armay03forwww - american recorder
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FEATURESThe Pipes are Calling. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8For some, bamboo pipe making and playing is a calling,by Charlotte PolettiThe Recorder in Print: 2001 . . . . . . . . . . . . . . . . . . . . . . . . . . 14The annual update of recorder research that has appeared in print in other publications around the world,by David Lasocki
DEPARTMENTS
Advertiser Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Chapters & Consorts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Classified . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Compact Disc Reviews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Music Reviews. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
On the Cutting Edge. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Opening Measures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
President’s Message . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Response . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Tidings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
African famine relief concert in Wisconsin, New Amsterdam Trio,
talking with Matthias Maute, Contributions 2002-2003,
The Recorder at the 2003 Boston Early Music Festival
ON THE COVER:Illustration
byMaria Ingemi-Leggett
© 2003
Volume XLIV, Number3 May 2003
GAIL NICKLESS, Editor
Contributing EditorsFRANCES BLAKER, Beginners; JOHN H. BURKHALTER III, Book Reviews
THOMAS CIRTIN, Compact Disc Reviews;CONSTANCE M. PRIMUS, Music ReviewsCAROLYN PESKIN, Q & A; TIMOTHY BROEGE, 20th-Century Performance
LISA SCHMIDT, Design Consultant
Advisory BoardMartha Bixler • Valerie Horst • David Lasocki
Bob Marvin • Howard Schott • Thomas Prescott • Catherine TurocyKenneth Wollitz
Copyright © 2003 American Recorder Society, Inc.
Visit AR On-Line at <www.recorderonline.org>American Recorder (ISSN: 0003-0724), 5554 S. Prince, Suite 128, Littleton, CO 80120, 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, 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. Photographs may be sent as color or black-and-white prints, or 300-dpi TIFF images. Advertisements may be sent in the PDF format, with fontsembedded.
Editorial office: Gail Nickless, Editor, American Recorder, 7770 South High St., Centennial, CO 80122; 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, Georgetown, CO 80444. Recordings forreview: Thomas Cirtin, 8128 N. Armstrong Chapel Road, Otterbein IN 47970. Cutting Edge: Editorial office. Chapter newsletters and other reports: Editorialoffice. Advertising: Steve DiLauro, LaRich & Associates, Inc., 15300 Pearl Road, Suite 112, Strongsville, OH 44136-5036; 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, Box 631, Littleton, CO 80160-0631. Periodicals postage paid at Littleton, CO,and at an additional mailing office.
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Change began a year ago in the ARS—andis still ongoing. The ARS Newsletter out-lines a recent Member’s Library editorshipshift, from Martha Bixler to Glen Shannon.
A new change you’ll notice in AR is thatGene Reichenthal has asked to stepdown as education editor. After years ofservice to the readers of this magazine, aswell as to the early music community andrecorder world at large, health concernshave prompted Gene to take a well-deserved rest from his many activities. Hisadvice and input will be hard to replace.
AR has also added John Burkhalter asbook reviews editor. Well-known in thePrinceton, NJ, area, John is a musicologistand recorder performer, who studied withDaniel Pinkham at the New England Con-servatory of Music and with Frans Brüggenat Harvard University. Among other cred-its, John has served as a musical consultantfor the National Geographic Society. Lookfor his first contributions to AR this fall.
A belated welcome to Tim Broege,whose thoughts you read in the March ARand can read in this issue’s On the CuttingEdge. Previous AR issues have also coveredrecorder music that he composes, but youmay not know that he has played recorderprofessionally for nearly 30 years, with aspecial interest in giving performances ofworks by living composers. He studiedwith the late Bernie Krainis.
John and Tim follow two able edi-tors—Scott Paterson for books and PeteRose for new music—who still write re-views while “taking breaks” as editors.
In case you’re curious about TomCirtin, whose clever phrases grace the on-going CD reviews that he edits, he studiedat Indiana University and at Oakland Uni-versity with Lyle Nordstrom. While per-forming for a decade on Baroque flute andrecorders around Detroit, MI, he helpedfound the Music from the Age of Enlighten-ment series. Later he opened Sinfonia, aclassical CD store in Indianapolis, IN, andalso edited a journal, Sinfonia Review, thatfeatured articles on classical music and re-views of new CDs. His day job is as an edi-tor for a major computer book publisher.
With such well-qualified experts, howcan an editor—or a reader—go wrong?
Gail Nickless
EDITOR’SNOTE______________________________
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 DirectorsAlan Karass, President; Chair, Fund-raising
Carolyn Peskin, Vice President; Chair, Scholarship; Co-Chair, Education
Marilyn Perlmutter, SecretaryAnn Stickney, Treasurer; Chair, Finance
John Nelson, Asst. Secretary; Chair, PublicationsCharles Rodewald, Asst. Treasurer
Rebecca ArkenbergFrances Blaker, Chair,
Special Events/Professional OutreachRichard Carbone, Chair, Chapters & Consorts
Sheila M. Fernekes, Co-Chair, EducationSue Roessel, Chair, Membership
Kathy SherrickJános Ungváry
Priscilla Winslow, Counsel
StaffBrock Erickson, Executive Director
Renee Baier, Exec. Asst./Membership SecretaryP. O. Box 631
Littleton, CO 80160-0631 U.S.A.303-347-1120
Faxes & membership question hot line:303-347-1181
E-mail: <[email protected]>Web: <www.americanrecorder.org>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 web site financial and incorporation documents complying with that regulation.
ALABAMABirmingham: Janice Williams(205-870-7443)
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MICHIGANAnn Arbor: Bill White(734-668-7120)
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MINNESOTATwin Cities: Jean Fagerstrom(612-722-4967)
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Southern Wisconsin: Margaret Asquith(608-233-4441)
CANADAToronto: Alison Healing (905-648-6964)
Montréal: Patrice Mongeau (514-341-3449)
Please contact the ARS officeto update chapter listings.
ARS Chapters
time.Ensemble playing
in any size group re-quires close coordina-tion between players.This is one of the valuable skills that stu-dents of all ages can learn from playing therecorder. A good coach encourages play-ers to listen to and watch each other whileplaying their own parts musically. Formost of us, this is a skill we are constantlyimproving.
Speaking of improving skills…ARSwill be embarking on a special spring funddrive for scholarships. Education andscholarships have always been prioritiesfor ARS. Last year, 12 recorder players re-ceived scholarships to attend either aweekend or a full week-long workshop.Donations received from this fund drivewill help to ensure that scholarships willbe available to eligible recorder players ofall ages who are attending workshops.Please consider contributing. If you donot receive information about the funddrive and would like to make a contribu-tion, please contact the ARS office.
Wishing you a spring filled with musicand peace,
Alan Karass, ARS President
May 2003 7
PRESIDENT’SMESSAGE___________________________________
The news events over the last fewmonths have been an important, and
sometimes disturbing, part of many peo-ple’s lives. During these uncertain times,we must all find ways to bring a sense ofpeace, meaning, and community into ourlives. For many of us, this comes throughmusic.
With the summer approaching, westart to think about workshops, festivals,concerts and vacationing (both with andwithout instruments). Not everyone de-cides to spend some of their summer play-ing music, but something very specialdoes happen when a group of peoplecomes together to do something they love.
On a very rainy Saturday in February, Ihad the opportunity to attend a recorderorchestra playing day in Norwalk, CT. Itwas organized by Amanda Pond andcoached by Ken Andresen, David Hurd,and Norbert Kunst. Norbert is the con-ductor of the award-winning DutchRecorder Orchestra Praetorius, an ensem-ble of 25 players, that was founded by hisfather as a double quartet in 1963.
It was a wonderful chance to play aunique repertoire (including a movementfrom one of Bach’s Passions arranged byNorbert that involved four altos playingthe very challenging first violin part) with
35 enthusiastic and talented recorderplayers who had traveled from a wide-ranging area. It was an incredible sight tosee a full complement of the lower voicesturn out for the occasion—all the way to asubcontra bass.
Although there are a few recorder or-chestras in the U.S., they seem to be morepopular in Europe. Playing trios, quartets,and quintets undoubtedly requires goodensemble skills and cooperation. Howev-er, playing in a recorder orchestra de-mands a special sense of teamwork. Withthree or more people on a part, attentionto articulation, rhythmic precision, and in-tonation are critical for success. A goodsense of humor is also helpful, especially ifyou are trying to juggle six pages of musicand a contra bass recorder at the same
Finding community in an ensemble
BAROQUE RECORDERS: Models after Steenbergen and Debey (a'=415Hz)Special alto (a'=442Hz)
GANASSI RECORDERS: Soprano and alto in c, g, and f (a'=415Hz, 440Hz, 466Hz)
YOAV RAN RECORDERS (since 1976)5 Benjamin Street, 76244 Rehovot, ISRAELtel/fax 00-972-8-9452526 e-mail: [email protected]. contact: Daphna Mor, tel 917-318-9597Please contact for prompt attention and service.Visit me at the Boston Early Music Festival exhibition, table 25, June 11-14
Playing trios, quartets,and quintets undoubtedlyrequires good ensembleskills and cooperation.However, playing in arecorder orchestrademands a special sense of teamwork.
A benefit con-cert was held inFebruary inEau Claire, WI,to raise moneyfor African
famine relief. The concert featuredrecorderist Beverly Dretzke (student ofCleá Galhano) in solo and chamber en-semble selections by Frescobaldi, Bondi-oli, Cima, and Telemann. Performers(pictured l to r) were Amy Van Maldegiam,bassoon; Laura Jensen, ’cello; AndrewParks, horn; David Fehr, voice andrecorder; Lois Scorgie, Paula Lentz andBeverly Dretzke, recorder; Maria Dossin,organ/harpsichord; Roberta Joern, voice;and Beverly Smith, organ/harpsichord.
Returning to Europe in April from itstwo-week-long “Magic” tour in the U.S.,the Flanders Recorder Quartet contin-ues the pace this summer: performancesin Potsdam, Germany (three concerts inFrederick the Great’s famous “San Souci”castle), Belgium, The Netherlands, andItaly. The quartet will also record a newCD, work on new publications in its serieswith Heinrichshofen Publishing, and pre-pare a new family program based on apopular children’s book, Malus, by Flem-ish author Marc De Bel.
“The FRQ is aware of the huge influ-ence performers of serious music can haveon children’s musical education,” saidquartet member Han Tol. The new chil-dren’s project follows a previous one,“Just a Piece of Wood,” based on a bookby Flemish author Jan Simoen. That pro-gram was performed well over 60 times tocritical acclaim in Belgium, Germany andAustria with actor/mime Johan Luyckx.
In September, FRQ will begin perform-ing “Malus” in Belgium and The Nether-lands, including at the Concertgebouw inAmsterdam, with 2004 performanceselsewhere in Europe. In October, thequartet tours Taiwan for the first time.
Bits & PiecesNew Amsterdam Trio offersTrio in Four Dimensions
For its March performance, the New Amsterdam Trio made a conscious choice tolook at musical parallels across time. Thus, for their well-received program in West-port, CT, modern works were selected to complement works from earlier periods.Their goal was to link each piece in the program to those on either side of it by genre,function, period or geography, rather than to follow a strict chronology.
An inspired example was the placing of Matthias Maute’s Les Barricades, written in1989, into a suite of movements from works by French Baroque composers Louis-Antoine Dornel and Joseph Bodin de Boismortier. The feeling of the Maute composi-tion, perhaps reflective of Couperin, meshed well with the Baroque works.
The program opened with sacred Medieval music, Fulget Coelestis, from the 14th-century Worcester fragments, and Estampie “Petrone” from the Robertsbridge Codex(arr. Joris van Goethem). The intonation, especially critical for music of this period,was excellent. Three 16th-century secular Spanish works followed. Spanish music ofthis period, fusing Moorish, Sephardic and north-of-the-Pyranees influences, is full ofpassion, sometimes startling to the ear. The contrast of the quiet and introspective Si la Noche, sandwiched between the more lively and energetic La verde Primavera andPropiñan de Melyor, was very effective.
Sixteenth-century composer Christopher Tye’s Sit Fast is deceptively challengingmusic. The piece moves from a rather straightforward opening through complex shiftsof meter that occur in the different parts at different times. The trio more than met thechallenges, making it sound relaxed and easy.
While a “fasten your seat belts” version of La Follia (1994 arrangement by LaFontegara Amsterdam) is not a programming surprise, placing it adjacent to the in-trospective Hindemith recorder trio from “Plöner Musiktag” perhaps is. Willem Wan-der van Nieuwkerk’s Bye Bye, Blues (C-U Jesus) for bass, tenor and alto recorders ac-knowledges the link between religious hymns and secular blues, and Rachel Begley’snear “vocal” sound on alto recorder was especially effective. Following this work withthe Allegro movement of the Vivaldi Concerto in G minor, with its prominent role forbass recorder, was another successful linkage. Placing Bye, Bye Blues (C-U Jesus) nearthe Maute, Dornel and Bois-mortier grouping drew a paral-lel from the near-impossibilityof notating either FrenchBaroque music or jazz to matchthe performance styles. A delightful trio setting of the van Eyck “Buffons” served as anencore.
To say that this was a “think-ing person’s” program in noway diminishes the sheer musi-cality of the event; the New Am-sterdam Recorder Trio playswith great sensitivity and ashared sensibility.
Nancy M. Tooney
8 American Recorder
TIDINGS___________________________________Recorder Festival Montréal, music for Africa and children
Daphna Mor, Rachel Begley and Tricia van Oers (l to r)—members of the New Amsterdam Recorder Trio—all studied in Amsterdam, and have settled in and around New York City, thus the choice of name.
May 2003 9
Matthias Maute is the headlining recorderartist at this year’s Boston Early Music Festi-val, set for June 9-15. He took time from hisbusy schedule to fill in a few details about hisactivities during the coming months.
