ARMar08forWWW - American Recorder · breadth of Berbiguier for speed and finger dexterity, of...
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Published by the American Recorder Society, Vol. XLIX, No. 2 march 2008
Transcript of ARMar08forWWW - American Recorder · breadth of Berbiguier for speed and finger dexterity, of...
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Pergolesi:Selection fromStabat Mater
SATB recordersItem # AVP0080
$16.00Known in the 14th century primarily forhis comic operas, Pergolesi composedthis piece as his last work , which laterJ.S. Bach rearranged, melding hisparticular style with the baroque formsand gallant style of Pergolesi. Mr.Tennent, has skillfully arranged this forthe preset voicing.
Handel:FitzwilliamOverturefor AABrecordersItem # AVP0078$14.00Composed in 1741, this popularoverture is the only work by Handelin which he specified parts for theclarinet, and has been beautifullytransposed up a minor third andfollows the original quite closely.8 page score and parts.
Delalande:Chacone from Ballet deJeunesseFor SATTB/SAATB recordersItem # PAR0411$22.50The Ballet de Jeunesse was written between 1683
and 1689. It is a fairly substantial piece. It is not a technically demanding piece,but it nicely fills a gap in the French baroque ensemble repertoire. The trio andtous markings show where the basses cut out and the third and fourth linescombine into one instrument. Arranged by Andrew Robinson. Visit our websitefor a sample scan of the score.
Monteclair:Menuets et Contre DancesFor Alto & PfItem # PAR0248$19.95Monteclair published two books ofcontre-danses and six books ofmenuets but, sadly, only one hassurvived. This is still over twohundred pieces, and this edition takesa selection from each, transposingthem to comfortable keys for thetreble recorder. The title pagesannounce that the dances wereplayed at balls at the Opera;spectacular events for Frenchnobility.24 page score& parts.
Monteclaire:Airs de DanseFor S/T recordersItem # PAR0103$19.95Monteclair was a composer ofcantatas, serenades, instrumentalconcerts, a ballet and a well receivedopera, but is best known today for hisflute duets, and the Deuxieme Concert for flute and bass. Almostall of the treatises have sections of Airs de Danse, dance tunes,which are published here for the first time in a modern edition. Inthe Petite Method Monteclair writes that, "Nothing improves theunderstanding of the different tempos (movements) and metersthan singing or playing dance tunes."
Telemann:Partitas in Four Partsfor SATB recorders
Score and Parts$22.50 each
These two books contain selectedmovements from the Darmstadt
orchestrations, arranged for SATBrecorders by Andrew Robinson.Telemanns famous partitas theKleine Cammermusic of 1716,
arranged for ensemble. Each pieceis different, showing that they werenot made together but accumulated
over some time.Item # PAR0401
Book 1, Partitas 1 through 3Item # PAR0402
Book 2, Partitas 4 through 6
Telemann: CompleteOpus 2 DuoSonatas& Sonata in B flat fromDer getrue Music MeisterFor AA recordersItem # DOL0707$15.75The seven wonderfullyarranged duets in this 60 pagescore are all carefully arrangedfor altos using the same skillthat was used to arrangeTelemanns more famousrecorder works.
from your friends at Magnamusic Distributors
The Avondale Press
Bach, J.S.: We Hasten WithEager but Faltering FootstepsItem # AVP0081For AT(B), Pf$12.00This arrangement of Bach’s popularpiece from Canata 78, has beenarranged for alto and tenor, withoptional bass, part included, andkeyboard. Score and parts.
Bach, J.S.: Slumber NowItem # AVP0091For ATTBB recorders$13.00This aria from the third movement ofCantata 82 must have been a favorite ofBach’s because he adapted it many timesover his career and is one of his mostprofound movements. 8 page score andparts.
View scanned music samples and introductions of these andover 11,000 other pieces online at MAGNAMUSIC.COM .Search for your favorites by composer, instrumentation andmore.
Call TOLL-FREE 888-665-2721
Email [email protected] http://www.magnamusic.com
FEATURESSetting our Sights on the Heights . . . . . . . . . . . . . . . . . . . . . 10Summer Workshops
The Flute Master: A Recorder Fairy Tale . . . . . . . . . . . . . . . 20by Han Tol
DEPARTMENTS
Advertiser Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Book Reviews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Chapters & Consorts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Classified . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Compact Disc Reviews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Education . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Music Reviews. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
On the Cutting Edge. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
President’s Message . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Q&A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Tidings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Bits and Pieces: Musica Sacra et Profana editor Ralph Harriman
dies; Peter Ballinger completes Telemann edition; EMA Collegium
grant awarded to early music ensemble from Southern California
ON THE COVER:Peter Jacob Horemans
(1700-1776)Musical instruments,
detail from the Luncheonof Giovanna of Lasande.
Germanisches Nationalmuseum,
Nuremberg, GermanyPhoto Credit : Scala /
Art Resource, NY ©2008
Volume XLIX, Number 2 March 2008
GAIL NICKLESS, Editor
Contributing EditorsFRANCES BLAKER, Beginners & Technique; TOM BICKLEY, Compact Disc Reviews;
CONSTANCE M. PRIMUS, Music Reviews; CAROLYN PESKIN, Q & ATIMOTHY BROEGE, 20th/21st-Century Performance
LISA SCHMIDT, Design Consultant
Advisory BoardMartha Bixler • Valerie Horst • David Lasocki
Bob Marvin • Thomas Prescott • Catherine TurocyKenneth Wollitz
Copyright © 2008 American Recorder Society, Inc.
Visit AR On-Line at <www.americanrecorder.org>American Recorder (ISSN: 0003-0724), 1129 Ruth Dr., St. Louis, MO 63122-1019, is published bimonthly (January, March, May, September, andNovember) for its members by the American Recorder Society, Inc. $20 of the annual $40 U.S. membership dues in the American Recorder Society is for asubscription to American Recorder. Articles, reviews and letters to the editor reflect the viewpoint of their individual authors. Their appearance in this magazinedoes not imply official endorsement by the ARS. Submission of articles and photographs is welcomed. Articles may be typed or submitted on PC discs (Wordfor Windows 95, or RTF preferred), or as an attachment to or text in an e-mail message. They should be for the exclusive consideration of AR, unless otherwisenoted. Photos may be sent as color or black-and-white prints, or 300dpi TIF files. Advertisements may be sent in PDF or EPS format, with fonts embedded.
Editorial office: Gail Nickless, Editor, American Recorder, 7770 South High St., Centennial, CO 80122-3122; 303-794-0114 (phone & fax);<[email protected]>. Deadlines for editorial material: November 15 (January), January 15 (March), March 15 (May), July 15 (September), andSeptember 15 (November). Books for review: Editorial office. Music for review: Constance M. Primus, Box 608, 1097 Main St., Georgetown, CO 80444.Recordings for review: Tom Bickley, 2208 Cedar St., Berkeley, CA 94709. Cutting Edge: Tim Broege, 212 Second Ave., Bradley Beach, NJ 07720-1159. Chapter newsletters and other reports: Editorial office. Advertising: Steve DiLauro, LaRich & Associates, Inc., 15300 Pearl Road, Suite 112, Strongsville, OH44136-5036; 440-238-5577; 440-572-2976 (fax); <[email protected]>. Advertising Closings: December 1 (January), February 1 (March),April 1 (May), August 1 (September), and October 1 (November). Postmaster: Send address changes to American Recorder Society, 1129 Ruth Drive, St. Louis,MO 63122-1019. Periodicals postage paid at St. Louis, MO, and at an additional mailing office.
Acouple of the pieces in this issue takeme back in time. I came in the “side
door” to play the recorder, having studiedmodern flute for years. A friend producinga Madrigal dinner convinced me that pick-ing up the recorder would be a breeze. Fora dozen years, that annual event made upthe majority of my public efforts, aug-mented by arts festival gigs. A lot of pieceswe played then (especially Christmas selections) were from Musica Sacra etProfana—music I probably bought at aprecursor to the Texas Toot summer work-shop (in Kerrville, if I remember correctly).Since then I’ve snatched up almost anypieces that I’ve seen in sale bins from thatout-of-print series, edited by the lateRalph Harriman (page 4). There seemsto be hope that it may be revived.
Still thinking of my flute-study days, itoccurred to me at one point that therewere many books of etudes for flute (as for other instruments)—but what was thecorresponding resource for recorder? I found a few technique books over theyears, but nothing that really matched thebreadth of Berbiguier for speed and fingerdexterity, of Marcel Moyse for tone (the latter studies I found to work well on tenorrecorder). This issue’s Music Reviews(page 28) include an overview of the adap-tation of flute studies collected by FransVester—a workhorse in the flute world—plus other music ranging from solo torecorder orchestra, old to new.
My flute/piccolo life comprised years ofplaying in orchestras, so this issue’s refer-ences to recorders and orchestras also resonated with me: Anita Randolfi’smention of recorders in the opera pit (page 8); a Q&A on how a consort mightapproach playing with an orchestra (page 6); a CD Review of new recorderconcertos (page 38); and related items.
Regular readers of AR will expect thisissue to contain listings for summerworkshops (page 10), which start earlyand go well into the fall—choose your besttime period for intensive musical studyand fun. Food for thought, as you practicefor those workshops, is offered by Han Tol(page 20). May the philosophy of a masterteacher help you to tackle those Vesteretudes, while still feeling that “Ping!”
Gail Nickless
EDITOR’SNOTE______________________________
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6 American Recorder
AMERICANRECORDER
SOCIETYINC.
Honorary PresidentERICH KATZ (1900-1973)Honorary Vice President
WINIFRED 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 instrumentto new constituencies, encouraging increasedcareer opportunities for professional recorderperformers and teachers, and enabling and
supporting recorder playing as a shared social experience. Besides this journal,
ARS publishes a newsletter, a personal studyprogram, a directory, and special musicaleditions. Society members gather and playtogether at chapter meetings, weekend and
summer workshops, and many ARS-sponsoredevents throughout the year. In 2000, the
Society entered its seventh decade ofservice to its constituents.
Board of DirectorsLetitia Berlin, President
Lisette Kielson, Vice President; Co-Chair, Special Events/Professional Outreach
Marilyn Perlmutter, Secretary;Chair, Chapters & Consorts
Sue Roessel, Assistant SecretaryAnn Stickney, Treasurer; Chair, Finance; and Chair, Scholarships
Bonnie Kelly, Assistant Treasurer; Chair, Special Events/Professional OutreachMark Davenport, Chair, Education
Alan Karass, Chair, FundraisingLeslie Timmons, Chair, Membership
Mary Halverson Waldo, Chair, PublicationsRebecca Arkenberg, Amanda Pond
Nancy Weissman, Counsel
StaffKathy Sherrick, Administrative Director
1129 Ruth DriveSt. Louis, MO 63122-1019 U.S.A.
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In accordance with the Internal Revenue Service Taxpayer Bill of Rights 2,passed by the United States Congress in 1996, the American Recorder
Society makes freely available through its office financial and incorporation documents complying with that regulation.
American Recorder is printed in Canada by Dollco Printing, an Ecologo-certified printer.
ALABAMABirmingham: Janice Williams (205-870-7443)
ARIZONADesert Pipes (Phoenix): Linda Rising(602-997-6464)
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COLORADOBoulder: Mike Emptage(970-667-3929)
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Early Music Society of Western CO: Bev Jackson (970-257-1692)
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MARYLANDNorthern Maryland: Richard Spittel (410-242-3395)
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Please contact the ARS officeto update chapter listings.
ARS Chapters
Fearless change: the phrase alonemakes me feel bold! I imagine myself
striding forward, brandishing my swordand clearing out the cobwebs of compla-cency. There are lots of things I’d like tochange. I’d like to make more room in myday for practicing, quiet time, and learningnew things. I’d like every child to have the opportunity to play an instrumentthroughout their school years, and forrecorder consort to be offered in schoolsalong with band, orchestra and choir.
My personal changes are fairly easy tomake, but the rest can seem overwhelm-ing. In my imagination, the objections popup—“we’ve always done it that way,” or“we tried that already and it didn’t work.”I sigh and decide it’s just easier to go alongwith the flow. Does this sound familiar?
Change is hard, and a change agent isnot always welcomed. On the grand scale,think of Mohandas Gandhi, Fannie LouHamer, or Martin Luther King, Jr. Wherewould we be without them and others likethem?
Fearless Change: Patterns for Introduc-ing New Ideas (Addison-Wesley, 2004) is abook by Linda Rising (ARS member inPhoenix, AZ) and Mary Lynn Manns. I met Rising several years ago while I wasin Phoenix giving a workshop and concertwith my quartet. Rising is one of thosepeople who makes you want to join inwhatever she’s doing, because it looks liketoo much fun to pass up. She directs asmall performing group and is the ARSrepresentative of the Phoenix ARS chapter.
I talked with Rising about her work asan independent consultant and author.She helps companies use patterns to in-troduce change, specifically in the soft-ware field. To be honest, that didn’t mean
anything to me at the time. I had my ownunderstanding of patterns, which includ-ed melodic sequences, the circle of fifths,and plaid, but I couldn’t relate that to the corporate world.
Over the years, I wondered about it occasionally, suspecting that Rising’s patterns might be of use to me in my ownlife—but never taking the time to read thebooks she has written on the subject.
Now, as President of the ARS with a magazine column due five times a year, I look for reading materials that will helpme and our Board to better serve you andour instrument. Fearless Change is one ofthose books. Rising and Manns have com-piled real-life examples of innovators whohave used patterns to introduce change into their workplace.
The patterns can be applied to manycontexts, not just those in the corporateworld. For instance, they quote recorderplayer Frances Blaker, who discoveredthat she could get more done in a day if sheremembered “15 Minutes.” In a day withmany administrative tasks to accomplish,if she set out to work on each task for just15 minutes (rather than 0 minutes due toprocrastination), she could avoid feelingoverwhelmed.
I tend to flit from one task to another—as soon as I think of something, I feel Imust attend to it now, rather than concen-trate on one thing at a time. Perhaps I could use a pattern titled “Put it on theList.” I also have a tendency to push ideasI’m convinced would make life easier forwhoever I’m working with, and am oftenleft wondering why that person didn’twholeheartedly embrace my new idea.Several of the patterns in Fearless Changecould help me introduce new ideas moresuccessfully, especially “Step by Step” and“Personal Touch.”
One pattern that I really like and thatrecorder chapters already do well is “DoFood!” As the book says, breaking breadtogether creates a powerful bond amongpeople.
In my time on the ARS Board, one ofthe most common problems I’ve heard
about is the difficultychapters have in fillingofficer positions. Thisis an issue both at thecentral organizationand the chapter level.We are all so busy! Theprospect of getting in-volved in somethingthat will add to our listof things to do is daunting.
I recall Robert Putnam’s book BowlingAlone, and his description of the gradualdecline in civic involvement by Ameri-cans. Yet, if our societies are going to sur-vive, someone’s got to serve as president,treasurer, secretary, etc.
One of the patterns described in Fear-less Change is “Ask for Help.” If you are achapter officer whose term is coming to anend, try asking someone to run for the position—one person at a time until youare successful. Don’t just issue a generalappeal in a newsletter. Most people won’teven respond, all of them assuming thatsomeone else will. If you call someone up,that individual may not only feel honoredto be asked, but it will be harder for thatperson to say no!
The other pattern to apply is “PersonalTouch,” where you are encouraged to answer the question yourself for the per-son you are trying to convince,“What’s init for me?” If you receive one of these calls,don’t say you wouldn’t be good at being anofficer. That’s not a good enough reasonnot to run for the job—believe me, I know! I certainly didn’t think I could be the President of the ARS, but it’s turned out tobe an interesting and rewarding job, onethat has given me a deeper passion for the organization than ever before, and revealed talents I never knew I had.
If you are a chapter officer, don’t try tocarry the load alone. Ask for help! Again,don’t put out your request in a general appeal (though that may be successful, depending on your group), but insteadcall individuals and ask each one to do aspecific job.
Continued on page 5
March 2008 7
PRESIDENT’SMESSAGE___________________________________ Fearless change
Do you see the need for change in yourchapter, or anywhere else in your life?
The Metropolitan Museum of Art inNew York City, NY, has published its youth program brochure for winter/spring2008. The brochure features some of themusicians, storytellers, dancers and otherartists who work with the teachers of family programs, including recorderistDaphna Mor. Describing her as “Museum Musician par excellence,” thebrochure gives her biography and thenpoints out that “her captivating music,played on all sorts of instruments in thegalleries, is not an end in itself. Workingclosely with the family teachers, Daphnashapes each performance to provide deeper understanding about the works ofart, be they musical instruments, paint-ings, or sculptures—even if it means hav-ing the families form a kind of orchestra!”
Mor adds her own thoughts to the writing: “From listening to eighteenth-century music while looking at art fromthe same period and finding similarities intheir concepts, to imagining how a mod-ern painting ‘sounds,’ it is wonderful tosee where our learning journeys lead.”
In November 2007, the Hidden ValleyEarly Music Elderhostel workshop washost to the premiere performance of a newcomposition by Frances Blaker. Com-missioned by Peter Meckel, director ofthe Hidden Valley Institute for the Arts,Five Poems consists of five movements for various combinations of early instru-ments and voice, all of them includingrecorder(s). The poems that Meckel requested as a basis for the compositionwere written by Chinese Buddhist nunsand can be found in Daughters of Emptiness, a collection of beautiful andsensitive translations by Beata Grant.
Early Music America (EMA) has announced the winner of its 2007-08Collegium Musicum Grant: the Early Music Ensemble from the Thornton School of Music at the Uni-versity of Southern California(USC),directed by Adam Knight Gilbert.
The USC Thornton Early Music
Ensemble is a period-instrument groupwhose members are among the most gifted instrumentalists at USC. Specializ-ing in music from the 17th- through themid-18th century, they have performedin the U.K.-L.A. Festival, Los AngelesBach Festival, Long Beach Bach Festival,J. Paul Getty Summer Music Festival, CalState Summer Arts Festival, UCLA concert series, Occidental College,Chapman University, Skirball CulturalCenter and other locations. They havebeen heard on National Public Radio.
Gilbert, director of the USC early music program, is known as a player ofRenaissance shawm and recorder. Thefirst graduate of the early music programat the Mannes College of Music in NewYork City, he has performed as a member of New York’s Ensemble for Early Music, the Waverly Consort and Piffaro, the Renaissance Band.
He is also a founding member of Ciaramella, which has played concerts of15th-century music in the U.S., Israeland Belgium, and has recorded on theNaxos label.
Knight studied recorder at RotterdamConservatory, and studied in Leuven,Belgium, from 1998 to 2000 as a recipi-ent of the Fulbright and Belgian Ameri-can Education Foundation Grants. Hecompleted his Ph.D. degree at CaseWestern Reserve University in 2003, andtaught for two years at Stanford Universi-ty. He can be heard on Dorian, DeutscheGrammophon’s Archiv, Passacaille, Musica Americana and Lyrichord labels.
The EMA Collegium Musicum Grantprovides $1000 toward the cost of bring-ing a college or university student earlymusic ensemble to perform a fringe con-cert at the Boston Early Music Festival (inodd-numbered years) or the BerkeleyFestival (in even-numbered years). TheUSC group will perform during theBerkeley Festival (BFX), June 2-8.
EMA will again collaborate with CalPerformances to assist with BFX. The freeexhibition will be held June 5-7 underEMA’s umbrella at First CongregationalChurch in Berkeley, CA, with other festi-val offerings in nearby venues. Highlight-ed events include a joint concert of 15th-century Florentine music played by
Piffaro. the Renaissance Band, and sungby the Concord Ensemble. Le PoèmeHarmonique, which garnered acclaim at the 2006 BFX, will return with theworld premiere of Venezia, which features music of Claudio Monteverdiand Francesco Manelli.
Other BFX sponsors include the music department at the University ofCalifornia–Berkeley, San Francisco EarlyMusic Society, Philharmonia BaroqueOrchestra and American Bach Soloists.For information, visit <http://bfx.berkeley.edu/>. Fringe events will be posted at<www.sfems.org>, and a schedule ofrecorder-related events (those sponsoredby the ARS plus fringe concerts) will appear on the ARS web site.
Passing NotesBay Area (CA) early music pioneer RalphHarriman died recently. He researched,edited and published music, especiallyMedieval music (in the series MusicaSacra et Profana, which has been hard tofind until its recent resurrection). A Musica Sacra et Profana bibliography is at <www.publicinterest.com/msep>.
Harriman was a founding member ofan East Bay early music group in the 1970sand 1980s, Amici Musicae (Harriman isplaying recorder in this undated photo of the group), which performed Medievaland Renaissance music in costume atlibraries, churches,museums andschools. He taughtrecorder to individ-uals and groups, and did research onherbs used through the ages. Friends describe him as an outstanding musician.
If you knew Harriman and would liketo share memories, contact Lee McRae,<[email protected]>, Kate Frankel,<[email protected]>, or Corlu Collier, <[email protected]>.
