special programs VirtuosoRecorder Recorder SeminarRenaissance Academy
Evening activities include Englishcountry dance madrigals and informalplaying sessions Connecticut College ineastern CT offers comfortable air-conditioned accommodations naturalareas for walking and a view of LongIsland Sound Scholarships and work-study aid available
Contact Marilyn Boenau
Director or Cathy Stein
Administrator 47 Prentiss St
Watertown MA 02472
617-744-1324 (day)
617-744-1327 (fax)
infoamherstearlymusicorg
amherstearlymusicorg
MIDEAST WORKSHOP (ARS)
LaRoche College Pittsburgh PAJuly 19-25Director Marilyn Carlson
Music of Spain 55-60 students of allability levels adults only Instruction forrecorder (all levels except novice) violharp flute You may enroll for recorder
viol flute as primary instrument harpvoice recorder viol as secondary instru-ment Large and small ensembles all-workshop ensemble (instruments andvoices) Renaissance band (recordersviols capped reeds voice) Medievalcollegium (puzzles amp canons) consorts(by level) vocal ensemble Also Englishcountry dance penny whistle We alsooffer viol-for-novice and harp-for-novice each providing the opportunityfor hands-on experience without owningan instrument Other classes on specialearly music topics and literature
Faculty Marilyn Carlson directorMartha Bixler Stewart Carter JudithDavidoff Eric Haas Mary JohnsonPeter Ramsey Kenneth Wollitz otherfaculty to be announced All facilities areair-conditioned
Contact Marilyn Carlson
1008 Afton Road Columbus OH
43221-1680 614-754-7233
mcarlsoncolumbusrrcom
mideastearlymusicaddrcom
22 March 2009 American Recorder
San Francisco Early Music SocietySummer Workshops 2009Recorder middot July 19ndash25 2009La Dolce Vita di Flauto middot Explore the full range of recorder music from the Middle Ages to the 21st century through ensemble work technique sessions and recorder orchestra For the devoted amateur all ages intermediate to advanced Friendly atmosphere small classes Quiet campus near all amenities Special offerings Recorder orchestra recorder master class coached informal playing Faculty Louise Carslake Frances Feldon Rotem Gilbert Katherine Heater Norbert Kunst Patrick OrsquoMalley and Hanneke van ProosdijInfo Frances Feldon 510-527-9840 franfelaolcom
Baroque Music amp Dance middot June 14ndash20 2009Music in Italian Cities middot Master classes recorder ensemble concerto evening coached ensembles classes concerts and lectures Featuring recorder faculty Frances Blaker and Clea GalhanoInfo Kathleen Kraft 707-874-2014 kkraftsonicnet
Medieval amp Renaissance Music middot June 28ndashJuly 4 2009Stories amp Legends middot Classes for voices recorders viols and alta capella voice master class ensemble coaching storytelling for musicians and storytelling accompaniment Renaissance choir medieval band theater project faculty and student concerts lectures and more Featuring recorder faculty Frances Blaker Annette Bauer Dan Stillman and Tom ZajacInfo Tom Zajac 617-323-0617 medrenmailgmailcom
Music Discovery middot June 21ndash26 2009Day camp for youth ages 7 to 15 Early music and Renaissance social history Instruction in recorder harpsichord strings chamber music musicianship crafts costume-making games and more Beginners to advanced students welcome Featuring recorder faculty Vida Bateau and Letitia BerlinInfo Letitia Berlin 510-559-4670 tishberlinsbcglobalnet For more information visit our web site wwwsfemsorg
SAN FRANCISCO EARLY MUSIC
SOCIETY RECORDER WORKSHOP
(ARS)
St Albertrsquos Priory Oakland CA July 19-25Directors Frances Feldon Katherine Heater
Jam-packed week of recorder ensembleplaying concerts and the opportunity toimprove your skills working with highlyrespected recorder specialists in afriendly yet serious atmosphere Explorethe full range of recorder music from theMiddle Ages Renaissance and Baroqueto the 21st century through ensemblework technique sessions and recorderorchestra For the devoted amateur of allages from intermediate to advanced
Small classes Quiet campus Specialofferings recorder orchestra recordermaster class coached informal playing
Featuring recorder faculty LouiseCarslake Frances Feldon RotemGilbert Norbert Kunst PatrickOrsquoMalley and Hanneke van ProosdijOther faculty Katherine Heaterharpsichord
Contact Frances Feldon SFEMS
PO Box 10151 Berkeley CA
94709 510-527-9840
franfelaolcom sfemsorg
WINDSWEPT MUSIC WORKSHOP
William Jewell College Liberty MOJuly 19-25Director Phyllis Pasley
Bring your artistry to life Strengthen the mindbody connection and exploreenergy and music at Creative MotionAlliancersquos 59th annual summerconference Windswept Professionalmusicians conductors teachers studentsand amateur music enthusiasts willdiscover barriers that inhibit the free flowof energy and learn the secrets of inner-directed artistic music-making Classesin piano voice instrumental musicexpressive arts and independent studyMaster class coaching and conductingopportunities available Using move-
ment exercises analysis and bodyresponses explore music and energy in a unique inter-generational workshopformat Opportunities for independentrecorder study and private lessons enrichthe music-making experience
Registration fee $50 prior to 51509Tuition room meals $535 adults $400students 12-18 (must attend with parentteacher or sponsor) special half-weekrate $275 (Sunday-Wednesday noon)Memberfamily discounts Three hoursgraduate credit ($225) 3 CEUs ($50)and private lessons ($25 each)
Contact Phyllis Pasley 2208
Clouds Peak Maryland Heights
MO 63043 314-628-9862
directorcreativemotionorg
creativemotionorg
BOXWOOD FESTIVAL CANADA
Lunenburg Nova Scotia CanadaJuly 19-26Director Chris Norman
Discover musical and dance traditionswhile visiting one of North Americarsquosmost exquisite 18th-century seasidetowns Concerts dances sessionsclasses lectures with leading artists in therealms of traditional folk early musicdance and improvisation Work study ampscholarships available Gourmet cuisine
Faculty Chris Norman directortraditional amp early flutes FrancisColpron recorder ensembles LisaBesnoziuk Baroque flute DavidGreenberg Cape Breton amp Baroqueviolin Edmund Brownless voice shape note singing Marie Bouchardharpsichord Robert Dick contemporarytechniques amp composition Conal O Grada Irish flute Jerry OrsquoSullivanpipes whistle Rod Garnett flutefundamentals ethnic flutes PierreChartrand social dance MarlysNorman ballet classical dance Rod Cameron flute maker Tempest Baroque
Contact 902-634-9994
boxwoodorg
musiqueroyalecom
MACPHAIL SUZUKI INSTITUTE
FOR PIANO GUITAR FLUTE
AND RECORDER
MacPhail Center for the Arts Minneapolis MNJuly 19 Every Child Canreg July 19-26 Recorder Book 1July 20-24 Student InstituteDirectors Cindy Malmin Mary Halverson Waldo (auditions)
Suzuki Clinicians Marilyn Taggartpiano Tadeusz Majewski piano DavidMadsen guitar Kathleen Schoenfluterecorder MacPhail Suzuki faculty
Sanctioned by the Suzuki Association ofthe Americas MacPhailrsquos SuzukiInstitute allows Suzuki students of allages to share in motivating enrichingand wide-ranging musical experiencesStudents work with master teachers andimprove skills technically and musicallyDaily classes and observation includeapplied study theoryreading skillsensemble skills chamber music perfor-mance practices composition improv-isation master classes recitals art andmusic world musicdrumming musichistory recitals and presentations TeenMusical Revue (ages 13-18) fashioncharacter sketches develop a frameworkor theme and present to an audience
Who may attend Suzuki students whohave completed the Twinkle Variations(preschoolndashgrade 12 parents or another
wwwAmericanRecorderorg March 2009 23
Amherst Early Music Festival
(photo by Marc Weinberg)
responsible interested adult must attendwith students under high school age)teacher traineesobservers Participantsmust arrange meals housing and trans-portation Teacher Training prerequi-sites Every Child Canreg before Book 1courses must be taken in order throughBook 2 Contact workshop regardingrequired audition and preparation
Contact Cindy Malmin
612-767-5461
malmincindymacphailorg
Mary Halverson Waldo
5679 Harding Lane Shorewood
MN 55331 952-470-5853
mhalvwaldogmailcom
INTERNATIONAL BAROQUE
INSTITUTE AT LONGY
Longy School of Music Cambridge MA
July 24-August 2Directors Paul Leenhouts co-director Phoebe Carrai
VenicendashDresden Connection InternationalMeeting Grounds Music of MonteverdiVeracini Hasse Heinichen MarcelloVivaldi Pisendel Albinoni ZelenkaLotti Schein Schutz Quantz Gabrieli
2009 faculty Paul Leenhouts recorderPhoebe Carrai rsquocello ElizabethBlumenstock violin Ricard Bordasvoice Arthur Haas harpsichord LucasHarris lute Ken Pierce early danceGonzalo Ruiz oboe Mary Springfels
viola da gamba Jed Wentz traverso
Contact Karen Burciaga Com-
munity Programs Registrar One
Follen St Cambridge MA 02138
617-876-0956 X1532 (day)
617-354-8841 (fax) karenbur
ciagalongyedu longyedu
RECORDER AT THE CLEARING
The Clearing Ellison Bay WIJuly 26-August 1Directors Pat Badger Adrianne Paffrath
Recorder ensemble has been a traditionat The Clearing for over 25 yearsEnsemble playing is the weekrsquos focusEach day begins with a warm-up ofvoices and bodies as we sing rounds andready our muscles for performanceDaytime sessions focus on rhythmicchallenges recorder technique andensemble blend emphasis is on growthprocess and most of all enjoyment To participate fully you need at leastintermediate skills on a C or F recorder
Adrianne Paffrath coached on recorder with ARS teachers She is music directorat Racinersquos First Presbyterian ChurchPatricia Badger has studied early musicinstruments natural and classicaltrumpet She is performing arts head ofThe Prairie School Jointly they haveperformed for Medieval festivals grapestompings Shakespeare celebrations anda circus parade
Contact The Clearing PO Box 65
Ellison Bay WI 54210-0065
877-854-3225 920-854-9751
(fax) clearingtheclearingorg
theclearingorg
AMERICAN RECORDER SOCIETY
FESTIVAL AND CONFERENCE
University of Missouri at St Louis St Louis MO
July 30-August 2
Attend the second ARS Festival andConference for one day ($150) or allweekend ($350)
Sessions include recorder techniquepedagogy introductions to Orff Suzukiand Flutes and Drums Around the Worldmethods improvisation roundtablediscussions how to conduct yourconsort coached playing sessions forMedieval Renaissance Baroque worldand contemporary repertoire recorderorchestra incorporating percussion intoyour ensemble Also recorder mainte-nance choosing a recorder building aweb site using Sibelius music softwareMini-concerts by the next generation ofprofessionals master classes concerts byMarion Verbruggen and the FarallonRecorder Quartet Exhibition ofrecorder builders music sellers andmore CEUs available
Presenters Louise Austin AnnetteBauer Tish Berlin Frances Blaker Joyce Callanan Louise Carslake
24 March 2009 American Recorder
The Summer Toot is once again in Austin at the beautiful new facility of Concordia University The lushly wooded campus offers air-conditioned classrooms dining and dorm accommodations and is backed by a nature preserve Please join us
Our featured faculty includes Tish Berlin Tom Zajac Mary Springfels The Texas Toot offers a one-week program of classes in Renaissance and Baroque music at all levels featuring expert instructors in re-corder viol early reeds lute harp and voice
Danny Johnson workshop director Susan Richter administrator For more info
httpwwwtootorg or email infotootorg
11th Annual Summer Texas Toot June 14-20 2009 mdash Austin Texas
Mark Davenport Cleacutea Galhano LisetteKielson Lorraine Krige JudithLinsenberg Peter Maund Nina SternMarion Verbruggen Leslie TimmonsJim Tinter Mary Halverson Waldo
Contact Yvonne Miller-Nixon
Conference Administrator
1129 Ruth Dr St Louis MO
63122 800-491-9588 (day)
arsconfplannercharternet
americanrecorderorg
EARLY MUSIC WEEK AT
PINEWOODS CAMP (ARS)
Pinewoods Camp Plymouth MA August 15-22 Director Sheila Beardslee
The Myth amp Magick Creativity andInspiration in Early Music Surely thedeities of Olympus will surround us atPinewoodsndashwhere the myths of earlymusic will be made clear and our staff rsquosldquomagickalrdquo skills will hone and perfectour knowledge and performance of early music and dance
If yoursquove never played a musical instru-ment (but wish you could) or if youstudied music years ago (and fear yoursquoveforgotten) classes in recorder and violwill get you started or help brush off therust Advanced and intermediate playersand singers choose from a wide array ofclasses led by an outstanding faculty of professionals and teachers of earlywinds (recorders reeds brass) strings(viols violin) harpsichord and voice
New staff faces this summer areAnonymous 4rsquos Susan Hellauer voiceand Lisa Terry viol We welcome backDorrie Olsson historical dance andScott Higgs English country dance
We relax with two ponds for swimmingcanoeing a camphouse deck for readingafternoon tea and lots of dancing EarlyMusic Week continues its long traditionof superb teaching in a welcoming com-munity enhanced by special eventspresentations concertsmdashand dancing
Advanced musicians work intensivelyamateurs are engaged and challengedand beginners are always made welcome
Contact Steve Howe Country
Dance and Song Society
PO Box 338 Haydenville MA
01039-0338 413-268-7426 X3
(day) 413-268-7471 (fax)
campcdssorg cdssorgem
MONTREacuteAL RECORDER FESTIVAL
McGill University Montreacuteal QC Canada
September 17-20Directors Matthias Maute Sophie Lariviegravere
Conference consort music recorderorchestra concertsmdashEnsemble Capriceand Quynade (Israel) solo recital byMaurice Steger (Switzerland)
Contact Ensemble Caprice 4841
Garnier Montreacuteal QC H2J 3S8
CANADA 514-523-3611
514-523-1322 (fax)
infoensemblecapricecom
ensemblecapricecom
HIDDEN VALLEY INSTITUTE
FOR THE ARTS
EARLY MUSIC ELDERHOSTEL
Carmel Valley CANovember 1-7 November 8-14Directors Letitia Berlin workshopPeter Meckel HVIA
Enroll for one or both weeks Adults ofall ages welcome
Week I intense classes for upper inter-
mediate to advanced levels Week Ifaculty Letitia Berlin Frances BlakerLouise Carslake Annette Bauer(recorder) David Morris (gamba)
Week II all levels except beginnerClasses include recorder technique viol consort Baroque chamber musicconsort classes for Medieval Renais-sance Baroque and contemporary reper-toire workshop orchestra Week IIfaculty Letitia Berlin Frances BlakerTBA (recorder) Shira Kammen (earlystrings singing Medieval topics) MarySpringfels (viola da gamba)
Evening events include faculty concertstudent concert free-lance playing FreeWednesday afternoon for more playingor sightseeing Improve your playing in asupportive friendly atmosphere withworld-class teachers
Contact Peter Meckel
PO Box 116 Carmel Valley CA
93924 831-659-3115
831-659-7442 (fax)
hvmsaolcom
hiddenvalleymusicorg
wwwAmericanRecorderorg March 2009 25
26 March 2009 American Recorder
Am
herst
AR
S
Festival and
Co
nference
CA
MM
AC
Early M
usic
Week
Canto
Antiguo
Reco
rd
er
at th
e
Clearing
Great L
akes
Suzuki
FluteR
ec
Hid
den
Valley
Eld
erh
ostel
Interlo
ch
en
Early M
usic
Inst
Lo
ngy Intl
Baro
que
Inst
Marin
Head
land
s
Mid
east
Mo
ntreacuteal
Reco
rd
er
Festival
COST $520TW $350T C$1014ED $860 $1035E TBA $799D $389T $675T $210ED $735D $130TNO OF DAYS 814 1-4 7 7 7 5-8 714 6 10 3 6 4ARS DISCOUNT NO YES NO YES NO NO NO NO NO NO NO NONO OF FAC RECORDER FAC 4315 1716 165 85 22 82 543 11 101 1010 96 66NO OF STUDENTS 150wk 60 110 35 19 45 35 20 50 75 60 50RECORDER CLASSLEVELS
LIHIAV
BLIHIAV
BLIHIAV
BLIHIAV LIHIA BLI
LIHIAV LIHIA AV
LIHIAV
BLIHIAV
BLIHIAV
SPECIAL CLASSES USING RECORDERS
CMRMB20ENMROT
RPMRMB20MROPTO
CMRMBRO
MRMBENROPT CRO
RPMPT
CMRMB20MROPT
RPCMRMBENMROPT MBMP RP20
RPCMRMB20ENMTO
CMRMBMRO
NON-RECORDERCLASSES
CWKVPSDO PO
CWKVDT CWVD C O KVPS
CWPKVPST WK VD
CWVPSDO
MUSICALACTIVITIES
FSLSPP FLO FSLSP FS SP FSLP FSP
SLSPPO FSLP P FSLP FS
RECREATION D GS BSTW D FBSW FSO OBSTWO S O G
OTHERS WELCOME SC S SC S S S S SDIRECTTRANSPORTATION SC SBCP SP BCLP BP SB CPUP CL PUP
SBCPUP
TRANSPORTATIONTERMINALS
A50B2 T2 A B T
A10B3 T5
A80B80
A50B10 T10
A20B20 T20
A16B16
A4B3 T3 A20
A15B10 T10
A4B3 T3
ROOMS SD SD SD SD SDC SD SD SDC DBATHS SSP SSPP SP P SSPP SSPP SP P S PFOOD CV C GV CV FV C F CV CV CHANDICAP ACCESS HCD HCD HCD HCD HC HCD HD HCD C HCD HCD C
KEYCOST Includes tuition room (single occupancy unless otherwise noted) meals plus other fees E=estimated T=tuition only D=double occupancy W=one week
NO of DAYS Includes arrival and departure daysARS DISCOUNT Discount offered for ARS members FACULTYRECORDER FACULTY Number of facultyrecorder faculty within that number STUDENTS Average over last two yearsRECORDER CLASS LEVELS B=beginners LI=low intermediate HI=high intermediate A=advanced V=very advanced
SPECIAL CLASSES USING RECORDERS RP=recorder pedagogy C=one-on-a-part consorts MR=mixed Renaissance ensembles MB=mixed Baroque ensembles 20=contemporary music EN=early notation M=master class RO=recorder orchestra P=private lessons available T=technique O=other
NON-RECORDER CLASSES C=choral W=other winds P=percussion K=keyboard V=viols PS=plucked stringsD=danceT=theory I=instrument building O=other
MUSICAL ACTIVITIES F=faculty concert S=student concert L=lecture SP=special production P=organized informal playing O=other
RECREATION D=dancing F=field trip G=gym B=biking S=swimming T=tennis W=waterfrontbeach O=otherOTHERS WELCOME S=non-playing spousesfriends C=children (day care not generally available)DIRECT TRANSPORTATION TO WORKSHOP S=shuttle from airport B=bus C=cab L=limo PU=will pick up P=free parking O=other
TRANSPORTATION TERMINALS A=air B=bus T=train (number indicates miles from workshop to nearest terminal)
ROOMS S=singles D=doubles (with ldquo+rdquo can accommodate up to triples) C=cabins O=other =Graduate dormsBATH FACILITIES S=shared SP=semi-private P=privateFOOD C=college style F=family style G=gourmet V=vegetarianHANDICAP ACCESS H=housing C=classrooms D=dining
INFORMATION SUPPLIED BY WORKSHOP DIRECTORS
2009 SUMMER RECORDER WORKSHOPS
Here are some suggestions foravoiding overuse syndromes Most obvious warm up This meansincreasing your practice time graduallybefore the workshop begins andwarming up yourself and yourinstrument before each rehearsal
Make your playing situation ascomfortable as possible Take along acushion back rest footstool whateverit takes the ear and hand cannot ab-sorb what the bottom cannot tolerate
Be sure your glasses are ideal for the distance from your eyes to themusic desk that usually amounts to anarmrsquos length away (You can select apair at your local drug or departmentstore if you have no serious astigma-
tism) If glare from bright light (thosemarvelous outdoor rehearsals) is aproblem for you you may find that ayellow tint for your glasses is a help
Get your bodily playing equip-ment in the best possible shape beforethe workshop a visit to the dentist tosmooth off a front tooth for a windplayer can make an enormous differ-ence in endurance A layer of plasticwrap over the teeth (before yoursquoveworn a hole in your lip) may also help
Once yoursquove arrived at the work-shop there are ways to ensure thatstress (inevitable) doesnrsquot becomedistress (mostly preventable)
Take reasonable breaks duringrehearsal time and use them to stretchA little aerobics like running in placetakes very little time and gets rid ofthat stiff-from-sitting feeling Get yourfellow ensemble players to massageeach othersrsquo shoulders Other fre-
Do you have a favorite article from years past in AR E-mail that information to Gail Nickless
editoramericanrecorderorg
wwwAmericanRecorderorg March 2009 27
Mo
untain
Co
llegium
Pinew
oo
ds
Early M
usic
Week
Po
rt
To
wnsend
SF
EM
S
Baro
que
SF
EM
S
Ch
ild
rens
SF
EM
S
Med
ieval amp
Renaissance
SF
EM
S
Reco
rd
er
Texas T
oo
t
Wh
itew
ater
Wind
sw
ept
Music
Wo
rksh
op
Wo
rld
Fello
wsh
ip
$800ED $890ED $975 $950 $370T $950 $950 $740E $245 $535D $850E COST7 8 7 7 5 7 7 7 3 6 7 NO OF DAYSNO NO NO YES YES YES YES YES NO NO NO ARS DISCOUNT
125 189 169 102 82 124 76 136 1110 131 83NO OF FAC RECORDER FAC
50 100 100 55 30 70 40 50 110 45 30 NO OF STUDENTSLIHIAV
BLIHIAV LIHI AV
LIHIAV
BLIHIAV LIHI AV LIHIA LIHIA
BLIHIAV
BLIHIAV
RECORDER CLASSLEVELS
CMRMB20TO
CMRMBENROT
MRMB20MROPT
MBMPTO
CMRMBPTO
CMRENMPTO
C20MROPTO
CMR20MPT
CMRMB20ROTO MP
CMRMBMRO
SPECIAL CLASSES USING RECORDERS
WVDTO
CWKVPSDT CPVT
CWKVPSTO
KVDTO
CWPVPSTO O
WKVPSTO
CWVTO
CWPKVD
CKVDT
NON-RECORDERCLASSES
FSLSPP FSP
FSLSPPO FSSP
FSLSPPO
FSLPO
FSLPO SPO FSL PO FSLP
MUSICALACTIVITIES
DGBS DSWFGBSTW
DGBST D
DGBST DO SO
DFSWO RECREATION
S S SC SC S S SC SC OTHERS WELCOME
P SC CPUP SCP SCP SBC LP SPUP P BPUDIRECTTRANSPORTATION
A50B15 T15
A15B7 T6 A59
A20B2 T5 A59
A12B4 T1 A40 A
A20B15 T28 B10
TRANSPORTATIONTERMINALS
SD SD S S CALL S S SD SD SD SD ROOMSSP S SP P P SP P S S S BATHSCGV FV CV CV CV CV CV CV CV FV FOODHCD CALL HCD HCD C HCD HCD HCD HCD HD HANDICAP ACCESS
AR50 AVOIDING ACHES amp PAINSBy Leacuteonie Jenkins MD (c1925- 2000) from the March 1993 AR Vol XXXIV1
quently overused parts such asforearms and hands also respond to massage Quick tutorial on massagestart stroking toward the body and inthe direction of the flow of the veinsmdashupstream from the sorest partgradually work down to include thesore spot Yoursquore trying to move overthe underlying muscle not to rub theskin Thatrsquos why a little oil helps
Your psyche may need some relieffrom overload too Most workshopsare in surroundings that lend them-selves to taking a walk finding a placeto meditate taking in some beauty In creating anything a musical per-formance no less than more static artforms breathing in is as necessary asbreathing out be sure you take time to do it
Not to be forgotten those partiesLate hours and alcohol are stressfultry to balance off the fun yoursquore havingwith your capacity for both Above allenjoy Thatrsquos why yoursquore going
2009 SUMMER RECORDER WORKSHOPS
By Bart Spanhove
The author has been principalprofessor of recorder at the Lemmens-
instituut Leuven (Belgium) since 1984He is also artistic director of the world
famous recorder ensemble the FlandersRecorder Quartet which is set to perform
in concert at the 2009 Boston EarlyMusic Festival He is often asked to serve
as a jury member for internationalrecorder competitions in Canada US
Germany The Netherlands and BelgiumHe has given numerous master classes andlecture demonstrations all over the world
Spanhove is co-author of thesuccessful recorder method Easy Going(Heinrichshofen) and wrote the much-
used book The Finishing Touch ofEnsemble Playing (Alamire 2000
and Moeck 2002 with translations inChinese and German) In 2009
The Recorder Music of Frans Geysenwill come out (Mieroprint)
Currently he is researching practicetechnique for the recorder Daily
Spanhove thinks about how to makepeople happier by making music and
playing the recorder
As a conclusion for the VirtuosoRecorder class during the AmherstWorkshop in 2008 we organized aldquoHappy Hourrdquo for our nine talentedstudents Mee-Jung Ahn (Korea)Emilie Hasselgren and Kristine West(Sweden) Anne Timberlake JosephLewnard Jacob Lodico and BrycePeltier (US) Emiliano Perez(Mexico) and Fanny Massy (France)participated in a quiz that I wrote thenight before with the assistance ofReine-Marie Verhagen
We combined questions regardingmusic theory with practical exercisessuch as middot How long can a player hold a
low f in one breath on an altorecorder (You get one point foreach second)
middot How many times through a scaleis a player able to play in 30seconds (For every octave of theF major scale you get one point)
middot How many different pieces fromthe recorder repertoire can aperson play in the course of twominutes (The other members ofthe group have to guess the nameof the composer before the playercan start the next piece)
middot In one minute list as manydifferent titles as you can fromDer Fluyten Lusthof (TheRecorderrsquos Pleasure Garden) of J J van EyckThe list of questions goes onAt the ldquoHappy Hourrdquo people
were divided into three groupsaccording to dates of each personrsquosbirthday When theoretical questionswere asked (see below) the pointsystem was devised as follows threepoints were awarded when the selected
person of a group could find theanswer himherself two points whenthe selected person needed the help ofthe other group members and onepoint if the group needed the help ofour gracious class assistant Reine-Marie Verhagen (she alwaysknew the answer) No points weregiven if the quizmaster had to supplythe answer
On the next page you find someof my questions There are morewhich we hope to run in a future issueof American Recorder
The quiz was full of fun andsuspense By the end people weremore nervous than when playing aconcert on stage Jacob Lodico of theUS was the winner at Amherst
28 March 2009 American Recorder
Education___________________________________ A quiz for recorder players
wwwAmericanRecorderorg March 2009 29
Try these questions yourselfAnswers appear at the end of thisarticle
The Quiz1 Give the name of Ganassirsquos
treatise of 1535 where heextensively describes the recorder playing and diminutions of his time
2 In which German city is therecorder company Moeck based
3 In the cantata Gottes Zeit ist dieallerbeste Zeit BWV106 JS Bach calls for two altorecorders Give another name for this cantata
4 Of which famous orchestra isFrans Bruumlggen the conductor
5 List three leading Japanesecomposers of excellent solo pieces for the recorder
6 Give the names of recordermagazines published inGermany England and the US
7 What is the fundamental tone of a fourth flute
8 List two recorder makers fromthe Baroque period in England
9 Whatrsquos the title of the recitativeand chorale in the Saint MatthewPassion where the recorder isused
10 Give the names of two famouspublishers in business around1700mdashone in London and one in Amsterdam
11 The opus 10 work by AntonioVivaldi includes six concertiSome of them have beautifulnames Give the names of thefirst three concerti of this opus
12 Whatrsquos a nickname for Jean Jacques Hotteterre
13 The combination of recorder andtraverso was rarely used in theBaroque time Can you name any composers who used thiscombination
14 Which king from 16th-centuryEngland owned a large collectionof recorders and also composedand enjoyed daily recorderplaying
15 How many movements compriseHandelrsquos Sonata in C Op 1 No 7 originally written forrecorder and basso continuo
16 Give the name of Praetoriusrsquostreatise from 1609 that describesthe whole recorder family
17 Name the author of the oldestrecorder method
18 Name Jan Jacob van Eyckrsquosdisability
19 Who pretended around 1930 thatthe recorder was a kind ofclarinet
20 Who doesnrsquot belong in thefollowing group Bertho DrieverKarel van Steenhoven MarionVerbruggen Paul LeenhoutsDaniel Bruumlggen
21 Name the two instrumentsindicated to play the sonataMeiner Mutter of Hans UlrichStaeps
22 Il Pastor Fido was not composedby Antonio Vivaldi but by aFrench composer What was hisname
23 Whatrsquos the nationality of themusic company Zen-On
24 CPE Bach composed abeautiful trio that includes a bassrecorder What are the other twoinstruments
25 Give the names of the fourmovements of Bachrsquos partita forsolo traverse flute BWV1013
26 Which excellent playersperformed as the recorder trioSour Cream
27 A recorder normally has eightfingerholes Despite this musichistory describes the recorder as ldquoune flucircte agrave neuf trousrdquo (a flute with nine fingerholes)Explain why
28 Give the French name for vibratoperformed by finger movementsalone on a wind instrument
29 Who wrote in his diaryldquohellipbeyond anything in the wholeworld the wind-music when the
Answers to
Bart Spanhoversquos Quiz1 La Fontegara2 Celle3 Actus Tragicus4 The Orchestra of the
Eighteenth Century5 R Hirose M Ishii and
M Shinohara
6 Windkanal or Tibia (both ofGermany) The Recorder(England) American Recorder(US)
7 B8 The most famous English
recorder makers around 1700Bressan and Stanesby (the latterbeing both senior and junior)
9 O Schmerz Hier zittert das gequaumllte Herz
10 Walsh (and Hare) (of London)Roger (of Amsterdam)
11 La Tempesta de Mare La Notte Il Gardelino
12 Le Romain13 JB Loeillet J J Quantz
JJ Hotteterre or J B de Boismortier
14 Henry VIII15 Five16 Syntagma Musicum17 Sebastian Virdung Musica
Getutscht und Ausgezogen (1511)18 Blindness19 Igor Stravinsky20 Marion Verbruggen21 Alto recorder and piano22 Nicolas Cheacutedeville23 Japanese24 Viola and cembalo25 Allemande Courante Sarabande
Bourreacutee26 Kees Boeke Walter van Hauwe
and Frans Bruumlggen27 Before 1670 the player could
choose how to hold the recordermdashleft hand or right hand at the topThis meant that recorder makersdrilled two holes to accommodatethe little finger of the hand thatended up at the bottom Theunused hole was sealed with beeswax
28 Flattement29 Samuel Pepys30 Flanders Recorder Quartet
30 March 2009 American Recorder
Lazarrsquos Early Music(866) 511-2981 jblazaraolcom
wwwLazarsEarlyMusiccom
292 Gibraltar Dr 108 Sunnyvale CA 94089
Strings amp Early Winds
ModernBaroque Strings Viols Vielle
Kuumlng Moeck Mollenhauer Paetzold Yamaha Ehlert
Wenner Baroque flutes
Wendy Ogle Lu-Mi Ifshin Snow
Competitive Prices
Sent on Approval
Personalized Service amp Advice
R
E
C
O
R
D
E
R
S
ldquoGO FOR NEO-BAROQUErdquo
Andrew Charlton Partita Piccola For 4 Recorders (SATB)
[Prelude Allemande Courante Musettemdash
a neo-baroque epitome] (Score amp Parts PBE-25) $795
Andrew Charlton Suite Moderne For 3 Recorders (ATB)
[Baroque shapes but Hindemithian harmony]
(3 Playing-Scores PBE-44) $995
Southwest of Baroque David Goldsteinrsquos ldquobaroque Suiterdquo
on Cowboy Songs For 2 Recorders (SA) (PBE-2) $350
The Provincetown Bookshop Inc
246 Commercial Street Provincetown MA 02657 Tel (508)487-0964
A good source for Recorder amp Viol Music of all publishers
Provincetown Bookshop Editions
angel comes down which is sosweet that it ravished me andindeed in a word did wrap upmy soul so that it made me reallysick just as I have formerly beenwhen in love with my wiferdquo
30 Whatrsquos the English name for afamous recorder ensemble calledin its country Vier op lsquon Rij
wwwAmericanRecorderorg March 2009 31
by Tim Broege timbroegeaolcom
December 11 2008 was a specialday for American music the
100th birthday of Americarsquos greatestliving composer Elliott Carter Cele-bratory concerts took place in manyvenues including Carnegie Hall inNew York There the Boston Sym-phony led by James Levine played anew work by Carter Interventions forpiano and orchestra The soloist wasanother well-known conductor DanielBarenboim who is no mean hand atthe keyboard to say the least
Itrsquos remarkable that wonderfulnew compositions continue to pourforth from Carterrsquos pen His musicsparkles and frolics packing lots of musical events into engrossingstructures Much of his music isavailable on CD so if you missed thecelebrations you can easily have yourown belated birthday party for Carter
Although he has never written for recorder (one of our prominent
recorder soloists should commissionhim) Carter has produced manychamber pieces featuring woodwindsSince many recorder players double orstarted out on woodwinds such piecesas the Sonata for Flute Oboe Cello ampHarpsichord (1952) Enchanted Preludes(1988) for flute and rsquocello Espritrudeesprit doux (1985) for flute andclarinet or the Oboe Quartet (2001)may hold special interest
If you missed Charlie Rosersquosexcellent interview (broadcast onDecember 10) with Carter Levine andBarenboim you can see it atwwwcharlierosecomview
interview9774mdashessential viewingfor fans of contemporary music
We note with sadness the passingon January 23 of another distin-guished American composer GeorgePerle An authority on the music ofAlban Berg and the Second VienneseSchool Perle developed a uniquelyrical style based upon a free approachto 12-tone and serial procedureswhich he dubbed ldquo12-tone tonalityrdquo I recommend listening to his SerenadeNo 3 for Piano amp Orchestra (1983) Six Etudes for Piano (1973-76) and the Pulitzer Prize-winning Wind Quintet No 4 (1985)
Another leading American com-poser Leon Kirchner is thankfully still with us having turned 90 onJanuary 24 Like Perle Kirchner has a highly personal and expressive styleA birthday concert was held at MillerTheater at Columbia University inNew York City NY Participatingmusicians included flutist PaulaRobison pianist Jeremy Denk and theClaremont Trio with the composerpresent to discuss his music
An excellent way to get to knowKirchnerrsquos music is through his stringquartets Just in time for his birthdayAlbany Records has released a fine CDof all four played by the Orion StringQuartet Quartet No 4 was written in2007 (when the composer was 87mdasha veritable youngster compared toCarter) The composer Allen Shawnhas described that quartet asldquoluminous and passionaterdquo words aptto describe much of Kirchnerrsquos output
Speaking of contemporary musicI have been spending pleasant hoursperusing the Catalog of ContemporaryBlockflute Music available online atwwwblokfluitorg from StichtingBlokfluit This Netherlands founda-tion offers a contemporary recordercatalog and a catalog of historicalrecorder music Access to both is byfree membership
For those who havenrsquot yet used thecontemporary catalog I urge you togive it a try You can search by manyparameters such as composer title orspecific instrumentation A search forldquovoice fluterdquo turned up a list thatincluded Moon Dances Three AmericanSketches by composer Walter Mays(intended for solo alto recorder butalso playable on tenor or voice flute)Searching the name of English com-poser Edmund Rubbra produced a listof eight works that employ recordersincluding the intriguing CantataPastorale opus 92 for high voice altorecorder rsquocello and harpsichord
Searching ldquofemale composersrdquo fora piece using ldquoBaroque altordquo yieldedAfter Meditation by Ros Bandt ofAustralia
What an easy and tremendouslyvaluable way to find new music
On the Cutting Edge___________________________________Birthdays composers and
recorder music catalogs
Elliot Carter
(photo by Meredith Heuer)
Question How does Renaissancefingering differ from standard
fingering on the recorder Is one superior tothe other Do you need a special recorder touse Renaissance fingering and if so can itbe played with regular recorders Is there afingering chart that shows RenaissancefingeringmdashWilliam BaumannWaterford WI
Answer from Carolyn Peskin Music composed in the
Renaissance the historical periodextending from about 1450 to 1600was predominantly vocal and highlycontrapuntal Recorders which oftendoubled singers at the octave orrendered vocal pieces instrumentallywere designed to make the individualmelodic lines clearly audible
Most 16th-century consortrecorders were one-piece instrumentswith large toneholes and a wide borethat contracted slightly starting nearthe upper fingerholes and thenexpanded gently near the lowest holesThat ldquochoke-borerdquo design togetherwith the voicing and tonehole con-figuration favored the fundamentaltone (first harmonic) producing astrong open sound that was aboutequally loud throughout theinstrumentrsquos range
Such recorders had a useful rangeof only about an octave plus a sixthwhich was nevertheless sufficient for the music of their day MostRenaissance-style consort recordersmade today are based loosely uponsurviving 16th-century instruments ofthe above type and are designed toapproximate the range timbre andvolume of those early instruments
Our present-day ldquoregularrdquorecorders are Baroque-derived instru-ments based loosely upon survivingrecorders from the late 17th and early18th centuries They are three-pieceinstruments with small toneholes and abore that is narrower and moretapering than a Renaissance boreextending their useful range upward totwo octaves plus a whole tone
Baroque recorders are soft andsweet-sounding in their bottom octavebut louder and brighter in the secondoctave Their lowest notes are espe-cially weak because they must be blowngently to prevent overblowing into thesecond octave Such instruments aresuitable for Baroque solo and chamberrepertoire but not very satisfying forRenaissance polyphony
Due to their different timbre andvolume Renaissance recorders will not blend well with Baroque onesFurthermore the most historicallyauthentic Renaissance-style recordersare tuned in a ldquomeantonerdquotemperament that facilitates the playingof pure major thirds Such instrumentsmake Renaissance music easier to playin tune but will produce intonationproblems if played with Baroquerecorders which are tuned in equaltemperament For the above reasonsRenaissance and Baroque recordersshould not be played together
Renaissance fingering will not work on todayrsquos neo-Baroquerecordersmdashmost of which haveldquomodernrdquo Baroque fingeringcommonly called ldquoEnglishrdquo fingering
because it was developed fromhistorical Baroque fingering by ArnoldDolmetsch in England during theearly 20th century Renaissancefingering is less standardized partlybecause a number of different originalinstruments are used as models andpartly because makers wish to improvethe intonation tone quality andorplayability of certain notes Howeverthe following generalizations apply tomany of todayrsquos Renaissance-styleconsort recorders
First in the lower octave modernBaroque fingering works for mostnotes but is often too flat for the fourth scale degree (eg soprano F)requiring removal of finger 7 (right-hand pinky) and is too sharp for theraised fourth degree (eg soprano F)requiring addition of finger 7
Modern fingering is also usuallytoo sharp for the lowered seventhdegree (eg soprano B) The correctfingering for that note varies from oneinstrument to another
In the upper octave modernfingering works for the first third andfifth scale degrees (eg soprano C Eand G) but usually not for other notesSome notes require half-holing with aright-hand finger and notes above thefifth scale degree may require additionof several fingers to bring them in tuneHistorical Renaissance fingering forthe second scale degree (eg sopranoD) is especially awkward because all ofthe fingerholes and the thumbholemust be uncovered Therefore somemakers substitute modern fingering forthat note
Although Renaissance fingeringand meantone tuning are recom-mended for the best blend some
Q amp A___________________________________ Renaissance recorder fingering
Send questions to Carolyn Peskin QampA Editor 3559 Strathavon Road Shaker Heights OH44120 carolynpeskinstratosnet
32 March 2009 American Recorder
wwwAmericanRecorderorg March 2009 33
makers of handcrafted Renaissance recorders will provide modern fingeringandor equal temperament upon request and Moeck Verlag offers a choice ofRenaissance or modern fingering for most sizes of its factory-producedRenaissance Consort series
For a most satisfying blend Renaissance ensembles should purchase amatched set of recorders tuned and voiced to be played together Renaissanceconsort sets usually include two different alto recorders one in G (lowest note g)and one in F (lowest note f ) The ATTB combination with the G-alto is best formost of the quartet music composed between 1450 and 1550 while the SATBcombination with the F-alto is more practical for much late 16th-centuryrepertoire (Playing the G-alto requires learning G-alto fingering or elsetransposing the alto line down a whole tone and using F-alto fingering)
In addition to consort recorders some makers offer ldquoGanassirdquo sopranos andaltos based upon fingering charts in Silvestro Ganassirsquos recorder tutor Fontegarapublished in 1535 and a single original instrument in the Vienna Kunst-historisches Museum Because of their special bore design (cylindrical with aflaring bell) Ganassi recorders have a range of two octaves and a sixth withcumbersome fingerings in the third octave They are used mainly as soloinstruments for playing intricate ornaments of the type found in Fontegara
Also sometimes included in the ldquoRenaissancerdquo category are ldquotransitionalrdquo(early Baroque) recorders which are based upon originals from the first half ofthe 17th century They have a bore that is wider than a Baroque bore but contractssharply near the lower end resulting in strong low notes and at least a full two-octave range usually with modern fingering Most transitional recorders aresopranos or altos designed for playing Jacob van Eyckrsquos variation sets or thehighly ornamented Italian solo repertoire of the late-16th and early-17thcenturies
However wide-bore consortrecorders with a range of at least twooctaves and modern fingering shouldalso be regarded as transitionalinstruments They differ somewhat intimbre and volume from typicalRenaissance consort recorders
Handmade wide-borerecordersmdashconsort Ganassi andtransitionalmdashare obtainable frommakers who advertise in AmericanRecorder the Prescott Workshop andthe Von Huene Workshop in the USJean-Luc Boudreau in Canada andStephan Blezinger in GermanyContact them andor visit their websites to find out what kinds ofrecorders they are currently makingand to get an idea of their prices andwait times
Factory-produced wide-borerecorders from Kobliczek Moeck andMollenhauer are available frominstrument dealers who advertise inAR New and used recordersincluding wide-bore models fromimportant makers in the US andabroad are also obtainable from Uni-corn Music For further informationvisit wwwbuyrecorderscom For a comprehensive database of recordermakers worldwide see Nicholas SLanderrsquos ldquoExtant Recorder Makers amp Retailersrdquo at wwwrecorder
homepagenetmakershtml
REFERENCES
CONSULTEDBauer Winfried
wwwrecorder-fingeringscomIncludes interactive fingeringcharts from modern makers andhistorical treatises Charts forRenaissance consort recorders byAdriana Breukink Adrian BrownBob Marvin and Tom Prescottwere consulted
Brown Adrianwwwadrianbrownorgrec
order_typesconsorthtml
Our present-day ldquoregularrdquo recorders are
Baroque-derived instruments based loosely
upon surviving recorders from the
late 17th and early 18th centuries
34 March 2009 American Recorder
The Von Huene Workshop Incis pleased to announce agreements with
CoolsmaZamra
to serve as their authorised service agents in the US
For more than 40 years the von Huene Workshop has produced some of the finest recorders in the world Our skilled staff can revoice retune and repair even the most seriously damaged instruments All repairs are done right on the premises and most can be completed within a week
For warranty repairs please include a copy of your original sales receipt
j 65 Boylston Street Brookline MA 02445 i(617) 277-8690 Fax (617) 277-7217 servicevonhuenecom
An informative article aboutrecorder sizes in Renaissanceconsorts
Brown Adrian and David LasockildquoRenaissance Recorders andTheir Makersrdquo AmericanRecorder Vol XLVII No 1(January 2006) pp 19-31 An important article based upon Brownrsquos extensive researchon 120 of the 200 surviving 16th-century recorders
Ganassi Silvestro Opera IntitulataFontegara Ed Hildemarie Peter(Berlin-Lichterfelde RobertLienau 1959) Modern edition ofthe oldest known treatise devotedentirely to the recorder (publishedin 1535) Includes 16th-centuryfingering charts
Griscom Richard and David LasockiThe Recorder A Research andInformation Guide (New York andLondon Routledge 2003) Anannotated bibliography including
references on construction anddesign of historical recorders
Levin Philip ldquoQampArdquo AmericanRecorder Vol XXXVIII No 4(September 1997) p 27Explains in simple terms thedifference between Renaissanceand Baroque recorders
Morgan Fred ldquoA Recorder for theMusic of JJ van EyckrdquoAmerican Recorder Vol XXV No 2 (May 1984) pp 47-49Describes the bore design of arecorder suitable for playing Van Eyckrsquos variation sets andcompares it with bore designs ofother types of recorders
Myers Herbert W ldquoRecorderrdquochapter in A Performerrsquos Guide toRenaissance Music ed JefferyKite-Powell (New York SchirmerBooks 1994) A 2nd edition isnow available published in 2007by Indiana University Press
FEATURING MUSICA PACIFICA
JUDITH LINSENBERG
RECORDERS____JS BACH TRIO SONATAS Arr by
Linsenberg from Trio Sonatas for Organ BWV525-
530 Sonata No 1 in E
major (transp to B
)
BWV 525 Sonata No 2 in C minor (transp to E)
BWV526 Sonata No 3 in D minor (transp to G)
BWV 527 Sonata No 4 in E minor BWV 528
Sonata No 5 in C major (transp to F) BWV529
Sonata No 6 in G major (transp to C) BWV 530
Virgin Classics Veritas 1993
____FIRE BENEATH MY FINGERS Showcases
three legendary composers who were also
virtuoso performers Vivaldi Concerto in F major
after RV 98570 ldquoLa Tempesta di Marerdquo Sonata in
A minor RV86 Concerto in G minor RV106 Con-
certo in Bb major RV503 Sammartini Concerto in
F major Tartini Concerto in A major D91 Dorian
____MANCINI CONCERTI DI CAMERA Seven
sonatas by Francesco Mancini plus one work each
from his contemporaries Francesco Durante amp
Domenico Scarlatti Highly recommended citation
from the 2000 Vivaldi Prize for Recordings of Italian
Early Music--Giorgio Cini Foundation Dorian
____MARAIS MARIN PIEgraveCES EN TRIO POUR
LES FLUcircTES VIOLON amp DESSUS DE VIOLE
Maraiss complete works for two treble lines and
bass with varied instrumentation and orchestrations
2-CD set $24
____SCARLATTI CONCERTI DI CAMERA
Seven sonatas for various instrumentations no
poor relations to the composers much more widely-
known vocal output All recorder players should
certainly have thisndashEarly Music Review
____TELEMANN CHAMBER CANTATAS
Five cantatas from Harmonischer Gottesdienst two
sonatas from Sonatas Corellisantes 2003 Chamber
Music America WQXR Record Award for best
chamber music recordings
____VIVALDI LA NOTTE Concerti per strumenti
diversi Award-winning CD featuring five Vivaldi
concerti two sonatas
AND OTHER RECORDING
ARTISTS FROM CALIFORNIA ____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 American Bach Soloists Jeffrey
Thomas conductor Dan Laurin Hanneke van
Proosdij recorders Christmas Concerto featuring
unique 1725 London version with solos transcription
for two recorders instead of two solo violins in
three of the six concertos Delos
____CANCcedilONIEgraveR Annette Bauer recorder
multi-instrumentalist Tim Rayborn Shira Kammen
strings Phoebe Jevtovic voice in a new early
music group devoted to repertoire from the
12thndash15th centuries as well as traditional music
from related regions (the Balkans Scandinavia
Middle East) Medieval instrumental music played
on a variety of instruments including strings
recorders and percussion Medieval dances and
motets bring to life the rich world of ancient
European music-making
____SACRED AND SECULAR MUSIC FROM
RENAISSANCE GERMANY Ciaramella-Adam amp
Rotem Gilbert Doug Millikan Debra Nagy
recorders with other winds shawm sackbut amp
organ Medieval amp Renaissance sacred music with
reconstructions of folksongs amp arrangements based
on contemporary improvisation
____BURIED TREASURE TOPAZ amp SAPPHIRE
Ensemble Vermillian Frances Blaker recorders
Barbara Blaker Krumdieck cello Elisabeth Reed
gamba Katherine Heater harpsichord amp organ
Transcriptions of Buxtehudes Op 1 other pieces by
Buxtehude works by Biber Johann Schop
Schmelzer Fafarela 2007
____STOLEN JEWELS Ensemble Vermillian
Frances Blaker recorders Barbara Blaker
Krumdieck Elisabeth Reed Katherine Heater 17th-
century German music adapted by Blaker I love
violin music so I steal the music and rearrange it
for my own instrumentrdquo Buxtehude Op 1 Biber
Rosenmuller Krieger JM Bach Fafarela
Recordings
____SENFL (LUDWIG) Farallon Recorder Quartet
(Letitia Berlin Frances Blaker Louise Carslake
Hanneke van Proosdij) 23 lieder motets and
instrumental works of the German Renaissance
____DOLCE MUSICAndash A CONTEMPLATIVE
JOURNEY Eileen Hadidianflutes recorders
Natalie Cox harps Celtic Renaissance and
Medieval melodies for recorder and flute with
Celtic harp Healing Muses 2005
____REFLECTIONS MUSIC TO SOOTHE AND
UPLIFT THE SPIRIT Eileen Hadidian recorder amp
Baroque flute with Celtic harp and cello Celtic
traditional Renaissance amp Medieval melodies
Healing Muses
____AN EVENING WITH BACH Voices of Music
Hanneke van Proosdij Louis Carslake Dan Laurin
recorders Joanna Blendulf Elizabeth Blumenstock
Rodney Gehrke Lisa Grodin Katherine Kyme
Jennifer Lane Victoria Gunn Pich Susanne Ryden
William Skeen David Tayler Renaissance and
Baroque music centers on fine singing Instantly
recognizable Air on a G String Bachrsquos Prelude in
G Major (solo theorbo for rsquocello) plus lilting vocal
performancesmdashRydenrsquos weightless soprano on
Bist du bei mir Lanersquos rich alto on Es is vollbracht
____BACH amp TELEMANN SONATAS PRELUDES
amp FANTASIAS Voices of Music (Hanneke van
Proosdij Joanna Blendulf Rodney Gehrke William
Skeen David Tayler) Beautiful chamber music by
Bach and Telemann
IN STOCK (Partial listing)____ALLA TURCA FUX CALDARA BADIA
Matthias Maute amp Sophie Lariviegravere recorders
Monika Mauch soprano Vocal music of the church
accompanied by Ensemble Caprice plus sonatas
and other instrumental pieces Analekta
____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 John Daniels Sonja Lindblad
recorders Peter Sykes harpsichord Trio sonata
arrangement by Johann Christian Schickhardt
____LES
AMIS DU
BAROQUE
Paul Nauta recorder amp
Baroque flute Koen Dieltiens recorder Music by
Bassani Corelli Vivaldi etc Highlight Intl
____LES SEPT SAUTS BAROQUE CHAMBER
MUSIC AT THE STUTTGART COURT Matthias
Maute amp Sophie Lariviegravere recorders amp traverso
Ensemble Caprice Charming repertoire by
Schwartzkopff Bodino Detri Atma Classique
____TASTE OF PORTIQUE LEnsemble Portique
Early and contemporary chamber musicmdash
Bach Telemann Boismortier and others
____TELEMANN ALLA POLACCA REBELndash
Matthias Maute recorders amp traversondash
plays concerti and suites by GP Telemann Dorian
____TELEMANN CANONS AND DUOS Lisette
Kielson amp Patrick OMalley recorders LEnsemble
Portique Telemann Canons meacutelodieux amp Sonates
sans basse 2-CD set LEP Records
____20TH CENTURY MUSIC FOR RECORDER amp
PIANO Anita Randolfi recorders Music by Jacob
Bartok Leigh others for recorder amp piano
____VIVALDI AND THE BAROQUE GYPSIES
Matthias Maute amp Sophie Lariviegravere recorders
Ensemble Caprice Gypsy music taken from
Uhrovska zbierka (now Slovakia) plus Vivaldi
____VIVALDI SHADES OF RED CONCERTOS amp
SONATAS FOR RECORDER amp STRINGS Matthias
Maute recorders REBEL Stylish high octane
readings of some of Vivaldis most beloved pieces
including the popular and raucous Concerto alla
Rustica stunningly colorful Sonata on La Follia and
four exuberant recorder concerti Bridge
____WINDFIRE Charmaine Delmatier recorder
Steve Kostelnik classical guitar Terry Hale bass
Erik Hokkanen violin Refreshing mixture of Andrew
Lloyd Weber American blues flamenco Celtic and
one original piece ltwwwyermomusicomgt
Please indicate above the CDs you wish toorder and print clearly the following
Name ____________________________________
Daytime phone (_____)______________________
Address__________________________________
CityStateZip _____________________________
Check enclosed for
_____ single CDs x $____ = $______
_____ 2-CD sets x $____ = $______
TOTAL $______
Please charge the above amount to my
MasterCard Visa or AmEx
_______________________________________
Exp Date ____________
Cardholderrsquos signature ______________________
Mail to
ARS 1129 Ruth Dr St Louis MO 63122-1019 US
You may fax a credit card order to 314-966-4649
NEW You may order CDs online using PayPal at
wwwamericanrecorderorgordercdromshtm
Order your recorder discs
through the ARS CD Club
The ARS CD Club makes hard-to-find or limited release CDs by ARS members
available to ARS members at the special price listed (non-members slightly higher)
All CDs are $15 ARS members$17 Others unless marked otherwise Two-CD sets are
$24 ARS members$28 Others Add Shipping and Handling $2 for one CD $1 for each
additional CD An updated listing of all available CDs may be found at the ARS
web site ltwwwamericanrecorderorggt
The first meeting of the newly-formedFort Myers Recorder and Early
Music Ensemble was January 26 atthe Florida home of chapter rep Sue
Groskreutz For this year the groupis somewhat loosely organized andplans to meet for extended sight-reading Repertoire at the first meetingcomprised everything from Renais-sance duets to chamber music involv-ing three treble parts and continuo
Among the five musiciansattending the first meeting (photobelow front row Elizabeth Spang SueGroskreutz back row Suzanne FergusonSibylle Baumgartner Arlene Sowka) allplayed recorder three harpsichord
and one each played traverso violinand gamba Due to the scarcity ofrecorder players south of the Sarasotaarea modern string players are alsoincorporated into this ensemble
The group decided not to chargedues and to meet at Groskreutzrsquoshome For more information pleasecontact Groskreutz at 239-267-1752spgembarqmailcom Snowbirdsdrifting through the area are welcome
Last fall at the requestof a student Kay Hettich
(inset below right) taught abeginning recorder class atthe Redding (CA) Senior
Center The five-weekclass was so successful thatmost participants haveformed a bi-weekly noviceensemble (right) coachedby Hettichmdashwho consid-ers them her ldquohatchedeggsrdquo
A new batch of ldquoeggsrdquostarted to incubate when afive-week class began on February 20Other senior center members havebecome interested as they heard oftheir colleaguesrsquo success These noviceplayers comprise some who previouslyread music and played instruments as well as people who are totally new to music notation
One student has also formulated amaxim ldquoEveryone at age 40 ought tolearn to play the recorder if heshehasnrsquot alreadyrdquo Just think how theworld would be transformed byshifting our focus to music
After Lynn Whidden attendedthe Montreacuteal Recorder Festival lastfall when the ARS Board met inQuebec she joined the ARS and nowrelays news of the lively interest in therecorder exhibited by a group underthe new leadership of Brent Legg ofBrandon University in ManitobaCanada Although his hands wereldquostill partly frozenrdquo he wrote that theBrandon University Collegium
Musicum in collaboration with theWaverley Park Recorder Club is
preparing a spring concert calledldquoEnglandrsquos Golden AgerdquoRepertoire spans the 16th century
from Henry VIIIrsquos accession in 1509to the death in 1603 of Elizabeth Iand includes solo songs four- andfive-part settings of Renaissancedances (with dancers) three- to five-voice madrigals and ldquobig-bandrdquoarrangements of William Byrdrsquos TheBells and The Dargason as re-imaginedby Gustav Holst (further re-imaginedfor recorders and percussion)
Of the 15 collegium membersseven are encountering the recorderfor the first time since elementaryschool The Collegium Musicumpromotes the study of early music at the university and is open to theuniversity community and the generalpublic This year there are five com-munity participants with interest fromseveral more both within and outsideof the university For informationcontact BrentLegggmailcom
January 16 marked the thirdannual recorder workshop of threeFlorida groups the Pasco Collegium
Recorder Consort of Hudson theImperial Recorder Consort of
36 March 2009 American Recorder
Chapters
amp Consorts___________________________________Workshops and activities from
coast to coast in the US and Canada
Lakeland and the Pilgrim Pipers Recorder Consort of St Petersburg Theygathered for a morning tackling selections by Banchieri Monteverdi PurcellCorelli Mendelssohn Bach Mozart and Glen Shannon Each group presenteda piece for the other participants Sweet Georgia Brown by Ben Bernie (St Pete)a Sonata by Sammartini (Lakeland) and The Gospel Train arr by KW Ford(Pasco) The 29 participants were led by Marlene Cracraft (Pasco) Jane
Spencer (Lakeland) and Elizabeth Snedeker (St Pete) Tom Bickley (photo below) directed the fall workshop of the Mid-Peninsula
Recorder Orchestra in Cupertino CA The 30 players started with Gregorianchants written in ldquooldrdquo notation Bickley gave basic instruction on how tointerpret the notes and then had the group sing the chants prior to playing them
The workshop theme of ldquoThe Articulate Recorderrdquo was literally played out as the music presented used variations in tonguing phrasing and breathingOther repertoire included a Kyrie by Tomas Luis de Victoria Bachrsquos Jesu Joy ofManrsquos Desiring a double-choir piece by Gabrieli Christopher Tyersquos In NomineXIII and a Purcell chaconne The workshop ended with a rhythmically-challenging minimalist piece by Bickley entitled Beginning composed for theWaldorf School teacher training program George Greenwood reports that thegroup had a productive event and plans to ask Bickley to lead a future workshop
wwwAmericanRecorderorg March 2009 37
A Muse in the DesertThe sound of a pin dropping hellip thesound of eager minds and fingersabsorbing information and inspira-tion hellip the sounds of ldquoNuevaEspantildeardquo Spanish- and indigenous-influenced music of the 1600s in theNew World These were the soundsof the Desert Pipes (Phoenix AZ)chapterrsquos fall workshop given byEileen Hadidian On a Saturdaylast October 30 players from all overArizona gathered to learn from andbe inspired by the founder of a SanFrancisco Bay Area group dedicatedto sharing music for healing inhealthcare settings Healing Muses(wwwhealingmusesorg)
The day began with relaxationstretching and breathing exercisesfollowed by travels to Peruacute MexicoGuatemala and Colombiamdashhighchurch music vernacular pieces anda mixture of the two Participantsenjoyed the historical and contextualbackground provided as an overviewfor the day and for each piece
Remarkably the sound heardbetween pieces and passages was anenergy-filled quiet the attentivestillness of active engagement in theworkshop experiencemdashnot the chat-tering noodling and conversationsthat often occur when the musicstops That activity was reserved forthe breaks when participants couldenjoy the cool (at last) outdoorschat with Hadidian and peruse the popular garage sale (to benefitDesert Pipes) of previously-enjoyedbooks and other treasures
On Sunday Hadidian sharedher expertise and inspiration in indi-vidual and group coaching sessionsThe weekend was a special experi-ence and Desert Pipes memberslook forward to the next visit of this Healing Muse
Ann Koenig Scottsdale AZannisalesprocom
Members
of three
Florida
groups
met
in January
for a joint
workshop
CHAPTER NEWS
Chapter newsletter editors and publicity officers should send materials for publication toAmerican Recorder 7770 South High St Centennial CO 80122-3122
editoramericanrecorderorg Also send short articles about specific activities that haveincreased chapter membership or recognition or just the enjoyment your members get out of
being part of your chapter Digital photos should be at least 3rdquox4rdquox300dpi TIF or unedited JPG files Please send news to the AR address above and to the following
ARS Office 1129 Ruth Drive St Louis MO 63122-1019 ARSrecorderAmericanRecorderorg
and to Bonnie Kelly Chair Chapters amp Consorts Committee 45 Shawsheen Rd 16 Bedford MA 01730 bksharpaolcom
TO THE STARS
AND BEYONDThe cover of the November magazinegenerated a few comments Some werenrsquotsure how to interpret the title (in theartistrsquos native German it could besomething close to ldquostarlit moonrdquo)Longtime member Carolyn Peskin wrote to offer her vision of that cover
In the beginning the Great Spiritinvented Mr Sun to light the day andMiss Moon to light the nightHowever as Miss Moon floated up inthe sky all by herself like a big yellowballoon she began to feel very lonelyso one night to relieve her lonelinessshe decided to take out her recorderand make music
But when she started to playsomething miraculous happened Not only beautiful melodies but alsoyellow dust poured out of the bottomof her recorder and the dust particlesimmediately coalesced to form yellowstars As she continued playing moreand more stars were created and theyfloated up around her filling the nightsky
At last Miss Moon was happy fornot only was she herself able to enjoyher music but she now had a wholecrowd of starry companions to enjoy itwith her And if you listen very care-fully on a quiet night you might beable to hear her recorder and thatstarry choir humming along
Carolyn Peskin
LOCATING EARPLUGSI read with interest the QampA in theNovember lsquo08 AR regarding hearingloss and use of earplugs Where do you get musicianrsquos earplugs
Dolly Hirata Kensington CA
CAROLYN PESKIN PROVIDED THIS
INFORMATION Musicianrsquos earplugs arecustom made for individual usersThey can be purchased only fromlicensed hearing professionals (ieaudiologists and hearing instrumentspecialists) To find a licensed hearingprofessional in your area look underldquoaudiologyrdquo or ldquohearingrdquo in your localyellow pages
For information about how musi-cianrsquos earplugs are produced visitwwwetymoticcomephperme-w
tbaspx That web page also has a linkto contact information for authorizedlabs that make the custom earmolds formusicianrsquos earplugs If the yellow pagesdo not prove helpful those labs canrefer you to a licensed hearing pro-fessional in your area from whom youcan purchase musicianrsquos earplugs
MORE FROM CAROLYN
THIS TIME ABOUT OSKARIn the September 2008 AR the musicreview by Leslie Timmons of the Oskarpieces by Matthias Maute mentionedthat Carolyn Peskin had translated twoof the Oskar books from German toEnglish People can obtain thetranslations free of charge as Wordattachments by contacting her atCarolyn Peskin 3559 StrathavonRoad Shaker Heights OH 44120carolynpeskinstratosnet
ANOTHER KIND OF
MUSIC-READING
GLASSESIn the January 2009 issue of AmericanRecorder therersquos something (in myopinion) the ldquoRecorder with GlassesObbligatordquo article omitted which canenable a nearsighted musician to avoidneck strain in the use of bifocals
Irsquove found the solution to thisvexing problem is to have onersquos bifocalsconstructed differently [from] normalMy optometrist was willing to work
38 March 2009 American Recorder
Response___________________________________Two kinds of vision
the better to see with and (not) to hear with
Honeysuckle Music
Recorders amp accessories
Music for recorders amp viols
Jean Allison Olson1604 Portland AveSt Paul MN 55104
6516448545jeanhoneysucklemusiccom
Responses from our readers are welcomedand may be sent to American Recorder 7770 South High St Centennial CO
80122 Letters may be edited for length and consistency
ARS Membership Enrollment and Renewal I am a new member I am or have been a member
USCanadian Memberships Foreign Memberships $45 One Year $55 Foreign One Year $75 Sustaining (Receive a Hottetere Hands Pin) $100 Two Years $80 Two Years
LIFETIME MEMBERSHIP Single Dual Regular Lifetime Member $1000 (2) $1500 (4) 4 installments of $250 available) Loyalty Lifetime Member (1) $ 800 (3) $1200 (4) 4 installments of $200 available
(1) For members who have maintained membership for five consecutive years (2) $750 is Tax Deductible (3) $600 is Tax Deductible (4) Installments available Student Memberships Other Memberships (Enclose proof of full time enrollment) $65 One Year Workshop Membership
$25 USCanadian One Year $125 One Year Business Membership $45 USCanadian Two Years $30 Foreign One Year $5 Additional Charge for Dual Address or Dual Name
Do not list my name in the ARS Print Directory Do not list my name on the ARS Online Directory Do not release my name for recorder related mailings Do not contact me via email
My address telephone and email address are the same as last time
______________________________________ _________________________ Name Phone Number ______________________________________ _________________________ AddressCityStatePostal Code Email Address Please charge to (Circle one) VISAMasterCardAMEXDiscover CC________________________________ Expiration Date ______________ Signature of cardholder_______________________________________________________ Clearly Print Name as it appears on Card________________________________________
Renew by Mail Online By Phone or by Fax
Demographic Information (optional information collected only to enhance ARS services and provide statistics to grant makers)
I am a member of ARS Chapter or Consort____________________________ I am the Chapter Contact Your age Under 21 (21-30) (31-40) (41-50) (51-60) 61-70) (71+) Please check all that apply
I am a Professional Recorder Performer
I wish to be included in the list of Recorder Teachers in the ARS Directory and website I Teach (circle your choices) Children High School Youth College Students Adults Beginner Intermediate Advanced Pre-Professional Individuals Childrenrsquos Classes Adult Classes Ensembles Suzuki Orff JRS Leader Kodaly Where I Teach (circle your choices) Music Studio Public or private school Community Music School College Other _____________________
American Recorder Society 1129 Ruth Dr St Louis MO 63122-1019
Phone 314-966-4082Fax 314-966-4649
TollFree 800-491-9588ARSRecorderAmericanRecorderorg
wwwAmericanRecorderorg
with me [to find] an ideal (for me)placement size and focal length of thebifocal lens
Before visiting the optometristIrsquod had my wife measure the distancefrom my eyes to the music on mymusic stand With this measurementthe optometrist set up her machine toprepare a vision prescription for memaximized for this reading distance
When I look at my bifocals (withthem off) the lenses (through which Iread my music) occupy most of thelower two-thirds of my glasses (they are set very high and beginimmediately at the inner rims) Thisleaves the upper third and smallportions of the outside [of each lens]for focusing on the conductor As longas my stand is set low enough my necknever experiences any strain (even if Ihave to read three to a part) and Irsquove no problem in seeing theconductor (in sharp focus) either
For me trying to use glasses [toread] from a music stand [that] weredesigned for use in reading from acomputer screen also results in neckstrain (not to mention unreliability in aldquopressurerdquo situation) Having studiedTai Chi extensively and so being
wwwAmericanRecorderorg March 2009 39
There are lots ofsolutions to thepresbyopic musicianrsquosproblem but all involve compromises
40 March 2009 American Recorder
American Recorder Society PublicationsErich Katz Contemporary Music Series Members Non-MembersA Short Tale for Two Basses Suzanne M Angevine (Level II) (2 scores) $5 $8Dialogue and Dance Cecil Effinger (SATB)(Level II-III) (score amp parts) $10 $18Dorian Mood Sally Price (SATB) (Level II) (score amp parts) $10 $18Double Quartet for Recorders Peter Ballinger (Level II-III) (score amp parts) $10 $18Entrevista Frederic Palmer (SATB) (Level II) (2 scores amp 4 recorder parts) $8 $14Kyrie and Vocalise for Soprano Voice ampRecorders Stanley W Osborn $8 $14
(SATB) (Level II) (2 scores amp 4 recorder parts) Picnic Music Jeffrey Quick (SATB) (Level II) (score amp parts) $5 $8Six Short Pieces for Three Recorders edited by Alan Drake $8 $14
(3 scores) Vaclav Nelhybel (AATT) (Level II)Sonatina for Alto Recorder and Piano Anthony Burgess $7 $12
(Level II) (2 scores)Sonatine for Three Altos Lee Gannon (Level III) (score amp parts) $14 $26Suite of Jewish Folk Tunes Erich Katz (S SA8 AT) (Level II) (three scores) $10 $18
Musical Editions from the Membersrsquo Library ARS members 1 copy-$3 2 copies-$450 3-$6 4-$750 5-$10 6-$1150Non-members (editions over 2 years old) 1 copy-$5 2 copies-$850 3-$12 4-$15 5-$1950 6-$23The ARS is happy to provide photocopied enlargements of any Membersrsquo Library edition at the same prices Please specify ldquoMembersrsquo Library Enlargementrdquo
ARS Information BookletsARS members 1 booklet-$13 2 booklets-$23 3-$28 4-$35 5-$41 6-$47 7-$52Non-members 1 booklet-$18 2 booklets-$33 3-$44 4$55 5-$66 6-$76 7-$86
Education PublicationsThe ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996)
First copy free to ARS Members (mailed to new members as they join) replacement copies $3Guidebook to the ARS Personal Study Program (1996) Material formerly published in the Study Guide
and Study Guide Handbook plus additional resources Members $11 non-members $20ARS Music Lists (2002 with 2003 Supplement) Graded list of solos ensembles and method books
Members $9 non-members $15Package Deal available only to ARS members Guidebook and Music ListsSupplement ordered together $16Junior Recorder Society Leaderrsquos Resource Notebook
ARS members $20 non-members $40 (updates at reduced rates after initial purchase)$5 Dues for each JRS student member sponsored by an ARS member ($4 each for groups of 10+)
VideosRecorder Power Educational video from the ARS and recorder virtuoso John Tyson
An exciting resource about teaching recorder to young students ARS members may borrow a copy for onemonth by sending $5 to the ARS office along with the address to which the tape should be shipped
Pete Rose Video Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music Festival recitalFeatures Rose performing a variety of music and an interview of him by ARS member professional John Tyson
Other PublicationsChapter Handbook A resource on chapter operations for current chapter leaders or those considering forming an
ARS chapter ARS members $10 non-members $20 (updates free after initial purchase) One free copy sent toeach ARS chapter with 10 members or more
Consort Handbook Resource on consort topics such as group interaction rehearsing repertoire performingARS member prices CD $10 hard copy $20 combo price of CD and hard copy ordered together $25
Discography of the Recorder Vol I (1989) Compiled by Scott Paterson and David LasockiDiscography of the Recorder Vol II (1990-1994) Compiled by Scott Paterson
Either single volume ARS members $23 non-members $28Both Discography volumes together ARS members only $40
American Recorder Cumulative Index for Vols I-XXXX ARS members $20 non-members $32Index Supplement Vol XXXIV-XXXX ARS members $8 non-members $14
Shipping amp Handling FeesUnder $10 - add $3 $10-1999 - add $4 $20-2999 - add $5 $30-3999 - add $6 $40-4999 - add $7 All prices are inUS dollars For Canadian or foreign postage pay by credit card and actual postage is charged
Please make checks payable to ARS VISAMCAMEXDisc also accepted
ARS 1129 Ruth Drive St Louis MO 63122 US800-491-9588 ARSrecorderAmericanRecorderorg
Arioso and Jazzy Rondo (AB) Carolyn PeskinBerceusendashFantaisie (SATB) Jean BoivertBrucknerrsquos Ave Maria (SSATTBB)
Jennifer W Lehmann arrCanon for 4 Basses (BBBB) David P RuhlDancers (AT) Richard EastmanDifferent Quips (AATB) Stephan ChandlerElegy for Recorder Quartet (SATB) Carolyn PeskinElizabethan Delights (SAATB)
Jennifer W Lehmann arrFallen Leaves Fugal Fantasy (SATB) Dominic BohbotFour Airs from ldquoThe Beggarrsquos Operardquo (SATB)
Kearney Smith arrGloria in Excelsis (TTTB) Robert CowperIdyll (ATB) Stan McDanielImitations (AA) Laurie G AlbertsIn Memory of Andrew (ATB) David GoldsteinLay Your Shadow on the Sundials (TBgB)
Terry Winter OwensLeClercqrsquos Air (SATB) Richard E WoodLittle Girl Skipping and Alouette et al (SATBCb)
Timothy R Walsh
Los Pastores (SAAAT + perc) Virginia N Ebinger arrNew Rounds on Old Rhymes (4 var) Erich KatzOther Quips (ATBB) Stephan ChandlerPoinciana Rag (SATB) Laurie G AlbertsSanta Barbara Suite (SSAAT) Erich KatzSentimental Songs (SATB) David Goldstein arrSerie for Two Alto Recorders (AA) Frederic Palmer Slow Dance with Doubles (2 x SATB) Colin SterneSonata da Chiesa (SATB) Ann McKinleyS-O-S (SATB) Anthony St PierreThree Bantam Ballads (TB) Ann McKinleyThree Cleveland Scenes (SAT) Carolyn PeskinThree in Five (AAB) Karl A StetsonTracings in the Snow in Central Park (SAT)
Robert W ButtsTrios for Recorders (var) George T BachmannTriptych (AATB) Peter A RamseyTwo Bach Trios (SAB) William Long arrTwo Brahms Lieder (SATB) Thomas E Van Dahm arrVariations on ldquoDrmešrdquo (SATB) Martha BishopVintage Burgundy (SASATT)
Jennifer W Lehmann arr
Adding Percussion to Medieval and Renaissance Music Peggy Monroe
American Recorder Music Constance PrimusBurgundian Court amp Its Music Judith Whaley coord
Improve Your Consort Skills Susan CarduelisMusic for Mixed Ensembles Jennifer W LehmannPlaying Music for the Dance Louise AustinRecorder Care Scott Paterson
acutely aware of any kind of neckstrain when it begins to develop these ideas have been a big help to meIrsquom hoping they may be of help toother musicians as well
Best wishes to you And inanswer to your questionmdashyes the new[AR] format (with more white spacebetween the lines) is much easier toread (in my opinion)Your magazinejust keeps getting better and better
Very sincerely Ed Green WestSuburban (Chicago-area) Chapter
RESPONSE FROM DR BILL LONG
What Ed describes is a variant of theuse of conventional bifocals as musicglasses described on page 8 in thearticle Instead of lowering his musicstand into the field of view of hisbifocal segment Ed and his optome-trist have fabricated special purposebifocals with the segment really highso he can focus on his music instraight-ahead view That approachrestricts his distance vision to an areaabove his usual line of sight whichseems to work for Eds playing setup
Eds comments on the difficultiesin using conventional progressiveaddition lenses as music lenses con-firm what I said on page 9 Thats whymanufacturers have marketed special-ty progressive lenses designed specif-ically for intermediate distance taskslike computer use and playing music
There are lots of solutions to thepresbyopic musicians problem but all involve compromises The key toevaluating those compromises andchoosing the best solution for yourselfis to understand your needs and toenlist the help of a sympathetic visioncare specialistmdashjust as Ed did
Please change your
browserrsquos favorites list
AR online is now at wwwameri
canrecorderorgmembership
magazinehtm Send news to
editoramericanrecorderorg
FOUR FOUR-PART CANZONAS
(1608) BY GIOVANNI GABRIELI
ED GREG LEWIN Hawthorns Music RB 16 (Magnamusic) 1999 SATBSc 16 pp pts 4 pp $1950
Giovanni Gabrieli was probablyborn between 1554 and 1557 in theparish of San Geremia in Venice Thedetails of his early life are sketchy butit appears that he was born Giovannidi Fais and later changed his name toGabrieli out of respect to his uncleAndrea with whom he shared a closerelationship In fact in 1587 Gabrielidescribed himself ldquoas little less than asonrdquo It is commonly thought thatAndrea provided Giovanni with hisearly musical training Andrea whohad spent some time in Munichstudying under the great Orlando deLassus sent Giovanni to Munich for a similar period of study in theearly 1570s
Gabrieli remained in Munichuntil the death in 1579 of the dukeAlbrecht V who had been Lassusrsquosemployer for a number of years andwho was an enthusiastic patron of the arts particularly music With hisdeath a number of musicians lost theirjobs it seems as if Gabrieli were also a victim of such culling of talent(Within a generation the tide wouldturn and the Munich court wouldagain hire Venetian expatriates such as Priuli Valentini and Neri)
Upon his return to VeniceGabrieli was hired as a temporaryorganist at San Marco his positionbecoming permanent in 1585 For a few months that year uncle andnephew served together as first and
second organists in the chapel of thedoge In Giovannirsquos absence fromVenice there had been a plague thathad decimated the ranks of theprofessional musicians Andrea setabout rebuilding his forces at SanMarco by hiring a full-time windband consisting of Girolamo dallaCasa a renowned cornettist andviolist his two brothers who playedsackbut and later the cornett virtuosoGiovanni Bassano Giovanni Gabrieliaugmented these forces with addi-tional players and began composingthe large-scale ceremonial music forwhich he is so well known today
Giovanni was also elected to bethe organist and composer to theconfraternity of San Rocco in 1585and it is now thought that his largestpieces were intended for that venuewith its large central gallery andfrescos by Tintoretto instead of SanMarco Gabrieli held both thosepositions at the basilica of San Marcoand the Scuola Grande di San Roccountil he died in 1612 of a kidney stone
Although best known today forhis ceremonial and festival musicGabrieli was at home in smaller-scaleformats as well These four four-partcanzoni are taken from the 1608publication by the Venetian publisherAlessandro Raverji Canzoni per sonarecon ogni sorte di strumenti These werevery popular pieces to judge by themany collections in which they appear
Additionally like Gabrielirsquoskeyboard music they are found inother arrangements These four-partcanzoni lie well under the fingers inarrangements for keyboard and lute
As seen from the title Gabrielispecified no instrumentation but like asimilar edition of madrigals and battlepieces from a few years earlier a dis-tinction was made that they wereintended for wind instruments almostcertainly cornetts and sackbuts
Recorders were not unknown in Venice they were used regularly inthe confraternity of San GiovanniEvangelista where Giovanni BattistaRiccio was organist
These pieces are relativelysimplemdashplayable by beginning tointermediate ensembles They aremostly contrapuntal (with a fewhomophonic sections) and have few rhythmic eccentricities
These canzoni are found in manymodern brass editions but there arefew editions available to the recorderplayer This edition by Greg Lewin ofHawthorns Music might be consid-ered a ldquobare-bonesrdquo edition There islittle background information andeditorial practices are not specified
The music itself has a handwrittenlook that can be distracting but is easyenough to read Lewin has thought-fully supplied phrasing marks that willbe helpful for ensembles unused tothis style of music
Music
Reviews___________________________________ Infectious music created in spite of the plague
wwwAmericanRecorderorg March 2009 41
This is a good edition
for small ensembles that
canrsquot get eight players
together to play
Gabrielirsquos more famous
eight-part canzoni
42 March 2009 American Recorder
The parts are four pages but mycopy had all four pages printed on avery large page This is not a problemand there are no page turns
This is a good edition for smallensembles that canrsquot get eight playerstogether to play Gabrielirsquos morefamous eight-part canzoni Thesesmall-scale pieces are by no meansinferior to Gabrielirsquos more elaboratemusic and deserve to be better known
7 CANZONEN (1637) BY
TARQUINIO MERULA ED JOACHIM
ARNDT WITH CONTINUO REALIZATION
BY CLAUDIA SCHWEITZER MieroprintMusikverlag EM2088 (availabledirectly from wwwmieroprintcom)2005 SS or TT bc Sc 24 pp pts 8 pp$28
Tarquinio Merula was bornaround 1595 in either Busseto orCremona in Italy As was the case withso many composers of the day either alack of regular employment or a rest-less nature took him from his home inCremona to as far away as Warsaw He is found as the organist of thechurch and the chambers to the kingof Poland Sigismund III in 1624
Merula was one of the leadingexponents of the relatively new con-certante style pioneered by ClaudioMonteverdi and others in the seconddecade of the 17th century and may be described as one of the earliestBaroque composers His compositionsin the concertante style are fresh andunforcedmdashhe was born into this styleand didnrsquot encounter it as somethingnew as was the case with so many ofMonteverdirsquos contemporaries
After several years of peripateticexistence Merula found regularemployment in 1631 in Bergamo atthe church of San Maria MaggioreThe prior holder of the post of maestrodi cappella Alessandro Grandi haddied the previous year in the plagueMerula had signed a three-year
contract but by December 1632 hewas terminated with accusations thathe had molested several studentsMerula threatened a lawsuit to recoverhis lost wages but that threat wascountered with a pending criminalcharge lodged by the board ofgovernors of San Maria Maggiore By mid-1633 the matter was settledwith an apology from Merula and astatement that he relinquished allclaims to his salary
He then returned voluntarily toCremona where he stayed until 1635By 1638 Merula was once again inBergamomdashthis time as maestro dicappella and organist in the cathedralnext to San Maria Maggiore Asmight be expected there was con-siderable tension between the twochurches eventually resulting in theboard of San Maria Maggioreforbidding their musicians to perform under Merularsquos direction
He returned in 1646 to a familiarCremona post which he had heldthree times in various years and wherehe now settled downmdashthat of organistand maestro di cappella for Laudi dellaMadonna services in which he ledmusic at the main altar on Saturdaysand on vigils of Marian feasts
None of his employment issues
prevented the Pope from awardinghim the Order of the Golden SpurMerula was also elected to theAccademia dei Filomusi in BolognaHe died in 1665 in Cremona
His existing compositions showthe products of a lively mind Hisworks range from sacred songs andmotets to purely instrumental piecesnotably the ever-popular variations onvarious ground basses It is knownthat Merula was an accomplishedviolinist as well as a fine organist Hissurviving instrumental writing showsa predilection for strings In fact hewas one of the earliest composers tospecify string accompaniments tosacred motets
Merularsquos pieces look backwardtoward some of the more progressiveVenetian composers such as Monte-verdi while looking forward to thehigh Baroque with his innovative style
These seven canzoni like theearlier-published chaconne (EM2084)come from Merularsquos third bookpublished in 1637 CANZONI overo SONATE CONCERTATE perchiesa e camera a due et a tre delcavaliere This collection typifiesMerularsquos output pieces based onRenaissance-era ground basses arefound next to more ldquomodernrdquo sonatas
The original edition specifiesviolins and basso continuo This newedition is intended for recorders thespecific choice of which is up to theplayers Due to the relatively hightessitura tenor recorders work best inthese pieces (although listed as analternative soprano recorders tend to be on the screechy side)
Not surprisingly given Merularsquosskill as an organist the continuo partneeds a keyboard instrument forsuccessful realization Instead of beinga purely accompanying part the bassocontinuo part is an equal partner in these pieces the canzona ldquoLaRuggierardquo opens with a run that therecorders echo a few measures later
A more recorder-specific
edition intended for
altos would have been
ideal There is nothing
preventing the more
adventurous and
industrious players
from making their
own editions of this
delightful music
mentioned were a bit shrill A morerecorder-specific edition intended foraltos would have been ideal There isnothing preventing the moreadventurous and industrious playersfrom making their own editions of thisdelightful music
Prior to playing the previouslypublished chaconne I had notencountered MieroprintMusikverlag Mieroprintrsquos extensivecatalog has an equal focus on newmusic for recorders and on editions ofBaroque masters with emphasis on therecorder and flute Due to the lack of
wwwAmericanRecorderorg March 2009 43
are also available at
The Early Music Shop
of New England
Brookline MA
AESTHEacute
367-b de la Briquade
Blainville Queacutebec
Canada J7C 2C7
tel (450) 979-6091
wwwboudreau-flutesca
A bass viola da gamba or rsquocello is not necessary for these pieces and may infact make them sound heavy and ponderous rather than light and breezy as thismusic seems to be
More so than the above-mentioned chaconne these canzoni are written in avery idiomatic violin style with multiple examples of arpeggios In particular thecanzona ldquoLa Trecchardquo contains a notated example of a string tremolo figurerecurring through the piece ldquoLa Trecchardquo also dips well below the range of a Crecorder going down to low G the lowest string on the violin The editors havesupplied no alternative notes preferring to let the performers to fend forthemselves (in practice we took this passage up an octave with no problems)
The two recorder parts require virtuosity These upper parts are demandingwith the players needing to double-tongue in unison in order to negotiate themany runs of 16th notes and the shared rhythmic ldquolicksrdquo The harmoniclanguage unlike much of Merularsquos music is undemanding and contains none of the harmonic crunches for which he is famous
This is wonderful music that needs a couple of advanced recorder players fora successful performance The string idiosyncrasies can be overcome by advancedplayers and many of the editions of the era (although not this one) list thecornetto as an alternative to the violin so the use of wind instruments in the solo literature of the early Baroque was not unknown
Our experience with this edition left us with the opinion that these pieceswould have been better if transposed down a minor third so as to fit on a pair ofalto recorders (as is the case with much Baroque flute music to make it lie betteron the recorder) The tenors we used tended to sound a bit murky in the lowerregister next to the more aggressive harpsichord while the sopranos we tried as
KEY rec=recorder Srsquoo=sopraninoS=soprano A=alto T=tenor B=bassgB=great bass cB= contra bass Tr=treble qrt=quartet pf=piano fwd=foreword opt=optional perc=percussionpp=pages sc=score pt(s)=part(s)kbd=keyboard bc=basso continuohc=harpsichord PampH=postage andhandling Multiple reviews by one reviewerare followed by that reviewerrsquos name Pleasesubmit music for review to AR 7770 SHigh St Centennial CO 80122-3122 US
an American distributor this musicwill be hard to findmdashin fact can befound only at the time of this writingon their web site noted above But theeffort will be repaid
This edition is clear and easy toread and the parts require no pageturns The basso continuo realizationis simple and elegant
This is music deserving ofrediscovery My only quibble is thatthe editorial notes are all in GermanThis seems to be the practice ofGerman music publishers with thenotable exception of Moeck Otherpublishers of early music such asLondon Pro Musica routinelyprovide notes in English and German and often in French and Italian making their editionsaccessible to a wider audience
Frank Cone studied the recorderwith the late Ellen Perrin the viola dagamba with Carol Herman and thecornetto with Larry Johansen TheCalifornia multi-instrumentalist has been a member of the Orange CountyRecorder Society since 1985
Advertiser Index
AMERICAN ORFF-SCHULWERK ASSN 3
AMERICAN RECORDER SOCIETY 31 35 36
AMHERST EARLY MUSIC FESTIVAL 17
STEPHAN BLEZINGER 24
JEAN-LUC BOUDREAU 21 39
BOSTON EARLY MUSIC FESTIVAL 7
CANTO ANTIGUO EARLY MUSIC WORKSHOP 13
COURTLY MUSIC UNLIMITED 20
EARLY MUSIC AMERICA 8
HONEYSUCKLE MUSIC 34
BILL LAZARrsquoS EARLY MUSIC 26
KEITH E LORAINE EARLY DOUBLE REED SERVICE 35
LOST IN TIME PRESS 11
MADISON EARLY MUSIC FESTIVAL 12
MAGNAMUSIC DISTRIBUTORS BC
MOECK VERLAG IFC
MOLLENHAUER RECORDERS IBC
PORT TOWNSEND WORKSHOP 14
PRESCOTT WORKSHOP 30
PROVINCETOWN BOOKSHOP 26
THE RECORDER MAGAZINE 4
THE RECORDER SHOP 6
SAN FRANCISCO EARLY MUSIC SOCIETY 18
SWEETHEART FLUTE CO 3
TEXAS TOOT 20
VON HUENE WORKSHOP INC 30
WICHITA BAND INSTRUMENT CO 21
DOMINIK ZUCHOWICZ 34
CONSIDER ADVERTISING IN
Full page $55223 page $43912 page $36613 page $28614 page $22316 page $17518 page $127112 page $ 951 column inch $ 58
Prices include web sitee-mail link directly from your ad in the online AR at wwwamericanrecorderorg
Circulation Includes the membership of theARS libraries and music organizations
Published five times per year January March May September November
Reservation Deadlines December 1 (January) February 1 (March) April 1 (May) August 1 (September) October 1 (November)
Rates good through November 2009 Pleaseinquire about discounts on multiple-issuecontracts inserts or other special requestsExtra charges for typesetting layout half-tones and size alterations 133-line screenrecommended Advertising subject toacceptance by magazine First-time adver-tisers must include payment with order
For more information contact the ARS office 1129 Ruth Drive St Louis MO63122-1019 800-491-9588 toll free 314-966-4082 phone 314-966-4649 faxadvertisingamericanrecorderorg
44 March 2009 American Recorder
Classified___________________________________
FOR SALE Cherrywood hurdy gurdy and hard-side case made by Kelischek bought 2005Originally $765 plus $89 for case Rarely usedBoth for $450 or make offer Please contact marjalocomcastnet Can ship
ASPIRE ANNOUNCE INSPIRE Afford-able PR for teachers and recitalists wwwrecitalroomcom
PHOTOS NEEDED of ARS events 1970sndash1990sto illustrate last chapters of Martha Bixlerrsquos histor-ical memoir about the ARS (to be posted online)E-mail scanned photos (300dpi JPG or TIF)arsrecorderamericanrecorderorg Hardcopies mail to ARS office to be scanned ampreturned Info 800-491-9588
T-SHIRT FOR ENSEMBLE PLAYERS to wear orshare Top 10 Reasons Why I Got Lost Wrongfingering bad lighting etc on blue cotton shirt$18 Highlighter tape and other goodies Beth amp Lindas Boutique as seen at BEMF CallLinda at 617-671-8694 or e-mail for brochurelindakushverizonnet
Where the havesand have-nots
of the recorder world can find each other
Classified rate for American Recorder 60centper word ten-word minimum ldquoFOR SALErdquoand ldquoWANTEDrdquo may be included in thecopy without counting Zip code is oneword phone e-mail or web page is twoPayment must accompany copy Deadlinesare one month before issue date Send copywith payment to ARS 1129 Ruth Drive St Louis MO 63122-1019
AMERICAN RECORDER (ISSN 0003-0724) 1129 Ruth Dr St Louis MO 63122-1019 is publishedbimonthly (January March May September and November) for its members by the AmericanRecorder Society Inc $20 of the annual $45 US membership dues in the ARS is for a subscriptionto American Recorder Articles reviews and letters to the editor reflect the viewpoint of their individ-ual authors Their appearance in this magazine does not imply official endorsement by the ARS
EDITORIAL DEADLINES November 15 (January) January 15 (March) March 15 (May) July 15(September) and September 15 (November) Submission of articles and photographs is welcomedArticles may be typed or sent as an attachment (Word or RTF preferred) to or text in an e-mail mes-sage They should be for the exclusive consideration of AR unless otherwise noted Photos may besent as prints or unedited JPG or 300dpi TIF files (minimum 3rdquox4rdquo) Advertisements may be sent inPDF or EPS format with fonts embedded
EDITORIAL OFFICE Gail Nickless Editor 7770 S High St Centennial CO 80122-3122 303-794-0114 (phone amp fax) editoramericanrecorderorg Books for review Editorial office Musicfor review Editorial office Recordings for review Tom Bickley 1811 Stuart St Berkeley CA 94703Cutting Edge Tim Broege 212 Second Ave Bradley Beach NJ 07720-1159 Chapter newslettersother reports Editorial office Postmaster Send address changes to ARS 1129 Ruth Drive St LouisMO 63122-1019 Periodicals postage paid at St Louis MO and at an additional mailing office
Chapter leaders
We know yoursquore out there
and that you want to share
your plans concerns
solutions and ideas with
other chapter leaders Visit
httpamericanrecorder
societywikispacescom
friends in a beautiful setting north ofMontreacuteal QC under the guidance ofinternationally acclaimed professionalmusicians
In four daily 75-minute classes pluslectures early music lovers will have the opportunity to play to their heartrsquoscontent
Small ensembles and voice classes are setup ahead of time registration for otherclasses occurs on site the first eveningCourses include choir large instrumentalensemble many recorder and violclasses Medieval and Renaissanceensembles Orff method and Baroquedancing There are courses foradolescents and a program for children 4-11 years old
Special project in 2009 The Fairy Queenby Purcell with choir instrumentalensemble soloists and staging Keyfaculty Matthias Maute ChristopherJackson Laura Pudwell MargaretLittle Marie-Nathalie Lacoursiegravere
Contact Johanne Audet
85 Chemin CAMMAC Harrington
QC J8G 2T2 CANADA
888-622-8755 1
819-687-3323 (fax)
nationalcammacca
cammaccaenglishTabLM
Summershtml
MADISON EARLY
MUSIC FESTIVAL
University of WisconsinndashMadison July 11-18Directors Cheryl Bensman Rowe and Paul Rowe artistic Chelcy Bowles program
MEMF joins the 2009 InternationalYear of Astronomy in a global celebrationof astronomy and its contributions tosociety and culture including the 400thanniversary of the first astronomicalobservation made through a telescope byGalileo Galilei Galileorsquos fatherVincenzo was a musician and musictheorist who combined the practice andtheory of music with mathematicaldiscussion of harmonymdashand influenced
Galileorsquos experiments MEMFcelebrates its tenth season exploringworks of music and the arts inspired by ascientific discovery that had tremendousimpact on culture and civilization
MEMF was created to provide anopportunity for musicians scholarsteachers and early music enthusiasts togather and exchange information andideas about Medieval Renaissance andBaroque music and to bring acclaimedearly music artists to the Midwest toperform in beautiful Madison
Featured MEMF 2009 guest artists-in-residence include Marion VerbruggenThe Newberry Consort QuicksilverPiffaro and Venere Lute QuartetRecorder faculty members includeMarion Verbruggen Joan KimballPriscilla Smith and Robert Wiemken
Contact Chelcy Bowles University
of WisconsinndashMadison 720 Lowell
Center 610 Langdon St Madison
WI 53703 608-265-5629
608-262-1694 (fax)
musicdcswiscedu
memfdcswiscedu
PORT TOWNSEND
EARLY MUSIC WORKSHOP (ARS)
University of Puget Sound Tacoma WA
July 12-18Directors Letitia Berlin Frances Blaker
Join us this summer at our new locationwith a star-studded faculty a beautifultree-lined and easy-to-navigate campuswith accessible facilities and acurriculum that will leave you wishingthere were 48 hours in a day
Consort and technique classes forrecorder and viol consort and mixedrepertoire recorder master classpercussion for all levels Hildegard forsingers Baroque flute beginning violtheory workshop orchestra and moreMake an all-Medieval schedule or mix it up with a class from almostevery period of music
Work hard and play hard with friends
new and old Intense music-making thatwill inspire you during the workshop andthroughout the year
Directors Tish Berlin and FrancesBlaker eagerly await your arrival andanticipate a splendid workshopRecorder faculty Janet Beazley TishBerlin Frances Blaker Vicki BoeckmanLouise Carslake Charles ColdwellRotem Gilbert Kim Pineda
Contact Jo Baim Workshop
Administrator 1108 frac12 Alki
Ave SW Seattle WA 98116
206-932-4623
workshopseattle-recorderorg
seattle-recorderorg
wwwAmericanRecorderorg March 2009 21
Amherst Early Music FestivalJuly 12-19 and 19-26 2009
Connecticut College New London CT
Renaissance consortsBaroque ensemblesMaster classesRenaissance AcademyEarly notation and moreNo audition required
July 12-19Baroque Academy
July 19-26 Virtuoso Recorder Recorder Seminar
Audition deadline May 15
wwwamherstearlymusicorginfoamherstearlymusicorg(617) 744-1324
AMHERST EARLY MUSIC FESTIVAL
(ARS)
Connecticut College New London CT July 12-19 Baroque Academy July 19-26 Virtuoso Recorder Recorder SeminarRenaissance Academy
Director Marilyn Boenau
Music of England and Spain Two weeksof classes in most early instrumentsvoice dance and notation
Week 1 includes classes for recorderviol other early instruments voicedance and notation Special programsBaroque Academy Baroque AcademyOpera Project (Purcellrsquos Dioclesian)
July 18-19 Music amp InstrumentExhibition
Week 2 comprises classes for recorderviol other early instruments voice andnotation Special programs VirtuosoRecorder Recorder SeminarRenaissance Academy
Evening activities include Englishcountry dance madrigals and informalplaying sessions Connecticut College ineastern CT offers comfortable air-conditioned accommodations naturalareas for walking and a view of LongIsland Sound Scholarships and work-study aid available
Contact Marilyn Boenau
Director or Cathy Stein
Administrator 47 Prentiss St
Watertown MA 02472
617-744-1324 (day)
617-744-1327 (fax)
infoamherstearlymusicorg
amherstearlymusicorg
MIDEAST WORKSHOP (ARS)
LaRoche College Pittsburgh PAJuly 19-25Director Marilyn Carlson
Music of Spain 55-60 students of allability levels adults only Instruction forrecorder (all levels except novice) violharp flute You may enroll for recorder
viol flute as primary instrument harpvoice recorder viol as secondary instru-ment Large and small ensembles all-workshop ensemble (instruments andvoices) Renaissance band (recordersviols capped reeds voice) Medievalcollegium (puzzles amp canons) consorts(by level) vocal ensemble Also Englishcountry dance penny whistle We alsooffer viol-for-novice and harp-for-novice each providing the opportunityfor hands-on experience without owningan instrument Other classes on specialearly music topics and literature
Faculty Marilyn Carlson directorMartha Bixler Stewart Carter JudithDavidoff Eric Haas Mary JohnsonPeter Ramsey Kenneth Wollitz otherfaculty to be announced All facilities areair-conditioned
Contact Marilyn Carlson
1008 Afton Road Columbus OH
43221-1680 614-754-7233
mcarlsoncolumbusrrcom
mideastearlymusicaddrcom
22 March 2009 American Recorder
San Francisco Early Music SocietySummer Workshops 2009Recorder middot July 19ndash25 2009La Dolce Vita di Flauto middot Explore the full range of recorder music from the Middle Ages to the 21st century through ensemble work technique sessions and recorder orchestra For the devoted amateur all ages intermediate to advanced Friendly atmosphere small classes Quiet campus near all amenities Special offerings Recorder orchestra recorder master class coached informal playing Faculty Louise Carslake Frances Feldon Rotem Gilbert Katherine Heater Norbert Kunst Patrick OrsquoMalley and Hanneke van ProosdijInfo Frances Feldon 510-527-9840 franfelaolcom
Baroque Music amp Dance middot June 14ndash20 2009Music in Italian Cities middot Master classes recorder ensemble concerto evening coached ensembles classes concerts and lectures Featuring recorder faculty Frances Blaker and Clea GalhanoInfo Kathleen Kraft 707-874-2014 kkraftsonicnet
Medieval amp Renaissance Music middot June 28ndashJuly 4 2009Stories amp Legends middot Classes for voices recorders viols and alta capella voice master class ensemble coaching storytelling for musicians and storytelling accompaniment Renaissance choir medieval band theater project faculty and student concerts lectures and more Featuring recorder faculty Frances Blaker Annette Bauer Dan Stillman and Tom ZajacInfo Tom Zajac 617-323-0617 medrenmailgmailcom
Music Discovery middot June 21ndash26 2009Day camp for youth ages 7 to 15 Early music and Renaissance social history Instruction in recorder harpsichord strings chamber music musicianship crafts costume-making games and more Beginners to advanced students welcome Featuring recorder faculty Vida Bateau and Letitia BerlinInfo Letitia Berlin 510-559-4670 tishberlinsbcglobalnet For more information visit our web site wwwsfemsorg
SAN FRANCISCO EARLY MUSIC
SOCIETY RECORDER WORKSHOP
(ARS)
St Albertrsquos Priory Oakland CA July 19-25Directors Frances Feldon Katherine Heater
Jam-packed week of recorder ensembleplaying concerts and the opportunity toimprove your skills working with highlyrespected recorder specialists in afriendly yet serious atmosphere Explorethe full range of recorder music from theMiddle Ages Renaissance and Baroqueto the 21st century through ensemblework technique sessions and recorderorchestra For the devoted amateur of allages from intermediate to advanced
Small classes Quiet campus Specialofferings recorder orchestra recordermaster class coached informal playing
Featuring recorder faculty LouiseCarslake Frances Feldon RotemGilbert Norbert Kunst PatrickOrsquoMalley and Hanneke van ProosdijOther faculty Katherine Heaterharpsichord
Contact Frances Feldon SFEMS
PO Box 10151 Berkeley CA
94709 510-527-9840
franfelaolcom sfemsorg
WINDSWEPT MUSIC WORKSHOP
William Jewell College Liberty MOJuly 19-25Director Phyllis Pasley
Bring your artistry to life Strengthen the mindbody connection and exploreenergy and music at Creative MotionAlliancersquos 59th annual summerconference Windswept Professionalmusicians conductors teachers studentsand amateur music enthusiasts willdiscover barriers that inhibit the free flowof energy and learn the secrets of inner-directed artistic music-making Classesin piano voice instrumental musicexpressive arts and independent studyMaster class coaching and conductingopportunities available Using move-
ment exercises analysis and bodyresponses explore music and energy in a unique inter-generational workshopformat Opportunities for independentrecorder study and private lessons enrichthe music-making experience
Registration fee $50 prior to 51509Tuition room meals $535 adults $400students 12-18 (must attend with parentteacher or sponsor) special half-weekrate $275 (Sunday-Wednesday noon)Memberfamily discounts Three hoursgraduate credit ($225) 3 CEUs ($50)and private lessons ($25 each)
Contact Phyllis Pasley 2208
Clouds Peak Maryland Heights
MO 63043 314-628-9862
directorcreativemotionorg
creativemotionorg
BOXWOOD FESTIVAL CANADA
Lunenburg Nova Scotia CanadaJuly 19-26Director Chris Norman
Discover musical and dance traditionswhile visiting one of North Americarsquosmost exquisite 18th-century seasidetowns Concerts dances sessionsclasses lectures with leading artists in therealms of traditional folk early musicdance and improvisation Work study ampscholarships available Gourmet cuisine
Faculty Chris Norman directortraditional amp early flutes FrancisColpron recorder ensembles LisaBesnoziuk Baroque flute DavidGreenberg Cape Breton amp Baroqueviolin Edmund Brownless voice shape note singing Marie Bouchardharpsichord Robert Dick contemporarytechniques amp composition Conal O Grada Irish flute Jerry OrsquoSullivanpipes whistle Rod Garnett flutefundamentals ethnic flutes PierreChartrand social dance MarlysNorman ballet classical dance Rod Cameron flute maker Tempest Baroque
Contact 902-634-9994
boxwoodorg
musiqueroyalecom
MACPHAIL SUZUKI INSTITUTE
FOR PIANO GUITAR FLUTE
AND RECORDER
MacPhail Center for the Arts Minneapolis MNJuly 19 Every Child Canreg July 19-26 Recorder Book 1July 20-24 Student InstituteDirectors Cindy Malmin Mary Halverson Waldo (auditions)
Suzuki Clinicians Marilyn Taggartpiano Tadeusz Majewski piano DavidMadsen guitar Kathleen Schoenfluterecorder MacPhail Suzuki faculty
Sanctioned by the Suzuki Association ofthe Americas MacPhailrsquos SuzukiInstitute allows Suzuki students of allages to share in motivating enrichingand wide-ranging musical experiencesStudents work with master teachers andimprove skills technically and musicallyDaily classes and observation includeapplied study theoryreading skillsensemble skills chamber music perfor-mance practices composition improv-isation master classes recitals art andmusic world musicdrumming musichistory recitals and presentations TeenMusical Revue (ages 13-18) fashioncharacter sketches develop a frameworkor theme and present to an audience
Who may attend Suzuki students whohave completed the Twinkle Variations(preschoolndashgrade 12 parents or another
wwwAmericanRecorderorg March 2009 23
Amherst Early Music Festival
(photo by Marc Weinberg)
responsible interested adult must attendwith students under high school age)teacher traineesobservers Participantsmust arrange meals housing and trans-portation Teacher Training prerequi-sites Every Child Canreg before Book 1courses must be taken in order throughBook 2 Contact workshop regardingrequired audition and preparation
Contact Cindy Malmin
612-767-5461
malmincindymacphailorg
Mary Halverson Waldo
5679 Harding Lane Shorewood
MN 55331 952-470-5853
mhalvwaldogmailcom
INTERNATIONAL BAROQUE
INSTITUTE AT LONGY
Longy School of Music Cambridge MA
July 24-August 2Directors Paul Leenhouts co-director Phoebe Carrai
VenicendashDresden Connection InternationalMeeting Grounds Music of MonteverdiVeracini Hasse Heinichen MarcelloVivaldi Pisendel Albinoni ZelenkaLotti Schein Schutz Quantz Gabrieli
2009 faculty Paul Leenhouts recorderPhoebe Carrai rsquocello ElizabethBlumenstock violin Ricard Bordasvoice Arthur Haas harpsichord LucasHarris lute Ken Pierce early danceGonzalo Ruiz oboe Mary Springfels
viola da gamba Jed Wentz traverso
Contact Karen Burciaga Com-
munity Programs Registrar One
Follen St Cambridge MA 02138
617-876-0956 X1532 (day)
617-354-8841 (fax) karenbur
ciagalongyedu longyedu
RECORDER AT THE CLEARING
The Clearing Ellison Bay WIJuly 26-August 1Directors Pat Badger Adrianne Paffrath
Recorder ensemble has been a traditionat The Clearing for over 25 yearsEnsemble playing is the weekrsquos focusEach day begins with a warm-up ofvoices and bodies as we sing rounds andready our muscles for performanceDaytime sessions focus on rhythmicchallenges recorder technique andensemble blend emphasis is on growthprocess and most of all enjoyment To participate fully you need at leastintermediate skills on a C or F recorder
Adrianne Paffrath coached on recorder with ARS teachers She is music directorat Racinersquos First Presbyterian ChurchPatricia Badger has studied early musicinstruments natural and classicaltrumpet She is performing arts head ofThe Prairie School Jointly they haveperformed for Medieval festivals grapestompings Shakespeare celebrations anda circus parade
Contact The Clearing PO Box 65
Ellison Bay WI 54210-0065
877-854-3225 920-854-9751
(fax) clearingtheclearingorg
theclearingorg
AMERICAN RECORDER SOCIETY
FESTIVAL AND CONFERENCE
University of Missouri at St Louis St Louis MO
July 30-August 2
Attend the second ARS Festival andConference for one day ($150) or allweekend ($350)
Sessions include recorder techniquepedagogy introductions to Orff Suzukiand Flutes and Drums Around the Worldmethods improvisation roundtablediscussions how to conduct yourconsort coached playing sessions forMedieval Renaissance Baroque worldand contemporary repertoire recorderorchestra incorporating percussion intoyour ensemble Also recorder mainte-nance choosing a recorder building aweb site using Sibelius music softwareMini-concerts by the next generation ofprofessionals master classes concerts byMarion Verbruggen and the FarallonRecorder Quartet Exhibition ofrecorder builders music sellers andmore CEUs available
Presenters Louise Austin AnnetteBauer Tish Berlin Frances Blaker Joyce Callanan Louise Carslake
24 March 2009 American Recorder
The Summer Toot is once again in Austin at the beautiful new facility of Concordia University The lushly wooded campus offers air-conditioned classrooms dining and dorm accommodations and is backed by a nature preserve Please join us
Our featured faculty includes Tish Berlin Tom Zajac Mary Springfels The Texas Toot offers a one-week program of classes in Renaissance and Baroque music at all levels featuring expert instructors in re-corder viol early reeds lute harp and voice
Danny Johnson workshop director Susan Richter administrator For more info
httpwwwtootorg or email infotootorg
11th Annual Summer Texas Toot June 14-20 2009 mdash Austin Texas
Mark Davenport Cleacutea Galhano LisetteKielson Lorraine Krige JudithLinsenberg Peter Maund Nina SternMarion Verbruggen Leslie TimmonsJim Tinter Mary Halverson Waldo
Contact Yvonne Miller-Nixon
Conference Administrator
1129 Ruth Dr St Louis MO
63122 800-491-9588 (day)
arsconfplannercharternet
americanrecorderorg
EARLY MUSIC WEEK AT
PINEWOODS CAMP (ARS)
Pinewoods Camp Plymouth MA August 15-22 Director Sheila Beardslee
The Myth amp Magick Creativity andInspiration in Early Music Surely thedeities of Olympus will surround us atPinewoodsndashwhere the myths of earlymusic will be made clear and our staff rsquosldquomagickalrdquo skills will hone and perfectour knowledge and performance of early music and dance
If yoursquove never played a musical instru-ment (but wish you could) or if youstudied music years ago (and fear yoursquoveforgotten) classes in recorder and violwill get you started or help brush off therust Advanced and intermediate playersand singers choose from a wide array ofclasses led by an outstanding faculty of professionals and teachers of earlywinds (recorders reeds brass) strings(viols violin) harpsichord and voice
New staff faces this summer areAnonymous 4rsquos Susan Hellauer voiceand Lisa Terry viol We welcome backDorrie Olsson historical dance andScott Higgs English country dance
We relax with two ponds for swimmingcanoeing a camphouse deck for readingafternoon tea and lots of dancing EarlyMusic Week continues its long traditionof superb teaching in a welcoming com-munity enhanced by special eventspresentations concertsmdashand dancing
Advanced musicians work intensivelyamateurs are engaged and challengedand beginners are always made welcome
Contact Steve Howe Country
Dance and Song Society
PO Box 338 Haydenville MA
01039-0338 413-268-7426 X3
(day) 413-268-7471 (fax)
campcdssorg cdssorgem
MONTREacuteAL RECORDER FESTIVAL
McGill University Montreacuteal QC Canada
September 17-20Directors Matthias Maute Sophie Lariviegravere
Conference consort music recorderorchestra concertsmdashEnsemble Capriceand Quynade (Israel) solo recital byMaurice Steger (Switzerland)
Contact Ensemble Caprice 4841
Garnier Montreacuteal QC H2J 3S8
CANADA 514-523-3611
514-523-1322 (fax)
infoensemblecapricecom
ensemblecapricecom
HIDDEN VALLEY INSTITUTE
FOR THE ARTS
EARLY MUSIC ELDERHOSTEL
Carmel Valley CANovember 1-7 November 8-14Directors Letitia Berlin workshopPeter Meckel HVIA
Enroll for one or both weeks Adults ofall ages welcome
Week I intense classes for upper inter-
mediate to advanced levels Week Ifaculty Letitia Berlin Frances BlakerLouise Carslake Annette Bauer(recorder) David Morris (gamba)
Week II all levels except beginnerClasses include recorder technique viol consort Baroque chamber musicconsort classes for Medieval Renais-sance Baroque and contemporary reper-toire workshop orchestra Week IIfaculty Letitia Berlin Frances BlakerTBA (recorder) Shira Kammen (earlystrings singing Medieval topics) MarySpringfels (viola da gamba)
Evening events include faculty concertstudent concert free-lance playing FreeWednesday afternoon for more playingor sightseeing Improve your playing in asupportive friendly atmosphere withworld-class teachers
Contact Peter Meckel
PO Box 116 Carmel Valley CA
93924 831-659-3115
831-659-7442 (fax)
hvmsaolcom
hiddenvalleymusicorg
wwwAmericanRecorderorg March 2009 25
26 March 2009 American Recorder
Am
herst
AR
S
Festival and
Co
nference
CA
MM
AC
Early M
usic
Week
Canto
Antiguo
Reco
rd
er
at th
e
Clearing
Great L
akes
Suzuki
FluteR
ec
Hid
den
Valley
Eld
erh
ostel
Interlo
ch
en
Early M
usic
Inst
Lo
ngy Intl
Baro
que
Inst
Marin
Head
land
s
Mid
east
Mo
ntreacuteal
Reco
rd
er
Festival
COST $520TW $350T C$1014ED $860 $1035E TBA $799D $389T $675T $210ED $735D $130TNO OF DAYS 814 1-4 7 7 7 5-8 714 6 10 3 6 4ARS DISCOUNT NO YES NO YES NO NO NO NO NO NO NO NONO OF FAC RECORDER FAC 4315 1716 165 85 22 82 543 11 101 1010 96 66NO OF STUDENTS 150wk 60 110 35 19 45 35 20 50 75 60 50RECORDER CLASSLEVELS
LIHIAV
BLIHIAV
BLIHIAV
BLIHIAV LIHIA BLI
LIHIAV LIHIA AV
LIHIAV
BLIHIAV
BLIHIAV
SPECIAL CLASSES USING RECORDERS
CMRMB20ENMROT
RPMRMB20MROPTO
CMRMBRO
MRMBENROPT CRO
RPMPT
CMRMB20MROPT
RPCMRMBENMROPT MBMP RP20
RPCMRMB20ENMTO
CMRMBMRO
NON-RECORDERCLASSES
CWKVPSDO PO
CWKVDT CWVD C O KVPS
CWPKVPST WK VD
CWVPSDO
MUSICALACTIVITIES
FSLSPP FLO FSLSP FS SP FSLP FSP
SLSPPO FSLP P FSLP FS
RECREATION D GS BSTW D FBSW FSO OBSTWO S O G
OTHERS WELCOME SC S SC S S S S SDIRECTTRANSPORTATION SC SBCP SP BCLP BP SB CPUP CL PUP
SBCPUP
TRANSPORTATIONTERMINALS
A50B2 T2 A B T
A10B3 T5
A80B80
A50B10 T10
A20B20 T20
A16B16
A4B3 T3 A20
A15B10 T10
A4B3 T3
ROOMS SD SD SD SD SDC SD SD SDC DBATHS SSP SSPP SP P SSPP SSPP SP P S PFOOD CV C GV CV FV C F CV CV CHANDICAP ACCESS HCD HCD HCD HCD HC HCD HD HCD C HCD HCD C
KEYCOST Includes tuition room (single occupancy unless otherwise noted) meals plus other fees E=estimated T=tuition only D=double occupancy W=one week
NO of DAYS Includes arrival and departure daysARS DISCOUNT Discount offered for ARS members FACULTYRECORDER FACULTY Number of facultyrecorder faculty within that number STUDENTS Average over last two yearsRECORDER CLASS LEVELS B=beginners LI=low intermediate HI=high intermediate A=advanced V=very advanced
SPECIAL CLASSES USING RECORDERS RP=recorder pedagogy C=one-on-a-part consorts MR=mixed Renaissance ensembles MB=mixed Baroque ensembles 20=contemporary music EN=early notation M=master class RO=recorder orchestra P=private lessons available T=technique O=other
NON-RECORDER CLASSES C=choral W=other winds P=percussion K=keyboard V=viols PS=plucked stringsD=danceT=theory I=instrument building O=other
MUSICAL ACTIVITIES F=faculty concert S=student concert L=lecture SP=special production P=organized informal playing O=other
RECREATION D=dancing F=field trip G=gym B=biking S=swimming T=tennis W=waterfrontbeach O=otherOTHERS WELCOME S=non-playing spousesfriends C=children (day care not generally available)DIRECT TRANSPORTATION TO WORKSHOP S=shuttle from airport B=bus C=cab L=limo PU=will pick up P=free parking O=other
TRANSPORTATION TERMINALS A=air B=bus T=train (number indicates miles from workshop to nearest terminal)
ROOMS S=singles D=doubles (with ldquo+rdquo can accommodate up to triples) C=cabins O=other =Graduate dormsBATH FACILITIES S=shared SP=semi-private P=privateFOOD C=college style F=family style G=gourmet V=vegetarianHANDICAP ACCESS H=housing C=classrooms D=dining
INFORMATION SUPPLIED BY WORKSHOP DIRECTORS
2009 SUMMER RECORDER WORKSHOPS
Here are some suggestions foravoiding overuse syndromes Most obvious warm up This meansincreasing your practice time graduallybefore the workshop begins andwarming up yourself and yourinstrument before each rehearsal
Make your playing situation ascomfortable as possible Take along acushion back rest footstool whateverit takes the ear and hand cannot ab-sorb what the bottom cannot tolerate
Be sure your glasses are ideal for the distance from your eyes to themusic desk that usually amounts to anarmrsquos length away (You can select apair at your local drug or departmentstore if you have no serious astigma-
tism) If glare from bright light (thosemarvelous outdoor rehearsals) is aproblem for you you may find that ayellow tint for your glasses is a help
Get your bodily playing equip-ment in the best possible shape beforethe workshop a visit to the dentist tosmooth off a front tooth for a windplayer can make an enormous differ-ence in endurance A layer of plasticwrap over the teeth (before yoursquoveworn a hole in your lip) may also help
Once yoursquove arrived at the work-shop there are ways to ensure thatstress (inevitable) doesnrsquot becomedistress (mostly preventable)
Take reasonable breaks duringrehearsal time and use them to stretchA little aerobics like running in placetakes very little time and gets rid ofthat stiff-from-sitting feeling Get yourfellow ensemble players to massageeach othersrsquo shoulders Other fre-
Do you have a favorite article from years past in AR E-mail that information to Gail Nickless
editoramericanrecorderorg
wwwAmericanRecorderorg March 2009 27
Mo
untain
Co
llegium
Pinew
oo
ds
Early M
usic
Week
Po
rt
To
wnsend
SF
EM
S
Baro
que
SF
EM
S
Ch
ild
rens
SF
EM
S
Med
ieval amp
Renaissance
SF
EM
S
Reco
rd
er
Texas T
oo
t
Wh
itew
ater
Wind
sw
ept
Music
Wo
rksh
op
Wo
rld
Fello
wsh
ip
$800ED $890ED $975 $950 $370T $950 $950 $740E $245 $535D $850E COST7 8 7 7 5 7 7 7 3 6 7 NO OF DAYSNO NO NO YES YES YES YES YES NO NO NO ARS DISCOUNT
125 189 169 102 82 124 76 136 1110 131 83NO OF FAC RECORDER FAC
50 100 100 55 30 70 40 50 110 45 30 NO OF STUDENTSLIHIAV
BLIHIAV LIHI AV
LIHIAV
BLIHIAV LIHI AV LIHIA LIHIA
BLIHIAV
BLIHIAV
RECORDER CLASSLEVELS
CMRMB20TO
CMRMBENROT
MRMB20MROPT
MBMPTO
CMRMBPTO
CMRENMPTO
C20MROPTO
CMR20MPT
CMRMB20ROTO MP
CMRMBMRO
SPECIAL CLASSES USING RECORDERS
WVDTO
CWKVPSDT CPVT
CWKVPSTO
KVDTO
CWPVPSTO O
WKVPSTO
CWVTO
CWPKVD
CKVDT
NON-RECORDERCLASSES
FSLSPP FSP
FSLSPPO FSSP
FSLSPPO
FSLPO
FSLPO SPO FSL PO FSLP
MUSICALACTIVITIES
DGBS DSWFGBSTW
DGBST D
DGBST DO SO
DFSWO RECREATION
S S SC SC S S SC SC OTHERS WELCOME
P SC CPUP SCP SCP SBC LP SPUP P BPUDIRECTTRANSPORTATION
A50B15 T15
A15B7 T6 A59
A20B2 T5 A59
A12B4 T1 A40 A
A20B15 T28 B10
TRANSPORTATIONTERMINALS
SD SD S S CALL S S SD SD SD SD ROOMSSP S SP P P SP P S S S BATHSCGV FV CV CV CV CV CV CV CV FV FOODHCD CALL HCD HCD C HCD HCD HCD HCD HD HANDICAP ACCESS
AR50 AVOIDING ACHES amp PAINSBy Leacuteonie Jenkins MD (c1925- 2000) from the March 1993 AR Vol XXXIV1
quently overused parts such asforearms and hands also respond to massage Quick tutorial on massagestart stroking toward the body and inthe direction of the flow of the veinsmdashupstream from the sorest partgradually work down to include thesore spot Yoursquore trying to move overthe underlying muscle not to rub theskin Thatrsquos why a little oil helps
Your psyche may need some relieffrom overload too Most workshopsare in surroundings that lend them-selves to taking a walk finding a placeto meditate taking in some beauty In creating anything a musical per-formance no less than more static artforms breathing in is as necessary asbreathing out be sure you take time to do it
Not to be forgotten those partiesLate hours and alcohol are stressfultry to balance off the fun yoursquore havingwith your capacity for both Above allenjoy Thatrsquos why yoursquore going
2009 SUMMER RECORDER WORKSHOPS
By Bart Spanhove
The author has been principalprofessor of recorder at the Lemmens-
instituut Leuven (Belgium) since 1984He is also artistic director of the world
famous recorder ensemble the FlandersRecorder Quartet which is set to perform
in concert at the 2009 Boston EarlyMusic Festival He is often asked to serve
as a jury member for internationalrecorder competitions in Canada US
Germany The Netherlands and BelgiumHe has given numerous master classes andlecture demonstrations all over the world
Spanhove is co-author of thesuccessful recorder method Easy Going(Heinrichshofen) and wrote the much-
used book The Finishing Touch ofEnsemble Playing (Alamire 2000
and Moeck 2002 with translations inChinese and German) In 2009
The Recorder Music of Frans Geysenwill come out (Mieroprint)
Currently he is researching practicetechnique for the recorder Daily
Spanhove thinks about how to makepeople happier by making music and
playing the recorder
As a conclusion for the VirtuosoRecorder class during the AmherstWorkshop in 2008 we organized aldquoHappy Hourrdquo for our nine talentedstudents Mee-Jung Ahn (Korea)Emilie Hasselgren and Kristine West(Sweden) Anne Timberlake JosephLewnard Jacob Lodico and BrycePeltier (US) Emiliano Perez(Mexico) and Fanny Massy (France)participated in a quiz that I wrote thenight before with the assistance ofReine-Marie Verhagen
We combined questions regardingmusic theory with practical exercisessuch as middot How long can a player hold a
low f in one breath on an altorecorder (You get one point foreach second)
middot How many times through a scaleis a player able to play in 30seconds (For every octave of theF major scale you get one point)
middot How many different pieces fromthe recorder repertoire can aperson play in the course of twominutes (The other members ofthe group have to guess the nameof the composer before the playercan start the next piece)
middot In one minute list as manydifferent titles as you can fromDer Fluyten Lusthof (TheRecorderrsquos Pleasure Garden) of J J van EyckThe list of questions goes onAt the ldquoHappy Hourrdquo people
were divided into three groupsaccording to dates of each personrsquosbirthday When theoretical questionswere asked (see below) the pointsystem was devised as follows threepoints were awarded when the selected
person of a group could find theanswer himherself two points whenthe selected person needed the help ofthe other group members and onepoint if the group needed the help ofour gracious class assistant Reine-Marie Verhagen (she alwaysknew the answer) No points weregiven if the quizmaster had to supplythe answer
On the next page you find someof my questions There are morewhich we hope to run in a future issueof American Recorder
The quiz was full of fun andsuspense By the end people weremore nervous than when playing aconcert on stage Jacob Lodico of theUS was the winner at Amherst
28 March 2009 American Recorder
Education___________________________________ A quiz for recorder players
wwwAmericanRecorderorg March 2009 29
Try these questions yourselfAnswers appear at the end of thisarticle
The Quiz1 Give the name of Ganassirsquos
treatise of 1535 where heextensively describes the recorder playing and diminutions of his time
2 In which German city is therecorder company Moeck based
3 In the cantata Gottes Zeit ist dieallerbeste Zeit BWV106 JS Bach calls for two altorecorders Give another name for this cantata
4 Of which famous orchestra isFrans Bruumlggen the conductor
5 List three leading Japanesecomposers of excellent solo pieces for the recorder
6 Give the names of recordermagazines published inGermany England and the US
7 What is the fundamental tone of a fourth flute
8 List two recorder makers fromthe Baroque period in England
9 Whatrsquos the title of the recitativeand chorale in the Saint MatthewPassion where the recorder isused
10 Give the names of two famouspublishers in business around1700mdashone in London and one in Amsterdam
11 The opus 10 work by AntonioVivaldi includes six concertiSome of them have beautifulnames Give the names of thefirst three concerti of this opus
12 Whatrsquos a nickname for Jean Jacques Hotteterre
13 The combination of recorder andtraverso was rarely used in theBaroque time Can you name any composers who used thiscombination
14 Which king from 16th-centuryEngland owned a large collectionof recorders and also composedand enjoyed daily recorderplaying
15 How many movements compriseHandelrsquos Sonata in C Op 1 No 7 originally written forrecorder and basso continuo
16 Give the name of Praetoriusrsquostreatise from 1609 that describesthe whole recorder family
17 Name the author of the oldestrecorder method
18 Name Jan Jacob van Eyckrsquosdisability
19 Who pretended around 1930 thatthe recorder was a kind ofclarinet
20 Who doesnrsquot belong in thefollowing group Bertho DrieverKarel van Steenhoven MarionVerbruggen Paul LeenhoutsDaniel Bruumlggen
21 Name the two instrumentsindicated to play the sonataMeiner Mutter of Hans UlrichStaeps
22 Il Pastor Fido was not composedby Antonio Vivaldi but by aFrench composer What was hisname
23 Whatrsquos the nationality of themusic company Zen-On
24 CPE Bach composed abeautiful trio that includes a bassrecorder What are the other twoinstruments
25 Give the names of the fourmovements of Bachrsquos partita forsolo traverse flute BWV1013
26 Which excellent playersperformed as the recorder trioSour Cream
27 A recorder normally has eightfingerholes Despite this musichistory describes the recorder as ldquoune flucircte agrave neuf trousrdquo (a flute with nine fingerholes)Explain why
28 Give the French name for vibratoperformed by finger movementsalone on a wind instrument
29 Who wrote in his diaryldquohellipbeyond anything in the wholeworld the wind-music when the
Answers to
Bart Spanhoversquos Quiz1 La Fontegara2 Celle3 Actus Tragicus4 The Orchestra of the
Eighteenth Century5 R Hirose M Ishii and
M Shinohara
6 Windkanal or Tibia (both ofGermany) The Recorder(England) American Recorder(US)
7 B8 The most famous English
recorder makers around 1700Bressan and Stanesby (the latterbeing both senior and junior)
9 O Schmerz Hier zittert das gequaumllte Herz
10 Walsh (and Hare) (of London)Roger (of Amsterdam)
11 La Tempesta de Mare La Notte Il Gardelino
12 Le Romain13 JB Loeillet J J Quantz
JJ Hotteterre or J B de Boismortier
14 Henry VIII15 Five16 Syntagma Musicum17 Sebastian Virdung Musica
Getutscht und Ausgezogen (1511)18 Blindness19 Igor Stravinsky20 Marion Verbruggen21 Alto recorder and piano22 Nicolas Cheacutedeville23 Japanese24 Viola and cembalo25 Allemande Courante Sarabande
Bourreacutee26 Kees Boeke Walter van Hauwe
and Frans Bruumlggen27 Before 1670 the player could
choose how to hold the recordermdashleft hand or right hand at the topThis meant that recorder makersdrilled two holes to accommodatethe little finger of the hand thatended up at the bottom Theunused hole was sealed with beeswax
28 Flattement29 Samuel Pepys30 Flanders Recorder Quartet
30 March 2009 American Recorder
Lazarrsquos Early Music(866) 511-2981 jblazaraolcom
wwwLazarsEarlyMusiccom
292 Gibraltar Dr 108 Sunnyvale CA 94089
Strings amp Early Winds
ModernBaroque Strings Viols Vielle
Kuumlng Moeck Mollenhauer Paetzold Yamaha Ehlert
Wenner Baroque flutes
Wendy Ogle Lu-Mi Ifshin Snow
Competitive Prices
Sent on Approval
Personalized Service amp Advice
R
E
C
O
R
D
E
R
S
ldquoGO FOR NEO-BAROQUErdquo
Andrew Charlton Partita Piccola For 4 Recorders (SATB)
[Prelude Allemande Courante Musettemdash
a neo-baroque epitome] (Score amp Parts PBE-25) $795
Andrew Charlton Suite Moderne For 3 Recorders (ATB)
[Baroque shapes but Hindemithian harmony]
(3 Playing-Scores PBE-44) $995
Southwest of Baroque David Goldsteinrsquos ldquobaroque Suiterdquo
on Cowboy Songs For 2 Recorders (SA) (PBE-2) $350
The Provincetown Bookshop Inc
246 Commercial Street Provincetown MA 02657 Tel (508)487-0964
A good source for Recorder amp Viol Music of all publishers
Provincetown Bookshop Editions
angel comes down which is sosweet that it ravished me andindeed in a word did wrap upmy soul so that it made me reallysick just as I have formerly beenwhen in love with my wiferdquo
30 Whatrsquos the English name for afamous recorder ensemble calledin its country Vier op lsquon Rij
wwwAmericanRecorderorg March 2009 31
by Tim Broege timbroegeaolcom
December 11 2008 was a specialday for American music the
100th birthday of Americarsquos greatestliving composer Elliott Carter Cele-bratory concerts took place in manyvenues including Carnegie Hall inNew York There the Boston Sym-phony led by James Levine played anew work by Carter Interventions forpiano and orchestra The soloist wasanother well-known conductor DanielBarenboim who is no mean hand atthe keyboard to say the least
Itrsquos remarkable that wonderfulnew compositions continue to pourforth from Carterrsquos pen His musicsparkles and frolics packing lots of musical events into engrossingstructures Much of his music isavailable on CD so if you missed thecelebrations you can easily have yourown belated birthday party for Carter
Although he has never written for recorder (one of our prominent
recorder soloists should commissionhim) Carter has produced manychamber pieces featuring woodwindsSince many recorder players double orstarted out on woodwinds such piecesas the Sonata for Flute Oboe Cello ampHarpsichord (1952) Enchanted Preludes(1988) for flute and rsquocello Espritrudeesprit doux (1985) for flute andclarinet or the Oboe Quartet (2001)may hold special interest
If you missed Charlie Rosersquosexcellent interview (broadcast onDecember 10) with Carter Levine andBarenboim you can see it atwwwcharlierosecomview
interview9774mdashessential viewingfor fans of contemporary music
We note with sadness the passingon January 23 of another distin-guished American composer GeorgePerle An authority on the music ofAlban Berg and the Second VienneseSchool Perle developed a uniquelyrical style based upon a free approachto 12-tone and serial procedureswhich he dubbed ldquo12-tone tonalityrdquo I recommend listening to his SerenadeNo 3 for Piano amp Orchestra (1983) Six Etudes for Piano (1973-76) and the Pulitzer Prize-winning Wind Quintet No 4 (1985)
Another leading American com-poser Leon Kirchner is thankfully still with us having turned 90 onJanuary 24 Like Perle Kirchner has a highly personal and expressive styleA birthday concert was held at MillerTheater at Columbia University inNew York City NY Participatingmusicians included flutist PaulaRobison pianist Jeremy Denk and theClaremont Trio with the composerpresent to discuss his music
An excellent way to get to knowKirchnerrsquos music is through his stringquartets Just in time for his birthdayAlbany Records has released a fine CDof all four played by the Orion StringQuartet Quartet No 4 was written in2007 (when the composer was 87mdasha veritable youngster compared toCarter) The composer Allen Shawnhas described that quartet asldquoluminous and passionaterdquo words aptto describe much of Kirchnerrsquos output
Speaking of contemporary musicI have been spending pleasant hoursperusing the Catalog of ContemporaryBlockflute Music available online atwwwblokfluitorg from StichtingBlokfluit This Netherlands founda-tion offers a contemporary recordercatalog and a catalog of historicalrecorder music Access to both is byfree membership
For those who havenrsquot yet used thecontemporary catalog I urge you togive it a try You can search by manyparameters such as composer title orspecific instrumentation A search forldquovoice fluterdquo turned up a list thatincluded Moon Dances Three AmericanSketches by composer Walter Mays(intended for solo alto recorder butalso playable on tenor or voice flute)Searching the name of English com-poser Edmund Rubbra produced a listof eight works that employ recordersincluding the intriguing CantataPastorale opus 92 for high voice altorecorder rsquocello and harpsichord
Searching ldquofemale composersrdquo fora piece using ldquoBaroque altordquo yieldedAfter Meditation by Ros Bandt ofAustralia
What an easy and tremendouslyvaluable way to find new music
On the Cutting Edge___________________________________Birthdays composers and
recorder music catalogs
Elliot Carter
(photo by Meredith Heuer)
Question How does Renaissancefingering differ from standard
fingering on the recorder Is one superior tothe other Do you need a special recorder touse Renaissance fingering and if so can itbe played with regular recorders Is there afingering chart that shows RenaissancefingeringmdashWilliam BaumannWaterford WI
Answer from Carolyn Peskin Music composed in the
Renaissance the historical periodextending from about 1450 to 1600was predominantly vocal and highlycontrapuntal Recorders which oftendoubled singers at the octave orrendered vocal pieces instrumentallywere designed to make the individualmelodic lines clearly audible
Most 16th-century consortrecorders were one-piece instrumentswith large toneholes and a wide borethat contracted slightly starting nearthe upper fingerholes and thenexpanded gently near the lowest holesThat ldquochoke-borerdquo design togetherwith the voicing and tonehole con-figuration favored the fundamentaltone (first harmonic) producing astrong open sound that was aboutequally loud throughout theinstrumentrsquos range
Such recorders had a useful rangeof only about an octave plus a sixthwhich was nevertheless sufficient for the music of their day MostRenaissance-style consort recordersmade today are based loosely uponsurviving 16th-century instruments ofthe above type and are designed toapproximate the range timbre andvolume of those early instruments
Our present-day ldquoregularrdquorecorders are Baroque-derived instru-ments based loosely upon survivingrecorders from the late 17th and early18th centuries They are three-pieceinstruments with small toneholes and abore that is narrower and moretapering than a Renaissance boreextending their useful range upward totwo octaves plus a whole tone
Baroque recorders are soft andsweet-sounding in their bottom octavebut louder and brighter in the secondoctave Their lowest notes are espe-cially weak because they must be blowngently to prevent overblowing into thesecond octave Such instruments aresuitable for Baroque solo and chamberrepertoire but not very satisfying forRenaissance polyphony
Due to their different timbre andvolume Renaissance recorders will not blend well with Baroque onesFurthermore the most historicallyauthentic Renaissance-style recordersare tuned in a ldquomeantonerdquotemperament that facilitates the playingof pure major thirds Such instrumentsmake Renaissance music easier to playin tune but will produce intonationproblems if played with Baroquerecorders which are tuned in equaltemperament For the above reasonsRenaissance and Baroque recordersshould not be played together
Renaissance fingering will not work on todayrsquos neo-Baroquerecordersmdashmost of which haveldquomodernrdquo Baroque fingeringcommonly called ldquoEnglishrdquo fingering
because it was developed fromhistorical Baroque fingering by ArnoldDolmetsch in England during theearly 20th century Renaissancefingering is less standardized partlybecause a number of different originalinstruments are used as models andpartly because makers wish to improvethe intonation tone quality andorplayability of certain notes Howeverthe following generalizations apply tomany of todayrsquos Renaissance-styleconsort recorders
First in the lower octave modernBaroque fingering works for mostnotes but is often too flat for the fourth scale degree (eg soprano F)requiring removal of finger 7 (right-hand pinky) and is too sharp for theraised fourth degree (eg soprano F)requiring addition of finger 7
Modern fingering is also usuallytoo sharp for the lowered seventhdegree (eg soprano B) The correctfingering for that note varies from oneinstrument to another
In the upper octave modernfingering works for the first third andfifth scale degrees (eg soprano C Eand G) but usually not for other notesSome notes require half-holing with aright-hand finger and notes above thefifth scale degree may require additionof several fingers to bring them in tuneHistorical Renaissance fingering forthe second scale degree (eg sopranoD) is especially awkward because all ofthe fingerholes and the thumbholemust be uncovered Therefore somemakers substitute modern fingering forthat note
Although Renaissance fingeringand meantone tuning are recom-mended for the best blend some
Q amp A___________________________________ Renaissance recorder fingering
Send questions to Carolyn Peskin QampA Editor 3559 Strathavon Road Shaker Heights OH44120 carolynpeskinstratosnet
32 March 2009 American Recorder
wwwAmericanRecorderorg March 2009 33
makers of handcrafted Renaissance recorders will provide modern fingeringandor equal temperament upon request and Moeck Verlag offers a choice ofRenaissance or modern fingering for most sizes of its factory-producedRenaissance Consort series
For a most satisfying blend Renaissance ensembles should purchase amatched set of recorders tuned and voiced to be played together Renaissanceconsort sets usually include two different alto recorders one in G (lowest note g)and one in F (lowest note f ) The ATTB combination with the G-alto is best formost of the quartet music composed between 1450 and 1550 while the SATBcombination with the F-alto is more practical for much late 16th-centuryrepertoire (Playing the G-alto requires learning G-alto fingering or elsetransposing the alto line down a whole tone and using F-alto fingering)
In addition to consort recorders some makers offer ldquoGanassirdquo sopranos andaltos based upon fingering charts in Silvestro Ganassirsquos recorder tutor Fontegarapublished in 1535 and a single original instrument in the Vienna Kunst-historisches Museum Because of their special bore design (cylindrical with aflaring bell) Ganassi recorders have a range of two octaves and a sixth withcumbersome fingerings in the third octave They are used mainly as soloinstruments for playing intricate ornaments of the type found in Fontegara
Also sometimes included in the ldquoRenaissancerdquo category are ldquotransitionalrdquo(early Baroque) recorders which are based upon originals from the first half ofthe 17th century They have a bore that is wider than a Baroque bore but contractssharply near the lower end resulting in strong low notes and at least a full two-octave range usually with modern fingering Most transitional recorders aresopranos or altos designed for playing Jacob van Eyckrsquos variation sets or thehighly ornamented Italian solo repertoire of the late-16th and early-17thcenturies
However wide-bore consortrecorders with a range of at least twooctaves and modern fingering shouldalso be regarded as transitionalinstruments They differ somewhat intimbre and volume from typicalRenaissance consort recorders
Handmade wide-borerecordersmdashconsort Ganassi andtransitionalmdashare obtainable frommakers who advertise in AmericanRecorder the Prescott Workshop andthe Von Huene Workshop in the USJean-Luc Boudreau in Canada andStephan Blezinger in GermanyContact them andor visit their websites to find out what kinds ofrecorders they are currently makingand to get an idea of their prices andwait times
Factory-produced wide-borerecorders from Kobliczek Moeck andMollenhauer are available frominstrument dealers who advertise inAR New and used recordersincluding wide-bore models fromimportant makers in the US andabroad are also obtainable from Uni-corn Music For further informationvisit wwwbuyrecorderscom For a comprehensive database of recordermakers worldwide see Nicholas SLanderrsquos ldquoExtant Recorder Makers amp Retailersrdquo at wwwrecorder
homepagenetmakershtml
REFERENCES
CONSULTEDBauer Winfried
wwwrecorder-fingeringscomIncludes interactive fingeringcharts from modern makers andhistorical treatises Charts forRenaissance consort recorders byAdriana Breukink Adrian BrownBob Marvin and Tom Prescottwere consulted
Brown Adrianwwwadrianbrownorgrec
order_typesconsorthtml
Our present-day ldquoregularrdquo recorders are
Baroque-derived instruments based loosely
upon surviving recorders from the
late 17th and early 18th centuries
34 March 2009 American Recorder
The Von Huene Workshop Incis pleased to announce agreements with
CoolsmaZamra
to serve as their authorised service agents in the US
For more than 40 years the von Huene Workshop has produced some of the finest recorders in the world Our skilled staff can revoice retune and repair even the most seriously damaged instruments All repairs are done right on the premises and most can be completed within a week
For warranty repairs please include a copy of your original sales receipt
j 65 Boylston Street Brookline MA 02445 i(617) 277-8690 Fax (617) 277-7217 servicevonhuenecom
An informative article aboutrecorder sizes in Renaissanceconsorts
Brown Adrian and David LasockildquoRenaissance Recorders andTheir Makersrdquo AmericanRecorder Vol XLVII No 1(January 2006) pp 19-31 An important article based upon Brownrsquos extensive researchon 120 of the 200 surviving 16th-century recorders
Ganassi Silvestro Opera IntitulataFontegara Ed Hildemarie Peter(Berlin-Lichterfelde RobertLienau 1959) Modern edition ofthe oldest known treatise devotedentirely to the recorder (publishedin 1535) Includes 16th-centuryfingering charts
Griscom Richard and David LasockiThe Recorder A Research andInformation Guide (New York andLondon Routledge 2003) Anannotated bibliography including
references on construction anddesign of historical recorders
Levin Philip ldquoQampArdquo AmericanRecorder Vol XXXVIII No 4(September 1997) p 27Explains in simple terms thedifference between Renaissanceand Baroque recorders
Morgan Fred ldquoA Recorder for theMusic of JJ van EyckrdquoAmerican Recorder Vol XXV No 2 (May 1984) pp 47-49Describes the bore design of arecorder suitable for playing Van Eyckrsquos variation sets andcompares it with bore designs ofother types of recorders
Myers Herbert W ldquoRecorderrdquochapter in A Performerrsquos Guide toRenaissance Music ed JefferyKite-Powell (New York SchirmerBooks 1994) A 2nd edition isnow available published in 2007by Indiana University Press
FEATURING MUSICA PACIFICA
JUDITH LINSENBERG
RECORDERS____JS BACH TRIO SONATAS Arr by
Linsenberg from Trio Sonatas for Organ BWV525-
530 Sonata No 1 in E
major (transp to B
)
BWV 525 Sonata No 2 in C minor (transp to E)
BWV526 Sonata No 3 in D minor (transp to G)
BWV 527 Sonata No 4 in E minor BWV 528
Sonata No 5 in C major (transp to F) BWV529
Sonata No 6 in G major (transp to C) BWV 530
Virgin Classics Veritas 1993
____FIRE BENEATH MY FINGERS Showcases
three legendary composers who were also
virtuoso performers Vivaldi Concerto in F major
after RV 98570 ldquoLa Tempesta di Marerdquo Sonata in
A minor RV86 Concerto in G minor RV106 Con-
certo in Bb major RV503 Sammartini Concerto in
F major Tartini Concerto in A major D91 Dorian
____MANCINI CONCERTI DI CAMERA Seven
sonatas by Francesco Mancini plus one work each
from his contemporaries Francesco Durante amp
Domenico Scarlatti Highly recommended citation
from the 2000 Vivaldi Prize for Recordings of Italian
Early Music--Giorgio Cini Foundation Dorian
____MARAIS MARIN PIEgraveCES EN TRIO POUR
LES FLUcircTES VIOLON amp DESSUS DE VIOLE
Maraiss complete works for two treble lines and
bass with varied instrumentation and orchestrations
2-CD set $24
____SCARLATTI CONCERTI DI CAMERA
Seven sonatas for various instrumentations no
poor relations to the composers much more widely-
known vocal output All recorder players should
certainly have thisndashEarly Music Review
____TELEMANN CHAMBER CANTATAS
Five cantatas from Harmonischer Gottesdienst two
sonatas from Sonatas Corellisantes 2003 Chamber
Music America WQXR Record Award for best
chamber music recordings
____VIVALDI LA NOTTE Concerti per strumenti
diversi Award-winning CD featuring five Vivaldi
concerti two sonatas
AND OTHER RECORDING
ARTISTS FROM CALIFORNIA ____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 American Bach Soloists Jeffrey
Thomas conductor Dan Laurin Hanneke van
Proosdij recorders Christmas Concerto featuring
unique 1725 London version with solos transcription
for two recorders instead of two solo violins in
three of the six concertos Delos
____CANCcedilONIEgraveR Annette Bauer recorder
multi-instrumentalist Tim Rayborn Shira Kammen
strings Phoebe Jevtovic voice in a new early
music group devoted to repertoire from the
12thndash15th centuries as well as traditional music
from related regions (the Balkans Scandinavia
Middle East) Medieval instrumental music played
on a variety of instruments including strings
recorders and percussion Medieval dances and
motets bring to life the rich world of ancient
European music-making
____SACRED AND SECULAR MUSIC FROM
RENAISSANCE GERMANY Ciaramella-Adam amp
Rotem Gilbert Doug Millikan Debra Nagy
recorders with other winds shawm sackbut amp
organ Medieval amp Renaissance sacred music with
reconstructions of folksongs amp arrangements based
on contemporary improvisation
____BURIED TREASURE TOPAZ amp SAPPHIRE
Ensemble Vermillian Frances Blaker recorders
Barbara Blaker Krumdieck cello Elisabeth Reed
gamba Katherine Heater harpsichord amp organ
Transcriptions of Buxtehudes Op 1 other pieces by
Buxtehude works by Biber Johann Schop
Schmelzer Fafarela 2007
____STOLEN JEWELS Ensemble Vermillian
Frances Blaker recorders Barbara Blaker
Krumdieck Elisabeth Reed Katherine Heater 17th-
century German music adapted by Blaker I love
violin music so I steal the music and rearrange it
for my own instrumentrdquo Buxtehude Op 1 Biber
Rosenmuller Krieger JM Bach Fafarela
Recordings
____SENFL (LUDWIG) Farallon Recorder Quartet
(Letitia Berlin Frances Blaker Louise Carslake
Hanneke van Proosdij) 23 lieder motets and
instrumental works of the German Renaissance
____DOLCE MUSICAndash A CONTEMPLATIVE
JOURNEY Eileen Hadidianflutes recorders
Natalie Cox harps Celtic Renaissance and
Medieval melodies for recorder and flute with
Celtic harp Healing Muses 2005
____REFLECTIONS MUSIC TO SOOTHE AND
UPLIFT THE SPIRIT Eileen Hadidian recorder amp
Baroque flute with Celtic harp and cello Celtic
traditional Renaissance amp Medieval melodies
Healing Muses
____AN EVENING WITH BACH Voices of Music
Hanneke van Proosdij Louis Carslake Dan Laurin
recorders Joanna Blendulf Elizabeth Blumenstock
Rodney Gehrke Lisa Grodin Katherine Kyme
Jennifer Lane Victoria Gunn Pich Susanne Ryden
William Skeen David Tayler Renaissance and
Baroque music centers on fine singing Instantly
recognizable Air on a G String Bachrsquos Prelude in
G Major (solo theorbo for rsquocello) plus lilting vocal
performancesmdashRydenrsquos weightless soprano on
Bist du bei mir Lanersquos rich alto on Es is vollbracht
____BACH amp TELEMANN SONATAS PRELUDES
amp FANTASIAS Voices of Music (Hanneke van
Proosdij Joanna Blendulf Rodney Gehrke William
Skeen David Tayler) Beautiful chamber music by
Bach and Telemann
IN STOCK (Partial listing)____ALLA TURCA FUX CALDARA BADIA
Matthias Maute amp Sophie Lariviegravere recorders
Monika Mauch soprano Vocal music of the church
accompanied by Ensemble Caprice plus sonatas
and other instrumental pieces Analekta
____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 John Daniels Sonja Lindblad
recorders Peter Sykes harpsichord Trio sonata
arrangement by Johann Christian Schickhardt
____LES
AMIS DU
BAROQUE
Paul Nauta recorder amp
Baroque flute Koen Dieltiens recorder Music by
Bassani Corelli Vivaldi etc Highlight Intl
____LES SEPT SAUTS BAROQUE CHAMBER
MUSIC AT THE STUTTGART COURT Matthias
Maute amp Sophie Lariviegravere recorders amp traverso
Ensemble Caprice Charming repertoire by
Schwartzkopff Bodino Detri Atma Classique
____TASTE OF PORTIQUE LEnsemble Portique
Early and contemporary chamber musicmdash
Bach Telemann Boismortier and others
____TELEMANN ALLA POLACCA REBELndash
Matthias Maute recorders amp traversondash
plays concerti and suites by GP Telemann Dorian
____TELEMANN CANONS AND DUOS Lisette
Kielson amp Patrick OMalley recorders LEnsemble
Portique Telemann Canons meacutelodieux amp Sonates
sans basse 2-CD set LEP Records
____20TH CENTURY MUSIC FOR RECORDER amp
PIANO Anita Randolfi recorders Music by Jacob
Bartok Leigh others for recorder amp piano
____VIVALDI AND THE BAROQUE GYPSIES
Matthias Maute amp Sophie Lariviegravere recorders
Ensemble Caprice Gypsy music taken from
Uhrovska zbierka (now Slovakia) plus Vivaldi
____VIVALDI SHADES OF RED CONCERTOS amp
SONATAS FOR RECORDER amp STRINGS Matthias
Maute recorders REBEL Stylish high octane
readings of some of Vivaldis most beloved pieces
including the popular and raucous Concerto alla
Rustica stunningly colorful Sonata on La Follia and
four exuberant recorder concerti Bridge
____WINDFIRE Charmaine Delmatier recorder
Steve Kostelnik classical guitar Terry Hale bass
Erik Hokkanen violin Refreshing mixture of Andrew
Lloyd Weber American blues flamenco Celtic and
one original piece ltwwwyermomusicomgt
Please indicate above the CDs you wish toorder and print clearly the following
Name ____________________________________
Daytime phone (_____)______________________
Address__________________________________
CityStateZip _____________________________
Check enclosed for
_____ single CDs x $____ = $______
_____ 2-CD sets x $____ = $______
TOTAL $______
Please charge the above amount to my
MasterCard Visa or AmEx
_______________________________________
Exp Date ____________
Cardholderrsquos signature ______________________
Mail to
ARS 1129 Ruth Dr St Louis MO 63122-1019 US
You may fax a credit card order to 314-966-4649
NEW You may order CDs online using PayPal at
wwwamericanrecorderorgordercdromshtm
Order your recorder discs
through the ARS CD Club
The ARS CD Club makes hard-to-find or limited release CDs by ARS members
available to ARS members at the special price listed (non-members slightly higher)
All CDs are $15 ARS members$17 Others unless marked otherwise Two-CD sets are
$24 ARS members$28 Others Add Shipping and Handling $2 for one CD $1 for each
additional CD An updated listing of all available CDs may be found at the ARS
web site ltwwwamericanrecorderorggt
The first meeting of the newly-formedFort Myers Recorder and Early
Music Ensemble was January 26 atthe Florida home of chapter rep Sue
Groskreutz For this year the groupis somewhat loosely organized andplans to meet for extended sight-reading Repertoire at the first meetingcomprised everything from Renais-sance duets to chamber music involv-ing three treble parts and continuo
Among the five musiciansattending the first meeting (photobelow front row Elizabeth Spang SueGroskreutz back row Suzanne FergusonSibylle Baumgartner Arlene Sowka) allplayed recorder three harpsichord
and one each played traverso violinand gamba Due to the scarcity ofrecorder players south of the Sarasotaarea modern string players are alsoincorporated into this ensemble
The group decided not to chargedues and to meet at Groskreutzrsquoshome For more information pleasecontact Groskreutz at 239-267-1752spgembarqmailcom Snowbirdsdrifting through the area are welcome
Last fall at the requestof a student Kay Hettich
(inset below right) taught abeginning recorder class atthe Redding (CA) Senior
Center The five-weekclass was so successful thatmost participants haveformed a bi-weekly noviceensemble (right) coachedby Hettichmdashwho consid-ers them her ldquohatchedeggsrdquo
A new batch of ldquoeggsrdquostarted to incubate when afive-week class began on February 20Other senior center members havebecome interested as they heard oftheir colleaguesrsquo success These noviceplayers comprise some who previouslyread music and played instruments as well as people who are totally new to music notation
One student has also formulated amaxim ldquoEveryone at age 40 ought tolearn to play the recorder if heshehasnrsquot alreadyrdquo Just think how theworld would be transformed byshifting our focus to music
After Lynn Whidden attendedthe Montreacuteal Recorder Festival lastfall when the ARS Board met inQuebec she joined the ARS and nowrelays news of the lively interest in therecorder exhibited by a group underthe new leadership of Brent Legg ofBrandon University in ManitobaCanada Although his hands wereldquostill partly frozenrdquo he wrote that theBrandon University Collegium
Musicum in collaboration with theWaverley Park Recorder Club is
preparing a spring concert calledldquoEnglandrsquos Golden AgerdquoRepertoire spans the 16th century
from Henry VIIIrsquos accession in 1509to the death in 1603 of Elizabeth Iand includes solo songs four- andfive-part settings of Renaissancedances (with dancers) three- to five-voice madrigals and ldquobig-bandrdquoarrangements of William Byrdrsquos TheBells and The Dargason as re-imaginedby Gustav Holst (further re-imaginedfor recorders and percussion)
Of the 15 collegium membersseven are encountering the recorderfor the first time since elementaryschool The Collegium Musicumpromotes the study of early music at the university and is open to theuniversity community and the generalpublic This year there are five com-munity participants with interest fromseveral more both within and outsideof the university For informationcontact BrentLegggmailcom
January 16 marked the thirdannual recorder workshop of threeFlorida groups the Pasco Collegium
Recorder Consort of Hudson theImperial Recorder Consort of
36 March 2009 American Recorder
Chapters
amp Consorts___________________________________Workshops and activities from
coast to coast in the US and Canada
Lakeland and the Pilgrim Pipers Recorder Consort of St Petersburg Theygathered for a morning tackling selections by Banchieri Monteverdi PurcellCorelli Mendelssohn Bach Mozart and Glen Shannon Each group presenteda piece for the other participants Sweet Georgia Brown by Ben Bernie (St Pete)a Sonata by Sammartini (Lakeland) and The Gospel Train arr by KW Ford(Pasco) The 29 participants were led by Marlene Cracraft (Pasco) Jane
Spencer (Lakeland) and Elizabeth Snedeker (St Pete) Tom Bickley (photo below) directed the fall workshop of the Mid-Peninsula
Recorder Orchestra in Cupertino CA The 30 players started with Gregorianchants written in ldquooldrdquo notation Bickley gave basic instruction on how tointerpret the notes and then had the group sing the chants prior to playing them
The workshop theme of ldquoThe Articulate Recorderrdquo was literally played out as the music presented used variations in tonguing phrasing and breathingOther repertoire included a Kyrie by Tomas Luis de Victoria Bachrsquos Jesu Joy ofManrsquos Desiring a double-choir piece by Gabrieli Christopher Tyersquos In NomineXIII and a Purcell chaconne The workshop ended with a rhythmically-challenging minimalist piece by Bickley entitled Beginning composed for theWaldorf School teacher training program George Greenwood reports that thegroup had a productive event and plans to ask Bickley to lead a future workshop
wwwAmericanRecorderorg March 2009 37
A Muse in the DesertThe sound of a pin dropping hellip thesound of eager minds and fingersabsorbing information and inspira-tion hellip the sounds of ldquoNuevaEspantildeardquo Spanish- and indigenous-influenced music of the 1600s in theNew World These were the soundsof the Desert Pipes (Phoenix AZ)chapterrsquos fall workshop given byEileen Hadidian On a Saturdaylast October 30 players from all overArizona gathered to learn from andbe inspired by the founder of a SanFrancisco Bay Area group dedicatedto sharing music for healing inhealthcare settings Healing Muses(wwwhealingmusesorg)
The day began with relaxationstretching and breathing exercisesfollowed by travels to Peruacute MexicoGuatemala and Colombiamdashhighchurch music vernacular pieces anda mixture of the two Participantsenjoyed the historical and contextualbackground provided as an overviewfor the day and for each piece
Remarkably the sound heardbetween pieces and passages was anenergy-filled quiet the attentivestillness of active engagement in theworkshop experiencemdashnot the chat-tering noodling and conversationsthat often occur when the musicstops That activity was reserved forthe breaks when participants couldenjoy the cool (at last) outdoorschat with Hadidian and peruse the popular garage sale (to benefitDesert Pipes) of previously-enjoyedbooks and other treasures
On Sunday Hadidian sharedher expertise and inspiration in indi-vidual and group coaching sessionsThe weekend was a special experi-ence and Desert Pipes memberslook forward to the next visit of this Healing Muse
Ann Koenig Scottsdale AZannisalesprocom
Members
of three
Florida
groups
met
in January
for a joint
workshop
CHAPTER NEWS
Chapter newsletter editors and publicity officers should send materials for publication toAmerican Recorder 7770 South High St Centennial CO 80122-3122
editoramericanrecorderorg Also send short articles about specific activities that haveincreased chapter membership or recognition or just the enjoyment your members get out of
being part of your chapter Digital photos should be at least 3rdquox4rdquox300dpi TIF or unedited JPG files Please send news to the AR address above and to the following
ARS Office 1129 Ruth Drive St Louis MO 63122-1019 ARSrecorderAmericanRecorderorg
and to Bonnie Kelly Chair Chapters amp Consorts Committee 45 Shawsheen Rd 16 Bedford MA 01730 bksharpaolcom
TO THE STARS
AND BEYONDThe cover of the November magazinegenerated a few comments Some werenrsquotsure how to interpret the title (in theartistrsquos native German it could besomething close to ldquostarlit moonrdquo)Longtime member Carolyn Peskin wrote to offer her vision of that cover
In the beginning the Great Spiritinvented Mr Sun to light the day andMiss Moon to light the nightHowever as Miss Moon floated up inthe sky all by herself like a big yellowballoon she began to feel very lonelyso one night to relieve her lonelinessshe decided to take out her recorderand make music
But when she started to playsomething miraculous happened Not only beautiful melodies but alsoyellow dust poured out of the bottomof her recorder and the dust particlesimmediately coalesced to form yellowstars As she continued playing moreand more stars were created and theyfloated up around her filling the nightsky
At last Miss Moon was happy fornot only was she herself able to enjoyher music but she now had a wholecrowd of starry companions to enjoy itwith her And if you listen very care-fully on a quiet night you might beable to hear her recorder and thatstarry choir humming along
Carolyn Peskin
LOCATING EARPLUGSI read with interest the QampA in theNovember lsquo08 AR regarding hearingloss and use of earplugs Where do you get musicianrsquos earplugs
Dolly Hirata Kensington CA
CAROLYN PESKIN PROVIDED THIS
INFORMATION Musicianrsquos earplugs arecustom made for individual usersThey can be purchased only fromlicensed hearing professionals (ieaudiologists and hearing instrumentspecialists) To find a licensed hearingprofessional in your area look underldquoaudiologyrdquo or ldquohearingrdquo in your localyellow pages
For information about how musi-cianrsquos earplugs are produced visitwwwetymoticcomephperme-w
tbaspx That web page also has a linkto contact information for authorizedlabs that make the custom earmolds formusicianrsquos earplugs If the yellow pagesdo not prove helpful those labs canrefer you to a licensed hearing pro-fessional in your area from whom youcan purchase musicianrsquos earplugs
MORE FROM CAROLYN
THIS TIME ABOUT OSKARIn the September 2008 AR the musicreview by Leslie Timmons of the Oskarpieces by Matthias Maute mentionedthat Carolyn Peskin had translated twoof the Oskar books from German toEnglish People can obtain thetranslations free of charge as Wordattachments by contacting her atCarolyn Peskin 3559 StrathavonRoad Shaker Heights OH 44120carolynpeskinstratosnet
ANOTHER KIND OF
MUSIC-READING
GLASSESIn the January 2009 issue of AmericanRecorder therersquos something (in myopinion) the ldquoRecorder with GlassesObbligatordquo article omitted which canenable a nearsighted musician to avoidneck strain in the use of bifocals
Irsquove found the solution to thisvexing problem is to have onersquos bifocalsconstructed differently [from] normalMy optometrist was willing to work
38 March 2009 American Recorder
Response___________________________________Two kinds of vision
the better to see with and (not) to hear with
Honeysuckle Music
Recorders amp accessories
Music for recorders amp viols
Jean Allison Olson1604 Portland AveSt Paul MN 55104
6516448545jeanhoneysucklemusiccom
Responses from our readers are welcomedand may be sent to American Recorder 7770 South High St Centennial CO
80122 Letters may be edited for length and consistency
ARS Membership Enrollment and Renewal I am a new member I am or have been a member
USCanadian Memberships Foreign Memberships $45 One Year $55 Foreign One Year $75 Sustaining (Receive a Hottetere Hands Pin) $100 Two Years $80 Two Years
LIFETIME MEMBERSHIP Single Dual Regular Lifetime Member $1000 (2) $1500 (4) 4 installments of $250 available) Loyalty Lifetime Member (1) $ 800 (3) $1200 (4) 4 installments of $200 available
(1) For members who have maintained membership for five consecutive years (2) $750 is Tax Deductible (3) $600 is Tax Deductible (4) Installments available Student Memberships Other Memberships (Enclose proof of full time enrollment) $65 One Year Workshop Membership
$25 USCanadian One Year $125 One Year Business Membership $45 USCanadian Two Years $30 Foreign One Year $5 Additional Charge for Dual Address or Dual Name
Do not list my name in the ARS Print Directory Do not list my name on the ARS Online Directory Do not release my name for recorder related mailings Do not contact me via email
My address telephone and email address are the same as last time
______________________________________ _________________________ Name Phone Number ______________________________________ _________________________ AddressCityStatePostal Code Email Address Please charge to (Circle one) VISAMasterCardAMEXDiscover CC________________________________ Expiration Date ______________ Signature of cardholder_______________________________________________________ Clearly Print Name as it appears on Card________________________________________
Renew by Mail Online By Phone or by Fax
Demographic Information (optional information collected only to enhance ARS services and provide statistics to grant makers)
I am a member of ARS Chapter or Consort____________________________ I am the Chapter Contact Your age Under 21 (21-30) (31-40) (41-50) (51-60) 61-70) (71+) Please check all that apply
I am a Professional Recorder Performer
I wish to be included in the list of Recorder Teachers in the ARS Directory and website I Teach (circle your choices) Children High School Youth College Students Adults Beginner Intermediate Advanced Pre-Professional Individuals Childrenrsquos Classes Adult Classes Ensembles Suzuki Orff JRS Leader Kodaly Where I Teach (circle your choices) Music Studio Public or private school Community Music School College Other _____________________
American Recorder Society 1129 Ruth Dr St Louis MO 63122-1019
Phone 314-966-4082Fax 314-966-4649
TollFree 800-491-9588ARSRecorderAmericanRecorderorg
wwwAmericanRecorderorg
with me [to find] an ideal (for me)placement size and focal length of thebifocal lens
Before visiting the optometristIrsquod had my wife measure the distancefrom my eyes to the music on mymusic stand With this measurementthe optometrist set up her machine toprepare a vision prescription for memaximized for this reading distance
When I look at my bifocals (withthem off) the lenses (through which Iread my music) occupy most of thelower two-thirds of my glasses (they are set very high and beginimmediately at the inner rims) Thisleaves the upper third and smallportions of the outside [of each lens]for focusing on the conductor As longas my stand is set low enough my necknever experiences any strain (even if Ihave to read three to a part) and Irsquove no problem in seeing theconductor (in sharp focus) either
For me trying to use glasses [toread] from a music stand [that] weredesigned for use in reading from acomputer screen also results in neckstrain (not to mention unreliability in aldquopressurerdquo situation) Having studiedTai Chi extensively and so being
wwwAmericanRecorderorg March 2009 39
There are lots ofsolutions to thepresbyopic musicianrsquosproblem but all involve compromises
40 March 2009 American Recorder
American Recorder Society PublicationsErich Katz Contemporary Music Series Members Non-MembersA Short Tale for Two Basses Suzanne M Angevine (Level II) (2 scores) $5 $8Dialogue and Dance Cecil Effinger (SATB)(Level II-III) (score amp parts) $10 $18Dorian Mood Sally Price (SATB) (Level II) (score amp parts) $10 $18Double Quartet for Recorders Peter Ballinger (Level II-III) (score amp parts) $10 $18Entrevista Frederic Palmer (SATB) (Level II) (2 scores amp 4 recorder parts) $8 $14Kyrie and Vocalise for Soprano Voice ampRecorders Stanley W Osborn $8 $14
(SATB) (Level II) (2 scores amp 4 recorder parts) Picnic Music Jeffrey Quick (SATB) (Level II) (score amp parts) $5 $8Six Short Pieces for Three Recorders edited by Alan Drake $8 $14
(3 scores) Vaclav Nelhybel (AATT) (Level II)Sonatina for Alto Recorder and Piano Anthony Burgess $7 $12
(Level II) (2 scores)Sonatine for Three Altos Lee Gannon (Level III) (score amp parts) $14 $26Suite of Jewish Folk Tunes Erich Katz (S SA8 AT) (Level II) (three scores) $10 $18
Musical Editions from the Membersrsquo Library ARS members 1 copy-$3 2 copies-$450 3-$6 4-$750 5-$10 6-$1150Non-members (editions over 2 years old) 1 copy-$5 2 copies-$850 3-$12 4-$15 5-$1950 6-$23The ARS is happy to provide photocopied enlargements of any Membersrsquo Library edition at the same prices Please specify ldquoMembersrsquo Library Enlargementrdquo
ARS Information BookletsARS members 1 booklet-$13 2 booklets-$23 3-$28 4-$35 5-$41 6-$47 7-$52Non-members 1 booklet-$18 2 booklets-$33 3-$44 4$55 5-$66 6-$76 7-$86
Education PublicationsThe ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996)
First copy free to ARS Members (mailed to new members as they join) replacement copies $3Guidebook to the ARS Personal Study Program (1996) Material formerly published in the Study Guide
and Study Guide Handbook plus additional resources Members $11 non-members $20ARS Music Lists (2002 with 2003 Supplement) Graded list of solos ensembles and method books
Members $9 non-members $15Package Deal available only to ARS members Guidebook and Music ListsSupplement ordered together $16Junior Recorder Society Leaderrsquos Resource Notebook
ARS members $20 non-members $40 (updates at reduced rates after initial purchase)$5 Dues for each JRS student member sponsored by an ARS member ($4 each for groups of 10+)
VideosRecorder Power Educational video from the ARS and recorder virtuoso John Tyson
An exciting resource about teaching recorder to young students ARS members may borrow a copy for onemonth by sending $5 to the ARS office along with the address to which the tape should be shipped
Pete Rose Video Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music Festival recitalFeatures Rose performing a variety of music and an interview of him by ARS member professional John Tyson
Other PublicationsChapter Handbook A resource on chapter operations for current chapter leaders or those considering forming an
ARS chapter ARS members $10 non-members $20 (updates free after initial purchase) One free copy sent toeach ARS chapter with 10 members or more
Consort Handbook Resource on consort topics such as group interaction rehearsing repertoire performingARS member prices CD $10 hard copy $20 combo price of CD and hard copy ordered together $25
Discography of the Recorder Vol I (1989) Compiled by Scott Paterson and David LasockiDiscography of the Recorder Vol II (1990-1994) Compiled by Scott Paterson
Either single volume ARS members $23 non-members $28Both Discography volumes together ARS members only $40
American Recorder Cumulative Index for Vols I-XXXX ARS members $20 non-members $32Index Supplement Vol XXXIV-XXXX ARS members $8 non-members $14
Shipping amp Handling FeesUnder $10 - add $3 $10-1999 - add $4 $20-2999 - add $5 $30-3999 - add $6 $40-4999 - add $7 All prices are inUS dollars For Canadian or foreign postage pay by credit card and actual postage is charged
Please make checks payable to ARS VISAMCAMEXDisc also accepted
ARS 1129 Ruth Drive St Louis MO 63122 US800-491-9588 ARSrecorderAmericanRecorderorg
Arioso and Jazzy Rondo (AB) Carolyn PeskinBerceusendashFantaisie (SATB) Jean BoivertBrucknerrsquos Ave Maria (SSATTBB)
Jennifer W Lehmann arrCanon for 4 Basses (BBBB) David P RuhlDancers (AT) Richard EastmanDifferent Quips (AATB) Stephan ChandlerElegy for Recorder Quartet (SATB) Carolyn PeskinElizabethan Delights (SAATB)
Jennifer W Lehmann arrFallen Leaves Fugal Fantasy (SATB) Dominic BohbotFour Airs from ldquoThe Beggarrsquos Operardquo (SATB)
Kearney Smith arrGloria in Excelsis (TTTB) Robert CowperIdyll (ATB) Stan McDanielImitations (AA) Laurie G AlbertsIn Memory of Andrew (ATB) David GoldsteinLay Your Shadow on the Sundials (TBgB)
Terry Winter OwensLeClercqrsquos Air (SATB) Richard E WoodLittle Girl Skipping and Alouette et al (SATBCb)
Timothy R Walsh
Los Pastores (SAAAT + perc) Virginia N Ebinger arrNew Rounds on Old Rhymes (4 var) Erich KatzOther Quips (ATBB) Stephan ChandlerPoinciana Rag (SATB) Laurie G AlbertsSanta Barbara Suite (SSAAT) Erich KatzSentimental Songs (SATB) David Goldstein arrSerie for Two Alto Recorders (AA) Frederic Palmer Slow Dance with Doubles (2 x SATB) Colin SterneSonata da Chiesa (SATB) Ann McKinleyS-O-S (SATB) Anthony St PierreThree Bantam Ballads (TB) Ann McKinleyThree Cleveland Scenes (SAT) Carolyn PeskinThree in Five (AAB) Karl A StetsonTracings in the Snow in Central Park (SAT)
Robert W ButtsTrios for Recorders (var) George T BachmannTriptych (AATB) Peter A RamseyTwo Bach Trios (SAB) William Long arrTwo Brahms Lieder (SATB) Thomas E Van Dahm arrVariations on ldquoDrmešrdquo (SATB) Martha BishopVintage Burgundy (SASATT)
Jennifer W Lehmann arr
Adding Percussion to Medieval and Renaissance Music Peggy Monroe
American Recorder Music Constance PrimusBurgundian Court amp Its Music Judith Whaley coord
Improve Your Consort Skills Susan CarduelisMusic for Mixed Ensembles Jennifer W LehmannPlaying Music for the Dance Louise AustinRecorder Care Scott Paterson
acutely aware of any kind of neckstrain when it begins to develop these ideas have been a big help to meIrsquom hoping they may be of help toother musicians as well
Best wishes to you And inanswer to your questionmdashyes the new[AR] format (with more white spacebetween the lines) is much easier toread (in my opinion)Your magazinejust keeps getting better and better