First, I think that some AR readers who don’tknow you would be interested to know youreducation and background.
I grew up with recorder and violin. Re-gardless of my endless efforts on the violin(practicing like a maniac), the recorderturned out to be my instrument, since Iwas born with much more talent for play-ing it rather than the violin. After all, it isthe instrument that chooses you.
In Germany, where I grew up, therecorder is an instrument for girls, so as ayoung boy you don’t necessarily feel likespending a lot of time practicing therecorder. But since I couldn’t help it, Iwent on and on, exploring all the differentpossibilities. After all, the recorder is a fas-cinating instrument! It is the chameleonamong the instruments. I often play 10 or20 different types of recorders during aconcert. The challenge to master that vari-ety, and the pleasure to present so manyfacets of sounds, has always been and willalways be overwhelming.
Later I studied in Freiburg, Germany,and in Utrecht, Holland (1986-1989),with Baldrick Deerenberg and Marion Ver-bruggen. Baldrick Deerenberg’s teachingwas a turning point in my playing, since heused to talk about the parallels betweenthe sound production on the recorder and…the bow of the violin! And there we are.So I had only to put together this soundconcept with my experience as a fiddler.The desire to work on flexible and dynam-ic sound took me on another track.
In 1990, I started teaching myself thetraverso. It is tough to be an autodidact,but the experience turned out to be ex-tremely refreshing, since you have to re-consider the slightest details. This rockyway inspired my recorder playing—naturally a lot....
As a composer, what you do you feel is theplace of the recorder in contemporary music?
The recorder is an outsider in this mu-sical world. That means we can do what
we want, and we don’t have to do whatpeople ask for. This freedom is a privilege,which can be widely used for all differentkinds of making music. Now we can playelectronic music, jazz, dodecaphonic [12-tone] music or whatever we want to.We can invent—that is, compose—ourown music, and by this approach comecloser to the ideal of creating an individualworld by both composing the music andthen playing it.
We should keep this place at the edgeof musical society. Very often true progressis made far from the center rather thanwithin.
I’ve read that you feel a strong connection between musical figures such as the blind car-illonneur of Utrecht Jacob van Eyck andAmerican jazz saxophonist Charlie Parker.Can you describe how you see that connection?
Since I started improvising in concertsand for teaching purposes, my perspectivechanged dramatically. I do respect a lot theart of interpreting composed music. I tryto master this art as well as I can.
Nevertheless the integration of im-provisation opened a completely newworld for me. In the beginning, it feltlike walking on the dark side of themoon without light, without knowingwhere to go. It took me quite a while todevelop an interesting musical vocabu-lary, which helped me to improvise indifferent styles. And here Jacob van Eyck and Charlie Parker became my heroes. Notwithstanding its seeminglyaverage compositions, the Fluyten Lust-hof turns out to be the most amaz-ing collection, if we consider the piecesas transcriptions of spontaneous im-provisations. Jacob van Eyck could pickup any tune and develop his own varia-tions right on the spot. Whoever hastried this, knows how difficult this isand how high van Eyck’s level was.Charlie Parker, of course, could havedone the same.
Tell us about plans for Recorder FestivalMontréal in September. Who will perform, and what kinds of music will be offered?
The Recorder Festival Montréal (atMcGill University, September 19-21)offers a widespread range of activities andperformances. Three principal concertsfeature Marion Verbruggen with a soloprogram ranging from early to contempo-rary music (on Sunday, September 21);the Ensemble Caprice, under my direc-tion, performing cantatas and sonatas byTelemann with soprano Monika Mauch,Marion Verbruggen and Sophie Larivière(on Saturday, September 20); and theMontréal-based recorder quartet Buxus(Femke Bergsma, Francis Colpron, SophieLarivière and myself) playing contempo-rary music, including two world pre-mieres by Gerhard Braun and myself; and,as a recorder sextet (adding Matthew Jen-nejohn and Natalie Michaud), Renais-sance music from Italy and England (onFriday, September 19).
A workshop for amateurs with FrancesFeldon (of California) will end with a finalconcert of the participants. Manfredo Zim-mermann (recorder teacher at theMusikhochschule in Cologne and Wup-pertal, Germany) will report about peda-gogical activities in Europe. He has a num-ber of publications, mostly recorder meth-ods that illustrate new ways to render therecorder as an interesting instrument foryoung students. There will be a presenta-tion of the amplified recorder by Jean-Luc
An interview with Matthias Mauteabout the Boston Early Music Festival, Recorder Festival Montréal, and his life as a recorderist
To purchase tickets for Ensemble REBEL or other concertsduring the Boston Early Music Festival, June 9-15, call617-247-1408 or visit <www.bemf.org>. For more infor-mation about Recorder Festival Montréal, September 19-21, contact Matthias Maute, 4841 Garnier, Montréal,Quebec H2J 3S8, 514-523-3611, <[email protected]>.
10 American Recorder
Boudreau, and also an exhibition.
I’m especially interested to know more aboutthe arrangement for recorders of Béla Bar-tok’s Microcosmos.
It will be performed by a group ofyoung players, called Flûte alors. I madethis arrangement two years ago, and itsounded as if Bartok had composed thepieces for the recorder rather than for thepiano. (Or maybe I listen to too muchrecorder music….) I had the feeling thatthose short pieces would have a great ef-fect if put in a theatrical context, since theyseem to reflect action rather than medita-tion. Andrew Levy [a young composer inCalifornia, and recipient of the 2001 ARSPresident’s Scholarship to attend the Indi-ana Academy where Maute teaches] wrotea play, which describes An Episode from theAnnals of Scientific Inquiry, or, ProfessorYebusgralov and his trusty assistant Nescio,Lost in the Amazon. It is a funny and veryimaginative story, which was premiered inits German version in Wuppertal, Germany, last year. Five actors and an orchestra of 30 musicians—including instruments such as recorder, harp, flute,piano, guitar and one singer—created amusical play that pleased both the audi-ence and the participants.
Will Recorder Festival Montréal be an annual event, or perhaps one that will recurat some frequency other than annual?
Last year I organized, together with So-phie Larivière, a recorder festival here. TheDutch Weekend presented the recorder or-chestra Praetorius from Holland and PaulLeenhouts, who joined the EnsembleCaprice for a concert. His composition for
three voice flutes with amplification,which was premiered on that occasion,left a very strong impression on the audi-ence.
The Recorder Festival Montréal will be amuch bigger edition of the same idea—promoting the amazing possibilities of therecorder and its music. There will be morefestivals; the next one is planned for 2005.
Your concert schedule for the near futureseems to be very active. Tell us about your up-coming plans, especially your tour to Ger-many and also the performance by REBELduring the Boston Early Music Festival.
In May, I tour first with EnsembleCaprice in Germany with a program called“A Soirée of Chaconnes.” We will presentthat program six times, including at theEarly Music and Recorder Festival in
Stockstadt (the most important Europeanfestival for recorder players; AmsterdamLoeki Stardust Quartet and Dan Laurinwill perform there this year as well). Weadded percussion—Ziya Tabassian of Montréal—to that program, which pro-vides a good “drive” to the 17th- and 18th-century pieces of Rossi, Uccellini,Schwartzkopf, Purcell. In EnsembleCaprice, my wife, Sophie Larivière, plays
with me—both recorder and traverso.After that tour, I stay in Germany for a
tour with REBEL, where we will performamong other places at the Handel Festivalin Halle an der Salle, Germany. The day af-ter the Halle concert, I have to get toBoston as fast as possible for rehearsalswith the Ariadne Festival Orchestra at theBoston Early Music Festival, for the Tele-mann E minor double concerto.
On Sunday, June 15, REBEL will per-form the program “Telemann alla polacca,” including the D major flute con-certo—a fantastic piece, one of my fa-vorites—and the E major suite for flûtepastorelle and strings. This piece (alongwith the famous A minor suite) is Tele-mann’s longest piece for recorder andstrings. Funny enough, it was conceivedfor a folk instrument—a tiny sixth flutewith a Renaissance bore that comes ina=440, whereas the strings play ina=415! Telemann did a great job of ex-ploring the possibilities of these two dif-ferent worlds—the classy string band atthe court versus an instrument played byitinerant musicians.
In the autumn, my ensemble will be ona big tour in Canada, organized by “Jeunesses musicales du Canada.” Thirtyconcerts will keep us on the road for quitea while! This program will include aBaroque dancer and actress, so as to addtheatre elements to early music. This addi-tional “spice,” in fact, gets us very close tothe way music was presented in formertimes.
Do you have any new recordings about to bereleased?
continued on page 32
Hours of playing and enjoyment with early
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Baroque Chamber Music Play-Along CDs!with Music and Performance Guides for Recorder Players
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PreDiscContinuoEarly Intermediate Handel, Lully, Purcell, Corelli, Consort Music of Lassus, Dowland, Arcadelt & more
The DiscContinuoIntermediateTelemann, Marais, Handel, Frescobaldi & even more
DiscContinuo IIAdvanced IntermediateBach, Philidor, Mancini, Handel Cantata with soprano Susan Rode Morris & even still more!
REBEL will perform theprogram “Telemann allapolacca,” including the D major flute concerto—a fantastic piece, oneof my favorites....
RECORDER EVENTS AT THE2003 BOSTON EARLY MUSIC FESTIVAL
MONDAY, JUNE 97 p.m. Johann Georg Conradi’s opera Ariadne
(see description on Tuesday), Open DressRehearsal. EMT
TUESDAY, JUNE 107 p.m. Johann Georg Conradi’s opera Ariadne,
First performed in 1691, Ariadne is the earliestsurviving opera from Hamburg’s acclaimedTheater-am-Gänsemarkt. The score for thiscompletely unknown operatic masterpiece wasrediscovered in 1972, and Conradi’s memorablearias, duets and trios, his masterfully expressiverecitative, and virtuoso orchestral writing create astylish, expressive experience that is fresh to ourears, and instantly engaging. EMT
WEDNESDAY, JUNE 1111 a.m. Renaissonics with John Tyson, recorder, presents
Le Gratie d’Amore: The Graces of Love incelebration of dancing master Cesare Negri’smasterpiece of Renaissance dance & theater,including works of Negri, Vecchi, Merula, Grillo,Praetorius & improvisations. ECL. $10 adult, $5 student, senior, EMA, BEMF; children FREE. 617-661-3353.
7 p.m. Johann Georg Conradi’s opera Ariadne, (see description on Tuesday). EMT
THURSDAY, JUNE 125 p.m. The Newberry Consort and Piffaro, the
Renaissance Band, This concert of German workswill include folk-ballads, Meistergesang, andgloriously inventive part-music—for voice, viols,harp, lute, recorders, shawms, sackbuts andbagpipes. JH
8 p.m. Ariadne Baroque Orchestra (with MatthiasMaute, recorder), Lustiger Mischmasch: ChoiceOrchestral Jewels of the Baroque. JH
FRIDAY, JUNE 139 a.m. ARS Roundtable discussion: “Composing and
Arranging for the Recorder,” with distinguishedpanelists and moderated by Timothy Broege. SPC(Free)
11 a.m. ARS Reception honoring David Goldstein,recipient of the ARS President’s Special HonorAward. SPC (Free)
12 p.m. Trio Saltarello, Sarah Cantor, recorders; AngusLansing, viola da gamba; Henry Lebedinsky,harpsichord; with guest violinist Kinloch Earle. The Art and the Fugue: Music of the Bach family.Goethe Institute, 170 Beacon Street. $15 adult; $10 student, senior. 617-669-4292 or<[email protected]>.
7 p.m. Johann Georg Conradi’s opera Ariadne, (see description on Tuesday). EMT
SATURDAY, JUNE 149 a.m. Eleventh Annual ARS Great Recorder Relay.
Free vignette recitals by professional recordersoloists and groups, showing the many possibletype of music featuring recorder. Performances by Eric Haas, Steve Tapper, Sarah Cantor, FrancesBlaker, Kara Ciezki and others. SPC (Free)
4 p.m. Performance Masterclass: Matthias Maute,recorder. ECPH (Free)
7 p.m. Johann Georg Conradi’s opera Ariadne, (see description on Tuesday). EMT
SUNDAY, JUNE 158:30 a.m. Breakfast Discussion of Issues Facing ARS
Chapters Today. Informal roundtable with chapterleaders, ARS Board members and staff. NEC, JHRoom 124 (ARS Chapter Leaders $5/person formeal. RSVP and pay to ARS—303-347-1120)
10 a.m. Recorder Play-in led by ARS President Alan Karass. Bring recorders and stands. NEC, JH Room 124, 303-347-1120 (Free)
12:30 p.m. REBEL with Matthias Maute, recorder,Telemann alla Polacca. The internationally-acclaimed Baroque ensemble REBEL celebratesTelemann’s foray into the “mixed style” thatcombined the “barbaric beauty” of the “Polishmanner” with German Baroque music. JH
3:30 p.m. Johann Georg Conradi’s opera Ariadne, (see description on Tuesday). EMT
Visit the ARS Table (Table 39, sixth floor of theRadisson Hotel) for a map with updated recorderevents list and information.
The Festival Exhibition (instruments, music, etc.) isopen Wednesday-Friday, June 11-13, 11 a.m.-6 p.m., and Saturday, June 14, 10 a.m.-5 p.m., at the Radisson Hotel Convention Center, 200 Stuart Street, 6th floor; large instruments ondisplay on the 4th floor of the nearby Boston Park Plaza Hotel.