Bits & Pieces
TIDINGS___________________________________
8 American Recorder
EMA Collegium Musicum Grant, autumn in New York,early music editor Ralph Harriman dies
Please change your favorites list: American Recorder online is now at<www.americanrecorder.org/membership/magazine.htm>. Send news to<[email protected]>.
One of the most exhilarating momentsin my tenure as ARS President came whenwe needed to raise money for our compo-sition contest. Asking people for moneyhas always been low on my list of funthings to do. I made my first call with sometrepidation, but with enthusiasm for whatI knew was a good cause. The call was successful! The rush of that first call gaveme the confidence to make more calls. Igot half of what we needed in a short time.
Others pitched in and our budget wasmet. By the time you read this, we willhave a contest winner and several newpieces for recorder quartet. Good thing I asked that first donor for help!
“Ask for Help” is one of 48 patternsthat Rising and Manns suggest will helpyou introduce change successfully. Do yousee the need for change in your chapter, or anywhere else in your life? Get otherpeople on your side, bring respected experts in to help make your argument, listen to skeptics with an open mind—these are all patterns that will help you bea successful change agent. (Apparently,the main reason for the ouster of formerHewlett-Packard CEO Carly Fiorina washer method of introducing change. Tomake a long and complex story short andsimple, she just told everyone things weregoing to change and that was that. No onelikes to just be told things are going to change. Change is most successfulwhen everyone has a voice in the way the innovation is implemented.)
As you read Fearless Change, you’ll findthings that you already do, but may nothave realized were patterns. You’ll also dis-cover other patterns in your life that arenot described in the book. One examplecomes again from Blaker. She has con-ducted a workshop orchestra of mostlyrecorder players—with a few viols, harpsi-chord and theorbo—at the Carmel Valley(CA) Elderhostel for several years. In theearly days, she found it difficult to conveyinstructions to the group because manyplayers would “noodle” when she talked.
Some of the players were experiencedrecorder orchestra players. They advisedher to be strict, knowing that the noise-makers simply weren’t aware of orchestraetiquette. Now Blaker explains the ruleson the first day, and if things start to getout of hand, all she has to do to focus attention is say, “Orchestra Rules.”
Blaker, the leader, was open to advicefrom experienced people who could helpinfluence others. This story incorporatesat least two of the patterns described in thebook, and is a good example of patternsworking together rather than in isolation.
Another very important pattern—that we all know but don’t always do—is “Just Say Thanks.” From the smallestcontributor to the biggest, don’t forget to thank the people who helped you introduce your change.
One thing I want to change in theAmerican recorder community is mem-bership in the ARS. I want it to increase!
And I want the ARS Board to have anongoing healthy relationship and dialogwith its chapters and individual members.I just checked the Phoenix chapter’s website to confirm a few details before finish-ing this column. I want to thank them forhaving a reciprocal link to the ARS web siteprominently displayed on their homepage. I’d love to see this on any web site related to the recorder.
In regard to my second wish, the ARSBoard has recently started a wiki (an inter-active site where people can share infor-mation quickly) so that chapter leadersand other ARS members can communi-cate easily. I’d like to thank Alan Karass, past president and tireless work-er for the ARS, for creating that wiki at <http://americanrecordersociety.wikispaces.com/>. Chapter leaders can use it to post information about workshops,concerts, and more. Others will see whatyou’re doing and may be able to piggybackon your ideas.
Finally, I’d like to thank all of you whohave contributed so generously to the ARSthrough the President’s Appeal over thelast couple of months. We asked for yourhelp, and you are giving it! On behalf ofthe staff and Board of the ARS, and all themembership, I thank you very much.
Letitia Berlin, ARS President<[email protected]>
For information about Linda Rising andher work , visit <www.lindarising.org>.
March 2008 9
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10 American Recorder
Question: My recorder quintet, which has been meeting for the past five years,
enjoys playing SSATB and SATTB music.Since we now are all retired, we have someleisure time and feel it would be an adventureto play a piece with a symphony orchestra.We are fortunate in having an orchestra inour vicinity that features local groups eachyear at Christmas time. Would you have anysuggestions for music that we could play withthe orchestra?—Marilyn Skatrud, ChippewaFalls, WI
Answer: I applaud your enthusiasm.Playing with a symphony orchestra
would enable your quintet to perform for alarge audience and would provide a learn-ing experience for any audience members acquainted only with soprano recorders.
However, playing with a symphony orchestra would be difficult for two majorreasons. First, historically, recorders werenot designed to play the kinds of musicthat symphony orchestras usually per-form—i.e., extended works such as sym-phonies, concertos, opera overtures andballet suites composed in the late 18th,19th, and 20th centuries. The traditionalrecorder has too narrow a range of pitchand controllable dynamics to handle suchrepertoire.
Also, modern orchestral instrumentsare considerably louder than recorders.Your quintet could be inaudible if you tried to play along with a full orchestra.
Nevertheless, there are certain specialevents, such as Christmas programs, forwhich symphony orchestras play lightermusic, some of which might be suitable forrecorders. If your ensemble can performsuch music with one-on-a-part chamberensembles rather than the full orchestraand can get the musicians to play softly,performing with a symphony orchestracan be an enjoyable adventure.
Since you plan to perform in a Christmas concert, I would suggest play-ing a Christmas carol. If your community orchestra is associated with a chorus, askthe director whether the orchestra’s musiclibrary includes choir books of carols.Since recorders have about the same rangeas the human voice, you can play easilyfrom a choral score as long as the music is
in a suitable key, preferably with no morethan two sharps or flats.
Most carols are four-part pieces, so youwill need to put two players on either thesoprano or the tenor line. Two sopranoswill emphasize the melody, but two tenorswill probably produce better intonationand overall balance. The alto player willhave to read up an octave.
If the orchestra does not have any choirbooks, but does play carols for audiencesing-alongs, ask for string parts. (Don’t askfor woodwind or brass parts. Some windinstruments are “transposing instru-ments.” Their parts are written in differentkeys, to keep the majority of their musicalrange notated in the staff, so recorder play-ers would be unable to play directly fromthem.) The first violin part should beplayable on the soprano recorder, the sec-ond violin part on alto, the viola part ontenor, and the ’cello part on bass.
There is one complication. Viola partsare customarily written in alto clef (middleC on the middle line of the staff) ratherthan in treble clef. If the viola part is writ-ten that way, you will have to rewrite it.That is easy to do: replace the alto clef witha treble clef, and move notes that are onspaces up to the next line, and notes thatare on lines up to the next space. Keep the
same key signature, but move sharps orflats to the correct positions on the staff.
The next step is orchestrating the piece.For best results, choose a multi-stanza carol with one or more repeated musicalphrases and a refrain.
As an example, let’s say that you havechosen Angels We Have Heard on High, afour-stanza carol. To be interesting to theaudience, the performance should featurevarious timbres. To make the recorders audible, your ensemble should play simultaneously with only a few orchestramembers—perhaps three small (i.e., one-on-a-part) groups of players selected bythe director, such as a string quartet, awoodwind quartet, and a brass quartet.
For the first stanza, the string groupalone can play the opening four bars (“Angels we have heard on high, Sweetlysinging o’er the plains”). Your recorderquintet alone can then play the next fourbars (“And the mountains in reply, Echo-ing the joyous strains”), which repeats theprevious musical phrase. The recorderswill sound an octave higher than thestrings. For the “Gloria” refrain, therecorders can play along with the strings,doubling them at the octave to produce abrighter timbre.For the second stanza, re-peat the above formula, but use the wood-wind quartet instead of the string quartet.For the third stanza, repeat again, this timeusing the brass quartet, and for the finalstanza, repeat once more with the threequartets combined. (The recorders maynot be audible in the final refrain.)
The above manner of playing will admittedly not be very challenging foryour quintet. However, if the orchestra director likes the recorders’ dulcet tones,you may be able to persuade him/her to letyour group play another piece without the orchestra. In that case, choose a favoriteselection from your usual repertoire, notnecessarily Christmas music.
You will have a large captiveaudience—and a chance to demonstrateand publicize the recorder as a “real”
Q & A___________________________________ Sharing the stage with a symphony orchestra
Send questions to Carolyn Peskin, Q&A Editor, 3559 Strathavon Road, Shaker Heights, OH 44120;
There are certain specialevents, such as Christmasprograms, for whichsymphony orchestras play lighter music, some of which might besuitable for recorders. ...For best results, choose a multi-stanza carol with one or more repeated musical phrases and a refrain.
Triangle Early Music Presenting Orga-nization is in the midst of its inauguralseason (2007-08) of four concerts inDurham, NC, and nearby venues. Thepresenter sponsors concerts of Medieval,Renaissance, Baroque and early Classicalmusic, performed by outstanding artists.Of interest to recorder players was the October 2007 series debut concert—by Ensemble Caprice (Matthias Maute,recorder; Susie Napper, viola da gamba;Dongsok Shin, harpsichord). A reviewby Martha A. Fawbush of radio stationCVNC (Classical Voice of North Caroli-na)described the program’s last work, Vivaldi’s Sonata Op. XIII, No.4, as “arguably the trio’s most satisfying playing of the evening ...[requiring] theartists to play as energetically as they did at the beginning of the concert, andthey did not disappoint.”
In a recent TEMPO offering—appro-priately in February, entitled “GermanChocolate”—Aurora Baroque (DavidWilson, Baroque violin; Barbara BlakerKrumdieck, Baroque ’cello; RobbieLink, gamba; Henry Lebedinsky, harp-sichord) gave a program of luscious 17th-century German music by Biber, Buxte-hude, Schmelzer and Rosenmüller.
Peter Seibert of Seattle, WA, was surprised when several almost-forgottensubmissions were accepted for publica-tion by both Polyphonic Publicationsand PRB Productions—and doubly surprised that a review of Ten Bass Hit(1999) that PRB sent to him shows thathis works are being played abroad. Trans-lated from the German text in the journalof the European Recorder Teachers Asso-ciation, the review describes him as “a composer for recorders not only in theUnited States, but also in this part of the world, where his works are more and more frequently played.”
Peter Ballinger of PRB Publicationswas featured in the February Early MusicNews of the San Francisco Early Music Society. PRB will sponsor a free concert onApril 6 in Albany, CA, to celebrate its completion of the first modern edition ofTelemann’s Fortsetzung des HarmonischenGottesdienstes—72 cantatas for voice, twoinstruments and continuo, first publishedin 1732. The seven-volume edition is theculmination of a massive project that began in 1992.
instrument capable of producing beauti-ful music.
Although sharing the spotlight with asymphony orchestra might be an excitingproject, there are more practical and moresatisfying ways of performing with largegroups of diverse instruments.
If you attend a summer early musicworkshop, you may be able to join a Renaissance band including recorders,crumhorns, sackbuts and other earlywinds, or a mixed consort combiningrecorders with voices, viols, lute and other soft instruments. Some workshopseven have recorder orchestras, which include a large number of recorders of all sizes from garklein to contra bass.
Each year the March AR lists and describes many summer workshops scattered throughout the U.S. and some-times other countries (see the listings inthis issue). Most of them welcome senior citizens and players of various ability levels.
If you have never participated in an early music workshop, I highly recom-mend a workshop ensemble experiencefor you and your quintet members.
Carolyn Peskin
March 2008 11
Bits & Pieces: Second Verse
Honeysuckle Music
Recorders & accessories. . .
Music for recorders & viols
Jean Allison Olson1604 Portland Ave.St. Paul, MN 55104
You will have a largecaptive audience—and a chance to demonstrateand publicize the recorderas a “real” instrumentcapable of producingbeautiful music.
Agrippina, an opera Handel composedfor the Venice season of 1709-10, hassome delightful recorder obbligatos.They were ably played by Rachel Begleyand Daphna Mor from the orchestra pit of the New York City Opera. Thisscore is full of exquisite music, and theCity Opera staging presented it as a very funny bedroom farce à la the Marx Brothers.
I heard the October 14 performanceand found that the combination of period instruments (recorders, harpsi-chord, theorbo, lute) with the standardinstruments of the orchestra workedquite well in this context.
Due to a conflict, I arrived late for theNovember 4 concert that the RecorderOrchestra of New York (RONY) gave atCorpus Christi Church. RONY is con-ducted by Deborah Booth. I was just intime to hear a beautifully tuned plagel cadence that concludes the late JenniferLehmann’s arrangement of Anton Bruck-ner’s Ave Maria (available in the ARSMembers’ Library series).
The Bruckner was followed by GuusHaverkate’s Sound Crime. Large signswere held aloft by a black-clad shamusfigure to help the audience follow theprogress of the crime. But Sound Crime isso witty and so visual in its compositionthat the signs, while amusing, were unnecessary.
The printed part of the program ended with a careful playing of April in
Paris by Harburg and Duke in an arrange-ment by Stan Davis. The encore was the Basse Dance movement from the Capriole Suite by Peter Warlock.
On December 30, I treated myself tothe Vesper Service at Holy Trinity Luther-an Church. The main offering at theseBach vesper services (the first series of itskind in the western hemisphere, per-formed for 40 years by professional musicians from the New York area—choir, soloists and players of Baroque period instruments) is always a J. S. Bachcantata suitable to the liturgical season.
On this December Sunday, it wasCantata 152, “Tritt auf die Glaubens-bahn” (Walk in the way of faith). This isan early work, composed in 1714 while
Bach was still at Weimar. It is intended to be performed on the Sunday betweenChristmas and New Year. In this cantata,Bach’s main focus is on the solo voices,but there is some nice work for therecorder as well. Susan Iadone and Larry Zukof were the recorderists.
Chelsea Winds Recorder Consort(of which I am a member) presented two programs last fall at the General Theological Seminary (GTS). On August 31, a quintet concert welcomedfaculty and students to the new academic year.
The program was titled “SummerWinds”—and, since the weather was sonice, we played out-of-doors in front ofthe chapel. We were delighted when people passing the Seminary campuscame off the busy streets to listen. Theprogram included music by Schein, Parsons, Mozart, Charlton, Hummel and John Philip Sousa. Gregory Eaton,David Hurd, Barrie and Lucinda Mosher,and I were the performers.
On November 24—this time playinginside the GTS chapel—Chelsea Winds presented a program of trios titled “Autumn Winds.” Usually the group features a work or even multiple worksby current composers, but this program was an exception. There were two ricercare by Vincenzo Ruffo, and the Orlando Gibbons Fantasy #7 from the Renaissance; the rest of the program consisted of Baroque trios by Corelli, Purcell, J.S. Bach and Vivaldi.Performers on this trio program wereEaton, Hurd and myself.
Anita Randolfi
12 American Recorder
Two Views: New York City Notes
The combination of
period instruments
(recorders, harpsichord,
theorbo, lute) with
the standard
instruments of
the orchestra
worked quite well.
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 [email protected] a FREE sample issue.
The Recorder Orchestra of New York(RONY), founded in 1994, gave twowell-attended performances last fall of“To Bach and Back Again” under musicdirector Deborah Booth. The first performance—held at St Patrick’s on the Hill in Glen Cove, NY, as part of itsBeacon Music Series—was followed inearly November by a concert at theacoustically splendid Corpus ChristiChurch in Manhattan. Music includedworks by Sweelinck, Scheidt, Bach,Heinichen and Bruckner, as well as a setof Renaissance dance tunes arranged byDenis Bloodworth.
A contemporary work by GuusHaverkate, Sound Crime, was a “hit” withboth audiences. Haverkate employs musical themes and clichés that ironical-ly mirror the titles of the short move-ments: the night, the passion, the city,the suspense, the crime, the fugitive.
A series of posters announced the on-set of each movement. For the Manhat-tan concert, Michael Zumoff, dressed in a trench coat and fedora (à la Columbo or Guy Noir) obligingly changed themovement titles, to the delight of the audiences.
Holiday TreatsIn late December, Early Music NewYork, directed by Frederick Renz, pre-sented four performances of seasonal16th-century Dutch music. “A DutchChristmas” was given in one of the lovely, acoustically-friendly small chapelsat the Cathedral of St. John the Divine in Manhattan.
A nonet of male singers was joined bylutenist Hank Heijink and a quartet ofrecorder virtuosi: Rachel Begley, Daphna Mor, Nina Stern and Triciavan Oers.
The concert included a mix of musicrelated to Christmas plus a few ratherrowdy drinken liedeken (drinking songs).Of special interest to recorder fans werethe instrumental works by TielmanSusato and Jacob van Eyck, and a tran-scription for recorders of a keyboardwork by Sweelinck.
The program juxtaposed some of thevocal works with the corresponding VanEyck variations, played to great effect byMor from a small gallery above the audience.
The quartet also gave a lively rendi-tion of Susato dances and Begley’s three-part arrangement of the Van Eyck “Les Boffons” from Der Fluyten Lust-Hof.
It’s always a treat to hear each of the fourperform as soloists, but it was a very special pleasure to hear them together as an ensemble, playing with bravura, eloquence and sensitivity.
The early music ensemble Ciaramella offered “A Piper’s Noël” to anear-capacity crowd as part of the Music before 1800 series at CorpusChristi Church in New York City in December. Co-directed by Adam andRotem Gilbert, the group included performers on recorders, sackbuts,shawms, bagpipes and the rarely-heardslide trumpet, together with four singers,in a program of vocal and instrumentalpieces.
The music from Italy, Spain, Flanders,France, England, America and Germanyranged from chant to shape-note singing,and included carols, hymns, mass sections, lowly pipers’ tunes and com-plex Renaissance polyphony. The energyof the performers, coupled with therange of instrumental colors, provided aperfect setting for celebrating Christmasmusic inspired by shepherds. The mix of “traditional” music with less familiarmusic of the 14th and 15th centuries,performed by the young, vigorous musi-cians, was enthusiastically received by avery appreciative audience.
Nancy M. Tooney
The Gift of a
Recorder...means even more when accompanied by a gift membership in the American Recorder Society.
During Play-the-Recorder Month,give the gift of music and save at the same time—send along a membership that entitles your friend, spouse, parentor child to receive five issues ofAmerican Recorder; a Directoryof recorder players throughout the U.S. and all over the world; discounts on CDs, music and some summer workshops; and much more.
Include name, address and phone number of both recipient anddonor along with your check. Send payment during March for Play-the-RecorderMonth, and save 25% off of regular dues: $35 (U.S./Canadian membership). Send your check made out to “ARS” to:
ARS Gift Membership, 1129 Ruth Drive,
St. Louis, MO 63122-1019 U.S.
A signed card will accompany your gift.
A contemporary work
by Guus Haverkate,
Sound Crime, was a
“hit” with both audiences.
... Michael Zumoff,
dressed in a trench
coat and fedora (à la
Columbo or Guy Noir)
obligingly changed
the movement titles.
March 2008 13
14 American Recorder
Setting our Sights on theSetting our Sights on theHeights: Summer WHeights: Summer Workshopsorkshops
MARIN HEADLANDS RECORDER WORKSHOP
Point Bonita YMCA, near San Francisco, CAMay 16-18
Marin Headlands are again green and full ofwildflowers, so the Marin HeadlandsRecorder Workshop can’t be far away. Againthis workshop will swell with harmonies ofrecorders, viols, and perhaps a psaltery ordrum. Intermediate and advanced players arewarmly invited to join members of the spon-soring East Bay ARS Chapter at this annualevent. Music-making begins on Friday andcontinues through Sunday afternoon, includ-ing also one- and two-day options.
With many familiar faces, and some new, thisyear’s faculty reflects the rich resources anddepth of the Bay Area recorder community.Conductors are David Barnett, AnnetteBauer, Tish Berlin, Tom Bickley, Frances Blaker, Louise Carslake, Frances Feldon,Eileen Hadidian, Shira Kammen and JohnTyson. Music offered will span periods andstyles, from Medieval and Renaissance music to present-day composers, polyphonyto improvisation.
Some planned highlights include works byMachaut, Josquin, Morley, and polyphonicPalestrina and Willaert. We’ll enjoy Englishtunes in settings of Playford Dances, andsome from Handel and his buddies. We ex-pect lively Celtic dances, along with Spanishflavors in Nueva Espana: Music from the NewWorld and La Spagna. For added interest, wewill offer In good humor right into the openworld!–The Music of Frans Geysen (b. 1936).The workshop is designed to be welcomingand inclusive as well as challenging.
The weekend is held at the Point Bonita YMCA, one of very few public facilities on alargely undeveloped area of California coast.Set in a meadow with short walks to PacificOcean vistas, the historic Point Bonita Light-house and remnants of WWII fortifications,it is a place to get away, recharge and meetnew friends, re-connect with old. Accommo-dations include dormitory-style rooms, alarge dining area, and playing spaces all on one level. Rooms are also available for impromptu playing sessions.
Contact: Anna Lisa Kronman, 925-258-9442, <[email protected]>
SUMMER TEXAS TOOT (ARS)Texas Women’s University, Denton, TXMay 25-31Director: Daniel JohnsonThe Summer Texas Toot is a one-week pro-gram of classes in Renaissance and Baroquemusic at all levels, for recorders, viols,singers, plucked strings, Renaissance reedsand brass, and harpsichord. Our classes include an array of small, one-on-a-part Renaissance and Baroque ensembles andlarger mixed vocal and instrumental groups.The size of the workshop enables us to createclasses for all levels of students, from thoseof modest skills to advanced players andsingers.