Very sincerely Ed Green WestSuburban (Chicago-area) Chapter
RESPONSE FROM DR BILL LONG
What Ed describes is a variant of theuse of conventional bifocals as musicglasses described on page 8 in thearticle Instead of lowering his musicstand into the field of view of hisbifocal segment Ed and his optome-trist have fabricated special purposebifocals with the segment really highso he can focus on his music instraight-ahead view That approachrestricts his distance vision to an areaabove his usual line of sight whichseems to work for Eds playing setup
Eds comments on the difficultiesin using conventional progressiveaddition lenses as music lenses con-firm what I said on page 9 Thats whymanufacturers have marketed special-ty progressive lenses designed specif-ically for intermediate distance taskslike computer use and playing music
There are lots of solutions to thepresbyopic musicians problem but all involve compromises The key toevaluating those compromises andchoosing the best solution for yourselfis to understand your needs and toenlist the help of a sympathetic visioncare specialistmdashjust as Ed did
Please change your
browserrsquos favorites list
AR online is now at wwwameri
canrecorderorgmembership
magazinehtm Send news to
editoramericanrecorderorg
FOUR FOUR-PART CANZONAS
(1608) BY GIOVANNI GABRIELI
ED GREG LEWIN Hawthorns Music RB 16 (Magnamusic) 1999 SATBSc 16 pp pts 4 pp $1950
Giovanni Gabrieli was probablyborn between 1554 and 1557 in theparish of San Geremia in Venice Thedetails of his early life are sketchy butit appears that he was born Giovannidi Fais and later changed his name toGabrieli out of respect to his uncleAndrea with whom he shared a closerelationship In fact in 1587 Gabrielidescribed himself ldquoas little less than asonrdquo It is commonly thought thatAndrea provided Giovanni with hisearly musical training Andrea whohad spent some time in Munichstudying under the great Orlando deLassus sent Giovanni to Munich for a similar period of study in theearly 1570s
Gabrieli remained in Munichuntil the death in 1579 of the dukeAlbrecht V who had been Lassusrsquosemployer for a number of years andwho was an enthusiastic patron of the arts particularly music With hisdeath a number of musicians lost theirjobs it seems as if Gabrieli were also a victim of such culling of talent(Within a generation the tide wouldturn and the Munich court wouldagain hire Venetian expatriates such as Priuli Valentini and Neri)
Upon his return to VeniceGabrieli was hired as a temporaryorganist at San Marco his positionbecoming permanent in 1585 For a few months that year uncle andnephew served together as first and
second organists in the chapel of thedoge In Giovannirsquos absence fromVenice there had been a plague thathad decimated the ranks of theprofessional musicians Andrea setabout rebuilding his forces at SanMarco by hiring a full-time windband consisting of Girolamo dallaCasa a renowned cornettist andviolist his two brothers who playedsackbut and later the cornett virtuosoGiovanni Bassano Giovanni Gabrieliaugmented these forces with addi-tional players and began composingthe large-scale ceremonial music forwhich he is so well known today
Giovanni was also elected to bethe organist and composer to theconfraternity of San Rocco in 1585and it is now thought that his largestpieces were intended for that venuewith its large central gallery andfrescos by Tintoretto instead of SanMarco Gabrieli held both thosepositions at the basilica of San Marcoand the Scuola Grande di San Roccountil he died in 1612 of a kidney stone
Although best known today forhis ceremonial and festival musicGabrieli was at home in smaller-scaleformats as well These four four-partcanzoni are taken from the 1608publication by the Venetian publisherAlessandro Raverji Canzoni per sonarecon ogni sorte di strumenti These werevery popular pieces to judge by themany collections in which they appear
Additionally like Gabrielirsquoskeyboard music they are found inother arrangements These four-partcanzoni lie well under the fingers inarrangements for keyboard and lute
As seen from the title Gabrielispecified no instrumentation but like asimilar edition of madrigals and battlepieces from a few years earlier a dis-tinction was made that they wereintended for wind instruments almostcertainly cornetts and sackbuts
Recorders were not unknown in Venice they were used regularly inthe confraternity of San GiovanniEvangelista where Giovanni BattistaRiccio was organist
These pieces are relativelysimplemdashplayable by beginning tointermediate ensembles They aremostly contrapuntal (with a fewhomophonic sections) and have few rhythmic eccentricities
These canzoni are found in manymodern brass editions but there arefew editions available to the recorderplayer This edition by Greg Lewin ofHawthorns Music might be consid-ered a ldquobare-bonesrdquo edition There islittle background information andeditorial practices are not specified
The music itself has a handwrittenlook that can be distracting but is easyenough to read Lewin has thought-fully supplied phrasing marks that willbe helpful for ensembles unused tothis style of music
Music
Reviews___________________________________ Infectious music created in spite of the plague
wwwAmericanRecorderorg March 2009 41
This is a good edition
for small ensembles that
canrsquot get eight players
together to play
Gabrielirsquos more famous
eight-part canzoni
42 March 2009 American Recorder
The parts are four pages but mycopy had all four pages printed on avery large page This is not a problemand there are no page turns
This is a good edition for smallensembles that canrsquot get eight playerstogether to play Gabrielirsquos morefamous eight-part canzoni Thesesmall-scale pieces are by no meansinferior to Gabrielirsquos more elaboratemusic and deserve to be better known
7 CANZONEN (1637) BY
TARQUINIO MERULA ED JOACHIM
ARNDT WITH CONTINUO REALIZATION
BY CLAUDIA SCHWEITZER MieroprintMusikverlag EM2088 (availabledirectly from wwwmieroprintcom)2005 SS or TT bc Sc 24 pp pts 8 pp$28
Tarquinio Merula was bornaround 1595 in either Busseto orCremona in Italy As was the case withso many composers of the day either alack of regular employment or a rest-less nature took him from his home inCremona to as far away as Warsaw He is found as the organist of thechurch and the chambers to the kingof Poland Sigismund III in 1624
Merula was one of the leadingexponents of the relatively new con-certante style pioneered by ClaudioMonteverdi and others in the seconddecade of the 17th century and may be described as one of the earliestBaroque composers His compositionsin the concertante style are fresh andunforcedmdashhe was born into this styleand didnrsquot encounter it as somethingnew as was the case with so many ofMonteverdirsquos contemporaries
After several years of peripateticexistence Merula found regularemployment in 1631 in Bergamo atthe church of San Maria MaggioreThe prior holder of the post of maestrodi cappella Alessandro Grandi haddied the previous year in the plagueMerula had signed a three-year
contract but by December 1632 hewas terminated with accusations thathe had molested several studentsMerula threatened a lawsuit to recoverhis lost wages but that threat wascountered with a pending criminalcharge lodged by the board ofgovernors of San Maria Maggiore By mid-1633 the matter was settledwith an apology from Merula and astatement that he relinquished allclaims to his salary
He then returned voluntarily toCremona where he stayed until 1635By 1638 Merula was once again inBergamomdashthis time as maestro dicappella and organist in the cathedralnext to San Maria Maggiore Asmight be expected there was con-siderable tension between the twochurches eventually resulting in theboard of San Maria Maggioreforbidding their musicians to perform under Merularsquos direction
He returned in 1646 to a familiarCremona post which he had heldthree times in various years and wherehe now settled downmdashthat of organistand maestro di cappella for Laudi dellaMadonna services in which he ledmusic at the main altar on Saturdaysand on vigils of Marian feasts
None of his employment issues
prevented the Pope from awardinghim the Order of the Golden SpurMerula was also elected to theAccademia dei Filomusi in BolognaHe died in 1665 in Cremona
His existing compositions showthe products of a lively mind Hisworks range from sacred songs andmotets to purely instrumental piecesnotably the ever-popular variations onvarious ground basses It is knownthat Merula was an accomplishedviolinist as well as a fine organist Hissurviving instrumental writing showsa predilection for strings In fact hewas one of the earliest composers tospecify string accompaniments tosacred motets
Merularsquos pieces look backwardtoward some of the more progressiveVenetian composers such as Monte-verdi while looking forward to thehigh Baroque with his innovative style
These seven canzoni like theearlier-published chaconne (EM2084)come from Merularsquos third bookpublished in 1637 CANZONI overo SONATE CONCERTATE perchiesa e camera a due et a tre delcavaliere This collection typifiesMerularsquos output pieces based onRenaissance-era ground basses arefound next to more ldquomodernrdquo sonatas
The original edition specifiesviolins and basso continuo This newedition is intended for recorders thespecific choice of which is up to theplayers Due to the relatively hightessitura tenor recorders work best inthese pieces (although listed as analternative soprano recorders tend to be on the screechy side)
Not surprisingly given Merularsquosskill as an organist the continuo partneeds a keyboard instrument forsuccessful realization Instead of beinga purely accompanying part the bassocontinuo part is an equal partner in these pieces the canzona ldquoLaRuggierardquo opens with a run that therecorders echo a few measures later
A more recorder-specific
edition intended for
altos would have been
ideal There is nothing
preventing the more
adventurous and
industrious players
from making their
own editions of this
delightful music
mentioned were a bit shrill A morerecorder-specific edition intended foraltos would have been ideal There isnothing preventing the moreadventurous and industrious playersfrom making their own editions of thisdelightful music
Prior to playing the previouslypublished chaconne I had notencountered MieroprintMusikverlag Mieroprintrsquos extensivecatalog has an equal focus on newmusic for recorders and on editions ofBaroque masters with emphasis on therecorder and flute Due to the lack of
wwwAmericanRecorderorg March 2009 43
are also available at
The Early Music Shop
of New England
Brookline MA
AESTHEacute
367-b de la Briquade
Blainville Queacutebec
Canada J7C 2C7
tel (450) 979-6091
wwwboudreau-flutesca
A bass viola da gamba or rsquocello is not necessary for these pieces and may infact make them sound heavy and ponderous rather than light and breezy as thismusic seems to be
More so than the above-mentioned chaconne these canzoni are written in avery idiomatic violin style with multiple examples of arpeggios In particular thecanzona ldquoLa Trecchardquo contains a notated example of a string tremolo figurerecurring through the piece ldquoLa Trecchardquo also dips well below the range of a Crecorder going down to low G the lowest string on the violin The editors havesupplied no alternative notes preferring to let the performers to fend forthemselves (in practice we took this passage up an octave with no problems)
The two recorder parts require virtuosity These upper parts are demandingwith the players needing to double-tongue in unison in order to negotiate themany runs of 16th notes and the shared rhythmic ldquolicksrdquo The harmoniclanguage unlike much of Merularsquos music is undemanding and contains none of the harmonic crunches for which he is famous
This is wonderful music that needs a couple of advanced recorder players fora successful performance The string idiosyncrasies can be overcome by advancedplayers and many of the editions of the era (although not this one) list thecornetto as an alternative to the violin so the use of wind instruments in the solo literature of the early Baroque was not unknown
Our experience with this edition left us with the opinion that these pieceswould have been better if transposed down a minor third so as to fit on a pair ofalto recorders (as is the case with much Baroque flute music to make it lie betteron the recorder) The tenors we used tended to sound a bit murky in the lowerregister next to the more aggressive harpsichord while the sopranos we tried as
KEY rec=recorder Srsquoo=sopraninoS=soprano A=alto T=tenor B=bassgB=great bass cB= contra bass Tr=treble qrt=quartet pf=piano fwd=foreword opt=optional perc=percussionpp=pages sc=score pt(s)=part(s)kbd=keyboard bc=basso continuohc=harpsichord PampH=postage andhandling Multiple reviews by one reviewerare followed by that reviewerrsquos name Pleasesubmit music for review to AR 7770 SHigh St Centennial CO 80122-3122 US
an American distributor this musicwill be hard to findmdashin fact can befound only at the time of this writingon their web site noted above But theeffort will be repaid
This edition is clear and easy toread and the parts require no pageturns The basso continuo realizationis simple and elegant
This is music deserving ofrediscovery My only quibble is thatthe editorial notes are all in GermanThis seems to be the practice ofGerman music publishers with thenotable exception of Moeck Otherpublishers of early music such asLondon Pro Musica routinelyprovide notes in English and German and often in French and Italian making their editionsaccessible to a wider audience
Frank Cone studied the recorderwith the late Ellen Perrin the viola dagamba with Carol Herman and thecornetto with Larry Johansen TheCalifornia multi-instrumentalist has been a member of the Orange CountyRecorder Society since 1985
Advertiser Index
AMERICAN ORFF-SCHULWERK ASSN 3
AMERICAN RECORDER SOCIETY 31 35 36
AMHERST EARLY MUSIC FESTIVAL 17
STEPHAN BLEZINGER 24
JEAN-LUC BOUDREAU 21 39
BOSTON EARLY MUSIC FESTIVAL 7
CANTO ANTIGUO EARLY MUSIC WORKSHOP 13
COURTLY MUSIC UNLIMITED 20
EARLY MUSIC AMERICA 8
HONEYSUCKLE MUSIC 34
BILL LAZARrsquoS EARLY MUSIC 26
KEITH E LORAINE EARLY DOUBLE REED SERVICE 35
LOST IN TIME PRESS 11
MADISON EARLY MUSIC FESTIVAL 12
MAGNAMUSIC DISTRIBUTORS BC
MOECK VERLAG IFC
MOLLENHAUER RECORDERS IBC
PORT TOWNSEND WORKSHOP 14
PRESCOTT WORKSHOP 30
PROVINCETOWN BOOKSHOP 26
THE RECORDER MAGAZINE 4
THE RECORDER SHOP 6
SAN FRANCISCO EARLY MUSIC SOCIETY 18
SWEETHEART FLUTE CO 3
TEXAS TOOT 20
VON HUENE WORKSHOP INC 30
WICHITA BAND INSTRUMENT CO 21
DOMINIK ZUCHOWICZ 34
CONSIDER ADVERTISING IN
Full page $55223 page $43912 page $36613 page $28614 page $22316 page $17518 page $127112 page $ 951 column inch $ 58
Prices include web sitee-mail link directly from your ad in the online AR at wwwamericanrecorderorg
Circulation Includes the membership of theARS libraries and music organizations
Published five times per year January March May September November
Reservation Deadlines December 1 (January) February 1 (March) April 1 (May) August 1 (September) October 1 (November)
Rates good through November 2009 Pleaseinquire about discounts on multiple-issuecontracts inserts or other special requestsExtra charges for typesetting layout half-tones and size alterations 133-line screenrecommended Advertising subject toacceptance by magazine First-time adver-tisers must include payment with order
For more information contact the ARS office 1129 Ruth Drive St Louis MO63122-1019 800-491-9588 toll free 314-966-4082 phone 314-966-4649 faxadvertisingamericanrecorderorg
44 March 2009 American Recorder
Classified___________________________________
FOR SALE Cherrywood hurdy gurdy and hard-side case made by Kelischek bought 2005Originally $765 plus $89 for case Rarely usedBoth for $450 or make offer Please contact marjalocomcastnet Can ship
ASPIRE ANNOUNCE INSPIRE Afford-able PR for teachers and recitalists wwwrecitalroomcom
PHOTOS NEEDED of ARS events 1970sndash1990sto illustrate last chapters of Martha Bixlerrsquos histor-ical memoir about the ARS (to be posted online)E-mail scanned photos (300dpi JPG or TIF)arsrecorderamericanrecorderorg Hardcopies mail to ARS office to be scanned ampreturned Info 800-491-9588
T-SHIRT FOR ENSEMBLE PLAYERS to wear orshare Top 10 Reasons Why I Got Lost Wrongfingering bad lighting etc on blue cotton shirt$18 Highlighter tape and other goodies Beth amp Lindas Boutique as seen at BEMF CallLinda at 617-671-8694 or e-mail for brochurelindakushverizonnet
Where the havesand have-nots
of the recorder world can find each other
Classified rate for American Recorder 60centper word ten-word minimum ldquoFOR SALErdquoand ldquoWANTEDrdquo may be included in thecopy without counting Zip code is oneword phone e-mail or web page is twoPayment must accompany copy Deadlinesare one month before issue date Send copywith payment to ARS 1129 Ruth Drive St Louis MO 63122-1019
AMERICAN RECORDER (ISSN 0003-0724) 1129 Ruth Dr St Louis MO 63122-1019 is publishedbimonthly (January March May September and November) for its members by the AmericanRecorder Society Inc $20 of the annual $45 US membership dues in the ARS is for a subscriptionto American Recorder Articles reviews and letters to the editor reflect the viewpoint of their individ-ual authors Their appearance in this magazine does not imply official endorsement by the ARS
EDITORIAL DEADLINES November 15 (January) January 15 (March) March 15 (May) July 15(September) and September 15 (November) Submission of articles and photographs is welcomedArticles may be typed or sent as an attachment (Word or RTF preferred) to or text in an e-mail mes-sage They should be for the exclusive consideration of AR unless otherwise noted Photos may besent as prints or unedited JPG or 300dpi TIF files (minimum 3rdquox4rdquo) Advertisements may be sent inPDF or EPS format with fonts embedded
EDITORIAL OFFICE Gail Nickless Editor 7770 S High St Centennial CO 80122-3122 303-794-0114 (phone amp fax) editoramericanrecorderorg Books for review Editorial office Musicfor review Editorial office Recordings for review Tom Bickley 1811 Stuart St Berkeley CA 94703Cutting Edge Tim Broege 212 Second Ave Bradley Beach NJ 07720-1159 Chapter newslettersother reports Editorial office Postmaster Send address changes to ARS 1129 Ruth Drive St LouisMO 63122-1019 Periodicals postage paid at St Louis MO and at an additional mailing office
Chapter leaders
We know yoursquore out there
and that you want to share
your plans concerns
solutions and ideas with
other chapter leaders Visit
httpamericanrecorder
societywikispacescom
AMHERST EARLY MUSIC FESTIVAL
(ARS)
Connecticut College New London CT July 12-19 Baroque Academy July 19-26 Virtuoso Recorder Recorder SeminarRenaissance Academy
Director Marilyn Boenau
Music of England and Spain Two weeksof classes in most early instrumentsvoice dance and notation
Week 1 includes classes for recorderviol other early instruments voicedance and notation Special programsBaroque Academy Baroque AcademyOpera Project (Purcellrsquos Dioclesian)
July 18-19 Music amp InstrumentExhibition
Week 2 comprises classes for recorderviol other early instruments voice andnotation Special programs VirtuosoRecorder Recorder SeminarRenaissance Academy
Evening activities include Englishcountry dance madrigals and informalplaying sessions Connecticut College ineastern CT offers comfortable air-conditioned accommodations naturalareas for walking and a view of LongIsland Sound Scholarships and work-study aid available
Contact Marilyn Boenau
Director or Cathy Stein
Administrator 47 Prentiss St
Watertown MA 02472
617-744-1324 (day)
617-744-1327 (fax)
infoamherstearlymusicorg
amherstearlymusicorg
MIDEAST WORKSHOP (ARS)
LaRoche College Pittsburgh PAJuly 19-25Director Marilyn Carlson
Music of Spain 55-60 students of allability levels adults only Instruction forrecorder (all levels except novice) violharp flute You may enroll for recorder
viol flute as primary instrument harpvoice recorder viol as secondary instru-ment Large and small ensembles all-workshop ensemble (instruments andvoices) Renaissance band (recordersviols capped reeds voice) Medievalcollegium (puzzles amp canons) consorts(by level) vocal ensemble Also Englishcountry dance penny whistle We alsooffer viol-for-novice and harp-for-novice each providing the opportunityfor hands-on experience without owningan instrument Other classes on specialearly music topics and literature
Faculty Marilyn Carlson directorMartha Bixler Stewart Carter JudithDavidoff Eric Haas Mary JohnsonPeter Ramsey Kenneth Wollitz otherfaculty to be announced All facilities areair-conditioned
Contact Marilyn Carlson
1008 Afton Road Columbus OH
43221-1680 614-754-7233
mcarlsoncolumbusrrcom
mideastearlymusicaddrcom
22 March 2009 American Recorder
San Francisco Early Music SocietySummer Workshops 2009Recorder middot July 19ndash25 2009La Dolce Vita di Flauto middot Explore the full range of recorder music from the Middle Ages to the 21st century through ensemble work technique sessions and recorder orchestra For the devoted amateur all ages intermediate to advanced Friendly atmosphere small classes Quiet campus near all amenities Special offerings Recorder orchestra recorder master class coached informal playing Faculty Louise Carslake Frances Feldon Rotem Gilbert Katherine Heater Norbert Kunst Patrick OrsquoMalley and Hanneke van ProosdijInfo Frances Feldon 510-527-9840 franfelaolcom
Baroque Music amp Dance middot June 14ndash20 2009Music in Italian Cities middot Master classes recorder ensemble concerto evening coached ensembles classes concerts and lectures Featuring recorder faculty Frances Blaker and Clea GalhanoInfo Kathleen Kraft 707-874-2014 kkraftsonicnet
Medieval amp Renaissance Music middot June 28ndashJuly 4 2009Stories amp Legends middot Classes for voices recorders viols and alta capella voice master class ensemble coaching storytelling for musicians and storytelling accompaniment Renaissance choir medieval band theater project faculty and student concerts lectures and more Featuring recorder faculty Frances Blaker Annette Bauer Dan Stillman and Tom ZajacInfo Tom Zajac 617-323-0617 medrenmailgmailcom
Music Discovery middot June 21ndash26 2009Day camp for youth ages 7 to 15 Early music and Renaissance social history Instruction in recorder harpsichord strings chamber music musicianship crafts costume-making games and more Beginners to advanced students welcome Featuring recorder faculty Vida Bateau and Letitia BerlinInfo Letitia Berlin 510-559-4670 tishberlinsbcglobalnet For more information visit our web site wwwsfemsorg
SAN FRANCISCO EARLY MUSIC
SOCIETY RECORDER WORKSHOP
(ARS)
St Albertrsquos Priory Oakland CA July 19-25Directors Frances Feldon Katherine Heater
Jam-packed week of recorder ensembleplaying concerts and the opportunity toimprove your skills working with highlyrespected recorder specialists in afriendly yet serious atmosphere Explorethe full range of recorder music from theMiddle Ages Renaissance and Baroqueto the 21st century through ensemblework technique sessions and recorderorchestra For the devoted amateur of allages from intermediate to advanced
Small classes Quiet campus Specialofferings recorder orchestra recordermaster class coached informal playing
Featuring recorder faculty LouiseCarslake Frances Feldon RotemGilbert Norbert Kunst PatrickOrsquoMalley and Hanneke van ProosdijOther faculty Katherine Heaterharpsichord
Contact Frances Feldon SFEMS
PO Box 10151 Berkeley CA
94709 510-527-9840
franfelaolcom sfemsorg
WINDSWEPT MUSIC WORKSHOP
William Jewell College Liberty MOJuly 19-25Director Phyllis Pasley
Bring your artistry to life Strengthen the mindbody connection and exploreenergy and music at Creative MotionAlliancersquos 59th annual summerconference Windswept Professionalmusicians conductors teachers studentsand amateur music enthusiasts willdiscover barriers that inhibit the free flowof energy and learn the secrets of inner-directed artistic music-making Classesin piano voice instrumental musicexpressive arts and independent studyMaster class coaching and conductingopportunities available Using move-
ment exercises analysis and bodyresponses explore music and energy in a unique inter-generational workshopformat Opportunities for independentrecorder study and private lessons enrichthe music-making experience
Registration fee $50 prior to 51509Tuition room meals $535 adults $400students 12-18 (must attend with parentteacher or sponsor) special half-weekrate $275 (Sunday-Wednesday noon)Memberfamily discounts Three hoursgraduate credit ($225) 3 CEUs ($50)and private lessons ($25 each)
Contact Phyllis Pasley 2208
Clouds Peak Maryland Heights
MO 63043 314-628-9862
directorcreativemotionorg
creativemotionorg
BOXWOOD FESTIVAL CANADA
Lunenburg Nova Scotia CanadaJuly 19-26Director Chris Norman
Discover musical and dance traditionswhile visiting one of North Americarsquosmost exquisite 18th-century seasidetowns Concerts dances sessionsclasses lectures with leading artists in therealms of traditional folk early musicdance and improvisation Work study ampscholarships available Gourmet cuisine
Faculty Chris Norman directortraditional amp early flutes FrancisColpron recorder ensembles LisaBesnoziuk Baroque flute DavidGreenberg Cape Breton amp Baroqueviolin Edmund Brownless voice shape note singing Marie Bouchardharpsichord Robert Dick contemporarytechniques amp composition Conal O Grada Irish flute Jerry OrsquoSullivanpipes whistle Rod Garnett flutefundamentals ethnic flutes PierreChartrand social dance MarlysNorman ballet classical dance Rod Cameron flute maker Tempest Baroque
Contact 902-634-9994
boxwoodorg
musiqueroyalecom
MACPHAIL SUZUKI INSTITUTE
FOR PIANO GUITAR FLUTE
AND RECORDER
MacPhail Center for the Arts Minneapolis MNJuly 19 Every Child Canreg July 19-26 Recorder Book 1July 20-24 Student InstituteDirectors Cindy Malmin Mary Halverson Waldo (auditions)
Suzuki Clinicians Marilyn Taggartpiano Tadeusz Majewski piano DavidMadsen guitar Kathleen Schoenfluterecorder MacPhail Suzuki faculty
Sanctioned by the Suzuki Association ofthe Americas MacPhailrsquos SuzukiInstitute allows Suzuki students of allages to share in motivating enrichingand wide-ranging musical experiencesStudents work with master teachers andimprove skills technically and musicallyDaily classes and observation includeapplied study theoryreading skillsensemble skills chamber music perfor-mance practices composition improv-isation master classes recitals art andmusic world musicdrumming musichistory recitals and presentations TeenMusical Revue (ages 13-18) fashioncharacter sketches develop a frameworkor theme and present to an audience
Who may attend Suzuki students whohave completed the Twinkle Variations(preschoolndashgrade 12 parents or another
wwwAmericanRecorderorg March 2009 23
Amherst Early Music Festival
(photo by Marc Weinberg)
responsible interested adult must attendwith students under high school age)teacher traineesobservers Participantsmust arrange meals housing and trans-portation Teacher Training prerequi-sites Every Child Canreg before Book 1courses must be taken in order throughBook 2 Contact workshop regardingrequired audition and preparation
Contact Cindy Malmin
612-767-5461
malmincindymacphailorg
Mary Halverson Waldo
5679 Harding Lane Shorewood
MN 55331 952-470-5853
mhalvwaldogmailcom
INTERNATIONAL BAROQUE
INSTITUTE AT LONGY
Longy School of Music Cambridge MA
July 24-August 2Directors Paul Leenhouts co-director Phoebe Carrai
VenicendashDresden Connection InternationalMeeting Grounds Music of MonteverdiVeracini Hasse Heinichen MarcelloVivaldi Pisendel Albinoni ZelenkaLotti Schein Schutz Quantz Gabrieli
2009 faculty Paul Leenhouts recorderPhoebe Carrai rsquocello ElizabethBlumenstock violin Ricard Bordasvoice Arthur Haas harpsichord LucasHarris lute Ken Pierce early danceGonzalo Ruiz oboe Mary Springfels
viola da gamba Jed Wentz traverso
Contact Karen Burciaga Com-
munity Programs Registrar One
Follen St Cambridge MA 02138
617-876-0956 X1532 (day)
617-354-8841 (fax) karenbur
ciagalongyedu longyedu
RECORDER AT THE CLEARING
The Clearing Ellison Bay WIJuly 26-August 1Directors Pat Badger Adrianne Paffrath
Recorder ensemble has been a traditionat The Clearing for over 25 yearsEnsemble playing is the weekrsquos focusEach day begins with a warm-up ofvoices and bodies as we sing rounds andready our muscles for performanceDaytime sessions focus on rhythmicchallenges recorder technique andensemble blend emphasis is on growthprocess and most of all enjoyment To participate fully you need at leastintermediate skills on a C or F recorder
Adrianne Paffrath coached on recorder with ARS teachers She is music directorat Racinersquos First Presbyterian ChurchPatricia Badger has studied early musicinstruments natural and classicaltrumpet She is performing arts head ofThe Prairie School Jointly they haveperformed for Medieval festivals grapestompings Shakespeare celebrations anda circus parade
Contact The Clearing PO Box 65
Ellison Bay WI 54210-0065
877-854-3225 920-854-9751
(fax) clearingtheclearingorg
theclearingorg
AMERICAN RECORDER SOCIETY
FESTIVAL AND CONFERENCE
University of Missouri at St Louis St Louis MO
July 30-August 2
Attend the second ARS Festival andConference for one day ($150) or allweekend ($350)
Sessions include recorder techniquepedagogy introductions to Orff Suzukiand Flutes and Drums Around the Worldmethods improvisation roundtablediscussions how to conduct yourconsort coached playing sessions forMedieval Renaissance Baroque worldand contemporary repertoire recorderorchestra incorporating percussion intoyour ensemble Also recorder mainte-nance choosing a recorder building aweb site using Sibelius music softwareMini-concerts by the next generation ofprofessionals master classes concerts byMarion Verbruggen and the FarallonRecorder Quartet Exhibition ofrecorder builders music sellers andmore CEUs available
Presenters Louise Austin AnnetteBauer Tish Berlin Frances Blaker Joyce Callanan Louise Carslake
24 March 2009 American Recorder
The Summer Toot is once again in Austin at the beautiful new facility of Concordia University The lushly wooded campus offers air-conditioned classrooms dining and dorm accommodations and is backed by a nature preserve Please join us
Our featured faculty includes Tish Berlin Tom Zajac Mary Springfels The Texas Toot offers a one-week program of classes in Renaissance and Baroque music at all levels featuring expert instructors in re-corder viol early reeds lute harp and voice
Danny Johnson workshop director Susan Richter administrator For more info
httpwwwtootorg or email infotootorg
11th Annual Summer Texas Toot June 14-20 2009 mdash Austin Texas
Mark Davenport Cleacutea Galhano LisetteKielson Lorraine Krige JudithLinsenberg Peter Maund Nina SternMarion Verbruggen Leslie TimmonsJim Tinter Mary Halverson Waldo
Contact Yvonne Miller-Nixon
Conference Administrator
1129 Ruth Dr St Louis MO
63122 800-491-9588 (day)
arsconfplannercharternet
americanrecorderorg
EARLY MUSIC WEEK AT
PINEWOODS CAMP (ARS)
Pinewoods Camp Plymouth MA August 15-22 Director Sheila Beardslee
The Myth amp Magick Creativity andInspiration in Early Music Surely thedeities of Olympus will surround us atPinewoodsndashwhere the myths of earlymusic will be made clear and our staff rsquosldquomagickalrdquo skills will hone and perfectour knowledge and performance of early music and dance
If yoursquove never played a musical instru-ment (but wish you could) or if youstudied music years ago (and fear yoursquoveforgotten) classes in recorder and violwill get you started or help brush off therust Advanced and intermediate playersand singers choose from a wide array ofclasses led by an outstanding faculty of professionals and teachers of earlywinds (recorders reeds brass) strings(viols violin) harpsichord and voice
New staff faces this summer areAnonymous 4rsquos Susan Hellauer voiceand Lisa Terry viol We welcome backDorrie Olsson historical dance andScott Higgs English country dance
We relax with two ponds for swimmingcanoeing a camphouse deck for readingafternoon tea and lots of dancing EarlyMusic Week continues its long traditionof superb teaching in a welcoming com-munity enhanced by special eventspresentations concertsmdashand dancing
Advanced musicians work intensivelyamateurs are engaged and challengedand beginners are always made welcome
Contact Steve Howe Country
Dance and Song Society
PO Box 338 Haydenville MA
01039-0338 413-268-7426 X3
(day) 413-268-7471 (fax)
campcdssorg cdssorgem
MONTREacuteAL RECORDER FESTIVAL
McGill University Montreacuteal QC Canada
September 17-20Directors Matthias Maute Sophie Lariviegravere
Conference consort music recorderorchestra concertsmdashEnsemble Capriceand Quynade (Israel) solo recital byMaurice Steger (Switzerland)
Contact Ensemble Caprice 4841
Garnier Montreacuteal QC H2J 3S8
CANADA 514-523-3611
514-523-1322 (fax)
infoensemblecapricecom
ensemblecapricecom
HIDDEN VALLEY INSTITUTE
FOR THE ARTS
EARLY MUSIC ELDERHOSTEL
Carmel Valley CANovember 1-7 November 8-14Directors Letitia Berlin workshopPeter Meckel HVIA
Enroll for one or both weeks Adults ofall ages welcome
Week I intense classes for upper inter-
mediate to advanced levels Week Ifaculty Letitia Berlin Frances BlakerLouise Carslake Annette Bauer(recorder) David Morris (gamba)
Week II all levels except beginnerClasses include recorder technique viol consort Baroque chamber musicconsort classes for Medieval Renais-sance Baroque and contemporary reper-toire workshop orchestra Week IIfaculty Letitia Berlin Frances BlakerTBA (recorder) Shira Kammen (earlystrings singing Medieval topics) MarySpringfels (viola da gamba)
Evening events include faculty concertstudent concert free-lance playing FreeWednesday afternoon for more playingor sightseeing Improve your playing in asupportive friendly atmosphere withworld-class teachers
Contact Peter Meckel
PO Box 116 Carmel Valley CA
93924 831-659-3115
831-659-7442 (fax)
hvmsaolcom
hiddenvalleymusicorg
wwwAmericanRecorderorg March 2009 25
26 March 2009 American Recorder
Am
herst
AR
S
Festival and
Co
nference
CA
MM
AC
Early M
usic
Week
Canto
Antiguo
Reco
rd
er
at th
e
Clearing
Great L
akes
Suzuki
FluteR
ec
Hid
den
Valley
Eld
erh
ostel
Interlo
ch
en
Early M
usic
Inst
Lo
ngy Intl
Baro
que
Inst
Marin
Head
land
s
Mid
east
Mo
ntreacuteal
Reco
rd
er
Festival
COST $520TW $350T C$1014ED $860 $1035E TBA $799D $389T $675T $210ED $735D $130TNO OF DAYS 814 1-4 7 7 7 5-8 714 6 10 3 6 4ARS DISCOUNT NO YES NO YES NO NO NO NO NO NO NO NONO OF FAC RECORDER FAC 4315 1716 165 85 22 82 543 11 101 1010 96 66NO OF STUDENTS 150wk 60 110 35 19 45 35 20 50 75 60 50RECORDER CLASSLEVELS
LIHIAV
BLIHIAV
BLIHIAV
BLIHIAV LIHIA BLI
LIHIAV LIHIA AV
LIHIAV
BLIHIAV
BLIHIAV
SPECIAL CLASSES USING RECORDERS
CMRMB20ENMROT
RPMRMB20MROPTO
CMRMBRO
MRMBENROPT CRO
RPMPT
CMRMB20MROPT
RPCMRMBENMROPT MBMP RP20
RPCMRMB20ENMTO
CMRMBMRO
NON-RECORDERCLASSES
CWKVPSDO PO
CWKVDT CWVD C O KVPS
CWPKVPST WK VD
CWVPSDO
MUSICALACTIVITIES
FSLSPP FLO FSLSP FS SP FSLP FSP
SLSPPO FSLP P FSLP FS
RECREATION D GS BSTW D FBSW FSO OBSTWO S O G
OTHERS WELCOME SC S SC S S S S SDIRECTTRANSPORTATION SC SBCP SP BCLP BP SB CPUP CL PUP
SBCPUP
TRANSPORTATIONTERMINALS
A50B2 T2 A B T
A10B3 T5
A80B80
A50B10 T10
A20B20 T20
A16B16
A4B3 T3 A20
A15B10 T10
A4B3 T3
ROOMS SD SD SD SD SDC SD SD SDC DBATHS SSP SSPP SP P SSPP SSPP SP P S PFOOD CV C GV CV FV C F CV CV CHANDICAP ACCESS HCD HCD HCD HCD HC HCD HD HCD C HCD HCD C
KEYCOST Includes tuition room (single occupancy unless otherwise noted) meals plus other fees E=estimated T=tuition only D=double occupancy W=one week
NO of DAYS Includes arrival and departure daysARS DISCOUNT Discount offered for ARS members FACULTYRECORDER FACULTY Number of facultyrecorder faculty within that number STUDENTS Average over last two yearsRECORDER CLASS LEVELS B=beginners LI=low intermediate HI=high intermediate A=advanced V=very advanced
SPECIAL CLASSES USING RECORDERS RP=recorder pedagogy C=one-on-a-part consorts MR=mixed Renaissance ensembles MB=mixed Baroque ensembles 20=contemporary music EN=early notation M=master class RO=recorder orchestra P=private lessons available T=technique O=other
NON-RECORDER CLASSES C=choral W=other winds P=percussion K=keyboard V=viols PS=plucked stringsD=danceT=theory I=instrument building O=other
MUSICAL ACTIVITIES F=faculty concert S=student concert L=lecture SP=special production P=organized informal playing O=other
RECREATION D=dancing F=field trip G=gym B=biking S=swimming T=tennis W=waterfrontbeach O=otherOTHERS WELCOME S=non-playing spousesfriends C=children (day care not generally available)DIRECT TRANSPORTATION TO WORKSHOP S=shuttle from airport B=bus C=cab L=limo PU=will pick up P=free parking O=other
TRANSPORTATION TERMINALS A=air B=bus T=train (number indicates miles from workshop to nearest terminal)
ROOMS S=singles D=doubles (with ldquo+rdquo can accommodate up to triples) C=cabins O=other =Graduate dormsBATH FACILITIES S=shared SP=semi-private P=privateFOOD C=college style F=family style G=gourmet V=vegetarianHANDICAP ACCESS H=housing C=classrooms D=dining
INFORMATION SUPPLIED BY WORKSHOP DIRECTORS
2009 SUMMER RECORDER WORKSHOPS
Here are some suggestions foravoiding overuse syndromes Most obvious warm up This meansincreasing your practice time graduallybefore the workshop begins andwarming up yourself and yourinstrument before each rehearsal
Make your playing situation ascomfortable as possible Take along acushion back rest footstool whateverit takes the ear and hand cannot ab-sorb what the bottom cannot tolerate
Be sure your glasses are ideal for the distance from your eyes to themusic desk that usually amounts to anarmrsquos length away (You can select apair at your local drug or departmentstore if you have no serious astigma-
tism) If glare from bright light (thosemarvelous outdoor rehearsals) is aproblem for you you may find that ayellow tint for your glasses is a help
Get your bodily playing equip-ment in the best possible shape beforethe workshop a visit to the dentist tosmooth off a front tooth for a windplayer can make an enormous differ-ence in endurance A layer of plasticwrap over the teeth (before yoursquoveworn a hole in your lip) may also help
Once yoursquove arrived at the work-shop there are ways to ensure thatstress (inevitable) doesnrsquot becomedistress (mostly preventable)
Take reasonable breaks duringrehearsal time and use them to stretchA little aerobics like running in placetakes very little time and gets rid ofthat stiff-from-sitting feeling Get yourfellow ensemble players to massageeach othersrsquo shoulders Other fre-
Do you have a favorite article from years past in AR E-mail that information to Gail Nickless
editoramericanrecorderorg
wwwAmericanRecorderorg March 2009 27
Mo
untain
Co
llegium
Pinew
oo
ds
Early M
usic
Week
Po
rt
To
wnsend
SF
EM
S
Baro
que
SF
EM
S
Ch
ild
rens
SF
EM
S
Med
ieval amp
Renaissance
SF
EM
S
Reco
rd
er
Texas T
oo
t
Wh
itew
ater
Wind
sw
ept
Music
Wo
rksh
op
Wo
rld
Fello
wsh
ip
$800ED $890ED $975 $950 $370T $950 $950 $740E $245 $535D $850E COST7 8 7 7 5 7 7 7 3 6 7 NO OF DAYSNO NO NO YES YES YES YES YES NO NO NO ARS DISCOUNT
125 189 169 102 82 124 76 136 1110 131 83NO OF FAC RECORDER FAC
50 100 100 55 30 70 40 50 110 45 30 NO OF STUDENTSLIHIAV
BLIHIAV LIHI AV
LIHIAV
BLIHIAV LIHI AV LIHIA LIHIA
BLIHIAV
BLIHIAV
RECORDER CLASSLEVELS
CMRMB20TO
CMRMBENROT
MRMB20MROPT
MBMPTO
CMRMBPTO
CMRENMPTO
C20MROPTO
CMR20MPT
CMRMB20ROTO MP
CMRMBMRO
SPECIAL CLASSES USING RECORDERS
WVDTO
CWKVPSDT CPVT
CWKVPSTO
KVDTO
CWPVPSTO O
WKVPSTO
CWVTO
CWPKVD
CKVDT
NON-RECORDERCLASSES
FSLSPP FSP
FSLSPPO FSSP
FSLSPPO
FSLPO
FSLPO SPO FSL PO FSLP
MUSICALACTIVITIES
DGBS DSWFGBSTW
DGBST D
DGBST DO SO
DFSWO RECREATION
S S SC SC S S SC SC OTHERS WELCOME
P SC CPUP SCP SCP SBC LP SPUP P BPUDIRECTTRANSPORTATION
A50B15 T15
A15B7 T6 A59
A20B2 T5 A59
A12B4 T1 A40 A
A20B15 T28 B10
TRANSPORTATIONTERMINALS
SD SD S S CALL S S SD SD SD SD ROOMSSP S SP P P SP P S S S BATHSCGV FV CV CV CV CV CV CV CV FV FOODHCD CALL HCD HCD C HCD HCD HCD HCD HD HANDICAP ACCESS
AR50 AVOIDING ACHES amp PAINSBy Leacuteonie Jenkins MD (c1925- 2000) from the March 1993 AR Vol XXXIV1
quently overused parts such asforearms and hands also respond to massage Quick tutorial on massagestart stroking toward the body and inthe direction of the flow of the veinsmdashupstream from the sorest partgradually work down to include thesore spot Yoursquore trying to move overthe underlying muscle not to rub theskin Thatrsquos why a little oil helps
Your psyche may need some relieffrom overload too Most workshopsare in surroundings that lend them-selves to taking a walk finding a placeto meditate taking in some beauty In creating anything a musical per-formance no less than more static artforms breathing in is as necessary asbreathing out be sure you take time to do it
Not to be forgotten those partiesLate hours and alcohol are stressfultry to balance off the fun yoursquore havingwith your capacity for both Above allenjoy Thatrsquos why yoursquore going
2009 SUMMER RECORDER WORKSHOPS
By Bart Spanhove
The author has been principalprofessor of recorder at the Lemmens-
instituut Leuven (Belgium) since 1984He is also artistic director of the world
famous recorder ensemble the FlandersRecorder Quartet which is set to perform
in concert at the 2009 Boston EarlyMusic Festival He is often asked to serve
as a jury member for internationalrecorder competitions in Canada US
Germany The Netherlands and BelgiumHe has given numerous master classes andlecture demonstrations all over the world
Spanhove is co-author of thesuccessful recorder method Easy Going(Heinrichshofen) and wrote the much-
used book The Finishing Touch ofEnsemble Playing (Alamire 2000
and Moeck 2002 with translations inChinese and German) In 2009
The Recorder Music of Frans Geysenwill come out (Mieroprint)
Currently he is researching practicetechnique for the recorder Daily
Spanhove thinks about how to makepeople happier by making music and
playing the recorder
As a conclusion for the VirtuosoRecorder class during the AmherstWorkshop in 2008 we organized aldquoHappy Hourrdquo for our nine talentedstudents Mee-Jung Ahn (Korea)Emilie Hasselgren and Kristine West(Sweden) Anne Timberlake JosephLewnard Jacob Lodico and BrycePeltier (US) Emiliano Perez(Mexico) and Fanny Massy (France)participated in a quiz that I wrote thenight before with the assistance ofReine-Marie Verhagen
We combined questions regardingmusic theory with practical exercisessuch as middot How long can a player hold a
low f in one breath on an altorecorder (You get one point foreach second)
middot How many times through a scaleis a player able to play in 30seconds (For every octave of theF major scale you get one point)
middot How many different pieces fromthe recorder repertoire can aperson play in the course of twominutes (The other members ofthe group have to guess the nameof the composer before the playercan start the next piece)
middot In one minute list as manydifferent titles as you can fromDer Fluyten Lusthof (TheRecorderrsquos Pleasure Garden) of J J van EyckThe list of questions goes onAt the ldquoHappy Hourrdquo people
were divided into three groupsaccording to dates of each personrsquosbirthday When theoretical questionswere asked (see below) the pointsystem was devised as follows threepoints were awarded when the selected
person of a group could find theanswer himherself two points whenthe selected person needed the help ofthe other group members and onepoint if the group needed the help ofour gracious class assistant Reine-Marie Verhagen (she alwaysknew the answer) No points weregiven if the quizmaster had to supplythe answer
On the next page you find someof my questions There are morewhich we hope to run in a future issueof American Recorder
The quiz was full of fun andsuspense By the end people weremore nervous than when playing aconcert on stage Jacob Lodico of theUS was the winner at Amherst
28 March 2009 American Recorder
Education___________________________________ A quiz for recorder players
wwwAmericanRecorderorg March 2009 29
Try these questions yourselfAnswers appear at the end of thisarticle
The Quiz1 Give the name of Ganassirsquos
treatise of 1535 where heextensively describes the recorder playing and diminutions of his time
2 In which German city is therecorder company Moeck based
3 In the cantata Gottes Zeit ist dieallerbeste Zeit BWV106 JS Bach calls for two altorecorders Give another name for this cantata
4 Of which famous orchestra isFrans Bruumlggen the conductor
5 List three leading Japanesecomposers of excellent solo pieces for the recorder
6 Give the names of recordermagazines published inGermany England and the US
7 What is the fundamental tone of a fourth flute
8 List two recorder makers fromthe Baroque period in England
9 Whatrsquos the title of the recitativeand chorale in the Saint MatthewPassion where the recorder isused
10 Give the names of two famouspublishers in business around1700mdashone in London and one in Amsterdam
11 The opus 10 work by AntonioVivaldi includes six concertiSome of them have beautifulnames Give the names of thefirst three concerti of this opus
12 Whatrsquos a nickname for Jean Jacques Hotteterre
13 The combination of recorder andtraverso was rarely used in theBaroque time Can you name any composers who used thiscombination
14 Which king from 16th-centuryEngland owned a large collectionof recorders and also composedand enjoyed daily recorderplaying
15 How many movements compriseHandelrsquos Sonata in C Op 1 No 7 originally written forrecorder and basso continuo
16 Give the name of Praetoriusrsquostreatise from 1609 that describesthe whole recorder family
17 Name the author of the oldestrecorder method
18 Name Jan Jacob van Eyckrsquosdisability
19 Who pretended around 1930 thatthe recorder was a kind ofclarinet
20 Who doesnrsquot belong in thefollowing group Bertho DrieverKarel van Steenhoven MarionVerbruggen Paul LeenhoutsDaniel Bruumlggen
21 Name the two instrumentsindicated to play the sonataMeiner Mutter of Hans UlrichStaeps
22 Il Pastor Fido was not composedby Antonio Vivaldi but by aFrench composer What was hisname
23 Whatrsquos the nationality of themusic company Zen-On
24 CPE Bach composed abeautiful trio that includes a bassrecorder What are the other twoinstruments
25 Give the names of the fourmovements of Bachrsquos partita forsolo traverse flute BWV1013
26 Which excellent playersperformed as the recorder trioSour Cream
27 A recorder normally has eightfingerholes Despite this musichistory describes the recorder as ldquoune flucircte agrave neuf trousrdquo (a flute with nine fingerholes)Explain why
28 Give the French name for vibratoperformed by finger movementsalone on a wind instrument
29 Who wrote in his diaryldquohellipbeyond anything in the wholeworld the wind-music when the
Answers to
Bart Spanhoversquos Quiz1 La Fontegara2 Celle3 Actus Tragicus4 The Orchestra of the
Eighteenth Century5 R Hirose M Ishii and
M Shinohara
6 Windkanal or Tibia (both ofGermany) The Recorder(England) American Recorder(US)
7 B8 The most famous English
recorder makers around 1700Bressan and Stanesby (the latterbeing both senior and junior)
9 O Schmerz Hier zittert das gequaumllte Herz
10 Walsh (and Hare) (of London)Roger (of Amsterdam)
11 La Tempesta de Mare La Notte Il Gardelino
12 Le Romain13 JB Loeillet J J Quantz
JJ Hotteterre or J B de Boismortier
14 Henry VIII15 Five16 Syntagma Musicum17 Sebastian Virdung Musica
Getutscht und Ausgezogen (1511)18 Blindness19 Igor Stravinsky20 Marion Verbruggen21 Alto recorder and piano22 Nicolas Cheacutedeville23 Japanese24 Viola and cembalo25 Allemande Courante Sarabande
Bourreacutee26 Kees Boeke Walter van Hauwe
and Frans Bruumlggen27 Before 1670 the player could
choose how to hold the recordermdashleft hand or right hand at the topThis meant that recorder makersdrilled two holes to accommodatethe little finger of the hand thatended up at the bottom Theunused hole was sealed with beeswax
28 Flattement29 Samuel Pepys30 Flanders Recorder Quartet
30 March 2009 American Recorder
Lazarrsquos Early Music(866) 511-2981 jblazaraolcom
wwwLazarsEarlyMusiccom
292 Gibraltar Dr 108 Sunnyvale CA 94089
Strings amp Early Winds
ModernBaroque Strings Viols Vielle
Kuumlng Moeck Mollenhauer Paetzold Yamaha Ehlert
Wenner Baroque flutes
Wendy Ogle Lu-Mi Ifshin Snow
Competitive Prices
Sent on Approval
Personalized Service amp Advice
R
E
C
O
R
D
E
R
S
ldquoGO FOR NEO-BAROQUErdquo
Andrew Charlton Partita Piccola For 4 Recorders (SATB)
[Prelude Allemande Courante Musettemdash
a neo-baroque epitome] (Score amp Parts PBE-25) $795
Andrew Charlton Suite Moderne For 3 Recorders (ATB)
[Baroque shapes but Hindemithian harmony]
(3 Playing-Scores PBE-44) $995
Southwest of Baroque David Goldsteinrsquos ldquobaroque Suiterdquo
on Cowboy Songs For 2 Recorders (SA) (PBE-2) $350
The Provincetown Bookshop Inc
246 Commercial Street Provincetown MA 02657 Tel (508)487-0964
A good source for Recorder amp Viol Music of all publishers
Provincetown Bookshop Editions
angel comes down which is sosweet that it ravished me andindeed in a word did wrap upmy soul so that it made me reallysick just as I have formerly beenwhen in love with my wiferdquo
30 Whatrsquos the English name for afamous recorder ensemble calledin its country Vier op lsquon Rij
wwwAmericanRecorderorg March 2009 31
by Tim Broege timbroegeaolcom
December 11 2008 was a specialday for American music the
100th birthday of Americarsquos greatestliving composer Elliott Carter Cele-bratory concerts took place in manyvenues including Carnegie Hall inNew York There the Boston Sym-phony led by James Levine played anew work by Carter Interventions forpiano and orchestra The soloist wasanother well-known conductor DanielBarenboim who is no mean hand atthe keyboard to say the least
Itrsquos remarkable that wonderfulnew compositions continue to pourforth from Carterrsquos pen His musicsparkles and frolics packing lots of musical events into engrossingstructures Much of his music isavailable on CD so if you missed thecelebrations you can easily have yourown belated birthday party for Carter
Although he has never written for recorder (one of our prominent
recorder soloists should commissionhim) Carter has produced manychamber pieces featuring woodwindsSince many recorder players double orstarted out on woodwinds such piecesas the Sonata for Flute Oboe Cello ampHarpsichord (1952) Enchanted Preludes(1988) for flute and rsquocello Espritrudeesprit doux (1985) for flute andclarinet or the Oboe Quartet (2001)may hold special interest
If you missed Charlie Rosersquosexcellent interview (broadcast onDecember 10) with Carter Levine andBarenboim you can see it atwwwcharlierosecomview
interview9774mdashessential viewingfor fans of contemporary music
We note with sadness the passingon January 23 of another distin-guished American composer GeorgePerle An authority on the music ofAlban Berg and the Second VienneseSchool Perle developed a uniquelyrical style based upon a free approachto 12-tone and serial procedureswhich he dubbed ldquo12-tone tonalityrdquo I recommend listening to his SerenadeNo 3 for Piano amp Orchestra (1983) Six Etudes for Piano (1973-76) and the Pulitzer Prize-winning Wind Quintet No 4 (1985)
Another leading American com-poser Leon Kirchner is thankfully still with us having turned 90 onJanuary 24 Like Perle Kirchner has a highly personal and expressive styleA birthday concert was held at MillerTheater at Columbia University inNew York City NY Participatingmusicians included flutist PaulaRobison pianist Jeremy Denk and theClaremont Trio with the composerpresent to discuss his music
An excellent way to get to knowKirchnerrsquos music is through his stringquartets Just in time for his birthdayAlbany Records has released a fine CDof all four played by the Orion StringQuartet Quartet No 4 was written in2007 (when the composer was 87mdasha veritable youngster compared toCarter) The composer Allen Shawnhas described that quartet asldquoluminous and passionaterdquo words aptto describe much of Kirchnerrsquos output
Speaking of contemporary musicI have been spending pleasant hoursperusing the Catalog of ContemporaryBlockflute Music available online atwwwblokfluitorg from StichtingBlokfluit This Netherlands founda-tion offers a contemporary recordercatalog and a catalog of historicalrecorder music Access to both is byfree membership
For those who havenrsquot yet used thecontemporary catalog I urge you togive it a try You can search by manyparameters such as composer title orspecific instrumentation A search forldquovoice fluterdquo turned up a list thatincluded Moon Dances Three AmericanSketches by composer Walter Mays(intended for solo alto recorder butalso playable on tenor or voice flute)Searching the name of English com-poser Edmund Rubbra produced a listof eight works that employ recordersincluding the intriguing CantataPastorale opus 92 for high voice altorecorder rsquocello and harpsichord
Searching ldquofemale composersrdquo fora piece using ldquoBaroque altordquo yieldedAfter Meditation by Ros Bandt ofAustralia
What an easy and tremendouslyvaluable way to find new music
On the Cutting Edge___________________________________Birthdays composers and
recorder music catalogs
Elliot Carter
(photo by Meredith Heuer)
Question How does Renaissancefingering differ from standard
fingering on the recorder Is one superior tothe other Do you need a special recorder touse Renaissance fingering and if so can itbe played with regular recorders Is there afingering chart that shows RenaissancefingeringmdashWilliam BaumannWaterford WI
Answer from Carolyn Peskin Music composed in the
Renaissance the historical periodextending from about 1450 to 1600was predominantly vocal and highlycontrapuntal Recorders which oftendoubled singers at the octave orrendered vocal pieces instrumentallywere designed to make the individualmelodic lines clearly audible
Most 16th-century consortrecorders were one-piece instrumentswith large toneholes and a wide borethat contracted slightly starting nearthe upper fingerholes and thenexpanded gently near the lowest holesThat ldquochoke-borerdquo design togetherwith the voicing and tonehole con-figuration favored the fundamentaltone (first harmonic) producing astrong open sound that was aboutequally loud throughout theinstrumentrsquos range
Such recorders had a useful rangeof only about an octave plus a sixthwhich was nevertheless sufficient for the music of their day MostRenaissance-style consort recordersmade today are based loosely uponsurviving 16th-century instruments ofthe above type and are designed toapproximate the range timbre andvolume of those early instruments
Our present-day ldquoregularrdquorecorders are Baroque-derived instru-ments based loosely upon survivingrecorders from the late 17th and early18th centuries They are three-pieceinstruments with small toneholes and abore that is narrower and moretapering than a Renaissance boreextending their useful range upward totwo octaves plus a whole tone
Baroque recorders are soft andsweet-sounding in their bottom octavebut louder and brighter in the secondoctave Their lowest notes are espe-cially weak because they must be blowngently to prevent overblowing into thesecond octave Such instruments aresuitable for Baroque solo and chamberrepertoire but not very satisfying forRenaissance polyphony
Due to their different timbre andvolume Renaissance recorders will not blend well with Baroque onesFurthermore the most historicallyauthentic Renaissance-style recordersare tuned in a ldquomeantonerdquotemperament that facilitates the playingof pure major thirds Such instrumentsmake Renaissance music easier to playin tune but will produce intonationproblems if played with Baroquerecorders which are tuned in equaltemperament For the above reasonsRenaissance and Baroque recordersshould not be played together
Renaissance fingering will not work on todayrsquos neo-Baroquerecordersmdashmost of which haveldquomodernrdquo Baroque fingeringcommonly called ldquoEnglishrdquo fingering
because it was developed fromhistorical Baroque fingering by ArnoldDolmetsch in England during theearly 20th century Renaissancefingering is less standardized partlybecause a number of different originalinstruments are used as models andpartly because makers wish to improvethe intonation tone quality andorplayability of certain notes Howeverthe following generalizations apply tomany of todayrsquos Renaissance-styleconsort recorders
First in the lower octave modernBaroque fingering works for mostnotes but is often too flat for the fourth scale degree (eg soprano F)requiring removal of finger 7 (right-hand pinky) and is too sharp for theraised fourth degree (eg soprano F)requiring addition of finger 7
Modern fingering is also usuallytoo sharp for the lowered seventhdegree (eg soprano B) The correctfingering for that note varies from oneinstrument to another
In the upper octave modernfingering works for the first third andfifth scale degrees (eg soprano C Eand G) but usually not for other notesSome notes require half-holing with aright-hand finger and notes above thefifth scale degree may require additionof several fingers to bring them in tuneHistorical Renaissance fingering forthe second scale degree (eg sopranoD) is especially awkward because all ofthe fingerholes and the thumbholemust be uncovered Therefore somemakers substitute modern fingering forthat note
Although Renaissance fingeringand meantone tuning are recom-mended for the best blend some
Q amp A___________________________________ Renaissance recorder fingering
Send questions to Carolyn Peskin QampA Editor 3559 Strathavon Road Shaker Heights OH44120 carolynpeskinstratosnet
32 March 2009 American Recorder
wwwAmericanRecorderorg March 2009 33
makers of handcrafted Renaissance recorders will provide modern fingeringandor equal temperament upon request and Moeck Verlag offers a choice ofRenaissance or modern fingering for most sizes of its factory-producedRenaissance Consort series
For a most satisfying blend Renaissance ensembles should purchase amatched set of recorders tuned and voiced to be played together Renaissanceconsort sets usually include two different alto recorders one in G (lowest note g)and one in F (lowest note f ) The ATTB combination with the G-alto is best formost of the quartet music composed between 1450 and 1550 while the SATBcombination with the F-alto is more practical for much late 16th-centuryrepertoire (Playing the G-alto requires learning G-alto fingering or elsetransposing the alto line down a whole tone and using F-alto fingering)
In addition to consort recorders some makers offer ldquoGanassirdquo sopranos andaltos based upon fingering charts in Silvestro Ganassirsquos recorder tutor Fontegarapublished in 1535 and a single original instrument in the Vienna Kunst-historisches Museum Because of their special bore design (cylindrical with aflaring bell) Ganassi recorders have a range of two octaves and a sixth withcumbersome fingerings in the third octave They are used mainly as soloinstruments for playing intricate ornaments of the type found in Fontegara
Also sometimes included in the ldquoRenaissancerdquo category are ldquotransitionalrdquo(early Baroque) recorders which are based upon originals from the first half ofthe 17th century They have a bore that is wider than a Baroque bore but contractssharply near the lower end resulting in strong low notes and at least a full two-octave range usually with modern fingering Most transitional recorders aresopranos or altos designed for playing Jacob van Eyckrsquos variation sets or thehighly ornamented Italian solo repertoire of the late-16th and early-17thcenturies
However wide-bore consortrecorders with a range of at least twooctaves and modern fingering shouldalso be regarded as transitionalinstruments They differ somewhat intimbre and volume from typicalRenaissance consort recorders
Handmade wide-borerecordersmdashconsort Ganassi andtransitionalmdashare obtainable frommakers who advertise in AmericanRecorder the Prescott Workshop andthe Von Huene Workshop in the USJean-Luc Boudreau in Canada andStephan Blezinger in GermanyContact them andor visit their websites to find out what kinds ofrecorders they are currently makingand to get an idea of their prices andwait times
Factory-produced wide-borerecorders from Kobliczek Moeck andMollenhauer are available frominstrument dealers who advertise inAR New and used recordersincluding wide-bore models fromimportant makers in the US andabroad are also obtainable from Uni-corn Music For further informationvisit wwwbuyrecorderscom For a comprehensive database of recordermakers worldwide see Nicholas SLanderrsquos ldquoExtant Recorder Makers amp Retailersrdquo at wwwrecorder
homepagenetmakershtml
REFERENCES
CONSULTEDBauer Winfried
wwwrecorder-fingeringscomIncludes interactive fingeringcharts from modern makers andhistorical treatises Charts forRenaissance consort recorders byAdriana Breukink Adrian BrownBob Marvin and Tom Prescottwere consulted
Brown Adrianwwwadrianbrownorgrec
order_typesconsorthtml
Our present-day ldquoregularrdquo recorders are
Baroque-derived instruments based loosely
upon surviving recorders from the
late 17th and early 18th centuries
34 March 2009 American Recorder
The Von Huene Workshop Incis pleased to announce agreements with
CoolsmaZamra
to serve as their authorised service agents in the US
For more than 40 years the von Huene Workshop has produced some of the finest recorders in the world Our skilled staff can revoice retune and repair even the most seriously damaged instruments All repairs are done right on the premises and most can be completed within a week
For warranty repairs please include a copy of your original sales receipt
j 65 Boylston Street Brookline MA 02445 i(617) 277-8690 Fax (617) 277-7217 servicevonhuenecom
An informative article aboutrecorder sizes in Renaissanceconsorts
Brown Adrian and David LasockildquoRenaissance Recorders andTheir Makersrdquo AmericanRecorder Vol XLVII No 1(January 2006) pp 19-31 An important article based upon Brownrsquos extensive researchon 120 of the 200 surviving 16th-century recorders
Ganassi Silvestro Opera IntitulataFontegara Ed Hildemarie Peter(Berlin-Lichterfelde RobertLienau 1959) Modern edition ofthe oldest known treatise devotedentirely to the recorder (publishedin 1535) Includes 16th-centuryfingering charts
Griscom Richard and David LasockiThe Recorder A Research andInformation Guide (New York andLondon Routledge 2003) Anannotated bibliography including
references on construction anddesign of historical recorders
Levin Philip ldquoQampArdquo AmericanRecorder Vol XXXVIII No 4(September 1997) p 27Explains in simple terms thedifference between Renaissanceand Baroque recorders
Morgan Fred ldquoA Recorder for theMusic of JJ van EyckrdquoAmerican Recorder Vol XXV No 2 (May 1984) pp 47-49Describes the bore design of arecorder suitable for playing Van Eyckrsquos variation sets andcompares it with bore designs ofother types of recorders
Myers Herbert W ldquoRecorderrdquochapter in A Performerrsquos Guide toRenaissance Music ed JefferyKite-Powell (New York SchirmerBooks 1994) A 2nd edition isnow available published in 2007by Indiana University Press
FEATURING MUSICA PACIFICA
JUDITH LINSENBERG
RECORDERS____JS BACH TRIO SONATAS Arr by
Linsenberg from Trio Sonatas for Organ BWV525-
530 Sonata No 1 in E
major (transp to B
)
BWV 525 Sonata No 2 in C minor (transp to E)
BWV526 Sonata No 3 in D minor (transp to G)
BWV 527 Sonata No 4 in E minor BWV 528
Sonata No 5 in C major (transp to F) BWV529
Sonata No 6 in G major (transp to C) BWV 530
Virgin Classics Veritas 1993
____FIRE BENEATH MY FINGERS Showcases
three legendary composers who were also
virtuoso performers Vivaldi Concerto in F major
after RV 98570 ldquoLa Tempesta di Marerdquo Sonata in
A minor RV86 Concerto in G minor RV106 Con-
certo in Bb major RV503 Sammartini Concerto in
F major Tartini Concerto in A major D91 Dorian
____MANCINI CONCERTI DI CAMERA Seven
sonatas by Francesco Mancini plus one work each
from his contemporaries Francesco Durante amp
Domenico Scarlatti Highly recommended citation
from the 2000 Vivaldi Prize for Recordings of Italian
Early Music--Giorgio Cini Foundation Dorian
____MARAIS MARIN PIEgraveCES EN TRIO POUR
LES FLUcircTES VIOLON amp DESSUS DE VIOLE
Maraiss complete works for two treble lines and
bass with varied instrumentation and orchestrations
2-CD set $24
____SCARLATTI CONCERTI DI CAMERA
Seven sonatas for various instrumentations no
poor relations to the composers much more widely-
known vocal output All recorder players should
certainly have thisndashEarly Music Review
____TELEMANN CHAMBER CANTATAS
Five cantatas from Harmonischer Gottesdienst two
sonatas from Sonatas Corellisantes 2003 Chamber
Music America WQXR Record Award for best
chamber music recordings
____VIVALDI LA NOTTE Concerti per strumenti
diversi Award-winning CD featuring five Vivaldi
concerti two sonatas
AND OTHER RECORDING
ARTISTS FROM CALIFORNIA ____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 American Bach Soloists Jeffrey
Thomas conductor Dan Laurin Hanneke van
Proosdij recorders Christmas Concerto featuring
unique 1725 London version with solos transcription
for two recorders instead of two solo violins in
three of the six concertos Delos
____CANCcedilONIEgraveR Annette Bauer recorder
multi-instrumentalist Tim Rayborn Shira Kammen
strings Phoebe Jevtovic voice in a new early
music group devoted to repertoire from the
12thndash15th centuries as well as traditional music
from related regions (the Balkans Scandinavia
Middle East) Medieval instrumental music played
on a variety of instruments including strings
recorders and percussion Medieval dances and
motets bring to life the rich world of ancient
European music-making
____SACRED AND SECULAR MUSIC FROM
RENAISSANCE GERMANY Ciaramella-Adam amp
Rotem Gilbert Doug Millikan Debra Nagy
recorders with other winds shawm sackbut amp
organ Medieval amp Renaissance sacred music with
reconstructions of folksongs amp arrangements based
on contemporary improvisation
____BURIED TREASURE TOPAZ amp SAPPHIRE
Ensemble Vermillian Frances Blaker recorders
Barbara Blaker Krumdieck cello Elisabeth Reed
gamba Katherine Heater harpsichord amp organ
Transcriptions of Buxtehudes Op 1 other pieces by
Buxtehude works by Biber Johann Schop
Schmelzer Fafarela 2007
____STOLEN JEWELS Ensemble Vermillian
Frances Blaker recorders Barbara Blaker
Krumdieck Elisabeth Reed Katherine Heater 17th-
century German music adapted by Blaker I love
violin music so I steal the music and rearrange it
for my own instrumentrdquo Buxtehude Op 1 Biber
Rosenmuller Krieger JM Bach Fafarela
Recordings
____SENFL (LUDWIG) Farallon Recorder Quartet
(Letitia Berlin Frances Blaker Louise Carslake
Hanneke van Proosdij) 23 lieder motets and
instrumental works of the German Renaissance
____DOLCE MUSICAndash A CONTEMPLATIVE
JOURNEY Eileen Hadidianflutes recorders
Natalie Cox harps Celtic Renaissance and
Medieval melodies for recorder and flute with
Celtic harp Healing Muses 2005
____REFLECTIONS MUSIC TO SOOTHE AND
UPLIFT THE SPIRIT Eileen Hadidian recorder amp
Baroque flute with Celtic harp and cello Celtic
traditional Renaissance amp Medieval melodies
Healing Muses
____AN EVENING WITH BACH Voices of Music
Hanneke van Proosdij Louis Carslake Dan Laurin
recorders Joanna Blendulf Elizabeth Blumenstock
Rodney Gehrke Lisa Grodin Katherine Kyme
Jennifer Lane Victoria Gunn Pich Susanne Ryden
William Skeen David Tayler Renaissance and
Baroque music centers on fine singing Instantly
recognizable Air on a G String Bachrsquos Prelude in
G Major (solo theorbo for rsquocello) plus lilting vocal
performancesmdashRydenrsquos weightless soprano on
Bist du bei mir Lanersquos rich alto on Es is vollbracht
____BACH amp TELEMANN SONATAS PRELUDES
amp FANTASIAS Voices of Music (Hanneke van
Proosdij Joanna Blendulf Rodney Gehrke William
Skeen David Tayler) Beautiful chamber music by
Bach and Telemann
IN STOCK (Partial listing)____ALLA TURCA FUX CALDARA BADIA
Matthias Maute amp Sophie Lariviegravere recorders
Monika Mauch soprano Vocal music of the church
accompanied by Ensemble Caprice plus sonatas
and other instrumental pieces Analekta
____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 John Daniels Sonja Lindblad
recorders Peter Sykes harpsichord Trio sonata
arrangement by Johann Christian Schickhardt
____LES
AMIS DU
BAROQUE
Paul Nauta recorder amp
Baroque flute Koen Dieltiens recorder Music by
Bassani Corelli Vivaldi etc Highlight Intl
____LES SEPT SAUTS BAROQUE CHAMBER
MUSIC AT THE STUTTGART COURT Matthias
Maute amp Sophie Lariviegravere recorders amp traverso
Ensemble Caprice Charming repertoire by
Schwartzkopff Bodino Detri Atma Classique
____TASTE OF PORTIQUE LEnsemble Portique
Early and contemporary chamber musicmdash
Bach Telemann Boismortier and others
____TELEMANN ALLA POLACCA REBELndash
Matthias Maute recorders amp traversondash
plays concerti and suites by GP Telemann Dorian
____TELEMANN CANONS AND DUOS Lisette
Kielson amp Patrick OMalley recorders LEnsemble
Portique Telemann Canons meacutelodieux amp Sonates
sans basse 2-CD set LEP Records
____20TH CENTURY MUSIC FOR RECORDER amp
PIANO Anita Randolfi recorders Music by Jacob
Bartok Leigh others for recorder amp piano
____VIVALDI AND THE BAROQUE GYPSIES
Matthias Maute amp Sophie Lariviegravere recorders
Ensemble Caprice Gypsy music taken from
Uhrovska zbierka (now Slovakia) plus Vivaldi
____VIVALDI SHADES OF RED CONCERTOS amp
SONATAS FOR RECORDER amp STRINGS Matthias
Maute recorders REBEL Stylish high octane
readings of some of Vivaldis most beloved pieces
including the popular and raucous Concerto alla
Rustica stunningly colorful Sonata on La Follia and
four exuberant recorder concerti Bridge
____WINDFIRE Charmaine Delmatier recorder
Steve Kostelnik classical guitar Terry Hale bass
Erik Hokkanen violin Refreshing mixture of Andrew
Lloyd Weber American blues flamenco Celtic and
one original piece ltwwwyermomusicomgt
Please indicate above the CDs you wish toorder and print clearly the following
Name ____________________________________
Daytime phone (_____)______________________
Address__________________________________
CityStateZip _____________________________
Check enclosed for
_____ single CDs x $____ = $______
_____ 2-CD sets x $____ = $______
TOTAL $______
Please charge the above amount to my
MasterCard Visa or AmEx
_______________________________________
Exp Date ____________
Cardholderrsquos signature ______________________
Mail to
ARS 1129 Ruth Dr St Louis MO 63122-1019 US
You may fax a credit card order to 314-966-4649
NEW You may order CDs online using PayPal at
wwwamericanrecorderorgordercdromshtm
Order your recorder discs
through the ARS CD Club
The ARS CD Club makes hard-to-find or limited release CDs by ARS members
available to ARS members at the special price listed (non-members slightly higher)
All CDs are $15 ARS members$17 Others unless marked otherwise Two-CD sets are
$24 ARS members$28 Others Add Shipping and Handling $2 for one CD $1 for each
additional CD An updated listing of all available CDs may be found at the ARS
web site ltwwwamericanrecorderorggt
The first meeting of the newly-formedFort Myers Recorder and Early
Music Ensemble was January 26 atthe Florida home of chapter rep Sue
Groskreutz For this year the groupis somewhat loosely organized andplans to meet for extended sight-reading Repertoire at the first meetingcomprised everything from Renais-sance duets to chamber music involv-ing three treble parts and continuo
Among the five musiciansattending the first meeting (photobelow front row Elizabeth Spang SueGroskreutz back row Suzanne FergusonSibylle Baumgartner Arlene Sowka) allplayed recorder three harpsichord
and one each played traverso violinand gamba Due to the scarcity ofrecorder players south of the Sarasotaarea modern string players are alsoincorporated into this ensemble
The group decided not to chargedues and to meet at Groskreutzrsquoshome For more information pleasecontact Groskreutz at 239-267-1752spgembarqmailcom Snowbirdsdrifting through the area are welcome
Last fall at the requestof a student Kay Hettich
(inset below right) taught abeginning recorder class atthe Redding (CA) Senior
Center The five-weekclass was so successful thatmost participants haveformed a bi-weekly noviceensemble (right) coachedby Hettichmdashwho consid-ers them her ldquohatchedeggsrdquo
A new batch of ldquoeggsrdquostarted to incubate when afive-week class began on February 20Other senior center members havebecome interested as they heard oftheir colleaguesrsquo success These noviceplayers comprise some who previouslyread music and played instruments as well as people who are totally new to music notation
One student has also formulated amaxim ldquoEveryone at age 40 ought tolearn to play the recorder if heshehasnrsquot alreadyrdquo Just think how theworld would be transformed byshifting our focus to music
After Lynn Whidden attendedthe Montreacuteal Recorder Festival lastfall when the ARS Board met inQuebec she joined the ARS and nowrelays news of the lively interest in therecorder exhibited by a group underthe new leadership of Brent Legg ofBrandon University in ManitobaCanada Although his hands wereldquostill partly frozenrdquo he wrote that theBrandon University Collegium
Musicum in collaboration with theWaverley Park Recorder Club is
preparing a spring concert calledldquoEnglandrsquos Golden AgerdquoRepertoire spans the 16th century
from Henry VIIIrsquos accession in 1509to the death in 1603 of Elizabeth Iand includes solo songs four- andfive-part settings of Renaissancedances (with dancers) three- to five-voice madrigals and ldquobig-bandrdquoarrangements of William Byrdrsquos TheBells and The Dargason as re-imaginedby Gustav Holst (further re-imaginedfor recorders and percussion)
Of the 15 collegium membersseven are encountering the recorderfor the first time since elementaryschool The Collegium Musicumpromotes the study of early music at the university and is open to theuniversity community and the generalpublic This year there are five com-munity participants with interest fromseveral more both within and outsideof the university For informationcontact BrentLegggmailcom
January 16 marked the thirdannual recorder workshop of threeFlorida groups the Pasco Collegium
Recorder Consort of Hudson theImperial Recorder Consort of
36 March 2009 American Recorder
Chapters
amp Consorts___________________________________Workshops and activities from
coast to coast in the US and Canada
Lakeland and the Pilgrim Pipers Recorder Consort of St Petersburg Theygathered for a morning tackling selections by Banchieri Monteverdi PurcellCorelli Mendelssohn Bach Mozart and Glen Shannon Each group presenteda piece for the other participants Sweet Georgia Brown by Ben Bernie (St Pete)a Sonata by Sammartini (Lakeland) and The Gospel Train arr by KW Ford(Pasco) The 29 participants were led by Marlene Cracraft (Pasco) Jane
Spencer (Lakeland) and Elizabeth Snedeker (St Pete) Tom Bickley (photo below) directed the fall workshop of the Mid-Peninsula
Recorder Orchestra in Cupertino CA The 30 players started with Gregorianchants written in ldquooldrdquo notation Bickley gave basic instruction on how tointerpret the notes and then had the group sing the chants prior to playing them
The workshop theme of ldquoThe Articulate Recorderrdquo was literally played out as the music presented used variations in tonguing phrasing and breathingOther repertoire included a Kyrie by Tomas Luis de Victoria Bachrsquos Jesu Joy ofManrsquos Desiring a double-choir piece by Gabrieli Christopher Tyersquos In NomineXIII and a Purcell chaconne The workshop ended with a rhythmically-challenging minimalist piece by Bickley entitled Beginning composed for theWaldorf School teacher training program George Greenwood reports that thegroup had a productive event and plans to ask Bickley to lead a future workshop
wwwAmericanRecorderorg March 2009 37
A Muse in the DesertThe sound of a pin dropping hellip thesound of eager minds and fingersabsorbing information and inspira-tion hellip the sounds of ldquoNuevaEspantildeardquo Spanish- and indigenous-influenced music of the 1600s in theNew World These were the soundsof the Desert Pipes (Phoenix AZ)chapterrsquos fall workshop given byEileen Hadidian On a Saturdaylast October 30 players from all overArizona gathered to learn from andbe inspired by the founder of a SanFrancisco Bay Area group dedicatedto sharing music for healing inhealthcare settings Healing Muses(wwwhealingmusesorg)
The day began with relaxationstretching and breathing exercisesfollowed by travels to Peruacute MexicoGuatemala and Colombiamdashhighchurch music vernacular pieces anda mixture of the two Participantsenjoyed the historical and contextualbackground provided as an overviewfor the day and for each piece
Remarkably the sound heardbetween pieces and passages was anenergy-filled quiet the attentivestillness of active engagement in theworkshop experiencemdashnot the chat-tering noodling and conversationsthat often occur when the musicstops That activity was reserved forthe breaks when participants couldenjoy the cool (at last) outdoorschat with Hadidian and peruse the popular garage sale (to benefitDesert Pipes) of previously-enjoyedbooks and other treasures
On Sunday Hadidian sharedher expertise and inspiration in indi-vidual and group coaching sessionsThe weekend was a special experi-ence and Desert Pipes memberslook forward to the next visit of this Healing Muse
Ann Koenig Scottsdale AZannisalesprocom
Members
of three
Florida
groups
met
in January
for a joint
workshop
CHAPTER NEWS
Chapter newsletter editors and publicity officers should send materials for publication toAmerican Recorder 7770 South High St Centennial CO 80122-3122
editoramericanrecorderorg Also send short articles about specific activities that haveincreased chapter membership or recognition or just the enjoyment your members get out of
being part of your chapter Digital photos should be at least 3rdquox4rdquox300dpi TIF or unedited JPG files Please send news to the AR address above and to the following
ARS Office 1129 Ruth Drive St Louis MO 63122-1019 ARSrecorderAmericanRecorderorg
and to Bonnie Kelly Chair Chapters amp Consorts Committee 45 Shawsheen Rd 16 Bedford MA 01730 bksharpaolcom
TO THE STARS
AND BEYONDThe cover of the November magazinegenerated a few comments Some werenrsquotsure how to interpret the title (in theartistrsquos native German it could besomething close to ldquostarlit moonrdquo)Longtime member Carolyn Peskin wrote to offer her vision of that cover
In the beginning the Great Spiritinvented Mr Sun to light the day andMiss Moon to light the nightHowever as Miss Moon floated up inthe sky all by herself like a big yellowballoon she began to feel very lonelyso one night to relieve her lonelinessshe decided to take out her recorderand make music
But when she started to playsomething miraculous happened Not only beautiful melodies but alsoyellow dust poured out of the bottomof her recorder and the dust particlesimmediately coalesced to form yellowstars As she continued playing moreand more stars were created and theyfloated up around her filling the nightsky
At last Miss Moon was happy fornot only was she herself able to enjoyher music but she now had a wholecrowd of starry companions to enjoy itwith her And if you listen very care-fully on a quiet night you might beable to hear her recorder and thatstarry choir humming along
Carolyn Peskin
LOCATING EARPLUGSI read with interest the QampA in theNovember lsquo08 AR regarding hearingloss and use of earplugs Where do you get musicianrsquos earplugs
Dolly Hirata Kensington CA
CAROLYN PESKIN PROVIDED THIS
INFORMATION Musicianrsquos earplugs arecustom made for individual usersThey can be purchased only fromlicensed hearing professionals (ieaudiologists and hearing instrumentspecialists) To find a licensed hearingprofessional in your area look underldquoaudiologyrdquo or ldquohearingrdquo in your localyellow pages
For information about how musi-cianrsquos earplugs are produced visitwwwetymoticcomephperme-w
tbaspx That web page also has a linkto contact information for authorizedlabs that make the custom earmolds formusicianrsquos earplugs If the yellow pagesdo not prove helpful those labs canrefer you to a licensed hearing pro-fessional in your area from whom youcan purchase musicianrsquos earplugs
MORE FROM CAROLYN
THIS TIME ABOUT OSKARIn the September 2008 AR the musicreview by Leslie Timmons of the Oskarpieces by Matthias Maute mentionedthat Carolyn Peskin had translated twoof the Oskar books from German toEnglish People can obtain thetranslations free of charge as Wordattachments by contacting her atCarolyn Peskin 3559 StrathavonRoad Shaker Heights OH 44120carolynpeskinstratosnet
ANOTHER KIND OF
MUSIC-READING
GLASSESIn the January 2009 issue of AmericanRecorder therersquos something (in myopinion) the ldquoRecorder with GlassesObbligatordquo article omitted which canenable a nearsighted musician to avoidneck strain in the use of bifocals
Irsquove found the solution to thisvexing problem is to have onersquos bifocalsconstructed differently [from] normalMy optometrist was willing to work
38 March 2009 American Recorder
Response___________________________________Two kinds of vision
the better to see with and (not) to hear with
Honeysuckle Music
Recorders amp accessories
Music for recorders amp viols
Jean Allison Olson1604 Portland AveSt Paul MN 55104
6516448545jeanhoneysucklemusiccom
Responses from our readers are welcomedand may be sent to American Recorder 7770 South High St Centennial CO
80122 Letters may be edited for length and consistency
ARS Membership Enrollment and Renewal I am a new member I am or have been a member
USCanadian Memberships Foreign Memberships $45 One Year $55 Foreign One Year $75 Sustaining (Receive a Hottetere Hands Pin) $100 Two Years $80 Two Years
LIFETIME MEMBERSHIP Single Dual Regular Lifetime Member $1000 (2) $1500 (4) 4 installments of $250 available) Loyalty Lifetime Member (1) $ 800 (3) $1200 (4) 4 installments of $200 available
(1) For members who have maintained membership for five consecutive years (2) $750 is Tax Deductible (3) $600 is Tax Deductible (4) Installments available Student Memberships Other Memberships (Enclose proof of full time enrollment) $65 One Year Workshop Membership
$25 USCanadian One Year $125 One Year Business Membership $45 USCanadian Two Years $30 Foreign One Year $5 Additional Charge for Dual Address or Dual Name
Do not list my name in the ARS Print Directory Do not list my name on the ARS Online Directory Do not release my name for recorder related mailings Do not contact me via email
My address telephone and email address are the same as last time
______________________________________ _________________________ Name Phone Number ______________________________________ _________________________ AddressCityStatePostal Code Email Address Please charge to (Circle one) VISAMasterCardAMEXDiscover CC________________________________ Expiration Date ______________ Signature of cardholder_______________________________________________________ Clearly Print Name as it appears on Card________________________________________
Renew by Mail Online By Phone or by Fax
Demographic Information (optional information collected only to enhance ARS services and provide statistics to grant makers)
I am a member of ARS Chapter or Consort____________________________ I am the Chapter Contact Your age Under 21 (21-30) (31-40) (41-50) (51-60) 61-70) (71+) Please check all that apply
I am a Professional Recorder Performer
I wish to be included in the list of Recorder Teachers in the ARS Directory and website I Teach (circle your choices) Children High School Youth College Students Adults Beginner Intermediate Advanced Pre-Professional Individuals Childrenrsquos Classes Adult Classes Ensembles Suzuki Orff JRS Leader Kodaly Where I Teach (circle your choices) Music Studio Public or private school Community Music School College Other _____________________
American Recorder Society 1129 Ruth Dr St Louis MO 63122-1019
Phone 314-966-4082Fax 314-966-4649
TollFree 800-491-9588ARSRecorderAmericanRecorderorg
wwwAmericanRecorderorg
with me [to find] an ideal (for me)placement size and focal length of thebifocal lens
Before visiting the optometristIrsquod had my wife measure the distancefrom my eyes to the music on mymusic stand With this measurementthe optometrist set up her machine toprepare a vision prescription for memaximized for this reading distance
When I look at my bifocals (withthem off) the lenses (through which Iread my music) occupy most of thelower two-thirds of my glasses (they are set very high and beginimmediately at the inner rims) Thisleaves the upper third and smallportions of the outside [of each lens]for focusing on the conductor As longas my stand is set low enough my necknever experiences any strain (even if Ihave to read three to a part) and Irsquove no problem in seeing theconductor (in sharp focus) either
For me trying to use glasses [toread] from a music stand [that] weredesigned for use in reading from acomputer screen also results in neckstrain (not to mention unreliability in aldquopressurerdquo situation) Having studiedTai Chi extensively and so being
wwwAmericanRecorderorg March 2009 39
There are lots ofsolutions to thepresbyopic musicianrsquosproblem but all involve compromises
40 March 2009 American Recorder
American Recorder Society PublicationsErich Katz Contemporary Music Series Members Non-MembersA Short Tale for Two Basses Suzanne M Angevine (Level II) (2 scores) $5 $8Dialogue and Dance Cecil Effinger (SATB)(Level II-III) (score amp parts) $10 $18Dorian Mood Sally Price (SATB) (Level II) (score amp parts) $10 $18Double Quartet for Recorders Peter Ballinger (Level II-III) (score amp parts) $10 $18Entrevista Frederic Palmer (SATB) (Level II) (2 scores amp 4 recorder parts) $8 $14Kyrie and Vocalise for Soprano Voice ampRecorders Stanley W Osborn $8 $14
(SATB) (Level II) (2 scores amp 4 recorder parts) Picnic Music Jeffrey Quick (SATB) (Level II) (score amp parts) $5 $8Six Short Pieces for Three Recorders edited by Alan Drake $8 $14
(3 scores) Vaclav Nelhybel (AATT) (Level II)Sonatina for Alto Recorder and Piano Anthony Burgess $7 $12
(Level II) (2 scores)Sonatine for Three Altos Lee Gannon (Level III) (score amp parts) $14 $26Suite of Jewish Folk Tunes Erich Katz (S SA8 AT) (Level II) (three scores) $10 $18
Musical Editions from the Membersrsquo Library ARS members 1 copy-$3 2 copies-$450 3-$6 4-$750 5-$10 6-$1150Non-members (editions over 2 years old) 1 copy-$5 2 copies-$850 3-$12 4-$15 5-$1950 6-$23The ARS is happy to provide photocopied enlargements of any Membersrsquo Library edition at the same prices Please specify ldquoMembersrsquo Library Enlargementrdquo
ARS Information BookletsARS members 1 booklet-$13 2 booklets-$23 3-$28 4-$35 5-$41 6-$47 7-$52Non-members 1 booklet-$18 2 booklets-$33 3-$44 4$55 5-$66 6-$76 7-$86
Education PublicationsThe ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996)
First copy free to ARS Members (mailed to new members as they join) replacement copies $3Guidebook to the ARS Personal Study Program (1996) Material formerly published in the Study Guide
and Study Guide Handbook plus additional resources Members $11 non-members $20ARS Music Lists (2002 with 2003 Supplement) Graded list of solos ensembles and method books
Members $9 non-members $15Package Deal available only to ARS members Guidebook and Music ListsSupplement ordered together $16Junior Recorder Society Leaderrsquos Resource Notebook
ARS members $20 non-members $40 (updates at reduced rates after initial purchase)$5 Dues for each JRS student member sponsored by an ARS member ($4 each for groups of 10+)
VideosRecorder Power Educational video from the ARS and recorder virtuoso John Tyson
An exciting resource about teaching recorder to young students ARS members may borrow a copy for onemonth by sending $5 to the ARS office along with the address to which the tape should be shipped
Pete Rose Video Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music Festival recitalFeatures Rose performing a variety of music and an interview of him by ARS member professional John Tyson
Other PublicationsChapter Handbook A resource on chapter operations for current chapter leaders or those considering forming an
ARS chapter ARS members $10 non-members $20 (updates free after initial purchase) One free copy sent toeach ARS chapter with 10 members or more
Consort Handbook Resource on consort topics such as group interaction rehearsing repertoire performingARS member prices CD $10 hard copy $20 combo price of CD and hard copy ordered together $25
Discography of the Recorder Vol I (1989) Compiled by Scott Paterson and David LasockiDiscography of the Recorder Vol II (1990-1994) Compiled by Scott Paterson
Either single volume ARS members $23 non-members $28Both Discography volumes together ARS members only $40
American Recorder Cumulative Index for Vols I-XXXX ARS members $20 non-members $32Index Supplement Vol XXXIV-XXXX ARS members $8 non-members $14
Shipping amp Handling FeesUnder $10 - add $3 $10-1999 - add $4 $20-2999 - add $5 $30-3999 - add $6 $40-4999 - add $7 All prices are inUS dollars For Canadian or foreign postage pay by credit card and actual postage is charged
Please make checks payable to ARS VISAMCAMEXDisc also accepted
ARS 1129 Ruth Drive St Louis MO 63122 US800-491-9588 ARSrecorderAmericanRecorderorg
Arioso and Jazzy Rondo (AB) Carolyn PeskinBerceusendashFantaisie (SATB) Jean BoivertBrucknerrsquos Ave Maria (SSATTBB)
Jennifer W Lehmann arrCanon for 4 Basses (BBBB) David P RuhlDancers (AT) Richard EastmanDifferent Quips (AATB) Stephan ChandlerElegy for Recorder Quartet (SATB) Carolyn PeskinElizabethan Delights (SAATB)
Jennifer W Lehmann arrFallen Leaves Fugal Fantasy (SATB) Dominic BohbotFour Airs from ldquoThe Beggarrsquos Operardquo (SATB)
Kearney Smith arrGloria in Excelsis (TTTB) Robert CowperIdyll (ATB) Stan McDanielImitations (AA) Laurie G AlbertsIn Memory of Andrew (ATB) David GoldsteinLay Your Shadow on the Sundials (TBgB)
Terry Winter OwensLeClercqrsquos Air (SATB) Richard E WoodLittle Girl Skipping and Alouette et al (SATBCb)
Timothy R Walsh
Los Pastores (SAAAT + perc) Virginia N Ebinger arrNew Rounds on Old Rhymes (4 var) Erich KatzOther Quips (ATBB) Stephan ChandlerPoinciana Rag (SATB) Laurie G AlbertsSanta Barbara Suite (SSAAT) Erich KatzSentimental Songs (SATB) David Goldstein arrSerie for Two Alto Recorders (AA) Frederic Palmer Slow Dance with Doubles (2 x SATB) Colin SterneSonata da Chiesa (SATB) Ann McKinleyS-O-S (SATB) Anthony St PierreThree Bantam Ballads (TB) Ann McKinleyThree Cleveland Scenes (SAT) Carolyn PeskinThree in Five (AAB) Karl A StetsonTracings in the Snow in Central Park (SAT)
Robert W ButtsTrios for Recorders (var) George T BachmannTriptych (AATB) Peter A RamseyTwo Bach Trios (SAB) William Long arrTwo Brahms Lieder (SATB) Thomas E Van Dahm arrVariations on ldquoDrmešrdquo (SATB) Martha BishopVintage Burgundy (SASATT)
Jennifer W Lehmann arr
Adding Percussion to Medieval and Renaissance Music Peggy Monroe
American Recorder Music Constance PrimusBurgundian Court amp Its Music Judith Whaley coord
Improve Your Consort Skills Susan CarduelisMusic for Mixed Ensembles Jennifer W LehmannPlaying Music for the Dance Louise AustinRecorder Care Scott Paterson
acutely aware of any kind of neckstrain when it begins to develop these ideas have been a big help to meIrsquom hoping they may be of help toother musicians as well
Best wishes to you And inanswer to your questionmdashyes the new[AR] format (with more white spacebetween the lines) is much easier toread (in my opinion)Your magazinejust keeps getting better and better
Very sincerely Ed Green WestSuburban (Chicago-area) Chapter
RESPONSE FROM DR BILL LONG
What Ed describes is a variant of theuse of conventional bifocals as musicglasses described on page 8 in thearticle Instead of lowering his musicstand into the field of view of hisbifocal segment Ed and his optome-trist have fabricated special purposebifocals with the segment really highso he can focus on his music instraight-ahead view That approachrestricts his distance vision to an areaabove his usual line of sight whichseems to work for Eds playing setup
Eds comments on the difficultiesin using conventional progressiveaddition lenses as music lenses con-firm what I said on page 9 Thats whymanufacturers have marketed special-ty progressive lenses designed specif-ically for intermediate distance taskslike computer use and playing music
There are lots of solutions to thepresbyopic musicians problem but all involve compromises The key toevaluating those compromises andchoosing the best solution for yourselfis to understand your needs and toenlist the help of a sympathetic visioncare specialistmdashjust as Ed did
Please change your
browserrsquos favorites list
AR online is now at wwwameri
canrecorderorgmembership
magazinehtm Send news to
editoramericanrecorderorg
FOUR FOUR-PART CANZONAS
(1608) BY GIOVANNI GABRIELI
ED GREG LEWIN Hawthorns Music RB 16 (Magnamusic) 1999 SATBSc 16 pp pts 4 pp $1950
Giovanni Gabrieli was probablyborn between 1554 and 1557 in theparish of San Geremia in Venice Thedetails of his early life are sketchy butit appears that he was born Giovannidi Fais and later changed his name toGabrieli out of respect to his uncleAndrea with whom he shared a closerelationship In fact in 1587 Gabrielidescribed himself ldquoas little less than asonrdquo It is commonly thought thatAndrea provided Giovanni with hisearly musical training Andrea whohad spent some time in Munichstudying under the great Orlando deLassus sent Giovanni to Munich for a similar period of study in theearly 1570s
Gabrieli remained in Munichuntil the death in 1579 of the dukeAlbrecht V who had been Lassusrsquosemployer for a number of years andwho was an enthusiastic patron of the arts particularly music With hisdeath a number of musicians lost theirjobs it seems as if Gabrieli were also a victim of such culling of talent(Within a generation the tide wouldturn and the Munich court wouldagain hire Venetian expatriates such as Priuli Valentini and Neri)
Upon his return to VeniceGabrieli was hired as a temporaryorganist at San Marco his positionbecoming permanent in 1585 For a few months that year uncle andnephew served together as first and
second organists in the chapel of thedoge In Giovannirsquos absence fromVenice there had been a plague thathad decimated the ranks of theprofessional musicians Andrea setabout rebuilding his forces at SanMarco by hiring a full-time windband consisting of Girolamo dallaCasa a renowned cornettist andviolist his two brothers who playedsackbut and later the cornett virtuosoGiovanni Bassano Giovanni Gabrieliaugmented these forces with addi-tional players and began composingthe large-scale ceremonial music forwhich he is so well known today
Giovanni was also elected to bethe organist and composer to theconfraternity of San Rocco in 1585and it is now thought that his largestpieces were intended for that venuewith its large central gallery andfrescos by Tintoretto instead of SanMarco Gabrieli held both thosepositions at the basilica of San Marcoand the Scuola Grande di San Roccountil he died in 1612 of a kidney stone
Although best known today forhis ceremonial and festival musicGabrieli was at home in smaller-scaleformats as well These four four-partcanzoni are taken from the 1608publication by the Venetian publisherAlessandro Raverji Canzoni per sonarecon ogni sorte di strumenti These werevery popular pieces to judge by themany collections in which they appear
Additionally like Gabrielirsquoskeyboard music they are found inother arrangements These four-partcanzoni lie well under the fingers inarrangements for keyboard and lute
As seen from the title Gabrielispecified no instrumentation but like asimilar edition of madrigals and battlepieces from a few years earlier a dis-tinction was made that they wereintended for wind instruments almostcertainly cornetts and sackbuts
Recorders were not unknown in Venice they were used regularly inthe confraternity of San GiovanniEvangelista where Giovanni BattistaRiccio was organist
These pieces are relativelysimplemdashplayable by beginning tointermediate ensembles They aremostly contrapuntal (with a fewhomophonic sections) and have few rhythmic eccentricities
These canzoni are found in manymodern brass editions but there arefew editions available to the recorderplayer This edition by Greg Lewin ofHawthorns Music might be consid-ered a ldquobare-bonesrdquo edition There islittle background information andeditorial practices are not specified
The music itself has a handwrittenlook that can be distracting but is easyenough to read Lewin has thought-fully supplied phrasing marks that willbe helpful for ensembles unused tothis style of music
Music
Reviews___________________________________ Infectious music created in spite of the plague
wwwAmericanRecorderorg March 2009 41
This is a good edition
for small ensembles that
canrsquot get eight players
together to play
Gabrielirsquos more famous
eight-part canzoni
42 March 2009 American Recorder
The parts are four pages but mycopy had all four pages printed on avery large page This is not a problemand there are no page turns
This is a good edition for smallensembles that canrsquot get eight playerstogether to play Gabrielirsquos morefamous eight-part canzoni Thesesmall-scale pieces are by no meansinferior to Gabrielirsquos more elaboratemusic and deserve to be better known
7 CANZONEN (1637) BY
TARQUINIO MERULA ED JOACHIM
ARNDT WITH CONTINUO REALIZATION
BY CLAUDIA SCHWEITZER MieroprintMusikverlag EM2088 (availabledirectly from wwwmieroprintcom)2005 SS or TT bc Sc 24 pp pts 8 pp$28
Tarquinio Merula was bornaround 1595 in either Busseto orCremona in Italy As was the case withso many composers of the day either alack of regular employment or a rest-less nature took him from his home inCremona to as far away as Warsaw He is found as the organist of thechurch and the chambers to the kingof Poland Sigismund III in 1624
Merula was one of the leadingexponents of the relatively new con-certante style pioneered by ClaudioMonteverdi and others in the seconddecade of the 17th century and may be described as one of the earliestBaroque composers His compositionsin the concertante style are fresh andunforcedmdashhe was born into this styleand didnrsquot encounter it as somethingnew as was the case with so many ofMonteverdirsquos contemporaries
After several years of peripateticexistence Merula found regularemployment in 1631 in Bergamo atthe church of San Maria MaggioreThe prior holder of the post of maestrodi cappella Alessandro Grandi haddied the previous year in the plagueMerula had signed a three-year
contract but by December 1632 hewas terminated with accusations thathe had molested several studentsMerula threatened a lawsuit to recoverhis lost wages but that threat wascountered with a pending criminalcharge lodged by the board ofgovernors of San Maria Maggiore By mid-1633 the matter was settledwith an apology from Merula and astatement that he relinquished allclaims to his salary
He then returned voluntarily toCremona where he stayed until 1635By 1638 Merula was once again inBergamomdashthis time as maestro dicappella and organist in the cathedralnext to San Maria Maggiore Asmight be expected there was con-siderable tension between the twochurches eventually resulting in theboard of San Maria Maggioreforbidding their musicians to perform under Merularsquos direction
He returned in 1646 to a familiarCremona post which he had heldthree times in various years and wherehe now settled downmdashthat of organistand maestro di cappella for Laudi dellaMadonna services in which he ledmusic at the main altar on Saturdaysand on vigils of Marian feasts
None of his employment issues
prevented the Pope from awardinghim the Order of the Golden SpurMerula was also elected to theAccademia dei Filomusi in BolognaHe died in 1665 in Cremona
His existing compositions showthe products of a lively mind Hisworks range from sacred songs andmotets to purely instrumental piecesnotably the ever-popular variations onvarious ground basses It is knownthat Merula was an accomplishedviolinist as well as a fine organist Hissurviving instrumental writing showsa predilection for strings In fact hewas one of the earliest composers tospecify string accompaniments tosacred motets
Merularsquos pieces look backwardtoward some of the more progressiveVenetian composers such as Monte-verdi while looking forward to thehigh Baroque with his innovative style
These seven canzoni like theearlier-published chaconne (EM2084)come from Merularsquos third bookpublished in 1637 CANZONI overo SONATE CONCERTATE perchiesa e camera a due et a tre delcavaliere This collection typifiesMerularsquos output pieces based onRenaissance-era ground basses arefound next to more ldquomodernrdquo sonatas
The original edition specifiesviolins and basso continuo This newedition is intended for recorders thespecific choice of which is up to theplayers Due to the relatively hightessitura tenor recorders work best inthese pieces (although listed as analternative soprano recorders tend to be on the screechy side)
Not surprisingly given Merularsquosskill as an organist the continuo partneeds a keyboard instrument forsuccessful realization Instead of beinga purely accompanying part the bassocontinuo part is an equal partner in these pieces the canzona ldquoLaRuggierardquo opens with a run that therecorders echo a few measures later
A more recorder-specific
edition intended for
altos would have been
ideal There is nothing
preventing the more
adventurous and
industrious players
from making their
own editions of this
delightful music
mentioned were a bit shrill A morerecorder-specific edition intended foraltos would have been ideal There isnothing preventing the moreadventurous and industrious playersfrom making their own editions of thisdelightful music
Prior to playing the previouslypublished chaconne I had notencountered MieroprintMusikverlag Mieroprintrsquos extensivecatalog has an equal focus on newmusic for recorders and on editions ofBaroque masters with emphasis on therecorder and flute Due to the lack of
wwwAmericanRecorderorg March 2009 43
are also available at
The Early Music Shop
of New England
Brookline MA
AESTHEacute
367-b de la Briquade
Blainville Queacutebec
Canada J7C 2C7
tel (450) 979-6091
wwwboudreau-flutesca
A bass viola da gamba or rsquocello is not necessary for these pieces and may infact make them sound heavy and ponderous rather than light and breezy as thismusic seems to be
More so than the above-mentioned chaconne these canzoni are written in avery idiomatic violin style with multiple examples of arpeggios In particular thecanzona ldquoLa Trecchardquo contains a notated example of a string tremolo figurerecurring through the piece ldquoLa Trecchardquo also dips well below the range of a Crecorder going down to low G the lowest string on the violin The editors havesupplied no alternative notes preferring to let the performers to fend forthemselves (in practice we took this passage up an octave with no problems)
The two recorder parts require virtuosity These upper parts are demandingwith the players needing to double-tongue in unison in order to negotiate themany runs of 16th notes and the shared rhythmic ldquolicksrdquo The harmoniclanguage unlike much of Merularsquos music is undemanding and contains none of the harmonic crunches for which he is famous
This is wonderful music that needs a couple of advanced recorder players fora successful performance The string idiosyncrasies can be overcome by advancedplayers and many of the editions of the era (although not this one) list thecornetto as an alternative to the violin so the use of wind instruments in the solo literature of the early Baroque was not unknown
Our experience with this edition left us with the opinion that these pieceswould have been better if transposed down a minor third so as to fit on a pair ofalto recorders (as is the case with much Baroque flute music to make it lie betteron the recorder) The tenors we used tended to sound a bit murky in the lowerregister next to the more aggressive harpsichord while the sopranos we tried as
KEY rec=recorder Srsquoo=sopraninoS=soprano A=alto T=tenor B=bassgB=great bass cB= contra bass Tr=treble qrt=quartet pf=piano fwd=foreword opt=optional perc=percussionpp=pages sc=score pt(s)=part(s)kbd=keyboard bc=basso continuohc=harpsichord PampH=postage andhandling Multiple reviews by one reviewerare followed by that reviewerrsquos name Pleasesubmit music for review to AR 7770 SHigh St Centennial CO 80122-3122 US
an American distributor this musicwill be hard to findmdashin fact can befound only at the time of this writingon their web site noted above But theeffort will be repaid
This edition is clear and easy toread and the parts require no pageturns The basso continuo realizationis simple and elegant
This is music deserving ofrediscovery My only quibble is thatthe editorial notes are all in GermanThis seems to be the practice ofGerman music publishers with thenotable exception of Moeck Otherpublishers of early music such asLondon Pro Musica routinelyprovide notes in English and German and often in French and Italian making their editionsaccessible to a wider audience
Frank Cone studied the recorderwith the late Ellen Perrin the viola dagamba with Carol Herman and thecornetto with Larry Johansen TheCalifornia multi-instrumentalist has been a member of the Orange CountyRecorder Society since 1985
Advertiser Index
AMERICAN ORFF-SCHULWERK ASSN 3
AMERICAN RECORDER SOCIETY 31 35 36
AMHERST EARLY MUSIC FESTIVAL 17
STEPHAN BLEZINGER 24
JEAN-LUC BOUDREAU 21 39
BOSTON EARLY MUSIC FESTIVAL 7
CANTO ANTIGUO EARLY MUSIC WORKSHOP 13
COURTLY MUSIC UNLIMITED 20
EARLY MUSIC AMERICA 8
HONEYSUCKLE MUSIC 34
BILL LAZARrsquoS EARLY MUSIC 26
KEITH E LORAINE EARLY DOUBLE REED SERVICE 35
LOST IN TIME PRESS 11
MADISON EARLY MUSIC FESTIVAL 12
MAGNAMUSIC DISTRIBUTORS BC
MOECK VERLAG IFC
MOLLENHAUER RECORDERS IBC
PORT TOWNSEND WORKSHOP 14
PRESCOTT WORKSHOP 30
PROVINCETOWN BOOKSHOP 26
THE RECORDER MAGAZINE 4
THE RECORDER SHOP 6
SAN FRANCISCO EARLY MUSIC SOCIETY 18
SWEETHEART FLUTE CO 3
TEXAS TOOT 20
VON HUENE WORKSHOP INC 30
WICHITA BAND INSTRUMENT CO 21
DOMINIK ZUCHOWICZ 34
CONSIDER ADVERTISING IN
Full page $55223 page $43912 page $36613 page $28614 page $22316 page $17518 page $127112 page $ 951 column inch $ 58
Prices include web sitee-mail link directly from your ad in the online AR at wwwamericanrecorderorg
Circulation Includes the membership of theARS libraries and music organizations
Published five times per year January March May September November
Reservation Deadlines December 1 (January) February 1 (March) April 1 (May) August 1 (September) October 1 (November)
Rates good through November 2009 Pleaseinquire about discounts on multiple-issuecontracts inserts or other special requestsExtra charges for typesetting layout half-tones and size alterations 133-line screenrecommended Advertising subject toacceptance by magazine First-time adver-tisers must include payment with order
For more information contact the ARS office 1129 Ruth Drive St Louis MO63122-1019 800-491-9588 toll free 314-966-4082 phone 314-966-4649 faxadvertisingamericanrecorderorg
44 March 2009 American Recorder
Classified___________________________________
FOR SALE Cherrywood hurdy gurdy and hard-side case made by Kelischek bought 2005Originally $765 plus $89 for case Rarely usedBoth for $450 or make offer Please contact marjalocomcastnet Can ship
ASPIRE ANNOUNCE INSPIRE Afford-able PR for teachers and recitalists wwwrecitalroomcom
PHOTOS NEEDED of ARS events 1970sndash1990sto illustrate last chapters of Martha Bixlerrsquos histor-ical memoir about the ARS (to be posted online)E-mail scanned photos (300dpi JPG or TIF)arsrecorderamericanrecorderorg Hardcopies mail to ARS office to be scanned ampreturned Info 800-491-9588
T-SHIRT FOR ENSEMBLE PLAYERS to wear orshare Top 10 Reasons Why I Got Lost Wrongfingering bad lighting etc on blue cotton shirt$18 Highlighter tape and other goodies Beth amp Lindas Boutique as seen at BEMF CallLinda at 617-671-8694 or e-mail for brochurelindakushverizonnet
Where the havesand have-nots
of the recorder world can find each other
Classified rate for American Recorder 60centper word ten-word minimum ldquoFOR SALErdquoand ldquoWANTEDrdquo may be included in thecopy without counting Zip code is oneword phone e-mail or web page is twoPayment must accompany copy Deadlinesare one month before issue date Send copywith payment to ARS 1129 Ruth Drive St Louis MO 63122-1019
AMERICAN RECORDER (ISSN 0003-0724) 1129 Ruth Dr St Louis MO 63122-1019 is publishedbimonthly (January March May September and November) for its members by the AmericanRecorder Society Inc $20 of the annual $45 US membership dues in the ARS is for a subscriptionto American Recorder Articles reviews and letters to the editor reflect the viewpoint of their individ-ual authors Their appearance in this magazine does not imply official endorsement by the ARS
EDITORIAL DEADLINES November 15 (January) January 15 (March) March 15 (May) July 15(September) and September 15 (November) Submission of articles and photographs is welcomedArticles may be typed or sent as an attachment (Word or RTF preferred) to or text in an e-mail mes-sage They should be for the exclusive consideration of AR unless otherwise noted Photos may besent as prints or unedited JPG or 300dpi TIF files (minimum 3rdquox4rdquo) Advertisements may be sent inPDF or EPS format with fonts embedded
EDITORIAL OFFICE Gail Nickless Editor 7770 S High St Centennial CO 80122-3122 303-794-0114 (phone amp fax) editoramericanrecorderorg Books for review Editorial office Musicfor review Editorial office Recordings for review Tom Bickley 1811 Stuart St Berkeley CA 94703Cutting Edge Tim Broege 212 Second Ave Bradley Beach NJ 07720-1159 Chapter newslettersother reports Editorial office Postmaster Send address changes to ARS 1129 Ruth Drive St LouisMO 63122-1019 Periodicals postage paid at St Louis MO and at an additional mailing office
Chapter leaders
We know yoursquore out there
and that you want to share
your plans concerns
solutions and ideas with
other chapter leaders Visit
httpamericanrecorder
societywikispacescom
SAN FRANCISCO EARLY MUSIC
SOCIETY RECORDER WORKSHOP
(ARS)
St Albertrsquos Priory Oakland CA July 19-25Directors Frances Feldon Katherine Heater
Jam-packed week of recorder ensembleplaying concerts and the opportunity toimprove your skills working with highlyrespected recorder specialists in afriendly yet serious atmosphere Explorethe full range of recorder music from theMiddle Ages Renaissance and Baroqueto the 21st century through ensemblework technique sessions and recorderorchestra For the devoted amateur of allages from intermediate to advanced
Small classes Quiet campus Specialofferings recorder orchestra recordermaster class coached informal playing
Featuring recorder faculty LouiseCarslake Frances Feldon RotemGilbert Norbert Kunst PatrickOrsquoMalley and Hanneke van ProosdijOther faculty Katherine Heaterharpsichord
Contact Frances Feldon SFEMS
PO Box 10151 Berkeley CA
94709 510-527-9840
franfelaolcom sfemsorg
WINDSWEPT MUSIC WORKSHOP
William Jewell College Liberty MOJuly 19-25Director Phyllis Pasley
Bring your artistry to life Strengthen the mindbody connection and exploreenergy and music at Creative MotionAlliancersquos 59th annual summerconference Windswept Professionalmusicians conductors teachers studentsand amateur music enthusiasts willdiscover barriers that inhibit the free flowof energy and learn the secrets of inner-directed artistic music-making Classesin piano voice instrumental musicexpressive arts and independent studyMaster class coaching and conductingopportunities available Using move-
ment exercises analysis and bodyresponses explore music and energy in a unique inter-generational workshopformat Opportunities for independentrecorder study and private lessons enrichthe music-making experience
Registration fee $50 prior to 51509Tuition room meals $535 adults $400students 12-18 (must attend with parentteacher or sponsor) special half-weekrate $275 (Sunday-Wednesday noon)Memberfamily discounts Three hoursgraduate credit ($225) 3 CEUs ($50)and private lessons ($25 each)
Contact Phyllis Pasley 2208
Clouds Peak Maryland Heights
MO 63043 314-628-9862
directorcreativemotionorg
creativemotionorg
BOXWOOD FESTIVAL CANADA
Lunenburg Nova Scotia CanadaJuly 19-26Director Chris Norman
Discover musical and dance traditionswhile visiting one of North Americarsquosmost exquisite 18th-century seasidetowns Concerts dances sessionsclasses lectures with leading artists in therealms of traditional folk early musicdance and improvisation Work study ampscholarships available Gourmet cuisine
Faculty Chris Norman directortraditional amp early flutes FrancisColpron recorder ensembles LisaBesnoziuk Baroque flute DavidGreenberg Cape Breton amp Baroqueviolin Edmund Brownless voice shape note singing Marie Bouchardharpsichord Robert Dick contemporarytechniques amp composition Conal O Grada Irish flute Jerry OrsquoSullivanpipes whistle Rod Garnett flutefundamentals ethnic flutes PierreChartrand social dance MarlysNorman ballet classical dance Rod Cameron flute maker Tempest Baroque
Contact 902-634-9994
boxwoodorg
musiqueroyalecom
MACPHAIL SUZUKI INSTITUTE
FOR PIANO GUITAR FLUTE
AND RECORDER
MacPhail Center for the Arts Minneapolis MNJuly 19 Every Child Canreg July 19-26 Recorder Book 1July 20-24 Student InstituteDirectors Cindy Malmin Mary Halverson Waldo (auditions)
Suzuki Clinicians Marilyn Taggartpiano Tadeusz Majewski piano DavidMadsen guitar Kathleen Schoenfluterecorder MacPhail Suzuki faculty
Sanctioned by the Suzuki Association ofthe Americas MacPhailrsquos SuzukiInstitute allows Suzuki students of allages to share in motivating enrichingand wide-ranging musical experiencesStudents work with master teachers andimprove skills technically and musicallyDaily classes and observation includeapplied study theoryreading skillsensemble skills chamber music perfor-mance practices composition improv-isation master classes recitals art andmusic world musicdrumming musichistory recitals and presentations TeenMusical Revue (ages 13-18) fashioncharacter sketches develop a frameworkor theme and present to an audience
Who may attend Suzuki students whohave completed the Twinkle Variations(preschoolndashgrade 12 parents or another
wwwAmericanRecorderorg March 2009 23
Amherst Early Music Festival
(photo by Marc Weinberg)
responsible interested adult must attendwith students under high school age)teacher traineesobservers Participantsmust arrange meals housing and trans-portation Teacher Training prerequi-sites Every Child Canreg before Book 1courses must be taken in order throughBook 2 Contact workshop regardingrequired audition and preparation
Contact Cindy Malmin
612-767-5461
malmincindymacphailorg
Mary Halverson Waldo
5679 Harding Lane Shorewood
MN 55331 952-470-5853
mhalvwaldogmailcom
INTERNATIONAL BAROQUE
INSTITUTE AT LONGY
Longy School of Music Cambridge MA
July 24-August 2Directors Paul Leenhouts co-director Phoebe Carrai
VenicendashDresden Connection InternationalMeeting Grounds Music of MonteverdiVeracini Hasse Heinichen MarcelloVivaldi Pisendel Albinoni ZelenkaLotti Schein Schutz Quantz Gabrieli
2009 faculty Paul Leenhouts recorderPhoebe Carrai rsquocello ElizabethBlumenstock violin Ricard Bordasvoice Arthur Haas harpsichord LucasHarris lute Ken Pierce early danceGonzalo Ruiz oboe Mary Springfels
viola da gamba Jed Wentz traverso
Contact Karen Burciaga Com-
munity Programs Registrar One
Follen St Cambridge MA 02138
617-876-0956 X1532 (day)
617-354-8841 (fax) karenbur
ciagalongyedu longyedu
RECORDER AT THE CLEARING
The Clearing Ellison Bay WIJuly 26-August 1Directors Pat Badger Adrianne Paffrath
Recorder ensemble has been a traditionat The Clearing for over 25 yearsEnsemble playing is the weekrsquos focusEach day begins with a warm-up ofvoices and bodies as we sing rounds andready our muscles for performanceDaytime sessions focus on rhythmicchallenges recorder technique andensemble blend emphasis is on growthprocess and most of all enjoyment To participate fully you need at leastintermediate skills on a C or F recorder
Adrianne Paffrath coached on recorder with ARS teachers She is music directorat Racinersquos First Presbyterian ChurchPatricia Badger has studied early musicinstruments natural and classicaltrumpet She is performing arts head ofThe Prairie School Jointly they haveperformed for Medieval festivals grapestompings Shakespeare celebrations anda circus parade
Contact The Clearing PO Box 65
Ellison Bay WI 54210-0065
877-854-3225 920-854-9751
(fax) clearingtheclearingorg
theclearingorg
AMERICAN RECORDER SOCIETY
FESTIVAL AND CONFERENCE
University of Missouri at St Louis St Louis MO
July 30-August 2
Attend the second ARS Festival andConference for one day ($150) or allweekend ($350)
Sessions include recorder techniquepedagogy introductions to Orff Suzukiand Flutes and Drums Around the Worldmethods improvisation roundtablediscussions how to conduct yourconsort coached playing sessions forMedieval Renaissance Baroque worldand contemporary repertoire recorderorchestra incorporating percussion intoyour ensemble Also recorder mainte-nance choosing a recorder building aweb site using Sibelius music softwareMini-concerts by the next generation ofprofessionals master classes concerts byMarion Verbruggen and the FarallonRecorder Quartet Exhibition ofrecorder builders music sellers andmore CEUs available
Presenters Louise Austin AnnetteBauer Tish Berlin Frances Blaker Joyce Callanan Louise Carslake
24 March 2009 American Recorder
The Summer Toot is once again in Austin at the beautiful new facility of Concordia University The lushly wooded campus offers air-conditioned classrooms dining and dorm accommodations and is backed by a nature preserve Please join us
Our featured faculty includes Tish Berlin Tom Zajac Mary Springfels The Texas Toot offers a one-week program of classes in Renaissance and Baroque music at all levels featuring expert instructors in re-corder viol early reeds lute harp and voice
Danny Johnson workshop director Susan Richter administrator For more info
httpwwwtootorg or email infotootorg
11th Annual Summer Texas Toot June 14-20 2009 mdash Austin Texas
Mark Davenport Cleacutea Galhano LisetteKielson Lorraine Krige JudithLinsenberg Peter Maund Nina SternMarion Verbruggen Leslie TimmonsJim Tinter Mary Halverson Waldo
Contact Yvonne Miller-Nixon
Conference Administrator
1129 Ruth Dr St Louis MO
63122 800-491-9588 (day)
arsconfplannercharternet
americanrecorderorg
EARLY MUSIC WEEK AT
PINEWOODS CAMP (ARS)
Pinewoods Camp Plymouth MA August 15-22 Director Sheila Beardslee
The Myth amp Magick Creativity andInspiration in Early Music Surely thedeities of Olympus will surround us atPinewoodsndashwhere the myths of earlymusic will be made clear and our staff rsquosldquomagickalrdquo skills will hone and perfectour knowledge and performance of early music and dance
If yoursquove never played a musical instru-ment (but wish you could) or if youstudied music years ago (and fear yoursquoveforgotten) classes in recorder and violwill get you started or help brush off therust Advanced and intermediate playersand singers choose from a wide array ofclasses led by an outstanding faculty of professionals and teachers of earlywinds (recorders reeds brass) strings(viols violin) harpsichord and voice
New staff faces this summer areAnonymous 4rsquos Susan Hellauer voiceand Lisa Terry viol We welcome backDorrie Olsson historical dance andScott Higgs English country dance
We relax with two ponds for swimmingcanoeing a camphouse deck for readingafternoon tea and lots of dancing EarlyMusic Week continues its long traditionof superb teaching in a welcoming com-munity enhanced by special eventspresentations concertsmdashand dancing
Advanced musicians work intensivelyamateurs are engaged and challengedand beginners are always made welcome
Contact Steve Howe Country
Dance and Song Society
PO Box 338 Haydenville MA
01039-0338 413-268-7426 X3
(day) 413-268-7471 (fax)
campcdssorg cdssorgem
MONTREacuteAL RECORDER FESTIVAL
McGill University Montreacuteal QC Canada
September 17-20Directors Matthias Maute Sophie Lariviegravere
Conference consort music recorderorchestra concertsmdashEnsemble Capriceand Quynade (Israel) solo recital byMaurice Steger (Switzerland)
Contact Ensemble Caprice 4841
Garnier Montreacuteal QC H2J 3S8
CANADA 514-523-3611
514-523-1322 (fax)
infoensemblecapricecom
ensemblecapricecom
HIDDEN VALLEY INSTITUTE
FOR THE ARTS
EARLY MUSIC ELDERHOSTEL
Carmel Valley CANovember 1-7 November 8-14Directors Letitia Berlin workshopPeter Meckel HVIA
Enroll for one or both weeks Adults ofall ages welcome
Week I intense classes for upper inter-
mediate to advanced levels Week Ifaculty Letitia Berlin Frances BlakerLouise Carslake Annette Bauer(recorder) David Morris (gamba)
Week II all levels except beginnerClasses include recorder technique viol consort Baroque chamber musicconsort classes for Medieval Renais-sance Baroque and contemporary reper-toire workshop orchestra Week IIfaculty Letitia Berlin Frances BlakerTBA (recorder) Shira Kammen (earlystrings singing Medieval topics) MarySpringfels (viola da gamba)
Evening events include faculty concertstudent concert free-lance playing FreeWednesday afternoon for more playingor sightseeing Improve your playing in asupportive friendly atmosphere withworld-class teachers
Contact Peter Meckel
PO Box 116 Carmel Valley CA
93924 831-659-3115
831-659-7442 (fax)
hvmsaolcom
hiddenvalleymusicorg
wwwAmericanRecorderorg March 2009 25
26 March 2009 American Recorder
Am
herst
AR
S
Festival and
Co
nference
CA
MM
AC
Early M
usic
Week
Canto
Antiguo
Reco
rd
er
at th
e
Clearing
Great L
akes
Suzuki
FluteR
ec
Hid
den
Valley
Eld
erh
ostel
Interlo
ch
en
Early M
usic
Inst
Lo
ngy Intl
Baro
que
Inst
Marin
Head
land
s
Mid
east
Mo
ntreacuteal
Reco
rd
er
Festival
COST $520TW $350T C$1014ED $860 $1035E TBA $799D $389T $675T $210ED $735D $130TNO OF DAYS 814 1-4 7 7 7 5-8 714 6 10 3 6 4ARS DISCOUNT NO YES NO YES NO NO NO NO NO NO NO NONO OF FAC RECORDER FAC 4315 1716 165 85 22 82 543 11 101 1010 96 66NO OF STUDENTS 150wk 60 110 35 19 45 35 20 50 75 60 50RECORDER CLASSLEVELS
LIHIAV
BLIHIAV
BLIHIAV
BLIHIAV LIHIA BLI
LIHIAV LIHIA AV
LIHIAV
BLIHIAV
BLIHIAV
SPECIAL CLASSES USING RECORDERS
CMRMB20ENMROT
RPMRMB20MROPTO
CMRMBRO
MRMBENROPT CRO
RPMPT
CMRMB20MROPT
RPCMRMBENMROPT MBMP RP20
RPCMRMB20ENMTO
CMRMBMRO
NON-RECORDERCLASSES
CWKVPSDO PO
CWKVDT CWVD C O KVPS
CWPKVPST WK VD
CWVPSDO
MUSICALACTIVITIES
FSLSPP FLO FSLSP FS SP FSLP FSP
SLSPPO FSLP P FSLP FS
RECREATION D GS BSTW D FBSW FSO OBSTWO S O G
OTHERS WELCOME SC S SC S S S S SDIRECTTRANSPORTATION SC SBCP SP BCLP BP SB CPUP CL PUP
SBCPUP
TRANSPORTATIONTERMINALS
A50B2 T2 A B T
A10B3 T5
A80B80
A50B10 T10
A20B20 T20
A16B16
A4B3 T3 A20
A15B10 T10
A4B3 T3
ROOMS SD SD SD SD SDC SD SD SDC DBATHS SSP SSPP SP P SSPP SSPP SP P S PFOOD CV C GV CV FV C F CV CV CHANDICAP ACCESS HCD HCD HCD HCD HC HCD HD HCD C HCD HCD C
KEYCOST Includes tuition room (single occupancy unless otherwise noted) meals plus other fees E=estimated T=tuition only D=double occupancy W=one week
NO of DAYS Includes arrival and departure daysARS DISCOUNT Discount offered for ARS members FACULTYRECORDER FACULTY Number of facultyrecorder faculty within that number STUDENTS Average over last two yearsRECORDER CLASS LEVELS B=beginners LI=low intermediate HI=high intermediate A=advanced V=very advanced
SPECIAL CLASSES USING RECORDERS RP=recorder pedagogy C=one-on-a-part consorts MR=mixed Renaissance ensembles MB=mixed Baroque ensembles 20=contemporary music EN=early notation M=master class RO=recorder orchestra P=private lessons available T=technique O=other
NON-RECORDER CLASSES C=choral W=other winds P=percussion K=keyboard V=viols PS=plucked stringsD=danceT=theory I=instrument building O=other
MUSICAL ACTIVITIES F=faculty concert S=student concert L=lecture SP=special production P=organized informal playing O=other
RECREATION D=dancing F=field trip G=gym B=biking S=swimming T=tennis W=waterfrontbeach O=otherOTHERS WELCOME S=non-playing spousesfriends C=children (day care not generally available)DIRECT TRANSPORTATION TO WORKSHOP S=shuttle from airport B=bus C=cab L=limo PU=will pick up P=free parking O=other
TRANSPORTATION TERMINALS A=air B=bus T=train (number indicates miles from workshop to nearest terminal)
ROOMS S=singles D=doubles (with ldquo+rdquo can accommodate up to triples) C=cabins O=other =Graduate dormsBATH FACILITIES S=shared SP=semi-private P=privateFOOD C=college style F=family style G=gourmet V=vegetarianHANDICAP ACCESS H=housing C=classrooms D=dining
INFORMATION SUPPLIED BY WORKSHOP DIRECTORS
2009 SUMMER RECORDER WORKSHOPS
Here are some suggestions foravoiding overuse syndromes Most obvious warm up This meansincreasing your practice time graduallybefore the workshop begins andwarming up yourself and yourinstrument before each rehearsal
Make your playing situation ascomfortable as possible Take along acushion back rest footstool whateverit takes the ear and hand cannot ab-sorb what the bottom cannot tolerate
Be sure your glasses are ideal for the distance from your eyes to themusic desk that usually amounts to anarmrsquos length away (You can select apair at your local drug or departmentstore if you have no serious astigma-
tism) If glare from bright light (thosemarvelous outdoor rehearsals) is aproblem for you you may find that ayellow tint for your glasses is a help
Get your bodily playing equip-ment in the best possible shape beforethe workshop a visit to the dentist tosmooth off a front tooth for a windplayer can make an enormous differ-ence in endurance A layer of plasticwrap over the teeth (before yoursquoveworn a hole in your lip) may also help
Once yoursquove arrived at the work-shop there are ways to ensure thatstress (inevitable) doesnrsquot becomedistress (mostly preventable)
Take reasonable breaks duringrehearsal time and use them to stretchA little aerobics like running in placetakes very little time and gets rid ofthat stiff-from-sitting feeling Get yourfellow ensemble players to massageeach othersrsquo shoulders Other fre-
Do you have a favorite article from years past in AR E-mail that information to Gail Nickless
editoramericanrecorderorg
wwwAmericanRecorderorg March 2009 27
Mo
untain
Co
llegium
Pinew
oo
ds
Early M
usic
Week
Po
rt
To
wnsend
SF
EM
S
Baro
que
SF
EM
S
Ch
ild
rens
SF
EM
S
Med
ieval amp
Renaissance
SF
EM
S
Reco
rd
er
Texas T
oo
t
Wh
itew
ater
Wind
sw
ept
Music
Wo
rksh
op
Wo
rld
Fello
wsh
ip
$800ED $890ED $975 $950 $370T $950 $950 $740E $245 $535D $850E COST7 8 7 7 5 7 7 7 3 6 7 NO OF DAYSNO NO NO YES YES YES YES YES NO NO NO ARS DISCOUNT
125 189 169 102 82 124 76 136 1110 131 83NO OF FAC RECORDER FAC
50 100 100 55 30 70 40 50 110 45 30 NO OF STUDENTSLIHIAV
BLIHIAV LIHI AV
LIHIAV
BLIHIAV LIHI AV LIHIA LIHIA
BLIHIAV
BLIHIAV
RECORDER CLASSLEVELS
CMRMB20TO
CMRMBENROT
MRMB20MROPT
MBMPTO
CMRMBPTO
CMRENMPTO
C20MROPTO
CMR20MPT
CMRMB20ROTO MP
CMRMBMRO
SPECIAL CLASSES USING RECORDERS
WVDTO
CWKVPSDT CPVT
CWKVPSTO
KVDTO
CWPVPSTO O
WKVPSTO
CWVTO
CWPKVD
CKVDT
NON-RECORDERCLASSES
FSLSPP FSP
FSLSPPO FSSP
FSLSPPO
FSLPO
FSLPO SPO FSL PO FSLP
MUSICALACTIVITIES
DGBS DSWFGBSTW
DGBST D
DGBST DO SO
DFSWO RECREATION
S S SC SC S S SC SC OTHERS WELCOME
P SC CPUP SCP SCP SBC LP SPUP P BPUDIRECTTRANSPORTATION
A50B15 T15
A15B7 T6 A59
A20B2 T5 A59
A12B4 T1 A40 A
A20B15 T28 B10
TRANSPORTATIONTERMINALS
SD SD S S CALL S S SD SD SD SD ROOMSSP S SP P P SP P S S S BATHSCGV FV CV CV CV CV CV CV CV FV FOODHCD CALL HCD HCD C HCD HCD HCD HCD HD HANDICAP ACCESS
AR50 AVOIDING ACHES amp PAINSBy Leacuteonie Jenkins MD (c1925- 2000) from the March 1993 AR Vol XXXIV1
quently overused parts such asforearms and hands also respond to massage Quick tutorial on massagestart stroking toward the body and inthe direction of the flow of the veinsmdashupstream from the sorest partgradually work down to include thesore spot Yoursquore trying to move overthe underlying muscle not to rub theskin Thatrsquos why a little oil helps
Your psyche may need some relieffrom overload too Most workshopsare in surroundings that lend them-selves to taking a walk finding a placeto meditate taking in some beauty In creating anything a musical per-formance no less than more static artforms breathing in is as necessary asbreathing out be sure you take time to do it
Not to be forgotten those partiesLate hours and alcohol are stressfultry to balance off the fun yoursquore havingwith your capacity for both Above allenjoy Thatrsquos why yoursquore going
2009 SUMMER RECORDER WORKSHOPS
By Bart Spanhove
The author has been principalprofessor of recorder at the Lemmens-
instituut Leuven (Belgium) since 1984He is also artistic director of the world
famous recorder ensemble the FlandersRecorder Quartet which is set to perform
in concert at the 2009 Boston EarlyMusic Festival He is often asked to serve
as a jury member for internationalrecorder competitions in Canada US
Germany The Netherlands and BelgiumHe has given numerous master classes andlecture demonstrations all over the world
Spanhove is co-author of thesuccessful recorder method Easy Going(Heinrichshofen) and wrote the much-
used book The Finishing Touch ofEnsemble Playing (Alamire 2000
and Moeck 2002 with translations inChinese and German) In 2009
The Recorder Music of Frans Geysenwill come out (Mieroprint)
Currently he is researching practicetechnique for the recorder Daily
Spanhove thinks about how to makepeople happier by making music and
playing the recorder
As a conclusion for the VirtuosoRecorder class during the AmherstWorkshop in 2008 we organized aldquoHappy Hourrdquo for our nine talentedstudents Mee-Jung Ahn (Korea)Emilie Hasselgren and Kristine West(Sweden) Anne Timberlake JosephLewnard Jacob Lodico and BrycePeltier (US) Emiliano Perez(Mexico) and Fanny Massy (France)participated in a quiz that I wrote thenight before with the assistance ofReine-Marie Verhagen
We combined questions regardingmusic theory with practical exercisessuch as middot How long can a player hold a
low f in one breath on an altorecorder (You get one point foreach second)
middot How many times through a scaleis a player able to play in 30seconds (For every octave of theF major scale you get one point)
middot How many different pieces fromthe recorder repertoire can aperson play in the course of twominutes (The other members ofthe group have to guess the nameof the composer before the playercan start the next piece)
middot In one minute list as manydifferent titles as you can fromDer Fluyten Lusthof (TheRecorderrsquos Pleasure Garden) of J J van EyckThe list of questions goes onAt the ldquoHappy Hourrdquo people
were divided into three groupsaccording to dates of each personrsquosbirthday When theoretical questionswere asked (see below) the pointsystem was devised as follows threepoints were awarded when the selected
person of a group could find theanswer himherself two points whenthe selected person needed the help ofthe other group members and onepoint if the group needed the help ofour gracious class assistant Reine-Marie Verhagen (she alwaysknew the answer) No points weregiven if the quizmaster had to supplythe answer
On the next page you find someof my questions There are morewhich we hope to run in a future issueof American Recorder
The quiz was full of fun andsuspense By the end people weremore nervous than when playing aconcert on stage Jacob Lodico of theUS was the winner at Amherst
28 March 2009 American Recorder
Education___________________________________ A quiz for recorder players
wwwAmericanRecorderorg March 2009 29
Try these questions yourselfAnswers appear at the end of thisarticle
The Quiz1 Give the name of Ganassirsquos
treatise of 1535 where heextensively describes the recorder playing and diminutions of his time
2 In which German city is therecorder company Moeck based
3 In the cantata Gottes Zeit ist dieallerbeste Zeit BWV106 JS Bach calls for two altorecorders Give another name for this cantata
4 Of which famous orchestra isFrans Bruumlggen the conductor
5 List three leading Japanesecomposers of excellent solo pieces for the recorder
6 Give the names of recordermagazines published inGermany England and the US
7 What is the fundamental tone of a fourth flute
8 List two recorder makers fromthe Baroque period in England
9 Whatrsquos the title of the recitativeand chorale in the Saint MatthewPassion where the recorder isused
10 Give the names of two famouspublishers in business around1700mdashone in London and one in Amsterdam
11 The opus 10 work by AntonioVivaldi includes six concertiSome of them have beautifulnames Give the names of thefirst three concerti of this opus
12 Whatrsquos a nickname for Jean Jacques Hotteterre
13 The combination of recorder andtraverso was rarely used in theBaroque time Can you name any composers who used thiscombination
14 Which king from 16th-centuryEngland owned a large collectionof recorders and also composedand enjoyed daily recorderplaying
15 How many movements compriseHandelrsquos Sonata in C Op 1 No 7 originally written forrecorder and basso continuo
16 Give the name of Praetoriusrsquostreatise from 1609 that describesthe whole recorder family
17 Name the author of the oldestrecorder method
18 Name Jan Jacob van Eyckrsquosdisability
19 Who pretended around 1930 thatthe recorder was a kind ofclarinet
20 Who doesnrsquot belong in thefollowing group Bertho DrieverKarel van Steenhoven MarionVerbruggen Paul LeenhoutsDaniel Bruumlggen
21 Name the two instrumentsindicated to play the sonataMeiner Mutter of Hans UlrichStaeps
22 Il Pastor Fido was not composedby Antonio Vivaldi but by aFrench composer What was hisname
23 Whatrsquos the nationality of themusic company Zen-On
24 CPE Bach composed abeautiful trio that includes a bassrecorder What are the other twoinstruments
25 Give the names of the fourmovements of Bachrsquos partita forsolo traverse flute BWV1013
26 Which excellent playersperformed as the recorder trioSour Cream
27 A recorder normally has eightfingerholes Despite this musichistory describes the recorder as ldquoune flucircte agrave neuf trousrdquo (a flute with nine fingerholes)Explain why
28 Give the French name for vibratoperformed by finger movementsalone on a wind instrument
29 Who wrote in his diaryldquohellipbeyond anything in the wholeworld the wind-music when the
Answers to
Bart Spanhoversquos Quiz1 La Fontegara2 Celle3 Actus Tragicus4 The Orchestra of the
Eighteenth Century5 R Hirose M Ishii and
M Shinohara
6 Windkanal or Tibia (both ofGermany) The Recorder(England) American Recorder(US)
7 B8 The most famous English
recorder makers around 1700Bressan and Stanesby (the latterbeing both senior and junior)
9 O Schmerz Hier zittert das gequaumllte Herz
10 Walsh (and Hare) (of London)Roger (of Amsterdam)
11 La Tempesta de Mare La Notte Il Gardelino
12 Le Romain13 JB Loeillet J J Quantz
JJ Hotteterre or J B de Boismortier
14 Henry VIII15 Five16 Syntagma Musicum17 Sebastian Virdung Musica
Getutscht und Ausgezogen (1511)18 Blindness19 Igor Stravinsky20 Marion Verbruggen21 Alto recorder and piano22 Nicolas Cheacutedeville23 Japanese24 Viola and cembalo25 Allemande Courante Sarabande
Bourreacutee26 Kees Boeke Walter van Hauwe
and Frans Bruumlggen27 Before 1670 the player could
choose how to hold the recordermdashleft hand or right hand at the topThis meant that recorder makersdrilled two holes to accommodatethe little finger of the hand thatended up at the bottom Theunused hole was sealed with beeswax
28 Flattement29 Samuel Pepys30 Flanders Recorder Quartet
30 March 2009 American Recorder
Lazarrsquos Early Music(866) 511-2981 jblazaraolcom
wwwLazarsEarlyMusiccom
292 Gibraltar Dr 108 Sunnyvale CA 94089
Strings amp Early Winds
ModernBaroque Strings Viols Vielle
Kuumlng Moeck Mollenhauer Paetzold Yamaha Ehlert
Wenner Baroque flutes
Wendy Ogle Lu-Mi Ifshin Snow
Competitive Prices
Sent on Approval
Personalized Service amp Advice
R
E
C
O
R
D
E
R
S
ldquoGO FOR NEO-BAROQUErdquo
Andrew Charlton Partita Piccola For 4 Recorders (SATB)
[Prelude Allemande Courante Musettemdash
a neo-baroque epitome] (Score amp Parts PBE-25) $795
Andrew Charlton Suite Moderne For 3 Recorders (ATB)
[Baroque shapes but Hindemithian harmony]
(3 Playing-Scores PBE-44) $995
Southwest of Baroque David Goldsteinrsquos ldquobaroque Suiterdquo
on Cowboy Songs For 2 Recorders (SA) (PBE-2) $350
The Provincetown Bookshop Inc
246 Commercial Street Provincetown MA 02657 Tel (508)487-0964
A good source for Recorder amp Viol Music of all publishers
Provincetown Bookshop Editions
angel comes down which is sosweet that it ravished me andindeed in a word did wrap upmy soul so that it made me reallysick just as I have formerly beenwhen in love with my wiferdquo
30 Whatrsquos the English name for afamous recorder ensemble calledin its country Vier op lsquon Rij
wwwAmericanRecorderorg March 2009 31
by Tim Broege timbroegeaolcom
December 11 2008 was a specialday for American music the
100th birthday of Americarsquos greatestliving composer Elliott Carter Cele-bratory concerts took place in manyvenues including Carnegie Hall inNew York There the Boston Sym-phony led by James Levine played anew work by Carter Interventions forpiano and orchestra The soloist wasanother well-known conductor DanielBarenboim who is no mean hand atthe keyboard to say the least
Itrsquos remarkable that wonderfulnew compositions continue to pourforth from Carterrsquos pen His musicsparkles and frolics packing lots of musical events into engrossingstructures Much of his music isavailable on CD so if you missed thecelebrations you can easily have yourown belated birthday party for Carter
Although he has never written for recorder (one of our prominent
recorder soloists should commissionhim) Carter has produced manychamber pieces featuring woodwindsSince many recorder players double orstarted out on woodwinds such piecesas the Sonata for Flute Oboe Cello ampHarpsichord (1952) Enchanted Preludes(1988) for flute and rsquocello Espritrudeesprit doux (1985) for flute andclarinet or the Oboe Quartet (2001)may hold special interest
If you missed Charlie Rosersquosexcellent interview (broadcast onDecember 10) with Carter Levine andBarenboim you can see it atwwwcharlierosecomview
interview9774mdashessential viewingfor fans of contemporary music
We note with sadness the passingon January 23 of another distin-guished American composer GeorgePerle An authority on the music ofAlban Berg and the Second VienneseSchool Perle developed a uniquelyrical style based upon a free approachto 12-tone and serial procedureswhich he dubbed ldquo12-tone tonalityrdquo I recommend listening to his SerenadeNo 3 for Piano amp Orchestra (1983) Six Etudes for Piano (1973-76) and the Pulitzer Prize-winning Wind Quintet No 4 (1985)
Another leading American com-poser Leon Kirchner is thankfully still with us having turned 90 onJanuary 24 Like Perle Kirchner has a highly personal and expressive styleA birthday concert was held at MillerTheater at Columbia University inNew York City NY Participatingmusicians included flutist PaulaRobison pianist Jeremy Denk and theClaremont Trio with the composerpresent to discuss his music
An excellent way to get to knowKirchnerrsquos music is through his stringquartets Just in time for his birthdayAlbany Records has released a fine CDof all four played by the Orion StringQuartet Quartet No 4 was written in2007 (when the composer was 87mdasha veritable youngster compared toCarter) The composer Allen Shawnhas described that quartet asldquoluminous and passionaterdquo words aptto describe much of Kirchnerrsquos output
Speaking of contemporary musicI have been spending pleasant hoursperusing the Catalog of ContemporaryBlockflute Music available online atwwwblokfluitorg from StichtingBlokfluit This Netherlands founda-tion offers a contemporary recordercatalog and a catalog of historicalrecorder music Access to both is byfree membership
For those who havenrsquot yet used thecontemporary catalog I urge you togive it a try You can search by manyparameters such as composer title orspecific instrumentation A search forldquovoice fluterdquo turned up a list thatincluded Moon Dances Three AmericanSketches by composer Walter Mays(intended for solo alto recorder butalso playable on tenor or voice flute)Searching the name of English com-poser Edmund Rubbra produced a listof eight works that employ recordersincluding the intriguing CantataPastorale opus 92 for high voice altorecorder rsquocello and harpsichord
Searching ldquofemale composersrdquo fora piece using ldquoBaroque altordquo yieldedAfter Meditation by Ros Bandt ofAustralia
What an easy and tremendouslyvaluable way to find new music
On the Cutting Edge___________________________________Birthdays composers and
recorder music catalogs
Elliot Carter
(photo by Meredith Heuer)
Question How does Renaissancefingering differ from standard
fingering on the recorder Is one superior tothe other Do you need a special recorder touse Renaissance fingering and if so can itbe played with regular recorders Is there afingering chart that shows RenaissancefingeringmdashWilliam BaumannWaterford WI
Answer from Carolyn Peskin Music composed in the
Renaissance the historical periodextending from about 1450 to 1600was predominantly vocal and highlycontrapuntal Recorders which oftendoubled singers at the octave orrendered vocal pieces instrumentallywere designed to make the individualmelodic lines clearly audible
Most 16th-century consortrecorders were one-piece instrumentswith large toneholes and a wide borethat contracted slightly starting nearthe upper fingerholes and thenexpanded gently near the lowest holesThat ldquochoke-borerdquo design togetherwith the voicing and tonehole con-figuration favored the fundamentaltone (first harmonic) producing astrong open sound that was aboutequally loud throughout theinstrumentrsquos range
Such recorders had a useful rangeof only about an octave plus a sixthwhich was nevertheless sufficient for the music of their day MostRenaissance-style consort recordersmade today are based loosely uponsurviving 16th-century instruments ofthe above type and are designed toapproximate the range timbre andvolume of those early instruments
Our present-day ldquoregularrdquorecorders are Baroque-derived instru-ments based loosely upon survivingrecorders from the late 17th and early18th centuries They are three-pieceinstruments with small toneholes and abore that is narrower and moretapering than a Renaissance boreextending their useful range upward totwo octaves plus a whole tone
Baroque recorders are soft andsweet-sounding in their bottom octavebut louder and brighter in the secondoctave Their lowest notes are espe-cially weak because they must be blowngently to prevent overblowing into thesecond octave Such instruments aresuitable for Baroque solo and chamberrepertoire but not very satisfying forRenaissance polyphony
Due to their different timbre andvolume Renaissance recorders will not blend well with Baroque onesFurthermore the most historicallyauthentic Renaissance-style recordersare tuned in a ldquomeantonerdquotemperament that facilitates the playingof pure major thirds Such instrumentsmake Renaissance music easier to playin tune but will produce intonationproblems if played with Baroquerecorders which are tuned in equaltemperament For the above reasonsRenaissance and Baroque recordersshould not be played together
Renaissance fingering will not work on todayrsquos neo-Baroquerecordersmdashmost of which haveldquomodernrdquo Baroque fingeringcommonly called ldquoEnglishrdquo fingering
because it was developed fromhistorical Baroque fingering by ArnoldDolmetsch in England during theearly 20th century Renaissancefingering is less standardized partlybecause a number of different originalinstruments are used as models andpartly because makers wish to improvethe intonation tone quality andorplayability of certain notes Howeverthe following generalizations apply tomany of todayrsquos Renaissance-styleconsort recorders
First in the lower octave modernBaroque fingering works for mostnotes but is often too flat for the fourth scale degree (eg soprano F)requiring removal of finger 7 (right-hand pinky) and is too sharp for theraised fourth degree (eg soprano F)requiring addition of finger 7
Modern fingering is also usuallytoo sharp for the lowered seventhdegree (eg soprano B) The correctfingering for that note varies from oneinstrument to another
In the upper octave modernfingering works for the first third andfifth scale degrees (eg soprano C Eand G) but usually not for other notesSome notes require half-holing with aright-hand finger and notes above thefifth scale degree may require additionof several fingers to bring them in tuneHistorical Renaissance fingering forthe second scale degree (eg sopranoD) is especially awkward because all ofthe fingerholes and the thumbholemust be uncovered Therefore somemakers substitute modern fingering forthat note
Although Renaissance fingeringand meantone tuning are recom-mended for the best blend some
Q amp A___________________________________ Renaissance recorder fingering
Send questions to Carolyn Peskin QampA Editor 3559 Strathavon Road Shaker Heights OH44120 carolynpeskinstratosnet
32 March 2009 American Recorder
wwwAmericanRecorderorg March 2009 33
makers of handcrafted Renaissance recorders will provide modern fingeringandor equal temperament upon request and Moeck Verlag offers a choice ofRenaissance or modern fingering for most sizes of its factory-producedRenaissance Consort series
For a most satisfying blend Renaissance ensembles should purchase amatched set of recorders tuned and voiced to be played together Renaissanceconsort sets usually include two different alto recorders one in G (lowest note g)and one in F (lowest note f ) The ATTB combination with the G-alto is best formost of the quartet music composed between 1450 and 1550 while the SATBcombination with the F-alto is more practical for much late 16th-centuryrepertoire (Playing the G-alto requires learning G-alto fingering or elsetransposing the alto line down a whole tone and using F-alto fingering)
In addition to consort recorders some makers offer ldquoGanassirdquo sopranos andaltos based upon fingering charts in Silvestro Ganassirsquos recorder tutor Fontegarapublished in 1535 and a single original instrument in the Vienna Kunst-historisches Museum Because of their special bore design (cylindrical with aflaring bell) Ganassi recorders have a range of two octaves and a sixth withcumbersome fingerings in the third octave They are used mainly as soloinstruments for playing intricate ornaments of the type found in Fontegara
Also sometimes included in the ldquoRenaissancerdquo category are ldquotransitionalrdquo(early Baroque) recorders which are based upon originals from the first half ofthe 17th century They have a bore that is wider than a Baroque bore but contractssharply near the lower end resulting in strong low notes and at least a full two-octave range usually with modern fingering Most transitional recorders aresopranos or altos designed for playing Jacob van Eyckrsquos variation sets or thehighly ornamented Italian solo repertoire of the late-16th and early-17thcenturies
However wide-bore consortrecorders with a range of at least twooctaves and modern fingering shouldalso be regarded as transitionalinstruments They differ somewhat intimbre and volume from typicalRenaissance consort recorders
Handmade wide-borerecordersmdashconsort Ganassi andtransitionalmdashare obtainable frommakers who advertise in AmericanRecorder the Prescott Workshop andthe Von Huene Workshop in the USJean-Luc Boudreau in Canada andStephan Blezinger in GermanyContact them andor visit their websites to find out what kinds ofrecorders they are currently makingand to get an idea of their prices andwait times
Factory-produced wide-borerecorders from Kobliczek Moeck andMollenhauer are available frominstrument dealers who advertise inAR New and used recordersincluding wide-bore models fromimportant makers in the US andabroad are also obtainable from Uni-corn Music For further informationvisit wwwbuyrecorderscom For a comprehensive database of recordermakers worldwide see Nicholas SLanderrsquos ldquoExtant Recorder Makers amp Retailersrdquo at wwwrecorder
homepagenetmakershtml
REFERENCES
CONSULTEDBauer Winfried
wwwrecorder-fingeringscomIncludes interactive fingeringcharts from modern makers andhistorical treatises Charts forRenaissance consort recorders byAdriana Breukink Adrian BrownBob Marvin and Tom Prescottwere consulted
Brown Adrianwwwadrianbrownorgrec
order_typesconsorthtml
Our present-day ldquoregularrdquo recorders are
Baroque-derived instruments based loosely
upon surviving recorders from the
late 17th and early 18th centuries
34 March 2009 American Recorder
The Von Huene Workshop Incis pleased to announce agreements with
CoolsmaZamra
to serve as their authorised service agents in the US
For more than 40 years the von Huene Workshop has produced some of the finest recorders in the world Our skilled staff can revoice retune and repair even the most seriously damaged instruments All repairs are done right on the premises and most can be completed within a week
For warranty repairs please include a copy of your original sales receipt
j 65 Boylston Street Brookline MA 02445 i(617) 277-8690 Fax (617) 277-7217 servicevonhuenecom
An informative article aboutrecorder sizes in Renaissanceconsorts
Brown Adrian and David LasockildquoRenaissance Recorders andTheir Makersrdquo AmericanRecorder Vol XLVII No 1(January 2006) pp 19-31 An important article based upon Brownrsquos extensive researchon 120 of the 200 surviving 16th-century recorders
Ganassi Silvestro Opera IntitulataFontegara Ed Hildemarie Peter(Berlin-Lichterfelde RobertLienau 1959) Modern edition ofthe oldest known treatise devotedentirely to the recorder (publishedin 1535) Includes 16th-centuryfingering charts
Griscom Richard and David LasockiThe Recorder A Research andInformation Guide (New York andLondon Routledge 2003) Anannotated bibliography including
references on construction anddesign of historical recorders
Levin Philip ldquoQampArdquo AmericanRecorder Vol XXXVIII No 4(September 1997) p 27Explains in simple terms thedifference between Renaissanceand Baroque recorders
Morgan Fred ldquoA Recorder for theMusic of JJ van EyckrdquoAmerican Recorder Vol XXV No 2 (May 1984) pp 47-49Describes the bore design of arecorder suitable for playing Van Eyckrsquos variation sets andcompares it with bore designs ofother types of recorders
Myers Herbert W ldquoRecorderrdquochapter in A Performerrsquos Guide toRenaissance Music ed JefferyKite-Powell (New York SchirmerBooks 1994) A 2nd edition isnow available published in 2007by Indiana University Press
FEATURING MUSICA PACIFICA
JUDITH LINSENBERG
RECORDERS____JS BACH TRIO SONATAS Arr by
Linsenberg from Trio Sonatas for Organ BWV525-
530 Sonata No 1 in E
major (transp to B
)
BWV 525 Sonata No 2 in C minor (transp to E)
BWV526 Sonata No 3 in D minor (transp to G)
BWV 527 Sonata No 4 in E minor BWV 528
Sonata No 5 in C major (transp to F) BWV529
Sonata No 6 in G major (transp to C) BWV 530
Virgin Classics Veritas 1993
____FIRE BENEATH MY FINGERS Showcases
three legendary composers who were also
virtuoso performers Vivaldi Concerto in F major
after RV 98570 ldquoLa Tempesta di Marerdquo Sonata in
A minor RV86 Concerto in G minor RV106 Con-
certo in Bb major RV503 Sammartini Concerto in
F major Tartini Concerto in A major D91 Dorian
____MANCINI CONCERTI DI CAMERA Seven
sonatas by Francesco Mancini plus one work each
from his contemporaries Francesco Durante amp
Domenico Scarlatti Highly recommended citation
from the 2000 Vivaldi Prize for Recordings of Italian
Early Music--Giorgio Cini Foundation Dorian
____MARAIS MARIN PIEgraveCES EN TRIO POUR
LES FLUcircTES VIOLON amp DESSUS DE VIOLE
Maraiss complete works for two treble lines and
bass with varied instrumentation and orchestrations
2-CD set $24
____SCARLATTI CONCERTI DI CAMERA
Seven sonatas for various instrumentations no
poor relations to the composers much more widely-
known vocal output All recorder players should
certainly have thisndashEarly Music Review
____TELEMANN CHAMBER CANTATAS
Five cantatas from Harmonischer Gottesdienst two
sonatas from Sonatas Corellisantes 2003 Chamber
Music America WQXR Record Award for best
chamber music recordings
____VIVALDI LA NOTTE Concerti per strumenti
diversi Award-winning CD featuring five Vivaldi
concerti two sonatas
AND OTHER RECORDING
ARTISTS FROM CALIFORNIA ____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 American Bach Soloists Jeffrey
Thomas conductor Dan Laurin Hanneke van
Proosdij recorders Christmas Concerto featuring
unique 1725 London version with solos transcription
for two recorders instead of two solo violins in
three of the six concertos Delos
____CANCcedilONIEgraveR Annette Bauer recorder
multi-instrumentalist Tim Rayborn Shira Kammen
strings Phoebe Jevtovic voice in a new early
music group devoted to repertoire from the
12thndash15th centuries as well as traditional music
from related regions (the Balkans Scandinavia
Middle East) Medieval instrumental music played
on a variety of instruments including strings
recorders and percussion Medieval dances and
motets bring to life the rich world of ancient
European music-making
____SACRED AND SECULAR MUSIC FROM
RENAISSANCE GERMANY Ciaramella-Adam amp
Rotem Gilbert Doug Millikan Debra Nagy
recorders with other winds shawm sackbut amp
organ Medieval amp Renaissance sacred music with
reconstructions of folksongs amp arrangements based
on contemporary improvisation
____BURIED TREASURE TOPAZ amp SAPPHIRE
Ensemble Vermillian Frances Blaker recorders
Barbara Blaker Krumdieck cello Elisabeth Reed
gamba Katherine Heater harpsichord amp organ
Transcriptions of Buxtehudes Op 1 other pieces by
Buxtehude works by Biber Johann Schop
Schmelzer Fafarela 2007
____STOLEN JEWELS Ensemble Vermillian
Frances Blaker recorders Barbara Blaker
Krumdieck Elisabeth Reed Katherine Heater 17th-
century German music adapted by Blaker I love
violin music so I steal the music and rearrange it
for my own instrumentrdquo Buxtehude Op 1 Biber
Rosenmuller Krieger JM Bach Fafarela
Recordings
____SENFL (LUDWIG) Farallon Recorder Quartet
(Letitia Berlin Frances Blaker Louise Carslake
Hanneke van Proosdij) 23 lieder motets and
instrumental works of the German Renaissance
____DOLCE MUSICAndash A CONTEMPLATIVE
JOURNEY Eileen Hadidianflutes recorders
Natalie Cox harps Celtic Renaissance and
Medieval melodies for recorder and flute with
Celtic harp Healing Muses 2005
____REFLECTIONS MUSIC TO SOOTHE AND
UPLIFT THE SPIRIT Eileen Hadidian recorder amp
Baroque flute with Celtic harp and cello Celtic
traditional Renaissance amp Medieval melodies
Healing Muses
____AN EVENING WITH BACH Voices of Music
Hanneke van Proosdij Louis Carslake Dan Laurin
recorders Joanna Blendulf Elizabeth Blumenstock
Rodney Gehrke Lisa Grodin Katherine Kyme
Jennifer Lane Victoria Gunn Pich Susanne Ryden
William Skeen David Tayler Renaissance and
Baroque music centers on fine singing Instantly
recognizable Air on a G String Bachrsquos Prelude in
G Major (solo theorbo for rsquocello) plus lilting vocal
performancesmdashRydenrsquos weightless soprano on
Bist du bei mir Lanersquos rich alto on Es is vollbracht
____BACH amp TELEMANN SONATAS PRELUDES
amp FANTASIAS Voices of Music (Hanneke van
Proosdij Joanna Blendulf Rodney Gehrke William
Skeen David Tayler) Beautiful chamber music by
Bach and Telemann
IN STOCK (Partial listing)____ALLA TURCA FUX CALDARA BADIA
Matthias Maute amp Sophie Lariviegravere recorders
Monika Mauch soprano Vocal music of the church
accompanied by Ensemble Caprice plus sonatas
and other instrumental pieces Analekta
____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 John Daniels Sonja Lindblad
recorders Peter Sykes harpsichord Trio sonata
arrangement by Johann Christian Schickhardt
____LES
AMIS DU
BAROQUE
Paul Nauta recorder amp
Baroque flute Koen Dieltiens recorder Music by
Bassani Corelli Vivaldi etc Highlight Intl
____LES SEPT SAUTS BAROQUE CHAMBER
MUSIC AT THE STUTTGART COURT Matthias
Maute amp Sophie Lariviegravere recorders amp traverso
Ensemble Caprice Charming repertoire by
Schwartzkopff Bodino Detri Atma Classique
____TASTE OF PORTIQUE LEnsemble Portique
Early and contemporary chamber musicmdash
Bach Telemann Boismortier and others
____TELEMANN ALLA POLACCA REBELndash
Matthias Maute recorders amp traversondash
plays concerti and suites by GP Telemann Dorian
____TELEMANN CANONS AND DUOS Lisette
Kielson amp Patrick OMalley recorders LEnsemble
Portique Telemann Canons meacutelodieux amp Sonates
sans basse 2-CD set LEP Records
____20TH CENTURY MUSIC FOR RECORDER amp
PIANO Anita Randolfi recorders Music by Jacob
Bartok Leigh others for recorder amp piano
____VIVALDI AND THE BAROQUE GYPSIES
Matthias Maute amp Sophie Lariviegravere recorders
Ensemble Caprice Gypsy music taken from
Uhrovska zbierka (now Slovakia) plus Vivaldi
____VIVALDI SHADES OF RED CONCERTOS amp
SONATAS FOR RECORDER amp STRINGS Matthias
Maute recorders REBEL Stylish high octane
readings of some of Vivaldis most beloved pieces
including the popular and raucous Concerto alla
Rustica stunningly colorful Sonata on La Follia and
four exuberant recorder concerti Bridge
____WINDFIRE Charmaine Delmatier recorder
Steve Kostelnik classical guitar Terry Hale bass
Erik Hokkanen violin Refreshing mixture of Andrew
Lloyd Weber American blues flamenco Celtic and
one original piece ltwwwyermomusicomgt
Please indicate above the CDs you wish toorder and print clearly the following
Name ____________________________________
Daytime phone (_____)______________________
Address__________________________________
CityStateZip _____________________________
Check enclosed for
_____ single CDs x $____ = $______
_____ 2-CD sets x $____ = $______
TOTAL $______
Please charge the above amount to my
MasterCard Visa or AmEx
_______________________________________
Exp Date ____________
Cardholderrsquos signature ______________________
Mail to
ARS 1129 Ruth Dr St Louis MO 63122-1019 US
You may fax a credit card order to 314-966-4649
NEW You may order CDs online using PayPal at
wwwamericanrecorderorgordercdromshtm
Order your recorder discs
through the ARS CD Club
The ARS CD Club makes hard-to-find or limited release CDs by ARS members
available to ARS members at the special price listed (non-members slightly higher)
All CDs are $15 ARS members$17 Others unless marked otherwise Two-CD sets are
$24 ARS members$28 Others Add Shipping and Handling $2 for one CD $1 for each
additional CD An updated listing of all available CDs may be found at the ARS
web site ltwwwamericanrecorderorggt
The first meeting of the newly-formedFort Myers Recorder and Early
Music Ensemble was January 26 atthe Florida home of chapter rep Sue
Groskreutz For this year the groupis somewhat loosely organized andplans to meet for extended sight-reading Repertoire at the first meetingcomprised everything from Renais-sance duets to chamber music involv-ing three treble parts and continuo
Among the five musiciansattending the first meeting (photobelow front row Elizabeth Spang SueGroskreutz back row Suzanne FergusonSibylle Baumgartner Arlene Sowka) allplayed recorder three harpsichord
and one each played traverso violinand gamba Due to the scarcity ofrecorder players south of the Sarasotaarea modern string players are alsoincorporated into this ensemble
The group decided not to chargedues and to meet at Groskreutzrsquoshome For more information pleasecontact Groskreutz at 239-267-1752spgembarqmailcom Snowbirdsdrifting through the area are welcome
Last fall at the requestof a student Kay Hettich
(inset below right) taught abeginning recorder class atthe Redding (CA) Senior
Center The five-weekclass was so successful thatmost participants haveformed a bi-weekly noviceensemble (right) coachedby Hettichmdashwho consid-ers them her ldquohatchedeggsrdquo
A new batch of ldquoeggsrdquostarted to incubate when afive-week class began on February 20Other senior center members havebecome interested as they heard oftheir colleaguesrsquo success These noviceplayers comprise some who previouslyread music and played instruments as well as people who are totally new to music notation
One student has also formulated amaxim ldquoEveryone at age 40 ought tolearn to play the recorder if heshehasnrsquot alreadyrdquo Just think how theworld would be transformed byshifting our focus to music
After Lynn Whidden attendedthe Montreacuteal Recorder Festival lastfall when the ARS Board met inQuebec she joined the ARS and nowrelays news of the lively interest in therecorder exhibited by a group underthe new leadership of Brent Legg ofBrandon University in ManitobaCanada Although his hands wereldquostill partly frozenrdquo he wrote that theBrandon University Collegium
Musicum in collaboration with theWaverley Park Recorder Club is
preparing a spring concert calledldquoEnglandrsquos Golden AgerdquoRepertoire spans the 16th century
from Henry VIIIrsquos accession in 1509to the death in 1603 of Elizabeth Iand includes solo songs four- andfive-part settings of Renaissancedances (with dancers) three- to five-voice madrigals and ldquobig-bandrdquoarrangements of William Byrdrsquos TheBells and The Dargason as re-imaginedby Gustav Holst (further re-imaginedfor recorders and percussion)
Of the 15 collegium membersseven are encountering the recorderfor the first time since elementaryschool The Collegium Musicumpromotes the study of early music at the university and is open to theuniversity community and the generalpublic This year there are five com-munity participants with interest fromseveral more both within and outsideof the university For informationcontact BrentLegggmailcom
January 16 marked the thirdannual recorder workshop of threeFlorida groups the Pasco Collegium
Recorder Consort of Hudson theImperial Recorder Consort of
36 March 2009 American Recorder
Chapters
amp Consorts___________________________________Workshops and activities from
coast to coast in the US and Canada
Lakeland and the Pilgrim Pipers Recorder Consort of St Petersburg Theygathered for a morning tackling selections by Banchieri Monteverdi PurcellCorelli Mendelssohn Bach Mozart and Glen Shannon Each group presenteda piece for the other participants Sweet Georgia Brown by Ben Bernie (St Pete)a Sonata by Sammartini (Lakeland) and The Gospel Train arr by KW Ford(Pasco) The 29 participants were led by Marlene Cracraft (Pasco) Jane
Spencer (Lakeland) and Elizabeth Snedeker (St Pete) Tom Bickley (photo below) directed the fall workshop of the Mid-Peninsula
Recorder Orchestra in Cupertino CA The 30 players started with Gregorianchants written in ldquooldrdquo notation Bickley gave basic instruction on how tointerpret the notes and then had the group sing the chants prior to playing them
The workshop theme of ldquoThe Articulate Recorderrdquo was literally played out as the music presented used variations in tonguing phrasing and breathingOther repertoire included a Kyrie by Tomas Luis de Victoria Bachrsquos Jesu Joy ofManrsquos Desiring a double-choir piece by Gabrieli Christopher Tyersquos In NomineXIII and a Purcell chaconne The workshop ended with a rhythmically-challenging minimalist piece by Bickley entitled Beginning composed for theWaldorf School teacher training program George Greenwood reports that thegroup had a productive event and plans to ask Bickley to lead a future workshop
wwwAmericanRecorderorg March 2009 37
A Muse in the DesertThe sound of a pin dropping hellip thesound of eager minds and fingersabsorbing information and inspira-tion hellip the sounds of ldquoNuevaEspantildeardquo Spanish- and indigenous-influenced music of the 1600s in theNew World These were the soundsof the Desert Pipes (Phoenix AZ)chapterrsquos fall workshop given byEileen Hadidian On a Saturdaylast October 30 players from all overArizona gathered to learn from andbe inspired by the founder of a SanFrancisco Bay Area group dedicatedto sharing music for healing inhealthcare settings Healing Muses(wwwhealingmusesorg)
The day began with relaxationstretching and breathing exercisesfollowed by travels to Peruacute MexicoGuatemala and Colombiamdashhighchurch music vernacular pieces anda mixture of the two Participantsenjoyed the historical and contextualbackground provided as an overviewfor the day and for each piece
Remarkably the sound heardbetween pieces and passages was anenergy-filled quiet the attentivestillness of active engagement in theworkshop experiencemdashnot the chat-tering noodling and conversationsthat often occur when the musicstops That activity was reserved forthe breaks when participants couldenjoy the cool (at last) outdoorschat with Hadidian and peruse the popular garage sale (to benefitDesert Pipes) of previously-enjoyedbooks and other treasures
On Sunday Hadidian sharedher expertise and inspiration in indi-vidual and group coaching sessionsThe weekend was a special experi-ence and Desert Pipes memberslook forward to the next visit of this Healing Muse
Ann Koenig Scottsdale AZannisalesprocom
Members
of three
Florida
groups
met
in January
for a joint
workshop
CHAPTER NEWS
Chapter newsletter editors and publicity officers should send materials for publication toAmerican Recorder 7770 South High St Centennial CO 80122-3122
editoramericanrecorderorg Also send short articles about specific activities that haveincreased chapter membership or recognition or just the enjoyment your members get out of
being part of your chapter Digital photos should be at least 3rdquox4rdquox300dpi TIF or unedited JPG files Please send news to the AR address above and to the following
ARS Office 1129 Ruth Drive St Louis MO 63122-1019 ARSrecorderAmericanRecorderorg
and to Bonnie Kelly Chair Chapters amp Consorts Committee 45 Shawsheen Rd 16 Bedford MA 01730 bksharpaolcom
TO THE STARS
AND BEYONDThe cover of the November magazinegenerated a few comments Some werenrsquotsure how to interpret the title (in theartistrsquos native German it could besomething close to ldquostarlit moonrdquo)Longtime member Carolyn Peskin wrote to offer her vision of that cover
In the beginning the Great Spiritinvented Mr Sun to light the day andMiss Moon to light the nightHowever as Miss Moon floated up inthe sky all by herself like a big yellowballoon she began to feel very lonelyso one night to relieve her lonelinessshe decided to take out her recorderand make music
But when she started to playsomething miraculous happened Not only beautiful melodies but alsoyellow dust poured out of the bottomof her recorder and the dust particlesimmediately coalesced to form yellowstars As she continued playing moreand more stars were created and theyfloated up around her filling the nightsky
At last Miss Moon was happy fornot only was she herself able to enjoyher music but she now had a wholecrowd of starry companions to enjoy itwith her And if you listen very care-fully on a quiet night you might beable to hear her recorder and thatstarry choir humming along
Carolyn Peskin
LOCATING EARPLUGSI read with interest the QampA in theNovember lsquo08 AR regarding hearingloss and use of earplugs Where do you get musicianrsquos earplugs
Dolly Hirata Kensington CA
CAROLYN PESKIN PROVIDED THIS
INFORMATION Musicianrsquos earplugs arecustom made for individual usersThey can be purchased only fromlicensed hearing professionals (ieaudiologists and hearing instrumentspecialists) To find a licensed hearingprofessional in your area look underldquoaudiologyrdquo or ldquohearingrdquo in your localyellow pages
For information about how musi-cianrsquos earplugs are produced visitwwwetymoticcomephperme-w
tbaspx That web page also has a linkto contact information for authorizedlabs that make the custom earmolds formusicianrsquos earplugs If the yellow pagesdo not prove helpful those labs canrefer you to a licensed hearing pro-fessional in your area from whom youcan purchase musicianrsquos earplugs