Venues:EMT=Emerson Majestic Theatre, 219 Tremont StreetSPC=St. Paul’s Episcopal Cathedral, 138 TremontStreetECPH=Emmanuel Church Parish Hall, 15 NewburyStreetNEC/JH=Jordan Hall at New England Conservatory,30 Gainsborough Street, Boston, near HuntingtonAvenueECL=Emmanuel Church Library, 15 Newbury Street
For more information about ARS-sponsored activities, call or e-mailthe ARS office. An updated schedule of recorder events will be avail-able at the ARS booth during the Festival. Contact the ARS office ifyou can volunteer to help at an ARS event. For information about ortickets to BEMF events, call 617-247-1408 or 617-247-1409 between12-6 p.m. EST M-F, or visit <www.bemf.org>.
12 American Recorder
Musical instruments made from bam-boo have been in existence most
likely for millennia. Although bamboopipes made by those affiliated with aworldwide network of pipers’ guilds orig-inated only 77 years ago, they have alreadygenerated a modern tradition rich in mu-sical, artistic and social interest.
These bamboo pipes were first madeby Margaret James in London, England, in1926. Miss James, an instructor in aschool whose students could not affordany musical instruments other thancheaply-made, poorly-tuned pennywhis-tles, wished to provide the children with aserious instrumental ensemble experi-ence. Inspired by a Sicilian goatherd’spipe brought to her by a friend, she exper-imented using bamboo curtain rods fromher attic. She soon developed a whole“family” of bamboo pipes, and in oneyear’s time had a band of 80 pipers.
As with the Pied Piper, the beautifulmellow tone of the bamboo pipe soon at-tracted many people, including profes-sional musicians. In Great Britain, com-poser Ralph Vaughan Williams grew veryinterested in Margaret James’s work andbecame president of the British PipersGuild, a position that he held for a num-ber of years.
Pipes soon spread to France andSwitzerland, where guilds were founded.In 1932, an International Federation ofPipers’ Guilds was established to coordi-nate meetings and the flow of informationamong the pipers. Subsequently pipers’guilds were formed in Austria, Belgium,Denmark, France, Germany, Greece,Japan, The Netherlands, Switzerland—and, in 1991, the United States.
The Special SpiritA pipers’ history would be seriously
lacking without some explanation of thephilosophy and spirit behind the move-ment, as well that as of its founder. Mar-garet James started with one basic idea: toprovide a quality musical experience forher students. Her approach was based ona great appreciation for simplicity thatshe, a very modest person, exemplified.She once wrote: “We are so dependent onmachinery that we forget the use of our ownhands, so accustomed to pay a heavy price for
what we value that we may ignore the use ofsimple materials. In pipe-making our handsare used to fashion a perfectly common pieceof wood. The result is a treasure. The pipe isa gift from nature; had it been purchased atthe music shop for twenty pounds, its valuewould have been less, not more.”
From this simple idea, however, grewsomething sophisticated and complex.Miss James quickly recognized not onlythe value of using what nature offered, butalso the importance of the process itself.She felt that the pipe experience should“unite handicraft and design with music,so that we [could] understand and enjoyall three.” Thus, she sought to involve herstudents not only musically, but also sci-entifically in the craft of instrument-mak-ing and aesthetically in pipe decoration,as integral parts of a whole. She soon dis-covered that the experience was synergis-tic, far transcending its educational com-ponents; sharing it created bonds thatgreatly enhanced the process. The spiritthus engendered had a profound impactwith far-reaching consequences.
Miss James and her followers realizedthat, to preserve this special experience,they needed to focus on maintaining thequality of the instruments and the condi-tions under which they were made. Theyset up a system to pass down the pipe-making craft through master teachers,who must complete a long course of studybased on Medieval guild practices. A po-tential teacher works as an apprentice or“journeyman,” helping and observing amaster teacher. This person then takes ajourneyman’s exam that allows a success-ful examinee to teach pipe-making. To at-tain the highest teaching rank, the candi-date then studies further with a masterteacher, who reviews skills in musician-ship and music theory as well as in pipe-making. This process culminates in a mas-ter’s exam that, when completed success-fully, allows the new teacher to train otherteachers, give exams, and found a nation-al guild in any country not having one.
In addition to the careful preparationof teachers, a decision was made not tosell pipes. They would be made by theplayers themselves, a custom still prac-ticed by all the guilds.
The Pipes are CallingFor some, bamboo pipe making and playing is a calling
by Charlotte Poletti
Charlotte Elliott Poletti, founder andpresident of the American Pipers’
Guild, received her B.A. degree from Smith and an M.S. in MusicEducation from the University of
Illinois. She has studied extensively inEurope, where she learned to make
bamboo pipes, and is the onlyAmerican to have attained Master’sstatus in the making and playing ofpipes. She has helped students aged
seven to 70 make over 1500 pipes andhas been a guest teacher for
the Austrian, British, Dutch, French and Swiss Pipers’ Guilds.
Pipe decoration is an entirely individual and personal art.
The president of theAmerican Pipers’ Guildoutlines how (and, more
important, why)bamboo pipes are made,
who makes and playsthem, what music they
play, and how interestedindividuals can becomepart of the pipe dream
Comparing Pipes & RecordersHow do pipes differ from recorders?
Some areas for comparison are materials,sound, sizes, range and fingerings.
The obvious difference between thetwo is the material from which they aremade. Bamboo is in the grass family andhas many irregularities of thickness, den-sity and diameter. It naturally tends to belighter than the woods used for recorders,though some bamboo is more dense andheavy than others. This lighter weightmakes the larger instruments easier to ma-neuver than their recorder relatives.
A cork is used for the fipple. It is readi-ly available and easy to work with, and al-so helps absorb some of the humidityfrom one’s breath.
The sound of pipes is extraordinarilysweet. It is a well-focused sound (unlikethe more airy sound often heard on manybamboo flutes), but has less of a cuttingedge than the recorder, especially with thehigher-pitched instruments. (This canhave its advantages. Experience hastaught me that 80 children playing pipestogether is a lot easier on the ears than thesame number playing recorders!)
The quality of the sound is due in partto the nature of bamboo. Also having aconsiderable influence are the inside di-ameter, which is larger than that of arecorder for the same-sized instrument,and the cork in the mouthpiece. It is in-teresting, however, that the lower-pitchedpipes sound quite similar to their recorderequivalents. A few instrument buildersmake bamboo clarinets and saxophones,with traditional mouthpieces but an in-side diameter like pipes—and, amazingly,these sound like clarinets and saxo-phones! This came as a surprise to thosewho, for years, assumed that the soft pipesound was almost entirely determined bythe bamboo and its inside diameter; obvi-ously, the mouthpiece is important.
Pipes may need less breath thanrecorders, but not much less when well-played. As with recorders, controlled diaphragmatic breathing enhances tonequality and provides more flexibility forphrase shaping.
Pipe sizes and the keys in which thebasic ones are made from smallest tolargest are: sopranino (G), soprano (D),alto (G), tenor (D), bass (G), quart bass(D-fourth below the bass) and great bass(G-octave below the bass). For each sizethere are three types—simple, semi-ex-tended and extended. Semi-extendedsare very similar to simple pipes, butmade with more stringent measure-
ments for better fingerings and one ortwo extra notes at the top of their range.
Simple and semi-extended pipes havesix finger-holes down the front and a leftthumb hole on the back. Starting at thebottom, the first hole is covered by theright ring finger. Each hole represents atone of the diatonic scale, and one playsup the scale by lifting each successive fin-ger. When all the fingers are removedfrom the holes on the front, the thumb isremoved from its hole in the back tosound the octave. One gets used to hold-ing the instrument in place with the rightthumb, little fingers, and lower lip!
Simple and semi-extended pipes gen-erally have the range of an octave plus athird to a fifth, while extended pipes playup to two octaves. They have a specialcork adjustment placed inside to tem-porarily narrow the airway and allow alonger instrument for the same funda-mental pitch. A narrower inside diameterin relation to length favors getting morehigh notes. Also these higher notes’ har-monics can be changed by altering thesize or placement of the adjustment,making better cross fingerings possible.
The range of these instruments is “ex-tended” on the bottom as well as on thetop. Like recorders, they are tuned to Cor F with a hole at the bottom for theright little finger for D or G. To facilitateswitching from simple to extended in-struments, however, it has been the tra-dition to keep the extended pipes’ holestuned to the diatonic tones of the keys ofD or G. Thus when uncovered one byone from the bottom, the eight holes ofan extended soprano pipe would soundD - E - F - G - A - B - C - D, even thoughthe fundamental (with all holes covered)would be a C . With extra notes at eachend of their range, extended pipes canplay more repertory written for other in-struments.
One might reasonably ask: why notmake only extendeds? They are more dif-ficult to make and to play, and the tonequality of their lower octave is often lesspleasing than that of simple pipes.
Though pipe fingerings for the dia-tonic scale are standardized, the big dif-ference among individual pipes comeswith the cross fingerings for the acciden-tals of the chromatic scale (notes be-tween the diatonic scale tones). Withvariations in the bamboo, the same crossfingerings cannot always be obtained,even for the same note of the same-sizedinstruments. One must learn the finger-ings for one’s own pipes.
“We are so dependenton machinery that weforget the use of our ownhands, so accustomed topay a heavy price forwhat we value that wemay ignore the use of simple materials.”
May 2003 13
An extended sopranino pipe
Author Charlotte Polettiplays an extended alto pipe.
14 American Recorder
How Pipes Are Made A master teacher cuts pieces of bam-
boo from poles, carefully chosen for innerand outer diameters, curvature, densityand regularity, as well as joint placement.Using simple hand tools for all construc-tion, the maker takes one of these piecesand starts by removing the solid mem-brane inside each joint. Then the mouth-piece is formed: the end of the bamboo isshaped, window and sill made, channelcarefully filed, and a cork fitted in so thatit comes down right to the top of the win-dow. The side of the cork that meets thechannel is filed so that the air is focused to-wards the window in a specific manner.
The end of the bamboo and cork clos-est to the player’s mouth may be fash-ioned in a number of different ways, de-pending in part on whether the windowwill face backwards or forwards. For thelarger instruments, it is usual for the mak-er to put the window in the back with theholes down the front, allowing the playerto hold the instrument closer to the body.
When a pleasing sound is obtained,and the harmonics created by overblowingthe fundamental meet certain standards,the bottom of the bamboo is sawed off—often several times to be cautious—untilthe first note is in tune. Makers use anelectronic tuner as well as other pipes(which would already be accustomed tothose specific climatic conditions).
Previous to the last tuning, two or threepinhead-sized holes are made just belowthe window and off to the side, which al-low the player to alter the pipe’s pitch.Opening a tuning hole raises the pitch ofthe instrument and closing one lowers thepitch, which allows the players to tune to
other instruments,as well as to ac-commodate achange in environ-mental condi-tions. When mak-ing the pipe, thebuilder covers oneof these tuningholes, using tapeor else the end of around toothpick,and leaves the oth-er(s) open.
Next, startingfrom the bottom of
the pipe, the holes for the notes above thefundamental are made. A hole is drilledand then filed with a small round file untilit is in tune. Hole placement and size canvary depending on a number of factors,which the teacher is trained to take into ac-count in advising the maker how to pro-ceed. Keeping these factors in mind is cru-cial to the correct tuning of the lower oc-tave, the cross-fingerings for accidentals,and the notes above the octave. For someholes, these must be considered simulta-neously, requiring a real balancing act.
Lastly, pipers are encouraged to deco-rate their pipes as they wish. Polyurethanecoatings are usually applied to help pro-tect the bamboo from our climate. Pipessometimes crack but can be repaired,without compromising the sound, withlinen-thread bindings embedded intothem.
Alteration and ExperimentationPipes present possibilities for alter-
ation that would be difficult or impossiblewith commercially-made instruments. Bymaking one’s own instrument, personalneeds can be taken into account, makingpossibilities for altering a pipe enormous.Although there are certain “formulas” thatfavor a better sound and more accuratepitches, a number of variations are possi-ble for obtaining these without compro-mising quality. For instance, those withsmall fingertips can indent the outsidesurface or undercut their holes inside,both of which raise the pitch without in-creasing the size of the opening, as a wayof making the holes somewhat smaller.Holes can be displaced laterally for thosewith fingers of very different lengths.Handicapped people can make fewerholes, and play a simpler repertory. Vari-ous materials can be placed on a pipe bodyso that the player can more comfortablyhold his or her instrument or more easily
find a certain note.Experimentation is an important and
enjoyable part of pipe-making. Some mak-ers have developed different types of in-struments, sometimes rather unusual. InGermany, one builder started making asmall hole, smaller than a finger hole insize, near the bottom of some of his in-struments. That enabled him to have alonger pipe body for the same pitch, thusfavoring upper notes; others have fol-lowed suit, but some players feel that thischanges the quality of the sound.
Some love to make unusual instru-ments. A Danish piper made a great bassthat came apart for easier traveling. An-other made one shaped like a large saxo-phone, so it would not be so long. A Dutchpiper has made his own pipe “organ,” us-ing a very quiet motor to push air throughbamboo pipes measuring from a few inch-es to 15 feet in length (or in height, since itis placed standing up when not kept safe-ly on his bedroom floor). Some earlypipers made pipes in almost every key sothey would have more playing flexibility!During World War II, British pipers madebasses from metal with wooden heads,since large bamboo was not available.
Quart and great basses have only beenmade since the 1970s. Their larger sizemeant that pipers needed to learn to makekeys, while trying to keep pipe construc-tion relatively simple. Many builders ini-tially made keys out of bamboo, butturned increasingly to metal for durability.The process is still ongoing, as pipe teach-ers search for the best way to make sturdykeys in a basic home workshop setting.
Repertory Pipers have enjoyed using a large, ever-
increasing repertory: music written forother instruments and for voices, andpieces composed specifically for pipes.Pipes lend themselves particularly well toearly music, as well as to contemporaryharmonies.