Same Texas Toot hospitality and tradition—new location! This year’s Summer Toot willbe held on the beautiful campus of TexasWomen’s University in Denton. Classrooms,dining and dorm accommodations are air-conditioned and easily walkable. Denton is a lively college town, with two major universities—TWU and the University of North Texas. It’s an easy trip to attractions in bustling Dallas or culturally vibrant Fort Worth.
Boulder Early Music Shop will be in residence at the Toot with sheet music, instruments, CDs and more.
Contact: Daniel Johnson, PO Box 4328,Austin, TX 78765-4328; 512-371-0099 ; <[email protected]>; <www.toot.org>
WHITEWATER EARLY MUSIC FESTIVALUniversity of Wisconsin, Whitewater, WIJune 6-8Directors: Nancy Chabala, Carol Stanger and Pam WieseOur workshop is held on campus at the Uni-versity of Wisconsin–Whitewater, about 60miles SW of Milwaukee. Classes includetechnique and specialty area instruction forall levels of recorder playing, as well as beginning—consort viola da gamba, windband, a full vocal program, recorder orches-tra and mixed consort. There are a variety ofspecial interest classes on Friday evening anda Saturday evening participant gathering ledby Louise Austin. The various classes includemusic from Medieval to modern. Several music/ instrument vendors on-site, and
March 2008 15
on-site repair by Dale Taylor. All ages are welcome, as well as non- participants.
Faculty includes Dale Armentrout, LouiseAustin, Julie Elhard, Charles Fischer, ShelleyGruskin, Albert Jackson, Lisette Kielson,Patrick O’Malley, Phillip Serna, Karen Snow-berg, Mary Halverson Waldo and ToddWetherwax. Brochures available.
Contact: Nancy Chabala, 8609 45th St., Lyons, IL 60534-1616; 708-442-6053 (day),708-386-4247 (fax), <nchabala@ mymailstation.com> (housing/registration),<[email protected]> (mailing/scholarships), <[email protected]> (faculty/facilities)
INTERLOCHEN COLLEGE OF CREATIVE ARTS’ EARLY MUSIC WORKSHOP
Interlochen Center for the Arts, Interlochen, MIJune 8-13 Director: Mark CudekThe Interlochen Early Music Workshop focuses on early techniques, articulation, ornamentation/improvisation and ensemblearrangement in Medieval and Renaissancemusic. The workshop culminates with a par-ticipant performance on period instruments.The 2008 workshop will be a potpourri of“greatest hits” of the Renaissance performedon recorders and other early winds, viols,lutes, harpsichord and percussion.
“My experience attending the Early MusicWorkshop exceeded my expectations. I am along-time student, performer and lover ofMedieval, Renaissance and Baroque music.The instructor provided exceptional instruc-tion and he tailored the program for eachparticipant.” —2007 participant
Mark Cudek received his B.F.A. from StateUniversity of New York at Buffalo and his M.M. at Peabody Conservatory. Mark is afounding member of the Baltimore Consortand is currently the Director of the Early Music Department at the Peabody Instituteof Johns Hopkins University and Artistic Director of the Interlochen Early MusicWorkshop and the Indianapolis Early Music Festival.
Contact: Matthew Wiliford, Director, ICCA,PO Box 199, Interlochen, MI 49643;231-276-7387; 231-276-5237 (fax); <[email protected]>; <www.interlochen.org/college>
SAN FRANCISCO EARLY MUSIC SOCIETY BAROQUE MUSIC & DANCE WORKSHOP (ARS)Sonoma State University, Rohnert Park, CAJune 15-21Directors: Phebe Craig, Kathleen KraftA music-packed week of master classes,coached ensembles, concerto evening,Baroque dance, orchestra, vocal and wind ensembles, continuo classes, concerts andlectures.
Featuring recorder faculty Frances Blaker andMarion Verbruggen. Other faculty: KarenClark, voice; Phebe Craig, harpsichord; ChrisFritzsche, voice; Arthur Haas, harpsichord;Kathleen Kraft, flute; Washington McClain,oboe; David Morris, ’cello and viola da gamba; Michael Sand, violin and orchestra;Tangkao Tan, Baroque dance; Bob Worth,chorus.
Contact: Phebe Craig or Kathleen Kraft,SFEMS, PO Box 10151, Berkeley, CA 94709;510-684-5177; <[email protected]> or<[email protected]>; <www.sfems.org>
This year’s Toot will be held on the beautiful campus of Texas Women’s University in Denton, Texas. Classes, dining and housing are air-conditioned and easily walkable. Denton is easily accessible from the Dallas/Fort Worth Airport.
The Texas Toot offers a one-week program of classes in Renaissance and Baroque music at all levels, featuring expert instructors in recorder, viol, early reeds, lute, harp, and voice. Boulder Early Music Shop will be in residence with sheet music, instruments, CDs and more. Danny Johnson, workshop director; Susan Richter, administrator. Visit our Web page, www.toot.org, for more info, or email [email protected].
The 2008 Summer Texas Toot May 25-31, 2008 — featuring Alison Melville,
Frances Blaker, and Mary Springfels
OBERLIN BAROQUE PERFORMANCE INSTITUTEOberlin College, Oberlin, OHJune 15-29Directors: Oberlin Baroque Ensemble (Cathy Meints, Marilyn McDonald, Michael Lynn, Webb Wiggins) and artistic director Kenneth SlowikCelebrating its 37th anniversary with Musicof Paris, this Institute offers instruction inBaroque instruments and voice. Students ofall levels—from beginning to Baroque performance to the professional level—participate in master classes and coached ensembles with an international faculty ofBaroque specialists. Scholarships are avail-able for qualified high-school students.
Contact: Anna Hoffman, Conservatory of Music, 77 West College St., Oberlin, OH44074-1588; 440-775-8044; 440-775-8042 (fax); <[email protected]>;<www.oberlin.edu/con/summer/bpi>
SFEMS MEDIEVAL & RENAISSANCE WORKSHOP (ARS)Sonoma State University, Rohnert Park, CAJune 22-28Directors: Louise Carslake, Hanneke van Proosdij Join us for a week-long opportunity to workwith world-class specialists in Medieval andRenaissance music. This workshop creates asupportive and friendly atmosphere for bothadvanced and intermediate participants, amateurs and aspiring professionals. Fill your days with ensembles, choir, techniqueclasses, viol consort, Renaissance wind band,English country dance, continuo coaching,concerts, lectures and informal concerts.Scholarships as well as academic credit orcontinuing education credit are offered.
Recorder faculty: Louise Carslake, RotemGilbert, Patricia Petersen and Hanneke vanProosdij. Other faculty: Rebekah Ahrendt, viola da gamba; Bruce Dickey, cornetto; John Dornenburg, viola da gamba; JenniferLane, voice; Christopher LeCluyse, voice; Peter Maund, percussion; David Tayler, lute;Margriet Tindemans, viola da gamba andvielle; Charles Toet, sackbut.
Contact: Hanneke van Proosdij, SFEMS, PO Box 10151, Berkeley, CA 94709; 510-236-9808; 510-236-9808 (fax); <[email protected]>; <www.sfems.org>
WORLD FELLOWSHIP EARLY MUSIC WEEKChocorua, NHJune 22-29Director: Larry WallachFaculty of eight—including Jane Hershey,Roy Sansom, Pamela Dellal, Jay Rosenberg,Julian Cole, Anne Legêne, Larry Wallach and Josh Sholem-Schreiber—in a beautifulWhite Mountain camp setting, conduct a week-long workshop in French early music (late Medieval through Baroque) including faculty and student concerts, English country dancing, special lectures,morning and afternoon workshops in viols, recorders, voice, mixed ensembles,Sephardic music and Baroque chamber music, and classes in Feldenkrais body work. Camp facilities include hiking, swimming,boating; camp gardens supply kitchen withvegetables. Very affordable rates. Contact: Larry Wallach, 69 Welcome St.,Great Barrington, MA 01230-1103; 413-528-7212 (day); 413-528-9065(evening); 413-528-7365 (fax); <[email protected]>
16 American Recorder
San Francisco Early Music SocietySummer Workshops 2008Recorder · July 20–26, 2008La Dolce Vita di Flauto · Recorder music from the Middle Ages to the 21st century, including ornamentation and improvisation. Ensembles, technique, recorder orchestra. For the devoted amateur, all ages, intermediate to advanced. Friendly atmosphere, small classes. Special offerings: Recorder orchestra musical staging from Antoine de St-Exupéry’s The Little Prince, recorder master class, music history course, coached informal playing. Faculty: Janet Beazley, Frances Feldon, Katherine Heater, Lisette Kielson, Norbert Kunst, David Morris, and Herb Myers.Info: Frances Feldon, 510-527-9840; [email protected] Music & Dance · June 15–21, 2008Master classes, concerto evening, Baroque dance, coached ensembles, classes, concerts, and lectures.Featuring recorder faculty Frances Blaker and Marion Verbruggen.Info: Phebe Craig, 510-684-5177; [email protected] or Kathleen Kraft, [email protected] & Renaissance Music · June 22–28, 2008Ensembles, master classes, Renaissance recorder consort, lute songs, Renaissance wind band, medieval ensemble, Renaissance choir, concerts, lectures, and more. Featuring recorder faculty Louise Carslake, Bruce Dickey, Rotem Gilbert, Patricia Petersen, Hanneke van Proosdij and Margriet Tindemans.Info: Hanneke van Proosdij, 510-236-9808, [email protected] Discovery for Ages 7 to 15 · July 27–August 1, 2008Early music and Renaissance social history. Instruction in recorder, harpsichord, strings, chamber music, music theory and ear training, crafts, costume-making, games, and more. Beginners to advanced students welcome. Featuring recorder faculty Louise Carslake and Letitia Berlin.Info: Letitia Berlin, 510-559-4670; [email protected] For more information, visit our web site: www.sfems.org
EARLY MUSIC WEEK AT PINEWOODS CAMP (ARS)Pinewoods Camp, Plymouth, MA June 26-July 3 Director: Sarah MeadThe Renaissance Lustgarten—or Pleasure Garden—was both a place and an ideal, asource of recreation and renewal for themind and the senses. In 1601, Hans LeoHassler published his influential Lustgartenneuer teutscher Gesäng, a collection of musi-cal delights; and the image of Jacob van Eyckand "his little flute," playing for eveningstrollers, is immortalized in Der Fluyten Lust-Hof, which first appeared in 1646. Thissummer, explore the music and dance of the Pleasure Garden, where the language offlowers and birdsong served to inspire themusicians and poets of an earlier age, atPinewoods Camp—a modern-day place ofearthly delights. Early Music Week providesmusical challenges for players and singers atevery level, from the highly experienced tothose who are just getting their feet wet. Advanced and inter-mediate-level playersand singers have a wide range of classes tochoose from, taught by skilled professionalsin the fields of early winds (recorder, reeds,brass), strings (viol, violin, harp, lute), harpsichord and voice.
Some people are drawn to Pinewoodsthrough their love of dance or the sounds of ancient music. If you have never played an instrument—or your musical skills are abit rusty—there are classes designed for you.There are daily classes in English countrydance, as well as nightly dances for all. And singers can join the chorus or take part in smaller mixed ensembles. Early Music Week at Pinewoods has a longtradition of skilled teaching in a supportivecommunity, enhanced by special events, presentations, concerts—and, of course,dancing. Advanced musicians can work intensively, amateurs are challenged and engaged and beginners are always made tofeel welcome.Contact: Steve Howe, Country Dance andSong Society, PO Box 338, Haydenville, MA01039-0338; 413-268-7426 X3 (day); 413-268-7471 (fax); <[email protected]>;<www.cdss.org/em>
MOUNTAIN COLLEGIUMCullowhee, NC June 29-July 5Director: Patricia PetersenNestled in the beautiful Smoky Mountains,Western Carolina University provides a lovelylocation for Mountain Collegium, with comfortable accommodations in a new dormand catered evening meals. The workshop,
March 2008 17
at once informal and intensive, combinesstudy of Renaissance, Baroque, and contem-porary music and improvisation on recorder,viol, and other early instruments with opportunities to explore Celtic and other traditional music on such instruments ashurdy gurdy, mountain dulcimer and pennywhistle. Friendly participants of all levels and ageswelcome newcomers into the Mountain Collegium family. Varied class offerings, timefor informal music-making outside of class,and evening English country dancing bringstudents back year after year. Faculty: recorders and other winds: ValerieAustin, Atossa Kramer, Jody Miller, PatriciaPetersen, John Tyson; strings: Martha Bishop,Lisle Kulbach, Holly Maurer, Gail AnnSchroeder, Ann Stierli; traditional music: Lorraine Hammond, John Trexler.Contact: Patricia Petersen, 1702 Vista St.,Durham, NC 27701-1355; 919-683-9672;<[email protected]>;<www.mountaincollegium.org>
GREAT LAKES SUZUKI FLUTE & RECORDER INSTITUTE
McMaster Institute for Music and the Mind, Hamilton, Ontario, CanadaJuly 5-12 (teacher training, Book 1)July 8-12 (students)Directors: David Gerry; co-directors Susan Friedlander and Kelly Williamson
Master classes, group instruction, recitals,plus enrichment classes for students. Teachertraining with Mary Halverson Waldo.
Contact: David Gerry, Director, 905-525-9549; 905-527-2669 (fax); <[email protected]>; Susan Friedlander, 212-877-4475;<[email protected]>; Kelly Williamson,519-204-2883; <[email protected]>;<www.davidgerry.ca> or <http://suzuki association.org/events/loc/56>
AMHERST EARLY MUSIC FESTIVAL (ARS)Connecticut College, New London, CT July 6-13 (Baroque Academy) July 13-20 (Virtuoso Recorder/ Recorder Seminar)Director: Marilyn BoenauRecorder consorts, Baroque ensembles, earlynotation, master classes, more. ConnecticutCollege in eastern CT offers comfortable accommodations, natural areas for walking,and a view of the Long Island Sound. Scholarships and workstudy aid available.
Contact: Marilyn Boenau, 47 Prentiss St., Watertown, MA 02472; 617-744-1324 (day); 617-744-1327 (fax); <[email protected]>;<www.amherstearlymusic.org>
MADISON EARLY MUSIC FESTIVALUniversity of Wisconsin–Madison July 12-19Directors: Cheryl Bensman Rowe and Paul Rowe, artistic; Chelcy Bowles, programJoin us on a life journey with 18th-centurytraveler and musical titan George FridericHandel. From Hamburg, we’ll follow his visitto Buxtehude in Lübeck, then his move toItaly for an extended residence where he metthe Italian composers who greatly influencedhis musical future. After returning to Germany, we’ll share the wanderlust and ambition which ultimately led him to London, where he spent well over half hislife. His compositional styles reflect all of histravels, and our musical itinerary will traverseHandel’s immense compositional world ofoperas, oratorios, concerti grossi, sonatas,English odes and royal ceremonial music.
MEMF was created to provide an opportunityfor musicians, scholars, teachers and earlymusic enthusiasts to gather and exchange information and ideas about Medieval,
Renaissance and Baroque music, and tobring acclaimed early music artists to theMidwest to perform in beautiful Madison.
Featured MEMF 2008 guest artists-in-residence include Marion Verbruggen, The Newberry Consort, Tempesta di Mare,Baroque Band, and Quicksilver. Recorder faculty members include Marion Verbruggen,Joan Kimball and Robert Wiemken.
Contact: Chelcy Bowles, University of Wisconsin–Madison, 720 Lowell Center, 610 Langdon St., Madison, WI 53703; 608-265-5629; 608-262-1694 (fax);<[email protected]>;<www.memf.dcs.wisc.edu/>
CANTO ANTIGUO EARLY MUSIC AND RECORDER WORKSHOP (ARS)Chapman University, Orange, CAJuly 13-19Directors: Shirley Robbins,Thomas Axworthy, Ronald GlassThis one-week workshop is designed tobroaden performance skills of experiencedstudents, and introduce Renaissance andBaroque instruments and musical experi-ences to beginning and intermediate players.Students at all levels will participate in instru-mental, vocal and dance instruction/perform-ance. The workshop takes place at ChapmanUniversity, an invitingly landscaped, peacefulcampus with garden paths, a mixture of his-toric and modern architecture. Studios, din-ing hall, residences are all air-conditioned.
The theme of this year’s workshop is Music ofthe Renaissance. Dances, masses, motets andceremonial music will resonate as we explorethe music of Josquin, Palestrina, Ockeghem,Morales, et al.
Faculty: Thomas Axworthy, Janet Beazley,Mark Davenport, Ron Glass, Carol Lisek, JimMaynard, Alice Renken and Shirley Robbins.
Contact: Ronald Glass, 129 Altadena Dr.,Pittsburgh, PA 15228-1003; 800-358-6567(day); 310-213-0237 (evening); 562-946-4081 (fax); <[email protected]>; <www.cantoantiguo.net>
INTERNATIONAL BAROQUE INSTITUTE AT LONGYLongy School of Music, Cambridge, MAJuly 18-27Directors: Paul Leenhouts, Phoebe Carrai The Genteel Companion: A Seminar onBaroque Music of England, Scotland, and Ireland. 2008 Faculty: Elizabeth Blumen-stock, violin; Ricard Bordas, voice; ArthurHaas, harpsichord; Lucas Harris, lute; Ken Pierce, early dance; Gonzalo Ruiz, oboe;Mary Springfels, gamba; Jed Wentz, traverso.Contact: One Follen Street, Cambridge, MA02138; 617-876-0956 X611 (day);
18 American Recorder
617-492-6723 (fax); <[email protected]>; <www.longy.edu>
BOXWOOD CANADA Lunenburg, Nova Scotia, CanadaJuly 19-25Director: Chris Norman The Boxwood Festival and Workshop bringstogether an exciting line-up of artists fromacross the spectrum of traditional folk,Baroque, Renaissance and dance for a weekof performances, classes, sessions anddances. Social dancing and step dancing willbe at the heart of our program this summer,as musicians and dancers alike rekindle theconnective energy between their traditions.
Faculty: Chris Norman, director, flutes; Brian Finnegan, whistle, flute; Gilles Plante,recorder, bagpipe; Rod Garnett, world flutes;David Greenberg, Cape Breton and Baroqueviolin; David McGuinness, harpsichord, piano, keyboards; Betsy MacMillan, viola da gamba, ensembles; Edmund Brownless,voice; Pierre Chartrand , stepdance and social dancing; Anne-Marie Gardette, Renais-sance & Baroque dance; Andy Thurston, guitar, mandolin; Tempest Baroque.
Contact: Ruth McConnell, PO Box 238, 64 Townsend St., Lunenburg NS B0J 2C0 CANADA; 902-634-9994; <[email protected]>;<www.boxwood.org/canada.html>
MACPHAIL SUZUKI INSTITUTE FOR PIANO, GUITAR, FLUTE AND RECORDER
MacPhail Center for the Arts, Minneapolis, MNJuly 20 (Every Child Can!)July 20-27 (Recorder Book 1)July 21-25 (Student Institute)Directors: Cindy Malmin; Mary HalversonWaldo (auditions)
MacPhail’s Suzuki Institute, sanctioned bythe Suzuki Association of the Americas, is anopportunity for Suzuki students of all ages(preschool-grade 12 with a parent) to cometogether to share in motivating, enrichingand wide-ranging musical experiences. Students work with master teachers and improve their skills both technically and musically. Daily classes and observation mayinclude instrument-specific applied study, avariety of enrichment classes, closing recitals.
Who may attend? Suzuki students who havecompleted the first few pieces in Book 1; parents—or another responsible, interestedadult—may attend with students underhigh-school age; teacher trainees and teacher observers.
Suzuki Teacher Training includes (amongother instruments) Recorder Book 1 withMary Halverson Waldo, and Every Child Can!(pre-requisite to taking Book 1) with Kathy
March 2008 19
Canto AntiguoWest Coast EarlyMusic and Dance
Featured Faculty
Beautiful CampusFully air-conditioned
For Information Call
800-358-6567
Early Music
WorkshopJuly 13-19, 2008
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 RenkenShirley Robbins
www.cantoantiguo.net
Workshops carrying ARS designation have joined the ARS as workshop members.
The ARS has not sponsored or endorsed workshops since 1992. Other shorter workshops may besponsored periodically through
the year by ARS chapters, and arelisted in the calendar portion
of each ARS Newsletter, as well ason the ARS web site, when
information becomes availablefrom presenters.
Wood. Student Institute tuition: $380;teacher observation fee: $27/ day; evening performance July 24.