MORE FROM CAROLYN
THIS TIME ABOUT OSKARIn the September 2008 AR the musicreview by Leslie Timmons of the Oskarpieces by Matthias Maute mentionedthat Carolyn Peskin had translated twoof the Oskar books from German toEnglish People can obtain thetranslations free of charge as Wordattachments by contacting her atCarolyn Peskin 3559 StrathavonRoad Shaker Heights OH 44120carolynpeskinstratosnet
ANOTHER KIND OF
MUSIC-READING
GLASSESIn the January 2009 issue of AmericanRecorder therersquos something (in myopinion) the ldquoRecorder with GlassesObbligatordquo article omitted which canenable a nearsighted musician to avoidneck strain in the use of bifocals
Irsquove found the solution to thisvexing problem is to have onersquos bifocalsconstructed differently [from] normalMy optometrist was willing to work
38 March 2009 American Recorder
Response___________________________________Two kinds of vision
the better to see with and (not) to hear with
Honeysuckle Music
Recorders amp accessories
Music for recorders amp viols
Jean Allison Olson1604 Portland AveSt Paul MN 55104
6516448545jeanhoneysucklemusiccom
Responses from our readers are welcomedand may be sent to American Recorder 7770 South High St Centennial CO
80122 Letters may be edited for length and consistency
ARS Membership Enrollment and Renewal I am a new member I am or have been a member
USCanadian Memberships Foreign Memberships $45 One Year $55 Foreign One Year $75 Sustaining (Receive a Hottetere Hands Pin) $100 Two Years $80 Two Years
LIFETIME MEMBERSHIP Single Dual Regular Lifetime Member $1000 (2) $1500 (4) 4 installments of $250 available) Loyalty Lifetime Member (1) $ 800 (3) $1200 (4) 4 installments of $200 available
(1) For members who have maintained membership for five consecutive years (2) $750 is Tax Deductible (3) $600 is Tax Deductible (4) Installments available Student Memberships Other Memberships (Enclose proof of full time enrollment) $65 One Year Workshop Membership
$25 USCanadian One Year $125 One Year Business Membership $45 USCanadian Two Years $30 Foreign One Year $5 Additional Charge for Dual Address or Dual Name
Do not list my name in the ARS Print Directory Do not list my name on the ARS Online Directory Do not release my name for recorder related mailings Do not contact me via email
My address telephone and email address are the same as last time
______________________________________ _________________________ Name Phone Number ______________________________________ _________________________ AddressCityStatePostal Code Email Address Please charge to (Circle one) VISAMasterCardAMEXDiscover CC________________________________ Expiration Date ______________ Signature of cardholder_______________________________________________________ Clearly Print Name as it appears on Card________________________________________
Renew by Mail Online By Phone or by Fax
Demographic Information (optional information collected only to enhance ARS services and provide statistics to grant makers)
I am a member of ARS Chapter or Consort____________________________ I am the Chapter Contact Your age Under 21 (21-30) (31-40) (41-50) (51-60) 61-70) (71+) Please check all that apply
I am a Professional Recorder Performer
I wish to be included in the list of Recorder Teachers in the ARS Directory and website I Teach (circle your choices) Children High School Youth College Students Adults Beginner Intermediate Advanced Pre-Professional Individuals Childrenrsquos Classes Adult Classes Ensembles Suzuki Orff JRS Leader Kodaly Where I Teach (circle your choices) Music Studio Public or private school Community Music School College Other _____________________
American Recorder Society 1129 Ruth Dr St Louis MO 63122-1019
Phone 314-966-4082Fax 314-966-4649
TollFree 800-491-9588ARSRecorderAmericanRecorderorg
wwwAmericanRecorderorg
with me [to find] an ideal (for me)placement size and focal length of thebifocal lens
Before visiting the optometristIrsquod had my wife measure the distancefrom my eyes to the music on mymusic stand With this measurementthe optometrist set up her machine toprepare a vision prescription for memaximized for this reading distance
When I look at my bifocals (withthem off) the lenses (through which Iread my music) occupy most of thelower two-thirds of my glasses (they are set very high and beginimmediately at the inner rims) Thisleaves the upper third and smallportions of the outside [of each lens]for focusing on the conductor As longas my stand is set low enough my necknever experiences any strain (even if Ihave to read three to a part) and Irsquove no problem in seeing theconductor (in sharp focus) either
For me trying to use glasses [toread] from a music stand [that] weredesigned for use in reading from acomputer screen also results in neckstrain (not to mention unreliability in aldquopressurerdquo situation) Having studiedTai Chi extensively and so being
wwwAmericanRecorderorg March 2009 39
There are lots ofsolutions to thepresbyopic musicianrsquosproblem but all involve compromises
40 March 2009 American Recorder
American Recorder Society PublicationsErich Katz Contemporary Music Series Members Non-MembersA Short Tale for Two Basses Suzanne M Angevine (Level II) (2 scores) $5 $8Dialogue and Dance Cecil Effinger (SATB)(Level II-III) (score amp parts) $10 $18Dorian Mood Sally Price (SATB) (Level II) (score amp parts) $10 $18Double Quartet for Recorders Peter Ballinger (Level II-III) (score amp parts) $10 $18Entrevista Frederic Palmer (SATB) (Level II) (2 scores amp 4 recorder parts) $8 $14Kyrie and Vocalise for Soprano Voice ampRecorders Stanley W Osborn $8 $14
(SATB) (Level II) (2 scores amp 4 recorder parts) Picnic Music Jeffrey Quick (SATB) (Level II) (score amp parts) $5 $8Six Short Pieces for Three Recorders edited by Alan Drake $8 $14
(3 scores) Vaclav Nelhybel (AATT) (Level II)Sonatina for Alto Recorder and Piano Anthony Burgess $7 $12
(Level II) (2 scores)Sonatine for Three Altos Lee Gannon (Level III) (score amp parts) $14 $26Suite of Jewish Folk Tunes Erich Katz (S SA8 AT) (Level II) (three scores) $10 $18
Musical Editions from the Membersrsquo Library ARS members 1 copy-$3 2 copies-$450 3-$6 4-$750 5-$10 6-$1150Non-members (editions over 2 years old) 1 copy-$5 2 copies-$850 3-$12 4-$15 5-$1950 6-$23The ARS is happy to provide photocopied enlargements of any Membersrsquo Library edition at the same prices Please specify ldquoMembersrsquo Library Enlargementrdquo
ARS Information BookletsARS members 1 booklet-$13 2 booklets-$23 3-$28 4-$35 5-$41 6-$47 7-$52Non-members 1 booklet-$18 2 booklets-$33 3-$44 4$55 5-$66 6-$76 7-$86
Education PublicationsThe ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996)
First copy free to ARS Members (mailed to new members as they join) replacement copies $3Guidebook to the ARS Personal Study Program (1996) Material formerly published in the Study Guide
and Study Guide Handbook plus additional resources Members $11 non-members $20ARS Music Lists (2002 with 2003 Supplement) Graded list of solos ensembles and method books
Members $9 non-members $15Package Deal available only to ARS members Guidebook and Music ListsSupplement ordered together $16Junior Recorder Society Leaderrsquos Resource Notebook
ARS members $20 non-members $40 (updates at reduced rates after initial purchase)$5 Dues for each JRS student member sponsored by an ARS member ($4 each for groups of 10+)
VideosRecorder Power Educational video from the ARS and recorder virtuoso John Tyson
An exciting resource about teaching recorder to young students ARS members may borrow a copy for onemonth by sending $5 to the ARS office along with the address to which the tape should be shipped
Pete Rose Video Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music Festival recitalFeatures Rose performing a variety of music and an interview of him by ARS member professional John Tyson
Other PublicationsChapter Handbook A resource on chapter operations for current chapter leaders or those considering forming an
ARS chapter ARS members $10 non-members $20 (updates free after initial purchase) One free copy sent toeach ARS chapter with 10 members or more
Consort Handbook Resource on consort topics such as group interaction rehearsing repertoire performingARS member prices CD $10 hard copy $20 combo price of CD and hard copy ordered together $25
Discography of the Recorder Vol I (1989) Compiled by Scott Paterson and David LasockiDiscography of the Recorder Vol II (1990-1994) Compiled by Scott Paterson
Either single volume ARS members $23 non-members $28Both Discography volumes together ARS members only $40
American Recorder Cumulative Index for Vols I-XXXX ARS members $20 non-members $32Index Supplement Vol XXXIV-XXXX ARS members $8 non-members $14
Shipping amp Handling FeesUnder $10 - add $3 $10-1999 - add $4 $20-2999 - add $5 $30-3999 - add $6 $40-4999 - add $7 All prices are inUS dollars For Canadian or foreign postage pay by credit card and actual postage is charged
Please make checks payable to ARS VISAMCAMEXDisc also accepted
ARS 1129 Ruth Drive St Louis MO 63122 US800-491-9588 ARSrecorderAmericanRecorderorg
Arioso and Jazzy Rondo (AB) Carolyn PeskinBerceusendashFantaisie (SATB) Jean BoivertBrucknerrsquos Ave Maria (SSATTBB)
Jennifer W Lehmann arrCanon for 4 Basses (BBBB) David P RuhlDancers (AT) Richard EastmanDifferent Quips (AATB) Stephan ChandlerElegy for Recorder Quartet (SATB) Carolyn PeskinElizabethan Delights (SAATB)
Jennifer W Lehmann arrFallen Leaves Fugal Fantasy (SATB) Dominic BohbotFour Airs from ldquoThe Beggarrsquos Operardquo (SATB)
Kearney Smith arrGloria in Excelsis (TTTB) Robert CowperIdyll (ATB) Stan McDanielImitations (AA) Laurie G AlbertsIn Memory of Andrew (ATB) David GoldsteinLay Your Shadow on the Sundials (TBgB)
Terry Winter OwensLeClercqrsquos Air (SATB) Richard E WoodLittle Girl Skipping and Alouette et al (SATBCb)
Timothy R Walsh
Los Pastores (SAAAT + perc) Virginia N Ebinger arrNew Rounds on Old Rhymes (4 var) Erich KatzOther Quips (ATBB) Stephan ChandlerPoinciana Rag (SATB) Laurie G AlbertsSanta Barbara Suite (SSAAT) Erich KatzSentimental Songs (SATB) David Goldstein arrSerie for Two Alto Recorders (AA) Frederic Palmer Slow Dance with Doubles (2 x SATB) Colin SterneSonata da Chiesa (SATB) Ann McKinleyS-O-S (SATB) Anthony St PierreThree Bantam Ballads (TB) Ann McKinleyThree Cleveland Scenes (SAT) Carolyn PeskinThree in Five (AAB) Karl A StetsonTracings in the Snow in Central Park (SAT)
Robert W ButtsTrios for Recorders (var) George T BachmannTriptych (AATB) Peter A RamseyTwo Bach Trios (SAB) William Long arrTwo Brahms Lieder (SATB) Thomas E Van Dahm arrVariations on ldquoDrmešrdquo (SATB) Martha BishopVintage Burgundy (SASATT)
Jennifer W Lehmann arr
Adding Percussion to Medieval and Renaissance Music Peggy Monroe
American Recorder Music Constance PrimusBurgundian Court amp Its Music Judith Whaley coord
Improve Your Consort Skills Susan CarduelisMusic for Mixed Ensembles Jennifer W LehmannPlaying Music for the Dance Louise AustinRecorder Care Scott Paterson
acutely aware of any kind of neckstrain when it begins to develop these ideas have been a big help to meIrsquom hoping they may be of help toother musicians as well
Best wishes to you And inanswer to your questionmdashyes the new[AR] format (with more white spacebetween the lines) is much easier toread (in my opinion)Your magazinejust keeps getting better and better
Very sincerely Ed Green WestSuburban (Chicago-area) Chapter
RESPONSE FROM DR BILL LONG
What Ed describes is a variant of theuse of conventional bifocals as musicglasses described on page 8 in thearticle Instead of lowering his musicstand into the field of view of hisbifocal segment Ed and his optome-trist have fabricated special purposebifocals with the segment really highso he can focus on his music instraight-ahead view That approachrestricts his distance vision to an areaabove his usual line of sight whichseems to work for Eds playing setup
Eds comments on the difficultiesin using conventional progressiveaddition lenses as music lenses con-firm what I said on page 9 Thats whymanufacturers have marketed special-ty progressive lenses designed specif-ically for intermediate distance taskslike computer use and playing music
There are lots of solutions to thepresbyopic musicians problem but all involve compromises The key toevaluating those compromises andchoosing the best solution for yourselfis to understand your needs and toenlist the help of a sympathetic visioncare specialistmdashjust as Ed did
Please change your
browserrsquos favorites list
AR online is now at wwwameri
canrecorderorgmembership
magazinehtm Send news to
editoramericanrecorderorg
FOUR FOUR-PART CANZONAS
(1608) BY GIOVANNI GABRIELI
ED GREG LEWIN Hawthorns Music RB 16 (Magnamusic) 1999 SATBSc 16 pp pts 4 pp $1950
Giovanni Gabrieli was probablyborn between 1554 and 1557 in theparish of San Geremia in Venice Thedetails of his early life are sketchy butit appears that he was born Giovannidi Fais and later changed his name toGabrieli out of respect to his uncleAndrea with whom he shared a closerelationship In fact in 1587 Gabrielidescribed himself ldquoas little less than asonrdquo It is commonly thought thatAndrea provided Giovanni with hisearly musical training Andrea whohad spent some time in Munichstudying under the great Orlando deLassus sent Giovanni to Munich for a similar period of study in theearly 1570s
Gabrieli remained in Munichuntil the death in 1579 of the dukeAlbrecht V who had been Lassusrsquosemployer for a number of years andwho was an enthusiastic patron of the arts particularly music With hisdeath a number of musicians lost theirjobs it seems as if Gabrieli were also a victim of such culling of talent(Within a generation the tide wouldturn and the Munich court wouldagain hire Venetian expatriates such as Priuli Valentini and Neri)
Upon his return to VeniceGabrieli was hired as a temporaryorganist at San Marco his positionbecoming permanent in 1585 For a few months that year uncle andnephew served together as first and
second organists in the chapel of thedoge In Giovannirsquos absence fromVenice there had been a plague thathad decimated the ranks of theprofessional musicians Andrea setabout rebuilding his forces at SanMarco by hiring a full-time windband consisting of Girolamo dallaCasa a renowned cornettist andviolist his two brothers who playedsackbut and later the cornett virtuosoGiovanni Bassano Giovanni Gabrieliaugmented these forces with addi-tional players and began composingthe large-scale ceremonial music forwhich he is so well known today
Giovanni was also elected to bethe organist and composer to theconfraternity of San Rocco in 1585and it is now thought that his largestpieces were intended for that venuewith its large central gallery andfrescos by Tintoretto instead of SanMarco Gabrieli held both thosepositions at the basilica of San Marcoand the Scuola Grande di San Roccountil he died in 1612 of a kidney stone
Although best known today forhis ceremonial and festival musicGabrieli was at home in smaller-scaleformats as well These four four-partcanzoni are taken from the 1608publication by the Venetian publisherAlessandro Raverji Canzoni per sonarecon ogni sorte di strumenti These werevery popular pieces to judge by themany collections in which they appear
Additionally like Gabrielirsquoskeyboard music they are found inother arrangements These four-partcanzoni lie well under the fingers inarrangements for keyboard and lute
As seen from the title Gabrielispecified no instrumentation but like asimilar edition of madrigals and battlepieces from a few years earlier a dis-tinction was made that they wereintended for wind instruments almostcertainly cornetts and sackbuts
Recorders were not unknown in Venice they were used regularly inthe confraternity of San GiovanniEvangelista where Giovanni BattistaRiccio was organist
These pieces are relativelysimplemdashplayable by beginning tointermediate ensembles They aremostly contrapuntal (with a fewhomophonic sections) and have few rhythmic eccentricities
These canzoni are found in manymodern brass editions but there arefew editions available to the recorderplayer This edition by Greg Lewin ofHawthorns Music might be consid-ered a ldquobare-bonesrdquo edition There islittle background information andeditorial practices are not specified
The music itself has a handwrittenlook that can be distracting but is easyenough to read Lewin has thought-fully supplied phrasing marks that willbe helpful for ensembles unused tothis style of music
Music
Reviews___________________________________ Infectious music created in spite of the plague
wwwAmericanRecorderorg March 2009 41
This is a good edition
for small ensembles that
canrsquot get eight players
together to play
Gabrielirsquos more famous
eight-part canzoni
42 March 2009 American Recorder
The parts are four pages but mycopy had all four pages printed on avery large page This is not a problemand there are no page turns
This is a good edition for smallensembles that canrsquot get eight playerstogether to play Gabrielirsquos morefamous eight-part canzoni Thesesmall-scale pieces are by no meansinferior to Gabrielirsquos more elaboratemusic and deserve to be better known
7 CANZONEN (1637) BY
TARQUINIO MERULA ED JOACHIM
ARNDT WITH CONTINUO REALIZATION
BY CLAUDIA SCHWEITZER MieroprintMusikverlag EM2088 (availabledirectly from wwwmieroprintcom)2005 SS or TT bc Sc 24 pp pts 8 pp$28
Tarquinio Merula was bornaround 1595 in either Busseto orCremona in Italy As was the case withso many composers of the day either alack of regular employment or a rest-less nature took him from his home inCremona to as far away as Warsaw He is found as the organist of thechurch and the chambers to the kingof Poland Sigismund III in 1624
Merula was one of the leadingexponents of the relatively new con-certante style pioneered by ClaudioMonteverdi and others in the seconddecade of the 17th century and may be described as one of the earliestBaroque composers His compositionsin the concertante style are fresh andunforcedmdashhe was born into this styleand didnrsquot encounter it as somethingnew as was the case with so many ofMonteverdirsquos contemporaries
After several years of peripateticexistence Merula found regularemployment in 1631 in Bergamo atthe church of San Maria MaggioreThe prior holder of the post of maestrodi cappella Alessandro Grandi haddied the previous year in the plagueMerula had signed a three-year
contract but by December 1632 hewas terminated with accusations thathe had molested several studentsMerula threatened a lawsuit to recoverhis lost wages but that threat wascountered with a pending criminalcharge lodged by the board ofgovernors of San Maria Maggiore By mid-1633 the matter was settledwith an apology from Merula and astatement that he relinquished allclaims to his salary
He then returned voluntarily toCremona where he stayed until 1635By 1638 Merula was once again inBergamomdashthis time as maestro dicappella and organist in the cathedralnext to San Maria Maggiore Asmight be expected there was con-siderable tension between the twochurches eventually resulting in theboard of San Maria Maggioreforbidding their musicians to perform under Merularsquos direction
He returned in 1646 to a familiarCremona post which he had heldthree times in various years and wherehe now settled downmdashthat of organistand maestro di cappella for Laudi dellaMadonna services in which he ledmusic at the main altar on Saturdaysand on vigils of Marian feasts
None of his employment issues
prevented the Pope from awardinghim the Order of the Golden SpurMerula was also elected to theAccademia dei Filomusi in BolognaHe died in 1665 in Cremona
His existing compositions showthe products of a lively mind Hisworks range from sacred songs andmotets to purely instrumental piecesnotably the ever-popular variations onvarious ground basses It is knownthat Merula was an accomplishedviolinist as well as a fine organist Hissurviving instrumental writing showsa predilection for strings In fact hewas one of the earliest composers tospecify string accompaniments tosacred motets
Merularsquos pieces look backwardtoward some of the more progressiveVenetian composers such as Monte-verdi while looking forward to thehigh Baroque with his innovative style
These seven canzoni like theearlier-published chaconne (EM2084)come from Merularsquos third bookpublished in 1637 CANZONI overo SONATE CONCERTATE perchiesa e camera a due et a tre delcavaliere This collection typifiesMerularsquos output pieces based onRenaissance-era ground basses arefound next to more ldquomodernrdquo sonatas
The original edition specifiesviolins and basso continuo This newedition is intended for recorders thespecific choice of which is up to theplayers Due to the relatively hightessitura tenor recorders work best inthese pieces (although listed as analternative soprano recorders tend to be on the screechy side)
Not surprisingly given Merularsquosskill as an organist the continuo partneeds a keyboard instrument forsuccessful realization Instead of beinga purely accompanying part the bassocontinuo part is an equal partner in these pieces the canzona ldquoLaRuggierardquo opens with a run that therecorders echo a few measures later
A more recorder-specific
edition intended for
altos would have been
ideal There is nothing
preventing the more
adventurous and
industrious players
from making their
own editions of this
delightful music
mentioned were a bit shrill A morerecorder-specific edition intended foraltos would have been ideal There isnothing preventing the moreadventurous and industrious playersfrom making their own editions of thisdelightful music
Prior to playing the previouslypublished chaconne I had notencountered MieroprintMusikverlag Mieroprintrsquos extensivecatalog has an equal focus on newmusic for recorders and on editions ofBaroque masters with emphasis on therecorder and flute Due to the lack of
wwwAmericanRecorderorg March 2009 43
are also available at
The Early Music Shop
of New England
Brookline MA
AESTHEacute
367-b de la Briquade
Blainville Queacutebec
Canada J7C 2C7
tel (450) 979-6091
wwwboudreau-flutesca
A bass viola da gamba or rsquocello is not necessary for these pieces and may infact make them sound heavy and ponderous rather than light and breezy as thismusic seems to be
More so than the above-mentioned chaconne these canzoni are written in avery idiomatic violin style with multiple examples of arpeggios In particular thecanzona ldquoLa Trecchardquo contains a notated example of a string tremolo figurerecurring through the piece ldquoLa Trecchardquo also dips well below the range of a Crecorder going down to low G the lowest string on the violin The editors havesupplied no alternative notes preferring to let the performers to fend forthemselves (in practice we took this passage up an octave with no problems)
The two recorder parts require virtuosity These upper parts are demandingwith the players needing to double-tongue in unison in order to negotiate themany runs of 16th notes and the shared rhythmic ldquolicksrdquo The harmoniclanguage unlike much of Merularsquos music is undemanding and contains none of the harmonic crunches for which he is famous
This is wonderful music that needs a couple of advanced recorder players fora successful performance The string idiosyncrasies can be overcome by advancedplayers and many of the editions of the era (although not this one) list thecornetto as an alternative to the violin so the use of wind instruments in the solo literature of the early Baroque was not unknown
Our experience with this edition left us with the opinion that these pieceswould have been better if transposed down a minor third so as to fit on a pair ofalto recorders (as is the case with much Baroque flute music to make it lie betteron the recorder) The tenors we used tended to sound a bit murky in the lowerregister next to the more aggressive harpsichord while the sopranos we tried as
KEY rec=recorder Srsquoo=sopraninoS=soprano A=alto T=tenor B=bassgB=great bass cB= contra bass Tr=treble qrt=quartet pf=piano fwd=foreword opt=optional perc=percussionpp=pages sc=score pt(s)=part(s)kbd=keyboard bc=basso continuohc=harpsichord PampH=postage andhandling Multiple reviews by one reviewerare followed by that reviewerrsquos name Pleasesubmit music for review to AR 7770 SHigh St Centennial CO 80122-3122 US
an American distributor this musicwill be hard to findmdashin fact can befound only at the time of this writingon their web site noted above But theeffort will be repaid
This edition is clear and easy toread and the parts require no pageturns The basso continuo realizationis simple and elegant
This is music deserving ofrediscovery My only quibble is thatthe editorial notes are all in GermanThis seems to be the practice ofGerman music publishers with thenotable exception of Moeck Otherpublishers of early music such asLondon Pro Musica routinelyprovide notes in English and German and often in French and Italian making their editionsaccessible to a wider audience
Frank Cone studied the recorderwith the late Ellen Perrin the viola dagamba with Carol Herman and thecornetto with Larry Johansen TheCalifornia multi-instrumentalist has been a member of the Orange CountyRecorder Society since 1985
Advertiser Index
AMERICAN ORFF-SCHULWERK ASSN 3
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AMHERST EARLY MUSIC FESTIVAL 17
STEPHAN BLEZINGER 24
JEAN-LUC BOUDREAU 21 39
BOSTON EARLY MUSIC FESTIVAL 7
CANTO ANTIGUO EARLY MUSIC WORKSHOP 13
COURTLY MUSIC UNLIMITED 20
EARLY MUSIC AMERICA 8
HONEYSUCKLE MUSIC 34
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KEITH E LORAINE EARLY DOUBLE REED SERVICE 35
LOST IN TIME PRESS 11
MADISON EARLY MUSIC FESTIVAL 12
MAGNAMUSIC DISTRIBUTORS BC
MOECK VERLAG IFC
MOLLENHAUER RECORDERS IBC
PORT TOWNSEND WORKSHOP 14
PRESCOTT WORKSHOP 30
PROVINCETOWN BOOKSHOP 26
THE RECORDER MAGAZINE 4
THE RECORDER SHOP 6
SAN FRANCISCO EARLY MUSIC SOCIETY 18
SWEETHEART FLUTE CO 3
TEXAS TOOT 20
VON HUENE WORKSHOP INC 30
WICHITA BAND INSTRUMENT CO 21
DOMINIK ZUCHOWICZ 34
CONSIDER ADVERTISING IN
Full page $55223 page $43912 page $36613 page $28614 page $22316 page $17518 page $127112 page $ 951 column inch $ 58
Prices include web sitee-mail link directly from your ad in the online AR at wwwamericanrecorderorg
Circulation Includes the membership of theARS libraries and music organizations
Published five times per year January March May September November
Reservation Deadlines December 1 (January) February 1 (March) April 1 (May) August 1 (September) October 1 (November)
Rates good through November 2009 Pleaseinquire about discounts on multiple-issuecontracts inserts or other special requestsExtra charges for typesetting layout half-tones and size alterations 133-line screenrecommended Advertising subject toacceptance by magazine First-time adver-tisers must include payment with order
For more information contact the ARS office 1129 Ruth Drive St Louis MO63122-1019 800-491-9588 toll free 314-966-4082 phone 314-966-4649 faxadvertisingamericanrecorderorg
44 March 2009 American Recorder
Classified___________________________________
FOR SALE Cherrywood hurdy gurdy and hard-side case made by Kelischek bought 2005Originally $765 plus $89 for case Rarely usedBoth for $450 or make offer Please contact marjalocomcastnet Can ship
ASPIRE ANNOUNCE INSPIRE Afford-able PR for teachers and recitalists wwwrecitalroomcom
PHOTOS NEEDED of ARS events 1970sndash1990sto illustrate last chapters of Martha Bixlerrsquos histor-ical memoir about the ARS (to be posted online)E-mail scanned photos (300dpi JPG or TIF)arsrecorderamericanrecorderorg Hardcopies mail to ARS office to be scanned ampreturned Info 800-491-9588
T-SHIRT FOR ENSEMBLE PLAYERS to wear orshare Top 10 Reasons Why I Got Lost Wrongfingering bad lighting etc on blue cotton shirt$18 Highlighter tape and other goodies Beth amp Lindas Boutique as seen at BEMF CallLinda at 617-671-8694 or e-mail for brochurelindakushverizonnet
Where the havesand have-nots
of the recorder world can find each other
Classified rate for American Recorder 60centper word ten-word minimum ldquoFOR SALErdquoand ldquoWANTEDrdquo may be included in thecopy without counting Zip code is oneword phone e-mail or web page is twoPayment must accompany copy Deadlinesare one month before issue date Send copywith payment to ARS 1129 Ruth Drive St Louis MO 63122-1019
AMERICAN RECORDER (ISSN 0003-0724) 1129 Ruth Dr St Louis MO 63122-1019 is publishedbimonthly (January March May September and November) for its members by the AmericanRecorder Society Inc $20 of the annual $45 US membership dues in the ARS is for a subscriptionto American Recorder Articles reviews and letters to the editor reflect the viewpoint of their individ-ual authors Their appearance in this magazine does not imply official endorsement by the ARS
EDITORIAL DEADLINES November 15 (January) January 15 (March) March 15 (May) July 15(September) and September 15 (November) Submission of articles and photographs is welcomedArticles may be typed or sent as an attachment (Word or RTF preferred) to or text in an e-mail mes-sage They should be for the exclusive consideration of AR unless otherwise noted Photos may besent as prints or unedited JPG or 300dpi TIF files (minimum 3rdquox4rdquo) Advertisements may be sent inPDF or EPS format with fonts embedded
EDITORIAL OFFICE Gail Nickless Editor 7770 S High St Centennial CO 80122-3122 303-794-0114 (phone amp fax) editoramericanrecorderorg Books for review Editorial office Musicfor review Editorial office Recordings for review Tom Bickley 1811 Stuart St Berkeley CA 94703Cutting Edge Tim Broege 212 Second Ave Bradley Beach NJ 07720-1159 Chapter newslettersother reports Editorial office Postmaster Send address changes to ARS 1129 Ruth Drive St LouisMO 63122-1019 Periodicals postage paid at St Louis MO and at an additional mailing office
Chapter leaders
We know yoursquore out there
and that you want to share
your plans concerns
solutions and ideas with
other chapter leaders Visit
httpamericanrecorder
societywikispacescom
responsible interested adult must attendwith students under high school age)teacher traineesobservers Participantsmust arrange meals housing and trans-portation Teacher Training prerequi-sites Every Child Canreg before Book 1courses must be taken in order throughBook 2 Contact workshop regardingrequired audition and preparation
Contact Cindy Malmin
612-767-5461
malmincindymacphailorg
Mary Halverson Waldo
5679 Harding Lane Shorewood
MN 55331 952-470-5853
mhalvwaldogmailcom
INTERNATIONAL BAROQUE
INSTITUTE AT LONGY
Longy School of Music Cambridge MA
July 24-August 2Directors Paul Leenhouts co-director Phoebe Carrai
VenicendashDresden Connection InternationalMeeting Grounds Music of MonteverdiVeracini Hasse Heinichen MarcelloVivaldi Pisendel Albinoni ZelenkaLotti Schein Schutz Quantz Gabrieli
2009 faculty Paul Leenhouts recorderPhoebe Carrai rsquocello ElizabethBlumenstock violin Ricard Bordasvoice Arthur Haas harpsichord LucasHarris lute Ken Pierce early danceGonzalo Ruiz oboe Mary Springfels
viola da gamba Jed Wentz traverso
Contact Karen Burciaga Com-
munity Programs Registrar One
Follen St Cambridge MA 02138
617-876-0956 X1532 (day)
617-354-8841 (fax) karenbur
ciagalongyedu longyedu
RECORDER AT THE CLEARING
The Clearing Ellison Bay WIJuly 26-August 1Directors Pat Badger Adrianne Paffrath
Recorder ensemble has been a traditionat The Clearing for over 25 yearsEnsemble playing is the weekrsquos focusEach day begins with a warm-up ofvoices and bodies as we sing rounds andready our muscles for performanceDaytime sessions focus on rhythmicchallenges recorder technique andensemble blend emphasis is on growthprocess and most of all enjoyment To participate fully you need at leastintermediate skills on a C or F recorder
Adrianne Paffrath coached on recorder with ARS teachers She is music directorat Racinersquos First Presbyterian ChurchPatricia Badger has studied early musicinstruments natural and classicaltrumpet She is performing arts head ofThe Prairie School Jointly they haveperformed for Medieval festivals grapestompings Shakespeare celebrations anda circus parade
Contact The Clearing PO Box 65
Ellison Bay WI 54210-0065
877-854-3225 920-854-9751
(fax) clearingtheclearingorg
theclearingorg
AMERICAN RECORDER SOCIETY
FESTIVAL AND CONFERENCE
University of Missouri at St Louis St Louis MO
July 30-August 2
Attend the second ARS Festival andConference for one day ($150) or allweekend ($350)
Sessions include recorder techniquepedagogy introductions to Orff Suzukiand Flutes and Drums Around the Worldmethods improvisation roundtablediscussions how to conduct yourconsort coached playing sessions forMedieval Renaissance Baroque worldand contemporary repertoire recorderorchestra incorporating percussion intoyour ensemble Also recorder mainte-nance choosing a recorder building aweb site using Sibelius music softwareMini-concerts by the next generation ofprofessionals master classes concerts byMarion Verbruggen and the FarallonRecorder Quartet Exhibition ofrecorder builders music sellers andmore CEUs available
Presenters Louise Austin AnnetteBauer Tish Berlin Frances Blaker Joyce Callanan Louise Carslake
24 March 2009 American Recorder
The Summer Toot is once again in Austin at the beautiful new facility of Concordia University The lushly wooded campus offers air-conditioned classrooms dining and dorm accommodations and is backed by a nature preserve Please join us
Our featured faculty includes Tish Berlin Tom Zajac Mary Springfels The Texas Toot offers a one-week program of classes in Renaissance and Baroque music at all levels featuring expert instructors in re-corder viol early reeds lute harp and voice
Danny Johnson workshop director Susan Richter administrator For more info
httpwwwtootorg or email infotootorg
11th Annual Summer Texas Toot June 14-20 2009 mdash Austin Texas
Mark Davenport Cleacutea Galhano LisetteKielson Lorraine Krige JudithLinsenberg Peter Maund Nina SternMarion Verbruggen Leslie TimmonsJim Tinter Mary Halverson Waldo
Contact Yvonne Miller-Nixon
Conference Administrator
1129 Ruth Dr St Louis MO
63122 800-491-9588 (day)
arsconfplannercharternet
americanrecorderorg
EARLY MUSIC WEEK AT
PINEWOODS CAMP (ARS)
Pinewoods Camp Plymouth MA August 15-22 Director Sheila Beardslee
The Myth amp Magick Creativity andInspiration in Early Music Surely thedeities of Olympus will surround us atPinewoodsndashwhere the myths of earlymusic will be made clear and our staff rsquosldquomagickalrdquo skills will hone and perfectour knowledge and performance of early music and dance
If yoursquove never played a musical instru-ment (but wish you could) or if youstudied music years ago (and fear yoursquoveforgotten) classes in recorder and violwill get you started or help brush off therust Advanced and intermediate playersand singers choose from a wide array ofclasses led by an outstanding faculty of professionals and teachers of earlywinds (recorders reeds brass) strings(viols violin) harpsichord and voice
New staff faces this summer areAnonymous 4rsquos Susan Hellauer voiceand Lisa Terry viol We welcome backDorrie Olsson historical dance andScott Higgs English country dance
We relax with two ponds for swimmingcanoeing a camphouse deck for readingafternoon tea and lots of dancing EarlyMusic Week continues its long traditionof superb teaching in a welcoming com-munity enhanced by special eventspresentations concertsmdashand dancing
Advanced musicians work intensivelyamateurs are engaged and challengedand beginners are always made welcome
Contact Steve Howe Country
Dance and Song Society
PO Box 338 Haydenville MA
01039-0338 413-268-7426 X3
(day) 413-268-7471 (fax)
campcdssorg cdssorgem
MONTREacuteAL RECORDER FESTIVAL
McGill University Montreacuteal QC Canada
September 17-20Directors Matthias Maute Sophie Lariviegravere
Conference consort music recorderorchestra concertsmdashEnsemble Capriceand Quynade (Israel) solo recital byMaurice Steger (Switzerland)
Contact Ensemble Caprice 4841
Garnier Montreacuteal QC H2J 3S8
CANADA 514-523-3611
514-523-1322 (fax)
infoensemblecapricecom
ensemblecapricecom
HIDDEN VALLEY INSTITUTE
FOR THE ARTS
EARLY MUSIC ELDERHOSTEL
Carmel Valley CANovember 1-7 November 8-14Directors Letitia Berlin workshopPeter Meckel HVIA
Enroll for one or both weeks Adults ofall ages welcome
Week I intense classes for upper inter-
mediate to advanced levels Week Ifaculty Letitia Berlin Frances BlakerLouise Carslake Annette Bauer(recorder) David Morris (gamba)
Week II all levels except beginnerClasses include recorder technique viol consort Baroque chamber musicconsort classes for Medieval Renais-sance Baroque and contemporary reper-toire workshop orchestra Week IIfaculty Letitia Berlin Frances BlakerTBA (recorder) Shira Kammen (earlystrings singing Medieval topics) MarySpringfels (viola da gamba)
Evening events include faculty concertstudent concert free-lance playing FreeWednesday afternoon for more playingor sightseeing Improve your playing in asupportive friendly atmosphere withworld-class teachers
Contact Peter Meckel
PO Box 116 Carmel Valley CA
93924 831-659-3115
831-659-7442 (fax)
hvmsaolcom
hiddenvalleymusicorg
wwwAmericanRecorderorg March 2009 25
26 March 2009 American Recorder
Am
herst
AR
S
Festival and
Co
nference
CA
MM
AC
Early M
usic
Week
Canto
Antiguo
Reco
rd
er
at th
e
Clearing
Great L
akes
Suzuki
FluteR
ec
Hid
den
Valley
Eld
erh
ostel
Interlo
ch
en
Early M
usic
Inst
Lo
ngy Intl
Baro
que
Inst
Marin
Head
land
s
Mid
east
Mo
ntreacuteal
Reco
rd
er
Festival
COST $520TW $350T C$1014ED $860 $1035E TBA $799D $389T $675T $210ED $735D $130TNO OF DAYS 814 1-4 7 7 7 5-8 714 6 10 3 6 4ARS DISCOUNT NO YES NO YES NO NO NO NO NO NO NO NONO OF FAC RECORDER FAC 4315 1716 165 85 22 82 543 11 101 1010 96 66NO OF STUDENTS 150wk 60 110 35 19 45 35 20 50 75 60 50RECORDER CLASSLEVELS
LIHIAV
BLIHIAV
BLIHIAV
BLIHIAV LIHIA BLI
LIHIAV LIHIA AV
LIHIAV
BLIHIAV
BLIHIAV
SPECIAL CLASSES USING RECORDERS
CMRMB20ENMROT
RPMRMB20MROPTO
CMRMBRO
MRMBENROPT CRO
RPMPT
CMRMB20MROPT
RPCMRMBENMROPT MBMP RP20
RPCMRMB20ENMTO
CMRMBMRO
NON-RECORDERCLASSES
CWKVPSDO PO
CWKVDT CWVD C O KVPS
CWPKVPST WK VD
CWVPSDO
MUSICALACTIVITIES
FSLSPP FLO FSLSP FS SP FSLP FSP
SLSPPO FSLP P FSLP FS
RECREATION D GS BSTW D FBSW FSO OBSTWO S O G
OTHERS WELCOME SC S SC S S S S SDIRECTTRANSPORTATION SC SBCP SP BCLP BP SB CPUP CL PUP
SBCPUP
TRANSPORTATIONTERMINALS
A50B2 T2 A B T
A10B3 T5
A80B80
A50B10 T10
A20B20 T20
A16B16
A4B3 T3 A20
A15B10 T10
A4B3 T3
ROOMS SD SD SD SD SDC SD SD SDC DBATHS SSP SSPP SP P SSPP SSPP SP P S PFOOD CV C GV CV FV C F CV CV CHANDICAP ACCESS HCD HCD HCD HCD HC HCD HD HCD C HCD HCD C
KEYCOST Includes tuition room (single occupancy unless otherwise noted) meals plus other fees E=estimated T=tuition only D=double occupancy W=one week
NO of DAYS Includes arrival and departure daysARS DISCOUNT Discount offered for ARS members FACULTYRECORDER FACULTY Number of facultyrecorder faculty within that number STUDENTS Average over last two yearsRECORDER CLASS LEVELS B=beginners LI=low intermediate HI=high intermediate A=advanced V=very advanced
SPECIAL CLASSES USING RECORDERS RP=recorder pedagogy C=one-on-a-part consorts MR=mixed Renaissance ensembles MB=mixed Baroque ensembles 20=contemporary music EN=early notation M=master class RO=recorder orchestra P=private lessons available T=technique O=other
NON-RECORDER CLASSES C=choral W=other winds P=percussion K=keyboard V=viols PS=plucked stringsD=danceT=theory I=instrument building O=other
MUSICAL ACTIVITIES F=faculty concert S=student concert L=lecture SP=special production P=organized informal playing O=other
RECREATION D=dancing F=field trip G=gym B=biking S=swimming T=tennis W=waterfrontbeach O=otherOTHERS WELCOME S=non-playing spousesfriends C=children (day care not generally available)DIRECT TRANSPORTATION TO WORKSHOP S=shuttle from airport B=bus C=cab L=limo PU=will pick up P=free parking O=other
TRANSPORTATION TERMINALS A=air B=bus T=train (number indicates miles from workshop to nearest terminal)
ROOMS S=singles D=doubles (with ldquo+rdquo can accommodate up to triples) C=cabins O=other =Graduate dormsBATH FACILITIES S=shared SP=semi-private P=privateFOOD C=college style F=family style G=gourmet V=vegetarianHANDICAP ACCESS H=housing C=classrooms D=dining
INFORMATION SUPPLIED BY WORKSHOP DIRECTORS
2009 SUMMER RECORDER WORKSHOPS
Here are some suggestions foravoiding overuse syndromes Most obvious warm up This meansincreasing your practice time graduallybefore the workshop begins andwarming up yourself and yourinstrument before each rehearsal
Make your playing situation ascomfortable as possible Take along acushion back rest footstool whateverit takes the ear and hand cannot ab-sorb what the bottom cannot tolerate
Be sure your glasses are ideal for the distance from your eyes to themusic desk that usually amounts to anarmrsquos length away (You can select apair at your local drug or departmentstore if you have no serious astigma-
tism) If glare from bright light (thosemarvelous outdoor rehearsals) is aproblem for you you may find that ayellow tint for your glasses is a help
Get your bodily playing equip-ment in the best possible shape beforethe workshop a visit to the dentist tosmooth off a front tooth for a windplayer can make an enormous differ-ence in endurance A layer of plasticwrap over the teeth (before yoursquoveworn a hole in your lip) may also help
Once yoursquove arrived at the work-shop there are ways to ensure thatstress (inevitable) doesnrsquot becomedistress (mostly preventable)
Take reasonable breaks duringrehearsal time and use them to stretchA little aerobics like running in placetakes very little time and gets rid ofthat stiff-from-sitting feeling Get yourfellow ensemble players to massageeach othersrsquo shoulders Other fre-
Do you have a favorite article from years past in AR E-mail that information to Gail Nickless
editoramericanrecorderorg
wwwAmericanRecorderorg March 2009 27
Mo
untain
Co
llegium
Pinew
oo
ds
Early M
usic
Week
Po
rt
To
wnsend
SF
EM
S
Baro
que
SF
EM
S
Ch
ild
rens
SF
EM
S
Med
ieval amp
Renaissance
SF
EM
S
Reco
rd
er
Texas T
oo
t
Wh
itew
ater
Wind
sw
ept
Music
Wo
rksh
op
Wo
rld
Fello
wsh
ip
$800ED $890ED $975 $950 $370T $950 $950 $740E $245 $535D $850E COST7 8 7 7 5 7 7 7 3 6 7 NO OF DAYSNO NO NO YES YES YES YES YES NO NO NO ARS DISCOUNT
125 189 169 102 82 124 76 136 1110 131 83NO OF FAC RECORDER FAC
50 100 100 55 30 70 40 50 110 45 30 NO OF STUDENTSLIHIAV
BLIHIAV LIHI AV
LIHIAV
BLIHIAV LIHI AV LIHIA LIHIA
BLIHIAV
BLIHIAV
RECORDER CLASSLEVELS
CMRMB20TO
CMRMBENROT
MRMB20MROPT
MBMPTO
CMRMBPTO
CMRENMPTO
C20MROPTO
CMR20MPT
CMRMB20ROTO MP
CMRMBMRO
SPECIAL CLASSES USING RECORDERS
WVDTO
CWKVPSDT CPVT
CWKVPSTO
KVDTO
CWPVPSTO O
WKVPSTO
CWVTO
CWPKVD
CKVDT
NON-RECORDERCLASSES
FSLSPP FSP
FSLSPPO FSSP
FSLSPPO
FSLPO
FSLPO SPO FSL PO FSLP
MUSICALACTIVITIES
DGBS DSWFGBSTW
DGBST D
DGBST DO SO
DFSWO RECREATION
S S SC SC S S SC SC OTHERS WELCOME
P SC CPUP SCP SCP SBC LP SPUP P BPUDIRECTTRANSPORTATION
A50B15 T15
A15B7 T6 A59
A20B2 T5 A59
A12B4 T1 A40 A
A20B15 T28 B10
TRANSPORTATIONTERMINALS
SD SD S S CALL S S SD SD SD SD ROOMSSP S SP P P SP P S S S BATHSCGV FV CV CV CV CV CV CV CV FV FOODHCD CALL HCD HCD C HCD HCD HCD HCD HD HANDICAP ACCESS
AR50 AVOIDING ACHES amp PAINSBy Leacuteonie Jenkins MD (c1925- 2000) from the March 1993 AR Vol XXXIV1
quently overused parts such asforearms and hands also respond to massage Quick tutorial on massagestart stroking toward the body and inthe direction of the flow of the veinsmdashupstream from the sorest partgradually work down to include thesore spot Yoursquore trying to move overthe underlying muscle not to rub theskin Thatrsquos why a little oil helps
Your psyche may need some relieffrom overload too Most workshopsare in surroundings that lend them-selves to taking a walk finding a placeto meditate taking in some beauty In creating anything a musical per-formance no less than more static artforms breathing in is as necessary asbreathing out be sure you take time to do it
Not to be forgotten those partiesLate hours and alcohol are stressfultry to balance off the fun yoursquore havingwith your capacity for both Above allenjoy Thatrsquos why yoursquore going
2009 SUMMER RECORDER WORKSHOPS
By Bart Spanhove
The author has been principalprofessor of recorder at the Lemmens-
instituut Leuven (Belgium) since 1984He is also artistic director of the world
famous recorder ensemble the FlandersRecorder Quartet which is set to perform
in concert at the 2009 Boston EarlyMusic Festival He is often asked to serve
as a jury member for internationalrecorder competitions in Canada US
Germany The Netherlands and BelgiumHe has given numerous master classes andlecture demonstrations all over the world
Spanhove is co-author of thesuccessful recorder method Easy Going(Heinrichshofen) and wrote the much-
used book The Finishing Touch ofEnsemble Playing (Alamire 2000
and Moeck 2002 with translations inChinese and German) In 2009
The Recorder Music of Frans Geysenwill come out (Mieroprint)
Currently he is researching practicetechnique for the recorder Daily
Spanhove thinks about how to makepeople happier by making music and
playing the recorder
As a conclusion for the VirtuosoRecorder class during the AmherstWorkshop in 2008 we organized aldquoHappy Hourrdquo for our nine talentedstudents Mee-Jung Ahn (Korea)Emilie Hasselgren and Kristine West(Sweden) Anne Timberlake JosephLewnard Jacob Lodico and BrycePeltier (US) Emiliano Perez(Mexico) and Fanny Massy (France)participated in a quiz that I wrote thenight before with the assistance ofReine-Marie Verhagen
We combined questions regardingmusic theory with practical exercisessuch as middot How long can a player hold a
low f in one breath on an altorecorder (You get one point foreach second)
middot How many times through a scaleis a player able to play in 30seconds (For every octave of theF major scale you get one point)
middot How many different pieces fromthe recorder repertoire can aperson play in the course of twominutes (The other members ofthe group have to guess the nameof the composer before the playercan start the next piece)
middot In one minute list as manydifferent titles as you can fromDer Fluyten Lusthof (TheRecorderrsquos Pleasure Garden) of J J van EyckThe list of questions goes onAt the ldquoHappy Hourrdquo people
were divided into three groupsaccording to dates of each personrsquosbirthday When theoretical questionswere asked (see below) the pointsystem was devised as follows threepoints were awarded when the selected
person of a group could find theanswer himherself two points whenthe selected person needed the help ofthe other group members and onepoint if the group needed the help ofour gracious class assistant Reine-Marie Verhagen (she alwaysknew the answer) No points weregiven if the quizmaster had to supplythe answer
On the next page you find someof my questions There are morewhich we hope to run in a future issueof American Recorder
The quiz was full of fun andsuspense By the end people weremore nervous than when playing aconcert on stage Jacob Lodico of theUS was the winner at Amherst
28 March 2009 American Recorder
Education___________________________________ A quiz for recorder players
wwwAmericanRecorderorg March 2009 29
Try these questions yourselfAnswers appear at the end of thisarticle
The Quiz1 Give the name of Ganassirsquos
treatise of 1535 where heextensively describes the recorder playing and diminutions of his time
2 In which German city is therecorder company Moeck based
3 In the cantata Gottes Zeit ist dieallerbeste Zeit BWV106 JS Bach calls for two altorecorders Give another name for this cantata
4 Of which famous orchestra isFrans Bruumlggen the conductor
5 List three leading Japanesecomposers of excellent solo pieces for the recorder
6 Give the names of recordermagazines published inGermany England and the US
7 What is the fundamental tone of a fourth flute
8 List two recorder makers fromthe Baroque period in England
9 Whatrsquos the title of the recitativeand chorale in the Saint MatthewPassion where the recorder isused
10 Give the names of two famouspublishers in business around1700mdashone in London and one in Amsterdam
11 The opus 10 work by AntonioVivaldi includes six concertiSome of them have beautifulnames Give the names of thefirst three concerti of this opus
12 Whatrsquos a nickname for Jean Jacques Hotteterre
13 The combination of recorder andtraverso was rarely used in theBaroque time Can you name any composers who used thiscombination
14 Which king from 16th-centuryEngland owned a large collectionof recorders and also composedand enjoyed daily recorderplaying
15 How many movements compriseHandelrsquos Sonata in C Op 1 No 7 originally written forrecorder and basso continuo
16 Give the name of Praetoriusrsquostreatise from 1609 that describesthe whole recorder family
17 Name the author of the oldestrecorder method
18 Name Jan Jacob van Eyckrsquosdisability
19 Who pretended around 1930 thatthe recorder was a kind ofclarinet
20 Who doesnrsquot belong in thefollowing group Bertho DrieverKarel van Steenhoven MarionVerbruggen Paul LeenhoutsDaniel Bruumlggen
21 Name the two instrumentsindicated to play the sonataMeiner Mutter of Hans UlrichStaeps
22 Il Pastor Fido was not composedby Antonio Vivaldi but by aFrench composer What was hisname
23 Whatrsquos the nationality of themusic company Zen-On
24 CPE Bach composed abeautiful trio that includes a bassrecorder What are the other twoinstruments
25 Give the names of the fourmovements of Bachrsquos partita forsolo traverse flute BWV1013
26 Which excellent playersperformed as the recorder trioSour Cream
27 A recorder normally has eightfingerholes Despite this musichistory describes the recorder as ldquoune flucircte agrave neuf trousrdquo (a flute with nine fingerholes)Explain why
28 Give the French name for vibratoperformed by finger movementsalone on a wind instrument
29 Who wrote in his diaryldquohellipbeyond anything in the wholeworld the wind-music when the
Answers to
Bart Spanhoversquos Quiz1 La Fontegara2 Celle3 Actus Tragicus4 The Orchestra of the
Eighteenth Century5 R Hirose M Ishii and
M Shinohara
6 Windkanal or Tibia (both ofGermany) The Recorder(England) American Recorder(US)
7 B8 The most famous English
recorder makers around 1700Bressan and Stanesby (the latterbeing both senior and junior)
9 O Schmerz Hier zittert das gequaumllte Herz
10 Walsh (and Hare) (of London)Roger (of Amsterdam)
11 La Tempesta de Mare La Notte Il Gardelino
12 Le Romain13 JB Loeillet J J Quantz
JJ Hotteterre or J B de Boismortier
14 Henry VIII15 Five16 Syntagma Musicum17 Sebastian Virdung Musica
Getutscht und Ausgezogen (1511)18 Blindness19 Igor Stravinsky20 Marion Verbruggen21 Alto recorder and piano22 Nicolas Cheacutedeville23 Japanese24 Viola and cembalo25 Allemande Courante Sarabande
Bourreacutee26 Kees Boeke Walter van Hauwe
and Frans Bruumlggen27 Before 1670 the player could
choose how to hold the recordermdashleft hand or right hand at the topThis meant that recorder makersdrilled two holes to accommodatethe little finger of the hand thatended up at the bottom Theunused hole was sealed with beeswax
28 Flattement29 Samuel Pepys30 Flanders Recorder Quartet
30 March 2009 American Recorder
Lazarrsquos Early Music(866) 511-2981 jblazaraolcom
wwwLazarsEarlyMusiccom
292 Gibraltar Dr 108 Sunnyvale CA 94089
Strings amp Early Winds
ModernBaroque Strings Viols Vielle
Kuumlng Moeck Mollenhauer Paetzold Yamaha Ehlert
Wenner Baroque flutes
Wendy Ogle Lu-Mi Ifshin Snow
Competitive Prices
Sent on Approval
Personalized Service amp Advice
R
E
C
O
R
D
E
R
S
ldquoGO FOR NEO-BAROQUErdquo
Andrew Charlton Partita Piccola For 4 Recorders (SATB)
[Prelude Allemande Courante Musettemdash
a neo-baroque epitome] (Score amp Parts PBE-25) $795
Andrew Charlton Suite Moderne For 3 Recorders (ATB)
[Baroque shapes but Hindemithian harmony]
(3 Playing-Scores PBE-44) $995
Southwest of Baroque David Goldsteinrsquos ldquobaroque Suiterdquo
on Cowboy Songs For 2 Recorders (SA) (PBE-2) $350
The Provincetown Bookshop Inc
246 Commercial Street Provincetown MA 02657 Tel (508)487-0964
A good source for Recorder amp Viol Music of all publishers
Provincetown Bookshop Editions
angel comes down which is sosweet that it ravished me andindeed in a word did wrap upmy soul so that it made me reallysick just as I have formerly beenwhen in love with my wiferdquo
30 Whatrsquos the English name for afamous recorder ensemble calledin its country Vier op lsquon Rij
wwwAmericanRecorderorg March 2009 31
by Tim Broege timbroegeaolcom
December 11 2008 was a specialday for American music the
100th birthday of Americarsquos greatestliving composer Elliott Carter Cele-bratory concerts took place in manyvenues including Carnegie Hall inNew York There the Boston Sym-phony led by James Levine played anew work by Carter Interventions forpiano and orchestra The soloist wasanother well-known conductor DanielBarenboim who is no mean hand atthe keyboard to say the least
Itrsquos remarkable that wonderfulnew compositions continue to pourforth from Carterrsquos pen His musicsparkles and frolics packing lots of musical events into engrossingstructures Much of his music isavailable on CD so if you missed thecelebrations you can easily have yourown belated birthday party for Carter
Although he has never written for recorder (one of our prominent
recorder soloists should commissionhim) Carter has produced manychamber pieces featuring woodwindsSince many recorder players double orstarted out on woodwinds such piecesas the Sonata for Flute Oboe Cello ampHarpsichord (1952) Enchanted Preludes(1988) for flute and rsquocello Espritrudeesprit doux (1985) for flute andclarinet or the Oboe Quartet (2001)may hold special interest
If you missed Charlie Rosersquosexcellent interview (broadcast onDecember 10) with Carter Levine andBarenboim you can see it atwwwcharlierosecomview
interview9774mdashessential viewingfor fans of contemporary music
We note with sadness the passingon January 23 of another distin-guished American composer GeorgePerle An authority on the music ofAlban Berg and the Second VienneseSchool Perle developed a uniquelyrical style based upon a free approachto 12-tone and serial procedureswhich he dubbed ldquo12-tone tonalityrdquo I recommend listening to his SerenadeNo 3 for Piano amp Orchestra (1983) Six Etudes for Piano (1973-76) and the Pulitzer Prize-winning Wind Quintet No 4 (1985)
Another leading American com-poser Leon Kirchner is thankfully still with us having turned 90 onJanuary 24 Like Perle Kirchner has a highly personal and expressive styleA birthday concert was held at MillerTheater at Columbia University inNew York City NY Participatingmusicians included flutist PaulaRobison pianist Jeremy Denk and theClaremont Trio with the composerpresent to discuss his music
An excellent way to get to knowKirchnerrsquos music is through his stringquartets Just in time for his birthdayAlbany Records has released a fine CDof all four played by the Orion StringQuartet Quartet No 4 was written in2007 (when the composer was 87mdasha veritable youngster compared toCarter) The composer Allen Shawnhas described that quartet asldquoluminous and passionaterdquo words aptto describe much of Kirchnerrsquos output
Speaking of contemporary musicI have been spending pleasant hoursperusing the Catalog of ContemporaryBlockflute Music available online atwwwblokfluitorg from StichtingBlokfluit This Netherlands founda-tion offers a contemporary recordercatalog and a catalog of historicalrecorder music Access to both is byfree membership
For those who havenrsquot yet used thecontemporary catalog I urge you togive it a try You can search by manyparameters such as composer title orspecific instrumentation A search forldquovoice fluterdquo turned up a list thatincluded Moon Dances Three AmericanSketches by composer Walter Mays(intended for solo alto recorder butalso playable on tenor or voice flute)Searching the name of English com-poser Edmund Rubbra produced a listof eight works that employ recordersincluding the intriguing CantataPastorale opus 92 for high voice altorecorder rsquocello and harpsichord
Searching ldquofemale composersrdquo fora piece using ldquoBaroque altordquo yieldedAfter Meditation by Ros Bandt ofAustralia
What an easy and tremendouslyvaluable way to find new music
On the Cutting Edge___________________________________Birthdays composers and
recorder music catalogs
Elliot Carter
(photo by Meredith Heuer)
Question How does Renaissancefingering differ from standard
fingering on the recorder Is one superior tothe other Do you need a special recorder touse Renaissance fingering and if so can itbe played with regular recorders Is there afingering chart that shows RenaissancefingeringmdashWilliam BaumannWaterford WI
Answer from Carolyn Peskin Music composed in the
Renaissance the historical periodextending from about 1450 to 1600was predominantly vocal and highlycontrapuntal Recorders which oftendoubled singers at the octave orrendered vocal pieces instrumentallywere designed to make the individualmelodic lines clearly audible
Most 16th-century consortrecorders were one-piece instrumentswith large toneholes and a wide borethat contracted slightly starting nearthe upper fingerholes and thenexpanded gently near the lowest holesThat ldquochoke-borerdquo design togetherwith the voicing and tonehole con-figuration favored the fundamentaltone (first harmonic) producing astrong open sound that was aboutequally loud throughout theinstrumentrsquos range
Such recorders had a useful rangeof only about an octave plus a sixthwhich was nevertheless sufficient for the music of their day MostRenaissance-style consort recordersmade today are based loosely uponsurviving 16th-century instruments ofthe above type and are designed toapproximate the range timbre andvolume of those early instruments
Our present-day ldquoregularrdquorecorders are Baroque-derived instru-ments based loosely upon survivingrecorders from the late 17th and early18th centuries They are three-pieceinstruments with small toneholes and abore that is narrower and moretapering than a Renaissance boreextending their useful range upward totwo octaves plus a whole tone
Baroque recorders are soft andsweet-sounding in their bottom octavebut louder and brighter in the secondoctave Their lowest notes are espe-cially weak because they must be blowngently to prevent overblowing into thesecond octave Such instruments aresuitable for Baroque solo and chamberrepertoire but not very satisfying forRenaissance polyphony
Due to their different timbre andvolume Renaissance recorders will not blend well with Baroque onesFurthermore the most historicallyauthentic Renaissance-style recordersare tuned in a ldquomeantonerdquotemperament that facilitates the playingof pure major thirds Such instrumentsmake Renaissance music easier to playin tune but will produce intonationproblems if played with Baroquerecorders which are tuned in equaltemperament For the above reasonsRenaissance and Baroque recordersshould not be played together
Renaissance fingering will not work on todayrsquos neo-Baroquerecordersmdashmost of which haveldquomodernrdquo Baroque fingeringcommonly called ldquoEnglishrdquo fingering
because it was developed fromhistorical Baroque fingering by ArnoldDolmetsch in England during theearly 20th century Renaissancefingering is less standardized partlybecause a number of different originalinstruments are used as models andpartly because makers wish to improvethe intonation tone quality andorplayability of certain notes Howeverthe following generalizations apply tomany of todayrsquos Renaissance-styleconsort recorders
First in the lower octave modernBaroque fingering works for mostnotes but is often too flat for the fourth scale degree (eg soprano F)requiring removal of finger 7 (right-hand pinky) and is too sharp for theraised fourth degree (eg soprano F)requiring addition of finger 7
Modern fingering is also usuallytoo sharp for the lowered seventhdegree (eg soprano B) The correctfingering for that note varies from oneinstrument to another
In the upper octave modernfingering works for the first third andfifth scale degrees (eg soprano C Eand G) but usually not for other notesSome notes require half-holing with aright-hand finger and notes above thefifth scale degree may require additionof several fingers to bring them in tuneHistorical Renaissance fingering forthe second scale degree (eg sopranoD) is especially awkward because all ofthe fingerholes and the thumbholemust be uncovered Therefore somemakers substitute modern fingering forthat note
Although Renaissance fingeringand meantone tuning are recom-mended for the best blend some
Q amp A___________________________________ Renaissance recorder fingering
Send questions to Carolyn Peskin QampA Editor 3559 Strathavon Road Shaker Heights OH44120 carolynpeskinstratosnet
32 March 2009 American Recorder
wwwAmericanRecorderorg March 2009 33
makers of handcrafted Renaissance recorders will provide modern fingeringandor equal temperament upon request and Moeck Verlag offers a choice ofRenaissance or modern fingering for most sizes of its factory-producedRenaissance Consort series
For a most satisfying blend Renaissance ensembles should purchase amatched set of recorders tuned and voiced to be played together Renaissanceconsort sets usually include two different alto recorders one in G (lowest note g)and one in F (lowest note f ) The ATTB combination with the G-alto is best formost of the quartet music composed between 1450 and 1550 while the SATBcombination with the F-alto is more practical for much late 16th-centuryrepertoire (Playing the G-alto requires learning G-alto fingering or elsetransposing the alto line down a whole tone and using F-alto fingering)
In addition to consort recorders some makers offer ldquoGanassirdquo sopranos andaltos based upon fingering charts in Silvestro Ganassirsquos recorder tutor Fontegarapublished in 1535 and a single original instrument in the Vienna Kunst-historisches Museum Because of their special bore design (cylindrical with aflaring bell) Ganassi recorders have a range of two octaves and a sixth withcumbersome fingerings in the third octave They are used mainly as soloinstruments for playing intricate ornaments of the type found in Fontegara
Also sometimes included in the ldquoRenaissancerdquo category are ldquotransitionalrdquo(early Baroque) recorders which are based upon originals from the first half ofthe 17th century They have a bore that is wider than a Baroque bore but contractssharply near the lower end resulting in strong low notes and at least a full two-octave range usually with modern fingering Most transitional recorders aresopranos or altos designed for playing Jacob van Eyckrsquos variation sets or thehighly ornamented Italian solo repertoire of the late-16th and early-17thcenturies
However wide-bore consortrecorders with a range of at least twooctaves and modern fingering shouldalso be regarded as transitionalinstruments They differ somewhat intimbre and volume from typicalRenaissance consort recorders
Handmade wide-borerecordersmdashconsort Ganassi andtransitionalmdashare obtainable frommakers who advertise in AmericanRecorder the Prescott Workshop andthe Von Huene Workshop in the USJean-Luc Boudreau in Canada andStephan Blezinger in GermanyContact them andor visit their websites to find out what kinds ofrecorders they are currently makingand to get an idea of their prices andwait times
Factory-produced wide-borerecorders from Kobliczek Moeck andMollenhauer are available frominstrument dealers who advertise inAR New and used recordersincluding wide-bore models fromimportant makers in the US andabroad are also obtainable from Uni-corn Music For further informationvisit wwwbuyrecorderscom For a comprehensive database of recordermakers worldwide see Nicholas SLanderrsquos ldquoExtant Recorder Makers amp Retailersrdquo at wwwrecorder
homepagenetmakershtml
REFERENCES
CONSULTEDBauer Winfried
wwwrecorder-fingeringscomIncludes interactive fingeringcharts from modern makers andhistorical treatises Charts forRenaissance consort recorders byAdriana Breukink Adrian BrownBob Marvin and Tom Prescottwere consulted
Brown Adrianwwwadrianbrownorgrec
order_typesconsorthtml
Our present-day ldquoregularrdquo recorders are
Baroque-derived instruments based loosely
upon surviving recorders from the
late 17th and early 18th centuries
34 March 2009 American Recorder
The Von Huene Workshop Incis pleased to announce agreements with
CoolsmaZamra
to serve as their authorised service agents in the US
For more than 40 years the von Huene Workshop has produced some of the finest recorders in the world Our skilled staff can revoice retune and repair even the most seriously damaged instruments All repairs are done right on the premises and most can be completed within a week
For warranty repairs please include a copy of your original sales receipt
j 65 Boylston Street Brookline MA 02445 i(617) 277-8690 Fax (617) 277-7217 servicevonhuenecom
An informative article aboutrecorder sizes in Renaissanceconsorts
Brown Adrian and David LasockildquoRenaissance Recorders andTheir Makersrdquo AmericanRecorder Vol XLVII No 1(January 2006) pp 19-31 An important article based upon Brownrsquos extensive researchon 120 of the 200 surviving 16th-century recorders
Ganassi Silvestro Opera IntitulataFontegara Ed Hildemarie Peter(Berlin-Lichterfelde RobertLienau 1959) Modern edition ofthe oldest known treatise devotedentirely to the recorder (publishedin 1535) Includes 16th-centuryfingering charts
Griscom Richard and David LasockiThe Recorder A Research andInformation Guide (New York andLondon Routledge 2003) Anannotated bibliography including
references on construction anddesign of historical recorders
Levin Philip ldquoQampArdquo AmericanRecorder Vol XXXVIII No 4(September 1997) p 27Explains in simple terms thedifference between Renaissanceand Baroque recorders
Morgan Fred ldquoA Recorder for theMusic of JJ van EyckrdquoAmerican Recorder Vol XXV No 2 (May 1984) pp 47-49Describes the bore design of arecorder suitable for playing Van Eyckrsquos variation sets andcompares it with bore designs ofother types of recorders
Myers Herbert W ldquoRecorderrdquochapter in A Performerrsquos Guide toRenaissance Music ed JefferyKite-Powell (New York SchirmerBooks 1994) A 2nd edition isnow available published in 2007by Indiana University Press
FEATURING MUSICA PACIFICA
JUDITH LINSENBERG
RECORDERS____JS BACH TRIO SONATAS Arr by
Linsenberg from Trio Sonatas for Organ BWV525-
530 Sonata No 1 in E
major (transp to B
)
BWV 525 Sonata No 2 in C minor (transp to E)
BWV526 Sonata No 3 in D minor (transp to G)
BWV 527 Sonata No 4 in E minor BWV 528
Sonata No 5 in C major (transp to F) BWV529
Sonata No 6 in G major (transp to C) BWV 530
Virgin Classics Veritas 1993
____FIRE BENEATH MY FINGERS Showcases
three legendary composers who were also
virtuoso performers Vivaldi Concerto in F major
after RV 98570 ldquoLa Tempesta di Marerdquo Sonata in
A minor RV86 Concerto in G minor RV106 Con-
certo in Bb major RV503 Sammartini Concerto in
F major Tartini Concerto in A major D91 Dorian
____MANCINI CONCERTI DI CAMERA Seven
sonatas by Francesco Mancini plus one work each
from his contemporaries Francesco Durante amp
Domenico Scarlatti Highly recommended citation
from the 2000 Vivaldi Prize for Recordings of Italian
Early Music--Giorgio Cini Foundation Dorian
____MARAIS MARIN PIEgraveCES EN TRIO POUR
LES FLUcircTES VIOLON amp DESSUS DE VIOLE
Maraiss complete works for two treble lines and
bass with varied instrumentation and orchestrations
2-CD set $24
____SCARLATTI CONCERTI DI CAMERA
Seven sonatas for various instrumentations no
poor relations to the composers much more widely-
known vocal output All recorder players should
certainly have thisndashEarly Music Review
____TELEMANN CHAMBER CANTATAS
Five cantatas from Harmonischer Gottesdienst two
sonatas from Sonatas Corellisantes 2003 Chamber
Music America WQXR Record Award for best
chamber music recordings
____VIVALDI LA NOTTE Concerti per strumenti
diversi Award-winning CD featuring five Vivaldi
concerti two sonatas
AND OTHER RECORDING
ARTISTS FROM CALIFORNIA ____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 American Bach Soloists Jeffrey
Thomas conductor Dan Laurin Hanneke van
Proosdij recorders Christmas Concerto featuring
unique 1725 London version with solos transcription
for two recorders instead of two solo violins in
three of the six concertos Delos
____CANCcedilONIEgraveR Annette Bauer recorder
multi-instrumentalist Tim Rayborn Shira Kammen
strings Phoebe Jevtovic voice in a new early
music group devoted to repertoire from the
12thndash15th centuries as well as traditional music
from related regions (the Balkans Scandinavia
Middle East) Medieval instrumental music played
on a variety of instruments including strings
recorders and percussion Medieval dances and
motets bring to life the rich world of ancient
European music-making
____SACRED AND SECULAR MUSIC FROM
RENAISSANCE GERMANY Ciaramella-Adam amp
Rotem Gilbert Doug Millikan Debra Nagy
recorders with other winds shawm sackbut amp
organ Medieval amp Renaissance sacred music with
reconstructions of folksongs amp arrangements based
on contemporary improvisation
____BURIED TREASURE TOPAZ amp SAPPHIRE
Ensemble Vermillian Frances Blaker recorders
Barbara Blaker Krumdieck cello Elisabeth Reed
gamba Katherine Heater harpsichord amp organ
Transcriptions of Buxtehudes Op 1 other pieces by
Buxtehude works by Biber Johann Schop
Schmelzer Fafarela 2007
____STOLEN JEWELS Ensemble Vermillian
Frances Blaker recorders Barbara Blaker
Krumdieck Elisabeth Reed Katherine Heater 17th-
century German music adapted by Blaker I love
violin music so I steal the music and rearrange it
for my own instrumentrdquo Buxtehude Op 1 Biber
Rosenmuller Krieger JM Bach Fafarela
Recordings
____SENFL (LUDWIG) Farallon Recorder Quartet
(Letitia Berlin Frances Blaker Louise Carslake
Hanneke van Proosdij) 23 lieder motets and
instrumental works of the German Renaissance
____DOLCE MUSICAndash A CONTEMPLATIVE
JOURNEY Eileen Hadidianflutes recorders
Natalie Cox harps Celtic Renaissance and
Medieval melodies for recorder and flute with
Celtic harp Healing Muses 2005
____REFLECTIONS MUSIC TO SOOTHE AND
UPLIFT THE SPIRIT Eileen Hadidian recorder amp
Baroque flute with Celtic harp and cello Celtic
traditional Renaissance amp Medieval melodies
Healing Muses
____AN EVENING WITH BACH Voices of Music
Hanneke van Proosdij Louis Carslake Dan Laurin
recorders Joanna Blendulf Elizabeth Blumenstock
Rodney Gehrke Lisa Grodin Katherine Kyme
Jennifer Lane Victoria Gunn Pich Susanne Ryden
William Skeen David Tayler Renaissance and
Baroque music centers on fine singing Instantly
recognizable Air on a G String Bachrsquos Prelude in
G Major (solo theorbo for rsquocello) plus lilting vocal
performancesmdashRydenrsquos weightless soprano on
Bist du bei mir Lanersquos rich alto on Es is vollbracht
____BACH amp TELEMANN SONATAS PRELUDES
amp FANTASIAS Voices of Music (Hanneke van
Proosdij Joanna Blendulf Rodney Gehrke William
Skeen David Tayler) Beautiful chamber music by
Bach and Telemann
IN STOCK (Partial listing)____ALLA TURCA FUX CALDARA BADIA
Matthias Maute amp Sophie Lariviegravere recorders
Monika Mauch soprano Vocal music of the church
accompanied by Ensemble Caprice plus sonatas
and other instrumental pieces Analekta
____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 John Daniels Sonja Lindblad
recorders Peter Sykes harpsichord Trio sonata
arrangement by Johann Christian Schickhardt
____LES
AMIS DU
BAROQUE
Paul Nauta recorder amp
Baroque flute Koen Dieltiens recorder Music by
Bassani Corelli Vivaldi etc Highlight Intl
____LES SEPT SAUTS BAROQUE CHAMBER
MUSIC AT THE STUTTGART COURT Matthias
Maute amp Sophie Lariviegravere recorders amp traverso
Ensemble Caprice Charming repertoire by
Schwartzkopff Bodino Detri Atma Classique
____TASTE OF PORTIQUE LEnsemble Portique
Early and contemporary chamber musicmdash
Bach Telemann Boismortier and others
____TELEMANN ALLA POLACCA REBELndash
Matthias Maute recorders amp traversondash
plays concerti and suites by GP Telemann Dorian
____TELEMANN CANONS AND DUOS Lisette
Kielson amp Patrick OMalley recorders LEnsemble
Portique Telemann Canons meacutelodieux amp Sonates
sans basse 2-CD set LEP Records
____20TH CENTURY MUSIC FOR RECORDER amp
PIANO Anita Randolfi recorders Music by Jacob
Bartok Leigh others for recorder amp piano
____VIVALDI AND THE BAROQUE GYPSIES
Matthias Maute amp Sophie Lariviegravere recorders
Ensemble Caprice Gypsy music taken from
Uhrovska zbierka (now Slovakia) plus Vivaldi
____VIVALDI SHADES OF RED CONCERTOS amp
SONATAS FOR RECORDER amp STRINGS Matthias
Maute recorders REBEL Stylish high octane
readings of some of Vivaldis most beloved pieces
including the popular and raucous Concerto alla
Rustica stunningly colorful Sonata on La Follia and
four exuberant recorder concerti Bridge
____WINDFIRE Charmaine Delmatier recorder
Steve Kostelnik classical guitar Terry Hale bass
Erik Hokkanen violin Refreshing mixture of Andrew
Lloyd Weber American blues flamenco Celtic and
one original piece ltwwwyermomusicomgt
Please indicate above the CDs you wish toorder and print clearly the following
Name ____________________________________
Daytime phone (_____)______________________
Address__________________________________
CityStateZip _____________________________
Check enclosed for
_____ single CDs x $____ = $______
_____ 2-CD sets x $____ = $______
TOTAL $______
Please charge the above amount to my
MasterCard Visa or AmEx
_______________________________________
Exp Date ____________
Cardholderrsquos signature ______________________
Mail to
ARS 1129 Ruth Dr St Louis MO 63122-1019 US
You may fax a credit card order to 314-966-4649
NEW You may order CDs online using PayPal at
wwwamericanrecorderorgordercdromshtm
Order your recorder discs
through the ARS CD Club
The ARS CD Club makes hard-to-find or limited release CDs by ARS members
available to ARS members at the special price listed (non-members slightly higher)
All CDs are $15 ARS members$17 Others unless marked otherwise Two-CD sets are
$24 ARS members$28 Others Add Shipping and Handling $2 for one CD $1 for each
additional CD An updated listing of all available CDs may be found at the ARS
web site ltwwwamericanrecorderorggt
The first meeting of the newly-formedFort Myers Recorder and Early
Music Ensemble was January 26 atthe Florida home of chapter rep Sue
Groskreutz For this year the groupis somewhat loosely organized andplans to meet for extended sight-reading Repertoire at the first meetingcomprised everything from Renais-sance duets to chamber music involv-ing three treble parts and continuo
Among the five musiciansattending the first meeting (photobelow front row Elizabeth Spang SueGroskreutz back row Suzanne FergusonSibylle Baumgartner Arlene Sowka) allplayed recorder three harpsichord
and one each played traverso violinand gamba Due to the scarcity ofrecorder players south of the Sarasotaarea modern string players are alsoincorporated into this ensemble
The group decided not to chargedues and to meet at Groskreutzrsquoshome For more information pleasecontact Groskreutz at 239-267-1752spgembarqmailcom Snowbirdsdrifting through the area are welcome
Last fall at the requestof a student Kay Hettich
(inset below right) taught abeginning recorder class atthe Redding (CA) Senior
Center The five-weekclass was so successful thatmost participants haveformed a bi-weekly noviceensemble (right) coachedby Hettichmdashwho consid-ers them her ldquohatchedeggsrdquo
A new batch of ldquoeggsrdquostarted to incubate when afive-week class began on February 20Other senior center members havebecome interested as they heard oftheir colleaguesrsquo success These noviceplayers comprise some who previouslyread music and played instruments as well as people who are totally new to music notation
One student has also formulated amaxim ldquoEveryone at age 40 ought tolearn to play the recorder if heshehasnrsquot alreadyrdquo Just think how theworld would be transformed byshifting our focus to music
After Lynn Whidden attendedthe Montreacuteal Recorder Festival lastfall when the ARS Board met inQuebec she joined the ARS and nowrelays news of the lively interest in therecorder exhibited by a group underthe new leadership of Brent Legg ofBrandon University in ManitobaCanada Although his hands wereldquostill partly frozenrdquo he wrote that theBrandon University Collegium
Musicum in collaboration with theWaverley Park Recorder Club is
preparing a spring concert calledldquoEnglandrsquos Golden AgerdquoRepertoire spans the 16th century
from Henry VIIIrsquos accession in 1509to the death in 1603 of Elizabeth Iand includes solo songs four- andfive-part settings of Renaissancedances (with dancers) three- to five-voice madrigals and ldquobig-bandrdquoarrangements of William Byrdrsquos TheBells and The Dargason as re-imaginedby Gustav Holst (further re-imaginedfor recorders and percussion)
Of the 15 collegium membersseven are encountering the recorderfor the first time since elementaryschool The Collegium Musicumpromotes the study of early music at the university and is open to theuniversity community and the generalpublic This year there are five com-munity participants with interest fromseveral more both within and outsideof the university For informationcontact BrentLegggmailcom
January 16 marked the thirdannual recorder workshop of threeFlorida groups the Pasco Collegium
Recorder Consort of Hudson theImperial Recorder Consort of
36 March 2009 American Recorder
Chapters
amp Consorts___________________________________Workshops and activities from
coast to coast in the US and Canada
Lakeland and the Pilgrim Pipers Recorder Consort of St Petersburg Theygathered for a morning tackling selections by Banchieri Monteverdi PurcellCorelli Mendelssohn Bach Mozart and Glen Shannon Each group presenteda piece for the other participants Sweet Georgia Brown by Ben Bernie (St Pete)a Sonata by Sammartini (Lakeland) and The Gospel Train arr by KW Ford(Pasco) The 29 participants were led by Marlene Cracraft (Pasco) Jane
Spencer (Lakeland) and Elizabeth Snedeker (St Pete) Tom Bickley (photo below) directed the fall workshop of the Mid-Peninsula
Recorder Orchestra in Cupertino CA The 30 players started with Gregorianchants written in ldquooldrdquo notation Bickley gave basic instruction on how tointerpret the notes and then had the group sing the chants prior to playing them
The workshop theme of ldquoThe Articulate Recorderrdquo was literally played out as the music presented used variations in tonguing phrasing and breathingOther repertoire included a Kyrie by Tomas Luis de Victoria Bachrsquos Jesu Joy ofManrsquos Desiring a double-choir piece by Gabrieli Christopher Tyersquos In NomineXIII and a Purcell chaconne The workshop ended with a rhythmically-challenging minimalist piece by Bickley entitled Beginning composed for theWaldorf School teacher training program George Greenwood reports that thegroup had a productive event and plans to ask Bickley to lead a future workshop
wwwAmericanRecorderorg March 2009 37
A Muse in the DesertThe sound of a pin dropping hellip thesound of eager minds and fingersabsorbing information and inspira-tion hellip the sounds of ldquoNuevaEspantildeardquo Spanish- and indigenous-influenced music of the 1600s in theNew World These were the soundsof the Desert Pipes (Phoenix AZ)chapterrsquos fall workshop given byEileen Hadidian On a Saturdaylast October 30 players from all overArizona gathered to learn from andbe inspired by the founder of a SanFrancisco Bay Area group dedicatedto sharing music for healing inhealthcare settings Healing Muses(wwwhealingmusesorg)
The day began with relaxationstretching and breathing exercisesfollowed by travels to Peruacute MexicoGuatemala and Colombiamdashhighchurch music vernacular pieces anda mixture of the two Participantsenjoyed the historical and contextualbackground provided as an overviewfor the day and for each piece
Remarkably the sound heardbetween pieces and passages was anenergy-filled quiet the attentivestillness of active engagement in theworkshop experiencemdashnot the chat-tering noodling and conversationsthat often occur when the musicstops That activity was reserved forthe breaks when participants couldenjoy the cool (at last) outdoorschat with Hadidian and peruse the popular garage sale (to benefitDesert Pipes) of previously-enjoyedbooks and other treasures
On Sunday Hadidian sharedher expertise and inspiration in indi-vidual and group coaching sessionsThe weekend was a special experi-ence and Desert Pipes memberslook forward to the next visit of this Healing Muse
Ann Koenig Scottsdale AZannisalesprocom
Members
of three
Florida
groups
met
in January
for a joint
workshop
CHAPTER NEWS
Chapter newsletter editors and publicity officers should send materials for publication toAmerican Recorder 7770 South High St Centennial CO 80122-3122
editoramericanrecorderorg Also send short articles about specific activities that haveincreased chapter membership or recognition or just the enjoyment your members get out of
being part of your chapter Digital photos should be at least 3rdquox4rdquox300dpi TIF or unedited JPG files Please send news to the AR address above and to the following
ARS Office 1129 Ruth Drive St Louis MO 63122-1019 ARSrecorderAmericanRecorderorg
and to Bonnie Kelly Chair Chapters amp Consorts Committee 45 Shawsheen Rd 16 Bedford MA 01730 bksharpaolcom
TO THE STARS
AND BEYONDThe cover of the November magazinegenerated a few comments Some werenrsquotsure how to interpret the title (in theartistrsquos native German it could besomething close to ldquostarlit moonrdquo)Longtime member Carolyn Peskin wrote to offer her vision of that cover
In the beginning the Great Spiritinvented Mr Sun to light the day andMiss Moon to light the nightHowever as Miss Moon floated up inthe sky all by herself like a big yellowballoon she began to feel very lonelyso one night to relieve her lonelinessshe decided to take out her recorderand make music
But when she started to playsomething miraculous happened Not only beautiful melodies but alsoyellow dust poured out of the bottomof her recorder and the dust particlesimmediately coalesced to form yellowstars As she continued playing moreand more stars were created and theyfloated up around her filling the nightsky
At last Miss Moon was happy fornot only was she herself able to enjoyher music but she now had a wholecrowd of starry companions to enjoy itwith her And if you listen very care-fully on a quiet night you might beable to hear her recorder and thatstarry choir humming along
Carolyn Peskin
LOCATING EARPLUGSI read with interest the QampA in theNovember lsquo08 AR regarding hearingloss and use of earplugs Where do you get musicianrsquos earplugs
Dolly Hirata Kensington CA
CAROLYN PESKIN PROVIDED THIS
INFORMATION Musicianrsquos earplugs arecustom made for individual usersThey can be purchased only fromlicensed hearing professionals (ieaudiologists and hearing instrumentspecialists) To find a licensed hearingprofessional in your area look underldquoaudiologyrdquo or ldquohearingrdquo in your localyellow pages
For information about how musi-cianrsquos earplugs are produced visitwwwetymoticcomephperme-w
tbaspx That web page also has a linkto contact information for authorizedlabs that make the custom earmolds formusicianrsquos earplugs If the yellow pagesdo not prove helpful those labs canrefer you to a licensed hearing pro-fessional in your area from whom youcan purchase musicianrsquos earplugs
MORE FROM CAROLYN
THIS TIME ABOUT OSKARIn the September 2008 AR the musicreview by Leslie Timmons of the Oskarpieces by Matthias Maute mentionedthat Carolyn Peskin had translated twoof the Oskar books from German toEnglish People can obtain thetranslations free of charge as Wordattachments by contacting her atCarolyn Peskin 3559 StrathavonRoad Shaker Heights OH 44120carolynpeskinstratosnet
ANOTHER KIND OF
MUSIC-READING
GLASSESIn the January 2009 issue of AmericanRecorder therersquos something (in myopinion) the ldquoRecorder with GlassesObbligatordquo article omitted which canenable a nearsighted musician to avoidneck strain in the use of bifocals
Irsquove found the solution to thisvexing problem is to have onersquos bifocalsconstructed differently [from] normalMy optometrist was willing to work
38 March 2009 American Recorder
Response___________________________________Two kinds of vision
the better to see with and (not) to hear with
Honeysuckle Music
Recorders amp accessories
Music for recorders amp viols
Jean Allison Olson1604 Portland AveSt Paul MN 55104
6516448545jeanhoneysucklemusiccom
Responses from our readers are welcomedand may be sent to American Recorder 7770 South High St Centennial CO
80122 Letters may be edited for length and consistency
ARS Membership Enrollment and Renewal I am a new member I am or have been a member
USCanadian Memberships Foreign Memberships $45 One Year $55 Foreign One Year $75 Sustaining (Receive a Hottetere Hands Pin) $100 Two Years $80 Two Years
LIFETIME MEMBERSHIP Single Dual Regular Lifetime Member $1000 (2) $1500 (4) 4 installments of $250 available) Loyalty Lifetime Member (1) $ 800 (3) $1200 (4) 4 installments of $200 available
(1) For members who have maintained membership for five consecutive years (2) $750 is Tax Deductible (3) $600 is Tax Deductible (4) Installments available Student Memberships Other Memberships (Enclose proof of full time enrollment) $65 One Year Workshop Membership
$25 USCanadian One Year $125 One Year Business Membership $45 USCanadian Two Years $30 Foreign One Year $5 Additional Charge for Dual Address or Dual Name
Do not list my name in the ARS Print Directory Do not list my name on the ARS Online Directory Do not release my name for recorder related mailings Do not contact me via email
My address telephone and email address are the same as last time
______________________________________ _________________________ Name Phone Number ______________________________________ _________________________ AddressCityStatePostal Code Email Address Please charge to (Circle one) VISAMasterCardAMEXDiscover CC________________________________ Expiration Date ______________ Signature of cardholder_______________________________________________________ Clearly Print Name as it appears on Card________________________________________
Renew by Mail Online By Phone or by Fax
Demographic Information (optional information collected only to enhance ARS services and provide statistics to grant makers)
I am a member of ARS Chapter or Consort____________________________ I am the Chapter Contact Your age Under 21 (21-30) (31-40) (41-50) (51-60) 61-70) (71+) Please check all that apply
I am a Professional Recorder Performer
I wish to be included in the list of Recorder Teachers in the ARS Directory and website I Teach (circle your choices) Children High School Youth College Students Adults Beginner Intermediate Advanced Pre-Professional Individuals Childrenrsquos Classes Adult Classes Ensembles Suzuki Orff JRS Leader Kodaly Where I Teach (circle your choices) Music Studio Public or private school Community Music School College Other _____________________
American Recorder Society 1129 Ruth Dr St Louis MO 63122-1019
Phone 314-966-4082Fax 314-966-4649
TollFree 800-491-9588ARSRecorderAmericanRecorderorg
wwwAmericanRecorderorg
with me [to find] an ideal (for me)placement size and focal length of thebifocal lens
Before visiting the optometristIrsquod had my wife measure the distancefrom my eyes to the music on mymusic stand With this measurementthe optometrist set up her machine toprepare a vision prescription for memaximized for this reading distance
When I look at my bifocals (withthem off) the lenses (through which Iread my music) occupy most of thelower two-thirds of my glasses (they are set very high and beginimmediately at the inner rims) Thisleaves the upper third and smallportions of the outside [of each lens]for focusing on the conductor As longas my stand is set low enough my necknever experiences any strain (even if Ihave to read three to a part) and Irsquove no problem in seeing theconductor (in sharp focus) either
For me trying to use glasses [toread] from a music stand [that] weredesigned for use in reading from acomputer screen also results in neckstrain (not to mention unreliability in aldquopressurerdquo situation) Having studiedTai Chi extensively and so being
wwwAmericanRecorderorg March 2009 39
There are lots ofsolutions to thepresbyopic musicianrsquosproblem but all involve compromises
40 March 2009 American Recorder
American Recorder Society PublicationsErich Katz Contemporary Music Series Members Non-MembersA Short Tale for Two Basses Suzanne M Angevine (Level II) (2 scores) $5 $8Dialogue and Dance Cecil Effinger (SATB)(Level II-III) (score amp parts) $10 $18Dorian Mood Sally Price (SATB) (Level II) (score amp parts) $10 $18Double Quartet for Recorders Peter Ballinger (Level II-III) (score amp parts) $10 $18Entrevista Frederic Palmer (SATB) (Level II) (2 scores amp 4 recorder parts) $8 $14Kyrie and Vocalise for Soprano Voice ampRecorders Stanley W Osborn $8 $14
(SATB) (Level II) (2 scores amp 4 recorder parts) Picnic Music Jeffrey Quick (SATB) (Level II) (score amp parts) $5 $8Six Short Pieces for Three Recorders edited by Alan Drake $8 $14
(3 scores) Vaclav Nelhybel (AATT) (Level II)Sonatina for Alto Recorder and Piano Anthony Burgess $7 $12
(Level II) (2 scores)Sonatine for Three Altos Lee Gannon (Level III) (score amp parts) $14 $26Suite of Jewish Folk Tunes Erich Katz (S SA8 AT) (Level II) (three scores) $10 $18
Musical Editions from the Membersrsquo Library ARS members 1 copy-$3 2 copies-$450 3-$6 4-$750 5-$10 6-$1150Non-members (editions over 2 years old) 1 copy-$5 2 copies-$850 3-$12 4-$15 5-$1950 6-$23The ARS is happy to provide photocopied enlargements of any Membersrsquo Library edition at the same prices Please specify ldquoMembersrsquo Library Enlargementrdquo
ARS Information BookletsARS members 1 booklet-$13 2 booklets-$23 3-$28 4-$35 5-$41 6-$47 7-$52Non-members 1 booklet-$18 2 booklets-$33 3-$44 4$55 5-$66 6-$76 7-$86
Education PublicationsThe ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996)
First copy free to ARS Members (mailed to new members as they join) replacement copies $3Guidebook to the ARS Personal Study Program (1996) Material formerly published in the Study Guide
and Study Guide Handbook plus additional resources Members $11 non-members $20ARS Music Lists (2002 with 2003 Supplement) Graded list of solos ensembles and method books
Members $9 non-members $15Package Deal available only to ARS members Guidebook and Music ListsSupplement ordered together $16Junior Recorder Society Leaderrsquos Resource Notebook
ARS members $20 non-members $40 (updates at reduced rates after initial purchase)$5 Dues for each JRS student member sponsored by an ARS member ($4 each for groups of 10+)
VideosRecorder Power Educational video from the ARS and recorder virtuoso John Tyson
An exciting resource about teaching recorder to young students ARS members may borrow a copy for onemonth by sending $5 to the ARS office along with the address to which the tape should be shipped
Pete Rose Video Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music Festival recitalFeatures Rose performing a variety of music and an interview of him by ARS member professional John Tyson
Other PublicationsChapter Handbook A resource on chapter operations for current chapter leaders or those considering forming an
ARS chapter ARS members $10 non-members $20 (updates free after initial purchase) One free copy sent toeach ARS chapter with 10 members or more
Consort Handbook Resource on consort topics such as group interaction rehearsing repertoire performingARS member prices CD $10 hard copy $20 combo price of CD and hard copy ordered together $25
Discography of the Recorder Vol I (1989) Compiled by Scott Paterson and David LasockiDiscography of the Recorder Vol II (1990-1994) Compiled by Scott Paterson
Either single volume ARS members $23 non-members $28Both Discography volumes together ARS members only $40
American Recorder Cumulative Index for Vols I-XXXX ARS members $20 non-members $32Index Supplement Vol XXXIV-XXXX ARS members $8 non-members $14
Shipping amp Handling FeesUnder $10 - add $3 $10-1999 - add $4 $20-2999 - add $5 $30-3999 - add $6 $40-4999 - add $7 All prices are inUS dollars For Canadian or foreign postage pay by credit card and actual postage is charged
Please make checks payable to ARS VISAMCAMEXDisc also accepted
ARS 1129 Ruth Drive St Louis MO 63122 US800-491-9588 ARSrecorderAmericanRecorderorg
Arioso and Jazzy Rondo (AB) Carolyn PeskinBerceusendashFantaisie (SATB) Jean BoivertBrucknerrsquos Ave Maria (SSATTBB)
Jennifer W Lehmann arrCanon for 4 Basses (BBBB) David P RuhlDancers (AT) Richard EastmanDifferent Quips (AATB) Stephan ChandlerElegy for Recorder Quartet (SATB) Carolyn PeskinElizabethan Delights (SAATB)
Jennifer W Lehmann arrFallen Leaves Fugal Fantasy (SATB) Dominic BohbotFour Airs from ldquoThe Beggarrsquos Operardquo (SATB)
Kearney Smith arrGloria in Excelsis (TTTB) Robert CowperIdyll (ATB) Stan McDanielImitations (AA) Laurie G AlbertsIn Memory of Andrew (ATB) David GoldsteinLay Your Shadow on the Sundials (TBgB)
Terry Winter OwensLeClercqrsquos Air (SATB) Richard E WoodLittle Girl Skipping and Alouette et al (SATBCb)
Timothy R Walsh
Los Pastores (SAAAT + perc) Virginia N Ebinger arrNew Rounds on Old Rhymes (4 var) Erich KatzOther Quips (ATBB) Stephan ChandlerPoinciana Rag (SATB) Laurie G AlbertsSanta Barbara Suite (SSAAT) Erich KatzSentimental Songs (SATB) David Goldstein arrSerie for Two Alto Recorders (AA) Frederic Palmer Slow Dance with Doubles (2 x SATB) Colin SterneSonata da Chiesa (SATB) Ann McKinleyS-O-S (SATB) Anthony St PierreThree Bantam Ballads (TB) Ann McKinleyThree Cleveland Scenes (SAT) Carolyn PeskinThree in Five (AAB) Karl A StetsonTracings in the Snow in Central Park (SAT)
Robert W ButtsTrios for Recorders (var) George T BachmannTriptych (AATB) Peter A RamseyTwo Bach Trios (SAB) William Long arrTwo Brahms Lieder (SATB) Thomas E Van Dahm arrVariations on ldquoDrmešrdquo (SATB) Martha BishopVintage Burgundy (SASATT)
Jennifer W Lehmann arr
Adding Percussion to Medieval and Renaissance Music Peggy Monroe
American Recorder Music Constance PrimusBurgundian Court amp Its Music Judith Whaley coord
Improve Your Consort Skills Susan CarduelisMusic for Mixed Ensembles Jennifer W LehmannPlaying Music for the Dance Louise AustinRecorder Care Scott Paterson
acutely aware of any kind of neckstrain when it begins to develop these ideas have been a big help to meIrsquom hoping they may be of help toother musicians as well
Best wishes to you And inanswer to your questionmdashyes the new[AR] format (with more white spacebetween the lines) is much easier toread (in my opinion)Your magazinejust keeps getting better and better
Very sincerely Ed Green WestSuburban (Chicago-area) Chapter
RESPONSE FROM DR BILL LONG
What Ed describes is a variant of theuse of conventional bifocals as musicglasses described on page 8 in thearticle Instead of lowering his musicstand into the field of view of hisbifocal segment Ed and his optome-trist have fabricated special purposebifocals with the segment really highso he can focus on his music instraight-ahead view That approachrestricts his distance vision to an areaabove his usual line of sight whichseems to work for Eds playing setup
Eds comments on the difficultiesin using conventional progressiveaddition lenses as music lenses con-firm what I said on page 9 Thats whymanufacturers have marketed special-ty progressive lenses designed specif-ically for intermediate distance taskslike computer use and playing music
There are lots of solutions to thepresbyopic musicians problem but all involve compromises The key toevaluating those compromises andchoosing the best solution for yourselfis to understand your needs and toenlist the help of a sympathetic visioncare specialistmdashjust as Ed did
Please change your
browserrsquos favorites list
AR online is now at wwwameri
canrecorderorgmembership
magazinehtm Send news to
editoramericanrecorderorg
FOUR FOUR-PART CANZONAS
(1608) BY GIOVANNI GABRIELI
ED GREG LEWIN Hawthorns Music RB 16 (Magnamusic) 1999 SATBSc 16 pp pts 4 pp $1950
Giovanni Gabrieli was probablyborn between 1554 and 1557 in theparish of San Geremia in Venice Thedetails of his early life are sketchy butit appears that he was born Giovannidi Fais and later changed his name toGabrieli out of respect to his uncleAndrea with whom he shared a closerelationship In fact in 1587 Gabrielidescribed himself ldquoas little less than asonrdquo It is commonly thought thatAndrea provided Giovanni with hisearly musical training Andrea whohad spent some time in Munichstudying under the great Orlando deLassus sent Giovanni to Munich for a similar period of study in theearly 1570s
Gabrieli remained in Munichuntil the death in 1579 of the dukeAlbrecht V who had been Lassusrsquosemployer for a number of years andwho was an enthusiastic patron of the arts particularly music With hisdeath a number of musicians lost theirjobs it seems as if Gabrieli were also a victim of such culling of talent(Within a generation the tide wouldturn and the Munich court wouldagain hire Venetian expatriates such as Priuli Valentini and Neri)
Upon his return to VeniceGabrieli was hired as a temporaryorganist at San Marco his positionbecoming permanent in 1585 For a few months that year uncle andnephew served together as first and
second organists in the chapel of thedoge In Giovannirsquos absence fromVenice there had been a plague thathad decimated the ranks of theprofessional musicians Andrea setabout rebuilding his forces at SanMarco by hiring a full-time windband consisting of Girolamo dallaCasa a renowned cornettist andviolist his two brothers who playedsackbut and later the cornett virtuosoGiovanni Bassano Giovanni Gabrieliaugmented these forces with addi-tional players and began composingthe large-scale ceremonial music forwhich he is so well known today
Giovanni was also elected to bethe organist and composer to theconfraternity of San Rocco in 1585and it is now thought that his largestpieces were intended for that venuewith its large central gallery andfrescos by Tintoretto instead of SanMarco Gabrieli held both thosepositions at the basilica of San Marcoand the Scuola Grande di San Roccountil he died in 1612 of a kidney stone
Although best known today forhis ceremonial and festival musicGabrieli was at home in smaller-scaleformats as well These four four-partcanzoni are taken from the 1608publication by the Venetian publisherAlessandro Raverji Canzoni per sonarecon ogni sorte di strumenti These werevery popular pieces to judge by themany collections in which they appear
Additionally like Gabrielirsquoskeyboard music they are found inother arrangements These four-partcanzoni lie well under the fingers inarrangements for keyboard and lute
As seen from the title Gabrielispecified no instrumentation but like asimilar edition of madrigals and battlepieces from a few years earlier a dis-tinction was made that they wereintended for wind instruments almostcertainly cornetts and sackbuts
Recorders were not unknown in Venice they were used regularly inthe confraternity of San GiovanniEvangelista where Giovanni BattistaRiccio was organist
These pieces are relativelysimplemdashplayable by beginning tointermediate ensembles They aremostly contrapuntal (with a fewhomophonic sections) and have few rhythmic eccentricities
These canzoni are found in manymodern brass editions but there arefew editions available to the recorderplayer This edition by Greg Lewin ofHawthorns Music might be consid-ered a ldquobare-bonesrdquo edition There islittle background information andeditorial practices are not specified
The music itself has a handwrittenlook that can be distracting but is easyenough to read Lewin has thought-fully supplied phrasing marks that willbe helpful for ensembles unused tothis style of music
Music
Reviews___________________________________ Infectious music created in spite of the plague
wwwAmericanRecorderorg March 2009 41
This is a good edition
for small ensembles that
canrsquot get eight players
together to play
Gabrielirsquos more famous
eight-part canzoni
42 March 2009 American Recorder
The parts are four pages but mycopy had all four pages printed on avery large page This is not a problemand there are no page turns
This is a good edition for smallensembles that canrsquot get eight playerstogether to play Gabrielirsquos morefamous eight-part canzoni Thesesmall-scale pieces are by no meansinferior to Gabrielirsquos more elaboratemusic and deserve to be better known
7 CANZONEN (1637) BY
TARQUINIO MERULA ED JOACHIM
ARNDT WITH CONTINUO REALIZATION
BY CLAUDIA SCHWEITZER MieroprintMusikverlag EM2088 (availabledirectly from wwwmieroprintcom)2005 SS or TT bc Sc 24 pp pts 8 pp$28
Tarquinio Merula was bornaround 1595 in either Busseto orCremona in Italy As was the case withso many composers of the day either alack of regular employment or a rest-less nature took him from his home inCremona to as far away as Warsaw He is found as the organist of thechurch and the chambers to the kingof Poland Sigismund III in 1624
Merula was one of the leadingexponents of the relatively new con-certante style pioneered by ClaudioMonteverdi and others in the seconddecade of the 17th century and may be described as one of the earliestBaroque composers His compositionsin the concertante style are fresh andunforcedmdashhe was born into this styleand didnrsquot encounter it as somethingnew as was the case with so many ofMonteverdirsquos contemporaries
After several years of peripateticexistence Merula found regularemployment in 1631 in Bergamo atthe church of San Maria MaggioreThe prior holder of the post of maestrodi cappella Alessandro Grandi haddied the previous year in the plagueMerula had signed a three-year
contract but by December 1632 hewas terminated with accusations thathe had molested several studentsMerula threatened a lawsuit to recoverhis lost wages but that threat wascountered with a pending criminalcharge lodged by the board ofgovernors of San Maria Maggiore By mid-1633 the matter was settledwith an apology from Merula and astatement that he relinquished allclaims to his salary
He then returned voluntarily toCremona where he stayed until 1635By 1638 Merula was once again inBergamomdashthis time as maestro dicappella and organist in the cathedralnext to San Maria Maggiore Asmight be expected there was con-siderable tension between the twochurches eventually resulting in theboard of San Maria Maggioreforbidding their musicians to perform under Merularsquos direction
He returned in 1646 to a familiarCremona post which he had heldthree times in various years and wherehe now settled downmdashthat of organistand maestro di cappella for Laudi dellaMadonna services in which he ledmusic at the main altar on Saturdaysand on vigils of Marian feasts
None of his employment issues
prevented the Pope from awardinghim the Order of the Golden SpurMerula was also elected to theAccademia dei Filomusi in BolognaHe died in 1665 in Cremona
His existing compositions showthe products of a lively mind Hisworks range from sacred songs andmotets to purely instrumental piecesnotably the ever-popular variations onvarious ground basses It is knownthat Merula was an accomplishedviolinist as well as a fine organist Hissurviving instrumental writing showsa predilection for strings In fact hewas one of the earliest composers tospecify string accompaniments tosacred motets
Merularsquos pieces look backwardtoward some of the more progressiveVenetian composers such as Monte-verdi while looking forward to thehigh Baroque with his innovative style
These seven canzoni like theearlier-published chaconne (EM2084)come from Merularsquos third bookpublished in 1637 CANZONI overo SONATE CONCERTATE perchiesa e camera a due et a tre delcavaliere This collection typifiesMerularsquos output pieces based onRenaissance-era ground basses arefound next to more ldquomodernrdquo sonatas
The original edition specifiesviolins and basso continuo This newedition is intended for recorders thespecific choice of which is up to theplayers Due to the relatively hightessitura tenor recorders work best inthese pieces (although listed as analternative soprano recorders tend to be on the screechy side)
Not surprisingly given Merularsquosskill as an organist the continuo partneeds a keyboard instrument forsuccessful realization Instead of beinga purely accompanying part the bassocontinuo part is an equal partner in these pieces the canzona ldquoLaRuggierardquo opens with a run that therecorders echo a few measures later
A more recorder-specific
edition intended for
altos would have been
ideal There is nothing
preventing the more
adventurous and
industrious players
from making their
own editions of this
delightful music
mentioned were a bit shrill A morerecorder-specific edition intended foraltos would have been ideal There isnothing preventing the moreadventurous and industrious playersfrom making their own editions of thisdelightful music
Prior to playing the previouslypublished chaconne I had notencountered MieroprintMusikverlag Mieroprintrsquos extensivecatalog has an equal focus on newmusic for recorders and on editions ofBaroque masters with emphasis on therecorder and flute Due to the lack of
wwwAmericanRecorderorg March 2009 43
are also available at
The Early Music Shop
of New England
Brookline MA
AESTHEacute
367-b de la Briquade
Blainville Queacutebec
Canada J7C 2C7
tel (450) 979-6091
wwwboudreau-flutesca
A bass viola da gamba or rsquocello is not necessary for these pieces and may infact make them sound heavy and ponderous rather than light and breezy as thismusic seems to be
More so than the above-mentioned chaconne these canzoni are written in avery idiomatic violin style with multiple examples of arpeggios In particular thecanzona ldquoLa Trecchardquo contains a notated example of a string tremolo figurerecurring through the piece ldquoLa Trecchardquo also dips well below the range of a Crecorder going down to low G the lowest string on the violin The editors havesupplied no alternative notes preferring to let the performers to fend forthemselves (in practice we took this passage up an octave with no problems)
The two recorder parts require virtuosity These upper parts are demandingwith the players needing to double-tongue in unison in order to negotiate themany runs of 16th notes and the shared rhythmic ldquolicksrdquo The harmoniclanguage unlike much of Merularsquos music is undemanding and contains none of the harmonic crunches for which he is famous
This is wonderful music that needs a couple of advanced recorder players fora successful performance The string idiosyncrasies can be overcome by advancedplayers and many of the editions of the era (although not this one) list thecornetto as an alternative to the violin so the use of wind instruments in the solo literature of the early Baroque was not unknown
Our experience with this edition left us with the opinion that these pieceswould have been better if transposed down a minor third so as to fit on a pair ofalto recorders (as is the case with much Baroque flute music to make it lie betteron the recorder) The tenors we used tended to sound a bit murky in the lowerregister next to the more aggressive harpsichord while the sopranos we tried as
KEY rec=recorder Srsquoo=sopraninoS=soprano A=alto T=tenor B=bassgB=great bass cB= contra bass Tr=treble qrt=quartet pf=piano fwd=foreword opt=optional perc=percussionpp=pages sc=score pt(s)=part(s)kbd=keyboard bc=basso continuohc=harpsichord PampH=postage andhandling Multiple reviews by one reviewerare followed by that reviewerrsquos name Pleasesubmit music for review to AR 7770 SHigh St Centennial CO 80122-3122 US
an American distributor this musicwill be hard to findmdashin fact can befound only at the time of this writingon their web site noted above But theeffort will be repaid
This edition is clear and easy toread and the parts require no pageturns The basso continuo realizationis simple and elegant
This is music deserving ofrediscovery My only quibble is thatthe editorial notes are all in GermanThis seems to be the practice ofGerman music publishers with thenotable exception of Moeck Otherpublishers of early music such asLondon Pro Musica routinelyprovide notes in English and German and often in French and Italian making their editionsaccessible to a wider audience
Frank Cone studied the recorderwith the late Ellen Perrin the viola dagamba with Carol Herman and thecornetto with Larry Johansen TheCalifornia multi-instrumentalist has been a member of the Orange CountyRecorder Society since 1985
Advertiser Index
AMERICAN ORFF-SCHULWERK ASSN 3
AMERICAN RECORDER SOCIETY 31 35 36
AMHERST EARLY MUSIC FESTIVAL 17
STEPHAN BLEZINGER 24
JEAN-LUC BOUDREAU 21 39
BOSTON EARLY MUSIC FESTIVAL 7
CANTO ANTIGUO EARLY MUSIC WORKSHOP 13
COURTLY MUSIC UNLIMITED 20
EARLY MUSIC AMERICA 8
HONEYSUCKLE MUSIC 34
BILL LAZARrsquoS EARLY MUSIC 26
KEITH E LORAINE EARLY DOUBLE REED SERVICE 35
LOST IN TIME PRESS 11
MADISON EARLY MUSIC FESTIVAL 12
MAGNAMUSIC DISTRIBUTORS BC
MOECK VERLAG IFC
MOLLENHAUER RECORDERS IBC
PORT TOWNSEND WORKSHOP 14
PRESCOTT WORKSHOP 30
PROVINCETOWN BOOKSHOP 26
THE RECORDER MAGAZINE 4
THE RECORDER SHOP 6
SAN FRANCISCO EARLY MUSIC SOCIETY 18
SWEETHEART FLUTE CO 3
TEXAS TOOT 20
VON HUENE WORKSHOP INC 30
WICHITA BAND INSTRUMENT CO 21
DOMINIK ZUCHOWICZ 34
CONSIDER ADVERTISING IN
Full page $55223 page $43912 page $36613 page $28614 page $22316 page $17518 page $127112 page $ 951 column inch $ 58
Prices include web sitee-mail link directly from your ad in the online AR at wwwamericanrecorderorg
Circulation Includes the membership of theARS libraries and music organizations
Published five times per year January March May September November
Reservation Deadlines December 1 (January) February 1 (March) April 1 (May) August 1 (September) October 1 (November)
Rates good through November 2009 Pleaseinquire about discounts on multiple-issuecontracts inserts or other special requestsExtra charges for typesetting layout half-tones and size alterations 133-line screenrecommended Advertising subject toacceptance by magazine First-time adver-tisers must include payment with order
For more information contact the ARS office 1129 Ruth Drive St Louis MO63122-1019 800-491-9588 toll free 314-966-4082 phone 314-966-4649 faxadvertisingamericanrecorderorg
44 March 2009 American Recorder
Classified___________________________________
FOR SALE Cherrywood hurdy gurdy and hard-side case made by Kelischek bought 2005Originally $765 plus $89 for case Rarely usedBoth for $450 or make offer Please contact marjalocomcastnet Can ship
ASPIRE ANNOUNCE INSPIRE Afford-able PR for teachers and recitalists wwwrecitalroomcom
PHOTOS NEEDED of ARS events 1970sndash1990sto illustrate last chapters of Martha Bixlerrsquos histor-ical memoir about the ARS (to be posted online)E-mail scanned photos (300dpi JPG or TIF)arsrecorderamericanrecorderorg Hardcopies mail to ARS office to be scanned ampreturned Info 800-491-9588
T-SHIRT FOR ENSEMBLE PLAYERS to wear orshare Top 10 Reasons Why I Got Lost Wrongfingering bad lighting etc on blue cotton shirt$18 Highlighter tape and other goodies Beth amp Lindas Boutique as seen at BEMF CallLinda at 617-671-8694 or e-mail for brochurelindakushverizonnet
Where the havesand have-nots
of the recorder world can find each other
Classified rate for American Recorder 60centper word ten-word minimum ldquoFOR SALErdquoand ldquoWANTEDrdquo may be included in thecopy without counting Zip code is oneword phone e-mail or web page is twoPayment must accompany copy Deadlinesare one month before issue date Send copywith payment to ARS 1129 Ruth Drive St Louis MO 63122-1019
AMERICAN RECORDER (ISSN 0003-0724) 1129 Ruth Dr St Louis MO 63122-1019 is publishedbimonthly (January March May September and November) for its members by the AmericanRecorder Society Inc $20 of the annual $45 US membership dues in the ARS is for a subscriptionto American Recorder Articles reviews and letters to the editor reflect the viewpoint of their individ-ual authors Their appearance in this magazine does not imply official endorsement by the ARS
EDITORIAL DEADLINES November 15 (January) January 15 (March) March 15 (May) July 15(September) and September 15 (November) Submission of articles and photographs is welcomedArticles may be typed or sent as an attachment (Word or RTF preferred) to or text in an e-mail mes-sage They should be for the exclusive consideration of AR unless otherwise noted Photos may besent as prints or unedited JPG or 300dpi TIF files (minimum 3rdquox4rdquo) Advertisements may be sent inPDF or EPS format with fonts embedded
EDITORIAL OFFICE Gail Nickless Editor 7770 S High St Centennial CO 80122-3122 303-794-0114 (phone amp fax) editoramericanrecorderorg Books for review Editorial office Musicfor review Editorial office Recordings for review Tom Bickley 1811 Stuart St Berkeley CA 94703Cutting Edge Tim Broege 212 Second Ave Bradley Beach NJ 07720-1159 Chapter newslettersother reports Editorial office Postmaster Send address changes to ARS 1129 Ruth Drive St LouisMO 63122-1019 Periodicals postage paid at St Louis MO and at an additional mailing office
Chapter leaders
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Mark Davenport Cleacutea Galhano LisetteKielson Lorraine Krige JudithLinsenberg Peter Maund Nina SternMarion Verbruggen Leslie TimmonsJim Tinter Mary Halverson Waldo
Contact Yvonne Miller-Nixon
Conference Administrator
1129 Ruth Dr St Louis MO
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americanrecorderorg
EARLY MUSIC WEEK AT
PINEWOODS CAMP (ARS)
Pinewoods Camp Plymouth MA August 15-22 Director Sheila Beardslee
The Myth amp Magick Creativity andInspiration in Early Music Surely thedeities of Olympus will surround us atPinewoodsndashwhere the myths of earlymusic will be made clear and our staff rsquosldquomagickalrdquo skills will hone and perfectour knowledge and performance of early music and dance
If yoursquove never played a musical instru-ment (but wish you could) or if youstudied music years ago (and fear yoursquoveforgotten) classes in recorder and violwill get you started or help brush off therust Advanced and intermediate playersand singers choose from a wide array ofclasses led by an outstanding faculty of professionals and teachers of earlywinds (recorders reeds brass) strings(viols violin) harpsichord and voice
New staff faces this summer areAnonymous 4rsquos Susan Hellauer voiceand Lisa Terry viol We welcome backDorrie Olsson historical dance andScott Higgs English country dance
We relax with two ponds for swimmingcanoeing a camphouse deck for readingafternoon tea and lots of dancing EarlyMusic Week continues its long traditionof superb teaching in a welcoming com-munity enhanced by special eventspresentations concertsmdashand dancing
Advanced musicians work intensivelyamateurs are engaged and challengedand beginners are always made welcome
Contact Steve Howe Country
Dance and Song Society
PO Box 338 Haydenville MA
01039-0338 413-268-7426 X3
(day) 413-268-7471 (fax)
campcdssorg cdssorgem
MONTREacuteAL RECORDER FESTIVAL
McGill University Montreacuteal QC Canada
September 17-20Directors Matthias Maute Sophie Lariviegravere
Conference consort music recorderorchestra concertsmdashEnsemble Capriceand Quynade (Israel) solo recital byMaurice Steger (Switzerland)
Contact Ensemble Caprice 4841
Garnier Montreacuteal QC H2J 3S8
CANADA 514-523-3611
514-523-1322 (fax)
infoensemblecapricecom
ensemblecapricecom
HIDDEN VALLEY INSTITUTE
FOR THE ARTS
EARLY MUSIC ELDERHOSTEL
Carmel Valley CANovember 1-7 November 8-14Directors Letitia Berlin workshopPeter Meckel HVIA
Enroll for one or both weeks Adults ofall ages welcome
Week I intense classes for upper inter-
mediate to advanced levels Week Ifaculty Letitia Berlin Frances BlakerLouise Carslake Annette Bauer(recorder) David Morris (gamba)
Week II all levels except beginnerClasses include recorder technique viol consort Baroque chamber musicconsort classes for Medieval Renais-sance Baroque and contemporary reper-toire workshop orchestra Week IIfaculty Letitia Berlin Frances BlakerTBA (recorder) Shira Kammen (earlystrings singing Medieval topics) MarySpringfels (viola da gamba)
Evening events include faculty concertstudent concert free-lance playing FreeWednesday afternoon for more playingor sightseeing Improve your playing in asupportive friendly atmosphere withworld-class teachers
Contact Peter Meckel
PO Box 116 Carmel Valley CA
93924 831-659-3115
831-659-7442 (fax)
hvmsaolcom
hiddenvalleymusicorg
wwwAmericanRecorderorg March 2009 25
26 March 2009 American Recorder
Am
herst
AR
S
Festival and
Co
nference
CA
MM
AC
Early M
usic
Week
Canto
Antiguo
Reco
rd
er
at th
e
Clearing
Great L
akes
Suzuki
FluteR
ec
Hid
den
Valley
Eld
erh
ostel
Interlo
ch
en
Early M
usic
Inst
Lo
ngy Intl
Baro
que
Inst
Marin
Head
land
s
Mid
east
Mo
ntreacuteal
Reco
rd
er
Festival
COST $520TW $350T C$1014ED $860 $1035E TBA $799D $389T $675T $210ED $735D $130TNO OF DAYS 814 1-4 7 7 7 5-8 714 6 10 3 6 4ARS DISCOUNT NO YES NO YES NO NO NO NO NO NO NO NONO OF FAC RECORDER FAC 4315 1716 165 85 22 82 543 11 101 1010 96 66NO OF STUDENTS 150wk 60 110 35 19 45 35 20 50 75 60 50RECORDER CLASSLEVELS
LIHIAV
BLIHIAV
BLIHIAV
BLIHIAV LIHIA BLI
LIHIAV LIHIA AV
LIHIAV
BLIHIAV
BLIHIAV
SPECIAL CLASSES USING RECORDERS
CMRMB20ENMROT
RPMRMB20MROPTO
CMRMBRO
MRMBENROPT CRO
RPMPT
CMRMB20MROPT
RPCMRMBENMROPT MBMP RP20
RPCMRMB20ENMTO
CMRMBMRO
NON-RECORDERCLASSES
CWKVPSDO PO
CWKVDT CWVD C O KVPS
CWPKVPST WK VD
CWVPSDO
MUSICALACTIVITIES
FSLSPP FLO FSLSP FS SP FSLP FSP
SLSPPO FSLP P FSLP FS
RECREATION D GS BSTW D FBSW FSO OBSTWO S O G
OTHERS WELCOME SC S SC S S S S SDIRECTTRANSPORTATION SC SBCP SP BCLP BP SB CPUP CL PUP
SBCPUP
TRANSPORTATIONTERMINALS
A50B2 T2 A B T
A10B3 T5
A80B80
A50B10 T10
A20B20 T20
A16B16
A4B3 T3 A20
A15B10 T10
A4B3 T3
ROOMS SD SD SD SD SDC SD SD SDC DBATHS SSP SSPP SP P SSPP SSPP SP P S PFOOD CV C GV CV FV C F CV CV CHANDICAP ACCESS HCD HCD HCD HCD HC HCD HD HCD C HCD HCD C
KEYCOST Includes tuition room (single occupancy unless otherwise noted) meals plus other fees E=estimated T=tuition only D=double occupancy W=one week
NO of DAYS Includes arrival and departure daysARS DISCOUNT Discount offered for ARS members FACULTYRECORDER FACULTY Number of facultyrecorder faculty within that number STUDENTS Average over last two yearsRECORDER CLASS LEVELS B=beginners LI=low intermediate HI=high intermediate A=advanced V=very advanced
SPECIAL CLASSES USING RECORDERS RP=recorder pedagogy C=one-on-a-part consorts MR=mixed Renaissance ensembles MB=mixed Baroque ensembles 20=contemporary music EN=early notation M=master class RO=recorder orchestra P=private lessons available T=technique O=other
NON-RECORDER CLASSES C=choral W=other winds P=percussion K=keyboard V=viols PS=plucked stringsD=danceT=theory I=instrument building O=other
MUSICAL ACTIVITIES F=faculty concert S=student concert L=lecture SP=special production P=organized informal playing O=other
RECREATION D=dancing F=field trip G=gym B=biking S=swimming T=tennis W=waterfrontbeach O=otherOTHERS WELCOME S=non-playing spousesfriends C=children (day care not generally available)DIRECT TRANSPORTATION TO WORKSHOP S=shuttle from airport B=bus C=cab L=limo PU=will pick up P=free parking O=other
TRANSPORTATION TERMINALS A=air B=bus T=train (number indicates miles from workshop to nearest terminal)
ROOMS S=singles D=doubles (with ldquo+rdquo can accommodate up to triples) C=cabins O=other =Graduate dormsBATH FACILITIES S=shared SP=semi-private P=privateFOOD C=college style F=family style G=gourmet V=vegetarianHANDICAP ACCESS H=housing C=classrooms D=dining
INFORMATION SUPPLIED BY WORKSHOP DIRECTORS
2009 SUMMER RECORDER WORKSHOPS
Here are some suggestions foravoiding overuse syndromes Most obvious warm up This meansincreasing your practice time graduallybefore the workshop begins andwarming up yourself and yourinstrument before each rehearsal
Make your playing situation ascomfortable as possible Take along acushion back rest footstool whateverit takes the ear and hand cannot ab-sorb what the bottom cannot tolerate
Be sure your glasses are ideal for the distance from your eyes to themusic desk that usually amounts to anarmrsquos length away (You can select apair at your local drug or departmentstore if you have no serious astigma-
tism) If glare from bright light (thosemarvelous outdoor rehearsals) is aproblem for you you may find that ayellow tint for your glasses is a help
Get your bodily playing equip-ment in the best possible shape beforethe workshop a visit to the dentist tosmooth off a front tooth for a windplayer can make an enormous differ-ence in endurance A layer of plasticwrap over the teeth (before yoursquoveworn a hole in your lip) may also help
Once yoursquove arrived at the work-shop there are ways to ensure thatstress (inevitable) doesnrsquot becomedistress (mostly preventable)
Take reasonable breaks duringrehearsal time and use them to stretchA little aerobics like running in placetakes very little time and gets rid ofthat stiff-from-sitting feeling Get yourfellow ensemble players to massageeach othersrsquo shoulders Other fre-
Do you have a favorite article from years past in AR E-mail that information to Gail Nickless
editoramericanrecorderorg
wwwAmericanRecorderorg March 2009 27
Mo
untain
Co
llegium
Pinew
oo
ds
Early M
usic
Week
Po
rt
To
wnsend
SF
EM
S
Baro
que
SF
EM
S
Ch
ild
rens
SF
EM
S
Med
ieval amp
Renaissance
SF
EM
S
Reco
rd
er
Texas T
oo
t
Wh
itew
ater
Wind
sw
ept
Music
Wo
rksh
op
Wo
rld
Fello
wsh
ip
$800ED $890ED $975 $950 $370T $950 $950 $740E $245 $535D $850E COST7 8 7 7 5 7 7 7 3 6 7 NO OF DAYSNO NO NO YES YES YES YES YES NO NO NO ARS DISCOUNT
125 189 169 102 82 124 76 136 1110 131 83NO OF FAC RECORDER FAC
50 100 100 55 30 70 40 50 110 45 30 NO OF STUDENTSLIHIAV
BLIHIAV LIHI AV
LIHIAV
BLIHIAV LIHI AV LIHIA LIHIA
BLIHIAV
BLIHIAV
RECORDER CLASSLEVELS
CMRMB20TO
CMRMBENROT
MRMB20MROPT
MBMPTO
CMRMBPTO
CMRENMPTO
C20MROPTO
CMR20MPT
CMRMB20ROTO MP
CMRMBMRO
SPECIAL CLASSES USING RECORDERS
WVDTO
CWKVPSDT CPVT
CWKVPSTO
KVDTO
CWPVPSTO O
WKVPSTO
CWVTO
CWPKVD
CKVDT
NON-RECORDERCLASSES
FSLSPP FSP
FSLSPPO FSSP
FSLSPPO
FSLPO
FSLPO SPO FSL PO FSLP
MUSICALACTIVITIES
DGBS DSWFGBSTW
DGBST D
DGBST DO SO
DFSWO RECREATION
S S SC SC S S SC SC OTHERS WELCOME
P SC CPUP SCP SCP SBC LP SPUP P BPUDIRECTTRANSPORTATION
A50B15 T15
A15B7 T6 A59
A20B2 T5 A59
A12B4 T1 A40 A
A20B15 T28 B10
TRANSPORTATIONTERMINALS
SD SD S S CALL S S SD SD SD SD ROOMSSP S SP P P SP P S S S BATHSCGV FV CV CV CV CV CV CV CV FV FOODHCD CALL HCD HCD C HCD HCD HCD HCD HD HANDICAP ACCESS
AR50 AVOIDING ACHES amp PAINSBy Leacuteonie Jenkins MD (c1925- 2000) from the March 1993 AR Vol XXXIV1
quently overused parts such asforearms and hands also respond to massage Quick tutorial on massagestart stroking toward the body and inthe direction of the flow of the veinsmdashupstream from the sorest partgradually work down to include thesore spot Yoursquore trying to move overthe underlying muscle not to rub theskin Thatrsquos why a little oil helps
Your psyche may need some relieffrom overload too Most workshopsare in surroundings that lend them-selves to taking a walk finding a placeto meditate taking in some beauty In creating anything a musical per-formance no less than more static artforms breathing in is as necessary asbreathing out be sure you take time to do it
Not to be forgotten those partiesLate hours and alcohol are stressfultry to balance off the fun yoursquore havingwith your capacity for both Above allenjoy Thatrsquos why yoursquore going
2009 SUMMER RECORDER WORKSHOPS
By Bart Spanhove
The author has been principalprofessor of recorder at the Lemmens-
instituut Leuven (Belgium) since 1984He is also artistic director of the world
famous recorder ensemble the FlandersRecorder Quartet which is set to perform
in concert at the 2009 Boston EarlyMusic Festival He is often asked to serve
as a jury member for internationalrecorder competitions in Canada US
Germany The Netherlands and BelgiumHe has given numerous master classes andlecture demonstrations all over the world
Spanhove is co-author of thesuccessful recorder method Easy Going(Heinrichshofen) and wrote the much-
used book The Finishing Touch ofEnsemble Playing (Alamire 2000
and Moeck 2002 with translations inChinese and German) In 2009
The Recorder Music of Frans Geysenwill come out (Mieroprint)
Currently he is researching practicetechnique for the recorder Daily
Spanhove thinks about how to makepeople happier by making music and
playing the recorder
As a conclusion for the VirtuosoRecorder class during the AmherstWorkshop in 2008 we organized aldquoHappy Hourrdquo for our nine talentedstudents Mee-Jung Ahn (Korea)Emilie Hasselgren and Kristine West(Sweden) Anne Timberlake JosephLewnard Jacob Lodico and BrycePeltier (US) Emiliano Perez(Mexico) and Fanny Massy (France)participated in a quiz that I wrote thenight before with the assistance ofReine-Marie Verhagen
We combined questions regardingmusic theory with practical exercisessuch as middot How long can a player hold a
low f in one breath on an altorecorder (You get one point foreach second)
middot How many times through a scaleis a player able to play in 30seconds (For every octave of theF major scale you get one point)
middot How many different pieces fromthe recorder repertoire can aperson play in the course of twominutes (The other members ofthe group have to guess the nameof the composer before the playercan start the next piece)
middot In one minute list as manydifferent titles as you can fromDer Fluyten Lusthof (TheRecorderrsquos Pleasure Garden) of J J van EyckThe list of questions goes onAt the ldquoHappy Hourrdquo people
were divided into three groupsaccording to dates of each personrsquosbirthday When theoretical questionswere asked (see below) the pointsystem was devised as follows threepoints were awarded when the selected
person of a group could find theanswer himherself two points whenthe selected person needed the help ofthe other group members and onepoint if the group needed the help ofour gracious class assistant Reine-Marie Verhagen (she alwaysknew the answer) No points weregiven if the quizmaster had to supplythe answer
On the next page you find someof my questions There are morewhich we hope to run in a future issueof American Recorder
The quiz was full of fun andsuspense By the end people weremore nervous than when playing aconcert on stage Jacob Lodico of theUS was the winner at Amherst
28 March 2009 American Recorder
Education___________________________________ A quiz for recorder players
wwwAmericanRecorderorg March 2009 29
Try these questions yourselfAnswers appear at the end of thisarticle
The Quiz1 Give the name of Ganassirsquos
treatise of 1535 where heextensively describes the recorder playing and diminutions of his time
2 In which German city is therecorder company Moeck based
3 In the cantata Gottes Zeit ist dieallerbeste Zeit BWV106 JS Bach calls for two altorecorders Give another name for this cantata
4 Of which famous orchestra isFrans Bruumlggen the conductor
5 List three leading Japanesecomposers of excellent solo pieces for the recorder
6 Give the names of recordermagazines published inGermany England and the US
7 What is the fundamental tone of a fourth flute
8 List two recorder makers fromthe Baroque period in England
9 Whatrsquos the title of the recitativeand chorale in the Saint MatthewPassion where the recorder isused
10 Give the names of two famouspublishers in business around1700mdashone in London and one in Amsterdam
11 The opus 10 work by AntonioVivaldi includes six concertiSome of them have beautifulnames Give the names of thefirst three concerti of this opus
12 Whatrsquos a nickname for Jean Jacques Hotteterre
13 The combination of recorder andtraverso was rarely used in theBaroque time Can you name any composers who used thiscombination
14 Which king from 16th-centuryEngland owned a large collectionof recorders and also composedand enjoyed daily recorderplaying
15 How many movements compriseHandelrsquos Sonata in C Op 1 No 7 originally written forrecorder and basso continuo
16 Give the name of Praetoriusrsquostreatise from 1609 that describesthe whole recorder family
17 Name the author of the oldestrecorder method
18 Name Jan Jacob van Eyckrsquosdisability
19 Who pretended around 1930 thatthe recorder was a kind ofclarinet
20 Who doesnrsquot belong in thefollowing group Bertho DrieverKarel van Steenhoven MarionVerbruggen Paul LeenhoutsDaniel Bruumlggen
21 Name the two instrumentsindicated to play the sonataMeiner Mutter of Hans UlrichStaeps
22 Il Pastor Fido was not composedby Antonio Vivaldi but by aFrench composer What was hisname
23 Whatrsquos the nationality of themusic company Zen-On
24 CPE Bach composed abeautiful trio that includes a bassrecorder What are the other twoinstruments
25 Give the names of the fourmovements of Bachrsquos partita forsolo traverse flute BWV1013
26 Which excellent playersperformed as the recorder trioSour Cream
27 A recorder normally has eightfingerholes Despite this musichistory describes the recorder as ldquoune flucircte agrave neuf trousrdquo (a flute with nine fingerholes)Explain why
28 Give the French name for vibratoperformed by finger movementsalone on a wind instrument
29 Who wrote in his diaryldquohellipbeyond anything in the wholeworld the wind-music when the
Answers to
Bart Spanhoversquos Quiz1 La Fontegara2 Celle3 Actus Tragicus4 The Orchestra of the
Eighteenth Century5 R Hirose M Ishii and
M Shinohara
6 Windkanal or Tibia (both ofGermany) The Recorder(England) American Recorder(US)
7 B8 The most famous English
recorder makers around 1700Bressan and Stanesby (the latterbeing both senior and junior)
9 O Schmerz Hier zittert das gequaumllte Herz
10 Walsh (and Hare) (of London)Roger (of Amsterdam)
11 La Tempesta de Mare La Notte Il Gardelino
12 Le Romain13 JB Loeillet J J Quantz
JJ Hotteterre or J B de Boismortier
14 Henry VIII15 Five16 Syntagma Musicum17 Sebastian Virdung Musica
Getutscht und Ausgezogen (1511)18 Blindness19 Igor Stravinsky20 Marion Verbruggen21 Alto recorder and piano22 Nicolas Cheacutedeville23 Japanese24 Viola and cembalo25 Allemande Courante Sarabande
Bourreacutee26 Kees Boeke Walter van Hauwe
and Frans Bruumlggen27 Before 1670 the player could
choose how to hold the recordermdashleft hand or right hand at the topThis meant that recorder makersdrilled two holes to accommodatethe little finger of the hand thatended up at the bottom Theunused hole was sealed with beeswax
28 Flattement29 Samuel Pepys30 Flanders Recorder Quartet
30 March 2009 American Recorder
Lazarrsquos Early Music(866) 511-2981 jblazaraolcom
wwwLazarsEarlyMusiccom
292 Gibraltar Dr 108 Sunnyvale CA 94089
Strings amp Early Winds
ModernBaroque Strings Viols Vielle
Kuumlng Moeck Mollenhauer Paetzold Yamaha Ehlert
Wenner Baroque flutes
Wendy Ogle Lu-Mi Ifshin Snow
Competitive Prices
Sent on Approval
Personalized Service amp Advice
R
E
C
O
R
D
E
R
S
ldquoGO FOR NEO-BAROQUErdquo
Andrew Charlton Partita Piccola For 4 Recorders (SATB)
[Prelude Allemande Courante Musettemdash
a neo-baroque epitome] (Score amp Parts PBE-25) $795
Andrew Charlton Suite Moderne For 3 Recorders (ATB)
[Baroque shapes but Hindemithian harmony]
(3 Playing-Scores PBE-44) $995
Southwest of Baroque David Goldsteinrsquos ldquobaroque Suiterdquo
on Cowboy Songs For 2 Recorders (SA) (PBE-2) $350
The Provincetown Bookshop Inc
246 Commercial Street Provincetown MA 02657 Tel (508)487-0964
A good source for Recorder amp Viol Music of all publishers
Provincetown Bookshop Editions
angel comes down which is sosweet that it ravished me andindeed in a word did wrap upmy soul so that it made me reallysick just as I have formerly beenwhen in love with my wiferdquo
30 Whatrsquos the English name for afamous recorder ensemble calledin its country Vier op lsquon Rij
wwwAmericanRecorderorg March 2009 31
by Tim Broege timbroegeaolcom
December 11 2008 was a specialday for American music the
100th birthday of Americarsquos greatestliving composer Elliott Carter Cele-bratory concerts took place in manyvenues including Carnegie Hall inNew York There the Boston Sym-phony led by James Levine played anew work by Carter Interventions forpiano and orchestra The soloist wasanother well-known conductor DanielBarenboim who is no mean hand atthe keyboard to say the least
Itrsquos remarkable that wonderfulnew compositions continue to pourforth from Carterrsquos pen His musicsparkles and frolics packing lots of musical events into engrossingstructures Much of his music isavailable on CD so if you missed thecelebrations you can easily have yourown belated birthday party for Carter
Although he has never written for recorder (one of our prominent
recorder soloists should commissionhim) Carter has produced manychamber pieces featuring woodwindsSince many recorder players double orstarted out on woodwinds such piecesas the Sonata for Flute Oboe Cello ampHarpsichord (1952) Enchanted Preludes(1988) for flute and rsquocello Espritrudeesprit doux (1985) for flute andclarinet or the Oboe Quartet (2001)may hold special interest
If you missed Charlie Rosersquosexcellent interview (broadcast onDecember 10) with Carter Levine andBarenboim you can see it atwwwcharlierosecomview
interview9774mdashessential viewingfor fans of contemporary music
We note with sadness the passingon January 23 of another distin-guished American composer GeorgePerle An authority on the music ofAlban Berg and the Second VienneseSchool Perle developed a uniquelyrical style based upon a free approachto 12-tone and serial procedureswhich he dubbed ldquo12-tone tonalityrdquo I recommend listening to his SerenadeNo 3 for Piano amp Orchestra (1983) Six Etudes for Piano (1973-76) and the Pulitzer Prize-winning Wind Quintet No 4 (1985)
Another leading American com-poser Leon Kirchner is thankfully still with us having turned 90 onJanuary 24 Like Perle Kirchner has a highly personal and expressive styleA birthday concert was held at MillerTheater at Columbia University inNew York City NY Participatingmusicians included flutist PaulaRobison pianist Jeremy Denk and theClaremont Trio with the composerpresent to discuss his music
An excellent way to get to knowKirchnerrsquos music is through his stringquartets Just in time for his birthdayAlbany Records has released a fine CDof all four played by the Orion StringQuartet Quartet No 4 was written in2007 (when the composer was 87mdasha veritable youngster compared toCarter) The composer Allen Shawnhas described that quartet asldquoluminous and passionaterdquo words aptto describe much of Kirchnerrsquos output
Speaking of contemporary musicI have been spending pleasant hoursperusing the Catalog of ContemporaryBlockflute Music available online atwwwblokfluitorg from StichtingBlokfluit This Netherlands founda-tion offers a contemporary recordercatalog and a catalog of historicalrecorder music Access to both is byfree membership
For those who havenrsquot yet used thecontemporary catalog I urge you togive it a try You can search by manyparameters such as composer title orspecific instrumentation A search forldquovoice fluterdquo turned up a list thatincluded Moon Dances Three AmericanSketches by composer Walter Mays(intended for solo alto recorder butalso playable on tenor or voice flute)Searching the name of English com-poser Edmund Rubbra produced a listof eight works that employ recordersincluding the intriguing CantataPastorale opus 92 for high voice altorecorder rsquocello and harpsichord
Searching ldquofemale composersrdquo fora piece using ldquoBaroque altordquo yieldedAfter Meditation by Ros Bandt ofAustralia
What an easy and tremendouslyvaluable way to find new music
On the Cutting Edge___________________________________Birthdays composers and
recorder music catalogs
Elliot Carter
(photo by Meredith Heuer)
Question How does Renaissancefingering differ from standard
fingering on the recorder Is one superior tothe other Do you need a special recorder touse Renaissance fingering and if so can itbe played with regular recorders Is there afingering chart that shows RenaissancefingeringmdashWilliam BaumannWaterford WI
Answer from Carolyn Peskin Music composed in the
Renaissance the historical periodextending from about 1450 to 1600was predominantly vocal and highlycontrapuntal Recorders which oftendoubled singers at the octave orrendered vocal pieces instrumentallywere designed to make the individualmelodic lines clearly audible
Most 16th-century consortrecorders were one-piece instrumentswith large toneholes and a wide borethat contracted slightly starting nearthe upper fingerholes and thenexpanded gently near the lowest holesThat ldquochoke-borerdquo design togetherwith the voicing and tonehole con-figuration favored the fundamentaltone (first harmonic) producing astrong open sound that was aboutequally loud throughout theinstrumentrsquos range
Such recorders had a useful rangeof only about an octave plus a sixthwhich was nevertheless sufficient for the music of their day MostRenaissance-style consort recordersmade today are based loosely uponsurviving 16th-century instruments ofthe above type and are designed toapproximate the range timbre andvolume of those early instruments
Our present-day ldquoregularrdquorecorders are Baroque-derived instru-ments based loosely upon survivingrecorders from the late 17th and early18th centuries They are three-pieceinstruments with small toneholes and abore that is narrower and moretapering than a Renaissance boreextending their useful range upward totwo octaves plus a whole tone
Baroque recorders are soft andsweet-sounding in their bottom octavebut louder and brighter in the secondoctave Their lowest notes are espe-cially weak because they must be blowngently to prevent overblowing into thesecond octave Such instruments aresuitable for Baroque solo and chamberrepertoire but not very satisfying forRenaissance polyphony
Due to their different timbre andvolume Renaissance recorders will not blend well with Baroque onesFurthermore the most historicallyauthentic Renaissance-style recordersare tuned in a ldquomeantonerdquotemperament that facilitates the playingof pure major thirds Such instrumentsmake Renaissance music easier to playin tune but will produce intonationproblems if played with Baroquerecorders which are tuned in equaltemperament For the above reasonsRenaissance and Baroque recordersshould not be played together
Renaissance fingering will not work on todayrsquos neo-Baroquerecordersmdashmost of which haveldquomodernrdquo Baroque fingeringcommonly called ldquoEnglishrdquo fingering
because it was developed fromhistorical Baroque fingering by ArnoldDolmetsch in England during theearly 20th century Renaissancefingering is less standardized partlybecause a number of different originalinstruments are used as models andpartly because makers wish to improvethe intonation tone quality andorplayability of certain notes Howeverthe following generalizations apply tomany of todayrsquos Renaissance-styleconsort recorders
First in the lower octave modernBaroque fingering works for mostnotes but is often too flat for the fourth scale degree (eg soprano F)requiring removal of finger 7 (right-hand pinky) and is too sharp for theraised fourth degree (eg soprano F)requiring addition of finger 7
Modern fingering is also usuallytoo sharp for the lowered seventhdegree (eg soprano B) The correctfingering for that note varies from oneinstrument to another
In the upper octave modernfingering works for the first third andfifth scale degrees (eg soprano C Eand G) but usually not for other notesSome notes require half-holing with aright-hand finger and notes above thefifth scale degree may require additionof several fingers to bring them in tuneHistorical Renaissance fingering forthe second scale degree (eg sopranoD) is especially awkward because all ofthe fingerholes and the thumbholemust be uncovered Therefore somemakers substitute modern fingering forthat note
Although Renaissance fingeringand meantone tuning are recom-mended for the best blend some
Q amp A___________________________________ Renaissance recorder fingering
Send questions to Carolyn Peskin QampA Editor 3559 Strathavon Road Shaker Heights OH44120 carolynpeskinstratosnet
32 March 2009 American Recorder
wwwAmericanRecorderorg March 2009 33
makers of handcrafted Renaissance recorders will provide modern fingeringandor equal temperament upon request and Moeck Verlag offers a choice ofRenaissance or modern fingering for most sizes of its factory-producedRenaissance Consort series
For a most satisfying blend Renaissance ensembles should purchase amatched set of recorders tuned and voiced to be played together Renaissanceconsort sets usually include two different alto recorders one in G (lowest note g)and one in F (lowest note f ) The ATTB combination with the G-alto is best formost of the quartet music composed between 1450 and 1550 while the SATBcombination with the F-alto is more practical for much late 16th-centuryrepertoire (Playing the G-alto requires learning G-alto fingering or elsetransposing the alto line down a whole tone and using F-alto fingering)
In addition to consort recorders some makers offer ldquoGanassirdquo sopranos andaltos based upon fingering charts in Silvestro Ganassirsquos recorder tutor Fontegarapublished in 1535 and a single original instrument in the Vienna Kunst-historisches Museum Because of their special bore design (cylindrical with aflaring bell) Ganassi recorders have a range of two octaves and a sixth withcumbersome fingerings in the third octave They are used mainly as soloinstruments for playing intricate ornaments of the type found in Fontegara
Also sometimes included in the ldquoRenaissancerdquo category are ldquotransitionalrdquo(early Baroque) recorders which are based upon originals from the first half ofthe 17th century They have a bore that is wider than a Baroque bore but contractssharply near the lower end resulting in strong low notes and at least a full two-octave range usually with modern fingering Most transitional recorders aresopranos or altos designed for playing Jacob van Eyckrsquos variation sets or thehighly ornamented Italian solo repertoire of the late-16th and early-17thcenturies
However wide-bore consortrecorders with a range of at least twooctaves and modern fingering shouldalso be regarded as transitionalinstruments They differ somewhat intimbre and volume from typicalRenaissance consort recorders
Handmade wide-borerecordersmdashconsort Ganassi andtransitionalmdashare obtainable frommakers who advertise in AmericanRecorder the Prescott Workshop andthe Von Huene Workshop in the USJean-Luc Boudreau in Canada andStephan Blezinger in GermanyContact them andor visit their websites to find out what kinds ofrecorders they are currently makingand to get an idea of their prices andwait times
Factory-produced wide-borerecorders from Kobliczek Moeck andMollenhauer are available frominstrument dealers who advertise inAR New and used recordersincluding wide-bore models fromimportant makers in the US andabroad are also obtainable from Uni-corn Music For further informationvisit wwwbuyrecorderscom For a comprehensive database of recordermakers worldwide see Nicholas SLanderrsquos ldquoExtant Recorder Makers amp Retailersrdquo at wwwrecorder
homepagenetmakershtml
REFERENCES
CONSULTEDBauer Winfried
wwwrecorder-fingeringscomIncludes interactive fingeringcharts from modern makers andhistorical treatises Charts forRenaissance consort recorders byAdriana Breukink Adrian BrownBob Marvin and Tom Prescottwere consulted
Brown Adrianwwwadrianbrownorgrec
order_typesconsorthtml
Our present-day ldquoregularrdquo recorders are
Baroque-derived instruments based loosely
upon surviving recorders from the
late 17th and early 18th centuries
34 March 2009 American Recorder
The Von Huene Workshop Incis pleased to announce agreements with
CoolsmaZamra
to serve as their authorised service agents in the US
For more than 40 years the von Huene Workshop has produced some of the finest recorders in the world Our skilled staff can revoice retune and repair even the most seriously damaged instruments All repairs are done right on the premises and most can be completed within a week
For warranty repairs please include a copy of your original sales receipt
j 65 Boylston Street Brookline MA 02445 i(617) 277-8690 Fax (617) 277-7217 servicevonhuenecom
An informative article aboutrecorder sizes in Renaissanceconsorts
Brown Adrian and David LasockildquoRenaissance Recorders andTheir Makersrdquo AmericanRecorder Vol XLVII No 1(January 2006) pp 19-31 An important article based upon Brownrsquos extensive researchon 120 of the 200 surviving 16th-century recorders
Ganassi Silvestro Opera IntitulataFontegara Ed Hildemarie Peter(Berlin-Lichterfelde RobertLienau 1959) Modern edition ofthe oldest known treatise devotedentirely to the recorder (publishedin 1535) Includes 16th-centuryfingering charts
Griscom Richard and David LasockiThe Recorder A Research andInformation Guide (New York andLondon Routledge 2003) Anannotated bibliography including
references on construction anddesign of historical recorders
Levin Philip ldquoQampArdquo AmericanRecorder Vol XXXVIII No 4(September 1997) p 27Explains in simple terms thedifference between Renaissanceand Baroque recorders
Morgan Fred ldquoA Recorder for theMusic of JJ van EyckrdquoAmerican Recorder Vol XXV No 2 (May 1984) pp 47-49Describes the bore design of arecorder suitable for playing Van Eyckrsquos variation sets andcompares it with bore designs ofother types of recorders
Myers Herbert W ldquoRecorderrdquochapter in A Performerrsquos Guide toRenaissance Music ed JefferyKite-Powell (New York SchirmerBooks 1994) A 2nd edition isnow available published in 2007by Indiana University Press
FEATURING MUSICA PACIFICA
JUDITH LINSENBERG
RECORDERS____JS BACH TRIO SONATAS Arr by
Linsenberg from Trio Sonatas for Organ BWV525-
530 Sonata No 1 in E
major (transp to B
)
BWV 525 Sonata No 2 in C minor (transp to E)
BWV526 Sonata No 3 in D minor (transp to G)
BWV 527 Sonata No 4 in E minor BWV 528
Sonata No 5 in C major (transp to F) BWV529
Sonata No 6 in G major (transp to C) BWV 530
Virgin Classics Veritas 1993
____FIRE BENEATH MY FINGERS Showcases
three legendary composers who were also
virtuoso performers Vivaldi Concerto in F major
after RV 98570 ldquoLa Tempesta di Marerdquo Sonata in
A minor RV86 Concerto in G minor RV106 Con-
certo in Bb major RV503 Sammartini Concerto in
F major Tartini Concerto in A major D91 Dorian
____MANCINI CONCERTI DI CAMERA Seven
sonatas by Francesco Mancini plus one work each
from his contemporaries Francesco Durante amp
Domenico Scarlatti Highly recommended citation
from the 2000 Vivaldi Prize for Recordings of Italian
Early Music--Giorgio Cini Foundation Dorian
____MARAIS MARIN PIEgraveCES EN TRIO POUR
LES FLUcircTES VIOLON amp DESSUS DE VIOLE
Maraiss complete works for two treble lines and
bass with varied instrumentation and orchestrations
2-CD set $24
____SCARLATTI CONCERTI DI CAMERA
Seven sonatas for various instrumentations no
poor relations to the composers much more widely-
known vocal output All recorder players should
certainly have thisndashEarly Music Review
____TELEMANN CHAMBER CANTATAS
Five cantatas from Harmonischer Gottesdienst two
sonatas from Sonatas Corellisantes 2003 Chamber
Music America WQXR Record Award for best
chamber music recordings
____VIVALDI LA NOTTE Concerti per strumenti
diversi Award-winning CD featuring five Vivaldi
concerti two sonatas
AND OTHER RECORDING
ARTISTS FROM CALIFORNIA ____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 American Bach Soloists Jeffrey
Thomas conductor Dan Laurin Hanneke van
Proosdij recorders Christmas Concerto featuring
unique 1725 London version with solos transcription
for two recorders instead of two solo violins in
three of the six concertos Delos
____CANCcedilONIEgraveR Annette Bauer recorder
multi-instrumentalist Tim Rayborn Shira Kammen
strings Phoebe Jevtovic voice in a new early
music group devoted to repertoire from the
12thndash15th centuries as well as traditional music
from related regions (the Balkans Scandinavia
Middle East) Medieval instrumental music played
on a variety of instruments including strings
recorders and percussion Medieval dances and
motets bring to life the rich world of ancient
European music-making
____SACRED AND SECULAR MUSIC FROM
RENAISSANCE GERMANY Ciaramella-Adam amp
Rotem Gilbert Doug Millikan Debra Nagy
recorders with other winds shawm sackbut amp
organ Medieval amp Renaissance sacred music with
reconstructions of folksongs amp arrangements based
on contemporary improvisation
____BURIED TREASURE TOPAZ amp SAPPHIRE
Ensemble Vermillian Frances Blaker recorders
Barbara Blaker Krumdieck cello Elisabeth Reed
gamba Katherine Heater harpsichord amp organ
Transcriptions of Buxtehudes Op 1 other pieces by
Buxtehude works by Biber Johann Schop
Schmelzer Fafarela 2007
____STOLEN JEWELS Ensemble Vermillian
Frances Blaker recorders Barbara Blaker
Krumdieck Elisabeth Reed Katherine Heater 17th-
century German music adapted by Blaker I love
violin music so I steal the music and rearrange it
for my own instrumentrdquo Buxtehude Op 1 Biber
Rosenmuller Krieger JM Bach Fafarela
Recordings
____SENFL (LUDWIG) Farallon Recorder Quartet
(Letitia Berlin Frances Blaker Louise Carslake
Hanneke van Proosdij) 23 lieder motets and
instrumental works of the German Renaissance
____DOLCE MUSICAndash A CONTEMPLATIVE
JOURNEY Eileen Hadidianflutes recorders
Natalie Cox harps Celtic Renaissance and
Medieval melodies for recorder and flute with
Celtic harp Healing Muses 2005
____REFLECTIONS MUSIC TO SOOTHE AND
UPLIFT THE SPIRIT Eileen Hadidian recorder amp
Baroque flute with Celtic harp and cello Celtic
traditional Renaissance amp Medieval melodies
Healing Muses
____AN EVENING WITH BACH Voices of Music
Hanneke van Proosdij Louis Carslake Dan Laurin
recorders Joanna Blendulf Elizabeth Blumenstock
Rodney Gehrke Lisa Grodin Katherine Kyme
Jennifer Lane Victoria Gunn Pich Susanne Ryden
William Skeen David Tayler Renaissance and
Baroque music centers on fine singing Instantly
recognizable Air on a G String Bachrsquos Prelude in
G Major (solo theorbo for rsquocello) plus lilting vocal
performancesmdashRydenrsquos weightless soprano on
Bist du bei mir Lanersquos rich alto on Es is vollbracht
____BACH amp TELEMANN SONATAS PRELUDES
amp FANTASIAS Voices of Music (Hanneke van
Proosdij Joanna Blendulf Rodney Gehrke William
Skeen David Tayler) Beautiful chamber music by
Bach and Telemann
IN STOCK (Partial listing)____ALLA TURCA FUX CALDARA BADIA
Matthias Maute amp Sophie Lariviegravere recorders
Monika Mauch soprano Vocal music of the church
accompanied by Ensemble Caprice plus sonatas
and other instrumental pieces Analekta
____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 John Daniels Sonja Lindblad
recorders Peter Sykes harpsichord Trio sonata
arrangement by Johann Christian Schickhardt
____LES
AMIS DU
BAROQUE
Paul Nauta recorder amp
Baroque flute Koen Dieltiens recorder Music by
Bassani Corelli Vivaldi etc Highlight Intl
____LES SEPT SAUTS BAROQUE CHAMBER
MUSIC AT THE STUTTGART COURT Matthias
Maute amp Sophie Lariviegravere recorders amp traverso
Ensemble Caprice Charming repertoire by
Schwartzkopff Bodino Detri Atma Classique
____TASTE OF PORTIQUE LEnsemble Portique
Early and contemporary chamber musicmdash
Bach Telemann Boismortier and others
____TELEMANN ALLA POLACCA REBELndash
Matthias Maute recorders amp traversondash
plays concerti and suites by GP Telemann Dorian
____TELEMANN CANONS AND DUOS Lisette
Kielson amp Patrick OMalley recorders LEnsemble
Portique Telemann Canons meacutelodieux amp Sonates
sans basse 2-CD set LEP Records
____20TH CENTURY MUSIC FOR RECORDER amp
PIANO Anita Randolfi recorders Music by Jacob
Bartok Leigh others for recorder amp piano
____VIVALDI AND THE BAROQUE GYPSIES
Matthias Maute amp Sophie Lariviegravere recorders
Ensemble Caprice Gypsy music taken from
Uhrovska zbierka (now Slovakia) plus Vivaldi
____VIVALDI SHADES OF RED CONCERTOS amp
SONATAS FOR RECORDER amp STRINGS Matthias
Maute recorders REBEL Stylish high octane
readings of some of Vivaldis most beloved pieces
including the popular and raucous Concerto alla
Rustica stunningly colorful Sonata on La Follia and
four exuberant recorder concerti Bridge
____WINDFIRE Charmaine Delmatier recorder
Steve Kostelnik classical guitar Terry Hale bass
Erik Hokkanen violin Refreshing mixture of Andrew
Lloyd Weber American blues flamenco Celtic and
one original piece ltwwwyermomusicomgt
Please indicate above the CDs you wish toorder and print clearly the following
Name ____________________________________
Daytime phone (_____)______________________
Address__________________________________
CityStateZip _____________________________
Check enclosed for
_____ single CDs x $____ = $______
_____ 2-CD sets x $____ = $______
TOTAL $______
Please charge the above amount to my
MasterCard Visa or AmEx
_______________________________________
Exp Date ____________
Cardholderrsquos signature ______________________
Mail to
ARS 1129 Ruth Dr St Louis MO 63122-1019 US
You may fax a credit card order to 314-966-4649
NEW You may order CDs online using PayPal at
wwwamericanrecorderorgordercdromshtm
Order your recorder discs
through the ARS CD Club
The ARS CD Club makes hard-to-find or limited release CDs by ARS members
available to ARS members at the special price listed (non-members slightly higher)
All CDs are $15 ARS members$17 Others unless marked otherwise Two-CD sets are
$24 ARS members$28 Others Add Shipping and Handling $2 for one CD $1 for each
additional CD An updated listing of all available CDs may be found at the ARS
web site ltwwwamericanrecorderorggt
The first meeting of the newly-formedFort Myers Recorder and Early
Music Ensemble was January 26 atthe Florida home of chapter rep Sue
Groskreutz For this year the groupis somewhat loosely organized andplans to meet for extended sight-reading Repertoire at the first meetingcomprised everything from Renais-sance duets to chamber music involv-ing three treble parts and continuo
Among the five musiciansattending the first meeting (photobelow front row Elizabeth Spang SueGroskreutz back row Suzanne FergusonSibylle Baumgartner Arlene Sowka) allplayed recorder three harpsichord
and one each played traverso violinand gamba Due to the scarcity ofrecorder players south of the Sarasotaarea modern string players are alsoincorporated into this ensemble
The group decided not to chargedues and to meet at Groskreutzrsquoshome For more information pleasecontact Groskreutz at 239-267-1752spgembarqmailcom Snowbirdsdrifting through the area are welcome
Last fall at the requestof a student Kay Hettich
(inset below right) taught abeginning recorder class atthe Redding (CA) Senior
Center The five-weekclass was so successful thatmost participants haveformed a bi-weekly noviceensemble (right) coachedby Hettichmdashwho consid-ers them her ldquohatchedeggsrdquo
A new batch of ldquoeggsrdquostarted to incubate when afive-week class began on February 20Other senior center members havebecome interested as they heard oftheir colleaguesrsquo success These noviceplayers comprise some who previouslyread music and played instruments as well as people who are totally new to music notation
One student has also formulated amaxim ldquoEveryone at age 40 ought tolearn to play the recorder if heshehasnrsquot alreadyrdquo Just think how theworld would be transformed byshifting our focus to music
After Lynn Whidden attendedthe Montreacuteal Recorder Festival lastfall when the ARS Board met inQuebec she joined the ARS and nowrelays news of the lively interest in therecorder exhibited by a group underthe new leadership of Brent Legg ofBrandon University in ManitobaCanada Although his hands wereldquostill partly frozenrdquo he wrote that theBrandon University Collegium
Musicum in collaboration with theWaverley Park Recorder Club is
preparing a spring concert calledldquoEnglandrsquos Golden AgerdquoRepertoire spans the 16th century
from Henry VIIIrsquos accession in 1509to the death in 1603 of Elizabeth Iand includes solo songs four- andfive-part settings of Renaissancedances (with dancers) three- to five-voice madrigals and ldquobig-bandrdquoarrangements of William Byrdrsquos TheBells and The Dargason as re-imaginedby Gustav Holst (further re-imaginedfor recorders and percussion)
Of the 15 collegium membersseven are encountering the recorderfor the first time since elementaryschool The Collegium Musicumpromotes the study of early music at the university and is open to theuniversity community and the generalpublic This year there are five com-munity participants with interest fromseveral more both within and outsideof the university For informationcontact BrentLegggmailcom
January 16 marked the thirdannual recorder workshop of threeFlorida groups the Pasco Collegium
Recorder Consort of Hudson theImperial Recorder Consort of
36 March 2009 American Recorder
Chapters
amp Consorts___________________________________Workshops and activities from
coast to coast in the US and Canada
Lakeland and the Pilgrim Pipers Recorder Consort of St Petersburg Theygathered for a morning tackling selections by Banchieri Monteverdi PurcellCorelli Mendelssohn Bach Mozart and Glen Shannon Each group presenteda piece for the other participants Sweet Georgia Brown by Ben Bernie (St Pete)a Sonata by Sammartini (Lakeland) and The Gospel Train arr by KW Ford(Pasco) The 29 participants were led by Marlene Cracraft (Pasco) Jane
Spencer (Lakeland) and Elizabeth Snedeker (St Pete) Tom Bickley (photo below) directed the fall workshop of the Mid-Peninsula
Recorder Orchestra in Cupertino CA The 30 players started with Gregorianchants written in ldquooldrdquo notation Bickley gave basic instruction on how tointerpret the notes and then had the group sing the chants prior to playing them
The workshop theme of ldquoThe Articulate Recorderrdquo was literally played out as the music presented used variations in tonguing phrasing and breathingOther repertoire included a Kyrie by Tomas Luis de Victoria Bachrsquos Jesu Joy ofManrsquos Desiring a double-choir piece by Gabrieli Christopher Tyersquos In NomineXIII and a Purcell chaconne The workshop ended with a rhythmically-challenging minimalist piece by Bickley entitled Beginning composed for theWaldorf School teacher training program George Greenwood reports that thegroup had a productive event and plans to ask Bickley to lead a future workshop
wwwAmericanRecorderorg March 2009 37
A Muse in the DesertThe sound of a pin dropping hellip thesound of eager minds and fingersabsorbing information and inspira-tion hellip the sounds of ldquoNuevaEspantildeardquo Spanish- and indigenous-influenced music of the 1600s in theNew World These were the soundsof the Desert Pipes (Phoenix AZ)chapterrsquos fall workshop given byEileen Hadidian On a Saturdaylast October 30 players from all overArizona gathered to learn from andbe inspired by the founder of a SanFrancisco Bay Area group dedicatedto sharing music for healing inhealthcare settings Healing Muses(wwwhealingmusesorg)
The day began with relaxationstretching and breathing exercisesfollowed by travels to Peruacute MexicoGuatemala and Colombiamdashhighchurch music vernacular pieces anda mixture of the two Participantsenjoyed the historical and contextualbackground provided as an overviewfor the day and for each piece
Remarkably the sound heardbetween pieces and passages was anenergy-filled quiet the attentivestillness of active engagement in theworkshop experiencemdashnot the chat-tering noodling and conversationsthat often occur when the musicstops That activity was reserved forthe breaks when participants couldenjoy the cool (at last) outdoorschat with Hadidian and peruse the popular garage sale (to benefitDesert Pipes) of previously-enjoyedbooks and other treasures
On Sunday Hadidian sharedher expertise and inspiration in indi-vidual and group coaching sessionsThe weekend was a special experi-ence and Desert Pipes memberslook forward to the next visit of this Healing Muse
Ann Koenig Scottsdale AZannisalesprocom
Members
of three
Florida
groups
met
in January
for a joint
workshop
CHAPTER NEWS
Chapter newsletter editors and publicity officers should send materials for publication toAmerican Recorder 7770 South High St Centennial CO 80122-3122
editoramericanrecorderorg Also send short articles about specific activities that haveincreased chapter membership or recognition or just the enjoyment your members get out of
being part of your chapter Digital photos should be at least 3rdquox4rdquox300dpi TIF or unedited JPG files Please send news to the AR address above and to the following
ARS Office 1129 Ruth Drive St Louis MO 63122-1019 ARSrecorderAmericanRecorderorg
and to Bonnie Kelly Chair Chapters amp Consorts Committee 45 Shawsheen Rd 16 Bedford MA 01730 bksharpaolcom
TO THE STARS
AND BEYONDThe cover of the November magazinegenerated a few comments Some werenrsquotsure how to interpret the title (in theartistrsquos native German it could besomething close to ldquostarlit moonrdquo)Longtime member Carolyn Peskin wrote to offer her vision of that cover
In the beginning the Great Spiritinvented Mr Sun to light the day andMiss Moon to light the nightHowever as Miss Moon floated up inthe sky all by herself like a big yellowballoon she began to feel very lonelyso one night to relieve her lonelinessshe decided to take out her recorderand make music
But when she started to playsomething miraculous happened Not only beautiful melodies but alsoyellow dust poured out of the bottomof her recorder and the dust particlesimmediately coalesced to form yellowstars As she continued playing moreand more stars were created and theyfloated up around her filling the nightsky
At last Miss Moon was happy fornot only was she herself able to enjoyher music but she now had a wholecrowd of starry companions to enjoy itwith her And if you listen very care-fully on a quiet night you might beable to hear her recorder and thatstarry choir humming along
Carolyn Peskin
LOCATING EARPLUGSI read with interest the QampA in theNovember lsquo08 AR regarding hearingloss and use of earplugs Where do you get musicianrsquos earplugs
Dolly Hirata Kensington CA
CAROLYN PESKIN PROVIDED THIS
INFORMATION Musicianrsquos earplugs arecustom made for individual usersThey can be purchased only fromlicensed hearing professionals (ieaudiologists and hearing instrumentspecialists) To find a licensed hearingprofessional in your area look underldquoaudiologyrdquo or ldquohearingrdquo in your localyellow pages
For information about how musi-cianrsquos earplugs are produced visitwwwetymoticcomephperme-w
tbaspx That web page also has a linkto contact information for authorizedlabs that make the custom earmolds formusicianrsquos earplugs If the yellow pagesdo not prove helpful those labs canrefer you to a licensed hearing pro-fessional in your area from whom youcan purchase musicianrsquos earplugs
MORE FROM CAROLYN
THIS TIME ABOUT OSKARIn the September 2008 AR the musicreview by Leslie Timmons of the Oskarpieces by Matthias Maute mentionedthat Carolyn Peskin had translated twoof the Oskar books from German toEnglish People can obtain thetranslations free of charge as Wordattachments by contacting her atCarolyn Peskin 3559 StrathavonRoad Shaker Heights OH 44120carolynpeskinstratosnet
ANOTHER KIND OF
MUSIC-READING
GLASSESIn the January 2009 issue of AmericanRecorder therersquos something (in myopinion) the ldquoRecorder with GlassesObbligatordquo article omitted which canenable a nearsighted musician to avoidneck strain in the use of bifocals
Irsquove found the solution to thisvexing problem is to have onersquos bifocalsconstructed differently [from] normalMy optometrist was willing to work
38 March 2009 American Recorder
Response___________________________________Two kinds of vision
the better to see with and (not) to hear with
Honeysuckle Music
Recorders amp accessories
Music for recorders amp viols
Jean Allison Olson1604 Portland AveSt Paul MN 55104
6516448545jeanhoneysucklemusiccom
Responses from our readers are welcomedand may be sent to American Recorder 7770 South High St Centennial CO
80122 Letters may be edited for length and consistency
ARS Membership Enrollment and Renewal I am a new member I am or have been a member
USCanadian Memberships Foreign Memberships $45 One Year $55 Foreign One Year $75 Sustaining (Receive a Hottetere Hands Pin) $100 Two Years $80 Two Years
LIFETIME MEMBERSHIP Single Dual Regular Lifetime Member $1000 (2) $1500 (4) 4 installments of $250 available) Loyalty Lifetime Member (1) $ 800 (3) $1200 (4) 4 installments of $200 available
(1) For members who have maintained membership for five consecutive years (2) $750 is Tax Deductible (3) $600 is Tax Deductible (4) Installments available Student Memberships Other Memberships (Enclose proof of full time enrollment) $65 One Year Workshop Membership
$25 USCanadian One Year $125 One Year Business Membership $45 USCanadian Two Years $30 Foreign One Year $5 Additional Charge for Dual Address or Dual Name
Do not list my name in the ARS Print Directory Do not list my name on the ARS Online Directory Do not release my name for recorder related mailings Do not contact me via email
My address telephone and email address are the same as last time
______________________________________ _________________________ Name Phone Number ______________________________________ _________________________ AddressCityStatePostal Code Email Address Please charge to (Circle one) VISAMasterCardAMEXDiscover CC________________________________ Expiration Date ______________ Signature of cardholder_______________________________________________________ Clearly Print Name as it appears on Card________________________________________
Renew by Mail Online By Phone or by Fax
Demographic Information (optional information collected only to enhance ARS services and provide statistics to grant makers)
I am a member of ARS Chapter or Consort____________________________ I am the Chapter Contact Your age Under 21 (21-30) (31-40) (41-50) (51-60) 61-70) (71+) Please check all that apply
I am a Professional Recorder Performer
I wish to be included in the list of Recorder Teachers in the ARS Directory and website I Teach (circle your choices) Children High School Youth College Students Adults Beginner Intermediate Advanced Pre-Professional Individuals Childrenrsquos Classes Adult Classes Ensembles Suzuki Orff JRS Leader Kodaly Where I Teach (circle your choices) Music Studio Public or private school Community Music School College Other _____________________
American Recorder Society 1129 Ruth Dr St Louis MO 63122-1019
Phone 314-966-4082Fax 314-966-4649
TollFree 800-491-9588ARSRecorderAmericanRecorderorg
wwwAmericanRecorderorg
with me [to find] an ideal (for me)placement size and focal length of thebifocal lens
Before visiting the optometristIrsquod had my wife measure the distancefrom my eyes to the music on mymusic stand With this measurementthe optometrist set up her machine toprepare a vision prescription for memaximized for this reading distance
When I look at my bifocals (withthem off) the lenses (through which Iread my music) occupy most of thelower two-thirds of my glasses (they are set very high and beginimmediately at the inner rims) Thisleaves the upper third and smallportions of the outside [of each lens]for focusing on the conductor As longas my stand is set low enough my necknever experiences any strain (even if Ihave to read three to a part) and Irsquove no problem in seeing theconductor (in sharp focus) either
For me trying to use glasses [toread] from a music stand [that] weredesigned for use in reading from acomputer screen also results in neckstrain (not to mention unreliability in aldquopressurerdquo situation) Having studiedTai Chi extensively and so being
wwwAmericanRecorderorg March 2009 39
There are lots ofsolutions to thepresbyopic musicianrsquosproblem but all involve compromises
40 March 2009 American Recorder