Music written for other instrumentsand for voices is often used, as well asworks composed specifically for pipes. Anumber of 20th-century composers wrotemusic for pipes, ranging from one to 10parts, sometimes in the context of nation-al contests for new compositions or ascommissions for international gatherings.
Experimentation is animportant and enjoyablepart of pipe-making.
Dutch pipers make a tenor pipe during the youthcourse in Mechelin, Belgium.
May 2003 15
In Great Britain, Vaughan Williamswrote a Suite for Pipes, as well as othershorter works. Pieces were also composedby Imogen Holst, William Lloyd Webber(Andrew’s father), Elizabeth Poston, Milli-cent Shepperd, Richard Hall, Edwin Rox-burgh, Alexander Brent-Smith, and, morerecently, Betty Fernley and Betty Roe.
In France, pieces were written in the1930s specifically for pipes by Jacques Ibert, Darius Milhaud, Francis Poulenc,Albert Roussel, and others. Later Frenchcomposers include Pierre Maillard-Verger,Pierick Houdy, Claude Arrieu, Claude Pas-cal and currently Jacques Vivant.
In Austria, a large piece, Im Weingarten,was recently written by Franz Xaver Fren-zel for the last international teachers’meeting in 1999. In Switzerland, BernardReichel composed many pieces; and morerecently conductor and composer CurdinJanett wrote several pieces, one of which isa suite called Lomdaläva for nine parts (thebottom part reinforced with bassoon forits 1996 premiere).
In The Netherlands, the list of com-posers for pipes is long—Jurriaan Andriessen, Henk Badings, A. Bonsel,Wim Burghouwt, Albert de Klerk, Tera deMarez Oyens, Bram Hijmans, WilfredReneman, Gerard Sars, Herman Strategier,Jan van Dijk, and many others.
New music is constantly being com-posed or arranged for pipes. The DutchPipers Guild regularly publishes pipe mu-sic for subscribers. For the internationalmeeting in Belgium in 2001, which had atheme of wind, water and clouds, theAmerican guild published a booklet ofmusic arranged for pipes called Reflectionson Water.
Players and PerformancesWho are the pipers? Young children to
90-year-olds have enjoyed piping. Withcareful supervision from a teacher, chil-dren as young as eight or nine years oldcan make their own pipes, depending ontheir digital coordination, concentration,and ability to use tools. Older children rel-ish the independence of working on theirown. All ages love creating their own in-struments.
Adult pipers tend to come from a num-ber of traditions—classical and folk, vocaland instrumental. Some folk musiciansplay such instruments as dulcimer,psaltery, harp, limberjack, concertina,bodhran, various types of flutes, and evena banjimer (the latter being a cross be-tween a dulcimer and a banjo, shaped likea dulcimer but with a banjo head imbed-
ded into its body). These are combinedwith pipes for folk concerts.
At other times, pipes have been suc-cessfully mixed with more classical instru-ments: piano, harpsichord, organ, ’cello,bass, guitar, flute, and a large variety ofpercussion instruments. Pipes playing thecantus firmus line of a Bach cantata move-ment with organ is quite lovely!
Recorder players and pipers some-times play together, with the best combi-nation being that of high-pitched pipeswith low-pitched recorders. A few of ushave even had the pleasure of specialcoaching by recorder teacher John Tyson.
Pipe music lends itself particularly wellto certain venues. Though not outstand-ing for “background” music when othersound gives serious competition, pipes areespecially pleasing either in smaller hallsor in a quiet church setting where theirmellow tone can give an appropriate “other-worldly” feeling.
Pipers have played for over 15 years ina holiday concert series in Lexington, MA,where the music can be heard throughoutthe rooms of the town’s historic taverns.Pipes can be beautiful with small groups ofsingers or with larger groups that humsupporting harmonies and counter-melodies.
At international gatherings as many as300 pipers play at the same time—quite aunique, pleasant sound.
The International ConnectionOne of the most far-reaching conse-
quences of the pipers’ movement has beenconnecting people from all over the worldin very profound, positive ways. Startingin the kitchen of a home in London (ormaybe a field next to some goats in Sicily),pipes now provide purpose and inspira-tion for gatherings with hundreds of peo-ple from at least three continents. Nation-al workshops (or what Europeans call“courses”) are offered at least yearly incountries with large guilds. Some alsohave separate youth guild courses, startingwith children in their early teens. Everyfew years, there are international youth
courses for those ages 16-25. One will beheld this summer in Delft, The Nether-lands, from July 26-August 2.
Once every five years, there is a largegeneral international gathering, whereanyone can come to make and play pipes,as well as engage in a number of other re-lated activities. Countries take turns host-ing these gatherings, providing inexpen-sive accommodations in interesting andaccessible places. The “seat” of the Inter-national Federation changes, dependingon what country will host the next generalinternational meeting. The last such meet-ing was organized by the Dutch PipersGuild in 2001 and took place in Meche-len, Belgium, in a school just across thestreet from the beautiful little palace ofQueen Margaret, where Charles V wascrowned Holy Roman Emperor in 1520.The next general international meetingwill be in England in 2006.
At these international meetings, thehost country often brings in its experts indifferent aspects of music, as well as danceand theater. Young people who may not bestrong enough yet in any of the three offi-cial languages of the International Federa-tion—English, French and German—often enjoy mime, puppetry or shadowtheatre, which use little or no spoken lan-guage but can weave in a lot of body lan-guage, music, and imagination.
A composer is often commissioned towrite music specially for the course, whichis then presented at a final concert. Pipeand “non-pipe” performances are given bycourse participants whenever they can fitinto the schedule.
Sponsoring countries also provide in-teresting excursions and educational op-portunities for visitors. The guilds provideevening music, entertainment and foodfor the others so that all can learn abouttheir work and traditions.
Every four to five years, there is also aninternational meeting for teachers of pipe-making, to provide further training and aforum for sharing new ideas. This July,such a gathering will be sponsored by theFrench Pipers Guild in Rennes, France.
At a July 2002performance inLexington, MA
(left to right) silver flutist Mary Neumann, pipersSarah Matthews, Katherine Rose,
Ruth Rose, Charlotte
Poletti and Nancy Kasper.
16 American Recorder
Those interested in teaching generally ap-ply through their own national guilds.
Every three to four years, there is also asymposium attended by two representa-tives of each guild who are especially in-terested in pipe construction. This is atime for experimentation and in-depth ex-change of thoughts and experiences. LastOctober a symposium was held in Ger-many to focus on making great basses.
Newsletters from the larger guilds arepublished regularly to keep people in-formed of their activities. Occasionally thepipers “network” will go into extraordi-nary service. In 1993, when the earth-quake struck Kobe, Japan, the center ofthe Japanese Guild, word was sent quick-ly around the world by pipe leaders aboutthe well-being of various Japanese pipers.Naturally, the opportunity was not missed
to send personal greetings from one guildto another! Likewise, in September 2001,inquiries and sympathies were directedrapidly to American pipers who had justbeen at the international meeting in Bel-gium in August.
Those of us who have had the privilegeof being part of pipe-making not only haveour “treasures”—our own self-made mu-sical instruments and our piping friendswith whom we play at home—but havebeen given a gift by the international com-munity. When pipers from different coun-tries get together, the experience becomesjust that much richer and more exciting.Here is part of a poem entitled An Ameri-can Pipe Dream by Jeannie Parker, anAmerican piper who attended the last in-ternational course:
The American Pipers’ Guild sponsorsworkshops either in Boston, MA, or,more frequently, near Hartford, CT. Ifyou are interested in learning more,please visit <americanpipers guild.org>or e-mail <bamboopipe@ aol.com>; orsee the British pipers’ web site:<www.pipers guild.org/gallery.html>Upcoming Events:Saturday, June 7: Pipers will participatein a Dulcimer Folk Association coffee-house, 7 p.m., Sounding Board, Univer-salist Church, 433 Fern Rd., West Hart-ford, CT. Donation at the door.Friday, July 11: For those in the Bostonarea, an hour of pipe music at 12 noon atthe First Parish Church, 7 HarringtonRd., Lexington, MA (facing the main Bat-tle green). Donation at the door.
Those interested in pipe repertorymay contact the individual guilds: American: Charlotte Poletti, 136 Wood-ford Hills Drive, Avon, CT 06001,<[email protected]>Austrian: Ingeborg Hink, Fillenbaum-gasse 47/3/3 A 1210 Wien-Strebesdorf,Austria; Frenzel music: FriedemannKatt, 2002 Füllersdorf 6, AustriaBritish: Ted A. Drake, Mardle Cottage,Thorrington Road, Great Bentley, Essex, CO7 8QD, UK<[email protected]> Danish: Val Nielbo, Lindevangsvej 5,Birkerod, DK-3460, Denmark*Dutch: Gonny Smit, Kerkstraat 24,9801 CN Zuidhorn, The Netherlands,<[email protected]>. Publishers in TheNetherlands: Ascolta Music Publishing,P.O. Box 162, 3990 DD Houten, <[email protected]>; Broekmans & Van Poppel, Van Baerlestraat 92-94,1071 BB Amsterdam, <[email protected]>; Harmonia Uitgeverij, Postbus 126, 1200 AC Hilversum,<[email protected]>*French: Annie Ducloux, 117 rue duPont Blanc, 93300 Aubervilliers, France,<[email protected]>German: Ulrich Köln, Marienburger Str.5, 40599 Düsseldorf, Germany, <[email protected]>Japanese: Hikari Shiraki, Kuraishidori5-1-10-601, Kobe-City 657-0826, Japan*Swiss: Elisabeth Jenk, Flurweg 6,Köniz, CH-3098 Switzerland *Compact discs of pipe music can be obtained from these guilds.
We tootled our pipes and built more to playThere weren’t enough hours in each busy day.We studied our parts in our orchestra classSop, tenore, alt and bass.
We heard many tongues from all ‘round the globe‘Twas amazing we knew whate’er we were told!Our spirits ran high as each concert we heardAnd we laughed and we joked and shared many a word.
With pipers from here and pipers from thereEvents of this type are exception’ly rareWe all owe a lot to the organized DutchThe Mechelen Course offered each of us much.
We played and we sang and we danced in the nightWe studied and toured to our heart’s delight.New friendships were formed that will last through the yearsNo wonder at parting some shed a few tears!
Opportunities abound within theworld of bamboo pipe-making. For some,making a pipe is their favorite part; othersprefer playing. Some revel in its decorationand others in experimentation. Some livefor music they create with soulmates on aweekly basis; others yearn for the less fre-quent national or international meetings.Some like to mix other types of instru-
ments with pipes; others like solo playing.Some like to study the whole process andbe teachers; others have very limited timeor wish only to be involved in playing andperforming. Whatever one’s interest,there are many avenues to pursue in thisextraordinary network or “pipe family”—our own worldwide web.
Swiss pipers HeidiWidmer (left) andUrsula Rothen experiment with a great bass at the 1998 pipe constructionsymposium in Wrotham, England.
May 2003 17
PRESIDENT’S APPEAL
BENEFACTORSDavid P. RuhlMichael Zumoff
SPONSORSRoger & Shirley CunninghamJohn NelsonCarolyn N. PeskinBill & Ann Stickney
DONORSMartha BixlerGeorge W. ComstockAlan Karass & Glynda BenhamDouglas MartzMarilyn PerlmutterConstance M. PrimusPatsy Rogers
PATRONSDavid M. BarnettMargaret BrownChris & Nancy DoranEllen A. FarrellNancy FrederickMartha Jane Gardiner (in memory of Andrew Acs)Adila S. GoldmanCharles HallLawrence L. JohnsonKay JonesRobert D. LiskLong Island Recorder FestivalBarry R. MoyerMarilyn T. OberstPetersen/Young Fund of the Triangle Community FoundationWendy PowersJohn B. Price, Jr.Bill & Eileen ReesSusan RoesselHillyer Rudisill III1 Anonymous donor
SUPPORTERSNeale AinsfieldBritt AscherMary C. BennettNancy CobbAvaya Corporation (matching gift)Katherine Bracher & Cynthia ShelmerdineBenjamin S. DunhamDavid W. FischerLeonard GreenbergEmmeline GrubbSally HarwoodJames HeupMary P. JohnsonCeline KarrakerMiriam Laster
Peggy LeibyDennis LeipoldMaryann MillerSuzanne NiedzielskaRhode Island Recorder SocietyNeil & Elizabeth SeelyNaomi ShiffMarie-Louise A. SmithMonte SwartzmanGail C. TicknorKeigo WatanabeJudith WhaleyJoan B. WilsonDon & Shelley WoldLarry Zukof
FRIENDSHank AndersonLouise AustinMary G. BlocherDonn E. BowersKatherine L. BrawleyMary CarriganLaura B. ClementsenDonald & Frances CourtsalDr. Earl C. CurtisMiles G. DoolittleMichael & Cathy EmptageSandra FergusonJames P. FerreriMary Ann FransonJody R. FullerIn Memory of Lena GeisterferMickey GillmorChristiane H. GraffShelley GruskinLeslie N. HolliserR.L. & S.T. KaetzelRosemarie KellerDavid W. & Cynthia J. King (in memory of Pete’s mom) Ruth LaageNan LehmannUrsula LerseNancy LiflandBarbara H. MatsingerJean McNeilJulia MountGail & Wayne NicklessJordi Perez-ReusEllen A. PetersonPilgrim Pipers ConsortAbraham A. SantiagoSusan SilvermanDinah M. SoursFrank B. StearnsIsrael SteinMarie SteinerBarbara E. TerryKathleen ToddDorothy H. ViningJanice WilliamsRoyce & Cynthia Wilson3 Anonymous donors
OTHERSConnie Achilles Bryan BinghamSarah BoyntonElizabeth D. BrownellKaren W. BurnettNancy M. BussMartha J. CarverCorlu CollierShirley CoonPatrick CorkeryKaren CrottyJohn DartMargretta DollardGregory EatonEllen FarrellEllen FisherBarbara H. FreiLeonard GerstenJoyce V. GoldbergChristiane H. GrafVelma GrasslerJohn Hancock Financial Services Inc. (matching gift)Malcolm F. HodgesMary S. JaffeRuthann JanneyCarla KaatzThomas R. KingAnn M. KoenigAlan KolderiePhoebe E. LarkeyPhilip LashinskyCarol B. LeibmanMarianne H. LewisArthur & Sue LloydRuth H. ManchesterMary MarquardtAnthony MayerHannelies McFallsJean McNeilPeggy NewstromEvelina Ortiz RuizBetty A. ParkerScott PatersonBill PattersonMartin K. PayneAmanda PondJean RidleyJustine RomeroJudah RosnerNorman RossenHerbert & Mollie RubensteinMiriam SamuelsonSusan SchmidtToni SealesDeborah Slade-PierceSandra V. SteacyMarie SteinerJohn & Priscilla WatsonRichard L. WeberRosemary WhitakerKatherine WhiteHubert C. Wilkins
Beverley WillsAnnette WoolseyChristine Wright1 Anonymous donor
DONATIONS TO THE ENDOWMENT INMEMORY OFANDREW ACSHedda and George Acs
ADDITIONAL A.R.S. NOVA 2000 DONORS
GREAT BASSJane & Dobson West
TENORMartha J. CarverPreston Lea Wilds
ALTOHarry CaginJohnette CrumSuellen EslingerGeorgiana RudgeHuston Simmons
SOPRANODaniel BechtelMichael & Cathy EmptageDavid M. RegenGlaxoSmithKline Foundation (matching gift)
Contributions received through February 2003. The ARS apologizes for any inadvertent omissions.