Contact: Mary Halverson Waldo, 5679 Hard-ing Lane, Shorewood, MN 55331; 952-470-5853; <[email protected]>; CindyMalmin, <[email protected])
RECORDER AT THE CLEARINGThe Clearing, Ellison Bay, WIJuly 20-26Directors: Pat Badger, Adrianne PaffrathRecorder ensemble has been a tradition at The Clearing for over 25 years. Ensemble playing is the focus of the week. Each day begins with a warm-up of our voices and bodies as we sing rounds andready our muscles for performance. Daytime sessions focus on rhythmic chal-lenges, recorder technique and ensembleblend. The emphasis is on growth, processand, most of all, enjoyment. To participatefully, you should have at least intermediateskills on a C or F recorder. Adrianne Paffrath coached on recorder with ARS teachers. She is director of music at Racine’s First Presbyterian Church. Patricia Badger has studied early music instruments, natural and classical trumpet.She is performing arts head of The PrairieSchool. Jointly, they have performed for Medieval festivals, Shakespeare celebrations,grape stompings, and with a mounted bandin a circus parade.Contact: The Clearing, PO Box 65, Ellison Bay, WI 54210-0065; 877-854-3225; 920-854-9751 (fax);<[email protected]>; <www.theclearing.org>
SAN FRANCISCO EARLY MUSIC SOCIETY RECORDER WORKSHOP (ARS)St. Albert’s Priory, Oakland, CA July 20-26Directors: Frances Feldon, Katherine Heater
Jam-packed week of recorder ensemble playing, concerts, and the opportunity to improve your skills, working with highly respected recorder specialists in a friendly yet serious atmosphere. Explore the fullrange of recorder music from the MiddleAges, Renaissance and Baroque to the 21stcentury, through ensemble work, techniquesessions, and recorder orchestra. For the de-voted amateur of all ages, from intermediateto advanced. Small classes in a friendly, intimate atmosphere, Quiet campus.
Special offerings: Recorder orchestra music illustrating scene from Antoine deSaint-Exupéry’s The Little Prince; masterclass; music history; coached informal playing.
Recorder faculty: Janet Beazley, Frances Feldon, Lisette Kielson, Norbert Kunst, Herb Myers. Other faculty: Katherine Heater,harpsichord; David Morris, ’cello and violada gamba.
Contact: Frances Feldon; SFEMS, PO Box10151, Berkeley, CA 94709; 510-527-9840;<[email protected]>; <www.sfems.org>
MIDEAST WORKSHOP (ARS)LaRoche College, Pittsburgh, PAJuly 20-26Director: Marilyn CarlsonPopular Styles in the 16th century. 60-65 students of all ability levels; adults only. Instruction for recorder (all levels exceptnovice), viol, harp, flute, English countrydance. You may enroll for recorder, viol, fluteas primary instrument; harp, voice, recorder,viol as secondary instrument. Large andsmall ensembles include All-Workshop Ensemble (instruments and voices), Renaissance Band (recorders, viols, cappedreeds, voice), Medieval Collegium, Consorts(by level), Vocal Ensemble, English CountryDance.
We also offer Viol-for-Novice and Harp-for-Novice, each providing the opportunity forhands on experience without owning an instrument. Other classes on special earlymusic topics and literature.
Faculty: Marilyn Carlson, director; MarthaBixler, Stewart Carter, Majbritt Christensen,Judith Davidoff, Eric Haas, Mary Johnson,Peter Ramsey, Kenneth Wollitz, James Young.All facilities are air-conditioned.
Contact: Marilyn Carlson, 1008 Afton Road,Columbus, OH 43221-1680; 614-754-7233; <[email protected]>; <www.mideastearlymusic.addr.com>
WINDSWEPT MUSIC WORKSHOPWilliam Jewell College, Liberty, MOJuly 20-26Director: Phyllis PasleyBring your artistry to life! Explore the connection between energy and music atWindswept, Creative Motion Alliance’s 58thannual summer conference. Professional musicians, conductors, teachers, studentsand amateur music enthusiasts discover barriers that inhibit the free flow of energyand learn the secrets of inner-directed artisticmusic-making. Classes include general ses-sions and breakouts for students and adultsin special interest areas of piano, voice, instrumental music, expressive arts and independent study. Master class coaching,and conducting opportunities may be avail-able. Through exercises, analysis of musicand body responses, you’ll have fun, free thebody for expression, as well as learn to moveand inspire your students and audiences at
20 American Recorder
SCHOLARSHIPSfor recorder players
to attendrecorder/
early music
SUMMERWORKSHOPS
applications must be
postmarked by April 15;
for recorder players to attend recorder/
early music
WEEKEND WORKSHOPS
throughout the year,
apply two months before funding
is needed.
Workshop scholarships are made
possible by memorial funds
established to honor
Andrew Acs,Jennifer Wedgwood Lehmann
and Margaret DeMarsh.
AMERICAN RECORDER SOCIETY
1129 Ruth Dr. St. Louis, MO 63122 U.S.A.
800-491-9588 314-966-4649 (fax)
this energizing inter-generational workshop.Opportunities for independent recorderstudy and private lessons will enrich yourmusic-making experience.
Registration fee $50 prior to 5/15/08. Tuition, room, meals $535. Special half-week rate $275 (Sunday-Wednesday noon).Member/family discounts. 3 hours graduate credit, 3 CEUs and private lessons available.
Contact: Phyllis Pasley, 2208 Clouds Peak,Maryland Heights, MO 63043; 314-628-9862; <[email protected]>; <www.creativemotion.org>
INDIANA RECORDER ACADEMYHarmonie State Park, New Harmony, INJuly 26–August 7 Director: Eva Legêne
For students ages 12-18. Private lessons,small and large ensemble coaching, masterclasses, technique practice, New HarmonyMulti-Media Project, world music with emphasis on Japan, international and earlydance, campground recital and concludingrecitals. Recreational and cultural opportuni-ties include nature walks, hikes and “OwlProwls” plus our traditional Indiana Caveperformance. Students are housed in air-conditioned State Park cabins.
Recorder faculty: Eva Legêne, director; Wolfgang Dey (also oboe); Laura Hagen (also head counselor); Astrid Andersson.
Contact: Eva Legêne, 812-331-7012; <[email protected]>
SAN FRANCISCO EARLY MUSIC SOCIETY CHILDREN’S MUSIC DISCOVERY WORKSHOP (ARS)Crowden Center for Music, Berkeley, CA July 27-August 1 (day camp)Director: Letitia BerlinEarly music and Renaissance social historyfor youth ages 7-15; beginners to advancedstudents welcome. Daily schedule includeschamber music, crafts, costume-making andgames. Friday night concert and theater proj-ect presentation, followed by potluck supper.Please note this is a day camp. Out-of-townstudents, please contact the director regard-ing accommodations with host families.
Featuring recorder faculty Letitia Berlin (alsomusicianship) and Louise Carslake. Otherfaculty: Katherine Heater, theater project;Ron McKean, harpsichord; Carla Moore, violin; Farley Pearce, ’cello and viola da gamba; Allison Rolls, theater project director.Some financial aid available.
Contact: Letitia Berlin, SFEMS, PO Box10151, Berkeley, CA 94709; 510-559-4670;<[email protected]>;<www.sfems.org>
MONTRÉAL RECORDER FESTIVALMcGill University, Montréal, QC CanadaSeptember 11-14Directors: Matthias Maute, Sophie Larivière
Conference: consort music, recorder orches-tra, concerts (solo recital by Pierre Hamon ofFrance; Ensemble Caprice playing Piazzolla).
Contact: Ensemble Caprice, 4841 Garnier,Montréal QC H2J 3S8 CANADA; 514-523-3611; 514-523-1322 (fax); <info@ensemble caprice.com>; <www.ensemblecaprice.com>
HIDDEN VALLEY INSTITUTE FOR THE ARTS EARLY MUSIC ELDERHOSTELCarmel Valley, CANovember 2-8, November 9-15Directors: Letitia Berlin, workshop;Peter Meckel, HVIAEnroll for one or both weeks. Adults of all
ages welcome. Classes include recorder tech-nique, viol consort, Baroque chamber musicseminar, consort classes for Medieval, Renais-sance, Baroque and contemporary repertoire.
Evening events: faculty concert, student concert, free-lance playing. Free Wednesdayafternoon for more playing or sightseeing.Improve your playing in a supportive, friend-ly atmosphere with world-class teachers.
Week I faculty: recorder: Letitia Berlin,Frances Blaker, Louise Carslake, AnnetteBauer; viola da gamba: Mary Springfels.
Week II faculty: recorder: Letitia Berlin,Frances Blaker, Janet Beazley; early strings,singing, Medieval topics: Shira Kammen; viola da gamba, Medieval topics: MargrietTindemans.
Contact: Peter Meckel, PO Box 116, Carmel Valley, CA 93924; 831-659-3115; 831-659-7442 (fax); <[email protected]>;<www.hiddenvalleymusic.org>
March 2008 21
Technique TipPlaying legato is all about the air! Whatever articulation you use to play abeautiful (non-slurred) legato phrase (I like to use ti di ti di), it will not soundsmooth unless you keep the airstreamconstant and steady.
The tongue creates the gaps betweenthe notes, therefore it must be quickand precise—use only the tip of yourtongue. Watch a good string player. Notice how the bow never seems tostop even when it changes direction.Imagine your airstream is like the bow.
Try this exercise when you work on apassage that is tongued but legato. 1. Play the passage slurred. Listen
carefully and make sure that the airnever stops. Practice any “smudgy”fingerings. Is your rhythm accurate?
2. Practice the articulation by playingthe passage on one note. Check yourblowing—are you getting a smoothsound? Can you use less tongue?Don’t push the airstream with yourtongue, just articulate it.
3. When you are happy with your fingering and tonguing—and aredoing both with the same tone, i.e.,the same airstream—you are readyto combine fingering and tongue. Louise Carslake is a member of the
Farallon Recorder Quartet and Music’sRe-creation. She teaches at her home studio in Oakland, CA, and at Mills College, and co-directs the East Bay Junior Recorder Society and the San Francisco Early Music Society Medieval & Renaissance Workshop.
HANDEL’S JOURNEYFROM GERMANY TO ENGLAND VIA ITALY
July 12-19, 2008
Celebrate the music of George Frideric Handel at MEMF 2008! The eight-day
festival and workshop, focusing on Handel’s musical development during
his travels throughout Europe, includes seven concerts as well as classes and
ensembles for participants of all levels.
Featured ensembles: Baroque Band,Quicksilver, Tempesta di Mare,
The Newberry Consort
Wind faculty: recorder artists GwynRoberts and Marion Verbruggen;
historical wind performers JoanKimball and Bob Wiemken;baroque oboist Debra Nagy
For more information, please visit www.memf.dcs.wisc.edu, e-mail
[email protected], or call (608) 263-6670
22 American Recorder
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COST$890(CDN) $840
$801D
$379T $475
$735D
$130T $790 TBA
$890ED $920
$330T $920 $710
$740E $245 $535
$600E
NO. OF DAYS 7 7 7/14 6 8 6 4 7 14 8 7 5 7 7 7 3 7 7ARS DISCOUNT NO YES NO NO NO NO NO NO NO NO YES YES YES YES YES NO NO NONO. OF FAC/ RECORDER FAC. 11/1 8/5 5/4,3 1/1 25/3 10/7 6/6 12/5 20/1 18/9 12/2 7/2 13/4 7/5 12/4 12/9 8/3NO. OF STUDENTS 60 35 35 20 110 60 50 45 80 100 55 30 70 40 50 110 32RECORDER CLASSLEVELS
B,LI,HI,A,V
B,LI,HI,A,V
LI,HI,A,V LI,HI,A LI,HI,A
B,LI,HI,A,V
B,LI,HI,A,V
LI,HI,A,V HI,A,V
B,LI,HI,A,V
LI,HI,A,V
B,LI,HI,A,V
LI,HI,A,V LI,HI,A LI,HI,A
B,LI,HI,A,V LI,HI,A
SPECIAL CLASSES USING RECORDERS
MR,MB,EN,RO,P,T
C,MR,MB,20,M,RO,P,T
MR,MB,EN,M,P,T
C,MR,MB,RO,P,T
C,MR,MB,20,M,T,O
C,MR,MB,M,RO
C,MR,MB,20,T,O
MB,MC,P,T
C,MR,MB,EN,RO,T
MB,M,P,T,O
C,MR,MB,P,T,O
C,MR,EN,P,T,O
C,20,M,RO,P,T,O
C,MR,20,M,P,T
C,MR,MB,20,RO,T,O P
C,MR,MB,O
NON-RECORDERCLASSES
C,W,K,V,PS,D,T
C,W,V,D K,V,PS
C,W,P,K,V,PS
C,W,K,V,PS,D,T,O
C,W,PS,D
W,V,D,T,O D
C,W,K,V,PS,D,T
C,W,K,V,PS,D,T,O
K,V,D,T,O
C,W,P,K,V,PS,D,T,O O
C,W,V,PS
C,W,V,T,O K,M,O D
MUSICALACTIVITIES F,S,L,P F,S F,S,P
S,L,SP,O
F,S,L,P,O
F,S,L,P F,S,L
F,S,L,SP,P
F,S,L,SP,P,O
F,S,SP
F,S,L,P,O
F,S,L,P,O F,S,P S,P,O
F,S,L,P
RECREATIOND,F,B,S,T,W,0 D O
S,T,W,O D,G,O
D,G,B,S D,G,S D,S,W
D,G,B,S,T D
D,G,B,S,T
D,F,S,W
OTHERS WELCOME S,C S S S S S S,C S,C S S S,C S,C
DIRECTTRANSPORTATION
B,C,L,PU,P B,C,L,P C,PU,P C,PU,P
S,B,PU,P P S,C S,C,P S,C,P
S,B,C,L,P S,PU,P P
B,PU,P
TERMINALSA60,B1
A10,B3,T5
A20,B20,T20
A16,B16
A5,B1
A10,B10,T10
A30,B20,T20
A50,B15,T15 A59
A20,B2,T5 A59
A12,B4,T1 A40 A B10
ROOMS S S,D S,D S,D,C S,D S,D S,D S,D S,D S CALL S S S,D S,D+ S,DBATHS S P SP P S P SP S S P P S P S S,SPFOOD F,V C,V F C,V C C C,G,V C,V F,V C,V C,V C,V C C,V F,VHANDICAP ACCESS C,D H,C,D H,D H,C,D H,C,D H,C,D H,C,D H,C,D CALL H,C,D C H,C,D H,C,D H,C,D C,D
2008 SUMMER RECORDER WORKSHOPS
KEYCOST: Includes tuition, room (single occupancy unless otherwise noted), meals, plus other fees.
E=estimated, T=tuition only, D=double occupancy, W=one weekNO. of DAYS: Includes arrival and departure daysARS DISCOUNT: Discount offered for ARS members# FACULTY/RECORDER FACULTY: Number of faculty/recorder faculty within that number# STUDENTS: Average over last two yearsRECORDER CLASS LEVELS: B=beginners, LI=low intermediate, HI=high intermediate, A=advanced, V=very advancedSPECIAL 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 strings, D=dance,T=theory, I=instrument building, O=other
MUSICAL ACTIVITIES: F=faculty concert, S=student concert, L=lecture, SP=special production, P=organized informal playing, O=otherRECREATION: D=dancing, F=field trip, G=gym, B=biking, S=swimming, T=tennis, W=waterfront/beach, O=otherOTHERS WELCOME: S=non-playing spouses/friends, 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=otherTERMINALS: A=air, B=bus, T=train (number indicates miles from workshop to nearest terminal)ROOMS: S=singles, D=doubles (some with “+” 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=vegetarian INFORMATION SUPPLIEDHANDICAP ACCESS: H=housing, C=classrooms, D=dining BY WORKSHOP DIRECTORS
March 2008 23
With the death of Karlheinz Stockhausen at age 79 on
December 5, 2007, the music world haslost one of the titans of mid-20th-centurymusic.
Emerging mid-century—along withsuch composers as Luciano Berio, PierreBoulez, Luigi Nono, and Bruno Maderna—Stockhausen expanded the innovations of Arnold Schoenberg andAnton Webern into the realm of total serialism. Such masterpieces as his work for four orchestras, Gruppen; hispiece for piano and chamber orchestra,Kontrapunkte; his series of solo pianopieces; and his piece for unaccompaniedvoices, Stimmung, create sound worldsnot easily forgotten. His was a unique creative voice in the world of contempo-rary music, with an influence well beyond the conventional classical com-munity. Jazz musicians such as AnthonyBraxton and rock musicians including The Beatles were influenced by Stockhausen. It is likely he will be judged by future generations as the majorGerman composer of the 20th century.
The last 30 years of his life were devoted largely to the composition of hisenormous opera, Licht (Light). This seriesof seven individual operas—one for eachday of the week—took Stockhausen 26 years to complete. At the time of hisdeath he was working on Klang (Sound), a series of chamber music works intendedfor each hour of the day.
Of interest to recorder players is Stockhausen’s work, about which I havewritten in earlier columns, Tierkreis(Zodiac). The music consists of 12melodies, one for each sign of the zodiac. Originally created to be played byspecially-designed music boxes, the workwas published in 1975 in an edition stating that the melodies can be played on any instrument. Harmonized versionsof the melodies are also provided, with the instruction that they may be played onany chordal instrument.
I find that these charming pieces workbeautifully on recorder accompanied byguitar, harpsichord or clavichord. Tierkreisis Work No. 41.5 in the Stockhausen-Verlag catalog.
So we say farewell to this innovativemaster of musical dreams.
Among the living, I am happy to reportmy discovery of some fine music for therecorder by French composer MichelMeynaud. Born February 23, 1950, in Paris, Meynaud studied in Lausanne,Munich, Montréal and New York City, and has appeared in performance as pianist, organist and conductor. A very enjoyable CD of his chamber music was
released in 2006 by Naxos. Amongthe seven compo-sitions on therecording are threethat feature therecorder.
Sonatine for altorecorder and piano was written in 1996. Itis a lyrical work in which the two instruments are effectively balanced. Les points d’orgue de la Saint-Jean(Organ Points of St. John), composed over the years 1970-95, is a solo piece using both recorder and flute in a strange dialogue between old and new—incorporating playing/humming, glis-sandi, multiphonics and disjunct melodic motion in free rhythm. Momentsof vigorous activity contrast with passagesof zen-like stillness.
Most striking is Viva Emiliano for tenorrecorder and timpani. This is not an instrumental combination that has ever occurred to me, but it works bril-liantly for Meynaud.
The title refers to Mexican revolution-ary Emiliano Zapata. This is exciting music that packs a great deal of activity into its efficient 4.5-minute duration—a major work for recorder!
All of the music using recorders isplayed beautifully on the CD by JosephGrau.
Meynaud’s music is published by Editions Combre in Paris. The Naxos CDis called Michel Meynaud Chamber Musicand is Naxos No. 8.557191. It also includes a solo Sonatine, for double bassviolin; a Chaconne for solo violin; and twoworks for solo ’cello, Faust I and Sonate I.
The composer’s web site is<www.michelmeynaud.de>. I highlyrecommend you check into this new music!
Tim Broege <[email protected]>
ON THE CUTTING EDGE___________________________________ Farewell and Hail!
Of interest to recorderplayers is Stockhausen’swork, about which I have written in earlier columns, Tierkreis (Zodiac).The music consists of 12 melodies, one for each sign of the zodiac. ...I find that these charming pieces work beautifully onrecorder accompanied by guitar, harpsichord or clavichord.
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Once upon a time, a flute master enchanted many of his listeners with
his magical playing. He was very hand-some, slim and tall, and seemed to knowall about the secrets of music, which iswhy many students of the flute andrecorder wanted to learn from him. Although he seemed the perfect teacher,learning from him was not a simple matter: ideas obvious to the flute masterwere not easy even for extremely gifted students to grasp.
One day the flute master taught an exceptionally gorgeous girl. She played aricercata for him on her fine Renaissancerecorder and looked deeply into his eyes after having finished it off with anelaborate cadence.
“Her recorder looks good, but soundsrather dull,” thought the flute master. He offered her the following bit of his wisdom: “You will never be happy withyour flute if you don’t fill it with air.”
The girl did not really understand whatthis meant. She thought that perhaps herteacher was in a state of confusion causedby her beauty. The master, sadly enough,had just told her his deepest secret, butthe girl did not get it.
It made him feel very lonely.This happened several times in the
years to come, and it made the masterdoubt his own playing and teaching moreand more. One day, as he was a true master and virtuoso, he decided to changehis path, and soon he became a famousconductor.
Some bright flute students remainedwho, despite the absence of the old master, still wanted to continue their studies as wind players. They were convinced that they were on the righttrack: “If you blow the right notes, you are good!” They practiced with dedication. But alas, after some time they got tired and frustrated. If even the great flute master did not play anymore, but became a conductor, whatwere they then supposed to do?
They thought that perhaps the secret was to conduct and have the orchestra do all the work for you.They started to practice beautifulbody movements in front of a mirror.