American Recorder Society PublicationsErich Katz Contemporary Music Series Members Non-MembersA Short Tale for Two Basses Suzanne M Angevine (Level II) (2 scores) $5 $8Dialogue and Dance Cecil Effinger (SATB)(Level II-III) (score amp parts) $10 $18Dorian Mood Sally Price (SATB) (Level II) (score amp parts) $10 $18Double Quartet for Recorders Peter Ballinger (Level II-III) (score amp parts) $10 $18Entrevista Frederic Palmer (SATB) (Level II) (2 scores amp 4 recorder parts) $8 $14Kyrie and Vocalise for Soprano Voice ampRecorders Stanley W Osborn $8 $14
(SATB) (Level II) (2 scores amp 4 recorder parts) Picnic Music Jeffrey Quick (SATB) (Level II) (score amp parts) $5 $8Six Short Pieces for Three Recorders edited by Alan Drake $8 $14
(3 scores) Vaclav Nelhybel (AATT) (Level II)Sonatina for Alto Recorder and Piano Anthony Burgess $7 $12
(Level II) (2 scores)Sonatine for Three Altos Lee Gannon (Level III) (score amp parts) $14 $26Suite of Jewish Folk Tunes Erich Katz (S SA8 AT) (Level II) (three scores) $10 $18
Musical Editions from the Membersrsquo Library ARS members 1 copy-$3 2 copies-$450 3-$6 4-$750 5-$10 6-$1150Non-members (editions over 2 years old) 1 copy-$5 2 copies-$850 3-$12 4-$15 5-$1950 6-$23The ARS is happy to provide photocopied enlargements of any Membersrsquo Library edition at the same prices Please specify ldquoMembersrsquo Library Enlargementrdquo
ARS Information BookletsARS members 1 booklet-$13 2 booklets-$23 3-$28 4-$35 5-$41 6-$47 7-$52Non-members 1 booklet-$18 2 booklets-$33 3-$44 4$55 5-$66 6-$76 7-$86
Education PublicationsThe ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996)
First copy free to ARS Members (mailed to new members as they join) replacement copies $3Guidebook to the ARS Personal Study Program (1996) Material formerly published in the Study Guide
and Study Guide Handbook plus additional resources Members $11 non-members $20ARS Music Lists (2002 with 2003 Supplement) Graded list of solos ensembles and method books
Members $9 non-members $15Package Deal available only to ARS members Guidebook and Music ListsSupplement ordered together $16Junior Recorder Society Leaderrsquos Resource Notebook
ARS members $20 non-members $40 (updates at reduced rates after initial purchase)$5 Dues for each JRS student member sponsored by an ARS member ($4 each for groups of 10+)
VideosRecorder Power Educational video from the ARS and recorder virtuoso John Tyson
An exciting resource about teaching recorder to young students ARS members may borrow a copy for onemonth by sending $5 to the ARS office along with the address to which the tape should be shipped
Pete Rose Video Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music Festival recitalFeatures Rose performing a variety of music and an interview of him by ARS member professional John Tyson
Other PublicationsChapter Handbook A resource on chapter operations for current chapter leaders or those considering forming an
ARS chapter ARS members $10 non-members $20 (updates free after initial purchase) One free copy sent toeach ARS chapter with 10 members or more
Consort Handbook Resource on consort topics such as group interaction rehearsing repertoire performingARS member prices CD $10 hard copy $20 combo price of CD and hard copy ordered together $25
Discography of the Recorder Vol I (1989) Compiled by Scott Paterson and David LasockiDiscography of the Recorder Vol II (1990-1994) Compiled by Scott Paterson
Either single volume ARS members $23 non-members $28Both Discography volumes together ARS members only $40
American Recorder Cumulative Index for Vols I-XXXX ARS members $20 non-members $32Index Supplement Vol XXXIV-XXXX ARS members $8 non-members $14
Shipping amp Handling FeesUnder $10 - add $3 $10-1999 - add $4 $20-2999 - add $5 $30-3999 - add $6 $40-4999 - add $7 All prices are inUS dollars For Canadian or foreign postage pay by credit card and actual postage is charged
Please make checks payable to ARS VISAMCAMEXDisc also accepted
ARS 1129 Ruth Drive St Louis MO 63122 US800-491-9588 ARSrecorderAmericanRecorderorg
Arioso and Jazzy Rondo (AB) Carolyn PeskinBerceusendashFantaisie (SATB) Jean BoivertBrucknerrsquos Ave Maria (SSATTBB)
Jennifer W Lehmann arrCanon for 4 Basses (BBBB) David P RuhlDancers (AT) Richard EastmanDifferent Quips (AATB) Stephan ChandlerElegy for Recorder Quartet (SATB) Carolyn PeskinElizabethan Delights (SAATB)
Jennifer W Lehmann arrFallen Leaves Fugal Fantasy (SATB) Dominic BohbotFour Airs from ldquoThe Beggarrsquos Operardquo (SATB)
Kearney Smith arrGloria in Excelsis (TTTB) Robert CowperIdyll (ATB) Stan McDanielImitations (AA) Laurie G AlbertsIn Memory of Andrew (ATB) David GoldsteinLay Your Shadow on the Sundials (TBgB)
Terry Winter OwensLeClercqrsquos Air (SATB) Richard E WoodLittle Girl Skipping and Alouette et al (SATBCb)
Timothy R Walsh
Los Pastores (SAAAT + perc) Virginia N Ebinger arrNew Rounds on Old Rhymes (4 var) Erich KatzOther Quips (ATBB) Stephan ChandlerPoinciana Rag (SATB) Laurie G AlbertsSanta Barbara Suite (SSAAT) Erich KatzSentimental Songs (SATB) David Goldstein arrSerie for Two Alto Recorders (AA) Frederic Palmer Slow Dance with Doubles (2 x SATB) Colin SterneSonata da Chiesa (SATB) Ann McKinleyS-O-S (SATB) Anthony St PierreThree Bantam Ballads (TB) Ann McKinleyThree Cleveland Scenes (SAT) Carolyn PeskinThree in Five (AAB) Karl A StetsonTracings in the Snow in Central Park (SAT)
Robert W ButtsTrios for Recorders (var) George T BachmannTriptych (AATB) Peter A RamseyTwo Bach Trios (SAB) William Long arrTwo Brahms Lieder (SATB) Thomas E Van Dahm arrVariations on ldquoDrmešrdquo (SATB) Martha BishopVintage Burgundy (SASATT)
Jennifer W Lehmann arr
Adding Percussion to Medieval and Renaissance Music Peggy Monroe
American Recorder Music Constance PrimusBurgundian Court amp Its Music Judith Whaley coord
Improve Your Consort Skills Susan CarduelisMusic for Mixed Ensembles Jennifer W LehmannPlaying Music for the Dance Louise AustinRecorder Care Scott Paterson
acutely aware of any kind of neckstrain when it begins to develop these ideas have been a big help to meIrsquom hoping they may be of help toother musicians as well
Best wishes to you And inanswer to your questionmdashyes the new[AR] format (with more white spacebetween the lines) is much easier toread (in my opinion)Your magazinejust keeps getting better and better
Very sincerely Ed Green WestSuburban (Chicago-area) Chapter
RESPONSE FROM DR BILL LONG
What Ed describes is a variant of theuse of conventional bifocals as musicglasses described on page 8 in thearticle Instead of lowering his musicstand into the field of view of hisbifocal segment Ed and his optome-trist have fabricated special purposebifocals with the segment really highso he can focus on his music instraight-ahead view That approachrestricts his distance vision to an areaabove his usual line of sight whichseems to work for Eds playing setup
Eds comments on the difficultiesin using conventional progressiveaddition lenses as music lenses con-firm what I said on page 9 Thats whymanufacturers have marketed special-ty progressive lenses designed specif-ically for intermediate distance taskslike computer use and playing music
There are lots of solutions to thepresbyopic musicians problem but all involve compromises The key toevaluating those compromises andchoosing the best solution for yourselfis to understand your needs and toenlist the help of a sympathetic visioncare specialistmdashjust as Ed did
Please change your
browserrsquos favorites list
AR online is now at wwwameri
canrecorderorgmembership
magazinehtm Send news to
editoramericanrecorderorg
FOUR FOUR-PART CANZONAS
(1608) BY GIOVANNI GABRIELI
ED GREG LEWIN Hawthorns Music RB 16 (Magnamusic) 1999 SATBSc 16 pp pts 4 pp $1950
Giovanni Gabrieli was probablyborn between 1554 and 1557 in theparish of San Geremia in Venice Thedetails of his early life are sketchy butit appears that he was born Giovannidi Fais and later changed his name toGabrieli out of respect to his uncleAndrea with whom he shared a closerelationship In fact in 1587 Gabrielidescribed himself ldquoas little less than asonrdquo It is commonly thought thatAndrea provided Giovanni with hisearly musical training Andrea whohad spent some time in Munichstudying under the great Orlando deLassus sent Giovanni to Munich for a similar period of study in theearly 1570s
Gabrieli remained in Munichuntil the death in 1579 of the dukeAlbrecht V who had been Lassusrsquosemployer for a number of years andwho was an enthusiastic patron of the arts particularly music With hisdeath a number of musicians lost theirjobs it seems as if Gabrieli were also a victim of such culling of talent(Within a generation the tide wouldturn and the Munich court wouldagain hire Venetian expatriates such as Priuli Valentini and Neri)
Upon his return to VeniceGabrieli was hired as a temporaryorganist at San Marco his positionbecoming permanent in 1585 For a few months that year uncle andnephew served together as first and
second organists in the chapel of thedoge In Giovannirsquos absence fromVenice there had been a plague thathad decimated the ranks of theprofessional musicians Andrea setabout rebuilding his forces at SanMarco by hiring a full-time windband consisting of Girolamo dallaCasa a renowned cornettist andviolist his two brothers who playedsackbut and later the cornett virtuosoGiovanni Bassano Giovanni Gabrieliaugmented these forces with addi-tional players and began composingthe large-scale ceremonial music forwhich he is so well known today
Giovanni was also elected to bethe organist and composer to theconfraternity of San Rocco in 1585and it is now thought that his largestpieces were intended for that venuewith its large central gallery andfrescos by Tintoretto instead of SanMarco Gabrieli held both thosepositions at the basilica of San Marcoand the Scuola Grande di San Roccountil he died in 1612 of a kidney stone
Although best known today forhis ceremonial and festival musicGabrieli was at home in smaller-scaleformats as well These four four-partcanzoni are taken from the 1608publication by the Venetian publisherAlessandro Raverji Canzoni per sonarecon ogni sorte di strumenti These werevery popular pieces to judge by themany collections in which they appear
Additionally like Gabrielirsquoskeyboard music they are found inother arrangements These four-partcanzoni lie well under the fingers inarrangements for keyboard and lute
As seen from the title Gabrielispecified no instrumentation but like asimilar edition of madrigals and battlepieces from a few years earlier a dis-tinction was made that they wereintended for wind instruments almostcertainly cornetts and sackbuts
Recorders were not unknown in Venice they were used regularly inthe confraternity of San GiovanniEvangelista where Giovanni BattistaRiccio was organist
These pieces are relativelysimplemdashplayable by beginning tointermediate ensembles They aremostly contrapuntal (with a fewhomophonic sections) and have few rhythmic eccentricities
These canzoni are found in manymodern brass editions but there arefew editions available to the recorderplayer This edition by Greg Lewin ofHawthorns Music might be consid-ered a ldquobare-bonesrdquo edition There islittle background information andeditorial practices are not specified
The music itself has a handwrittenlook that can be distracting but is easyenough to read Lewin has thought-fully supplied phrasing marks that willbe helpful for ensembles unused tothis style of music
Music
Reviews___________________________________ Infectious music created in spite of the plague
wwwAmericanRecorderorg March 2009 41
This is a good edition
for small ensembles that
canrsquot get eight players
together to play
Gabrielirsquos more famous
eight-part canzoni
42 March 2009 American Recorder
The parts are four pages but mycopy had all four pages printed on avery large page This is not a problemand there are no page turns
This is a good edition for smallensembles that canrsquot get eight playerstogether to play Gabrielirsquos morefamous eight-part canzoni Thesesmall-scale pieces are by no meansinferior to Gabrielirsquos more elaboratemusic and deserve to be better known
7 CANZONEN (1637) BY
TARQUINIO MERULA ED JOACHIM
ARNDT WITH CONTINUO REALIZATION
BY CLAUDIA SCHWEITZER MieroprintMusikverlag EM2088 (availabledirectly from wwwmieroprintcom)2005 SS or TT bc Sc 24 pp pts 8 pp$28
Tarquinio Merula was bornaround 1595 in either Busseto orCremona in Italy As was the case withso many composers of the day either alack of regular employment or a rest-less nature took him from his home inCremona to as far away as Warsaw He is found as the organist of thechurch and the chambers to the kingof Poland Sigismund III in 1624
Merula was one of the leadingexponents of the relatively new con-certante style pioneered by ClaudioMonteverdi and others in the seconddecade of the 17th century and may be described as one of the earliestBaroque composers His compositionsin the concertante style are fresh andunforcedmdashhe was born into this styleand didnrsquot encounter it as somethingnew as was the case with so many ofMonteverdirsquos contemporaries
After several years of peripateticexistence Merula found regularemployment in 1631 in Bergamo atthe church of San Maria MaggioreThe prior holder of the post of maestrodi cappella Alessandro Grandi haddied the previous year in the plagueMerula had signed a three-year
contract but by December 1632 hewas terminated with accusations thathe had molested several studentsMerula threatened a lawsuit to recoverhis lost wages but that threat wascountered with a pending criminalcharge lodged by the board ofgovernors of San Maria Maggiore By mid-1633 the matter was settledwith an apology from Merula and astatement that he relinquished allclaims to his salary
He then returned voluntarily toCremona where he stayed until 1635By 1638 Merula was once again inBergamomdashthis time as maestro dicappella and organist in the cathedralnext to San Maria Maggiore Asmight be expected there was con-siderable tension between the twochurches eventually resulting in theboard of San Maria Maggioreforbidding their musicians to perform under Merularsquos direction
He returned in 1646 to a familiarCremona post which he had heldthree times in various years and wherehe now settled downmdashthat of organistand maestro di cappella for Laudi dellaMadonna services in which he ledmusic at the main altar on Saturdaysand on vigils of Marian feasts
None of his employment issues
prevented the Pope from awardinghim the Order of the Golden SpurMerula was also elected to theAccademia dei Filomusi in BolognaHe died in 1665 in Cremona
His existing compositions showthe products of a lively mind Hisworks range from sacred songs andmotets to purely instrumental piecesnotably the ever-popular variations onvarious ground basses It is knownthat Merula was an accomplishedviolinist as well as a fine organist Hissurviving instrumental writing showsa predilection for strings In fact hewas one of the earliest composers tospecify string accompaniments tosacred motets
Merularsquos pieces look backwardtoward some of the more progressiveVenetian composers such as Monte-verdi while looking forward to thehigh Baroque with his innovative style
These seven canzoni like theearlier-published chaconne (EM2084)come from Merularsquos third bookpublished in 1637 CANZONI overo SONATE CONCERTATE perchiesa e camera a due et a tre delcavaliere This collection typifiesMerularsquos output pieces based onRenaissance-era ground basses arefound next to more ldquomodernrdquo sonatas
The original edition specifiesviolins and basso continuo This newedition is intended for recorders thespecific choice of which is up to theplayers Due to the relatively hightessitura tenor recorders work best inthese pieces (although listed as analternative soprano recorders tend to be on the screechy side)
Not surprisingly given Merularsquosskill as an organist the continuo partneeds a keyboard instrument forsuccessful realization Instead of beinga purely accompanying part the bassocontinuo part is an equal partner in these pieces the canzona ldquoLaRuggierardquo opens with a run that therecorders echo a few measures later
A more recorder-specific
edition intended for
altos would have been
ideal There is nothing
preventing the more
adventurous and
industrious players
from making their
own editions of this
delightful music
mentioned were a bit shrill A morerecorder-specific edition intended foraltos would have been ideal There isnothing preventing the moreadventurous and industrious playersfrom making their own editions of thisdelightful music
Prior to playing the previouslypublished chaconne I had notencountered MieroprintMusikverlag Mieroprintrsquos extensivecatalog has an equal focus on newmusic for recorders and on editions ofBaroque masters with emphasis on therecorder and flute Due to the lack of
wwwAmericanRecorderorg March 2009 43
are also available at
The Early Music Shop
of New England
Brookline MA
AESTHEacute
367-b de la Briquade
Blainville Queacutebec
Canada J7C 2C7
tel (450) 979-6091
wwwboudreau-flutesca
A bass viola da gamba or rsquocello is not necessary for these pieces and may infact make them sound heavy and ponderous rather than light and breezy as thismusic seems to be
More so than the above-mentioned chaconne these canzoni are written in avery idiomatic violin style with multiple examples of arpeggios In particular thecanzona ldquoLa Trecchardquo contains a notated example of a string tremolo figurerecurring through the piece ldquoLa Trecchardquo also dips well below the range of a Crecorder going down to low G the lowest string on the violin The editors havesupplied no alternative notes preferring to let the performers to fend forthemselves (in practice we took this passage up an octave with no problems)
The two recorder parts require virtuosity These upper parts are demandingwith the players needing to double-tongue in unison in order to negotiate themany runs of 16th notes and the shared rhythmic ldquolicksrdquo The harmoniclanguage unlike much of Merularsquos music is undemanding and contains none of the harmonic crunches for which he is famous
This is wonderful music that needs a couple of advanced recorder players fora successful performance The string idiosyncrasies can be overcome by advancedplayers and many of the editions of the era (although not this one) list thecornetto as an alternative to the violin so the use of wind instruments in the solo literature of the early Baroque was not unknown
Our experience with this edition left us with the opinion that these pieceswould have been better if transposed down a minor third so as to fit on a pair ofalto recorders (as is the case with much Baroque flute music to make it lie betteron the recorder) The tenors we used tended to sound a bit murky in the lowerregister next to the more aggressive harpsichord while the sopranos we tried as
KEY rec=recorder Srsquoo=sopraninoS=soprano A=alto T=tenor B=bassgB=great bass cB= contra bass Tr=treble qrt=quartet pf=piano fwd=foreword opt=optional perc=percussionpp=pages sc=score pt(s)=part(s)kbd=keyboard bc=basso continuohc=harpsichord PampH=postage andhandling Multiple reviews by one reviewerare followed by that reviewerrsquos name Pleasesubmit music for review to AR 7770 SHigh St Centennial CO 80122-3122 US
an American distributor this musicwill be hard to findmdashin fact can befound only at the time of this writingon their web site noted above But theeffort will be repaid
This edition is clear and easy toread and the parts require no pageturns The basso continuo realizationis simple and elegant
This is music deserving ofrediscovery My only quibble is thatthe editorial notes are all in GermanThis seems to be the practice ofGerman music publishers with thenotable exception of Moeck Otherpublishers of early music such asLondon Pro Musica routinelyprovide notes in English and German and often in French and Italian making their editionsaccessible to a wider audience
Frank Cone studied the recorderwith the late Ellen Perrin the viola dagamba with Carol Herman and thecornetto with Larry Johansen TheCalifornia multi-instrumentalist has been a member of the Orange CountyRecorder Society since 1985
Advertiser Index
AMERICAN ORFF-SCHULWERK ASSN 3
AMERICAN RECORDER SOCIETY 31 35 36
AMHERST EARLY MUSIC FESTIVAL 17
STEPHAN BLEZINGER 24
JEAN-LUC BOUDREAU 21 39
BOSTON EARLY MUSIC FESTIVAL 7
CANTO ANTIGUO EARLY MUSIC WORKSHOP 13
COURTLY MUSIC UNLIMITED 20
EARLY MUSIC AMERICA 8
HONEYSUCKLE MUSIC 34
BILL LAZARrsquoS EARLY MUSIC 26
KEITH E LORAINE EARLY DOUBLE REED SERVICE 35
LOST IN TIME PRESS 11
MADISON EARLY MUSIC FESTIVAL 12
MAGNAMUSIC DISTRIBUTORS BC
MOECK VERLAG IFC
MOLLENHAUER RECORDERS IBC
PORT TOWNSEND WORKSHOP 14
PRESCOTT WORKSHOP 30
PROVINCETOWN BOOKSHOP 26
THE RECORDER MAGAZINE 4
THE RECORDER SHOP 6
SAN FRANCISCO EARLY MUSIC SOCIETY 18
SWEETHEART FLUTE CO 3
TEXAS TOOT 20
VON HUENE WORKSHOP INC 30
WICHITA BAND INSTRUMENT CO 21
DOMINIK ZUCHOWICZ 34
CONSIDER ADVERTISING IN
Full page $55223 page $43912 page $36613 page $28614 page $22316 page $17518 page $127112 page $ 951 column inch $ 58
Prices include web sitee-mail link directly from your ad in the online AR at wwwamericanrecorderorg
Circulation Includes the membership of theARS libraries and music organizations
Published five times per year January March May September November
Reservation Deadlines December 1 (January) February 1 (March) April 1 (May) August 1 (September) October 1 (November)
Rates good through November 2009 Pleaseinquire about discounts on multiple-issuecontracts inserts or other special requestsExtra charges for typesetting layout half-tones and size alterations 133-line screenrecommended Advertising subject toacceptance by magazine First-time adver-tisers must include payment with order
For more information contact the ARS office 1129 Ruth Drive St Louis MO63122-1019 800-491-9588 toll free 314-966-4082 phone 314-966-4649 faxadvertisingamericanrecorderorg
44 March 2009 American Recorder
Classified___________________________________
FOR SALE Cherrywood hurdy gurdy and hard-side case made by Kelischek bought 2005Originally $765 plus $89 for case Rarely usedBoth for $450 or make offer Please contact marjalocomcastnet Can ship
ASPIRE ANNOUNCE INSPIRE Afford-able PR for teachers and recitalists wwwrecitalroomcom
PHOTOS NEEDED of ARS events 1970sndash1990sto illustrate last chapters of Martha Bixlerrsquos histor-ical memoir about the ARS (to be posted online)E-mail scanned photos (300dpi JPG or TIF)arsrecorderamericanrecorderorg Hardcopies mail to ARS office to be scanned ampreturned Info 800-491-9588
T-SHIRT FOR ENSEMBLE PLAYERS to wear orshare Top 10 Reasons Why I Got Lost Wrongfingering bad lighting etc on blue cotton shirt$18 Highlighter tape and other goodies Beth amp Lindas Boutique as seen at BEMF CallLinda at 617-671-8694 or e-mail for brochurelindakushverizonnet
Where the havesand have-nots
of the recorder world can find each other
Classified rate for American Recorder 60centper word ten-word minimum ldquoFOR SALErdquoand ldquoWANTEDrdquo may be included in thecopy without counting Zip code is oneword phone e-mail or web page is twoPayment must accompany copy Deadlinesare one month before issue date Send copywith payment to ARS 1129 Ruth Drive St Louis MO 63122-1019
AMERICAN RECORDER (ISSN 0003-0724) 1129 Ruth Dr St Louis MO 63122-1019 is publishedbimonthly (January March May September and November) for its members by the AmericanRecorder Society Inc $20 of the annual $45 US membership dues in the ARS is for a subscriptionto American Recorder Articles reviews and letters to the editor reflect the viewpoint of their individ-ual authors Their appearance in this magazine does not imply official endorsement by the ARS
EDITORIAL DEADLINES November 15 (January) January 15 (March) March 15 (May) July 15(September) and September 15 (November) Submission of articles and photographs is welcomedArticles may be typed or sent as an attachment (Word or RTF preferred) to or text in an e-mail mes-sage They should be for the exclusive consideration of AR unless otherwise noted Photos may besent as prints or unedited JPG or 300dpi TIF files (minimum 3rdquox4rdquo) Advertisements may be sent inPDF or EPS format with fonts embedded
EDITORIAL OFFICE Gail Nickless Editor 7770 S High St Centennial CO 80122-3122 303-794-0114 (phone amp fax) editoramericanrecorderorg Books for review Editorial office Musicfor review Editorial office Recordings for review Tom Bickley 1811 Stuart St Berkeley CA 94703Cutting Edge Tim Broege 212 Second Ave Bradley Beach NJ 07720-1159 Chapter newslettersother reports Editorial office Postmaster Send address changes to ARS 1129 Ruth Drive St LouisMO 63122-1019 Periodicals postage paid at St Louis MO and at an additional mailing office
Chapter leaders
We know yoursquore out there
and that you want to share
your plans concerns
solutions and ideas with
other chapter leaders Visit
httpamericanrecorder
societywikispacescom
26 March 2009 American Recorder
Am
herst
AR
S
Festival and
Co
nference
CA
MM
AC
Early M
usic
Week
Canto
Antiguo
Reco
rd
er
at th
e
Clearing
Great L
akes
Suzuki
FluteR
ec
Hid
den
Valley
Eld
erh
ostel
Interlo
ch
en
Early M
usic
Inst
Lo
ngy Intl
Baro
que
Inst
Marin
Head
land
s
Mid
east
Mo
ntreacuteal
Reco
rd
er
Festival
COST $520TW $350T C$1014ED $860 $1035E TBA $799D $389T $675T $210ED $735D $130TNO OF DAYS 814 1-4 7 7 7 5-8 714 6 10 3 6 4ARS DISCOUNT NO YES NO YES NO NO NO NO NO NO NO NONO OF FAC RECORDER FAC 4315 1716 165 85 22 82 543 11 101 1010 96 66NO OF STUDENTS 150wk 60 110 35 19 45 35 20 50 75 60 50RECORDER CLASSLEVELS
LIHIAV
BLIHIAV
BLIHIAV
BLIHIAV LIHIA BLI
LIHIAV LIHIA AV
LIHIAV
BLIHIAV
BLIHIAV
SPECIAL CLASSES USING RECORDERS
CMRMB20ENMROT
RPMRMB20MROPTO
CMRMBRO
MRMBENROPT CRO
RPMPT
CMRMB20MROPT
RPCMRMBENMROPT MBMP RP20
RPCMRMB20ENMTO
CMRMBMRO
NON-RECORDERCLASSES
CWKVPSDO PO
CWKVDT CWVD C O KVPS
CWPKVPST WK VD
CWVPSDO
MUSICALACTIVITIES
FSLSPP FLO FSLSP FS SP FSLP FSP
SLSPPO FSLP P FSLP FS
RECREATION D GS BSTW D FBSW FSO OBSTWO S O G
OTHERS WELCOME SC S SC S S S S SDIRECTTRANSPORTATION SC SBCP SP BCLP BP SB CPUP CL PUP
SBCPUP
TRANSPORTATIONTERMINALS
A50B2 T2 A B T
A10B3 T5
A80B80
A50B10 T10
A20B20 T20
A16B16
A4B3 T3 A20
A15B10 T10
A4B3 T3
ROOMS SD SD SD SD SDC SD SD SDC DBATHS SSP SSPP SP P SSPP SSPP SP P S PFOOD CV C GV CV FV C F CV CV CHANDICAP ACCESS HCD HCD HCD HCD HC HCD HD HCD C HCD HCD C
KEYCOST Includes tuition room (single occupancy unless otherwise noted) meals plus other fees E=estimated T=tuition only D=double occupancy W=one week
NO of DAYS Includes arrival and departure daysARS DISCOUNT Discount offered for ARS members FACULTYRECORDER FACULTY Number of facultyrecorder faculty within that number STUDENTS Average over last two yearsRECORDER CLASS LEVELS B=beginners LI=low intermediate HI=high intermediate A=advanced V=very advanced
SPECIAL CLASSES USING RECORDERS RP=recorder pedagogy C=one-on-a-part consorts MR=mixed Renaissance ensembles MB=mixed Baroque ensembles 20=contemporary music EN=early notation M=master class RO=recorder orchestra P=private lessons available T=technique O=other
NON-RECORDER CLASSES C=choral W=other winds P=percussion K=keyboard V=viols PS=plucked stringsD=danceT=theory I=instrument building O=other
MUSICAL ACTIVITIES F=faculty concert S=student concert L=lecture SP=special production P=organized informal playing O=other
RECREATION D=dancing F=field trip G=gym B=biking S=swimming T=tennis W=waterfrontbeach O=otherOTHERS WELCOME S=non-playing spousesfriends C=children (day care not generally available)DIRECT TRANSPORTATION TO WORKSHOP S=shuttle from airport B=bus C=cab L=limo PU=will pick up P=free parking O=other
TRANSPORTATION TERMINALS A=air B=bus T=train (number indicates miles from workshop to nearest terminal)
ROOMS S=singles D=doubles (with ldquo+rdquo can accommodate up to triples) C=cabins O=other =Graduate dormsBATH FACILITIES S=shared SP=semi-private P=privateFOOD C=college style F=family style G=gourmet V=vegetarianHANDICAP ACCESS H=housing C=classrooms D=dining
INFORMATION SUPPLIED BY WORKSHOP DIRECTORS
2009 SUMMER RECORDER WORKSHOPS
Here are some suggestions foravoiding overuse syndromes Most obvious warm up This meansincreasing your practice time graduallybefore the workshop begins andwarming up yourself and yourinstrument before each rehearsal
Make your playing situation ascomfortable as possible Take along acushion back rest footstool whateverit takes the ear and hand cannot ab-sorb what the bottom cannot tolerate
Be sure your glasses are ideal for the distance from your eyes to themusic desk that usually amounts to anarmrsquos length away (You can select apair at your local drug or departmentstore if you have no serious astigma-
tism) If glare from bright light (thosemarvelous outdoor rehearsals) is aproblem for you you may find that ayellow tint for your glasses is a help
Get your bodily playing equip-ment in the best possible shape beforethe workshop a visit to the dentist tosmooth off a front tooth for a windplayer can make an enormous differ-ence in endurance A layer of plasticwrap over the teeth (before yoursquoveworn a hole in your lip) may also help
Once yoursquove arrived at the work-shop there are ways to ensure thatstress (inevitable) doesnrsquot becomedistress (mostly preventable)
Take reasonable breaks duringrehearsal time and use them to stretchA little aerobics like running in placetakes very little time and gets rid ofthat stiff-from-sitting feeling Get yourfellow ensemble players to massageeach othersrsquo shoulders Other fre-
Do you have a favorite article from years past in AR E-mail that information to Gail Nickless
editoramericanrecorderorg
wwwAmericanRecorderorg March 2009 27
Mo
untain
Co
llegium
Pinew
oo
ds
Early M
usic
Week
Po
rt
To
wnsend
SF
EM
S
Baro
que
SF
EM
S
Ch
ild
rens
SF
EM
S
Med
ieval amp
Renaissance
SF
EM
S
Reco
rd
er
Texas T
oo
t
Wh
itew
ater
Wind
sw
ept
Music
Wo
rksh
op
Wo
rld
Fello
wsh
ip
$800ED $890ED $975 $950 $370T $950 $950 $740E $245 $535D $850E COST7 8 7 7 5 7 7 7 3 6 7 NO OF DAYSNO NO NO YES YES YES YES YES NO NO NO ARS DISCOUNT
125 189 169 102 82 124 76 136 1110 131 83NO OF FAC RECORDER FAC
50 100 100 55 30 70 40 50 110 45 30 NO OF STUDENTSLIHIAV
BLIHIAV LIHI AV
LIHIAV
BLIHIAV LIHI AV LIHIA LIHIA
BLIHIAV
BLIHIAV
RECORDER CLASSLEVELS
CMRMB20TO
CMRMBENROT
MRMB20MROPT
MBMPTO
CMRMBPTO
CMRENMPTO
C20MROPTO
CMR20MPT
CMRMB20ROTO MP
CMRMBMRO
SPECIAL CLASSES USING RECORDERS
WVDTO
CWKVPSDT CPVT
CWKVPSTO
KVDTO
CWPVPSTO O
WKVPSTO
CWVTO
CWPKVD
CKVDT
NON-RECORDERCLASSES
FSLSPP FSP
FSLSPPO FSSP
FSLSPPO
FSLPO
FSLPO SPO FSL PO FSLP
MUSICALACTIVITIES
DGBS DSWFGBSTW
DGBST D
DGBST DO SO
DFSWO RECREATION
S S SC SC S S SC SC OTHERS WELCOME
P SC CPUP SCP SCP SBC LP SPUP P BPUDIRECTTRANSPORTATION
A50B15 T15
A15B7 T6 A59
A20B2 T5 A59
A12B4 T1 A40 A
A20B15 T28 B10
TRANSPORTATIONTERMINALS
SD SD S S CALL S S SD SD SD SD ROOMSSP S SP P P SP P S S S BATHSCGV FV CV CV CV CV CV CV CV FV FOODHCD CALL HCD HCD C HCD HCD HCD HCD HD HANDICAP ACCESS
AR50 AVOIDING ACHES amp PAINSBy Leacuteonie Jenkins MD (c1925- 2000) from the March 1993 AR Vol XXXIV1
quently overused parts such asforearms and hands also respond to massage Quick tutorial on massagestart stroking toward the body and inthe direction of the flow of the veinsmdashupstream from the sorest partgradually work down to include thesore spot Yoursquore trying to move overthe underlying muscle not to rub theskin Thatrsquos why a little oil helps
Your psyche may need some relieffrom overload too Most workshopsare in surroundings that lend them-selves to taking a walk finding a placeto meditate taking in some beauty In creating anything a musical per-formance no less than more static artforms breathing in is as necessary asbreathing out be sure you take time to do it
Not to be forgotten those partiesLate hours and alcohol are stressfultry to balance off the fun yoursquore havingwith your capacity for both Above allenjoy Thatrsquos why yoursquore going
2009 SUMMER RECORDER WORKSHOPS
By Bart Spanhove
The author has been principalprofessor of recorder at the Lemmens-
instituut Leuven (Belgium) since 1984He is also artistic director of the world
famous recorder ensemble the FlandersRecorder Quartet which is set to perform
in concert at the 2009 Boston EarlyMusic Festival He is often asked to serve
as a jury member for internationalrecorder competitions in Canada US
Germany The Netherlands and BelgiumHe has given numerous master classes andlecture demonstrations all over the world
Spanhove is co-author of thesuccessful recorder method Easy Going(Heinrichshofen) and wrote the much-
used book The Finishing Touch ofEnsemble Playing (Alamire 2000
and Moeck 2002 with translations inChinese and German) In 2009
The Recorder Music of Frans Geysenwill come out (Mieroprint)
Currently he is researching practicetechnique for the recorder Daily
Spanhove thinks about how to makepeople happier by making music and
playing the recorder
As a conclusion for the VirtuosoRecorder class during the AmherstWorkshop in 2008 we organized aldquoHappy Hourrdquo for our nine talentedstudents Mee-Jung Ahn (Korea)Emilie Hasselgren and Kristine West(Sweden) Anne Timberlake JosephLewnard Jacob Lodico and BrycePeltier (US) Emiliano Perez(Mexico) and Fanny Massy (France)participated in a quiz that I wrote thenight before with the assistance ofReine-Marie Verhagen
We combined questions regardingmusic theory with practical exercisessuch as middot How long can a player hold a
low f in one breath on an altorecorder (You get one point foreach second)
middot How many times through a scaleis a player able to play in 30seconds (For every octave of theF major scale you get one point)
middot How many different pieces fromthe recorder repertoire can aperson play in the course of twominutes (The other members ofthe group have to guess the nameof the composer before the playercan start the next piece)
middot In one minute list as manydifferent titles as you can fromDer Fluyten Lusthof (TheRecorderrsquos Pleasure Garden) of J J van EyckThe list of questions goes onAt the ldquoHappy Hourrdquo people
were divided into three groupsaccording to dates of each personrsquosbirthday When theoretical questionswere asked (see below) the pointsystem was devised as follows threepoints were awarded when the selected
person of a group could find theanswer himherself two points whenthe selected person needed the help ofthe other group members and onepoint if the group needed the help ofour gracious class assistant Reine-Marie Verhagen (she alwaysknew the answer) No points weregiven if the quizmaster had to supplythe answer
On the next page you find someof my questions There are morewhich we hope to run in a future issueof American Recorder
The quiz was full of fun andsuspense By the end people weremore nervous than when playing aconcert on stage Jacob Lodico of theUS was the winner at Amherst
28 March 2009 American Recorder
Education___________________________________ A quiz for recorder players
wwwAmericanRecorderorg March 2009 29
Try these questions yourselfAnswers appear at the end of thisarticle
The Quiz1 Give the name of Ganassirsquos
treatise of 1535 where heextensively describes the recorder playing and diminutions of his time
2 In which German city is therecorder company Moeck based
3 In the cantata Gottes Zeit ist dieallerbeste Zeit BWV106 JS Bach calls for two altorecorders Give another name for this cantata
4 Of which famous orchestra isFrans Bruumlggen the conductor
5 List three leading Japanesecomposers of excellent solo pieces for the recorder
6 Give the names of recordermagazines published inGermany England and the US
7 What is the fundamental tone of a fourth flute
8 List two recorder makers fromthe Baroque period in England
9 Whatrsquos the title of the recitativeand chorale in the Saint MatthewPassion where the recorder isused
10 Give the names of two famouspublishers in business around1700mdashone in London and one in Amsterdam
11 The opus 10 work by AntonioVivaldi includes six concertiSome of them have beautifulnames Give the names of thefirst three concerti of this opus
12 Whatrsquos a nickname for Jean Jacques Hotteterre
13 The combination of recorder andtraverso was rarely used in theBaroque time Can you name any composers who used thiscombination
14 Which king from 16th-centuryEngland owned a large collectionof recorders and also composedand enjoyed daily recorderplaying
15 How many movements compriseHandelrsquos Sonata in C Op 1 No 7 originally written forrecorder and basso continuo
16 Give the name of Praetoriusrsquostreatise from 1609 that describesthe whole recorder family
17 Name the author of the oldestrecorder method
18 Name Jan Jacob van Eyckrsquosdisability
19 Who pretended around 1930 thatthe recorder was a kind ofclarinet
20 Who doesnrsquot belong in thefollowing group Bertho DrieverKarel van Steenhoven MarionVerbruggen Paul LeenhoutsDaniel Bruumlggen
21 Name the two instrumentsindicated to play the sonataMeiner Mutter of Hans UlrichStaeps
22 Il Pastor Fido was not composedby Antonio Vivaldi but by aFrench composer What was hisname
23 Whatrsquos the nationality of themusic company Zen-On
24 CPE Bach composed abeautiful trio that includes a bassrecorder What are the other twoinstruments
25 Give the names of the fourmovements of Bachrsquos partita forsolo traverse flute BWV1013
26 Which excellent playersperformed as the recorder trioSour Cream
27 A recorder normally has eightfingerholes Despite this musichistory describes the recorder as ldquoune flucircte agrave neuf trousrdquo (a flute with nine fingerholes)Explain why
28 Give the French name for vibratoperformed by finger movementsalone on a wind instrument
29 Who wrote in his diaryldquohellipbeyond anything in the wholeworld the wind-music when the
Answers to
Bart Spanhoversquos Quiz1 La Fontegara2 Celle3 Actus Tragicus4 The Orchestra of the
Eighteenth Century5 R Hirose M Ishii and
M Shinohara
6 Windkanal or Tibia (both ofGermany) The Recorder(England) American Recorder(US)
7 B8 The most famous English
recorder makers around 1700Bressan and Stanesby (the latterbeing both senior and junior)
9 O Schmerz Hier zittert das gequaumllte Herz
10 Walsh (and Hare) (of London)Roger (of Amsterdam)
11 La Tempesta de Mare La Notte Il Gardelino
12 Le Romain13 JB Loeillet J J Quantz
JJ Hotteterre or J B de Boismortier
14 Henry VIII15 Five16 Syntagma Musicum17 Sebastian Virdung Musica
Getutscht und Ausgezogen (1511)18 Blindness19 Igor Stravinsky20 Marion Verbruggen21 Alto recorder and piano22 Nicolas Cheacutedeville23 Japanese24 Viola and cembalo25 Allemande Courante Sarabande
Bourreacutee26 Kees Boeke Walter van Hauwe
and Frans Bruumlggen27 Before 1670 the player could
choose how to hold the recordermdashleft hand or right hand at the topThis meant that recorder makersdrilled two holes to accommodatethe little finger of the hand thatended up at the bottom Theunused hole was sealed with beeswax
28 Flattement29 Samuel Pepys30 Flanders Recorder Quartet
30 March 2009 American Recorder
Lazarrsquos Early Music(866) 511-2981 jblazaraolcom
wwwLazarsEarlyMusiccom
292 Gibraltar Dr 108 Sunnyvale CA 94089
Strings amp Early Winds
ModernBaroque Strings Viols Vielle
Kuumlng Moeck Mollenhauer Paetzold Yamaha Ehlert
Wenner Baroque flutes
Wendy Ogle Lu-Mi Ifshin Snow
Competitive Prices
Sent on Approval
Personalized Service amp Advice
R
E
C
O
R
D
E
R
S
ldquoGO FOR NEO-BAROQUErdquo
Andrew Charlton Partita Piccola For 4 Recorders (SATB)
[Prelude Allemande Courante Musettemdash
a neo-baroque epitome] (Score amp Parts PBE-25) $795
Andrew Charlton Suite Moderne For 3 Recorders (ATB)
[Baroque shapes but Hindemithian harmony]
(3 Playing-Scores PBE-44) $995
Southwest of Baroque David Goldsteinrsquos ldquobaroque Suiterdquo
on Cowboy Songs For 2 Recorders (SA) (PBE-2) $350
The Provincetown Bookshop Inc
246 Commercial Street Provincetown MA 02657 Tel (508)487-0964
A good source for Recorder amp Viol Music of all publishers
Provincetown Bookshop Editions
angel comes down which is sosweet that it ravished me andindeed in a word did wrap upmy soul so that it made me reallysick just as I have formerly beenwhen in love with my wiferdquo
30 Whatrsquos the English name for afamous recorder ensemble calledin its country Vier op lsquon Rij
wwwAmericanRecorderorg March 2009 31
by Tim Broege timbroegeaolcom
December 11 2008 was a specialday for American music the
100th birthday of Americarsquos greatestliving composer Elliott Carter Cele-bratory concerts took place in manyvenues including Carnegie Hall inNew York There the Boston Sym-phony led by James Levine played anew work by Carter Interventions forpiano and orchestra The soloist wasanother well-known conductor DanielBarenboim who is no mean hand atthe keyboard to say the least
Itrsquos remarkable that wonderfulnew compositions continue to pourforth from Carterrsquos pen His musicsparkles and frolics packing lots of musical events into engrossingstructures Much of his music isavailable on CD so if you missed thecelebrations you can easily have yourown belated birthday party for Carter
Although he has never written for recorder (one of our prominent
recorder soloists should commissionhim) Carter has produced manychamber pieces featuring woodwindsSince many recorder players double orstarted out on woodwinds such piecesas the Sonata for Flute Oboe Cello ampHarpsichord (1952) Enchanted Preludes(1988) for flute and rsquocello Espritrudeesprit doux (1985) for flute andclarinet or the Oboe Quartet (2001)may hold special interest
If you missed Charlie Rosersquosexcellent interview (broadcast onDecember 10) with Carter Levine andBarenboim you can see it atwwwcharlierosecomview
interview9774mdashessential viewingfor fans of contemporary music
We note with sadness the passingon January 23 of another distin-guished American composer GeorgePerle An authority on the music ofAlban Berg and the Second VienneseSchool Perle developed a uniquelyrical style based upon a free approachto 12-tone and serial procedureswhich he dubbed ldquo12-tone tonalityrdquo I recommend listening to his SerenadeNo 3 for Piano amp Orchestra (1983) Six Etudes for Piano (1973-76) and the Pulitzer Prize-winning Wind Quintet No 4 (1985)
Another leading American com-poser Leon Kirchner is thankfully still with us having turned 90 onJanuary 24 Like Perle Kirchner has a highly personal and expressive styleA birthday concert was held at MillerTheater at Columbia University inNew York City NY Participatingmusicians included flutist PaulaRobison pianist Jeremy Denk and theClaremont Trio with the composerpresent to discuss his music
An excellent way to get to knowKirchnerrsquos music is through his stringquartets Just in time for his birthdayAlbany Records has released a fine CDof all four played by the Orion StringQuartet Quartet No 4 was written in2007 (when the composer was 87mdasha veritable youngster compared toCarter) The composer Allen Shawnhas described that quartet asldquoluminous and passionaterdquo words aptto describe much of Kirchnerrsquos output
Speaking of contemporary musicI have been spending pleasant hoursperusing the Catalog of ContemporaryBlockflute Music available online atwwwblokfluitorg from StichtingBlokfluit This Netherlands founda-tion offers a contemporary recordercatalog and a catalog of historicalrecorder music Access to both is byfree membership
For those who havenrsquot yet used thecontemporary catalog I urge you togive it a try You can search by manyparameters such as composer title orspecific instrumentation A search forldquovoice fluterdquo turned up a list thatincluded Moon Dances Three AmericanSketches by composer Walter Mays(intended for solo alto recorder butalso playable on tenor or voice flute)Searching the name of English com-poser Edmund Rubbra produced a listof eight works that employ recordersincluding the intriguing CantataPastorale opus 92 for high voice altorecorder rsquocello and harpsichord
Searching ldquofemale composersrdquo fora piece using ldquoBaroque altordquo yieldedAfter Meditation by Ros Bandt ofAustralia
What an easy and tremendouslyvaluable way to find new music
On the Cutting Edge___________________________________Birthdays composers and
recorder music catalogs
Elliot Carter
(photo by Meredith Heuer)
Question How does Renaissancefingering differ from standard
fingering on the recorder Is one superior tothe other Do you need a special recorder touse Renaissance fingering and if so can itbe played with regular recorders Is there afingering chart that shows RenaissancefingeringmdashWilliam BaumannWaterford WI
Answer from Carolyn Peskin Music composed in the
Renaissance the historical periodextending from about 1450 to 1600was predominantly vocal and highlycontrapuntal Recorders which oftendoubled singers at the octave orrendered vocal pieces instrumentallywere designed to make the individualmelodic lines clearly audible
Most 16th-century consortrecorders were one-piece instrumentswith large toneholes and a wide borethat contracted slightly starting nearthe upper fingerholes and thenexpanded gently near the lowest holesThat ldquochoke-borerdquo design togetherwith the voicing and tonehole con-figuration favored the fundamentaltone (first harmonic) producing astrong open sound that was aboutequally loud throughout theinstrumentrsquos range
Such recorders had a useful rangeof only about an octave plus a sixthwhich was nevertheless sufficient for the music of their day MostRenaissance-style consort recordersmade today are based loosely uponsurviving 16th-century instruments ofthe above type and are designed toapproximate the range timbre andvolume of those early instruments
Our present-day ldquoregularrdquorecorders are Baroque-derived instru-ments based loosely upon survivingrecorders from the late 17th and early18th centuries They are three-pieceinstruments with small toneholes and abore that is narrower and moretapering than a Renaissance boreextending their useful range upward totwo octaves plus a whole tone
Baroque recorders are soft andsweet-sounding in their bottom octavebut louder and brighter in the secondoctave Their lowest notes are espe-cially weak because they must be blowngently to prevent overblowing into thesecond octave Such instruments aresuitable for Baroque solo and chamberrepertoire but not very satisfying forRenaissance polyphony
Due to their different timbre andvolume Renaissance recorders will not blend well with Baroque onesFurthermore the most historicallyauthentic Renaissance-style recordersare tuned in a ldquomeantonerdquotemperament that facilitates the playingof pure major thirds Such instrumentsmake Renaissance music easier to playin tune but will produce intonationproblems if played with Baroquerecorders which are tuned in equaltemperament For the above reasonsRenaissance and Baroque recordersshould not be played together
Renaissance fingering will not work on todayrsquos neo-Baroquerecordersmdashmost of which haveldquomodernrdquo Baroque fingeringcommonly called ldquoEnglishrdquo fingering
because it was developed fromhistorical Baroque fingering by ArnoldDolmetsch in England during theearly 20th century Renaissancefingering is less standardized partlybecause a number of different originalinstruments are used as models andpartly because makers wish to improvethe intonation tone quality andorplayability of certain notes Howeverthe following generalizations apply tomany of todayrsquos Renaissance-styleconsort recorders
First in the lower octave modernBaroque fingering works for mostnotes but is often too flat for the fourth scale degree (eg soprano F)requiring removal of finger 7 (right-hand pinky) and is too sharp for theraised fourth degree (eg soprano F)requiring addition of finger 7
Modern fingering is also usuallytoo sharp for the lowered seventhdegree (eg soprano B) The correctfingering for that note varies from oneinstrument to another
In the upper octave modernfingering works for the first third andfifth scale degrees (eg soprano C Eand G) but usually not for other notesSome notes require half-holing with aright-hand finger and notes above thefifth scale degree may require additionof several fingers to bring them in tuneHistorical Renaissance fingering forthe second scale degree (eg sopranoD) is especially awkward because all ofthe fingerholes and the thumbholemust be uncovered Therefore somemakers substitute modern fingering forthat note
Although Renaissance fingeringand meantone tuning are recom-mended for the best blend some
Q amp A___________________________________ Renaissance recorder fingering
Send questions to Carolyn Peskin QampA Editor 3559 Strathavon Road Shaker Heights OH44120 carolynpeskinstratosnet
32 March 2009 American Recorder
wwwAmericanRecorderorg March 2009 33
makers of handcrafted Renaissance recorders will provide modern fingeringandor equal temperament upon request and Moeck Verlag offers a choice ofRenaissance or modern fingering for most sizes of its factory-producedRenaissance Consort series
For a most satisfying blend Renaissance ensembles should purchase amatched set of recorders tuned and voiced to be played together Renaissanceconsort sets usually include two different alto recorders one in G (lowest note g)and one in F (lowest note f ) The ATTB combination with the G-alto is best formost of the quartet music composed between 1450 and 1550 while the SATBcombination with the F-alto is more practical for much late 16th-centuryrepertoire (Playing the G-alto requires learning G-alto fingering or elsetransposing the alto line down a whole tone and using F-alto fingering)
In addition to consort recorders some makers offer ldquoGanassirdquo sopranos andaltos based upon fingering charts in Silvestro Ganassirsquos recorder tutor Fontegarapublished in 1535 and a single original instrument in the Vienna Kunst-historisches Museum Because of their special bore design (cylindrical with aflaring bell) Ganassi recorders have a range of two octaves and a sixth withcumbersome fingerings in the third octave They are used mainly as soloinstruments for playing intricate ornaments of the type found in Fontegara
Also sometimes included in the ldquoRenaissancerdquo category are ldquotransitionalrdquo(early Baroque) recorders which are based upon originals from the first half ofthe 17th century They have a bore that is wider than a Baroque bore but contractssharply near the lower end resulting in strong low notes and at least a full two-octave range usually with modern fingering Most transitional recorders aresopranos or altos designed for playing Jacob van Eyckrsquos variation sets or thehighly ornamented Italian solo repertoire of the late-16th and early-17thcenturies
However wide-bore consortrecorders with a range of at least twooctaves and modern fingering shouldalso be regarded as transitionalinstruments They differ somewhat intimbre and volume from typicalRenaissance consort recorders
Handmade wide-borerecordersmdashconsort Ganassi andtransitionalmdashare obtainable frommakers who advertise in AmericanRecorder the Prescott Workshop andthe Von Huene Workshop in the USJean-Luc Boudreau in Canada andStephan Blezinger in GermanyContact them andor visit their websites to find out what kinds ofrecorders they are currently makingand to get an idea of their prices andwait times
Factory-produced wide-borerecorders from Kobliczek Moeck andMollenhauer are available frominstrument dealers who advertise inAR New and used recordersincluding wide-bore models fromimportant makers in the US andabroad are also obtainable from Uni-corn Music For further informationvisit wwwbuyrecorderscom For a comprehensive database of recordermakers worldwide see Nicholas SLanderrsquos ldquoExtant Recorder Makers amp Retailersrdquo at wwwrecorder
homepagenetmakershtml
REFERENCES
CONSULTEDBauer Winfried
wwwrecorder-fingeringscomIncludes interactive fingeringcharts from modern makers andhistorical treatises Charts forRenaissance consort recorders byAdriana Breukink Adrian BrownBob Marvin and Tom Prescottwere consulted
Brown Adrianwwwadrianbrownorgrec
order_typesconsorthtml
Our present-day ldquoregularrdquo recorders are
Baroque-derived instruments based loosely
upon surviving recorders from the
late 17th and early 18th centuries
34 March 2009 American Recorder
The Von Huene Workshop Incis pleased to announce agreements with
CoolsmaZamra
to serve as their authorised service agents in the US
For more than 40 years the von Huene Workshop has produced some of the finest recorders in the world Our skilled staff can revoice retune and repair even the most seriously damaged instruments All repairs are done right on the premises and most can be completed within a week
For warranty repairs please include a copy of your original sales receipt
j 65 Boylston Street Brookline MA 02445 i(617) 277-8690 Fax (617) 277-7217 servicevonhuenecom
An informative article aboutrecorder sizes in Renaissanceconsorts
Brown Adrian and David LasockildquoRenaissance Recorders andTheir Makersrdquo AmericanRecorder Vol XLVII No 1(January 2006) pp 19-31 An important article based upon Brownrsquos extensive researchon 120 of the 200 surviving 16th-century recorders
Ganassi Silvestro Opera IntitulataFontegara Ed Hildemarie Peter(Berlin-Lichterfelde RobertLienau 1959) Modern edition ofthe oldest known treatise devotedentirely to the recorder (publishedin 1535) Includes 16th-centuryfingering charts
Griscom Richard and David LasockiThe Recorder A Research andInformation Guide (New York andLondon Routledge 2003) Anannotated bibliography including
references on construction anddesign of historical recorders
Levin Philip ldquoQampArdquo AmericanRecorder Vol XXXVIII No 4(September 1997) p 27Explains in simple terms thedifference between Renaissanceand Baroque recorders
Morgan Fred ldquoA Recorder for theMusic of JJ van EyckrdquoAmerican Recorder Vol XXV No 2 (May 1984) pp 47-49Describes the bore design of arecorder suitable for playing Van Eyckrsquos variation sets andcompares it with bore designs ofother types of recorders
Myers Herbert W ldquoRecorderrdquochapter in A Performerrsquos Guide toRenaissance Music ed JefferyKite-Powell (New York SchirmerBooks 1994) A 2nd edition isnow available published in 2007by Indiana University Press
FEATURING MUSICA PACIFICA
JUDITH LINSENBERG
RECORDERS____JS BACH TRIO SONATAS Arr by
Linsenberg from Trio Sonatas for Organ BWV525-
530 Sonata No 1 in E
major (transp to B
)
BWV 525 Sonata No 2 in C minor (transp to E)
BWV526 Sonata No 3 in D minor (transp to G)
BWV 527 Sonata No 4 in E minor BWV 528
Sonata No 5 in C major (transp to F) BWV529
Sonata No 6 in G major (transp to C) BWV 530
Virgin Classics Veritas 1993
____FIRE BENEATH MY FINGERS Showcases
three legendary composers who were also
virtuoso performers Vivaldi Concerto in F major
after RV 98570 ldquoLa Tempesta di Marerdquo Sonata in
A minor RV86 Concerto in G minor RV106 Con-
certo in Bb major RV503 Sammartini Concerto in
F major Tartini Concerto in A major D91 Dorian
____MANCINI CONCERTI DI CAMERA Seven
sonatas by Francesco Mancini plus one work each
from his contemporaries Francesco Durante amp
Domenico Scarlatti Highly recommended citation
from the 2000 Vivaldi Prize for Recordings of Italian
Early Music--Giorgio Cini Foundation Dorian
____MARAIS MARIN PIEgraveCES EN TRIO POUR
LES FLUcircTES VIOLON amp DESSUS DE VIOLE
Maraiss complete works for two treble lines and
bass with varied instrumentation and orchestrations
2-CD set $24
____SCARLATTI CONCERTI DI CAMERA
Seven sonatas for various instrumentations no
poor relations to the composers much more widely-
known vocal output All recorder players should
certainly have thisndashEarly Music Review
____TELEMANN CHAMBER CANTATAS
Five cantatas from Harmonischer Gottesdienst two
sonatas from Sonatas Corellisantes 2003 Chamber
Music America WQXR Record Award for best
chamber music recordings
____VIVALDI LA NOTTE Concerti per strumenti
diversi Award-winning CD featuring five Vivaldi
concerti two sonatas
AND OTHER RECORDING
ARTISTS FROM CALIFORNIA ____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 American Bach Soloists Jeffrey
Thomas conductor Dan Laurin Hanneke van
Proosdij recorders Christmas Concerto featuring
unique 1725 London version with solos transcription
for two recorders instead of two solo violins in
three of the six concertos Delos
____CANCcedilONIEgraveR Annette Bauer recorder
multi-instrumentalist Tim Rayborn Shira Kammen
strings Phoebe Jevtovic voice in a new early
music group devoted to repertoire from the
12thndash15th centuries as well as traditional music
from related regions (the Balkans Scandinavia
Middle East) Medieval instrumental music played
on a variety of instruments including strings
recorders and percussion Medieval dances and
motets bring to life the rich world of ancient
European music-making
____SACRED AND SECULAR MUSIC FROM
RENAISSANCE GERMANY Ciaramella-Adam amp
Rotem Gilbert Doug Millikan Debra Nagy
recorders with other winds shawm sackbut amp
organ Medieval amp Renaissance sacred music with
reconstructions of folksongs amp arrangements based
on contemporary improvisation
____BURIED TREASURE TOPAZ amp SAPPHIRE
Ensemble Vermillian Frances Blaker recorders
Barbara Blaker Krumdieck cello Elisabeth Reed
gamba Katherine Heater harpsichord amp organ
Transcriptions of Buxtehudes Op 1 other pieces by
Buxtehude works by Biber Johann Schop
Schmelzer Fafarela 2007
____STOLEN JEWELS Ensemble Vermillian
Frances Blaker recorders Barbara Blaker
Krumdieck Elisabeth Reed Katherine Heater 17th-
century German music adapted by Blaker I love
violin music so I steal the music and rearrange it
for my own instrumentrdquo Buxtehude Op 1 Biber
Rosenmuller Krieger JM Bach Fafarela
Recordings
____SENFL (LUDWIG) Farallon Recorder Quartet
(Letitia Berlin Frances Blaker Louise Carslake
Hanneke van Proosdij) 23 lieder motets and
instrumental works of the German Renaissance
____DOLCE MUSICAndash A CONTEMPLATIVE
JOURNEY Eileen Hadidianflutes recorders
Natalie Cox harps Celtic Renaissance and
Medieval melodies for recorder and flute with
Celtic harp Healing Muses 2005
____REFLECTIONS MUSIC TO SOOTHE AND
UPLIFT THE SPIRIT Eileen Hadidian recorder amp
Baroque flute with Celtic harp and cello Celtic
traditional Renaissance amp Medieval melodies
Healing Muses
____AN EVENING WITH BACH Voices of Music
Hanneke van Proosdij Louis Carslake Dan Laurin
recorders Joanna Blendulf Elizabeth Blumenstock
Rodney Gehrke Lisa Grodin Katherine Kyme
Jennifer Lane Victoria Gunn Pich Susanne Ryden
William Skeen David Tayler Renaissance and
Baroque music centers on fine singing Instantly
recognizable Air on a G String Bachrsquos Prelude in
G Major (solo theorbo for rsquocello) plus lilting vocal
performancesmdashRydenrsquos weightless soprano on
Bist du bei mir Lanersquos rich alto on Es is vollbracht
____BACH amp TELEMANN SONATAS PRELUDES
amp FANTASIAS Voices of Music (Hanneke van
Proosdij Joanna Blendulf Rodney Gehrke William
Skeen David Tayler) Beautiful chamber music by
Bach and Telemann
IN STOCK (Partial listing)____ALLA TURCA FUX CALDARA BADIA
Matthias Maute amp Sophie Lariviegravere recorders
Monika Mauch soprano Vocal music of the church
accompanied by Ensemble Caprice plus sonatas
and other instrumental pieces Analekta
____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 John Daniels Sonja Lindblad
recorders Peter Sykes harpsichord Trio sonata
arrangement by Johann Christian Schickhardt
____LES
AMIS DU
BAROQUE
Paul Nauta recorder amp
Baroque flute Koen Dieltiens recorder Music by
Bassani Corelli Vivaldi etc Highlight Intl
____LES SEPT SAUTS BAROQUE CHAMBER
MUSIC AT THE STUTTGART COURT Matthias
Maute amp Sophie Lariviegravere recorders amp traverso
Ensemble Caprice Charming repertoire by
Schwartzkopff Bodino Detri Atma Classique
____TASTE OF PORTIQUE LEnsemble Portique
Early and contemporary chamber musicmdash
Bach Telemann Boismortier and others
____TELEMANN ALLA POLACCA REBELndash
Matthias Maute recorders amp traversondash
plays concerti and suites by GP Telemann Dorian
____TELEMANN CANONS AND DUOS Lisette
Kielson amp Patrick OMalley recorders LEnsemble
Portique Telemann Canons meacutelodieux amp Sonates
sans basse 2-CD set LEP Records
____20TH CENTURY MUSIC FOR RECORDER amp
PIANO Anita Randolfi recorders Music by Jacob
Bartok Leigh others for recorder amp piano
____VIVALDI AND THE BAROQUE GYPSIES
Matthias Maute amp Sophie Lariviegravere recorders
Ensemble Caprice Gypsy music taken from
Uhrovska zbierka (now Slovakia) plus Vivaldi
____VIVALDI SHADES OF RED CONCERTOS amp
SONATAS FOR RECORDER amp STRINGS Matthias
Maute recorders REBEL Stylish high octane
readings of some of Vivaldis most beloved pieces
including the popular and raucous Concerto alla
Rustica stunningly colorful Sonata on La Follia and
four exuberant recorder concerti Bridge
____WINDFIRE Charmaine Delmatier recorder
Steve Kostelnik classical guitar Terry Hale bass
Erik Hokkanen violin Refreshing mixture of Andrew
Lloyd Weber American blues flamenco Celtic and
one original piece ltwwwyermomusicomgt
Please indicate above the CDs you wish toorder and print clearly the following
Name ____________________________________
Daytime phone (_____)______________________
Address__________________________________
CityStateZip _____________________________
Check enclosed for
_____ single CDs x $____ = $______
_____ 2-CD sets x $____ = $______
TOTAL $______
Please charge the above amount to my
MasterCard Visa or AmEx
_______________________________________
Exp Date ____________
Cardholderrsquos signature ______________________
Mail to
ARS 1129 Ruth Dr St Louis MO 63122-1019 US
You may fax a credit card order to 314-966-4649
NEW You may order CDs online using PayPal at
wwwamericanrecorderorgordercdromshtm
Order your recorder discs
through the ARS CD Club
The ARS CD Club makes hard-to-find or limited release CDs by ARS members
available to ARS members at the special price listed (non-members slightly higher)
All CDs are $15 ARS members$17 Others unless marked otherwise Two-CD sets are
$24 ARS members$28 Others Add Shipping and Handling $2 for one CD $1 for each
additional CD An updated listing of all available CDs may be found at the ARS
web site ltwwwamericanrecorderorggt
The first meeting of the newly-formedFort Myers Recorder and Early
Music Ensemble was January 26 atthe Florida home of chapter rep Sue
Groskreutz For this year the groupis somewhat loosely organized andplans to meet for extended sight-reading Repertoire at the first meetingcomprised everything from Renais-sance duets to chamber music involv-ing three treble parts and continuo
Among the five musiciansattending the first meeting (photobelow front row Elizabeth Spang SueGroskreutz back row Suzanne FergusonSibylle Baumgartner Arlene Sowka) allplayed recorder three harpsichord
and one each played traverso violinand gamba Due to the scarcity ofrecorder players south of the Sarasotaarea modern string players are alsoincorporated into this ensemble
The group decided not to chargedues and to meet at Groskreutzrsquoshome For more information pleasecontact Groskreutz at 239-267-1752spgembarqmailcom Snowbirdsdrifting through the area are welcome
Last fall at the requestof a student Kay Hettich
(inset below right) taught abeginning recorder class atthe Redding (CA) Senior
Center The five-weekclass was so successful thatmost participants haveformed a bi-weekly noviceensemble (right) coachedby Hettichmdashwho consid-ers them her ldquohatchedeggsrdquo
A new batch of ldquoeggsrdquostarted to incubate when afive-week class began on February 20Other senior center members havebecome interested as they heard oftheir colleaguesrsquo success These noviceplayers comprise some who previouslyread music and played instruments as well as people who are totally new to music notation
One student has also formulated amaxim ldquoEveryone at age 40 ought tolearn to play the recorder if heshehasnrsquot alreadyrdquo Just think how theworld would be transformed byshifting our focus to music
After Lynn Whidden attendedthe Montreacuteal Recorder Festival lastfall when the ARS Board met inQuebec she joined the ARS and nowrelays news of the lively interest in therecorder exhibited by a group underthe new leadership of Brent Legg ofBrandon University in ManitobaCanada Although his hands wereldquostill partly frozenrdquo he wrote that theBrandon University Collegium
Musicum in collaboration with theWaverley Park Recorder Club is
preparing a spring concert calledldquoEnglandrsquos Golden AgerdquoRepertoire spans the 16th century
from Henry VIIIrsquos accession in 1509to the death in 1603 of Elizabeth Iand includes solo songs four- andfive-part settings of Renaissancedances (with dancers) three- to five-voice madrigals and ldquobig-bandrdquoarrangements of William Byrdrsquos TheBells and The Dargason as re-imaginedby Gustav Holst (further re-imaginedfor recorders and percussion)
Of the 15 collegium membersseven are encountering the recorderfor the first time since elementaryschool The Collegium Musicumpromotes the study of early music at the university and is open to theuniversity community and the generalpublic This year there are five com-munity participants with interest fromseveral more both within and outsideof the university For informationcontact BrentLegggmailcom
January 16 marked the thirdannual recorder workshop of threeFlorida groups the Pasco Collegium
Recorder Consort of Hudson theImperial Recorder Consort of
36 March 2009 American Recorder
Chapters
amp Consorts___________________________________Workshops and activities from
coast to coast in the US and Canada
Lakeland and the Pilgrim Pipers Recorder Consort of St Petersburg Theygathered for a morning tackling selections by Banchieri Monteverdi PurcellCorelli Mendelssohn Bach Mozart and Glen Shannon Each group presenteda piece for the other participants Sweet Georgia Brown by Ben Bernie (St Pete)a Sonata by Sammartini (Lakeland) and The Gospel Train arr by KW Ford(Pasco) The 29 participants were led by Marlene Cracraft (Pasco) Jane
Spencer (Lakeland) and Elizabeth Snedeker (St Pete) Tom Bickley (photo below) directed the fall workshop of the Mid-Peninsula
Recorder Orchestra in Cupertino CA The 30 players started with Gregorianchants written in ldquooldrdquo notation Bickley gave basic instruction on how tointerpret the notes and then had the group sing the chants prior to playing them
The workshop theme of ldquoThe Articulate Recorderrdquo was literally played out as the music presented used variations in tonguing phrasing and breathingOther repertoire included a Kyrie by Tomas Luis de Victoria Bachrsquos Jesu Joy ofManrsquos Desiring a double-choir piece by Gabrieli Christopher Tyersquos In NomineXIII and a Purcell chaconne The workshop ended with a rhythmically-challenging minimalist piece by Bickley entitled Beginning composed for theWaldorf School teacher training program George Greenwood reports that thegroup had a productive event and plans to ask Bickley to lead a future workshop
wwwAmericanRecorderorg March 2009 37
A Muse in the DesertThe sound of a pin dropping hellip thesound of eager minds and fingersabsorbing information and inspira-tion hellip the sounds of ldquoNuevaEspantildeardquo Spanish- and indigenous-influenced music of the 1600s in theNew World These were the soundsof the Desert Pipes (Phoenix AZ)chapterrsquos fall workshop given byEileen Hadidian On a Saturdaylast October 30 players from all overArizona gathered to learn from andbe inspired by the founder of a SanFrancisco Bay Area group dedicatedto sharing music for healing inhealthcare settings Healing Muses(wwwhealingmusesorg)
The day began with relaxationstretching and breathing exercisesfollowed by travels to Peruacute MexicoGuatemala and Colombiamdashhighchurch music vernacular pieces anda mixture of the two Participantsenjoyed the historical and contextualbackground provided as an overviewfor the day and for each piece
Remarkably the sound heardbetween pieces and passages was anenergy-filled quiet the attentivestillness of active engagement in theworkshop experiencemdashnot the chat-tering noodling and conversationsthat often occur when the musicstops That activity was reserved forthe breaks when participants couldenjoy the cool (at last) outdoorschat with Hadidian and peruse the popular garage sale (to benefitDesert Pipes) of previously-enjoyedbooks and other treasures
On Sunday Hadidian sharedher expertise and inspiration in indi-vidual and group coaching sessionsThe weekend was a special experi-ence and Desert Pipes memberslook forward to the next visit of this Healing Muse
Ann Koenig Scottsdale AZannisalesprocom
Members
of three
Florida
groups
met
in January
for a joint
workshop
CHAPTER NEWS
Chapter newsletter editors and publicity officers should send materials for publication toAmerican Recorder 7770 South High St Centennial CO 80122-3122
editoramericanrecorderorg Also send short articles about specific activities that haveincreased chapter membership or recognition or just the enjoyment your members get out of
being part of your chapter Digital photos should be at least 3rdquox4rdquox300dpi TIF or unedited JPG files Please send news to the AR address above and to the following
ARS Office 1129 Ruth Drive St Louis MO 63122-1019 ARSrecorderAmericanRecorderorg
and to Bonnie Kelly Chair Chapters amp Consorts Committee 45 Shawsheen Rd 16 Bedford MA 01730 bksharpaolcom
TO THE STARS
AND BEYONDThe cover of the November magazinegenerated a few comments Some werenrsquotsure how to interpret the title (in theartistrsquos native German it could besomething close to ldquostarlit moonrdquo)Longtime member Carolyn Peskin wrote to offer her vision of that cover
In the beginning the Great Spiritinvented Mr Sun to light the day andMiss Moon to light the nightHowever as Miss Moon floated up inthe sky all by herself like a big yellowballoon she began to feel very lonelyso one night to relieve her lonelinessshe decided to take out her recorderand make music
But when she started to playsomething miraculous happened Not only beautiful melodies but alsoyellow dust poured out of the bottomof her recorder and the dust particlesimmediately coalesced to form yellowstars As she continued playing moreand more stars were created and theyfloated up around her filling the nightsky
At last Miss Moon was happy fornot only was she herself able to enjoyher music but she now had a wholecrowd of starry companions to enjoy itwith her And if you listen very care-fully on a quiet night you might beable to hear her recorder and thatstarry choir humming along
Carolyn Peskin
LOCATING EARPLUGSI read with interest the QampA in theNovember lsquo08 AR regarding hearingloss and use of earplugs Where do you get musicianrsquos earplugs
Dolly Hirata Kensington CA
CAROLYN PESKIN PROVIDED THIS
INFORMATION Musicianrsquos earplugs arecustom made for individual usersThey can be purchased only fromlicensed hearing professionals (ieaudiologists and hearing instrumentspecialists) To find a licensed hearingprofessional in your area look underldquoaudiologyrdquo or ldquohearingrdquo in your localyellow pages
For information about how musi-cianrsquos earplugs are produced visitwwwetymoticcomephperme-w
tbaspx That web page also has a linkto contact information for authorizedlabs that make the custom earmolds formusicianrsquos earplugs If the yellow pagesdo not prove helpful those labs canrefer you to a licensed hearing pro-fessional in your area from whom youcan purchase musicianrsquos earplugs
MORE FROM CAROLYN
THIS TIME ABOUT OSKARIn the September 2008 AR the musicreview by Leslie Timmons of the Oskarpieces by Matthias Maute mentionedthat Carolyn Peskin had translated twoof the Oskar books from German toEnglish People can obtain thetranslations free of charge as Wordattachments by contacting her atCarolyn Peskin 3559 StrathavonRoad Shaker Heights OH 44120carolynpeskinstratosnet
ANOTHER KIND OF
MUSIC-READING
GLASSESIn the January 2009 issue of AmericanRecorder therersquos something (in myopinion) the ldquoRecorder with GlassesObbligatordquo article omitted which canenable a nearsighted musician to avoidneck strain in the use of bifocals
Irsquove found the solution to thisvexing problem is to have onersquos bifocalsconstructed differently [from] normalMy optometrist was willing to work
38 March 2009 American Recorder
Response___________________________________Two kinds of vision
the better to see with and (not) to hear with
Honeysuckle Music
Recorders amp accessories
Music for recorders amp viols
Jean Allison Olson1604 Portland AveSt Paul MN 55104
6516448545jeanhoneysucklemusiccom
Responses from our readers are welcomedand may be sent to American Recorder 7770 South High St Centennial CO
80122 Letters may be edited for length and consistency
ARS Membership Enrollment and Renewal I am a new member I am or have been a member
USCanadian Memberships Foreign Memberships $45 One Year $55 Foreign One Year $75 Sustaining (Receive a Hottetere Hands Pin) $100 Two Years $80 Two Years
LIFETIME MEMBERSHIP Single Dual Regular Lifetime Member $1000 (2) $1500 (4) 4 installments of $250 available) Loyalty Lifetime Member (1) $ 800 (3) $1200 (4) 4 installments of $200 available
(1) For members who have maintained membership for five consecutive years (2) $750 is Tax Deductible (3) $600 is Tax Deductible (4) Installments available Student Memberships Other Memberships (Enclose proof of full time enrollment) $65 One Year Workshop Membership
$25 USCanadian One Year $125 One Year Business Membership $45 USCanadian Two Years $30 Foreign One Year $5 Additional Charge for Dual Address or Dual Name
Do not list my name in the ARS Print Directory Do not list my name on the ARS Online Directory Do not release my name for recorder related mailings Do not contact me via email
My address telephone and email address are the same as last time
______________________________________ _________________________ Name Phone Number ______________________________________ _________________________ AddressCityStatePostal Code Email Address Please charge to (Circle one) VISAMasterCardAMEXDiscover CC________________________________ Expiration Date ______________ Signature of cardholder_______________________________________________________ Clearly Print Name as it appears on Card________________________________________
Renew by Mail Online By Phone or by Fax
Demographic Information (optional information collected only to enhance ARS services and provide statistics to grant makers)
I am a member of ARS Chapter or Consort____________________________ I am the Chapter Contact Your age Under 21 (21-30) (31-40) (41-50) (51-60) 61-70) (71+) Please check all that apply
I am a Professional Recorder Performer
I wish to be included in the list of Recorder Teachers in the ARS Directory and website I Teach (circle your choices) Children High School Youth College Students Adults Beginner Intermediate Advanced Pre-Professional Individuals Childrenrsquos Classes Adult Classes Ensembles Suzuki Orff JRS Leader Kodaly Where I Teach (circle your choices) Music Studio Public or private school Community Music School College Other _____________________
American Recorder Society 1129 Ruth Dr St Louis MO 63122-1019
Phone 314-966-4082Fax 314-966-4649
TollFree 800-491-9588ARSRecorderAmericanRecorderorg
wwwAmericanRecorderorg
with me [to find] an ideal (for me)placement size and focal length of thebifocal lens
Before visiting the optometristIrsquod had my wife measure the distancefrom my eyes to the music on mymusic stand With this measurementthe optometrist set up her machine toprepare a vision prescription for memaximized for this reading distance
When I look at my bifocals (withthem off) the lenses (through which Iread my music) occupy most of thelower two-thirds of my glasses (they are set very high and beginimmediately at the inner rims) Thisleaves the upper third and smallportions of the outside [of each lens]for focusing on the conductor As longas my stand is set low enough my necknever experiences any strain (even if Ihave to read three to a part) and Irsquove no problem in seeing theconductor (in sharp focus) either
For me trying to use glasses [toread] from a music stand [that] weredesigned for use in reading from acomputer screen also results in neckstrain (not to mention unreliability in aldquopressurerdquo situation) Having studiedTai Chi extensively and so being
wwwAmericanRecorderorg March 2009 39
There are lots ofsolutions to thepresbyopic musicianrsquosproblem but all involve compromises
40 March 2009 American Recorder
American Recorder Society PublicationsErich Katz Contemporary Music Series Members Non-MembersA Short Tale for Two Basses Suzanne M Angevine (Level II) (2 scores) $5 $8Dialogue and Dance Cecil Effinger (SATB)(Level II-III) (score amp parts) $10 $18Dorian Mood Sally Price (SATB) (Level II) (score amp parts) $10 $18Double Quartet for Recorders Peter Ballinger (Level II-III) (score amp parts) $10 $18Entrevista Frederic Palmer (SATB) (Level II) (2 scores amp 4 recorder parts) $8 $14Kyrie and Vocalise for Soprano Voice ampRecorders Stanley W Osborn $8 $14
(SATB) (Level II) (2 scores amp 4 recorder parts) Picnic Music Jeffrey Quick (SATB) (Level II) (score amp parts) $5 $8Six Short Pieces for Three Recorders edited by Alan Drake $8 $14
(3 scores) Vaclav Nelhybel (AATT) (Level II)Sonatina for Alto Recorder and Piano Anthony Burgess $7 $12
(Level II) (2 scores)Sonatine for Three Altos Lee Gannon (Level III) (score amp parts) $14 $26Suite of Jewish Folk Tunes Erich Katz (S SA8 AT) (Level II) (three scores) $10 $18
Musical Editions from the Membersrsquo Library ARS members 1 copy-$3 2 copies-$450 3-$6 4-$750 5-$10 6-$1150Non-members (editions over 2 years old) 1 copy-$5 2 copies-$850 3-$12 4-$15 5-$1950 6-$23The ARS is happy to provide photocopied enlargements of any Membersrsquo Library edition at the same prices Please specify ldquoMembersrsquo Library Enlargementrdquo
ARS Information BookletsARS members 1 booklet-$13 2 booklets-$23 3-$28 4-$35 5-$41 6-$47 7-$52Non-members 1 booklet-$18 2 booklets-$33 3-$44 4$55 5-$66 6-$76 7-$86
Education PublicationsThe ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996)
First copy free to ARS Members (mailed to new members as they join) replacement copies $3Guidebook to the ARS Personal Study Program (1996) Material formerly published in the Study Guide
and Study Guide Handbook plus additional resources Members $11 non-members $20ARS Music Lists (2002 with 2003 Supplement) Graded list of solos ensembles and method books
Members $9 non-members $15Package Deal available only to ARS members Guidebook and Music ListsSupplement ordered together $16Junior Recorder Society Leaderrsquos Resource Notebook
ARS members $20 non-members $40 (updates at reduced rates after initial purchase)$5 Dues for each JRS student member sponsored by an ARS member ($4 each for groups of 10+)
VideosRecorder Power Educational video from the ARS and recorder virtuoso John Tyson
An exciting resource about teaching recorder to young students ARS members may borrow a copy for onemonth by sending $5 to the ARS office along with the address to which the tape should be shipped
Pete Rose Video Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music Festival recitalFeatures Rose performing a variety of music and an interview of him by ARS member professional John Tyson
Other PublicationsChapter Handbook A resource on chapter operations for current chapter leaders or those considering forming an
ARS chapter ARS members $10 non-members $20 (updates free after initial purchase) One free copy sent toeach ARS chapter with 10 members or more
Consort Handbook Resource on consort topics such as group interaction rehearsing repertoire performingARS member prices CD $10 hard copy $20 combo price of CD and hard copy ordered together $25
Discography of the Recorder Vol I (1989) Compiled by Scott Paterson and David LasockiDiscography of the Recorder Vol II (1990-1994) Compiled by Scott Paterson
Either single volume ARS members $23 non-members $28Both Discography volumes together ARS members only $40
American Recorder Cumulative Index for Vols I-XXXX ARS members $20 non-members $32Index Supplement Vol XXXIV-XXXX ARS members $8 non-members $14
Shipping amp Handling FeesUnder $10 - add $3 $10-1999 - add $4 $20-2999 - add $5 $30-3999 - add $6 $40-4999 - add $7 All prices are inUS dollars For Canadian or foreign postage pay by credit card and actual postage is charged
Please make checks payable to ARS VISAMCAMEXDisc also accepted
ARS 1129 Ruth Drive St Louis MO 63122 US800-491-9588 ARSrecorderAmericanRecorderorg
Arioso and Jazzy Rondo (AB) Carolyn PeskinBerceusendashFantaisie (SATB) Jean BoivertBrucknerrsquos Ave Maria (SSATTBB)
Jennifer W Lehmann arrCanon for 4 Basses (BBBB) David P RuhlDancers (AT) Richard EastmanDifferent Quips (AATB) Stephan ChandlerElegy for Recorder Quartet (SATB) Carolyn PeskinElizabethan Delights (SAATB)
Jennifer W Lehmann arrFallen Leaves Fugal Fantasy (SATB) Dominic BohbotFour Airs from ldquoThe Beggarrsquos Operardquo (SATB)
Kearney Smith arrGloria in Excelsis (TTTB) Robert CowperIdyll (ATB) Stan McDanielImitations (AA) Laurie G AlbertsIn Memory of Andrew (ATB) David GoldsteinLay Your Shadow on the Sundials (TBgB)
Terry Winter OwensLeClercqrsquos Air (SATB) Richard E WoodLittle Girl Skipping and Alouette et al (SATBCb)
Timothy R Walsh
Los Pastores (SAAAT + perc) Virginia N Ebinger arrNew Rounds on Old Rhymes (4 var) Erich KatzOther Quips (ATBB) Stephan ChandlerPoinciana Rag (SATB) Laurie G AlbertsSanta Barbara Suite (SSAAT) Erich KatzSentimental Songs (SATB) David Goldstein arrSerie for Two Alto Recorders (AA) Frederic Palmer Slow Dance with Doubles (2 x SATB) Colin SterneSonata da Chiesa (SATB) Ann McKinleyS-O-S (SATB) Anthony St PierreThree Bantam Ballads (TB) Ann McKinleyThree Cleveland Scenes (SAT) Carolyn PeskinThree in Five (AAB) Karl A StetsonTracings in the Snow in Central Park (SAT)
Robert W ButtsTrios for Recorders (var) George T BachmannTriptych (AATB) Peter A RamseyTwo Bach Trios (SAB) William Long arrTwo Brahms Lieder (SATB) Thomas E Van Dahm arrVariations on ldquoDrmešrdquo (SATB) Martha BishopVintage Burgundy (SASATT)
Jennifer W Lehmann arr
Adding Percussion to Medieval and Renaissance Music Peggy Monroe
American Recorder Music Constance PrimusBurgundian Court amp Its Music Judith Whaley coord
Improve Your Consort Skills Susan CarduelisMusic for Mixed Ensembles Jennifer W LehmannPlaying Music for the Dance Louise AustinRecorder Care Scott Paterson
acutely aware of any kind of neckstrain when it begins to develop these ideas have been a big help to meIrsquom hoping they may be of help toother musicians as well
Best wishes to you And inanswer to your questionmdashyes the new[AR] format (with more white spacebetween the lines) is much easier toread (in my opinion)Your magazinejust keeps getting better and better
Very sincerely Ed Green WestSuburban (Chicago-area) Chapter
RESPONSE FROM DR BILL LONG
What Ed describes is a variant of theuse of conventional bifocals as musicglasses described on page 8 in thearticle Instead of lowering his musicstand into the field of view of hisbifocal segment Ed and his optome-trist have fabricated special purposebifocals with the segment really highso he can focus on his music instraight-ahead view That approachrestricts his distance vision to an areaabove his usual line of sight whichseems to work for Eds playing setup
Eds comments on the difficultiesin using conventional progressiveaddition lenses as music lenses con-firm what I said on page 9 Thats whymanufacturers have marketed special-ty progressive lenses designed specif-ically for intermediate distance taskslike computer use and playing music
There are lots of solutions to thepresbyopic musicians problem but all involve compromises The key toevaluating those compromises andchoosing the best solution for yourselfis to understand your needs and toenlist the help of a sympathetic visioncare specialistmdashjust as Ed did
Please change your
browserrsquos favorites list
AR online is now at wwwameri
canrecorderorgmembership
magazinehtm Send news to
editoramericanrecorderorg
FOUR FOUR-PART CANZONAS
(1608) BY GIOVANNI GABRIELI
ED GREG LEWIN Hawthorns Music RB 16 (Magnamusic) 1999 SATBSc 16 pp pts 4 pp $1950
Giovanni Gabrieli was probablyborn between 1554 and 1557 in theparish of San Geremia in Venice Thedetails of his early life are sketchy butit appears that he was born Giovannidi Fais and later changed his name toGabrieli out of respect to his uncleAndrea with whom he shared a closerelationship In fact in 1587 Gabrielidescribed himself ldquoas little less than asonrdquo It is commonly thought thatAndrea provided Giovanni with hisearly musical training Andrea whohad spent some time in Munichstudying under the great Orlando deLassus sent Giovanni to Munich for a similar period of study in theearly 1570s
Gabrieli remained in Munichuntil the death in 1579 of the dukeAlbrecht V who had been Lassusrsquosemployer for a number of years andwho was an enthusiastic patron of the arts particularly music With hisdeath a number of musicians lost theirjobs it seems as if Gabrieli were also a victim of such culling of talent(Within a generation the tide wouldturn and the Munich court wouldagain hire Venetian expatriates such as Priuli Valentini and Neri)
Upon his return to VeniceGabrieli was hired as a temporaryorganist at San Marco his positionbecoming permanent in 1585 For a few months that year uncle andnephew served together as first and
second organists in the chapel of thedoge In Giovannirsquos absence fromVenice there had been a plague thathad decimated the ranks of theprofessional musicians Andrea setabout rebuilding his forces at SanMarco by hiring a full-time windband consisting of Girolamo dallaCasa a renowned cornettist andviolist his two brothers who playedsackbut and later the cornett virtuosoGiovanni Bassano Giovanni Gabrieliaugmented these forces with addi-tional players and began composingthe large-scale ceremonial music forwhich he is so well known today
Giovanni was also elected to bethe organist and composer to theconfraternity of San Rocco in 1585and it is now thought that his largestpieces were intended for that venuewith its large central gallery andfrescos by Tintoretto instead of SanMarco Gabrieli held both thosepositions at the basilica of San Marcoand the Scuola Grande di San Roccountil he died in 1612 of a kidney stone
Although best known today forhis ceremonial and festival musicGabrieli was at home in smaller-scaleformats as well These four four-partcanzoni are taken from the 1608publication by the Venetian publisherAlessandro Raverji Canzoni per sonarecon ogni sorte di strumenti These werevery popular pieces to judge by themany collections in which they appear
Additionally like Gabrielirsquoskeyboard music they are found inother arrangements These four-partcanzoni lie well under the fingers inarrangements for keyboard and lute
As seen from the title Gabrielispecified no instrumentation but like asimilar edition of madrigals and battlepieces from a few years earlier a dis-tinction was made that they wereintended for wind instruments almostcertainly cornetts and sackbuts
Recorders were not unknown in Venice they were used regularly inthe confraternity of San GiovanniEvangelista where Giovanni BattistaRiccio was organist
These pieces are relativelysimplemdashplayable by beginning tointermediate ensembles They aremostly contrapuntal (with a fewhomophonic sections) and have few rhythmic eccentricities
These canzoni are found in manymodern brass editions but there arefew editions available to the recorderplayer This edition by Greg Lewin ofHawthorns Music might be consid-ered a ldquobare-bonesrdquo edition There islittle background information andeditorial practices are not specified
The music itself has a handwrittenlook that can be distracting but is easyenough to read Lewin has thought-fully supplied phrasing marks that willbe helpful for ensembles unused tothis style of music
Music
Reviews___________________________________ Infectious music created in spite of the plague
wwwAmericanRecorderorg March 2009 41
This is a good edition
for small ensembles that
canrsquot get eight players
together to play
Gabrielirsquos more famous
eight-part canzoni
42 March 2009 American Recorder
The parts are four pages but mycopy had all four pages printed on avery large page This is not a problemand there are no page turns
This is a good edition for smallensembles that canrsquot get eight playerstogether to play Gabrielirsquos morefamous eight-part canzoni Thesesmall-scale pieces are by no meansinferior to Gabrielirsquos more elaboratemusic and deserve to be better known
7 CANZONEN (1637) BY
TARQUINIO MERULA ED JOACHIM
ARNDT WITH CONTINUO REALIZATION
BY CLAUDIA SCHWEITZER MieroprintMusikverlag EM2088 (availabledirectly from wwwmieroprintcom)2005 SS or TT bc Sc 24 pp pts 8 pp$28
Tarquinio Merula was bornaround 1595 in either Busseto orCremona in Italy As was the case withso many composers of the day either alack of regular employment or a rest-less nature took him from his home inCremona to as far away as Warsaw He is found as the organist of thechurch and the chambers to the kingof Poland Sigismund III in 1624
Merula was one of the leadingexponents of the relatively new con-certante style pioneered by ClaudioMonteverdi and others in the seconddecade of the 17th century and may be described as one of the earliestBaroque composers His compositionsin the concertante style are fresh andunforcedmdashhe was born into this styleand didnrsquot encounter it as somethingnew as was the case with so many ofMonteverdirsquos contemporaries
After several years of peripateticexistence Merula found regularemployment in 1631 in Bergamo atthe church of San Maria MaggioreThe prior holder of the post of maestrodi cappella Alessandro Grandi haddied the previous year in the plagueMerula had signed a three-year
contract but by December 1632 hewas terminated with accusations thathe had molested several studentsMerula threatened a lawsuit to recoverhis lost wages but that threat wascountered with a pending criminalcharge lodged by the board ofgovernors of San Maria Maggiore By mid-1633 the matter was settledwith an apology from Merula and astatement that he relinquished allclaims to his salary
He then returned voluntarily toCremona where he stayed until 1635By 1638 Merula was once again inBergamomdashthis time as maestro dicappella and organist in the cathedralnext to San Maria Maggiore Asmight be expected there was con-siderable tension between the twochurches eventually resulting in theboard of San Maria Maggioreforbidding their musicians to perform under Merularsquos direction
He returned in 1646 to a familiarCremona post which he had heldthree times in various years and wherehe now settled downmdashthat of organistand maestro di cappella for Laudi dellaMadonna services in which he ledmusic at the main altar on Saturdaysand on vigils of Marian feasts
None of his employment issues
prevented the Pope from awardinghim the Order of the Golden SpurMerula was also elected to theAccademia dei Filomusi in BolognaHe died in 1665 in Cremona
His existing compositions showthe products of a lively mind Hisworks range from sacred songs andmotets to purely instrumental piecesnotably the ever-popular variations onvarious ground basses It is knownthat Merula was an accomplishedviolinist as well as a fine organist Hissurviving instrumental writing showsa predilection for strings In fact hewas one of the earliest composers tospecify string accompaniments tosacred motets
Merularsquos pieces look backwardtoward some of the more progressiveVenetian composers such as Monte-verdi while looking forward to thehigh Baroque with his innovative style
These seven canzoni like theearlier-published chaconne (EM2084)come from Merularsquos third bookpublished in 1637 CANZONI overo SONATE CONCERTATE perchiesa e camera a due et a tre delcavaliere This collection typifiesMerularsquos output pieces based onRenaissance-era ground basses arefound next to more ldquomodernrdquo sonatas
The original edition specifiesviolins and basso continuo This newedition is intended for recorders thespecific choice of which is up to theplayers Due to the relatively hightessitura tenor recorders work best inthese pieces (although listed as analternative soprano recorders tend to be on the screechy side)
Not surprisingly given Merularsquosskill as an organist the continuo partneeds a keyboard instrument forsuccessful realization Instead of beinga purely accompanying part the bassocontinuo part is an equal partner in these pieces the canzona ldquoLaRuggierardquo opens with a run that therecorders echo a few measures later
A more recorder-specific
edition intended for
altos would have been
ideal There is nothing
preventing the more
adventurous and
industrious players
from making their
own editions of this
delightful music
mentioned were a bit shrill A morerecorder-specific edition intended foraltos would have been ideal There isnothing preventing the moreadventurous and industrious playersfrom making their own editions of thisdelightful music
Prior to playing the previouslypublished chaconne I had notencountered MieroprintMusikverlag Mieroprintrsquos extensivecatalog has an equal focus on newmusic for recorders and on editions ofBaroque masters with emphasis on therecorder and flute Due to the lack of
wwwAmericanRecorderorg March 2009 43
are also available at
The Early Music Shop
of New England
Brookline MA
AESTHEacute
367-b de la Briquade
Blainville Queacutebec
Canada J7C 2C7
tel (450) 979-6091
wwwboudreau-flutesca
A bass viola da gamba or rsquocello is not necessary for these pieces and may infact make them sound heavy and ponderous rather than light and breezy as thismusic seems to be
More so than the above-mentioned chaconne these canzoni are written in avery idiomatic violin style with multiple examples of arpeggios In particular thecanzona ldquoLa Trecchardquo contains a notated example of a string tremolo figurerecurring through the piece ldquoLa Trecchardquo also dips well below the range of a Crecorder going down to low G the lowest string on the violin The editors havesupplied no alternative notes preferring to let the performers to fend forthemselves (in practice we took this passage up an octave with no problems)
The two recorder parts require virtuosity These upper parts are demandingwith the players needing to double-tongue in unison in order to negotiate themany runs of 16th notes and the shared rhythmic ldquolicksrdquo The harmoniclanguage unlike much of Merularsquos music is undemanding and contains none of the harmonic crunches for which he is famous
This is wonderful music that needs a couple of advanced recorder players fora successful performance The string idiosyncrasies can be overcome by advancedplayers and many of the editions of the era (although not this one) list thecornetto as an alternative to the violin so the use of wind instruments in the solo literature of the early Baroque was not unknown
Our experience with this edition left us with the opinion that these pieceswould have been better if transposed down a minor third so as to fit on a pair ofalto recorders (as is the case with much Baroque flute music to make it lie betteron the recorder) The tenors we used tended to sound a bit murky in the lowerregister next to the more aggressive harpsichord while the sopranos we tried as
KEY rec=recorder Srsquoo=sopraninoS=soprano A=alto T=tenor B=bassgB=great bass cB= contra bass Tr=treble qrt=quartet pf=piano fwd=foreword opt=optional perc=percussionpp=pages sc=score pt(s)=part(s)kbd=keyboard bc=basso continuohc=harpsichord PampH=postage andhandling Multiple reviews by one reviewerare followed by that reviewerrsquos name Pleasesubmit music for review to AR 7770 SHigh St Centennial CO 80122-3122 US
an American distributor this musicwill be hard to findmdashin fact can befound only at the time of this writingon their web site noted above But theeffort will be repaid
This edition is clear and easy toread and the parts require no pageturns The basso continuo realizationis simple and elegant
This is music deserving ofrediscovery My only quibble is thatthe editorial notes are all in GermanThis seems to be the practice ofGerman music publishers with thenotable exception of Moeck Otherpublishers of early music such asLondon Pro Musica routinelyprovide notes in English and German and often in French and Italian making their editionsaccessible to a wider audience
Frank Cone studied the recorderwith the late Ellen Perrin the viola dagamba with Carol Herman and thecornetto with Larry Johansen TheCalifornia multi-instrumentalist has been a member of the Orange CountyRecorder Society since 1985
Advertiser Index
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MAGNAMUSIC DISTRIBUTORS BC
MOECK VERLAG IFC
MOLLENHAUER RECORDERS IBC
PORT TOWNSEND WORKSHOP 14
PRESCOTT WORKSHOP 30
PROVINCETOWN BOOKSHOP 26
THE RECORDER MAGAZINE 4
THE RECORDER SHOP 6
SAN FRANCISCO EARLY MUSIC SOCIETY 18
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TEXAS TOOT 20
VON HUENE WORKSHOP INC 30
WICHITA BAND INSTRUMENT CO 21
DOMINIK ZUCHOWICZ 34
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Prices include web sitee-mail link directly from your ad in the online AR at wwwamericanrecorderorg
Circulation Includes the membership of theARS libraries and music organizations
Published five times per year January March May September November
Reservation Deadlines December 1 (January) February 1 (March) April 1 (May) August 1 (September) October 1 (November)
Rates good through November 2009 Pleaseinquire about discounts on multiple-issuecontracts inserts or other special requestsExtra charges for typesetting layout half-tones and size alterations 133-line screenrecommended Advertising subject toacceptance by magazine First-time adver-tisers must include payment with order
For more information contact the ARS office 1129 Ruth Drive St Louis MO63122-1019 800-491-9588 toll free 314-966-4082 phone 314-966-4649 faxadvertisingamericanrecorderorg
44 March 2009 American Recorder
Classified___________________________________
FOR SALE Cherrywood hurdy gurdy and hard-side case made by Kelischek bought 2005Originally $765 plus $89 for case Rarely usedBoth for $450 or make offer Please contact marjalocomcastnet Can ship
ASPIRE ANNOUNCE INSPIRE Afford-able PR for teachers and recitalists wwwrecitalroomcom
PHOTOS NEEDED of ARS events 1970sndash1990sto illustrate last chapters of Martha Bixlerrsquos histor-ical memoir about the ARS (to be posted online)E-mail scanned photos (300dpi JPG or TIF)arsrecorderamericanrecorderorg Hardcopies mail to ARS office to be scanned ampreturned Info 800-491-9588
T-SHIRT FOR ENSEMBLE PLAYERS to wear orshare Top 10 Reasons Why I Got Lost Wrongfingering bad lighting etc on blue cotton shirt$18 Highlighter tape and other goodies Beth amp Lindas Boutique as seen at BEMF CallLinda at 617-671-8694 or e-mail for brochurelindakushverizonnet
Where the havesand have-nots
of the recorder world can find each other
Classified rate for American Recorder 60centper word ten-word minimum ldquoFOR SALErdquoand ldquoWANTEDrdquo may be included in thecopy without counting Zip code is oneword phone e-mail or web page is twoPayment must accompany copy Deadlinesare one month before issue date Send copywith payment to ARS 1129 Ruth Drive St Louis MO 63122-1019
AMERICAN RECORDER (ISSN 0003-0724) 1129 Ruth Dr St Louis MO 63122-1019 is publishedbimonthly (January March May September and November) for its members by the AmericanRecorder Society Inc $20 of the annual $45 US membership dues in the ARS is for a subscriptionto American Recorder Articles reviews and letters to the editor reflect the viewpoint of their individ-ual authors Their appearance in this magazine does not imply official endorsement by the ARS
EDITORIAL DEADLINES November 15 (January) January 15 (March) March 15 (May) July 15(September) and September 15 (November) Submission of articles and photographs is welcomedArticles may be typed or sent as an attachment (Word or RTF preferred) to or text in an e-mail mes-sage They should be for the exclusive consideration of AR unless otherwise noted Photos may besent as prints or unedited JPG or 300dpi TIF files (minimum 3rdquox4rdquo) Advertisements may be sent inPDF or EPS format with fonts embedded
EDITORIAL OFFICE Gail Nickless Editor 7770 S High St Centennial CO 80122-3122 303-794-0114 (phone amp fax) editoramericanrecorderorg Books for review Editorial office Musicfor review Editorial office Recordings for review Tom Bickley 1811 Stuart St Berkeley CA 94703Cutting Edge Tim Broege 212 Second Ave Bradley Beach NJ 07720-1159 Chapter newslettersother reports Editorial office Postmaster Send address changes to ARS 1129 Ruth Drive St LouisMO 63122-1019 Periodicals postage paid at St Louis MO and at an additional mailing office
Chapter leaders
We know yoursquore out there
and that you want to share
your plans concerns
solutions and ideas with
other chapter leaders Visit
httpamericanrecorder
societywikispacescom
Here are some suggestions foravoiding overuse syndromes Most obvious warm up This meansincreasing your practice time graduallybefore the workshop begins andwarming up yourself and yourinstrument before each rehearsal
Make your playing situation ascomfortable as possible Take along acushion back rest footstool whateverit takes the ear and hand cannot ab-sorb what the bottom cannot tolerate
Be sure your glasses are ideal for the distance from your eyes to themusic desk that usually amounts to anarmrsquos length away (You can select apair at your local drug or departmentstore if you have no serious astigma-
tism) If glare from bright light (thosemarvelous outdoor rehearsals) is aproblem for you you may find that ayellow tint for your glasses is a help
Get your bodily playing equip-ment in the best possible shape beforethe workshop a visit to the dentist tosmooth off a front tooth for a windplayer can make an enormous differ-ence in endurance A layer of plasticwrap over the teeth (before yoursquoveworn a hole in your lip) may also help
Once yoursquove arrived at the work-shop there are ways to ensure thatstress (inevitable) doesnrsquot becomedistress (mostly preventable)
Take reasonable breaks duringrehearsal time and use them to stretchA little aerobics like running in placetakes very little time and gets rid ofthat stiff-from-sitting feeling Get yourfellow ensemble players to massageeach othersrsquo shoulders Other fre-
Do you have a favorite article from years past in AR E-mail that information to Gail Nickless
editoramericanrecorderorg
wwwAmericanRecorderorg March 2009 27
Mo
untain
Co
llegium
Pinew
oo
ds
Early M
usic
Week
Po
rt
To
wnsend
SF
EM
S
Baro
que
SF
EM
S
Ch
ild
rens
SF
EM
S
Med
ieval amp
Renaissance
SF
EM
S
Reco
rd
er
Texas T
oo
t
Wh
itew
ater
Wind
sw
ept
Music
Wo
rksh
op
Wo
rld
Fello
wsh
ip
$800ED $890ED $975 $950 $370T $950 $950 $740E $245 $535D $850E COST7 8 7 7 5 7 7 7 3 6 7 NO OF DAYSNO NO NO YES YES YES YES YES NO NO NO ARS DISCOUNT
125 189 169 102 82 124 76 136 1110 131 83NO OF FAC RECORDER FAC
50 100 100 55 30 70 40 50 110 45 30 NO OF STUDENTSLIHIAV
BLIHIAV LIHI AV
LIHIAV
BLIHIAV LIHI AV LIHIA LIHIA
BLIHIAV
BLIHIAV
RECORDER CLASSLEVELS
CMRMB20TO
CMRMBENROT
MRMB20MROPT
MBMPTO
CMRMBPTO
CMRENMPTO
C20MROPTO
CMR20MPT
CMRMB20ROTO MP
CMRMBMRO
SPECIAL CLASSES USING RECORDERS
WVDTO
CWKVPSDT CPVT
CWKVPSTO
KVDTO
CWPVPSTO O
WKVPSTO
CWVTO
CWPKVD
CKVDT
NON-RECORDERCLASSES
FSLSPP FSP
FSLSPPO FSSP
FSLSPPO
FSLPO
FSLPO SPO FSL PO FSLP
MUSICALACTIVITIES
DGBS DSWFGBSTW
DGBST D
DGBST DO SO
DFSWO RECREATION
S S SC SC S S SC SC OTHERS WELCOME
P SC CPUP SCP SCP SBC LP SPUP P BPUDIRECTTRANSPORTATION
A50B15 T15
A15B7 T6 A59
A20B2 T5 A59
A12B4 T1 A40 A
A20B15 T28 B10
TRANSPORTATIONTERMINALS
SD SD S S CALL S S SD SD SD SD ROOMSSP S SP P P SP P S S S BATHSCGV FV CV CV CV CV CV CV CV FV FOODHCD CALL HCD HCD C HCD HCD HCD HCD HD HANDICAP ACCESS
AR50 AVOIDING ACHES amp PAINSBy Leacuteonie Jenkins MD (c1925- 2000) from the March 1993 AR Vol XXXIV1
quently overused parts such asforearms and hands also respond to massage Quick tutorial on massagestart stroking toward the body and inthe direction of the flow of the veinsmdashupstream from the sorest partgradually work down to include thesore spot Yoursquore trying to move overthe underlying muscle not to rub theskin Thatrsquos why a little oil helps
Your psyche may need some relieffrom overload too Most workshopsare in surroundings that lend them-selves to taking a walk finding a placeto meditate taking in some beauty In creating anything a musical per-formance no less than more static artforms breathing in is as necessary asbreathing out be sure you take time to do it
Not to be forgotten those partiesLate hours and alcohol are stressfultry to balance off the fun yoursquore havingwith your capacity for both Above allenjoy Thatrsquos why yoursquore going
2009 SUMMER RECORDER WORKSHOPS
By Bart Spanhove
The author has been principalprofessor of recorder at the Lemmens-
instituut Leuven (Belgium) since 1984He is also artistic director of the world
famous recorder ensemble the FlandersRecorder Quartet which is set to perform
in concert at the 2009 Boston EarlyMusic Festival He is often asked to serve
as a jury member for internationalrecorder competitions in Canada US
Germany The Netherlands and BelgiumHe has given numerous master classes andlecture demonstrations all over the world
Spanhove is co-author of thesuccessful recorder method Easy Going(Heinrichshofen) and wrote the much-
used book The Finishing Touch ofEnsemble Playing (Alamire 2000
and Moeck 2002 with translations inChinese and German) In 2009
The Recorder Music of Frans Geysenwill come out (Mieroprint)
Currently he is researching practicetechnique for the recorder Daily
Spanhove thinks about how to makepeople happier by making music and
playing the recorder
As a conclusion for the VirtuosoRecorder class during the AmherstWorkshop in 2008 we organized aldquoHappy Hourrdquo for our nine talentedstudents Mee-Jung Ahn (Korea)Emilie Hasselgren and Kristine West(Sweden) Anne Timberlake JosephLewnard Jacob Lodico and BrycePeltier (US) Emiliano Perez(Mexico) and Fanny Massy (France)participated in a quiz that I wrote thenight before with the assistance ofReine-Marie Verhagen
We combined questions regardingmusic theory with practical exercisessuch as middot How long can a player hold a
low f in one breath on an altorecorder (You get one point foreach second)
middot How many times through a scaleis a player able to play in 30seconds (For every octave of theF major scale you get one point)
middot How many different pieces fromthe recorder repertoire can aperson play in the course of twominutes (The other members ofthe group have to guess the nameof the composer before the playercan start the next piece)
middot In one minute list as manydifferent titles as you can fromDer Fluyten Lusthof (TheRecorderrsquos Pleasure Garden) of J J van EyckThe list of questions goes onAt the ldquoHappy Hourrdquo people
were divided into three groupsaccording to dates of each personrsquosbirthday When theoretical questionswere asked (see below) the pointsystem was devised as follows threepoints were awarded when the selected
person of a group could find theanswer himherself two points whenthe selected person needed the help ofthe other group members and onepoint if the group needed the help ofour gracious class assistant Reine-Marie Verhagen (she alwaysknew the answer) No points weregiven if the quizmaster had to supplythe answer
On the next page you find someof my questions There are morewhich we hope to run in a future issueof American Recorder
The quiz was full of fun andsuspense By the end people weremore nervous than when playing aconcert on stage Jacob Lodico of theUS was the winner at Amherst
28 March 2009 American Recorder
Education___________________________________ A quiz for recorder players
wwwAmericanRecorderorg March 2009 29
Try these questions yourselfAnswers appear at the end of thisarticle
The Quiz1 Give the name of Ganassirsquos
treatise of 1535 where heextensively describes the recorder playing and diminutions of his time
2 In which German city is therecorder company Moeck based
3 In the cantata Gottes Zeit ist dieallerbeste Zeit BWV106 JS Bach calls for two altorecorders Give another name for this cantata
4 Of which famous orchestra isFrans Bruumlggen the conductor
5 List three leading Japanesecomposers of excellent solo pieces for the recorder
6 Give the names of recordermagazines published inGermany England and the US
7 What is the fundamental tone of a fourth flute
8 List two recorder makers fromthe Baroque period in England
9 Whatrsquos the title of the recitativeand chorale in the Saint MatthewPassion where the recorder isused
10 Give the names of two famouspublishers in business around1700mdashone in London and one in Amsterdam
11 The opus 10 work by AntonioVivaldi includes six concertiSome of them have beautifulnames Give the names of thefirst three concerti of this opus
12 Whatrsquos a nickname for Jean Jacques Hotteterre
13 The combination of recorder andtraverso was rarely used in theBaroque time Can you name any composers who used thiscombination
14 Which king from 16th-centuryEngland owned a large collectionof recorders and also composedand enjoyed daily recorderplaying
15 How many movements compriseHandelrsquos Sonata in C Op 1 No 7 originally written forrecorder and basso continuo
16 Give the name of Praetoriusrsquostreatise from 1609 that describesthe whole recorder family
17 Name the author of the oldestrecorder method
18 Name Jan Jacob van Eyckrsquosdisability
19 Who pretended around 1930 thatthe recorder was a kind ofclarinet
20 Who doesnrsquot belong in thefollowing group Bertho DrieverKarel van Steenhoven MarionVerbruggen Paul LeenhoutsDaniel Bruumlggen
21 Name the two instrumentsindicated to play the sonataMeiner Mutter of Hans UlrichStaeps
22 Il Pastor Fido was not composedby Antonio Vivaldi but by aFrench composer What was hisname
23 Whatrsquos the nationality of themusic company Zen-On
24 CPE Bach composed abeautiful trio that includes a bassrecorder What are the other twoinstruments
25 Give the names of the fourmovements of Bachrsquos partita forsolo traverse flute BWV1013
26 Which excellent playersperformed as the recorder trioSour Cream
27 A recorder normally has eightfingerholes Despite this musichistory describes the recorder as ldquoune flucircte agrave neuf trousrdquo (a flute with nine fingerholes)Explain why
28 Give the French name for vibratoperformed by finger movementsalone on a wind instrument
29 Who wrote in his diaryldquohellipbeyond anything in the wholeworld the wind-music when the
Answers to
Bart Spanhoversquos Quiz1 La Fontegara2 Celle3 Actus Tragicus4 The Orchestra of the
Eighteenth Century5 R Hirose M Ishii and
M Shinohara
6 Windkanal or Tibia (both ofGermany) The Recorder(England) American Recorder(US)
7 B8 The most famous English
recorder makers around 1700Bressan and Stanesby (the latterbeing both senior and junior)
9 O Schmerz Hier zittert das gequaumllte Herz
10 Walsh (and Hare) (of London)Roger (of Amsterdam)
11 La Tempesta de Mare La Notte Il Gardelino
12 Le Romain13 JB Loeillet J J Quantz
JJ Hotteterre or J B de Boismortier
14 Henry VIII15 Five16 Syntagma Musicum17 Sebastian Virdung Musica
Getutscht und Ausgezogen (1511)18 Blindness19 Igor Stravinsky20 Marion Verbruggen21 Alto recorder and piano22 Nicolas Cheacutedeville23 Japanese24 Viola and cembalo25 Allemande Courante Sarabande
Bourreacutee26 Kees Boeke Walter van Hauwe
and Frans Bruumlggen27 Before 1670 the player could
choose how to hold the recordermdashleft hand or right hand at the topThis meant that recorder makersdrilled two holes to accommodatethe little finger of the hand thatended up at the bottom Theunused hole was sealed with beeswax
28 Flattement29 Samuel Pepys30 Flanders Recorder Quartet
30 March 2009 American Recorder
Lazarrsquos Early Music(866) 511-2981 jblazaraolcom
wwwLazarsEarlyMusiccom
292 Gibraltar Dr 108 Sunnyvale CA 94089
Strings amp Early Winds
ModernBaroque Strings Viols Vielle
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Wenner Baroque flutes
Wendy Ogle Lu-Mi Ifshin Snow
Competitive Prices
Sent on Approval
Personalized Service amp Advice
R
E
C
O
R
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E
R
S
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Andrew Charlton Partita Piccola For 4 Recorders (SATB)
[Prelude Allemande Courante Musettemdash
a neo-baroque epitome] (Score amp Parts PBE-25) $795
Andrew Charlton Suite Moderne For 3 Recorders (ATB)
[Baroque shapes but Hindemithian harmony]
(3 Playing-Scores PBE-44) $995
Southwest of Baroque David Goldsteinrsquos ldquobaroque Suiterdquo
on Cowboy Songs For 2 Recorders (SA) (PBE-2) $350
The Provincetown Bookshop Inc
246 Commercial Street Provincetown MA 02657 Tel (508)487-0964
A good source for Recorder amp Viol Music of all publishers
Provincetown Bookshop Editions
angel comes down which is sosweet that it ravished me andindeed in a word did wrap upmy soul so that it made me reallysick just as I have formerly beenwhen in love with my wiferdquo
30 Whatrsquos the English name for afamous recorder ensemble calledin its country Vier op lsquon Rij
wwwAmericanRecorderorg March 2009 31
by Tim Broege timbroegeaolcom
December 11 2008 was a specialday for American music the
100th birthday of Americarsquos greatestliving composer Elliott Carter Cele-bratory concerts took place in manyvenues including Carnegie Hall inNew York There the Boston Sym-phony led by James Levine played anew work by Carter Interventions forpiano and orchestra The soloist wasanother well-known conductor DanielBarenboim who is no mean hand atthe keyboard to say the least
Itrsquos remarkable that wonderfulnew compositions continue to pourforth from Carterrsquos pen His musicsparkles and frolics packing lots of musical events into engrossingstructures Much of his music isavailable on CD so if you missed thecelebrations you can easily have yourown belated birthday party for Carter
Although he has never written for recorder (one of our prominent
recorder soloists should commissionhim) Carter has produced manychamber pieces featuring woodwindsSince many recorder players double orstarted out on woodwinds such piecesas the Sonata for Flute Oboe Cello ampHarpsichord (1952) Enchanted Preludes(1988) for flute and rsquocello Espritrudeesprit doux (1985) for flute andclarinet or the Oboe Quartet (2001)may hold special interest
If you missed Charlie Rosersquosexcellent interview (broadcast onDecember 10) with Carter Levine andBarenboim you can see it atwwwcharlierosecomview
interview9774mdashessential viewingfor fans of contemporary music
We note with sadness the passingon January 23 of another distin-guished American composer GeorgePerle An authority on the music ofAlban Berg and the Second VienneseSchool Perle developed a uniquelyrical style based upon a free approachto 12-tone and serial procedureswhich he dubbed ldquo12-tone tonalityrdquo I recommend listening to his SerenadeNo 3 for Piano amp Orchestra (1983) Six Etudes for Piano (1973-76) and the Pulitzer Prize-winning Wind Quintet No 4 (1985)
Another leading American com-poser Leon Kirchner is thankfully still with us having turned 90 onJanuary 24 Like Perle Kirchner has a highly personal and expressive styleA birthday concert was held at MillerTheater at Columbia University inNew York City NY Participatingmusicians included flutist PaulaRobison pianist Jeremy Denk and theClaremont Trio with the composerpresent to discuss his music
An excellent way to get to knowKirchnerrsquos music is through his stringquartets Just in time for his birthdayAlbany Records has released a fine CDof all four played by the Orion StringQuartet Quartet No 4 was written in2007 (when the composer was 87mdasha veritable youngster compared toCarter) The composer Allen Shawnhas described that quartet asldquoluminous and passionaterdquo words aptto describe much of Kirchnerrsquos output
Speaking of contemporary musicI have been spending pleasant hoursperusing the Catalog of ContemporaryBlockflute Music available online atwwwblokfluitorg from StichtingBlokfluit This Netherlands founda-tion offers a contemporary recordercatalog and a catalog of historicalrecorder music Access to both is byfree membership
For those who havenrsquot yet used thecontemporary catalog I urge you togive it a try You can search by manyparameters such as composer title orspecific instrumentation A search forldquovoice fluterdquo turned up a list thatincluded Moon Dances Three AmericanSketches by composer Walter Mays(intended for solo alto recorder butalso playable on tenor or voice flute)Searching the name of English com-poser Edmund Rubbra produced a listof eight works that employ recordersincluding the intriguing CantataPastorale opus 92 for high voice altorecorder rsquocello and harpsichord
Searching ldquofemale composersrdquo fora piece using ldquoBaroque altordquo yieldedAfter Meditation by Ros Bandt ofAustralia
What an easy and tremendouslyvaluable way to find new music
On the Cutting Edge___________________________________Birthdays composers and
recorder music catalogs
Elliot Carter
(photo by Meredith Heuer)
Question How does Renaissancefingering differ from standard
fingering on the recorder Is one superior tothe other Do you need a special recorder touse Renaissance fingering and if so can itbe played with regular recorders Is there afingering chart that shows RenaissancefingeringmdashWilliam BaumannWaterford WI
Answer from Carolyn Peskin Music composed in the
Renaissance the historical periodextending from about 1450 to 1600was predominantly vocal and highlycontrapuntal Recorders which oftendoubled singers at the octave orrendered vocal pieces instrumentallywere designed to make the individualmelodic lines clearly audible
Most 16th-century consortrecorders were one-piece instrumentswith large toneholes and a wide borethat contracted slightly starting nearthe upper fingerholes and thenexpanded gently near the lowest holesThat ldquochoke-borerdquo design togetherwith the voicing and tonehole con-figuration favored the fundamentaltone (first harmonic) producing astrong open sound that was aboutequally loud throughout theinstrumentrsquos range
Such recorders had a useful rangeof only about an octave plus a sixthwhich was nevertheless sufficient for the music of their day MostRenaissance-style consort recordersmade today are based loosely uponsurviving 16th-century instruments ofthe above type and are designed toapproximate the range timbre andvolume of those early instruments
Our present-day ldquoregularrdquorecorders are Baroque-derived instru-ments based loosely upon survivingrecorders from the late 17th and early18th centuries They are three-pieceinstruments with small toneholes and abore that is narrower and moretapering than a Renaissance boreextending their useful range upward totwo octaves plus a whole tone
Baroque recorders are soft andsweet-sounding in their bottom octavebut louder and brighter in the secondoctave Their lowest notes are espe-cially weak because they must be blowngently to prevent overblowing into thesecond octave Such instruments aresuitable for Baroque solo and chamberrepertoire but not very satisfying forRenaissance polyphony
Due to their different timbre andvolume Renaissance recorders will not blend well with Baroque onesFurthermore the most historicallyauthentic Renaissance-style recordersare tuned in a ldquomeantonerdquotemperament that facilitates the playingof pure major thirds Such instrumentsmake Renaissance music easier to playin tune but will produce intonationproblems if played with Baroquerecorders which are tuned in equaltemperament For the above reasonsRenaissance and Baroque recordersshould not be played together
Renaissance fingering will not work on todayrsquos neo-Baroquerecordersmdashmost of which haveldquomodernrdquo Baroque fingeringcommonly called ldquoEnglishrdquo fingering
because it was developed fromhistorical Baroque fingering by ArnoldDolmetsch in England during theearly 20th century Renaissancefingering is less standardized partlybecause a number of different originalinstruments are used as models andpartly because makers wish to improvethe intonation tone quality andorplayability of certain notes Howeverthe following generalizations apply tomany of todayrsquos Renaissance-styleconsort recorders
First in the lower octave modernBaroque fingering works for mostnotes but is often too flat for the fourth scale degree (eg soprano F)requiring removal of finger 7 (right-hand pinky) and is too sharp for theraised fourth degree (eg soprano F)requiring addition of finger 7
Modern fingering is also usuallytoo sharp for the lowered seventhdegree (eg soprano B) The correctfingering for that note varies from oneinstrument to another
In the upper octave modernfingering works for the first third andfifth scale degrees (eg soprano C Eand G) but usually not for other notesSome notes require half-holing with aright-hand finger and notes above thefifth scale degree may require additionof several fingers to bring them in tuneHistorical Renaissance fingering forthe second scale degree (eg sopranoD) is especially awkward because all ofthe fingerholes and the thumbholemust be uncovered Therefore somemakers substitute modern fingering forthat note
Although Renaissance fingeringand meantone tuning are recom-mended for the best blend some
Q amp A___________________________________ Renaissance recorder fingering
Send questions to Carolyn Peskin QampA Editor 3559 Strathavon Road Shaker Heights OH44120 carolynpeskinstratosnet
32 March 2009 American Recorder
wwwAmericanRecorderorg March 2009 33
makers of handcrafted Renaissance recorders will provide modern fingeringandor equal temperament upon request and Moeck Verlag offers a choice ofRenaissance or modern fingering for most sizes of its factory-producedRenaissance Consort series
For a most satisfying blend Renaissance ensembles should purchase amatched set of recorders tuned and voiced to be played together Renaissanceconsort sets usually include two different alto recorders one in G (lowest note g)and one in F (lowest note f ) The ATTB combination with the G-alto is best formost of the quartet music composed between 1450 and 1550 while the SATBcombination with the F-alto is more practical for much late 16th-centuryrepertoire (Playing the G-alto requires learning G-alto fingering or elsetransposing the alto line down a whole tone and using F-alto fingering)
In addition to consort recorders some makers offer ldquoGanassirdquo sopranos andaltos based upon fingering charts in Silvestro Ganassirsquos recorder tutor Fontegarapublished in 1535 and a single original instrument in the Vienna Kunst-historisches Museum Because of their special bore design (cylindrical with aflaring bell) Ganassi recorders have a range of two octaves and a sixth withcumbersome fingerings in the third octave They are used mainly as soloinstruments for playing intricate ornaments of the type found in Fontegara
Also sometimes included in the ldquoRenaissancerdquo category are ldquotransitionalrdquo(early Baroque) recorders which are based upon originals from the first half ofthe 17th century They have a bore that is wider than a Baroque bore but contractssharply near the lower end resulting in strong low notes and at least a full two-octave range usually with modern fingering Most transitional recorders aresopranos or altos designed for playing Jacob van Eyckrsquos variation sets or thehighly ornamented Italian solo repertoire of the late-16th and early-17thcenturies
However wide-bore consortrecorders with a range of at least twooctaves and modern fingering shouldalso be regarded as transitionalinstruments They differ somewhat intimbre and volume from typicalRenaissance consort recorders
Handmade wide-borerecordersmdashconsort Ganassi andtransitionalmdashare obtainable frommakers who advertise in AmericanRecorder the Prescott Workshop andthe Von Huene Workshop in the USJean-Luc Boudreau in Canada andStephan Blezinger in GermanyContact them andor visit their websites to find out what kinds ofrecorders they are currently makingand to get an idea of their prices andwait times
Factory-produced wide-borerecorders from Kobliczek Moeck andMollenhauer are available frominstrument dealers who advertise inAR New and used recordersincluding wide-bore models fromimportant makers in the US andabroad are also obtainable from Uni-corn Music For further informationvisit wwwbuyrecorderscom For a comprehensive database of recordermakers worldwide see Nicholas SLanderrsquos ldquoExtant Recorder Makers amp Retailersrdquo at wwwrecorder
homepagenetmakershtml
REFERENCES
CONSULTEDBauer Winfried
wwwrecorder-fingeringscomIncludes interactive fingeringcharts from modern makers andhistorical treatises Charts forRenaissance consort recorders byAdriana Breukink Adrian BrownBob Marvin and Tom Prescottwere consulted
Brown Adrianwwwadrianbrownorgrec
order_typesconsorthtml
Our present-day ldquoregularrdquo recorders are
Baroque-derived instruments based loosely
upon surviving recorders from the
late 17th and early 18th centuries
34 March 2009 American Recorder
The Von Huene Workshop Incis pleased to announce agreements with
CoolsmaZamra
to serve as their authorised service agents in the US
For more than 40 years the von Huene Workshop has produced some of the finest recorders in the world Our skilled staff can revoice retune and repair even the most seriously damaged instruments All repairs are done right on the premises and most can be completed within a week
For warranty repairs please include a copy of your original sales receipt
j 65 Boylston Street Brookline MA 02445 i(617) 277-8690 Fax (617) 277-7217 servicevonhuenecom
An informative article aboutrecorder sizes in Renaissanceconsorts
Brown Adrian and David LasockildquoRenaissance Recorders andTheir Makersrdquo AmericanRecorder Vol XLVII No 1(January 2006) pp 19-31 An important article based upon Brownrsquos extensive researchon 120 of the 200 surviving 16th-century recorders
Ganassi Silvestro Opera IntitulataFontegara Ed Hildemarie Peter(Berlin-Lichterfelde RobertLienau 1959) Modern edition ofthe oldest known treatise devotedentirely to the recorder (publishedin 1535) Includes 16th-centuryfingering charts
Griscom Richard and David LasockiThe Recorder A Research andInformation Guide (New York andLondon Routledge 2003) Anannotated bibliography including
references on construction anddesign of historical recorders
Levin Philip ldquoQampArdquo AmericanRecorder Vol XXXVIII No 4(September 1997) p 27Explains in simple terms thedifference between Renaissanceand Baroque recorders
Morgan Fred ldquoA Recorder for theMusic of JJ van EyckrdquoAmerican Recorder Vol XXV No 2 (May 1984) pp 47-49Describes the bore design of arecorder suitable for playing Van Eyckrsquos variation sets andcompares it with bore designs ofother types of recorders
Myers Herbert W ldquoRecorderrdquochapter in A Performerrsquos Guide toRenaissance Music ed JefferyKite-Powell (New York SchirmerBooks 1994) A 2nd edition isnow available published in 2007by Indiana University Press
FEATURING MUSICA PACIFICA
JUDITH LINSENBERG
RECORDERS____JS BACH TRIO SONATAS Arr by
Linsenberg from Trio Sonatas for Organ BWV525-
530 Sonata No 1 in E
major (transp to B
)
BWV 525 Sonata No 2 in C minor (transp to E)
BWV526 Sonata No 3 in D minor (transp to G)
BWV 527 Sonata No 4 in E minor BWV 528
Sonata No 5 in C major (transp to F) BWV529
Sonata No 6 in G major (transp to C) BWV 530
Virgin Classics Veritas 1993
____FIRE BENEATH MY FINGERS Showcases
three legendary composers who were also
virtuoso performers Vivaldi Concerto in F major
after RV 98570 ldquoLa Tempesta di Marerdquo Sonata in
A minor RV86 Concerto in G minor RV106 Con-
certo in Bb major RV503 Sammartini Concerto in
F major Tartini Concerto in A major D91 Dorian
____MANCINI CONCERTI DI CAMERA Seven
sonatas by Francesco Mancini plus one work each
from his contemporaries Francesco Durante amp
Domenico Scarlatti Highly recommended citation
from the 2000 Vivaldi Prize for Recordings of Italian
Early Music--Giorgio Cini Foundation Dorian
____MARAIS MARIN PIEgraveCES EN TRIO POUR
LES FLUcircTES VIOLON amp DESSUS DE VIOLE
Maraiss complete works for two treble lines and
bass with varied instrumentation and orchestrations
2-CD set $24
____SCARLATTI CONCERTI DI CAMERA
Seven sonatas for various instrumentations no
poor relations to the composers much more widely-
known vocal output All recorder players should
certainly have thisndashEarly Music Review
____TELEMANN CHAMBER CANTATAS
Five cantatas from Harmonischer Gottesdienst two
sonatas from Sonatas Corellisantes 2003 Chamber
Music America WQXR Record Award for best
chamber music recordings
____VIVALDI LA NOTTE Concerti per strumenti
diversi Award-winning CD featuring five Vivaldi
concerti two sonatas
AND OTHER RECORDING
ARTISTS FROM CALIFORNIA ____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 American Bach Soloists Jeffrey
Thomas conductor Dan Laurin Hanneke van
Proosdij recorders Christmas Concerto featuring
unique 1725 London version with solos transcription
for two recorders instead of two solo violins in
three of the six concertos Delos
____CANCcedilONIEgraveR Annette Bauer recorder
multi-instrumentalist Tim Rayborn Shira Kammen
strings Phoebe Jevtovic voice in a new early
music group devoted to repertoire from the
12thndash15th centuries as well as traditional music
from related regions (the Balkans Scandinavia
Middle East) Medieval instrumental music played
on a variety of instruments including strings
recorders and percussion Medieval dances and
motets bring to life the rich world of ancient
European music-making
____SACRED AND SECULAR MUSIC FROM
RENAISSANCE GERMANY Ciaramella-Adam amp
Rotem Gilbert Doug Millikan Debra Nagy
recorders with other winds shawm sackbut amp
organ Medieval amp Renaissance sacred music with
reconstructions of folksongs amp arrangements based
on contemporary improvisation
____BURIED TREASURE TOPAZ amp SAPPHIRE
Ensemble Vermillian Frances Blaker recorders
Barbara Blaker Krumdieck cello Elisabeth Reed
gamba Katherine Heater harpsichord amp organ
Transcriptions of Buxtehudes Op 1 other pieces by
Buxtehude works by Biber Johann Schop
Schmelzer Fafarela 2007
____STOLEN JEWELS Ensemble Vermillian
Frances Blaker recorders Barbara Blaker
Krumdieck Elisabeth Reed Katherine Heater 17th-
century German music adapted by Blaker I love
violin music so I steal the music and rearrange it
for my own instrumentrdquo Buxtehude Op 1 Biber
Rosenmuller Krieger JM Bach Fafarela
Recordings
____SENFL (LUDWIG) Farallon Recorder Quartet
(Letitia Berlin Frances Blaker Louise Carslake
Hanneke van Proosdij) 23 lieder motets and
instrumental works of the German Renaissance
____DOLCE MUSICAndash A CONTEMPLATIVE
JOURNEY Eileen Hadidianflutes recorders
Natalie Cox harps Celtic Renaissance and
Medieval melodies for recorder and flute with
Celtic harp Healing Muses 2005
____REFLECTIONS MUSIC TO SOOTHE AND
UPLIFT THE SPIRIT Eileen Hadidian recorder amp
Baroque flute with Celtic harp and cello Celtic
traditional Renaissance amp Medieval melodies
Healing Muses
____AN EVENING WITH BACH Voices of Music
Hanneke van Proosdij Louis Carslake Dan Laurin
recorders Joanna Blendulf Elizabeth Blumenstock
Rodney Gehrke Lisa Grodin Katherine Kyme
Jennifer Lane Victoria Gunn Pich Susanne Ryden
William Skeen David Tayler Renaissance and
Baroque music centers on fine singing Instantly
recognizable Air on a G String Bachrsquos Prelude in
G Major (solo theorbo for rsquocello) plus lilting vocal
performancesmdashRydenrsquos weightless soprano on
Bist du bei mir Lanersquos rich alto on Es is vollbracht
____BACH amp TELEMANN SONATAS PRELUDES
amp FANTASIAS Voices of Music (Hanneke van
Proosdij Joanna Blendulf Rodney Gehrke William
Skeen David Tayler) Beautiful chamber music by
Bach and Telemann
IN STOCK (Partial listing)____ALLA TURCA FUX CALDARA BADIA
Matthias Maute amp Sophie Lariviegravere recorders
Monika Mauch soprano Vocal music of the church
accompanied by Ensemble Caprice plus sonatas
and other instrumental pieces Analekta
____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 John Daniels Sonja Lindblad
recorders Peter Sykes harpsichord Trio sonata
arrangement by Johann Christian Schickhardt
____LES
AMIS DU
BAROQUE
Paul Nauta recorder amp
Baroque flute Koen Dieltiens recorder Music by
Bassani Corelli Vivaldi etc Highlight Intl
____LES SEPT SAUTS BAROQUE CHAMBER
MUSIC AT THE STUTTGART COURT Matthias
Maute amp Sophie Lariviegravere recorders amp traverso
Ensemble Caprice Charming repertoire by
Schwartzkopff Bodino Detri Atma Classique
____TASTE OF PORTIQUE LEnsemble Portique
Early and contemporary chamber musicmdash
Bach Telemann Boismortier and others
____TELEMANN ALLA POLACCA REBELndash
Matthias Maute recorders amp traversondash
plays concerti and suites by GP Telemann Dorian
____TELEMANN CANONS AND DUOS Lisette
Kielson amp Patrick OMalley recorders LEnsemble
Portique Telemann Canons meacutelodieux amp Sonates
sans basse 2-CD set LEP Records
____20TH CENTURY MUSIC FOR RECORDER amp
PIANO Anita Randolfi recorders Music by Jacob
Bartok Leigh others for recorder amp piano
____VIVALDI AND THE BAROQUE GYPSIES
Matthias Maute amp Sophie Lariviegravere recorders
Ensemble Caprice Gypsy music taken from
Uhrovska zbierka (now Slovakia) plus Vivaldi
____VIVALDI SHADES OF RED CONCERTOS amp
SONATAS FOR RECORDER amp STRINGS Matthias
Maute recorders REBEL Stylish high octane
readings of some of Vivaldis most beloved pieces
including the popular and raucous Concerto alla
Rustica stunningly colorful Sonata on La Follia and
four exuberant recorder concerti Bridge
____WINDFIRE Charmaine Delmatier recorder
Steve Kostelnik classical guitar Terry Hale bass
Erik Hokkanen violin Refreshing mixture of Andrew
Lloyd Weber American blues flamenco Celtic and
one original piece ltwwwyermomusicomgt
Please indicate above the CDs you wish toorder and print clearly the following
Name ____________________________________
Daytime phone (_____)______________________
Address__________________________________
CityStateZip _____________________________
Check enclosed for
_____ single CDs x $____ = $______
_____ 2-CD sets x $____ = $______
TOTAL $______
Please charge the above amount to my
MasterCard Visa or AmEx
_______________________________________
Exp Date ____________
Cardholderrsquos signature ______________________
Mail to
ARS 1129 Ruth Dr St Louis MO 63122-1019 US
You may fax a credit card order to 314-966-4649
NEW You may order CDs online using PayPal at
wwwamericanrecorderorgordercdromshtm
Order your recorder discs
through the ARS CD Club
The ARS CD Club makes hard-to-find or limited release CDs by ARS members
available to ARS members at the special price listed (non-members slightly higher)
All CDs are $15 ARS members$17 Others unless marked otherwise Two-CD sets are
$24 ARS members$28 Others Add Shipping and Handling $2 for one CD $1 for each
additional CD An updated listing of all available CDs may be found at the ARS
web site ltwwwamericanrecorderorggt
The first meeting of the newly-formedFort Myers Recorder and Early
Music Ensemble was January 26 atthe Florida home of chapter rep Sue
Groskreutz For this year the groupis somewhat loosely organized andplans to meet for extended sight-reading Repertoire at the first meetingcomprised everything from Renais-sance duets to chamber music involv-ing three treble parts and continuo
Among the five musiciansattending the first meeting (photobelow front row Elizabeth Spang SueGroskreutz back row Suzanne FergusonSibylle Baumgartner Arlene Sowka) allplayed recorder three harpsichord
and one each played traverso violinand gamba Due to the scarcity ofrecorder players south of the Sarasotaarea modern string players are alsoincorporated into this ensemble
The group decided not to chargedues and to meet at Groskreutzrsquoshome For more information pleasecontact Groskreutz at 239-267-1752spgembarqmailcom Snowbirdsdrifting through the area are welcome
Last fall at the requestof a student Kay Hettich
(inset below right) taught abeginning recorder class atthe Redding (CA) Senior
Center The five-weekclass was so successful thatmost participants haveformed a bi-weekly noviceensemble (right) coachedby Hettichmdashwho consid-ers them her ldquohatchedeggsrdquo
A new batch of ldquoeggsrdquostarted to incubate when afive-week class began on February 20Other senior center members havebecome interested as they heard oftheir colleaguesrsquo success These noviceplayers comprise some who previouslyread music and played instruments as well as people who are totally new to music notation
One student has also formulated amaxim ldquoEveryone at age 40 ought tolearn to play the recorder if heshehasnrsquot alreadyrdquo Just think how theworld would be transformed byshifting our focus to music
After Lynn Whidden attendedthe Montreacuteal Recorder Festival lastfall when the ARS Board met inQuebec she joined the ARS and nowrelays news of the lively interest in therecorder exhibited by a group underthe new leadership of Brent Legg ofBrandon University in ManitobaCanada Although his hands wereldquostill partly frozenrdquo he wrote that theBrandon University Collegium
Musicum in collaboration with theWaverley Park Recorder Club is
preparing a spring concert calledldquoEnglandrsquos Golden AgerdquoRepertoire spans the 16th century
from Henry VIIIrsquos accession in 1509to the death in 1603 of Elizabeth Iand includes solo songs four- andfive-part settings of Renaissancedances (with dancers) three- to five-voice madrigals and ldquobig-bandrdquoarrangements of William Byrdrsquos TheBells and The Dargason as re-imaginedby Gustav Holst (further re-imaginedfor recorders and percussion)
Of the 15 collegium membersseven are encountering the recorderfor the first time since elementaryschool The Collegium Musicumpromotes the study of early music at the university and is open to theuniversity community and the generalpublic This year there are five com-munity participants with interest fromseveral more both within and outsideof the university For informationcontact BrentLegggmailcom
January 16 marked the thirdannual recorder workshop of threeFlorida groups the Pasco Collegium
Recorder Consort of Hudson theImperial Recorder Consort of
36 March 2009 American Recorder
Chapters
amp Consorts___________________________________Workshops and activities from
coast to coast in the US and Canada
Lakeland and the Pilgrim Pipers Recorder Consort of St Petersburg Theygathered for a morning tackling selections by Banchieri Monteverdi PurcellCorelli Mendelssohn Bach Mozart and Glen Shannon Each group presenteda piece for the other participants Sweet Georgia Brown by Ben Bernie (St Pete)a Sonata by Sammartini (Lakeland) and The Gospel Train arr by KW Ford(Pasco) The 29 participants were led by Marlene Cracraft (Pasco) Jane
Spencer (Lakeland) and Elizabeth Snedeker (St Pete) Tom Bickley (photo below) directed the fall workshop of the Mid-Peninsula
Recorder Orchestra in Cupertino CA The 30 players started with Gregorianchants written in ldquooldrdquo notation Bickley gave basic instruction on how tointerpret the notes and then had the group sing the chants prior to playing them
The workshop theme of ldquoThe Articulate Recorderrdquo was literally played out as the music presented used variations in tonguing phrasing and breathingOther repertoire included a Kyrie by Tomas Luis de Victoria Bachrsquos Jesu Joy ofManrsquos Desiring a double-choir piece by Gabrieli Christopher Tyersquos In NomineXIII and a Purcell chaconne The workshop ended with a rhythmically-challenging minimalist piece by Bickley entitled Beginning composed for theWaldorf School teacher training program George Greenwood reports that thegroup had a productive event and plans to ask Bickley to lead a future workshop
wwwAmericanRecorderorg March 2009 37
A Muse in the DesertThe sound of a pin dropping hellip thesound of eager minds and fingersabsorbing information and inspira-tion hellip the sounds of ldquoNuevaEspantildeardquo Spanish- and indigenous-influenced music of the 1600s in theNew World These were the soundsof the Desert Pipes (Phoenix AZ)chapterrsquos fall workshop given byEileen Hadidian On a Saturdaylast October 30 players from all overArizona gathered to learn from andbe inspired by the founder of a SanFrancisco Bay Area group dedicatedto sharing music for healing inhealthcare settings Healing Muses(wwwhealingmusesorg)
The day began with relaxationstretching and breathing exercisesfollowed by travels to Peruacute MexicoGuatemala and Colombiamdashhighchurch music vernacular pieces anda mixture of the two Participantsenjoyed the historical and contextualbackground provided as an overviewfor the day and for each piece
Remarkably the sound heardbetween pieces and passages was anenergy-filled quiet the attentivestillness of active engagement in theworkshop experiencemdashnot the chat-tering noodling and conversationsthat often occur when the musicstops That activity was reserved forthe breaks when participants couldenjoy the cool (at last) outdoorschat with Hadidian and peruse the popular garage sale (to benefitDesert Pipes) of previously-enjoyedbooks and other treasures
On Sunday Hadidian sharedher expertise and inspiration in indi-vidual and group coaching sessionsThe weekend was a special experi-ence and Desert Pipes memberslook forward to the next visit of this Healing Muse
Ann Koenig Scottsdale AZannisalesprocom
Members
of three
Florida
groups
met
in January
for a joint
workshop
CHAPTER NEWS
Chapter newsletter editors and publicity officers should send materials for publication toAmerican Recorder 7770 South High St Centennial CO 80122-3122
editoramericanrecorderorg Also send short articles about specific activities that haveincreased chapter membership or recognition or just the enjoyment your members get out of
being part of your chapter Digital photos should be at least 3rdquox4rdquox300dpi TIF or unedited JPG files Please send news to the AR address above and to the following
ARS Office 1129 Ruth Drive St Louis MO 63122-1019 ARSrecorderAmericanRecorderorg
and to Bonnie Kelly Chair Chapters amp Consorts Committee 45 Shawsheen Rd 16 Bedford MA 01730 bksharpaolcom
TO THE STARS
AND BEYONDThe cover of the November magazinegenerated a few comments Some werenrsquotsure how to interpret the title (in theartistrsquos native German it could besomething close to ldquostarlit moonrdquo)Longtime member Carolyn Peskin wrote to offer her vision of that cover
In the beginning the Great Spiritinvented Mr Sun to light the day andMiss Moon to light the nightHowever as Miss Moon floated up inthe sky all by herself like a big yellowballoon she began to feel very lonelyso one night to relieve her lonelinessshe decided to take out her recorderand make music
But when she started to playsomething miraculous happened Not only beautiful melodies but alsoyellow dust poured out of the bottomof her recorder and the dust particlesimmediately coalesced to form yellowstars As she continued playing moreand more stars were created and theyfloated up around her filling the nightsky
At last Miss Moon was happy fornot only was she herself able to enjoyher music but she now had a wholecrowd of starry companions to enjoy itwith her And if you listen very care-fully on a quiet night you might beable to hear her recorder and thatstarry choir humming along
Carolyn Peskin
LOCATING EARPLUGSI read with interest the QampA in theNovember lsquo08 AR regarding hearingloss and use of earplugs Where do you get musicianrsquos earplugs
Dolly Hirata Kensington CA
CAROLYN PESKIN PROVIDED THIS
INFORMATION Musicianrsquos earplugs arecustom made for individual usersThey can be purchased only fromlicensed hearing professionals (ieaudiologists and hearing instrumentspecialists) To find a licensed hearingprofessional in your area look underldquoaudiologyrdquo or ldquohearingrdquo in your localyellow pages
For information about how musi-cianrsquos earplugs are produced visitwwwetymoticcomephperme-w
tbaspx That web page also has a linkto contact information for authorizedlabs that make the custom earmolds formusicianrsquos earplugs If the yellow pagesdo not prove helpful those labs canrefer you to a licensed hearing pro-fessional in your area from whom youcan purchase musicianrsquos earplugs
MORE FROM CAROLYN
THIS TIME ABOUT OSKARIn the September 2008 AR the musicreview by Leslie Timmons of the Oskarpieces by Matthias Maute mentionedthat Carolyn Peskin had translated twoof the Oskar books from German toEnglish People can obtain thetranslations free of charge as Wordattachments by contacting her atCarolyn Peskin 3559 StrathavonRoad Shaker Heights OH 44120carolynpeskinstratosnet
ANOTHER KIND OF
MUSIC-READING
GLASSESIn the January 2009 issue of AmericanRecorder therersquos something (in myopinion) the ldquoRecorder with GlassesObbligatordquo article omitted which canenable a nearsighted musician to avoidneck strain in the use of bifocals
Irsquove found the solution to thisvexing problem is to have onersquos bifocalsconstructed differently [from] normalMy optometrist was willing to work
38 March 2009 American Recorder
Response___________________________________Two kinds of vision
the better to see with and (not) to hear with
Honeysuckle Music
Recorders amp accessories
Music for recorders amp viols
Jean Allison Olson1604 Portland AveSt Paul MN 55104
6516448545jeanhoneysucklemusiccom
Responses from our readers are welcomedand may be sent to American Recorder 7770 South High St Centennial CO
80122 Letters may be edited for length and consistency
ARS Membership Enrollment and Renewal I am a new member I am or have been a member
USCanadian Memberships Foreign Memberships $45 One Year $55 Foreign One Year $75 Sustaining (Receive a Hottetere Hands Pin) $100 Two Years $80 Two Years
LIFETIME MEMBERSHIP Single Dual Regular Lifetime Member $1000 (2) $1500 (4) 4 installments of $250 available) Loyalty Lifetime Member (1) $ 800 (3) $1200 (4) 4 installments of $200 available
(1) For members who have maintained membership for five consecutive years (2) $750 is Tax Deductible (3) $600 is Tax Deductible (4) Installments available Student Memberships Other Memberships (Enclose proof of full time enrollment) $65 One Year Workshop Membership
$25 USCanadian One Year $125 One Year Business Membership $45 USCanadian Two Years $30 Foreign One Year $5 Additional Charge for Dual Address or Dual Name
Do not list my name in the ARS Print Directory Do not list my name on the ARS Online Directory Do not release my name for recorder related mailings Do not contact me via email
My address telephone and email address are the same as last time
______________________________________ _________________________ Name Phone Number ______________________________________ _________________________ AddressCityStatePostal Code Email Address Please charge to (Circle one) VISAMasterCardAMEXDiscover CC________________________________ Expiration Date ______________ Signature of cardholder_______________________________________________________ Clearly Print Name as it appears on Card________________________________________
Renew by Mail Online By Phone or by Fax
Demographic Information (optional information collected only to enhance ARS services and provide statistics to grant makers)
I am a member of ARS Chapter or Consort____________________________ I am the Chapter Contact Your age Under 21 (21-30) (31-40) (41-50) (51-60) 61-70) (71+) Please check all that apply
I am a Professional Recorder Performer
I wish to be included in the list of Recorder Teachers in the ARS Directory and website I Teach (circle your choices) Children High School Youth College Students Adults Beginner Intermediate Advanced Pre-Professional Individuals Childrenrsquos Classes Adult Classes Ensembles Suzuki Orff JRS Leader Kodaly Where I Teach (circle your choices) Music Studio Public or private school Community Music School College Other _____________________
American Recorder Society 1129 Ruth Dr St Louis MO 63122-1019
Phone 314-966-4082Fax 314-966-4649
TollFree 800-491-9588ARSRecorderAmericanRecorderorg
wwwAmericanRecorderorg
with me [to find] an ideal (for me)placement size and focal length of thebifocal lens
Before visiting the optometristIrsquod had my wife measure the distancefrom my eyes to the music on mymusic stand With this measurementthe optometrist set up her machine toprepare a vision prescription for memaximized for this reading distance
When I look at my bifocals (withthem off) the lenses (through which Iread my music) occupy most of thelower two-thirds of my glasses (they are set very high and beginimmediately at the inner rims) Thisleaves the upper third and smallportions of the outside [of each lens]for focusing on the conductor As longas my stand is set low enough my necknever experiences any strain (even if Ihave to read three to a part) and Irsquove no problem in seeing theconductor (in sharp focus) either
For me trying to use glasses [toread] from a music stand [that] weredesigned for use in reading from acomputer screen also results in neckstrain (not to mention unreliability in aldquopressurerdquo situation) Having studiedTai Chi extensively and so being
wwwAmericanRecorderorg March 2009 39
There are lots ofsolutions to thepresbyopic musicianrsquosproblem but all involve compromises
40 March 2009 American Recorder
American Recorder Society PublicationsErich Katz Contemporary Music Series Members Non-MembersA Short Tale for Two Basses Suzanne M Angevine (Level II) (2 scores) $5 $8Dialogue and Dance Cecil Effinger (SATB)(Level II-III) (score amp parts) $10 $18Dorian Mood Sally Price (SATB) (Level II) (score amp parts) $10 $18Double Quartet for Recorders Peter Ballinger (Level II-III) (score amp parts) $10 $18Entrevista Frederic Palmer (SATB) (Level II) (2 scores amp 4 recorder parts) $8 $14Kyrie and Vocalise for Soprano Voice ampRecorders Stanley W Osborn $8 $14
(SATB) (Level II) (2 scores amp 4 recorder parts) Picnic Music Jeffrey Quick (SATB) (Level II) (score amp parts) $5 $8Six Short Pieces for Three Recorders edited by Alan Drake $8 $14
(3 scores) Vaclav Nelhybel (AATT) (Level II)Sonatina for Alto Recorder and Piano Anthony Burgess $7 $12
(Level II) (2 scores)Sonatine for Three Altos Lee Gannon (Level III) (score amp parts) $14 $26Suite of Jewish Folk Tunes Erich Katz (S SA8 AT) (Level II) (three scores) $10 $18
Musical Editions from the Membersrsquo Library ARS members 1 copy-$3 2 copies-$450 3-$6 4-$750 5-$10 6-$1150Non-members (editions over 2 years old) 1 copy-$5 2 copies-$850 3-$12 4-$15 5-$1950 6-$23The ARS is happy to provide photocopied enlargements of any Membersrsquo Library edition at the same prices Please specify ldquoMembersrsquo Library Enlargementrdquo
ARS Information BookletsARS members 1 booklet-$13 2 booklets-$23 3-$28 4-$35 5-$41 6-$47 7-$52Non-members 1 booklet-$18 2 booklets-$33 3-$44 4$55 5-$66 6-$76 7-$86
Education PublicationsThe ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996)
First copy free to ARS Members (mailed to new members as they join) replacement copies $3Guidebook to the ARS Personal Study Program (1996) Material formerly published in the Study Guide
and Study Guide Handbook plus additional resources Members $11 non-members $20ARS Music Lists (2002 with 2003 Supplement) Graded list of solos ensembles and method books
Members $9 non-members $15Package Deal available only to ARS members Guidebook and Music ListsSupplement ordered together $16Junior Recorder Society Leaderrsquos Resource Notebook
ARS members $20 non-members $40 (updates at reduced rates after initial purchase)$5 Dues for each JRS student member sponsored by an ARS member ($4 each for groups of 10+)
VideosRecorder Power Educational video from the ARS and recorder virtuoso John Tyson
An exciting resource about teaching recorder to young students ARS members may borrow a copy for onemonth by sending $5 to the ARS office along with the address to which the tape should be shipped
Pete Rose Video Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music Festival recitalFeatures Rose performing a variety of music and an interview of him by ARS member professional John Tyson
Other PublicationsChapter Handbook A resource on chapter operations for current chapter leaders or those considering forming an
ARS chapter ARS members $10 non-members $20 (updates free after initial purchase) One free copy sent toeach ARS chapter with 10 members or more
Consort Handbook Resource on consort topics such as group interaction rehearsing repertoire performingARS member prices CD $10 hard copy $20 combo price of CD and hard copy ordered together $25
Discography of the Recorder Vol I (1989) Compiled by Scott Paterson and David LasockiDiscography of the Recorder Vol II (1990-1994) Compiled by Scott Paterson
Either single volume ARS members $23 non-members $28Both Discography volumes together ARS members only $40
American Recorder Cumulative Index for Vols I-XXXX ARS members $20 non-members $32Index Supplement Vol XXXIV-XXXX ARS members $8 non-members $14
Shipping amp Handling FeesUnder $10 - add $3 $10-1999 - add $4 $20-2999 - add $5 $30-3999 - add $6 $40-4999 - add $7 All prices are inUS dollars For Canadian or foreign postage pay by credit card and actual postage is charged
Please make checks payable to ARS VISAMCAMEXDisc also accepted
ARS 1129 Ruth Drive St Louis MO 63122 US800-491-9588 ARSrecorderAmericanRecorderorg
Arioso and Jazzy Rondo (AB) Carolyn PeskinBerceusendashFantaisie (SATB) Jean BoivertBrucknerrsquos Ave Maria (SSATTBB)
Jennifer W Lehmann arrCanon for 4 Basses (BBBB) David P RuhlDancers (AT) Richard EastmanDifferent Quips (AATB) Stephan ChandlerElegy for Recorder Quartet (SATB) Carolyn PeskinElizabethan Delights (SAATB)
Jennifer W Lehmann arrFallen Leaves Fugal Fantasy (SATB) Dominic BohbotFour Airs from ldquoThe Beggarrsquos Operardquo (SATB)
Kearney Smith arrGloria in Excelsis (TTTB) Robert CowperIdyll (ATB) Stan McDanielImitations (AA) Laurie G AlbertsIn Memory of Andrew (ATB) David GoldsteinLay Your Shadow on the Sundials (TBgB)
Terry Winter OwensLeClercqrsquos Air (SATB) Richard E WoodLittle Girl Skipping and Alouette et al (SATBCb)
Timothy R Walsh
Los Pastores (SAAAT + perc) Virginia N Ebinger arrNew Rounds on Old Rhymes (4 var) Erich KatzOther Quips (ATBB) Stephan ChandlerPoinciana Rag (SATB) Laurie G AlbertsSanta Barbara Suite (SSAAT) Erich KatzSentimental Songs (SATB) David Goldstein arrSerie for Two Alto Recorders (AA) Frederic Palmer Slow Dance with Doubles (2 x SATB) Colin SterneSonata da Chiesa (SATB) Ann McKinleyS-O-S (SATB) Anthony St PierreThree Bantam Ballads (TB) Ann McKinleyThree Cleveland Scenes (SAT) Carolyn PeskinThree in Five (AAB) Karl A StetsonTracings in the Snow in Central Park (SAT)
Robert W ButtsTrios for Recorders (var) George T BachmannTriptych (AATB) Peter A RamseyTwo Bach Trios (SAB) William Long arrTwo Brahms Lieder (SATB) Thomas E Van Dahm arrVariations on ldquoDrmešrdquo (SATB) Martha BishopVintage Burgundy (SASATT)
Jennifer W Lehmann arr
Adding Percussion to Medieval and Renaissance Music Peggy Monroe
American Recorder Music Constance PrimusBurgundian Court amp Its Music Judith Whaley coord
Improve Your Consort Skills Susan CarduelisMusic for Mixed Ensembles Jennifer W LehmannPlaying Music for the Dance Louise AustinRecorder Care Scott Paterson
acutely aware of any kind of neckstrain when it begins to develop these ideas have been a big help to meIrsquom hoping they may be of help toother musicians as well
Best wishes to you And inanswer to your questionmdashyes the new[AR] format (with more white spacebetween the lines) is much easier toread (in my opinion)Your magazinejust keeps getting better and better
Very sincerely Ed Green WestSuburban (Chicago-area) Chapter
RESPONSE FROM DR BILL LONG
What Ed describes is a variant of theuse of conventional bifocals as musicglasses described on page 8 in thearticle Instead of lowering his musicstand into the field of view of hisbifocal segment Ed and his optome-trist have fabricated special purposebifocals with the segment really highso he can focus on his music instraight-ahead view That approachrestricts his distance vision to an areaabove his usual line of sight whichseems to work for Eds playing setup
Eds comments on the difficultiesin using conventional progressiveaddition lenses as music lenses con-firm what I said on page 9 Thats whymanufacturers have marketed special-ty progressive lenses designed specif-ically for intermediate distance taskslike computer use and playing music
There are lots of solutions to thepresbyopic musicians problem but all involve compromises The key toevaluating those compromises andchoosing the best solution for yourselfis to understand your needs and toenlist the help of a sympathetic visioncare specialistmdashjust as Ed did
Please change your
browserrsquos favorites list
AR online is now at wwwameri
canrecorderorgmembership
magazinehtm Send news to
editoramericanrecorderorg
FOUR FOUR-PART CANZONAS
(1608) BY GIOVANNI GABRIELI
ED GREG LEWIN Hawthorns Music RB 16 (Magnamusic) 1999 SATBSc 16 pp pts 4 pp $1950
Giovanni Gabrieli was probablyborn between 1554 and 1557 in theparish of San Geremia in Venice Thedetails of his early life are sketchy butit appears that he was born Giovannidi Fais and later changed his name toGabrieli out of respect to his uncleAndrea with whom he shared a closerelationship In fact in 1587 Gabrielidescribed himself ldquoas little less than asonrdquo It is commonly thought thatAndrea provided Giovanni with hisearly musical training Andrea whohad spent some time in Munichstudying under the great Orlando deLassus sent Giovanni to Munich for a similar period of study in theearly 1570s
Gabrieli remained in Munichuntil the death in 1579 of the dukeAlbrecht V who had been Lassusrsquosemployer for a number of years andwho was an enthusiastic patron of the arts particularly music With hisdeath a number of musicians lost theirjobs it seems as if Gabrieli were also a victim of such culling of talent(Within a generation the tide wouldturn and the Munich court wouldagain hire Venetian expatriates such as Priuli Valentini and Neri)
Upon his return to VeniceGabrieli was hired as a temporaryorganist at San Marco his positionbecoming permanent in 1585 For a few months that year uncle andnephew served together as first and
second organists in the chapel of thedoge In Giovannirsquos absence fromVenice there had been a plague thathad decimated the ranks of theprofessional musicians Andrea setabout rebuilding his forces at SanMarco by hiring a full-time windband consisting of Girolamo dallaCasa a renowned cornettist andviolist his two brothers who playedsackbut and later the cornett virtuosoGiovanni Bassano Giovanni Gabrieliaugmented these forces with addi-tional players and began composingthe large-scale ceremonial music forwhich he is so well known today
Giovanni was also elected to bethe organist and composer to theconfraternity of San Rocco in 1585and it is now thought that his largestpieces were intended for that venuewith its large central gallery andfrescos by Tintoretto instead of SanMarco Gabrieli held both thosepositions at the basilica of San Marcoand the Scuola Grande di San Roccountil he died in 1612 of a kidney stone
Although best known today forhis ceremonial and festival musicGabrieli was at home in smaller-scaleformats as well These four four-partcanzoni are taken from the 1608publication by the Venetian publisherAlessandro Raverji Canzoni per sonarecon ogni sorte di strumenti These werevery popular pieces to judge by themany collections in which they appear
Additionally like Gabrielirsquoskeyboard music they are found inother arrangements These four-partcanzoni lie well under the fingers inarrangements for keyboard and lute
As seen from the title Gabrielispecified no instrumentation but like asimilar edition of madrigals and battlepieces from a few years earlier a dis-tinction was made that they wereintended for wind instruments almostcertainly cornetts and sackbuts
Recorders were not unknown in Venice they were used regularly inthe confraternity of San GiovanniEvangelista where Giovanni BattistaRiccio was organist
These pieces are relativelysimplemdashplayable by beginning tointermediate ensembles They aremostly contrapuntal (with a fewhomophonic sections) and have few rhythmic eccentricities
These canzoni are found in manymodern brass editions but there arefew editions available to the recorderplayer This edition by Greg Lewin ofHawthorns Music might be consid-ered a ldquobare-bonesrdquo edition There islittle background information andeditorial practices are not specified
The music itself has a handwrittenlook that can be distracting but is easyenough to read Lewin has thought-fully supplied phrasing marks that willbe helpful for ensembles unused tothis style of music
Music
Reviews___________________________________ Infectious music created in spite of the plague
wwwAmericanRecorderorg March 2009 41
This is a good edition
for small ensembles that
canrsquot get eight players
together to play
Gabrielirsquos more famous
eight-part canzoni
42 March 2009 American Recorder
The parts are four pages but mycopy had all four pages printed on avery large page This is not a problemand there are no page turns
This is a good edition for smallensembles that canrsquot get eight playerstogether to play Gabrielirsquos morefamous eight-part canzoni Thesesmall-scale pieces are by no meansinferior to Gabrielirsquos more elaboratemusic and deserve to be better known
7 CANZONEN (1637) BY
TARQUINIO MERULA ED JOACHIM
ARNDT WITH CONTINUO REALIZATION
BY CLAUDIA SCHWEITZER MieroprintMusikverlag EM2088 (availabledirectly from wwwmieroprintcom)2005 SS or TT bc Sc 24 pp pts 8 pp$28
Tarquinio Merula was bornaround 1595 in either Busseto orCremona in Italy As was the case withso many composers of the day either alack of regular employment or a rest-less nature took him from his home inCremona to as far away as Warsaw He is found as the organist of thechurch and the chambers to the kingof Poland Sigismund III in 1624
Merula was one of the leadingexponents of the relatively new con-certante style pioneered by ClaudioMonteverdi and others in the seconddecade of the 17th century and may be described as one of the earliestBaroque composers His compositionsin the concertante style are fresh andunforcedmdashhe was born into this styleand didnrsquot encounter it as somethingnew as was the case with so many ofMonteverdirsquos contemporaries
After several years of peripateticexistence Merula found regularemployment in 1631 in Bergamo atthe church of San Maria MaggioreThe prior holder of the post of maestrodi cappella Alessandro Grandi haddied the previous year in the plagueMerula had signed a three-year
contract but by December 1632 hewas terminated with accusations thathe had molested several studentsMerula threatened a lawsuit to recoverhis lost wages but that threat wascountered with a pending criminalcharge lodged by the board ofgovernors of San Maria Maggiore By mid-1633 the matter was settledwith an apology from Merula and astatement that he relinquished allclaims to his salary
He then returned voluntarily toCremona where he stayed until 1635By 1638 Merula was once again inBergamomdashthis time as maestro dicappella and organist in the cathedralnext to San Maria Maggiore Asmight be expected there was con-siderable tension between the twochurches eventually resulting in theboard of San Maria Maggioreforbidding their musicians to perform under Merularsquos direction
He returned in 1646 to a familiarCremona post which he had heldthree times in various years and wherehe now settled downmdashthat of organistand maestro di cappella for Laudi dellaMadonna services in which he ledmusic at the main altar on Saturdaysand on vigils of Marian feasts
None of his employment issues
prevented the Pope from awardinghim the Order of the Golden SpurMerula was also elected to theAccademia dei Filomusi in BolognaHe died in 1665 in Cremona
His existing compositions showthe products of a lively mind Hisworks range from sacred songs andmotets to purely instrumental piecesnotably the ever-popular variations onvarious ground basses It is knownthat Merula was an accomplishedviolinist as well as a fine organist Hissurviving instrumental writing showsa predilection for strings In fact hewas one of the earliest composers tospecify string accompaniments tosacred motets
Merularsquos pieces look backwardtoward some of the more progressiveVenetian composers such as Monte-verdi while looking forward to thehigh Baroque with his innovative style
These seven canzoni like theearlier-published chaconne (EM2084)come from Merularsquos third bookpublished in 1637 CANZONI overo SONATE CONCERTATE perchiesa e camera a due et a tre delcavaliere This collection typifiesMerularsquos output pieces based onRenaissance-era ground basses arefound next to more ldquomodernrdquo sonatas
The original edition specifiesviolins and basso continuo This newedition is intended for recorders thespecific choice of which is up to theplayers Due to the relatively hightessitura tenor recorders work best inthese pieces (although listed as analternative soprano recorders tend to be on the screechy side)
Not surprisingly given Merularsquosskill as an organist the continuo partneeds a keyboard instrument forsuccessful realization Instead of beinga purely accompanying part the bassocontinuo part is an equal partner in these pieces the canzona ldquoLaRuggierardquo opens with a run that therecorders echo a few measures later
A more recorder-specific
edition intended for
altos would have been
ideal There is nothing
preventing the more
adventurous and
industrious players
from making their
own editions of this
delightful music
mentioned were a bit shrill A morerecorder-specific edition intended foraltos would have been ideal There isnothing preventing the moreadventurous and industrious playersfrom making their own editions of thisdelightful music
Prior to playing the previouslypublished chaconne I had notencountered MieroprintMusikverlag Mieroprintrsquos extensivecatalog has an equal focus on newmusic for recorders and on editions ofBaroque masters with emphasis on therecorder and flute Due to the lack of
wwwAmericanRecorderorg March 2009 43
are also available at
The Early Music Shop
of New England
Brookline MA
AESTHEacute
367-b de la Briquade
Blainville Queacutebec
Canada J7C 2C7
tel (450) 979-6091
wwwboudreau-flutesca
A bass viola da gamba or rsquocello is not necessary for these pieces and may infact make them sound heavy and ponderous rather than light and breezy as thismusic seems to be
More so than the above-mentioned chaconne these canzoni are written in avery idiomatic violin style with multiple examples of arpeggios In particular thecanzona ldquoLa Trecchardquo contains a notated example of a string tremolo figurerecurring through the piece ldquoLa Trecchardquo also dips well below the range of a Crecorder going down to low G the lowest string on the violin The editors havesupplied no alternative notes preferring to let the performers to fend forthemselves (in practice we took this passage up an octave with no problems)
The two recorder parts require virtuosity These upper parts are demandingwith the players needing to double-tongue in unison in order to negotiate themany runs of 16th notes and the shared rhythmic ldquolicksrdquo The harmoniclanguage unlike much of Merularsquos music is undemanding and contains none of the harmonic crunches for which he is famous
This is wonderful music that needs a couple of advanced recorder players fora successful performance The string idiosyncrasies can be overcome by advancedplayers and many of the editions of the era (although not this one) list thecornetto as an alternative to the violin so the use of wind instruments in the solo literature of the early Baroque was not unknown
Our experience with this edition left us with the opinion that these pieceswould have been better if transposed down a minor third so as to fit on a pair ofalto recorders (as is the case with much Baroque flute music to make it lie betteron the recorder) The tenors we used tended to sound a bit murky in the lowerregister next to the more aggressive harpsichord while the sopranos we tried as