The Mission of the American Recorder Society is topromote the recorder and its music by:• Developing resources andstandards to help people of allages and ability levels to play andstudy the recorder• Presenting the instrument tonew constituencies • Encouraging increased careeropportunities for professionalrecorder performers and teachers• Enabling and supportingrecorder playing as a shared so-cial experience
CONTRIBUTIONS 2002-2003The Board of Directors of the American Recorder Society expresses its sincere appreciation to the following
contributors to ARS during 2002-2003. Contributions to the President’s Appeal are used to support many ongo-ing special programs that could not exist using only membership dues. Contributions to A.R.S. Nova 2000 cam-
paign, which ended 8/31/2002, are used to create a capital fund for the underwriting of long-term goals.
18 American Recorder
THE RECORDER IN PRINT, 2001 WHAT’S BEEN
WRITTEN ABOUT THE RECORDER
IN OTHER PUBLICATIONS
AROUND THE WORLD
by David Lasocki
A New Periodical Thiemo Wind, an expert on van Eyck, has started a Web magazine, the Jacob van Eyck Quarterly <http://www.jacobvaneyck.nl>. Each issue contains one article,written by Wind, that covers some aspectof the life and work of van Eyck, includinghis involvement with the carillon as well asthe recorder and composing. The contentsof the first year’s issues were: “Jacob vanEyck in Nimegue, 1651” (January); “Onthe Origin of ‘Beginnende door reden onsgegeven’ (NVE 142)” (April); “The HouseWhere Jacob van Eyck Lived” (July); and“‘Stil, stil een reys’: A New Reconstruc-tion” (October). Presumably all this mate-rial will eventually appear in Wind’s long-anticipated doctoral dissertation, whichhe is finishing at the moment.
History and General A useful and up-to-date overview of theflute family in the Middle Ages and earlyRenaissance is presented by Herbert W.Myers. He suggests that the advantage ofthe recorder over the six-holed pipe was itsability to overblow without a change in airpressure. Briefly he discusses the Dor-drecht, Wurzburg, and Göttingenrecorders, then cites evidence of recorder
consorts as early as 1385 (the marriage ofPhilip the Bold of Burgundy). “Flutes,” inA Performer’s Guide to Medieval Music, ed.Ross W. Duffin, Early Music America Per-former’s Guides to Early Music (Bloom-ington: Indiana University Press, 2001),376–83.
I was honored to be asked to write theentry on the recorder for the second edi-tion of The New Grove, the world’s mostimportant music reference work in theEnglish language (and perhaps in any lan-guage). For the occasion, I attempted tolook at recorder history from first princi-ples and take into account the fruits of thelatest researches. The article is divided in-to six sections. The first covers the nomen-clature of the recorder and its sizes in themajor languages of the world. The secondsection seeks to classify the various typesof recorder over the ages by their physicalcharacteristics: Medieval, “Ganassi,” stan-dard Renaissance, “Rafi,” early Baroque,Baroque, csakan, standard modern, andultramodern. The next two sections dealwith technique and performance practice,then repertory, in each case by period.Then I cover the recorder’s symbolismand associations (the supernatural anddeath, love and sex, birdsong, the pastoraland sleep, war, water, textual references),and its social history (among profession-als, among amateurs, and in music educa-tion). The entry ends with a selected (butextensive) bibliography. “Recorder,” inThe New Grove Dictionary of Music and Mu-sicians, 2d ed., ed. by Stanley Sadie; exec-utive editor, John Tyrrell (London:Macmillan, 2001), 21: 37–53; also onlineat <http://www.grovemusic.com> (bysubscription).
Isabel Monteiro’s article on therecorder in Portugal is not billed as such,but is actually only a first part. She beginsby noting the neglect of early Portuguese
This report, the fourteenth in aseries, covers books and articles
published in 2001 that advance ourknowledge of the recorder, its makersand players, its performance practice
and technique, its repertory, and itsdepiction in works of art in the past
or present. To save space, articlesthat appeared in American
Recorder are omitted. A fewpreviously unreported items from
2000 are also included.
Utrecht: The Oudegracht (Old Canal) with the Weesbrug (Orphan’sBridge). The second house from the right, with the vertical neon sign onthe façade, is the house where Jacob van Eyck lived. (Photo: Thiemo Wind)
May 2003 19
music history, then sets out a “methodol-ogy” for tackling the recorder part of it: instruments, scores, texts, and iconogra-phy. After a curious section on “treatisesand methods,” which mentions many ear-ly methods without linking them to Portu-gal, a section on “instruments” discussesa number of early ones in Portuguese col-lections and a reference to “frautas” in aCourt letter of 1544. The section on“scores” laments the lack of them. To becontinued. . . . “La flauta dulce en Portu-gal,” Revista de flauta de pico, no. 17(2001): 17–21.
Can the recorder be an “intercultural”instrument in the 21st century? PhilippTenta asks this question as part of an arti-cle about the recorder in music educationin Taiwan, wittily entitled “Frère Jacquesin Chinese?” He asks further good ques-tions about the presence of Western musicin the East and the decline of Chinese folkmusic. Clearly, there can be no definitiveanswers to such questions, as the processof mixing Eastern and Western culturecontinues apace in both spheres, with un-predictable results. In a second articleTenta goes back to the original meaning ofthe terms amateur and dilettante—some-one who does something for the love ofit—to argue in favor of retaining that ap-proach to music, not just a professionalone. He concludes that, rather than hav-ing a bad name because it is a good instru-ment for amateurs, the recorder should behonored for that reason. “‘Bruder Jacob’auf Chinesisch? Philipp Tenta über Block-flötenspiel in Taiwan,” Windkanal 1/2000:20–21; “Plädoyer für das musikali-sche Dilettantentum,” Windkanal1/2001: 18–21.
Alec V. Loretto captures the spiritof the early days of the early-musicmovement through his reminiscencesof the 1972 Flanders Festival, trig-gered by memories of Fred Morgan(1940–1999), whose instrumentswere heard for the first time by a wideinternational audience at the festival.Loretto’s memoir covers the initialrounds of the recorder competition,the controversy over handmade ver-sus machine-made instruments,Michala Petri’s performance, theprogress through the late rounds, andthe announcement of the winners.“And Oft When on My Couch I Lie...,”Recorder Magazine 20, no. 1 (spring2000): 8–9; in German as: “‘Oft,wenn auf meiner Couch ich lieg’...,”Tibia 25, no. 3 (2000): 211–13.
Repertoire A recent guide to the 100 most significantDutch composers who have been residentin The Netherlands (as opposed to takingtheir talents to Italy) mentions therecorder in connection with three of them.Rudolf Rasch’s entry on Unico Wilhelmvan Wassenaer mentions his “very cred-itable” recorder sonatas (written at the ageof 20), and the entry on Servaas de Konink(also by Rasch) speculates that his earlychamber music, all involving the recorder,was written as theater music. ThiemoWind summarizes the life and work of Jacob van Eyck—nice to see him make the“top 100.” The Essential Guide to DutchMusic: 100 Composers and Their Work, ed.Jolande van der Klis (Amsterdam: Amster-dam University Press; Muziekgroep Ned-erland, 2000); this book is a translation ofHet HonderdComponistenBoek (Haarlem:Gottmer, 1997).
How many divisions on a ground werewritten for the recorder during theBaroque period? I briefly discuss and ana-lyze all the extant English divisions as wellas a few European examples of chaconnes,passacaglias, and folias (anonymous,Bellinzani, Corelli, Freillon-Poncein,Benedetto Marcello, and Schickhardt). Iconclude with a comprehensive bibliogra-phy of sources with modern editions andfacsimiles. “Divisions on a Ground for theRecorder: A Bibliographic Essay,” RecorderEducation Journal, no. 7 (2001): 10–19.
Alec V. Loretto describes the revival ofone of the most important works in therecorder’s repertoire. While conducting
That’s amore!Members of theAmericanRecorder Orchestra of the West(AROW) demonstratewith enthusiasmthat they are amateurs—those who play the recorder for the love of it.Philipp Tentawishes to honorthe recorder for its role in amateur music-making.
A recent guide to the 100most significant Dutchcomposers who have been resident in The Netherlands...mentions the recorderin connection with three of them.
20 American Recorder
research on Purcell’s Behold Now, Praisethe Lord in the British Museum in 1909,Godfrey Arkwright came across a piece ofpaper that Purcell had glued to the manu-script to make a correction. The paper hadfallen off the manuscript, and when Ark-wright turned it over, he found severalmeasures of “flute” music in Purcell’shand. In 1910, he published a query inthe Musical Antiquary with the hope that areader might identify the music. In 1957,Layton Ring came across the query andimmediately identified the excerpt as thebeginning of the first recorder part toThree Parts upon a Ground. The excerptseemed to confirm Layton’s hunch thatPurcell originally composed the work in Fmajor for three recorders and that thecomplete manuscript (not in Purcell’shand) in the British Library is a transposi-tion of the original into D major. “PurcellFinale,” Recorder Magazine 21 [marked21a], no. 3 (autumn 2001): 97–98.
In a second article, Loretto describeshow the two missing measures from Pur-cell’s Three Parts upon a Ground can be re-constructed by taking heed of Purcell’sobservation that the recorder parts at thatpoint are “recte et retro” (forward andbackward) and “arsin per thesin” (risingand falling). The bottom part is created byplaying the top part backwards, and themiddle part is an inversion of the top part,displaced by three beats. Thurston Dart(in the 1950s) and Layton Ring (in 1996)arrived at two different solutions based onthese instructions; Loretto prefers Ring’sversion. At the end of the article, Lorettoasks the reader to identify the composi-
tional errors in the solutions.“Those Two Purcell MissingBars,” Recorder Magazine 21[marked 21a], no. 2 (summer2001): 49–52; the errors areidentified in 21, no. 3 (autumn2001): 122.
Peter Holman brings us up todate on Three Parts upon aGround, showing that it was writ-ten around 1678, rather than inthe late 1680s as previouslythought. In his opinion, it wasprobably conceived for the alter-native instrumentation of violinsor recorder from the beginning.Its style relates more to the con-trapuntal consort tradition devel-oped in the Private Music atCourt, rather than the French-influenced orchestral idiom ofthe Twenty-Four Violins, and its
ground bass is actually taken fromChristopher Simpson’s Compendium ofPractical Music (London, 1667), where itillustrates canonic writing over a ground.Actually, the work, which has a neutral ti-tle, alternates three different styles—French chaconne-writing, canons, andflorid divisions—and thus “sums up” thevarious traditions of Court music. Hol-man also wonders “whether Purcell wastrying to develop a new style of Court con-sort music, attuned to Charles II’s musicaltastes,” since it sounds superficially likedance music. Finally, the work may alsohave been intended as a tribute to Simp-son. A stimulating article by an expert onPurcell. “Compositional Choices in Hen-ry Purcell’s Three Parts upon a Ground,”Early Music 29, no. 2 (May 2001):251–61.
Federico Maria Sardelli’s La musica perflauto di Antonio Vivaldi is a considerableachievement in woodwind scholarship—the first book-length study of Vivaldi’smusic for flute and recorder (in Italian,both are kinds of flauto). The author isquite well-informed about previous re-search on this music as well as on Vivaldi’smusic in general, and he brings thatknowledge to bear on the main preoccu-pation of the book, which is with mattersof instrumentation, dating, and the play-ers and occasions for which pieces werewritten. For recorder players, the greatestinterest lies in the sections on the recorderand flautino concertos (pp. 108–48).Sardelli’s discussion is remarkable for itsinsights into: the thorny identity of theflautino (Sardelli comes down conclusive-ly on the side of the sopranino recorder);Vivaldi’s directions to transpose two of theflautino concertos down a fourth (heagrees with Winfried Michel that this wasto make them playable on the sopranorecorder); and the way in which the com-poser reworked the great C minor concer-to, RV 441, from a violin concerto, RV 202. A further stimulating section (pp.177–214) is on Vivaldi’s use of the fluteand recorder in vocal music (previously almost uncharted territory). The Italian isclear and easy for foreigners to read. High-ly recommended. La musica per flauto diAntonio Vivaldi, Studi di musica veneta;Quaderni vivaldiani, 11 (Florence: L. S.Olschki, 2001); Anthony Rowland-Jones’s review in Early Music Review, no.73 (September 2001): 4–5 (which seriousstudents should read) does bring up a fewinconsistencies in instrumentation andparticularly in the use of the term flauto.