Only a few flute players remained true to their instrument. One of them, although not as talented as the old flutemaster or some of his colleagues, was fascinated by the instrument and by itssound. He played one very sweet tone a day, and the rest of the tones he imagined in his mind where the music was heavenly and pure. One only had toproduce that ethereal sound in real life.
As he became well-known himself, hebecame a soloist and started to travel, asdid the old flute master. The new mastereven started to teach two students whowished to learn from him.
One of them came from an exotic, faraway place and did not yet speak thelanguage of the new master. The other student was a local, very quick and intelli-gent. He had studied the gods, nature andpeople for years, and he also knew every-thing about happiness and luck. The timehad come for him to make the last littlepush into revelation.
The exotic student came to his first lesson. He bowed very deeply as he entered the room. The master bowed too,a little surprised. Slowly and carefully, thestudent unpacked his recorder and putthe parts together. Then he pointed to the instrument and motioned to the master to try it. He bowed again andstepped backwards.
After some lessons, the master becameaware that this student always kept a certain distance. In the student’s culture,a master was so highly esteemed that itwas shameful and disrespectful to treadupon his shadow! The master found that a sweet thought.
The intelligent local student came tohis lesson with a thousand questions. Themaster felt a little overwhelmed. He couldnot easily answer any of them.
Instead, he started to tell a story abouta man who enchanted every listener with
24 American Recorder
by Han Tol
In 2007, Han Tol celebrated his 25th anniversary as a recorder pedagogue.
He fondly dedicates this fairy tale to his many students, who were the story’s
inspiration. It was first published in German in Tibia in 2007, and is
reproduced in English here with the kind permission of Moeck Verlag,
Celle, Germany.
The Flute Master: A Recorder Fairy Tale
The time had come for
him to make the last little
push into revelation.
his violin playing. Like a magician, heknew the secret; he knew everythingabout silence, about time and bowing.
Often he went into a forest, all by himself. There was a large bush, neithervery beautiful nor striking. The magical violinist thought it was important also totake an interest in bushes that were notparticularly beautiful or striking.
He discovered that that bush was teem-ing with life. Columns of ants walked upand down the branches; spiders createdtheir intricate webs, and even a turtledovehad built its nest in it.
The color of the leaves was anythingbut uniform. They changed constantly, fell down regularly and grew back withfresh new spirit months later. An over-whelming spectacle; breathing in and outin slow-motion, up- and down-bow: that is how the magician interpreted it.The beauty of nature surpasses all art.
Startled, the flute master looked intothe cold eyes of the intelligent studentwho had just interrupted him with abrusque movement of his right hand.“That story is all of no consequence, niceentertainment, but that is not the reasonfor my being here. Now tell me how to play this concerto.” The flute master toldhim how to play the concerto.
In the following lesson, the exotic student appeared. He bowed deeply andsmiled at the master while forming a little cushion with his hands and puttinghis own head on it gently. The master had to laugh: yes, he had slept very well,thank you!
The master asked the exotic studentthe same question. Despite the fact that hecame from afar, the student had beenquickly acquiring a command of his master’s language, which he now spokewith an uncommon mellowness.
He explained that he did not sleep well, because he felt sorry for not havingfound the way to the secret of music yet.
The master started to tell the story of the magical violinist and the bush. The student did not interrupt him.
When the master had finished the fable, the student glanced sadly at himwith tears in his eyes. He stood up, bowedexceptionally long and deep, and left themaster alone in his room. The master remained motionless for quite some time.He was so happy that he had managed to tell the story of the secret of music—as the old master had tried so many yearsago with the beautiful girl. Now he couldonly wait to see if the seed of thought hehad planted would bear fruit.
A week later, the intelligent studentplayed the concerto, rapidly and brilliant-ly. The master said that he was impressedby the sheer speed of the many notes. Thestudent was terribly pleased. The mastersaid no more....
The exotic student came, bowed, unpacked his instrument in the serenelycalm manner that was so characteristic ofhim, seated himself and started to play a ricercata. The master did not recognizethis one, although he thought he knew the complete repertory. It was breath-takingly beautiful.
During the seemingly endless finaltone, the student’s gaze rose. The masterwas irresistibly drawn to follow his student’s upward glance.
There was a long silence. Neither onecould breathe. It felt like a short eternity.Finally they looked towards each other, an expression of disbelief and surprise on their faces.
Stutteringly, the master asked whatsuch an experience was called in the exotic language of the student. ”Ping!,”was the answer. They both smiled.
“Ping!,” thought the master with complete and utter joy. He had justlearned the one thing that had been missing: the name of the secret.
March 2008 25
... are also available at The Early Music Shop
of New England,Brookline, MA
26 American Recorder
RECORDERS BASED ON HISTOR-ICAL MODELS: FRED MORGAN,WRITINGS AND MEMORIES, COMP. BY GISELA ROTHE. Conrad MollenhauerGmbH, 2007. 208 pp. Cloth. $59. ISBN: 978-3-00-021215-4.
Fred Morgan is probably the mostrenowned recorder maker of our time.Starting his career in the 1960s as one of Australia’s first professional recorderplayers, he soon began making instru-ments. In 1970, he traveled to Amsterdamin order to examine historical instrumentsfirsthand and to make contact with Euro-pean recorder players, especially FransBrüggen. With a combination of technicalskill, professional experience, and naturaltalent, he was able to fashion recordersthat captured the best qualities of the originals without being slavish copies.
He returned from the Netherlands toAustralia, and, working out of the smalltown of Daylesford, he kept the bestrecorder players in the world suppliedwith instruments until his tragic death in a car accident in 1999. (See the May 1999 AR for brief tributes.)
His workshop has continued to pro-duce instruments, and has entered into anassociation with Mollenhauer, who havepublished this impressive tribute to theman and the craftsman. Compiler GiselaRothe has organized contributions fromover 50 performers, makers and other colleagues, interspersed with several ofMorgan’s own writings about the recorder.
The oversized book is abundantly illus-trated with color photographs by MarkusBerdux of Morgan’s own recorders as wellas several antique instruments, principally
from Brüggen’s collection. Severalof Morgan’s fasci-nating schematicdrawings of origi-nal recorders are also reproduced.
The book servesadmirably its pri-mary purpose as a memorial to Morgan’s life andwork, showing him to have been a warm, generous person who devoted himself completely to his art. It also provides a series of intimate glimpses intothe world of international level recordermakers and performers, and takes us backto the heady days at the beginning of the modern early music movement.
Performers from Marion Verbruggen to Michala Petri tell of Morgan’s ability tomatch their playing styles with instru-ments that were colorful, immensely responsive, and almost indestructible,due primarily to Morgan’s practice ofbreaking in his instruments thoroughlybefore sending them to clients.
Portions of the book have been trans-lated from other languages, and there are a few awkward phrases. As well, Americanrecorder maker David Ohannesian’s nameis spelled incorrectly. These are very smallpoints, however, and anyone seriously in-terested in the recorder will find this booka treasure trove of information and insight.
VIVALDI’S MUSIC FOR FLUTE AND RECORDER, BY FEDERICO MARIA
SARDELLI, TRANSL. MICHAEL TALBOT.Ashgate, 2007. 358 pp. Cloth. $99.95. ISBN: 978-0-7546-3714-1.
Antonio Vivaldi wrote some of the bestand most challenging music for therecorder and flute, but there are importantquestions surrounding many of thesepieces, especially in regard to the exacttype of instrument Vivaldi had in mind for his music. Italian musicologist—andplayer of recorder and Baroque flute—Federico Maria Sardelli has taken on the
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March 2008 27
challenge of resolving as many of thesequestions as possible, and this book convincingly brings to light answers tomany long-standing problems.
The volume begins with an overview ofthe flute and recorder during the ItalianBaroque, with side glances at their posi-tion in the rest of Europe. Vivaldi’s musicfor the two instruments is then surveyedwork by work in chapters organized bygenre, such as solo sonatas, trio sonatas,chamber concertos, etc., culminating withthe 21 vocal works that include parts forflute or recorder.
The book closes with a summary list ofall the works discussed, a substantial bib-liography, and an index. It also includes 11plates and dozens of music examples.
Sardelli has two principal strengths.His intimate acquaintance with both theBaroque flute and the recorder gives himan insight into the repertoire that, for instance, allows him to tell “by feel” thatcertain alterations found in Vivaldi’s manuscripts have been made in order tomake the passagework more congenial to the player. At the same time, his encyclopædic knowledge of flute andrecorder music in the Baroque allows himto state confidently that the themes in a certain work by Vivaldi appear in no other music for flute and recorder from the early 18th century, since he has actu-ally examined over 1,500 other pieces.
Sardelli’s treatment is exhaustive andlikely definitive in regard to favorite topicssuch as the true author of Il pastor fido, andthe nature of the instrument for which the“flautino” concertos were composed.However, he also brings to light many other fascinating and unexpected facts.For instance, it would seem that Vivaldi favored the flute at the beginning of his career, but the recorder in his later years.He also seems to have written in
“recorder” keys for the flute for the specialtone color they produce, and as part of his quest to pose especially virtuosic challenges for the performer.
This book is required reading for any-one interested in Vivaldi’s flute andrecorder music—and, indeed, for anyoneinterested in the history of those instru-ments generally in the Baroque.
THE END OF EARLY MUSIC: A PERIOD PERFORMER’S HISTORY OF MUSIC FOR THE TWENTY-FIRSTCENTURY, BY BRUCE HAYNES. OxfordUniversity Press, 2007. 304 pp. Cloth.$35. ISBN: 978-0-19-518987-2.
Bruce Haynes has been an importantmember of the early music communitysince the 1960s—as an orchestra memberand soloist on the Baroque oboe, as ateacher, and as a musicologist with spe-cialties in the early oboe and the history ofperforming pitch. His new book, The Endof Early Music, is a wide-ranging analysis of the history, current state, and projectedfuture of the early music movement.
Haynes is one of the most thoroughand scholarly of musicologists, yet hisbooks are often also quite entertaining.Reading The End of Early Music is like taking part in one of those after-concertfree-for-alls at the local pub, as Haynes unreservedly takes on a number of topicsof lively interest to the early musicworld—from the value of basing a performing style explicitly on the practicesof the distant past, through the relation of early music to mainstream classical music, to the responsibility of early musicperformers to constantly renew and enliven their approach to music-making,
even through the act of composing in period style.
Although presented in a carefully organized manner and based on extensivebackground reading (evidenced by a 16-page bibliography), this book is asmuch a cri de coeur as a critical essay.Haynes clearly has a deep commitment to the early ideals of the movement—particularly the search to find a means of expression that is artistically authentic,inspired by the rediscovery of the musicand performing practices of the past. Hismany incisive but fairly-stated criticismssingle out the musical practices of our own time that inhibit the ability of the individual musician to communicatemost effectively with an audience.
In the end, his fascinating central ideaseems to be that a rhetorically-based æsthetic was shared by all the arts beforethe Romantic era; that a shared æsthetic is capable of reinvigorating the arts in the 21st century, now that the Romantic æsthetic is a spent force; and that the early music movement can be in the vanguard of this artistic revolution if it stays in touch with therhetorical æsthetic. The end of “early music,” then, will be the point at which early music becomes itself the predominant cultural force.
Whatever one thinks of this breathtak-ing thesis, it is both thought-provokingand entertaining to follow Haynes’s arguments. Although there are very fewmusic examples, there are many soundclips referenced in the text and availableon Oxford’s web site (though not alwaysin the order stated in the book).
Scott Paterson
Reading The End of
Early Music is like
taking part in one
of those after-concert
free-for-alls at
the local pub.
Collins & WilliamsHistoric Woodwinds
On May 1, 2008, I will retire, and Collins & Williams HistoricWoodwinds will close. No orders or repair work will be accepted after April 15.
My thanks and best wishes toall my customers and friends in the recorder world.
Lee Collins5 White Hollow RoadLakeville, CT 06039
(860) 435-0051www.leecollins.com
28 American Recorder
MHW: First, catch me up on where you are teaching.CH: I am currently teaching at Edith Landels Elementary School and Castro Elementary, both in Mountain View, CA.
MHW: What are your general responsi-bilities?CH: I am responsible for teaching recorderand introduction to music notation tofourth-graders. I also teach a course in World Music Cultures, called “Music in Action,” to fourth- and fifth-graders. It is a fully packed schedule, for I have 2245-minute sessions with the fourth gradesto make both happen! This is usually overthe course of seven-and-one-half months,including school vacations/breaks.
MHW: Having worked with some of your energetic, impassioned students in masterclasses at the Suzuki Method Recorder Institute in Mountain View last July, I’mamazed that you are able to accomplish somuch with them in such a limited amount oftime.CH: It was last year that I decided toswitch to a modified Suzuki approach, in an attempt to help bring a feeling of success more quickly to a population inwhich outside exposure to music is prettyminimal. The Suzuki Recorder School’sunique way of setting up the instrumentfor beginning students has really helpedwith the initial success of finding the rightpitches! [Suzuki recorder students startwith tape covering many of the instru-ment’s holes, allowing them to focus on one or two fingers at a time and to practice good hand position as the tape isgradually removed.]
MHW: I agree that the Suzuki “set-up” is definitely helpful in focusing the students onfinding the beginning (right-hand) pitches—not to mention a good position in both handsfrom the start.
What about the rate of progress when youare working with large groups, but lack theadditional individual lessons that usually goalong with the Suzuki Method? CH: The majority of students in my classes end the year playing “Cuckoo”(the eighth piece in Suzuki Recorder
School Volume 1), about 50 percent play“French Children’s Song” (ninth piece)and about 20 percent—who put in a lot of practice time outside of class, and have facility in reading notation—actuallyplay “The Finch,” “Claire de Lune,” and“Honeybee” (pieces 10, 12 and 13).
There were several at each school lastyear who got “Twinkle” (piece 14), and did so on their own, for the class never even tried that piece. I had madeHome Play Sheets for them, which includethe song’s music notation, the words, and the Kodály syllables.
MHW: I know that the subtleties of recorderarticulation can be tricky to teach whenworking with a large group. Can you describeany particular methods that work for yourstudents? CH: Teaching articulation is tricky in a class of 30, but here is the systematic approach I use:1. We sing the song (i.e., “Suo Gan”).2. We sing the articulations:
tu du du, du du du, etc.3. We sing and do pitch signals
(hands on shoulders, ears, top ofhead), which helps those who are having difficulty discriminating riseand fall of pitch.
4. With mouthpiece on chin, we fingerwithout blowing … several times.
5. The teacher plays while the class watches her, and they move fingers simultaneously.
6. Teacher and class play the song together (using breath, tongue and fingers).I listen to articulation in the small
groups’ playing. I also demonstrate withbreath (unvoiced) and articulation on thebacks of the students’ hands.
MHW: So you offer kinesthetic, as well as visual and aural learning experiences.
You also mentioned singing. Havingworked in a Waldorf school, where electronicmedia were not in use, I found that getting the recorder classes to actually sing the Suzuki repertoire (often with my own invented words) was a wonderful enhance-ment to their learning process.
CH: I do think adding words to themelodies anchors these tunes for manykids. Besides, I am a singer! I just gravitateto the voice first.
MHW: The Suzuki Method typically involves the student listening to recordings of a selected repertoire, and it also involves a parent or other appointed adult who attends the lessons, takes notes on what and how to practice, and plays the recordings regularly at home. How are you adapting the Suzuki Recorder Method for the public school music experience?CH: I have given the classroom teacherseach a copy of the Suzuki Soprano RecorderCD (Volumes 1 & 2) to play when theycan. I do not think they do it much, but last year one teacher did—and itshowed!
MHW: How did it show?CH: It showed in the accuracy of pitches,volume of repertoire learned, and speed atwhich the class actually learned the tunes.They had fewer problems with over-blowing and had a more musical tone. Forthe most part, in these large classes, wemust rely on teacher demonstration andstudents playing back.
EDUCATION___________________________________ A conversation between two Suzuki recorder teachers:Mary Halverson Waldo interviews Claire Heinzelman
The students enjoy our
bowing, at the beginning
and ending of the class ...
and to this we have
added a spoken line,
“To beautiful music.”
This helps us time
our graceful bow,
and also reminds us
of what our time
together is all about.
MHW: As with any instrument, it helps if the teacher has a good sound in order for the students to have a good sound. And it’sgreat when they can hear recordings of a variety of wonderful performers at home or atschool. I consider Marion Verbruggen, theSuzuki Recorder Method’s recording artist,to be an important “teacher” of my studentsas they listen daily at home. CH: With Suzuki Method in the schools,the student is missing the home adult support of guiding the practicing and playing the recordings. However, I haveused the reverence for music and respectfor teacher and student as a guide—all to the advantage of teacher and students alike.
The students enjoy our bowing, at thebeginning and ending of the class … andto this we have added a spoken line, “To beautiful music.” This helps us timeour graceful bow, and also reminds us of what our time together is all about.
MHW: Suzuki has a deep goal of producingbeautiful, respectful human beings throughexposure to good music; and through a positive but disciplined approach to learningan instrument.
I have heard Suzuki string teachers in thepublic schools say that the school teachers (of music and/or the classroom) can becomethe “Suzuki parent” for the students. Theteachers can have a strong daily influence on the kind of music listening, motivationand monitoring of home practice that goes on (with practice charts, etc.).
CH: I do motivate the students with Barb Philipak’s system of awards for accomplishment. She is an elementaryteacher and author of Recorder Karate, A Highly Motivational Method for YoungPlayers. With each skill set masteredand/or song(s) played to demonstrateproficiency, the student is awarded a 7”ribbon that (s)he then ties onto a safetypin and attaches to the recorder case. It brings a great deal of excitement to the process and the kids love testing days when they can show off their ability.
If they are not yet proficient enough to“belt” in that song, they are encouraged to practice more (to improve the weakpoints) and test again the following week. I am doing less overtime teachingthis year, but last year I was always surrounded by 10 or more students at recess and lunch period who wanted totest or just fine-tune the points they were working on! This year I am trying
to cover this in class time when all students (not just the eager beavers) benefit.
We have 16.5 hours over 22 weeks of class time with our students. Of thattime, we teach “Music in Action” for 5 hours, leaving 11.5 hours for class instruction on recorder. Classes rangefrom a low of 27 students to a high of 32 students. Needless to say, this is anything but perfect.
That said, by year-end the studentshave a correct handhold, good posture, a gentle breath and reasonable pitch and tone quality on seven, eight or moresongs. They comport themselves well and are thrilled to have performed beautiful music in our year-end concert for other students and parents!
We can always hope for more, but this is what we have. It is sufficient to help students learn that they can createbeautiful music!
MHW: Thanks Claire, for sharing your pedagogy ideas; and also for your stories of successful, motivated recorder students.
March 2008 29
Trained Suzuki teachers are in great de-mand throughout the U.S., Canada and around the world. Training is available at summer institutes in more than 60 lo-cations throughout North America for violin, viola, cello, bass, piano, flute, guitar, harp, recorder, organ, voice and early childhood education.
Is Suzuki teaching for YOU?Do you have solid instrumental skills?
Do you enjoy working with children and families?If so, Suzuki teaching may be for you.
For more information call SAAtoll free at: 1-888-378-9854or visit our website: www.suzukiassociation.org
It is sufficientto help students learn that they can create beautiful music!
30 American Recorder
American Recorder Orchestra of theWest, directed by Richard Geisler, gave a concert in Los Gatos, CA, on March 9. The “all-American” repertoire includedShaker folk songs, a Gershwin medley, co-director Greta Hryciw’s settings ofLongfellow poetry entitled AROW and the Song and of Chief Seattle’s speech This We Know, plus Glen Shannon’saward-winning composition Fipple Dance.
The February Princeton (NJ)Recorder Society meeting, led by Sheila Fernekes, focused on "thingsAmerican"—a lively program with a patri-otic flavor, "Susato to Sousa," incorporat-ing arrangements by Andrew Charlton.
Brandywine Chapter (whose mem-bers live in the Brandywine River Valleyarea—Delaware, Maryland, Pennsylvaniaand New Jersey) has recorded recent
meetings and posted them as MP3 files on its “unofficial” chapter web site,<http://home.comcast.net/~schriltz3/bcars.htm>. Music for the JanuaryBrandywine meeting included arrange-ments by Richard Geisler, AROWdirector—pieces by composers rangingfrom Hildegard von Bingen to Pete Seeger.
Orange County (CA) Recorder Society meetings include a Prelude 10 minutes before the chapter’s monthly meeting begins. The February Prelude performance was presented by RichardGlenn's Saturday Morning RecorderClass—the "Saturdaze." Class membersare Leigh Taylor, Susan Mason, AnneLinthorst, Vivian Lamb, Herb Huey,Blaise Heuke, Pat Anderson andMatthew Ross. Glenn accompanied thegroup on guitar, as they played three
Latin American pieces, including the Peruvian favorite, El condor pasa. This setthe tone well for the meeting, led by Tom Axworthy and entitled "MateoFlecha and the Cancionero De Palacio &Cancionero De Uppsala".