KEY rec=recorder Srsquoo=sopraninoS=soprano A=alto T=tenor B=bassgB=great bass cB= contra bass Tr=treble qrt=quartet pf=piano fwd=foreword opt=optional perc=percussionpp=pages sc=score pt(s)=part(s)kbd=keyboard bc=basso continuohc=harpsichord PampH=postage andhandling Multiple reviews by one reviewerare followed by that reviewerrsquos name Pleasesubmit music for review to AR 7770 SHigh St Centennial CO 80122-3122 US
an American distributor this musicwill be hard to findmdashin fact can befound only at the time of this writingon their web site noted above But theeffort will be repaid
This edition is clear and easy toread and the parts require no pageturns The basso continuo realizationis simple and elegant
This is music deserving ofrediscovery My only quibble is thatthe editorial notes are all in GermanThis seems to be the practice ofGerman music publishers with thenotable exception of Moeck Otherpublishers of early music such asLondon Pro Musica routinelyprovide notes in English and German and often in French and Italian making their editionsaccessible to a wider audience
Frank Cone studied the recorderwith the late Ellen Perrin the viola dagamba with Carol Herman and thecornetto with Larry Johansen TheCalifornia multi-instrumentalist has been a member of the Orange CountyRecorder Society since 1985
Advertiser Index
AMERICAN ORFF-SCHULWERK ASSN 3
AMERICAN RECORDER SOCIETY 31 35 36
AMHERST EARLY MUSIC FESTIVAL 17
STEPHAN BLEZINGER 24
JEAN-LUC BOUDREAU 21 39
BOSTON EARLY MUSIC FESTIVAL 7
CANTO ANTIGUO EARLY MUSIC WORKSHOP 13
COURTLY MUSIC UNLIMITED 20
EARLY MUSIC AMERICA 8
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KEITH E LORAINE EARLY DOUBLE REED SERVICE 35
LOST IN TIME PRESS 11
MADISON EARLY MUSIC FESTIVAL 12
MAGNAMUSIC DISTRIBUTORS BC
MOECK VERLAG IFC
MOLLENHAUER RECORDERS IBC
PORT TOWNSEND WORKSHOP 14
PRESCOTT WORKSHOP 30
PROVINCETOWN BOOKSHOP 26
THE RECORDER MAGAZINE 4
THE RECORDER SHOP 6
SAN FRANCISCO EARLY MUSIC SOCIETY 18
SWEETHEART FLUTE CO 3
TEXAS TOOT 20
VON HUENE WORKSHOP INC 30
WICHITA BAND INSTRUMENT CO 21
DOMINIK ZUCHOWICZ 34
CONSIDER ADVERTISING IN
Full page $55223 page $43912 page $36613 page $28614 page $22316 page $17518 page $127112 page $ 951 column inch $ 58
Prices include web sitee-mail link directly from your ad in the online AR at wwwamericanrecorderorg
Circulation Includes the membership of theARS libraries and music organizations
Published five times per year January March May September November
Reservation Deadlines December 1 (January) February 1 (March) April 1 (May) August 1 (September) October 1 (November)
Rates good through November 2009 Pleaseinquire about discounts on multiple-issuecontracts inserts or other special requestsExtra charges for typesetting layout half-tones and size alterations 133-line screenrecommended Advertising subject toacceptance by magazine First-time adver-tisers must include payment with order
For more information contact the ARS office 1129 Ruth Drive St Louis MO63122-1019 800-491-9588 toll free 314-966-4082 phone 314-966-4649 faxadvertisingamericanrecorderorg
44 March 2009 American Recorder
Classified___________________________________
FOR SALE Cherrywood hurdy gurdy and hard-side case made by Kelischek bought 2005Originally $765 plus $89 for case Rarely usedBoth for $450 or make offer Please contact marjalocomcastnet Can ship
ASPIRE ANNOUNCE INSPIRE Afford-able PR for teachers and recitalists wwwrecitalroomcom
PHOTOS NEEDED of ARS events 1970sndash1990sto illustrate last chapters of Martha Bixlerrsquos histor-ical memoir about the ARS (to be posted online)E-mail scanned photos (300dpi JPG or TIF)arsrecorderamericanrecorderorg Hardcopies mail to ARS office to be scanned ampreturned Info 800-491-9588
T-SHIRT FOR ENSEMBLE PLAYERS to wear orshare Top 10 Reasons Why I Got Lost Wrongfingering bad lighting etc on blue cotton shirt$18 Highlighter tape and other goodies Beth amp Lindas Boutique as seen at BEMF CallLinda at 617-671-8694 or e-mail for brochurelindakushverizonnet
Where the havesand have-nots
of the recorder world can find each other
Classified rate for American Recorder 60centper word ten-word minimum ldquoFOR SALErdquoand ldquoWANTEDrdquo may be included in thecopy without counting Zip code is oneword phone e-mail or web page is twoPayment must accompany copy Deadlinesare one month before issue date Send copywith payment to ARS 1129 Ruth Drive St Louis MO 63122-1019
AMERICAN RECORDER (ISSN 0003-0724) 1129 Ruth Dr St Louis MO 63122-1019 is publishedbimonthly (January March May September and November) for its members by the AmericanRecorder Society Inc $20 of the annual $45 US membership dues in the ARS is for a subscriptionto American Recorder Articles reviews and letters to the editor reflect the viewpoint of their individ-ual authors Their appearance in this magazine does not imply official endorsement by the ARS
EDITORIAL DEADLINES November 15 (January) January 15 (March) March 15 (May) July 15(September) and September 15 (November) Submission of articles and photographs is welcomedArticles may be typed or sent as an attachment (Word or RTF preferred) to or text in an e-mail mes-sage They should be for the exclusive consideration of AR unless otherwise noted Photos may besent as prints or unedited JPG or 300dpi TIF files (minimum 3rdquox4rdquo) Advertisements may be sent inPDF or EPS format with fonts embedded
EDITORIAL OFFICE Gail Nickless Editor 7770 S High St Centennial CO 80122-3122 303-794-0114 (phone amp fax) editoramericanrecorderorg Books for review Editorial office Musicfor review Editorial office Recordings for review Tom Bickley 1811 Stuart St Berkeley CA 94703Cutting Edge Tim Broege 212 Second Ave Bradley Beach NJ 07720-1159 Chapter newslettersother reports Editorial office Postmaster Send address changes to ARS 1129 Ruth Drive St LouisMO 63122-1019 Periodicals postage paid at St Louis MO and at an additional mailing office
Chapter leaders
We know yoursquore out there
and that you want to share
your plans concerns
solutions and ideas with
other chapter leaders Visit
httpamericanrecorder
societywikispacescom
By Bart Spanhove
The author has been principalprofessor of recorder at the Lemmens-
instituut Leuven (Belgium) since 1984He is also artistic director of the world
famous recorder ensemble the FlandersRecorder Quartet which is set to perform
in concert at the 2009 Boston EarlyMusic Festival He is often asked to serve
as a jury member for internationalrecorder competitions in Canada US
Germany The Netherlands and BelgiumHe has given numerous master classes andlecture demonstrations all over the world
Spanhove is co-author of thesuccessful recorder method Easy Going(Heinrichshofen) and wrote the much-
used book The Finishing Touch ofEnsemble Playing (Alamire 2000
and Moeck 2002 with translations inChinese and German) In 2009
The Recorder Music of Frans Geysenwill come out (Mieroprint)
Currently he is researching practicetechnique for the recorder Daily
Spanhove thinks about how to makepeople happier by making music and
playing the recorder
As a conclusion for the VirtuosoRecorder class during the AmherstWorkshop in 2008 we organized aldquoHappy Hourrdquo for our nine talentedstudents Mee-Jung Ahn (Korea)Emilie Hasselgren and Kristine West(Sweden) Anne Timberlake JosephLewnard Jacob Lodico and BrycePeltier (US) Emiliano Perez(Mexico) and Fanny Massy (France)participated in a quiz that I wrote thenight before with the assistance ofReine-Marie Verhagen
We combined questions regardingmusic theory with practical exercisessuch as middot How long can a player hold a
low f in one breath on an altorecorder (You get one point foreach second)
middot How many times through a scaleis a player able to play in 30seconds (For every octave of theF major scale you get one point)
middot How many different pieces fromthe recorder repertoire can aperson play in the course of twominutes (The other members ofthe group have to guess the nameof the composer before the playercan start the next piece)
middot In one minute list as manydifferent titles as you can fromDer Fluyten Lusthof (TheRecorderrsquos Pleasure Garden) of J J van EyckThe list of questions goes onAt the ldquoHappy Hourrdquo people
were divided into three groupsaccording to dates of each personrsquosbirthday When theoretical questionswere asked (see below) the pointsystem was devised as follows threepoints were awarded when the selected
person of a group could find theanswer himherself two points whenthe selected person needed the help ofthe other group members and onepoint if the group needed the help ofour gracious class assistant Reine-Marie Verhagen (she alwaysknew the answer) No points weregiven if the quizmaster had to supplythe answer
On the next page you find someof my questions There are morewhich we hope to run in a future issueof American Recorder
The quiz was full of fun andsuspense By the end people weremore nervous than when playing aconcert on stage Jacob Lodico of theUS was the winner at Amherst
28 March 2009 American Recorder
Education___________________________________ A quiz for recorder players
wwwAmericanRecorderorg March 2009 29
Try these questions yourselfAnswers appear at the end of thisarticle
The Quiz1 Give the name of Ganassirsquos
treatise of 1535 where heextensively describes the recorder playing and diminutions of his time
2 In which German city is therecorder company Moeck based
3 In the cantata Gottes Zeit ist dieallerbeste Zeit BWV106 JS Bach calls for two altorecorders Give another name for this cantata
4 Of which famous orchestra isFrans Bruumlggen the conductor
5 List three leading Japanesecomposers of excellent solo pieces for the recorder
6 Give the names of recordermagazines published inGermany England and the US
7 What is the fundamental tone of a fourth flute
8 List two recorder makers fromthe Baroque period in England
9 Whatrsquos the title of the recitativeand chorale in the Saint MatthewPassion where the recorder isused
10 Give the names of two famouspublishers in business around1700mdashone in London and one in Amsterdam
11 The opus 10 work by AntonioVivaldi includes six concertiSome of them have beautifulnames Give the names of thefirst three concerti of this opus
12 Whatrsquos a nickname for Jean Jacques Hotteterre
13 The combination of recorder andtraverso was rarely used in theBaroque time Can you name any composers who used thiscombination
14 Which king from 16th-centuryEngland owned a large collectionof recorders and also composedand enjoyed daily recorderplaying
15 How many movements compriseHandelrsquos Sonata in C Op 1 No 7 originally written forrecorder and basso continuo
16 Give the name of Praetoriusrsquostreatise from 1609 that describesthe whole recorder family
17 Name the author of the oldestrecorder method
18 Name Jan Jacob van Eyckrsquosdisability
19 Who pretended around 1930 thatthe recorder was a kind ofclarinet
20 Who doesnrsquot belong in thefollowing group Bertho DrieverKarel van Steenhoven MarionVerbruggen Paul LeenhoutsDaniel Bruumlggen
21 Name the two instrumentsindicated to play the sonataMeiner Mutter of Hans UlrichStaeps
22 Il Pastor Fido was not composedby Antonio Vivaldi but by aFrench composer What was hisname
23 Whatrsquos the nationality of themusic company Zen-On
24 CPE Bach composed abeautiful trio that includes a bassrecorder What are the other twoinstruments
25 Give the names of the fourmovements of Bachrsquos partita forsolo traverse flute BWV1013
26 Which excellent playersperformed as the recorder trioSour Cream
27 A recorder normally has eightfingerholes Despite this musichistory describes the recorder as ldquoune flucircte agrave neuf trousrdquo (a flute with nine fingerholes)Explain why
28 Give the French name for vibratoperformed by finger movementsalone on a wind instrument
29 Who wrote in his diaryldquohellipbeyond anything in the wholeworld the wind-music when the
Answers to
Bart Spanhoversquos Quiz1 La Fontegara2 Celle3 Actus Tragicus4 The Orchestra of the
Eighteenth Century5 R Hirose M Ishii and
M Shinohara
6 Windkanal or Tibia (both ofGermany) The Recorder(England) American Recorder(US)
7 B8 The most famous English
recorder makers around 1700Bressan and Stanesby (the latterbeing both senior and junior)
9 O Schmerz Hier zittert das gequaumllte Herz
10 Walsh (and Hare) (of London)Roger (of Amsterdam)
11 La Tempesta de Mare La Notte Il Gardelino
12 Le Romain13 JB Loeillet J J Quantz
JJ Hotteterre or J B de Boismortier
14 Henry VIII15 Five16 Syntagma Musicum17 Sebastian Virdung Musica
Getutscht und Ausgezogen (1511)18 Blindness19 Igor Stravinsky20 Marion Verbruggen21 Alto recorder and piano22 Nicolas Cheacutedeville23 Japanese24 Viola and cembalo25 Allemande Courante Sarabande
Bourreacutee26 Kees Boeke Walter van Hauwe
and Frans Bruumlggen27 Before 1670 the player could
choose how to hold the recordermdashleft hand or right hand at the topThis meant that recorder makersdrilled two holes to accommodatethe little finger of the hand thatended up at the bottom Theunused hole was sealed with beeswax
28 Flattement29 Samuel Pepys30 Flanders Recorder Quartet
30 March 2009 American Recorder
Lazarrsquos Early Music(866) 511-2981 jblazaraolcom
wwwLazarsEarlyMusiccom
292 Gibraltar Dr 108 Sunnyvale CA 94089
Strings amp Early Winds
ModernBaroque Strings Viols Vielle
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Wendy Ogle Lu-Mi Ifshin Snow
Competitive Prices
Sent on Approval
Personalized Service amp Advice
R
E
C
O
R
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E
R
S
ldquoGO FOR NEO-BAROQUErdquo
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[Prelude Allemande Courante Musettemdash
a neo-baroque epitome] (Score amp Parts PBE-25) $795
Andrew Charlton Suite Moderne For 3 Recorders (ATB)
[Baroque shapes but Hindemithian harmony]
(3 Playing-Scores PBE-44) $995
Southwest of Baroque David Goldsteinrsquos ldquobaroque Suiterdquo
on Cowboy Songs For 2 Recorders (SA) (PBE-2) $350
The Provincetown Bookshop Inc
246 Commercial Street Provincetown MA 02657 Tel (508)487-0964
A good source for Recorder amp Viol Music of all publishers
Provincetown Bookshop Editions
angel comes down which is sosweet that it ravished me andindeed in a word did wrap upmy soul so that it made me reallysick just as I have formerly beenwhen in love with my wiferdquo
30 Whatrsquos the English name for afamous recorder ensemble calledin its country Vier op lsquon Rij
wwwAmericanRecorderorg March 2009 31
by Tim Broege timbroegeaolcom
December 11 2008 was a specialday for American music the
100th birthday of Americarsquos greatestliving composer Elliott Carter Cele-bratory concerts took place in manyvenues including Carnegie Hall inNew York There the Boston Sym-phony led by James Levine played anew work by Carter Interventions forpiano and orchestra The soloist wasanother well-known conductor DanielBarenboim who is no mean hand atthe keyboard to say the least
Itrsquos remarkable that wonderfulnew compositions continue to pourforth from Carterrsquos pen His musicsparkles and frolics packing lots of musical events into engrossingstructures Much of his music isavailable on CD so if you missed thecelebrations you can easily have yourown belated birthday party for Carter
Although he has never written for recorder (one of our prominent
recorder soloists should commissionhim) Carter has produced manychamber pieces featuring woodwindsSince many recorder players double orstarted out on woodwinds such piecesas the Sonata for Flute Oboe Cello ampHarpsichord (1952) Enchanted Preludes(1988) for flute and rsquocello Espritrudeesprit doux (1985) for flute andclarinet or the Oboe Quartet (2001)may hold special interest
If you missed Charlie Rosersquosexcellent interview (broadcast onDecember 10) with Carter Levine andBarenboim you can see it atwwwcharlierosecomview
interview9774mdashessential viewingfor fans of contemporary music
We note with sadness the passingon January 23 of another distin-guished American composer GeorgePerle An authority on the music ofAlban Berg and the Second VienneseSchool Perle developed a uniquelyrical style based upon a free approachto 12-tone and serial procedureswhich he dubbed ldquo12-tone tonalityrdquo I recommend listening to his SerenadeNo 3 for Piano amp Orchestra (1983) Six Etudes for Piano (1973-76) and the Pulitzer Prize-winning Wind Quintet No 4 (1985)
Another leading American com-poser Leon Kirchner is thankfully still with us having turned 90 onJanuary 24 Like Perle Kirchner has a highly personal and expressive styleA birthday concert was held at MillerTheater at Columbia University inNew York City NY Participatingmusicians included flutist PaulaRobison pianist Jeremy Denk and theClaremont Trio with the composerpresent to discuss his music
An excellent way to get to knowKirchnerrsquos music is through his stringquartets Just in time for his birthdayAlbany Records has released a fine CDof all four played by the Orion StringQuartet Quartet No 4 was written in2007 (when the composer was 87mdasha veritable youngster compared toCarter) The composer Allen Shawnhas described that quartet asldquoluminous and passionaterdquo words aptto describe much of Kirchnerrsquos output
Speaking of contemporary musicI have been spending pleasant hoursperusing the Catalog of ContemporaryBlockflute Music available online atwwwblokfluitorg from StichtingBlokfluit This Netherlands founda-tion offers a contemporary recordercatalog and a catalog of historicalrecorder music Access to both is byfree membership
For those who havenrsquot yet used thecontemporary catalog I urge you togive it a try You can search by manyparameters such as composer title orspecific instrumentation A search forldquovoice fluterdquo turned up a list thatincluded Moon Dances Three AmericanSketches by composer Walter Mays(intended for solo alto recorder butalso playable on tenor or voice flute)Searching the name of English com-poser Edmund Rubbra produced a listof eight works that employ recordersincluding the intriguing CantataPastorale opus 92 for high voice altorecorder rsquocello and harpsichord
Searching ldquofemale composersrdquo fora piece using ldquoBaroque altordquo yieldedAfter Meditation by Ros Bandt ofAustralia
What an easy and tremendouslyvaluable way to find new music
On the Cutting Edge___________________________________Birthdays composers and
recorder music catalogs
Elliot Carter
(photo by Meredith Heuer)
Question How does Renaissancefingering differ from standard
fingering on the recorder Is one superior tothe other Do you need a special recorder touse Renaissance fingering and if so can itbe played with regular recorders Is there afingering chart that shows RenaissancefingeringmdashWilliam BaumannWaterford WI
Answer from Carolyn Peskin Music composed in the
Renaissance the historical periodextending from about 1450 to 1600was predominantly vocal and highlycontrapuntal Recorders which oftendoubled singers at the octave orrendered vocal pieces instrumentallywere designed to make the individualmelodic lines clearly audible
Most 16th-century consortrecorders were one-piece instrumentswith large toneholes and a wide borethat contracted slightly starting nearthe upper fingerholes and thenexpanded gently near the lowest holesThat ldquochoke-borerdquo design togetherwith the voicing and tonehole con-figuration favored the fundamentaltone (first harmonic) producing astrong open sound that was aboutequally loud throughout theinstrumentrsquos range
Such recorders had a useful rangeof only about an octave plus a sixthwhich was nevertheless sufficient for the music of their day MostRenaissance-style consort recordersmade today are based loosely uponsurviving 16th-century instruments ofthe above type and are designed toapproximate the range timbre andvolume of those early instruments
Our present-day ldquoregularrdquorecorders are Baroque-derived instru-ments based loosely upon survivingrecorders from the late 17th and early18th centuries They are three-pieceinstruments with small toneholes and abore that is narrower and moretapering than a Renaissance boreextending their useful range upward totwo octaves plus a whole tone
Baroque recorders are soft andsweet-sounding in their bottom octavebut louder and brighter in the secondoctave Their lowest notes are espe-cially weak because they must be blowngently to prevent overblowing into thesecond octave Such instruments aresuitable for Baroque solo and chamberrepertoire but not very satisfying forRenaissance polyphony
Due to their different timbre andvolume Renaissance recorders will not blend well with Baroque onesFurthermore the most historicallyauthentic Renaissance-style recordersare tuned in a ldquomeantonerdquotemperament that facilitates the playingof pure major thirds Such instrumentsmake Renaissance music easier to playin tune but will produce intonationproblems if played with Baroquerecorders which are tuned in equaltemperament For the above reasonsRenaissance and Baroque recordersshould not be played together
Renaissance fingering will not work on todayrsquos neo-Baroquerecordersmdashmost of which haveldquomodernrdquo Baroque fingeringcommonly called ldquoEnglishrdquo fingering
because it was developed fromhistorical Baroque fingering by ArnoldDolmetsch in England during theearly 20th century Renaissancefingering is less standardized partlybecause a number of different originalinstruments are used as models andpartly because makers wish to improvethe intonation tone quality andorplayability of certain notes Howeverthe following generalizations apply tomany of todayrsquos Renaissance-styleconsort recorders
First in the lower octave modernBaroque fingering works for mostnotes but is often too flat for the fourth scale degree (eg soprano F)requiring removal of finger 7 (right-hand pinky) and is too sharp for theraised fourth degree (eg soprano F)requiring addition of finger 7
Modern fingering is also usuallytoo sharp for the lowered seventhdegree (eg soprano B) The correctfingering for that note varies from oneinstrument to another
In the upper octave modernfingering works for the first third andfifth scale degrees (eg soprano C Eand G) but usually not for other notesSome notes require half-holing with aright-hand finger and notes above thefifth scale degree may require additionof several fingers to bring them in tuneHistorical Renaissance fingering forthe second scale degree (eg sopranoD) is especially awkward because all ofthe fingerholes and the thumbholemust be uncovered Therefore somemakers substitute modern fingering forthat note
Although Renaissance fingeringand meantone tuning are recom-mended for the best blend some
Q amp A___________________________________ Renaissance recorder fingering
Send questions to Carolyn Peskin QampA Editor 3559 Strathavon Road Shaker Heights OH44120 carolynpeskinstratosnet
32 March 2009 American Recorder
wwwAmericanRecorderorg March 2009 33
makers of handcrafted Renaissance recorders will provide modern fingeringandor equal temperament upon request and Moeck Verlag offers a choice ofRenaissance or modern fingering for most sizes of its factory-producedRenaissance Consort series
For a most satisfying blend Renaissance ensembles should purchase amatched set of recorders tuned and voiced to be played together Renaissanceconsort sets usually include two different alto recorders one in G (lowest note g)and one in F (lowest note f ) The ATTB combination with the G-alto is best formost of the quartet music composed between 1450 and 1550 while the SATBcombination with the F-alto is more practical for much late 16th-centuryrepertoire (Playing the G-alto requires learning G-alto fingering or elsetransposing the alto line down a whole tone and using F-alto fingering)
In addition to consort recorders some makers offer ldquoGanassirdquo sopranos andaltos based upon fingering charts in Silvestro Ganassirsquos recorder tutor Fontegarapublished in 1535 and a single original instrument in the Vienna Kunst-historisches Museum Because of their special bore design (cylindrical with aflaring bell) Ganassi recorders have a range of two octaves and a sixth withcumbersome fingerings in the third octave They are used mainly as soloinstruments for playing intricate ornaments of the type found in Fontegara
Also sometimes included in the ldquoRenaissancerdquo category are ldquotransitionalrdquo(early Baroque) recorders which are based upon originals from the first half ofthe 17th century They have a bore that is wider than a Baroque bore but contractssharply near the lower end resulting in strong low notes and at least a full two-octave range usually with modern fingering Most transitional recorders aresopranos or altos designed for playing Jacob van Eyckrsquos variation sets or thehighly ornamented Italian solo repertoire of the late-16th and early-17thcenturies
However wide-bore consortrecorders with a range of at least twooctaves and modern fingering shouldalso be regarded as transitionalinstruments They differ somewhat intimbre and volume from typicalRenaissance consort recorders
Handmade wide-borerecordersmdashconsort Ganassi andtransitionalmdashare obtainable frommakers who advertise in AmericanRecorder the Prescott Workshop andthe Von Huene Workshop in the USJean-Luc Boudreau in Canada andStephan Blezinger in GermanyContact them andor visit their websites to find out what kinds ofrecorders they are currently makingand to get an idea of their prices andwait times
Factory-produced wide-borerecorders from Kobliczek Moeck andMollenhauer are available frominstrument dealers who advertise inAR New and used recordersincluding wide-bore models fromimportant makers in the US andabroad are also obtainable from Uni-corn Music For further informationvisit wwwbuyrecorderscom For a comprehensive database of recordermakers worldwide see Nicholas SLanderrsquos ldquoExtant Recorder Makers amp Retailersrdquo at wwwrecorder
homepagenetmakershtml
REFERENCES
CONSULTEDBauer Winfried
wwwrecorder-fingeringscomIncludes interactive fingeringcharts from modern makers andhistorical treatises Charts forRenaissance consort recorders byAdriana Breukink Adrian BrownBob Marvin and Tom Prescottwere consulted
Brown Adrianwwwadrianbrownorgrec
order_typesconsorthtml
Our present-day ldquoregularrdquo recorders are
Baroque-derived instruments based loosely
upon surviving recorders from the
late 17th and early 18th centuries
34 March 2009 American Recorder
The Von Huene Workshop Incis pleased to announce agreements with
CoolsmaZamra
to serve as their authorised service agents in the US
For more than 40 years the von Huene Workshop has produced some of the finest recorders in the world Our skilled staff can revoice retune and repair even the most seriously damaged instruments All repairs are done right on the premises and most can be completed within a week
For warranty repairs please include a copy of your original sales receipt
j 65 Boylston Street Brookline MA 02445 i(617) 277-8690 Fax (617) 277-7217 servicevonhuenecom
An informative article aboutrecorder sizes in Renaissanceconsorts
Brown Adrian and David LasockildquoRenaissance Recorders andTheir Makersrdquo AmericanRecorder Vol XLVII No 1(January 2006) pp 19-31 An important article based upon Brownrsquos extensive researchon 120 of the 200 surviving 16th-century recorders
Ganassi Silvestro Opera IntitulataFontegara Ed Hildemarie Peter(Berlin-Lichterfelde RobertLienau 1959) Modern edition ofthe oldest known treatise devotedentirely to the recorder (publishedin 1535) Includes 16th-centuryfingering charts
Griscom Richard and David LasockiThe Recorder A Research andInformation Guide (New York andLondon Routledge 2003) Anannotated bibliography including
references on construction anddesign of historical recorders
Levin Philip ldquoQampArdquo AmericanRecorder Vol XXXVIII No 4(September 1997) p 27Explains in simple terms thedifference between Renaissanceand Baroque recorders
Morgan Fred ldquoA Recorder for theMusic of JJ van EyckrdquoAmerican Recorder Vol XXV No 2 (May 1984) pp 47-49Describes the bore design of arecorder suitable for playing Van Eyckrsquos variation sets andcompares it with bore designs ofother types of recorders
Myers Herbert W ldquoRecorderrdquochapter in A Performerrsquos Guide toRenaissance Music ed JefferyKite-Powell (New York SchirmerBooks 1994) A 2nd edition isnow available published in 2007by Indiana University Press
FEATURING MUSICA PACIFICA
JUDITH LINSENBERG
RECORDERS____JS BACH TRIO SONATAS Arr by
Linsenberg from Trio Sonatas for Organ BWV525-
530 Sonata No 1 in E
major (transp to B
)
BWV 525 Sonata No 2 in C minor (transp to E)
BWV526 Sonata No 3 in D minor (transp to G)
BWV 527 Sonata No 4 in E minor BWV 528
Sonata No 5 in C major (transp to F) BWV529
Sonata No 6 in G major (transp to C) BWV 530
Virgin Classics Veritas 1993
____FIRE BENEATH MY FINGERS Showcases
three legendary composers who were also
virtuoso performers Vivaldi Concerto in F major
after RV 98570 ldquoLa Tempesta di Marerdquo Sonata in
A minor RV86 Concerto in G minor RV106 Con-
certo in Bb major RV503 Sammartini Concerto in
F major Tartini Concerto in A major D91 Dorian
____MANCINI CONCERTI DI CAMERA Seven
sonatas by Francesco Mancini plus one work each
from his contemporaries Francesco Durante amp
Domenico Scarlatti Highly recommended citation
from the 2000 Vivaldi Prize for Recordings of Italian
Early Music--Giorgio Cini Foundation Dorian
____MARAIS MARIN PIEgraveCES EN TRIO POUR
LES FLUcircTES VIOLON amp DESSUS DE VIOLE
Maraiss complete works for two treble lines and
bass with varied instrumentation and orchestrations
2-CD set $24
____SCARLATTI CONCERTI DI CAMERA
Seven sonatas for various instrumentations no
poor relations to the composers much more widely-
known vocal output All recorder players should
certainly have thisndashEarly Music Review
____TELEMANN CHAMBER CANTATAS
Five cantatas from Harmonischer Gottesdienst two
sonatas from Sonatas Corellisantes 2003 Chamber
Music America WQXR Record Award for best
chamber music recordings
____VIVALDI LA NOTTE Concerti per strumenti
diversi Award-winning CD featuring five Vivaldi
concerti two sonatas
AND OTHER RECORDING
ARTISTS FROM CALIFORNIA ____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 American Bach Soloists Jeffrey
Thomas conductor Dan Laurin Hanneke van
Proosdij recorders Christmas Concerto featuring
unique 1725 London version with solos transcription
for two recorders instead of two solo violins in
three of the six concertos Delos
____CANCcedilONIEgraveR Annette Bauer recorder
multi-instrumentalist Tim Rayborn Shira Kammen
strings Phoebe Jevtovic voice in a new early
music group devoted to repertoire from the
12thndash15th centuries as well as traditional music
from related regions (the Balkans Scandinavia
Middle East) Medieval instrumental music played
on a variety of instruments including strings
recorders and percussion Medieval dances and
motets bring to life the rich world of ancient
European music-making
____SACRED AND SECULAR MUSIC FROM
RENAISSANCE GERMANY Ciaramella-Adam amp
Rotem Gilbert Doug Millikan Debra Nagy
recorders with other winds shawm sackbut amp
organ Medieval amp Renaissance sacred music with
reconstructions of folksongs amp arrangements based
on contemporary improvisation
____BURIED TREASURE TOPAZ amp SAPPHIRE
Ensemble Vermillian Frances Blaker recorders
Barbara Blaker Krumdieck cello Elisabeth Reed
gamba Katherine Heater harpsichord amp organ
Transcriptions of Buxtehudes Op 1 other pieces by
Buxtehude works by Biber Johann Schop
Schmelzer Fafarela 2007
____STOLEN JEWELS Ensemble Vermillian
Frances Blaker recorders Barbara Blaker
Krumdieck Elisabeth Reed Katherine Heater 17th-
century German music adapted by Blaker I love
violin music so I steal the music and rearrange it
for my own instrumentrdquo Buxtehude Op 1 Biber
Rosenmuller Krieger JM Bach Fafarela
Recordings
____SENFL (LUDWIG) Farallon Recorder Quartet
(Letitia Berlin Frances Blaker Louise Carslake
Hanneke van Proosdij) 23 lieder motets and
instrumental works of the German Renaissance
____DOLCE MUSICAndash A CONTEMPLATIVE
JOURNEY Eileen Hadidianflutes recorders
Natalie Cox harps Celtic Renaissance and
Medieval melodies for recorder and flute with
Celtic harp Healing Muses 2005
____REFLECTIONS MUSIC TO SOOTHE AND
UPLIFT THE SPIRIT Eileen Hadidian recorder amp
Baroque flute with Celtic harp and cello Celtic
traditional Renaissance amp Medieval melodies
Healing Muses
____AN EVENING WITH BACH Voices of Music
Hanneke van Proosdij Louis Carslake Dan Laurin
recorders Joanna Blendulf Elizabeth Blumenstock
Rodney Gehrke Lisa Grodin Katherine Kyme
Jennifer Lane Victoria Gunn Pich Susanne Ryden
William Skeen David Tayler Renaissance and
Baroque music centers on fine singing Instantly
recognizable Air on a G String Bachrsquos Prelude in
G Major (solo theorbo for rsquocello) plus lilting vocal
performancesmdashRydenrsquos weightless soprano on
Bist du bei mir Lanersquos rich alto on Es is vollbracht
____BACH amp TELEMANN SONATAS PRELUDES
amp FANTASIAS Voices of Music (Hanneke van
Proosdij Joanna Blendulf Rodney Gehrke William
Skeen David Tayler) Beautiful chamber music by
Bach and Telemann
IN STOCK (Partial listing)____ALLA TURCA FUX CALDARA BADIA
Matthias Maute amp Sophie Lariviegravere recorders
Monika Mauch soprano Vocal music of the church
accompanied by Ensemble Caprice plus sonatas
and other instrumental pieces Analekta
____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 John Daniels Sonja Lindblad
recorders Peter Sykes harpsichord Trio sonata
arrangement by Johann Christian Schickhardt
____LES
AMIS DU
BAROQUE
Paul Nauta recorder amp
Baroque flute Koen Dieltiens recorder Music by
Bassani Corelli Vivaldi etc Highlight Intl
____LES SEPT SAUTS BAROQUE CHAMBER
MUSIC AT THE STUTTGART COURT Matthias
Maute amp Sophie Lariviegravere recorders amp traverso
Ensemble Caprice Charming repertoire by
Schwartzkopff Bodino Detri Atma Classique
____TASTE OF PORTIQUE LEnsemble Portique
Early and contemporary chamber musicmdash
Bach Telemann Boismortier and others
____TELEMANN ALLA POLACCA REBELndash
Matthias Maute recorders amp traversondash
plays concerti and suites by GP Telemann Dorian
____TELEMANN CANONS AND DUOS Lisette
Kielson amp Patrick OMalley recorders LEnsemble
Portique Telemann Canons meacutelodieux amp Sonates
sans basse 2-CD set LEP Records
____20TH CENTURY MUSIC FOR RECORDER amp
PIANO Anita Randolfi recorders Music by Jacob
Bartok Leigh others for recorder amp piano
____VIVALDI AND THE BAROQUE GYPSIES
Matthias Maute amp Sophie Lariviegravere recorders
Ensemble Caprice Gypsy music taken from
Uhrovska zbierka (now Slovakia) plus Vivaldi
____VIVALDI SHADES OF RED CONCERTOS amp
SONATAS FOR RECORDER amp STRINGS Matthias
Maute recorders REBEL Stylish high octane
readings of some of Vivaldis most beloved pieces
including the popular and raucous Concerto alla
Rustica stunningly colorful Sonata on La Follia and
four exuberant recorder concerti Bridge
____WINDFIRE Charmaine Delmatier recorder
Steve Kostelnik classical guitar Terry Hale bass
Erik Hokkanen violin Refreshing mixture of Andrew
Lloyd Weber American blues flamenco Celtic and
one original piece ltwwwyermomusicomgt
Please indicate above the CDs you wish toorder and print clearly the following
Name ____________________________________
Daytime phone (_____)______________________
Address__________________________________
CityStateZip _____________________________
Check enclosed for
_____ single CDs x $____ = $______
_____ 2-CD sets x $____ = $______
TOTAL $______
Please charge the above amount to my
MasterCard Visa or AmEx
_______________________________________
Exp Date ____________
Cardholderrsquos signature ______________________
Mail to
ARS 1129 Ruth Dr St Louis MO 63122-1019 US
You may fax a credit card order to 314-966-4649
NEW You may order CDs online using PayPal at
wwwamericanrecorderorgordercdromshtm
Order your recorder discs
through the ARS CD Club
The ARS CD Club makes hard-to-find or limited release CDs by ARS members
available to ARS members at the special price listed (non-members slightly higher)
All CDs are $15 ARS members$17 Others unless marked otherwise Two-CD sets are
$24 ARS members$28 Others Add Shipping and Handling $2 for one CD $1 for each
additional CD An updated listing of all available CDs may be found at the ARS
web site ltwwwamericanrecorderorggt
The first meeting of the newly-formedFort Myers Recorder and Early
Music Ensemble was January 26 atthe Florida home of chapter rep Sue
Groskreutz For this year the groupis somewhat loosely organized andplans to meet for extended sight-reading Repertoire at the first meetingcomprised everything from Renais-sance duets to chamber music involv-ing three treble parts and continuo
Among the five musiciansattending the first meeting (photobelow front row Elizabeth Spang SueGroskreutz back row Suzanne FergusonSibylle Baumgartner Arlene Sowka) allplayed recorder three harpsichord
and one each played traverso violinand gamba Due to the scarcity ofrecorder players south of the Sarasotaarea modern string players are alsoincorporated into this ensemble
The group decided not to chargedues and to meet at Groskreutzrsquoshome For more information pleasecontact Groskreutz at 239-267-1752spgembarqmailcom Snowbirdsdrifting through the area are welcome
Last fall at the requestof a student Kay Hettich
(inset below right) taught abeginning recorder class atthe Redding (CA) Senior
Center The five-weekclass was so successful thatmost participants haveformed a bi-weekly noviceensemble (right) coachedby Hettichmdashwho consid-ers them her ldquohatchedeggsrdquo
A new batch of ldquoeggsrdquostarted to incubate when afive-week class began on February 20Other senior center members havebecome interested as they heard oftheir colleaguesrsquo success These noviceplayers comprise some who previouslyread music and played instruments as well as people who are totally new to music notation
One student has also formulated amaxim ldquoEveryone at age 40 ought tolearn to play the recorder if heshehasnrsquot alreadyrdquo Just think how theworld would be transformed byshifting our focus to music
After Lynn Whidden attendedthe Montreacuteal Recorder Festival lastfall when the ARS Board met inQuebec she joined the ARS and nowrelays news of the lively interest in therecorder exhibited by a group underthe new leadership of Brent Legg ofBrandon University in ManitobaCanada Although his hands wereldquostill partly frozenrdquo he wrote that theBrandon University Collegium
Musicum in collaboration with theWaverley Park Recorder Club is
preparing a spring concert calledldquoEnglandrsquos Golden AgerdquoRepertoire spans the 16th century
from Henry VIIIrsquos accession in 1509to the death in 1603 of Elizabeth Iand includes solo songs four- andfive-part settings of Renaissancedances (with dancers) three- to five-voice madrigals and ldquobig-bandrdquoarrangements of William Byrdrsquos TheBells and The Dargason as re-imaginedby Gustav Holst (further re-imaginedfor recorders and percussion)
Of the 15 collegium membersseven are encountering the recorderfor the first time since elementaryschool The Collegium Musicumpromotes the study of early music at the university and is open to theuniversity community and the generalpublic This year there are five com-munity participants with interest fromseveral more both within and outsideof the university For informationcontact BrentLegggmailcom
January 16 marked the thirdannual recorder workshop of threeFlorida groups the Pasco Collegium
Recorder Consort of Hudson theImperial Recorder Consort of
36 March 2009 American Recorder
Chapters
amp Consorts___________________________________Workshops and activities from
coast to coast in the US and Canada
Lakeland and the Pilgrim Pipers Recorder Consort of St Petersburg Theygathered for a morning tackling selections by Banchieri Monteverdi PurcellCorelli Mendelssohn Bach Mozart and Glen Shannon Each group presenteda piece for the other participants Sweet Georgia Brown by Ben Bernie (St Pete)a Sonata by Sammartini (Lakeland) and The Gospel Train arr by KW Ford(Pasco) The 29 participants were led by Marlene Cracraft (Pasco) Jane
Spencer (Lakeland) and Elizabeth Snedeker (St Pete) Tom Bickley (photo below) directed the fall workshop of the Mid-Peninsula
Recorder Orchestra in Cupertino CA The 30 players started with Gregorianchants written in ldquooldrdquo notation Bickley gave basic instruction on how tointerpret the notes and then had the group sing the chants prior to playing them
The workshop theme of ldquoThe Articulate Recorderrdquo was literally played out as the music presented used variations in tonguing phrasing and breathingOther repertoire included a Kyrie by Tomas Luis de Victoria Bachrsquos Jesu Joy ofManrsquos Desiring a double-choir piece by Gabrieli Christopher Tyersquos In NomineXIII and a Purcell chaconne The workshop ended with a rhythmically-challenging minimalist piece by Bickley entitled Beginning composed for theWaldorf School teacher training program George Greenwood reports that thegroup had a productive event and plans to ask Bickley to lead a future workshop
wwwAmericanRecorderorg March 2009 37
A Muse in the DesertThe sound of a pin dropping hellip thesound of eager minds and fingersabsorbing information and inspira-tion hellip the sounds of ldquoNuevaEspantildeardquo Spanish- and indigenous-influenced music of the 1600s in theNew World These were the soundsof the Desert Pipes (Phoenix AZ)chapterrsquos fall workshop given byEileen Hadidian On a Saturdaylast October 30 players from all overArizona gathered to learn from andbe inspired by the founder of a SanFrancisco Bay Area group dedicatedto sharing music for healing inhealthcare settings Healing Muses(wwwhealingmusesorg)
The day began with relaxationstretching and breathing exercisesfollowed by travels to Peruacute MexicoGuatemala and Colombiamdashhighchurch music vernacular pieces anda mixture of the two Participantsenjoyed the historical and contextualbackground provided as an overviewfor the day and for each piece
Remarkably the sound heardbetween pieces and passages was anenergy-filled quiet the attentivestillness of active engagement in theworkshop experiencemdashnot the chat-tering noodling and conversationsthat often occur when the musicstops That activity was reserved forthe breaks when participants couldenjoy the cool (at last) outdoorschat with Hadidian and peruse the popular garage sale (to benefitDesert Pipes) of previously-enjoyedbooks and other treasures
On Sunday Hadidian sharedher expertise and inspiration in indi-vidual and group coaching sessionsThe weekend was a special experi-ence and Desert Pipes memberslook forward to the next visit of this Healing Muse
Ann Koenig Scottsdale AZannisalesprocom
Members
of three
Florida
groups
met
in January
for a joint
workshop
CHAPTER NEWS
Chapter newsletter editors and publicity officers should send materials for publication toAmerican Recorder 7770 South High St Centennial CO 80122-3122
editoramericanrecorderorg Also send short articles about specific activities that haveincreased chapter membership or recognition or just the enjoyment your members get out of
being part of your chapter Digital photos should be at least 3rdquox4rdquox300dpi TIF or unedited JPG files Please send news to the AR address above and to the following
ARS Office 1129 Ruth Drive St Louis MO 63122-1019 ARSrecorderAmericanRecorderorg
and to Bonnie Kelly Chair Chapters amp Consorts Committee 45 Shawsheen Rd 16 Bedford MA 01730 bksharpaolcom
TO THE STARS
AND BEYONDThe cover of the November magazinegenerated a few comments Some werenrsquotsure how to interpret the title (in theartistrsquos native German it could besomething close to ldquostarlit moonrdquo)Longtime member Carolyn Peskin wrote to offer her vision of that cover
In the beginning the Great Spiritinvented Mr Sun to light the day andMiss Moon to light the nightHowever as Miss Moon floated up inthe sky all by herself like a big yellowballoon she began to feel very lonelyso one night to relieve her lonelinessshe decided to take out her recorderand make music
But when she started to playsomething miraculous happened Not only beautiful melodies but alsoyellow dust poured out of the bottomof her recorder and the dust particlesimmediately coalesced to form yellowstars As she continued playing moreand more stars were created and theyfloated up around her filling the nightsky
At last Miss Moon was happy fornot only was she herself able to enjoyher music but she now had a wholecrowd of starry companions to enjoy itwith her And if you listen very care-fully on a quiet night you might beable to hear her recorder and thatstarry choir humming along
Carolyn Peskin
LOCATING EARPLUGSI read with interest the QampA in theNovember lsquo08 AR regarding hearingloss and use of earplugs Where do you get musicianrsquos earplugs
Dolly Hirata Kensington CA
CAROLYN PESKIN PROVIDED THIS
INFORMATION Musicianrsquos earplugs arecustom made for individual usersThey can be purchased only fromlicensed hearing professionals (ieaudiologists and hearing instrumentspecialists) To find a licensed hearingprofessional in your area look underldquoaudiologyrdquo or ldquohearingrdquo in your localyellow pages
For information about how musi-cianrsquos earplugs are produced visitwwwetymoticcomephperme-w
tbaspx That web page also has a linkto contact information for authorizedlabs that make the custom earmolds formusicianrsquos earplugs If the yellow pagesdo not prove helpful those labs canrefer you to a licensed hearing pro-fessional in your area from whom youcan purchase musicianrsquos earplugs
MORE FROM CAROLYN
THIS TIME ABOUT OSKARIn the September 2008 AR the musicreview by Leslie Timmons of the Oskarpieces by Matthias Maute mentionedthat Carolyn Peskin had translated twoof the Oskar books from German toEnglish People can obtain thetranslations free of charge as Wordattachments by contacting her atCarolyn Peskin 3559 StrathavonRoad Shaker Heights OH 44120carolynpeskinstratosnet
ANOTHER KIND OF
MUSIC-READING
GLASSESIn the January 2009 issue of AmericanRecorder therersquos something (in myopinion) the ldquoRecorder with GlassesObbligatordquo article omitted which canenable a nearsighted musician to avoidneck strain in the use of bifocals
Irsquove found the solution to thisvexing problem is to have onersquos bifocalsconstructed differently [from] normalMy optometrist was willing to work
38 March 2009 American Recorder
Response___________________________________Two kinds of vision
the better to see with and (not) to hear with
Honeysuckle Music
Recorders amp accessories
Music for recorders amp viols
Jean Allison Olson1604 Portland AveSt Paul MN 55104
6516448545jeanhoneysucklemusiccom
Responses from our readers are welcomedand may be sent to American Recorder 7770 South High St Centennial CO
80122 Letters may be edited for length and consistency
ARS Membership Enrollment and Renewal I am a new member I am or have been a member
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Do not list my name in the ARS Print Directory Do not list my name on the ARS Online Directory Do not release my name for recorder related mailings Do not contact me via email
My address telephone and email address are the same as last time
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I am a Professional Recorder Performer
I wish to be included in the list of Recorder Teachers in the ARS Directory and website I Teach (circle your choices) Children High School Youth College Students Adults Beginner Intermediate Advanced Pre-Professional Individuals Childrenrsquos Classes Adult Classes Ensembles Suzuki Orff JRS Leader Kodaly Where I Teach (circle your choices) Music Studio Public or private school Community Music School College Other _____________________
American Recorder Society 1129 Ruth Dr St Louis MO 63122-1019
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wwwAmericanRecorderorg
with me [to find] an ideal (for me)placement size and focal length of thebifocal lens
Before visiting the optometristIrsquod had my wife measure the distancefrom my eyes to the music on mymusic stand With this measurementthe optometrist set up her machine toprepare a vision prescription for memaximized for this reading distance
When I look at my bifocals (withthem off) the lenses (through which Iread my music) occupy most of thelower two-thirds of my glasses (they are set very high and beginimmediately at the inner rims) Thisleaves the upper third and smallportions of the outside [of each lens]for focusing on the conductor As longas my stand is set low enough my necknever experiences any strain (even if Ihave to read three to a part) and Irsquove no problem in seeing theconductor (in sharp focus) either
For me trying to use glasses [toread] from a music stand [that] weredesigned for use in reading from acomputer screen also results in neckstrain (not to mention unreliability in aldquopressurerdquo situation) Having studiedTai Chi extensively and so being
wwwAmericanRecorderorg March 2009 39
There are lots ofsolutions to thepresbyopic musicianrsquosproblem but all involve compromises
40 March 2009 American Recorder
American Recorder Society PublicationsErich Katz Contemporary Music Series Members Non-MembersA Short Tale for Two Basses Suzanne M Angevine (Level II) (2 scores) $5 $8Dialogue and Dance Cecil Effinger (SATB)(Level II-III) (score amp parts) $10 $18Dorian Mood Sally Price (SATB) (Level II) (score amp parts) $10 $18Double Quartet for Recorders Peter Ballinger (Level II-III) (score amp parts) $10 $18Entrevista Frederic Palmer (SATB) (Level II) (2 scores amp 4 recorder parts) $8 $14Kyrie and Vocalise for Soprano Voice ampRecorders Stanley W Osborn $8 $14
(SATB) (Level II) (2 scores amp 4 recorder parts) Picnic Music Jeffrey Quick (SATB) (Level II) (score amp parts) $5 $8Six Short Pieces for Three Recorders edited by Alan Drake $8 $14
(3 scores) Vaclav Nelhybel (AATT) (Level II)Sonatina for Alto Recorder and Piano Anthony Burgess $7 $12
(Level II) (2 scores)Sonatine for Three Altos Lee Gannon (Level III) (score amp parts) $14 $26Suite of Jewish Folk Tunes Erich Katz (S SA8 AT) (Level II) (three scores) $10 $18
Musical Editions from the Membersrsquo Library ARS members 1 copy-$3 2 copies-$450 3-$6 4-$750 5-$10 6-$1150Non-members (editions over 2 years old) 1 copy-$5 2 copies-$850 3-$12 4-$15 5-$1950 6-$23The ARS is happy to provide photocopied enlargements of any Membersrsquo Library edition at the same prices Please specify ldquoMembersrsquo Library Enlargementrdquo
ARS Information BookletsARS members 1 booklet-$13 2 booklets-$23 3-$28 4-$35 5-$41 6-$47 7-$52Non-members 1 booklet-$18 2 booklets-$33 3-$44 4$55 5-$66 6-$76 7-$86
Education PublicationsThe ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996)
First copy free to ARS Members (mailed to new members as they join) replacement copies $3Guidebook to the ARS Personal Study Program (1996) Material formerly published in the Study Guide
and Study Guide Handbook plus additional resources Members $11 non-members $20ARS Music Lists (2002 with 2003 Supplement) Graded list of solos ensembles and method books
Members $9 non-members $15Package Deal available only to ARS members Guidebook and Music ListsSupplement ordered together $16Junior Recorder Society Leaderrsquos Resource Notebook
ARS members $20 non-members $40 (updates at reduced rates after initial purchase)$5 Dues for each JRS student member sponsored by an ARS member ($4 each for groups of 10+)
VideosRecorder Power Educational video from the ARS and recorder virtuoso John Tyson
An exciting resource about teaching recorder to young students ARS members may borrow a copy for onemonth by sending $5 to the ARS office along with the address to which the tape should be shipped
Pete Rose Video Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music Festival recitalFeatures Rose performing a variety of music and an interview of him by ARS member professional John Tyson
Other PublicationsChapter Handbook A resource on chapter operations for current chapter leaders or those considering forming an
ARS chapter ARS members $10 non-members $20 (updates free after initial purchase) One free copy sent toeach ARS chapter with 10 members or more
Consort Handbook Resource on consort topics such as group interaction rehearsing repertoire performingARS member prices CD $10 hard copy $20 combo price of CD and hard copy ordered together $25
Discography of the Recorder Vol I (1989) Compiled by Scott Paterson and David LasockiDiscography of the Recorder Vol II (1990-1994) Compiled by Scott Paterson
Either single volume ARS members $23 non-members $28Both Discography volumes together ARS members only $40
American Recorder Cumulative Index for Vols I-XXXX ARS members $20 non-members $32Index Supplement Vol XXXIV-XXXX ARS members $8 non-members $14
Shipping amp Handling FeesUnder $10 - add $3 $10-1999 - add $4 $20-2999 - add $5 $30-3999 - add $6 $40-4999 - add $7 All prices are inUS dollars For Canadian or foreign postage pay by credit card and actual postage is charged
Please make checks payable to ARS VISAMCAMEXDisc also accepted
ARS 1129 Ruth Drive St Louis MO 63122 US800-491-9588 ARSrecorderAmericanRecorderorg
Arioso and Jazzy Rondo (AB) Carolyn PeskinBerceusendashFantaisie (SATB) Jean BoivertBrucknerrsquos Ave Maria (SSATTBB)
Jennifer W Lehmann arrCanon for 4 Basses (BBBB) David P RuhlDancers (AT) Richard EastmanDifferent Quips (AATB) Stephan ChandlerElegy for Recorder Quartet (SATB) Carolyn PeskinElizabethan Delights (SAATB)
Jennifer W Lehmann arrFallen Leaves Fugal Fantasy (SATB) Dominic BohbotFour Airs from ldquoThe Beggarrsquos Operardquo (SATB)
Kearney Smith arrGloria in Excelsis (TTTB) Robert CowperIdyll (ATB) Stan McDanielImitations (AA) Laurie G AlbertsIn Memory of Andrew (ATB) David GoldsteinLay Your Shadow on the Sundials (TBgB)
Terry Winter OwensLeClercqrsquos Air (SATB) Richard E WoodLittle Girl Skipping and Alouette et al (SATBCb)
Timothy R Walsh
Los Pastores (SAAAT + perc) Virginia N Ebinger arrNew Rounds on Old Rhymes (4 var) Erich KatzOther Quips (ATBB) Stephan ChandlerPoinciana Rag (SATB) Laurie G AlbertsSanta Barbara Suite (SSAAT) Erich KatzSentimental Songs (SATB) David Goldstein arrSerie for Two Alto Recorders (AA) Frederic Palmer Slow Dance with Doubles (2 x SATB) Colin SterneSonata da Chiesa (SATB) Ann McKinleyS-O-S (SATB) Anthony St PierreThree Bantam Ballads (TB) Ann McKinleyThree Cleveland Scenes (SAT) Carolyn PeskinThree in Five (AAB) Karl A StetsonTracings in the Snow in Central Park (SAT)
Robert W ButtsTrios for Recorders (var) George T BachmannTriptych (AATB) Peter A RamseyTwo Bach Trios (SAB) William Long arrTwo Brahms Lieder (SATB) Thomas E Van Dahm arrVariations on ldquoDrmešrdquo (SATB) Martha BishopVintage Burgundy (SASATT)
Jennifer W Lehmann arr
Adding Percussion to Medieval and Renaissance Music Peggy Monroe
American Recorder Music Constance PrimusBurgundian Court amp Its Music Judith Whaley coord
Improve Your Consort Skills Susan CarduelisMusic for Mixed Ensembles Jennifer W LehmannPlaying Music for the Dance Louise AustinRecorder Care Scott Paterson
acutely aware of any kind of neckstrain when it begins to develop these ideas have been a big help to meIrsquom hoping they may be of help toother musicians as well
Best wishes to you And inanswer to your questionmdashyes the new[AR] format (with more white spacebetween the lines) is much easier toread (in my opinion)Your magazinejust keeps getting better and better
Very sincerely Ed Green WestSuburban (Chicago-area) Chapter
RESPONSE FROM DR BILL LONG
What Ed describes is a variant of theuse of conventional bifocals as musicglasses described on page 8 in thearticle Instead of lowering his musicstand into the field of view of hisbifocal segment Ed and his optome-trist have fabricated special purposebifocals with the segment really highso he can focus on his music instraight-ahead view That approachrestricts his distance vision to an areaabove his usual line of sight whichseems to work for Eds playing setup
Eds comments on the difficultiesin using conventional progressiveaddition lenses as music lenses con-firm what I said on page 9 Thats whymanufacturers have marketed special-ty progressive lenses designed specif-ically for intermediate distance taskslike computer use and playing music
There are lots of solutions to thepresbyopic musicians problem but all involve compromises The key toevaluating those compromises andchoosing the best solution for yourselfis to understand your needs and toenlist the help of a sympathetic visioncare specialistmdashjust as Ed did
Please change your
browserrsquos favorites list
AR online is now at wwwameri
canrecorderorgmembership
magazinehtm Send news to
editoramericanrecorderorg
FOUR FOUR-PART CANZONAS
(1608) BY GIOVANNI GABRIELI
ED GREG LEWIN Hawthorns Music RB 16 (Magnamusic) 1999 SATBSc 16 pp pts 4 pp $1950
Giovanni Gabrieli was probablyborn between 1554 and 1557 in theparish of San Geremia in Venice Thedetails of his early life are sketchy butit appears that he was born Giovannidi Fais and later changed his name toGabrieli out of respect to his uncleAndrea with whom he shared a closerelationship In fact in 1587 Gabrielidescribed himself ldquoas little less than asonrdquo It is commonly thought thatAndrea provided Giovanni with hisearly musical training Andrea whohad spent some time in Munichstudying under the great Orlando deLassus sent Giovanni to Munich for a similar period of study in theearly 1570s
Gabrieli remained in Munichuntil the death in 1579 of the dukeAlbrecht V who had been Lassusrsquosemployer for a number of years andwho was an enthusiastic patron of the arts particularly music With hisdeath a number of musicians lost theirjobs it seems as if Gabrieli were also a victim of such culling of talent(Within a generation the tide wouldturn and the Munich court wouldagain hire Venetian expatriates such as Priuli Valentini and Neri)
Upon his return to VeniceGabrieli was hired as a temporaryorganist at San Marco his positionbecoming permanent in 1585 For a few months that year uncle andnephew served together as first and
second organists in the chapel of thedoge In Giovannirsquos absence fromVenice there had been a plague thathad decimated the ranks of theprofessional musicians Andrea setabout rebuilding his forces at SanMarco by hiring a full-time windband consisting of Girolamo dallaCasa a renowned cornettist andviolist his two brothers who playedsackbut and later the cornett virtuosoGiovanni Bassano Giovanni Gabrieliaugmented these forces with addi-tional players and began composingthe large-scale ceremonial music forwhich he is so well known today
Giovanni was also elected to bethe organist and composer to theconfraternity of San Rocco in 1585and it is now thought that his largestpieces were intended for that venuewith its large central gallery andfrescos by Tintoretto instead of SanMarco Gabrieli held both thosepositions at the basilica of San Marcoand the Scuola Grande di San Roccountil he died in 1612 of a kidney stone
Although best known today forhis ceremonial and festival musicGabrieli was at home in smaller-scaleformats as well These four four-partcanzoni are taken from the 1608publication by the Venetian publisherAlessandro Raverji Canzoni per sonarecon ogni sorte di strumenti These werevery popular pieces to judge by themany collections in which they appear
Additionally like Gabrielirsquoskeyboard music they are found inother arrangements These four-partcanzoni lie well under the fingers inarrangements for keyboard and lute
As seen from the title Gabrielispecified no instrumentation but like asimilar edition of madrigals and battlepieces from a few years earlier a dis-tinction was made that they wereintended for wind instruments almostcertainly cornetts and sackbuts
Recorders were not unknown in Venice they were used regularly inthe confraternity of San GiovanniEvangelista where Giovanni BattistaRiccio was organist
These pieces are relativelysimplemdashplayable by beginning tointermediate ensembles They aremostly contrapuntal (with a fewhomophonic sections) and have few rhythmic eccentricities
These canzoni are found in manymodern brass editions but there arefew editions available to the recorderplayer This edition by Greg Lewin ofHawthorns Music might be consid-ered a ldquobare-bonesrdquo edition There islittle background information andeditorial practices are not specified
The music itself has a handwrittenlook that can be distracting but is easyenough to read Lewin has thought-fully supplied phrasing marks that willbe helpful for ensembles unused tothis style of music
Music
Reviews___________________________________ Infectious music created in spite of the plague
wwwAmericanRecorderorg March 2009 41
This is a good edition
for small ensembles that
canrsquot get eight players
together to play
Gabrielirsquos more famous
eight-part canzoni
42 March 2009 American Recorder
The parts are four pages but mycopy had all four pages printed on avery large page This is not a problemand there are no page turns
This is a good edition for smallensembles that canrsquot get eight playerstogether to play Gabrielirsquos morefamous eight-part canzoni Thesesmall-scale pieces are by no meansinferior to Gabrielirsquos more elaboratemusic and deserve to be better known
7 CANZONEN (1637) BY
TARQUINIO MERULA ED JOACHIM
ARNDT WITH CONTINUO REALIZATION
BY CLAUDIA SCHWEITZER MieroprintMusikverlag EM2088 (availabledirectly from wwwmieroprintcom)2005 SS or TT bc Sc 24 pp pts 8 pp$28
Tarquinio Merula was bornaround 1595 in either Busseto orCremona in Italy As was the case withso many composers of the day either alack of regular employment or a rest-less nature took him from his home inCremona to as far away as Warsaw He is found as the organist of thechurch and the chambers to the kingof Poland Sigismund III in 1624
Merula was one of the leadingexponents of the relatively new con-certante style pioneered by ClaudioMonteverdi and others in the seconddecade of the 17th century and may be described as one of the earliestBaroque composers His compositionsin the concertante style are fresh andunforcedmdashhe was born into this styleand didnrsquot encounter it as somethingnew as was the case with so many ofMonteverdirsquos contemporaries
After several years of peripateticexistence Merula found regularemployment in 1631 in Bergamo atthe church of San Maria MaggioreThe prior holder of the post of maestrodi cappella Alessandro Grandi haddied the previous year in the plagueMerula had signed a three-year
contract but by December 1632 hewas terminated with accusations thathe had molested several studentsMerula threatened a lawsuit to recoverhis lost wages but that threat wascountered with a pending criminalcharge lodged by the board ofgovernors of San Maria Maggiore By mid-1633 the matter was settledwith an apology from Merula and astatement that he relinquished allclaims to his salary
He then returned voluntarily toCremona where he stayed until 1635By 1638 Merula was once again inBergamomdashthis time as maestro dicappella and organist in the cathedralnext to San Maria Maggiore Asmight be expected there was con-siderable tension between the twochurches eventually resulting in theboard of San Maria Maggioreforbidding their musicians to perform under Merularsquos direction
He returned in 1646 to a familiarCremona post which he had heldthree times in various years and wherehe now settled downmdashthat of organistand maestro di cappella for Laudi dellaMadonna services in which he ledmusic at the main altar on Saturdaysand on vigils of Marian feasts
None of his employment issues
prevented the Pope from awardinghim the Order of the Golden SpurMerula was also elected to theAccademia dei Filomusi in BolognaHe died in 1665 in Cremona
His existing compositions showthe products of a lively mind Hisworks range from sacred songs andmotets to purely instrumental piecesnotably the ever-popular variations onvarious ground basses It is knownthat Merula was an accomplishedviolinist as well as a fine organist Hissurviving instrumental writing showsa predilection for strings In fact hewas one of the earliest composers tospecify string accompaniments tosacred motets
Merularsquos pieces look backwardtoward some of the more progressiveVenetian composers such as Monte-verdi while looking forward to thehigh Baroque with his innovative style
These seven canzoni like theearlier-published chaconne (EM2084)come from Merularsquos third bookpublished in 1637 CANZONI overo SONATE CONCERTATE perchiesa e camera a due et a tre delcavaliere This collection typifiesMerularsquos output pieces based onRenaissance-era ground basses arefound next to more ldquomodernrdquo sonatas
The original edition specifiesviolins and basso continuo This newedition is intended for recorders thespecific choice of which is up to theplayers Due to the relatively hightessitura tenor recorders work best inthese pieces (although listed as analternative soprano recorders tend to be on the screechy side)
Not surprisingly given Merularsquosskill as an organist the continuo partneeds a keyboard instrument forsuccessful realization Instead of beinga purely accompanying part the bassocontinuo part is an equal partner in these pieces the canzona ldquoLaRuggierardquo opens with a run that therecorders echo a few measures later
A more recorder-specific
edition intended for
altos would have been
ideal There is nothing
preventing the more
adventurous and
industrious players
from making their
own editions of this
delightful music
mentioned were a bit shrill A morerecorder-specific edition intended foraltos would have been ideal There isnothing preventing the moreadventurous and industrious playersfrom making their own editions of thisdelightful music
Prior to playing the previouslypublished chaconne I had notencountered MieroprintMusikverlag Mieroprintrsquos extensivecatalog has an equal focus on newmusic for recorders and on editions ofBaroque masters with emphasis on therecorder and flute Due to the lack of
wwwAmericanRecorderorg March 2009 43
are also available at
The Early Music Shop
of New England
Brookline MA
AESTHEacute
367-b de la Briquade
Blainville Queacutebec
Canada J7C 2C7
tel (450) 979-6091
wwwboudreau-flutesca
A bass viola da gamba or rsquocello is not necessary for these pieces and may infact make them sound heavy and ponderous rather than light and breezy as thismusic seems to be
More so than the above-mentioned chaconne these canzoni are written in avery idiomatic violin style with multiple examples of arpeggios In particular thecanzona ldquoLa Trecchardquo contains a notated example of a string tremolo figurerecurring through the piece ldquoLa Trecchardquo also dips well below the range of a Crecorder going down to low G the lowest string on the violin The editors havesupplied no alternative notes preferring to let the performers to fend forthemselves (in practice we took this passage up an octave with no problems)
The two recorder parts require virtuosity These upper parts are demandingwith the players needing to double-tongue in unison in order to negotiate themany runs of 16th notes and the shared rhythmic ldquolicksrdquo The harmoniclanguage unlike much of Merularsquos music is undemanding and contains none of the harmonic crunches for which he is famous
This is wonderful music that needs a couple of advanced recorder players fora successful performance The string idiosyncrasies can be overcome by advancedplayers and many of the editions of the era (although not this one) list thecornetto as an alternative to the violin so the use of wind instruments in the solo literature of the early Baroque was not unknown
Our experience with this edition left us with the opinion that these pieceswould have been better if transposed down a minor third so as to fit on a pair ofalto recorders (as is the case with much Baroque flute music to make it lie betteron the recorder) The tenors we used tended to sound a bit murky in the lowerregister next to the more aggressive harpsichord while the sopranos we tried as
KEY rec=recorder Srsquoo=sopraninoS=soprano A=alto T=tenor B=bassgB=great bass cB= contra bass Tr=treble qrt=quartet pf=piano fwd=foreword opt=optional perc=percussionpp=pages sc=score pt(s)=part(s)kbd=keyboard bc=basso continuohc=harpsichord PampH=postage andhandling Multiple reviews by one reviewerare followed by that reviewerrsquos name Pleasesubmit music for review to AR 7770 SHigh St Centennial CO 80122-3122 US
an American distributor this musicwill be hard to findmdashin fact can befound only at the time of this writingon their web site noted above But theeffort will be repaid
This edition is clear and easy toread and the parts require no pageturns The basso continuo realizationis simple and elegant
This is music deserving ofrediscovery My only quibble is thatthe editorial notes are all in GermanThis seems to be the practice ofGerman music publishers with thenotable exception of Moeck Otherpublishers of early music such asLondon Pro Musica routinelyprovide notes in English and German and often in French and Italian making their editionsaccessible to a wider audience
Frank Cone studied the recorderwith the late Ellen Perrin the viola dagamba with Carol Herman and thecornetto with Larry Johansen TheCalifornia multi-instrumentalist has been a member of the Orange CountyRecorder Society since 1985
Advertiser Index
AMERICAN ORFF-SCHULWERK ASSN 3
AMERICAN RECORDER SOCIETY 31 35 36
AMHERST EARLY MUSIC FESTIVAL 17
STEPHAN BLEZINGER 24
JEAN-LUC BOUDREAU 21 39
BOSTON EARLY MUSIC FESTIVAL 7
CANTO ANTIGUO EARLY MUSIC WORKSHOP 13
COURTLY MUSIC UNLIMITED 20
EARLY MUSIC AMERICA 8
HONEYSUCKLE MUSIC 34
BILL LAZARrsquoS EARLY MUSIC 26
KEITH E LORAINE EARLY DOUBLE REED SERVICE 35
LOST IN TIME PRESS 11
MADISON EARLY MUSIC FESTIVAL 12
MAGNAMUSIC DISTRIBUTORS BC
MOECK VERLAG IFC
MOLLENHAUER RECORDERS IBC
PORT TOWNSEND WORKSHOP 14
PRESCOTT WORKSHOP 30
PROVINCETOWN BOOKSHOP 26
THE RECORDER MAGAZINE 4
THE RECORDER SHOP 6
SAN FRANCISCO EARLY MUSIC SOCIETY 18
SWEETHEART FLUTE CO 3
TEXAS TOOT 20
VON HUENE WORKSHOP INC 30
WICHITA BAND INSTRUMENT CO 21
DOMINIK ZUCHOWICZ 34
CONSIDER ADVERTISING IN
Full page $55223 page $43912 page $36613 page $28614 page $22316 page $17518 page $127112 page $ 951 column inch $ 58
Prices include web sitee-mail link directly from your ad in the online AR at wwwamericanrecorderorg
Circulation Includes the membership of theARS libraries and music organizations
Published five times per year January March May September November
Reservation Deadlines December 1 (January) February 1 (March) April 1 (May) August 1 (September) October 1 (November)
Rates good through November 2009 Pleaseinquire about discounts on multiple-issuecontracts inserts or other special requestsExtra charges for typesetting layout half-tones and size alterations 133-line screenrecommended Advertising subject toacceptance by magazine First-time adver-tisers must include payment with order
For more information contact the ARS office 1129 Ruth Drive St Louis MO63122-1019 800-491-9588 toll free 314-966-4082 phone 314-966-4649 faxadvertisingamericanrecorderorg
44 March 2009 American Recorder
Classified___________________________________
FOR SALE Cherrywood hurdy gurdy and hard-side case made by Kelischek bought 2005Originally $765 plus $89 for case Rarely usedBoth for $450 or make offer Please contact marjalocomcastnet Can ship
ASPIRE ANNOUNCE INSPIRE Afford-able PR for teachers and recitalists wwwrecitalroomcom
PHOTOS NEEDED of ARS events 1970sndash1990sto illustrate last chapters of Martha Bixlerrsquos histor-ical memoir about the ARS (to be posted online)E-mail scanned photos (300dpi JPG or TIF)arsrecorderamericanrecorderorg Hardcopies mail to ARS office to be scanned ampreturned Info 800-491-9588
T-SHIRT FOR ENSEMBLE PLAYERS to wear orshare Top 10 Reasons Why I Got Lost Wrongfingering bad lighting etc on blue cotton shirt$18 Highlighter tape and other goodies Beth amp Lindas Boutique as seen at BEMF CallLinda at 617-671-8694 or e-mail for brochurelindakushverizonnet
Where the havesand have-nots
of the recorder world can find each other
Classified rate for American Recorder 60centper word ten-word minimum ldquoFOR SALErdquoand ldquoWANTEDrdquo may be included in thecopy without counting Zip code is oneword phone e-mail or web page is twoPayment must accompany copy Deadlinesare one month before issue date Send copywith payment to ARS 1129 Ruth Drive St Louis MO 63122-1019
AMERICAN RECORDER (ISSN 0003-0724) 1129 Ruth Dr St Louis MO 63122-1019 is publishedbimonthly (January March May September and November) for its members by the AmericanRecorder Society Inc $20 of the annual $45 US membership dues in the ARS is for a subscriptionto American Recorder Articles reviews and letters to the editor reflect the viewpoint of their individ-ual authors Their appearance in this magazine does not imply official endorsement by the ARS
EDITORIAL DEADLINES November 15 (January) January 15 (March) March 15 (May) July 15(September) and September 15 (November) Submission of articles and photographs is welcomedArticles may be typed or sent as an attachment (Word or RTF preferred) to or text in an e-mail mes-sage They should be for the exclusive consideration of AR unless otherwise noted Photos may besent as prints or unedited JPG or 300dpi TIF files (minimum 3rdquox4rdquo) Advertisements may be sent inPDF or EPS format with fonts embedded
EDITORIAL OFFICE Gail Nickless Editor 7770 S High St Centennial CO 80122-3122 303-794-0114 (phone amp fax) editoramericanrecorderorg Books for review Editorial office Musicfor review Editorial office Recordings for review Tom Bickley 1811 Stuart St Berkeley CA 94703Cutting Edge Tim Broege 212 Second Ave Bradley Beach NJ 07720-1159 Chapter newslettersother reports Editorial office Postmaster Send address changes to ARS 1129 Ruth Drive St LouisMO 63122-1019 Periodicals postage paid at St Louis MO and at an additional mailing office
Chapter leaders
We know yoursquore out there
and that you want to share
your plans concerns
solutions and ideas with
other chapter leaders Visit
httpamericanrecorder
societywikispacescom
wwwAmericanRecorderorg March 2009 29
Try these questions yourselfAnswers appear at the end of thisarticle
The Quiz1 Give the name of Ganassirsquos
treatise of 1535 where heextensively describes the recorder playing and diminutions of his time
2 In which German city is therecorder company Moeck based
3 In the cantata Gottes Zeit ist dieallerbeste Zeit BWV106 JS Bach calls for two altorecorders Give another name for this cantata
4 Of which famous orchestra isFrans Bruumlggen the conductor
5 List three leading Japanesecomposers of excellent solo pieces for the recorder
6 Give the names of recordermagazines published inGermany England and the US
7 What is the fundamental tone of a fourth flute
8 List two recorder makers fromthe Baroque period in England
9 Whatrsquos the title of the recitativeand chorale in the Saint MatthewPassion where the recorder isused
10 Give the names of two famouspublishers in business around1700mdashone in London and one in Amsterdam
11 The opus 10 work by AntonioVivaldi includes six concertiSome of them have beautifulnames Give the names of thefirst three concerti of this opus
12 Whatrsquos a nickname for Jean Jacques Hotteterre
13 The combination of recorder andtraverso was rarely used in theBaroque time Can you name any composers who used thiscombination
14 Which king from 16th-centuryEngland owned a large collectionof recorders and also composedand enjoyed daily recorderplaying
15 How many movements compriseHandelrsquos Sonata in C Op 1 No 7 originally written forrecorder and basso continuo
16 Give the name of Praetoriusrsquostreatise from 1609 that describesthe whole recorder family
17 Name the author of the oldestrecorder method
18 Name Jan Jacob van Eyckrsquosdisability
19 Who pretended around 1930 thatthe recorder was a kind ofclarinet
20 Who doesnrsquot belong in thefollowing group Bertho DrieverKarel van Steenhoven MarionVerbruggen Paul LeenhoutsDaniel Bruumlggen
21 Name the two instrumentsindicated to play the sonataMeiner Mutter of Hans UlrichStaeps
22 Il Pastor Fido was not composedby Antonio Vivaldi but by aFrench composer What was hisname
23 Whatrsquos the nationality of themusic company Zen-On
24 CPE Bach composed abeautiful trio that includes a bassrecorder What are the other twoinstruments
25 Give the names of the fourmovements of Bachrsquos partita forsolo traverse flute BWV1013
26 Which excellent playersperformed as the recorder trioSour Cream
27 A recorder normally has eightfingerholes Despite this musichistory describes the recorder as ldquoune flucircte agrave neuf trousrdquo (a flute with nine fingerholes)Explain why
28 Give the French name for vibratoperformed by finger movementsalone on a wind instrument
29 Who wrote in his diaryldquohellipbeyond anything in the wholeworld the wind-music when the
Answers to
Bart Spanhoversquos Quiz1 La Fontegara2 Celle3 Actus Tragicus4 The Orchestra of the
Eighteenth Century5 R Hirose M Ishii and
M Shinohara
6 Windkanal or Tibia (both ofGermany) The Recorder(England) American Recorder(US)
7 B8 The most famous English
recorder makers around 1700Bressan and Stanesby (the latterbeing both senior and junior)
9 O Schmerz Hier zittert das gequaumllte Herz
10 Walsh (and Hare) (of London)Roger (of Amsterdam)
11 La Tempesta de Mare La Notte Il Gardelino
12 Le Romain13 JB Loeillet J J Quantz
JJ Hotteterre or J B de Boismortier
14 Henry VIII15 Five16 Syntagma Musicum17 Sebastian Virdung Musica
Getutscht und Ausgezogen (1511)18 Blindness19 Igor Stravinsky20 Marion Verbruggen21 Alto recorder and piano22 Nicolas Cheacutedeville23 Japanese24 Viola and cembalo25 Allemande Courante Sarabande
Bourreacutee26 Kees Boeke Walter van Hauwe
and Frans Bruumlggen27 Before 1670 the player could
choose how to hold the recordermdashleft hand or right hand at the topThis meant that recorder makersdrilled two holes to accommodatethe little finger of the hand thatended up at the bottom Theunused hole was sealed with beeswax
28 Flattement29 Samuel Pepys30 Flanders Recorder Quartet
30 March 2009 American Recorder
Lazarrsquos Early Music(866) 511-2981 jblazaraolcom
wwwLazarsEarlyMusiccom
292 Gibraltar Dr 108 Sunnyvale CA 94089
Strings amp Early Winds
ModernBaroque Strings Viols Vielle
Kuumlng Moeck Mollenhauer Paetzold Yamaha Ehlert
Wenner Baroque flutes
Wendy Ogle Lu-Mi Ifshin Snow
Competitive Prices
Sent on Approval
Personalized Service amp Advice
R
E
C
O
R
D
E
R
S
ldquoGO FOR NEO-BAROQUErdquo
Andrew Charlton Partita Piccola For 4 Recorders (SATB)
[Prelude Allemande Courante Musettemdash
a neo-baroque epitome] (Score amp Parts PBE-25) $795
Andrew Charlton Suite Moderne For 3 Recorders (ATB)
[Baroque shapes but Hindemithian harmony]
(3 Playing-Scores PBE-44) $995
Southwest of Baroque David Goldsteinrsquos ldquobaroque Suiterdquo
on Cowboy Songs For 2 Recorders (SA) (PBE-2) $350
The Provincetown Bookshop Inc
246 Commercial Street Provincetown MA 02657 Tel (508)487-0964
A good source for Recorder amp Viol Music of all publishers
Provincetown Bookshop Editions
angel comes down which is sosweet that it ravished me andindeed in a word did wrap upmy soul so that it made me reallysick just as I have formerly beenwhen in love with my wiferdquo
30 Whatrsquos the English name for afamous recorder ensemble calledin its country Vier op lsquon Rij
wwwAmericanRecorderorg March 2009 31
by Tim Broege timbroegeaolcom
December 11 2008 was a specialday for American music the
100th birthday of Americarsquos greatestliving composer Elliott Carter Cele-bratory concerts took place in manyvenues including Carnegie Hall inNew York There the Boston Sym-phony led by James Levine played anew work by Carter Interventions forpiano and orchestra The soloist wasanother well-known conductor DanielBarenboim who is no mean hand atthe keyboard to say the least
Itrsquos remarkable that wonderfulnew compositions continue to pourforth from Carterrsquos pen His musicsparkles and frolics packing lots of musical events into engrossingstructures Much of his music isavailable on CD so if you missed thecelebrations you can easily have yourown belated birthday party for Carter
Although he has never written for recorder (one of our prominent
recorder soloists should commissionhim) Carter has produced manychamber pieces featuring woodwindsSince many recorder players double orstarted out on woodwinds such piecesas the Sonata for Flute Oboe Cello ampHarpsichord (1952) Enchanted Preludes(1988) for flute and rsquocello Espritrudeesprit doux (1985) for flute andclarinet or the Oboe Quartet (2001)may hold special interest
If you missed Charlie Rosersquosexcellent interview (broadcast onDecember 10) with Carter Levine andBarenboim you can see it atwwwcharlierosecomview
interview9774mdashessential viewingfor fans of contemporary music
We note with sadness the passingon January 23 of another distin-guished American composer GeorgePerle An authority on the music ofAlban Berg and the Second VienneseSchool Perle developed a uniquelyrical style based upon a free approachto 12-tone and serial procedureswhich he dubbed ldquo12-tone tonalityrdquo I recommend listening to his SerenadeNo 3 for Piano amp Orchestra (1983) Six Etudes for Piano (1973-76) and the Pulitzer Prize-winning Wind Quintet No 4 (1985)
Another leading American com-poser Leon Kirchner is thankfully still with us having turned 90 onJanuary 24 Like Perle Kirchner has a highly personal and expressive styleA birthday concert was held at MillerTheater at Columbia University inNew York City NY Participatingmusicians included flutist PaulaRobison pianist Jeremy Denk and theClaremont Trio with the composerpresent to discuss his music
An excellent way to get to knowKirchnerrsquos music is through his stringquartets Just in time for his birthdayAlbany Records has released a fine CDof all four played by the Orion StringQuartet Quartet No 4 was written in2007 (when the composer was 87mdasha veritable youngster compared toCarter) The composer Allen Shawnhas described that quartet asldquoluminous and passionaterdquo words aptto describe much of Kirchnerrsquos output
Speaking of contemporary musicI have been spending pleasant hoursperusing the Catalog of ContemporaryBlockflute Music available online atwwwblokfluitorg from StichtingBlokfluit This Netherlands founda-tion offers a contemporary recordercatalog and a catalog of historicalrecorder music Access to both is byfree membership
For those who havenrsquot yet used thecontemporary catalog I urge you togive it a try You can search by manyparameters such as composer title orspecific instrumentation A search forldquovoice fluterdquo turned up a list thatincluded Moon Dances Three AmericanSketches by composer Walter Mays(intended for solo alto recorder butalso playable on tenor or voice flute)Searching the name of English com-poser Edmund Rubbra produced a listof eight works that employ recordersincluding the intriguing CantataPastorale opus 92 for high voice altorecorder rsquocello and harpsichord
Searching ldquofemale composersrdquo fora piece using ldquoBaroque altordquo yieldedAfter Meditation by Ros Bandt ofAustralia
What an easy and tremendouslyvaluable way to find new music
On the Cutting Edge___________________________________Birthdays composers and
recorder music catalogs
Elliot Carter
(photo by Meredith Heuer)
Question How does Renaissancefingering differ from standard
fingering on the recorder Is one superior tothe other Do you need a special recorder touse Renaissance fingering and if so can itbe played with regular recorders Is there afingering chart that shows RenaissancefingeringmdashWilliam BaumannWaterford WI
Answer from Carolyn Peskin Music composed in the
Renaissance the historical periodextending from about 1450 to 1600was predominantly vocal and highlycontrapuntal Recorders which oftendoubled singers at the octave orrendered vocal pieces instrumentallywere designed to make the individualmelodic lines clearly audible
Most 16th-century consortrecorders were one-piece instrumentswith large toneholes and a wide borethat contracted slightly starting nearthe upper fingerholes and thenexpanded gently near the lowest holesThat ldquochoke-borerdquo design togetherwith the voicing and tonehole con-figuration favored the fundamentaltone (first harmonic) producing astrong open sound that was aboutequally loud throughout theinstrumentrsquos range
Such recorders had a useful rangeof only about an octave plus a sixthwhich was nevertheless sufficient for the music of their day MostRenaissance-style consort recordersmade today are based loosely uponsurviving 16th-century instruments ofthe above type and are designed toapproximate the range timbre andvolume of those early instruments
Our present-day ldquoregularrdquorecorders are Baroque-derived instru-ments based loosely upon survivingrecorders from the late 17th and early18th centuries They are three-pieceinstruments with small toneholes and abore that is narrower and moretapering than a Renaissance boreextending their useful range upward totwo octaves plus a whole tone
Baroque recorders are soft andsweet-sounding in their bottom octavebut louder and brighter in the secondoctave Their lowest notes are espe-cially weak because they must be blowngently to prevent overblowing into thesecond octave Such instruments aresuitable for Baroque solo and chamberrepertoire but not very satisfying forRenaissance polyphony
Due to their different timbre andvolume Renaissance recorders will not blend well with Baroque onesFurthermore the most historicallyauthentic Renaissance-style recordersare tuned in a ldquomeantonerdquotemperament that facilitates the playingof pure major thirds Such instrumentsmake Renaissance music easier to playin tune but will produce intonationproblems if played with Baroquerecorders which are tuned in equaltemperament For the above reasonsRenaissance and Baroque recordersshould not be played together
Renaissance fingering will not work on todayrsquos neo-Baroquerecordersmdashmost of which haveldquomodernrdquo Baroque fingeringcommonly called ldquoEnglishrdquo fingering
because it was developed fromhistorical Baroque fingering by ArnoldDolmetsch in England during theearly 20th century Renaissancefingering is less standardized partlybecause a number of different originalinstruments are used as models andpartly because makers wish to improvethe intonation tone quality andorplayability of certain notes Howeverthe following generalizations apply tomany of todayrsquos Renaissance-styleconsort recorders
First in the lower octave modernBaroque fingering works for mostnotes but is often too flat for the fourth scale degree (eg soprano F)requiring removal of finger 7 (right-hand pinky) and is too sharp for theraised fourth degree (eg soprano F)requiring addition of finger 7
Modern fingering is also usuallytoo sharp for the lowered seventhdegree (eg soprano B) The correctfingering for that note varies from oneinstrument to another
In the upper octave modernfingering works for the first third andfifth scale degrees (eg soprano C Eand G) but usually not for other notesSome notes require half-holing with aright-hand finger and notes above thefifth scale degree may require additionof several fingers to bring them in tuneHistorical Renaissance fingering forthe second scale degree (eg sopranoD) is especially awkward because all ofthe fingerholes and the thumbholemust be uncovered Therefore somemakers substitute modern fingering forthat note
Although Renaissance fingeringand meantone tuning are recom-mended for the best blend some
Q amp A___________________________________ Renaissance recorder fingering
Send questions to Carolyn Peskin QampA Editor 3559 Strathavon Road Shaker Heights OH44120 carolynpeskinstratosnet
32 March 2009 American Recorder
wwwAmericanRecorderorg March 2009 33
makers of handcrafted Renaissance recorders will provide modern fingeringandor equal temperament upon request and Moeck Verlag offers a choice ofRenaissance or modern fingering for most sizes of its factory-producedRenaissance Consort series
For a most satisfying blend Renaissance ensembles should purchase amatched set of recorders tuned and voiced to be played together Renaissanceconsort sets usually include two different alto recorders one in G (lowest note g)and one in F (lowest note f ) The ATTB combination with the G-alto is best formost of the quartet music composed between 1450 and 1550 while the SATBcombination with the F-alto is more practical for much late 16th-centuryrepertoire (Playing the G-alto requires learning G-alto fingering or elsetransposing the alto line down a whole tone and using F-alto fingering)
In addition to consort recorders some makers offer ldquoGanassirdquo sopranos andaltos based upon fingering charts in Silvestro Ganassirsquos recorder tutor Fontegarapublished in 1535 and a single original instrument in the Vienna Kunst-historisches Museum Because of their special bore design (cylindrical with aflaring bell) Ganassi recorders have a range of two octaves and a sixth withcumbersome fingerings in the third octave They are used mainly as soloinstruments for playing intricate ornaments of the type found in Fontegara
Also sometimes included in the ldquoRenaissancerdquo category are ldquotransitionalrdquo(early Baroque) recorders which are based upon originals from the first half ofthe 17th century They have a bore that is wider than a Baroque bore but contractssharply near the lower end resulting in strong low notes and at least a full two-octave range usually with modern fingering Most transitional recorders aresopranos or altos designed for playing Jacob van Eyckrsquos variation sets or thehighly ornamented Italian solo repertoire of the late-16th and early-17thcenturies
However wide-bore consortrecorders with a range of at least twooctaves and modern fingering shouldalso be regarded as transitionalinstruments They differ somewhat intimbre and volume from typicalRenaissance consort recorders
Handmade wide-borerecordersmdashconsort Ganassi andtransitionalmdashare obtainable frommakers who advertise in AmericanRecorder the Prescott Workshop andthe Von Huene Workshop in the USJean-Luc Boudreau in Canada andStephan Blezinger in GermanyContact them andor visit their websites to find out what kinds ofrecorders they are currently makingand to get an idea of their prices andwait times
Factory-produced wide-borerecorders from Kobliczek Moeck andMollenhauer are available frominstrument dealers who advertise inAR New and used recordersincluding wide-bore models fromimportant makers in the US andabroad are also obtainable from Uni-corn Music For further informationvisit wwwbuyrecorderscom For a comprehensive database of recordermakers worldwide see Nicholas SLanderrsquos ldquoExtant Recorder Makers amp Retailersrdquo at wwwrecorder
homepagenetmakershtml
REFERENCES
CONSULTEDBauer Winfried
wwwrecorder-fingeringscomIncludes interactive fingeringcharts from modern makers andhistorical treatises Charts forRenaissance consort recorders byAdriana Breukink Adrian BrownBob Marvin and Tom Prescottwere consulted
Brown Adrianwwwadrianbrownorgrec
order_typesconsorthtml
Our present-day ldquoregularrdquo recorders are
Baroque-derived instruments based loosely
upon surviving recorders from the
late 17th and early 18th centuries
34 March 2009 American Recorder
The Von Huene Workshop Incis pleased to announce agreements with
CoolsmaZamra
to serve as their authorised service agents in the US
For more than 40 years the von Huene Workshop has produced some of the finest recorders in the world Our skilled staff can revoice retune and repair even the most seriously damaged instruments All repairs are done right on the premises and most can be completed within a week
For warranty repairs please include a copy of your original sales receipt
j 65 Boylston Street Brookline MA 02445 i(617) 277-8690 Fax (617) 277-7217 servicevonhuenecom
An informative article aboutrecorder sizes in Renaissanceconsorts
Brown Adrian and David LasockildquoRenaissance Recorders andTheir Makersrdquo AmericanRecorder Vol XLVII No 1(January 2006) pp 19-31 An important article based upon Brownrsquos extensive researchon 120 of the 200 surviving 16th-century recorders
Ganassi Silvestro Opera IntitulataFontegara Ed Hildemarie Peter(Berlin-Lichterfelde RobertLienau 1959) Modern edition ofthe oldest known treatise devotedentirely to the recorder (publishedin 1535) Includes 16th-centuryfingering charts
Griscom Richard and David LasockiThe Recorder A Research andInformation Guide (New York andLondon Routledge 2003) Anannotated bibliography including
references on construction anddesign of historical recorders
Levin Philip ldquoQampArdquo AmericanRecorder Vol XXXVIII No 4(September 1997) p 27Explains in simple terms thedifference between Renaissanceand Baroque recorders
Morgan Fred ldquoA Recorder for theMusic of JJ van EyckrdquoAmerican Recorder Vol XXV No 2 (May 1984) pp 47-49Describes the bore design of arecorder suitable for playing Van Eyckrsquos variation sets andcompares it with bore designs ofother types of recorders
Myers Herbert W ldquoRecorderrdquochapter in A Performerrsquos Guide toRenaissance Music ed JefferyKite-Powell (New York SchirmerBooks 1994) A 2nd edition isnow available published in 2007by Indiana University Press
FEATURING MUSICA PACIFICA
JUDITH LINSENBERG
RECORDERS____JS BACH TRIO SONATAS Arr by
Linsenberg from Trio Sonatas for Organ BWV525-
530 Sonata No 1 in E
major (transp to B
)
BWV 525 Sonata No 2 in C minor (transp to E)
BWV526 Sonata No 3 in D minor (transp to G)
BWV 527 Sonata No 4 in E minor BWV 528
Sonata No 5 in C major (transp to F) BWV529
Sonata No 6 in G major (transp to C) BWV 530
Virgin Classics Veritas 1993
____FIRE BENEATH MY FINGERS Showcases
three legendary composers who were also
virtuoso performers Vivaldi Concerto in F major
after RV 98570 ldquoLa Tempesta di Marerdquo Sonata in
A minor RV86 Concerto in G minor RV106 Con-
certo in Bb major RV503 Sammartini Concerto in
F major Tartini Concerto in A major D91 Dorian
____MANCINI CONCERTI DI CAMERA Seven
sonatas by Francesco Mancini plus one work each
from his contemporaries Francesco Durante amp
Domenico Scarlatti Highly recommended citation
from the 2000 Vivaldi Prize for Recordings of Italian
Early Music--Giorgio Cini Foundation Dorian
____MARAIS MARIN PIEgraveCES EN TRIO POUR
LES FLUcircTES VIOLON amp DESSUS DE VIOLE
Maraiss complete works for two treble lines and
bass with varied instrumentation and orchestrations
2-CD set $24
____SCARLATTI CONCERTI DI CAMERA
Seven sonatas for various instrumentations no
poor relations to the composers much more widely-
known vocal output All recorder players should
certainly have thisndashEarly Music Review
____TELEMANN CHAMBER CANTATAS
Five cantatas from Harmonischer Gottesdienst two
sonatas from Sonatas Corellisantes 2003 Chamber
Music America WQXR Record Award for best
chamber music recordings
____VIVALDI LA NOTTE Concerti per strumenti
diversi Award-winning CD featuring five Vivaldi
concerti two sonatas
AND OTHER RECORDING
ARTISTS FROM CALIFORNIA ____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 American Bach Soloists Jeffrey
Thomas conductor Dan Laurin Hanneke van
Proosdij recorders Christmas Concerto featuring
unique 1725 London version with solos transcription
for two recorders instead of two solo violins in
three of the six concertos Delos
____CANCcedilONIEgraveR Annette Bauer recorder
multi-instrumentalist Tim Rayborn Shira Kammen
strings Phoebe Jevtovic voice in a new early
music group devoted to repertoire from the
12thndash15th centuries as well as traditional music
from related regions (the Balkans Scandinavia
Middle East) Medieval instrumental music played
on a variety of instruments including strings
recorders and percussion Medieval dances and
motets bring to life the rich world of ancient
European music-making
____SACRED AND SECULAR MUSIC FROM
RENAISSANCE GERMANY Ciaramella-Adam amp
Rotem Gilbert Doug Millikan Debra Nagy
recorders with other winds shawm sackbut amp
organ Medieval amp Renaissance sacred music with
reconstructions of folksongs amp arrangements based
on contemporary improvisation
____BURIED TREASURE TOPAZ amp SAPPHIRE
Ensemble Vermillian Frances Blaker recorders
Barbara Blaker Krumdieck cello Elisabeth Reed
gamba Katherine Heater harpsichord amp organ
Transcriptions of Buxtehudes Op 1 other pieces by
Buxtehude works by Biber Johann Schop
Schmelzer Fafarela 2007
____STOLEN JEWELS Ensemble Vermillian
Frances Blaker recorders Barbara Blaker
Krumdieck Elisabeth Reed Katherine Heater 17th-
century German music adapted by Blaker I love
violin music so I steal the music and rearrange it
for my own instrumentrdquo Buxtehude Op 1 Biber
Rosenmuller Krieger JM Bach Fafarela
Recordings
____SENFL (LUDWIG) Farallon Recorder Quartet
(Letitia Berlin Frances Blaker Louise Carslake
Hanneke van Proosdij) 23 lieder motets and
instrumental works of the German Renaissance
____DOLCE MUSICAndash A CONTEMPLATIVE
JOURNEY Eileen Hadidianflutes recorders
Natalie Cox harps Celtic Renaissance and
Medieval melodies for recorder and flute with
Celtic harp Healing Muses 2005
____REFLECTIONS MUSIC TO SOOTHE AND
UPLIFT THE SPIRIT Eileen Hadidian recorder amp
Baroque flute with Celtic harp and cello Celtic
traditional Renaissance amp Medieval melodies
Healing Muses
____AN EVENING WITH BACH Voices of Music
Hanneke van Proosdij Louis Carslake Dan Laurin
recorders Joanna Blendulf Elizabeth Blumenstock
Rodney Gehrke Lisa Grodin Katherine Kyme
Jennifer Lane Victoria Gunn Pich Susanne Ryden
William Skeen David Tayler Renaissance and
Baroque music centers on fine singing Instantly
recognizable Air on a G String Bachrsquos Prelude in
G Major (solo theorbo for rsquocello) plus lilting vocal
performancesmdashRydenrsquos weightless soprano on
Bist du bei mir Lanersquos rich alto on Es is vollbracht
____BACH amp TELEMANN SONATAS PRELUDES
amp FANTASIAS Voices of Music (Hanneke van
Proosdij Joanna Blendulf Rodney Gehrke William
Skeen David Tayler) Beautiful chamber music by
Bach and Telemann
IN STOCK (Partial listing)____ALLA TURCA FUX CALDARA BADIA
Matthias Maute amp Sophie Lariviegravere recorders
Monika Mauch soprano Vocal music of the church
accompanied by Ensemble Caprice plus sonatas
and other instrumental pieces Analekta
____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 John Daniels Sonja Lindblad
recorders Peter Sykes harpsichord Trio sonata
arrangement by Johann Christian Schickhardt
____LES
AMIS DU
BAROQUE
Paul Nauta recorder amp
Baroque flute Koen Dieltiens recorder Music by
Bassani Corelli Vivaldi etc Highlight Intl
____LES SEPT SAUTS BAROQUE CHAMBER
MUSIC AT THE STUTTGART COURT Matthias
Maute amp Sophie Lariviegravere recorders amp traverso
Ensemble Caprice Charming repertoire by
Schwartzkopff Bodino Detri Atma Classique
____TASTE OF PORTIQUE LEnsemble Portique
Early and contemporary chamber musicmdash
Bach Telemann Boismortier and others
____TELEMANN ALLA POLACCA REBELndash
Matthias Maute recorders amp traversondash
plays concerti and suites by GP Telemann Dorian
____TELEMANN CANONS AND DUOS Lisette
Kielson amp Patrick OMalley recorders LEnsemble
Portique Telemann Canons meacutelodieux amp Sonates
sans basse 2-CD set LEP Records
____20TH CENTURY MUSIC FOR RECORDER amp
PIANO Anita Randolfi recorders Music by Jacob
Bartok Leigh others for recorder amp piano
____VIVALDI AND THE BAROQUE GYPSIES
Matthias Maute amp Sophie Lariviegravere recorders
Ensemble Caprice Gypsy music taken from
Uhrovska zbierka (now Slovakia) plus Vivaldi
____VIVALDI SHADES OF RED CONCERTOS amp
SONATAS FOR RECORDER amp STRINGS Matthias
Maute recorders REBEL Stylish high octane
readings of some of Vivaldis most beloved pieces
including the popular and raucous Concerto alla
Rustica stunningly colorful Sonata on La Follia and
four exuberant recorder concerti Bridge
____WINDFIRE Charmaine Delmatier recorder
Steve Kostelnik classical guitar Terry Hale bass
Erik Hokkanen violin Refreshing mixture of Andrew
Lloyd Weber American blues flamenco Celtic and
one original piece ltwwwyermomusicomgt
Please indicate above the CDs you wish toorder and print clearly the following
Name ____________________________________
Daytime phone (_____)______________________
Address__________________________________
CityStateZip _____________________________
Check enclosed for
_____ single CDs x $____ = $______
_____ 2-CD sets x $____ = $______
TOTAL $______
Please charge the above amount to my
MasterCard Visa or AmEx
_______________________________________
Exp Date ____________
Cardholderrsquos signature ______________________
Mail to
ARS 1129 Ruth Dr St Louis MO 63122-1019 US
You may fax a credit card order to 314-966-4649
NEW You may order CDs online using PayPal at
wwwamericanrecorderorgordercdromshtm
Order your recorder discs
through the ARS CD Club
The ARS CD Club makes hard-to-find or limited release CDs by ARS members
available to ARS members at the special price listed (non-members slightly higher)
All CDs are $15 ARS members$17 Others unless marked otherwise Two-CD sets are
$24 ARS members$28 Others Add Shipping and Handling $2 for one CD $1 for each
additional CD An updated listing of all available CDs may be found at the ARS
web site ltwwwamericanrecorderorggt
The first meeting of the newly-formedFort Myers Recorder and Early
Music Ensemble was January 26 atthe Florida home of chapter rep Sue
Groskreutz For this year the groupis somewhat loosely organized andplans to meet for extended sight-reading Repertoire at the first meetingcomprised everything from Renais-sance duets to chamber music involv-ing three treble parts and continuo
Among the five musiciansattending the first meeting (photobelow front row Elizabeth Spang SueGroskreutz back row Suzanne FergusonSibylle Baumgartner Arlene Sowka) allplayed recorder three harpsichord
and one each played traverso violinand gamba Due to the scarcity ofrecorder players south of the Sarasotaarea modern string players are alsoincorporated into this ensemble
The group decided not to chargedues and to meet at Groskreutzrsquoshome For more information pleasecontact Groskreutz at 239-267-1752spgembarqmailcom Snowbirdsdrifting through the area are welcome
Last fall at the requestof a student Kay Hettich
(inset below right) taught abeginning recorder class atthe Redding (CA) Senior
Center The five-weekclass was so successful thatmost participants haveformed a bi-weekly noviceensemble (right) coachedby Hettichmdashwho consid-ers them her ldquohatchedeggsrdquo
A new batch of ldquoeggsrdquostarted to incubate when afive-week class began on February 20Other senior center members havebecome interested as they heard oftheir colleaguesrsquo success These noviceplayers comprise some who previouslyread music and played instruments as well as people who are totally new to music notation
One student has also formulated amaxim ldquoEveryone at age 40 ought tolearn to play the recorder if heshehasnrsquot alreadyrdquo Just think how theworld would be transformed byshifting our focus to music
After Lynn Whidden attendedthe Montreacuteal Recorder Festival lastfall when the ARS Board met inQuebec she joined the ARS and nowrelays news of the lively interest in therecorder exhibited by a group underthe new leadership of Brent Legg ofBrandon University in ManitobaCanada Although his hands wereldquostill partly frozenrdquo he wrote that theBrandon University Collegium
Musicum in collaboration with theWaverley Park Recorder Club is
preparing a spring concert calledldquoEnglandrsquos Golden AgerdquoRepertoire spans the 16th century
from Henry VIIIrsquos accession in 1509to the death in 1603 of Elizabeth Iand includes solo songs four- andfive-part settings of Renaissancedances (with dancers) three- to five-voice madrigals and ldquobig-bandrdquoarrangements of William Byrdrsquos TheBells and The Dargason as re-imaginedby Gustav Holst (further re-imaginedfor recorders and percussion)
Of the 15 collegium membersseven are encountering the recorderfor the first time since elementaryschool The Collegium Musicumpromotes the study of early music at the university and is open to theuniversity community and the generalpublic This year there are five com-munity participants with interest fromseveral more both within and outsideof the university For informationcontact BrentLegggmailcom
January 16 marked the thirdannual recorder workshop of threeFlorida groups the Pasco Collegium
Recorder Consort of Hudson theImperial Recorder Consort of
36 March 2009 American Recorder
Chapters
amp Consorts___________________________________Workshops and activities from
coast to coast in the US and Canada
Lakeland and the Pilgrim Pipers Recorder Consort of St Petersburg Theygathered for a morning tackling selections by Banchieri Monteverdi PurcellCorelli Mendelssohn Bach Mozart and Glen Shannon Each group presenteda piece for the other participants Sweet Georgia Brown by Ben Bernie (St Pete)a Sonata by Sammartini (Lakeland) and The Gospel Train arr by KW Ford(Pasco) The 29 participants were led by Marlene Cracraft (Pasco) Jane
Spencer (Lakeland) and Elizabeth Snedeker (St Pete) Tom Bickley (photo below) directed the fall workshop of the Mid-Peninsula
Recorder Orchestra in Cupertino CA The 30 players started with Gregorianchants written in ldquooldrdquo notation Bickley gave basic instruction on how tointerpret the notes and then had the group sing the chants prior to playing them
The workshop theme of ldquoThe Articulate Recorderrdquo was literally played out as the music presented used variations in tonguing phrasing and breathingOther repertoire included a Kyrie by Tomas Luis de Victoria Bachrsquos Jesu Joy ofManrsquos Desiring a double-choir piece by Gabrieli Christopher Tyersquos In NomineXIII and a Purcell chaconne The workshop ended with a rhythmically-challenging minimalist piece by Bickley entitled Beginning composed for theWaldorf School teacher training program George Greenwood reports that thegroup had a productive event and plans to ask Bickley to lead a future workshop
wwwAmericanRecorderorg March 2009 37
A Muse in the DesertThe sound of a pin dropping hellip thesound of eager minds and fingersabsorbing information and inspira-tion hellip the sounds of ldquoNuevaEspantildeardquo Spanish- and indigenous-influenced music of the 1600s in theNew World These were the soundsof the Desert Pipes (Phoenix AZ)chapterrsquos fall workshop given byEileen Hadidian On a Saturdaylast October 30 players from all overArizona gathered to learn from andbe inspired by the founder of a SanFrancisco Bay Area group dedicatedto sharing music for healing inhealthcare settings Healing Muses(wwwhealingmusesorg)
The day began with relaxationstretching and breathing exercisesfollowed by travels to Peruacute MexicoGuatemala and Colombiamdashhighchurch music vernacular pieces anda mixture of the two Participantsenjoyed the historical and contextualbackground provided as an overviewfor the day and for each piece
Remarkably the sound heardbetween pieces and passages was anenergy-filled quiet the attentivestillness of active engagement in theworkshop experiencemdashnot the chat-tering noodling and conversationsthat often occur when the musicstops That activity was reserved forthe breaks when participants couldenjoy the cool (at last) outdoorschat with Hadidian and peruse the popular garage sale (to benefitDesert Pipes) of previously-enjoyedbooks and other treasures
On Sunday Hadidian sharedher expertise and inspiration in indi-vidual and group coaching sessionsThe weekend was a special experi-ence and Desert Pipes memberslook forward to the next visit of this Healing Muse
Ann Koenig Scottsdale AZannisalesprocom
Members
of three
Florida
groups
met
in January
for a joint
workshop
CHAPTER NEWS
Chapter newsletter editors and publicity officers should send materials for publication toAmerican Recorder 7770 South High St Centennial CO 80122-3122
editoramericanrecorderorg Also send short articles about specific activities that haveincreased chapter membership or recognition or just the enjoyment your members get out of
being part of your chapter Digital photos should be at least 3rdquox4rdquox300dpi TIF or unedited JPG files Please send news to the AR address above and to the following
ARS Office 1129 Ruth Drive St Louis MO 63122-1019 ARSrecorderAmericanRecorderorg
and to Bonnie Kelly Chair Chapters amp Consorts Committee 45 Shawsheen Rd 16 Bedford MA 01730 bksharpaolcom
TO THE STARS
AND BEYONDThe cover of the November magazinegenerated a few comments Some werenrsquotsure how to interpret the title (in theartistrsquos native German it could besomething close to ldquostarlit moonrdquo)Longtime member Carolyn Peskin wrote to offer her vision of that cover
In the beginning the Great Spiritinvented Mr Sun to light the day andMiss Moon to light the nightHowever as Miss Moon floated up inthe sky all by herself like a big yellowballoon she began to feel very lonelyso one night to relieve her lonelinessshe decided to take out her recorderand make music
But when she started to playsomething miraculous happened Not only beautiful melodies but alsoyellow dust poured out of the bottomof her recorder and the dust particlesimmediately coalesced to form yellowstars As she continued playing moreand more stars were created and theyfloated up around her filling the nightsky
At last Miss Moon was happy fornot only was she herself able to enjoyher music but she now had a wholecrowd of starry companions to enjoy itwith her And if you listen very care-fully on a quiet night you might beable to hear her recorder and thatstarry choir humming along
Carolyn Peskin
LOCATING EARPLUGSI read with interest the QampA in theNovember lsquo08 AR regarding hearingloss and use of earplugs Where do you get musicianrsquos earplugs
Dolly Hirata Kensington CA
CAROLYN PESKIN PROVIDED THIS
INFORMATION Musicianrsquos earplugs arecustom made for individual usersThey can be purchased only fromlicensed hearing professionals (ieaudiologists and hearing instrumentspecialists) To find a licensed hearingprofessional in your area look underldquoaudiologyrdquo or ldquohearingrdquo in your localyellow pages
For information about how musi-cianrsquos earplugs are produced visitwwwetymoticcomephperme-w
tbaspx That web page also has a linkto contact information for authorizedlabs that make the custom earmolds formusicianrsquos earplugs If the yellow pagesdo not prove helpful those labs canrefer you to a licensed hearing pro-fessional in your area from whom youcan purchase musicianrsquos earplugs
MORE FROM CAROLYN
THIS TIME ABOUT OSKARIn the September 2008 AR the musicreview by Leslie Timmons of the Oskarpieces by Matthias Maute mentionedthat Carolyn Peskin had translated twoof the Oskar books from German toEnglish People can obtain thetranslations free of charge as Wordattachments by contacting her atCarolyn Peskin 3559 StrathavonRoad Shaker Heights OH 44120carolynpeskinstratosnet
ANOTHER KIND OF
MUSIC-READING
GLASSESIn the January 2009 issue of AmericanRecorder therersquos something (in myopinion) the ldquoRecorder with GlassesObbligatordquo article omitted which canenable a nearsighted musician to avoidneck strain in the use of bifocals
Irsquove found the solution to thisvexing problem is to have onersquos bifocalsconstructed differently [from] normalMy optometrist was willing to work
38 March 2009 American Recorder
Response___________________________________Two kinds of vision
the better to see with and (not) to hear with
Honeysuckle Music
Recorders amp accessories
Music for recorders amp viols
Jean Allison Olson1604 Portland AveSt Paul MN 55104
6516448545jeanhoneysucklemusiccom
Responses from our readers are welcomedand may be sent to American Recorder 7770 South High St Centennial CO
80122 Letters may be edited for length and consistency
ARS Membership Enrollment and Renewal I am a new member I am or have been a member
USCanadian Memberships Foreign Memberships $45 One Year $55 Foreign One Year $75 Sustaining (Receive a Hottetere Hands Pin) $100 Two Years $80 Two Years
LIFETIME MEMBERSHIP Single Dual Regular Lifetime Member $1000 (2) $1500 (4) 4 installments of $250 available) Loyalty Lifetime Member (1) $ 800 (3) $1200 (4) 4 installments of $200 available
(1) For members who have maintained membership for five consecutive years (2) $750 is Tax Deductible (3) $600 is Tax Deductible (4) Installments available Student Memberships Other Memberships (Enclose proof of full time enrollment) $65 One Year Workshop Membership
$25 USCanadian One Year $125 One Year Business Membership $45 USCanadian Two Years $30 Foreign One Year $5 Additional Charge for Dual Address or Dual Name
Do not list my name in the ARS Print Directory Do not list my name on the ARS Online Directory Do not release my name for recorder related mailings Do not contact me via email
My address telephone and email address are the same as last time
______________________________________ _________________________ Name Phone Number ______________________________________ _________________________ AddressCityStatePostal Code Email Address Please charge to (Circle one) VISAMasterCardAMEXDiscover CC________________________________ Expiration Date ______________ Signature of cardholder_______________________________________________________ Clearly Print Name as it appears on Card________________________________________
Renew by Mail Online By Phone or by Fax
Demographic Information (optional information collected only to enhance ARS services and provide statistics to grant makers)
I am a member of ARS Chapter or Consort____________________________ I am the Chapter Contact Your age Under 21 (21-30) (31-40) (41-50) (51-60) 61-70) (71+) Please check all that apply
I am a Professional Recorder Performer
I wish to be included in the list of Recorder Teachers in the ARS Directory and website I Teach (circle your choices) Children High School Youth College Students Adults Beginner Intermediate Advanced Pre-Professional Individuals Childrenrsquos Classes Adult Classes Ensembles Suzuki Orff JRS Leader Kodaly Where I Teach (circle your choices) Music Studio Public or private school Community Music School College Other _____________________
American Recorder Society 1129 Ruth Dr St Louis MO 63122-1019
Phone 314-966-4082Fax 314-966-4649
TollFree 800-491-9588ARSRecorderAmericanRecorderorg
wwwAmericanRecorderorg
with me [to find] an ideal (for me)placement size and focal length of thebifocal lens
Before visiting the optometristIrsquod had my wife measure the distancefrom my eyes to the music on mymusic stand With this measurementthe optometrist set up her machine toprepare a vision prescription for memaximized for this reading distance
When I look at my bifocals (withthem off) the lenses (through which Iread my music) occupy most of thelower two-thirds of my glasses (they are set very high and beginimmediately at the inner rims) Thisleaves the upper third and smallportions of the outside [of each lens]for focusing on the conductor As longas my stand is set low enough my necknever experiences any strain (even if Ihave to read three to a part) and Irsquove no problem in seeing theconductor (in sharp focus) either
For me trying to use glasses [toread] from a music stand [that] weredesigned for use in reading from acomputer screen also results in neckstrain (not to mention unreliability in aldquopressurerdquo situation) Having studiedTai Chi extensively and so being
wwwAmericanRecorderorg March 2009 39
There are lots ofsolutions to thepresbyopic musicianrsquosproblem but all involve compromises
40 March 2009 American Recorder
American Recorder Society PublicationsErich Katz Contemporary Music Series Members Non-MembersA Short Tale for Two Basses Suzanne M Angevine (Level II) (2 scores) $5 $8Dialogue and Dance Cecil Effinger (SATB)(Level II-III) (score amp parts) $10 $18Dorian Mood Sally Price (SATB) (Level II) (score amp parts) $10 $18Double Quartet for Recorders Peter Ballinger (Level II-III) (score amp parts) $10 $18Entrevista Frederic Palmer (SATB) (Level II) (2 scores amp 4 recorder parts) $8 $14Kyrie and Vocalise for Soprano Voice ampRecorders Stanley W Osborn $8 $14
(SATB) (Level II) (2 scores amp 4 recorder parts) Picnic Music Jeffrey Quick (SATB) (Level II) (score amp parts) $5 $8Six Short Pieces for Three Recorders edited by Alan Drake $8 $14
(3 scores) Vaclav Nelhybel (AATT) (Level II)Sonatina for Alto Recorder and Piano Anthony Burgess $7 $12
(Level II) (2 scores)Sonatine for Three Altos Lee Gannon (Level III) (score amp parts) $14 $26Suite of Jewish Folk Tunes Erich Katz (S SA8 AT) (Level II) (three scores) $10 $18
Musical Editions from the Membersrsquo Library ARS members 1 copy-$3 2 copies-$450 3-$6 4-$750 5-$10 6-$1150Non-members (editions over 2 years old) 1 copy-$5 2 copies-$850 3-$12 4-$15 5-$1950 6-$23The ARS is happy to provide photocopied enlargements of any Membersrsquo Library edition at the same prices Please specify ldquoMembersrsquo Library Enlargementrdquo
ARS Information BookletsARS members 1 booklet-$13 2 booklets-$23 3-$28 4-$35 5-$41 6-$47 7-$52Non-members 1 booklet-$18 2 booklets-$33 3-$44 4$55 5-$66 6-$76 7-$86
Education PublicationsThe ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996)
First copy free to ARS Members (mailed to new members as they join) replacement copies $3Guidebook to the ARS Personal Study Program (1996) Material formerly published in the Study Guide
and Study Guide Handbook plus additional resources Members $11 non-members $20ARS Music Lists (2002 with 2003 Supplement) Graded list of solos ensembles and method books
Members $9 non-members $15Package Deal available only to ARS members Guidebook and Music ListsSupplement ordered together $16Junior Recorder Society Leaderrsquos Resource Notebook
ARS members $20 non-members $40 (updates at reduced rates after initial purchase)$5 Dues for each JRS student member sponsored by an ARS member ($4 each for groups of 10+)
VideosRecorder Power Educational video from the ARS and recorder virtuoso John Tyson
An exciting resource about teaching recorder to young students ARS members may borrow a copy for onemonth by sending $5 to the ARS office along with the address to which the tape should be shipped
Pete Rose Video Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music Festival recitalFeatures Rose performing a variety of music and an interview of him by ARS member professional John Tyson
Other PublicationsChapter Handbook A resource on chapter operations for current chapter leaders or those considering forming an
ARS chapter ARS members $10 non-members $20 (updates free after initial purchase) One free copy sent toeach ARS chapter with 10 members or more
Consort Handbook Resource on consort topics such as group interaction rehearsing repertoire performingARS member prices CD $10 hard copy $20 combo price of CD and hard copy ordered together $25
Discography of the Recorder Vol I (1989) Compiled by Scott Paterson and David LasockiDiscography of the Recorder Vol II (1990-1994) Compiled by Scott Paterson
Either single volume ARS members $23 non-members $28Both Discography volumes together ARS members only $40
American Recorder Cumulative Index for Vols I-XXXX ARS members $20 non-members $32Index Supplement Vol XXXIV-XXXX ARS members $8 non-members $14
Shipping amp Handling FeesUnder $10 - add $3 $10-1999 - add $4 $20-2999 - add $5 $30-3999 - add $6 $40-4999 - add $7 All prices are inUS dollars For Canadian or foreign postage pay by credit card and actual postage is charged
Please make checks payable to ARS VISAMCAMEXDisc also accepted
ARS 1129 Ruth Drive St Louis MO 63122 US800-491-9588 ARSrecorderAmericanRecorderorg
Arioso and Jazzy Rondo (AB) Carolyn PeskinBerceusendashFantaisie (SATB) Jean BoivertBrucknerrsquos Ave Maria (SSATTBB)
Jennifer W Lehmann arrCanon for 4 Basses (BBBB) David P RuhlDancers (AT) Richard EastmanDifferent Quips (AATB) Stephan ChandlerElegy for Recorder Quartet (SATB) Carolyn PeskinElizabethan Delights (SAATB)
Jennifer W Lehmann arrFallen Leaves Fugal Fantasy (SATB) Dominic BohbotFour Airs from ldquoThe Beggarrsquos Operardquo (SATB)
Kearney Smith arrGloria in Excelsis (TTTB) Robert CowperIdyll (ATB) Stan McDanielImitations (AA) Laurie G AlbertsIn Memory of Andrew (ATB) David GoldsteinLay Your Shadow on the Sundials (TBgB)
Terry Winter OwensLeClercqrsquos Air (SATB) Richard E WoodLittle Girl Skipping and Alouette et al (SATBCb)
Timothy R Walsh
Los Pastores (SAAAT + perc) Virginia N Ebinger arrNew Rounds on Old Rhymes (4 var) Erich KatzOther Quips (ATBB) Stephan ChandlerPoinciana Rag (SATB) Laurie G AlbertsSanta Barbara Suite (SSAAT) Erich KatzSentimental Songs (SATB) David Goldstein arrSerie for Two Alto Recorders (AA) Frederic Palmer Slow Dance with Doubles (2 x SATB) Colin SterneSonata da Chiesa (SATB) Ann McKinleyS-O-S (SATB) Anthony St PierreThree Bantam Ballads (TB) Ann McKinleyThree Cleveland Scenes (SAT) Carolyn PeskinThree in Five (AAB) Karl A StetsonTracings in the Snow in Central Park (SAT)
Robert W ButtsTrios for Recorders (var) George T BachmannTriptych (AATB) Peter A RamseyTwo Bach Trios (SAB) William Long arrTwo Brahms Lieder (SATB) Thomas E Van Dahm arrVariations on ldquoDrmešrdquo (SATB) Martha BishopVintage Burgundy (SASATT)
Jennifer W Lehmann arr
Adding Percussion to Medieval and Renaissance Music Peggy Monroe
American Recorder Music Constance PrimusBurgundian Court amp Its Music Judith Whaley coord
Improve Your Consort Skills Susan CarduelisMusic for Mixed Ensembles Jennifer W LehmannPlaying Music for the Dance Louise AustinRecorder Care Scott Paterson
acutely aware of any kind of neckstrain when it begins to develop these ideas have been a big help to meIrsquom hoping they may be of help toother musicians as well
Best wishes to you And inanswer to your questionmdashyes the new[AR] format (with more white spacebetween the lines) is much easier toread (in my opinion)Your magazinejust keeps getting better and better
Very sincerely Ed Green WestSuburban (Chicago-area) Chapter
RESPONSE FROM DR BILL LONG
What Ed describes is a variant of theuse of conventional bifocals as musicglasses described on page 8 in thearticle Instead of lowering his musicstand into the field of view of hisbifocal segment Ed and his optome-trist have fabricated special purposebifocals with the segment really highso he can focus on his music instraight-ahead view That approachrestricts his distance vision to an areaabove his usual line of sight whichseems to work for Eds playing setup
Eds comments on the difficultiesin using conventional progressiveaddition lenses as music lenses con-firm what I said on page 9 Thats whymanufacturers have marketed special-ty progressive lenses designed specif-ically for intermediate distance taskslike computer use and playing music
There are lots of solutions to thepresbyopic musicians problem but all involve compromises The key toevaluating those compromises andchoosing the best solution for yourselfis to understand your needs and toenlist the help of a sympathetic visioncare specialistmdashjust as Ed did
Please change your
browserrsquos favorites list
AR online is now at wwwameri
canrecorderorgmembership
magazinehtm Send news to
editoramericanrecorderorg
FOUR FOUR-PART CANZONAS
(1608) BY GIOVANNI GABRIELI
ED GREG LEWIN Hawthorns Music RB 16 (Magnamusic) 1999 SATBSc 16 pp pts 4 pp $1950
Giovanni Gabrieli was probablyborn between 1554 and 1557 in theparish of San Geremia in Venice Thedetails of his early life are sketchy butit appears that he was born Giovannidi Fais and later changed his name toGabrieli out of respect to his uncleAndrea with whom he shared a closerelationship In fact in 1587 Gabrielidescribed himself ldquoas little less than asonrdquo It is commonly thought thatAndrea provided Giovanni with hisearly musical training Andrea whohad spent some time in Munichstudying under the great Orlando deLassus sent Giovanni to Munich for a similar period of study in theearly 1570s
Gabrieli remained in Munichuntil the death in 1579 of the dukeAlbrecht V who had been Lassusrsquosemployer for a number of years andwho was an enthusiastic patron of the arts particularly music With hisdeath a number of musicians lost theirjobs it seems as if Gabrieli were also a victim of such culling of talent(Within a generation the tide wouldturn and the Munich court wouldagain hire Venetian expatriates such as Priuli Valentini and Neri)
Upon his return to VeniceGabrieli was hired as a temporaryorganist at San Marco his positionbecoming permanent in 1585 For a few months that year uncle andnephew served together as first and
second organists in the chapel of thedoge In Giovannirsquos absence fromVenice there had been a plague thathad decimated the ranks of theprofessional musicians Andrea setabout rebuilding his forces at SanMarco by hiring a full-time windband consisting of Girolamo dallaCasa a renowned cornettist andviolist his two brothers who playedsackbut and later the cornett virtuosoGiovanni Bassano Giovanni Gabrieliaugmented these forces with addi-tional players and began composingthe large-scale ceremonial music forwhich he is so well known today
Giovanni was also elected to bethe organist and composer to theconfraternity of San Rocco in 1585and it is now thought that his largestpieces were intended for that venuewith its large central gallery andfrescos by Tintoretto instead of SanMarco Gabrieli held both thosepositions at the basilica of San Marcoand the Scuola Grande di San Roccountil he died in 1612 of a kidney stone
Although best known today forhis ceremonial and festival musicGabrieli was at home in smaller-scaleformats as well These four four-partcanzoni are taken from the 1608publication by the Venetian publisherAlessandro Raverji Canzoni per sonarecon ogni sorte di strumenti These werevery popular pieces to judge by themany collections in which they appear
Additionally like Gabrielirsquoskeyboard music they are found inother arrangements These four-partcanzoni lie well under the fingers inarrangements for keyboard and lute
As seen from the title Gabrielispecified no instrumentation but like asimilar edition of madrigals and battlepieces from a few years earlier a dis-tinction was made that they wereintended for wind instruments almostcertainly cornetts and sackbuts
Recorders were not unknown in Venice they were used regularly inthe confraternity of San GiovanniEvangelista where Giovanni BattistaRiccio was organist
These pieces are relativelysimplemdashplayable by beginning tointermediate ensembles They aremostly contrapuntal (with a fewhomophonic sections) and have few rhythmic eccentricities
These canzoni are found in manymodern brass editions but there arefew editions available to the recorderplayer This edition by Greg Lewin ofHawthorns Music might be consid-ered a ldquobare-bonesrdquo edition There islittle background information andeditorial practices are not specified
The music itself has a handwrittenlook that can be distracting but is easyenough to read Lewin has thought-fully supplied phrasing marks that willbe helpful for ensembles unused tothis style of music
Music
Reviews___________________________________ Infectious music created in spite of the plague
wwwAmericanRecorderorg March 2009 41
This is a good edition
for small ensembles that
canrsquot get eight players
together to play
Gabrielirsquos more famous
eight-part canzoni
42 March 2009 American Recorder
The parts are four pages but mycopy had all four pages printed on avery large page This is not a problemand there are no page turns
This is a good edition for smallensembles that canrsquot get eight playerstogether to play Gabrielirsquos morefamous eight-part canzoni Thesesmall-scale pieces are by no meansinferior to Gabrielirsquos more elaboratemusic and deserve to be better known
7 CANZONEN (1637) BY
TARQUINIO MERULA ED JOACHIM
ARNDT WITH CONTINUO REALIZATION
BY CLAUDIA SCHWEITZER MieroprintMusikverlag EM2088 (availabledirectly from wwwmieroprintcom)2005 SS or TT bc Sc 24 pp pts 8 pp$28
Tarquinio Merula was bornaround 1595 in either Busseto orCremona in Italy As was the case withso many composers of the day either alack of regular employment or a rest-less nature took him from his home inCremona to as far away as Warsaw He is found as the organist of thechurch and the chambers to the kingof Poland Sigismund III in 1624
Merula was one of the leadingexponents of the relatively new con-certante style pioneered by ClaudioMonteverdi and others in the seconddecade of the 17th century and may be described as one of the earliestBaroque composers His compositionsin the concertante style are fresh andunforcedmdashhe was born into this styleand didnrsquot encounter it as somethingnew as was the case with so many ofMonteverdirsquos contemporaries
After several years of peripateticexistence Merula found regularemployment in 1631 in Bergamo atthe church of San Maria MaggioreThe prior holder of the post of maestrodi cappella Alessandro Grandi haddied the previous year in the plagueMerula had signed a three-year
contract but by December 1632 hewas terminated with accusations thathe had molested several studentsMerula threatened a lawsuit to recoverhis lost wages but that threat wascountered with a pending criminalcharge lodged by the board ofgovernors of San Maria Maggiore By mid-1633 the matter was settledwith an apology from Merula and astatement that he relinquished allclaims to his salary
He then returned voluntarily toCremona where he stayed until 1635By 1638 Merula was once again inBergamomdashthis time as maestro dicappella and organist in the cathedralnext to San Maria Maggiore Asmight be expected there was con-siderable tension between the twochurches eventually resulting in theboard of San Maria Maggioreforbidding their musicians to perform under Merularsquos direction
He returned in 1646 to a familiarCremona post which he had heldthree times in various years and wherehe now settled downmdashthat of organistand maestro di cappella for Laudi dellaMadonna services in which he ledmusic at the main altar on Saturdaysand on vigils of Marian feasts
None of his employment issues
prevented the Pope from awardinghim the Order of the Golden SpurMerula was also elected to theAccademia dei Filomusi in BolognaHe died in 1665 in Cremona
His existing compositions showthe products of a lively mind Hisworks range from sacred songs andmotets to purely instrumental piecesnotably the ever-popular variations onvarious ground basses It is knownthat Merula was an accomplishedviolinist as well as a fine organist Hissurviving instrumental writing showsa predilection for strings In fact hewas one of the earliest composers tospecify string accompaniments tosacred motets
Merularsquos pieces look backwardtoward some of the more progressiveVenetian composers such as Monte-verdi while looking forward to thehigh Baroque with his innovative style
These seven canzoni like theearlier-published chaconne (EM2084)come from Merularsquos third bookpublished in 1637 CANZONI overo SONATE CONCERTATE perchiesa e camera a due et a tre delcavaliere This collection typifiesMerularsquos output pieces based onRenaissance-era ground basses arefound next to more ldquomodernrdquo sonatas
The original edition specifiesviolins and basso continuo This newedition is intended for recorders thespecific choice of which is up to theplayers Due to the relatively hightessitura tenor recorders work best inthese pieces (although listed as analternative soprano recorders tend to be on the screechy side)
Not surprisingly given Merularsquosskill as an organist the continuo partneeds a keyboard instrument forsuccessful realization Instead of beinga purely accompanying part the bassocontinuo part is an equal partner in these pieces the canzona ldquoLaRuggierardquo opens with a run that therecorders echo a few measures later
A more recorder-specific
edition intended for
altos would have been
ideal There is nothing
preventing the more
adventurous and
industrious players
from making their
own editions of this
delightful music
mentioned were a bit shrill A morerecorder-specific edition intended foraltos would have been ideal There isnothing preventing the moreadventurous and industrious playersfrom making their own editions of thisdelightful music
Prior to playing the previouslypublished chaconne I had notencountered MieroprintMusikverlag Mieroprintrsquos extensivecatalog has an equal focus on newmusic for recorders and on editions ofBaroque masters with emphasis on therecorder and flute Due to the lack of
wwwAmericanRecorderorg March 2009 43
are also available at
The Early Music Shop
of New England
Brookline MA
AESTHEacute
367-b de la Briquade
Blainville Queacutebec
Canada J7C 2C7
tel (450) 979-6091
wwwboudreau-flutesca
A bass viola da gamba or rsquocello is not necessary for these pieces and may infact make them sound heavy and ponderous rather than light and breezy as thismusic seems to be
More so than the above-mentioned chaconne these canzoni are written in avery idiomatic violin style with multiple examples of arpeggios In particular thecanzona ldquoLa Trecchardquo contains a notated example of a string tremolo figurerecurring through the piece ldquoLa Trecchardquo also dips well below the range of a Crecorder going down to low G the lowest string on the violin The editors havesupplied no alternative notes preferring to let the performers to fend forthemselves (in practice we took this passage up an octave with no problems)
The two recorder parts require virtuosity These upper parts are demandingwith the players needing to double-tongue in unison in order to negotiate themany runs of 16th notes and the shared rhythmic ldquolicksrdquo The harmoniclanguage unlike much of Merularsquos music is undemanding and contains none of the harmonic crunches for which he is famous
This is wonderful music that needs a couple of advanced recorder players fora successful performance The string idiosyncrasies can be overcome by advancedplayers and many of the editions of the era (although not this one) list thecornetto as an alternative to the violin so the use of wind instruments in the solo literature of the early Baroque was not unknown
Our experience with this edition left us with the opinion that these pieceswould have been better if transposed down a minor third so as to fit on a pair ofalto recorders (as is the case with much Baroque flute music to make it lie betteron the recorder) The tenors we used tended to sound a bit murky in the lowerregister next to the more aggressive harpsichord while the sopranos we tried as
KEY rec=recorder Srsquoo=sopraninoS=soprano A=alto T=tenor B=bassgB=great bass cB= contra bass Tr=treble qrt=quartet pf=piano fwd=foreword opt=optional perc=percussionpp=pages sc=score pt(s)=part(s)kbd=keyboard bc=basso continuohc=harpsichord PampH=postage andhandling Multiple reviews by one reviewerare followed by that reviewerrsquos name Pleasesubmit music for review to AR 7770 SHigh St Centennial CO 80122-3122 US
an American distributor this musicwill be hard to findmdashin fact can befound only at the time of this writingon their web site noted above But theeffort will be repaid
This edition is clear and easy toread and the parts require no pageturns The basso continuo realizationis simple and elegant
This is music deserving ofrediscovery My only quibble is thatthe editorial notes are all in GermanThis seems to be the practice ofGerman music publishers with thenotable exception of Moeck Otherpublishers of early music such asLondon Pro Musica routinelyprovide notes in English and German and often in French and Italian making their editionsaccessible to a wider audience
Frank Cone studied the recorderwith the late Ellen Perrin the viola dagamba with Carol Herman and thecornetto with Larry Johansen TheCalifornia multi-instrumentalist has been a member of the Orange CountyRecorder Society since 1985
Advertiser Index
AMERICAN ORFF-SCHULWERK ASSN 3
AMERICAN RECORDER SOCIETY 31 35 36
AMHERST EARLY MUSIC FESTIVAL 17
STEPHAN BLEZINGER 24
JEAN-LUC BOUDREAU 21 39
BOSTON EARLY MUSIC FESTIVAL 7
CANTO ANTIGUO EARLY MUSIC WORKSHOP 13
COURTLY MUSIC UNLIMITED 20
EARLY MUSIC AMERICA 8
HONEYSUCKLE MUSIC 34
BILL LAZARrsquoS EARLY MUSIC 26
KEITH E LORAINE EARLY DOUBLE REED SERVICE 35
LOST IN TIME PRESS 11
MADISON EARLY MUSIC FESTIVAL 12
MAGNAMUSIC DISTRIBUTORS BC
MOECK VERLAG IFC
MOLLENHAUER RECORDERS IBC
PORT TOWNSEND WORKSHOP 14
PRESCOTT WORKSHOP 30
PROVINCETOWN BOOKSHOP 26
THE RECORDER MAGAZINE 4
THE RECORDER SHOP 6
SAN FRANCISCO EARLY MUSIC SOCIETY 18
SWEETHEART FLUTE CO 3
TEXAS TOOT 20
VON HUENE WORKSHOP INC 30
WICHITA BAND INSTRUMENT CO 21
DOMINIK ZUCHOWICZ 34
CONSIDER ADVERTISING IN
Full page $55223 page $43912 page $36613 page $28614 page $22316 page $17518 page $127112 page $ 951 column inch $ 58
Prices include web sitee-mail link directly from your ad in the online AR at wwwamericanrecorderorg
Circulation Includes the membership of theARS libraries and music organizations
Published five times per year January March May September November
Reservation Deadlines December 1 (January) February 1 (March) April 1 (May) August 1 (September) October 1 (November)
Rates good through November 2009 Pleaseinquire about discounts on multiple-issuecontracts inserts or other special requestsExtra charges for typesetting layout half-tones and size alterations 133-line screenrecommended Advertising subject toacceptance by magazine First-time adver-tisers must include payment with order
For more information contact the ARS office 1129 Ruth Drive St Louis MO63122-1019 800-491-9588 toll free 314-966-4082 phone 314-966-4649 faxadvertisingamericanrecorderorg
44 March 2009 American Recorder
Classified___________________________________
FOR SALE Cherrywood hurdy gurdy and hard-side case made by Kelischek bought 2005Originally $765 plus $89 for case Rarely usedBoth for $450 or make offer Please contact marjalocomcastnet Can ship
ASPIRE ANNOUNCE INSPIRE Afford-able PR for teachers and recitalists wwwrecitalroomcom
PHOTOS NEEDED of ARS events 1970sndash1990sto illustrate last chapters of Martha Bixlerrsquos histor-ical memoir about the ARS (to be posted online)E-mail scanned photos (300dpi JPG or TIF)arsrecorderamericanrecorderorg Hardcopies mail to ARS office to be scanned ampreturned Info 800-491-9588
T-SHIRT FOR ENSEMBLE PLAYERS to wear orshare Top 10 Reasons Why I Got Lost Wrongfingering bad lighting etc on blue cotton shirt$18 Highlighter tape and other goodies Beth amp Lindas Boutique as seen at BEMF CallLinda at 617-671-8694 or e-mail for brochurelindakushverizonnet
Where the havesand have-nots
of the recorder world can find each other
Classified rate for American Recorder 60centper word ten-word minimum ldquoFOR SALErdquoand ldquoWANTEDrdquo may be included in thecopy without counting Zip code is oneword phone e-mail or web page is twoPayment must accompany copy Deadlinesare one month before issue date Send copywith payment to ARS 1129 Ruth Drive St Louis MO 63122-1019
AMERICAN RECORDER (ISSN 0003-0724) 1129 Ruth Dr St Louis MO 63122-1019 is publishedbimonthly (January March May September and November) for its members by the AmericanRecorder Society Inc $20 of the annual $45 US membership dues in the ARS is for a subscriptionto American Recorder Articles reviews and letters to the editor reflect the viewpoint of their individ-ual authors Their appearance in this magazine does not imply official endorsement by the ARS
EDITORIAL DEADLINES November 15 (January) January 15 (March) March 15 (May) July 15(September) and September 15 (November) Submission of articles and photographs is welcomedArticles may be typed or sent as an attachment (Word or RTF preferred) to or text in an e-mail mes-sage They should be for the exclusive consideration of AR unless otherwise noted Photos may besent as prints or unedited JPG or 300dpi TIF files (minimum 3rdquox4rdquo) Advertisements may be sent inPDF or EPS format with fonts embedded
EDITORIAL OFFICE Gail Nickless Editor 7770 S High St Centennial CO 80122-3122 303-794-0114 (phone amp fax) editoramericanrecorderorg Books for review Editorial office Musicfor review Editorial office Recordings for review Tom Bickley 1811 Stuart St Berkeley CA 94703Cutting Edge Tim Broege 212 Second Ave Bradley Beach NJ 07720-1159 Chapter newslettersother reports Editorial office Postmaster Send address changes to ARS 1129 Ruth Drive St LouisMO 63122-1019 Periodicals postage paid at St Louis MO and at an additional mailing office
Chapter leaders
We know yoursquore out there
and that you want to share
your plans concerns
solutions and ideas with
other chapter leaders Visit
httpamericanrecorder
societywikispacescom
Answers to
Bart Spanhoversquos Quiz1 La Fontegara2 Celle3 Actus Tragicus4 The Orchestra of the
Eighteenth Century5 R Hirose M Ishii and
M Shinohara
6 Windkanal or Tibia (both ofGermany) The Recorder(England) American Recorder(US)
7 B8 The most famous English
recorder makers around 1700Bressan and Stanesby (the latterbeing both senior and junior)
9 O Schmerz Hier zittert das gequaumllte Herz
10 Walsh (and Hare) (of London)Roger (of Amsterdam)
11 La Tempesta de Mare La Notte Il Gardelino
12 Le Romain13 JB Loeillet J J Quantz
JJ Hotteterre or J B de Boismortier
14 Henry VIII15 Five16 Syntagma Musicum17 Sebastian Virdung Musica
Getutscht und Ausgezogen (1511)18 Blindness19 Igor Stravinsky20 Marion Verbruggen21 Alto recorder and piano22 Nicolas Cheacutedeville23 Japanese24 Viola and cembalo25 Allemande Courante Sarabande
Bourreacutee26 Kees Boeke Walter van Hauwe
and Frans Bruumlggen27 Before 1670 the player could
choose how to hold the recordermdashleft hand or right hand at the topThis meant that recorder makersdrilled two holes to accommodatethe little finger of the hand thatended up at the bottom Theunused hole was sealed with beeswax
28 Flattement29 Samuel Pepys30 Flanders Recorder Quartet
30 March 2009 American Recorder
Lazarrsquos Early Music(866) 511-2981 jblazaraolcom
wwwLazarsEarlyMusiccom
292 Gibraltar Dr 108 Sunnyvale CA 94089
Strings amp Early Winds
ModernBaroque Strings Viols Vielle
Kuumlng Moeck Mollenhauer Paetzold Yamaha Ehlert
Wenner Baroque flutes
Wendy Ogle Lu-Mi Ifshin Snow
Competitive Prices
Sent on Approval
Personalized Service amp Advice
R
E
C
O
R
D
E
R
S
ldquoGO FOR NEO-BAROQUErdquo
Andrew Charlton Partita Piccola For 4 Recorders (SATB)
[Prelude Allemande Courante Musettemdash
a neo-baroque epitome] (Score amp Parts PBE-25) $795
Andrew Charlton Suite Moderne For 3 Recorders (ATB)
[Baroque shapes but Hindemithian harmony]
(3 Playing-Scores PBE-44) $995
Southwest of Baroque David Goldsteinrsquos ldquobaroque Suiterdquo
on Cowboy Songs For 2 Recorders (SA) (PBE-2) $350
The Provincetown Bookshop Inc
246 Commercial Street Provincetown MA 02657 Tel (508)487-0964
A good source for Recorder amp Viol Music of all publishers
Provincetown Bookshop Editions
angel comes down which is sosweet that it ravished me andindeed in a word did wrap upmy soul so that it made me reallysick just as I have formerly beenwhen in love with my wiferdquo
30 Whatrsquos the English name for afamous recorder ensemble calledin its country Vier op lsquon Rij
wwwAmericanRecorderorg March 2009 31
by Tim Broege timbroegeaolcom
December 11 2008 was a specialday for American music the
100th birthday of Americarsquos greatestliving composer Elliott Carter Cele-bratory concerts took place in manyvenues including Carnegie Hall inNew York There the Boston Sym-phony led by James Levine played anew work by Carter Interventions forpiano and orchestra The soloist wasanother well-known conductor DanielBarenboim who is no mean hand atthe keyboard to say the least
Itrsquos remarkable that wonderfulnew compositions continue to pourforth from Carterrsquos pen His musicsparkles and frolics packing lots of musical events into engrossingstructures Much of his music isavailable on CD so if you missed thecelebrations you can easily have yourown belated birthday party for Carter
Although he has never written for recorder (one of our prominent
recorder soloists should commissionhim) Carter has produced manychamber pieces featuring woodwindsSince many recorder players double orstarted out on woodwinds such piecesas the Sonata for Flute Oboe Cello ampHarpsichord (1952) Enchanted Preludes(1988) for flute and rsquocello Espritrudeesprit doux (1985) for flute andclarinet or the Oboe Quartet (2001)may hold special interest
If you missed Charlie Rosersquosexcellent interview (broadcast onDecember 10) with Carter Levine andBarenboim you can see it atwwwcharlierosecomview
interview9774mdashessential viewingfor fans of contemporary music
We note with sadness the passingon January 23 of another distin-guished American composer GeorgePerle An authority on the music ofAlban Berg and the Second VienneseSchool Perle developed a uniquelyrical style based upon a free approachto 12-tone and serial procedureswhich he dubbed ldquo12-tone tonalityrdquo I recommend listening to his SerenadeNo 3 for Piano amp Orchestra (1983) Six Etudes for Piano (1973-76) and the Pulitzer Prize-winning Wind Quintet No 4 (1985)
Another leading American com-poser Leon Kirchner is thankfully still with us having turned 90 onJanuary 24 Like Perle Kirchner has a highly personal and expressive styleA birthday concert was held at MillerTheater at Columbia University inNew York City NY Participatingmusicians included flutist PaulaRobison pianist Jeremy Denk and theClaremont Trio with the composerpresent to discuss his music
An excellent way to get to knowKirchnerrsquos music is through his stringquartets Just in time for his birthdayAlbany Records has released a fine CDof all four played by the Orion StringQuartet Quartet No 4 was written in2007 (when the composer was 87mdasha veritable youngster compared toCarter) The composer Allen Shawnhas described that quartet asldquoluminous and passionaterdquo words aptto describe much of Kirchnerrsquos output
Speaking of contemporary musicI have been spending pleasant hoursperusing the Catalog of ContemporaryBlockflute Music available online atwwwblokfluitorg from StichtingBlokfluit This Netherlands founda-tion offers a contemporary recordercatalog and a catalog of historicalrecorder music Access to both is byfree membership
For those who havenrsquot yet used thecontemporary catalog I urge you togive it a try You can search by manyparameters such as composer title orspecific instrumentation A search forldquovoice fluterdquo turned up a list thatincluded Moon Dances Three AmericanSketches by composer Walter Mays(intended for solo alto recorder butalso playable on tenor or voice flute)Searching the name of English com-poser Edmund Rubbra produced a listof eight works that employ recordersincluding the intriguing CantataPastorale opus 92 for high voice altorecorder rsquocello and harpsichord
Searching ldquofemale composersrdquo fora piece using ldquoBaroque altordquo yieldedAfter Meditation by Ros Bandt ofAustralia
What an easy and tremendouslyvaluable way to find new music
On the Cutting Edge___________________________________Birthdays composers and
recorder music catalogs
Elliot Carter
(photo by Meredith Heuer)
Question How does Renaissancefingering differ from standard
fingering on the recorder Is one superior tothe other Do you need a special recorder touse Renaissance fingering and if so can itbe played with regular recorders Is there afingering chart that shows RenaissancefingeringmdashWilliam BaumannWaterford WI
Answer from Carolyn Peskin Music composed in the
Renaissance the historical periodextending from about 1450 to 1600was predominantly vocal and highlycontrapuntal Recorders which oftendoubled singers at the octave orrendered vocal pieces instrumentallywere designed to make the individualmelodic lines clearly audible
Most 16th-century consortrecorders were one-piece instrumentswith large toneholes and a wide borethat contracted slightly starting nearthe upper fingerholes and thenexpanded gently near the lowest holesThat ldquochoke-borerdquo design togetherwith the voicing and tonehole con-figuration favored the fundamentaltone (first harmonic) producing astrong open sound that was aboutequally loud throughout theinstrumentrsquos range
Such recorders had a useful rangeof only about an octave plus a sixthwhich was nevertheless sufficient for the music of their day MostRenaissance-style consort recordersmade today are based loosely uponsurviving 16th-century instruments ofthe above type and are designed toapproximate the range timbre andvolume of those early instruments
Our present-day ldquoregularrdquorecorders are Baroque-derived instru-ments based loosely upon survivingrecorders from the late 17th and early18th centuries They are three-pieceinstruments with small toneholes and abore that is narrower and moretapering than a Renaissance boreextending their useful range upward totwo octaves plus a whole tone
Baroque recorders are soft andsweet-sounding in their bottom octavebut louder and brighter in the secondoctave Their lowest notes are espe-cially weak because they must be blowngently to prevent overblowing into thesecond octave Such instruments aresuitable for Baroque solo and chamberrepertoire but not very satisfying forRenaissance polyphony
Due to their different timbre andvolume Renaissance recorders will not blend well with Baroque onesFurthermore the most historicallyauthentic Renaissance-style recordersare tuned in a ldquomeantonerdquotemperament that facilitates the playingof pure major thirds Such instrumentsmake Renaissance music easier to playin tune but will produce intonationproblems if played with Baroquerecorders which are tuned in equaltemperament For the above reasonsRenaissance and Baroque recordersshould not be played together
Renaissance fingering will not work on todayrsquos neo-Baroquerecordersmdashmost of which haveldquomodernrdquo Baroque fingeringcommonly called ldquoEnglishrdquo fingering
because it was developed fromhistorical Baroque fingering by ArnoldDolmetsch in England during theearly 20th century Renaissancefingering is less standardized partlybecause a number of different originalinstruments are used as models andpartly because makers wish to improvethe intonation tone quality andorplayability of certain notes Howeverthe following generalizations apply tomany of todayrsquos Renaissance-styleconsort recorders
First in the lower octave modernBaroque fingering works for mostnotes but is often too flat for the fourth scale degree (eg soprano F)requiring removal of finger 7 (right-hand pinky) and is too sharp for theraised fourth degree (eg soprano F)requiring addition of finger 7
Modern fingering is also usuallytoo sharp for the lowered seventhdegree (eg soprano B) The correctfingering for that note varies from oneinstrument to another
In the upper octave modernfingering works for the first third andfifth scale degrees (eg soprano C Eand G) but usually not for other notesSome notes require half-holing with aright-hand finger and notes above thefifth scale degree may require additionof several fingers to bring them in tuneHistorical Renaissance fingering forthe second scale degree (eg sopranoD) is especially awkward because all ofthe fingerholes and the thumbholemust be uncovered Therefore somemakers substitute modern fingering forthat note
Although Renaissance fingeringand meantone tuning are recom-mended for the best blend some
Q amp A___________________________________ Renaissance recorder fingering
Send questions to Carolyn Peskin QampA Editor 3559 Strathavon Road Shaker Heights OH44120 carolynpeskinstratosnet
32 March 2009 American Recorder
wwwAmericanRecorderorg March 2009 33
makers of handcrafted Renaissance recorders will provide modern fingeringandor equal temperament upon request and Moeck Verlag offers a choice ofRenaissance or modern fingering for most sizes of its factory-producedRenaissance Consort series
For a most satisfying blend Renaissance ensembles should purchase amatched set of recorders tuned and voiced to be played together Renaissanceconsort sets usually include two different alto recorders one in G (lowest note g)and one in F (lowest note f ) The ATTB combination with the G-alto is best formost of the quartet music composed between 1450 and 1550 while the SATBcombination with the F-alto is more practical for much late 16th-centuryrepertoire (Playing the G-alto requires learning G-alto fingering or elsetransposing the alto line down a whole tone and using F-alto fingering)
In addition to consort recorders some makers offer ldquoGanassirdquo sopranos andaltos based upon fingering charts in Silvestro Ganassirsquos recorder tutor Fontegarapublished in 1535 and a single original instrument in the Vienna Kunst-historisches Museum Because of their special bore design (cylindrical with aflaring bell) Ganassi recorders have a range of two octaves and a sixth withcumbersome fingerings in the third octave They are used mainly as soloinstruments for playing intricate ornaments of the type found in Fontegara
Also sometimes included in the ldquoRenaissancerdquo category are ldquotransitionalrdquo(early Baroque) recorders which are based upon originals from the first half ofthe 17th century They have a bore that is wider than a Baroque bore but contractssharply near the lower end resulting in strong low notes and at least a full two-octave range usually with modern fingering Most transitional recorders aresopranos or altos designed for playing Jacob van Eyckrsquos variation sets or thehighly ornamented Italian solo repertoire of the late-16th and early-17thcenturies
However wide-bore consortrecorders with a range of at least twooctaves and modern fingering shouldalso be regarded as transitionalinstruments They differ somewhat intimbre and volume from typicalRenaissance consort recorders
Handmade wide-borerecordersmdashconsort Ganassi andtransitionalmdashare obtainable frommakers who advertise in AmericanRecorder the Prescott Workshop andthe Von Huene Workshop in the USJean-Luc Boudreau in Canada andStephan Blezinger in GermanyContact them andor visit their websites to find out what kinds ofrecorders they are currently makingand to get an idea of their prices andwait times
Factory-produced wide-borerecorders from Kobliczek Moeck andMollenhauer are available frominstrument dealers who advertise inAR New and used recordersincluding wide-bore models fromimportant makers in the US andabroad are also obtainable from Uni-corn Music For further informationvisit wwwbuyrecorderscom For a comprehensive database of recordermakers worldwide see Nicholas SLanderrsquos ldquoExtant Recorder Makers amp Retailersrdquo at wwwrecorder
homepagenetmakershtml
REFERENCES
CONSULTEDBauer Winfried
wwwrecorder-fingeringscomIncludes interactive fingeringcharts from modern makers andhistorical treatises Charts forRenaissance consort recorders byAdriana Breukink Adrian BrownBob Marvin and Tom Prescottwere consulted
Brown Adrianwwwadrianbrownorgrec
order_typesconsorthtml
Our present-day ldquoregularrdquo recorders are
Baroque-derived instruments based loosely
upon surviving recorders from the
late 17th and early 18th centuries
34 March 2009 American Recorder
The Von Huene Workshop Incis pleased to announce agreements with
CoolsmaZamra
to serve as their authorised service agents in the US
For more than 40 years the von Huene Workshop has produced some of the finest recorders in the world Our skilled staff can revoice retune and repair even the most seriously damaged instruments All repairs are done right on the premises and most can be completed within a week
For warranty repairs please include a copy of your original sales receipt
j 65 Boylston Street Brookline MA 02445 i(617) 277-8690 Fax (617) 277-7217 servicevonhuenecom
An informative article aboutrecorder sizes in Renaissanceconsorts
Brown Adrian and David LasockildquoRenaissance Recorders andTheir Makersrdquo AmericanRecorder Vol XLVII No 1(January 2006) pp 19-31 An important article based upon Brownrsquos extensive researchon 120 of the 200 surviving 16th-century recorders
Ganassi Silvestro Opera IntitulataFontegara Ed Hildemarie Peter(Berlin-Lichterfelde RobertLienau 1959) Modern edition ofthe oldest known treatise devotedentirely to the recorder (publishedin 1535) Includes 16th-centuryfingering charts
Griscom Richard and David LasockiThe Recorder A Research andInformation Guide (New York andLondon Routledge 2003) Anannotated bibliography including
references on construction anddesign of historical recorders
Levin Philip ldquoQampArdquo AmericanRecorder Vol XXXVIII No 4(September 1997) p 27Explains in simple terms thedifference between Renaissanceand Baroque recorders
Morgan Fred ldquoA Recorder for theMusic of JJ van EyckrdquoAmerican Recorder Vol XXV No 2 (May 1984) pp 47-49Describes the bore design of arecorder suitable for playing Van Eyckrsquos variation sets andcompares it with bore designs ofother types of recorders
Myers Herbert W ldquoRecorderrdquochapter in A Performerrsquos Guide toRenaissance Music ed JefferyKite-Powell (New York SchirmerBooks 1994) A 2nd edition isnow available published in 2007by Indiana University Press
FEATURING MUSICA PACIFICA
JUDITH LINSENBERG
RECORDERS____JS BACH TRIO SONATAS Arr by
Linsenberg from Trio Sonatas for Organ BWV525-
530 Sonata No 1 in E
major (transp to B
)
BWV 525 Sonata No 2 in C minor (transp to E)
BWV526 Sonata No 3 in D minor (transp to G)
BWV 527 Sonata No 4 in E minor BWV 528
Sonata No 5 in C major (transp to F) BWV529
Sonata No 6 in G major (transp to C) BWV 530
Virgin Classics Veritas 1993
____FIRE BENEATH MY FINGERS Showcases
three legendary composers who were also
virtuoso performers Vivaldi Concerto in F major
after RV 98570 ldquoLa Tempesta di Marerdquo Sonata in
A minor RV86 Concerto in G minor RV106 Con-
certo in Bb major RV503 Sammartini Concerto in
F major Tartini Concerto in A major D91 Dorian
____MANCINI CONCERTI DI CAMERA Seven
sonatas by Francesco Mancini plus one work each
from his contemporaries Francesco Durante amp
Domenico Scarlatti Highly recommended citation
from the 2000 Vivaldi Prize for Recordings of Italian
Early Music--Giorgio Cini Foundation Dorian
____MARAIS MARIN PIEgraveCES EN TRIO POUR
LES FLUcircTES VIOLON amp DESSUS DE VIOLE
Maraiss complete works for two treble lines and
bass with varied instrumentation and orchestrations
2-CD set $24
____SCARLATTI CONCERTI DI CAMERA
Seven sonatas for various instrumentations no
poor relations to the composers much more widely-
known vocal output All recorder players should
certainly have thisndashEarly Music Review
____TELEMANN CHAMBER CANTATAS
Five cantatas from Harmonischer Gottesdienst two
sonatas from Sonatas Corellisantes 2003 Chamber
Music America WQXR Record Award for best
chamber music recordings
____VIVALDI LA NOTTE Concerti per strumenti
diversi Award-winning CD featuring five Vivaldi
concerti two sonatas
AND OTHER RECORDING
ARTISTS FROM CALIFORNIA ____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 American Bach Soloists Jeffrey
Thomas conductor Dan Laurin Hanneke van
Proosdij recorders Christmas Concerto featuring
unique 1725 London version with solos transcription
for two recorders instead of two solo violins in
three of the six concertos Delos
____CANCcedilONIEgraveR Annette Bauer recorder
multi-instrumentalist Tim Rayborn Shira Kammen
strings Phoebe Jevtovic voice in a new early
music group devoted to repertoire from the
12thndash15th centuries as well as traditional music
from related regions (the Balkans Scandinavia
Middle East) Medieval instrumental music played
on a variety of instruments including strings
recorders and percussion Medieval dances and
motets bring to life the rich world of ancient
European music-making
____SACRED AND SECULAR MUSIC FROM
RENAISSANCE GERMANY Ciaramella-Adam amp
Rotem Gilbert Doug Millikan Debra Nagy
recorders with other winds shawm sackbut amp
organ Medieval amp Renaissance sacred music with
reconstructions of folksongs amp arrangements based
on contemporary improvisation
____BURIED TREASURE TOPAZ amp SAPPHIRE
Ensemble Vermillian Frances Blaker recorders
Barbara Blaker Krumdieck cello Elisabeth Reed
gamba Katherine Heater harpsichord amp organ
Transcriptions of Buxtehudes Op 1 other pieces by
Buxtehude works by Biber Johann Schop
Schmelzer Fafarela 2007
____STOLEN JEWELS Ensemble Vermillian
Frances Blaker recorders Barbara Blaker
Krumdieck Elisabeth Reed Katherine Heater 17th-
century German music adapted by Blaker I love
violin music so I steal the music and rearrange it
for my own instrumentrdquo Buxtehude Op 1 Biber
Rosenmuller Krieger JM Bach Fafarela
Recordings
____SENFL (LUDWIG) Farallon Recorder Quartet
(Letitia Berlin Frances Blaker Louise Carslake
Hanneke van Proosdij) 23 lieder motets and
instrumental works of the German Renaissance
____DOLCE MUSICAndash A CONTEMPLATIVE
JOURNEY Eileen Hadidianflutes recorders
Natalie Cox harps Celtic Renaissance and
Medieval melodies for recorder and flute with
Celtic harp Healing Muses 2005
____REFLECTIONS MUSIC TO SOOTHE AND
UPLIFT THE SPIRIT Eileen Hadidian recorder amp
Baroque flute with Celtic harp and cello Celtic
traditional Renaissance amp Medieval melodies
Healing Muses
____AN EVENING WITH BACH Voices of Music
Hanneke van Proosdij Louis Carslake Dan Laurin
recorders Joanna Blendulf Elizabeth Blumenstock
Rodney Gehrke Lisa Grodin Katherine Kyme
Jennifer Lane Victoria Gunn Pich Susanne Ryden
William Skeen David Tayler Renaissance and
Baroque music centers on fine singing Instantly
recognizable Air on a G String Bachrsquos Prelude in
G Major (solo theorbo for rsquocello) plus lilting vocal
performancesmdashRydenrsquos weightless soprano on
Bist du bei mir Lanersquos rich alto on Es is vollbracht
____BACH amp TELEMANN SONATAS PRELUDES
amp FANTASIAS Voices of Music (Hanneke van
Proosdij Joanna Blendulf Rodney Gehrke William
Skeen David Tayler) Beautiful chamber music by
Bach and Telemann
IN STOCK (Partial listing)____ALLA TURCA FUX CALDARA BADIA
Matthias Maute amp Sophie Lariviegravere recorders
Monika Mauch soprano Vocal music of the church
accompanied by Ensemble Caprice plus sonatas
and other instrumental pieces Analekta
____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 John Daniels Sonja Lindblad
recorders Peter Sykes harpsichord Trio sonata
arrangement by Johann Christian Schickhardt
____LES
AMIS DU
BAROQUE
Paul Nauta recorder amp
Baroque flute Koen Dieltiens recorder Music by
Bassani Corelli Vivaldi etc Highlight Intl
____LES SEPT SAUTS BAROQUE CHAMBER
MUSIC AT THE STUTTGART COURT Matthias
Maute amp Sophie Lariviegravere recorders amp traverso
Ensemble Caprice Charming repertoire by
Schwartzkopff Bodino Detri Atma Classique
____TASTE OF PORTIQUE LEnsemble Portique
Early and contemporary chamber musicmdash
Bach Telemann Boismortier and others
____TELEMANN ALLA POLACCA REBELndash
Matthias Maute recorders amp traversondash
plays concerti and suites by GP Telemann Dorian
____TELEMANN CANONS AND DUOS Lisette
Kielson amp Patrick OMalley recorders LEnsemble
Portique Telemann Canons meacutelodieux amp Sonates
sans basse 2-CD set LEP Records
____20TH CENTURY MUSIC FOR RECORDER amp
PIANO Anita Randolfi recorders Music by Jacob
Bartok Leigh others for recorder amp piano
____VIVALDI AND THE BAROQUE GYPSIES
Matthias Maute amp Sophie Lariviegravere recorders
Ensemble Caprice Gypsy music taken from
Uhrovska zbierka (now Slovakia) plus Vivaldi
____VIVALDI SHADES OF RED CONCERTOS amp
SONATAS FOR RECORDER amp STRINGS Matthias
Maute recorders REBEL Stylish high octane
readings of some of Vivaldis most beloved pieces
including the popular and raucous Concerto alla
Rustica stunningly colorful Sonata on La Follia and
four exuberant recorder concerti Bridge
____WINDFIRE Charmaine Delmatier recorder
Steve Kostelnik classical guitar Terry Hale bass
Erik Hokkanen violin Refreshing mixture of Andrew
Lloyd Weber American blues flamenco Celtic and
one original piece ltwwwyermomusicomgt
Please indicate above the CDs you wish toorder and print clearly the following
Name ____________________________________
Daytime phone (_____)______________________
Address__________________________________
CityStateZip _____________________________
Check enclosed for
_____ single CDs x $____ = $______
_____ 2-CD sets x $____ = $______
TOTAL $______
Please charge the above amount to my
MasterCard Visa or AmEx
_______________________________________
Exp Date ____________
Cardholderrsquos signature ______________________
Mail to
ARS 1129 Ruth Dr St Louis MO 63122-1019 US
You may fax a credit card order to 314-966-4649
NEW You may order CDs online using PayPal at
wwwamericanrecorderorgordercdromshtm
Order your recorder discs
through the ARS CD Club
The ARS CD Club makes hard-to-find or limited release CDs by ARS members
available to ARS members at the special price listed (non-members slightly higher)
All CDs are $15 ARS members$17 Others unless marked otherwise Two-CD sets are
$24 ARS members$28 Others Add Shipping and Handling $2 for one CD $1 for each
additional CD An updated listing of all available CDs may be found at the ARS
web site ltwwwamericanrecorderorggt
The first meeting of the newly-formedFort Myers Recorder and Early
Music Ensemble was January 26 atthe Florida home of chapter rep Sue
Groskreutz For this year the groupis somewhat loosely organized andplans to meet for extended sight-reading Repertoire at the first meetingcomprised everything from Renais-sance duets to chamber music involv-ing three treble parts and continuo
Among the five musiciansattending the first meeting (photobelow front row Elizabeth Spang SueGroskreutz back row Suzanne FergusonSibylle Baumgartner Arlene Sowka) allplayed recorder three harpsichord
and one each played traverso violinand gamba Due to the scarcity ofrecorder players south of the Sarasotaarea modern string players are alsoincorporated into this ensemble
The group decided not to chargedues and to meet at Groskreutzrsquoshome For more information pleasecontact Groskreutz at 239-267-1752spgembarqmailcom Snowbirdsdrifting through the area are welcome
Last fall at the requestof a student Kay Hettich
(inset below right) taught abeginning recorder class atthe Redding (CA) Senior
Center The five-weekclass was so successful thatmost participants haveformed a bi-weekly noviceensemble (right) coachedby Hettichmdashwho consid-ers them her ldquohatchedeggsrdquo
A new batch of ldquoeggsrdquostarted to incubate when afive-week class began on February 20Other senior center members havebecome interested as they heard oftheir colleaguesrsquo success These noviceplayers comprise some who previouslyread music and played instruments as well as people who are totally new to music notation
One student has also formulated amaxim ldquoEveryone at age 40 ought tolearn to play the recorder if heshehasnrsquot alreadyrdquo Just think how theworld would be transformed byshifting our focus to music
After Lynn Whidden attendedthe Montreacuteal Recorder Festival lastfall when the ARS Board met inQuebec she joined the ARS and nowrelays news of the lively interest in therecorder exhibited by a group underthe new leadership of Brent Legg ofBrandon University in ManitobaCanada Although his hands wereldquostill partly frozenrdquo he wrote that theBrandon University Collegium
Musicum in collaboration with theWaverley Park Recorder Club is
preparing a spring concert calledldquoEnglandrsquos Golden AgerdquoRepertoire spans the 16th century
from Henry VIIIrsquos accession in 1509to the death in 1603 of Elizabeth Iand includes solo songs four- andfive-part settings of Renaissancedances (with dancers) three- to five-voice madrigals and ldquobig-bandrdquoarrangements of William Byrdrsquos TheBells and The Dargason as re-imaginedby Gustav Holst (further re-imaginedfor recorders and percussion)
Of the 15 collegium membersseven are encountering the recorderfor the first time since elementaryschool The Collegium Musicumpromotes the study of early music at the university and is open to theuniversity community and the generalpublic This year there are five com-munity participants with interest fromseveral more both within and outsideof the university For informationcontact BrentLegggmailcom
January 16 marked the thirdannual recorder workshop of threeFlorida groups the Pasco Collegium
Recorder Consort of Hudson theImperial Recorder Consort of
36 March 2009 American Recorder
Chapters
amp Consorts___________________________________Workshops and activities from
coast to coast in the US and Canada