Alec Loretto—perched, not firmly grounded.
May 2003 21
Donald Bousted, a composer who haswritten extensively for the recorder, hascommenced a series of six articles aboutcomposing for the instrument. In the firstarticle, he suggests questions that com-posers should be asking recorder playersbefore beginning to write for them andemphasizes the importance of fresh, excit-ing ideas. In the second, he begins with a“mission statement” for the recorder thatintends to “provide a convincing testimo-ny to the idea that the recorder is a rele-vant, powerful and vital instrument in the21st century.” The remainder of the article describes alternative methods forpitch organization that he has found to beof value in his own work. “The Recorder:A Vehicle for Thoughts about Life, theUniverse, etc.,” Recorder Magazine 21[marked 21a], no. 3 (autumn 2001):100–102; “An Instrument for the 21stCentury?” Recorder Magazine 21 [marked21a], no. 4 (winter 2001): 141–45.
The recorder works that Carl Dol-metsch commissioned for his annual con-certs at the Wigmore Hall, London, are thesubject of two articles by Andrew Mayes—presumably a foretaste of the book thathe is writing on the subject. The first is anintroduction to this repertory, and Dol-metsch’s performances of it, enlivened byquotations from correspondence in theDolmetsch archives. The second coverssimilar territory but gives more detailsabout Mayes’ visits to the Dolmetsch Li-brary and the discoveries he made there ofthe repertory dedicated to Carl—which,Mayes estimates, consists of more than 90works in a wide variety of instrumentationand forms. “Carl Dolmetsch and theRecorder Repertoire of the Twentieth Cen-tury,” Cinnamon Sticks 2, no. 2 (Novem-ber 2001): 10–15; “Carl Dolmetsch andthe Recorder Repertory in the 20th Cen-tury,” Consort 56 (summer 2000): 52–55.
Gerhard Braun describes the technicaland musical qualities of his own composi-tion Das Männlein im Walde (The littleman in the woods), 12 variations on chil-dren’s songs for solo soprano recorder. Although based on children’s songs, it ishardly intended for children, but ratherfeatures playful rhythmic games and such“modern” techniques as singing and play-ing simultaneously (yes, Braun notes thatit was first mentioned by Mersenne in1636). “Das Männlein im Walde: 12 Vari-ationen über Kinderlieder für Sopran-blockflöte solo,” Tibia 26, no. 2 (2001):xxv–xxviii (Die gelbe Seite).
In a further commentary by a compos-
er on his own music, Matthias Maute de-scribes how he wrote a set of six pieces inlate-Baroque style, Sei soli per flauto senzabasso, modeled after J. S. Bach’s soloworks for violin and ’cello (Winterthur:Amadeus, 1997). The modeling extendedto the number of pieces, the mixture ofsuites and sonatas, the key scheme, theability to add an imaginary bass line, theattitude toward sequences, the use of achaconne to end the set, the order ofmovements in the suites, the even numberof measures, the principle of one-voicedfugato, and the latent two-voiced writing.He ends with some remarks on the indi-vidual works. “Sei soli per flauto senzabasso: Ein Zeitgenosse im Barock,” Wind-kanal 1/2001: 12–17.
The Korean composer Unsik Chin’sMiroirs des temps was first performed onBBC radio by the London PhilharmonicOrchestra in 1999; a revised version wasto be performed in Berlin in 2001 by theDeutsche Symphonie-Orchester Berlinwith the Hilliard Ensemble and a consortof four recorders. An article by two of therecorder players involved, Irmhild Beutlerand Sylvia C. Rosin, describes the work,which has texts on the themes of love anddeath, and draws on a number of ideasfrom Medieval music. The recorders playin the second and third movements,which are based on a ballade by Ciconiaand a rondeau by Machaut, respectively.The article concludes that it is an attractiveaddition to the recorder repertory—aswell as providing a challenge to makers toproduce instruments at the orchestrapitch of 443–444 Hz. “Mit vier Block-flöten im Symphonie-Orchester: Urauf-führung von Unsik Chins Miroirs destemps mit dem Deutschen Symphonie-Orchester Berlin,” Tibia 26, no. 4 (2001):648–49.
Peter Thalheimer names Johann Nepo-muk David (1895–1977) as one of the
Donald Bousted, acomposer who has written extensively for the recorder, hascommenced a series of six articles aboutcomposing for theinstrument.
three finest German recorder composersof the 1930s and ’40s (alongside HelmutBornefeld and Paul Hindemith), whowrote art music for professionals whenothers were largely writing easy pieces forthe Jugendbewegung. He discusses atlength the instrumentation and the sur-viving sources of David’s Variationen überein eigenes Thema für Blockflöte und Laute(Variations on an original theme forrecorder and lute, DK 373; 1943), whichwas written for the German D-recordertypical of the period. An interesting pho-tograph depicts no fewer than seven dif-ferent D-recorders made between 1930and 1945. Thalheimer concludes withsimilar but briefer comments on David’sConcertino for viola, two recorders (altoand bass), and lute (DK 376; 1944).“Kammermusik mit Blockflöte von Johann Nepomuk David (1895–1977),”Tibia 26, no. 2 (2001): 460–67.
It is not widely known that one of thegreat Polish composers of the 20th centu-ry, Witold Lutoslawski (1913-1994),arranged some music for recorders. HansMaria Kneihs presents a humorous medi-tation on Christmas music, then discuss-es the joys and difficulties of Lutoslawski’simaginative settings of six Polish Christ-mas songs in three parts for recorders orother instruments. “Nicht nur zur Weih-nachtszeit: Sechs polnische Weinachtsliederdreistimmig für Blockflöten oder andereInstrumente gesetzt von Witold Lutoslawski,” Tibia 26, no. 4 (2001):xxxvii–xl (Die gelbe Seite).
Conrad Steinmann briefly discusseshis involvement in the first performance ofthe concerto for bass recorder and largeensemble by Fabian Neuhaus, written forhim to play on the newly-developed knickbass by Küng. “Erfahrungen beim Erar-beiten des Konzertes für Bassblockflöte undgroßes Ensemble von Fabian Neuhaus,”Tibia 26, no. 2 (2001): 479–80; see alsoNikolaj Tarasov, “Erstes Konzert für Bass-blockflöte—oder: Wie macht man einetiefe Flöte hörbar,” Windkanal 1/2001: 35.
Writing about the German composerWerner Heider’s “phenomenon of time-lessness,” Silke Jacobsen spends most ofher time on Heider’s La leggenda di Sant’Orsola (1981) for three tenorrecorders. She briefly mentions at the endthat, after not writing for the recordersince 1984, in the period 1996–98 Heidercame back to the instrument and wrote “afew little pieces.” “Das Phänomen derZeitlosigkeit: Werner Heider zum 70.Geburtstag,” Tibia 25, no. 1 (2000): 37.
Finally, the Australian recorder playerand composer Benjamin Thorn gives us ashort account of his work with OrpheusMusic, a small publisher of recorder musicin Armidale, New South Wales, owned byZana Clarke and himself. They have already issued more than 50 titles, mostlyby Australian composers. “SellingRecorder Music to the World,” SoundsAustralian: The Journal of the AustralianMusic Centre, no. 57 (2000): 35, 44.
Performance Practice and Technique The French publisher J. M. Fuzeau has issued three volumes that apparently attempt to collect together facsimiles of allthe recorder methods and relevant sec-tions of treatises from the Renaissance,Baroque, and Classical periods. The con-tents are as follows: Volume 1: anony-mous, c.1510; Virdung; Ganassi; Agrico-la; Jambe de Fer; Virgiliano; Praetorius;Mersenne; Trichet; Volume 2: Blanken-burg; Jacob van Eyck, Der fluyten lust-hof;Bismantova; Hudgebut; Salter; Carr;Loulié; The Compleat Flute-Master; Vol-ume 3: Freillon-Poncein (flageolet sectiononly); Sébastien de Brossard, Dictionnairede musique (Paris, 1703); The Fifth Book ofthe New Flute Master; Hotteterre,Principes; Hotteterre, L’art de preluder;Schickhardt; The Compleat Musick-Master;Weigel, Musicum theatrum (c.1722); Directions for Playing on the Flute; Majer;Eisel; Tans’ur; The Compleat Tutor for theFlute; Garsault, Notionnaire ou Mémorialraisonné (Paris, 1761); Francoeur, Diapa-son général de tous les instruments à vent(Paris, 1772); Compleat Instructions for theCommon Flute; Laborde, Essai sur lamusique ancienne et moderne (Paris, 1780);Encyclopédie methodique (Paris, 1788). Theproject is extremely helpful as far as itgoes, but unfortunately the followingitems are missing: Matthyszoon; Banister;Huygens; Talbot; Speer; Douwes; therecorder section of Freillon-Poncein (a cu-rious omission); Stanesby; Berlin;Minguet é Irol; Reynvaan; and Swaine.Apart from the word “quatre” on the titlepage, the three volumes make no mentionof a fourth, existing or projected, and eventhe Fuzeau Web site offers the three vol-umes as a unit. But it is rumored on theFrench e-mail recorder list that a fourthvolume is in fact in preparation. If so, letus hope that it repairs the omissions. Flûteà bec: Quatre volumes réalisés par SusiMöhlmeier et Frédérique Thouvenot, 3 vols., Méthodes & Traités, 8 (Courlay,France: J. M. Fuzeau, 2001).
22 American Recorder
Kungknickbass
May 2003 23
“New” recorder teaching material fromthe 18th century continues to turn up.Ewald Henseler reports his discovery inJapan of New and Complete Instructions forthe Common Flute, Containing the Easiest &Most Approved Methods for Learners to Play(London: G. Goulding, c.1794), pub-lished about 14 years later than the previ-ously known “last” English method of thecentury, and Al de toonen van de fluyt abecvolgens den nieuwen trant (Amsterdam:Arnoldus Olofsen, c.1734–67), a Dutchfingering chart included with a set ofrecorder duets. “Zwei unbekannte Griffta-bellen?” Tibia 26, no. 1 (2001): 384–85.
Good instructive material doesn’t onlycome from centuries ago. Philipp Tentasuggests that we can use the official Beat-les Songbook and its “100% authentic” realization on CD as a model for perform-ance of Baroque sonatas. John Lennonand Paul McCartney depart from the writ-ten text—of course, the recording camebefore its transcription for publication,but never mind—sing various kinds of or-naments, perform not quite in unison,and sometimes add a second, unnotatedline. “‘From Me To You With Love’:Philipp Tenta nimmt eine Blockflötenlek-tion mit John & Paul,” Windkanal 3/2001:10–11.
Through his work as a conductor ofrecorder ensembles, Theo Wyatt has no-ticed that the sopranos (in Great Britain,“descants”) are consistently too loud. Thishappens because “playing the descant is athoroughly unnatural activity,” which re-quires exhalation at a very low pressureand at a rate substantially lower than nat-ural breathing. The precise, prolongedtension between the abdominal musclesand the diaphragm in combination withthe reduced exhalation of air naturally re-sults in physical discomfort. “Those whodo manage to subdue the demands of theflesh in favour of the demands of the mu-
sic are indeed musical martyrs, guaran-teed a special place in Paradise.” “The Un-natural Descant,” Recorder Magazine 21[marked 21a], no. 4 (winter 2001):146–47.
Peter G. R. Wells emphasizes that fin-gerings must be tailored to conform to thepeculiarities of individual instrumentsand that there is no “correct” fingering fora particular note. Fingerings may be variedfor the purpose of changing tone color, af-fect, or tuning. Although players most of-ten use alternative trill fingerings to facili-tate execution, they are also an importanttool to enhance the “key color” and moodof a work. He offers examples of how al-ternative fingerings can be used to changethe color of a note, improve the tuning ofunisons, and make adjustments for enhar-monic equivalents. Finally, he shows howalternatives can be constructed by substi-tuting forked fingerings, by adding fingersbelow the lowest fingered hole, and by us-ing the harmonics of other notes. “Givingthe Fingers II: Fingering for ExpressivePurposes in the Music of the Baroque,”Recorder Magazine 21 [marked 21a], no. 1(spring 2001): 8–11.
A former student of Michala Petri, JuliePi Hedeboe, gives away one of the secretsof her remarkable technique: opening thethumbhole on the underside. “Über denDaumen gepeilt. . . . Beobachtungen zuMichala Petris Daumentechnik,” Wind-kanal 2/2001: 20–21.
The vital question of playing in tune ina recorder consort is dealt with by GiselaRothe. She first presents the necessaryacoustical background. Then she puts for-ward four “ground rules” of intonation,including the concept of “chameleontones” (which change in pitch accordingto which chord they are in), and outlinessome intonation exercises. “Intonation im Blockflöten-Ensemble,” Windkanal2/2001: 24–29; 3/2001, 22–28; a fullerversion of the text is published by Mollen-hauer (Fulda, Germany) as number 3 inthe series Arbeitsblätter für den Block-flötenunterricht.