Seattle (WA) Recorder Society meet-ings also start with a small group mini-performance. The February meetingopened with the deep voices of the King Küng Quartet, which plays primarily on the lowest recorder voices—alto down to contra bass—and mostly onKüng instruments. Members DavidLawrence, David Solet, Bill Stickneyand Molly Warner played an eclectic selection of early works (by Ludwig Senfl and Michael East) plus 20th-century pieces by Gaston Saux and Arndt Von Gavel.
The chapter’s meeting continued withmusic director Peter Seibert leadingpieces in “the Netherlandish style”—Renaissance music emanating from thearea now known as Belgium and Holland,composed in a style that began in the mid-15th century and flourished for morethan a century. Selections included piecesby Josquin Desprès and Heinrich Isaac.
The Seattle chapter’s early Januarymeeting featured the “annual visit” byMargriet Tindemans, who was dubbedby a Seattle Times music critic as the “godmother of the Seattle early musicscene.” The meeting was only a few dayslater than the anniversary year of Claudio Monteverdi’s opera Orfeo. It centered onselections from that opera, which pre-miered in 1607, but also works played included other composers’ settings of the famous story: Luigi Rossi’s opera froma half-century later (including a dramatic Sinfonia for SSAATTBB) and Antonio Sartorio’s version from the 1670s.
Mid-Peninsula (CA) Recorder Orchestra member George Greenwoodreported in the group’s newsletter that the January “Tour de France” workshopled by Patrick O’Malley included a particularly enjoyable segment aboutFrench ornamentation technique, adding
CHAPTERS & CONSORTS___________________________________ American, Spanish, Celtic—chapters cover the territories and times
March 2008 31
agréments. The group applied them to various pieces of music that O’Malley had selected—and it also found the segment of transposition exercises to besurprisingly interesting .
Triangle Recorder Society hosted aFebruary workshop with Frances Blakerin Durham, NC, followed by a concert/CD release party featuring Ensemble Vermillian, with which Blaker plays.
The chapter also has a new home for itsmusic library, previously tended well bymembers Mike Mendelsohn and PhilipStiles: recorder pieces are now stored andavailable during business hours at Pearson Music in Durham.
A new mentor program being tried bythe Recorder Society of Long Island(NY) has been declared a success. Duringgroup playing, those feeling insecureabout tackling the piece alone may sit next to a mentor for moral and musicalsupport. Finding a mentor is easy: theywear music-note halos.
Letitia Berlin, ever on the go thesedays as ARS President, led the South Bay(CA) Recorder Society in its first meetingof the new year. Two of the works fromwhich selections were played were collected by Shira Kammen: Music in a
Circle (two volumes of rounds, canons andimitative music) and A Musical Almanac,an aptly-named recent publication of music celebrating the seasons of the year.
In celebration of the Greater Cleve-land (OH) Chapter’s 40th anniversary,Carolyn Peskin and Julie Washingtonopened the November chapter meetingwith a performance of music donated tothe chapter library many years ago byfounding members Sid Silber and HarryCagin. The two played three selectionsfrom Peasant Songs and Dances (violin duos by Bela Bartók, arranged forrecorders by Hans Ulrich Staeps) and amotet by Heinrich Isaac.
The Denver (CO) Chapter welcomeda new meeting leader in January, KaitlinOdil, whose diverse musical credits include serving as a associate director and percussionist for The Denver Brassand as keyboardist/ administrator for"Dave LeMieux & House of Soul." She led the group in “The Celtic Recorder,” selections reflecting her interest in penny-whistle and Celtic music. (The chapternewsletter reports that she is a featuredsoloist on soprano and alto recorders onThe Denver Brass CD and DVD, Brass,Bagpipes & Co - Live!)
CHAPTER NEWS
Chapter newsletter editors and publicity officers should
send materials for publication inAmerican Recorder to:
AR, 7770 South High St., Centennial, CO 80122-3122,
<[email protected]>. Also send short articles about specific activities that have increased chaptermembership or recognition, or just the
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JPG files. Please send news to the AR address above,
and to the following: ARS Office, 1129 Ruth Drive, St. Louis, MO 63122-1019,
and to Marilyn Perlmutter, Chair,Chapters & Consorts Committee,
2847 Westowne Court, Toledo OH 43615-1919,
Lost in Time PressNew works andarrangementsfor recorder ensemble
Compositions by
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Inquiries:
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Someone is flat,and it’s not me!
I wish we hadsome new
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Maybe I should order the
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32 American Recorder
TRIO SPIELBUCH II, ARR. ULRICH
HERRMANN. Noetzel Edition N 3976 (C. F. Peters), 2006, Varied instrumenta-tion. Sc 39 pp. $19.95.QUINTETT SPIELBUCH II, ARR. ULRICH HERRMANN. N 3978 (C. F. Peters), 2006. Varied instrumentation. Sc 48 pp. $19.95.
In his foreword, Ulrich Herrmanntells us that these second-volume booksmay be used as appropriate sequels tothe corresponding first books in the series. He also states that these secondbooks contain a wider selection of different composers, with most selec-tions being parts of larger works.
I have been unable to find any bio information on Herrmann except that heresides in Verden, Germany, and hasproduced many other recorder arrange-ments and compositions.
This trio book contains 23 arrange-ments of music from the 16th centurythrough the 20th century. One originalwork by Herrmann is also featured. Mostof the pieces call for AAT or ATB. Theyrange from easy to difficult but would beappropriate for most intermediate con-sorts.
The scores are easy on the eyes, andthe publisher has craftily used fold-outpages to avoid page turns in the longerworks.
The quintet book has 28 pieces rang-ing from the 16th century through the19th century, including many by Bachand Telemann. Instrumentation variesfrom sopranino to great bass, but thelower instruments tend to have less gratifying parts. (Our consort prefersthe arrangements in the trio book because all parts are more interesting.)
Doubling the bass at the octave by using contra bass is an option in twoquintet arrangements.
Three of these pieces call for both sopranino and soprano, resulting inwhat can be a tuning nightmare. Ourconsort found that these and severalother quintets, particularly Bach’s “Sinfonia” and “Gloria,” sound much
better on low choir. Scores are clearlyprinted, and there are no page turns in this quintet edition.
Earlier similar collections by Hermann were reviewed in the September 2006 American Recorder. Onebig difference here is the price. Theprevious collections were around $13,whereas these are both $19.95.
This could be a financial burden on aconsort needing five (or more) copiesof the quintet book. Yes, there are 28pieces, and if all or most are foundworthwhile, it might be considered abargain. But this quintet book would bemost useful to a large consort with ahealthy budget and with low choir capabilities.
HAPPY BIRTHDAYS, BY LANCE ECCLES.Orpheus Music OMP173, 2007. SATB.Sc 8 pp, 4 pts 3 pp ea. No price provided.
This Australian composer has been amember of the Reluctant Consort, a Sydney-based recorder group, since1982. Nearly all of his recorder compo-sitions and arrangements have been written either for that group or for meet-ings of the Sydney Society of RecorderPlayers. He recently retired from being a senior lecturer in Chinese at Macquarie University.
Happy Birthdays is a suite of threemovements: Tango, Funeral March andMazurka. Eccles has attempted to usethe “Happy Birthday” theme in eachmovement, but it is broken down into lit-tle snippets. A listener without knowl-edge of the title might have a hard timerecognizing the theme.
The Tango, having no tempo indica-tion, plods along in 4/4 with one key
change, and then ends abruptly with little or no cadential preparation.
Funeral March is in 3/4 and is marked“Solemnly.” I wonder why he didn’tmark it “grave?” After all, the music isfrom “down under.” Eccles must havehad some rationale for including a 3/4 funeral march in a birthday suite, but itescapes me.
Mazurka is marked “fast” and is bestplayed one beat to the measure. Our con-sort felt that this one was the most suc-cessful in that the theme is more obviousand it is more cheerful and like “HappyBirthday.”
All parts are easy to read, with no pageturns, and could be played by most intermediate consorts.
BRAZILIAN FOLK SONGS, ARR. DAVID
GOLDSTEIN. Provincetown BookshopEdition 48, 1984. SAT, STB. 3 sc, 7 pp ea.$9.95. BRAZILIAN FOLK SONGS FORFOUR, ARR. DAVID GOLDSTEIN. Province-town Bookshop Edition 49, 1984. SATB.4 sc, 5 pp ea. $5.95.
David Goldstein (1918-2003) was anavid recorder and gamba player, compos-er and arranger. He was the first recipientof the ARS Presidential Special HonorAward, presented to him in absentia dur-ing the 2003 Boston Early Music Festival.
His personal and musical contribu-tions to the recorder world and to theARS are substantial. His Brazilian FolkSongs, at least in trio form, have beenaround since 1984. I find it surprisingthat they have not been reviewed before.
The songs are short and have Por-tuguese and (thankfully) English titles.There are no page turns and the printingis clear. The songs would all be appropri-ate for intermediate consorts.
The only commentary is by Joel Newman in the four-part book: “DavidGoldstein’s charming Brazilian FolkSongs set for recorder trio (PBE No. 48)have enjoyed so much interest that we’reputting his precious few quartet settings into print. Only four of them!
MUSICREVIEWS___________________________________
Music you’ve been waiting for,from around the world, and off the beaten path
Funeral March is in 3/4and is marked “Solemnly.”I wonder why he didn’tmark it “grave?”
Were David here, he’d instantly producedouble that number, but alas!” A fewcomments from Goldstein concerningthe source for these songs would havebeen welcome, but now are unfortunate-ly impossible.
(Cléa Galhano, who came to the U.S.from Brazil, has shed more light on this.She says she grew up listening to thesetunes—which she says were very popu-lar, long before 1984, as children’s folksongs. She uses them frequently, andhelped with translations in the editions.)
Our consort preferred the trio settingsand feel that a few of the songs from either book could add variety and spiceto a program. We also found that addinga little percussion to some of the songsadded interest.
KING WILLIAM’S RAMBLES,ARR. PAUL LEENHOUTS. Moeck, ZfS 805(Magnamusic), 2006. SATTB. Sc 6 pp, 5 pts, 1 p ea. $7.
Paul Leenhouts holds a Soloist Diplo-ma from the Sweelinck Conservatory inAmsterdam, where he has been on thefaculty as professor for recorder and historical development since 1993. Afounding member of the AmsterdamLoeki Stardust Quartet (playing with thegroup from 1978-2001 and recently rejoining it)—and from 2002 the direc-tor of the contemporary music collectiveBlue Iguana, and also from 1997 direct-ing the Renaissance recorder consort TheRoyal Wind Music—one wonders howhe also finds time to be a composer,arranger and editor of works for recorder.
In his preface to this work, Leenhoutstells us that it was arranged as an encorepiece for The Royal Wind Music and per-formed during their tour in Ireland in2000. He also suggests that ensemblesshould be inventive by varying instru-mentation and repetitions and by addingtypical Irish playing elements into theperformance.
This work would be a real challengefor the average consort. The soprano, alto and first tenor parts require nimbleand skillful fingers, especially if an attempt is made to honor the suggestedtempo: � .=140 in 6/8 time. Adding thewritten-out Irish embellishments at thistempo presents even more challenges.
Other parts are somewhat easier, butthe second tenor part, which stays in the lowest register much of the time,might be better played on a bass that has a reliable high G.
March 2008 33
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It is obvious that this work wasarranged for a professional consort.Much would be lost when attempted bya consort playing under tempo and with-out the proper embellishments.
Bill Rees is music director of the BellaVista Recorder Consort in northwestArkansas. Prior to retirement he taughtwoodwinds and music education at EastTexas State University (now Texas A&M atCommerce), performed on recorder and traverso with the Texas Baroque Ensemble,taught public school instrumental music inWestern NY State and served as a U.S. Navymusician. He has been active in the recordermovement since the ’60s and served on theARS Board.
GALGENBRUDERS LIED, AN SOPHIE, DIE HENKERSMAID,BY AGNES DORWARTH. Moeck 804 (Magnamusic), 1999. T. Sc 7 pp. $7.
Agnes Dorwarth (b. 1953) is a profes-sor of recorder at the Music Academy inFreiburg, Germany. She has composedmany musical compositions, unsurpris-ingly with a specific focus on recordermusic.
One of her largest works is a musicalsetting of the entire set of famed Galgen-lieder poems by the German poet Christian Morgenstern. Morgenstern’scharacteristic work is filled with cleverwordplay that delights the listener inboth the meaning and sound of words,inspired by the syntax and sounds of“nonsense” verse.
This solo piece for tenor recorder is astand-alone movement taken from thislarge cycle. It is a flamboyant and memo-rable presentation of the poem, involvingboth playing and rhythmic spoken decla-mation of the poem’s text.
An entire page at the front of the scoreis devoted to explanation of the myriadextended techniques used. This is a workfor a virtuoso-level player with excellentstage presence, good “musical acting”skills, and excellent German diction.
34 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 & parts) $10 $18Dorian Mood Sally Price (SATB) (Level II) (score & parts) $10 $18Double Quartet for Recorders Peter Ballinger (Level II-III) (score & parts) $10 $18Entrevista Frederic Palmer (SATB) (Level II) (2 scores & 4 recorder parts) $8 $14Kyrie and Vocalise for Soprano Voice &Recorders Stanley W. Osborn $8 $14
(SATB) (Level II) (2 scores & 4 recorder parts) Picnic Music Jeffrey Quick (SATB) (Level II) (score & parts) $5 $8Six Short Pieces for Three Recorders edited by Alan Drake $8 $14
(3 scores) Vaclav Nelhybel (AA/TT) (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 & parts) $14 $26Suite of Jewish Folk Tunes Erich Katz (S S/A8 A/T) (Level II) (three scores) $10 $18
Musical Editions from the Members’ Library: ARS members: 1 copy-$3, 2 copies-$4.50, 3-$6, 4-$7.50, 5-$10, 6-$11.50Non-members (editions over 2 years old): 1 copy-$5, 2 copies-$8.50, 3-$12, 4-$15, 5-$19.50, 6-$23The ARS is happy to provide photocopied enlargements of any Members’ Library edition at the same prices. Please specify “Members’ Library Enlargement.”
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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, $3.Guidebook to the ARS Personal Study Program (1996). Material formerly published in the Study Guide
and Study Guide Handbook, plus additional resources. Members, $11; non-members, $20.ARS Music Lists (2002 with 2003 Supplement). Graded list of solos, ensembles, and method books.
Members $9; non-members, $15.Package Deal available only to ARS members: Guidebook and Music Lists/Supplement ordered together, $16.Junior Recorder Society Leader’s Resource Notebook.
ARS members, $20; non-members, $40 (updates at reduced rates after initial purchase).$5 Dues for each JRS student member sponsored by an ARS member ($4 each for groups of 10+).
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 one month by sending $5 to the ARS office along with the address to which the tape should be shipped.
Pete Rose Video. Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music Festival recital.Features Rose performing a variety of music. and an interview of him by ARS member professional John Tyson.
Other 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, performing.ARS member prices: CD, $10; hard copy, $20; combo price of CD and hard copy ordered together, $25.
Discography of the Recorder, Vol. I (1989) . Compiled by Scott Paterson and David Lasocki.Discography of the Recorder, Vol. II (1990-1994) . Compiled by Scott Paterson.
Either single volume: ARS members $23; non-members, $28.Both Discography volumes together: ARS members only, $40.
American Recorder: Cumulative Index for Vols. I-XXXX. ARS members, $20; non-members, $32.Index Supplement, Vol. XXXIV-XXXX. ARS members, $8; non-members, $14.
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Arioso and Jazzy Rondo (AB) Carolyn PeskinBruckner’s Ave Maria (SSATTBB)
Jennifer W. Lehmann, arr.Canon for 4 Basses (BBBB) David P. RuhlDancers (AT) Richard EastmanDifferent Quips (AATB) Stephan ChandlerElegy for Recorder Quartet (SATB) Carolyn PeskinElizabethan Delights (SAA/TB)
Jennifer W. Lehmann, arr.Four Airs from “The Beggar’s Opera” (SATB)
Kearney Smith, arr.Gloria 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 OwensLeClercq’s Air (SATB) Richard E. WoodLittle Girl Skipping and Alouette et al (SATBCb)
Timothy R. WalshLos Pastores (S/AAA/T + perc) Virginia N. Ebinger, arr.
New Rounds on Old Rhymes (4 var.) Erich KatzOther Quips (ATBB) Stephan ChandlerPoinciana Rag (SATB) Laurie G. AlbertsSanta Barbara Suite (SS/AA/T) Erich KatzSentimental Songs (SATB) David Goldstein, arr.Serie 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 (AAT/B) Peter A. RamseyTwo Bach Trios (SAB) William Long, arr.Two Brahms Lieder (SATB) Thomas E. Van Dahm, arr.Variations on “Drmeš” (SATB) Martha BishopVintage Burgundy (S/AS/ATT)
Jennifer W. Lehmann, arr.
Adding Percussion to Medieval and Renaissance Music Peggy Monroe
American Recorder Music Constance PrimusThe Burgundian Court and 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
KEY: rec=recorder; S’o=sopranino; S=soprano; A=alto; T=tenor; B=bass; gB=great bass; cB= contra bass; Tr=treble; qrt=quartet; pf=piano; fwd=foreword; opt=optional;perc=percussion; pp=pages; sc=score;pt(s)=part(s); kbd=keyboard; bc=basso con-tinuo; hc=harpsichord; P&H=postage andhandling. Multiple reviews by one reviewer arefollowed by that reviewer’s name. Please submitmusic for review to: Constance M. Primus, Box608, 1097 Main St., Georgetown, CO 80444.
INEVITABILINI, BY JESPER NORDIN.Moeck 1610 (Magnamusic), 2002. S/A/Tsolo. Sc 2 pp. $9.50.
Jesper Nordin (b. 1971) is a versatileSwedish composer who has writtenmuch music that stems from diverse influences—traditional Swedish folkmusic, rock music, improvisations andclassical music.
This short, two-page piece for solorecorder (soprano, alto or tenor) is adapt-ed from a large work of his for ’cello, bassrecorder and electronics. The solo pieceis based upon a traditional Swedish folk tune that, though transformed invarious harmonic and rhythmic ways,still imbues this piece with a distinct folk flavor (characteristic of Swedish “herding tunes”).
The piece is notated without bar linesand maintains a sense of flexible, impro-visatory rhythm for its entire duration. Itis not particularly difficult and wouldmake an appealing inclusion on any pro-gram. Because of the “resonant” charac-ter of the harmonies and gestures, thecomposer recommends performance in“a big acoustic; be it a large room, with anelectronic reverb, or by playing into a piano with the sustain pedal down.”
FANTASY AND FUGUE (1991), BY
RICHARD BUSCH. Peacock Press PJT 038(Magnamusic), 2004. AAT. Sc 14 pp, pts4 pp ea. $19.50.
American composer Richard Busch(b. 1947) is best known for his distin-guished career as an organist and choirdirector. A composition student of Vincent Persichetti, Dutch composerDiderik Wagenaar, Roger Sessions andLuciano Berio at the Juilliard School inNew York, Busch has written many worksfor orchestral and chamber groups, aswell as for choral ensembles.
Fantasy and Fugue for recorder trio issubtitled “A Major–Minor Amusement,”which reflects its light-hearted spirit. Thepiece is cast in a single movement—an opening fantasy marked “Allegro giocoso,” a brief “quasi una cadenza”section, and a fugue marked “non troppoallegro.”
The fantasy section contrasts lyricalgestures with bouncing rhythms. Thefugue is in changing meters of 5/8, 7/8and 4/8. Episodes of quieter, gentler lyricism are interspersed with the fasterfugue textures.
The work is at the upper end of moderate difficulty and would make an impressive finish to a recorder triorecital.
MINIATUREN (2000), BY HARALD
GENZMER. Schott OFB 200 (Magnamusic), 2003. SAT. Sc 23 pp, pts 7 pp ea. $12.95.
German composer Harald Genzmer(b. 1909) was a student of Paul Hindemith and taught for most of his career at the conservatories in Freiburgand Munich. He has been a significantcontributor to German musical life dur-ing the 20th century and has composedworks in every genre except for opera.
Miniaturen is a set of eight very shortmovements for recorder trio (most are nomore than a two pages of score). The musical language is in a contemporarymodal idiom, and the parts are not difficult to play. The movements range in character—from a tarantella, to variations on a French trouvère song, to ajocular fanfare.
Unfortunately, no phrasing, slurs orarticulation are noted in the score orparts (only dynamics), so players willneed to work out articulations before embarking on a performance of the work.To this reviewer, they seem necessary togive the music its full impact.
The piece would present a perfectpedagogical opportunity for a trio—anyof the individual movements wouldmake an excellent teaching piece forthree students, offering a chance to dis-cuss why certain articulations/phrasingsare the most appropriate ones.
The structure of eight unrelatedmovements could prove a less satisfyingentirety within a recital context, but withthe right programming complements,the music’s appealing charm would beeffective.
TRIO (1955), BY HENK BADINGS.Moeck 812 (Magnamusic), 2006. SSA (or rec orch). Sc 7 pp, pts 3 pp ea. $7.