Lakeland and the Pilgrim Pipers Recorder Consort of St Petersburg Theygathered for a morning tackling selections by Banchieri Monteverdi PurcellCorelli Mendelssohn Bach Mozart and Glen Shannon Each group presenteda piece for the other participants Sweet Georgia Brown by Ben Bernie (St Pete)a Sonata by Sammartini (Lakeland) and The Gospel Train arr by KW Ford(Pasco) The 29 participants were led by Marlene Cracraft (Pasco) Jane
Spencer (Lakeland) and Elizabeth Snedeker (St Pete) Tom Bickley (photo below) directed the fall workshop of the Mid-Peninsula
Recorder Orchestra in Cupertino CA The 30 players started with Gregorianchants written in ldquooldrdquo notation Bickley gave basic instruction on how tointerpret the notes and then had the group sing the chants prior to playing them
The workshop theme of ldquoThe Articulate Recorderrdquo was literally played out as the music presented used variations in tonguing phrasing and breathingOther repertoire included a Kyrie by Tomas Luis de Victoria Bachrsquos Jesu Joy ofManrsquos Desiring a double-choir piece by Gabrieli Christopher Tyersquos In NomineXIII and a Purcell chaconne The workshop ended with a rhythmically-challenging minimalist piece by Bickley entitled Beginning composed for theWaldorf School teacher training program George Greenwood reports that thegroup had a productive event and plans to ask Bickley to lead a future workshop
wwwAmericanRecorderorg March 2009 37
A Muse in the DesertThe sound of a pin dropping hellip thesound of eager minds and fingersabsorbing information and inspira-tion hellip the sounds of ldquoNuevaEspantildeardquo Spanish- and indigenous-influenced music of the 1600s in theNew World These were the soundsof the Desert Pipes (Phoenix AZ)chapterrsquos fall workshop given byEileen Hadidian On a Saturdaylast October 30 players from all overArizona gathered to learn from andbe inspired by the founder of a SanFrancisco Bay Area group dedicatedto sharing music for healing inhealthcare settings Healing Muses(wwwhealingmusesorg)
The day began with relaxationstretching and breathing exercisesfollowed by travels to Peruacute MexicoGuatemala and Colombiamdashhighchurch music vernacular pieces anda mixture of the two Participantsenjoyed the historical and contextualbackground provided as an overviewfor the day and for each piece
Remarkably the sound heardbetween pieces and passages was anenergy-filled quiet the attentivestillness of active engagement in theworkshop experiencemdashnot the chat-tering noodling and conversationsthat often occur when the musicstops That activity was reserved forthe breaks when participants couldenjoy the cool (at last) outdoorschat with Hadidian and peruse the popular garage sale (to benefitDesert Pipes) of previously-enjoyedbooks and other treasures
On Sunday Hadidian sharedher expertise and inspiration in indi-vidual and group coaching sessionsThe weekend was a special experi-ence and Desert Pipes memberslook forward to the next visit of this Healing Muse
Ann Koenig Scottsdale AZannisalesprocom
Members
of three
Florida
groups
met
in January
for a joint
workshop
CHAPTER NEWS
Chapter newsletter editors and publicity officers should send materials for publication toAmerican Recorder 7770 South High St Centennial CO 80122-3122
editoramericanrecorderorg Also send short articles about specific activities that haveincreased chapter membership or recognition or just the enjoyment your members get out of
being part of your chapter Digital photos should be at least 3rdquox4rdquox300dpi TIF or unedited JPG files Please send news to the AR address above and to the following
ARS Office 1129 Ruth Drive St Louis MO 63122-1019 ARSrecorderAmericanRecorderorg
and to Bonnie Kelly Chair Chapters amp Consorts Committee 45 Shawsheen Rd 16 Bedford MA 01730 bksharpaolcom
TO THE STARS
AND BEYONDThe cover of the November magazinegenerated a few comments Some werenrsquotsure how to interpret the title (in theartistrsquos native German it could besomething close to ldquostarlit moonrdquo)Longtime member Carolyn Peskin wrote to offer her vision of that cover
In the beginning the Great Spiritinvented Mr Sun to light the day andMiss Moon to light the nightHowever as Miss Moon floated up inthe sky all by herself like a big yellowballoon she began to feel very lonelyso one night to relieve her lonelinessshe decided to take out her recorderand make music
But when she started to playsomething miraculous happened Not only beautiful melodies but alsoyellow dust poured out of the bottomof her recorder and the dust particlesimmediately coalesced to form yellowstars As she continued playing moreand more stars were created and theyfloated up around her filling the nightsky
At last Miss Moon was happy fornot only was she herself able to enjoyher music but she now had a wholecrowd of starry companions to enjoy itwith her And if you listen very care-fully on a quiet night you might beable to hear her recorder and thatstarry choir humming along
Carolyn Peskin
LOCATING EARPLUGSI read with interest the QampA in theNovember lsquo08 AR regarding hearingloss and use of earplugs Where do you get musicianrsquos earplugs
Dolly Hirata Kensington CA
CAROLYN PESKIN PROVIDED THIS
INFORMATION Musicianrsquos earplugs arecustom made for individual usersThey can be purchased only fromlicensed hearing professionals (ieaudiologists and hearing instrumentspecialists) To find a licensed hearingprofessional in your area look underldquoaudiologyrdquo or ldquohearingrdquo in your localyellow pages
For information about how musi-cianrsquos earplugs are produced visitwwwetymoticcomephperme-w
tbaspx That web page also has a linkto contact information for authorizedlabs that make the custom earmolds formusicianrsquos earplugs If the yellow pagesdo not prove helpful those labs canrefer you to a licensed hearing pro-fessional in your area from whom youcan purchase musicianrsquos earplugs
MORE FROM CAROLYN
THIS TIME ABOUT OSKARIn the September 2008 AR the musicreview by Leslie Timmons of the Oskarpieces by Matthias Maute mentionedthat Carolyn Peskin had translated twoof the Oskar books from German toEnglish People can obtain thetranslations free of charge as Wordattachments by contacting her atCarolyn Peskin 3559 StrathavonRoad Shaker Heights OH 44120carolynpeskinstratosnet
ANOTHER KIND OF
MUSIC-READING
GLASSESIn the January 2009 issue of AmericanRecorder therersquos something (in myopinion) the ldquoRecorder with GlassesObbligatordquo article omitted which canenable a nearsighted musician to avoidneck strain in the use of bifocals
Irsquove found the solution to thisvexing problem is to have onersquos bifocalsconstructed differently [from] normalMy optometrist was willing to work
38 March 2009 American Recorder
Response___________________________________Two kinds of vision
the better to see with and (not) to hear with
Honeysuckle Music
Recorders amp accessories
Music for recorders amp viols
Jean Allison Olson1604 Portland AveSt Paul MN 55104
6516448545jeanhoneysucklemusiccom
Responses from our readers are welcomedand may be sent to American Recorder 7770 South High St Centennial CO
80122 Letters may be edited for length and consistency
ARS Membership Enrollment and Renewal I am a new member I am or have been a member
USCanadian Memberships Foreign Memberships $45 One Year $55 Foreign One Year $75 Sustaining (Receive a Hottetere Hands Pin) $100 Two Years $80 Two Years
LIFETIME MEMBERSHIP Single Dual Regular Lifetime Member $1000 (2) $1500 (4) 4 installments of $250 available) Loyalty Lifetime Member (1) $ 800 (3) $1200 (4) 4 installments of $200 available
(1) For members who have maintained membership for five consecutive years (2) $750 is Tax Deductible (3) $600 is Tax Deductible (4) Installments available Student Memberships Other Memberships (Enclose proof of full time enrollment) $65 One Year Workshop Membership
$25 USCanadian One Year $125 One Year Business Membership $45 USCanadian Two Years $30 Foreign One Year $5 Additional Charge for Dual Address or Dual Name
Do not list my name in the ARS Print Directory Do not list my name on the ARS Online Directory Do not release my name for recorder related mailings Do not contact me via email
My address telephone and email address are the same as last time
______________________________________ _________________________ Name Phone Number ______________________________________ _________________________ AddressCityStatePostal Code Email Address Please charge to (Circle one) VISAMasterCardAMEXDiscover CC________________________________ Expiration Date ______________ Signature of cardholder_______________________________________________________ Clearly Print Name as it appears on Card________________________________________
Renew by Mail Online By Phone or by Fax
Demographic Information (optional information collected only to enhance ARS services and provide statistics to grant makers)
I am a member of ARS Chapter or Consort____________________________ I am the Chapter Contact Your age Under 21 (21-30) (31-40) (41-50) (51-60) 61-70) (71+) Please check all that apply
I am a Professional Recorder Performer
I wish to be included in the list of Recorder Teachers in the ARS Directory and website I Teach (circle your choices) Children High School Youth College Students Adults Beginner Intermediate Advanced Pre-Professional Individuals Childrenrsquos Classes Adult Classes Ensembles Suzuki Orff JRS Leader Kodaly Where I Teach (circle your choices) Music Studio Public or private school Community Music School College Other _____________________
American Recorder Society 1129 Ruth Dr St Louis MO 63122-1019
Phone 314-966-4082Fax 314-966-4649
TollFree 800-491-9588ARSRecorderAmericanRecorderorg
wwwAmericanRecorderorg
with me [to find] an ideal (for me)placement size and focal length of thebifocal lens
Before visiting the optometristIrsquod had my wife measure the distancefrom my eyes to the music on mymusic stand With this measurementthe optometrist set up her machine toprepare a vision prescription for memaximized for this reading distance
When I look at my bifocals (withthem off) the lenses (through which Iread my music) occupy most of thelower two-thirds of my glasses (they are set very high and beginimmediately at the inner rims) Thisleaves the upper third and smallportions of the outside [of each lens]for focusing on the conductor As longas my stand is set low enough my necknever experiences any strain (even if Ihave to read three to a part) and Irsquove no problem in seeing theconductor (in sharp focus) either
For me trying to use glasses [toread] from a music stand [that] weredesigned for use in reading from acomputer screen also results in neckstrain (not to mention unreliability in aldquopressurerdquo situation) Having studiedTai Chi extensively and so being
wwwAmericanRecorderorg March 2009 39
There are lots ofsolutions to thepresbyopic musicianrsquosproblem but all involve compromises
40 March 2009 American Recorder
American Recorder Society PublicationsErich Katz Contemporary Music Series Members Non-MembersA Short Tale for Two Basses Suzanne M Angevine (Level II) (2 scores) $5 $8Dialogue and Dance Cecil Effinger (SATB)(Level II-III) (score amp parts) $10 $18Dorian Mood Sally Price (SATB) (Level II) (score amp parts) $10 $18Double Quartet for Recorders Peter Ballinger (Level II-III) (score amp parts) $10 $18Entrevista Frederic Palmer (SATB) (Level II) (2 scores amp 4 recorder parts) $8 $14Kyrie and Vocalise for Soprano Voice ampRecorders Stanley W Osborn $8 $14
(SATB) (Level II) (2 scores amp 4 recorder parts) Picnic Music Jeffrey Quick (SATB) (Level II) (score amp parts) $5 $8Six Short Pieces for Three Recorders edited by Alan Drake $8 $14
(3 scores) Vaclav Nelhybel (AATT) (Level II)Sonatina for Alto Recorder and Piano Anthony Burgess $7 $12
(Level II) (2 scores)Sonatine for Three Altos Lee Gannon (Level III) (score amp parts) $14 $26Suite of Jewish Folk Tunes Erich Katz (S SA8 AT) (Level II) (three scores) $10 $18
Musical Editions from the Membersrsquo Library ARS members 1 copy-$3 2 copies-$450 3-$6 4-$750 5-$10 6-$1150Non-members (editions over 2 years old) 1 copy-$5 2 copies-$850 3-$12 4-$15 5-$1950 6-$23The ARS is happy to provide photocopied enlargements of any Membersrsquo Library edition at the same prices Please specify ldquoMembersrsquo Library Enlargementrdquo
ARS Information BookletsARS members 1 booklet-$13 2 booklets-$23 3-$28 4-$35 5-$41 6-$47 7-$52Non-members 1 booklet-$18 2 booklets-$33 3-$44 4$55 5-$66 6-$76 7-$86
Education PublicationsThe ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996)
First copy free to ARS Members (mailed to new members as they join) replacement copies $3Guidebook to the ARS Personal Study Program (1996) Material formerly published in the Study Guide
and Study Guide Handbook plus additional resources Members $11 non-members $20ARS Music Lists (2002 with 2003 Supplement) Graded list of solos ensembles and method books
Members $9 non-members $15Package Deal available only to ARS members Guidebook and Music ListsSupplement ordered together $16Junior Recorder Society Leaderrsquos Resource Notebook
ARS members $20 non-members $40 (updates at reduced rates after initial purchase)$5 Dues for each JRS student member sponsored by an ARS member ($4 each for groups of 10+)
VideosRecorder Power Educational video from the ARS and recorder virtuoso John Tyson
An exciting resource about teaching recorder to young students ARS members may borrow a copy for onemonth by sending $5 to the ARS office along with the address to which the tape should be shipped
Pete Rose Video Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music Festival recitalFeatures Rose performing a variety of music and an interview of him by ARS member professional John Tyson
Other PublicationsChapter Handbook A resource on chapter operations for current chapter leaders or those considering forming an
ARS chapter ARS members $10 non-members $20 (updates free after initial purchase) One free copy sent toeach ARS chapter with 10 members or more
Consort Handbook Resource on consort topics such as group interaction rehearsing repertoire performingARS member prices CD $10 hard copy $20 combo price of CD and hard copy ordered together $25
Discography of the Recorder Vol I (1989) Compiled by Scott Paterson and David LasockiDiscography of the Recorder Vol II (1990-1994) Compiled by Scott Paterson
Either single volume ARS members $23 non-members $28Both Discography volumes together ARS members only $40
American Recorder Cumulative Index for Vols I-XXXX ARS members $20 non-members $32Index Supplement Vol XXXIV-XXXX ARS members $8 non-members $14
Shipping amp Handling FeesUnder $10 - add $3 $10-1999 - add $4 $20-2999 - add $5 $30-3999 - add $6 $40-4999 - add $7 All prices are inUS dollars For Canadian or foreign postage pay by credit card and actual postage is charged
Please make checks payable to ARS VISAMCAMEXDisc also accepted
ARS 1129 Ruth Drive St Louis MO 63122 US800-491-9588 ARSrecorderAmericanRecorderorg
Arioso and Jazzy Rondo (AB) Carolyn PeskinBerceusendashFantaisie (SATB) Jean BoivertBrucknerrsquos Ave Maria (SSATTBB)
Jennifer W Lehmann arrCanon for 4 Basses (BBBB) David P RuhlDancers (AT) Richard EastmanDifferent Quips (AATB) Stephan ChandlerElegy for Recorder Quartet (SATB) Carolyn PeskinElizabethan Delights (SAATB)
Jennifer W Lehmann arrFallen Leaves Fugal Fantasy (SATB) Dominic BohbotFour Airs from ldquoThe Beggarrsquos Operardquo (SATB)
Kearney Smith arrGloria in Excelsis (TTTB) Robert CowperIdyll (ATB) Stan McDanielImitations (AA) Laurie G AlbertsIn Memory of Andrew (ATB) David GoldsteinLay Your Shadow on the Sundials (TBgB)
Terry Winter OwensLeClercqrsquos Air (SATB) Richard E WoodLittle Girl Skipping and Alouette et al (SATBCb)
Timothy R Walsh
Los Pastores (SAAAT + perc) Virginia N Ebinger arrNew Rounds on Old Rhymes (4 var) Erich KatzOther Quips (ATBB) Stephan ChandlerPoinciana Rag (SATB) Laurie G AlbertsSanta Barbara Suite (SSAAT) Erich KatzSentimental Songs (SATB) David Goldstein arrSerie for Two Alto Recorders (AA) Frederic Palmer Slow Dance with Doubles (2 x SATB) Colin SterneSonata da Chiesa (SATB) Ann McKinleyS-O-S (SATB) Anthony St PierreThree Bantam Ballads (TB) Ann McKinleyThree Cleveland Scenes (SAT) Carolyn PeskinThree in Five (AAB) Karl A StetsonTracings in the Snow in Central Park (SAT)
Robert W ButtsTrios for Recorders (var) George T BachmannTriptych (AATB) Peter A RamseyTwo Bach Trios (SAB) William Long arrTwo Brahms Lieder (SATB) Thomas E Van Dahm arrVariations on ldquoDrmešrdquo (SATB) Martha BishopVintage Burgundy (SASATT)
Jennifer W Lehmann arr
Adding Percussion to Medieval and Renaissance Music Peggy Monroe
American Recorder Music Constance PrimusBurgundian Court amp Its Music Judith Whaley coord
Improve Your Consort Skills Susan CarduelisMusic for Mixed Ensembles Jennifer W LehmannPlaying Music for the Dance Louise AustinRecorder Care Scott Paterson
acutely aware of any kind of neckstrain when it begins to develop these ideas have been a big help to meIrsquom hoping they may be of help toother musicians as well
Best wishes to you And inanswer to your questionmdashyes the new[AR] format (with more white spacebetween the lines) is much easier toread (in my opinion)Your magazinejust keeps getting better and better
Very sincerely Ed Green WestSuburban (Chicago-area) Chapter
RESPONSE FROM DR BILL LONG
What Ed describes is a variant of theuse of conventional bifocals as musicglasses described on page 8 in thearticle Instead of lowering his musicstand into the field of view of hisbifocal segment Ed and his optome-trist have fabricated special purposebifocals with the segment really highso he can focus on his music instraight-ahead view That approachrestricts his distance vision to an areaabove his usual line of sight whichseems to work for Eds playing setup
Eds comments on the difficultiesin using conventional progressiveaddition lenses as music lenses con-firm what I said on page 9 Thats whymanufacturers have marketed special-ty progressive lenses designed specif-ically for intermediate distance taskslike computer use and playing music
There are lots of solutions to thepresbyopic musicians problem but all involve compromises The key toevaluating those compromises andchoosing the best solution for yourselfis to understand your needs and toenlist the help of a sympathetic visioncare specialistmdashjust as Ed did
Please change your
browserrsquos favorites list
AR online is now at wwwameri
canrecorderorgmembership
magazinehtm Send news to
editoramericanrecorderorg
FOUR FOUR-PART CANZONAS
(1608) BY GIOVANNI GABRIELI
ED GREG LEWIN Hawthorns Music RB 16 (Magnamusic) 1999 SATBSc 16 pp pts 4 pp $1950
Giovanni Gabrieli was probablyborn between 1554 and 1557 in theparish of San Geremia in Venice Thedetails of his early life are sketchy butit appears that he was born Giovannidi Fais and later changed his name toGabrieli out of respect to his uncleAndrea with whom he shared a closerelationship In fact in 1587 Gabrielidescribed himself ldquoas little less than asonrdquo It is commonly thought thatAndrea provided Giovanni with hisearly musical training Andrea whohad spent some time in Munichstudying under the great Orlando deLassus sent Giovanni to Munich for a similar period of study in theearly 1570s
Gabrieli remained in Munichuntil the death in 1579 of the dukeAlbrecht V who had been Lassusrsquosemployer for a number of years andwho was an enthusiastic patron of the arts particularly music With hisdeath a number of musicians lost theirjobs it seems as if Gabrieli were also a victim of such culling of talent(Within a generation the tide wouldturn and the Munich court wouldagain hire Venetian expatriates such as Priuli Valentini and Neri)
Upon his return to VeniceGabrieli was hired as a temporaryorganist at San Marco his positionbecoming permanent in 1585 For a few months that year uncle andnephew served together as first and
second organists in the chapel of thedoge In Giovannirsquos absence fromVenice there had been a plague thathad decimated the ranks of theprofessional musicians Andrea setabout rebuilding his forces at SanMarco by hiring a full-time windband consisting of Girolamo dallaCasa a renowned cornettist andviolist his two brothers who playedsackbut and later the cornett virtuosoGiovanni Bassano Giovanni Gabrieliaugmented these forces with addi-tional players and began composingthe large-scale ceremonial music forwhich he is so well known today
Giovanni was also elected to bethe organist and composer to theconfraternity of San Rocco in 1585and it is now thought that his largestpieces were intended for that venuewith its large central gallery andfrescos by Tintoretto instead of SanMarco Gabrieli held both thosepositions at the basilica of San Marcoand the Scuola Grande di San Roccountil he died in 1612 of a kidney stone
Although best known today forhis ceremonial and festival musicGabrieli was at home in smaller-scaleformats as well These four four-partcanzoni are taken from the 1608publication by the Venetian publisherAlessandro Raverji Canzoni per sonarecon ogni sorte di strumenti These werevery popular pieces to judge by themany collections in which they appear
Additionally like Gabrielirsquoskeyboard music they are found inother arrangements These four-partcanzoni lie well under the fingers inarrangements for keyboard and lute
As seen from the title Gabrielispecified no instrumentation but like asimilar edition of madrigals and battlepieces from a few years earlier a dis-tinction was made that they wereintended for wind instruments almostcertainly cornetts and sackbuts
Recorders were not unknown in Venice they were used regularly inthe confraternity of San GiovanniEvangelista where Giovanni BattistaRiccio was organist
These pieces are relativelysimplemdashplayable by beginning tointermediate ensembles They aremostly contrapuntal (with a fewhomophonic sections) and have few rhythmic eccentricities
These canzoni are found in manymodern brass editions but there arefew editions available to the recorderplayer This edition by Greg Lewin ofHawthorns Music might be consid-ered a ldquobare-bonesrdquo edition There islittle background information andeditorial practices are not specified
The music itself has a handwrittenlook that can be distracting but is easyenough to read Lewin has thought-fully supplied phrasing marks that willbe helpful for ensembles unused tothis style of music
Music
Reviews___________________________________ Infectious music created in spite of the plague
wwwAmericanRecorderorg March 2009 41
This is a good edition
for small ensembles that
canrsquot get eight players
together to play
Gabrielirsquos more famous
eight-part canzoni
42 March 2009 American Recorder
The parts are four pages but mycopy had all four pages printed on avery large page This is not a problemand there are no page turns
This is a good edition for smallensembles that canrsquot get eight playerstogether to play Gabrielirsquos morefamous eight-part canzoni Thesesmall-scale pieces are by no meansinferior to Gabrielirsquos more elaboratemusic and deserve to be better known
7 CANZONEN (1637) BY
TARQUINIO MERULA ED JOACHIM
ARNDT WITH CONTINUO REALIZATION
BY CLAUDIA SCHWEITZER MieroprintMusikverlag EM2088 (availabledirectly from wwwmieroprintcom)2005 SS or TT bc Sc 24 pp pts 8 pp$28
Tarquinio Merula was bornaround 1595 in either Busseto orCremona in Italy As was the case withso many composers of the day either alack of regular employment or a rest-less nature took him from his home inCremona to as far away as Warsaw He is found as the organist of thechurch and the chambers to the kingof Poland Sigismund III in 1624
Merula was one of the leadingexponents of the relatively new con-certante style pioneered by ClaudioMonteverdi and others in the seconddecade of the 17th century and may be described as one of the earliestBaroque composers His compositionsin the concertante style are fresh andunforcedmdashhe was born into this styleand didnrsquot encounter it as somethingnew as was the case with so many ofMonteverdirsquos contemporaries
After several years of peripateticexistence Merula found regularemployment in 1631 in Bergamo atthe church of San Maria MaggioreThe prior holder of the post of maestrodi cappella Alessandro Grandi haddied the previous year in the plagueMerula had signed a three-year
contract but by December 1632 hewas terminated with accusations thathe had molested several studentsMerula threatened a lawsuit to recoverhis lost wages but that threat wascountered with a pending criminalcharge lodged by the board ofgovernors of San Maria Maggiore By mid-1633 the matter was settledwith an apology from Merula and astatement that he relinquished allclaims to his salary
He then returned voluntarily toCremona where he stayed until 1635By 1638 Merula was once again inBergamomdashthis time as maestro dicappella and organist in the cathedralnext to San Maria Maggiore Asmight be expected there was con-siderable tension between the twochurches eventually resulting in theboard of San Maria Maggioreforbidding their musicians to perform under Merularsquos direction
He returned in 1646 to a familiarCremona post which he had heldthree times in various years and wherehe now settled downmdashthat of organistand maestro di cappella for Laudi dellaMadonna services in which he ledmusic at the main altar on Saturdaysand on vigils of Marian feasts
None of his employment issues
prevented the Pope from awardinghim the Order of the Golden SpurMerula was also elected to theAccademia dei Filomusi in BolognaHe died in 1665 in Cremona
His existing compositions showthe products of a lively mind Hisworks range from sacred songs andmotets to purely instrumental piecesnotably the ever-popular variations onvarious ground basses It is knownthat Merula was an accomplishedviolinist as well as a fine organist Hissurviving instrumental writing showsa predilection for strings In fact hewas one of the earliest composers tospecify string accompaniments tosacred motets
Merularsquos pieces look backwardtoward some of the more progressiveVenetian composers such as Monte-verdi while looking forward to thehigh Baroque with his innovative style
These seven canzoni like theearlier-published chaconne (EM2084)come from Merularsquos third bookpublished in 1637 CANZONI overo SONATE CONCERTATE perchiesa e camera a due et a tre delcavaliere This collection typifiesMerularsquos output pieces based onRenaissance-era ground basses arefound next to more ldquomodernrdquo sonatas
The original edition specifiesviolins and basso continuo This newedition is intended for recorders thespecific choice of which is up to theplayers Due to the relatively hightessitura tenor recorders work best inthese pieces (although listed as analternative soprano recorders tend to be on the screechy side)
Not surprisingly given Merularsquosskill as an organist the continuo partneeds a keyboard instrument forsuccessful realization Instead of beinga purely accompanying part the bassocontinuo part is an equal partner in these pieces the canzona ldquoLaRuggierardquo opens with a run that therecorders echo a few measures later
A more recorder-specific
edition intended for
altos would have been
ideal There is nothing
preventing the more
adventurous and
industrious players
from making their
own editions of this
delightful music
mentioned were a bit shrill A morerecorder-specific edition intended foraltos would have been ideal There isnothing preventing the moreadventurous and industrious playersfrom making their own editions of thisdelightful music
Prior to playing the previouslypublished chaconne I had notencountered MieroprintMusikverlag Mieroprintrsquos extensivecatalog has an equal focus on newmusic for recorders and on editions ofBaroque masters with emphasis on therecorder and flute Due to the lack of
wwwAmericanRecorderorg March 2009 43
are also available at
The Early Music Shop
of New England
Brookline MA
AESTHEacute
367-b de la Briquade
Blainville Queacutebec
Canada J7C 2C7
tel (450) 979-6091
wwwboudreau-flutesca
A bass viola da gamba or rsquocello is not necessary for these pieces and may infact make them sound heavy and ponderous rather than light and breezy as thismusic seems to be
More so than the above-mentioned chaconne these canzoni are written in avery idiomatic violin style with multiple examples of arpeggios In particular thecanzona ldquoLa Trecchardquo contains a notated example of a string tremolo figurerecurring through the piece ldquoLa Trecchardquo also dips well below the range of a Crecorder going down to low G the lowest string on the violin The editors havesupplied no alternative notes preferring to let the performers to fend forthemselves (in practice we took this passage up an octave with no problems)
The two recorder parts require virtuosity These upper parts are demandingwith the players needing to double-tongue in unison in order to negotiate themany runs of 16th notes and the shared rhythmic ldquolicksrdquo The harmoniclanguage unlike much of Merularsquos music is undemanding and contains none of the harmonic crunches for which he is famous
This is wonderful music that needs a couple of advanced recorder players fora successful performance The string idiosyncrasies can be overcome by advancedplayers and many of the editions of the era (although not this one) list thecornetto as an alternative to the violin so the use of wind instruments in the solo literature of the early Baroque was not unknown
Our experience with this edition left us with the opinion that these pieceswould have been better if transposed down a minor third so as to fit on a pair ofalto recorders (as is the case with much Baroque flute music to make it lie betteron the recorder) The tenors we used tended to sound a bit murky in the lowerregister next to the more aggressive harpsichord while the sopranos we tried as
KEY rec=recorder Srsquoo=sopraninoS=soprano A=alto T=tenor B=bassgB=great bass cB= contra bass Tr=treble qrt=quartet pf=piano fwd=foreword opt=optional perc=percussionpp=pages sc=score pt(s)=part(s)kbd=keyboard bc=basso continuohc=harpsichord PampH=postage andhandling Multiple reviews by one reviewerare followed by that reviewerrsquos name Pleasesubmit music for review to AR 7770 SHigh St Centennial CO 80122-3122 US
an American distributor this musicwill be hard to findmdashin fact can befound only at the time of this writingon their web site noted above But theeffort will be repaid
This edition is clear and easy toread and the parts require no pageturns The basso continuo realizationis simple and elegant
This is music deserving ofrediscovery My only quibble is thatthe editorial notes are all in GermanThis seems to be the practice ofGerman music publishers with thenotable exception of Moeck Otherpublishers of early music such asLondon Pro Musica routinelyprovide notes in English and German and often in French and Italian making their editionsaccessible to a wider audience
Frank Cone studied the recorderwith the late Ellen Perrin the viola dagamba with Carol Herman and thecornetto with Larry Johansen TheCalifornia multi-instrumentalist has been a member of the Orange CountyRecorder Society since 1985
Advertiser Index
AMERICAN ORFF-SCHULWERK ASSN 3
AMERICAN RECORDER SOCIETY 31 35 36
AMHERST EARLY MUSIC FESTIVAL 17
STEPHAN BLEZINGER 24
JEAN-LUC BOUDREAU 21 39
BOSTON EARLY MUSIC FESTIVAL 7
CANTO ANTIGUO EARLY MUSIC WORKSHOP 13
COURTLY MUSIC UNLIMITED 20
EARLY MUSIC AMERICA 8
HONEYSUCKLE MUSIC 34
BILL LAZARrsquoS EARLY MUSIC 26
KEITH E LORAINE EARLY DOUBLE REED SERVICE 35
LOST IN TIME PRESS 11
MADISON EARLY MUSIC FESTIVAL 12
MAGNAMUSIC DISTRIBUTORS BC
MOECK VERLAG IFC
MOLLENHAUER RECORDERS IBC
PORT TOWNSEND WORKSHOP 14
PRESCOTT WORKSHOP 30
PROVINCETOWN BOOKSHOP 26
THE RECORDER MAGAZINE 4
THE RECORDER SHOP 6
SAN FRANCISCO EARLY MUSIC SOCIETY 18
SWEETHEART FLUTE CO 3
TEXAS TOOT 20
VON HUENE WORKSHOP INC 30
WICHITA BAND INSTRUMENT CO 21
DOMINIK ZUCHOWICZ 34
CONSIDER ADVERTISING IN
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Prices include web sitee-mail link directly from your ad in the online AR at wwwamericanrecorderorg
Circulation Includes the membership of theARS libraries and music organizations
Published five times per year January March May September November
Reservation Deadlines December 1 (January) February 1 (March) April 1 (May) August 1 (September) October 1 (November)
Rates good through November 2009 Pleaseinquire about discounts on multiple-issuecontracts inserts or other special requestsExtra charges for typesetting layout half-tones and size alterations 133-line screenrecommended Advertising subject toacceptance by magazine First-time adver-tisers must include payment with order
For more information contact the ARS office 1129 Ruth Drive St Louis MO63122-1019 800-491-9588 toll free 314-966-4082 phone 314-966-4649 faxadvertisingamericanrecorderorg
44 March 2009 American Recorder
Classified___________________________________
FOR SALE Cherrywood hurdy gurdy and hard-side case made by Kelischek bought 2005Originally $765 plus $89 for case Rarely usedBoth for $450 or make offer Please contact marjalocomcastnet Can ship
ASPIRE ANNOUNCE INSPIRE Afford-able PR for teachers and recitalists wwwrecitalroomcom
PHOTOS NEEDED of ARS events 1970sndash1990sto illustrate last chapters of Martha Bixlerrsquos histor-ical memoir about the ARS (to be posted online)E-mail scanned photos (300dpi JPG or TIF)arsrecorderamericanrecorderorg Hardcopies mail to ARS office to be scanned ampreturned Info 800-491-9588
T-SHIRT FOR ENSEMBLE PLAYERS to wear orshare Top 10 Reasons Why I Got Lost Wrongfingering bad lighting etc on blue cotton shirt$18 Highlighter tape and other goodies Beth amp Lindas Boutique as seen at BEMF CallLinda at 617-671-8694 or e-mail for brochurelindakushverizonnet
Where the havesand have-nots
of the recorder world can find each other
Classified rate for American Recorder 60centper word ten-word minimum ldquoFOR SALErdquoand ldquoWANTEDrdquo may be included in thecopy without counting Zip code is oneword phone e-mail or web page is twoPayment must accompany copy Deadlinesare one month before issue date Send copywith payment to ARS 1129 Ruth Drive St Louis MO 63122-1019
AMERICAN RECORDER (ISSN 0003-0724) 1129 Ruth Dr St Louis MO 63122-1019 is publishedbimonthly (January March May September and November) for its members by the AmericanRecorder Society Inc $20 of the annual $45 US membership dues in the ARS is for a subscriptionto American Recorder Articles reviews and letters to the editor reflect the viewpoint of their individ-ual authors Their appearance in this magazine does not imply official endorsement by the ARS
EDITORIAL DEADLINES November 15 (January) January 15 (March) March 15 (May) July 15(September) and September 15 (November) Submission of articles and photographs is welcomedArticles may be typed or sent as an attachment (Word or RTF preferred) to or text in an e-mail mes-sage They should be for the exclusive consideration of AR unless otherwise noted Photos may besent as prints or unedited JPG or 300dpi TIF files (minimum 3rdquox4rdquo) Advertisements may be sent inPDF or EPS format with fonts embedded
EDITORIAL OFFICE Gail Nickless Editor 7770 S High St Centennial CO 80122-3122 303-794-0114 (phone amp fax) editoramericanrecorderorg Books for review Editorial office Musicfor review Editorial office Recordings for review Tom Bickley 1811 Stuart St Berkeley CA 94703Cutting Edge Tim Broege 212 Second Ave Bradley Beach NJ 07720-1159 Chapter newslettersother reports Editorial office Postmaster Send address changes to ARS 1129 Ruth Drive St LouisMO 63122-1019 Periodicals postage paid at St Louis MO and at an additional mailing office
Chapter leaders
We know yoursquore out there
and that you want to share
your plans concerns
solutions and ideas with
other chapter leaders Visit
httpamericanrecorder
societywikispacescom
wwwAmericanRecorderorg March 2009 31
by Tim Broege timbroegeaolcom
December 11 2008 was a specialday for American music the
100th birthday of Americarsquos greatestliving composer Elliott Carter Cele-bratory concerts took place in manyvenues including Carnegie Hall inNew York There the Boston Sym-phony led by James Levine played anew work by Carter Interventions forpiano and orchestra The soloist wasanother well-known conductor DanielBarenboim who is no mean hand atthe keyboard to say the least
Itrsquos remarkable that wonderfulnew compositions continue to pourforth from Carterrsquos pen His musicsparkles and frolics packing lots of musical events into engrossingstructures Much of his music isavailable on CD so if you missed thecelebrations you can easily have yourown belated birthday party for Carter
Although he has never written for recorder (one of our prominent
recorder soloists should commissionhim) Carter has produced manychamber pieces featuring woodwindsSince many recorder players double orstarted out on woodwinds such piecesas the Sonata for Flute Oboe Cello ampHarpsichord (1952) Enchanted Preludes(1988) for flute and rsquocello Espritrudeesprit doux (1985) for flute andclarinet or the Oboe Quartet (2001)may hold special interest
If you missed Charlie Rosersquosexcellent interview (broadcast onDecember 10) with Carter Levine andBarenboim you can see it atwwwcharlierosecomview
interview9774mdashessential viewingfor fans of contemporary music
We note with sadness the passingon January 23 of another distin-guished American composer GeorgePerle An authority on the music ofAlban Berg and the Second VienneseSchool Perle developed a uniquelyrical style based upon a free approachto 12-tone and serial procedureswhich he dubbed ldquo12-tone tonalityrdquo I recommend listening to his SerenadeNo 3 for Piano amp Orchestra (1983) Six Etudes for Piano (1973-76) and the Pulitzer Prize-winning Wind Quintet No 4 (1985)
Another leading American com-poser Leon Kirchner is thankfully still with us having turned 90 onJanuary 24 Like Perle Kirchner has a highly personal and expressive styleA birthday concert was held at MillerTheater at Columbia University inNew York City NY Participatingmusicians included flutist PaulaRobison pianist Jeremy Denk and theClaremont Trio with the composerpresent to discuss his music
An excellent way to get to knowKirchnerrsquos music is through his stringquartets Just in time for his birthdayAlbany Records has released a fine CDof all four played by the Orion StringQuartet Quartet No 4 was written in2007 (when the composer was 87mdasha veritable youngster compared toCarter) The composer Allen Shawnhas described that quartet asldquoluminous and passionaterdquo words aptto describe much of Kirchnerrsquos output
Speaking of contemporary musicI have been spending pleasant hoursperusing the Catalog of ContemporaryBlockflute Music available online atwwwblokfluitorg from StichtingBlokfluit This Netherlands founda-tion offers a contemporary recordercatalog and a catalog of historicalrecorder music Access to both is byfree membership
For those who havenrsquot yet used thecontemporary catalog I urge you togive it a try You can search by manyparameters such as composer title orspecific instrumentation A search forldquovoice fluterdquo turned up a list thatincluded Moon Dances Three AmericanSketches by composer Walter Mays(intended for solo alto recorder butalso playable on tenor or voice flute)Searching the name of English com-poser Edmund Rubbra produced a listof eight works that employ recordersincluding the intriguing CantataPastorale opus 92 for high voice altorecorder rsquocello and harpsichord
Searching ldquofemale composersrdquo fora piece using ldquoBaroque altordquo yieldedAfter Meditation by Ros Bandt ofAustralia
What an easy and tremendouslyvaluable way to find new music
On the Cutting Edge___________________________________Birthdays composers and
recorder music catalogs
Elliot Carter
(photo by Meredith Heuer)
Question How does Renaissancefingering differ from standard
fingering on the recorder Is one superior tothe other Do you need a special recorder touse Renaissance fingering and if so can itbe played with regular recorders Is there afingering chart that shows RenaissancefingeringmdashWilliam BaumannWaterford WI
Answer from Carolyn Peskin Music composed in the
Renaissance the historical periodextending from about 1450 to 1600was predominantly vocal and highlycontrapuntal Recorders which oftendoubled singers at the octave orrendered vocal pieces instrumentallywere designed to make the individualmelodic lines clearly audible
Most 16th-century consortrecorders were one-piece instrumentswith large toneholes and a wide borethat contracted slightly starting nearthe upper fingerholes and thenexpanded gently near the lowest holesThat ldquochoke-borerdquo design togetherwith the voicing and tonehole con-figuration favored the fundamentaltone (first harmonic) producing astrong open sound that was aboutequally loud throughout theinstrumentrsquos range
Such recorders had a useful rangeof only about an octave plus a sixthwhich was nevertheless sufficient for the music of their day MostRenaissance-style consort recordersmade today are based loosely uponsurviving 16th-century instruments ofthe above type and are designed toapproximate the range timbre andvolume of those early instruments
Our present-day ldquoregularrdquorecorders are Baroque-derived instru-ments based loosely upon survivingrecorders from the late 17th and early18th centuries They are three-pieceinstruments with small toneholes and abore that is narrower and moretapering than a Renaissance boreextending their useful range upward totwo octaves plus a whole tone
Baroque recorders are soft andsweet-sounding in their bottom octavebut louder and brighter in the secondoctave Their lowest notes are espe-cially weak because they must be blowngently to prevent overblowing into thesecond octave Such instruments aresuitable for Baroque solo and chamberrepertoire but not very satisfying forRenaissance polyphony
Due to their different timbre andvolume Renaissance recorders will not blend well with Baroque onesFurthermore the most historicallyauthentic Renaissance-style recordersare tuned in a ldquomeantonerdquotemperament that facilitates the playingof pure major thirds Such instrumentsmake Renaissance music easier to playin tune but will produce intonationproblems if played with Baroquerecorders which are tuned in equaltemperament For the above reasonsRenaissance and Baroque recordersshould not be played together
Renaissance fingering will not work on todayrsquos neo-Baroquerecordersmdashmost of which haveldquomodernrdquo Baroque fingeringcommonly called ldquoEnglishrdquo fingering
because it was developed fromhistorical Baroque fingering by ArnoldDolmetsch in England during theearly 20th century Renaissancefingering is less standardized partlybecause a number of different originalinstruments are used as models andpartly because makers wish to improvethe intonation tone quality andorplayability of certain notes Howeverthe following generalizations apply tomany of todayrsquos Renaissance-styleconsort recorders
First in the lower octave modernBaroque fingering works for mostnotes but is often too flat for the fourth scale degree (eg soprano F)requiring removal of finger 7 (right-hand pinky) and is too sharp for theraised fourth degree (eg soprano F)requiring addition of finger 7
Modern fingering is also usuallytoo sharp for the lowered seventhdegree (eg soprano B) The correctfingering for that note varies from oneinstrument to another
In the upper octave modernfingering works for the first third andfifth scale degrees (eg soprano C Eand G) but usually not for other notesSome notes require half-holing with aright-hand finger and notes above thefifth scale degree may require additionof several fingers to bring them in tuneHistorical Renaissance fingering forthe second scale degree (eg sopranoD) is especially awkward because all ofthe fingerholes and the thumbholemust be uncovered Therefore somemakers substitute modern fingering forthat note
Although Renaissance fingeringand meantone tuning are recom-mended for the best blend some
Q amp A___________________________________ Renaissance recorder fingering
Send questions to Carolyn Peskin QampA Editor 3559 Strathavon Road Shaker Heights OH44120 carolynpeskinstratosnet
32 March 2009 American Recorder
wwwAmericanRecorderorg March 2009 33
makers of handcrafted Renaissance recorders will provide modern fingeringandor equal temperament upon request and Moeck Verlag offers a choice ofRenaissance or modern fingering for most sizes of its factory-producedRenaissance Consort series
For a most satisfying blend Renaissance ensembles should purchase amatched set of recorders tuned and voiced to be played together Renaissanceconsort sets usually include two different alto recorders one in G (lowest note g)and one in F (lowest note f ) The ATTB combination with the G-alto is best formost of the quartet music composed between 1450 and 1550 while the SATBcombination with the F-alto is more practical for much late 16th-centuryrepertoire (Playing the G-alto requires learning G-alto fingering or elsetransposing the alto line down a whole tone and using F-alto fingering)
In addition to consort recorders some makers offer ldquoGanassirdquo sopranos andaltos based upon fingering charts in Silvestro Ganassirsquos recorder tutor Fontegarapublished in 1535 and a single original instrument in the Vienna Kunst-historisches Museum Because of their special bore design (cylindrical with aflaring bell) Ganassi recorders have a range of two octaves and a sixth withcumbersome fingerings in the third octave They are used mainly as soloinstruments for playing intricate ornaments of the type found in Fontegara
Also sometimes included in the ldquoRenaissancerdquo category are ldquotransitionalrdquo(early Baroque) recorders which are based upon originals from the first half ofthe 17th century They have a bore that is wider than a Baroque bore but contractssharply near the lower end resulting in strong low notes and at least a full two-octave range usually with modern fingering Most transitional recorders aresopranos or altos designed for playing Jacob van Eyckrsquos variation sets or thehighly ornamented Italian solo repertoire of the late-16th and early-17thcenturies
However wide-bore consortrecorders with a range of at least twooctaves and modern fingering shouldalso be regarded as transitionalinstruments They differ somewhat intimbre and volume from typicalRenaissance consort recorders
Handmade wide-borerecordersmdashconsort Ganassi andtransitionalmdashare obtainable frommakers who advertise in AmericanRecorder the Prescott Workshop andthe Von Huene Workshop in the USJean-Luc Boudreau in Canada andStephan Blezinger in GermanyContact them andor visit their websites to find out what kinds ofrecorders they are currently makingand to get an idea of their prices andwait times
Factory-produced wide-borerecorders from Kobliczek Moeck andMollenhauer are available frominstrument dealers who advertise inAR New and used recordersincluding wide-bore models fromimportant makers in the US andabroad are also obtainable from Uni-corn Music For further informationvisit wwwbuyrecorderscom For a comprehensive database of recordermakers worldwide see Nicholas SLanderrsquos ldquoExtant Recorder Makers amp Retailersrdquo at wwwrecorder
homepagenetmakershtml
REFERENCES
CONSULTEDBauer Winfried
wwwrecorder-fingeringscomIncludes interactive fingeringcharts from modern makers andhistorical treatises Charts forRenaissance consort recorders byAdriana Breukink Adrian BrownBob Marvin and Tom Prescottwere consulted
Brown Adrianwwwadrianbrownorgrec
order_typesconsorthtml
Our present-day ldquoregularrdquo recorders are
Baroque-derived instruments based loosely
upon surviving recorders from the
late 17th and early 18th centuries
34 March 2009 American Recorder
The Von Huene Workshop Incis pleased to announce agreements with
CoolsmaZamra
to serve as their authorised service agents in the US
For more than 40 years the von Huene Workshop has produced some of the finest recorders in the world Our skilled staff can revoice retune and repair even the most seriously damaged instruments All repairs are done right on the premises and most can be completed within a week
For warranty repairs please include a copy of your original sales receipt
j 65 Boylston Street Brookline MA 02445 i(617) 277-8690 Fax (617) 277-7217 servicevonhuenecom
An informative article aboutrecorder sizes in Renaissanceconsorts
Brown Adrian and David LasockildquoRenaissance Recorders andTheir Makersrdquo AmericanRecorder Vol XLVII No 1(January 2006) pp 19-31 An important article based upon Brownrsquos extensive researchon 120 of the 200 surviving 16th-century recorders
Ganassi Silvestro Opera IntitulataFontegara Ed Hildemarie Peter(Berlin-Lichterfelde RobertLienau 1959) Modern edition ofthe oldest known treatise devotedentirely to the recorder (publishedin 1535) Includes 16th-centuryfingering charts
Griscom Richard and David LasockiThe Recorder A Research andInformation Guide (New York andLondon Routledge 2003) Anannotated bibliography including
references on construction anddesign of historical recorders
Levin Philip ldquoQampArdquo AmericanRecorder Vol XXXVIII No 4(September 1997) p 27Explains in simple terms thedifference between Renaissanceand Baroque recorders
Morgan Fred ldquoA Recorder for theMusic of JJ van EyckrdquoAmerican Recorder Vol XXV No 2 (May 1984) pp 47-49Describes the bore design of arecorder suitable for playing Van Eyckrsquos variation sets andcompares it with bore designs ofother types of recorders
Myers Herbert W ldquoRecorderrdquochapter in A Performerrsquos Guide toRenaissance Music ed JefferyKite-Powell (New York SchirmerBooks 1994) A 2nd edition isnow available published in 2007by Indiana University Press
FEATURING MUSICA PACIFICA
JUDITH LINSENBERG
RECORDERS____JS BACH TRIO SONATAS Arr by
Linsenberg from Trio Sonatas for Organ BWV525-
530 Sonata No 1 in E
major (transp to B
)
BWV 525 Sonata No 2 in C minor (transp to E)
BWV526 Sonata No 3 in D minor (transp to G)
BWV 527 Sonata No 4 in E minor BWV 528
Sonata No 5 in C major (transp to F) BWV529
Sonata No 6 in G major (transp to C) BWV 530
Virgin Classics Veritas 1993
____FIRE BENEATH MY FINGERS Showcases
three legendary composers who were also
virtuoso performers Vivaldi Concerto in F major
after RV 98570 ldquoLa Tempesta di Marerdquo Sonata in
A minor RV86 Concerto in G minor RV106 Con-
certo in Bb major RV503 Sammartini Concerto in
F major Tartini Concerto in A major D91 Dorian
____MANCINI CONCERTI DI CAMERA Seven
sonatas by Francesco Mancini plus one work each
from his contemporaries Francesco Durante amp
Domenico Scarlatti Highly recommended citation
from the 2000 Vivaldi Prize for Recordings of Italian
Early Music--Giorgio Cini Foundation Dorian
____MARAIS MARIN PIEgraveCES EN TRIO POUR
LES FLUcircTES VIOLON amp DESSUS DE VIOLE
Maraiss complete works for two treble lines and
bass with varied instrumentation and orchestrations
2-CD set $24
____SCARLATTI CONCERTI DI CAMERA
Seven sonatas for various instrumentations no
poor relations to the composers much more widely-
known vocal output All recorder players should
certainly have thisndashEarly Music Review
____TELEMANN CHAMBER CANTATAS
Five cantatas from Harmonischer Gottesdienst two
sonatas from Sonatas Corellisantes 2003 Chamber
Music America WQXR Record Award for best
chamber music recordings
____VIVALDI LA NOTTE Concerti per strumenti
diversi Award-winning CD featuring five Vivaldi
concerti two sonatas
AND OTHER RECORDING
ARTISTS FROM CALIFORNIA ____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 American Bach Soloists Jeffrey
Thomas conductor Dan Laurin Hanneke van
Proosdij recorders Christmas Concerto featuring
unique 1725 London version with solos transcription
for two recorders instead of two solo violins in
three of the six concertos Delos
____CANCcedilONIEgraveR Annette Bauer recorder
multi-instrumentalist Tim Rayborn Shira Kammen
strings Phoebe Jevtovic voice in a new early
music group devoted to repertoire from the
12thndash15th centuries as well as traditional music
from related regions (the Balkans Scandinavia
Middle East) Medieval instrumental music played
on a variety of instruments including strings
recorders and percussion Medieval dances and
motets bring to life the rich world of ancient
European music-making
____SACRED AND SECULAR MUSIC FROM
RENAISSANCE GERMANY Ciaramella-Adam amp
Rotem Gilbert Doug Millikan Debra Nagy
recorders with other winds shawm sackbut amp
organ Medieval amp Renaissance sacred music with
reconstructions of folksongs amp arrangements based
on contemporary improvisation
____BURIED TREASURE TOPAZ amp SAPPHIRE
Ensemble Vermillian Frances Blaker recorders
Barbara Blaker Krumdieck cello Elisabeth Reed
gamba Katherine Heater harpsichord amp organ
Transcriptions of Buxtehudes Op 1 other pieces by
Buxtehude works by Biber Johann Schop
Schmelzer Fafarela 2007
____STOLEN JEWELS Ensemble Vermillian
Frances Blaker recorders Barbara Blaker
Krumdieck Elisabeth Reed Katherine Heater 17th-
century German music adapted by Blaker I love
violin music so I steal the music and rearrange it
for my own instrumentrdquo Buxtehude Op 1 Biber
Rosenmuller Krieger JM Bach Fafarela
Recordings
____SENFL (LUDWIG) Farallon Recorder Quartet
(Letitia Berlin Frances Blaker Louise Carslake
Hanneke van Proosdij) 23 lieder motets and
instrumental works of the German Renaissance
____DOLCE MUSICAndash A CONTEMPLATIVE
JOURNEY Eileen Hadidianflutes recorders
Natalie Cox harps Celtic Renaissance and
Medieval melodies for recorder and flute with
Celtic harp Healing Muses 2005
____REFLECTIONS MUSIC TO SOOTHE AND
UPLIFT THE SPIRIT Eileen Hadidian recorder amp
Baroque flute with Celtic harp and cello Celtic
traditional Renaissance amp Medieval melodies
Healing Muses
____AN EVENING WITH BACH Voices of Music
Hanneke van Proosdij Louis Carslake Dan Laurin
recorders Joanna Blendulf Elizabeth Blumenstock
Rodney Gehrke Lisa Grodin Katherine Kyme
Jennifer Lane Victoria Gunn Pich Susanne Ryden
William Skeen David Tayler Renaissance and
Baroque music centers on fine singing Instantly
recognizable Air on a G String Bachrsquos Prelude in
G Major (solo theorbo for rsquocello) plus lilting vocal
performancesmdashRydenrsquos weightless soprano on
Bist du bei mir Lanersquos rich alto on Es is vollbracht
____BACH amp TELEMANN SONATAS PRELUDES
amp FANTASIAS Voices of Music (Hanneke van
Proosdij Joanna Blendulf Rodney Gehrke William
Skeen David Tayler) Beautiful chamber music by
Bach and Telemann
IN STOCK (Partial listing)____ALLA TURCA FUX CALDARA BADIA
Matthias Maute amp Sophie Lariviegravere recorders
Monika Mauch soprano Vocal music of the church
accompanied by Ensemble Caprice plus sonatas
and other instrumental pieces Analekta
____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 John Daniels Sonja Lindblad
recorders Peter Sykes harpsichord Trio sonata
arrangement by Johann Christian Schickhardt
____LES
AMIS DU
BAROQUE
Paul Nauta recorder amp
Baroque flute Koen Dieltiens recorder Music by
Bassani Corelli Vivaldi etc Highlight Intl
____LES SEPT SAUTS BAROQUE CHAMBER
MUSIC AT THE STUTTGART COURT Matthias
Maute amp Sophie Lariviegravere recorders amp traverso
Ensemble Caprice Charming repertoire by
Schwartzkopff Bodino Detri Atma Classique
____TASTE OF PORTIQUE LEnsemble Portique
Early and contemporary chamber musicmdash
Bach Telemann Boismortier and others
____TELEMANN ALLA POLACCA REBELndash
Matthias Maute recorders amp traversondash
plays concerti and suites by GP Telemann Dorian
____TELEMANN CANONS AND DUOS Lisette
Kielson amp Patrick OMalley recorders LEnsemble
Portique Telemann Canons meacutelodieux amp Sonates
sans basse 2-CD set LEP Records
____20TH CENTURY MUSIC FOR RECORDER amp
PIANO Anita Randolfi recorders Music by Jacob
Bartok Leigh others for recorder amp piano
____VIVALDI AND THE BAROQUE GYPSIES
Matthias Maute amp Sophie Lariviegravere recorders
Ensemble Caprice Gypsy music taken from
Uhrovska zbierka (now Slovakia) plus Vivaldi
____VIVALDI SHADES OF RED CONCERTOS amp
SONATAS FOR RECORDER amp STRINGS Matthias
Maute recorders REBEL Stylish high octane
readings of some of Vivaldis most beloved pieces
including the popular and raucous Concerto alla
Rustica stunningly colorful Sonata on La Follia and
four exuberant recorder concerti Bridge
____WINDFIRE Charmaine Delmatier recorder
Steve Kostelnik classical guitar Terry Hale bass
Erik Hokkanen violin Refreshing mixture of Andrew
Lloyd Weber American blues flamenco Celtic and
one original piece ltwwwyermomusicomgt
Please indicate above the CDs you wish toorder and print clearly the following
Name ____________________________________
Daytime phone (_____)______________________
Address__________________________________
CityStateZip _____________________________
Check enclosed for
_____ single CDs x $____ = $______
_____ 2-CD sets x $____ = $______
TOTAL $______
Please charge the above amount to my
MasterCard Visa or AmEx
_______________________________________
Exp Date ____________
Cardholderrsquos signature ______________________
Mail to
ARS 1129 Ruth Dr St Louis MO 63122-1019 US
You may fax a credit card order to 314-966-4649
NEW You may order CDs online using PayPal at
wwwamericanrecorderorgordercdromshtm
Order your recorder discs
through the ARS CD Club
The ARS CD Club makes hard-to-find or limited release CDs by ARS members
available to ARS members at the special price listed (non-members slightly higher)
All CDs are $15 ARS members$17 Others unless marked otherwise Two-CD sets are
$24 ARS members$28 Others Add Shipping and Handling $2 for one CD $1 for each
additional CD An updated listing of all available CDs may be found at the ARS
web site ltwwwamericanrecorderorggt
The first meeting of the newly-formedFort Myers Recorder and Early
Music Ensemble was January 26 atthe Florida home of chapter rep Sue
Groskreutz For this year the groupis somewhat loosely organized andplans to meet for extended sight-reading Repertoire at the first meetingcomprised everything from Renais-sance duets to chamber music involv-ing three treble parts and continuo
Among the five musiciansattending the first meeting (photobelow front row Elizabeth Spang SueGroskreutz back row Suzanne FergusonSibylle Baumgartner Arlene Sowka) allplayed recorder three harpsichord
and one each played traverso violinand gamba Due to the scarcity ofrecorder players south of the Sarasotaarea modern string players are alsoincorporated into this ensemble
The group decided not to chargedues and to meet at Groskreutzrsquoshome For more information pleasecontact Groskreutz at 239-267-1752spgembarqmailcom Snowbirdsdrifting through the area are welcome
Last fall at the requestof a student Kay Hettich
(inset below right) taught abeginning recorder class atthe Redding (CA) Senior
Center The five-weekclass was so successful thatmost participants haveformed a bi-weekly noviceensemble (right) coachedby Hettichmdashwho consid-ers them her ldquohatchedeggsrdquo
A new batch of ldquoeggsrdquostarted to incubate when afive-week class began on February 20Other senior center members havebecome interested as they heard oftheir colleaguesrsquo success These noviceplayers comprise some who previouslyread music and played instruments as well as people who are totally new to music notation
One student has also formulated amaxim ldquoEveryone at age 40 ought tolearn to play the recorder if heshehasnrsquot alreadyrdquo Just think how theworld would be transformed byshifting our focus to music
After Lynn Whidden attendedthe Montreacuteal Recorder Festival lastfall when the ARS Board met inQuebec she joined the ARS and nowrelays news of the lively interest in therecorder exhibited by a group underthe new leadership of Brent Legg ofBrandon University in ManitobaCanada Although his hands wereldquostill partly frozenrdquo he wrote that theBrandon University Collegium
Musicum in collaboration with theWaverley Park Recorder Club is
preparing a spring concert calledldquoEnglandrsquos Golden AgerdquoRepertoire spans the 16th century
from Henry VIIIrsquos accession in 1509to the death in 1603 of Elizabeth Iand includes solo songs four- andfive-part settings of Renaissancedances (with dancers) three- to five-voice madrigals and ldquobig-bandrdquoarrangements of William Byrdrsquos TheBells and The Dargason as re-imaginedby Gustav Holst (further re-imaginedfor recorders and percussion)
Of the 15 collegium membersseven are encountering the recorderfor the first time since elementaryschool The Collegium Musicumpromotes the study of early music at the university and is open to theuniversity community and the generalpublic This year there are five com-munity participants with interest fromseveral more both within and outsideof the university For informationcontact BrentLegggmailcom
January 16 marked the thirdannual recorder workshop of threeFlorida groups the Pasco Collegium
Recorder Consort of Hudson theImperial Recorder Consort of
36 March 2009 American Recorder
Chapters
amp Consorts___________________________________Workshops and activities from
coast to coast in the US and Canada
Lakeland and the Pilgrim Pipers Recorder Consort of St Petersburg Theygathered for a morning tackling selections by Banchieri Monteverdi PurcellCorelli Mendelssohn Bach Mozart and Glen Shannon Each group presenteda piece for the other participants Sweet Georgia Brown by Ben Bernie (St Pete)a Sonata by Sammartini (Lakeland) and The Gospel Train arr by KW Ford(Pasco) The 29 participants were led by Marlene Cracraft (Pasco) Jane
Spencer (Lakeland) and Elizabeth Snedeker (St Pete) Tom Bickley (photo below) directed the fall workshop of the Mid-Peninsula
Recorder Orchestra in Cupertino CA The 30 players started with Gregorianchants written in ldquooldrdquo notation Bickley gave basic instruction on how tointerpret the notes and then had the group sing the chants prior to playing them
The workshop theme of ldquoThe Articulate Recorderrdquo was literally played out as the music presented used variations in tonguing phrasing and breathingOther repertoire included a Kyrie by Tomas Luis de Victoria Bachrsquos Jesu Joy ofManrsquos Desiring a double-choir piece by Gabrieli Christopher Tyersquos In NomineXIII and a Purcell chaconne The workshop ended with a rhythmically-challenging minimalist piece by Bickley entitled Beginning composed for theWaldorf School teacher training program George Greenwood reports that thegroup had a productive event and plans to ask Bickley to lead a future workshop
wwwAmericanRecorderorg March 2009 37
A Muse in the DesertThe sound of a pin dropping hellip thesound of eager minds and fingersabsorbing information and inspira-tion hellip the sounds of ldquoNuevaEspantildeardquo Spanish- and indigenous-influenced music of the 1600s in theNew World These were the soundsof the Desert Pipes (Phoenix AZ)chapterrsquos fall workshop given byEileen Hadidian On a Saturdaylast October 30 players from all overArizona gathered to learn from andbe inspired by the founder of a SanFrancisco Bay Area group dedicatedto sharing music for healing inhealthcare settings Healing Muses(wwwhealingmusesorg)
The day began with relaxationstretching and breathing exercisesfollowed by travels to Peruacute MexicoGuatemala and Colombiamdashhighchurch music vernacular pieces anda mixture of the two Participantsenjoyed the historical and contextualbackground provided as an overviewfor the day and for each piece
Remarkably the sound heardbetween pieces and passages was anenergy-filled quiet the attentivestillness of active engagement in theworkshop experiencemdashnot the chat-tering noodling and conversationsthat often occur when the musicstops That activity was reserved forthe breaks when participants couldenjoy the cool (at last) outdoorschat with Hadidian and peruse the popular garage sale (to benefitDesert Pipes) of previously-enjoyedbooks and other treasures
On Sunday Hadidian sharedher expertise and inspiration in indi-vidual and group coaching sessionsThe weekend was a special experi-ence and Desert Pipes memberslook forward to the next visit of this Healing Muse
Ann Koenig Scottsdale AZannisalesprocom
Members
of three
Florida
groups
met
in January
for a joint
workshop
CHAPTER NEWS
Chapter newsletter editors and publicity officers should send materials for publication toAmerican Recorder 7770 South High St Centennial CO 80122-3122
editoramericanrecorderorg Also send short articles about specific activities that haveincreased chapter membership or recognition or just the enjoyment your members get out of
being part of your chapter Digital photos should be at least 3rdquox4rdquox300dpi TIF or unedited JPG files Please send news to the AR address above and to the following
ARS Office 1129 Ruth Drive St Louis MO 63122-1019 ARSrecorderAmericanRecorderorg
and to Bonnie Kelly Chair Chapters amp Consorts Committee 45 Shawsheen Rd 16 Bedford MA 01730 bksharpaolcom
TO THE STARS
AND BEYONDThe cover of the November magazinegenerated a few comments Some werenrsquotsure how to interpret the title (in theartistrsquos native German it could besomething close to ldquostarlit moonrdquo)Longtime member Carolyn Peskin wrote to offer her vision of that cover
In the beginning the Great Spiritinvented Mr Sun to light the day andMiss Moon to light the nightHowever as Miss Moon floated up inthe sky all by herself like a big yellowballoon she began to feel very lonelyso one night to relieve her lonelinessshe decided to take out her recorderand make music
But when she started to playsomething miraculous happened Not only beautiful melodies but alsoyellow dust poured out of the bottomof her recorder and the dust particlesimmediately coalesced to form yellowstars As she continued playing moreand more stars were created and theyfloated up around her filling the nightsky
At last Miss Moon was happy fornot only was she herself able to enjoyher music but she now had a wholecrowd of starry companions to enjoy itwith her And if you listen very care-fully on a quiet night you might beable to hear her recorder and thatstarry choir humming along
Carolyn Peskin
LOCATING EARPLUGSI read with interest the QampA in theNovember lsquo08 AR regarding hearingloss and use of earplugs Where do you get musicianrsquos earplugs
Dolly Hirata Kensington CA
CAROLYN PESKIN PROVIDED THIS
INFORMATION Musicianrsquos earplugs arecustom made for individual usersThey can be purchased only fromlicensed hearing professionals (ieaudiologists and hearing instrumentspecialists) To find a licensed hearingprofessional in your area look underldquoaudiologyrdquo or ldquohearingrdquo in your localyellow pages
For information about how musi-cianrsquos earplugs are produced visitwwwetymoticcomephperme-w
tbaspx That web page also has a linkto contact information for authorizedlabs that make the custom earmolds formusicianrsquos earplugs If the yellow pagesdo not prove helpful those labs canrefer you to a licensed hearing pro-fessional in your area from whom youcan purchase musicianrsquos earplugs
MORE FROM CAROLYN
THIS TIME ABOUT OSKARIn the September 2008 AR the musicreview by Leslie Timmons of the Oskarpieces by Matthias Maute mentionedthat Carolyn Peskin had translated twoof the Oskar books from German toEnglish People can obtain thetranslations free of charge as Wordattachments by contacting her atCarolyn Peskin 3559 StrathavonRoad Shaker Heights OH 44120carolynpeskinstratosnet
ANOTHER KIND OF
MUSIC-READING
GLASSESIn the January 2009 issue of AmericanRecorder therersquos something (in myopinion) the ldquoRecorder with GlassesObbligatordquo article omitted which canenable a nearsighted musician to avoidneck strain in the use of bifocals
Irsquove found the solution to thisvexing problem is to have onersquos bifocalsconstructed differently [from] normalMy optometrist was willing to work
38 March 2009 American Recorder
Response___________________________________Two kinds of vision
the better to see with and (not) to hear with
Honeysuckle Music
Recorders amp accessories
Music for recorders amp viols
Jean Allison Olson1604 Portland AveSt Paul MN 55104
6516448545jeanhoneysucklemusiccom
Responses from our readers are welcomedand may be sent to American Recorder 7770 South High St Centennial CO
80122 Letters may be edited for length and consistency
ARS Membership Enrollment and Renewal I am a new member I am or have been a member
USCanadian Memberships Foreign Memberships $45 One Year $55 Foreign One Year $75 Sustaining (Receive a Hottetere Hands Pin) $100 Two Years $80 Two Years
LIFETIME MEMBERSHIP Single Dual Regular Lifetime Member $1000 (2) $1500 (4) 4 installments of $250 available) Loyalty Lifetime Member (1) $ 800 (3) $1200 (4) 4 installments of $200 available
(1) For members who have maintained membership for five consecutive years (2) $750 is Tax Deductible (3) $600 is Tax Deductible (4) Installments available Student Memberships Other Memberships (Enclose proof of full time enrollment) $65 One Year Workshop Membership
$25 USCanadian One Year $125 One Year Business Membership $45 USCanadian Two Years $30 Foreign One Year $5 Additional Charge for Dual Address or Dual Name
Do not list my name in the ARS Print Directory Do not list my name on the ARS Online Directory Do not release my name for recorder related mailings Do not contact me via email
My address telephone and email address are the same as last time
______________________________________ _________________________ Name Phone Number ______________________________________ _________________________ AddressCityStatePostal Code Email Address Please charge to (Circle one) VISAMasterCardAMEXDiscover CC________________________________ Expiration Date ______________ Signature of cardholder_______________________________________________________ Clearly Print Name as it appears on Card________________________________________
Renew by Mail Online By Phone or by Fax
Demographic Information (optional information collected only to enhance ARS services and provide statistics to grant makers)
I am a member of ARS Chapter or Consort____________________________ I am the Chapter Contact Your age Under 21 (21-30) (31-40) (41-50) (51-60) 61-70) (71+) Please check all that apply
I am a Professional Recorder Performer
I wish to be included in the list of Recorder Teachers in the ARS Directory and website I Teach (circle your choices) Children High School Youth College Students Adults Beginner Intermediate Advanced Pre-Professional Individuals Childrenrsquos Classes Adult Classes Ensembles Suzuki Orff JRS Leader Kodaly Where I Teach (circle your choices) Music Studio Public or private school Community Music School College Other _____________________
American Recorder Society 1129 Ruth Dr St Louis MO 63122-1019
Phone 314-966-4082Fax 314-966-4649
TollFree 800-491-9588ARSRecorderAmericanRecorderorg
wwwAmericanRecorderorg
with me [to find] an ideal (for me)placement size and focal length of thebifocal lens
Before visiting the optometristIrsquod had my wife measure the distancefrom my eyes to the music on mymusic stand With this measurementthe optometrist set up her machine toprepare a vision prescription for memaximized for this reading distance
When I look at my bifocals (withthem off) the lenses (through which Iread my music) occupy most of thelower two-thirds of my glasses (they are set very high and beginimmediately at the inner rims) Thisleaves the upper third and smallportions of the outside [of each lens]for focusing on the conductor As longas my stand is set low enough my necknever experiences any strain (even if Ihave to read three to a part) and Irsquove no problem in seeing theconductor (in sharp focus) either
For me trying to use glasses [toread] from a music stand [that] weredesigned for use in reading from acomputer screen also results in neckstrain (not to mention unreliability in aldquopressurerdquo situation) Having studiedTai Chi extensively and so being
wwwAmericanRecorderorg March 2009 39
There are lots ofsolutions to thepresbyopic musicianrsquosproblem but all involve compromises
40 March 2009 American Recorder
American Recorder Society PublicationsErich Katz Contemporary Music Series Members Non-MembersA Short Tale for Two Basses Suzanne M Angevine (Level II) (2 scores) $5 $8Dialogue and Dance Cecil Effinger (SATB)(Level II-III) (score amp parts) $10 $18Dorian Mood Sally Price (SATB) (Level II) (score amp parts) $10 $18Double Quartet for Recorders Peter Ballinger (Level II-III) (score amp parts) $10 $18Entrevista Frederic Palmer (SATB) (Level II) (2 scores amp 4 recorder parts) $8 $14Kyrie and Vocalise for Soprano Voice ampRecorders Stanley W Osborn $8 $14
(SATB) (Level II) (2 scores amp 4 recorder parts) Picnic Music Jeffrey Quick (SATB) (Level II) (score amp parts) $5 $8Six Short Pieces for Three Recorders edited by Alan Drake $8 $14
(3 scores) Vaclav Nelhybel (AATT) (Level II)Sonatina for Alto Recorder and Piano Anthony Burgess $7 $12
(Level II) (2 scores)Sonatine for Three Altos Lee Gannon (Level III) (score amp parts) $14 $26Suite of Jewish Folk Tunes Erich Katz (S SA8 AT) (Level II) (three scores) $10 $18
Musical Editions from the Membersrsquo Library ARS members 1 copy-$3 2 copies-$450 3-$6 4-$750 5-$10 6-$1150Non-members (editions over 2 years old) 1 copy-$5 2 copies-$850 3-$12 4-$15 5-$1950 6-$23The ARS is happy to provide photocopied enlargements of any Membersrsquo Library edition at the same prices Please specify ldquoMembersrsquo Library Enlargementrdquo
ARS Information BookletsARS members 1 booklet-$13 2 booklets-$23 3-$28 4-$35 5-$41 6-$47 7-$52Non-members 1 booklet-$18 2 booklets-$33 3-$44 4$55 5-$66 6-$76 7-$86
Education PublicationsThe ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996)
First copy free to ARS Members (mailed to new members as they join) replacement copies $3Guidebook to the ARS Personal Study Program (1996) Material formerly published in the Study Guide
and Study Guide Handbook plus additional resources Members $11 non-members $20ARS Music Lists (2002 with 2003 Supplement) Graded list of solos ensembles and method books
Members $9 non-members $15Package Deal available only to ARS members Guidebook and Music ListsSupplement ordered together $16Junior Recorder Society Leaderrsquos Resource Notebook
ARS members $20 non-members $40 (updates at reduced rates after initial purchase)$5 Dues for each JRS student member sponsored by an ARS member ($4 each for groups of 10+)
VideosRecorder Power Educational video from the ARS and recorder virtuoso John Tyson
An exciting resource about teaching recorder to young students ARS members may borrow a copy for onemonth by sending $5 to the ARS office along with the address to which the tape should be shipped
Pete Rose Video Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music Festival recitalFeatures Rose performing a variety of music and an interview of him by ARS member professional John Tyson
Other PublicationsChapter Handbook A resource on chapter operations for current chapter leaders or those considering forming an
ARS chapter ARS members $10 non-members $20 (updates free after initial purchase) One free copy sent toeach ARS chapter with 10 members or more
Consort Handbook Resource on consort topics such as group interaction rehearsing repertoire performingARS member prices CD $10 hard copy $20 combo price of CD and hard copy ordered together $25
Discography of the Recorder Vol I (1989) Compiled by Scott Paterson and David LasockiDiscography of the Recorder Vol II (1990-1994) Compiled by Scott Paterson
Either single volume ARS members $23 non-members $28Both Discography volumes together ARS members only $40
American Recorder Cumulative Index for Vols I-XXXX ARS members $20 non-members $32Index Supplement Vol XXXIV-XXXX ARS members $8 non-members $14
Shipping amp Handling FeesUnder $10 - add $3 $10-1999 - add $4 $20-2999 - add $5 $30-3999 - add $6 $40-4999 - add $7 All prices are inUS dollars For Canadian or foreign postage pay by credit card and actual postage is charged
Please make checks payable to ARS VISAMCAMEXDisc also accepted
ARS 1129 Ruth Drive St Louis MO 63122 US800-491-9588 ARSrecorderAmericanRecorderorg
Arioso and Jazzy Rondo (AB) Carolyn PeskinBerceusendashFantaisie (SATB) Jean BoivertBrucknerrsquos Ave Maria (SSATTBB)
Jennifer W Lehmann arrCanon for 4 Basses (BBBB) David P RuhlDancers (AT) Richard EastmanDifferent Quips (AATB) Stephan ChandlerElegy for Recorder Quartet (SATB) Carolyn PeskinElizabethan Delights (SAATB)
Jennifer W Lehmann arrFallen Leaves Fugal Fantasy (SATB) Dominic BohbotFour Airs from ldquoThe Beggarrsquos Operardquo (SATB)
Kearney Smith arrGloria in Excelsis (TTTB) Robert CowperIdyll (ATB) Stan McDanielImitations (AA) Laurie G AlbertsIn Memory of Andrew (ATB) David GoldsteinLay Your Shadow on the Sundials (TBgB)
Terry Winter OwensLeClercqrsquos Air (SATB) Richard E WoodLittle Girl Skipping and Alouette et al (SATBCb)
Timothy R Walsh
Los Pastores (SAAAT + perc) Virginia N Ebinger arrNew Rounds on Old Rhymes (4 var) Erich KatzOther Quips (ATBB) Stephan ChandlerPoinciana Rag (SATB) Laurie G AlbertsSanta Barbara Suite (SSAAT) Erich KatzSentimental Songs (SATB) David Goldstein arrSerie for Two Alto Recorders (AA) Frederic Palmer Slow Dance with Doubles (2 x SATB) Colin SterneSonata da Chiesa (SATB) Ann McKinleyS-O-S (SATB) Anthony St PierreThree Bantam Ballads (TB) Ann McKinleyThree Cleveland Scenes (SAT) Carolyn PeskinThree in Five (AAB) Karl A StetsonTracings in the Snow in Central Park (SAT)
Robert W ButtsTrios for Recorders (var) George T BachmannTriptych (AATB) Peter A RamseyTwo Bach Trios (SAB) William Long arrTwo Brahms Lieder (SATB) Thomas E Van Dahm arrVariations on ldquoDrmešrdquo (SATB) Martha BishopVintage Burgundy (SASATT)
Jennifer W Lehmann arr
Adding Percussion to Medieval and Renaissance Music Peggy Monroe
American Recorder Music Constance PrimusBurgundian Court amp Its Music Judith Whaley coord
Improve Your Consort Skills Susan CarduelisMusic for Mixed Ensembles Jennifer W LehmannPlaying Music for the Dance Louise AustinRecorder Care Scott Paterson
acutely aware of any kind of neckstrain when it begins to develop these ideas have been a big help to meIrsquom hoping they may be of help toother musicians as well
Best wishes to you And inanswer to your questionmdashyes the new[AR] format (with more white spacebetween the lines) is much easier toread (in my opinion)Your magazinejust keeps getting better and better
Very sincerely Ed Green WestSuburban (Chicago-area) Chapter
RESPONSE FROM DR BILL LONG
What Ed describes is a variant of theuse of conventional bifocals as musicglasses described on page 8 in thearticle Instead of lowering his musicstand into the field of view of hisbifocal segment Ed and his optome-trist have fabricated special purposebifocals with the segment really highso he can focus on his music instraight-ahead view That approachrestricts his distance vision to an areaabove his usual line of sight whichseems to work for Eds playing setup
Eds comments on the difficultiesin using conventional progressiveaddition lenses as music lenses con-firm what I said on page 9 Thats whymanufacturers have marketed special-ty progressive lenses designed specif-ically for intermediate distance taskslike computer use and playing music
There are lots of solutions to thepresbyopic musicians problem but all involve compromises The key toevaluating those compromises andchoosing the best solution for yourselfis to understand your needs and toenlist the help of a sympathetic visioncare specialistmdashjust as Ed did
Please change your
browserrsquos favorites list
AR online is now at wwwameri
canrecorderorgmembership
magazinehtm Send news to
editoramericanrecorderorg
FOUR FOUR-PART CANZONAS
(1608) BY GIOVANNI GABRIELI
ED GREG LEWIN Hawthorns Music RB 16 (Magnamusic) 1999 SATBSc 16 pp pts 4 pp $1950
Giovanni Gabrieli was probablyborn between 1554 and 1557 in theparish of San Geremia in Venice Thedetails of his early life are sketchy butit appears that he was born Giovannidi Fais and later changed his name toGabrieli out of respect to his uncleAndrea with whom he shared a closerelationship In fact in 1587 Gabrielidescribed himself ldquoas little less than asonrdquo It is commonly thought thatAndrea provided Giovanni with hisearly musical training Andrea whohad spent some time in Munichstudying under the great Orlando deLassus sent Giovanni to Munich for a similar period of study in theearly 1570s
Gabrieli remained in Munichuntil the death in 1579 of the dukeAlbrecht V who had been Lassusrsquosemployer for a number of years andwho was an enthusiastic patron of the arts particularly music With hisdeath a number of musicians lost theirjobs it seems as if Gabrieli were also a victim of such culling of talent(Within a generation the tide wouldturn and the Munich court wouldagain hire Venetian expatriates such as Priuli Valentini and Neri)
Upon his return to VeniceGabrieli was hired as a temporaryorganist at San Marco his positionbecoming permanent in 1585 For a few months that year uncle andnephew served together as first and
second organists in the chapel of thedoge In Giovannirsquos absence fromVenice there had been a plague thathad decimated the ranks of theprofessional musicians Andrea setabout rebuilding his forces at SanMarco by hiring a full-time windband consisting of Girolamo dallaCasa a renowned cornettist andviolist his two brothers who playedsackbut and later the cornett virtuosoGiovanni Bassano Giovanni Gabrieliaugmented these forces with addi-tional players and began composingthe large-scale ceremonial music forwhich he is so well known today
Giovanni was also elected to bethe organist and composer to theconfraternity of San Rocco in 1585and it is now thought that his largestpieces were intended for that venuewith its large central gallery andfrescos by Tintoretto instead of SanMarco Gabrieli held both thosepositions at the basilica of San Marcoand the Scuola Grande di San Roccountil he died in 1612 of a kidney stone
Although best known today forhis ceremonial and festival musicGabrieli was at home in smaller-scaleformats as well These four four-partcanzoni are taken from the 1608publication by the Venetian publisherAlessandro Raverji Canzoni per sonarecon ogni sorte di strumenti These werevery popular pieces to judge by themany collections in which they appear
Additionally like Gabrielirsquoskeyboard music they are found inother arrangements These four-partcanzoni lie well under the fingers inarrangements for keyboard and lute
As seen from the title Gabrielispecified no instrumentation but like asimilar edition of madrigals and battlepieces from a few years earlier a dis-tinction was made that they wereintended for wind instruments almostcertainly cornetts and sackbuts
Recorders were not unknown in Venice they were used regularly inthe confraternity of San GiovanniEvangelista where Giovanni BattistaRiccio was organist
These pieces are relativelysimplemdashplayable by beginning tointermediate ensembles They aremostly contrapuntal (with a fewhomophonic sections) and have few rhythmic eccentricities
These canzoni are found in manymodern brass editions but there arefew editions available to the recorderplayer This edition by Greg Lewin ofHawthorns Music might be consid-ered a ldquobare-bonesrdquo edition There islittle background information andeditorial practices are not specified
The music itself has a handwrittenlook that can be distracting but is easyenough to read Lewin has thought-fully supplied phrasing marks that willbe helpful for ensembles unused tothis style of music
Music
Reviews___________________________________ Infectious music created in spite of the plague
wwwAmericanRecorderorg March 2009 41
This is a good edition
for small ensembles that
canrsquot get eight players
together to play
Gabrielirsquos more famous
eight-part canzoni
42 March 2009 American Recorder
The parts are four pages but mycopy had all four pages printed on avery large page This is not a problemand there are no page turns
This is a good edition for smallensembles that canrsquot get eight playerstogether to play Gabrielirsquos morefamous eight-part canzoni Thesesmall-scale pieces are by no meansinferior to Gabrielirsquos more elaboratemusic and deserve to be better known
7 CANZONEN (1637) BY
TARQUINIO MERULA ED JOACHIM
ARNDT WITH CONTINUO REALIZATION
BY CLAUDIA SCHWEITZER MieroprintMusikverlag EM2088 (availabledirectly from wwwmieroprintcom)2005 SS or TT bc Sc 24 pp pts 8 pp$28
Tarquinio Merula was bornaround 1595 in either Busseto orCremona in Italy As was the case withso many composers of the day either alack of regular employment or a rest-less nature took him from his home inCremona to as far away as Warsaw He is found as the organist of thechurch and the chambers to the kingof Poland Sigismund III in 1624
Merula was one of the leadingexponents of the relatively new con-certante style pioneered by ClaudioMonteverdi and others in the seconddecade of the 17th century and may be described as one of the earliestBaroque composers His compositionsin the concertante style are fresh andunforcedmdashhe was born into this styleand didnrsquot encounter it as somethingnew as was the case with so many ofMonteverdirsquos contemporaries
After several years of peripateticexistence Merula found regularemployment in 1631 in Bergamo atthe church of San Maria MaggioreThe prior holder of the post of maestrodi cappella Alessandro Grandi haddied the previous year in the plagueMerula had signed a three-year
contract but by December 1632 hewas terminated with accusations thathe had molested several studentsMerula threatened a lawsuit to recoverhis lost wages but that threat wascountered with a pending criminalcharge lodged by the board ofgovernors of San Maria Maggiore By mid-1633 the matter was settledwith an apology from Merula and astatement that he relinquished allclaims to his salary
He then returned voluntarily toCremona where he stayed until 1635By 1638 Merula was once again inBergamomdashthis time as maestro dicappella and organist in the cathedralnext to San Maria Maggiore Asmight be expected there was con-siderable tension between the twochurches eventually resulting in theboard of San Maria Maggioreforbidding their musicians to perform under Merularsquos direction
He returned in 1646 to a familiarCremona post which he had heldthree times in various years and wherehe now settled downmdashthat of organistand maestro di cappella for Laudi dellaMadonna services in which he ledmusic at the main altar on Saturdaysand on vigils of Marian feasts
None of his employment issues
prevented the Pope from awardinghim the Order of the Golden SpurMerula was also elected to theAccademia dei Filomusi in BolognaHe died in 1665 in Cremona
His existing compositions showthe products of a lively mind Hisworks range from sacred songs andmotets to purely instrumental piecesnotably the ever-popular variations onvarious ground basses It is knownthat Merula was an accomplishedviolinist as well as a fine organist Hissurviving instrumental writing showsa predilection for strings In fact hewas one of the earliest composers tospecify string accompaniments tosacred motets
Merularsquos pieces look backwardtoward some of the more progressiveVenetian composers such as Monte-verdi while looking forward to thehigh Baroque with his innovative style
These seven canzoni like theearlier-published chaconne (EM2084)come from Merularsquos third bookpublished in 1637 CANZONI overo SONATE CONCERTATE perchiesa e camera a due et a tre delcavaliere This collection typifiesMerularsquos output pieces based onRenaissance-era ground basses arefound next to more ldquomodernrdquo sonatas
The original edition specifiesviolins and basso continuo This newedition is intended for recorders thespecific choice of which is up to theplayers Due to the relatively hightessitura tenor recorders work best inthese pieces (although listed as analternative soprano recorders tend to be on the screechy side)
Not surprisingly given Merularsquosskill as an organist the continuo partneeds a keyboard instrument forsuccessful realization Instead of beinga purely accompanying part the bassocontinuo part is an equal partner in these pieces the canzona ldquoLaRuggierardquo opens with a run that therecorders echo a few measures later
A more recorder-specific
edition intended for
altos would have been
ideal There is nothing
preventing the more
adventurous and
industrious players
from making their
own editions of this
delightful music
mentioned were a bit shrill A morerecorder-specific edition intended foraltos would have been ideal There isnothing preventing the moreadventurous and industrious playersfrom making their own editions of thisdelightful music
Prior to playing the previouslypublished chaconne I had notencountered MieroprintMusikverlag Mieroprintrsquos extensivecatalog has an equal focus on newmusic for recorders and on editions ofBaroque masters with emphasis on therecorder and flute Due to the lack of
wwwAmericanRecorderorg March 2009 43
are also available at
The Early Music Shop
of New England
Brookline MA
AESTHEacute
367-b de la Briquade
Blainville Queacutebec
Canada J7C 2C7
tel (450) 979-6091
wwwboudreau-flutesca
A bass viola da gamba or rsquocello is not necessary for these pieces and may infact make them sound heavy and ponderous rather than light and breezy as thismusic seems to be
More so than the above-mentioned chaconne these canzoni are written in avery idiomatic violin style with multiple examples of arpeggios In particular thecanzona ldquoLa Trecchardquo contains a notated example of a string tremolo figurerecurring through the piece ldquoLa Trecchardquo also dips well below the range of a Crecorder going down to low G the lowest string on the violin The editors havesupplied no alternative notes preferring to let the performers to fend forthemselves (in practice we took this passage up an octave with no problems)
The two recorder parts require virtuosity These upper parts are demandingwith the players needing to double-tongue in unison in order to negotiate themany runs of 16th notes and the shared rhythmic ldquolicksrdquo The harmoniclanguage unlike much of Merularsquos music is undemanding and contains none of the harmonic crunches for which he is famous
This is wonderful music that needs a couple of advanced recorder players fora successful performance The string idiosyncrasies can be overcome by advancedplayers and many of the editions of the era (although not this one) list thecornetto as an alternative to the violin so the use of wind instruments in the solo literature of the early Baroque was not unknown
Our experience with this edition left us with the opinion that these pieceswould have been better if transposed down a minor third so as to fit on a pair ofalto recorders (as is the case with much Baroque flute music to make it lie betteron the recorder) The tenors we used tended to sound a bit murky in the lowerregister next to the more aggressive harpsichord while the sopranos we tried as
KEY rec=recorder Srsquoo=sopraninoS=soprano A=alto T=tenor B=bassgB=great bass cB= contra bass Tr=treble qrt=quartet pf=piano fwd=foreword opt=optional perc=percussionpp=pages sc=score pt(s)=part(s)kbd=keyboard bc=basso continuohc=harpsichord PampH=postage andhandling Multiple reviews by one reviewerare followed by that reviewerrsquos name Pleasesubmit music for review to AR 7770 SHigh St Centennial CO 80122-3122 US
an American distributor this musicwill be hard to findmdashin fact can befound only at the time of this writingon their web site noted above But theeffort will be repaid
This edition is clear and easy toread and the parts require no pageturns The basso continuo realizationis simple and elegant
This is music deserving ofrediscovery My only quibble is thatthe editorial notes are all in GermanThis seems to be the practice ofGerman music publishers with thenotable exception of Moeck Otherpublishers of early music such asLondon Pro Musica routinelyprovide notes in English and German and often in French and Italian making their editionsaccessible to a wider audience
Frank Cone studied the recorderwith the late Ellen Perrin the viola dagamba with Carol Herman and thecornetto with Larry Johansen TheCalifornia multi-instrumentalist has been a member of the Orange CountyRecorder Society since 1985
Advertiser Index
AMERICAN ORFF-SCHULWERK ASSN 3
AMERICAN RECORDER SOCIETY 31 35 36
AMHERST EARLY MUSIC FESTIVAL 17
STEPHAN BLEZINGER 24
JEAN-LUC BOUDREAU 21 39
BOSTON EARLY MUSIC FESTIVAL 7
CANTO ANTIGUO EARLY MUSIC WORKSHOP 13
COURTLY MUSIC UNLIMITED 20
EARLY MUSIC AMERICA 8
HONEYSUCKLE MUSIC 34
BILL LAZARrsquoS EARLY MUSIC 26
KEITH E LORAINE EARLY DOUBLE REED SERVICE 35
LOST IN TIME PRESS 11
MADISON EARLY MUSIC FESTIVAL 12
MAGNAMUSIC DISTRIBUTORS BC
MOECK VERLAG IFC
MOLLENHAUER RECORDERS IBC
PORT TOWNSEND WORKSHOP 14
PRESCOTT WORKSHOP 30
PROVINCETOWN BOOKSHOP 26
THE RECORDER MAGAZINE 4
THE RECORDER SHOP 6
SAN FRANCISCO EARLY MUSIC SOCIETY 18
SWEETHEART FLUTE CO 3
TEXAS TOOT 20
VON HUENE WORKSHOP INC 30
WICHITA BAND INSTRUMENT CO 21
DOMINIK ZUCHOWICZ 34
CONSIDER ADVERTISING IN
Full page $55223 page $43912 page $36613 page $28614 page $22316 page $17518 page $127112 page $ 951 column inch $ 58
Prices include web sitee-mail link directly from your ad in the online AR at wwwamericanrecorderorg
Circulation Includes the membership of theARS libraries and music organizations
Published five times per year January March May September November
Reservation Deadlines December 1 (January) February 1 (March) April 1 (May) August 1 (September) October 1 (November)
Rates good through November 2009 Pleaseinquire about discounts on multiple-issuecontracts inserts or other special requestsExtra charges for typesetting layout half-tones and size alterations 133-line screenrecommended Advertising subject toacceptance by magazine First-time adver-tisers must include payment with order
For more information contact the ARS office 1129 Ruth Drive St Louis MO63122-1019 800-491-9588 toll free 314-966-4082 phone 314-966-4649 faxadvertisingamericanrecorderorg
44 March 2009 American Recorder
Classified___________________________________
FOR SALE Cherrywood hurdy gurdy and hard-side case made by Kelischek bought 2005Originally $765 plus $89 for case Rarely usedBoth for $450 or make offer Please contact marjalocomcastnet Can ship
ASPIRE ANNOUNCE INSPIRE Afford-able PR for teachers and recitalists wwwrecitalroomcom
PHOTOS NEEDED of ARS events 1970sndash1990sto illustrate last chapters of Martha Bixlerrsquos histor-ical memoir about the ARS (to be posted online)E-mail scanned photos (300dpi JPG or TIF)arsrecorderamericanrecorderorg Hardcopies mail to ARS office to be scanned ampreturned Info 800-491-9588
T-SHIRT FOR ENSEMBLE PLAYERS to wear orshare Top 10 Reasons Why I Got Lost Wrongfingering bad lighting etc on blue cotton shirt$18 Highlighter tape and other goodies Beth amp Lindas Boutique as seen at BEMF CallLinda at 617-671-8694 or e-mail for brochurelindakushverizonnet
Where the havesand have-nots
of the recorder world can find each other
Classified rate for American Recorder 60centper word ten-word minimum ldquoFOR SALErdquoand ldquoWANTEDrdquo may be included in thecopy without counting Zip code is oneword phone e-mail or web page is twoPayment must accompany copy Deadlinesare one month before issue date Send copywith payment to ARS 1129 Ruth Drive St Louis MO 63122-1019
AMERICAN RECORDER (ISSN 0003-0724) 1129 Ruth Dr St Louis MO 63122-1019 is publishedbimonthly (January March May September and November) for its members by the AmericanRecorder Society Inc $20 of the annual $45 US membership dues in the ARS is for a subscriptionto American Recorder Articles reviews and letters to the editor reflect the viewpoint of their individ-ual authors Their appearance in this magazine does not imply official endorsement by the ARS
EDITORIAL DEADLINES November 15 (January) January 15 (March) March 15 (May) July 15(September) and September 15 (November) Submission of articles and photographs is welcomedArticles may be typed or sent as an attachment (Word or RTF preferred) to or text in an e-mail mes-sage They should be for the exclusive consideration of AR unless otherwise noted Photos may besent as prints or unedited JPG or 300dpi TIF files (minimum 3rdquox4rdquo) Advertisements may be sent inPDF or EPS format with fonts embedded
EDITORIAL OFFICE Gail Nickless Editor 7770 S High St Centennial CO 80122-3122 303-794-0114 (phone amp fax) editoramericanrecorderorg Books for review Editorial office Musicfor review Editorial office Recordings for review Tom Bickley 1811 Stuart St Berkeley CA 94703Cutting Edge Tim Broege 212 Second Ave Bradley Beach NJ 07720-1159 Chapter newslettersother reports Editorial office Postmaster Send address changes to ARS 1129 Ruth Drive St LouisMO 63122-1019 Periodicals postage paid at St Louis MO and at an additional mailing office
Chapter leaders
We know yoursquore out there
and that you want to share
your plans concerns
solutions and ideas with
other chapter leaders Visit
httpamericanrecorder
societywikispacescom
Question How does Renaissancefingering differ from standard
fingering on the recorder Is one superior tothe other Do you need a special recorder touse Renaissance fingering and if so can itbe played with regular recorders Is there afingering chart that shows RenaissancefingeringmdashWilliam BaumannWaterford WI
Answer from Carolyn Peskin Music composed in the
Renaissance the historical periodextending from about 1450 to 1600was predominantly vocal and highlycontrapuntal Recorders which oftendoubled singers at the octave orrendered vocal pieces instrumentallywere designed to make the individualmelodic lines clearly audible
Most 16th-century consortrecorders were one-piece instrumentswith large toneholes and a wide borethat contracted slightly starting nearthe upper fingerholes and thenexpanded gently near the lowest holesThat ldquochoke-borerdquo design togetherwith the voicing and tonehole con-figuration favored the fundamentaltone (first harmonic) producing astrong open sound that was aboutequally loud throughout theinstrumentrsquos range
Such recorders had a useful rangeof only about an octave plus a sixthwhich was nevertheless sufficient for the music of their day MostRenaissance-style consort recordersmade today are based loosely uponsurviving 16th-century instruments ofthe above type and are designed toapproximate the range timbre andvolume of those early instruments
Our present-day ldquoregularrdquorecorders are Baroque-derived instru-ments based loosely upon survivingrecorders from the late 17th and early18th centuries They are three-pieceinstruments with small toneholes and abore that is narrower and moretapering than a Renaissance boreextending their useful range upward totwo octaves plus a whole tone
Baroque recorders are soft andsweet-sounding in their bottom octavebut louder and brighter in the secondoctave Their lowest notes are espe-cially weak because they must be blowngently to prevent overblowing into thesecond octave Such instruments aresuitable for Baroque solo and chamberrepertoire but not very satisfying forRenaissance polyphony
Due to their different timbre andvolume Renaissance recorders will not blend well with Baroque onesFurthermore the most historicallyauthentic Renaissance-style recordersare tuned in a ldquomeantonerdquotemperament that facilitates the playingof pure major thirds Such instrumentsmake Renaissance music easier to playin tune but will produce intonationproblems if played with Baroquerecorders which are tuned in equaltemperament For the above reasonsRenaissance and Baroque recordersshould not be played together
Renaissance fingering will not work on todayrsquos neo-Baroquerecordersmdashmost of which haveldquomodernrdquo Baroque fingeringcommonly called ldquoEnglishrdquo fingering
because it was developed fromhistorical Baroque fingering by ArnoldDolmetsch in England during theearly 20th century Renaissancefingering is less standardized partlybecause a number of different originalinstruments are used as models andpartly because makers wish to improvethe intonation tone quality andorplayability of certain notes Howeverthe following generalizations apply tomany of todayrsquos Renaissance-styleconsort recorders
First in the lower octave modernBaroque fingering works for mostnotes but is often too flat for the fourth scale degree (eg soprano F)requiring removal of finger 7 (right-hand pinky) and is too sharp for theraised fourth degree (eg soprano F)requiring addition of finger 7
Modern fingering is also usuallytoo sharp for the lowered seventhdegree (eg soprano B) The correctfingering for that note varies from oneinstrument to another
In the upper octave modernfingering works for the first third andfifth scale degrees (eg soprano C Eand G) but usually not for other notesSome notes require half-holing with aright-hand finger and notes above thefifth scale degree may require additionof several fingers to bring them in tuneHistorical Renaissance fingering forthe second scale degree (eg sopranoD) is especially awkward because all ofthe fingerholes and the thumbholemust be uncovered Therefore somemakers substitute modern fingering forthat note
Although Renaissance fingeringand meantone tuning are recom-mended for the best blend some
Q amp A___________________________________ Renaissance recorder fingering
Send questions to Carolyn Peskin QampA Editor 3559 Strathavon Road Shaker Heights OH44120 carolynpeskinstratosnet
32 March 2009 American Recorder
wwwAmericanRecorderorg March 2009 33
makers of handcrafted Renaissance recorders will provide modern fingeringandor equal temperament upon request and Moeck Verlag offers a choice ofRenaissance or modern fingering for most sizes of its factory-producedRenaissance Consort series
For a most satisfying blend Renaissance ensembles should purchase amatched set of recorders tuned and voiced to be played together Renaissanceconsort sets usually include two different alto recorders one in G (lowest note g)and one in F (lowest note f ) The ATTB combination with the G-alto is best formost of the quartet music composed between 1450 and 1550 while the SATBcombination with the F-alto is more practical for much late 16th-centuryrepertoire (Playing the G-alto requires learning G-alto fingering or elsetransposing the alto line down a whole tone and using F-alto fingering)
In addition to consort recorders some makers offer ldquoGanassirdquo sopranos andaltos based upon fingering charts in Silvestro Ganassirsquos recorder tutor Fontegarapublished in 1535 and a single original instrument in the Vienna Kunst-historisches Museum Because of their special bore design (cylindrical with aflaring bell) Ganassi recorders have a range of two octaves and a sixth withcumbersome fingerings in the third octave They are used mainly as soloinstruments for playing intricate ornaments of the type found in Fontegara
Also sometimes included in the ldquoRenaissancerdquo category are ldquotransitionalrdquo(early Baroque) recorders which are based upon originals from the first half ofthe 17th century They have a bore that is wider than a Baroque bore but contractssharply near the lower end resulting in strong low notes and at least a full two-octave range usually with modern fingering Most transitional recorders aresopranos or altos designed for playing Jacob van Eyckrsquos variation sets or thehighly ornamented Italian solo repertoire of the late-16th and early-17thcenturies
However wide-bore consortrecorders with a range of at least twooctaves and modern fingering shouldalso be regarded as transitionalinstruments They differ somewhat intimbre and volume from typicalRenaissance consort recorders
Handmade wide-borerecordersmdashconsort Ganassi andtransitionalmdashare obtainable frommakers who advertise in AmericanRecorder the Prescott Workshop andthe Von Huene Workshop in the USJean-Luc Boudreau in Canada andStephan Blezinger in GermanyContact them andor visit their websites to find out what kinds ofrecorders they are currently makingand to get an idea of their prices andwait times
Factory-produced wide-borerecorders from Kobliczek Moeck andMollenhauer are available frominstrument dealers who advertise inAR New and used recordersincluding wide-bore models fromimportant makers in the US andabroad are also obtainable from Uni-corn Music For further informationvisit wwwbuyrecorderscom For a comprehensive database of recordermakers worldwide see Nicholas SLanderrsquos ldquoExtant Recorder Makers amp Retailersrdquo at wwwrecorder
homepagenetmakershtml
REFERENCES
CONSULTEDBauer Winfried
wwwrecorder-fingeringscomIncludes interactive fingeringcharts from modern makers andhistorical treatises Charts forRenaissance consort recorders byAdriana Breukink Adrian BrownBob Marvin and Tom Prescottwere consulted
Brown Adrianwwwadrianbrownorgrec
order_typesconsorthtml
Our present-day ldquoregularrdquo recorders are
Baroque-derived instruments based loosely
upon surviving recorders from the
late 17th and early 18th centuries
34 March 2009 American Recorder
The Von Huene Workshop Incis pleased to announce agreements with
CoolsmaZamra
to serve as their authorised service agents in the US
For more than 40 years the von Huene Workshop has produced some of the finest recorders in the world Our skilled staff can revoice retune and repair even the most seriously damaged instruments All repairs are done right on the premises and most can be completed within a week
For warranty repairs please include a copy of your original sales receipt
j 65 Boylston Street Brookline MA 02445 i(617) 277-8690 Fax (617) 277-7217 servicevonhuenecom
An informative article aboutrecorder sizes in Renaissanceconsorts
Brown Adrian and David LasockildquoRenaissance Recorders andTheir Makersrdquo AmericanRecorder Vol XLVII No 1(January 2006) pp 19-31 An important article based upon Brownrsquos extensive researchon 120 of the 200 surviving 16th-century recorders
Ganassi Silvestro Opera IntitulataFontegara Ed Hildemarie Peter(Berlin-Lichterfelde RobertLienau 1959) Modern edition ofthe oldest known treatise devotedentirely to the recorder (publishedin 1535) Includes 16th-centuryfingering charts
Griscom Richard and David LasockiThe Recorder A Research andInformation Guide (New York andLondon Routledge 2003) Anannotated bibliography including
references on construction anddesign of historical recorders
Levin Philip ldquoQampArdquo AmericanRecorder Vol XXXVIII No 4(September 1997) p 27Explains in simple terms thedifference between Renaissanceand Baroque recorders
Morgan Fred ldquoA Recorder for theMusic of JJ van EyckrdquoAmerican Recorder Vol XXV No 2 (May 1984) pp 47-49Describes the bore design of arecorder suitable for playing Van Eyckrsquos variation sets andcompares it with bore designs ofother types of recorders
Myers Herbert W ldquoRecorderrdquochapter in A Performerrsquos Guide toRenaissance Music ed JefferyKite-Powell (New York SchirmerBooks 1994) A 2nd edition isnow available published in 2007by Indiana University Press
FEATURING MUSICA PACIFICA
JUDITH LINSENBERG
RECORDERS____JS BACH TRIO SONATAS Arr by
Linsenberg from Trio Sonatas for Organ BWV525-
530 Sonata No 1 in E
major (transp to B
)
BWV 525 Sonata No 2 in C minor (transp to E)
BWV526 Sonata No 3 in D minor (transp to G)
BWV 527 Sonata No 4 in E minor BWV 528
Sonata No 5 in C major (transp to F) BWV529
Sonata No 6 in G major (transp to C) BWV 530
Virgin Classics Veritas 1993
____FIRE BENEATH MY FINGERS Showcases
three legendary composers who were also
virtuoso performers Vivaldi Concerto in F major
after RV 98570 ldquoLa Tempesta di Marerdquo Sonata in
A minor RV86 Concerto in G minor RV106 Con-
certo in Bb major RV503 Sammartini Concerto in
F major Tartini Concerto in A major D91 Dorian
____MANCINI CONCERTI DI CAMERA Seven
sonatas by Francesco Mancini plus one work each
from his contemporaries Francesco Durante amp
Domenico Scarlatti Highly recommended citation
from the 2000 Vivaldi Prize for Recordings of Italian
Early Music--Giorgio Cini Foundation Dorian
____MARAIS MARIN PIEgraveCES EN TRIO POUR
LES FLUcircTES VIOLON amp DESSUS DE VIOLE
Maraiss complete works for two treble lines and
bass with varied instrumentation and orchestrations
2-CD set $24
____SCARLATTI CONCERTI DI CAMERA
Seven sonatas for various instrumentations no
poor relations to the composers much more widely-
known vocal output All recorder players should
certainly have thisndashEarly Music Review
____TELEMANN CHAMBER CANTATAS
Five cantatas from Harmonischer Gottesdienst two
sonatas from Sonatas Corellisantes 2003 Chamber
Music America WQXR Record Award for best
chamber music recordings
____VIVALDI LA NOTTE Concerti per strumenti
diversi Award-winning CD featuring five Vivaldi
concerti two sonatas
AND OTHER RECORDING
ARTISTS FROM CALIFORNIA ____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 American Bach Soloists Jeffrey
Thomas conductor Dan Laurin Hanneke van
Proosdij recorders Christmas Concerto featuring
unique 1725 London version with solos transcription
for two recorders instead of two solo violins in
three of the six concertos Delos
____CANCcedilONIEgraveR Annette Bauer recorder
multi-instrumentalist Tim Rayborn Shira Kammen
strings Phoebe Jevtovic voice in a new early
music group devoted to repertoire from the
12thndash15th centuries as well as traditional music
from related regions (the Balkans Scandinavia
Middle East) Medieval instrumental music played
on a variety of instruments including strings
recorders and percussion Medieval dances and
motets bring to life the rich world of ancient
European music-making
____SACRED AND SECULAR MUSIC FROM
RENAISSANCE GERMANY Ciaramella-Adam amp
Rotem Gilbert Doug Millikan Debra Nagy
recorders with other winds shawm sackbut amp
organ Medieval amp Renaissance sacred music with
reconstructions of folksongs amp arrangements based
on contemporary improvisation
____BURIED TREASURE TOPAZ amp SAPPHIRE
Ensemble Vermillian Frances Blaker recorders
Barbara Blaker Krumdieck cello Elisabeth Reed
gamba Katherine Heater harpsichord amp organ
Transcriptions of Buxtehudes Op 1 other pieces by
Buxtehude works by Biber Johann Schop
Schmelzer Fafarela 2007
____STOLEN JEWELS Ensemble Vermillian
Frances Blaker recorders Barbara Blaker
Krumdieck Elisabeth Reed Katherine Heater 17th-
century German music adapted by Blaker I love
violin music so I steal the music and rearrange it
for my own instrumentrdquo Buxtehude Op 1 Biber
Rosenmuller Krieger JM Bach Fafarela
Recordings
____SENFL (LUDWIG) Farallon Recorder Quartet
(Letitia Berlin Frances Blaker Louise Carslake
Hanneke van Proosdij) 23 lieder motets and
instrumental works of the German Renaissance
____DOLCE MUSICAndash A CONTEMPLATIVE
JOURNEY Eileen Hadidianflutes recorders
Natalie Cox harps Celtic Renaissance and
Medieval melodies for recorder and flute with
Celtic harp Healing Muses 2005
____REFLECTIONS MUSIC TO SOOTHE AND
UPLIFT THE SPIRIT Eileen Hadidian recorder amp
Baroque flute with Celtic harp and cello Celtic
traditional Renaissance amp Medieval melodies
Healing Muses
____AN EVENING WITH BACH Voices of Music
Hanneke van Proosdij Louis Carslake Dan Laurin
recorders Joanna Blendulf Elizabeth Blumenstock
Rodney Gehrke Lisa Grodin Katherine Kyme
Jennifer Lane Victoria Gunn Pich Susanne Ryden
William Skeen David Tayler Renaissance and
Baroque music centers on fine singing Instantly
recognizable Air on a G String Bachrsquos Prelude in
G Major (solo theorbo for rsquocello) plus lilting vocal
performancesmdashRydenrsquos weightless soprano on
Bist du bei mir Lanersquos rich alto on Es is vollbracht
____BACH amp TELEMANN SONATAS PRELUDES
amp FANTASIAS Voices of Music (Hanneke van
Proosdij Joanna Blendulf Rodney Gehrke William
Skeen David Tayler) Beautiful chamber music by
Bach and Telemann
IN STOCK (Partial listing)____ALLA TURCA FUX CALDARA BADIA
Matthias Maute amp Sophie Lariviegravere recorders
Monika Mauch soprano Vocal music of the church
accompanied by Ensemble Caprice plus sonatas
and other instrumental pieces Analekta
____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 John Daniels Sonja Lindblad
recorders Peter Sykes harpsichord Trio sonata
arrangement by Johann Christian Schickhardt
____LES
AMIS DU
BAROQUE
Paul Nauta recorder amp
Baroque flute Koen Dieltiens recorder Music by
Bassani Corelli Vivaldi etc Highlight Intl
____LES SEPT SAUTS BAROQUE CHAMBER
MUSIC AT THE STUTTGART COURT Matthias
Maute amp Sophie Lariviegravere recorders amp traverso
Ensemble Caprice Charming repertoire by
Schwartzkopff Bodino Detri Atma Classique
____TASTE OF PORTIQUE LEnsemble Portique
Early and contemporary chamber musicmdash
Bach Telemann Boismortier and others
____TELEMANN ALLA POLACCA REBELndash
Matthias Maute recorders amp traversondash
plays concerti and suites by GP Telemann Dorian
____TELEMANN CANONS AND DUOS Lisette
Kielson amp Patrick OMalley recorders LEnsemble
Portique Telemann Canons meacutelodieux amp Sonates
sans basse 2-CD set LEP Records
____20TH CENTURY MUSIC FOR RECORDER amp
PIANO Anita Randolfi recorders Music by Jacob
Bartok Leigh others for recorder amp piano
____VIVALDI AND THE BAROQUE GYPSIES
Matthias Maute amp Sophie Lariviegravere recorders
Ensemble Caprice Gypsy music taken from
Uhrovska zbierka (now Slovakia) plus Vivaldi
____VIVALDI SHADES OF RED CONCERTOS amp
SONATAS FOR RECORDER amp STRINGS Matthias
Maute recorders REBEL Stylish high octane
readings of some of Vivaldis most beloved pieces
including the popular and raucous Concerto alla
Rustica stunningly colorful Sonata on La Follia and
four exuberant recorder concerti Bridge
____WINDFIRE Charmaine Delmatier recorder
Steve Kostelnik classical guitar Terry Hale bass
Erik Hokkanen violin Refreshing mixture of Andrew
Lloyd Weber American blues flamenco Celtic and
one original piece ltwwwyermomusicomgt
Please indicate above the CDs you wish toorder and print clearly the following
Name ____________________________________
Daytime phone (_____)______________________
Address__________________________________
CityStateZip _____________________________
Check enclosed for
_____ single CDs x $____ = $______
_____ 2-CD sets x $____ = $______
TOTAL $______
Please charge the above amount to my
MasterCard Visa or AmEx
_______________________________________
Exp Date ____________
Cardholderrsquos signature ______________________
Mail to
ARS 1129 Ruth Dr St Louis MO 63122-1019 US
You may fax a credit card order to 314-966-4649
NEW You may order CDs online using PayPal at
wwwamericanrecorderorgordercdromshtm
Order your recorder discs
through the ARS CD Club
The ARS CD Club makes hard-to-find or limited release CDs by ARS members
available to ARS members at the special price listed (non-members slightly higher)
All CDs are $15 ARS members$17 Others unless marked otherwise Two-CD sets are
$24 ARS members$28 Others Add Shipping and Handling $2 for one CD $1 for each
additional CD An updated listing of all available CDs may be found at the ARS
web site ltwwwamericanrecorderorggt
The first meeting of the newly-formedFort Myers Recorder and Early
Music Ensemble was January 26 atthe Florida home of chapter rep Sue
Groskreutz For this year the groupis somewhat loosely organized andplans to meet for extended sight-reading Repertoire at the first meetingcomprised everything from Renais-sance duets to chamber music involv-ing three treble parts and continuo
Among the five musiciansattending the first meeting (photobelow front row Elizabeth Spang SueGroskreutz back row Suzanne FergusonSibylle Baumgartner Arlene Sowka) allplayed recorder three harpsichord
and one each played traverso violinand gamba Due to the scarcity ofrecorder players south of the Sarasotaarea modern string players are alsoincorporated into this ensemble
The group decided not to chargedues and to meet at Groskreutzrsquoshome For more information pleasecontact Groskreutz at 239-267-1752spgembarqmailcom Snowbirdsdrifting through the area are welcome
Last fall at the requestof a student Kay Hettich
(inset below right) taught abeginning recorder class atthe Redding (CA) Senior
Center The five-weekclass was so successful thatmost participants haveformed a bi-weekly noviceensemble (right) coachedby Hettichmdashwho consid-ers them her ldquohatchedeggsrdquo
A new batch of ldquoeggsrdquostarted to incubate when afive-week class began on February 20Other senior center members havebecome interested as they heard oftheir colleaguesrsquo success These noviceplayers comprise some who previouslyread music and played instruments as well as people who are totally new to music notation
One student has also formulated amaxim ldquoEveryone at age 40 ought tolearn to play the recorder if heshehasnrsquot alreadyrdquo Just think how theworld would be transformed byshifting our focus to music
After Lynn Whidden attendedthe Montreacuteal Recorder Festival lastfall when the ARS Board met inQuebec she joined the ARS and nowrelays news of the lively interest in therecorder exhibited by a group underthe new leadership of Brent Legg ofBrandon University in ManitobaCanada Although his hands wereldquostill partly frozenrdquo he wrote that theBrandon University Collegium
Musicum in collaboration with theWaverley Park Recorder Club is
preparing a spring concert calledldquoEnglandrsquos Golden AgerdquoRepertoire spans the 16th century
from Henry VIIIrsquos accession in 1509to the death in 1603 of Elizabeth Iand includes solo songs four- andfive-part settings of Renaissancedances (with dancers) three- to five-voice madrigals and ldquobig-bandrdquoarrangements of William Byrdrsquos TheBells and The Dargason as re-imaginedby Gustav Holst (further re-imaginedfor recorders and percussion)
Of the 15 collegium membersseven are encountering the recorderfor the first time since elementaryschool The Collegium Musicumpromotes the study of early music at the university and is open to theuniversity community and the generalpublic This year there are five com-munity participants with interest fromseveral more both within and outsideof the university For informationcontact BrentLegggmailcom
January 16 marked the thirdannual recorder workshop of threeFlorida groups the Pasco Collegium
Recorder Consort of Hudson theImperial Recorder Consort of
36 March 2009 American Recorder
Chapters
amp Consorts___________________________________Workshops and activities from
coast to coast in the US and Canada
Lakeland and the Pilgrim Pipers Recorder Consort of St Petersburg Theygathered for a morning tackling selections by Banchieri Monteverdi PurcellCorelli Mendelssohn Bach Mozart and Glen Shannon Each group presenteda piece for the other participants Sweet Georgia Brown by Ben Bernie (St Pete)a Sonata by Sammartini (Lakeland) and The Gospel Train arr by KW Ford(Pasco) The 29 participants were led by Marlene Cracraft (Pasco) Jane
Spencer (Lakeland) and Elizabeth Snedeker (St Pete) Tom Bickley (photo below) directed the fall workshop of the Mid-Peninsula
Recorder Orchestra in Cupertino CA The 30 players started with Gregorianchants written in ldquooldrdquo notation Bickley gave basic instruction on how tointerpret the notes and then had the group sing the chants prior to playing them
The workshop theme of ldquoThe Articulate Recorderrdquo was literally played out as the music presented used variations in tonguing phrasing and breathingOther repertoire included a Kyrie by Tomas Luis de Victoria Bachrsquos Jesu Joy ofManrsquos Desiring a double-choir piece by Gabrieli Christopher Tyersquos In NomineXIII and a Purcell chaconne The workshop ended with a rhythmically-challenging minimalist piece by Bickley entitled Beginning composed for theWaldorf School teacher training program George Greenwood reports that thegroup had a productive event and plans to ask Bickley to lead a future workshop
wwwAmericanRecorderorg March 2009 37
A Muse in the DesertThe sound of a pin dropping hellip thesound of eager minds and fingersabsorbing information and inspira-tion hellip the sounds of ldquoNuevaEspantildeardquo Spanish- and indigenous-influenced music of the 1600s in theNew World These were the soundsof the Desert Pipes (Phoenix AZ)chapterrsquos fall workshop given byEileen Hadidian On a Saturdaylast October 30 players from all overArizona gathered to learn from andbe inspired by the founder of a SanFrancisco Bay Area group dedicatedto sharing music for healing inhealthcare settings Healing Muses(wwwhealingmusesorg)
The day began with relaxationstretching and breathing exercisesfollowed by travels to Peruacute MexicoGuatemala and Colombiamdashhighchurch music vernacular pieces anda mixture of the two Participantsenjoyed the historical and contextualbackground provided as an overviewfor the day and for each piece
Remarkably the sound heardbetween pieces and passages was anenergy-filled quiet the attentivestillness of active engagement in theworkshop experiencemdashnot the chat-tering noodling and conversationsthat often occur when the musicstops That activity was reserved forthe breaks when participants couldenjoy the cool (at last) outdoorschat with Hadidian and peruse the popular garage sale (to benefitDesert Pipes) of previously-enjoyedbooks and other treasures
On Sunday Hadidian sharedher expertise and inspiration in indi-vidual and group coaching sessionsThe weekend was a special experi-ence and Desert Pipes memberslook forward to the next visit of this Healing Muse
Ann Koenig Scottsdale AZannisalesprocom
Members
of three
Florida
groups
met
in January
for a joint
workshop
CHAPTER NEWS
Chapter newsletter editors and publicity officers should send materials for publication toAmerican Recorder 7770 South High St Centennial CO 80122-3122
editoramericanrecorderorg Also send short articles about specific activities that haveincreased chapter membership or recognition or just the enjoyment your members get out of
being part of your chapter Digital photos should be at least 3rdquox4rdquox300dpi TIF or unedited JPG files Please send news to the AR address above and to the following
ARS Office 1129 Ruth Drive St Louis MO 63122-1019 ARSrecorderAmericanRecorderorg
and to Bonnie Kelly Chair Chapters amp Consorts Committee 45 Shawsheen Rd 16 Bedford MA 01730 bksharpaolcom
TO THE STARS
AND BEYONDThe cover of the November magazinegenerated a few comments Some werenrsquotsure how to interpret the title (in theartistrsquos native German it could besomething close to ldquostarlit moonrdquo)Longtime member Carolyn Peskin wrote to offer her vision of that cover
In the beginning the Great Spiritinvented Mr Sun to light the day andMiss Moon to light the nightHowever as Miss Moon floated up inthe sky all by herself like a big yellowballoon she began to feel very lonelyso one night to relieve her lonelinessshe decided to take out her recorderand make music
But when she started to playsomething miraculous happened Not only beautiful melodies but alsoyellow dust poured out of the bottomof her recorder and the dust particlesimmediately coalesced to form yellowstars As she continued playing moreand more stars were created and theyfloated up around her filling the nightsky
At last Miss Moon was happy fornot only was she herself able to enjoyher music but she now had a wholecrowd of starry companions to enjoy itwith her And if you listen very care-fully on a quiet night you might beable to hear her recorder and thatstarry choir humming along
Carolyn Peskin
LOCATING EARPLUGSI read with interest the QampA in theNovember lsquo08 AR regarding hearingloss and use of earplugs Where do you get musicianrsquos earplugs
Dolly Hirata Kensington CA
CAROLYN PESKIN PROVIDED THIS
INFORMATION Musicianrsquos earplugs arecustom made for individual usersThey can be purchased only fromlicensed hearing professionals (ieaudiologists and hearing instrumentspecialists) To find a licensed hearingprofessional in your area look underldquoaudiologyrdquo or ldquohearingrdquo in your localyellow pages
For information about how musi-cianrsquos earplugs are produced visitwwwetymoticcomephperme-w
tbaspx That web page also has a linkto contact information for authorizedlabs that make the custom earmolds formusicianrsquos earplugs If the yellow pagesdo not prove helpful those labs canrefer you to a licensed hearing pro-fessional in your area from whom youcan purchase musicianrsquos earplugs
MORE FROM CAROLYN
THIS TIME ABOUT OSKARIn the September 2008 AR the musicreview by Leslie Timmons of the Oskarpieces by Matthias Maute mentionedthat Carolyn Peskin had translated twoof the Oskar books from German toEnglish People can obtain thetranslations free of charge as Wordattachments by contacting her atCarolyn Peskin 3559 StrathavonRoad Shaker Heights OH 44120carolynpeskinstratosnet
ANOTHER KIND OF
MUSIC-READING
GLASSESIn the January 2009 issue of AmericanRecorder therersquos something (in myopinion) the ldquoRecorder with GlassesObbligatordquo article omitted which canenable a nearsighted musician to avoidneck strain in the use of bifocals
Irsquove found the solution to thisvexing problem is to have onersquos bifocalsconstructed differently [from] normalMy optometrist was willing to work
38 March 2009 American Recorder
Response___________________________________Two kinds of vision
the better to see with and (not) to hear with
Honeysuckle Music
Recorders amp accessories
Music for recorders amp viols
Jean Allison Olson1604 Portland AveSt Paul MN 55104
6516448545jeanhoneysucklemusiccom
Responses from our readers are welcomedand may be sent to American Recorder 7770 South High St Centennial CO
80122 Letters may be edited for length and consistency
ARS Membership Enrollment and Renewal I am a new member I am or have been a member
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LIFETIME MEMBERSHIP Single Dual Regular Lifetime Member $1000 (2) $1500 (4) 4 installments of $250 available) Loyalty Lifetime Member (1) $ 800 (3) $1200 (4) 4 installments of $200 available
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$25 USCanadian One Year $125 One Year Business Membership $45 USCanadian Two Years $30 Foreign One Year $5 Additional Charge for Dual Address or Dual Name
Do not list my name in the ARS Print Directory Do not list my name on the ARS Online Directory Do not release my name for recorder related mailings Do not contact me via email
My address telephone and email address are the same as last time
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Renew by Mail Online By Phone or by Fax
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I am a Professional Recorder Performer
I wish to be included in the list of Recorder Teachers in the ARS Directory and website I Teach (circle your choices) Children High School Youth College Students Adults Beginner Intermediate Advanced Pre-Professional Individuals Childrenrsquos Classes Adult Classes Ensembles Suzuki Orff JRS Leader Kodaly Where I Teach (circle your choices) Music Studio Public or private school Community Music School College Other _____________________
American Recorder Society 1129 Ruth Dr St Louis MO 63122-1019
Phone 314-966-4082Fax 314-966-4649
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wwwAmericanRecorderorg
with me [to find] an ideal (for me)placement size and focal length of thebifocal lens
Before visiting the optometristIrsquod had my wife measure the distancefrom my eyes to the music on mymusic stand With this measurementthe optometrist set up her machine toprepare a vision prescription for memaximized for this reading distance
When I look at my bifocals (withthem off) the lenses (through which Iread my music) occupy most of thelower two-thirds of my glasses (they are set very high and beginimmediately at the inner rims) Thisleaves the upper third and smallportions of the outside [of each lens]for focusing on the conductor As longas my stand is set low enough my necknever experiences any strain (even if Ihave to read three to a part) and Irsquove no problem in seeing theconductor (in sharp focus) either
For me trying to use glasses [toread] from a music stand [that] weredesigned for use in reading from acomputer screen also results in neckstrain (not to mention unreliability in aldquopressurerdquo situation) Having studiedTai Chi extensively and so being
wwwAmericanRecorderorg March 2009 39
There are lots ofsolutions to thepresbyopic musicianrsquosproblem but all involve compromises
40 March 2009 American Recorder
American Recorder Society PublicationsErich Katz Contemporary Music Series Members Non-MembersA Short Tale for Two Basses Suzanne M Angevine (Level II) (2 scores) $5 $8Dialogue and Dance Cecil Effinger (SATB)(Level II-III) (score amp parts) $10 $18Dorian Mood Sally Price (SATB) (Level II) (score amp parts) $10 $18Double Quartet for Recorders Peter Ballinger (Level II-III) (score amp parts) $10 $18Entrevista Frederic Palmer (SATB) (Level II) (2 scores amp 4 recorder parts) $8 $14Kyrie and Vocalise for Soprano Voice ampRecorders Stanley W Osborn $8 $14
(SATB) (Level II) (2 scores amp 4 recorder parts) Picnic Music Jeffrey Quick (SATB) (Level II) (score amp parts) $5 $8Six Short Pieces for Three Recorders edited by Alan Drake $8 $14
(3 scores) Vaclav Nelhybel (AATT) (Level II)Sonatina for Alto Recorder and Piano Anthony Burgess $7 $12
(Level II) (2 scores)Sonatine for Three Altos Lee Gannon (Level III) (score amp parts) $14 $26Suite of Jewish Folk Tunes Erich Katz (S SA8 AT) (Level II) (three scores) $10 $18
Musical Editions from the Membersrsquo Library ARS members 1 copy-$3 2 copies-$450 3-$6 4-$750 5-$10 6-$1150Non-members (editions over 2 years old) 1 copy-$5 2 copies-$850 3-$12 4-$15 5-$1950 6-$23The ARS is happy to provide photocopied enlargements of any Membersrsquo Library edition at the same prices Please specify ldquoMembersrsquo Library Enlargementrdquo
ARS Information BookletsARS members 1 booklet-$13 2 booklets-$23 3-$28 4-$35 5-$41 6-$47 7-$52Non-members 1 booklet-$18 2 booklets-$33 3-$44 4$55 5-$66 6-$76 7-$86
Education PublicationsThe ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996)
First copy free to ARS Members (mailed to new members as they join) replacement copies $3Guidebook to the ARS Personal Study Program (1996) Material formerly published in the Study Guide
and Study Guide Handbook plus additional resources Members $11 non-members $20ARS Music Lists (2002 with 2003 Supplement) Graded list of solos ensembles and method books
Members $9 non-members $15Package Deal available only to ARS members Guidebook and Music ListsSupplement ordered together $16Junior Recorder Society Leaderrsquos Resource Notebook
ARS members $20 non-members $40 (updates at reduced rates after initial purchase)$5 Dues for each JRS student member sponsored by an ARS member ($4 each for groups of 10+)
VideosRecorder Power Educational video from the ARS and recorder virtuoso John Tyson
An exciting resource about teaching recorder to young students ARS members may borrow a copy for onemonth by sending $5 to the ARS office along with the address to which the tape should be shipped
Pete Rose Video Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music Festival recitalFeatures Rose performing a variety of music and an interview of him by ARS member professional John Tyson
Other PublicationsChapter Handbook A resource on chapter operations for current chapter leaders or those considering forming an
ARS chapter ARS members $10 non-members $20 (updates free after initial purchase) One free copy sent toeach ARS chapter with 10 members or more
Consort Handbook Resource on consort topics such as group interaction rehearsing repertoire performingARS member prices CD $10 hard copy $20 combo price of CD and hard copy ordered together $25
Discography of the Recorder Vol I (1989) Compiled by Scott Paterson and David LasockiDiscography of the Recorder Vol II (1990-1994) Compiled by Scott Paterson
Either single volume ARS members $23 non-members $28Both Discography volumes together ARS members only $40
American Recorder Cumulative Index for Vols I-XXXX ARS members $20 non-members $32Index Supplement Vol XXXIV-XXXX ARS members $8 non-members $14
Shipping amp Handling FeesUnder $10 - add $3 $10-1999 - add $4 $20-2999 - add $5 $30-3999 - add $6 $40-4999 - add $7 All prices are inUS dollars For Canadian or foreign postage pay by credit card and actual postage is charged
Please make checks payable to ARS VISAMCAMEXDisc also accepted
ARS 1129 Ruth Drive St Louis MO 63122 US800-491-9588 ARSrecorderAmericanRecorderorg
Arioso and Jazzy Rondo (AB) Carolyn PeskinBerceusendashFantaisie (SATB) Jean BoivertBrucknerrsquos Ave Maria (SSATTBB)
Jennifer W Lehmann arrCanon for 4 Basses (BBBB) David P RuhlDancers (AT) Richard EastmanDifferent Quips (AATB) Stephan ChandlerElegy for Recorder Quartet (SATB) Carolyn PeskinElizabethan Delights (SAATB)
Jennifer W Lehmann arrFallen Leaves Fugal Fantasy (SATB) Dominic BohbotFour Airs from ldquoThe Beggarrsquos Operardquo (SATB)
Kearney Smith arrGloria in Excelsis (TTTB) Robert CowperIdyll (ATB) Stan McDanielImitations (AA) Laurie G AlbertsIn Memory of Andrew (ATB) David GoldsteinLay Your Shadow on the Sundials (TBgB)
Terry Winter OwensLeClercqrsquos Air (SATB) Richard E WoodLittle Girl Skipping and Alouette et al (SATBCb)
Timothy R Walsh
Los Pastores (SAAAT + perc) Virginia N Ebinger arrNew Rounds on Old Rhymes (4 var) Erich KatzOther Quips (ATBB) Stephan ChandlerPoinciana Rag (SATB) Laurie G AlbertsSanta Barbara Suite (SSAAT) Erich KatzSentimental Songs (SATB) David Goldstein arrSerie for Two Alto Recorders (AA) Frederic Palmer Slow Dance with Doubles (2 x SATB) Colin SterneSonata da Chiesa (SATB) Ann McKinleyS-O-S (SATB) Anthony St PierreThree Bantam Ballads (TB) Ann McKinleyThree Cleveland Scenes (SAT) Carolyn PeskinThree in Five (AAB) Karl A StetsonTracings in the Snow in Central Park (SAT)
Robert W ButtsTrios for Recorders (var) George T BachmannTriptych (AATB) Peter A RamseyTwo Bach Trios (SAB) William Long arrTwo Brahms Lieder (SATB) Thomas E Van Dahm arrVariations on ldquoDrmešrdquo (SATB) Martha BishopVintage Burgundy (SASATT)
Jennifer W Lehmann arr
Adding Percussion to Medieval and Renaissance Music Peggy Monroe
American Recorder Music Constance PrimusBurgundian Court amp Its Music Judith Whaley coord
Improve Your Consort Skills Susan CarduelisMusic for Mixed Ensembles Jennifer W LehmannPlaying Music for the Dance Louise AustinRecorder Care Scott Paterson
acutely aware of any kind of neckstrain when it begins to develop these ideas have been a big help to meIrsquom hoping they may be of help toother musicians as well
Best wishes to you And inanswer to your questionmdashyes the new[AR] format (with more white spacebetween the lines) is much easier toread (in my opinion)Your magazinejust keeps getting better and better
Very sincerely Ed Green WestSuburban (Chicago-area) Chapter
RESPONSE FROM DR BILL LONG
What Ed describes is a variant of theuse of conventional bifocals as musicglasses described on page 8 in thearticle Instead of lowering his musicstand into the field of view of hisbifocal segment Ed and his optome-trist have fabricated special purposebifocals with the segment really highso he can focus on his music instraight-ahead view That approachrestricts his distance vision to an areaabove his usual line of sight whichseems to work for Eds playing setup
Eds comments on the difficultiesin using conventional progressiveaddition lenses as music lenses con-firm what I said on page 9 Thats whymanufacturers have marketed special-ty progressive lenses designed specif-ically for intermediate distance taskslike computer use and playing music
There are lots of solutions to thepresbyopic musicians problem but all involve compromises The key toevaluating those compromises andchoosing the best solution for yourselfis to understand your needs and toenlist the help of a sympathetic visioncare specialistmdashjust as Ed did
Please change your
browserrsquos favorites list
AR online is now at wwwameri
canrecorderorgmembership
magazinehtm Send news to
editoramericanrecorderorg
FOUR FOUR-PART CANZONAS
(1608) BY GIOVANNI GABRIELI
ED GREG LEWIN Hawthorns Music RB 16 (Magnamusic) 1999 SATBSc 16 pp pts 4 pp $1950
Giovanni Gabrieli was probablyborn between 1554 and 1557 in theparish of San Geremia in Venice Thedetails of his early life are sketchy butit appears that he was born Giovannidi Fais and later changed his name toGabrieli out of respect to his uncleAndrea with whom he shared a closerelationship In fact in 1587 Gabrielidescribed himself ldquoas little less than asonrdquo It is commonly thought thatAndrea provided Giovanni with hisearly musical training Andrea whohad spent some time in Munichstudying under the great Orlando deLassus sent Giovanni to Munich for a similar period of study in theearly 1570s
Gabrieli remained in Munichuntil the death in 1579 of the dukeAlbrecht V who had been Lassusrsquosemployer for a number of years andwho was an enthusiastic patron of the arts particularly music With hisdeath a number of musicians lost theirjobs it seems as if Gabrieli were also a victim of such culling of talent(Within a generation the tide wouldturn and the Munich court wouldagain hire Venetian expatriates such as Priuli Valentini and Neri)
Upon his return to VeniceGabrieli was hired as a temporaryorganist at San Marco his positionbecoming permanent in 1585 For a few months that year uncle andnephew served together as first and
second organists in the chapel of thedoge In Giovannirsquos absence fromVenice there had been a plague thathad decimated the ranks of theprofessional musicians Andrea setabout rebuilding his forces at SanMarco by hiring a full-time windband consisting of Girolamo dallaCasa a renowned cornettist andviolist his two brothers who playedsackbut and later the cornett virtuosoGiovanni Bassano Giovanni Gabrieliaugmented these forces with addi-tional players and began composingthe large-scale ceremonial music forwhich he is so well known today
Giovanni was also elected to bethe organist and composer to theconfraternity of San Rocco in 1585and it is now thought that his largestpieces were intended for that venuewith its large central gallery andfrescos by Tintoretto instead of SanMarco Gabrieli held both thosepositions at the basilica of San Marcoand the Scuola Grande di San Roccountil he died in 1612 of a kidney stone
Although best known today forhis ceremonial and festival musicGabrieli was at home in smaller-scaleformats as well These four four-partcanzoni are taken from the 1608publication by the Venetian publisherAlessandro Raverji Canzoni per sonarecon ogni sorte di strumenti These werevery popular pieces to judge by themany collections in which they appear
Additionally like Gabrielirsquoskeyboard music they are found inother arrangements These four-partcanzoni lie well under the fingers inarrangements for keyboard and lute
As seen from the title Gabrielispecified no instrumentation but like asimilar edition of madrigals and battlepieces from a few years earlier a dis-tinction was made that they wereintended for wind instruments almostcertainly cornetts and sackbuts
Recorders were not unknown in Venice they were used regularly inthe confraternity of San GiovanniEvangelista where Giovanni BattistaRiccio was organist
These pieces are relativelysimplemdashplayable by beginning tointermediate ensembles They aremostly contrapuntal (with a fewhomophonic sections) and have few rhythmic eccentricities
These canzoni are found in manymodern brass editions but there arefew editions available to the recorderplayer This edition by Greg Lewin ofHawthorns Music might be consid-ered a ldquobare-bonesrdquo edition There islittle background information andeditorial practices are not specified
The music itself has a handwrittenlook that can be distracting but is easyenough to read Lewin has thought-fully supplied phrasing marks that willbe helpful for ensembles unused tothis style of music
Music
Reviews___________________________________ Infectious music created in spite of the plague
wwwAmericanRecorderorg March 2009 41
This is a good edition
for small ensembles that
canrsquot get eight players
together to play
Gabrielirsquos more famous
eight-part canzoni
42 March 2009 American Recorder
The parts are four pages but mycopy had all four pages printed on avery large page This is not a problemand there are no page turns
This is a good edition for smallensembles that canrsquot get eight playerstogether to play Gabrielirsquos morefamous eight-part canzoni Thesesmall-scale pieces are by no meansinferior to Gabrielirsquos more elaboratemusic and deserve to be better known
7 CANZONEN (1637) BY
TARQUINIO MERULA ED JOACHIM
ARNDT WITH CONTINUO REALIZATION
BY CLAUDIA SCHWEITZER MieroprintMusikverlag EM2088 (availabledirectly from wwwmieroprintcom)2005 SS or TT bc Sc 24 pp pts 8 pp$28
Tarquinio Merula was bornaround 1595 in either Busseto orCremona in Italy As was the case withso many composers of the day either alack of regular employment or a rest-less nature took him from his home inCremona to as far away as Warsaw He is found as the organist of thechurch and the chambers to the kingof Poland Sigismund III in 1624
Merula was one of the leadingexponents of the relatively new con-certante style pioneered by ClaudioMonteverdi and others in the seconddecade of the 17th century and may be described as one of the earliestBaroque composers His compositionsin the concertante style are fresh andunforcedmdashhe was born into this styleand didnrsquot encounter it as somethingnew as was the case with so many ofMonteverdirsquos contemporaries
After several years of peripateticexistence Merula found regularemployment in 1631 in Bergamo atthe church of San Maria MaggioreThe prior holder of the post of maestrodi cappella Alessandro Grandi haddied the previous year in the plagueMerula had signed a three-year
contract but by December 1632 hewas terminated with accusations thathe had molested several studentsMerula threatened a lawsuit to recoverhis lost wages but that threat wascountered with a pending criminalcharge lodged by the board ofgovernors of San Maria Maggiore By mid-1633 the matter was settledwith an apology from Merula and astatement that he relinquished allclaims to his salary
He then returned voluntarily toCremona where he stayed until 1635By 1638 Merula was once again inBergamomdashthis time as maestro dicappella and organist in the cathedralnext to San Maria Maggiore Asmight be expected there was con-siderable tension between the twochurches eventually resulting in theboard of San Maria Maggioreforbidding their musicians to perform under Merularsquos direction
He returned in 1646 to a familiarCremona post which he had heldthree times in various years and wherehe now settled downmdashthat of organistand maestro di cappella for Laudi dellaMadonna services in which he ledmusic at the main altar on Saturdaysand on vigils of Marian feasts
None of his employment issues
prevented the Pope from awardinghim the Order of the Golden SpurMerula was also elected to theAccademia dei Filomusi in BolognaHe died in 1665 in Cremona
His existing compositions showthe products of a lively mind Hisworks range from sacred songs andmotets to purely instrumental piecesnotably the ever-popular variations onvarious ground basses It is knownthat Merula was an accomplishedviolinist as well as a fine organist Hissurviving instrumental writing showsa predilection for strings In fact hewas one of the earliest composers tospecify string accompaniments tosacred motets
Merularsquos pieces look backwardtoward some of the more progressiveVenetian composers such as Monte-verdi while looking forward to thehigh Baroque with his innovative style
These seven canzoni like theearlier-published chaconne (EM2084)come from Merularsquos third bookpublished in 1637 CANZONI overo SONATE CONCERTATE perchiesa e camera a due et a tre delcavaliere This collection typifiesMerularsquos output pieces based onRenaissance-era ground basses arefound next to more ldquomodernrdquo sonatas
The original edition specifiesviolins and basso continuo This newedition is intended for recorders thespecific choice of which is up to theplayers Due to the relatively hightessitura tenor recorders work best inthese pieces (although listed as analternative soprano recorders tend to be on the screechy side)
Not surprisingly given Merularsquosskill as an organist the continuo partneeds a keyboard instrument forsuccessful realization Instead of beinga purely accompanying part the bassocontinuo part is an equal partner in these pieces the canzona ldquoLaRuggierardquo opens with a run that therecorders echo a few measures later
A more recorder-specific
edition intended for
altos would have been
ideal There is nothing
preventing the more
adventurous and
industrious players
from making their
own editions of this
delightful music
mentioned were a bit shrill A morerecorder-specific edition intended foraltos would have been ideal There isnothing preventing the moreadventurous and industrious playersfrom making their own editions of thisdelightful music
Prior to playing the previouslypublished chaconne I had notencountered MieroprintMusikverlag Mieroprintrsquos extensivecatalog has an equal focus on newmusic for recorders and on editions ofBaroque masters with emphasis on therecorder and flute Due to the lack of
wwwAmericanRecorderorg March 2009 43
are also available at
The Early Music Shop
of New England
Brookline MA
AESTHEacute
367-b de la Briquade
Blainville Queacutebec
Canada J7C 2C7
tel (450) 979-6091
wwwboudreau-flutesca
A bass viola da gamba or rsquocello is not necessary for these pieces and may infact make them sound heavy and ponderous rather than light and breezy as thismusic seems to be
More so than the above-mentioned chaconne these canzoni are written in avery idiomatic violin style with multiple examples of arpeggios In particular thecanzona ldquoLa Trecchardquo contains a notated example of a string tremolo figurerecurring through the piece ldquoLa Trecchardquo also dips well below the range of a Crecorder going down to low G the lowest string on the violin The editors havesupplied no alternative notes preferring to let the performers to fend forthemselves (in practice we took this passage up an octave with no problems)
The two recorder parts require virtuosity These upper parts are demandingwith the players needing to double-tongue in unison in order to negotiate themany runs of 16th notes and the shared rhythmic ldquolicksrdquo The harmoniclanguage unlike much of Merularsquos music is undemanding and contains none of the harmonic crunches for which he is famous
This is wonderful music that needs a couple of advanced recorder players fora successful performance The string idiosyncrasies can be overcome by advancedplayers and many of the editions of the era (although not this one) list thecornetto as an alternative to the violin so the use of wind instruments in the solo literature of the early Baroque was not unknown
Our experience with this edition left us with the opinion that these pieceswould have been better if transposed down a minor third so as to fit on a pair ofalto recorders (as is the case with much Baroque flute music to make it lie betteron the recorder) The tenors we used tended to sound a bit murky in the lowerregister next to the more aggressive harpsichord while the sopranos we tried as
KEY rec=recorder Srsquoo=sopraninoS=soprano A=alto T=tenor B=bassgB=great bass cB= contra bass Tr=treble qrt=quartet pf=piano fwd=foreword opt=optional perc=percussionpp=pages sc=score pt(s)=part(s)kbd=keyboard bc=basso continuohc=harpsichord PampH=postage andhandling Multiple reviews by one reviewerare followed by that reviewerrsquos name Pleasesubmit music for review to AR 7770 SHigh St Centennial CO 80122-3122 US
an American distributor this musicwill be hard to findmdashin fact can befound only at the time of this writingon their web site noted above But theeffort will be repaid
This edition is clear and easy toread and the parts require no pageturns The basso continuo realizationis simple and elegant
This is music deserving ofrediscovery My only quibble is thatthe editorial notes are all in GermanThis seems to be the practice ofGerman music publishers with thenotable exception of Moeck Otherpublishers of early music such asLondon Pro Musica routinelyprovide notes in English and German and often in French and Italian making their editionsaccessible to a wider audience
Frank Cone studied the recorderwith the late Ellen Perrin the viola dagamba with Carol Herman and thecornetto with Larry Johansen TheCalifornia multi-instrumentalist has been a member of the Orange CountyRecorder Society since 1985
Advertiser Index
AMERICAN ORFF-SCHULWERK ASSN 3
AMERICAN RECORDER SOCIETY 31 35 36
AMHERST EARLY MUSIC FESTIVAL 17
STEPHAN BLEZINGER 24
JEAN-LUC BOUDREAU 21 39
BOSTON EARLY MUSIC FESTIVAL 7
CANTO ANTIGUO EARLY MUSIC WORKSHOP 13
COURTLY MUSIC UNLIMITED 20
EARLY MUSIC AMERICA 8
HONEYSUCKLE MUSIC 34
BILL LAZARrsquoS EARLY MUSIC 26
KEITH E LORAINE EARLY DOUBLE REED SERVICE 35
LOST IN TIME PRESS 11
MADISON EARLY MUSIC FESTIVAL 12
MAGNAMUSIC DISTRIBUTORS BC
MOECK VERLAG IFC
MOLLENHAUER RECORDERS IBC
PORT TOWNSEND WORKSHOP 14
PRESCOTT WORKSHOP 30
PROVINCETOWN BOOKSHOP 26
THE RECORDER MAGAZINE 4
THE RECORDER SHOP 6
SAN FRANCISCO EARLY MUSIC SOCIETY 18
SWEETHEART FLUTE CO 3
TEXAS TOOT 20
VON HUENE WORKSHOP INC 30
WICHITA BAND INSTRUMENT CO 21
DOMINIK ZUCHOWICZ 34
CONSIDER ADVERTISING IN
Full page $55223 page $43912 page $36613 page $28614 page $22316 page $17518 page $127112 page $ 951 column inch $ 58
Prices include web sitee-mail link directly from your ad in the online AR at wwwamericanrecorderorg
Circulation Includes the membership of theARS libraries and music organizations
Published five times per year January March May September November
Reservation Deadlines December 1 (January) February 1 (March) April 1 (May) August 1 (September) October 1 (November)
Rates good through November 2009 Pleaseinquire about discounts on multiple-issuecontracts inserts or other special requestsExtra charges for typesetting layout half-tones and size alterations 133-line screenrecommended Advertising subject toacceptance by magazine First-time adver-tisers must include payment with order
For more information contact the ARS office 1129 Ruth Drive St Louis MO63122-1019 800-491-9588 toll free 314-966-4082 phone 314-966-4649 faxadvertisingamericanrecorderorg
44 March 2009 American Recorder
Classified___________________________________
FOR SALE Cherrywood hurdy gurdy and hard-side case made by Kelischek bought 2005Originally $765 plus $89 for case Rarely usedBoth for $450 or make offer Please contact marjalocomcastnet Can ship
ASPIRE ANNOUNCE INSPIRE Afford-able PR for teachers and recitalists wwwrecitalroomcom
PHOTOS NEEDED of ARS events 1970sndash1990sto illustrate last chapters of Martha Bixlerrsquos histor-ical memoir about the ARS (to be posted online)E-mail scanned photos (300dpi JPG or TIF)arsrecorderamericanrecorderorg Hardcopies mail to ARS office to be scanned ampreturned Info 800-491-9588
T-SHIRT FOR ENSEMBLE PLAYERS to wear orshare Top 10 Reasons Why I Got Lost Wrongfingering bad lighting etc on blue cotton shirt$18 Highlighter tape and other goodies Beth amp Lindas Boutique as seen at BEMF CallLinda at 617-671-8694 or e-mail for brochurelindakushverizonnet
Where the havesand have-nots
of the recorder world can find each other
Classified rate for American Recorder 60centper word ten-word minimum ldquoFOR SALErdquoand ldquoWANTEDrdquo may be included in thecopy without counting Zip code is oneword phone e-mail or web page is twoPayment must accompany copy Deadlinesare one month before issue date Send copywith payment to ARS 1129 Ruth Drive St Louis MO 63122-1019
AMERICAN RECORDER (ISSN 0003-0724) 1129 Ruth Dr St Louis MO 63122-1019 is publishedbimonthly (January March May September and November) for its members by the AmericanRecorder Society Inc $20 of the annual $45 US membership dues in the ARS is for a subscriptionto American Recorder Articles reviews and letters to the editor reflect the viewpoint of their individ-ual authors Their appearance in this magazine does not imply official endorsement by the ARS
EDITORIAL DEADLINES November 15 (January) January 15 (March) March 15 (May) July 15(September) and September 15 (November) Submission of articles and photographs is welcomedArticles may be typed or sent as an attachment (Word or RTF preferred) to or text in an e-mail mes-sage They should be for the exclusive consideration of AR unless otherwise noted Photos may besent as prints or unedited JPG or 300dpi TIF files (minimum 3rdquox4rdquo) Advertisements may be sent inPDF or EPS format with fonts embedded
EDITORIAL OFFICE Gail Nickless Editor 7770 S High St Centennial CO 80122-3122 303-794-0114 (phone amp fax) editoramericanrecorderorg Books for review Editorial office Musicfor review Editorial office Recordings for review Tom Bickley 1811 Stuart St Berkeley CA 94703Cutting Edge Tim Broege 212 Second Ave Bradley Beach NJ 07720-1159 Chapter newslettersother reports Editorial office Postmaster Send address changes to ARS 1129 Ruth Drive St LouisMO 63122-1019 Periodicals postage paid at St Louis MO and at an additional mailing office
Chapter leaders
We know yoursquore out there
and that you want to share
your plans concerns
solutions and ideas with
other chapter leaders Visit
httpamericanrecorder
societywikispacescom
wwwAmericanRecorderorg March 2009 33
makers of handcrafted Renaissance recorders will provide modern fingeringandor equal temperament upon request and Moeck Verlag offers a choice ofRenaissance or modern fingering for most sizes of its factory-producedRenaissance Consort series
For a most satisfying blend Renaissance ensembles should purchase amatched set of recorders tuned and voiced to be played together Renaissanceconsort sets usually include two different alto recorders one in G (lowest note g)and one in F (lowest note f ) The ATTB combination with the G-alto is best formost of the quartet music composed between 1450 and 1550 while the SATBcombination with the F-alto is more practical for much late 16th-centuryrepertoire (Playing the G-alto requires learning G-alto fingering or elsetransposing the alto line down a whole tone and using F-alto fingering)
In addition to consort recorders some makers offer ldquoGanassirdquo sopranos andaltos based upon fingering charts in Silvestro Ganassirsquos recorder tutor Fontegarapublished in 1535 and a single original instrument in the Vienna Kunst-historisches Museum Because of their special bore design (cylindrical with aflaring bell) Ganassi recorders have a range of two octaves and a sixth withcumbersome fingerings in the third octave They are used mainly as soloinstruments for playing intricate ornaments of the type found in Fontegara
Also sometimes included in the ldquoRenaissancerdquo category are ldquotransitionalrdquo(early Baroque) recorders which are based upon originals from the first half ofthe 17th century They have a bore that is wider than a Baroque bore but contractssharply near the lower end resulting in strong low notes and at least a full two-octave range usually with modern fingering Most transitional recorders aresopranos or altos designed for playing Jacob van Eyckrsquos variation sets or thehighly ornamented Italian solo repertoire of the late-16th and early-17thcenturies
However wide-bore consortrecorders with a range of at least twooctaves and modern fingering shouldalso be regarded as transitionalinstruments They differ somewhat intimbre and volume from typicalRenaissance consort recorders
Handmade wide-borerecordersmdashconsort Ganassi andtransitionalmdashare obtainable frommakers who advertise in AmericanRecorder the Prescott Workshop andthe Von Huene Workshop in the USJean-Luc Boudreau in Canada andStephan Blezinger in GermanyContact them andor visit their websites to find out what kinds ofrecorders they are currently makingand to get an idea of their prices andwait times
Factory-produced wide-borerecorders from Kobliczek Moeck andMollenhauer are available frominstrument dealers who advertise inAR New and used recordersincluding wide-bore models fromimportant makers in the US andabroad are also obtainable from Uni-corn Music For further informationvisit wwwbuyrecorderscom For a comprehensive database of recordermakers worldwide see Nicholas SLanderrsquos ldquoExtant Recorder Makers amp Retailersrdquo at wwwrecorder
homepagenetmakershtml
REFERENCES
CONSULTEDBauer Winfried
wwwrecorder-fingeringscomIncludes interactive fingeringcharts from modern makers andhistorical treatises Charts forRenaissance consort recorders byAdriana Breukink Adrian BrownBob Marvin and Tom Prescottwere consulted
Brown Adrianwwwadrianbrownorgrec
order_typesconsorthtml
Our present-day ldquoregularrdquo recorders are
Baroque-derived instruments based loosely
upon surviving recorders from the
late 17th and early 18th centuries
34 March 2009 American Recorder
The Von Huene Workshop Incis pleased to announce agreements with
CoolsmaZamra
to serve as their authorised service agents in the US
For more than 40 years the von Huene Workshop has produced some of the finest recorders in the world Our skilled staff can revoice retune and repair even the most seriously damaged instruments All repairs are done right on the premises and most can be completed within a week
For warranty repairs please include a copy of your original sales receipt
j 65 Boylston Street Brookline MA 02445 i(617) 277-8690 Fax (617) 277-7217 servicevonhuenecom
An informative article aboutrecorder sizes in Renaissanceconsorts
Brown Adrian and David LasockildquoRenaissance Recorders andTheir Makersrdquo AmericanRecorder Vol XLVII No 1(January 2006) pp 19-31 An important article based upon Brownrsquos extensive researchon 120 of the 200 surviving 16th-century recorders
Ganassi Silvestro Opera IntitulataFontegara Ed Hildemarie Peter(Berlin-Lichterfelde RobertLienau 1959) Modern edition ofthe oldest known treatise devotedentirely to the recorder (publishedin 1535) Includes 16th-centuryfingering charts
Griscom Richard and David LasockiThe Recorder A Research andInformation Guide (New York andLondon Routledge 2003) Anannotated bibliography including
references on construction anddesign of historical recorders
Levin Philip ldquoQampArdquo AmericanRecorder Vol XXXVIII No 4(September 1997) p 27Explains in simple terms thedifference between Renaissanceand Baroque recorders
Morgan Fred ldquoA Recorder for theMusic of JJ van EyckrdquoAmerican Recorder Vol XXV No 2 (May 1984) pp 47-49Describes the bore design of arecorder suitable for playing Van Eyckrsquos variation sets andcompares it with bore designs ofother types of recorders
Myers Herbert W ldquoRecorderrdquochapter in A Performerrsquos Guide toRenaissance Music ed JefferyKite-Powell (New York SchirmerBooks 1994) A 2nd edition isnow available published in 2007by Indiana University Press
FEATURING MUSICA PACIFICA
JUDITH LINSENBERG
RECORDERS____JS BACH TRIO SONATAS Arr by
Linsenberg from Trio Sonatas for Organ BWV525-
530 Sonata No 1 in E
major (transp to B
)
BWV 525 Sonata No 2 in C minor (transp to E)
BWV526 Sonata No 3 in D minor (transp to G)
BWV 527 Sonata No 4 in E minor BWV 528
Sonata No 5 in C major (transp to F) BWV529
Sonata No 6 in G major (transp to C) BWV 530
Virgin Classics Veritas 1993
____FIRE BENEATH MY FINGERS Showcases
three legendary composers who were also
virtuoso performers Vivaldi Concerto in F major
after RV 98570 ldquoLa Tempesta di Marerdquo Sonata in
A minor RV86 Concerto in G minor RV106 Con-
certo in Bb major RV503 Sammartini Concerto in
F major Tartini Concerto in A major D91 Dorian
____MANCINI CONCERTI DI CAMERA Seven
sonatas by Francesco Mancini plus one work each
from his contemporaries Francesco Durante amp
Domenico Scarlatti Highly recommended citation
from the 2000 Vivaldi Prize for Recordings of Italian
Early Music--Giorgio Cini Foundation Dorian
____MARAIS MARIN PIEgraveCES EN TRIO POUR
LES FLUcircTES VIOLON amp DESSUS DE VIOLE
Maraiss complete works for two treble lines and
bass with varied instrumentation and orchestrations
2-CD set $24
____SCARLATTI CONCERTI DI CAMERA
Seven sonatas for various instrumentations no
poor relations to the composers much more widely-
known vocal output All recorder players should
certainly have thisndashEarly Music Review
____TELEMANN CHAMBER CANTATAS
Five cantatas from Harmonischer Gottesdienst two
sonatas from Sonatas Corellisantes 2003 Chamber
Music America WQXR Record Award for best
chamber music recordings
____VIVALDI LA NOTTE Concerti per strumenti
diversi Award-winning CD featuring five Vivaldi
concerti two sonatas
AND OTHER RECORDING
ARTISTS FROM CALIFORNIA ____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 American Bach Soloists Jeffrey
Thomas conductor Dan Laurin Hanneke van
Proosdij recorders Christmas Concerto featuring
unique 1725 London version with solos transcription
for two recorders instead of two solo violins in
three of the six concertos Delos
____CANCcedilONIEgraveR Annette Bauer recorder
multi-instrumentalist Tim Rayborn Shira Kammen
strings Phoebe Jevtovic voice in a new early
music group devoted to repertoire from the
12thndash15th centuries as well as traditional music
from related regions (the Balkans Scandinavia
Middle East) Medieval instrumental music played
on a variety of instruments including strings
recorders and percussion Medieval dances and
motets bring to life the rich world of ancient
European music-making
____SACRED AND SECULAR MUSIC FROM
RENAISSANCE GERMANY Ciaramella-Adam amp
Rotem Gilbert Doug Millikan Debra Nagy
recorders with other winds shawm sackbut amp
organ Medieval amp Renaissance sacred music with
reconstructions of folksongs amp arrangements based
on contemporary improvisation
____BURIED TREASURE TOPAZ amp SAPPHIRE
Ensemble Vermillian Frances Blaker recorders
Barbara Blaker Krumdieck cello Elisabeth Reed
gamba Katherine Heater harpsichord amp organ
Transcriptions of Buxtehudes Op 1 other pieces by
Buxtehude works by Biber Johann Schop
Schmelzer Fafarela 2007
____STOLEN JEWELS Ensemble Vermillian
Frances Blaker recorders Barbara Blaker
Krumdieck Elisabeth Reed Katherine Heater 17th-
century German music adapted by Blaker I love
violin music so I steal the music and rearrange it
for my own instrumentrdquo Buxtehude Op 1 Biber
Rosenmuller Krieger JM Bach Fafarela
Recordings
____SENFL (LUDWIG) Farallon Recorder Quartet
(Letitia Berlin Frances Blaker Louise Carslake
Hanneke van Proosdij) 23 lieder motets and
instrumental works of the German Renaissance
____DOLCE MUSICAndash A CONTEMPLATIVE
JOURNEY Eileen Hadidianflutes recorders
Natalie Cox harps Celtic Renaissance and
Medieval melodies for recorder and flute with
Celtic harp Healing Muses 2005
____REFLECTIONS MUSIC TO SOOTHE AND
UPLIFT THE SPIRIT Eileen Hadidian recorder amp
Baroque flute with Celtic harp and cello Celtic
traditional Renaissance amp Medieval melodies
Healing Muses
____AN EVENING WITH BACH Voices of Music
Hanneke van Proosdij Louis Carslake Dan Laurin
recorders Joanna Blendulf Elizabeth Blumenstock
Rodney Gehrke Lisa Grodin Katherine Kyme
Jennifer Lane Victoria Gunn Pich Susanne Ryden
William Skeen David Tayler Renaissance and
Baroque music centers on fine singing Instantly
recognizable Air on a G String Bachrsquos Prelude in
G Major (solo theorbo for rsquocello) plus lilting vocal
performancesmdashRydenrsquos weightless soprano on
Bist du bei mir Lanersquos rich alto on Es is vollbracht
____BACH amp TELEMANN SONATAS PRELUDES
amp FANTASIAS Voices of Music (Hanneke van
Proosdij Joanna Blendulf Rodney Gehrke William
Skeen David Tayler) Beautiful chamber music by
Bach and Telemann
IN STOCK (Partial listing)____ALLA TURCA FUX CALDARA BADIA
Matthias Maute amp Sophie Lariviegravere recorders
Monika Mauch soprano Vocal music of the church
accompanied by Ensemble Caprice plus sonatas
and other instrumental pieces Analekta
____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 John Daniels Sonja Lindblad
recorders Peter Sykes harpsichord Trio sonata
arrangement by Johann Christian Schickhardt
____LES
AMIS DU
BAROQUE
Paul Nauta recorder amp
Baroque flute Koen Dieltiens recorder Music by
Bassani Corelli Vivaldi etc Highlight Intl
____LES SEPT SAUTS BAROQUE CHAMBER
MUSIC AT THE STUTTGART COURT Matthias
Maute amp Sophie Lariviegravere recorders amp traverso
Ensemble Caprice Charming repertoire by
Schwartzkopff Bodino Detri Atma Classique
____TASTE OF PORTIQUE LEnsemble Portique
Early and contemporary chamber musicmdash
Bach Telemann Boismortier and others
____TELEMANN ALLA POLACCA REBELndash
Matthias Maute recorders amp traversondash
plays concerti and suites by GP Telemann Dorian
____TELEMANN CANONS AND DUOS Lisette
Kielson amp Patrick OMalley recorders LEnsemble
Portique Telemann Canons meacutelodieux amp Sonates
sans basse 2-CD set LEP Records
____20TH CENTURY MUSIC FOR RECORDER amp
PIANO Anita Randolfi recorders Music by Jacob
Bartok Leigh others for recorder amp piano
____VIVALDI AND THE BAROQUE GYPSIES
Matthias Maute amp Sophie Lariviegravere recorders
Ensemble Caprice Gypsy music taken from
Uhrovska zbierka (now Slovakia) plus Vivaldi
____VIVALDI SHADES OF RED CONCERTOS amp
SONATAS FOR RECORDER amp STRINGS Matthias
Maute recorders REBEL Stylish high octane
readings of some of Vivaldis most beloved pieces
including the popular and raucous Concerto alla
Rustica stunningly colorful Sonata on La Follia and
four exuberant recorder concerti Bridge
____WINDFIRE Charmaine Delmatier recorder
Steve Kostelnik classical guitar Terry Hale bass
Erik Hokkanen violin Refreshing mixture of Andrew
Lloyd Weber American blues flamenco Celtic and
one original piece ltwwwyermomusicomgt
Please indicate above the CDs you wish toorder and print clearly the following
Name ____________________________________
Daytime phone (_____)______________________
Address__________________________________
CityStateZip _____________________________
Check enclosed for
_____ single CDs x $____ = $______
_____ 2-CD sets x $____ = $______
TOTAL $______
Please charge the above amount to my
MasterCard Visa or AmEx
_______________________________________
Exp Date ____________
Cardholderrsquos signature ______________________
Mail to
ARS 1129 Ruth Dr St Louis MO 63122-1019 US
You may fax a credit card order to 314-966-4649
NEW You may order CDs online using PayPal at
wwwamericanrecorderorgordercdromshtm
Order your recorder discs
through the ARS CD Club
The ARS CD Club makes hard-to-find or limited release CDs by ARS members
available to ARS members at the special price listed (non-members slightly higher)
All CDs are $15 ARS members$17 Others unless marked otherwise Two-CD sets are
$24 ARS members$28 Others Add Shipping and Handling $2 for one CD $1 for each
additional CD An updated listing of all available CDs may be found at the ARS
web site ltwwwamericanrecorderorggt
The first meeting of the newly-formedFort Myers Recorder and Early
Music Ensemble was January 26 atthe Florida home of chapter rep Sue
Groskreutz For this year the groupis somewhat loosely organized andplans to meet for extended sight-reading Repertoire at the first meetingcomprised everything from Renais-sance duets to chamber music involv-ing three treble parts and continuo
Among the five musiciansattending the first meeting (photobelow front row Elizabeth Spang SueGroskreutz back row Suzanne FergusonSibylle Baumgartner Arlene Sowka) allplayed recorder three harpsichord
and one each played traverso violinand gamba Due to the scarcity ofrecorder players south of the Sarasotaarea modern string players are alsoincorporated into this ensemble
The group decided not to chargedues and to meet at Groskreutzrsquoshome For more information pleasecontact Groskreutz at 239-267-1752spgembarqmailcom Snowbirdsdrifting through the area are welcome
Last fall at the requestof a student Kay Hettich
(inset below right) taught abeginning recorder class atthe Redding (CA) Senior
Center The five-weekclass was so successful thatmost participants haveformed a bi-weekly noviceensemble (right) coachedby Hettichmdashwho consid-ers them her ldquohatchedeggsrdquo
A new batch of ldquoeggsrdquostarted to incubate when afive-week class began on February 20Other senior center members havebecome interested as they heard oftheir colleaguesrsquo success These noviceplayers comprise some who previouslyread music and played instruments as well as people who are totally new to music notation
One student has also formulated amaxim ldquoEveryone at age 40 ought tolearn to play the recorder if heshehasnrsquot alreadyrdquo Just think how theworld would be transformed byshifting our focus to music