Instruments: Historical The collection of miniature instruments inDean Castle, Kilmarnock, Scotland, in-cludes an instrument that is described as“Sopranino recorder 18th c.” but is prob-ably neither a sopranino nor from the 18thcentury. Rather, it seems to be a rare 17th-century soprano recorder at very highCammerton with a narrow bore. Swissrecorder player Marianne Mezger de-
scribes her discovery of the instrument.Danish recorder maker Ture Bergstrømgives his impressions of the design, finger-ings, and intonation, and notes the desir-ability of making modern copies. “Die Kil-marnocker Flöte,” Tibia 26, no. 1 (2001):386–87.
Arnold Myers writes about an ivorytenor recorder acquired in 2000 by the Ed-inburgh University Collection of HistoricMusical Instruments, of which he is Di-rector and Curator. The recorder, whichbears the “!!” maker’s mark below the win-dow, dates from the 16th or early 17thcentury and was recorded in the invento-ry of the Margravate of Baden-Baden in1772. (I have presented evidence that themaker’s mark in question belonged to theBassano family, active in London andVenice.) Myers summarizes the measure-ments of the instrument made by Lerchand Löbner, who also created a replicafrom polymethyl methacrylate enrichedwith aluminum hydroxide. “A Renais-sance Recorder in Edinburgh,” RecorderMagazine 21 [marked 21a], no. 3 (autumn2001): 94–95; David Lasocki with RogerPrior, The Bassanos: Venetian Musiciansand Instrument Makers in England,1531–1665 (Aldershot, Hampshire: Sco-lar Press, 1995).
For his doctoral dissertation, JanBouterse has written an impressive com-prehensive survey of the Dutch woodwindmakers and their surviving instruments,made even more useful by the ability of theCD-ROM format to hold copious coloredillustrations (over 2,500!). The disserta-
Through his work as a
conductor of recorder
ensembles, Theo Wyatt
has noticed that the
sopranos (in Great
Britain, “descants”)
are consistently too loud.
This happens because
“playing the descant
is a thoroughly
unnatural activity...”
Good instructive material
doesn’t only come from
centuries ago. Philipp
Tenta suggests that we
can use the official
Beatles Songbook...
24 American Recorder
tion is in Dutch with an English summaryand table of contents. The main chapterscover: (1) sources and methodology; (2)biographies; (3) the origin, importance,and relations of the makers; (4) lists of sur-viving and lost instruments; (5) the pro-duction and distribution of the instru-ments; (6) maker’s marks and inscrip-tions; (7) recorders; (8–11) traversos,oboes and Duitse schalmeien, bassoonsand rackets, and clarinets. The appendicescover: (A) historical Dutch nomenclature;(B) earlier Dutch woodwind instruments;(C) a discussion of iconographic research;and (D) full descriptions and measure-ments of the surviving instruments. Therecorder chapter is first divided by size andtype of instrument (sopraninos, third andsixth flutes, altos, tenors and voice flutes,basses, walking-stick recorders, doublerecorders, French flageolets), then bymaker (van Aardenberg, Beukers,Boekhout, Borkens, Eerens, Haka, vanHeerde, de Jager, Parent, Roosen, Rijkel,Steenbergen, Terton, Wijne), with a con-cluding overview. We look forward to theEnglish translation that is now being pre-pared. Nederlandse houtblasinstrumentenen hun bouwers, 1660–1760 = DutchWoodwind Instruments and Their Makers,1660–1760 (doctoral diss., UniversiteitUtrecht, 2001); CD-ROM available fromHuismuziek, Moeder Magdalenastraat 4,NL-6109 RC Ohé en Laak, The Nether-lands.
Nikolaj Tarasov takes a “tour” of themusical instrument museum in Basel,Switzerland—now housed in a new homein the old city—with its curator, MartinKirnbauer. The collection contains no few-er than 650 historical recorders. The arti-cle covers: a double recorder by ChristianSchlegel “on which one can play littlepieces in thirds”; bass recorders bySchlegel and Johann Christoph Denner;Harlan and Dolmetsch instruments fromthe early 20th century; an ivory sopraninoby Johann Carl Denner; two small ivoryflageolets from Nuremberg; the value ofboxwood in the Baroque; pitch in theBaroque; carved recorders in the Baroque;differences between historical recordersand modern copies; recorders and similarinstruments from after the mid-18th cen-tury; and whether museum instrumentsshould be played and copied. “Die Block-flötensammlung im Musikmuseum,Basel,” Windkanal 1/2001: 24–29.
Instruments: Construction,Restoration, and Maintenance The French recorder maker Philippe
Bolton describes the steps taken whenmaking a recorder, starting with a piece ofboxwood about four inches in diameter.His article has the witty title “From tree torecorder.” “De l’arbre à la flûte” = “Vanboom tot fluit,” in Matière et musique: TheCluny Encounter: Proceedings of the Euro-pean Encounter on Instrument Making andRestoration, Cluny 1999, ed. Claire Cheval-lier and Jos van Immerseel (Antwerp:Labo 19, 2000), 113–20; brief summaryon Bolton’s Web site: <http://our world.compuserve.com/homepages/philippe_bolton/Fabrication.html>.
Swiss recorder maker Heinz Ammannhas been involved with historical instru-ments for more than 30 years. He says thathe was most influenced by an altorecorder by Thomas Stanesby Jr. that sur-vived in almost mint condition— the rich-est tone spectrum he has ever heard. In hisopinion the modern maker must alwaysask: What does an original instrumentwant? What is its character? Old instru-ments have a particular fascination be-cause the cell structure of their wood haschanged over the centuries, producing asoft resonance, unlike the “aggressive”quality of new instruments. In general,recorders improve with age. He varnishesthe bore of his instruments, which doesnot affect the tone and helps to resist con-densation. The article ends by comparingthe sound produced by different kinds ofwood. Ammann, as told to NikolajTarasov, “Auf der Suche nach der Seele:Historische Blockflöten als Vorbilder imBlockflötenbau,” Windkanal 4/2001:16–19.
Motivated by the deficiencies of cross-fingerings and double holes on his plasticbass recorder, Denis Thomas set about de-veloping a ring-key system to put the fin-ger holes in their acoustically correct posi-tions. The system incorporated a touch-piece that was “invented by a French fluteplayer, Jean Brossa, as an optional extra onthe metal Boehm flute.” The result wasthat the right-hand technique is “easy tolearn and similar to that on a modernflute,” the sonority and intonation in thelow register were improved, the range ofthe instrument was extended, and theability to play in sharp keys was facilitated.He appeals to makers to create new bass-es, and even tenors, using such new key-work. In a follow-up article he documentsthe lengthening of the footjoint and theaddition of a right-hand thumb key to pro-duce a low E (eo), which in turn madepossible a strong high C (c'''). “Mod-ernising a Plastic Bass,” Recorder Magazine
The French recordermaker Philippe Boltondescribes the steps takenwhen making a recorder,starting with a piece ofboxwood about fourinches in diameter. Hisarticle has the witty title“From tree to recorder.”
May 2003 25
18, no. 4 (December 1998): 133–34;“Further Modifications to a Plastic Bass,”Recorder Magazine 21 [marked 21a], no. 4(winter 2001): 135–37.
Stephan Blezinger encourages recorderplayers, like harpsichordists, to takecharge of retuning their instruments.Then he sets out the “six factors that in-fluence the tuning of a recorder”: thelength of the instrument; the diameterand course of the bore; the size of the win-dow; and the positioning, size, and shapeof the fingerholes. Finally, he describes thepractical steps to be taken in correctingthe tuning of a recorder. “Stimmungskor-rekturen an der Blockflöte,” Windkanal4/2001: 12–15; 1/2002, 13–17; excerpt-ed from Stimmungskorrekturen an derBlockflöte, Arbeitsblätter für den Block-flötenunterricht, Nr. 4 (Fulda: Mollen-hauer).
Bärbel Budgenhagen reports on a cir-cular letter she sent to recorder makersand dealers on the problem of condensa-tion and how they suggest it be overcome.She reproduces seven replies—which, ofcourse, suggest various solutions. “VonHusten, Schnupfen, Heiserkeit. . . ,”Windkanal 2/2000: 22–23; three of thereplies are in 4/2000, 36–38.
The author, a music librarian at IndianaUniversity, writes about woodwind instru-ments, their history, repertory, and perform-ance practices. The second edition of his an-notated bibliography of writings about therecorder, now entitled The Recorder: A Research and Information Guide(co-author, Richard Griscom), was publishedby Routledge, New York, in March. For hiscomplete list of publications, see<http://php.indiana.edu/~lasocki>.
Acknowledgments: For sending himsources and providing other support duringthe preparation of this review, the authorwould like to thank Richard Griscom, SabineHaase-Moeck and Moeck Music, HansMaria Kneihs and ERTA Österreich,Nicholas Lander, Bárbara Sela and Guiller-mo Peñalver, Nikolaj Tarasov and ConradMollenhauer GmbH, and his colleagues inthe William and Gayle Cook Music Library,Indiana University, especially Mary WallaceDavidson and Michael Fling.
The author asks if readers could let himknow (c/o American Recorder) of significantitems he may have overlooked in this article.Readers can obtain most items through libraries (either in person at a large music library or from their local library via interli-brary loan).
The Twenty-ninth Annual
LLoonngg IIssllaanndd RReeccoorrddeerr FFeessttiivvaall SSuummmmeerr WWoorrkksshhoopp
August 10 – 16Hofstra University · Hempstead, LI, New York
Recorder technique classes, ensembles (all levels), recorder orchestra, beginning bass, “swing” band,renaissance band, madrigal singing, bass ensemble, “solo roundtable”, “read-through” sessions, studentand faculty concerts, plus evening dancing and more.
Faculty includes: Donna Basile, Sheila Beardslee, Stan Davis, John DeLucia, Patricia Petersen, PatsyRogers, Gwyn Roberts and others.
For information:LIRF% Stan Davis, 116 Scudder Place, Northport, NY 11768Phone: (631) 261-8242Email: [email protected]
Making the most of red lightsI started playing the recorder in my late50s and, like many of us, was having trou-ble finding enough time to practice. I wasthinking about this on the way home frommy lesson while stuck at a very long redtraffic light. Suddenly, an inspiration: mysoprano was sitting on the passenger seatso I picked it up and started playing somescales while keeping my eyes on the light.When it turned green, I put down the so-prano and resumed driving.
Ever since, I keep a cheap plasticrecorder next to me in the car. Now the redlights just aren’t long enough. I practice
scales, parts that are giving me difficulty,work at memorizing pieces and try to playfavorite tunes by ear. It is a great way toamuse yourself in a traffic jam.
A few weeks later my teacher, SuzanaCooper, related the following. One of herstudents arrived excitedly and said, “You’llnever believe what I just saw: someone
playing the recorder in his car while wait-ing at a stop light.” “Oh, that’s nothingnew,” Suzana said. “That must be Lee.”
So if you hate being stuck in traffic andcan’t find enough time to practice, thismay be just what you need. But I stronglyurge you to adhere strictly to two rules.
1) NEVER play while the car is in motion. 2) Be ready to put down the recorder andstart driving as soon as the light turnsgreen—you don’t want a lot of angrypeople behind you.
Yours truly, Lee Rosner, Arlington, VA(Judah L. Rosner, Ph.D.)
CorrectionThe tuition reported in the March Ameri-can Recorder for the Hesperus/Sound-catcher workshop (chart, page 17) is thesingle-occupancy rate. The correctamount for double occupancy is $775.
RESPONSE___________________________________ The signal to practice
NEVER play while the car is in motion.
Responses from our readers are welcome and may besent to American Recorder, 7770 South High St.,Centennial, CO 80122. Letters may be edited for
length and consistency.
May 2003 27
Write or call for free catalogs and specify areas of interest.
Boulder Early Music ShopP.O. Box 428Lafayette, CO 80026
Monday through Friday:10:00 am - 5:30 pm
1822 Powell StreetErie, CO 80516
800.499.1301
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Fax: 303.926.4302
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The Recorder Magazine
we invite you to visit the sitewww.recordermail.demon.co.uk
28 American Recorder
In the last issue I wrote about balancingthe recorder against modern orchestral
instruments through the simple solutionof using multiple recorders (three or fourplayers) as part of an ensemble of strings,guitars, harps, and piano—all recorder-friendly timbres. In this issue I want todeal with the situation of the recordersoloist appearing with a modern sympho-ny orchestra.
How can a solo recorder be heard overan orchestra? Common sense and experi-ence tell us there is no way unless amplifi-cation is involved. Except in the most ex-treme cases of ultra-refined textures—I’mthinking of some of the music of AntonWebern or Morton Feldman, or the con-temporary Italian composer SalvatoreSciarrino—an orchestral ensemble gener-ates a sound energy level with which therecorder cannot compete. As much as itmay cause pain to recorder “purists,” am-plification is usually the best, and oftenthe only, solution to the balance problem.
Classical guitarists have long resortedto amplification when playing concertoson orchestral programs. A small contactmicrophone attached to the soundboard,or a “pickup” built into the bridge of theguitar, is plugged into a amplifier/speakerunit usually sitting next to the player. Ad-justments of volume and tone controls aremade as needed. A similar system is com-monly used by jazz bassists. Current am-plifier/speaker design has advanced to the
point where many of these units are quitesmall, and yet produce high qualitysound.
For a performance on April 30, 2002, atthe Harold Washington Library Auditori-um in Chicago, IL, the wonderful recordersoloist Aldo Abreu, who should need nointroduction to readers of this magazine,employed amplification in both the Vival-di Concerto in C for sopranino, and thepremiere performance of Concerto forRecorders and Orchestra by the Americancomposer Lawrence Weiner. When Iasked about the details, Aldo told me, “Regarding amplification, I have a specialsystem designed by a friend of mine,which has clips that attach to the headjoint (of the recorder), and have a smallboom that suspends a condenser micro-phone over the windway. This all goes to amonitor speaker providing a cleanrecorder sound with enough presence tobe balanced with the orchestra.”