This reviewer has long considered theDutch composer Henk Badings(1907–87) to be one of the most under-rated musical figures of the 20th century.Born in Indonesia, he spent most of hiscareer in the Netherlands, composing abody of music that ranges from works forstudent performers to experimental elec-tronic and microtonal pieces.
Through Badings’s entire output(whether at his most conservative or avant-garde) runs a common theme:exceptional musicality. I have never encountered a Badings composition thatis less than effective, compelling andmemorable in the terms it sets for itself.
His work is extremely under-represented on recordings at present, butthis will hopefully remedy itself in theyears to come as new performers discov-er the treasures to be found in his output.
Trio (1955) is a work for either threerecorders or recorder orchestra. The in-side of the score provides a helpful tablefor distributing the three parts to the instruments in a recorder orchestra; the lowest part is also supplied in a bassclef version. The score and parts are care-fully marked as to solo and tutti changes.
The piece is in three brief move-ments—a spirited “Fughetta,” a slowand lyrical “Air,” and a rhythmic “Passacaglia.” The work uses an extend-ed tonal language, and none of the partsis particularly taxing either in technicalcontent or range.
The third movement, with its meter of11/4 (though grouped with dotted bar-lines as 3+2+3+3) will need some additional rehearsal. The result is very infectious, and the finale has a truly ebullient spirit.
This work is strongly recommendedand seems to this reviewer that it wouldbe equally effective in either trio or orchestra version. It is a superb re-issuefrom the Badings catalog, much of whichstill remains unpublished (or out-of-print) and thus hard to obtain.
Carson Cooman is an active composerwith a catalogue of more than 600 musicalworks in many forms, ranging from solo instrumental pieces to operas, and from orchestral works to hymn tunes. His work is available on over 10 record labels, including Naxos and ABC Classics.
March 2008 35
This reviewer has longconsidered the Dutchcomposer Henk Badings(1907-87) to be one of themost underrated musicalfigures of the 20thcentury. ... I have neverencountered a Badingscomposition that is lessthan effective, compellingand memorable in the terms it sets for itself.
36 American Recorder
TIERS LIVRE DE DANSERIES (1559),BY JEAN D’ESTRÉES, ED. BERNARD THOMAS.London Pro Musica LPM DM9, EarlyDance Music 9 (Magnamusic). 4 to 6 insts. Sc 38 pp. $11.
Jean d’Estrées (d. 1576), about whomlittle is known beyond that he composeddance music and played the shawm,wrote four books of dances.
Originally published in the form ofpart books, the first three collectionshave only the superius and bass partssurviving, and only an incomplete basspart remains from the fourth. However,since Pierre Phalese “borrowed” a num-ber of d’Estrées’s pieces, editor BernardThomas has been able to recreate most ofthe missing parts from Phalese’s publica-tions. This collection is similar to those of Attaignant, Susato and Praetorius.
Although the title states that thedances are for four to six instruments,there are two sextets and one quintet inthis collection. The remaining 50 are in four parts, mostly SATB.
The dances are grouped by type(bransles, allemandes, etc.) and are soshort that to segue several together cancreate an effective set.
The pieces, mostly homophonic andeasily playable by lower intermediate- tointermediate-level players, are rhythmi-cally simple and were likely intended toactually accompany dancing. The altolines, many of which are low enough tobe played on tenor, are written at pitch,and a few superius lines are playable onalto reading up.
The edition is generally legible, although occasionally several short sections make finding one’s place in therepeat scheme difficult when sight-
reading. The fact that this large editionprovides no parts necessitates the purchase of multiple copies.
THREE PAVANS, BY LUYS MILAN, ARR. RONALD J. AUTENRIETH. Moeck ZfS 791 (Magnamusic), 2005. SAATB. Sc 4 pp, pts 1 p ea. $7.
Luys Milan (c.1500–after 1560) was a Spanish player of and composer for thevihuela, a predecessor of the classicalguitar. He held the post of court musicianfor Viceroy Don Fernando of Aragon inValencia.
His most famous publication, El Maestro, from which these pavans aretaken, also contains fantasias, preludesand some vocal music. Milan was one ofthe first composers to indicate tempo directions.
Ronald J. Autenrieth has arrangedthree pavans from El Maestro for recorderquintet from the original chordal vihuelanotation in such a way that each playerhas an interesting and sometimes contra-puntal line. Alto lines are written atpitch. Both score and parts are legible,with a few breathing suggestions as theonly editorial markings.
Pavan I begins atypically for a dance,with the parts entering individually in animitative ricercar style. With a pattern oftwo quarter-note pickups, Pavan II feelsmore like a gavotte than a true pavan and,furthermore, has seven-measure phras-es. These idiosyncrasies plus the poly-phonic lines of all three pieces indicatethat they were likely intended for listen-ing, not actual dancing.
The music is easily playable by an intermediate-level ensemble whoseplayers have mastered the most frequently used accidentals and all but the highest notes of the recorder.They should also be able to play an independently moving, but not techni-cally demanding, line.
Anne Fjestad Peterson has a B.A. in music education from Concordia College,Moorhead, MN, and an M.M. in music history from the University of Colorado. She has taught private and class recorder inBoulder, CO, since 1974 and has performedsince 1980 with the Boulder RenaissanceConsort, for whom she arranges music.
TWO SONATAS A4, BY LAMBERT
PIETKIN, ED. VIRGINIA BROOKES.PRB Productions PRB BO49(<www.prbmusic.com>), 2007. AATB& ATTB (recs/other insts), bc. Sc 10 pp,rec pts 4 pp ea, kbd pt 5 pp. $16.
These two sonatas by LambertPietkin, a composer who is not well-known in recorder circles, represent aninteresting mixture of late Renaissanceand early Baroque stylistic features. Written for four instruments and continuo, they combine imitativepolyphony and homophony with elements of both tonality and modality.
Pietkin (1613-96) was an ordainedpriest, organist and maître de chapelle ofthe Cathedral of St. Lambert in Liège (in present-day Belgium—a city calledvariously through the centuries, as theprincipality changed boundaries). Thecover notes state that his output included “stylistically retrospective”motets and music for voice and instru-ments. His later works reflect the modernstyle associated with Monteverdi.
The second sonata is presumablydedicated to General George Moncke(1609-70), a distinguished army andnaval officer whose “exploits” were widely known in the Netherlands.
The original source for these works isgiven as Ob Mus. Sch. C44, which is located in the Bodleian Library, Oxford.Editorial notes indicate that the pieceshave been transcribed at pitch; originalmensuration signs appear as incipits.Differences in ficta between the editionand the source are listed on the insidefront cover.
The parts are identified as Treble I, II,III and Bass Viol. The notation at pitch,as opposed to the more usual octavetransposition for recorders, results in anAATB scoring for Sonata No. 1 and ATTBfor Sonata No. 2.
In the first piece, the lines fit therecorders fairly comfortably. The widevariations in range in the second part of Sonata No. 2 makes for a bit of a challenge. Otherwise, they are not especially difficult and are thus well suited to intermediate players.
The notes indicate that there is almostno figuring (for the continuo) with thebass line in the source. The realizationgiven here is primarily chordal and not too complex. It is easily accessible to an intermediate level keyboard player.
Because the departures from thesource are clearly indicated, editorial adjustments are apparent. In Sonata
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Milan was one of the firstcomposers to indicatetempo directions.
March 2008 37
No. 1, there are considerable additions of ficta. With the changes notindicated above the staves, it is necessaryto refer back to the front cover, which isless convenient.
The cut-time meter of the source hasbeen changed to 4/4 in the edition. Eachof the sonatas includes a meter shift forwhich the original mensuration signs arenot given. The editor indicates that theproportional relationships between the meter changes are not specified in the source, and she does not includemodern note value equivalencies—perhaps for this reason.
The substitution of common time forthe cut time of the original enables thequarter note to carry the pulse, whichworks out well in the first section ofSonata No. 1. It necessitates a 12/8 timesignature in the middle section, which is a little unwieldy. However, as this segment is primarily homophonic, withthe bass keeping a regular dotted-quarterpulse for the most part, it reads well.
In Sonata No. 2, the time signaturechoice is a bit more problematic. Themiddle section moves from 4/4 to 3/2,which is more difficult to convert—especially for less experienced players.Cut time might have been a better choicefor this reason.
In general, however, this is a nicely-done edition of interesting and some-what unusual music. The editor statesthat the second piece, the “MonckeSonata,” might be understood as a “battle piece,” and therefore it mightsound well on loud winds. It certainlyhas this character and seemed less suit-able for recorders than the first, which is quite charming and recorder-friendly.
Beverly Lomer is an Adjunct Professor ofHumanities at the Harriet L. Wilkes HonorsCollege of Florida Atlantic University,where she teaches courses in music and culture. She is also a recorder player whoseprimary interest is in performance fromoriginal notation.
CANTIGA’S RENAISSANCE FESTIVAL FAVORITES, BY ROBERT
BIELFELD. Mel Bay, 2006. For all insts,with guitar chords. Sc 151 pp, CD. $25.
Renaissance festivals are becomingmore common across America, and I actually received this book to review just before I agreed to perform at a Renaissance Festival near my hometown.
When I opened the book, I was delighted to see that the second piecewas a traditional Welsh song I hadlearned to sing in school in Wales as achild. Therefore I was instantly endeared to this book—and to itsarranger, who had done enough researchto include a wonderful and little-knowntune beloved in my country.
This volume contains 143 charmingand easy-to-play tunes that had meGoogling their origins and histories, as I craved more information than theparagraph above each tune provided—not that the information accompanyingeach tune is insufficient. The Celtictunes, particularly, appear to be currently popular among musicians because of the many beautiful versions of these tunes—usually played on the harp, on such sites as<www.youtube.com>. Listening tothese performances can be helpful in giving the musician an idea as to how the tunes can be approached.
The book is laid out nicely with onetune to a page, or else different versionsof the same tune on a single page. Guitarchords accompany the pieces, and my friend Bob assures me the guitarchords are accurate, as well as easy toread and to follow.
Accompanying each tune is a paragraph with the author’s opinions on how to play the song, as well its history and country of origin. The CD included with the book is very nice to listen to and sets the mood of the musicfor the musician.
This is a charming and historical bookthat contains reels, ballads andlaments—tunes that sound wonderfulon many instruments—making it a versatile addition to any music library. I loved it: it is full of treasures, and every now and again, I open it to a random page and just play a piece.
Rhiannon Schmidt is Welsh, but lives in Houghton, MI, where she is working towards the completion of her Bachelor ofScience in Nursing Medicine. She plays thesoprano and tenor recorders for recreation.
THE YORK WAITS (EARLY MUSICMISCELLANY: SETTINGS ANDARRANGEMENTS OF MEDIÆVALAND RENAISSANCE SONG ANDDANCE MUSIC FOR INSTRU-MENTAL PERFORMANCE), JAMES
MERRYWEATHER, SERIES EDITOR.3 SONGS BY ONE OF THE LONDONWAITS, JEREMY SAVILE (1667 AND
1673). Peacock Press PTYW 23 (Magnamusic), 2005. 3 & 4 voices. 4 Sc 2 pp ea. $13.50.SARABAND BY ONE OF THE LONDON WAITS, SIMON IVES
(1600–1662). Peacock Press PTYW 17(Magnamusic), 2005. SSATB (or otherinsts). 5 Sc 2pp ea, plus parts transposedfor B� clarinet, viola, French horn.$16.50.4 PLAYFORD DANCES: MILLFIELD,SHAKING OF THE SHEETS, TYTHEPIG, CHESTNUT (X2), PUB. JOHNPLAYFORD (1651–1695), ARR. TIM
BAYLEY. Peacock Press PTYW 12-16(Magnamusic), 2005. 3, 4, 5 recs. Sc 9 pp. $13.50.PAST THREE O’CLOCK: LONDON,YORK AND OXFORD WAITS PLUSTHE WAITS’ CAROL. Peacock PressPTYW 18–21 (Magnamusic), 2005. 2, 3, 4 recorders. Sc 7 pp. $10.50.DR. MERRYWEATHER’S SONG-BOOKE. Ruxbury Publications ISBN1-904846-11-4, 2005. 1–6 recs or voices. 112 pp, CD. $47.30.
We have received five more wonderfularrangements of miscellaneous pieces inThe York Waits series, edited by JamesMerryweather. What a pleasure to explore and to discover some more treasures for players at the intermediateand advanced-intermediate levels.
According to the New Grove Dictionary of Music and Musicians (editedby Stanley Sadie, vol. 20, pp. 154-55),the meaning of the term “waits” changedin England from the 13th century to the17th and 18th centuries.
In the earliest times, it referred to awatchman, at the gate of a town or castle, who used a horn to announce theapproach of someone wanting to be admitted. Later watchmen would announce the hours, often with ashawm, and would also watch for fire and other dangers.
By the late 15th century, the term“waits” referred to town musicians whoattended to ceremonial functions of themayor and played in the streets at night.In the 16th century, these musicians
This is a
nicely-done edition
of interesting
and somewhat
unusual music.
began to include singers and players ofsofter instruments like recorders, violsand cornetti.
In the 17th and 18th centuries, thewaits of many towns had their own sig-nature tunes. Toward the end of the 18thcentury, however, most town groups haddisbanded for financial reasons. The mu-sicians then became members of churchbands, and the waits became only amemory of the earlier times.
A member of the London Waits, Jeremy Savile was the composer of 3 Songs in a volume of that name in Merryweather’s York Waits series. In three or four parts, the songs are enti-tled: “Here’s a Health,” 1667 (S A8 B);“The Waits,” 1673 (SATB); and “Had SheNot Care,” 1667 (A8 A8 A). Both the firstand second songs are from John Play-ford’s Musical Companion.
By including the words to thesesongs, Merryweather has made our deci-sions about articulation and phrasing somuch more reliable. In “The Waits,”since the words throughout are “fa la la la,” one would expect no phrasing issues. However, it is again very helpful tohave them included, as there are a fewsurprises with placements of a “fa” hereand there. The fact that the rhythm is thesame throughout the parts in “TheWaits” means that an intermediate groupcan play with more reassurance and usually have a successful performance.
The final piece in this volume, “HadShe Not Care,” becomes an exercise inreading up an octave, which is a goodskill for recorder players to acquire. Also,since this is a catch or round, the entirepiece can be practiced in unison to workout any difficulties before it is played bythe group in parts.
All three pieces are on a fold-out two-page score, one for each player andan extra one for the coach. The print isclear and sizable enough for some agingeyes. Thank you!
Saraband, by Simon Ives (1600–62),is arranged for SSATB by Peter Holman.One side of each of the two-page partsshows the score; on the other side areseparate parts transposed for viola, B�clarinet and French horn. This gives thisedition the flexibility to be used by amodern ensemble as well as the tradi-tional recorder group.
This piece is for players who are goodrhythmic readers. It may be a challengefor some groups but worth the work toget it together.
A small collection of Playforddances—ones not usually included inother editions—is in Tim Bayley’sarrangements for three, four and five instruments entitled 4 Playford Dances.
The first piece, “Millfield,” is in fourparts (SSAB would be one way to play it)and also includes chords so that astringed or keyboard instrument can beadded. It is a chirpy, very manageablepiece, and nicely arranged.
“Shaking of the Sheets” is anotherfour-part piece in 6/8 with chords added.It could be played on SSAB or S A8 A/T B—flexible enough to challenge variousintermediate players and yet give a pleasing result. Our group found it use-ful as an exercise in articulation resultingin different affects and in developing theskill of alto reading up an octave.
In order to show the importance of including lyrics for vocal pieces, one hasonly to play this without any knowledgeof the words—the result is a very cheer-ful mood. However, the words of thispiece and explanation of key phrases indicate that it is about death and dying—a different feeling altogetherthan what one would expect!
“Tythe Pig” (S A8 B) is another skill-fully arranged piece. In most of the song,the parts move rhythmically together,giving a nice effect of clean movement.
The collection ends with two versionsof Playford’s “Chestnut” for four and fiveplayers. The four-part version requireschanging octaves in some places; thefive-part version does not, workingsmoothly and well on SAATB.
All in all, this is a good addition to the pieces available for intermediates—fun to play and sounding good for theplayers and the audience alike.
Merryweather, the York Waits serieseditor, has included good historical back-ground of the melodies in the volumePast Three O’clock. One interesting factmentioned by him is that the term“country” dance comes from the Frenchword contre, meaning “opposite.” He also shows photocopies of the originalmusic and texts of signature songs fromthe Oxford, York and London waits.
Included is a lovely arrangement byBayley of the Waits’ or Bellman’s Carol,“The Moon Shines Bright.” Of the twopossible settings of the Oxford Waits’song (a cebell or English gavotte), ourgroup preferred the one arranged for treble and bass instrument. We liked thesound of the bass part fairly unchanged,
whereas the treble part could be alteredto fit the range of the alto recorder orplayed just as effectively on the tenorrecorder.
The final volume reviewed here is Dr. Merryweather’s Song-Booke, which includes a special CD-ROM that offersthe possibility of hearing each part separately and then together. The table ofcontents lists the pieces in order: thecomposer, date, type of song (solo, partsong, catch, round, instrumental, chorus song, etc.), and number of singersor players. Very helpful comments and information precede the songs themselves.
The pieces that derive from vocalworks include the words—all verses!That is such fun in the delightful song“The Vicar of Bray,” which tells about aChurch of England clergyman whoserves during the reign of many kings andqueens, changing his beliefs and devo-tions for convenience through the years.
This volume is a great source for anongoing ensemble that needs materialboth light and entertaining, yet serious.It will serve well for practice material aswell as for performing.
The entire York Waits series is donewith careful attention to original sources,presented with a good amount of histor-ical and performance information, andthe pieces chosen with care. I commendthe editor and recommend the series!
Marie-Louise A. Smith has taughtrecorder for over 30 years. She retired in2003 from the Indiana University JacobsSchool of Music’s Early Music Institute,where she directed the IU Young RecorderPlayers. She created and directed the Summer IU Recorder Academy for giftedteenage recorder players from all over theworld. In 2005, she received the PresidentialSpecial Honor Award from the ARS.
38 American Recorder
The final volume reviewed here is Dr. Merryweather’s Song-Booke, whichincludes a special CD-ROM that offers the possibility of hearingeach part separately and then together.
150 CLASSICAL STUDIES FOR ALTO RECORDER FROM THE FAMOUS FRANS VESTER COLLEC-TION, ED. IRMHILD BEUTLER & SYLVIA C.ROSIN. Universal Edition UE 33 029(Theodore Presser), 2006. A. Sc 87 pp.$14.95.FANTASIEN UND CAPRICEN (6 SONATEN), BY JOHANN JOACHIM
QUANTZ, ED. GUDRUN HEYENS.Edition Schott OFB 204 (<www.schott-music.com>), 2005. A solo. Sc 29 pp. Abt. $18 U.S.
One of the musical developments thatpassed the recorder by in the course of the19th century was the rise in importance ofthe etude as a pedagogical tool. The formundoubtedly reached its height with thepiano etudes of Frederic Chopin andFranz Liszt, but studies were written forevery instrument.
There have been some notable studybooks for the recorder written since therevival of the instrument in the 20th cen-tury, but we recorder players lack thedepth of study repertoire enjoyed by other instruments.
In an attempt to redress the balancesomewhat, Irmhild Beutler and Sylvia C.Rosin, of the Ensemble Dreiklang Berlin,have adapted for the alto recorder a well-known series of flute studies collected by Frans Vester. In their preface,the two editors discuss their aim to present “musically exciting” material thatwill “extend the boundaries of the traditional recorder repertoire”—and inthis they have succeeded.
The studies come from 16 composers,all renowned flutists, such as Jean-LouisToulou and François Devienne. The earliest studies are by Frederick the Greatfrom the mid-18th century, and the latestby Ernesto Köhler from the end of the 19th century. They range in difficulty fromsimple pieces by Giuseppe Gariboldi orWilhelm Popp, in half and quarter notesand covering little more than an octave, all the way to virtuosic display pieces
March 2008 39
“GO FOR NEO-BAROQUE!”
Andrew Charlton: Partita Piccola. For 4 Recorders (SATB) [Prelude; Allemande; Courante; Musette—a neo-baroque epitome!] (Score & Parts, PBE-25) . . . . . . . $7.95
Andrew Charlton: Suite Moderne. For 3 Recorders (ATB) [Baroque shapes but Hindemithian harmony] (3 Playing-Scores, PBE-44) . . . . . . . . . . . . . . . . . . . . . . . . . . .$9.95
Southwest of Baroque. David Goldstein’s “baroque Suite” on Cowboy Songs. For 2 Recorders (SA) (PBE-2) . . . . . . . $3.50
Provincetown Bookshop Editions
The Provincetown Bookshop, Inc.246 Commercial Street, Provincetown, MA 02657 Tel. (508)487-0964
A good source for Recorder & Viol Music of all publishers.
We recorder players
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instruments.