After Lynn Whidden attendedthe Montreacuteal Recorder Festival lastfall when the ARS Board met inQuebec she joined the ARS and nowrelays news of the lively interest in therecorder exhibited by a group underthe new leadership of Brent Legg ofBrandon University in ManitobaCanada Although his hands wereldquostill partly frozenrdquo he wrote that theBrandon University Collegium
Musicum in collaboration with theWaverley Park Recorder Club is
preparing a spring concert calledldquoEnglandrsquos Golden AgerdquoRepertoire spans the 16th century
from Henry VIIIrsquos accession in 1509to the death in 1603 of Elizabeth Iand includes solo songs four- andfive-part settings of Renaissancedances (with dancers) three- to five-voice madrigals and ldquobig-bandrdquoarrangements of William Byrdrsquos TheBells and The Dargason as re-imaginedby Gustav Holst (further re-imaginedfor recorders and percussion)
Of the 15 collegium membersseven are encountering the recorderfor the first time since elementaryschool The Collegium Musicumpromotes the study of early music at the university and is open to theuniversity community and the generalpublic This year there are five com-munity participants with interest fromseveral more both within and outsideof the university For informationcontact BrentLegggmailcom
January 16 marked the thirdannual recorder workshop of threeFlorida groups the Pasco Collegium
Recorder Consort of Hudson theImperial Recorder Consort of
36 March 2009 American Recorder
Chapters
amp Consorts___________________________________Workshops and activities from
coast to coast in the US and Canada
Lakeland and the Pilgrim Pipers Recorder Consort of St Petersburg Theygathered for a morning tackling selections by Banchieri Monteverdi PurcellCorelli Mendelssohn Bach Mozart and Glen Shannon Each group presenteda piece for the other participants Sweet Georgia Brown by Ben Bernie (St Pete)a Sonata by Sammartini (Lakeland) and The Gospel Train arr by KW Ford(Pasco) The 29 participants were led by Marlene Cracraft (Pasco) Jane
Spencer (Lakeland) and Elizabeth Snedeker (St Pete) Tom Bickley (photo below) directed the fall workshop of the Mid-Peninsula
Recorder Orchestra in Cupertino CA The 30 players started with Gregorianchants written in ldquooldrdquo notation Bickley gave basic instruction on how tointerpret the notes and then had the group sing the chants prior to playing them
The workshop theme of ldquoThe Articulate Recorderrdquo was literally played out as the music presented used variations in tonguing phrasing and breathingOther repertoire included a Kyrie by Tomas Luis de Victoria Bachrsquos Jesu Joy ofManrsquos Desiring a double-choir piece by Gabrieli Christopher Tyersquos In NomineXIII and a Purcell chaconne The workshop ended with a rhythmically-challenging minimalist piece by Bickley entitled Beginning composed for theWaldorf School teacher training program George Greenwood reports that thegroup had a productive event and plans to ask Bickley to lead a future workshop
wwwAmericanRecorderorg March 2009 37
A Muse in the DesertThe sound of a pin dropping hellip thesound of eager minds and fingersabsorbing information and inspira-tion hellip the sounds of ldquoNuevaEspantildeardquo Spanish- and indigenous-influenced music of the 1600s in theNew World These were the soundsof the Desert Pipes (Phoenix AZ)chapterrsquos fall workshop given byEileen Hadidian On a Saturdaylast October 30 players from all overArizona gathered to learn from andbe inspired by the founder of a SanFrancisco Bay Area group dedicatedto sharing music for healing inhealthcare settings Healing Muses(wwwhealingmusesorg)
The day began with relaxationstretching and breathing exercisesfollowed by travels to Peruacute MexicoGuatemala and Colombiamdashhighchurch music vernacular pieces anda mixture of the two Participantsenjoyed the historical and contextualbackground provided as an overviewfor the day and for each piece
Remarkably the sound heardbetween pieces and passages was anenergy-filled quiet the attentivestillness of active engagement in theworkshop experiencemdashnot the chat-tering noodling and conversationsthat often occur when the musicstops That activity was reserved forthe breaks when participants couldenjoy the cool (at last) outdoorschat with Hadidian and peruse the popular garage sale (to benefitDesert Pipes) of previously-enjoyedbooks and other treasures
On Sunday Hadidian sharedher expertise and inspiration in indi-vidual and group coaching sessionsThe weekend was a special experi-ence and Desert Pipes memberslook forward to the next visit of this Healing Muse
Ann Koenig Scottsdale AZannisalesprocom
Members
of three
Florida
groups
met
in January
for a joint
workshop
CHAPTER NEWS
Chapter newsletter editors and publicity officers should send materials for publication toAmerican Recorder 7770 South High St Centennial CO 80122-3122
editoramericanrecorderorg Also send short articles about specific activities that haveincreased chapter membership or recognition or just the enjoyment your members get out of
being part of your chapter Digital photos should be at least 3rdquox4rdquox300dpi TIF or unedited JPG files Please send news to the AR address above and to the following
ARS Office 1129 Ruth Drive St Louis MO 63122-1019 ARSrecorderAmericanRecorderorg
and to Bonnie Kelly Chair Chapters amp Consorts Committee 45 Shawsheen Rd 16 Bedford MA 01730 bksharpaolcom
TO THE STARS
AND BEYONDThe cover of the November magazinegenerated a few comments Some werenrsquotsure how to interpret the title (in theartistrsquos native German it could besomething close to ldquostarlit moonrdquo)Longtime member Carolyn Peskin wrote to offer her vision of that cover
In the beginning the Great Spiritinvented Mr Sun to light the day andMiss Moon to light the nightHowever as Miss Moon floated up inthe sky all by herself like a big yellowballoon she began to feel very lonelyso one night to relieve her lonelinessshe decided to take out her recorderand make music
But when she started to playsomething miraculous happened Not only beautiful melodies but alsoyellow dust poured out of the bottomof her recorder and the dust particlesimmediately coalesced to form yellowstars As she continued playing moreand more stars were created and theyfloated up around her filling the nightsky
At last Miss Moon was happy fornot only was she herself able to enjoyher music but she now had a wholecrowd of starry companions to enjoy itwith her And if you listen very care-fully on a quiet night you might beable to hear her recorder and thatstarry choir humming along
Carolyn Peskin
LOCATING EARPLUGSI read with interest the QampA in theNovember lsquo08 AR regarding hearingloss and use of earplugs Where do you get musicianrsquos earplugs
Dolly Hirata Kensington CA
CAROLYN PESKIN PROVIDED THIS
INFORMATION Musicianrsquos earplugs arecustom made for individual usersThey can be purchased only fromlicensed hearing professionals (ieaudiologists and hearing instrumentspecialists) To find a licensed hearingprofessional in your area look underldquoaudiologyrdquo or ldquohearingrdquo in your localyellow pages
For information about how musi-cianrsquos earplugs are produced visitwwwetymoticcomephperme-w
tbaspx That web page also has a linkto contact information for authorizedlabs that make the custom earmolds formusicianrsquos earplugs If the yellow pagesdo not prove helpful those labs canrefer you to a licensed hearing pro-fessional in your area from whom youcan purchase musicianrsquos earplugs
MORE FROM CAROLYN
THIS TIME ABOUT OSKARIn the September 2008 AR the musicreview by Leslie Timmons of the Oskarpieces by Matthias Maute mentionedthat Carolyn Peskin had translated twoof the Oskar books from German toEnglish People can obtain thetranslations free of charge as Wordattachments by contacting her atCarolyn Peskin 3559 StrathavonRoad Shaker Heights OH 44120carolynpeskinstratosnet
ANOTHER KIND OF
MUSIC-READING
GLASSESIn the January 2009 issue of AmericanRecorder therersquos something (in myopinion) the ldquoRecorder with GlassesObbligatordquo article omitted which canenable a nearsighted musician to avoidneck strain in the use of bifocals
Irsquove found the solution to thisvexing problem is to have onersquos bifocalsconstructed differently [from] normalMy optometrist was willing to work
38 March 2009 American Recorder
Response___________________________________Two kinds of vision
the better to see with and (not) to hear with
Honeysuckle Music
Recorders amp accessories
Music for recorders amp viols
Jean Allison Olson1604 Portland AveSt Paul MN 55104
6516448545jeanhoneysucklemusiccom
Responses from our readers are welcomedand may be sent to American Recorder 7770 South High St Centennial CO
80122 Letters may be edited for length and consistency
ARS Membership Enrollment and Renewal I am a new member I am or have been a member
USCanadian Memberships Foreign Memberships $45 One Year $55 Foreign One Year $75 Sustaining (Receive a Hottetere Hands Pin) $100 Two Years $80 Two Years
LIFETIME MEMBERSHIP Single Dual Regular Lifetime Member $1000 (2) $1500 (4) 4 installments of $250 available) Loyalty Lifetime Member (1) $ 800 (3) $1200 (4) 4 installments of $200 available
(1) For members who have maintained membership for five consecutive years (2) $750 is Tax Deductible (3) $600 is Tax Deductible (4) Installments available Student Memberships Other Memberships (Enclose proof of full time enrollment) $65 One Year Workshop Membership
$25 USCanadian One Year $125 One Year Business Membership $45 USCanadian Two Years $30 Foreign One Year $5 Additional Charge for Dual Address or Dual Name
Do not list my name in the ARS Print Directory Do not list my name on the ARS Online Directory Do not release my name for recorder related mailings Do not contact me via email
My address telephone and email address are the same as last time
______________________________________ _________________________ Name Phone Number ______________________________________ _________________________ AddressCityStatePostal Code Email Address Please charge to (Circle one) VISAMasterCardAMEXDiscover CC________________________________ Expiration Date ______________ Signature of cardholder_______________________________________________________ Clearly Print Name as it appears on Card________________________________________
Renew by Mail Online By Phone or by Fax
Demographic Information (optional information collected only to enhance ARS services and provide statistics to grant makers)
I am a member of ARS Chapter or Consort____________________________ I am the Chapter Contact Your age Under 21 (21-30) (31-40) (41-50) (51-60) 61-70) (71+) Please check all that apply
I am a Professional Recorder Performer
I wish to be included in the list of Recorder Teachers in the ARS Directory and website I Teach (circle your choices) Children High School Youth College Students Adults Beginner Intermediate Advanced Pre-Professional Individuals Childrenrsquos Classes Adult Classes Ensembles Suzuki Orff JRS Leader Kodaly Where I Teach (circle your choices) Music Studio Public or private school Community Music School College Other _____________________
American Recorder Society 1129 Ruth Dr St Louis MO 63122-1019
Phone 314-966-4082Fax 314-966-4649
TollFree 800-491-9588ARSRecorderAmericanRecorderorg
wwwAmericanRecorderorg
with me [to find] an ideal (for me)placement size and focal length of thebifocal lens
Before visiting the optometristIrsquod had my wife measure the distancefrom my eyes to the music on mymusic stand With this measurementthe optometrist set up her machine toprepare a vision prescription for memaximized for this reading distance
When I look at my bifocals (withthem off) the lenses (through which Iread my music) occupy most of thelower two-thirds of my glasses (they are set very high and beginimmediately at the inner rims) Thisleaves the upper third and smallportions of the outside [of each lens]for focusing on the conductor As longas my stand is set low enough my necknever experiences any strain (even if Ihave to read three to a part) and Irsquove no problem in seeing theconductor (in sharp focus) either
For me trying to use glasses [toread] from a music stand [that] weredesigned for use in reading from acomputer screen also results in neckstrain (not to mention unreliability in aldquopressurerdquo situation) Having studiedTai Chi extensively and so being
wwwAmericanRecorderorg March 2009 39
There are lots ofsolutions to thepresbyopic musicianrsquosproblem but all involve compromises
40 March 2009 American Recorder
American Recorder Society PublicationsErich Katz Contemporary Music Series Members Non-MembersA Short Tale for Two Basses Suzanne M Angevine (Level II) (2 scores) $5 $8Dialogue and Dance Cecil Effinger (SATB)(Level II-III) (score amp parts) $10 $18Dorian Mood Sally Price (SATB) (Level II) (score amp parts) $10 $18Double Quartet for Recorders Peter Ballinger (Level II-III) (score amp parts) $10 $18Entrevista Frederic Palmer (SATB) (Level II) (2 scores amp 4 recorder parts) $8 $14Kyrie and Vocalise for Soprano Voice ampRecorders Stanley W Osborn $8 $14
(SATB) (Level II) (2 scores amp 4 recorder parts) Picnic Music Jeffrey Quick (SATB) (Level II) (score amp parts) $5 $8Six Short Pieces for Three Recorders edited by Alan Drake $8 $14
(3 scores) Vaclav Nelhybel (AATT) (Level II)Sonatina for Alto Recorder and Piano Anthony Burgess $7 $12
(Level II) (2 scores)Sonatine for Three Altos Lee Gannon (Level III) (score amp parts) $14 $26Suite of Jewish Folk Tunes Erich Katz (S SA8 AT) (Level II) (three scores) $10 $18
Musical Editions from the Membersrsquo Library ARS members 1 copy-$3 2 copies-$450 3-$6 4-$750 5-$10 6-$1150Non-members (editions over 2 years old) 1 copy-$5 2 copies-$850 3-$12 4-$15 5-$1950 6-$23The ARS is happy to provide photocopied enlargements of any Membersrsquo Library edition at the same prices Please specify ldquoMembersrsquo Library Enlargementrdquo
ARS Information BookletsARS members 1 booklet-$13 2 booklets-$23 3-$28 4-$35 5-$41 6-$47 7-$52Non-members 1 booklet-$18 2 booklets-$33 3-$44 4$55 5-$66 6-$76 7-$86
Education PublicationsThe ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996)
First copy free to ARS Members (mailed to new members as they join) replacement copies $3Guidebook to the ARS Personal Study Program (1996) Material formerly published in the Study Guide
and Study Guide Handbook plus additional resources Members $11 non-members $20ARS Music Lists (2002 with 2003 Supplement) Graded list of solos ensembles and method books
Members $9 non-members $15Package Deal available only to ARS members Guidebook and Music ListsSupplement ordered together $16Junior Recorder Society Leaderrsquos Resource Notebook
ARS members $20 non-members $40 (updates at reduced rates after initial purchase)$5 Dues for each JRS student member sponsored by an ARS member ($4 each for groups of 10+)
VideosRecorder Power Educational video from the ARS and recorder virtuoso John Tyson
An exciting resource about teaching recorder to young students ARS members may borrow a copy for onemonth by sending $5 to the ARS office along with the address to which the tape should be shipped
Pete Rose Video Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music Festival recitalFeatures Rose performing a variety of music and an interview of him by ARS member professional John Tyson
Other PublicationsChapter Handbook A resource on chapter operations for current chapter leaders or those considering forming an
ARS chapter ARS members $10 non-members $20 (updates free after initial purchase) One free copy sent toeach ARS chapter with 10 members or more
Consort Handbook Resource on consort topics such as group interaction rehearsing repertoire performingARS member prices CD $10 hard copy $20 combo price of CD and hard copy ordered together $25
Discography of the Recorder Vol I (1989) Compiled by Scott Paterson and David LasockiDiscography of the Recorder Vol II (1990-1994) Compiled by Scott Paterson
Either single volume ARS members $23 non-members $28Both Discography volumes together ARS members only $40
American Recorder Cumulative Index for Vols I-XXXX ARS members $20 non-members $32Index Supplement Vol XXXIV-XXXX ARS members $8 non-members $14
Shipping amp Handling FeesUnder $10 - add $3 $10-1999 - add $4 $20-2999 - add $5 $30-3999 - add $6 $40-4999 - add $7 All prices are inUS dollars For Canadian or foreign postage pay by credit card and actual postage is charged
Please make checks payable to ARS VISAMCAMEXDisc also accepted
ARS 1129 Ruth Drive St Louis MO 63122 US800-491-9588 ARSrecorderAmericanRecorderorg
Arioso and Jazzy Rondo (AB) Carolyn PeskinBerceusendashFantaisie (SATB) Jean BoivertBrucknerrsquos Ave Maria (SSATTBB)
Jennifer W Lehmann arrCanon for 4 Basses (BBBB) David P RuhlDancers (AT) Richard EastmanDifferent Quips (AATB) Stephan ChandlerElegy for Recorder Quartet (SATB) Carolyn PeskinElizabethan Delights (SAATB)
Jennifer W Lehmann arrFallen Leaves Fugal Fantasy (SATB) Dominic BohbotFour Airs from ldquoThe Beggarrsquos Operardquo (SATB)
Kearney Smith arrGloria in Excelsis (TTTB) Robert CowperIdyll (ATB) Stan McDanielImitations (AA) Laurie G AlbertsIn Memory of Andrew (ATB) David GoldsteinLay Your Shadow on the Sundials (TBgB)
Terry Winter OwensLeClercqrsquos Air (SATB) Richard E WoodLittle Girl Skipping and Alouette et al (SATBCb)
Timothy R Walsh
Los Pastores (SAAAT + perc) Virginia N Ebinger arrNew Rounds on Old Rhymes (4 var) Erich KatzOther Quips (ATBB) Stephan ChandlerPoinciana Rag (SATB) Laurie G AlbertsSanta Barbara Suite (SSAAT) Erich KatzSentimental Songs (SATB) David Goldstein arrSerie for Two Alto Recorders (AA) Frederic Palmer Slow Dance with Doubles (2 x SATB) Colin SterneSonata da Chiesa (SATB) Ann McKinleyS-O-S (SATB) Anthony St PierreThree Bantam Ballads (TB) Ann McKinleyThree Cleveland Scenes (SAT) Carolyn PeskinThree in Five (AAB) Karl A StetsonTracings in the Snow in Central Park (SAT)
Robert W ButtsTrios for Recorders (var) George T BachmannTriptych (AATB) Peter A RamseyTwo Bach Trios (SAB) William Long arrTwo Brahms Lieder (SATB) Thomas E Van Dahm arrVariations on ldquoDrmešrdquo (SATB) Martha BishopVintage Burgundy (SASATT)
Jennifer W Lehmann arr
Adding Percussion to Medieval and Renaissance Music Peggy Monroe
American Recorder Music Constance PrimusBurgundian Court amp Its Music Judith Whaley coord
Improve Your Consort Skills Susan CarduelisMusic for Mixed Ensembles Jennifer W LehmannPlaying Music for the Dance Louise AustinRecorder Care Scott Paterson
acutely aware of any kind of neckstrain when it begins to develop these ideas have been a big help to meIrsquom hoping they may be of help toother musicians as well
Best wishes to you And inanswer to your questionmdashyes the new[AR] format (with more white spacebetween the lines) is much easier toread (in my opinion)Your magazinejust keeps getting better and better
Very sincerely Ed Green WestSuburban (Chicago-area) Chapter
RESPONSE FROM DR BILL LONG
What Ed describes is a variant of theuse of conventional bifocals as musicglasses described on page 8 in thearticle Instead of lowering his musicstand into the field of view of hisbifocal segment Ed and his optome-trist have fabricated special purposebifocals with the segment really highso he can focus on his music instraight-ahead view That approachrestricts his distance vision to an areaabove his usual line of sight whichseems to work for Eds playing setup
Eds comments on the difficultiesin using conventional progressiveaddition lenses as music lenses con-firm what I said on page 9 Thats whymanufacturers have marketed special-ty progressive lenses designed specif-ically for intermediate distance taskslike computer use and playing music
There are lots of solutions to thepresbyopic musicians problem but all involve compromises The key toevaluating those compromises andchoosing the best solution for yourselfis to understand your needs and toenlist the help of a sympathetic visioncare specialistmdashjust as Ed did
Please change your
browserrsquos favorites list
AR online is now at wwwameri
canrecorderorgmembership
magazinehtm Send news to
editoramericanrecorderorg
FOUR FOUR-PART CANZONAS
(1608) BY GIOVANNI GABRIELI
ED GREG LEWIN Hawthorns Music RB 16 (Magnamusic) 1999 SATBSc 16 pp pts 4 pp $1950
Giovanni Gabrieli was probablyborn between 1554 and 1557 in theparish of San Geremia in Venice Thedetails of his early life are sketchy butit appears that he was born Giovannidi Fais and later changed his name toGabrieli out of respect to his uncleAndrea with whom he shared a closerelationship In fact in 1587 Gabrielidescribed himself ldquoas little less than asonrdquo It is commonly thought thatAndrea provided Giovanni with hisearly musical training Andrea whohad spent some time in Munichstudying under the great Orlando deLassus sent Giovanni to Munich for a similar period of study in theearly 1570s
Gabrieli remained in Munichuntil the death in 1579 of the dukeAlbrecht V who had been Lassusrsquosemployer for a number of years andwho was an enthusiastic patron of the arts particularly music With hisdeath a number of musicians lost theirjobs it seems as if Gabrieli were also a victim of such culling of talent(Within a generation the tide wouldturn and the Munich court wouldagain hire Venetian expatriates such as Priuli Valentini and Neri)
Upon his return to VeniceGabrieli was hired as a temporaryorganist at San Marco his positionbecoming permanent in 1585 For a few months that year uncle andnephew served together as first and
second organists in the chapel of thedoge In Giovannirsquos absence fromVenice there had been a plague thathad decimated the ranks of theprofessional musicians Andrea setabout rebuilding his forces at SanMarco by hiring a full-time windband consisting of Girolamo dallaCasa a renowned cornettist andviolist his two brothers who playedsackbut and later the cornett virtuosoGiovanni Bassano Giovanni Gabrieliaugmented these forces with addi-tional players and began composingthe large-scale ceremonial music forwhich he is so well known today
Giovanni was also elected to bethe organist and composer to theconfraternity of San Rocco in 1585and it is now thought that his largestpieces were intended for that venuewith its large central gallery andfrescos by Tintoretto instead of SanMarco Gabrieli held both thosepositions at the basilica of San Marcoand the Scuola Grande di San Roccountil he died in 1612 of a kidney stone
Although best known today forhis ceremonial and festival musicGabrieli was at home in smaller-scaleformats as well These four four-partcanzoni are taken from the 1608publication by the Venetian publisherAlessandro Raverji Canzoni per sonarecon ogni sorte di strumenti These werevery popular pieces to judge by themany collections in which they appear
Additionally like Gabrielirsquoskeyboard music they are found inother arrangements These four-partcanzoni lie well under the fingers inarrangements for keyboard and lute
As seen from the title Gabrielispecified no instrumentation but like asimilar edition of madrigals and battlepieces from a few years earlier a dis-tinction was made that they wereintended for wind instruments almostcertainly cornetts and sackbuts
Recorders were not unknown in Venice they were used regularly inthe confraternity of San GiovanniEvangelista where Giovanni BattistaRiccio was organist
These pieces are relativelysimplemdashplayable by beginning tointermediate ensembles They aremostly contrapuntal (with a fewhomophonic sections) and have few rhythmic eccentricities
These canzoni are found in manymodern brass editions but there arefew editions available to the recorderplayer This edition by Greg Lewin ofHawthorns Music might be consid-ered a ldquobare-bonesrdquo edition There islittle background information andeditorial practices are not specified
The music itself has a handwrittenlook that can be distracting but is easyenough to read Lewin has thought-fully supplied phrasing marks that willbe helpful for ensembles unused tothis style of music
Music
Reviews___________________________________ Infectious music created in spite of the plague
wwwAmericanRecorderorg March 2009 41
This is a good edition
for small ensembles that
canrsquot get eight players
together to play
Gabrielirsquos more famous
eight-part canzoni
42 March 2009 American Recorder
The parts are four pages but mycopy had all four pages printed on avery large page This is not a problemand there are no page turns
This is a good edition for smallensembles that canrsquot get eight playerstogether to play Gabrielirsquos morefamous eight-part canzoni Thesesmall-scale pieces are by no meansinferior to Gabrielirsquos more elaboratemusic and deserve to be better known
7 CANZONEN (1637) BY
TARQUINIO MERULA ED JOACHIM
ARNDT WITH CONTINUO REALIZATION
BY CLAUDIA SCHWEITZER MieroprintMusikverlag EM2088 (availabledirectly from wwwmieroprintcom)2005 SS or TT bc Sc 24 pp pts 8 pp$28
Tarquinio Merula was bornaround 1595 in either Busseto orCremona in Italy As was the case withso many composers of the day either alack of regular employment or a rest-less nature took him from his home inCremona to as far away as Warsaw He is found as the organist of thechurch and the chambers to the kingof Poland Sigismund III in 1624
Merula was one of the leadingexponents of the relatively new con-certante style pioneered by ClaudioMonteverdi and others in the seconddecade of the 17th century and may be described as one of the earliestBaroque composers His compositionsin the concertante style are fresh andunforcedmdashhe was born into this styleand didnrsquot encounter it as somethingnew as was the case with so many ofMonteverdirsquos contemporaries
After several years of peripateticexistence Merula found regularemployment in 1631 in Bergamo atthe church of San Maria MaggioreThe prior holder of the post of maestrodi cappella Alessandro Grandi haddied the previous year in the plagueMerula had signed a three-year
contract but by December 1632 hewas terminated with accusations thathe had molested several studentsMerula threatened a lawsuit to recoverhis lost wages but that threat wascountered with a pending criminalcharge lodged by the board ofgovernors of San Maria Maggiore By mid-1633 the matter was settledwith an apology from Merula and astatement that he relinquished allclaims to his salary
He then returned voluntarily toCremona where he stayed until 1635By 1638 Merula was once again inBergamomdashthis time as maestro dicappella and organist in the cathedralnext to San Maria Maggiore Asmight be expected there was con-siderable tension between the twochurches eventually resulting in theboard of San Maria Maggioreforbidding their musicians to perform under Merularsquos direction
He returned in 1646 to a familiarCremona post which he had heldthree times in various years and wherehe now settled downmdashthat of organistand maestro di cappella for Laudi dellaMadonna services in which he ledmusic at the main altar on Saturdaysand on vigils of Marian feasts
None of his employment issues
prevented the Pope from awardinghim the Order of the Golden SpurMerula was also elected to theAccademia dei Filomusi in BolognaHe died in 1665 in Cremona
His existing compositions showthe products of a lively mind Hisworks range from sacred songs andmotets to purely instrumental piecesnotably the ever-popular variations onvarious ground basses It is knownthat Merula was an accomplishedviolinist as well as a fine organist Hissurviving instrumental writing showsa predilection for strings In fact hewas one of the earliest composers tospecify string accompaniments tosacred motets
Merularsquos pieces look backwardtoward some of the more progressiveVenetian composers such as Monte-verdi while looking forward to thehigh Baroque with his innovative style
These seven canzoni like theearlier-published chaconne (EM2084)come from Merularsquos third bookpublished in 1637 CANZONI overo SONATE CONCERTATE perchiesa e camera a due et a tre delcavaliere This collection typifiesMerularsquos output pieces based onRenaissance-era ground basses arefound next to more ldquomodernrdquo sonatas
The original edition specifiesviolins and basso continuo This newedition is intended for recorders thespecific choice of which is up to theplayers Due to the relatively hightessitura tenor recorders work best inthese pieces (although listed as analternative soprano recorders tend to be on the screechy side)
Not surprisingly given Merularsquosskill as an organist the continuo partneeds a keyboard instrument forsuccessful realization Instead of beinga purely accompanying part the bassocontinuo part is an equal partner in these pieces the canzona ldquoLaRuggierardquo opens with a run that therecorders echo a few measures later
A more recorder-specific
edition intended for
altos would have been
ideal There is nothing
preventing the more
adventurous and
industrious players
from making their
own editions of this
delightful music
mentioned were a bit shrill A morerecorder-specific edition intended foraltos would have been ideal There isnothing preventing the moreadventurous and industrious playersfrom making their own editions of thisdelightful music
Prior to playing the previouslypublished chaconne I had notencountered MieroprintMusikverlag Mieroprintrsquos extensivecatalog has an equal focus on newmusic for recorders and on editions ofBaroque masters with emphasis on therecorder and flute Due to the lack of
wwwAmericanRecorderorg March 2009 43
are also available at
The Early Music Shop
of New England
Brookline MA
AESTHEacute
367-b de la Briquade
Blainville Queacutebec
Canada J7C 2C7
tel (450) 979-6091
wwwboudreau-flutesca
A bass viola da gamba or rsquocello is not necessary for these pieces and may infact make them sound heavy and ponderous rather than light and breezy as thismusic seems to be
More so than the above-mentioned chaconne these canzoni are written in avery idiomatic violin style with multiple examples of arpeggios In particular thecanzona ldquoLa Trecchardquo contains a notated example of a string tremolo figurerecurring through the piece ldquoLa Trecchardquo also dips well below the range of a Crecorder going down to low G the lowest string on the violin The editors havesupplied no alternative notes preferring to let the performers to fend forthemselves (in practice we took this passage up an octave with no problems)
The two recorder parts require virtuosity These upper parts are demandingwith the players needing to double-tongue in unison in order to negotiate themany runs of 16th notes and the shared rhythmic ldquolicksrdquo The harmoniclanguage unlike much of Merularsquos music is undemanding and contains none of the harmonic crunches for which he is famous
This is wonderful music that needs a couple of advanced recorder players fora successful performance The string idiosyncrasies can be overcome by advancedplayers and many of the editions of the era (although not this one) list thecornetto as an alternative to the violin so the use of wind instruments in the solo literature of the early Baroque was not unknown
Our experience with this edition left us with the opinion that these pieceswould have been better if transposed down a minor third so as to fit on a pair ofalto recorders (as is the case with much Baroque flute music to make it lie betteron the recorder) The tenors we used tended to sound a bit murky in the lowerregister next to the more aggressive harpsichord while the sopranos we tried as
KEY rec=recorder Srsquoo=sopraninoS=soprano A=alto T=tenor B=bassgB=great bass cB= contra bass Tr=treble qrt=quartet pf=piano fwd=foreword opt=optional perc=percussionpp=pages sc=score pt(s)=part(s)kbd=keyboard bc=basso continuohc=harpsichord PampH=postage andhandling Multiple reviews by one reviewerare followed by that reviewerrsquos name Pleasesubmit music for review to AR 7770 SHigh St Centennial CO 80122-3122 US
an American distributor this musicwill be hard to findmdashin fact can befound only at the time of this writingon their web site noted above But theeffort will be repaid
This edition is clear and easy toread and the parts require no pageturns The basso continuo realizationis simple and elegant
This is music deserving ofrediscovery My only quibble is thatthe editorial notes are all in GermanThis seems to be the practice ofGerman music publishers with thenotable exception of Moeck Otherpublishers of early music such asLondon Pro Musica routinelyprovide notes in English and German and often in French and Italian making their editionsaccessible to a wider audience
Frank Cone studied the recorderwith the late Ellen Perrin the viola dagamba with Carol Herman and thecornetto with Larry Johansen TheCalifornia multi-instrumentalist has been a member of the Orange CountyRecorder Society since 1985
Advertiser Index
AMERICAN ORFF-SCHULWERK ASSN 3
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AMHERST EARLY MUSIC FESTIVAL 17
STEPHAN BLEZINGER 24
JEAN-LUC BOUDREAU 21 39
BOSTON EARLY MUSIC FESTIVAL 7
CANTO ANTIGUO EARLY MUSIC WORKSHOP 13
COURTLY MUSIC UNLIMITED 20
EARLY MUSIC AMERICA 8
HONEYSUCKLE MUSIC 34
BILL LAZARrsquoS EARLY MUSIC 26
KEITH E LORAINE EARLY DOUBLE REED SERVICE 35
LOST IN TIME PRESS 11
MADISON EARLY MUSIC FESTIVAL 12
MAGNAMUSIC DISTRIBUTORS BC
MOECK VERLAG IFC
MOLLENHAUER RECORDERS IBC
PORT TOWNSEND WORKSHOP 14
PRESCOTT WORKSHOP 30
PROVINCETOWN BOOKSHOP 26
THE RECORDER MAGAZINE 4
THE RECORDER SHOP 6
SAN FRANCISCO EARLY MUSIC SOCIETY 18
SWEETHEART FLUTE CO 3
TEXAS TOOT 20
VON HUENE WORKSHOP INC 30
WICHITA BAND INSTRUMENT CO 21
DOMINIK ZUCHOWICZ 34
CONSIDER ADVERTISING IN
Full page $55223 page $43912 page $36613 page $28614 page $22316 page $17518 page $127112 page $ 951 column inch $ 58
Prices include web sitee-mail link directly from your ad in the online AR at wwwamericanrecorderorg
Circulation Includes the membership of theARS libraries and music organizations
Published five times per year January March May September November
Reservation Deadlines December 1 (January) February 1 (March) April 1 (May) August 1 (September) October 1 (November)
Rates good through November 2009 Pleaseinquire about discounts on multiple-issuecontracts inserts or other special requestsExtra charges for typesetting layout half-tones and size alterations 133-line screenrecommended Advertising subject toacceptance by magazine First-time adver-tisers must include payment with order
For more information contact the ARS office 1129 Ruth Drive St Louis MO63122-1019 800-491-9588 toll free 314-966-4082 phone 314-966-4649 faxadvertisingamericanrecorderorg
44 March 2009 American Recorder
Classified___________________________________
FOR SALE Cherrywood hurdy gurdy and hard-side case made by Kelischek bought 2005Originally $765 plus $89 for case Rarely usedBoth for $450 or make offer Please contact marjalocomcastnet Can ship
ASPIRE ANNOUNCE INSPIRE Afford-able PR for teachers and recitalists wwwrecitalroomcom
PHOTOS NEEDED of ARS events 1970sndash1990sto illustrate last chapters of Martha Bixlerrsquos histor-ical memoir about the ARS (to be posted online)E-mail scanned photos (300dpi JPG or TIF)arsrecorderamericanrecorderorg Hardcopies mail to ARS office to be scanned ampreturned Info 800-491-9588
T-SHIRT FOR ENSEMBLE PLAYERS to wear orshare Top 10 Reasons Why I Got Lost Wrongfingering bad lighting etc on blue cotton shirt$18 Highlighter tape and other goodies Beth amp Lindas Boutique as seen at BEMF CallLinda at 617-671-8694 or e-mail for brochurelindakushverizonnet
Where the havesand have-nots
of the recorder world can find each other
Classified rate for American Recorder 60centper word ten-word minimum ldquoFOR SALErdquoand ldquoWANTEDrdquo may be included in thecopy without counting Zip code is oneword phone e-mail or web page is twoPayment must accompany copy Deadlinesare one month before issue date Send copywith payment to ARS 1129 Ruth Drive St Louis MO 63122-1019
AMERICAN RECORDER (ISSN 0003-0724) 1129 Ruth Dr St Louis MO 63122-1019 is publishedbimonthly (January March May September and November) for its members by the AmericanRecorder Society Inc $20 of the annual $45 US membership dues in the ARS is for a subscriptionto American Recorder Articles reviews and letters to the editor reflect the viewpoint of their individ-ual authors Their appearance in this magazine does not imply official endorsement by the ARS
EDITORIAL DEADLINES November 15 (January) January 15 (March) March 15 (May) July 15(September) and September 15 (November) Submission of articles and photographs is welcomedArticles may be typed or sent as an attachment (Word or RTF preferred) to or text in an e-mail mes-sage They should be for the exclusive consideration of AR unless otherwise noted Photos may besent as prints or unedited JPG or 300dpi TIF files (minimum 3rdquox4rdquo) Advertisements may be sent inPDF or EPS format with fonts embedded
EDITORIAL OFFICE Gail Nickless Editor 7770 S High St Centennial CO 80122-3122 303-794-0114 (phone amp fax) editoramericanrecorderorg Books for review Editorial office Musicfor review Editorial office Recordings for review Tom Bickley 1811 Stuart St Berkeley CA 94703Cutting Edge Tim Broege 212 Second Ave Bradley Beach NJ 07720-1159 Chapter newslettersother reports Editorial office Postmaster Send address changes to ARS 1129 Ruth Drive St LouisMO 63122-1019 Periodicals postage paid at St Louis MO and at an additional mailing office
Chapter leaders
We know yoursquore out there
and that you want to share
your plans concerns
solutions and ideas with
other chapter leaders Visit
httpamericanrecorder
societywikispacescom
34 March 2009 American Recorder
The Von Huene Workshop Incis pleased to announce agreements with
CoolsmaZamra
to serve as their authorised service agents in the US
For more than 40 years the von Huene Workshop has produced some of the finest recorders in the world Our skilled staff can revoice retune and repair even the most seriously damaged instruments All repairs are done right on the premises and most can be completed within a week
For warranty repairs please include a copy of your original sales receipt
j 65 Boylston Street Brookline MA 02445 i(617) 277-8690 Fax (617) 277-7217 servicevonhuenecom
An informative article aboutrecorder sizes in Renaissanceconsorts
Brown Adrian and David LasockildquoRenaissance Recorders andTheir Makersrdquo AmericanRecorder Vol XLVII No 1(January 2006) pp 19-31 An important article based upon Brownrsquos extensive researchon 120 of the 200 surviving 16th-century recorders
Ganassi Silvestro Opera IntitulataFontegara Ed Hildemarie Peter(Berlin-Lichterfelde RobertLienau 1959) Modern edition ofthe oldest known treatise devotedentirely to the recorder (publishedin 1535) Includes 16th-centuryfingering charts
Griscom Richard and David LasockiThe Recorder A Research andInformation Guide (New York andLondon Routledge 2003) Anannotated bibliography including
references on construction anddesign of historical recorders
Levin Philip ldquoQampArdquo AmericanRecorder Vol XXXVIII No 4(September 1997) p 27Explains in simple terms thedifference between Renaissanceand Baroque recorders
Morgan Fred ldquoA Recorder for theMusic of JJ van EyckrdquoAmerican Recorder Vol XXV No 2 (May 1984) pp 47-49Describes the bore design of arecorder suitable for playing Van Eyckrsquos variation sets andcompares it with bore designs ofother types of recorders
Myers Herbert W ldquoRecorderrdquochapter in A Performerrsquos Guide toRenaissance Music ed JefferyKite-Powell (New York SchirmerBooks 1994) A 2nd edition isnow available published in 2007by Indiana University Press
FEATURING MUSICA PACIFICA
JUDITH LINSENBERG
RECORDERS____JS BACH TRIO SONATAS Arr by
Linsenberg from Trio Sonatas for Organ BWV525-
530 Sonata No 1 in E
major (transp to B
)
BWV 525 Sonata No 2 in C minor (transp to E)
BWV526 Sonata No 3 in D minor (transp to G)
BWV 527 Sonata No 4 in E minor BWV 528
Sonata No 5 in C major (transp to F) BWV529
Sonata No 6 in G major (transp to C) BWV 530
Virgin Classics Veritas 1993
____FIRE BENEATH MY FINGERS Showcases
three legendary composers who were also
virtuoso performers Vivaldi Concerto in F major
after RV 98570 ldquoLa Tempesta di Marerdquo Sonata in
A minor RV86 Concerto in G minor RV106 Con-
certo in Bb major RV503 Sammartini Concerto in
F major Tartini Concerto in A major D91 Dorian
____MANCINI CONCERTI DI CAMERA Seven
sonatas by Francesco Mancini plus one work each
from his contemporaries Francesco Durante amp
Domenico Scarlatti Highly recommended citation
from the 2000 Vivaldi Prize for Recordings of Italian
Early Music--Giorgio Cini Foundation Dorian
____MARAIS MARIN PIEgraveCES EN TRIO POUR
LES FLUcircTES VIOLON amp DESSUS DE VIOLE
Maraiss complete works for two treble lines and
bass with varied instrumentation and orchestrations
2-CD set $24
____SCARLATTI CONCERTI DI CAMERA
Seven sonatas for various instrumentations no
poor relations to the composers much more widely-
known vocal output All recorder players should
certainly have thisndashEarly Music Review
____TELEMANN CHAMBER CANTATAS
Five cantatas from Harmonischer Gottesdienst two
sonatas from Sonatas Corellisantes 2003 Chamber
Music America WQXR Record Award for best
chamber music recordings
____VIVALDI LA NOTTE Concerti per strumenti
diversi Award-winning CD featuring five Vivaldi
concerti two sonatas
AND OTHER RECORDING
ARTISTS FROM CALIFORNIA ____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 American Bach Soloists Jeffrey
Thomas conductor Dan Laurin Hanneke van
Proosdij recorders Christmas Concerto featuring
unique 1725 London version with solos transcription
for two recorders instead of two solo violins in
three of the six concertos Delos
____CANCcedilONIEgraveR Annette Bauer recorder
multi-instrumentalist Tim Rayborn Shira Kammen
strings Phoebe Jevtovic voice in a new early
music group devoted to repertoire from the
12thndash15th centuries as well as traditional music
from related regions (the Balkans Scandinavia
Middle East) Medieval instrumental music played
on a variety of instruments including strings
recorders and percussion Medieval dances and
motets bring to life the rich world of ancient
European music-making
____SACRED AND SECULAR MUSIC FROM
RENAISSANCE GERMANY Ciaramella-Adam amp
Rotem Gilbert Doug Millikan Debra Nagy
recorders with other winds shawm sackbut amp
organ Medieval amp Renaissance sacred music with
reconstructions of folksongs amp arrangements based
on contemporary improvisation
____BURIED TREASURE TOPAZ amp SAPPHIRE
Ensemble Vermillian Frances Blaker recorders
Barbara Blaker Krumdieck cello Elisabeth Reed
gamba Katherine Heater harpsichord amp organ
Transcriptions of Buxtehudes Op 1 other pieces by
Buxtehude works by Biber Johann Schop
Schmelzer Fafarela 2007
____STOLEN JEWELS Ensemble Vermillian
Frances Blaker recorders Barbara Blaker
Krumdieck Elisabeth Reed Katherine Heater 17th-
century German music adapted by Blaker I love
violin music so I steal the music and rearrange it
for my own instrumentrdquo Buxtehude Op 1 Biber
Rosenmuller Krieger JM Bach Fafarela
Recordings
____SENFL (LUDWIG) Farallon Recorder Quartet
(Letitia Berlin Frances Blaker Louise Carslake
Hanneke van Proosdij) 23 lieder motets and
instrumental works of the German Renaissance
____DOLCE MUSICAndash A CONTEMPLATIVE
JOURNEY Eileen Hadidianflutes recorders
Natalie Cox harps Celtic Renaissance and
Medieval melodies for recorder and flute with
Celtic harp Healing Muses 2005
____REFLECTIONS MUSIC TO SOOTHE AND
UPLIFT THE SPIRIT Eileen Hadidian recorder amp
Baroque flute with Celtic harp and cello Celtic
traditional Renaissance amp Medieval melodies
Healing Muses
____AN EVENING WITH BACH Voices of Music
Hanneke van Proosdij Louis Carslake Dan Laurin
recorders Joanna Blendulf Elizabeth Blumenstock
Rodney Gehrke Lisa Grodin Katherine Kyme
Jennifer Lane Victoria Gunn Pich Susanne Ryden
William Skeen David Tayler Renaissance and
Baroque music centers on fine singing Instantly
recognizable Air on a G String Bachrsquos Prelude in
G Major (solo theorbo for rsquocello) plus lilting vocal
performancesmdashRydenrsquos weightless soprano on
Bist du bei mir Lanersquos rich alto on Es is vollbracht
____BACH amp TELEMANN SONATAS PRELUDES
amp FANTASIAS Voices of Music (Hanneke van
Proosdij Joanna Blendulf Rodney Gehrke William
Skeen David Tayler) Beautiful chamber music by
Bach and Telemann
IN STOCK (Partial listing)____ALLA TURCA FUX CALDARA BADIA
Matthias Maute amp Sophie Lariviegravere recorders
Monika Mauch soprano Vocal music of the church
accompanied by Ensemble Caprice plus sonatas
and other instrumental pieces Analekta
____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 John Daniels Sonja Lindblad
recorders Peter Sykes harpsichord Trio sonata
arrangement by Johann Christian Schickhardt
____LES
AMIS DU
BAROQUE
Paul Nauta recorder amp
Baroque flute Koen Dieltiens recorder Music by
Bassani Corelli Vivaldi etc Highlight Intl
____LES SEPT SAUTS BAROQUE CHAMBER
MUSIC AT THE STUTTGART COURT Matthias
Maute amp Sophie Lariviegravere recorders amp traverso
Ensemble Caprice Charming repertoire by
Schwartzkopff Bodino Detri Atma Classique
____TASTE OF PORTIQUE LEnsemble Portique
Early and contemporary chamber musicmdash
Bach Telemann Boismortier and others
____TELEMANN ALLA POLACCA REBELndash
Matthias Maute recorders amp traversondash
plays concerti and suites by GP Telemann Dorian
____TELEMANN CANONS AND DUOS Lisette
Kielson amp Patrick OMalley recorders LEnsemble
Portique Telemann Canons meacutelodieux amp Sonates
sans basse 2-CD set LEP Records
____20TH CENTURY MUSIC FOR RECORDER amp
PIANO Anita Randolfi recorders Music by Jacob
Bartok Leigh others for recorder amp piano
____VIVALDI AND THE BAROQUE GYPSIES
Matthias Maute amp Sophie Lariviegravere recorders
Ensemble Caprice Gypsy music taken from
Uhrovska zbierka (now Slovakia) plus Vivaldi
____VIVALDI SHADES OF RED CONCERTOS amp
SONATAS FOR RECORDER amp STRINGS Matthias
Maute recorders REBEL Stylish high octane
readings of some of Vivaldis most beloved pieces
including the popular and raucous Concerto alla
Rustica stunningly colorful Sonata on La Follia and
four exuberant recorder concerti Bridge
____WINDFIRE Charmaine Delmatier recorder
Steve Kostelnik classical guitar Terry Hale bass
Erik Hokkanen violin Refreshing mixture of Andrew
Lloyd Weber American blues flamenco Celtic and
one original piece ltwwwyermomusicomgt
Please indicate above the CDs you wish toorder and print clearly the following
Name ____________________________________
Daytime phone (_____)______________________
Address__________________________________
CityStateZip _____________________________
Check enclosed for
_____ single CDs x $____ = $______
_____ 2-CD sets x $____ = $______
TOTAL $______
Please charge the above amount to my
MasterCard Visa or AmEx
_______________________________________
Exp Date ____________
Cardholderrsquos signature ______________________
Mail to
ARS 1129 Ruth Dr St Louis MO 63122-1019 US
You may fax a credit card order to 314-966-4649
NEW You may order CDs online using PayPal at
wwwamericanrecorderorgordercdromshtm
Order your recorder discs
through the ARS CD Club
The ARS CD Club makes hard-to-find or limited release CDs by ARS members
available to ARS members at the special price listed (non-members slightly higher)
All CDs are $15 ARS members$17 Others unless marked otherwise Two-CD sets are
$24 ARS members$28 Others Add Shipping and Handling $2 for one CD $1 for each
additional CD An updated listing of all available CDs may be found at the ARS
web site ltwwwamericanrecorderorggt
The first meeting of the newly-formedFort Myers Recorder and Early
Music Ensemble was January 26 atthe Florida home of chapter rep Sue
Groskreutz For this year the groupis somewhat loosely organized andplans to meet for extended sight-reading Repertoire at the first meetingcomprised everything from Renais-sance duets to chamber music involv-ing three treble parts and continuo
Among the five musiciansattending the first meeting (photobelow front row Elizabeth Spang SueGroskreutz back row Suzanne FergusonSibylle Baumgartner Arlene Sowka) allplayed recorder three harpsichord
and one each played traverso violinand gamba Due to the scarcity ofrecorder players south of the Sarasotaarea modern string players are alsoincorporated into this ensemble
The group decided not to chargedues and to meet at Groskreutzrsquoshome For more information pleasecontact Groskreutz at 239-267-1752spgembarqmailcom Snowbirdsdrifting through the area are welcome
Last fall at the requestof a student Kay Hettich
(inset below right) taught abeginning recorder class atthe Redding (CA) Senior
Center The five-weekclass was so successful thatmost participants haveformed a bi-weekly noviceensemble (right) coachedby Hettichmdashwho consid-ers them her ldquohatchedeggsrdquo
A new batch of ldquoeggsrdquostarted to incubate when afive-week class began on February 20Other senior center members havebecome interested as they heard oftheir colleaguesrsquo success These noviceplayers comprise some who previouslyread music and played instruments as well as people who are totally new to music notation
One student has also formulated amaxim ldquoEveryone at age 40 ought tolearn to play the recorder if heshehasnrsquot alreadyrdquo Just think how theworld would be transformed byshifting our focus to music
After Lynn Whidden attendedthe Montreacuteal Recorder Festival lastfall when the ARS Board met inQuebec she joined the ARS and nowrelays news of the lively interest in therecorder exhibited by a group underthe new leadership of Brent Legg ofBrandon University in ManitobaCanada Although his hands wereldquostill partly frozenrdquo he wrote that theBrandon University Collegium
Musicum in collaboration with theWaverley Park Recorder Club is
preparing a spring concert calledldquoEnglandrsquos Golden AgerdquoRepertoire spans the 16th century
from Henry VIIIrsquos accession in 1509to the death in 1603 of Elizabeth Iand includes solo songs four- andfive-part settings of Renaissancedances (with dancers) three- to five-voice madrigals and ldquobig-bandrdquoarrangements of William Byrdrsquos TheBells and The Dargason as re-imaginedby Gustav Holst (further re-imaginedfor recorders and percussion)
Of the 15 collegium membersseven are encountering the recorderfor the first time since elementaryschool The Collegium Musicumpromotes the study of early music at the university and is open to theuniversity community and the generalpublic This year there are five com-munity participants with interest fromseveral more both within and outsideof the university For informationcontact BrentLegggmailcom
January 16 marked the thirdannual recorder workshop of threeFlorida groups the Pasco Collegium
Recorder Consort of Hudson theImperial Recorder Consort of
36 March 2009 American Recorder
Chapters
amp Consorts___________________________________Workshops and activities from
coast to coast in the US and Canada
Lakeland and the Pilgrim Pipers Recorder Consort of St Petersburg Theygathered for a morning tackling selections by Banchieri Monteverdi PurcellCorelli Mendelssohn Bach Mozart and Glen Shannon Each group presenteda piece for the other participants Sweet Georgia Brown by Ben Bernie (St Pete)a Sonata by Sammartini (Lakeland) and The Gospel Train arr by KW Ford(Pasco) The 29 participants were led by Marlene Cracraft (Pasco) Jane
Spencer (Lakeland) and Elizabeth Snedeker (St Pete) Tom Bickley (photo below) directed the fall workshop of the Mid-Peninsula
Recorder Orchestra in Cupertino CA The 30 players started with Gregorianchants written in ldquooldrdquo notation Bickley gave basic instruction on how tointerpret the notes and then had the group sing the chants prior to playing them
The workshop theme of ldquoThe Articulate Recorderrdquo was literally played out as the music presented used variations in tonguing phrasing and breathingOther repertoire included a Kyrie by Tomas Luis de Victoria Bachrsquos Jesu Joy ofManrsquos Desiring a double-choir piece by Gabrieli Christopher Tyersquos In NomineXIII and a Purcell chaconne The workshop ended with a rhythmically-challenging minimalist piece by Bickley entitled Beginning composed for theWaldorf School teacher training program George Greenwood reports that thegroup had a productive event and plans to ask Bickley to lead a future workshop
wwwAmericanRecorderorg March 2009 37
A Muse in the DesertThe sound of a pin dropping hellip thesound of eager minds and fingersabsorbing information and inspira-tion hellip the sounds of ldquoNuevaEspantildeardquo Spanish- and indigenous-influenced music of the 1600s in theNew World These were the soundsof the Desert Pipes (Phoenix AZ)chapterrsquos fall workshop given byEileen Hadidian On a Saturdaylast October 30 players from all overArizona gathered to learn from andbe inspired by the founder of a SanFrancisco Bay Area group dedicatedto sharing music for healing inhealthcare settings Healing Muses(wwwhealingmusesorg)
The day began with relaxationstretching and breathing exercisesfollowed by travels to Peruacute MexicoGuatemala and Colombiamdashhighchurch music vernacular pieces anda mixture of the two Participantsenjoyed the historical and contextualbackground provided as an overviewfor the day and for each piece
Remarkably the sound heardbetween pieces and passages was anenergy-filled quiet the attentivestillness of active engagement in theworkshop experiencemdashnot the chat-tering noodling and conversationsthat often occur when the musicstops That activity was reserved forthe breaks when participants couldenjoy the cool (at last) outdoorschat with Hadidian and peruse the popular garage sale (to benefitDesert Pipes) of previously-enjoyedbooks and other treasures
On Sunday Hadidian sharedher expertise and inspiration in indi-vidual and group coaching sessionsThe weekend was a special experi-ence and Desert Pipes memberslook forward to the next visit of this Healing Muse
Ann Koenig Scottsdale AZannisalesprocom
Members
of three
Florida
groups
met
in January
for a joint
workshop
CHAPTER NEWS
Chapter newsletter editors and publicity officers should send materials for publication toAmerican Recorder 7770 South High St Centennial CO 80122-3122
editoramericanrecorderorg Also send short articles about specific activities that haveincreased chapter membership or recognition or just the enjoyment your members get out of
being part of your chapter Digital photos should be at least 3rdquox4rdquox300dpi TIF or unedited JPG files Please send news to the AR address above and to the following
ARS Office 1129 Ruth Drive St Louis MO 63122-1019 ARSrecorderAmericanRecorderorg
and to Bonnie Kelly Chair Chapters amp Consorts Committee 45 Shawsheen Rd 16 Bedford MA 01730 bksharpaolcom
TO THE STARS
AND BEYONDThe cover of the November magazinegenerated a few comments Some werenrsquotsure how to interpret the title (in theartistrsquos native German it could besomething close to ldquostarlit moonrdquo)Longtime member Carolyn Peskin wrote to offer her vision of that cover
In the beginning the Great Spiritinvented Mr Sun to light the day andMiss Moon to light the nightHowever as Miss Moon floated up inthe sky all by herself like a big yellowballoon she began to feel very lonelyso one night to relieve her lonelinessshe decided to take out her recorderand make music
But when she started to playsomething miraculous happened Not only beautiful melodies but alsoyellow dust poured out of the bottomof her recorder and the dust particlesimmediately coalesced to form yellowstars As she continued playing moreand more stars were created and theyfloated up around her filling the nightsky
At last Miss Moon was happy fornot only was she herself able to enjoyher music but she now had a wholecrowd of starry companions to enjoy itwith her And if you listen very care-fully on a quiet night you might beable to hear her recorder and thatstarry choir humming along
Carolyn Peskin
LOCATING EARPLUGSI read with interest the QampA in theNovember lsquo08 AR regarding hearingloss and use of earplugs Where do you get musicianrsquos earplugs
Dolly Hirata Kensington CA
CAROLYN PESKIN PROVIDED THIS
INFORMATION Musicianrsquos earplugs arecustom made for individual usersThey can be purchased only fromlicensed hearing professionals (ieaudiologists and hearing instrumentspecialists) To find a licensed hearingprofessional in your area look underldquoaudiologyrdquo or ldquohearingrdquo in your localyellow pages
For information about how musi-cianrsquos earplugs are produced visitwwwetymoticcomephperme-w
tbaspx That web page also has a linkto contact information for authorizedlabs that make the custom earmolds formusicianrsquos earplugs If the yellow pagesdo not prove helpful those labs canrefer you to a licensed hearing pro-fessional in your area from whom youcan purchase musicianrsquos earplugs
MORE FROM CAROLYN
THIS TIME ABOUT OSKARIn the September 2008 AR the musicreview by Leslie Timmons of the Oskarpieces by Matthias Maute mentionedthat Carolyn Peskin had translated twoof the Oskar books from German toEnglish People can obtain thetranslations free of charge as Wordattachments by contacting her atCarolyn Peskin 3559 StrathavonRoad Shaker Heights OH 44120carolynpeskinstratosnet
ANOTHER KIND OF
MUSIC-READING
GLASSESIn the January 2009 issue of AmericanRecorder therersquos something (in myopinion) the ldquoRecorder with GlassesObbligatordquo article omitted which canenable a nearsighted musician to avoidneck strain in the use of bifocals
Irsquove found the solution to thisvexing problem is to have onersquos bifocalsconstructed differently [from] normalMy optometrist was willing to work
38 March 2009 American Recorder
Response___________________________________Two kinds of vision
the better to see with and (not) to hear with
Honeysuckle Music
Recorders amp accessories
Music for recorders amp viols
Jean Allison Olson1604 Portland AveSt Paul MN 55104
6516448545jeanhoneysucklemusiccom
Responses from our readers are welcomedand may be sent to American Recorder 7770 South High St Centennial CO
80122 Letters may be edited for length and consistency
ARS Membership Enrollment and Renewal I am a new member I am or have been a member
USCanadian Memberships Foreign Memberships $45 One Year $55 Foreign One Year $75 Sustaining (Receive a Hottetere Hands Pin) $100 Two Years $80 Two Years
LIFETIME MEMBERSHIP Single Dual Regular Lifetime Member $1000 (2) $1500 (4) 4 installments of $250 available) Loyalty Lifetime Member (1) $ 800 (3) $1200 (4) 4 installments of $200 available
(1) For members who have maintained membership for five consecutive years (2) $750 is Tax Deductible (3) $600 is Tax Deductible (4) Installments available Student Memberships Other Memberships (Enclose proof of full time enrollment) $65 One Year Workshop Membership
$25 USCanadian One Year $125 One Year Business Membership $45 USCanadian Two Years $30 Foreign One Year $5 Additional Charge for Dual Address or Dual Name
Do not list my name in the ARS Print Directory Do not list my name on the ARS Online Directory Do not release my name for recorder related mailings Do not contact me via email
My address telephone and email address are the same as last time
______________________________________ _________________________ Name Phone Number ______________________________________ _________________________ AddressCityStatePostal Code Email Address Please charge to (Circle one) VISAMasterCardAMEXDiscover CC________________________________ Expiration Date ______________ Signature of cardholder_______________________________________________________ Clearly Print Name as it appears on Card________________________________________
Renew by Mail Online By Phone or by Fax
Demographic Information (optional information collected only to enhance ARS services and provide statistics to grant makers)
I am a member of ARS Chapter or Consort____________________________ I am the Chapter Contact Your age Under 21 (21-30) (31-40) (41-50) (51-60) 61-70) (71+) Please check all that apply
I am a Professional Recorder Performer
I wish to be included in the list of Recorder Teachers in the ARS Directory and website I Teach (circle your choices) Children High School Youth College Students Adults Beginner Intermediate Advanced Pre-Professional Individuals Childrenrsquos Classes Adult Classes Ensembles Suzuki Orff JRS Leader Kodaly Where I Teach (circle your choices) Music Studio Public or private school Community Music School College Other _____________________
American Recorder Society 1129 Ruth Dr St Louis MO 63122-1019
Phone 314-966-4082Fax 314-966-4649
TollFree 800-491-9588ARSRecorderAmericanRecorderorg
wwwAmericanRecorderorg
with me [to find] an ideal (for me)placement size and focal length of thebifocal lens
Before visiting the optometristIrsquod had my wife measure the distancefrom my eyes to the music on mymusic stand With this measurementthe optometrist set up her machine toprepare a vision prescription for memaximized for this reading distance
When I look at my bifocals (withthem off) the lenses (through which Iread my music) occupy most of thelower two-thirds of my glasses (they are set very high and beginimmediately at the inner rims) Thisleaves the upper third and smallportions of the outside [of each lens]for focusing on the conductor As longas my stand is set low enough my necknever experiences any strain (even if Ihave to read three to a part) and Irsquove no problem in seeing theconductor (in sharp focus) either
For me trying to use glasses [toread] from a music stand [that] weredesigned for use in reading from acomputer screen also results in neckstrain (not to mention unreliability in aldquopressurerdquo situation) Having studiedTai Chi extensively and so being
wwwAmericanRecorderorg March 2009 39
There are lots ofsolutions to thepresbyopic musicianrsquosproblem but all involve compromises
40 March 2009 American Recorder
American Recorder Society PublicationsErich Katz Contemporary Music Series Members Non-MembersA Short Tale for Two Basses Suzanne M Angevine (Level II) (2 scores) $5 $8Dialogue and Dance Cecil Effinger (SATB)(Level II-III) (score amp parts) $10 $18Dorian Mood Sally Price (SATB) (Level II) (score amp parts) $10 $18Double Quartet for Recorders Peter Ballinger (Level II-III) (score amp parts) $10 $18Entrevista Frederic Palmer (SATB) (Level II) (2 scores amp 4 recorder parts) $8 $14Kyrie and Vocalise for Soprano Voice ampRecorders Stanley W Osborn $8 $14
(SATB) (Level II) (2 scores amp 4 recorder parts) Picnic Music Jeffrey Quick (SATB) (Level II) (score amp parts) $5 $8Six Short Pieces for Three Recorders edited by Alan Drake $8 $14
(3 scores) Vaclav Nelhybel (AATT) (Level II)Sonatina for Alto Recorder and Piano Anthony Burgess $7 $12
(Level II) (2 scores)Sonatine for Three Altos Lee Gannon (Level III) (score amp parts) $14 $26Suite of Jewish Folk Tunes Erich Katz (S SA8 AT) (Level II) (three scores) $10 $18
Musical Editions from the Membersrsquo Library ARS members 1 copy-$3 2 copies-$450 3-$6 4-$750 5-$10 6-$1150Non-members (editions over 2 years old) 1 copy-$5 2 copies-$850 3-$12 4-$15 5-$1950 6-$23The ARS is happy to provide photocopied enlargements of any Membersrsquo Library edition at the same prices Please specify ldquoMembersrsquo Library Enlargementrdquo
ARS Information BookletsARS members 1 booklet-$13 2 booklets-$23 3-$28 4-$35 5-$41 6-$47 7-$52Non-members 1 booklet-$18 2 booklets-$33 3-$44 4$55 5-$66 6-$76 7-$86
Education PublicationsThe ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996)
First copy free to ARS Members (mailed to new members as they join) replacement copies $3Guidebook to the ARS Personal Study Program (1996) Material formerly published in the Study Guide
and Study Guide Handbook plus additional resources Members $11 non-members $20ARS Music Lists (2002 with 2003 Supplement) Graded list of solos ensembles and method books
Members $9 non-members $15Package Deal available only to ARS members Guidebook and Music ListsSupplement ordered together $16Junior Recorder Society Leaderrsquos Resource Notebook
ARS members $20 non-members $40 (updates at reduced rates after initial purchase)$5 Dues for each JRS student member sponsored by an ARS member ($4 each for groups of 10+)
VideosRecorder Power Educational video from the ARS and recorder virtuoso John Tyson
An exciting resource about teaching recorder to young students ARS members may borrow a copy for onemonth by sending $5 to the ARS office along with the address to which the tape should be shipped
Pete Rose Video Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music Festival recitalFeatures Rose performing a variety of music and an interview of him by ARS member professional John Tyson
Other PublicationsChapter Handbook A resource on chapter operations for current chapter leaders or those considering forming an
ARS chapter ARS members $10 non-members $20 (updates free after initial purchase) One free copy sent toeach ARS chapter with 10 members or more
Consort Handbook Resource on consort topics such as group interaction rehearsing repertoire performingARS member prices CD $10 hard copy $20 combo price of CD and hard copy ordered together $25
Discography of the Recorder Vol I (1989) Compiled by Scott Paterson and David LasockiDiscography of the Recorder Vol II (1990-1994) Compiled by Scott Paterson
Either single volume ARS members $23 non-members $28Both Discography volumes together ARS members only $40
American Recorder Cumulative Index for Vols I-XXXX ARS members $20 non-members $32Index Supplement Vol XXXIV-XXXX ARS members $8 non-members $14
Shipping amp Handling FeesUnder $10 - add $3 $10-1999 - add $4 $20-2999 - add $5 $30-3999 - add $6 $40-4999 - add $7 All prices are inUS dollars For Canadian or foreign postage pay by credit card and actual postage is charged
Please make checks payable to ARS VISAMCAMEXDisc also accepted
ARS 1129 Ruth Drive St Louis MO 63122 US800-491-9588 ARSrecorderAmericanRecorderorg
Arioso and Jazzy Rondo (AB) Carolyn PeskinBerceusendashFantaisie (SATB) Jean BoivertBrucknerrsquos Ave Maria (SSATTBB)
Jennifer W Lehmann arrCanon for 4 Basses (BBBB) David P RuhlDancers (AT) Richard EastmanDifferent Quips (AATB) Stephan ChandlerElegy for Recorder Quartet (SATB) Carolyn PeskinElizabethan Delights (SAATB)
Jennifer W Lehmann arrFallen Leaves Fugal Fantasy (SATB) Dominic BohbotFour Airs from ldquoThe Beggarrsquos Operardquo (SATB)
Kearney Smith arrGloria in Excelsis (TTTB) Robert CowperIdyll (ATB) Stan McDanielImitations (AA) Laurie G AlbertsIn Memory of Andrew (ATB) David GoldsteinLay Your Shadow on the Sundials (TBgB)
Terry Winter OwensLeClercqrsquos Air (SATB) Richard E WoodLittle Girl Skipping and Alouette et al (SATBCb)
Timothy R Walsh
Los Pastores (SAAAT + perc) Virginia N Ebinger arrNew Rounds on Old Rhymes (4 var) Erich KatzOther Quips (ATBB) Stephan ChandlerPoinciana Rag (SATB) Laurie G AlbertsSanta Barbara Suite (SSAAT) Erich KatzSentimental Songs (SATB) David Goldstein arrSerie for Two Alto Recorders (AA) Frederic Palmer Slow Dance with Doubles (2 x SATB) Colin SterneSonata da Chiesa (SATB) Ann McKinleyS-O-S (SATB) Anthony St PierreThree Bantam Ballads (TB) Ann McKinleyThree Cleveland Scenes (SAT) Carolyn PeskinThree in Five (AAB) Karl A StetsonTracings in the Snow in Central Park (SAT)
Robert W ButtsTrios for Recorders (var) George T BachmannTriptych (AATB) Peter A RamseyTwo Bach Trios (SAB) William Long arrTwo Brahms Lieder (SATB) Thomas E Van Dahm arrVariations on ldquoDrmešrdquo (SATB) Martha BishopVintage Burgundy (SASATT)
Jennifer W Lehmann arr
Adding Percussion to Medieval and Renaissance Music Peggy Monroe
American Recorder Music Constance PrimusBurgundian Court amp Its Music Judith Whaley coord
Improve Your Consort Skills Susan CarduelisMusic for Mixed Ensembles Jennifer W LehmannPlaying Music for the Dance Louise AustinRecorder Care Scott Paterson
acutely aware of any kind of neckstrain when it begins to develop these ideas have been a big help to meIrsquom hoping they may be of help toother musicians as well
Best wishes to you And inanswer to your questionmdashyes the new[AR] format (with more white spacebetween the lines) is much easier toread (in my opinion)Your magazinejust keeps getting better and better
Very sincerely Ed Green WestSuburban (Chicago-area) Chapter
RESPONSE FROM DR BILL LONG
What Ed describes is a variant of theuse of conventional bifocals as musicglasses described on page 8 in thearticle Instead of lowering his musicstand into the field of view of hisbifocal segment Ed and his optome-trist have fabricated special purposebifocals with the segment really highso he can focus on his music instraight-ahead view That approachrestricts his distance vision to an areaabove his usual line of sight whichseems to work for Eds playing setup
Eds comments on the difficultiesin using conventional progressiveaddition lenses as music lenses con-firm what I said on page 9 Thats whymanufacturers have marketed special-ty progressive lenses designed specif-ically for intermediate distance taskslike computer use and playing music
There are lots of solutions to thepresbyopic musicians problem but all involve compromises The key toevaluating those compromises andchoosing the best solution for yourselfis to understand your needs and toenlist the help of a sympathetic visioncare specialistmdashjust as Ed did
Please change your
browserrsquos favorites list
AR online is now at wwwameri
canrecorderorgmembership
magazinehtm Send news to
editoramericanrecorderorg
FOUR FOUR-PART CANZONAS
(1608) BY GIOVANNI GABRIELI
ED GREG LEWIN Hawthorns Music RB 16 (Magnamusic) 1999 SATBSc 16 pp pts 4 pp $1950
Giovanni Gabrieli was probablyborn between 1554 and 1557 in theparish of San Geremia in Venice Thedetails of his early life are sketchy butit appears that he was born Giovannidi Fais and later changed his name toGabrieli out of respect to his uncleAndrea with whom he shared a closerelationship In fact in 1587 Gabrielidescribed himself ldquoas little less than asonrdquo It is commonly thought thatAndrea provided Giovanni with hisearly musical training Andrea whohad spent some time in Munichstudying under the great Orlando deLassus sent Giovanni to Munich for a similar period of study in theearly 1570s
Gabrieli remained in Munichuntil the death in 1579 of the dukeAlbrecht V who had been Lassusrsquosemployer for a number of years andwho was an enthusiastic patron of the arts particularly music With hisdeath a number of musicians lost theirjobs it seems as if Gabrieli were also a victim of such culling of talent(Within a generation the tide wouldturn and the Munich court wouldagain hire Venetian expatriates such as Priuli Valentini and Neri)
Upon his return to VeniceGabrieli was hired as a temporaryorganist at San Marco his positionbecoming permanent in 1585 For a few months that year uncle andnephew served together as first and
second organists in the chapel of thedoge In Giovannirsquos absence fromVenice there had been a plague thathad decimated the ranks of theprofessional musicians Andrea setabout rebuilding his forces at SanMarco by hiring a full-time windband consisting of Girolamo dallaCasa a renowned cornettist andviolist his two brothers who playedsackbut and later the cornett virtuosoGiovanni Bassano Giovanni Gabrieliaugmented these forces with addi-tional players and began composingthe large-scale ceremonial music forwhich he is so well known today
Giovanni was also elected to bethe organist and composer to theconfraternity of San Rocco in 1585and it is now thought that his largestpieces were intended for that venuewith its large central gallery andfrescos by Tintoretto instead of SanMarco Gabrieli held both thosepositions at the basilica of San Marcoand the Scuola Grande di San Roccountil he died in 1612 of a kidney stone
Although best known today forhis ceremonial and festival musicGabrieli was at home in smaller-scaleformats as well These four four-partcanzoni are taken from the 1608publication by the Venetian publisherAlessandro Raverji Canzoni per sonarecon ogni sorte di strumenti These werevery popular pieces to judge by themany collections in which they appear
Additionally like Gabrielirsquoskeyboard music they are found inother arrangements These four-partcanzoni lie well under the fingers inarrangements for keyboard and lute
As seen from the title Gabrielispecified no instrumentation but like asimilar edition of madrigals and battlepieces from a few years earlier a dis-tinction was made that they wereintended for wind instruments almostcertainly cornetts and sackbuts
Recorders were not unknown in Venice they were used regularly inthe confraternity of San GiovanniEvangelista where Giovanni BattistaRiccio was organist
These pieces are relativelysimplemdashplayable by beginning tointermediate ensembles They aremostly contrapuntal (with a fewhomophonic sections) and have few rhythmic eccentricities
These canzoni are found in manymodern brass editions but there arefew editions available to the recorderplayer This edition by Greg Lewin ofHawthorns Music might be consid-ered a ldquobare-bonesrdquo edition There islittle background information andeditorial practices are not specified
The music itself has a handwrittenlook that can be distracting but is easyenough to read Lewin has thought-fully supplied phrasing marks that willbe helpful for ensembles unused tothis style of music
Music
Reviews___________________________________ Infectious music created in spite of the plague
wwwAmericanRecorderorg March 2009 41
This is a good edition
for small ensembles that
canrsquot get eight players
together to play
Gabrielirsquos more famous
eight-part canzoni
42 March 2009 American Recorder
The parts are four pages but mycopy had all four pages printed on avery large page This is not a problemand there are no page turns
This is a good edition for smallensembles that canrsquot get eight playerstogether to play Gabrielirsquos morefamous eight-part canzoni Thesesmall-scale pieces are by no meansinferior to Gabrielirsquos more elaboratemusic and deserve to be better known
7 CANZONEN (1637) BY
TARQUINIO MERULA ED JOACHIM
ARNDT WITH CONTINUO REALIZATION
BY CLAUDIA SCHWEITZER MieroprintMusikverlag EM2088 (availabledirectly from wwwmieroprintcom)2005 SS or TT bc Sc 24 pp pts 8 pp$28
Tarquinio Merula was bornaround 1595 in either Busseto orCremona in Italy As was the case withso many composers of the day either alack of regular employment or a rest-less nature took him from his home inCremona to as far away as Warsaw He is found as the organist of thechurch and the chambers to the kingof Poland Sigismund III in 1624
Merula was one of the leadingexponents of the relatively new con-certante style pioneered by ClaudioMonteverdi and others in the seconddecade of the 17th century and may be described as one of the earliestBaroque composers His compositionsin the concertante style are fresh andunforcedmdashhe was born into this styleand didnrsquot encounter it as somethingnew as was the case with so many ofMonteverdirsquos contemporaries
After several years of peripateticexistence Merula found regularemployment in 1631 in Bergamo atthe church of San Maria MaggioreThe prior holder of the post of maestrodi cappella Alessandro Grandi haddied the previous year in the plagueMerula had signed a three-year
contract but by December 1632 hewas terminated with accusations thathe had molested several studentsMerula threatened a lawsuit to recoverhis lost wages but that threat wascountered with a pending criminalcharge lodged by the board ofgovernors of San Maria Maggiore By mid-1633 the matter was settledwith an apology from Merula and astatement that he relinquished allclaims to his salary
He then returned voluntarily toCremona where he stayed until 1635By 1638 Merula was once again inBergamomdashthis time as maestro dicappella and organist in the cathedralnext to San Maria Maggiore Asmight be expected there was con-siderable tension between the twochurches eventually resulting in theboard of San Maria Maggioreforbidding their musicians to perform under Merularsquos direction
He returned in 1646 to a familiarCremona post which he had heldthree times in various years and wherehe now settled downmdashthat of organistand maestro di cappella for Laudi dellaMadonna services in which he ledmusic at the main altar on Saturdaysand on vigils of Marian feasts
None of his employment issues
prevented the Pope from awardinghim the Order of the Golden SpurMerula was also elected to theAccademia dei Filomusi in BolognaHe died in 1665 in Cremona
His existing compositions showthe products of a lively mind Hisworks range from sacred songs andmotets to purely instrumental piecesnotably the ever-popular variations onvarious ground basses It is knownthat Merula was an accomplishedviolinist as well as a fine organist Hissurviving instrumental writing showsa predilection for strings In fact hewas one of the earliest composers tospecify string accompaniments tosacred motets
Merularsquos pieces look backwardtoward some of the more progressiveVenetian composers such as Monte-verdi while looking forward to thehigh Baroque with his innovative style
These seven canzoni like theearlier-published chaconne (EM2084)come from Merularsquos third bookpublished in 1637 CANZONI overo SONATE CONCERTATE perchiesa e camera a due et a tre delcavaliere This collection typifiesMerularsquos output pieces based onRenaissance-era ground basses arefound next to more ldquomodernrdquo sonatas
The original edition specifiesviolins and basso continuo This newedition is intended for recorders thespecific choice of which is up to theplayers Due to the relatively hightessitura tenor recorders work best inthese pieces (although listed as analternative soprano recorders tend to be on the screechy side)
Not surprisingly given Merularsquosskill as an organist the continuo partneeds a keyboard instrument forsuccessful realization Instead of beinga purely accompanying part the bassocontinuo part is an equal partner in these pieces the canzona ldquoLaRuggierardquo opens with a run that therecorders echo a few measures later
A more recorder-specific
edition intended for
altos would have been
ideal There is nothing
preventing the more
adventurous and
industrious players
from making their
own editions of this
delightful music
mentioned were a bit shrill A morerecorder-specific edition intended foraltos would have been ideal There isnothing preventing the moreadventurous and industrious playersfrom making their own editions of thisdelightful music
Prior to playing the previouslypublished chaconne I had notencountered MieroprintMusikverlag Mieroprintrsquos extensivecatalog has an equal focus on newmusic for recorders and on editions ofBaroque masters with emphasis on therecorder and flute Due to the lack of
wwwAmericanRecorderorg March 2009 43
are also available at
The Early Music Shop
of New England
Brookline MA
AESTHEacute
367-b de la Briquade
Blainville Queacutebec
Canada J7C 2C7
tel (450) 979-6091
wwwboudreau-flutesca
A bass viola da gamba or rsquocello is not necessary for these pieces and may infact make them sound heavy and ponderous rather than light and breezy as thismusic seems to be
More so than the above-mentioned chaconne these canzoni are written in avery idiomatic violin style with multiple examples of arpeggios In particular thecanzona ldquoLa Trecchardquo contains a notated example of a string tremolo figurerecurring through the piece ldquoLa Trecchardquo also dips well below the range of a Crecorder going down to low G the lowest string on the violin The editors havesupplied no alternative notes preferring to let the performers to fend forthemselves (in practice we took this passage up an octave with no problems)
The two recorder parts require virtuosity These upper parts are demandingwith the players needing to double-tongue in unison in order to negotiate themany runs of 16th notes and the shared rhythmic ldquolicksrdquo The harmoniclanguage unlike much of Merularsquos music is undemanding and contains none of the harmonic crunches for which he is famous
This is wonderful music that needs a couple of advanced recorder players fora successful performance The string idiosyncrasies can be overcome by advancedplayers and many of the editions of the era (although not this one) list thecornetto as an alternative to the violin so the use of wind instruments in the solo literature of the early Baroque was not unknown
Our experience with this edition left us with the opinion that these pieceswould have been better if transposed down a minor third so as to fit on a pair ofalto recorders (as is the case with much Baroque flute music to make it lie betteron the recorder) The tenors we used tended to sound a bit murky in the lowerregister next to the more aggressive harpsichord while the sopranos we tried as
KEY rec=recorder Srsquoo=sopraninoS=soprano A=alto T=tenor B=bassgB=great bass cB= contra bass Tr=treble qrt=quartet pf=piano fwd=foreword opt=optional perc=percussionpp=pages sc=score pt(s)=part(s)kbd=keyboard bc=basso continuohc=harpsichord PampH=postage andhandling Multiple reviews by one reviewerare followed by that reviewerrsquos name Pleasesubmit music for review to AR 7770 SHigh St Centennial CO 80122-3122 US
an American distributor this musicwill be hard to findmdashin fact can befound only at the time of this writingon their web site noted above But theeffort will be repaid
This edition is clear and easy toread and the parts require no pageturns The basso continuo realizationis simple and elegant
This is music deserving ofrediscovery My only quibble is thatthe editorial notes are all in GermanThis seems to be the practice ofGerman music publishers with thenotable exception of Moeck Otherpublishers of early music such asLondon Pro Musica routinelyprovide notes in English and German and often in French and Italian making their editionsaccessible to a wider audience
Frank Cone studied the recorderwith the late Ellen Perrin the viola dagamba with Carol Herman and thecornetto with Larry Johansen TheCalifornia multi-instrumentalist has been a member of the Orange CountyRecorder Society since 1985
Advertiser Index
AMERICAN ORFF-SCHULWERK ASSN 3
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AMHERST EARLY MUSIC FESTIVAL 17
STEPHAN BLEZINGER 24
JEAN-LUC BOUDREAU 21 39
BOSTON EARLY MUSIC FESTIVAL 7
CANTO ANTIGUO EARLY MUSIC WORKSHOP 13
COURTLY MUSIC UNLIMITED 20
EARLY MUSIC AMERICA 8
HONEYSUCKLE MUSIC 34
BILL LAZARrsquoS EARLY MUSIC 26
KEITH E LORAINE EARLY DOUBLE REED SERVICE 35
LOST IN TIME PRESS 11
MADISON EARLY MUSIC FESTIVAL 12
MAGNAMUSIC DISTRIBUTORS BC
MOECK VERLAG IFC
MOLLENHAUER RECORDERS IBC
PORT TOWNSEND WORKSHOP 14
PRESCOTT WORKSHOP 30
PROVINCETOWN BOOKSHOP 26
THE RECORDER MAGAZINE 4
THE RECORDER SHOP 6
SAN FRANCISCO EARLY MUSIC SOCIETY 18
SWEETHEART FLUTE CO 3
TEXAS TOOT 20
VON HUENE WORKSHOP INC 30
WICHITA BAND INSTRUMENT CO 21
DOMINIK ZUCHOWICZ 34
CONSIDER ADVERTISING IN
Full page $55223 page $43912 page $36613 page $28614 page $22316 page $17518 page $127112 page $ 951 column inch $ 58
Prices include web sitee-mail link directly from your ad in the online AR at wwwamericanrecorderorg
Circulation Includes the membership of theARS libraries and music organizations
Published five times per year January March May September November
Reservation Deadlines December 1 (January) February 1 (March) April 1 (May) August 1 (September) October 1 (November)
Rates good through November 2009 Pleaseinquire about discounts on multiple-issuecontracts inserts or other special requestsExtra charges for typesetting layout half-tones and size alterations 133-line screenrecommended Advertising subject toacceptance by magazine First-time adver-tisers must include payment with order
For more information contact the ARS office 1129 Ruth Drive St Louis MO63122-1019 800-491-9588 toll free 314-966-4082 phone 314-966-4649 faxadvertisingamericanrecorderorg
44 March 2009 American Recorder
Classified___________________________________
FOR SALE Cherrywood hurdy gurdy and hard-side case made by Kelischek bought 2005Originally $765 plus $89 for case Rarely usedBoth for $450 or make offer Please contact marjalocomcastnet Can ship
ASPIRE ANNOUNCE INSPIRE Afford-able PR for teachers and recitalists wwwrecitalroomcom
PHOTOS NEEDED of ARS events 1970sndash1990sto illustrate last chapters of Martha Bixlerrsquos histor-ical memoir about the ARS (to be posted online)E-mail scanned photos (300dpi JPG or TIF)arsrecorderamericanrecorderorg Hardcopies mail to ARS office to be scanned ampreturned Info 800-491-9588
T-SHIRT FOR ENSEMBLE PLAYERS to wear orshare Top 10 Reasons Why I Got Lost Wrongfingering bad lighting etc on blue cotton shirt$18 Highlighter tape and other goodies Beth amp Lindas Boutique as seen at BEMF CallLinda at 617-671-8694 or e-mail for brochurelindakushverizonnet
Where the havesand have-nots
of the recorder world can find each other
Classified rate for American Recorder 60centper word ten-word minimum ldquoFOR SALErdquoand ldquoWANTEDrdquo may be included in thecopy without counting Zip code is oneword phone e-mail or web page is twoPayment must accompany copy Deadlinesare one month before issue date Send copywith payment to ARS 1129 Ruth Drive St Louis MO 63122-1019
AMERICAN RECORDER (ISSN 0003-0724) 1129 Ruth Dr St Louis MO 63122-1019 is publishedbimonthly (January March May September and November) for its members by the AmericanRecorder Society Inc $20 of the annual $45 US membership dues in the ARS is for a subscriptionto American Recorder Articles reviews and letters to the editor reflect the viewpoint of their individ-ual authors Their appearance in this magazine does not imply official endorsement by the ARS
EDITORIAL DEADLINES November 15 (January) January 15 (March) March 15 (May) July 15(September) and September 15 (November) Submission of articles and photographs is welcomedArticles may be typed or sent as an attachment (Word or RTF preferred) to or text in an e-mail mes-sage They should be for the exclusive consideration of AR unless otherwise noted Photos may besent as prints or unedited JPG or 300dpi TIF files (minimum 3rdquox4rdquo) Advertisements may be sent inPDF or EPS format with fonts embedded
EDITORIAL OFFICE Gail Nickless Editor 7770 S High St Centennial CO 80122-3122 303-794-0114 (phone amp fax) editoramericanrecorderorg Books for review Editorial office Musicfor review Editorial office Recordings for review Tom Bickley 1811 Stuart St Berkeley CA 94703Cutting Edge Tim Broege 212 Second Ave Bradley Beach NJ 07720-1159 Chapter newslettersother reports Editorial office Postmaster Send address changes to ARS 1129 Ruth Drive St LouisMO 63122-1019 Periodicals postage paid at St Louis MO and at an additional mailing office
Chapter leaders
We know yoursquore out there
and that you want to share
your plans concerns
solutions and ideas with
other chapter leaders Visit
httpamericanrecorder
societywikispacescom
FEATURING MUSICA PACIFICA
JUDITH LINSENBERG
RECORDERS____JS BACH TRIO SONATAS Arr by
Linsenberg from Trio Sonatas for Organ BWV525-
530 Sonata No 1 in E
major (transp to B
)
BWV 525 Sonata No 2 in C minor (transp to E)
BWV526 Sonata No 3 in D minor (transp to G)
BWV 527 Sonata No 4 in E minor BWV 528
Sonata No 5 in C major (transp to F) BWV529
Sonata No 6 in G major (transp to C) BWV 530
Virgin Classics Veritas 1993
____FIRE BENEATH MY FINGERS Showcases
three legendary composers who were also
virtuoso performers Vivaldi Concerto in F major
after RV 98570 ldquoLa Tempesta di Marerdquo Sonata in
A minor RV86 Concerto in G minor RV106 Con-
certo in Bb major RV503 Sammartini Concerto in
F major Tartini Concerto in A major D91 Dorian
____MANCINI CONCERTI DI CAMERA Seven
sonatas by Francesco Mancini plus one work each
from his contemporaries Francesco Durante amp
Domenico Scarlatti Highly recommended citation
from the 2000 Vivaldi Prize for Recordings of Italian
Early Music--Giorgio Cini Foundation Dorian
____MARAIS MARIN PIEgraveCES EN TRIO POUR
LES FLUcircTES VIOLON amp DESSUS DE VIOLE
Maraiss complete works for two treble lines and
bass with varied instrumentation and orchestrations
2-CD set $24
____SCARLATTI CONCERTI DI CAMERA
Seven sonatas for various instrumentations no
poor relations to the composers much more widely-
known vocal output All recorder players should
certainly have thisndashEarly Music Review
____TELEMANN CHAMBER CANTATAS
Five cantatas from Harmonischer Gottesdienst two
sonatas from Sonatas Corellisantes 2003 Chamber
Music America WQXR Record Award for best
chamber music recordings
____VIVALDI LA NOTTE Concerti per strumenti
diversi Award-winning CD featuring five Vivaldi
concerti two sonatas
AND OTHER RECORDING
ARTISTS FROM CALIFORNIA ____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 American Bach Soloists Jeffrey
Thomas conductor Dan Laurin Hanneke van
Proosdij recorders Christmas Concerto featuring
unique 1725 London version with solos transcription
for two recorders instead of two solo violins in
three of the six concertos Delos
____CANCcedilONIEgraveR Annette Bauer recorder
multi-instrumentalist Tim Rayborn Shira Kammen
strings Phoebe Jevtovic voice in a new early
music group devoted to repertoire from the
12thndash15th centuries as well as traditional music
from related regions (the Balkans Scandinavia
Middle East) Medieval instrumental music played
on a variety of instruments including strings
recorders and percussion Medieval dances and
motets bring to life the rich world of ancient
European music-making
____SACRED AND SECULAR MUSIC FROM
RENAISSANCE GERMANY Ciaramella-Adam amp
Rotem Gilbert Doug Millikan Debra Nagy
recorders with other winds shawm sackbut amp
organ Medieval amp Renaissance sacred music with
reconstructions of folksongs amp arrangements based
on contemporary improvisation
____BURIED TREASURE TOPAZ amp SAPPHIRE
Ensemble Vermillian Frances Blaker recorders
Barbara Blaker Krumdieck cello Elisabeth Reed
gamba Katherine Heater harpsichord amp organ
Transcriptions of Buxtehudes Op 1 other pieces by
Buxtehude works by Biber Johann Schop
Schmelzer Fafarela 2007
____STOLEN JEWELS Ensemble Vermillian
Frances Blaker recorders Barbara Blaker
Krumdieck Elisabeth Reed Katherine Heater 17th-
century German music adapted by Blaker I love
violin music so I steal the music and rearrange it
for my own instrumentrdquo Buxtehude Op 1 Biber
Rosenmuller Krieger JM Bach Fafarela
Recordings
____SENFL (LUDWIG) Farallon Recorder Quartet
(Letitia Berlin Frances Blaker Louise Carslake
Hanneke van Proosdij) 23 lieder motets and
instrumental works of the German Renaissance
____DOLCE MUSICAndash A CONTEMPLATIVE
JOURNEY Eileen Hadidianflutes recorders
Natalie Cox harps Celtic Renaissance and
Medieval melodies for recorder and flute with
Celtic harp Healing Muses 2005
____REFLECTIONS MUSIC TO SOOTHE AND
UPLIFT THE SPIRIT Eileen Hadidian recorder amp
Baroque flute with Celtic harp and cello Celtic
traditional Renaissance amp Medieval melodies
Healing Muses
____AN EVENING WITH BACH Voices of Music
Hanneke van Proosdij Louis Carslake Dan Laurin
recorders Joanna Blendulf Elizabeth Blumenstock
Rodney Gehrke Lisa Grodin Katherine Kyme
Jennifer Lane Victoria Gunn Pich Susanne Ryden
William Skeen David Tayler Renaissance and
Baroque music centers on fine singing Instantly
recognizable Air on a G String Bachrsquos Prelude in
G Major (solo theorbo for rsquocello) plus lilting vocal
performancesmdashRydenrsquos weightless soprano on
Bist du bei mir Lanersquos rich alto on Es is vollbracht
____BACH amp TELEMANN SONATAS PRELUDES
amp FANTASIAS Voices of Music (Hanneke van
Proosdij Joanna Blendulf Rodney Gehrke William
Skeen David Tayler) Beautiful chamber music by
Bach and Telemann
IN STOCK (Partial listing)____ALLA TURCA FUX CALDARA BADIA
Matthias Maute amp Sophie Lariviegravere recorders
Monika Mauch soprano Vocal music of the church
accompanied by Ensemble Caprice plus sonatas
and other instrumental pieces Analekta
____CORELLI ARCANGELO CONCERTI
GROSSI OPUS 6 John Daniels Sonja Lindblad
recorders Peter Sykes harpsichord Trio sonata
arrangement by Johann Christian Schickhardt
____LES
AMIS DU
BAROQUE
Paul Nauta recorder amp
Baroque flute Koen Dieltiens recorder Music by
Bassani Corelli Vivaldi etc Highlight Intl
____LES SEPT SAUTS BAROQUE CHAMBER
MUSIC AT THE STUTTGART COURT Matthias
Maute amp Sophie Lariviegravere recorders amp traverso
Ensemble Caprice Charming repertoire by
Schwartzkopff Bodino Detri Atma Classique
____TASTE OF PORTIQUE LEnsemble Portique
Early and contemporary chamber musicmdash
Bach Telemann Boismortier and others
____TELEMANN ALLA POLACCA REBELndash
Matthias Maute recorders amp traversondash
plays concerti and suites by GP Telemann Dorian
____TELEMANN CANONS AND DUOS Lisette
Kielson amp Patrick OMalley recorders LEnsemble
Portique Telemann Canons meacutelodieux amp Sonates
sans basse 2-CD set LEP Records
____20TH CENTURY MUSIC FOR RECORDER amp
PIANO Anita Randolfi recorders Music by Jacob
Bartok Leigh others for recorder amp piano
____VIVALDI AND THE BAROQUE GYPSIES
Matthias Maute amp Sophie Lariviegravere recorders
Ensemble Caprice Gypsy music taken from
Uhrovska zbierka (now Slovakia) plus Vivaldi
____VIVALDI SHADES OF RED CONCERTOS amp
SONATAS FOR RECORDER amp STRINGS Matthias
Maute recorders REBEL Stylish high octane
readings of some of Vivaldis most beloved pieces
including the popular and raucous Concerto alla
Rustica stunningly colorful Sonata on La Follia and
four exuberant recorder concerti Bridge
____WINDFIRE Charmaine Delmatier recorder
Steve Kostelnik classical guitar Terry Hale bass
Erik Hokkanen violin Refreshing mixture of Andrew
Lloyd Weber American blues flamenco Celtic and
one original piece ltwwwyermomusicomgt
Please indicate above the CDs you wish toorder and print clearly the following
Name ____________________________________
Daytime phone (_____)______________________
Address__________________________________
CityStateZip _____________________________
Check enclosed for
_____ single CDs x $____ = $______
_____ 2-CD sets x $____ = $______
TOTAL $______
Please charge the above amount to my
MasterCard Visa or AmEx
_______________________________________
Exp Date ____________
Cardholderrsquos signature ______________________
Mail to
ARS 1129 Ruth Dr St Louis MO 63122-1019 US
You may fax a credit card order to 314-966-4649
NEW You may order CDs online using PayPal at
wwwamericanrecorderorgordercdromshtm
Order your recorder discs
through the ARS CD Club
The ARS CD Club makes hard-to-find or limited release CDs by ARS members
available to ARS members at the special price listed (non-members slightly higher)
All CDs are $15 ARS members$17 Others unless marked otherwise Two-CD sets are
$24 ARS members$28 Others Add Shipping and Handling $2 for one CD $1 for each
additional CD An updated listing of all available CDs may be found at the ARS
web site ltwwwamericanrecorderorggt
The first meeting of the newly-formedFort Myers Recorder and Early
Music Ensemble was January 26 atthe Florida home of chapter rep Sue
Groskreutz For this year the groupis somewhat loosely organized andplans to meet for extended sight-reading Repertoire at the first meetingcomprised everything from Renais-sance duets to chamber music involv-ing three treble parts and continuo
Among the five musiciansattending the first meeting (photobelow front row Elizabeth Spang SueGroskreutz back row Suzanne FergusonSibylle Baumgartner Arlene Sowka) allplayed recorder three harpsichord
and one each played traverso violinand gamba Due to the scarcity ofrecorder players south of the Sarasotaarea modern string players are alsoincorporated into this ensemble
The group decided not to chargedues and to meet at Groskreutzrsquoshome For more information pleasecontact Groskreutz at 239-267-1752spgembarqmailcom Snowbirdsdrifting through the area are welcome
Last fall at the requestof a student Kay Hettich
(inset below right) taught abeginning recorder class atthe Redding (CA) Senior
Center The five-weekclass was so successful thatmost participants haveformed a bi-weekly noviceensemble (right) coachedby Hettichmdashwho consid-ers them her ldquohatchedeggsrdquo
A new batch of ldquoeggsrdquostarted to incubate when afive-week class began on February 20Other senior center members havebecome interested as they heard oftheir colleaguesrsquo success These noviceplayers comprise some who previouslyread music and played instruments as well as people who are totally new to music notation
One student has also formulated amaxim ldquoEveryone at age 40 ought tolearn to play the recorder if heshehasnrsquot alreadyrdquo Just think how theworld would be transformed byshifting our focus to music
After Lynn Whidden attendedthe Montreacuteal Recorder Festival lastfall when the ARS Board met inQuebec she joined the ARS and nowrelays news of the lively interest in therecorder exhibited by a group underthe new leadership of Brent Legg ofBrandon University in ManitobaCanada Although his hands wereldquostill partly frozenrdquo he wrote that theBrandon University Collegium
Musicum in collaboration with theWaverley Park Recorder Club is
preparing a spring concert calledldquoEnglandrsquos Golden AgerdquoRepertoire spans the 16th century
from Henry VIIIrsquos accession in 1509to the death in 1603 of Elizabeth Iand includes solo songs four- andfive-part settings of Renaissancedances (with dancers) three- to five-voice madrigals and ldquobig-bandrdquoarrangements of William Byrdrsquos TheBells and The Dargason as re-imaginedby Gustav Holst (further re-imaginedfor recorders and percussion)
Of the 15 collegium membersseven are encountering the recorderfor the first time since elementaryschool The Collegium Musicumpromotes the study of early music at the university and is open to theuniversity community and the generalpublic This year there are five com-munity participants with interest fromseveral more both within and outsideof the university For informationcontact BrentLegggmailcom
January 16 marked the thirdannual recorder workshop of threeFlorida groups the Pasco Collegium
Recorder Consort of Hudson theImperial Recorder Consort of
36 March 2009 American Recorder
Chapters
amp Consorts___________________________________Workshops and activities from
coast to coast in the US and Canada
Lakeland and the Pilgrim Pipers Recorder Consort of St Petersburg Theygathered for a morning tackling selections by Banchieri Monteverdi PurcellCorelli Mendelssohn Bach Mozart and Glen Shannon Each group presenteda piece for the other participants Sweet Georgia Brown by Ben Bernie (St Pete)a Sonata by Sammartini (Lakeland) and The Gospel Train arr by KW Ford(Pasco) The 29 participants were led by Marlene Cracraft (Pasco) Jane
Spencer (Lakeland) and Elizabeth Snedeker (St Pete) Tom Bickley (photo below) directed the fall workshop of the Mid-Peninsula
Recorder Orchestra in Cupertino CA The 30 players started with Gregorianchants written in ldquooldrdquo notation Bickley gave basic instruction on how tointerpret the notes and then had the group sing the chants prior to playing them
The workshop theme of ldquoThe Articulate Recorderrdquo was literally played out as the music presented used variations in tonguing phrasing and breathingOther repertoire included a Kyrie by Tomas Luis de Victoria Bachrsquos Jesu Joy ofManrsquos Desiring a double-choir piece by Gabrieli Christopher Tyersquos In NomineXIII and a Purcell chaconne The workshop ended with a rhythmically-challenging minimalist piece by Bickley entitled Beginning composed for theWaldorf School teacher training program George Greenwood reports that thegroup had a productive event and plans to ask Bickley to lead a future workshop
wwwAmericanRecorderorg March 2009 37
A Muse in the DesertThe sound of a pin dropping hellip thesound of eager minds and fingersabsorbing information and inspira-tion hellip the sounds of ldquoNuevaEspantildeardquo Spanish- and indigenous-influenced music of the 1600s in theNew World These were the soundsof the Desert Pipes (Phoenix AZ)chapterrsquos fall workshop given byEileen Hadidian On a Saturdaylast October 30 players from all overArizona gathered to learn from andbe inspired by the founder of a SanFrancisco Bay Area group dedicatedto sharing music for healing inhealthcare settings Healing Muses(wwwhealingmusesorg)
The day began with relaxationstretching and breathing exercisesfollowed by travels to Peruacute MexicoGuatemala and Colombiamdashhighchurch music vernacular pieces anda mixture of the two Participantsenjoyed the historical and contextualbackground provided as an overviewfor the day and for each piece
Remarkably the sound heardbetween pieces and passages was anenergy-filled quiet the attentivestillness of active engagement in theworkshop experiencemdashnot the chat-tering noodling and conversationsthat often occur when the musicstops That activity was reserved forthe breaks when participants couldenjoy the cool (at last) outdoorschat with Hadidian and peruse the popular garage sale (to benefitDesert Pipes) of previously-enjoyedbooks and other treasures
On Sunday Hadidian sharedher expertise and inspiration in indi-vidual and group coaching sessionsThe weekend was a special experi-ence and Desert Pipes memberslook forward to the next visit of this Healing Muse
Ann Koenig Scottsdale AZannisalesprocom
Members
of three
Florida
groups
met
in January
for a joint
workshop
CHAPTER NEWS
Chapter newsletter editors and publicity officers should send materials for publication toAmerican Recorder 7770 South High St Centennial CO 80122-3122
editoramericanrecorderorg Also send short articles about specific activities that haveincreased chapter membership or recognition or just the enjoyment your members get out of
being part of your chapter Digital photos should be at least 3rdquox4rdquox300dpi TIF or unedited JPG files Please send news to the AR address above and to the following
ARS Office 1129 Ruth Drive St Louis MO 63122-1019 ARSrecorderAmericanRecorderorg
and to Bonnie Kelly Chair Chapters amp Consorts Committee 45 Shawsheen Rd 16 Bedford MA 01730 bksharpaolcom
TO THE STARS
AND BEYONDThe cover of the November magazinegenerated a few comments Some werenrsquotsure how to interpret the title (in theartistrsquos native German it could besomething close to ldquostarlit moonrdquo)Longtime member Carolyn Peskin wrote to offer her vision of that cover
In the beginning the Great Spiritinvented Mr Sun to light the day andMiss Moon to light the nightHowever as Miss Moon floated up inthe sky all by herself like a big yellowballoon she began to feel very lonelyso one night to relieve her lonelinessshe decided to take out her recorderand make music
But when she started to playsomething miraculous happened Not only beautiful melodies but alsoyellow dust poured out of the bottomof her recorder and the dust particlesimmediately coalesced to form yellowstars As she continued playing moreand more stars were created and theyfloated up around her filling the nightsky
At last Miss Moon was happy fornot only was she herself able to enjoyher music but she now had a wholecrowd of starry companions to enjoy itwith her And if you listen very care-fully on a quiet night you might beable to hear her recorder and thatstarry choir humming along
Carolyn Peskin
LOCATING EARPLUGSI read with interest the QampA in theNovember lsquo08 AR regarding hearingloss and use of earplugs Where do you get musicianrsquos earplugs
Dolly Hirata Kensington CA
CAROLYN PESKIN PROVIDED THIS
INFORMATION Musicianrsquos earplugs arecustom made for individual usersThey can be purchased only fromlicensed hearing professionals (ieaudiologists and hearing instrumentspecialists) To find a licensed hearingprofessional in your area look underldquoaudiologyrdquo or ldquohearingrdquo in your localyellow pages
For information about how musi-cianrsquos earplugs are produced visitwwwetymoticcomephperme-w
tbaspx That web page also has a linkto contact information for authorizedlabs that make the custom earmolds formusicianrsquos earplugs If the yellow pagesdo not prove helpful those labs canrefer you to a licensed hearing pro-fessional in your area from whom youcan purchase musicianrsquos earplugs
MORE FROM CAROLYN
THIS TIME ABOUT OSKARIn the September 2008 AR the musicreview by Leslie Timmons of the Oskarpieces by Matthias Maute mentionedthat Carolyn Peskin had translated twoof the Oskar books from German toEnglish People can obtain thetranslations free of charge as Wordattachments by contacting her atCarolyn Peskin 3559 StrathavonRoad Shaker Heights OH 44120carolynpeskinstratosnet
ANOTHER KIND OF
MUSIC-READING
GLASSESIn the January 2009 issue of AmericanRecorder therersquos something (in myopinion) the ldquoRecorder with GlassesObbligatordquo article omitted which canenable a nearsighted musician to avoidneck strain in the use of bifocals
Irsquove found the solution to thisvexing problem is to have onersquos bifocalsconstructed differently [from] normalMy optometrist was willing to work
38 March 2009 American Recorder
Response___________________________________Two kinds of vision
the better to see with and (not) to hear with
Honeysuckle Music
Recorders amp accessories
Music for recorders amp viols
Jean Allison Olson1604 Portland AveSt Paul MN 55104
6516448545jeanhoneysucklemusiccom
Responses from our readers are welcomedand may be sent to American Recorder 7770 South High St Centennial CO
80122 Letters may be edited for length and consistency
ARS Membership Enrollment and Renewal I am a new member I am or have been a member
USCanadian Memberships Foreign Memberships $45 One Year $55 Foreign One Year $75 Sustaining (Receive a Hottetere Hands Pin) $100 Two Years $80 Two Years
LIFETIME MEMBERSHIP Single Dual Regular Lifetime Member $1000 (2) $1500 (4) 4 installments of $250 available) Loyalty Lifetime Member (1) $ 800 (3) $1200 (4) 4 installments of $200 available
(1) For members who have maintained membership for five consecutive years (2) $750 is Tax Deductible (3) $600 is Tax Deductible (4) Installments available Student Memberships Other Memberships (Enclose proof of full time enrollment) $65 One Year Workshop Membership
$25 USCanadian One Year $125 One Year Business Membership $45 USCanadian Two Years $30 Foreign One Year $5 Additional Charge for Dual Address or Dual Name
Do not list my name in the ARS Print Directory Do not list my name on the ARS Online Directory Do not release my name for recorder related mailings Do not contact me via email
My address telephone and email address are the same as last time
______________________________________ _________________________ Name Phone Number ______________________________________ _________________________ AddressCityStatePostal Code Email Address Please charge to (Circle one) VISAMasterCardAMEXDiscover CC________________________________ Expiration Date ______________ Signature of cardholder_______________________________________________________ Clearly Print Name as it appears on Card________________________________________
Renew by Mail Online By Phone or by Fax
Demographic Information (optional information collected only to enhance ARS services and provide statistics to grant makers)
I am a member of ARS Chapter or Consort____________________________ I am the Chapter Contact Your age Under 21 (21-30) (31-40) (41-50) (51-60) 61-70) (71+) Please check all that apply
I am a Professional Recorder Performer
I wish to be included in the list of Recorder Teachers in the ARS Directory and website I Teach (circle your choices) Children High School Youth College Students Adults Beginner Intermediate Advanced Pre-Professional Individuals Childrenrsquos Classes Adult Classes Ensembles Suzuki Orff JRS Leader Kodaly Where I Teach (circle your choices) Music Studio Public or private school Community Music School College Other _____________________
American Recorder Society 1129 Ruth Dr St Louis MO 63122-1019
Phone 314-966-4082Fax 314-966-4649
TollFree 800-491-9588ARSRecorderAmericanRecorderorg
wwwAmericanRecorderorg
with me [to find] an ideal (for me)placement size and focal length of thebifocal lens
Before visiting the optometristIrsquod had my wife measure the distancefrom my eyes to the music on mymusic stand With this measurementthe optometrist set up her machine toprepare a vision prescription for memaximized for this reading distance
When I look at my bifocals (withthem off) the lenses (through which Iread my music) occupy most of thelower two-thirds of my glasses (they are set very high and beginimmediately at the inner rims) Thisleaves the upper third and smallportions of the outside [of each lens]for focusing on the conductor As longas my stand is set low enough my necknever experiences any strain (even if Ihave to read three to a part) and Irsquove no problem in seeing theconductor (in sharp focus) either
For me trying to use glasses [toread] from a music stand [that] weredesigned for use in reading from acomputer screen also results in neckstrain (not to mention unreliability in aldquopressurerdquo situation) Having studiedTai Chi extensively and so being
wwwAmericanRecorderorg March 2009 39
There are lots ofsolutions to thepresbyopic musicianrsquosproblem but all involve compromises
40 March 2009 American Recorder
American Recorder Society PublicationsErich Katz Contemporary Music Series Members Non-MembersA Short Tale for Two Basses Suzanne M Angevine (Level II) (2 scores) $5 $8Dialogue and Dance Cecil Effinger (SATB)(Level II-III) (score amp parts) $10 $18Dorian Mood Sally Price (SATB) (Level II) (score amp parts) $10 $18Double Quartet for Recorders Peter Ballinger (Level II-III) (score amp parts) $10 $18Entrevista Frederic Palmer (SATB) (Level II) (2 scores amp 4 recorder parts) $8 $14Kyrie and Vocalise for Soprano Voice ampRecorders Stanley W Osborn $8 $14
(SATB) (Level II) (2 scores amp 4 recorder parts) Picnic Music Jeffrey Quick (SATB) (Level II) (score amp parts) $5 $8Six Short Pieces for Three Recorders edited by Alan Drake $8 $14
(3 scores) Vaclav Nelhybel (AATT) (Level II)Sonatina for Alto Recorder and Piano Anthony Burgess $7 $12
(Level II) (2 scores)Sonatine for Three Altos Lee Gannon (Level III) (score amp parts) $14 $26Suite of Jewish Folk Tunes Erich Katz (S SA8 AT) (Level II) (three scores) $10 $18
Musical Editions from the Membersrsquo Library ARS members 1 copy-$3 2 copies-$450 3-$6 4-$750 5-$10 6-$1150Non-members (editions over 2 years old) 1 copy-$5 2 copies-$850 3-$12 4-$15 5-$1950 6-$23The ARS is happy to provide photocopied enlargements of any Membersrsquo Library edition at the same prices Please specify ldquoMembersrsquo Library Enlargementrdquo
ARS Information BookletsARS members 1 booklet-$13 2 booklets-$23 3-$28 4-$35 5-$41 6-$47 7-$52Non-members 1 booklet-$18 2 booklets-$33 3-$44 4$55 5-$66 6-$76 7-$86
Education PublicationsThe ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996)
First copy free to ARS Members (mailed to new members as they join) replacement copies $3Guidebook to the ARS Personal Study Program (1996) Material formerly published in the Study Guide
and Study Guide Handbook plus additional resources Members $11 non-members $20ARS Music Lists (2002 with 2003 Supplement) Graded list of solos ensembles and method books
Members $9 non-members $15Package Deal available only to ARS members Guidebook and Music ListsSupplement ordered together $16Junior Recorder Society Leaderrsquos Resource Notebook
ARS members $20 non-members $40 (updates at reduced rates after initial purchase)$5 Dues for each JRS student member sponsored by an ARS member ($4 each for groups of 10+)
VideosRecorder Power Educational video from the ARS and recorder virtuoso John Tyson
An exciting resource about teaching recorder to young students ARS members may borrow a copy for onemonth by sending $5 to the ARS office along with the address to which the tape should be shipped
Pete Rose Video Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music Festival recitalFeatures Rose performing a variety of music and an interview of him by ARS member professional John Tyson
Other PublicationsChapter Handbook A resource on chapter operations for current chapter leaders or those considering forming an
ARS chapter ARS members $10 non-members $20 (updates free after initial purchase) One free copy sent toeach ARS chapter with 10 members or more
Consort Handbook Resource on consort topics such as group interaction rehearsing repertoire performingARS member prices CD $10 hard copy $20 combo price of CD and hard copy ordered together $25
Discography of the Recorder Vol I (1989) Compiled by Scott Paterson and David LasockiDiscography of the Recorder Vol II (1990-1994) Compiled by Scott Paterson
Either single volume ARS members $23 non-members $28Both Discography volumes together ARS members only $40
American Recorder Cumulative Index for Vols I-XXXX ARS members $20 non-members $32Index Supplement Vol XXXIV-XXXX ARS members $8 non-members $14
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Please make checks payable to ARS VISAMCAMEXDisc also accepted
ARS 1129 Ruth Drive St Louis MO 63122 US800-491-9588 ARSrecorderAmericanRecorderorg
Arioso and Jazzy Rondo (AB) Carolyn PeskinBerceusendashFantaisie (SATB) Jean BoivertBrucknerrsquos Ave Maria (SSATTBB)
Jennifer W Lehmann arrCanon for 4 Basses (BBBB) David P RuhlDancers (AT) Richard EastmanDifferent Quips (AATB) Stephan ChandlerElegy for Recorder Quartet (SATB) Carolyn PeskinElizabethan Delights (SAATB)
Jennifer W Lehmann arrFallen Leaves Fugal Fantasy (SATB) Dominic BohbotFour Airs from ldquoThe Beggarrsquos Operardquo (SATB)
Kearney Smith arrGloria in Excelsis (TTTB) Robert CowperIdyll (ATB) Stan McDanielImitations (AA) Laurie G AlbertsIn Memory of Andrew (ATB) David GoldsteinLay Your Shadow on the Sundials (TBgB)
Terry Winter OwensLeClercqrsquos Air (SATB) Richard E WoodLittle Girl Skipping and Alouette et al (SATBCb)
Timothy R Walsh
Los Pastores (SAAAT + perc) Virginia N Ebinger arrNew Rounds on Old Rhymes (4 var) Erich KatzOther Quips (ATBB) Stephan ChandlerPoinciana Rag (SATB) Laurie G AlbertsSanta Barbara Suite (SSAAT) Erich KatzSentimental Songs (SATB) David Goldstein arrSerie for Two Alto Recorders (AA) Frederic Palmer Slow Dance with Doubles (2 x SATB) Colin SterneSonata da Chiesa (SATB) Ann McKinleyS-O-S (SATB) Anthony St PierreThree Bantam Ballads (TB) Ann McKinleyThree Cleveland Scenes (SAT) Carolyn PeskinThree in Five (AAB) Karl A StetsonTracings in the Snow in Central Park (SAT)
Robert W ButtsTrios for Recorders (var) George T BachmannTriptych (AATB) Peter A RamseyTwo Bach Trios (SAB) William Long arrTwo Brahms Lieder (SATB) Thomas E Van Dahm arrVariations on ldquoDrmešrdquo (SATB) Martha BishopVintage Burgundy (SASATT)
Jennifer W Lehmann arr
Adding Percussion to Medieval and Renaissance Music Peggy Monroe
American Recorder Music Constance PrimusBurgundian Court amp Its Music Judith Whaley coord
Improve Your Consort Skills Susan CarduelisMusic for Mixed Ensembles Jennifer W LehmannPlaying Music for the Dance Louise AustinRecorder Care Scott Paterson
acutely aware of any kind of neckstrain when it begins to develop these ideas have been a big help to meIrsquom hoping they may be of help toother musicians as well
Best wishes to you And inanswer to your questionmdashyes the new[AR] format (with more white spacebetween the lines) is much easier toread (in my opinion)Your magazinejust keeps getting better and better
Very sincerely Ed Green WestSuburban (Chicago-area) Chapter
RESPONSE FROM DR BILL LONG
What Ed describes is a variant of theuse of conventional bifocals as musicglasses described on page 8 in thearticle Instead of lowering his musicstand into the field of view of hisbifocal segment Ed and his optome-trist have fabricated special purposebifocals with the segment really highso he can focus on his music instraight-ahead view That approachrestricts his distance vision to an areaabove his usual line of sight whichseems to work for Eds playing setup
Eds comments on the difficultiesin using conventional progressiveaddition lenses as music lenses con-firm what I said on page 9 Thats whymanufacturers have marketed special-ty progressive lenses designed specif-ically for intermediate distance taskslike computer use and playing music
There are lots of solutions to thepresbyopic musicians problem but all involve compromises The key toevaluating those compromises andchoosing the best solution for yourselfis to understand your needs and toenlist the help of a sympathetic visioncare specialistmdashjust as Ed did
Please change your
browserrsquos favorites list
AR online is now at wwwameri
canrecorderorgmembership
magazinehtm Send news to
editoramericanrecorderorg
FOUR FOUR-PART CANZONAS
(1608) BY GIOVANNI GABRIELI
ED GREG LEWIN Hawthorns Music RB 16 (Magnamusic) 1999 SATBSc 16 pp pts 4 pp $1950
Giovanni Gabrieli was probablyborn between 1554 and 1557 in theparish of San Geremia in Venice Thedetails of his early life are sketchy butit appears that he was born Giovannidi Fais and later changed his name toGabrieli out of respect to his uncleAndrea with whom he shared a closerelationship In fact in 1587 Gabrielidescribed himself ldquoas little less than asonrdquo It is commonly thought thatAndrea provided Giovanni with hisearly musical training Andrea whohad spent some time in Munichstudying under the great Orlando deLassus sent Giovanni to Munich for a similar period of study in theearly 1570s
Gabrieli remained in Munichuntil the death in 1579 of the dukeAlbrecht V who had been Lassusrsquosemployer for a number of years andwho was an enthusiastic patron of the arts particularly music With hisdeath a number of musicians lost theirjobs it seems as if Gabrieli were also a victim of such culling of talent(Within a generation the tide wouldturn and the Munich court wouldagain hire Venetian expatriates such as Priuli Valentini and Neri)
Upon his return to VeniceGabrieli was hired as a temporaryorganist at San Marco his positionbecoming permanent in 1585 For a few months that year uncle andnephew served together as first and
second organists in the chapel of thedoge In Giovannirsquos absence fromVenice there had been a plague thathad decimated the ranks of theprofessional musicians Andrea setabout rebuilding his forces at SanMarco by hiring a full-time windband consisting of Girolamo dallaCasa a renowned cornettist andviolist his two brothers who playedsackbut and later the cornett virtuosoGiovanni Bassano Giovanni Gabrieliaugmented these forces with addi-tional players and began composingthe large-scale ceremonial music forwhich he is so well known today
Giovanni was also elected to bethe organist and composer to theconfraternity of San Rocco in 1585and it is now thought that his largestpieces were intended for that venuewith its large central gallery andfrescos by Tintoretto instead of SanMarco Gabrieli held both thosepositions at the basilica of San Marcoand the Scuola Grande di San Roccountil he died in 1612 of a kidney stone
Although best known today forhis ceremonial and festival musicGabrieli was at home in smaller-scaleformats as well These four four-partcanzoni are taken from the 1608publication by the Venetian publisherAlessandro Raverji Canzoni per sonarecon ogni sorte di strumenti These werevery popular pieces to judge by themany collections in which they appear
Additionally like Gabrielirsquoskeyboard music they are found inother arrangements These four-partcanzoni lie well under the fingers inarrangements for keyboard and lute
As seen from the title Gabrielispecified no instrumentation but like asimilar edition of madrigals and battlepieces from a few years earlier a dis-tinction was made that they wereintended for wind instruments almostcertainly cornetts and sackbuts
Recorders were not unknown in Venice they were used regularly inthe confraternity of San GiovanniEvangelista where Giovanni BattistaRiccio was organist
These pieces are relativelysimplemdashplayable by beginning tointermediate ensembles They aremostly contrapuntal (with a fewhomophonic sections) and have few rhythmic eccentricities
These canzoni are found in manymodern brass editions but there arefew editions available to the recorderplayer This edition by Greg Lewin ofHawthorns Music might be consid-ered a ldquobare-bonesrdquo edition There islittle background information andeditorial practices are not specified
The music itself has a handwrittenlook that can be distracting but is easyenough to read Lewin has thought-fully supplied phrasing marks that willbe helpful for ensembles unused tothis style of music
Music
Reviews___________________________________ Infectious music created in spite of the plague
wwwAmericanRecorderorg March 2009 41
This is a good edition
for small ensembles that
canrsquot get eight players
together to play
Gabrielirsquos more famous
eight-part canzoni
42 March 2009 American Recorder
The parts are four pages but mycopy had all four pages printed on avery large page This is not a problemand there are no page turns
This is a good edition for smallensembles that canrsquot get eight playerstogether to play Gabrielirsquos morefamous eight-part canzoni Thesesmall-scale pieces are by no meansinferior to Gabrielirsquos more elaboratemusic and deserve to be better known
7 CANZONEN (1637) BY
TARQUINIO MERULA ED JOACHIM
ARNDT WITH CONTINUO REALIZATION
BY CLAUDIA SCHWEITZER MieroprintMusikverlag EM2088 (availabledirectly from wwwmieroprintcom)2005 SS or TT bc Sc 24 pp pts 8 pp$28
Tarquinio Merula was bornaround 1595 in either Busseto orCremona in Italy As was the case withso many composers of the day either alack of regular employment or a rest-less nature took him from his home inCremona to as far away as Warsaw He is found as the organist of thechurch and the chambers to the kingof Poland Sigismund III in 1624
Merula was one of the leadingexponents of the relatively new con-certante style pioneered by ClaudioMonteverdi and others in the seconddecade of the 17th century and may be described as one of the earliestBaroque composers His compositionsin the concertante style are fresh andunforcedmdashhe was born into this styleand didnrsquot encounter it as somethingnew as was the case with so many ofMonteverdirsquos contemporaries
After several years of peripateticexistence Merula found regularemployment in 1631 in Bergamo atthe church of San Maria MaggioreThe prior holder of the post of maestrodi cappella Alessandro Grandi haddied the previous year in the plagueMerula had signed a three-year
contract but by December 1632 hewas terminated with accusations thathe had molested several studentsMerula threatened a lawsuit to recoverhis lost wages but that threat wascountered with a pending criminalcharge lodged by the board ofgovernors of San Maria Maggiore By mid-1633 the matter was settledwith an apology from Merula and astatement that he relinquished allclaims to his salary
He then returned voluntarily toCremona where he stayed until 1635By 1638 Merula was once again inBergamomdashthis time as maestro dicappella and organist in the cathedralnext to San Maria Maggiore Asmight be expected there was con-siderable tension between the twochurches eventually resulting in theboard of San Maria Maggioreforbidding their musicians to perform under Merularsquos direction
He returned in 1646 to a familiarCremona post which he had heldthree times in various years and wherehe now settled downmdashthat of organistand maestro di cappella for Laudi dellaMadonna services in which he ledmusic at the main altar on Saturdaysand on vigils of Marian feasts
None of his employment issues
prevented the Pope from awardinghim the Order of the Golden SpurMerula was also elected to theAccademia dei Filomusi in BolognaHe died in 1665 in Cremona
His existing compositions showthe products of a lively mind Hisworks range from sacred songs andmotets to purely instrumental piecesnotably the ever-popular variations onvarious ground basses It is knownthat Merula was an accomplishedviolinist as well as a fine organist Hissurviving instrumental writing showsa predilection for strings In fact hewas one of the earliest composers tospecify string accompaniments tosacred motets
Merularsquos pieces look backwardtoward some of the more progressiveVenetian composers such as Monte-verdi while looking forward to thehigh Baroque with his innovative style
These seven canzoni like theearlier-published chaconne (EM2084)come from Merularsquos third bookpublished in 1637 CANZONI overo SONATE CONCERTATE perchiesa e camera a due et a tre delcavaliere This collection typifiesMerularsquos output pieces based onRenaissance-era ground basses arefound next to more ldquomodernrdquo sonatas
The original edition specifiesviolins and basso continuo This newedition is intended for recorders thespecific choice of which is up to theplayers Due to the relatively hightessitura tenor recorders work best inthese pieces (although listed as analternative soprano recorders tend to be on the screechy side)
Not surprisingly given Merularsquosskill as an organist the continuo partneeds a keyboard instrument forsuccessful realization Instead of beinga purely accompanying part the bassocontinuo part is an equal partner in these pieces the canzona ldquoLaRuggierardquo opens with a run that therecorders echo a few measures later
A more recorder-specific
edition intended for
altos would have been
ideal There is nothing
preventing the more
adventurous and
industrious players
from making their
own editions of this
delightful music
mentioned were a bit shrill A morerecorder-specific edition intended foraltos would have been ideal There isnothing preventing the moreadventurous and industrious playersfrom making their own editions of thisdelightful music
Prior to playing the previouslypublished chaconne I had notencountered MieroprintMusikverlag Mieroprintrsquos extensivecatalog has an equal focus on newmusic for recorders and on editions ofBaroque masters with emphasis on therecorder and flute Due to the lack of
wwwAmericanRecorderorg March 2009 43
are also available at
The Early Music Shop
of New England
Brookline MA
AESTHEacute
367-b de la Briquade
Blainville Queacutebec
Canada J7C 2C7
tel (450) 979-6091
wwwboudreau-flutesca
A bass viola da gamba or rsquocello is not necessary for these pieces and may infact make them sound heavy and ponderous rather than light and breezy as thismusic seems to be
More so than the above-mentioned chaconne these canzoni are written in avery idiomatic violin style with multiple examples of arpeggios In particular thecanzona ldquoLa Trecchardquo contains a notated example of a string tremolo figurerecurring through the piece ldquoLa Trecchardquo also dips well below the range of a Crecorder going down to low G the lowest string on the violin The editors havesupplied no alternative notes preferring to let the performers to fend forthemselves (in practice we took this passage up an octave with no problems)
The two recorder parts require virtuosity These upper parts are demandingwith the players needing to double-tongue in unison in order to negotiate themany runs of 16th notes and the shared rhythmic ldquolicksrdquo The harmoniclanguage unlike much of Merularsquos music is undemanding and contains none of the harmonic crunches for which he is famous
This is wonderful music that needs a couple of advanced recorder players fora successful performance The string idiosyncrasies can be overcome by advancedplayers and many of the editions of the era (although not this one) list thecornetto as an alternative to the violin so the use of wind instruments in the solo literature of the early Baroque was not unknown
Our experience with this edition left us with the opinion that these pieceswould have been better if transposed down a minor third so as to fit on a pair ofalto recorders (as is the case with much Baroque flute music to make it lie betteron the recorder) The tenors we used tended to sound a bit murky in the lowerregister next to the more aggressive harpsichord while the sopranos we tried as
KEY rec=recorder Srsquoo=sopraninoS=soprano A=alto T=tenor B=bassgB=great bass cB= contra bass Tr=treble qrt=quartet pf=piano fwd=foreword opt=optional perc=percussionpp=pages sc=score pt(s)=part(s)kbd=keyboard bc=basso continuohc=harpsichord PampH=postage andhandling Multiple reviews by one reviewerare followed by that reviewerrsquos name Pleasesubmit music for review to AR 7770 SHigh St Centennial CO 80122-3122 US
an American distributor this musicwill be hard to findmdashin fact can befound only at the time of this writingon their web site noted above But theeffort will be repaid
This edition is clear and easy toread and the parts require no pageturns The basso continuo realizationis simple and elegant
This is music deserving ofrediscovery My only quibble is thatthe editorial notes are all in GermanThis seems to be the practice ofGerman music publishers with thenotable exception of Moeck Otherpublishers of early music such asLondon Pro Musica routinelyprovide notes in English and German and often in French and Italian making their editionsaccessible to a wider audience
Frank Cone studied the recorderwith the late Ellen Perrin the viola dagamba with Carol Herman and thecornetto with Larry Johansen TheCalifornia multi-instrumentalist has been a member of the Orange CountyRecorder Society since 1985
Advertiser Index
AMERICAN ORFF-SCHULWERK ASSN 3
AMERICAN RECORDER SOCIETY 31 35 36
AMHERST EARLY MUSIC FESTIVAL 17
STEPHAN BLEZINGER 24
JEAN-LUC BOUDREAU 21 39
BOSTON EARLY MUSIC FESTIVAL 7
CANTO ANTIGUO EARLY MUSIC WORKSHOP 13
COURTLY MUSIC UNLIMITED 20
EARLY MUSIC AMERICA 8
HONEYSUCKLE MUSIC 34
BILL LAZARrsquoS EARLY MUSIC 26
KEITH E LORAINE EARLY DOUBLE REED SERVICE 35
LOST IN TIME PRESS 11
MADISON EARLY MUSIC FESTIVAL 12
MAGNAMUSIC DISTRIBUTORS BC
MOECK VERLAG IFC
MOLLENHAUER RECORDERS IBC
PORT TOWNSEND WORKSHOP 14
PRESCOTT WORKSHOP 30
PROVINCETOWN BOOKSHOP 26
THE RECORDER MAGAZINE 4
THE RECORDER SHOP 6
SAN FRANCISCO EARLY MUSIC SOCIETY 18
SWEETHEART FLUTE CO 3
TEXAS TOOT 20
VON HUENE WORKSHOP INC 30
WICHITA BAND INSTRUMENT CO 21
DOMINIK ZUCHOWICZ 34
CONSIDER ADVERTISING IN
Full page $55223 page $43912 page $36613 page $28614 page $22316 page $17518 page $127112 page $ 951 column inch $ 58
Prices include web sitee-mail link directly from your ad in the online AR at wwwamericanrecorderorg
Circulation Includes the membership of theARS libraries and music organizations
Published five times per year January March May September November
Reservation Deadlines December 1 (January) February 1 (March) April 1 (May) August 1 (September) October 1 (November)
Rates good through November 2009 Pleaseinquire about discounts on multiple-issuecontracts inserts or other special requestsExtra charges for typesetting layout half-tones and size alterations 133-line screenrecommended Advertising subject toacceptance by magazine First-time adver-tisers must include payment with order
For more information contact the ARS office 1129 Ruth Drive St Louis MO63122-1019 800-491-9588 toll free 314-966-4082 phone 314-966-4649 faxadvertisingamericanrecorderorg
44 March 2009 American Recorder
Classified___________________________________
FOR SALE Cherrywood hurdy gurdy and hard-side case made by Kelischek bought 2005Originally $765 plus $89 for case Rarely usedBoth for $450 or make offer Please contact marjalocomcastnet Can ship
ASPIRE ANNOUNCE INSPIRE Afford-able PR for teachers and recitalists wwwrecitalroomcom
PHOTOS NEEDED of ARS events 1970sndash1990sto illustrate last chapters of Martha Bixlerrsquos histor-ical memoir about the ARS (to be posted online)E-mail scanned photos (300dpi JPG or TIF)arsrecorderamericanrecorderorg Hardcopies mail to ARS office to be scanned ampreturned Info 800-491-9588
T-SHIRT FOR ENSEMBLE PLAYERS to wear orshare Top 10 Reasons Why I Got Lost Wrongfingering bad lighting etc on blue cotton shirt$18 Highlighter tape and other goodies Beth amp Lindas Boutique as seen at BEMF CallLinda at 617-671-8694 or e-mail for brochurelindakushverizonnet
Where the havesand have-nots
of the recorder world can find each other
Classified rate for American Recorder 60centper word ten-word minimum ldquoFOR SALErdquoand ldquoWANTEDrdquo may be included in thecopy without counting Zip code is oneword phone e-mail or web page is twoPayment must accompany copy Deadlinesare one month before issue date Send copywith payment to ARS 1129 Ruth Drive St Louis MO 63122-1019
AMERICAN RECORDER (ISSN 0003-0724) 1129 Ruth Dr St Louis MO 63122-1019 is publishedbimonthly (January March May September and November) for its members by the AmericanRecorder Society Inc $20 of the annual $45 US membership dues in the ARS is for a subscriptionto American Recorder Articles reviews and letters to the editor reflect the viewpoint of their individ-ual authors Their appearance in this magazine does not imply official endorsement by the ARS
EDITORIAL DEADLINES November 15 (January) January 15 (March) March 15 (May) July 15(September) and September 15 (November) Submission of articles and photographs is welcomedArticles may be typed or sent as an attachment (Word or RTF preferred) to or text in an e-mail mes-sage They should be for the exclusive consideration of AR unless otherwise noted Photos may besent as prints or unedited JPG or 300dpi TIF files (minimum 3rdquox4rdquo) Advertisements may be sent inPDF or EPS format with fonts embedded
EDITORIAL OFFICE Gail Nickless Editor 7770 S High St Centennial CO 80122-3122 303-794-0114 (phone amp fax) editoramericanrecorderorg Books for review Editorial office Musicfor review Editorial office Recordings for review Tom Bickley 1811 Stuart St Berkeley CA 94703Cutting Edge Tim Broege 212 Second Ave Bradley Beach NJ 07720-1159 Chapter newslettersother reports Editorial office Postmaster Send address changes to ARS 1129 Ruth Drive St LouisMO 63122-1019 Periodicals postage paid at St Louis MO and at an additional mailing office
Chapter leaders
We know yoursquore out there
and that you want to share
your plans concerns
solutions and ideas with
other chapter leaders Visit
httpamericanrecorder
societywikispacescom
The first meeting of the newly-formedFort Myers Recorder and Early
Music Ensemble was January 26 atthe Florida home of chapter rep Sue
Groskreutz For this year the groupis somewhat loosely organized andplans to meet for extended sight-reading Repertoire at the first meetingcomprised everything from Renais-sance duets to chamber music involv-ing three treble parts and continuo
Among the five musiciansattending the first meeting (photobelow front row Elizabeth Spang SueGroskreutz back row Suzanne FergusonSibylle Baumgartner Arlene Sowka) allplayed recorder three harpsichord
and one each played traverso violinand gamba Due to the scarcity ofrecorder players south of the Sarasotaarea modern string players are alsoincorporated into this ensemble
The group decided not to chargedues and to meet at Groskreutzrsquoshome For more information pleasecontact Groskreutz at 239-267-1752spgembarqmailcom Snowbirdsdrifting through the area are welcome
Last fall at the requestof a student Kay Hettich
(inset below right) taught abeginning recorder class atthe Redding (CA) Senior
Center The five-weekclass was so successful thatmost participants haveformed a bi-weekly noviceensemble (right) coachedby Hettichmdashwho consid-ers them her ldquohatchedeggsrdquo
A new batch of ldquoeggsrdquostarted to incubate when afive-week class began on February 20Other senior center members havebecome interested as they heard oftheir colleaguesrsquo success These noviceplayers comprise some who previouslyread music and played instruments as well as people who are totally new to music notation
One student has also formulated amaxim ldquoEveryone at age 40 ought tolearn to play the recorder if heshehasnrsquot alreadyrdquo Just think how theworld would be transformed byshifting our focus to music
After Lynn Whidden attendedthe Montreacuteal Recorder Festival lastfall when the ARS Board met inQuebec she joined the ARS and nowrelays news of the lively interest in therecorder exhibited by a group underthe new leadership of Brent Legg ofBrandon University in ManitobaCanada Although his hands wereldquostill partly frozenrdquo he wrote that theBrandon University Collegium
Musicum in collaboration with theWaverley Park Recorder Club is
preparing a spring concert calledldquoEnglandrsquos Golden AgerdquoRepertoire spans the 16th century
from Henry VIIIrsquos accession in 1509to the death in 1603 of Elizabeth Iand includes solo songs four- andfive-part settings of Renaissancedances (with dancers) three- to five-voice madrigals and ldquobig-bandrdquoarrangements of William Byrdrsquos TheBells and The Dargason as re-imaginedby Gustav Holst (further re-imaginedfor recorders and percussion)
Of the 15 collegium membersseven are encountering the recorderfor the first time since elementaryschool The Collegium Musicumpromotes the study of early music at the university and is open to theuniversity community and the generalpublic This year there are five com-munity participants with interest fromseveral more both within and outsideof the university For informationcontact BrentLegggmailcom
January 16 marked the thirdannual recorder workshop of threeFlorida groups the Pasco Collegium
Recorder Consort of Hudson theImperial Recorder Consort of
36 March 2009 American Recorder
Chapters
amp Consorts___________________________________Workshops and activities from
coast to coast in the US and Canada
Lakeland and the Pilgrim Pipers Recorder Consort of St Petersburg Theygathered for a morning tackling selections by Banchieri Monteverdi PurcellCorelli Mendelssohn Bach Mozart and Glen Shannon Each group presenteda piece for the other participants Sweet Georgia Brown by Ben Bernie (St Pete)a Sonata by Sammartini (Lakeland) and The Gospel Train arr by KW Ford(Pasco) The 29 participants were led by Marlene Cracraft (Pasco) Jane
Spencer (Lakeland) and Elizabeth Snedeker (St Pete) Tom Bickley (photo below) directed the fall workshop of the Mid-Peninsula
Recorder Orchestra in Cupertino CA The 30 players started with Gregorianchants written in ldquooldrdquo notation Bickley gave basic instruction on how tointerpret the notes and then had the group sing the chants prior to playing them
The workshop theme of ldquoThe Articulate Recorderrdquo was literally played out as the music presented used variations in tonguing phrasing and breathingOther repertoire included a Kyrie by Tomas Luis de Victoria Bachrsquos Jesu Joy ofManrsquos Desiring a double-choir piece by Gabrieli Christopher Tyersquos In NomineXIII and a Purcell chaconne The workshop ended with a rhythmically-challenging minimalist piece by Bickley entitled Beginning composed for theWaldorf School teacher training program George Greenwood reports that thegroup had a productive event and plans to ask Bickley to lead a future workshop
wwwAmericanRecorderorg March 2009 37
A Muse in the DesertThe sound of a pin dropping hellip thesound of eager minds and fingersabsorbing information and inspira-tion hellip the sounds of ldquoNuevaEspantildeardquo Spanish- and indigenous-influenced music of the 1600s in theNew World These were the soundsof the Desert Pipes (Phoenix AZ)chapterrsquos fall workshop given byEileen Hadidian On a Saturdaylast October 30 players from all overArizona gathered to learn from andbe inspired by the founder of a SanFrancisco Bay Area group dedicatedto sharing music for healing inhealthcare settings Healing Muses(wwwhealingmusesorg)
The day began with relaxationstretching and breathing exercisesfollowed by travels to Peruacute MexicoGuatemala and Colombiamdashhighchurch music vernacular pieces anda mixture of the two Participantsenjoyed the historical and contextualbackground provided as an overviewfor the day and for each piece
Remarkably the sound heardbetween pieces and passages was anenergy-filled quiet the attentivestillness of active engagement in theworkshop experiencemdashnot the chat-tering noodling and conversationsthat often occur when the musicstops That activity was reserved forthe breaks when participants couldenjoy the cool (at last) outdoorschat with Hadidian and peruse the popular garage sale (to benefitDesert Pipes) of previously-enjoyedbooks and other treasures
On Sunday Hadidian sharedher expertise and inspiration in indi-vidual and group coaching sessionsThe weekend was a special experi-ence and Desert Pipes memberslook forward to the next visit of this Healing Muse
Ann Koenig Scottsdale AZannisalesprocom
Members
of three
Florida
groups
met
in January
for a joint
workshop
CHAPTER NEWS
Chapter newsletter editors and publicity officers should send materials for publication toAmerican Recorder 7770 South High St Centennial CO 80122-3122
editoramericanrecorderorg Also send short articles about specific activities that haveincreased chapter membership or recognition or just the enjoyment your members get out of
being part of your chapter Digital photos should be at least 3rdquox4rdquox300dpi TIF or unedited JPG files Please send news to the AR address above and to the following
ARS Office 1129 Ruth Drive St Louis MO 63122-1019 ARSrecorderAmericanRecorderorg
and to Bonnie Kelly Chair Chapters amp Consorts Committee 45 Shawsheen Rd 16 Bedford MA 01730 bksharpaolcom
TO THE STARS
AND BEYONDThe cover of the November magazinegenerated a few comments Some werenrsquotsure how to interpret the title (in theartistrsquos native German it could besomething close to ldquostarlit moonrdquo)Longtime member Carolyn Peskin wrote to offer her vision of that cover
In the beginning the Great Spiritinvented Mr Sun to light the day andMiss Moon to light the nightHowever as Miss Moon floated up inthe sky all by herself like a big yellowballoon she began to feel very lonelyso one night to relieve her lonelinessshe decided to take out her recorderand make music
But when she started to playsomething miraculous happened Not only beautiful melodies but alsoyellow dust poured out of the bottomof her recorder and the dust particlesimmediately coalesced to form yellowstars As she continued playing moreand more stars were created and theyfloated up around her filling the nightsky
At last Miss Moon was happy fornot only was she herself able to enjoyher music but she now had a wholecrowd of starry companions to enjoy itwith her And if you listen very care-fully on a quiet night you might beable to hear her recorder and thatstarry choir humming along
Carolyn Peskin
LOCATING EARPLUGSI read with interest the QampA in theNovember lsquo08 AR regarding hearingloss and use of earplugs Where do you get musicianrsquos earplugs
Dolly Hirata Kensington CA
CAROLYN PESKIN PROVIDED THIS
INFORMATION Musicianrsquos earplugs arecustom made for individual usersThey can be purchased only fromlicensed hearing professionals (ieaudiologists and hearing instrumentspecialists) To find a licensed hearingprofessional in your area look underldquoaudiologyrdquo or ldquohearingrdquo in your localyellow pages
For information about how musi-cianrsquos earplugs are produced visitwwwetymoticcomephperme-w
tbaspx That web page also has a linkto contact information for authorizedlabs that make the custom earmolds formusicianrsquos earplugs If the yellow pagesdo not prove helpful those labs canrefer you to a licensed hearing pro-fessional in your area from whom youcan purchase musicianrsquos earplugs
MORE FROM CAROLYN
THIS TIME ABOUT OSKARIn the September 2008 AR the musicreview by Leslie Timmons of the Oskarpieces by Matthias Maute mentionedthat Carolyn Peskin had translated twoof the Oskar books from German toEnglish People can obtain thetranslations free of charge as Wordattachments by contacting her atCarolyn Peskin 3559 StrathavonRoad Shaker Heights OH 44120carolynpeskinstratosnet
ANOTHER KIND OF
MUSIC-READING
GLASSESIn the January 2009 issue of AmericanRecorder therersquos something (in myopinion) the ldquoRecorder with GlassesObbligatordquo article omitted which canenable a nearsighted musician to avoidneck strain in the use of bifocals
Irsquove found the solution to thisvexing problem is to have onersquos bifocalsconstructed differently [from] normalMy optometrist was willing to work
38 March 2009 American Recorder
Response___________________________________Two kinds of vision
the better to see with and (not) to hear with
Honeysuckle Music
Recorders amp accessories
Music for recorders amp viols
Jean Allison Olson1604 Portland AveSt Paul MN 55104
6516448545jeanhoneysucklemusiccom
Responses from our readers are welcomedand may be sent to American Recorder 7770 South High St Centennial CO
80122 Letters may be edited for length and consistency
ARS Membership Enrollment and Renewal I am a new member I am or have been a member
USCanadian Memberships Foreign Memberships $45 One Year $55 Foreign One Year $75 Sustaining (Receive a Hottetere Hands Pin) $100 Two Years $80 Two Years
LIFETIME MEMBERSHIP Single Dual Regular Lifetime Member $1000 (2) $1500 (4) 4 installments of $250 available) Loyalty Lifetime Member (1) $ 800 (3) $1200 (4) 4 installments of $200 available
(1) For members who have maintained membership for five consecutive years (2) $750 is Tax Deductible (3) $600 is Tax Deductible (4) Installments available Student Memberships Other Memberships (Enclose proof of full time enrollment) $65 One Year Workshop Membership
$25 USCanadian One Year $125 One Year Business Membership $45 USCanadian Two Years $30 Foreign One Year $5 Additional Charge for Dual Address or Dual Name
Do not list my name in the ARS Print Directory Do not list my name on the ARS Online Directory Do not release my name for recorder related mailings Do not contact me via email
My address telephone and email address are the same as last time
______________________________________ _________________________ Name Phone Number ______________________________________ _________________________ AddressCityStatePostal Code Email Address Please charge to (Circle one) VISAMasterCardAMEXDiscover CC________________________________ Expiration Date ______________ Signature of cardholder_______________________________________________________ Clearly Print Name as it appears on Card________________________________________
Renew by Mail Online By Phone or by Fax
Demographic Information (optional information collected only to enhance ARS services and provide statistics to grant makers)
I am a member of ARS Chapter or Consort____________________________ I am the Chapter Contact Your age Under 21 (21-30) (31-40) (41-50) (51-60) 61-70) (71+) Please check all that apply
I am a Professional Recorder Performer
I wish to be included in the list of Recorder Teachers in the ARS Directory and website I Teach (circle your choices) Children High School Youth College Students Adults Beginner Intermediate Advanced Pre-Professional Individuals Childrenrsquos Classes Adult Classes Ensembles Suzuki Orff JRS Leader Kodaly Where I Teach (circle your choices) Music Studio Public or private school Community Music School College Other _____________________
American Recorder Society 1129 Ruth Dr St Louis MO 63122-1019
Phone 314-966-4082Fax 314-966-4649
TollFree 800-491-9588ARSRecorderAmericanRecorderorg
wwwAmericanRecorderorg
with me [to find] an ideal (for me)placement size and focal length of thebifocal lens
Before visiting the optometristIrsquod had my wife measure the distancefrom my eyes to the music on mymusic stand With this measurementthe optometrist set up her machine toprepare a vision prescription for memaximized for this reading distance
When I look at my bifocals (withthem off) the lenses (through which Iread my music) occupy most of thelower two-thirds of my glasses (they are set very high and beginimmediately at the inner rims) Thisleaves the upper third and smallportions of the outside [of each lens]for focusing on the conductor As longas my stand is set low enough my necknever experiences any strain (even if Ihave to read three to a part) and Irsquove no problem in seeing theconductor (in sharp focus) either
For me trying to use glasses [toread] from a music stand [that] weredesigned for use in reading from acomputer screen also results in neckstrain (not to mention unreliability in aldquopressurerdquo situation) Having studiedTai Chi extensively and so being
wwwAmericanRecorderorg March 2009 39
There are lots ofsolutions to thepresbyopic musicianrsquosproblem but all involve compromises
40 March 2009 American Recorder
American Recorder Society PublicationsErich Katz Contemporary Music Series Members Non-MembersA Short Tale for Two Basses Suzanne M Angevine (Level II) (2 scores) $5 $8Dialogue and Dance Cecil Effinger (SATB)(Level II-III) (score amp parts) $10 $18Dorian Mood Sally Price (SATB) (Level II) (score amp parts) $10 $18Double Quartet for Recorders Peter Ballinger (Level II-III) (score amp parts) $10 $18Entrevista Frederic Palmer (SATB) (Level II) (2 scores amp 4 recorder parts) $8 $14Kyrie and Vocalise for Soprano Voice ampRecorders Stanley W Osborn $8 $14
(SATB) (Level II) (2 scores amp 4 recorder parts) Picnic Music Jeffrey Quick (SATB) (Level II) (score amp parts) $5 $8Six Short Pieces for Three Recorders edited by Alan Drake $8 $14
(3 scores) Vaclav Nelhybel (AATT) (Level II)Sonatina for Alto Recorder and Piano Anthony Burgess $7 $12
(Level II) (2 scores)Sonatine for Three Altos Lee Gannon (Level III) (score amp parts) $14 $26Suite of Jewish Folk Tunes Erich Katz (S SA8 AT) (Level II) (three scores) $10 $18
Musical Editions from the Membersrsquo Library ARS members 1 copy-$3 2 copies-$450 3-$6 4-$750 5-$10 6-$1150Non-members (editions over 2 years old) 1 copy-$5 2 copies-$850 3-$12 4-$15 5-$1950 6-$23The ARS is happy to provide photocopied enlargements of any Membersrsquo Library edition at the same prices Please specify ldquoMembersrsquo Library Enlargementrdquo
ARS Information BookletsARS members 1 booklet-$13 2 booklets-$23 3-$28 4-$35 5-$41 6-$47 7-$52Non-members 1 booklet-$18 2 booklets-$33 3-$44 4$55 5-$66 6-$76 7-$86
Education PublicationsThe ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996)
First copy free to ARS Members (mailed to new members as they join) replacement copies $3Guidebook to the ARS Personal Study Program (1996) Material formerly published in the Study Guide
and Study Guide Handbook plus additional resources Members $11 non-members $20ARS Music Lists (2002 with 2003 Supplement) Graded list of solos ensembles and method books
Members $9 non-members $15Package Deal available only to ARS members Guidebook and Music ListsSupplement ordered together $16Junior Recorder Society Leaderrsquos Resource Notebook
ARS members $20 non-members $40 (updates at reduced rates after initial purchase)$5 Dues for each JRS student member sponsored by an ARS member ($4 each for groups of 10+)
VideosRecorder Power Educational video from the ARS and recorder virtuoso John Tyson
An exciting resource about teaching recorder to young students ARS members may borrow a copy for onemonth by sending $5 to the ARS office along with the address to which the tape should be shipped
Pete Rose Video Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music Festival recitalFeatures Rose performing a variety of music and an interview of him by ARS member professional John Tyson
Other PublicationsChapter Handbook A resource on chapter operations for current chapter leaders or those considering forming an
ARS chapter ARS members $10 non-members $20 (updates free after initial purchase) One free copy sent toeach ARS chapter with 10 members or more
Consort Handbook Resource on consort topics such as group interaction rehearsing repertoire performingARS member prices CD $10 hard copy $20 combo price of CD and hard copy ordered together $25
Discography of the Recorder Vol I (1989) Compiled by Scott Paterson and David LasockiDiscography of the Recorder Vol II (1990-1994) Compiled by Scott Paterson
Either single volume ARS members $23 non-members $28Both Discography volumes together ARS members only $40
American Recorder Cumulative Index for Vols I-XXXX ARS members $20 non-members $32Index Supplement Vol XXXIV-XXXX ARS members $8 non-members $14
Shipping amp Handling FeesUnder $10 - add $3 $10-1999 - add $4 $20-2999 - add $5 $30-3999 - add $6 $40-4999 - add $7 All prices are inUS dollars For Canadian or foreign postage pay by credit card and actual postage is charged
Please make checks payable to ARS VISAMCAMEXDisc also accepted
ARS 1129 Ruth Drive St Louis MO 63122 US800-491-9588 ARSrecorderAmericanRecorderorg
Arioso and Jazzy Rondo (AB) Carolyn PeskinBerceusendashFantaisie (SATB) Jean BoivertBrucknerrsquos Ave Maria (SSATTBB)
Jennifer W Lehmann arrCanon for 4 Basses (BBBB) David P RuhlDancers (AT) Richard EastmanDifferent Quips (AATB) Stephan ChandlerElegy for Recorder Quartet (SATB) Carolyn PeskinElizabethan Delights (SAATB)
Jennifer W Lehmann arrFallen Leaves Fugal Fantasy (SATB) Dominic BohbotFour Airs from ldquoThe Beggarrsquos Operardquo (SATB)
Kearney Smith arrGloria in Excelsis (TTTB) Robert CowperIdyll (ATB) Stan McDanielImitations (AA) Laurie G AlbertsIn Memory of Andrew (ATB) David GoldsteinLay Your Shadow on the Sundials (TBgB)
Terry Winter OwensLeClercqrsquos Air (SATB) Richard E WoodLittle Girl Skipping and Alouette et al (SATBCb)
Timothy R Walsh
Los Pastores (SAAAT + perc) Virginia N Ebinger arrNew Rounds on Old Rhymes (4 var) Erich KatzOther Quips (ATBB) Stephan ChandlerPoinciana Rag (SATB) Laurie G AlbertsSanta Barbara Suite (SSAAT) Erich KatzSentimental Songs (SATB) David Goldstein arrSerie for Two Alto Recorders (AA) Frederic Palmer Slow Dance with Doubles (2 x SATB) Colin SterneSonata da Chiesa (SATB) Ann McKinleyS-O-S (SATB) Anthony St PierreThree Bantam Ballads (TB) Ann McKinleyThree Cleveland Scenes (SAT) Carolyn PeskinThree in Five (AAB) Karl A StetsonTracings in the Snow in Central Park (SAT)
Robert W ButtsTrios for Recorders (var) George T BachmannTriptych (AATB) Peter A RamseyTwo Bach Trios (SAB) William Long arrTwo Brahms Lieder (SATB) Thomas E Van Dahm arrVariations on ldquoDrmešrdquo (SATB) Martha BishopVintage Burgundy (SASATT)
Jennifer W Lehmann arr
Adding Percussion to Medieval and Renaissance Music Peggy Monroe
American Recorder Music Constance PrimusBurgundian Court amp Its Music Judith Whaley coord
Improve Your Consort Skills Susan CarduelisMusic for Mixed Ensembles Jennifer W LehmannPlaying Music for the Dance Louise AustinRecorder Care Scott Paterson
acutely aware of any kind of neckstrain when it begins to develop these ideas have been a big help to meIrsquom hoping they may be of help toother musicians as well
Best wishes to you And inanswer to your questionmdashyes the new[AR] format (with more white spacebetween the lines) is much easier toread (in my opinion)Your magazinejust keeps getting better and better
Very sincerely Ed Green WestSuburban (Chicago-area) Chapter
RESPONSE FROM DR BILL LONG
What Ed describes is a variant of theuse of conventional bifocals as musicglasses described on page 8 in thearticle Instead of lowering his musicstand into the field of view of hisbifocal segment Ed and his optome-trist have fabricated special purposebifocals with the segment really highso he can focus on his music instraight-ahead view That approachrestricts his distance vision to an areaabove his usual line of sight whichseems to work for Eds playing setup
Eds comments on the difficultiesin using conventional progressiveaddition lenses as music lenses con-firm what I said on page 9 Thats whymanufacturers have marketed special-ty progressive lenses designed specif-ically for intermediate distance taskslike computer use and playing music
There are lots of solutions to thepresbyopic musicians problem but all involve compromises The key toevaluating those compromises andchoosing the best solution for yourselfis to understand your needs and toenlist the help of a sympathetic visioncare specialistmdashjust as Ed did
Please change your
browserrsquos favorites list
AR online is now at wwwameri
canrecorderorgmembership
magazinehtm Send news to
editoramericanrecorderorg
FOUR FOUR-PART CANZONAS
(1608) BY GIOVANNI GABRIELI
ED GREG LEWIN Hawthorns Music RB 16 (Magnamusic) 1999 SATBSc 16 pp pts 4 pp $1950
Giovanni Gabrieli was probablyborn between 1554 and 1557 in theparish of San Geremia in Venice Thedetails of his early life are sketchy butit appears that he was born Giovannidi Fais and later changed his name toGabrieli out of respect to his uncleAndrea with whom he shared a closerelationship In fact in 1587 Gabrielidescribed himself ldquoas little less than asonrdquo It is commonly thought thatAndrea provided Giovanni with hisearly musical training Andrea whohad spent some time in Munichstudying under the great Orlando deLassus sent Giovanni to Munich for a similar period of study in theearly 1570s
Gabrieli remained in Munichuntil the death in 1579 of the dukeAlbrecht V who had been Lassusrsquosemployer for a number of years andwho was an enthusiastic patron of the arts particularly music With hisdeath a number of musicians lost theirjobs it seems as if Gabrieli were also a victim of such culling of talent(Within a generation the tide wouldturn and the Munich court wouldagain hire Venetian expatriates such as Priuli Valentini and Neri)
Upon his return to VeniceGabrieli was hired as a temporaryorganist at San Marco his positionbecoming permanent in 1585 For a few months that year uncle andnephew served together as first and
second organists in the chapel of thedoge In Giovannirsquos absence fromVenice there had been a plague thathad decimated the ranks of theprofessional musicians Andrea setabout rebuilding his forces at SanMarco by hiring a full-time windband consisting of Girolamo dallaCasa a renowned cornettist andviolist his two brothers who playedsackbut and later the cornett virtuosoGiovanni Bassano Giovanni Gabrieliaugmented these forces with addi-tional players and began composingthe large-scale ceremonial music forwhich he is so well known today
Giovanni was also elected to bethe organist and composer to theconfraternity of San Rocco in 1585and it is now thought that his largestpieces were intended for that venuewith its large central gallery andfrescos by Tintoretto instead of SanMarco Gabrieli held both thosepositions at the basilica of San Marcoand the Scuola Grande di San Roccountil he died in 1612 of a kidney stone
Although best known today forhis ceremonial and festival musicGabrieli was at home in smaller-scaleformats as well These four four-partcanzoni are taken from the 1608publication by the Venetian publisherAlessandro Raverji Canzoni per sonarecon ogni sorte di strumenti These werevery popular pieces to judge by themany collections in which they appear
Additionally like Gabrielirsquoskeyboard music they are found inother arrangements These four-partcanzoni lie well under the fingers inarrangements for keyboard and lute
As seen from the title Gabrielispecified no instrumentation but like asimilar edition of madrigals and battlepieces from a few years earlier a dis-tinction was made that they wereintended for wind instruments almostcertainly cornetts and sackbuts
Recorders were not unknown in Venice they were used regularly inthe confraternity of San GiovanniEvangelista where Giovanni BattistaRiccio was organist
These pieces are relativelysimplemdashplayable by beginning tointermediate ensembles They aremostly contrapuntal (with a fewhomophonic sections) and have few rhythmic eccentricities
These canzoni are found in manymodern brass editions but there arefew editions available to the recorderplayer This edition by Greg Lewin ofHawthorns Music might be consid-ered a ldquobare-bonesrdquo edition There islittle background information andeditorial practices are not specified
The music itself has a handwrittenlook that can be distracting but is easyenough to read Lewin has thought-fully supplied phrasing marks that willbe helpful for ensembles unused tothis style of music
Music
Reviews___________________________________ Infectious music created in spite of the plague
wwwAmericanRecorderorg March 2009 41
This is a good edition
for small ensembles that
canrsquot get eight players
together to play
Gabrielirsquos more famous
eight-part canzoni
42 March 2009 American Recorder
The parts are four pages but mycopy had all four pages printed on avery large page This is not a problemand there are no page turns
This is a good edition for smallensembles that canrsquot get eight playerstogether to play Gabrielirsquos morefamous eight-part canzoni Thesesmall-scale pieces are by no meansinferior to Gabrielirsquos more elaboratemusic and deserve to be better known
7 CANZONEN (1637) BY
TARQUINIO MERULA ED JOACHIM
ARNDT WITH CONTINUO REALIZATION
BY CLAUDIA SCHWEITZER MieroprintMusikverlag EM2088 (availabledirectly from wwwmieroprintcom)2005 SS or TT bc Sc 24 pp pts 8 pp$28
Tarquinio Merula was bornaround 1595 in either Busseto orCremona in Italy As was the case withso many composers of the day either alack of regular employment or a rest-less nature took him from his home inCremona to as far away as Warsaw He is found as the organist of thechurch and the chambers to the kingof Poland Sigismund III in 1624
Merula was one of the leadingexponents of the relatively new con-certante style pioneered by ClaudioMonteverdi and others in the seconddecade of the 17th century and may be described as one of the earliestBaroque composers His compositionsin the concertante style are fresh andunforcedmdashhe was born into this styleand didnrsquot encounter it as somethingnew as was the case with so many ofMonteverdirsquos contemporaries
After several years of peripateticexistence Merula found regularemployment in 1631 in Bergamo atthe church of San Maria MaggioreThe prior holder of the post of maestrodi cappella Alessandro Grandi haddied the previous year in the plagueMerula had signed a three-year
contract but by December 1632 hewas terminated with accusations thathe had molested several studentsMerula threatened a lawsuit to recoverhis lost wages but that threat wascountered with a pending criminalcharge lodged by the board ofgovernors of San Maria Maggiore By mid-1633 the matter was settledwith an apology from Merula and astatement that he relinquished allclaims to his salary
He then returned voluntarily toCremona where he stayed until 1635By 1638 Merula was once again inBergamomdashthis time as maestro dicappella and organist in the cathedralnext to San Maria Maggiore Asmight be expected there was con-siderable tension between the twochurches eventually resulting in theboard of San Maria Maggioreforbidding their musicians to perform under Merularsquos direction
He returned in 1646 to a familiarCremona post which he had heldthree times in various years and wherehe now settled downmdashthat of organistand maestro di cappella for Laudi dellaMadonna services in which he ledmusic at the main altar on Saturdaysand on vigils of Marian feasts
None of his employment issues
prevented the Pope from awardinghim the Order of the Golden SpurMerula was also elected to theAccademia dei Filomusi in BolognaHe died in 1665 in Cremona
His existing compositions showthe products of a lively mind Hisworks range from sacred songs andmotets to purely instrumental piecesnotably the ever-popular variations onvarious ground basses It is knownthat Merula was an accomplishedviolinist as well as a fine organist Hissurviving instrumental writing showsa predilection for strings In fact hewas one of the earliest composers tospecify string accompaniments tosacred motets
Merularsquos pieces look backwardtoward some of the more progressiveVenetian composers such as Monte-verdi while looking forward to thehigh Baroque with his innovative style
These seven canzoni like theearlier-published chaconne (EM2084)come from Merularsquos third bookpublished in 1637 CANZONI overo SONATE CONCERTATE perchiesa e camera a due et a tre delcavaliere This collection typifiesMerularsquos output pieces based onRenaissance-era ground basses arefound next to more ldquomodernrdquo sonatas
The original edition specifiesviolins and basso continuo This newedition is intended for recorders thespecific choice of which is up to theplayers Due to the relatively hightessitura tenor recorders work best inthese pieces (although listed as analternative soprano recorders tend to be on the screechy side)
Not surprisingly given Merularsquosskill as an organist the continuo partneeds a keyboard instrument forsuccessful realization Instead of beinga purely accompanying part the bassocontinuo part is an equal partner in these pieces the canzona ldquoLaRuggierardquo opens with a run that therecorders echo a few measures later
A more recorder-specific
edition intended for
altos would have been
ideal There is nothing
preventing the more
adventurous and
industrious players
from making their
own editions of this
delightful music
mentioned were a bit shrill A morerecorder-specific edition intended foraltos would have been ideal There isnothing preventing the moreadventurous and industrious playersfrom making their own editions of thisdelightful music
Prior to playing the previouslypublished chaconne I had notencountered MieroprintMusikverlag Mieroprintrsquos extensivecatalog has an equal focus on newmusic for recorders and on editions ofBaroque masters with emphasis on therecorder and flute Due to the lack of
wwwAmericanRecorderorg March 2009 43
are also available at
The Early Music Shop
of New England
Brookline MA
AESTHEacute
367-b de la Briquade
Blainville Queacutebec
Canada J7C 2C7
tel (450) 979-6091
wwwboudreau-flutesca
A bass viola da gamba or rsquocello is not necessary for these pieces and may infact make them sound heavy and ponderous rather than light and breezy as thismusic seems to be
More so than the above-mentioned chaconne these canzoni are written in avery idiomatic violin style with multiple examples of arpeggios In particular thecanzona ldquoLa Trecchardquo contains a notated example of a string tremolo figurerecurring through the piece ldquoLa Trecchardquo also dips well below the range of a Crecorder going down to low G the lowest string on the violin The editors havesupplied no alternative notes preferring to let the performers to fend forthemselves (in practice we took this passage up an octave with no problems)
The two recorder parts require virtuosity These upper parts are demandingwith the players needing to double-tongue in unison in order to negotiate themany runs of 16th notes and the shared rhythmic ldquolicksrdquo The harmoniclanguage unlike much of Merularsquos music is undemanding and contains none of the harmonic crunches for which he is famous
This is wonderful music that needs a couple of advanced recorder players fora successful performance The string idiosyncrasies can be overcome by advancedplayers and many of the editions of the era (although not this one) list thecornetto as an alternative to the violin so the use of wind instruments in the solo literature of the early Baroque was not unknown
Our experience with this edition left us with the opinion that these pieceswould have been better if transposed down a minor third so as to fit on a pair ofalto recorders (as is the case with much Baroque flute music to make it lie betteron the recorder) The tenors we used tended to sound a bit murky in the lowerregister next to the more aggressive harpsichord while the sopranos we tried as
KEY rec=recorder Srsquoo=sopraninoS=soprano A=alto T=tenor B=bassgB=great bass cB= contra bass Tr=treble qrt=quartet pf=piano fwd=foreword opt=optional perc=percussionpp=pages sc=score pt(s)=part(s)kbd=keyboard bc=basso continuohc=harpsichord PampH=postage andhandling Multiple reviews by one reviewerare followed by that reviewerrsquos name Pleasesubmit music for review to AR 7770 SHigh St Centennial CO 80122-3122 US
an American distributor this musicwill be hard to findmdashin fact can befound only at the time of this writingon their web site noted above But theeffort will be repaid
This edition is clear and easy toread and the parts require no pageturns The basso continuo realizationis simple and elegant
This is music deserving ofrediscovery My only quibble is thatthe editorial notes are all in GermanThis seems to be the practice ofGerman music publishers with thenotable exception of Moeck Otherpublishers of early music such asLondon Pro Musica routinelyprovide notes in English and German and often in French and Italian making their editionsaccessible to a wider audience
Frank Cone studied the recorderwith the late Ellen Perrin the viola dagamba with Carol Herman and thecornetto with Larry Johansen TheCalifornia multi-instrumentalist has been a member of the Orange CountyRecorder Society since 1985
Advertiser Index
AMERICAN ORFF-SCHULWERK ASSN 3
AMERICAN RECORDER SOCIETY 31 35 36
AMHERST EARLY MUSIC FESTIVAL 17
STEPHAN BLEZINGER 24
JEAN-LUC BOUDREAU 21 39
BOSTON EARLY MUSIC FESTIVAL 7
CANTO ANTIGUO EARLY MUSIC WORKSHOP 13
COURTLY MUSIC UNLIMITED 20
EARLY MUSIC AMERICA 8
HONEYSUCKLE MUSIC 34
BILL LAZARrsquoS EARLY MUSIC 26
KEITH E LORAINE EARLY DOUBLE REED SERVICE 35
LOST IN TIME PRESS 11
MADISON EARLY MUSIC FESTIVAL 12
MAGNAMUSIC DISTRIBUTORS BC
MOECK VERLAG IFC
MOLLENHAUER RECORDERS IBC
PORT TOWNSEND WORKSHOP 14
PRESCOTT WORKSHOP 30
PROVINCETOWN BOOKSHOP 26
THE RECORDER MAGAZINE 4
THE RECORDER SHOP 6
SAN FRANCISCO EARLY MUSIC SOCIETY 18
SWEETHEART FLUTE CO 3
TEXAS TOOT 20
VON HUENE WORKSHOP INC 30
WICHITA BAND INSTRUMENT CO 21
DOMINIK ZUCHOWICZ 34
CONSIDER ADVERTISING IN
Full page $55223 page $43912 page $36613 page $28614 page $22316 page $17518 page $127112 page $ 951 column inch $ 58
Prices include web sitee-mail link directly from your ad in the online AR at wwwamericanrecorderorg
Circulation Includes the membership of theARS libraries and music organizations
Published five times per year January March May September November
Reservation Deadlines December 1 (January) February 1 (March) April 1 (May) August 1 (September) October 1 (November)
Rates good through November 2009 Pleaseinquire about discounts on multiple-issuecontracts inserts or other special requestsExtra charges for typesetting layout half-tones and size alterations 133-line screenrecommended Advertising subject toacceptance by magazine First-time adver-tisers must include payment with order
For more information contact the ARS office 1129 Ruth Drive St Louis MO63122-1019 800-491-9588 toll free 314-966-4082 phone 314-966-4649 faxadvertisingamericanrecorderorg
44 March 2009 American Recorder
Classified___________________________________
FOR SALE Cherrywood hurdy gurdy and hard-side case made by Kelischek bought 2005Originally $765 plus $89 for case Rarely usedBoth for $450 or make offer Please contact marjalocomcastnet Can ship
ASPIRE ANNOUNCE INSPIRE Afford-able PR for teachers and recitalists wwwrecitalroomcom
PHOTOS NEEDED of ARS events 1970sndash1990sto illustrate last chapters of Martha Bixlerrsquos histor-ical memoir about the ARS (to be posted online)E-mail scanned photos (300dpi JPG or TIF)arsrecorderamericanrecorderorg Hardcopies mail to ARS office to be scanned ampreturned Info 800-491-9588
T-SHIRT FOR ENSEMBLE PLAYERS to wear orshare Top 10 Reasons Why I Got Lost Wrongfingering bad lighting etc on blue cotton shirt$18 Highlighter tape and other goodies Beth amp Lindas Boutique as seen at BEMF CallLinda at 617-671-8694 or e-mail for brochurelindakushverizonnet
Where the havesand have-nots
of the recorder world can find each other
Classified rate for American Recorder 60centper word ten-word minimum ldquoFOR SALErdquoand ldquoWANTEDrdquo may be included in thecopy without counting Zip code is oneword phone e-mail or web page is twoPayment must accompany copy Deadlinesare one month before issue date Send copywith payment to ARS 1129 Ruth Drive St Louis MO 63122-1019
AMERICAN RECORDER (ISSN 0003-0724) 1129 Ruth Dr St Louis MO 63122-1019 is publishedbimonthly (January March May September and November) for its members by the AmericanRecorder Society Inc $20 of the annual $45 US membership dues in the ARS is for a subscriptionto American Recorder Articles reviews and letters to the editor reflect the viewpoint of their individ-ual authors Their appearance in this magazine does not imply official endorsement by the ARS
EDITORIAL DEADLINES November 15 (January) January 15 (March) March 15 (May) July 15(September) and September 15 (November) Submission of articles and photographs is welcomedArticles may be typed or sent as an attachment (Word or RTF preferred) to or text in an e-mail mes-sage They should be for the exclusive consideration of AR unless otherwise noted Photos may besent as prints or unedited JPG or 300dpi TIF files (minimum 3rdquox4rdquo) Advertisements may be sent inPDF or EPS format with fonts embedded
EDITORIAL OFFICE Gail Nickless Editor 7770 S High St Centennial CO 80122-3122 303-794-0114 (phone amp fax) editoramericanrecorderorg Books for review Editorial office Musicfor review Editorial office Recordings for review Tom Bickley 1811 Stuart St Berkeley CA 94703Cutting Edge Tim Broege 212 Second Ave Bradley Beach NJ 07720-1159 Chapter newslettersother reports Editorial office Postmaster Send address changes to ARS 1129 Ruth Drive St LouisMO 63122-1019 Periodicals postage paid at St Louis MO and at an additional mailing office
Chapter leaders
We know yoursquore out there
and that you want to share
your plans concerns
solutions and ideas with
other chapter leaders Visit
httpamericanrecorder
societywikispacescom
Lakeland and the Pilgrim Pipers Recorder Consort of St Petersburg Theygathered for a morning tackling selections by Banchieri Monteverdi PurcellCorelli Mendelssohn Bach Mozart and Glen Shannon Each group presenteda piece for the other participants Sweet Georgia Brown by Ben Bernie (St Pete)a Sonata by Sammartini (Lakeland) and The Gospel Train arr by KW Ford(Pasco) The 29 participants were led by Marlene Cracraft (Pasco) Jane
Spencer (Lakeland) and Elizabeth Snedeker (St Pete) Tom Bickley (photo below) directed the fall workshop of the Mid-Peninsula
Recorder Orchestra in Cupertino CA The 30 players started with Gregorianchants written in ldquooldrdquo notation Bickley gave basic instruction on how tointerpret the notes and then had the group sing the chants prior to playing them
The workshop theme of ldquoThe Articulate Recorderrdquo was literally played out as the music presented used variations in tonguing phrasing and breathingOther repertoire included a Kyrie by Tomas Luis de Victoria Bachrsquos Jesu Joy ofManrsquos Desiring a double-choir piece by Gabrieli Christopher Tyersquos In NomineXIII and a Purcell chaconne The workshop ended with a rhythmically-challenging minimalist piece by Bickley entitled Beginning composed for theWaldorf School teacher training program George Greenwood reports that thegroup had a productive event and plans to ask Bickley to lead a future workshop
wwwAmericanRecorderorg March 2009 37
A Muse in the DesertThe sound of a pin dropping hellip thesound of eager minds and fingersabsorbing information and inspira-tion hellip the sounds of ldquoNuevaEspantildeardquo Spanish- and indigenous-influenced music of the 1600s in theNew World These were the soundsof the Desert Pipes (Phoenix AZ)chapterrsquos fall workshop given byEileen Hadidian On a Saturdaylast October 30 players from all overArizona gathered to learn from andbe inspired by the founder of a SanFrancisco Bay Area group dedicatedto sharing music for healing inhealthcare settings Healing Muses(wwwhealingmusesorg)
The day began with relaxationstretching and breathing exercisesfollowed by travels to Peruacute MexicoGuatemala and Colombiamdashhighchurch music vernacular pieces anda mixture of the two Participantsenjoyed the historical and contextualbackground provided as an overviewfor the day and for each piece
Remarkably the sound heardbetween pieces and passages was anenergy-filled quiet the attentivestillness of active engagement in theworkshop experiencemdashnot the chat-tering noodling and conversationsthat often occur when the musicstops That activity was reserved forthe breaks when participants couldenjoy the cool (at last) outdoorschat with Hadidian and peruse the popular garage sale (to benefitDesert Pipes) of previously-enjoyedbooks and other treasures
On Sunday Hadidian sharedher expertise and inspiration in indi-vidual and group coaching sessionsThe weekend was a special experi-ence and Desert Pipes memberslook forward to the next visit of this Healing Muse
Ann Koenig Scottsdale AZannisalesprocom
Members
of three
Florida
groups
met
in January
for a joint
workshop
CHAPTER NEWS
Chapter newsletter editors and publicity officers should send materials for publication toAmerican Recorder 7770 South High St Centennial CO 80122-3122
editoramericanrecorderorg Also send short articles about specific activities that haveincreased chapter membership or recognition or just the enjoyment your members get out of
being part of your chapter Digital photos should be at least 3rdquox4rdquox300dpi TIF or unedited JPG files Please send news to the AR address above and to the following
ARS Office 1129 Ruth Drive St Louis MO 63122-1019 ARSrecorderAmericanRecorderorg
and to Bonnie Kelly Chair Chapters amp Consorts Committee 45 Shawsheen Rd 16 Bedford MA 01730 bksharpaolcom
TO THE STARS
AND BEYONDThe cover of the November magazinegenerated a few comments Some werenrsquotsure how to interpret the title (in theartistrsquos native German it could besomething close to ldquostarlit moonrdquo)Longtime member Carolyn Peskin wrote to offer her vision of that cover
In the beginning the Great Spiritinvented Mr Sun to light the day andMiss Moon to light the nightHowever as Miss Moon floated up inthe sky all by herself like a big yellowballoon she began to feel very lonelyso one night to relieve her lonelinessshe decided to take out her recorderand make music
But when she started to playsomething miraculous happened Not only beautiful melodies but alsoyellow dust poured out of the bottomof her recorder and the dust particlesimmediately coalesced to form yellowstars As she continued playing moreand more stars were created and theyfloated up around her filling the nightsky
At last Miss Moon was happy fornot only was she herself able to enjoyher music but she now had a wholecrowd of starry companions to enjoy itwith her And if you listen very care-fully on a quiet night you might beable to hear her recorder and thatstarry choir humming along
Carolyn Peskin
LOCATING EARPLUGSI read with interest the QampA in theNovember lsquo08 AR regarding hearingloss and use of earplugs Where do you get musicianrsquos earplugs
Dolly Hirata Kensington CA
CAROLYN PESKIN PROVIDED THIS
INFORMATION Musicianrsquos earplugs arecustom made for individual usersThey can be purchased only fromlicensed hearing professionals (ieaudiologists and hearing instrumentspecialists) To find a licensed hearingprofessional in your area look underldquoaudiologyrdquo or ldquohearingrdquo in your localyellow pages
For information about how musi-cianrsquos earplugs are produced visitwwwetymoticcomephperme-w
tbaspx That web page also has a linkto contact information for authorizedlabs that make the custom earmolds formusicianrsquos earplugs If the yellow pagesdo not prove helpful those labs canrefer you to a licensed hearing pro-fessional in your area from whom youcan purchase musicianrsquos earplugs
MORE FROM CAROLYN
THIS TIME ABOUT OSKARIn the September 2008 AR the musicreview by Leslie Timmons of the Oskarpieces by Matthias Maute mentionedthat Carolyn Peskin had translated twoof the Oskar books from German toEnglish People can obtain thetranslations free of charge as Wordattachments by contacting her atCarolyn Peskin 3559 StrathavonRoad Shaker Heights OH 44120carolynpeskinstratosnet
ANOTHER KIND OF
MUSIC-READING
GLASSESIn the January 2009 issue of AmericanRecorder therersquos something (in myopinion) the ldquoRecorder with GlassesObbligatordquo article omitted which canenable a nearsighted musician to avoidneck strain in the use of bifocals
Irsquove found the solution to thisvexing problem is to have onersquos bifocalsconstructed differently [from] normalMy optometrist was willing to work
38 March 2009 American Recorder
Response___________________________________Two kinds of vision
the better to see with and (not) to hear with
Honeysuckle Music
Recorders amp accessories
Music for recorders amp viols
Jean Allison Olson1604 Portland AveSt Paul MN 55104
6516448545jeanhoneysucklemusiccom
Responses from our readers are welcomedand may be sent to American Recorder 7770 South High St Centennial CO
80122 Letters may be edited for length and consistency
ARS Membership Enrollment and Renewal I am a new member I am or have been a member
USCanadian Memberships Foreign Memberships $45 One Year $55 Foreign One Year $75 Sustaining (Receive a Hottetere Hands Pin) $100 Two Years $80 Two Years
LIFETIME MEMBERSHIP Single Dual Regular Lifetime Member $1000 (2) $1500 (4) 4 installments of $250 available) Loyalty Lifetime Member (1) $ 800 (3) $1200 (4) 4 installments of $200 available
(1) For members who have maintained membership for five consecutive years (2) $750 is Tax Deductible (3) $600 is Tax Deductible (4) Installments available Student Memberships Other Memberships (Enclose proof of full time enrollment) $65 One Year Workshop Membership
$25 USCanadian One Year $125 One Year Business Membership $45 USCanadian Two Years $30 Foreign One Year $5 Additional Charge for Dual Address or Dual Name
Do not list my name in the ARS Print Directory Do not list my name on the ARS Online Directory Do not release my name for recorder related mailings Do not contact me via email
My address telephone and email address are the same as last time
______________________________________ _________________________ Name Phone Number ______________________________________ _________________________ AddressCityStatePostal Code Email Address Please charge to (Circle one) VISAMasterCardAMEXDiscover CC________________________________ Expiration Date ______________ Signature of cardholder_______________________________________________________ Clearly Print Name as it appears on Card________________________________________
Renew by Mail Online By Phone or by Fax
Demographic Information (optional information collected only to enhance ARS services and provide statistics to grant makers)
I am a member of ARS Chapter or Consort____________________________ I am the Chapter Contact Your age Under 21 (21-30) (31-40) (41-50) (51-60) 61-70) (71+) Please check all that apply
I am a Professional Recorder Performer
I wish to be included in the list of Recorder Teachers in the ARS Directory and website I Teach (circle your choices) Children High School Youth College Students Adults Beginner Intermediate Advanced Pre-Professional Individuals Childrenrsquos Classes Adult Classes Ensembles Suzuki Orff JRS Leader Kodaly Where I Teach (circle your choices) Music Studio Public or private school Community Music School College Other _____________________
American Recorder Society 1129 Ruth Dr St Louis MO 63122-1019
Phone 314-966-4082Fax 314-966-4649
TollFree 800-491-9588ARSRecorderAmericanRecorderorg
wwwAmericanRecorderorg
with me [to find] an ideal (for me)placement size and focal length of thebifocal lens
Before visiting the optometristIrsquod had my wife measure the distancefrom my eyes to the music on mymusic stand With this measurementthe optometrist set up her machine toprepare a vision prescription for memaximized for this reading distance
When I look at my bifocals (withthem off) the lenses (through which Iread my music) occupy most of thelower two-thirds of my glasses (they are set very high and beginimmediately at the inner rims) Thisleaves the upper third and smallportions of the outside [of each lens]for focusing on the conductor As longas my stand is set low enough my necknever experiences any strain (even if Ihave to read three to a part) and Irsquove no problem in seeing theconductor (in sharp focus) either
For me trying to use glasses [toread] from a music stand [that] weredesigned for use in reading from acomputer screen also results in neckstrain (not to mention unreliability in aldquopressurerdquo situation) Having studiedTai Chi extensively and so being
wwwAmericanRecorderorg March 2009 39
There are lots ofsolutions to thepresbyopic musicianrsquosproblem but all involve compromises
40 March 2009 American Recorder
American Recorder Society PublicationsErich Katz Contemporary Music Series Members Non-MembersA Short Tale for Two Basses Suzanne M Angevine (Level II) (2 scores) $5 $8Dialogue and Dance Cecil Effinger (SATB)(Level II-III) (score amp parts) $10 $18Dorian Mood Sally Price (SATB) (Level II) (score amp parts) $10 $18Double Quartet for Recorders Peter Ballinger (Level II-III) (score amp parts) $10 $18Entrevista Frederic Palmer (SATB) (Level II) (2 scores amp 4 recorder parts) $8 $14Kyrie and Vocalise for Soprano Voice ampRecorders Stanley W Osborn $8 $14
(SATB) (Level II) (2 scores amp 4 recorder parts) Picnic Music Jeffrey Quick (SATB) (Level II) (score amp parts) $5 $8Six Short Pieces for Three Recorders edited by Alan Drake $8 $14
(3 scores) Vaclav Nelhybel (AATT) (Level II)Sonatina for Alto Recorder and Piano Anthony Burgess $7 $12
(Level II) (2 scores)Sonatine for Three Altos Lee Gannon (Level III) (score amp parts) $14 $26Suite of Jewish Folk Tunes Erich Katz (S SA8 AT) (Level II) (three scores) $10 $18
Musical Editions from the Membersrsquo Library ARS members 1 copy-$3 2 copies-$450 3-$6 4-$750 5-$10 6-$1150Non-members (editions over 2 years old) 1 copy-$5 2 copies-$850 3-$12 4-$15 5-$1950 6-$23The ARS is happy to provide photocopied enlargements of any Membersrsquo Library edition at the same prices Please specify ldquoMembersrsquo Library Enlargementrdquo
ARS Information BookletsARS members 1 booklet-$13 2 booklets-$23 3-$28 4-$35 5-$41 6-$47 7-$52Non-members 1 booklet-$18 2 booklets-$33 3-$44 4$55 5-$66 6-$76 7-$86
Education PublicationsThe ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996)
First copy free to ARS Members (mailed to new members as they join) replacement copies $3Guidebook to the ARS Personal Study Program (1996) Material formerly published in the Study Guide
and Study Guide Handbook plus additional resources Members $11 non-members $20ARS Music Lists (2002 with 2003 Supplement) Graded list of solos ensembles and method books
Members $9 non-members $15Package Deal available only to ARS members Guidebook and Music ListsSupplement ordered together $16Junior Recorder Society Leaderrsquos Resource Notebook
ARS members $20 non-members $40 (updates at reduced rates after initial purchase)$5 Dues for each JRS student member sponsored by an ARS member ($4 each for groups of 10+)
VideosRecorder Power Educational video from the ARS and recorder virtuoso John Tyson
An exciting resource about teaching recorder to young students ARS members may borrow a copy for onemonth by sending $5 to the ARS office along with the address to which the tape should be shipped
Pete Rose Video Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music Festival recitalFeatures Rose performing a variety of music and an interview of him by ARS member professional John Tyson
Other PublicationsChapter Handbook A resource on chapter operations for current chapter leaders or those considering forming an
ARS chapter ARS members $10 non-members $20 (updates free after initial purchase) One free copy sent toeach ARS chapter with 10 members or more
Consort Handbook Resource on consort topics such as group interaction rehearsing repertoire performingARS member prices CD $10 hard copy $20 combo price of CD and hard copy ordered together $25
Discography of the Recorder Vol I (1989) Compiled by Scott Paterson and David LasockiDiscography of the Recorder Vol II (1990-1994) Compiled by Scott Paterson
Either single volume ARS members $23 non-members $28Both Discography volumes together ARS members only $40
American Recorder Cumulative Index for Vols I-XXXX ARS members $20 non-members $32Index Supplement Vol XXXIV-XXXX ARS members $8 non-members $14
Shipping amp Handling FeesUnder $10 - add $3 $10-1999 - add $4 $20-2999 - add $5 $30-3999 - add $6 $40-4999 - add $7 All prices are inUS dollars For Canadian or foreign postage pay by credit card and actual postage is charged
Please make checks payable to ARS VISAMCAMEXDisc also accepted
ARS 1129 Ruth Drive St Louis MO 63122 US800-491-9588 ARSrecorderAmericanRecorderorg
Arioso and Jazzy Rondo (AB) Carolyn PeskinBerceusendashFantaisie (SATB) Jean BoivertBrucknerrsquos Ave Maria (SSATTBB)
Jennifer W Lehmann arrCanon for 4 Basses (BBBB) David P RuhlDancers (AT) Richard EastmanDifferent Quips (AATB) Stephan ChandlerElegy for Recorder Quartet (SATB) Carolyn PeskinElizabethan Delights (SAATB)
Jennifer W Lehmann arrFallen Leaves Fugal Fantasy (SATB) Dominic BohbotFour Airs from ldquoThe Beggarrsquos Operardquo (SATB)
Kearney Smith arrGloria in Excelsis (TTTB) Robert CowperIdyll (ATB) Stan McDanielImitations (AA) Laurie G AlbertsIn Memory of Andrew (ATB) David GoldsteinLay Your Shadow on the Sundials (TBgB)
Terry Winter OwensLeClercqrsquos Air (SATB) Richard E WoodLittle Girl Skipping and Alouette et al (SATBCb)
Timothy R Walsh
Los Pastores (SAAAT + perc) Virginia N Ebinger arrNew Rounds on Old Rhymes (4 var) Erich KatzOther Quips (ATBB) Stephan ChandlerPoinciana Rag (SATB) Laurie G AlbertsSanta Barbara Suite (SSAAT) Erich KatzSentimental Songs (SATB) David Goldstein arrSerie for Two Alto Recorders (AA) Frederic Palmer Slow Dance with Doubles (2 x SATB) Colin SterneSonata da Chiesa (SATB) Ann McKinleyS-O-S (SATB) Anthony St PierreThree Bantam Ballads (TB) Ann McKinleyThree Cleveland Scenes (SAT) Carolyn PeskinThree in Five (AAB) Karl A StetsonTracings in the Snow in Central Park (SAT)
Robert W ButtsTrios for Recorders (var) George T BachmannTriptych (AATB) Peter A RamseyTwo Bach Trios (SAB) William Long arrTwo Brahms Lieder (SATB) Thomas E Van Dahm arrVariations on ldquoDrmešrdquo (SATB) Martha BishopVintage Burgundy (SASATT)
Jennifer W Lehmann arr
Adding Percussion to Medieval and Renaissance Music Peggy Monroe
American Recorder Music Constance PrimusBurgundian Court amp Its Music Judith Whaley coord
Improve Your Consort Skills Susan CarduelisMusic for Mixed Ensembles Jennifer W LehmannPlaying Music for the Dance Louise AustinRecorder Care Scott Paterson
acutely aware of any kind of neckstrain when it begins to develop these ideas have been a big help to meIrsquom hoping they may be of help toother musicians as well
Best wishes to you And inanswer to your questionmdashyes the new[AR] format (with more white spacebetween the lines) is much easier toread (in my opinion)Your magazinejust keeps getting better and better
Very sincerely Ed Green WestSuburban (Chicago-area) Chapter
RESPONSE FROM DR BILL LONG
What Ed describes is a variant of theuse of conventional bifocals as musicglasses described on page 8 in thearticle Instead of lowering his musicstand into the field of view of hisbifocal segment Ed and his optome-trist have fabricated special purposebifocals with the segment really highso he can focus on his music instraight-ahead view That approachrestricts his distance vision to an areaabove his usual line of sight whichseems to work for Eds playing setup
Eds comments on the difficultiesin using conventional progressiveaddition lenses as music lenses con-firm what I said on page 9 Thats whymanufacturers have marketed special-ty progressive lenses designed specif-ically for intermediate distance taskslike computer use and playing music
There are lots of solutions to thepresbyopic musicians problem but all involve compromises The key toevaluating those compromises andchoosing the best solution for yourselfis to understand your needs and toenlist the help of a sympathetic visioncare specialistmdashjust as Ed did
Please change your
browserrsquos favorites list
AR online is now at wwwameri
canrecorderorgmembership
magazinehtm Send news to
editoramericanrecorderorg
FOUR FOUR-PART CANZONAS
(1608) BY GIOVANNI GABRIELI
ED GREG LEWIN Hawthorns Music RB 16 (Magnamusic) 1999 SATBSc 16 pp pts 4 pp $1950
Giovanni Gabrieli was probablyborn between 1554 and 1557 in theparish of San Geremia in Venice Thedetails of his early life are sketchy butit appears that he was born Giovannidi Fais and later changed his name toGabrieli out of respect to his uncleAndrea with whom he shared a closerelationship In fact in 1587 Gabrielidescribed himself ldquoas little less than asonrdquo It is commonly thought thatAndrea provided Giovanni with hisearly musical training Andrea whohad spent some time in Munichstudying under the great Orlando deLassus sent Giovanni to Munich for a similar period of study in theearly 1570s
Gabrieli remained in Munichuntil the death in 1579 of the dukeAlbrecht V who had been Lassusrsquosemployer for a number of years andwho was an enthusiastic patron of the arts particularly music With hisdeath a number of musicians lost theirjobs it seems as if Gabrieli were also a victim of such culling of talent(Within a generation the tide wouldturn and the Munich court wouldagain hire Venetian expatriates such as Priuli Valentini and Neri)
Upon his return to VeniceGabrieli was hired as a temporaryorganist at San Marco his positionbecoming permanent in 1585 For a few months that year uncle andnephew served together as first and
second organists in the chapel of thedoge In Giovannirsquos absence fromVenice there had been a plague thathad decimated the ranks of theprofessional musicians Andrea setabout rebuilding his forces at SanMarco by hiring a full-time windband consisting of Girolamo dallaCasa a renowned cornettist andviolist his two brothers who playedsackbut and later the cornett virtuosoGiovanni Bassano Giovanni Gabrieliaugmented these forces with addi-tional players and began composingthe large-scale ceremonial music forwhich he is so well known today
Giovanni was also elected to bethe organist and composer to theconfraternity of San Rocco in 1585and it is now thought that his largestpieces were intended for that venuewith its large central gallery andfrescos by Tintoretto instead of SanMarco Gabrieli held both thosepositions at the basilica of San Marcoand the Scuola Grande di San Roccountil he died in 1612 of a kidney stone
Although best known today forhis ceremonial and festival musicGabrieli was at home in smaller-scaleformats as well These four four-partcanzoni are taken from the 1608publication by the Venetian publisherAlessandro Raverji Canzoni per sonarecon ogni sorte di strumenti These werevery popular pieces to judge by themany collections in which they appear
Additionally like Gabrielirsquoskeyboard music they are found inother arrangements These four-partcanzoni lie well under the fingers inarrangements for keyboard and lute
As seen from the title Gabrielispecified no instrumentation but like asimilar edition of madrigals and battlepieces from a few years earlier a dis-tinction was made that they wereintended for wind instruments almostcertainly cornetts and sackbuts
Recorders were not unknown in Venice they were used regularly inthe confraternity of San GiovanniEvangelista where Giovanni BattistaRiccio was organist
These pieces are relativelysimplemdashplayable by beginning tointermediate ensembles They aremostly contrapuntal (with a fewhomophonic sections) and have few rhythmic eccentricities
These canzoni are found in manymodern brass editions but there arefew editions available to the recorderplayer This edition by Greg Lewin ofHawthorns Music might be consid-ered a ldquobare-bonesrdquo edition There islittle background information andeditorial practices are not specified
The music itself has a handwrittenlook that can be distracting but is easyenough to read Lewin has thought-fully supplied phrasing marks that willbe helpful for ensembles unused tothis style of music
Music
Reviews___________________________________ Infectious music created in spite of the plague
wwwAmericanRecorderorg March 2009 41
This is a good edition
for small ensembles that
canrsquot get eight players
together to play
Gabrielirsquos more famous
eight-part canzoni
42 March 2009 American Recorder
The parts are four pages but mycopy had all four pages printed on avery large page This is not a problemand there are no page turns
This is a good edition for smallensembles that canrsquot get eight playerstogether to play Gabrielirsquos morefamous eight-part canzoni Thesesmall-scale pieces are by no meansinferior to Gabrielirsquos more elaboratemusic and deserve to be better known
7 CANZONEN (1637) BY
TARQUINIO MERULA ED JOACHIM
ARNDT WITH CONTINUO REALIZATION
BY CLAUDIA SCHWEITZER MieroprintMusikverlag EM2088 (availabledirectly from wwwmieroprintcom)2005 SS or TT bc Sc 24 pp pts 8 pp$28
Tarquinio Merula was bornaround 1595 in either Busseto orCremona in Italy As was the case withso many composers of the day either alack of regular employment or a rest-less nature took him from his home inCremona to as far away as Warsaw He is found as the organist of thechurch and the chambers to the kingof Poland Sigismund III in 1624
Merula was one of the leadingexponents of the relatively new con-certante style pioneered by ClaudioMonteverdi and others in the seconddecade of the 17th century and may be described as one of the earliestBaroque composers His compositionsin the concertante style are fresh andunforcedmdashhe was born into this styleand didnrsquot encounter it as somethingnew as was the case with so many ofMonteverdirsquos contemporaries
After several years of peripateticexistence Merula found regularemployment in 1631 in Bergamo atthe church of San Maria MaggioreThe prior holder of the post of maestrodi cappella Alessandro Grandi haddied the previous year in the plagueMerula had signed a three-year
contract but by December 1632 hewas terminated with accusations thathe had molested several studentsMerula threatened a lawsuit to recoverhis lost wages but that threat wascountered with a pending criminalcharge lodged by the board ofgovernors of San Maria Maggiore By mid-1633 the matter was settledwith an apology from Merula and astatement that he relinquished allclaims to his salary
He then returned voluntarily toCremona where he stayed until 1635By 1638 Merula was once again inBergamomdashthis time as maestro dicappella and organist in the cathedralnext to San Maria Maggiore Asmight be expected there was con-siderable tension between the twochurches eventually resulting in theboard of San Maria Maggioreforbidding their musicians to perform under Merularsquos direction
He returned in 1646 to a familiarCremona post which he had heldthree times in various years and wherehe now settled downmdashthat of organistand maestro di cappella for Laudi dellaMadonna services in which he ledmusic at the main altar on Saturdaysand on vigils of Marian feasts
None of his employment issues
prevented the Pope from awardinghim the Order of the Golden SpurMerula was also elected to theAccademia dei Filomusi in BolognaHe died in 1665 in Cremona
His existing compositions showthe products of a lively mind Hisworks range from sacred songs andmotets to purely instrumental piecesnotably the ever-popular variations onvarious ground basses It is knownthat Merula was an accomplishedviolinist as well as a fine organist Hissurviving instrumental writing showsa predilection for strings In fact hewas one of the earliest composers tospecify string accompaniments tosacred motets
Merularsquos pieces look backwardtoward some of the more progressiveVenetian composers such as Monte-verdi while looking forward to thehigh Baroque with his innovative style
These seven canzoni like theearlier-published chaconne (EM2084)come from Merularsquos third bookpublished in 1637 CANZONI overo SONATE CONCERTATE perchiesa e camera a due et a tre delcavaliere This collection typifiesMerularsquos output pieces based onRenaissance-era ground basses arefound next to more ldquomodernrdquo sonatas
The original edition specifiesviolins and basso continuo This newedition is intended for recorders thespecific choice of which is up to theplayers Due to the relatively hightessitura tenor recorders work best inthese pieces (although listed as analternative soprano recorders tend to be on the screechy side)
Not surprisingly given Merularsquosskill as an organist the continuo partneeds a keyboard instrument forsuccessful realization Instead of beinga purely accompanying part the bassocontinuo part is an equal partner in these pieces the canzona ldquoLaRuggierardquo opens with a run that therecorders echo a few measures later
A more recorder-specific
edition intended for
altos would have been
ideal There is nothing
preventing the more
adventurous and
industrious players
from making their
own editions of this
delightful music
mentioned were a bit shrill A morerecorder-specific edition intended foraltos would have been ideal There isnothing preventing the moreadventurous and industrious playersfrom making their own editions of thisdelightful music
Prior to playing the previouslypublished chaconne I had notencountered MieroprintMusikverlag Mieroprintrsquos extensivecatalog has an equal focus on newmusic for recorders and on editions ofBaroque masters with emphasis on therecorder and flute Due to the lack of
wwwAmericanRecorderorg March 2009 43
are also available at
The Early Music Shop
of New England
Brookline MA
AESTHEacute
367-b de la Briquade
Blainville Queacutebec
Canada J7C 2C7
tel (450) 979-6091
wwwboudreau-flutesca
A bass viola da gamba or rsquocello is not necessary for these pieces and may infact make them sound heavy and ponderous rather than light and breezy as thismusic seems to be
More so than the above-mentioned chaconne these canzoni are written in avery idiomatic violin style with multiple examples of arpeggios In particular thecanzona ldquoLa Trecchardquo contains a notated example of a string tremolo figurerecurring through the piece ldquoLa Trecchardquo also dips well below the range of a Crecorder going down to low G the lowest string on the violin The editors havesupplied no alternative notes preferring to let the performers to fend forthemselves (in practice we took this passage up an octave with no problems)
The two recorder parts require virtuosity These upper parts are demandingwith the players needing to double-tongue in unison in order to negotiate themany runs of 16th notes and the shared rhythmic ldquolicksrdquo The harmoniclanguage unlike much of Merularsquos music is undemanding and contains none of the harmonic crunches for which he is famous
This is wonderful music that needs a couple of advanced recorder players fora successful performance The string idiosyncrasies can be overcome by advancedplayers and many of the editions of the era (although not this one) list thecornetto as an alternative to the violin so the use of wind instruments in the solo literature of the early Baroque was not unknown
Our experience with this edition left us with the opinion that these pieceswould have been better if transposed down a minor third so as to fit on a pair ofalto recorders (as is the case with much Baroque flute music to make it lie betteron the recorder) The tenors we used tended to sound a bit murky in the lowerregister next to the more aggressive harpsichord while the sopranos we tried as
KEY rec=recorder Srsquoo=sopraninoS=soprano A=alto T=tenor B=bassgB=great bass cB= contra bass Tr=treble qrt=quartet pf=piano fwd=foreword opt=optional perc=percussionpp=pages sc=score pt(s)=part(s)kbd=keyboard bc=basso continuohc=harpsichord PampH=postage andhandling Multiple reviews by one reviewerare followed by that reviewerrsquos name Pleasesubmit music for review to AR 7770 SHigh St Centennial CO 80122-3122 US
an American distributor this musicwill be hard to findmdashin fact can befound only at the time of this writingon their web site noted above But theeffort will be repaid
This edition is clear and easy toread and the parts require no pageturns The basso continuo realizationis simple and elegant
This is music deserving ofrediscovery My only quibble is thatthe editorial notes are all in GermanThis seems to be the practice ofGerman music publishers with thenotable exception of Moeck Otherpublishers of early music such asLondon Pro Musica routinelyprovide notes in English and German and often in French and Italian making their editionsaccessible to a wider audience
Frank Cone studied the recorderwith the late Ellen Perrin the viola dagamba with Carol Herman and thecornetto with Larry Johansen TheCalifornia multi-instrumentalist has been a member of the Orange CountyRecorder Society since 1985
Advertiser Index
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MAGNAMUSIC DISTRIBUTORS BC
MOECK VERLAG IFC
MOLLENHAUER RECORDERS IBC
PORT TOWNSEND WORKSHOP 14
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Prices include web sitee-mail link directly from your ad in the online AR at wwwamericanrecorderorg
Circulation Includes the membership of theARS libraries and music organizations
Published five times per year January March May September November
Reservation Deadlines December 1 (January) February 1 (March) April 1 (May) August 1 (September) October 1 (November)
Rates good through November 2009 Pleaseinquire about discounts on multiple-issuecontracts inserts or other special requestsExtra charges for typesetting layout half-tones and size alterations 133-line screenrecommended Advertising subject toacceptance by magazine First-time adver-tisers must include payment with order
For more information contact the ARS office 1129 Ruth Drive St Louis MO63122-1019 800-491-9588 toll free 314-966-4082 phone 314-966-4649 faxadvertisingamericanrecorderorg
44 March 2009 American Recorder
Classified___________________________________
FOR SALE Cherrywood hurdy gurdy and hard-side case made by Kelischek bought 2005Originally $765 plus $89 for case Rarely usedBoth for $450 or make offer Please contact marjalocomcastnet Can ship
ASPIRE ANNOUNCE INSPIRE Afford-able PR for teachers and recitalists wwwrecitalroomcom
PHOTOS NEEDED of ARS events 1970sndash1990sto illustrate last chapters of Martha Bixlerrsquos histor-ical memoir about the ARS (to be posted online)E-mail scanned photos (300dpi JPG or TIF)arsrecorderamericanrecorderorg Hardcopies mail to ARS office to be scanned ampreturned Info 800-491-9588
T-SHIRT FOR ENSEMBLE PLAYERS to wear orshare Top 10 Reasons Why I Got Lost Wrongfingering bad lighting etc on blue cotton shirt$18 Highlighter tape and other goodies Beth amp Lindas Boutique as seen at BEMF CallLinda at 617-671-8694 or e-mail for brochurelindakushverizonnet
Where the havesand have-nots
of the recorder world can find each other
Classified rate for American Recorder 60centper word ten-word minimum ldquoFOR SALErdquoand ldquoWANTEDrdquo may be included in thecopy without counting Zip code is oneword phone e-mail or web page is twoPayment must accompany copy Deadlinesare one month before issue date Send copywith payment to ARS 1129 Ruth Drive St Louis MO 63122-1019
AMERICAN RECORDER (ISSN 0003-0724) 1129 Ruth Dr St Louis MO 63122-1019 is publishedbimonthly (January March May September and November) for its members by the AmericanRecorder Society Inc $20 of the annual $45 US membership dues in the ARS is for a subscriptionto American Recorder Articles reviews and letters to the editor reflect the viewpoint of their individ-ual authors Their appearance in this magazine does not imply official endorsement by the ARS
EDITORIAL DEADLINES November 15 (January) January 15 (March) March 15 (May) July 15(September) and September 15 (November) Submission of articles and photographs is welcomedArticles may be typed or sent as an attachment (Word or RTF preferred) to or text in an e-mail mes-sage They should be for the exclusive consideration of AR unless otherwise noted Photos may besent as prints or unedited JPG or 300dpi TIF files (minimum 3rdquox4rdquo) Advertisements may be sent inPDF or EPS format with fonts embedded
EDITORIAL OFFICE Gail Nickless Editor 7770 S High St Centennial CO 80122-3122 303-794-0114 (phone amp fax) editoramericanrecorderorg Books for review Editorial office Musicfor review Editorial office Recordings for review Tom Bickley 1811 Stuart St Berkeley CA 94703Cutting Edge Tim Broege 212 Second Ave Bradley Beach NJ 07720-1159 Chapter newslettersother reports Editorial office Postmaster Send address changes to ARS 1129 Ruth Drive St LouisMO 63122-1019 Periodicals postage paid at St Louis MO and at an additional mailing office
Chapter leaders
We know yoursquore out there
and that you want to share
your plans concerns
solutions and ideas with
other chapter leaders Visit
httpamericanrecorder
societywikispacescom
TO THE STARS
AND BEYONDThe cover of the November magazinegenerated a few comments Some werenrsquotsure how to interpret the title (in theartistrsquos native German it could besomething close to ldquostarlit moonrdquo)Longtime member Carolyn Peskin wrote to offer her vision of that cover
In the beginning the Great Spiritinvented Mr Sun to light the day andMiss Moon to light the nightHowever as Miss Moon floated up inthe sky all by herself like a big yellowballoon she began to feel very lonelyso one night to relieve her lonelinessshe decided to take out her recorderand make music
But when she started to playsomething miraculous happened Not only beautiful melodies but alsoyellow dust poured out of the bottomof her recorder and the dust particlesimmediately coalesced to form yellowstars As she continued playing moreand more stars were created and theyfloated up around her filling the nightsky
At last Miss Moon was happy fornot only was she herself able to enjoyher music but she now had a wholecrowd of starry companions to enjoy itwith her And if you listen very care-fully on a quiet night you might beable to hear her recorder and thatstarry choir humming along
Carolyn Peskin
LOCATING EARPLUGSI read with interest the QampA in theNovember lsquo08 AR regarding hearingloss and use of earplugs Where do you get musicianrsquos earplugs
Dolly Hirata Kensington CA
CAROLYN PESKIN PROVIDED THIS
INFORMATION Musicianrsquos earplugs arecustom made for individual usersThey can be purchased only fromlicensed hearing professionals (ieaudiologists and hearing instrumentspecialists) To find a licensed hearingprofessional in your area look underldquoaudiologyrdquo or ldquohearingrdquo in your localyellow pages
For information about how musi-cianrsquos earplugs are produced visitwwwetymoticcomephperme-w
tbaspx That web page also has a linkto contact information for authorizedlabs that make the custom earmolds formusicianrsquos earplugs If the yellow pagesdo not prove helpful those labs canrefer you to a licensed hearing pro-fessional in your area from whom youcan purchase musicianrsquos earplugs
MORE FROM CAROLYN
THIS TIME ABOUT OSKARIn the September 2008 AR the musicreview by Leslie Timmons of the Oskarpieces by Matthias Maute mentionedthat Carolyn Peskin had translated twoof the Oskar books from German toEnglish People can obtain thetranslations free of charge as Wordattachments by contacting her atCarolyn Peskin 3559 StrathavonRoad Shaker Heights OH 44120carolynpeskinstratosnet
ANOTHER KIND OF
MUSIC-READING
GLASSESIn the January 2009 issue of AmericanRecorder therersquos something (in myopinion) the ldquoRecorder with GlassesObbligatordquo article omitted which canenable a nearsighted musician to avoidneck strain in the use of bifocals
Irsquove found the solution to thisvexing problem is to have onersquos bifocalsconstructed differently [from] normalMy optometrist was willing to work
38 March 2009 American Recorder
Response___________________________________Two kinds of vision
the better to see with and (not) to hear with
Honeysuckle Music
Recorders amp accessories
Music for recorders amp viols
Jean Allison Olson1604 Portland AveSt Paul MN 55104
6516448545jeanhoneysucklemusiccom
Responses from our readers are welcomedand may be sent to American Recorder 7770 South High St Centennial CO
80122 Letters may be edited for length and consistency
ARS Membership Enrollment and Renewal I am a new member I am or have been a member
USCanadian Memberships Foreign Memberships $45 One Year $55 Foreign One Year $75 Sustaining (Receive a Hottetere Hands Pin) $100 Two Years $80 Two Years
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(1) For members who have maintained membership for five consecutive years (2) $750 is Tax Deductible (3) $600 is Tax Deductible (4) Installments available Student Memberships Other Memberships (Enclose proof of full time enrollment) $65 One Year Workshop Membership
$25 USCanadian One Year $125 One Year Business Membership $45 USCanadian Two Years $30 Foreign One Year $5 Additional Charge for Dual Address or Dual Name
Do not list my name in the ARS Print Directory Do not list my name on the ARS Online Directory Do not release my name for recorder related mailings Do not contact me via email
My address telephone and email address are the same as last time
______________________________________ _________________________ Name Phone Number ______________________________________ _________________________ AddressCityStatePostal Code Email Address Please charge to (Circle one) VISAMasterCardAMEXDiscover CC________________________________ Expiration Date ______________ Signature of cardholder_______________________________________________________ Clearly Print Name as it appears on Card________________________________________
Renew by Mail Online By Phone or by Fax
Demographic Information (optional information collected only to enhance ARS services and provide statistics to grant makers)
I am a member of ARS Chapter or Consort____________________________ I am the Chapter Contact Your age Under 21 (21-30) (31-40) (41-50) (51-60) 61-70) (71+) Please check all that apply
I am a Professional Recorder Performer
I wish to be included in the list of Recorder Teachers in the ARS Directory and website I Teach (circle your choices) Children High School Youth College Students Adults Beginner Intermediate Advanced Pre-Professional Individuals Childrenrsquos Classes Adult Classes Ensembles Suzuki Orff JRS Leader Kodaly Where I Teach (circle your choices) Music Studio Public or private school Community Music School College Other _____________________
American Recorder Society 1129 Ruth Dr St Louis MO 63122-1019
Phone 314-966-4082Fax 314-966-4649
TollFree 800-491-9588ARSRecorderAmericanRecorderorg
wwwAmericanRecorderorg
with me [to find] an ideal (for me)placement size and focal length of thebifocal lens
Before visiting the optometristIrsquod had my wife measure the distancefrom my eyes to the music on mymusic stand With this measurementthe optometrist set up her machine toprepare a vision prescription for memaximized for this reading distance
When I look at my bifocals (withthem off) the lenses (through which Iread my music) occupy most of thelower two-thirds of my glasses (they are set very high and beginimmediately at the inner rims) Thisleaves the upper third and smallportions of the outside [of each lens]for focusing on the conductor As longas my stand is set low enough my necknever experiences any strain (even if Ihave to read three to a part) and Irsquove no problem in seeing theconductor (in sharp focus) either
For me trying to use glasses [toread] from a music stand [that] weredesigned for use in reading from acomputer screen also results in neckstrain (not to mention unreliability in aldquopressurerdquo situation) Having studiedTai Chi extensively and so being
wwwAmericanRecorderorg March 2009 39
There are lots ofsolutions to thepresbyopic musicianrsquosproblem but all involve compromises
40 March 2009 American Recorder
American Recorder Society PublicationsErich Katz Contemporary Music Series Members Non-MembersA Short Tale for Two Basses Suzanne M Angevine (Level II) (2 scores) $5 $8Dialogue and Dance Cecil Effinger (SATB)(Level II-III) (score amp parts) $10 $18Dorian Mood Sally Price (SATB) (Level II) (score amp parts) $10 $18Double Quartet for Recorders Peter Ballinger (Level II-III) (score amp parts) $10 $18Entrevista Frederic Palmer (SATB) (Level II) (2 scores amp 4 recorder parts) $8 $14Kyrie and Vocalise for Soprano Voice ampRecorders Stanley W Osborn $8 $14
(SATB) (Level II) (2 scores amp 4 recorder parts) Picnic Music Jeffrey Quick (SATB) (Level II) (score amp parts) $5 $8Six Short Pieces for Three Recorders edited by Alan Drake $8 $14
(3 scores) Vaclav Nelhybel (AATT) (Level II)Sonatina for Alto Recorder and Piano Anthony Burgess $7 $12
(Level II) (2 scores)Sonatine for Three Altos Lee Gannon (Level III) (score amp parts) $14 $26Suite of Jewish Folk Tunes Erich Katz (S SA8 AT) (Level II) (three scores) $10 $18
Musical Editions from the Membersrsquo Library ARS members 1 copy-$3 2 copies-$450 3-$6 4-$750 5-$10 6-$1150Non-members (editions over 2 years old) 1 copy-$5 2 copies-$850 3-$12 4-$15 5-$1950 6-$23The ARS is happy to provide photocopied enlargements of any Membersrsquo Library edition at the same prices Please specify ldquoMembersrsquo Library Enlargementrdquo
ARS Information BookletsARS members 1 booklet-$13 2 booklets-$23 3-$28 4-$35 5-$41 6-$47 7-$52Non-members 1 booklet-$18 2 booklets-$33 3-$44 4$55 5-$66 6-$76 7-$86
Education PublicationsThe ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996)
First copy free to ARS Members (mailed to new members as they join) replacement copies $3Guidebook to the ARS Personal Study Program (1996) Material formerly published in the Study Guide
and Study Guide Handbook plus additional resources Members $11 non-members $20ARS Music Lists (2002 with 2003 Supplement) Graded list of solos ensembles and method books
Members $9 non-members $15Package Deal available only to ARS members Guidebook and Music ListsSupplement ordered together $16Junior Recorder Society Leaderrsquos Resource Notebook
ARS members $20 non-members $40 (updates at reduced rates after initial purchase)$5 Dues for each JRS student member sponsored by an ARS member ($4 each for groups of 10+)
VideosRecorder Power Educational video from the ARS and recorder virtuoso John Tyson
An exciting resource about teaching recorder to young students ARS members may borrow a copy for onemonth by sending $5 to the ARS office along with the address to which the tape should be shipped
Pete Rose Video Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music Festival recitalFeatures Rose performing a variety of music and an interview of him by ARS member professional John Tyson
Other PublicationsChapter Handbook A resource on chapter operations for current chapter leaders or those considering forming an
ARS chapter ARS members $10 non-members $20 (updates free after initial purchase) One free copy sent toeach ARS chapter with 10 members or more
Consort Handbook Resource on consort topics such as group interaction rehearsing repertoire performingARS member prices CD $10 hard copy $20 combo price of CD and hard copy ordered together $25
Discography of the Recorder Vol I (1989) Compiled by Scott Paterson and David LasockiDiscography of the Recorder Vol II (1990-1994) Compiled by Scott Paterson
Either single volume ARS members $23 non-members $28Both Discography volumes together ARS members only $40
American Recorder Cumulative Index for Vols I-XXXX ARS members $20 non-members $32Index Supplement Vol XXXIV-XXXX ARS members $8 non-members $14
Shipping amp Handling FeesUnder $10 - add $3 $10-1999 - add $4 $20-2999 - add $5 $30-3999 - add $6 $40-4999 - add $7 All prices are inUS dollars For Canadian or foreign postage pay by credit card and actual postage is charged
Please make checks payable to ARS VISAMCAMEXDisc also accepted
ARS 1129 Ruth Drive St Louis MO 63122 US800-491-9588 ARSrecorderAmericanRecorderorg
Arioso and Jazzy Rondo (AB) Carolyn PeskinBerceusendashFantaisie (SATB) Jean BoivertBrucknerrsquos Ave Maria (SSATTBB)
Jennifer W Lehmann arrCanon for 4 Basses (BBBB) David P RuhlDancers (AT) Richard EastmanDifferent Quips (AATB) Stephan ChandlerElegy for Recorder Quartet (SATB) Carolyn PeskinElizabethan Delights (SAATB)
Jennifer W Lehmann arrFallen Leaves Fugal Fantasy (SATB) Dominic BohbotFour Airs from ldquoThe Beggarrsquos Operardquo (SATB)
Kearney Smith arrGloria in Excelsis (TTTB) Robert CowperIdyll (ATB) Stan McDanielImitations (AA) Laurie G AlbertsIn Memory of Andrew (ATB) David GoldsteinLay Your Shadow on the Sundials (TBgB)
Terry Winter OwensLeClercqrsquos Air (SATB) Richard E WoodLittle Girl Skipping and Alouette et al (SATBCb)
Timothy R Walsh
Los Pastores (SAAAT + perc) Virginia N Ebinger arrNew Rounds on Old Rhymes (4 var) Erich KatzOther Quips (ATBB) Stephan ChandlerPoinciana Rag (SATB) Laurie G AlbertsSanta Barbara Suite (SSAAT) Erich KatzSentimental Songs (SATB) David Goldstein arrSerie for Two Alto Recorders (AA) Frederic Palmer Slow Dance with Doubles (2 x SATB) Colin SterneSonata da Chiesa (SATB) Ann McKinleyS-O-S (SATB) Anthony St PierreThree Bantam Ballads (TB) Ann McKinleyThree Cleveland Scenes (SAT) Carolyn PeskinThree in Five (AAB) Karl A StetsonTracings in the Snow in Central Park (SAT)
Robert W ButtsTrios for Recorders (var) George T BachmannTriptych (AATB) Peter A RamseyTwo Bach Trios (SAB) William Long arrTwo Brahms Lieder (SATB) Thomas E Van Dahm arrVariations on ldquoDrmešrdquo (SATB) Martha BishopVintage Burgundy (SASATT)
Jennifer W Lehmann arr
Adding Percussion to Medieval and Renaissance Music Peggy Monroe
American Recorder Music Constance PrimusBurgundian Court amp Its Music Judith Whaley coord
Improve Your Consort Skills Susan CarduelisMusic for Mixed Ensembles Jennifer W LehmannPlaying Music for the Dance Louise AustinRecorder Care Scott Paterson
acutely aware of any kind of neckstrain when it begins to develop these ideas have been a big help to meIrsquom hoping they may be of help toother musicians as well
Best wishes to you And inanswer to your questionmdashyes the new[AR] format (with more white spacebetween the lines) is much easier toread (in my opinion)Your magazinejust keeps getting better and better
Very sincerely Ed Green WestSuburban (Chicago-area) Chapter
RESPONSE FROM DR BILL LONG
What Ed describes is a variant of theuse of conventional bifocals as musicglasses described on page 8 in thearticle Instead of lowering his musicstand into the field of view of hisbifocal segment Ed and his optome-trist have fabricated special purposebifocals with the segment really highso he can focus on his music instraight-ahead view That approachrestricts his distance vision to an areaabove his usual line of sight whichseems to work for Eds playing setup
Eds comments on the difficultiesin using conventional progressiveaddition lenses as music lenses con-firm what I said on page 9 Thats whymanufacturers have marketed special-ty progressive lenses designed specif-ically for intermediate distance taskslike computer use and playing music
There are lots of solutions to thepresbyopic musicians problem but all involve compromises The key toevaluating those compromises andchoosing the best solution for yourselfis to understand your needs and toenlist the help of a sympathetic visioncare specialistmdashjust as Ed did
Please change your
browserrsquos favorites list
AR online is now at wwwameri
canrecorderorgmembership
magazinehtm Send news to
editoramericanrecorderorg
FOUR FOUR-PART CANZONAS
(1608) BY GIOVANNI GABRIELI
ED GREG LEWIN Hawthorns Music RB 16 (Magnamusic) 1999 SATBSc 16 pp pts 4 pp $1950
Giovanni Gabrieli was probablyborn between 1554 and 1557 in theparish of San Geremia in Venice Thedetails of his early life are sketchy butit appears that he was born Giovannidi Fais and later changed his name toGabrieli out of respect to his uncleAndrea with whom he shared a closerelationship In fact in 1587 Gabrielidescribed himself ldquoas little less than asonrdquo It is commonly thought thatAndrea provided Giovanni with hisearly musical training Andrea whohad spent some time in Munichstudying under the great Orlando deLassus sent Giovanni to Munich for a similar period of study in theearly 1570s
Gabrieli remained in Munichuntil the death in 1579 of the dukeAlbrecht V who had been Lassusrsquosemployer for a number of years andwho was an enthusiastic patron of the arts particularly music With hisdeath a number of musicians lost theirjobs it seems as if Gabrieli were also a victim of such culling of talent(Within a generation the tide wouldturn and the Munich court wouldagain hire Venetian expatriates such as Priuli Valentini and Neri)
Upon his return to VeniceGabrieli was hired as a temporaryorganist at San Marco his positionbecoming permanent in 1585 For a few months that year uncle andnephew served together as first and
second organists in the chapel of thedoge In Giovannirsquos absence fromVenice there had been a plague thathad decimated the ranks of theprofessional musicians Andrea setabout rebuilding his forces at SanMarco by hiring a full-time windband consisting of Girolamo dallaCasa a renowned cornettist andviolist his two brothers who playedsackbut and later the cornett virtuosoGiovanni Bassano Giovanni Gabrieliaugmented these forces with addi-tional players and began composingthe large-scale ceremonial music forwhich he is so well known today
Giovanni was also elected to bethe organist and composer to theconfraternity of San Rocco in 1585and it is now thought that his largestpieces were intended for that venuewith its large central gallery andfrescos by Tintoretto instead of SanMarco Gabrieli held both thosepositions at the basilica of San Marcoand the Scuola Grande di San Roccountil he died in 1612 of a kidney stone
Although best known today forhis ceremonial and festival musicGabrieli was at home in smaller-scaleformats as well These four four-partcanzoni are taken from the 1608publication by the Venetian publisherAlessandro Raverji Canzoni per sonarecon ogni sorte di strumenti These werevery popular pieces to judge by themany collections in which they appear
Additionally like Gabrielirsquoskeyboard music they are found inother arrangements These four-partcanzoni lie well under the fingers inarrangements for keyboard and lute
As seen from the title Gabrielispecified no instrumentation but like asimilar edition of madrigals and battlepieces from a few years earlier a dis-tinction was made that they wereintended for wind instruments almostcertainly cornetts and sackbuts
Recorders were not unknown in Venice they were used regularly inthe confraternity of San GiovanniEvangelista where Giovanni BattistaRiccio was organist
These pieces are relativelysimplemdashplayable by beginning tointermediate ensembles They aremostly contrapuntal (with a fewhomophonic sections) and have few rhythmic eccentricities
These canzoni are found in manymodern brass editions but there arefew editions available to the recorderplayer This edition by Greg Lewin ofHawthorns Music might be consid-ered a ldquobare-bonesrdquo edition There islittle background information andeditorial practices are not specified
The music itself has a handwrittenlook that can be distracting but is easyenough to read Lewin has thought-fully supplied phrasing marks that willbe helpful for ensembles unused tothis style of music
Music
Reviews___________________________________ Infectious music created in spite of the plague
wwwAmericanRecorderorg March 2009 41
This is a good edition
for small ensembles that
canrsquot get eight players
together to play
Gabrielirsquos more famous
eight-part canzoni
42 March 2009 American Recorder
The parts are four pages but mycopy had all four pages printed on avery large page This is not a problemand there are no page turns
This is a good edition for smallensembles that canrsquot get eight playerstogether to play Gabrielirsquos morefamous eight-part canzoni Thesesmall-scale pieces are by no meansinferior to Gabrielirsquos more elaboratemusic and deserve to be better known
7 CANZONEN (1637) BY
TARQUINIO MERULA ED JOACHIM
ARNDT WITH CONTINUO REALIZATION
BY CLAUDIA SCHWEITZER MieroprintMusikverlag EM2088 (availabledirectly from wwwmieroprintcom)2005 SS or TT bc Sc 24 pp pts 8 pp$28
Tarquinio Merula was bornaround 1595 in either Busseto orCremona in Italy As was the case withso many composers of the day either alack of regular employment or a rest-less nature took him from his home inCremona to as far away as Warsaw He is found as the organist of thechurch and the chambers to the kingof Poland Sigismund III in 1624
Merula was one of the leadingexponents of the relatively new con-certante style pioneered by ClaudioMonteverdi and others in the seconddecade of the 17th century and may be described as one of the earliestBaroque composers His compositionsin the concertante style are fresh andunforcedmdashhe was born into this styleand didnrsquot encounter it as somethingnew as was the case with so many ofMonteverdirsquos contemporaries
After several years of peripateticexistence Merula found regularemployment in 1631 in Bergamo atthe church of San Maria MaggioreThe prior holder of the post of maestrodi cappella Alessandro Grandi haddied the previous year in the plagueMerula had signed a three-year
contract but by December 1632 hewas terminated with accusations thathe had molested several studentsMerula threatened a lawsuit to recoverhis lost wages but that threat wascountered with a pending criminalcharge lodged by the board ofgovernors of San Maria Maggiore By mid-1633 the matter was settledwith an apology from Merula and astatement that he relinquished allclaims to his salary
He then returned voluntarily toCremona where he stayed until 1635By 1638 Merula was once again inBergamomdashthis time as maestro dicappella and organist in the cathedralnext to San Maria Maggiore Asmight be expected there was con-siderable tension between the twochurches eventually resulting in theboard of San Maria Maggioreforbidding their musicians to perform under Merularsquos direction
He returned in 1646 to a familiarCremona post which he had heldthree times in various years and wherehe now settled downmdashthat of organistand maestro di cappella for Laudi dellaMadonna services in which he ledmusic at the main altar on Saturdaysand on vigils of Marian feasts
None of his employment issues
prevented the Pope from awardinghim the Order of the Golden SpurMerula was also elected to theAccademia dei Filomusi in BolognaHe died in 1665 in Cremona
His existing compositions showthe products of a lively mind Hisworks range from sacred songs andmotets to purely instrumental piecesnotably the ever-popular variations onvarious ground basses It is knownthat Merula was an accomplishedviolinist as well as a fine organist Hissurviving instrumental writing showsa predilection for strings In fact hewas one of the earliest composers tospecify string accompaniments tosacred motets
Merularsquos pieces look backwardtoward some of the more progressiveVenetian composers such as Monte-verdi while looking forward to thehigh Baroque with his innovative style
These seven canzoni like theearlier-published chaconne (EM2084)come from Merularsquos third bookpublished in 1637 CANZONI overo SONATE CONCERTATE perchiesa e camera a due et a tre delcavaliere This collection typifiesMerularsquos output pieces based onRenaissance-era ground basses arefound next to more ldquomodernrdquo sonatas
The original edition specifiesviolins and basso continuo This newedition is intended for recorders thespecific choice of which is up to theplayers Due to the relatively hightessitura tenor recorders work best inthese pieces (although listed as analternative soprano recorders tend to be on the screechy side)
Not surprisingly given Merularsquosskill as an organist the continuo partneeds a keyboard instrument forsuccessful realization Instead of beinga purely accompanying part the bassocontinuo part is an equal partner in these pieces the canzona ldquoLaRuggierardquo opens with a run that therecorders echo a few measures later
A more recorder-specific
edition intended for
altos would have been
ideal There is nothing
preventing the more
adventurous and
industrious players
from making their
own editions of this
delightful music
mentioned were a bit shrill A morerecorder-specific edition intended foraltos would have been ideal There isnothing preventing the moreadventurous and industrious playersfrom making their own editions of thisdelightful music
Prior to playing the previouslypublished chaconne I had notencountered MieroprintMusikverlag Mieroprintrsquos extensivecatalog has an equal focus on newmusic for recorders and on editions ofBaroque masters with emphasis on therecorder and flute Due to the lack of
wwwAmericanRecorderorg March 2009 43
are also available at
The Early Music Shop
of New England
Brookline MA
AESTHEacute
367-b de la Briquade
Blainville Queacutebec
Canada J7C 2C7
tel (450) 979-6091
wwwboudreau-flutesca
A bass viola da gamba or rsquocello is not necessary for these pieces and may infact make them sound heavy and ponderous rather than light and breezy as thismusic seems to be
More so than the above-mentioned chaconne these canzoni are written in avery idiomatic violin style with multiple examples of arpeggios In particular thecanzona ldquoLa Trecchardquo contains a notated example of a string tremolo figurerecurring through the piece ldquoLa Trecchardquo also dips well below the range of a Crecorder going down to low G the lowest string on the violin The editors havesupplied no alternative notes preferring to let the performers to fend forthemselves (in practice we took this passage up an octave with no problems)
The two recorder parts require virtuosity These upper parts are demandingwith the players needing to double-tongue in unison in order to negotiate themany runs of 16th notes and the shared rhythmic ldquolicksrdquo The harmoniclanguage unlike much of Merularsquos music is undemanding and contains none of the harmonic crunches for which he is famous
This is wonderful music that needs a couple of advanced recorder players fora successful performance The string idiosyncrasies can be overcome by advancedplayers and many of the editions of the era (although not this one) list thecornetto as an alternative to the violin so the use of wind instruments in the solo literature of the early Baroque was not unknown
Our experience with this edition left us with the opinion that these pieceswould have been better if transposed down a minor third so as to fit on a pair ofalto recorders (as is the case with much Baroque flute music to make it lie betteron the recorder) The tenors we used tended to sound a bit murky in the lowerregister next to the more aggressive harpsichord while the sopranos we tried as
KEY rec=recorder Srsquoo=sopraninoS=soprano A=alto T=tenor B=bassgB=great bass cB= contra bass Tr=treble qrt=quartet pf=piano fwd=foreword opt=optional perc=percussionpp=pages sc=score pt(s)=part(s)kbd=keyboard bc=basso continuohc=harpsichord PampH=postage andhandling Multiple reviews by one reviewerare followed by that reviewerrsquos name Pleasesubmit music for review to AR 7770 SHigh St Centennial CO 80122-3122 US
an American distributor this musicwill be hard to findmdashin fact can befound only at the time of this writingon their web site noted above But theeffort will be repaid
This edition is clear and easy toread and the parts require no pageturns The basso continuo realizationis simple and elegant
This is music deserving ofrediscovery My only quibble is thatthe editorial notes are all in GermanThis seems to be the practice ofGerman music publishers with thenotable exception of Moeck Otherpublishers of early music such asLondon Pro Musica routinelyprovide notes in English and German and often in French and Italian making their editionsaccessible to a wider audience
Frank Cone studied the recorderwith the late Ellen Perrin the viola dagamba with Carol Herman and thecornetto with Larry Johansen TheCalifornia multi-instrumentalist has been a member of the Orange CountyRecorder Society since 1985
Advertiser Index
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AMHERST EARLY MUSIC FESTIVAL 17
STEPHAN BLEZINGER 24
JEAN-LUC BOUDREAU 21 39
BOSTON EARLY MUSIC FESTIVAL 7
CANTO ANTIGUO EARLY MUSIC WORKSHOP 13
COURTLY MUSIC UNLIMITED 20
EARLY MUSIC AMERICA 8
HONEYSUCKLE MUSIC 34
BILL LAZARrsquoS EARLY MUSIC 26
KEITH E LORAINE EARLY DOUBLE REED SERVICE 35
LOST IN TIME PRESS 11
MADISON EARLY MUSIC FESTIVAL 12
MAGNAMUSIC DISTRIBUTORS BC
MOECK VERLAG IFC
MOLLENHAUER RECORDERS IBC
PORT TOWNSEND WORKSHOP 14
PRESCOTT WORKSHOP 30
PROVINCETOWN BOOKSHOP 26
THE RECORDER MAGAZINE 4
THE RECORDER SHOP 6
SAN FRANCISCO EARLY MUSIC SOCIETY 18
SWEETHEART FLUTE CO 3
TEXAS TOOT 20
VON HUENE WORKSHOP INC 30
WICHITA BAND INSTRUMENT CO 21
DOMINIK ZUCHOWICZ 34
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Published five times per year January March May September November
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For more information contact the ARS office 1129 Ruth Drive St Louis MO63122-1019 800-491-9588 toll free 314-966-4082 phone 314-966-4649 faxadvertisingamericanrecorderorg
44 March 2009 American Recorder
Classified___________________________________
FOR SALE Cherrywood hurdy gurdy and hard-side case made by Kelischek bought 2005Originally $765 plus $89 for case Rarely usedBoth for $450 or make offer Please contact marjalocomcastnet Can ship
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PHOTOS NEEDED of ARS events 1970sndash1990sto illustrate last chapters of Martha Bixlerrsquos histor-ical memoir about the ARS (to be posted online)E-mail scanned photos (300dpi JPG or TIF)arsrecorderamericanrecorderorg Hardcopies mail to ARS office to be scanned ampreturned Info 800-491-9588
T-SHIRT FOR ENSEMBLE PLAYERS to wear orshare Top 10 Reasons Why I Got Lost Wrongfingering bad lighting etc on blue cotton shirt$18 Highlighter tape and other goodies Beth amp Lindas Boutique as seen at BEMF CallLinda at 617-671-8694 or e-mail for brochurelindakushverizonnet
Where the havesand have-nots
of the recorder world can find each other
Classified rate for American Recorder 60centper word ten-word minimum ldquoFOR SALErdquoand ldquoWANTEDrdquo may be included in thecopy without counting Zip code is oneword phone e-mail or web page is twoPayment must accompany copy Deadlinesare one month before issue date Send copywith payment to ARS 1129 Ruth Drive St Louis MO 63122-1019
AMERICAN RECORDER (ISSN 0003-0724) 1129 Ruth Dr St Louis MO 63122-1019 is publishedbimonthly (January March May September and November) for its members by the AmericanRecorder Society Inc $20 of the annual $45 US membership dues in the ARS is for a subscriptionto American Recorder Articles reviews and letters to the editor reflect the viewpoint of their individ-ual authors Their appearance in this magazine does not imply official endorsement by the ARS
EDITORIAL DEADLINES November 15 (January) January 15 (March) March 15 (May) July 15(September) and September 15 (November) Submission of articles and photographs is welcomedArticles may be typed or sent as an attachment (Word or RTF preferred) to or text in an e-mail mes-sage They should be for the exclusive consideration of AR unless otherwise noted Photos may besent as prints or unedited JPG or 300dpi TIF files (minimum 3rdquox4rdquo) Advertisements may be sent inPDF or EPS format with fonts embedded
EDITORIAL OFFICE Gail Nickless Editor 7770 S High St Centennial CO 80122-3122 303-794-0114 (phone amp fax) editoramericanrecorderorg Books for review Editorial office Musicfor review Editorial office Recordings for review Tom Bickley 1811 Stuart St Berkeley CA 94703Cutting Edge Tim Broege 212 Second Ave Bradley Beach NJ 07720-1159 Chapter newslettersother reports Editorial office Postmaster Send address changes to ARS 1129 Ruth Drive St LouisMO 63122-1019 Periodicals postage paid at St Louis MO and at an additional mailing office
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your plans concerns
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other chapter leaders Visit
httpamericanrecorder
societywikispacescom
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I am a Professional Recorder Performer
I wish to be included in the list of Recorder Teachers in the ARS Directory and website I Teach (circle your choices) Children High School Youth College Students Adults Beginner Intermediate Advanced Pre-Professional Individuals Childrenrsquos Classes Adult Classes Ensembles Suzuki Orff JRS Leader Kodaly Where I Teach (circle your choices) Music Studio Public or private school Community Music School College Other _____________________
American Recorder Society 1129 Ruth Dr St Louis MO 63122-1019
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wwwAmericanRecorderorg
with me [to find] an ideal (for me)placement size and focal length of thebifocal lens
Before visiting the optometristIrsquod had my wife measure the distancefrom my eyes to the music on mymusic stand With this measurementthe optometrist set up her machine toprepare a vision prescription for memaximized for this reading distance
When I look at my bifocals (withthem off) the lenses (through which Iread my music) occupy most of thelower two-thirds of my glasses (they are set very high and beginimmediately at the inner rims) Thisleaves the upper third and smallportions of the outside [of each lens]for focusing on the conductor As longas my stand is set low enough my necknever experiences any strain (even if Ihave to read three to a part) and Irsquove no problem in seeing theconductor (in sharp focus) either
For me trying to use glasses [toread] from a music stand [that] weredesigned for use in reading from acomputer screen also results in neckstrain (not to mention unreliability in aldquopressurerdquo situation) Having studiedTai Chi extensively and so being
wwwAmericanRecorderorg March 2009 39
There are lots ofsolutions to thepresbyopic musicianrsquosproblem but all involve compromises
40 March 2009 American Recorder
American Recorder Society PublicationsErich Katz Contemporary Music Series Members Non-MembersA Short Tale for Two Basses Suzanne M Angevine (Level II) (2 scores) $5 $8Dialogue and Dance Cecil Effinger (SATB)(Level II-III) (score amp parts) $10 $18Dorian Mood Sally Price (SATB) (Level II) (score amp parts) $10 $18Double Quartet for Recorders Peter Ballinger (Level II-III) (score amp parts) $10 $18Entrevista Frederic Palmer (SATB) (Level II) (2 scores amp 4 recorder parts) $8 $14Kyrie and Vocalise for Soprano Voice ampRecorders Stanley W Osborn $8 $14
(SATB) (Level II) (2 scores amp 4 recorder parts) Picnic Music Jeffrey Quick (SATB) (Level II) (score amp parts) $5 $8Six Short Pieces for Three Recorders edited by Alan Drake $8 $14
(3 scores) Vaclav Nelhybel (AATT) (Level II)Sonatina for Alto Recorder and Piano Anthony Burgess $7 $12
(Level II) (2 scores)Sonatine for Three Altos Lee Gannon (Level III) (score amp parts) $14 $26Suite of Jewish Folk Tunes Erich Katz (S SA8 AT) (Level II) (three scores) $10 $18
Musical Editions from the Membersrsquo Library ARS members 1 copy-$3 2 copies-$450 3-$6 4-$750 5-$10 6-$1150Non-members (editions over 2 years old) 1 copy-$5 2 copies-$850 3-$12 4-$15 5-$1950 6-$23The ARS is happy to provide photocopied enlargements of any Membersrsquo Library edition at the same prices Please specify ldquoMembersrsquo Library Enlargementrdquo
ARS Information BookletsARS members 1 booklet-$13 2 booklets-$23 3-$28 4-$35 5-$41 6-$47 7-$52Non-members 1 booklet-$18 2 booklets-$33 3-$44 4$55 5-$66 6-$76 7-$86
Education PublicationsThe ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996)
First copy free to ARS Members (mailed to new members as they join) replacement copies $3Guidebook to the ARS Personal Study Program (1996) Material formerly published in the Study Guide
and Study Guide Handbook plus additional resources Members $11 non-members $20ARS Music Lists (2002 with 2003 Supplement) Graded list of solos ensembles and method books
Members $9 non-members $15Package Deal available only to ARS members Guidebook and Music ListsSupplement ordered together $16Junior Recorder Society Leaderrsquos Resource Notebook
ARS members $20 non-members $40 (updates at reduced rates after initial purchase)$5 Dues for each JRS student member sponsored by an ARS member ($4 each for groups of 10+)
VideosRecorder Power Educational video from the ARS and recorder virtuoso John Tyson
An exciting resource about teaching recorder to young students ARS members may borrow a copy for onemonth by sending $5 to the ARS office along with the address to which the tape should be shipped
Pete Rose Video Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music Festival recitalFeatures Rose performing a variety of music and an interview of him by ARS member professional John Tyson
Other PublicationsChapter Handbook A resource on chapter operations for current chapter leaders or those considering forming an
ARS chapter ARS members $10 non-members $20 (updates free after initial purchase) One free copy sent toeach ARS chapter with 10 members or more
Consort Handbook Resource on consort topics such as group interaction rehearsing repertoire performingARS member prices CD $10 hard copy $20 combo price of CD and hard copy ordered together $25
Discography of the Recorder Vol I (1989) Compiled by Scott Paterson and David LasockiDiscography of the Recorder Vol II (1990-1994) Compiled by Scott Paterson
Either single volume ARS members $23 non-members $28Both Discography volumes together ARS members only $40
American Recorder Cumulative Index for Vols I-XXXX ARS members $20 non-members $32Index Supplement Vol XXXIV-XXXX ARS members $8 non-members $14
Shipping amp Handling FeesUnder $10 - add $3 $10-1999 - add $4 $20-2999 - add $5 $30-3999 - add $6 $40-4999 - add $7 All prices are inUS dollars For Canadian or foreign postage pay by credit card and actual postage is charged
Please make checks payable to ARS VISAMCAMEXDisc also accepted
ARS 1129 Ruth Drive St Louis MO 63122 US800-491-9588 ARSrecorderAmericanRecorderorg
Arioso and Jazzy Rondo (AB) Carolyn PeskinBerceusendashFantaisie (SATB) Jean BoivertBrucknerrsquos Ave Maria (SSATTBB)
Jennifer W Lehmann arrCanon for 4 Basses (BBBB) David P RuhlDancers (AT) Richard EastmanDifferent Quips (AATB) Stephan ChandlerElegy for Recorder Quartet (SATB) Carolyn PeskinElizabethan Delights (SAATB)
Jennifer W Lehmann arrFallen Leaves Fugal Fantasy (SATB) Dominic BohbotFour Airs from ldquoThe Beggarrsquos Operardquo (SATB)
Kearney Smith arrGloria in Excelsis (TTTB) Robert CowperIdyll (ATB) Stan McDanielImitations (AA) Laurie G AlbertsIn Memory of Andrew (ATB) David GoldsteinLay Your Shadow on the Sundials (TBgB)
Terry Winter OwensLeClercqrsquos Air (SATB) Richard E WoodLittle Girl Skipping and Alouette et al (SATBCb)
Timothy R Walsh
Los Pastores (SAAAT + perc) Virginia N Ebinger arrNew Rounds on Old Rhymes (4 var) Erich KatzOther Quips (ATBB) Stephan ChandlerPoinciana Rag (SATB) Laurie G AlbertsSanta Barbara Suite (SSAAT) Erich KatzSentimental Songs (SATB) David Goldstein arrSerie for Two Alto Recorders (AA) Frederic Palmer Slow Dance with Doubles (2 x SATB) Colin SterneSonata da Chiesa (SATB) Ann McKinleyS-O-S (SATB) Anthony St PierreThree Bantam Ballads (TB) Ann McKinleyThree Cleveland Scenes (SAT) Carolyn PeskinThree in Five (AAB) Karl A StetsonTracings in the Snow in Central Park (SAT)
Robert W ButtsTrios for Recorders (var) George T BachmannTriptych (AATB) Peter A RamseyTwo Bach Trios (SAB) William Long arrTwo Brahms Lieder (SATB) Thomas E Van Dahm arrVariations on ldquoDrmešrdquo (SATB) Martha BishopVintage Burgundy (SASATT)
Jennifer W Lehmann arr
Adding Percussion to Medieval and Renaissance Music Peggy Monroe
American Recorder Music Constance PrimusBurgundian Court amp Its Music Judith Whaley coord
Improve Your Consort Skills Susan CarduelisMusic for Mixed Ensembles Jennifer W LehmannPlaying Music for the Dance Louise AustinRecorder Care Scott Paterson
acutely aware of any kind of neckstrain when it begins to develop these ideas have been a big help to meIrsquom hoping they may be of help toother musicians as well
Best wishes to you And inanswer to your questionmdashyes the new[AR] format (with more white spacebetween the lines) is much easier toread (in my opinion)Your magazinejust keeps getting better and better
Very sincerely Ed Green WestSuburban (Chicago-area) Chapter
RESPONSE FROM DR BILL LONG
What Ed describes is a variant of theuse of conventional bifocals as musicglasses described on page 8 in thearticle Instead of lowering his musicstand into the field of view of hisbifocal segment Ed and his optome-trist have fabricated special purposebifocals with the segment really highso he can focus on his music instraight-ahead view That approachrestricts his distance vision to an areaabove his usual line of sight whichseems to work for Eds playing setup
Eds comments on the difficultiesin using conventional progressiveaddition lenses as music lenses con-firm what I said on page 9 Thats whymanufacturers have marketed special-ty progressive lenses designed specif-ically for intermediate distance taskslike computer use and playing music
There are lots of solutions to thepresbyopic musicians problem but all involve compromises The key toevaluating those compromises andchoosing the best solution for yourselfis to understand your needs and toenlist the help of a sympathetic visioncare specialistmdashjust as Ed did
Please change your
browserrsquos favorites list
AR online is now at wwwameri
canrecorderorgmembership
magazinehtm Send news to
editoramericanrecorderorg
FOUR FOUR-PART CANZONAS
(1608) BY GIOVANNI GABRIELI
ED GREG LEWIN Hawthorns Music RB 16 (Magnamusic) 1999 SATBSc 16 pp pts 4 pp $1950
Giovanni Gabrieli was probablyborn between 1554 and 1557 in theparish of San Geremia in Venice Thedetails of his early life are sketchy butit appears that he was born Giovannidi Fais and later changed his name toGabrieli out of respect to his uncleAndrea with whom he shared a closerelationship In fact in 1587 Gabrielidescribed himself ldquoas little less than asonrdquo It is commonly thought thatAndrea provided Giovanni with hisearly musical training Andrea whohad spent some time in Munichstudying under the great Orlando deLassus sent Giovanni to Munich for a similar period of study in theearly 1570s
Gabrieli remained in Munichuntil the death in 1579 of the dukeAlbrecht V who had been Lassusrsquosemployer for a number of years andwho was an enthusiastic patron of the arts particularly music With hisdeath a number of musicians lost theirjobs it seems as if Gabrieli were also a victim of such culling of talent(Within a generation the tide wouldturn and the Munich court wouldagain hire Venetian expatriates such as Priuli Valentini and Neri)
Upon his return to VeniceGabrieli was hired as a temporaryorganist at San Marco his positionbecoming permanent in 1585 For a few months that year uncle andnephew served together as first and
second organists in the chapel of thedoge In Giovannirsquos absence fromVenice there had been a plague thathad decimated the ranks of theprofessional musicians Andrea setabout rebuilding his forces at SanMarco by hiring a full-time windband consisting of Girolamo dallaCasa a renowned cornettist andviolist his two brothers who playedsackbut and later the cornett virtuosoGiovanni Bassano Giovanni Gabrieliaugmented these forces with addi-tional players and began composingthe large-scale ceremonial music forwhich he is so well known today
Giovanni was also elected to bethe organist and composer to theconfraternity of San Rocco in 1585and it is now thought that his largestpieces were intended for that venuewith its large central gallery andfrescos by Tintoretto instead of SanMarco Gabrieli held both thosepositions at the basilica of San Marcoand the Scuola Grande di San Roccountil he died in 1612 of a kidney stone
Although best known today forhis ceremonial and festival musicGabrieli was at home in smaller-scaleformats as well These four four-partcanzoni are taken from the 1608publication by the Venetian publisherAlessandro Raverji Canzoni per sonarecon ogni sorte di strumenti These werevery popular pieces to judge by themany collections in which they appear
Additionally like Gabrielirsquoskeyboard music they are found inother arrangements These four-partcanzoni lie well under the fingers inarrangements for keyboard and lute
As seen from the title Gabrielispecified no instrumentation but like asimilar edition of madrigals and battlepieces from a few years earlier a dis-tinction was made that they wereintended for wind instruments almostcertainly cornetts and sackbuts
Recorders were not unknown in Venice they were used regularly inthe confraternity of San GiovanniEvangelista where Giovanni BattistaRiccio was organist
These pieces are relativelysimplemdashplayable by beginning tointermediate ensembles They aremostly contrapuntal (with a fewhomophonic sections) and have few rhythmic eccentricities
These canzoni are found in manymodern brass editions but there arefew editions available to the recorderplayer This edition by Greg Lewin ofHawthorns Music might be consid-ered a ldquobare-bonesrdquo edition There islittle background information andeditorial practices are not specified
The music itself has a handwrittenlook that can be distracting but is easyenough to read Lewin has thought-fully supplied phrasing marks that willbe helpful for ensembles unused tothis style of music
Music
Reviews___________________________________ Infectious music created in spite of the plague
wwwAmericanRecorderorg March 2009 41
This is a good edition
for small ensembles that
canrsquot get eight players
together to play
Gabrielirsquos more famous
eight-part canzoni
42 March 2009 American Recorder
The parts are four pages but mycopy had all four pages printed on avery large page This is not a problemand there are no page turns
This is a good edition for smallensembles that canrsquot get eight playerstogether to play Gabrielirsquos morefamous eight-part canzoni Thesesmall-scale pieces are by no meansinferior to Gabrielirsquos more elaboratemusic and deserve to be better known
7 CANZONEN (1637) BY
TARQUINIO MERULA ED JOACHIM
ARNDT WITH CONTINUO REALIZATION
BY CLAUDIA SCHWEITZER MieroprintMusikverlag EM2088 (availabledirectly from wwwmieroprintcom)2005 SS or TT bc Sc 24 pp pts 8 pp$28
Tarquinio Merula was bornaround 1595 in either Busseto orCremona in Italy As was the case withso many composers of the day either alack of regular employment or a rest-less nature took him from his home inCremona to as far away as Warsaw He is found as the organist of thechurch and the chambers to the kingof Poland Sigismund III in 1624
Merula was one of the leadingexponents of the relatively new con-certante style pioneered by ClaudioMonteverdi and others in the seconddecade of the 17th century and may be described as one of the earliestBaroque composers His compositionsin the concertante style are fresh andunforcedmdashhe was born into this styleand didnrsquot encounter it as somethingnew as was the case with so many ofMonteverdirsquos contemporaries
After several years of peripateticexistence Merula found regularemployment in 1631 in Bergamo atthe church of San Maria MaggioreThe prior holder of the post of maestrodi cappella Alessandro Grandi haddied the previous year in the plagueMerula had signed a three-year
contract but by December 1632 hewas terminated with accusations thathe had molested several studentsMerula threatened a lawsuit to recoverhis lost wages but that threat wascountered with a pending criminalcharge lodged by the board ofgovernors of San Maria Maggiore By mid-1633 the matter was settledwith an apology from Merula and astatement that he relinquished allclaims to his salary
He then returned voluntarily toCremona where he stayed until 1635By 1638 Merula was once again inBergamomdashthis time as maestro dicappella and organist in the cathedralnext to San Maria Maggiore Asmight be expected there was con-siderable tension between the twochurches eventually resulting in theboard of San Maria Maggioreforbidding their musicians to perform under Merularsquos direction
He returned in 1646 to a familiarCremona post which he had heldthree times in various years and wherehe now settled downmdashthat of organistand maestro di cappella for Laudi dellaMadonna services in which he ledmusic at the main altar on Saturdaysand on vigils of Marian feasts
None of his employment issues
prevented the Pope from awardinghim the Order of the Golden SpurMerula was also elected to theAccademia dei Filomusi in BolognaHe died in 1665 in Cremona
His existing compositions showthe products of a lively mind Hisworks range from sacred songs andmotets to purely instrumental piecesnotably the ever-popular variations onvarious ground basses It is knownthat Merula was an accomplishedviolinist as well as a fine organist Hissurviving instrumental writing showsa predilection for strings In fact hewas one of the earliest composers tospecify string accompaniments tosacred motets
Merularsquos pieces look backwardtoward some of the more progressiveVenetian composers such as Monte-verdi while looking forward to thehigh Baroque with his innovative style
These seven canzoni like theearlier-published chaconne (EM2084)come from Merularsquos third bookpublished in 1637 CANZONI overo SONATE CONCERTATE perchiesa e camera a due et a tre delcavaliere This collection typifiesMerularsquos output pieces based onRenaissance-era ground basses arefound next to more ldquomodernrdquo sonatas
The original edition specifiesviolins and basso continuo This newedition is intended for recorders thespecific choice of which is up to theplayers Due to the relatively hightessitura tenor recorders work best inthese pieces (although listed as analternative soprano recorders tend to be on the screechy side)
Not surprisingly given Merularsquosskill as an organist the continuo partneeds a keyboard instrument forsuccessful realization Instead of beinga purely accompanying part the bassocontinuo part is an equal partner in these pieces the canzona ldquoLaRuggierardquo opens with a run that therecorders echo a few measures later
A more recorder-specific
edition intended for
altos would have been
ideal There is nothing
preventing the more
adventurous and
industrious players
from making their
own editions of this
delightful music
mentioned were a bit shrill A morerecorder-specific edition intended foraltos would have been ideal There isnothing preventing the moreadventurous and industrious playersfrom making their own editions of thisdelightful music
Prior to playing the previouslypublished chaconne I had notencountered MieroprintMusikverlag Mieroprintrsquos extensivecatalog has an equal focus on newmusic for recorders and on editions ofBaroque masters with emphasis on therecorder and flute Due to the lack of
wwwAmericanRecorderorg March 2009 43
are also available at
The Early Music Shop
of New England
Brookline MA
AESTHEacute
367-b de la Briquade
Blainville Queacutebec
Canada J7C 2C7
tel (450) 979-6091
wwwboudreau-flutesca
A bass viola da gamba or rsquocello is not necessary for these pieces and may infact make them sound heavy and ponderous rather than light and breezy as thismusic seems to be
More so than the above-mentioned chaconne these canzoni are written in avery idiomatic violin style with multiple examples of arpeggios In particular thecanzona ldquoLa Trecchardquo contains a notated example of a string tremolo figurerecurring through the piece ldquoLa Trecchardquo also dips well below the range of a Crecorder going down to low G the lowest string on the violin The editors havesupplied no alternative notes preferring to let the performers to fend forthemselves (in practice we took this passage up an octave with no problems)
The two recorder parts require virtuosity These upper parts are demandingwith the players needing to double-tongue in unison in order to negotiate themany runs of 16th notes and the shared rhythmic ldquolicksrdquo The harmoniclanguage unlike much of Merularsquos music is undemanding and contains none of the harmonic crunches for which he is famous
This is wonderful music that needs a couple of advanced recorder players fora successful performance The string idiosyncrasies can be overcome by advancedplayers and many of the editions of the era (although not this one) list thecornetto as an alternative to the violin so the use of wind instruments in the solo literature of the early Baroque was not unknown
Our experience with this edition left us with the opinion that these pieceswould have been better if transposed down a minor third so as to fit on a pair ofalto recorders (as is the case with much Baroque flute music to make it lie betteron the recorder) The tenors we used tended to sound a bit murky in the lowerregister next to the more aggressive harpsichord while the sopranos we tried as
KEY rec=recorder Srsquoo=sopraninoS=soprano A=alto T=tenor B=bassgB=great bass cB= contra bass Tr=treble qrt=quartet pf=piano fwd=foreword opt=optional perc=percussionpp=pages sc=score pt(s)=part(s)kbd=keyboard bc=basso continuohc=harpsichord PampH=postage andhandling Multiple reviews by one reviewerare followed by that reviewerrsquos name Pleasesubmit music for review to AR 7770 SHigh St Centennial CO 80122-3122 US
an American distributor this musicwill be hard to findmdashin fact can befound only at the time of this writingon their web site noted above But theeffort will be repaid
This edition is clear and easy toread and the parts require no pageturns The basso continuo realizationis simple and elegant
This is music deserving ofrediscovery My only quibble is thatthe editorial notes are all in GermanThis seems to be the practice ofGerman music publishers with thenotable exception of Moeck Otherpublishers of early music such asLondon Pro Musica routinelyprovide notes in English and German and often in French and Italian making their editionsaccessible to a wider audience
Frank Cone studied the recorderwith the late Ellen Perrin the viola dagamba with Carol Herman and thecornetto with Larry Johansen TheCalifornia multi-instrumentalist has been a member of the Orange CountyRecorder Society since 1985
Advertiser Index
AMERICAN ORFF-SCHULWERK ASSN 3
AMERICAN RECORDER SOCIETY 31 35 36
AMHERST EARLY MUSIC FESTIVAL 17
STEPHAN BLEZINGER 24
JEAN-LUC BOUDREAU 21 39
BOSTON EARLY MUSIC FESTIVAL 7
CANTO ANTIGUO EARLY MUSIC WORKSHOP 13
COURTLY MUSIC UNLIMITED 20
EARLY MUSIC AMERICA 8
HONEYSUCKLE MUSIC 34
BILL LAZARrsquoS EARLY MUSIC 26
KEITH E LORAINE EARLY DOUBLE REED SERVICE 35
LOST IN TIME PRESS 11
MADISON EARLY MUSIC FESTIVAL 12
MAGNAMUSIC DISTRIBUTORS BC
MOECK VERLAG IFC
MOLLENHAUER RECORDERS IBC
PORT TOWNSEND WORKSHOP 14
PRESCOTT WORKSHOP 30
PROVINCETOWN BOOKSHOP 26
THE RECORDER MAGAZINE 4
THE RECORDER SHOP 6
SAN FRANCISCO EARLY MUSIC SOCIETY 18
SWEETHEART FLUTE CO 3
TEXAS TOOT 20
VON HUENE WORKSHOP INC 30
WICHITA BAND INSTRUMENT CO 21
DOMINIK ZUCHOWICZ 34
CONSIDER ADVERTISING IN
Full page $55223 page $43912 page $36613 page $28614 page $22316 page $17518 page $127112 page $ 951 column inch $ 58
Prices include web sitee-mail link directly from your ad in the online AR at wwwamericanrecorderorg
Circulation Includes the membership of theARS libraries and music organizations
Published five times per year January March May September November
Reservation Deadlines December 1 (January) February 1 (March) April 1 (May) August 1 (September) October 1 (November)
Rates good through November 2009 Pleaseinquire about discounts on multiple-issuecontracts inserts or other special requestsExtra charges for typesetting layout half-tones and size alterations 133-line screenrecommended Advertising subject toacceptance by magazine First-time adver-tisers must include payment with order
For more information contact the ARS office 1129 Ruth Drive St Louis MO63122-1019 800-491-9588 toll free 314-966-4082 phone 314-966-4649 faxadvertisingamericanrecorderorg
44 March 2009 American Recorder
Classified___________________________________
FOR SALE Cherrywood hurdy gurdy and hard-side case made by Kelischek bought 2005Originally $765 plus $89 for case Rarely usedBoth for $450 or make offer Please contact marjalocomcastnet Can ship
ASPIRE ANNOUNCE INSPIRE Afford-able PR for teachers and recitalists wwwrecitalroomcom
PHOTOS NEEDED of ARS events 1970sndash1990sto illustrate last chapters of Martha Bixlerrsquos histor-ical memoir about the ARS (to be posted online)E-mail scanned photos (300dpi JPG or TIF)arsrecorderamericanrecorderorg Hardcopies mail to ARS office to be scanned ampreturned Info 800-491-9588
T-SHIRT FOR ENSEMBLE PLAYERS to wear orshare Top 10 Reasons Why I Got Lost Wrongfingering bad lighting etc on blue cotton shirt$18 Highlighter tape and other goodies Beth amp Lindas Boutique as seen at BEMF CallLinda at 617-671-8694 or e-mail for brochurelindakushverizonnet
Where the havesand have-nots
of the recorder world can find each other
Classified rate for American Recorder 60centper word ten-word minimum ldquoFOR SALErdquoand ldquoWANTEDrdquo may be included in thecopy without counting Zip code is oneword phone e-mail or web page is twoPayment must accompany copy Deadlinesare one month before issue date Send copywith payment to ARS 1129 Ruth Drive St Louis MO 63122-1019
AMERICAN RECORDER (ISSN 0003-0724) 1129 Ruth Dr St Louis MO 63122-1019 is publishedbimonthly (January March May September and November) for its members by the AmericanRecorder Society Inc $20 of the annual $45 US membership dues in the ARS is for a subscriptionto American Recorder Articles reviews and letters to the editor reflect the viewpoint of their individ-ual authors Their appearance in this magazine does not imply official endorsement by the ARS
EDITORIAL DEADLINES November 15 (January) January 15 (March) March 15 (May) July 15(September) and September 15 (November) Submission of articles and photographs is welcomedArticles may be typed or sent as an attachment (Word or RTF preferred) to or text in an e-mail mes-sage They should be for the exclusive consideration of AR unless otherwise noted Photos may besent as prints or unedited JPG or 300dpi TIF files (minimum 3rdquox4rdquo) Advertisements may be sent inPDF or EPS format with fonts embedded
EDITORIAL OFFICE Gail Nickless Editor 7770 S High St Centennial CO 80122-3122 303-794-0114 (phone amp fax) editoramericanrecorderorg Books for review Editorial office Musicfor review Editorial office Recordings for review Tom Bickley 1811 Stuart St Berkeley CA 94703Cutting Edge Tim Broege 212 Second Ave Bradley Beach NJ 07720-1159 Chapter newslettersother reports Editorial office Postmaster Send address changes to ARS 1129 Ruth Drive St LouisMO 63122-1019 Periodicals postage paid at St Louis MO and at an additional mailing office
Chapter leaders
We know yoursquore out there
and that you want to share
your plans concerns
solutions and ideas with
other chapter leaders Visit
httpamericanrecorder
societywikispacescom
40 March 2009 American Recorder
American Recorder Society PublicationsErich Katz Contemporary Music Series Members Non-MembersA Short Tale for Two Basses Suzanne M Angevine (Level II) (2 scores) $5 $8Dialogue and Dance Cecil Effinger (SATB)(Level II-III) (score amp parts) $10 $18Dorian Mood Sally Price (SATB) (Level II) (score amp parts) $10 $18Double Quartet for Recorders Peter Ballinger (Level II-III) (score amp parts) $10 $18Entrevista Frederic Palmer (SATB) (Level II) (2 scores amp 4 recorder parts) $8 $14Kyrie and Vocalise for Soprano Voice ampRecorders Stanley W Osborn $8 $14
(SATB) (Level II) (2 scores amp 4 recorder parts) Picnic Music Jeffrey Quick (SATB) (Level II) (score amp parts) $5 $8Six Short Pieces for Three Recorders edited by Alan Drake $8 $14
(3 scores) Vaclav Nelhybel (AATT) (Level II)Sonatina for Alto Recorder and Piano Anthony Burgess $7 $12
(Level II) (2 scores)Sonatine for Three Altos Lee Gannon (Level III) (score amp parts) $14 $26Suite of Jewish Folk Tunes Erich Katz (S SA8 AT) (Level II) (three scores) $10 $18
Musical Editions from the Membersrsquo Library ARS members 1 copy-$3 2 copies-$450 3-$6 4-$750 5-$10 6-$1150Non-members (editions over 2 years old) 1 copy-$5 2 copies-$850 3-$12 4-$15 5-$1950 6-$23The ARS is happy to provide photocopied enlargements of any Membersrsquo Library edition at the same prices Please specify ldquoMembersrsquo Library Enlargementrdquo
ARS Information BookletsARS members 1 booklet-$13 2 booklets-$23 3-$28 4-$35 5-$41 6-$47 7-$52Non-members 1 booklet-$18 2 booklets-$33 3-$44 4$55 5-$66 6-$76 7-$86
Education PublicationsThe ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996)
First copy free to ARS Members (mailed to new members as they join) replacement copies $3Guidebook to the ARS Personal Study Program (1996) Material formerly published in the Study Guide
and Study Guide Handbook plus additional resources Members $11 non-members $20ARS Music Lists (2002 with 2003 Supplement) Graded list of solos ensembles and method books
Members $9 non-members $15Package Deal available only to ARS members Guidebook and Music ListsSupplement ordered together $16Junior Recorder Society Leaderrsquos Resource Notebook
ARS members $20 non-members $40 (updates at reduced rates after initial purchase)$5 Dues for each JRS student member sponsored by an ARS member ($4 each for groups of 10+)
VideosRecorder Power Educational video from the ARS and recorder virtuoso John Tyson
An exciting resource about teaching recorder to young students ARS members may borrow a copy for onemonth by sending $5 to the ARS office along with the address to which the tape should be shipped
Pete Rose Video Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music Festival recitalFeatures Rose performing a variety of music and an interview of him by ARS member professional John Tyson
Other PublicationsChapter Handbook A resource on chapter operations for current chapter leaders or those considering forming an
ARS chapter ARS members $10 non-members $20 (updates free after initial purchase) One free copy sent toeach ARS chapter with 10 members or more
Consort Handbook Resource on consort topics such as group interaction rehearsing repertoire performingARS member prices CD $10 hard copy $20 combo price of CD and hard copy ordered together $25
Discography of the Recorder Vol I (1989) Compiled by Scott Paterson and David LasockiDiscography of the Recorder Vol II (1990-1994) Compiled by Scott Paterson
Either single volume ARS members $23 non-members $28Both Discography volumes together ARS members only $40
American Recorder Cumulative Index for Vols I-XXXX ARS members $20 non-members $32Index Supplement Vol XXXIV-XXXX ARS members $8 non-members $14
Shipping amp Handling FeesUnder $10 - add $3 $10-1999 - add $4 $20-2999 - add $5 $30-3999 - add $6 $40-4999 - add $7 All prices are inUS dollars For Canadian or foreign postage pay by credit card and actual postage is charged
Please make checks payable to ARS VISAMCAMEXDisc also accepted
ARS 1129 Ruth Drive St Louis MO 63122 US800-491-9588 ARSrecorderAmericanRecorderorg
Arioso and Jazzy Rondo (AB) Carolyn PeskinBerceusendashFantaisie (SATB) Jean BoivertBrucknerrsquos Ave Maria (SSATTBB)
Jennifer W Lehmann arrCanon for 4 Basses (BBBB) David P RuhlDancers (AT) Richard EastmanDifferent Quips (AATB) Stephan ChandlerElegy for Recorder Quartet (SATB) Carolyn PeskinElizabethan Delights (SAATB)
Jennifer W Lehmann arrFallen Leaves Fugal Fantasy (SATB) Dominic BohbotFour Airs from ldquoThe Beggarrsquos Operardquo (SATB)
Kearney Smith arrGloria in Excelsis (TTTB) Robert CowperIdyll (ATB) Stan McDanielImitations (AA) Laurie G AlbertsIn Memory of Andrew (ATB) David GoldsteinLay Your Shadow on the Sundials (TBgB)
Terry Winter OwensLeClercqrsquos Air (SATB) Richard E WoodLittle Girl Skipping and Alouette et al (SATBCb)
Timothy R Walsh
Los Pastores (SAAAT + perc) Virginia N Ebinger arrNew Rounds on Old Rhymes (4 var) Erich KatzOther Quips (ATBB) Stephan ChandlerPoinciana Rag (SATB) Laurie G AlbertsSanta Barbara Suite (SSAAT) Erich KatzSentimental Songs (SATB) David Goldstein arrSerie for Two Alto Recorders (AA) Frederic Palmer Slow Dance with Doubles (2 x SATB) Colin SterneSonata da Chiesa (SATB) Ann McKinleyS-O-S (SATB) Anthony St PierreThree Bantam Ballads (TB) Ann McKinleyThree Cleveland Scenes (SAT) Carolyn PeskinThree in Five (AAB) Karl A StetsonTracings in the Snow in Central Park (SAT)
Robert W ButtsTrios for Recorders (var) George T BachmannTriptych (AATB) Peter A RamseyTwo Bach Trios (SAB) William Long arrTwo Brahms Lieder (SATB) Thomas E Van Dahm arrVariations on ldquoDrmešrdquo (SATB) Martha BishopVintage Burgundy (SASATT)
Jennifer W Lehmann arr
Adding Percussion to Medieval and Renaissance Music Peggy Monroe
American Recorder Music Constance PrimusBurgundian Court amp Its Music Judith Whaley coord
Improve Your Consort Skills Susan CarduelisMusic for Mixed Ensembles Jennifer W LehmannPlaying Music for the Dance Louise AustinRecorder Care Scott Paterson
acutely aware of any kind of neckstrain when it begins to develop these ideas have been a big help to meIrsquom hoping they may be of help toother musicians as well
Best wishes to you And inanswer to your questionmdashyes the new[AR] format (with more white spacebetween the lines) is much easier toread (in my opinion)Your magazinejust keeps getting better and better
Very sincerely Ed Green WestSuburban (Chicago-area) Chapter
RESPONSE FROM DR BILL LONG
What Ed describes is a variant of theuse of conventional bifocals as musicglasses described on page 8 in thearticle Instead of lowering his musicstand into the field of view of hisbifocal segment Ed and his optome-trist have fabricated special purposebifocals with the segment really highso he can focus on his music instraight-ahead view That approachrestricts his distance vision to an areaabove his usual line of sight whichseems to work for Eds playing setup
Eds comments on the difficultiesin using conventional progressiveaddition lenses as music lenses con-firm what I said on page 9 Thats whymanufacturers have marketed special-ty progressive lenses designed specif-ically for intermediate distance taskslike computer use and playing music
There are lots of solutions to thepresbyopic musicians problem but all involve compromises The key toevaluating those compromises andchoosing the best solution for yourselfis to understand your needs and toenlist the help of a sympathetic visioncare specialistmdashjust as Ed did
Please change your
browserrsquos favorites list
AR online is now at wwwameri
canrecorderorgmembership
magazinehtm Send news to
editoramericanrecorderorg
FOUR FOUR-PART CANZONAS
(1608) BY GIOVANNI GABRIELI
ED GREG LEWIN Hawthorns Music RB 16 (Magnamusic) 1999 SATBSc 16 pp pts 4 pp $1950
Giovanni Gabrieli was probablyborn between 1554 and 1557 in theparish of San Geremia in Venice Thedetails of his early life are sketchy butit appears that he was born Giovannidi Fais and later changed his name toGabrieli out of respect to his uncleAndrea with whom he shared a closerelationship In fact in 1587 Gabrielidescribed himself ldquoas little less than asonrdquo It is commonly thought thatAndrea provided Giovanni with hisearly musical training Andrea whohad spent some time in Munichstudying under the great Orlando deLassus sent Giovanni to Munich for a similar period of study in theearly 1570s
Gabrieli remained in Munichuntil the death in 1579 of the dukeAlbrecht V who had been Lassusrsquosemployer for a number of years andwho was an enthusiastic patron of the arts particularly music With hisdeath a number of musicians lost theirjobs it seems as if Gabrieli were also a victim of such culling of talent(Within a generation the tide wouldturn and the Munich court wouldagain hire Venetian expatriates such as Priuli Valentini and Neri)
Upon his return to VeniceGabrieli was hired as a temporaryorganist at San Marco his positionbecoming permanent in 1585 For a few months that year uncle andnephew served together as first and
second organists in the chapel of thedoge In Giovannirsquos absence fromVenice there had been a plague thathad decimated the ranks of theprofessional musicians Andrea setabout rebuilding his forces at SanMarco by hiring a full-time windband consisting of Girolamo dallaCasa a renowned cornettist andviolist his two brothers who playedsackbut and later the cornett virtuosoGiovanni Bassano Giovanni Gabrieliaugmented these forces with addi-tional players and began composingthe large-scale ceremonial music forwhich he is so well known today
Giovanni was also elected to bethe organist and composer to theconfraternity of San Rocco in 1585and it is now thought that his largestpieces were intended for that venuewith its large central gallery andfrescos by Tintoretto instead of SanMarco Gabrieli held both thosepositions at the basilica of San Marcoand the Scuola Grande di San Roccountil he died in 1612 of a kidney stone
Although best known today forhis ceremonial and festival musicGabrieli was at home in smaller-scaleformats as well These four four-partcanzoni are taken from the 1608publication by the Venetian publisherAlessandro Raverji Canzoni per sonarecon ogni sorte di strumenti These werevery popular pieces to judge by themany collections in which they appear
Additionally like Gabrielirsquoskeyboard music they are found inother arrangements These four-partcanzoni lie well under the fingers inarrangements for keyboard and lute
As seen from the title Gabrielispecified no instrumentation but like asimilar edition of madrigals and battlepieces from a few years earlier a dis-tinction was made that they wereintended for wind instruments almostcertainly cornetts and sackbuts
Recorders were not unknown in Venice they were used regularly inthe confraternity of San GiovanniEvangelista where Giovanni BattistaRiccio was organist
These pieces are relativelysimplemdashplayable by beginning tointermediate ensembles They aremostly contrapuntal (with a fewhomophonic sections) and have few rhythmic eccentricities
These canzoni are found in manymodern brass editions but there arefew editions available to the recorderplayer This edition by Greg Lewin ofHawthorns Music might be consid-ered a ldquobare-bonesrdquo edition There islittle background information andeditorial practices are not specified
The music itself has a handwrittenlook that can be distracting but is easyenough to read Lewin has thought-fully supplied phrasing marks that willbe helpful for ensembles unused tothis style of music
Music
Reviews___________________________________ Infectious music created in spite of the plague
wwwAmericanRecorderorg March 2009 41
This is a good edition
for small ensembles that
canrsquot get eight players
together to play
Gabrielirsquos more famous
eight-part canzoni
42 March 2009 American Recorder
The parts are four pages but mycopy had all four pages printed on avery large page This is not a problemand there are no page turns
This is a good edition for smallensembles that canrsquot get eight playerstogether to play Gabrielirsquos morefamous eight-part canzoni Thesesmall-scale pieces are by no meansinferior to Gabrielirsquos more elaboratemusic and deserve to be better known
7 CANZONEN (1637) BY
TARQUINIO MERULA ED JOACHIM
ARNDT WITH CONTINUO REALIZATION
BY CLAUDIA SCHWEITZER MieroprintMusikverlag EM2088 (availabledirectly from wwwmieroprintcom)2005 SS or TT bc Sc 24 pp pts 8 pp$28
Tarquinio Merula was bornaround 1595 in either Busseto orCremona in Italy As was the case withso many composers of the day either alack of regular employment or a rest-less nature took him from his home inCremona to as far away as Warsaw He is found as the organist of thechurch and the chambers to the kingof Poland Sigismund III in 1624
Merula was one of the leadingexponents of the relatively new con-certante style pioneered by ClaudioMonteverdi and others in the seconddecade of the 17th century and may be described as one of the earliestBaroque composers His compositionsin the concertante style are fresh andunforcedmdashhe was born into this styleand didnrsquot encounter it as somethingnew as was the case with so many ofMonteverdirsquos contemporaries
After several years of peripateticexistence Merula found regularemployment in 1631 in Bergamo atthe church of San Maria MaggioreThe prior holder of the post of maestrodi cappella Alessandro Grandi haddied the previous year in the plagueMerula had signed a three-year
contract but by December 1632 hewas terminated with accusations thathe had molested several studentsMerula threatened a lawsuit to recoverhis lost wages but that threat wascountered with a pending criminalcharge lodged by the board ofgovernors of San Maria Maggiore By mid-1633 the matter was settledwith an apology from Merula and astatement that he relinquished allclaims to his salary
He then returned voluntarily toCremona where he stayed until 1635By 1638 Merula was once again inBergamomdashthis time as maestro dicappella and organist in the cathedralnext to San Maria Maggiore Asmight be expected there was con-siderable tension between the twochurches eventually resulting in theboard of San Maria Maggioreforbidding their musicians to perform under Merularsquos direction
He returned in 1646 to a familiarCremona post which he had heldthree times in various years and wherehe now settled downmdashthat of organistand maestro di cappella for Laudi dellaMadonna services in which he ledmusic at the main altar on Saturdaysand on vigils of Marian feasts
None of his employment issues
prevented the Pope from awardinghim the Order of the Golden SpurMerula was also elected to theAccademia dei Filomusi in BolognaHe died in 1665 in Cremona
His existing compositions showthe products of a lively mind Hisworks range from sacred songs andmotets to purely instrumental piecesnotably the ever-popular variations onvarious ground basses It is knownthat Merula was an accomplishedviolinist as well as a fine organist Hissurviving instrumental writing showsa predilection for strings In fact hewas one of the earliest composers tospecify string accompaniments tosacred motets
Merularsquos pieces look backwardtoward some of the more progressiveVenetian composers such as Monte-verdi while looking forward to thehigh Baroque with his innovative style
These seven canzoni like theearlier-published chaconne (EM2084)come from Merularsquos third bookpublished in 1637 CANZONI overo SONATE CONCERTATE perchiesa e camera a due et a tre delcavaliere This collection typifiesMerularsquos output pieces based onRenaissance-era ground basses arefound next to more ldquomodernrdquo sonatas
The original edition specifiesviolins and basso continuo This newedition is intended for recorders thespecific choice of which is up to theplayers Due to the relatively hightessitura tenor recorders work best inthese pieces (although listed as analternative soprano recorders tend to be on the screechy side)
Not surprisingly given Merularsquosskill as an organist the continuo partneeds a keyboard instrument forsuccessful realization Instead of beinga purely accompanying part the bassocontinuo part is an equal partner in these pieces the canzona ldquoLaRuggierardquo opens with a run that therecorders echo a few measures later
A more recorder-specific
edition intended for
altos would have been
ideal There is nothing
preventing the more
adventurous and
industrious players
from making their
own editions of this
delightful music
mentioned were a bit shrill A morerecorder-specific edition intended foraltos would have been ideal There isnothing preventing the moreadventurous and industrious playersfrom making their own editions of thisdelightful music
Prior to playing the previouslypublished chaconne I had notencountered MieroprintMusikverlag Mieroprintrsquos extensivecatalog has an equal focus on newmusic for recorders and on editions ofBaroque masters with emphasis on therecorder and flute Due to the lack of
wwwAmericanRecorderorg March 2009 43
are also available at
The Early Music Shop
of New England
Brookline MA
AESTHEacute
367-b de la Briquade
Blainville Queacutebec
Canada J7C 2C7
tel (450) 979-6091
wwwboudreau-flutesca
A bass viola da gamba or rsquocello is not necessary for these pieces and may infact make them sound heavy and ponderous rather than light and breezy as thismusic seems to be
More so than the above-mentioned chaconne these canzoni are written in avery idiomatic violin style with multiple examples of arpeggios In particular thecanzona ldquoLa Trecchardquo contains a notated example of a string tremolo figurerecurring through the piece ldquoLa Trecchardquo also dips well below the range of a Crecorder going down to low G the lowest string on the violin The editors havesupplied no alternative notes preferring to let the performers to fend forthemselves (in practice we took this passage up an octave with no problems)
The two recorder parts require virtuosity These upper parts are demandingwith the players needing to double-tongue in unison in order to negotiate themany runs of 16th notes and the shared rhythmic ldquolicksrdquo The harmoniclanguage unlike much of Merularsquos music is undemanding and contains none of the harmonic crunches for which he is famous
This is wonderful music that needs a couple of advanced recorder players fora successful performance The string idiosyncrasies can be overcome by advancedplayers and many of the editions of the era (although not this one) list thecornetto as an alternative to the violin so the use of wind instruments in the solo literature of the early Baroque was not unknown
Our experience with this edition left us with the opinion that these pieceswould have been better if transposed down a minor third so as to fit on a pair ofalto recorders (as is the case with much Baroque flute music to make it lie betteron the recorder) The tenors we used tended to sound a bit murky in the lowerregister next to the more aggressive harpsichord while the sopranos we tried as
KEY rec=recorder Srsquoo=sopraninoS=soprano A=alto T=tenor B=bassgB=great bass cB= contra bass Tr=treble qrt=quartet pf=piano fwd=foreword opt=optional perc=percussionpp=pages sc=score pt(s)=part(s)kbd=keyboard bc=basso continuohc=harpsichord PampH=postage andhandling Multiple reviews by one reviewerare followed by that reviewerrsquos name Pleasesubmit music for review to AR 7770 SHigh St Centennial CO 80122-3122 US
an American distributor this musicwill be hard to findmdashin fact can befound only at the time of this writingon their web site noted above But theeffort will be repaid
This edition is clear and easy toread and the parts require no pageturns The basso continuo realizationis simple and elegant
This is music deserving ofrediscovery My only quibble is thatthe editorial notes are all in GermanThis seems to be the practice ofGerman music publishers with thenotable exception of Moeck Otherpublishers of early music such asLondon Pro Musica routinelyprovide notes in English and German and often in French and Italian making their editionsaccessible to a wider audience
Frank Cone studied the recorderwith the late Ellen Perrin the viola dagamba with Carol Herman and thecornetto with Larry Johansen TheCalifornia multi-instrumentalist has been a member of the Orange CountyRecorder Society since 1985
Advertiser Index
AMERICAN ORFF-SCHULWERK ASSN 3
AMERICAN RECORDER SOCIETY 31 35 36
AMHERST EARLY MUSIC FESTIVAL 17
STEPHAN BLEZINGER 24
JEAN-LUC BOUDREAU 21 39
BOSTON EARLY MUSIC FESTIVAL 7
CANTO ANTIGUO EARLY MUSIC WORKSHOP 13
COURTLY MUSIC UNLIMITED 20
EARLY MUSIC AMERICA 8
HONEYSUCKLE MUSIC 34
BILL LAZARrsquoS EARLY MUSIC 26
KEITH E LORAINE EARLY DOUBLE REED SERVICE 35
LOST IN TIME PRESS 11
MADISON EARLY MUSIC FESTIVAL 12
MAGNAMUSIC DISTRIBUTORS BC
MOECK VERLAG IFC
MOLLENHAUER RECORDERS IBC
PORT TOWNSEND WORKSHOP 14
PRESCOTT WORKSHOP 30
PROVINCETOWN BOOKSHOP 26
THE RECORDER MAGAZINE 4
THE RECORDER SHOP 6
SAN FRANCISCO EARLY MUSIC SOCIETY 18
SWEETHEART FLUTE CO 3
TEXAS TOOT 20
VON HUENE WORKSHOP INC 30
WICHITA BAND INSTRUMENT CO 21
DOMINIK ZUCHOWICZ 34
CONSIDER ADVERTISING IN
Full page $55223 page $43912 page $36613 page $28614 page $22316 page $17518 page $127112 page $ 951 column inch $ 58
Prices include web sitee-mail link directly from your ad in the online AR at wwwamericanrecorderorg
Circulation Includes the membership of theARS libraries and music organizations
Published five times per year January March May September November
Reservation Deadlines December 1 (January) February 1 (March) April 1 (May) August 1 (September) October 1 (November)
Rates good through November 2009 Pleaseinquire about discounts on multiple-issuecontracts inserts or other special requestsExtra charges for typesetting layout half-tones and size alterations 133-line screenrecommended Advertising subject toacceptance by magazine First-time adver-tisers must include payment with order
For more information contact the ARS office 1129 Ruth Drive St Louis MO63122-1019 800-491-9588 toll free 314-966-4082 phone 314-966-4649 faxadvertisingamericanrecorderorg
44 March 2009 American Recorder
Classified___________________________________
FOR SALE Cherrywood hurdy gurdy and hard-side case made by Kelischek bought 2005Originally $765 plus $89 for case Rarely usedBoth for $450 or make offer Please contact marjalocomcastnet Can ship
ASPIRE ANNOUNCE INSPIRE Afford-able PR for teachers and recitalists wwwrecitalroomcom
PHOTOS NEEDED of ARS events 1970sndash1990sto illustrate last chapters of Martha Bixlerrsquos histor-ical memoir about the ARS (to be posted online)E-mail scanned photos (300dpi JPG or TIF)arsrecorderamericanrecorderorg Hardcopies mail to ARS office to be scanned ampreturned Info 800-491-9588
T-SHIRT FOR ENSEMBLE PLAYERS to wear orshare Top 10 Reasons Why I Got Lost Wrongfingering bad lighting etc on blue cotton shirt$18 Highlighter tape and other goodies Beth amp Lindas Boutique as seen at BEMF CallLinda at 617-671-8694 or e-mail for brochurelindakushverizonnet
Where the havesand have-nots
of the recorder world can find each other
Classified rate for American Recorder 60centper word ten-word minimum ldquoFOR SALErdquoand ldquoWANTEDrdquo may be included in thecopy without counting Zip code is oneword phone e-mail or web page is twoPayment must accompany copy Deadlinesare one month before issue date Send copywith payment to ARS 1129 Ruth Drive St Louis MO 63122-1019
AMERICAN RECORDER (ISSN 0003-0724) 1129 Ruth Dr St Louis MO 63122-1019 is publishedbimonthly (January March May September and November) for its members by the AmericanRecorder Society Inc $20 of the annual $45 US membership dues in the ARS is for a subscriptionto American Recorder Articles reviews and letters to the editor reflect the viewpoint of their individ-ual authors Their appearance in this magazine does not imply official endorsement by the ARS
EDITORIAL DEADLINES November 15 (January) January 15 (March) March 15 (May) July 15(September) and September 15 (November) Submission of articles and photographs is welcomedArticles may be typed or sent as an attachment (Word or RTF preferred) to or text in an e-mail mes-sage They should be for the exclusive consideration of AR unless otherwise noted Photos may besent as prints or unedited JPG or 300dpi TIF files (minimum 3rdquox4rdquo) Advertisements may be sent inPDF or EPS format with fonts embedded
EDITORIAL OFFICE Gail Nickless Editor 7770 S High St Centennial CO 80122-3122 303-794-0114 (phone amp fax) editoramericanrecorderorg Books for review Editorial office Musicfor review Editorial office Recordings for review Tom Bickley 1811 Stuart St Berkeley CA 94703Cutting Edge Tim Broege 212 Second Ave Bradley Beach NJ 07720-1159 Chapter newslettersother reports Editorial office Postmaster Send address changes to ARS 1129 Ruth Drive St LouisMO 63122-1019 Periodicals postage paid at St Louis MO and at an additional mailing office
Chapter leaders
We know yoursquore out there
and that you want to share
your plans concerns
solutions and ideas with
other chapter leaders Visit
httpamericanrecorder
societywikispacescom
FOUR FOUR-PART CANZONAS
(1608) BY GIOVANNI GABRIELI
ED GREG LEWIN Hawthorns Music RB 16 (Magnamusic) 1999 SATBSc 16 pp pts 4 pp $1950
Giovanni Gabrieli was probablyborn between 1554 and 1557 in theparish of San Geremia in Venice Thedetails of his early life are sketchy butit appears that he was born Giovannidi Fais and later changed his name toGabrieli out of respect to his uncleAndrea with whom he shared a closerelationship In fact in 1587 Gabrielidescribed himself ldquoas little less than asonrdquo It is commonly thought thatAndrea provided Giovanni with hisearly musical training Andrea whohad spent some time in Munichstudying under the great Orlando deLassus sent Giovanni to Munich for a similar period of study in theearly 1570s
Gabrieli remained in Munichuntil the death in 1579 of the dukeAlbrecht V who had been Lassusrsquosemployer for a number of years andwho was an enthusiastic patron of the arts particularly music With hisdeath a number of musicians lost theirjobs it seems as if Gabrieli were also a victim of such culling of talent(Within a generation the tide wouldturn and the Munich court wouldagain hire Venetian expatriates such as Priuli Valentini and Neri)
Upon his return to VeniceGabrieli was hired as a temporaryorganist at San Marco his positionbecoming permanent in 1585 For a few months that year uncle andnephew served together as first and
second organists in the chapel of thedoge In Giovannirsquos absence fromVenice there had been a plague thathad decimated the ranks of theprofessional musicians Andrea setabout rebuilding his forces at SanMarco by hiring a full-time windband consisting of Girolamo dallaCasa a renowned cornettist andviolist his two brothers who playedsackbut and later the cornett virtuosoGiovanni Bassano Giovanni Gabrieliaugmented these forces with addi-tional players and began composingthe large-scale ceremonial music forwhich he is so well known today
Giovanni was also elected to bethe organist and composer to theconfraternity of San Rocco in 1585and it is now thought that his largestpieces were intended for that venuewith its large central gallery andfrescos by Tintoretto instead of SanMarco Gabrieli held both thosepositions at the basilica of San Marcoand the Scuola Grande di San Roccountil he died in 1612 of a kidney stone
Although best known today forhis ceremonial and festival musicGabrieli was at home in smaller-scaleformats as well These four four-partcanzoni are taken from the 1608publication by the Venetian publisherAlessandro Raverji Canzoni per sonarecon ogni sorte di strumenti These werevery popular pieces to judge by themany collections in which they appear
Additionally like Gabrielirsquoskeyboard music they are found inother arrangements These four-partcanzoni lie well under the fingers inarrangements for keyboard and lute
As seen from the title Gabrielispecified no instrumentation but like asimilar edition of madrigals and battlepieces from a few years earlier a dis-tinction was made that they wereintended for wind instruments almostcertainly cornetts and sackbuts
Recorders were not unknown in Venice they were used regularly inthe confraternity of San GiovanniEvangelista where Giovanni BattistaRiccio was organist
These pieces are relativelysimplemdashplayable by beginning tointermediate ensembles They aremostly contrapuntal (with a fewhomophonic sections) and have few rhythmic eccentricities
These canzoni are found in manymodern brass editions but there arefew editions available to the recorderplayer This edition by Greg Lewin ofHawthorns Music might be consid-ered a ldquobare-bonesrdquo edition There islittle background information andeditorial practices are not specified
The music itself has a handwrittenlook that can be distracting but is easyenough to read Lewin has thought-fully supplied phrasing marks that willbe helpful for ensembles unused tothis style of music
Music
Reviews___________________________________ Infectious music created in spite of the plague
wwwAmericanRecorderorg March 2009 41
This is a good edition
for small ensembles that
canrsquot get eight players
together to play
Gabrielirsquos more famous
eight-part canzoni
42 March 2009 American Recorder
The parts are four pages but mycopy had all four pages printed on avery large page This is not a problemand there are no page turns
This is a good edition for smallensembles that canrsquot get eight playerstogether to play Gabrielirsquos morefamous eight-part canzoni Thesesmall-scale pieces are by no meansinferior to Gabrielirsquos more elaboratemusic and deserve to be better known
7 CANZONEN (1637) BY
TARQUINIO MERULA ED JOACHIM
ARNDT WITH CONTINUO REALIZATION
BY CLAUDIA SCHWEITZER MieroprintMusikverlag EM2088 (availabledirectly from wwwmieroprintcom)2005 SS or TT bc Sc 24 pp pts 8 pp$28
Tarquinio Merula was bornaround 1595 in either Busseto orCremona in Italy As was the case withso many composers of the day either alack of regular employment or a rest-less nature took him from his home inCremona to as far away as Warsaw He is found as the organist of thechurch and the chambers to the kingof Poland Sigismund III in 1624
Merula was one of the leadingexponents of the relatively new con-certante style pioneered by ClaudioMonteverdi and others in the seconddecade of the 17th century and may be described as one of the earliestBaroque composers His compositionsin the concertante style are fresh andunforcedmdashhe was born into this styleand didnrsquot encounter it as somethingnew as was the case with so many ofMonteverdirsquos contemporaries
After several years of peripateticexistence Merula found regularemployment in 1631 in Bergamo atthe church of San Maria MaggioreThe prior holder of the post of maestrodi cappella Alessandro Grandi haddied the previous year in the plagueMerula had signed a three-year
contract but by December 1632 hewas terminated with accusations thathe had molested several studentsMerula threatened a lawsuit to recoverhis lost wages but that threat wascountered with a pending criminalcharge lodged by the board ofgovernors of San Maria Maggiore By mid-1633 the matter was settledwith an apology from Merula and astatement that he relinquished allclaims to his salary
He then returned voluntarily toCremona where he stayed until 1635By 1638 Merula was once again inBergamomdashthis time as maestro dicappella and organist in the cathedralnext to San Maria Maggiore Asmight be expected there was con-siderable tension between the twochurches eventually resulting in theboard of San Maria Maggioreforbidding their musicians to perform under Merularsquos direction
He returned in 1646 to a familiarCremona post which he had heldthree times in various years and wherehe now settled downmdashthat of organistand maestro di cappella for Laudi dellaMadonna services in which he ledmusic at the main altar on Saturdaysand on vigils of Marian feasts
None of his employment issues
prevented the Pope from awardinghim the Order of the Golden SpurMerula was also elected to theAccademia dei Filomusi in BolognaHe died in 1665 in Cremona
His existing compositions showthe products of a lively mind Hisworks range from sacred songs andmotets to purely instrumental piecesnotably the ever-popular variations onvarious ground basses It is knownthat Merula was an accomplishedviolinist as well as a fine organist Hissurviving instrumental writing showsa predilection for strings In fact hewas one of the earliest composers tospecify string accompaniments tosacred motets
Merularsquos pieces look backwardtoward some of the more progressiveVenetian composers such as Monte-verdi while looking forward to thehigh Baroque with his innovative style
These seven canzoni like theearlier-published chaconne (EM2084)come from Merularsquos third bookpublished in 1637 CANZONI overo SONATE CONCERTATE perchiesa e camera a due et a tre delcavaliere This collection typifiesMerularsquos output pieces based onRenaissance-era ground basses arefound next to more ldquomodernrdquo sonatas
The original edition specifiesviolins and basso continuo This newedition is intended for recorders thespecific choice of which is up to theplayers Due to the relatively hightessitura tenor recorders work best inthese pieces (although listed as analternative soprano recorders tend to be on the screechy side)
Not surprisingly given Merularsquosskill as an organist the continuo partneeds a keyboard instrument forsuccessful realization Instead of beinga purely accompanying part the bassocontinuo part is an equal partner in these pieces the canzona ldquoLaRuggierardquo opens with a run that therecorders echo a few measures later
A more recorder-specific
edition intended for
altos would have been
ideal There is nothing
preventing the more
adventurous and
industrious players
from making their
own editions of this
delightful music
mentioned were a bit shrill A morerecorder-specific edition intended foraltos would have been ideal There isnothing preventing the moreadventurous and industrious playersfrom making their own editions of thisdelightful music
Prior to playing the previouslypublished chaconne I had notencountered MieroprintMusikverlag Mieroprintrsquos extensivecatalog has an equal focus on newmusic for recorders and on editions ofBaroque masters with emphasis on therecorder and flute Due to the lack of
wwwAmericanRecorderorg March 2009 43
are also available at
The Early Music Shop
of New England
Brookline MA
AESTHEacute
367-b de la Briquade
Blainville Queacutebec
Canada J7C 2C7
tel (450) 979-6091
wwwboudreau-flutesca
A bass viola da gamba or rsquocello is not necessary for these pieces and may infact make them sound heavy and ponderous rather than light and breezy as thismusic seems to be
More so than the above-mentioned chaconne these canzoni are written in avery idiomatic violin style with multiple examples of arpeggios In particular thecanzona ldquoLa Trecchardquo contains a notated example of a string tremolo figurerecurring through the piece ldquoLa Trecchardquo also dips well below the range of a Crecorder going down to low G the lowest string on the violin The editors havesupplied no alternative notes preferring to let the performers to fend forthemselves (in practice we took this passage up an octave with no problems)
The two recorder parts require virtuosity These upper parts are demandingwith the players needing to double-tongue in unison in order to negotiate themany runs of 16th notes and the shared rhythmic ldquolicksrdquo The harmoniclanguage unlike much of Merularsquos music is undemanding and contains none of the harmonic crunches for which he is famous
This is wonderful music that needs a couple of advanced recorder players fora successful performance The string idiosyncrasies can be overcome by advancedplayers and many of the editions of the era (although not this one) list thecornetto as an alternative to the violin so the use of wind instruments in the solo literature of the early Baroque was not unknown
Our experience with this edition left us with the opinion that these pieceswould have been better if transposed down a minor third so as to fit on a pair ofalto recorders (as is the case with much Baroque flute music to make it lie betteron the recorder) The tenors we used tended to sound a bit murky in the lowerregister next to the more aggressive harpsichord while the sopranos we tried as
KEY rec=recorder Srsquoo=sopraninoS=soprano A=alto T=tenor B=bassgB=great bass cB= contra bass Tr=treble qrt=quartet pf=piano fwd=foreword opt=optional perc=percussionpp=pages sc=score pt(s)=part(s)kbd=keyboard bc=basso continuohc=harpsichord PampH=postage andhandling Multiple reviews by one reviewerare followed by that reviewerrsquos name Pleasesubmit music for review to AR 7770 SHigh St Centennial CO 80122-3122 US
an American distributor this musicwill be hard to findmdashin fact can befound only at the time of this writingon their web site noted above But theeffort will be repaid
This edition is clear and easy toread and the parts require no pageturns The basso continuo realizationis simple and elegant
This is music deserving ofrediscovery My only quibble is thatthe editorial notes are all in GermanThis seems to be the practice ofGerman music publishers with thenotable exception of Moeck Otherpublishers of early music such asLondon Pro Musica routinelyprovide notes in English and German and often in French and Italian making their editionsaccessible to a wider audience
Frank Cone studied the recorderwith the late Ellen Perrin the viola dagamba with Carol Herman and thecornetto with Larry Johansen TheCalifornia multi-instrumentalist has been a member of the Orange CountyRecorder Society since 1985
Advertiser Index
AMERICAN ORFF-SCHULWERK ASSN 3
AMERICAN RECORDER SOCIETY 31 35 36
AMHERST EARLY MUSIC FESTIVAL 17
STEPHAN BLEZINGER 24
JEAN-LUC BOUDREAU 21 39
BOSTON EARLY MUSIC FESTIVAL 7
CANTO ANTIGUO EARLY MUSIC WORKSHOP 13
COURTLY MUSIC UNLIMITED 20
EARLY MUSIC AMERICA 8
HONEYSUCKLE MUSIC 34
BILL LAZARrsquoS EARLY MUSIC 26
KEITH E LORAINE EARLY DOUBLE REED SERVICE 35
LOST IN TIME PRESS 11
MADISON EARLY MUSIC FESTIVAL 12
MAGNAMUSIC DISTRIBUTORS BC
MOECK VERLAG IFC
MOLLENHAUER RECORDERS IBC
PORT TOWNSEND WORKSHOP 14
PRESCOTT WORKSHOP 30
PROVINCETOWN BOOKSHOP 26
THE RECORDER MAGAZINE 4
THE RECORDER SHOP 6
SAN FRANCISCO EARLY MUSIC SOCIETY 18
SWEETHEART FLUTE CO 3
TEXAS TOOT 20
VON HUENE WORKSHOP INC 30
WICHITA BAND INSTRUMENT CO 21
DOMINIK ZUCHOWICZ 34
CONSIDER ADVERTISING IN
Full page $55223 page $43912 page $36613 page $28614 page $22316 page $17518 page $127112 page $ 951 column inch $ 58
Prices include web sitee-mail link directly from your ad in the online AR at wwwamericanrecorderorg
Circulation Includes the membership of theARS libraries and music organizations
Published five times per year January March May September November
Reservation Deadlines December 1 (January) February 1 (March) April 1 (May) August 1 (September) October 1 (November)
Rates good through November 2009 Pleaseinquire about discounts on multiple-issuecontracts inserts or other special requestsExtra charges for typesetting layout half-tones and size alterations 133-line screenrecommended Advertising subject toacceptance by magazine First-time adver-tisers must include payment with order
For more information contact the ARS office 1129 Ruth Drive St Louis MO63122-1019 800-491-9588 toll free 314-966-4082 phone 314-966-4649 faxadvertisingamericanrecorderorg
44 March 2009 American Recorder
Classified___________________________________
FOR SALE Cherrywood hurdy gurdy and hard-side case made by Kelischek bought 2005Originally $765 plus $89 for case Rarely usedBoth for $450 or make offer Please contact marjalocomcastnet Can ship
ASPIRE ANNOUNCE INSPIRE Afford-able PR for teachers and recitalists wwwrecitalroomcom
PHOTOS NEEDED of ARS events 1970sndash1990sto illustrate last chapters of Martha Bixlerrsquos histor-ical memoir about the ARS (to be posted online)E-mail scanned photos (300dpi JPG or TIF)arsrecorderamericanrecorderorg Hardcopies mail to ARS office to be scanned ampreturned Info 800-491-9588
T-SHIRT FOR ENSEMBLE PLAYERS to wear orshare Top 10 Reasons Why I Got Lost Wrongfingering bad lighting etc on blue cotton shirt$18 Highlighter tape and other goodies Beth amp Lindas Boutique as seen at BEMF CallLinda at 617-671-8694 or e-mail for brochurelindakushverizonnet
Where the havesand have-nots
of the recorder world can find each other
Classified rate for American Recorder 60centper word ten-word minimum ldquoFOR SALErdquoand ldquoWANTEDrdquo may be included in thecopy without counting Zip code is oneword phone e-mail or web page is twoPayment must accompany copy Deadlinesare one month before issue date Send copywith payment to ARS 1129 Ruth Drive St Louis MO 63122-1019
AMERICAN RECORDER (ISSN 0003-0724) 1129 Ruth Dr St Louis MO 63122-1019 is publishedbimonthly (January March May September and November) for its members by the AmericanRecorder Society Inc $20 of the annual $45 US membership dues in the ARS is for a subscriptionto American Recorder Articles reviews and letters to the editor reflect the viewpoint of their individ-ual authors Their appearance in this magazine does not imply official endorsement by the ARS
EDITORIAL DEADLINES November 15 (January) January 15 (March) March 15 (May) July 15(September) and September 15 (November) Submission of articles and photographs is welcomedArticles may be typed or sent as an attachment (Word or RTF preferred) to or text in an e-mail mes-sage They should be for the exclusive consideration of AR unless otherwise noted Photos may besent as prints or unedited JPG or 300dpi TIF files (minimum 3rdquox4rdquo) Advertisements may be sent inPDF or EPS format with fonts embedded
EDITORIAL OFFICE Gail Nickless Editor 7770 S High St Centennial CO 80122-3122 303-794-0114 (phone amp fax) editoramericanrecorderorg Books for review Editorial office Musicfor review Editorial office Recordings for review Tom Bickley 1811 Stuart St Berkeley CA 94703Cutting Edge Tim Broege 212 Second Ave Bradley Beach NJ 07720-1159 Chapter newslettersother reports Editorial office Postmaster Send address changes to ARS 1129 Ruth Drive St LouisMO 63122-1019 Periodicals postage paid at St Louis MO and at an additional mailing office
Chapter leaders
We know yoursquore out there
and that you want to share
your plans concerns
solutions and ideas with
other chapter leaders Visit
httpamericanrecorder
societywikispacescom
42 March 2009 American Recorder
The parts are four pages but mycopy had all four pages printed on avery large page This is not a problemand there are no page turns
This is a good edition for smallensembles that canrsquot get eight playerstogether to play Gabrielirsquos morefamous eight-part canzoni Thesesmall-scale pieces are by no meansinferior to Gabrielirsquos more elaboratemusic and deserve to be better known
7 CANZONEN (1637) BY
TARQUINIO MERULA ED JOACHIM
ARNDT WITH CONTINUO REALIZATION
BY CLAUDIA SCHWEITZER MieroprintMusikverlag EM2088 (availabledirectly from wwwmieroprintcom)2005 SS or TT bc Sc 24 pp pts 8 pp$28
Tarquinio Merula was bornaround 1595 in either Busseto orCremona in Italy As was the case withso many composers of the day either alack of regular employment or a rest-less nature took him from his home inCremona to as far away as Warsaw He is found as the organist of thechurch and the chambers to the kingof Poland Sigismund III in 1624
Merula was one of the leadingexponents of the relatively new con-certante style pioneered by ClaudioMonteverdi and others in the seconddecade of the 17th century and may be described as one of the earliestBaroque composers His compositionsin the concertante style are fresh andunforcedmdashhe was born into this styleand didnrsquot encounter it as somethingnew as was the case with so many ofMonteverdirsquos contemporaries
After several years of peripateticexistence Merula found regularemployment in 1631 in Bergamo atthe church of San Maria MaggioreThe prior holder of the post of maestrodi cappella Alessandro Grandi haddied the previous year in the plagueMerula had signed a three-year
contract but by December 1632 hewas terminated with accusations thathe had molested several studentsMerula threatened a lawsuit to recoverhis lost wages but that threat wascountered with a pending criminalcharge lodged by the board ofgovernors of San Maria Maggiore By mid-1633 the matter was settledwith an apology from Merula and astatement that he relinquished allclaims to his salary
He then returned voluntarily toCremona where he stayed until 1635By 1638 Merula was once again inBergamomdashthis time as maestro dicappella and organist in the cathedralnext to San Maria Maggiore Asmight be expected there was con-siderable tension between the twochurches eventually resulting in theboard of San Maria Maggioreforbidding their musicians to perform under Merularsquos direction
He returned in 1646 to a familiarCremona post which he had heldthree times in various years and wherehe now settled downmdashthat of organistand maestro di cappella for Laudi dellaMadonna services in which he ledmusic at the main altar on Saturdaysand on vigils of Marian feasts
None of his employment issues
prevented the Pope from awardinghim the Order of the Golden SpurMerula was also elected to theAccademia dei Filomusi in BolognaHe died in 1665 in Cremona
His existing compositions showthe products of a lively mind Hisworks range from sacred songs andmotets to purely instrumental piecesnotably the ever-popular variations onvarious ground basses It is knownthat Merula was an accomplishedviolinist as well as a fine organist Hissurviving instrumental writing showsa predilection for strings In fact hewas one of the earliest composers tospecify string accompaniments tosacred motets
Merularsquos pieces look backwardtoward some of the more progressiveVenetian composers such as Monte-verdi while looking forward to thehigh Baroque with his innovative style
These seven canzoni like theearlier-published chaconne (EM2084)come from Merularsquos third bookpublished in 1637 CANZONI overo SONATE CONCERTATE perchiesa e camera a due et a tre delcavaliere This collection typifiesMerularsquos output pieces based onRenaissance-era ground basses arefound next to more ldquomodernrdquo sonatas
The original edition specifiesviolins and basso continuo This newedition is intended for recorders thespecific choice of which is up to theplayers Due to the relatively hightessitura tenor recorders work best inthese pieces (although listed as analternative soprano recorders tend to be on the screechy side)
Not surprisingly given Merularsquosskill as an organist the continuo partneeds a keyboard instrument forsuccessful realization Instead of beinga purely accompanying part the bassocontinuo part is an equal partner in these pieces the canzona ldquoLaRuggierardquo opens with a run that therecorders echo a few measures later
A more recorder-specific
edition intended for
altos would have been
ideal There is nothing
preventing the more
adventurous and
industrious players
from making their
own editions of this
delightful music
mentioned were a bit shrill A morerecorder-specific edition intended foraltos would have been ideal There isnothing preventing the moreadventurous and industrious playersfrom making their own editions of thisdelightful music
Prior to playing the previouslypublished chaconne I had notencountered MieroprintMusikverlag Mieroprintrsquos extensivecatalog has an equal focus on newmusic for recorders and on editions ofBaroque masters with emphasis on therecorder and flute Due to the lack of
wwwAmericanRecorderorg March 2009 43
are also available at
The Early Music Shop
of New England
Brookline MA
AESTHEacute
367-b de la Briquade
Blainville Queacutebec
Canada J7C 2C7
tel (450) 979-6091
wwwboudreau-flutesca
A bass viola da gamba or rsquocello is not necessary for these pieces and may infact make them sound heavy and ponderous rather than light and breezy as thismusic seems to be
More so than the above-mentioned chaconne these canzoni are written in avery idiomatic violin style with multiple examples of arpeggios In particular thecanzona ldquoLa Trecchardquo contains a notated example of a string tremolo figurerecurring through the piece ldquoLa Trecchardquo also dips well below the range of a Crecorder going down to low G the lowest string on the violin The editors havesupplied no alternative notes preferring to let the performers to fend forthemselves (in practice we took this passage up an octave with no problems)
The two recorder parts require virtuosity These upper parts are demandingwith the players needing to double-tongue in unison in order to negotiate themany runs of 16th notes and the shared rhythmic ldquolicksrdquo The harmoniclanguage unlike much of Merularsquos music is undemanding and contains none of the harmonic crunches for which he is famous
This is wonderful music that needs a couple of advanced recorder players fora successful performance The string idiosyncrasies can be overcome by advancedplayers and many of the editions of the era (although not this one) list thecornetto as an alternative to the violin so the use of wind instruments in the solo literature of the early Baroque was not unknown
Our experience with this edition left us with the opinion that these pieceswould have been better if transposed down a minor third so as to fit on a pair ofalto recorders (as is the case with much Baroque flute music to make it lie betteron the recorder) The tenors we used tended to sound a bit murky in the lowerregister next to the more aggressive harpsichord while the sopranos we tried as
KEY rec=recorder Srsquoo=sopraninoS=soprano A=alto T=tenor B=bassgB=great bass cB= contra bass Tr=treble qrt=quartet pf=piano fwd=foreword opt=optional perc=percussionpp=pages sc=score pt(s)=part(s)kbd=keyboard bc=basso continuohc=harpsichord PampH=postage andhandling Multiple reviews by one reviewerare followed by that reviewerrsquos name Pleasesubmit music for review to AR 7770 SHigh St Centennial CO 80122-3122 US
an American distributor this musicwill be hard to findmdashin fact can befound only at the time of this writingon their web site noted above But theeffort will be repaid
This edition is clear and easy toread and the parts require no pageturns The basso continuo realizationis simple and elegant
This is music deserving ofrediscovery My only quibble is thatthe editorial notes are all in GermanThis seems to be the practice ofGerman music publishers with thenotable exception of Moeck Otherpublishers of early music such asLondon Pro Musica routinelyprovide notes in English and German and often in French and Italian making their editionsaccessible to a wider audience
Frank Cone studied the recorderwith the late Ellen Perrin the viola dagamba with Carol Herman and thecornetto with Larry Johansen TheCalifornia multi-instrumentalist has been a member of the Orange CountyRecorder Society since 1985
Advertiser Index
AMERICAN ORFF-SCHULWERK ASSN 3
AMERICAN RECORDER SOCIETY 31 35 36
AMHERST EARLY MUSIC FESTIVAL 17
STEPHAN BLEZINGER 24
JEAN-LUC BOUDREAU 21 39
BOSTON EARLY MUSIC FESTIVAL 7
CANTO ANTIGUO EARLY MUSIC WORKSHOP 13
COURTLY MUSIC UNLIMITED 20
EARLY MUSIC AMERICA 8
HONEYSUCKLE MUSIC 34
BILL LAZARrsquoS EARLY MUSIC 26
KEITH E LORAINE EARLY DOUBLE REED SERVICE 35
LOST IN TIME PRESS 11
MADISON EARLY MUSIC FESTIVAL 12
MAGNAMUSIC DISTRIBUTORS BC
MOECK VERLAG IFC
MOLLENHAUER RECORDERS IBC
PORT TOWNSEND WORKSHOP 14
PRESCOTT WORKSHOP 30
PROVINCETOWN BOOKSHOP 26
THE RECORDER MAGAZINE 4
THE RECORDER SHOP 6
SAN FRANCISCO EARLY MUSIC SOCIETY 18
SWEETHEART FLUTE CO 3
TEXAS TOOT 20
VON HUENE WORKSHOP INC 30
WICHITA BAND INSTRUMENT CO 21
DOMINIK ZUCHOWICZ 34
CONSIDER ADVERTISING IN
Full page $55223 page $43912 page $36613 page $28614 page $22316 page $17518 page $127112 page $ 951 column inch $ 58
Prices include web sitee-mail link directly from your ad in the online AR at wwwamericanrecorderorg
Circulation Includes the membership of theARS libraries and music organizations
Published five times per year January March May September November
Reservation Deadlines December 1 (January) February 1 (March) April 1 (May) August 1 (September) October 1 (November)
Rates good through November 2009 Pleaseinquire about discounts on multiple-issuecontracts inserts or other special requestsExtra charges for typesetting layout half-tones and size alterations 133-line screenrecommended Advertising subject toacceptance by magazine First-time adver-tisers must include payment with order
For more information contact the ARS office 1129 Ruth Drive St Louis MO63122-1019 800-491-9588 toll free 314-966-4082 phone 314-966-4649 faxadvertisingamericanrecorderorg
44 March 2009 American Recorder
Classified___________________________________
FOR SALE Cherrywood hurdy gurdy and hard-side case made by Kelischek bought 2005Originally $765 plus $89 for case Rarely usedBoth for $450 or make offer Please contact marjalocomcastnet Can ship
ASPIRE ANNOUNCE INSPIRE Afford-able PR for teachers and recitalists wwwrecitalroomcom
PHOTOS NEEDED of ARS events 1970sndash1990sto illustrate last chapters of Martha Bixlerrsquos histor-ical memoir about the ARS (to be posted online)E-mail scanned photos (300dpi JPG or TIF)arsrecorderamericanrecorderorg Hardcopies mail to ARS office to be scanned ampreturned Info 800-491-9588
T-SHIRT FOR ENSEMBLE PLAYERS to wear orshare Top 10 Reasons Why I Got Lost Wrongfingering bad lighting etc on blue cotton shirt$18 Highlighter tape and other goodies Beth amp Lindas Boutique as seen at BEMF CallLinda at 617-671-8694 or e-mail for brochurelindakushverizonnet
Where the havesand have-nots
of the recorder world can find each other
Classified rate for American Recorder 60centper word ten-word minimum ldquoFOR SALErdquoand ldquoWANTEDrdquo may be included in thecopy without counting Zip code is oneword phone e-mail or web page is twoPayment must accompany copy Deadlinesare one month before issue date Send copywith payment to ARS 1129 Ruth Drive St Louis MO 63122-1019
AMERICAN RECORDER (ISSN 0003-0724) 1129 Ruth Dr St Louis MO 63122-1019 is publishedbimonthly (January March May September and November) for its members by the AmericanRecorder Society Inc $20 of the annual $45 US membership dues in the ARS is for a subscriptionto American Recorder Articles reviews and letters to the editor reflect the viewpoint of their individ-ual authors Their appearance in this magazine does not imply official endorsement by the ARS
EDITORIAL DEADLINES November 15 (January) January 15 (March) March 15 (May) July 15(September) and September 15 (November) Submission of articles and photographs is welcomedArticles may be typed or sent as an attachment (Word or RTF preferred) to or text in an e-mail mes-sage They should be for the exclusive consideration of AR unless otherwise noted Photos may besent as prints or unedited JPG or 300dpi TIF files (minimum 3rdquox4rdquo) Advertisements may be sent inPDF or EPS format with fonts embedded
EDITORIAL OFFICE Gail Nickless Editor 7770 S High St Centennial CO 80122-3122 303-794-0114 (phone amp fax) editoramericanrecorderorg Books for review Editorial office Musicfor review Editorial office Recordings for review Tom Bickley 1811 Stuart St Berkeley CA 94703Cutting Edge Tim Broege 212 Second Ave Bradley Beach NJ 07720-1159 Chapter newslettersother reports Editorial office Postmaster Send address changes to ARS 1129 Ruth Drive St LouisMO 63122-1019 Periodicals postage paid at St Louis MO and at an additional mailing office
Chapter leaders
We know yoursquore out there
and that you want to share
your plans concerns
solutions and ideas with
other chapter leaders Visit
httpamericanrecorder
societywikispacescom
mentioned were a bit shrill A morerecorder-specific edition intended foraltos would have been ideal There isnothing preventing the moreadventurous and industrious playersfrom making their own editions of thisdelightful music
Prior to playing the previouslypublished chaconne I had notencountered MieroprintMusikverlag Mieroprintrsquos extensivecatalog has an equal focus on newmusic for recorders and on editions ofBaroque masters with emphasis on therecorder and flute Due to the lack of
wwwAmericanRecorderorg March 2009 43
are also available at
The Early Music Shop
of New England
Brookline MA
AESTHEacute
367-b de la Briquade
Blainville Queacutebec
Canada J7C 2C7
tel (450) 979-6091
wwwboudreau-flutesca
A bass viola da gamba or rsquocello is not necessary for these pieces and may infact make them sound heavy and ponderous rather than light and breezy as thismusic seems to be
More so than the above-mentioned chaconne these canzoni are written in avery idiomatic violin style with multiple examples of arpeggios In particular thecanzona ldquoLa Trecchardquo contains a notated example of a string tremolo figurerecurring through the piece ldquoLa Trecchardquo also dips well below the range of a Crecorder going down to low G the lowest string on the violin The editors havesupplied no alternative notes preferring to let the performers to fend forthemselves (in practice we took this passage up an octave with no problems)
The two recorder parts require virtuosity These upper parts are demandingwith the players needing to double-tongue in unison in order to negotiate themany runs of 16th notes and the shared rhythmic ldquolicksrdquo The harmoniclanguage unlike much of Merularsquos music is undemanding and contains none of the harmonic crunches for which he is famous
This is wonderful music that needs a couple of advanced recorder players fora successful performance The string idiosyncrasies can be overcome by advancedplayers and many of the editions of the era (although not this one) list thecornetto as an alternative to the violin so the use of wind instruments in the solo literature of the early Baroque was not unknown
Our experience with this edition left us with the opinion that these pieceswould have been better if transposed down a minor third so as to fit on a pair ofalto recorders (as is the case with much Baroque flute music to make it lie betteron the recorder) The tenors we used tended to sound a bit murky in the lowerregister next to the more aggressive harpsichord while the sopranos we tried as
KEY rec=recorder Srsquoo=sopraninoS=soprano A=alto T=tenor B=bassgB=great bass cB= contra bass Tr=treble qrt=quartet pf=piano fwd=foreword opt=optional perc=percussionpp=pages sc=score pt(s)=part(s)kbd=keyboard bc=basso continuohc=harpsichord PampH=postage andhandling Multiple reviews by one reviewerare followed by that reviewerrsquos name Pleasesubmit music for review to AR 7770 SHigh St Centennial CO 80122-3122 US
an American distributor this musicwill be hard to findmdashin fact can befound only at the time of this writingon their web site noted above But theeffort will be repaid
This edition is clear and easy toread and the parts require no pageturns The basso continuo realizationis simple and elegant
This is music deserving ofrediscovery My only quibble is thatthe editorial notes are all in GermanThis seems to be the practice ofGerman music publishers with thenotable exception of Moeck Otherpublishers of early music such asLondon Pro Musica routinelyprovide notes in English and German and often in French and Italian making their editionsaccessible to a wider audience
Frank Cone studied the recorderwith the late Ellen Perrin the viola dagamba with Carol Herman and thecornetto with Larry Johansen TheCalifornia multi-instrumentalist has been a member of the Orange CountyRecorder Society since 1985
Advertiser Index
AMERICAN ORFF-SCHULWERK ASSN 3
AMERICAN RECORDER SOCIETY 31 35 36
AMHERST EARLY MUSIC FESTIVAL 17
STEPHAN BLEZINGER 24
JEAN-LUC BOUDREAU 21 39
BOSTON EARLY MUSIC FESTIVAL 7
CANTO ANTIGUO EARLY MUSIC WORKSHOP 13
COURTLY MUSIC UNLIMITED 20
EARLY MUSIC AMERICA 8
HONEYSUCKLE MUSIC 34
BILL LAZARrsquoS EARLY MUSIC 26
KEITH E LORAINE EARLY DOUBLE REED SERVICE 35
LOST IN TIME PRESS 11
MADISON EARLY MUSIC FESTIVAL 12
MAGNAMUSIC DISTRIBUTORS BC
MOECK VERLAG IFC
MOLLENHAUER RECORDERS IBC
PORT TOWNSEND WORKSHOP 14
PRESCOTT WORKSHOP 30
PROVINCETOWN BOOKSHOP 26
THE RECORDER MAGAZINE 4
THE RECORDER SHOP 6
SAN FRANCISCO EARLY MUSIC SOCIETY 18
SWEETHEART FLUTE CO 3
TEXAS TOOT 20
VON HUENE WORKSHOP INC 30
WICHITA BAND INSTRUMENT CO 21
DOMINIK ZUCHOWICZ 34
CONSIDER ADVERTISING IN
Full page $55223 page $43912 page $36613 page $28614 page $22316 page $17518 page $127112 page $ 951 column inch $ 58
Prices include web sitee-mail link directly from your ad in the online AR at wwwamericanrecorderorg
Circulation Includes the membership of theARS libraries and music organizations
Published five times per year January March May September November
Reservation Deadlines December 1 (January) February 1 (March) April 1 (May) August 1 (September) October 1 (November)
Rates good through November 2009 Pleaseinquire about discounts on multiple-issuecontracts inserts or other special requestsExtra charges for typesetting layout half-tones and size alterations 133-line screenrecommended Advertising subject toacceptance by magazine First-time adver-tisers must include payment with order
For more information contact the ARS office 1129 Ruth Drive St Louis MO63122-1019 800-491-9588 toll free 314-966-4082 phone 314-966-4649 faxadvertisingamericanrecorderorg
44 March 2009 American Recorder
Classified___________________________________
FOR SALE Cherrywood hurdy gurdy and hard-side case made by Kelischek bought 2005Originally $765 plus $89 for case Rarely usedBoth for $450 or make offer Please contact marjalocomcastnet Can ship
ASPIRE ANNOUNCE INSPIRE Afford-able PR for teachers and recitalists wwwrecitalroomcom
PHOTOS NEEDED of ARS events 1970sndash1990sto illustrate last chapters of Martha Bixlerrsquos histor-ical memoir about the ARS (to be posted online)E-mail scanned photos (300dpi JPG or TIF)arsrecorderamericanrecorderorg Hardcopies mail to ARS office to be scanned ampreturned Info 800-491-9588
T-SHIRT FOR ENSEMBLE PLAYERS to wear orshare Top 10 Reasons Why I Got Lost Wrongfingering bad lighting etc on blue cotton shirt$18 Highlighter tape and other goodies Beth amp Lindas Boutique as seen at BEMF CallLinda at 617-671-8694 or e-mail for brochurelindakushverizonnet
Where the havesand have-nots
of the recorder world can find each other
Classified rate for American Recorder 60centper word ten-word minimum ldquoFOR SALErdquoand ldquoWANTEDrdquo may be included in thecopy without counting Zip code is oneword phone e-mail or web page is twoPayment must accompany copy Deadlinesare one month before issue date Send copywith payment to ARS 1129 Ruth Drive St Louis MO 63122-1019
AMERICAN RECORDER (ISSN 0003-0724) 1129 Ruth Dr St Louis MO 63122-1019 is publishedbimonthly (January March May September and November) for its members by the AmericanRecorder Society Inc $20 of the annual $45 US membership dues in the ARS is for a subscriptionto American Recorder Articles reviews and letters to the editor reflect the viewpoint of their individ-ual authors Their appearance in this magazine does not imply official endorsement by the ARS
EDITORIAL DEADLINES November 15 (January) January 15 (March) March 15 (May) July 15(September) and September 15 (November) Submission of articles and photographs is welcomedArticles may be typed or sent as an attachment (Word or RTF preferred) to or text in an e-mail mes-sage They should be for the exclusive consideration of AR unless otherwise noted Photos may besent as prints or unedited JPG or 300dpi TIF files (minimum 3rdquox4rdquo) Advertisements may be sent inPDF or EPS format with fonts embedded
EDITORIAL OFFICE Gail Nickless Editor 7770 S High St Centennial CO 80122-3122 303-794-0114 (phone amp fax) editoramericanrecorderorg Books for review Editorial office Musicfor review Editorial office Recordings for review Tom Bickley 1811 Stuart St Berkeley CA 94703Cutting Edge Tim Broege 212 Second Ave Bradley Beach NJ 07720-1159 Chapter newslettersother reports Editorial office Postmaster Send address changes to ARS 1129 Ruth Drive St LouisMO 63122-1019 Periodicals postage paid at St Louis MO and at an additional mailing office
Chapter leaders
We know yoursquore out there
and that you want to share
your plans concerns
solutions and ideas with
other chapter leaders Visit
httpamericanrecorder
societywikispacescom
an American distributor this musicwill be hard to findmdashin fact can befound only at the time of this writingon their web site noted above But theeffort will be repaid
This edition is clear and easy toread and the parts require no pageturns The basso continuo realizationis simple and elegant
This is music deserving ofrediscovery My only quibble is thatthe editorial notes are all in GermanThis seems to be the practice ofGerman music publishers with thenotable exception of Moeck Otherpublishers of early music such asLondon Pro Musica routinelyprovide notes in English and German and often in French and Italian making their editionsaccessible to a wider audience
Frank Cone studied the recorderwith the late Ellen Perrin the viola dagamba with Carol Herman and thecornetto with Larry Johansen TheCalifornia multi-instrumentalist has been a member of the Orange CountyRecorder Society since 1985
Advertiser Index
AMERICAN ORFF-SCHULWERK ASSN 3
AMERICAN RECORDER SOCIETY 31 35 36
AMHERST EARLY MUSIC FESTIVAL 17
STEPHAN BLEZINGER 24
JEAN-LUC BOUDREAU 21 39
BOSTON EARLY MUSIC FESTIVAL 7
CANTO ANTIGUO EARLY MUSIC WORKSHOP 13
COURTLY MUSIC UNLIMITED 20
EARLY MUSIC AMERICA 8
HONEYSUCKLE MUSIC 34
BILL LAZARrsquoS EARLY MUSIC 26
KEITH E LORAINE EARLY DOUBLE REED SERVICE 35
LOST IN TIME PRESS 11
MADISON EARLY MUSIC FESTIVAL 12
MAGNAMUSIC DISTRIBUTORS BC
MOECK VERLAG IFC
MOLLENHAUER RECORDERS IBC
PORT TOWNSEND WORKSHOP 14
PRESCOTT WORKSHOP 30
PROVINCETOWN BOOKSHOP 26
THE RECORDER MAGAZINE 4
THE RECORDER SHOP 6
SAN FRANCISCO EARLY MUSIC SOCIETY 18
SWEETHEART FLUTE CO 3
TEXAS TOOT 20
VON HUENE WORKSHOP INC 30
WICHITA BAND INSTRUMENT CO 21
DOMINIK ZUCHOWICZ 34
CONSIDER ADVERTISING IN
Full page $55223 page $43912 page $36613 page $28614 page $22316 page $17518 page $127112 page $ 951 column inch $ 58
Prices include web sitee-mail link directly from your ad in the online AR at wwwamericanrecorderorg
Circulation Includes the membership of theARS libraries and music organizations
Published five times per year January March May September November
Reservation Deadlines December 1 (January) February 1 (March) April 1 (May) August 1 (September) October 1 (November)
Rates good through November 2009 Pleaseinquire about discounts on multiple-issuecontracts inserts or other special requestsExtra charges for typesetting layout half-tones and size alterations 133-line screenrecommended Advertising subject toacceptance by magazine First-time adver-tisers must include payment with order
For more information contact the ARS office 1129 Ruth Drive St Louis MO63122-1019 800-491-9588 toll free 314-966-4082 phone 314-966-4649 faxadvertisingamericanrecorderorg
44 March 2009 American Recorder
Classified___________________________________
FOR SALE Cherrywood hurdy gurdy and hard-side case made by Kelischek bought 2005Originally $765 plus $89 for case Rarely usedBoth for $450 or make offer Please contact marjalocomcastnet Can ship
ASPIRE ANNOUNCE INSPIRE Afford-able PR for teachers and recitalists wwwrecitalroomcom
PHOTOS NEEDED of ARS events 1970sndash1990sto illustrate last chapters of Martha Bixlerrsquos histor-ical memoir about the ARS (to be posted online)E-mail scanned photos (300dpi JPG or TIF)arsrecorderamericanrecorderorg Hardcopies mail to ARS office to be scanned ampreturned Info 800-491-9588
T-SHIRT FOR ENSEMBLE PLAYERS to wear orshare Top 10 Reasons Why I Got Lost Wrongfingering bad lighting etc on blue cotton shirt$18 Highlighter tape and other goodies Beth amp Lindas Boutique as seen at BEMF CallLinda at 617-671-8694 or e-mail for brochurelindakushverizonnet
Where the havesand have-nots
of the recorder world can find each other
Classified rate for American Recorder 60centper word ten-word minimum ldquoFOR SALErdquoand ldquoWANTEDrdquo may be included in thecopy without counting Zip code is oneword phone e-mail or web page is twoPayment must accompany copy Deadlinesare one month before issue date Send copywith payment to ARS 1129 Ruth Drive St Louis MO 63122-1019
AMERICAN RECORDER (ISSN 0003-0724) 1129 Ruth Dr St Louis MO 63122-1019 is publishedbimonthly (January March May September and November) for its members by the AmericanRecorder Society Inc $20 of the annual $45 US membership dues in the ARS is for a subscriptionto American Recorder Articles reviews and letters to the editor reflect the viewpoint of their individ-ual authors Their appearance in this magazine does not imply official endorsement by the ARS
EDITORIAL DEADLINES November 15 (January) January 15 (March) March 15 (May) July 15(September) and September 15 (November) Submission of articles and photographs is welcomedArticles may be typed or sent as an attachment (Word or RTF preferred) to or text in an e-mail mes-sage They should be for the exclusive consideration of AR unless otherwise noted Photos may besent as prints or unedited JPG or 300dpi TIF files (minimum 3rdquox4rdquo) Advertisements may be sent inPDF or EPS format with fonts embedded
EDITORIAL OFFICE Gail Nickless Editor 7770 S High St Centennial CO 80122-3122 303-794-0114 (phone amp fax) editoramericanrecorderorg Books for review Editorial office Musicfor review Editorial office Recordings for review Tom Bickley 1811 Stuart St Berkeley CA 94703Cutting Edge Tim Broege 212 Second Ave Bradley Beach NJ 07720-1159 Chapter newslettersother reports Editorial office Postmaster Send address changes to ARS 1129 Ruth Drive St LouisMO 63122-1019 Periodicals postage paid at St Louis MO and at an additional mailing office
Chapter leaders
We know yoursquore out there
and that you want to share
your plans concerns
solutions and ideas with
other chapter leaders Visit
httpamericanrecorder
societywikispacescom