40 American Recorder
by Benoit Tranquille Berbiguier coveringthe full range of the instrument in leaping32nd notes.
Beutler and Rosin have adapted themusic sensitively. Though the melodic fig-ures are often unusual for the recorder,and there are some especially high notes(for which fingerings are given), the musicgenerally lies well for the alto. Some pieceshave up to five flats, but most of them haveno more than three sharps or flats. In fact,the editors recommend the book as an opportunity to practice sight transposi-tion and have suggested destination keysfor most of the studies.
The great challenge, in the end, is toadapt the supple phrasing of these piecesto the recorder—and this is where advanced players will want to take on thechallenge of finding the means to realizethe music’s dynamic and color contrastsas fully as possible.
One of the first composers to use studies consciously and consistently wasJ.J. Quantz, especially in his role as theflute teacher of Frederick the Great. Gudrun Heyens has made a selection ofQuantz’s challenging study pieces, Fantasien und Capricen, and organizedthem into six three- or four-movementsonatas. While the resulting works do nothave the overall coherence of Telemann’sfantasias or Boismortier’s solo suites, to which Heyens refers in her Preface, it is intriguing and often enlightening to encounter these familiar pieces by Quantzin this new context. Those performersconsidering the pieces for public perform-ance will especially appreciate the carewith which Heyens has grouped the movements.
In both of these editions, the music ispresented in a manner that is attractiveand easy to read, and with no obvious typographical errors.
While one could quibble with the titleof the Universal collection (most of thosestudies have their origin outside of theClassical period proper), the only realcomplaint is that original source informa-tion is not given for the music. Those whouse etudes regularly will want to investi-gate the Universal collection especially,but both editions will offer rewarding challenges to the studious.
Scott Paterson teaches recorder andBaroque flute at The Royal Conservatory of Music of Toronto and is a freelance performer in the Toronto area. The formerARS Board member has written on musicfor various publications for over 25 years.
MOTETTI NOVI E CHANZONI FRANCIOSE A QUATTRO SOPRA DOI(1520), BY ANDREA ANTICO, ED. BERNARD
THOMAS. London Pro Musica LPM RM 9(Magnamusic), 2006. Various insts, 4 to 8 pts. Sc 61 pp. $13.
The canon has long been an essentialelement of counterpoint. The term“canon” refers to the process of extractingmultiple parts from a given melody line.The canon is related to the English roundand catch, and also to the later fugue.
The most familiar example is the famous Sumer is icumen in. In Renaissanceusage, a line would be supplied and directions were written telling the performer or performers when to enterand at what interval.
Although not its original meaning,canon came to be known as the process of strict imitation using two or more voices, and also describes the polyphonictexture that arises from such a process. Bythe time of Gioseffo Zarlino’s treatise of1558, the writer was encouraging com-posers to more fully explore free imitation as he considered strict imitationto be old-fashioned.
However, Bach’s art of counterpointwas firmly rooted in the canon. The Orgel-büchlein, Goldberg Variations, The MusicalOffering and The Art of Fugue all showBach’s mastery of canon. In the famousportrait of Bach in 1746, the artist EliasHaussmann carefully shows the composerholding a manuscript of a canon. It wasimportant to Bach to be shown in this way since he considered canon to be thefoundation of his art.
Andrea Antico’s 1520 publication,Motetti novi e chanzoni franciose a quattrosopra doi, is a book of canons. The title of this particular edition is a bit mislead-ing; Antico (c.1480-c.1538) is not thecomposer, but the compiler, editor andpublisher of this book. He was the Romanequivalent of Ottaviano Petrucci, theVenetian music printer. Among his manyaccomplishments is the printing of thefirst book of Italian keyboard music.
It is not unusual for the composers in an anthology such as this to receive second billing to the publisher. For in-stance, many of the 21 dances in GiorgioMainerio’s Il primo libro di balli (1578)were lifted note-for-note by the Louvainpublisher Pierre Phalèse for his 1582 pub-lication, Chorearum molliorum collectanea,with no attribution.
The canons in this volume, a completeedition of Antico’s book, are by some of
the best composers of the era: Jean Mouton, Adrian Willaert, AntoineBrumel, Pierre de la Rue, and Josquin desPrès. All these pieces include text and maybe either sung or played.
The content of the canons falls into twocategories: Marian motets (motets inpraise of the Virgin Mary) or secular songs.As the editor, Bernard Thomas, points outin his informative introduction, the secular songs are essentially chansons rustiques—that is, popular songs that hadmigrated into art music over the years.
The volume’s title indicates a collec-tion of double canons, but this is not thecase. Thomas takes great pains to explainthe differences among the various canons.One is a quadruple canon, another hasfour canonic pairs, another has four partsderived from one real part, and so forth.
It is not necessary to have extensiveknowledge of music theory and forms inorder to enjoy this music. Far from beingacademic works, these are pieces of great,and occasionally transcendent, beauty.
Thomas includes some background information on some of the pieces, but notall. The story behind the setting of “Adieumes amours” by Mouton, for example,adds a great deal to the enjoyment of the piece. The original chanson is byJosquin, who was Mouton’s teacher.
Interestingly, there are two settings of“Petite camusette” by Willaert that arevery different and even use differentmelodies.
As is the case with several recent Lon-don Pro Musica editions, there are a fewerrors—mostly proofreading errors in theintroduction and the occasional missingmusica ficta in the notes. There are noparts, an unfortunate fact that will requirean ensemble to purchase three to sevenadditional copies of this very interestingand enjoyable volume, or to resort to making illegal photocopies.
This volume supplies a necessaryniche in early music for the ensemble thathas tired of dance music and wants some-thing “meatier” without delving into moreovertly religious music.
Frank Cone is a multi-instrumentalistwho lives, works and plays in California.
Far from being academicworks, these are pieces ofgreat, and occasionallytranscendent, beauty.
42 American Recorder
MOVEMENTS, MICHALA PETRI,RECORDERS, DANISH NATIONAL ORCHES-TRA, LAN SHUI, COND. Our Recordings6.220531, 2007. 1 hybrid SACD, $13–17,57:28, <www.our-recordings.com>(dist. in the U.S. by Naxos).
Internationally acclaimed virtuosaMichala Petri has amazed audiences, boththrough her recordings and live perform-ances, with her blazing technique. I’vesensed that some of her choice in per-forming repertory from 19th-century traditions of technical display (originallywritten for violin and other instruments)was partly made on the basis of identifyingpieces that allow her to exhibit her tech-nique. I do not think that approach bearsthe most musically satisfying fruit.
Petri has made well-regarded record-ings of standard 18th-century recordermusic. Those are enjoyable, but as I’ve listened to her over the years, her playingthat really catches my ear has been in20th-century—and now 21st-century—pieces. As I listen to this new disc, Movements, I feel like I hear Petri speakingher native musical voice. She plays withmusicality, vigor and passion.
The title Movementsrefers to a painting byLars Physant, which is onthe cover and the bookletfor this very attractivelydesigned CD. Elementsfrom that painting appearthroughout the bookletand help lead the readerthrough the useful notes
in English, Spanish and French. That sense of unity in graphic design
mirrors the elements of continuity amongthe three pieces. Joan Albert Amargos’sNorthern Concerto (2005), Daniel Börtz’sPipes and Bells (2002) and Steven Stucky’sEtudes (2000) each integrates traditions ofinstrumental concerto style that originatein the 18th century. Each treats therecorder idiomatically and features excit-ing interplay with the orchestral parts. Theharmonic language of all three conveys en-ergy, while it provides singable melodies,
driving rhythms and lovely moments ofquietude.
Strikingly, all three call for the soloist touse extended techniques (multiphonics inthe Börtz and Amargos, glissandi in theStucky). In the hands of Petri and thesecomposers, these unusual sounds are gorgeous.
This disc presents three beautiful 21st-century compositions that should serve asmodels for future composers of recorderconcerti. Symphony orchestras looking for works to enliven their series shouldprogram the works on this disc.
Amargos is a Barcelona musician,working in composition and arranging in classical, jazz and flamenco genres. Northern Concerto developed from conver-sations among composer Amargos,
painter Lars Physant, and musicians LarsHannibal and Petri. As Hannibal’s CDnotes express, the music carries a sonicimagery of landscapes of both Spain andthe far north of Europe. This is the mosttraditional of the three works on this disc.
The three movements—Allegro giusto,Molto expressivo e rubato, and Allegromoderato—form a tryptic in which themovement titles describe the character of the music. Tunes reminiscent of folkmusic begin the work, highly dramaticgestures carry the second (with harmoniclanguage recalling George Gershwin’s orchestral writing), and intense percus-sion weaves with a transformation of somematerial from the first movement usedagain in the third. I think this work will appeal to many listeners.
Börtz, a Swede, regards music dramaand symphonic pieces as his main genre.He collaborated with film director IngmarBergman in a 1991 work for Swedish Royal Opera. I found his single-movementPipes and Bells the most compelling workon this disc.
The composer responded to Petri’s desire to explore a greater range of dynam-ics very effectively. Against a wide range oftimbres and textures, Börtz places therecorder impressively. Both rapid passage-work and sustained tones bring out thedynamic possibilities of the instrumentsemployed—the Mollenhauer “Modern”alto and soprano, and the Moeck Ehlerttenor. The artful dialog between Petri’splaying on those instruments and the vig-orous orchestral sound works beautifully.
This is dramatic music employingmemorable melodies and sections of appealingly abstract sound. The composerworks with the flow of time, guiding thelistener through sections with acceleratingforward motion and sections of virtualtemporal statis.
American Stucky won the Pulitzer Prizefor his 2005 Second Concerto for Orchestra.He is certainly a mainstream composerwriting engaging works for modern instruments.
His program notes for Etudes indicate
COMPACT DISCREVIEWS___________________________________ The recorder moves in with the orchestra
This disc presents three
beautiful 21st-century
compositions that should
serve as models for future
composers of recorder
concerti. Symphony
orchestras looking for
works to enliven their
series should program
the works on this disc.
FEATURING HESPERUS!____THE BANSHEE S WAIL Scott Reiss,recorders & whistles; Glen Velez, Tina Chancey,Zan McLeod, Bruce Molsky on other early instru-ments. Irish and Medieval music, works by Irish,Spanish, Italian composers from the 13th & 14thcenturies and by de Machaut. Golden West, 2002.____CELTIC ROOTS Hesperus. 17-18th-centuryScottish, Irish, English, American traditional & parlormusic from the earliest written sources. Maggie'sMusic, 1999.____COLONIAL AMERICA Hesperus: Scott Reiss,recorders & pennywhistle; Tina Chancey, bass violadam gamba, fille & recorder; Grant Herreid, lute,theorbo, early guitars & recorder. Spirited soundsfrom across the sea to the shores of the new land.Lively country dance tunes, old time Appalachianfiddle tunes, evocative Shape Note hymns, gracefulEuropean parlor music, French cotillions. Maggie’sMusic, 2003.____AN EARLY AMERICAN QUILT Hesperus:Tina Chancey, Scott Reiss, Grant Herreid, MarkCudek, Robert Eisenstein, Peter Marshall withguests Melissa Weaver Dunning, the HesperusShape-Note Chorus, Bonnie Rideout, MaggieSansone, William Taylor & Phillippe Varlet onrecorders, whistles, viola da gamba, other early &traditional instruments. In town hall and village, par-lor and ballroom, from the Appalachian mountains tothe great concert halls, 20 songs celebrate thediversity of early American music in a musical patch-work that reflects a time of new ideas and vitality..Maggie’s Music, 1993.____EARLY AMERICAN ROOTS Scott Reiss,recorders, hammered dulcimer & flageolet; TinaChancey, viol & Baroque violin; Mark Cudek, cittern& Baroque guitar. Lively instrumental music fromAmerica’s past—country dance tunes, cotillions,marches, divisions, common tunes, etc. Altorecorder solo on Daniel Purcell’s Ground, recordertrios on shape-note hymns. Maggie’s Music.____THE FOOD OF LOVE Hesperus. Early instru-mental music of the British Isles, with works by Byrd,Gibbons & Simpson through Dowland, Playford &Coprario.____I LOVE LUCETTE Hesperus: Scott Reiss, TinaChancey, Jane Hershey, recorders & other earlyinstruments; Rosa Lamoreaux, soprano; HowardBass, lute. Charming, bawdy,sentimental musicfrom French Renaissance theatrical tradition.Divisions on Contente Desir, Il Fault Bien Aimer;good recorder trio work. Koch Int'l.____MY THING IS MY OWN: BAWDY MUSIC OFTHOMAS D URFEY Tina Chancey, Grant Herreid &Scott Reiss, recorders & other early instruments;Rosa Lamoreaux, soprano. Improvisations on tunesof love, sex & seduction in 18th-century England.____PATCHWORK Hesperus: Scott Reiss, whistle,recorders, hammered dulcimer, dumbek, fingercymbals; Tina Chancey, bass gamba, fiddle, vielle,rebec, kamenj, recorder; Bruce Hutton, vocals, lapdulcimer, banjo, guitar, mandolin, ukelele, kazoo,mouth bow. Re-issue of popular HESPERUScrossover CD For No Good Reason At All, a fusionof Medieval, Renaissance, Appalachian, ragtime,vaudeville and the blues, on more than 25 early
and traditional instruments. Koch Int'l, 2000.
____SPAIN IN THE NEW WORLD Hesperus.Renaissance, Baroque & Native American music ofSpain, Mexico, Central & South America, inSpanish, Quechua & Canichana dialect. GoldenApple, 1990.____UNICORN Hesperus: Scott Reiss, recorders,dumbek, nakara, hammered dulcimer, flageolet,Cajun triangle; Tina Chancey, viols, fiddle, vielle,kamenj, lyra, recorder, rebec, vocals; Bruce Hutton,banjo, guitars, ukulele, mouth bow, lap dulcimer,mandolin, vocals; Bruce Molsky, fiddle, guitar, banjo,vocals. Fusion of Old-time Appala-chian, blues,Cajun and world music with Medieval andRenaissance sounds. Dorian Discovery, 1996.____THE VERSATILE VIOL: SCOTTISH ANDIRISH MUSIC Hesperus: Scott Reiss, recorder,whistle, dumbek; Tina Chancey, bass gamba, fiddle;Robert Spates, fiddle; Joseph Gascho, harpsichord;Zan McLeod, guitar, bouzouki; Sue Richards, harp.Jigs, reels, airs, variation sets, O’Carolan tunes,sonatas, on bass gamba & harp, harpsichord or gui-tar, and with a band of fiddle, recorder/whistle &bazouki. Golden Apple, 2007.
IN STOCK (Partial listing)____ALLA TURCA: FUX CALDARA BADIAMatthias Maute & Sophie Larivière, recorders;Monika Mauch, soprano. Vocal music of the churchaccompanied by Ensemble Caprice, plus sonatasand other instrumental pieces. Analekta.____DOLCE MUSICA: A CONTEMPLATIVEJOURNEY Eileen Hadidian, flutes & recorders;Natalie Cox, harps. Celtic, Renaissance & Medievalmelodies for recorder & flute with Celtic harp.Healing Muses.____GATHERING: HUI; folk melodies from Chinaand 17th-century Europe, with crossover collabora-tions among Cléa Galhano, recorder, BelladonnaBaroque Quartet, and guest Gao Hong, Chinesepipa. Ten Thousand Lakes.____LES SEPT SAUTS: BAROQUE CHAMBERMUSIC AT THE STUTTGART COURT. MatthiasMaute & Sophie Larivière, recorders & traverso;Ensemble Caprice. Charming repertoire bySchwartzkopff, Bodino, Detri. Atma Classique.____PARTY OF FIVE: A FEAST OF VIVALDI ANDTELEMANN Blue Baroque Band: Cléa Galhano,recorder; Daria Adams, violin; Kathryn Greenbank,oboe; Layton James, harpsichord; Charles Ullery,bassoon. Old sounds of recorder & harpsichord jux-taposed with modern oboe, bassoon & violin. Tele-mann: Concerto in am, TWV43:a3; Trio Sonata inam, TWV 42:a4. Vivaldi: Concerto in DM, RV94;Concerto in gm, RV107; Concerto in gm, RV103.____SENFL (LUDWIG) Farallon Recorder Quartet(Letitia Berlin, Frances Blaker, Louise Carslake,Hanneke van Proosdij). 23 lieder, motets and instru-mental works of the German Renaissance.____STOLEN JEWELS Ensemble Vermillian:Frances Blaker, recorders; Barbara Blaker Krum-dieck, Elisabeth Reed, Katherine Heater. 17th-cen-tury German music adapted by Blaker: "I love violinmusic... so I steal the music and rearrange it for myown instrument. This attitude and creative processis very much at home in the ... Baroque.” BuxtehudeOp. 1, Biber, Rosenmuller, Krieger, JM Bach.Fafarela Recordings.
____TASTEOF PORTIQUEL'Ensemble Portique.Early and contemporary chamber music—Bach, Telemann Boismortier and others.____TELEMANN ALLA POLACCAREBEL– Matthias Maute, recorders & traverso–plays concerti and suites by G.P. Telemann. Dorian.____TELEMANN CHAMBER CANTATASMusica Pacifica Five cantatas from HarmonischerGottesdienst, two sonatas from Sonatas Corel-lisantes. 2003 Chamber Music America/ WQXRRecord Award for best chamber music recordings.____TELEMANN: DUOS POUR FLUTESEnsemble Caprice. Matthias Maute & SophieLarivière, recorders & transverse flute, AlexanderWeimann, clavichord. Six Telemann duos & sonatasalternate with five fantasies for clavichord by Maute. ____TELEMANN: MIT FREUDE CANTATES ET MUSIQUE INSTRUMENTALE DE GEORGPHILIPP TELEMANN Ensemble Caprice: MatthiasMaute & Marion Verbruggen, recorders; MonikaMauch, soprano. Cantatas and instrumental musicof Telemann. ATMA .____TRIO ATLANTICA Lisette Kielson, recorders.Works by Bach, Telemann, Montéclair, Leclair. ____VIVALDI AND THE BAROQUE GYPSIESMatthias Maute & Sophie Larivière, recorders;Ensemble Caprice. Gypsy music taken fromUhrovska zbierka, the country now known asSlovakia, plus works by Vivaldi.____VIVALDI: LA NOTTE Concerti per strumentidiversi. Judith Linsenberg, recorder; MusicaPacifica. Award-winning CD, featuring five Vivaldiconcerti, two sonatas.____VIVALDI: SHADES OF RED; Concertos &Sonatas for Recorder & Strings Matthias Maute,recorders; REBEL. Stylish, high octane readings ofsome of Vivaldi's most beloved pieces, including thepopular and raucous Concerto alla Rustica, stun-ningly colorful Sonata on La Follia, and four exuber-ant recorder concerti. Bridge.
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his initial reluctance to write for recorder(when approached by Linda Attiyeh aboutcreating a work for Petri). His training andlife is in composing for orchestral instru-ments for concert hall settings.
He did not know the recorder indepth. It is not surprising that he had“imagined that its small range of expres-sion, dynamics, and technique would betoo limiting.” Hearing Petri perform withthe Buffalo (NY) Philharmonic changedhis mind.
Etudes, like the other works on thisdisc, uses the recorder as a modern soloinstrument in a concerto. Like NorthernConcerto, this work is in three separatemovements. Unlike Northern Concerto,each movement in Etudes includes a rangeof tempi and affect.
Stucky favors the sopranino’s brightclarity in the appropriately titled firstmovement, Scales. Scalar passages moveamong soloist and other instruments—sometimes rapidly, sometimes lan-guorously, in a bouquet of timbres.
Glides, the second movement, focuseson alto and includes lovely sections of glissandi shared by Petri and solo violin. These alternate with lively rhyth-mic figures and wonderful tremolo under-pinning in the low strings.
The last movement, Arpeggios, usesboth alto and soprano (or sopranino?).The arpeggiated motives move throughthe ensemble similarly to the scales’ activ-ity in the first movement. Piano, percus-sion and pizzicato strings interact particu-larly effectively in this last movement.
Stucky’s eloquent command of tonecolors, textures, and creative play withrhythms allowed him to create a work ofboth musical and technical substance.
Movements has been nominated for aGrammy award. It is well-engineered, with solid, balanced sound. The mar-velous playing and excellent music meritsour attention.
Tom Bickley
Each CD review contains a header with some or all of thefollowing information, as available: disc title; composer(multiple composers indicated in review text); name(s)of ensemble, conductor, performer(s); label and catalognumber (distributor may be indicated in order to helpyour local record store place a special order; some discsavailable through the ARS CD Club are so designated);year of issue; total timing; suggested retail price. ManyCDs are available through such online sellers as<www.cdnow.com>, <www.towerrecords.com>,<www.cdbaby.com>, <www.amazon.com>, etc. Abbreviations: rec=recorder; dir=director; vln=violin;vc=violoncello; vdg=viola da gamba; hc=harpsichord;pf=piano; perc=percussion. Multiple reviews by onereviewer are followed by that reviewer’s name.
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