After listening to the recording of theconcert, I can attest that the amplificationworks very well indeed. The recorders arealways comfortably audible, and thesound is pleasing and realistic. Several fac-tors contribute to the success of Aldo’sperformance.
First, the skill of both composers men-tioned serves the recorder well. Vivaldi, ofcourse, is a known quantity: no otherBaroque composer, with the possible ex-
ception of Telemann, understood therecorder so well. The sopranino concerto,RV 443, is not only brilliantly conceivedfor the recorder, but is also of a very highlevel of musical invention. It is no wonderthat modern piccolo players have tried toadopt the concerto as their own, but it tru-ly belongs to the recorder.
Composer Lawrence Weiner
(b. 1932), a prolific composer of over 150works, also understands the recorder well.His concerto, given its world premiere onAldo’s concert, is skillfully and inventivelywritten in a solid mid-20th-century idiom (I am reminded of the music of Béla Bartok and David Diamond). The first movement, marked “fast and agitated,” and the third movement,marked “fast with spirit,” utilize sopranorecorder. The gorgeous central movement,marked “slow with tenderness,” calls fortenor recorder. Throughout the work, in-teresting chromatic lines constructedfrom recognizable motives create an effec-tive showcase for the recorder. Imaginativeuse of both pitched and unpitched per-cussion keeps the ear “perked up,” andthe orchestral scoring, which includesharp, is especially beautiful in the lushsecond movement, for recorder andstrings. The third movement’s cadenza-like passage for recorder lightly accompa-nied by claves is a delightful touch thatsets up the brisk and breezy conclusion.
ON THE CUTTING EDGE___________________________________How can a solo recorder be heard over an orchestra?
When Aldo Abreu, one ofour finest professionalsoloists, uses plasticinstruments along withamplification, as well as a newly-designed woodenrecorder, I think he opensup pathways that many of the rest of would do well to explore.
May 2003 29
This is a major work for recorder andorchestra, and should find favor withmany soloists. The size of the ensemble inthis performance is another contributingfactor to the successful balances. The sym-phony orchestra of the Chicago College ofPerforming Arts-Roosevelt University hasa medium-sized string section (15 violins,five violas, six ’cellos, five basses) whichhas plenty of sonority for the Weiner con-certo, but never overpowers the soloist.Even with amplification the recorder ishappiest, I think, in the company of cham-ber orchestras, or full orchestras with re-duced strings. Obviously, conductorStephen Squires was a major part of thisfine premiere.
The last factor on which I want to focusis Aldo’s choice of instruments for the twoconcertos. Both plastic and woodrecorders were used, a testimony to thegreat advances in plastic recorder designand manufacture that have occurred in re-cent years. For the Vivaldi, Aldo played aplastic Aulos sopranino. I use this instru-ment myself, and it does have good into-nation and a nice bright sound. It workedwell with the amplification, but may havebeen bright enough to balance well with-out it.
For the outer movements of the Wein-er concerto Aldo played a Mollenhauer“Dream” soprano. This is the new instru-ment designed by Dutch recorder makerAdriana Breukink. Made of maple, the in-strument is based on a Renaissance bore,but uses Baroque fingering with singletoneholes. Its range is two octaves, and ithas a curved windway. Aldo tells me hemade some tuning adjustments to therecorder to make it play at A=442 and inequal temperament.
The amplified sound in the Weinerconcerto is extraordinary. I would like tohear a side-by-side comparison betweenthe “Dream” soprano and another wide-bore full-range instrument like the vonHuene “Ganassi” soprano (which I can at-test is a wonderful “horn”).
For the beautiful slow movement of theWeiner concerto, Aldo switched to a plas-tic Yamaha YRT-304-B tenor. Again, thesound of this plastic instrument was com-pletely satisfactory.
When Aldo Abreu, one of our finestprofessional soloists, uses plastic instru-ments along with amplification, as well asa newly-designed wooden recorder, I thinkhe opens up pathways that many of therest of us would do well to explore.
Timothy Broege <[email protected]>
DESIRÉE, BY ANN MCKINLEY. Parnell Pro-ductions (630-420-8839; <[email protected]>), 2001. AATBgB. Sc 4 pp, pts 2 pp. $4.MANYA, BY ANN MCKINLEY. Parnell Pro-ductions, 2001. AATBgB. Sc 3 pp, pts 1 p. $4.NIGHT PIECES, BY ANN MCKINLEY. Parnell Productions, 2001. ATBgB. Sc 10 pp, pts 6 pp. $5.SONATA DA CAMERA, BY ANN
MCKINLEY. Parnell Productions, 2001.ATTB. Sc 6 pp, pts 2 pp. $5.
Ann McKinley is an active composerfor the recorder, having a catalogue of over15 published titles currently available.Several of her works have appeared in theARS Members’ Library series, most recent-ly her Sonata da Chiesa for recorder quar-tet.
McKinley knows the recorder well andhas an obvious affection for the lower endof the recorder spectrum. Only two of theworks listed in her catalogue involve thesoprano, while four involve the great bass.More importantly, she employs the tonecolors available at the lower tessitura con-sistently to good effect in the pieces reviewed here.
Her music is generally traditional in
style and quite approachable, though notlacking in imaginative touches.
McKinley’s writing tends to be apho-ristic in nature. The longest of the worksreviewed here, Night Pieces, is itself madeup of five short movements. In general,McKinley seems to be inspired by poeticimages, and the individual movements ofNight Pieces have titles such as “Moonrise”and “Shadows” (as well as less-expectedimages such as “Not Sleepy”). Althoughshe conveys these poetic ideas evocatively,the music is more than simple tone paint-ing. She uses a wide variety of musical tex-tures, almost in the manner of a stringquartet, to give color and shape to the mu-sic, frequently structuring movements inclear ternary or rondo forms.
Manya (inspired by an exotic woman ina friend’s painting) and Desirée are some-what more extended single-movementpieces that explore a unified mood fromdifferent perspectives. She has taken fulladvantage of the five-part scoring in theseworks to produce some full-sounding pas-sages that are especially effective andmelodious.
Only the more abstract Sonata da Cam-era seems less satisfying. The one-move-ment work is made up of seven short sec-
tions (some repeated), more in the man-ner of an early Baroque canzona than aCorellian sonata. Each section has enoughindividual character to have been extend-ed into a full movement of its own and, inthe end, the work seems more like a pro-cession of individual ideas than a com-pletely realized whole.
In some ways, each of the pieces re-viewed here is so full of ideas that it couldsuccessfully have been expanded. Howev-er, any of them, including the Sonata daCamera, would make an entertaining andrewarding project for an intermediate en-semble. McKinley’s performance notes(provided for every work except Desirée)are especially helpful and descriptive. Themusic is presented to make performanceas easy as possible, such as including ex-tensive cueing between parts. Unfortu-nately there are also many typographicalerrors, and parts should be checked care-fully against the score.
Scott Paterson
MUSICREVIEWS___________________________________
30 American Recorder
Music for the night, for articulation improvement, for recorder and keyboard
McKinley knows therecorder well and has an obvious affection forthe lower end of therecorder spectrum....More importantly, sheemploys the tone colorsavailable at the lowertessitura consistently to good effect in the pieces reviewed here.
KEY: rec=recorder; S’o=sopranino; S=soprano; A=alto; T=tenor; B=bass; gB=great bass; cB= contrabass; Tr=treble; qrt=quartet; pf=piano; fwd= fore-word; opt=optional; perc=percussion; pp= pages;sc=score; pt(s)=part(s); kbd=keyboard; bc=bassocontinuo; hc=harpsichord; P/H=postage and han-dling. Multiple reviews by one reviewer are followed bythat reviewer’s name.
Music for recorders by ANN McKINLEYPublished by Parnell Productions
Available through Performers’ Music—Chicago (773-935-3397)Courtly Music Unlimited, Inc. Boulder Early Music Shop
For catalogue write [email protected]
ARTICULATION ETUDES (PART I)FOR THE RECORDER, BY ALDO ABREU.Self-published (Von Huene Workshop &Courtly Music Unlimited), 2002. A, 39 pp. $15.
Does your tongue lag behind your fin-gers? Well, I have the cure: buy one copy ofthis book and set aside a minimum of fourhours per day for practice.
All levity aside, I really like this book.When it arrived, I thought that I mightneed to fly to Boston for a few lessons withMr. Abreu in order to fully understandeverything. That may still be true; howev-er, his thorough explanations make thisbook very usable for self-study as well.
While you learn your articulations, youalso get to learn your scales, as each newarticulation is presented with a differentmajor scale and its relative melodic minorscale. Also included are octatonic, whole-tone (a six-tone scale with no half-steps),and chromatic scales. Each of the first 15etudes works a different articulation. Ar-ticulations are indicated with both uppercase and lower case letters—the uppercase consonant indicates the attack at thebeginning of the note and the lower caseconsonant indicates the position of thetongue for ending the note. Both compo-nents of double-tonguing are worked inisolation before being combined into adouble-tongued exercise. Thus, wholeetudes are played with just the Kk or theD’Lt (the second syllable in Quantz’sDid’ll in staccato), before combinationssuch as Tk Kt and Tt D’Lt are worked to-gether in double tonguing.
After having traversed through all ofthe major and melodic minor scales in thefirst 16 etudes, all of the remaining studies
are in the key of F major. Number 16 is ascalar etude that begins with two halfnotes per measure, played at =40. Itends, four pages later, with 32 thirty-second notes per measure, at the sametempo. You can choose from among thevarious tonguings that you have practicedin the first 16 etudes. Abreu stresses thatthe groups of notes should not be accent-ed. What is very tricky, at first, is avoidingaccentuation when there are uneven num-bers of notes to play. When you reach thetop of a scale and start to descend, the nat-ural tendency is to accent the first note onyour descent. But when there are odd-numbered groupings, you will find your-self on the second half of a double-tongueat the top of the scale. I found myself au-tomatically switching to the first part of adouble-tongue at the top of these scales. Ittook some mental effort to remember notto do this. Abreu stresses that it could takea year’s worth of practice to learn thisetude. My comment: only one year?
Etude 17 becomes a real brainteaser. Ituses long-short patterns (the second ofeach pair of notes is always staccato). As inEtude 16, the number of notes permetronome beat increases by one notewith each phrase. Thus, sometimes youare on the long note with the metronomeclick, and other times you are on the shortnote. This etude starts with two notes perbeat and ends with 12 notes per beat. Try-ing to land on the right note with the rightarticulation at the right time with themetronome click...well, we all enjoy achallenge, don’t we?
Etude 18 stresses four-note diatonicgroups where the fourth note is staccato.Again, it starts slowly, and the number of
notes per beat increases, this time bytwos—and sometimes the metronomeclick occurs in the middle of a four-note-group. Landing on the correct note whenthe metronome clicks is a challenge, andyou may need to practice this etude withslurs before you add articulations. Again,this becomes quite a brainteaser, especial-ly where there are seven groups of four six-teenths per measure, and the metronomeclick occurs during the fourth group.
Etudes 19 and 20 might be a tiny biteasier, but they still remain in the brain-teaser category. Number 19 uses a 3+1pattern, and, as in the previous etudes, itbecomes gradually faster as additionalfour-note groups are added to each meas-ure, once again forcing metronome clicksto sometimes occur in the middle ofgroups of four notes. What is differentabout Etudes 19 and 20 is that they are notscalar. Rather, in Number 19 a main noteis followed by its lower neighbor, then itreturns to the main note, and the last noteof each group of four is a descending skip.Etude 20 reverses the pattern of Etude 19.
As mentioned earlier, Etudes 16through 20 are all in the key of F major, sothat articulation is the main focus. How-ever, for an added challenge, you can al-ways change to F minor, F Dorian, F Phry-gian, or any other mode.
Many of us have worked with The Com-plete Articulator by Kees Boeke. While thisis also excellent study material, certain dif-ferences should be pointed out. Abreu’sbook does not use winding chromatic pas-sages such as are found in Boeke’s Part I.Part II of the Boeke book uses loops, sothat you can “add one additional sharp orflat each time you pass ‘Go’” [Preface of
May 2003 31
SUZUKI METHOD INSTITUTE
Recorders, Flute, Oboe, 2003
Notre Dame de Namur University,
Belmont, CA
Students -
Recorders, Flute, Oboe
Session 1 July 6-12;
Session 2 July 12-18
Teacher Training Courses -
Recorders
Session 1 July 6-12
Units 1A, 2, 4
Session 2 July 12-18
Units 1B, 3, 5
Katherine White, P.O. Box 233, Fairfax, CA 94978Tel 1.415.339.8163 [email protected] (course info)www.ndnu.edu, [email protected] (local info)
Mary Healy, 6706 Colton Blvd, Oakland, CA 94611Tel 1.510.339.6225 [email protected]
The Complete Articulator]. While Abreudoes not use loops, there is nothing tostop you from using different modes in hislast five studies. Finally, the gradual writ-ten-in increase in tempo created by addingmore notes to successive measures is a fea-ture unique to the Abreu book.
Keep in mind that this is only Part I ofAbreu’s Articulation Studies. I cannot waitto see Part II! I write this with humor be-cause I had to laugh at myself as I foughtmy way through the required brain teasinggymnastics—and I loved it. If you arelonging to loosen up your tongue, and youlike challenges, go for it!
Sue Groskreutz
FANTASIA TEDESCA, BY EGON ZIES-MANN. Moeck ZfS 743 (Magnamusic),2001. SATB, Sc 5 pp. $5.50.
Though we live in a time when musicfrom other cultures is all the rage, recorderplayers’ repertoire (since the instrument’srevival in the early 20th century) has reliedheavily on folk songs and other geograph-ically-indigenous music. Egon Ziesmannhas woven together five German folk tunesinto his Fantasia Tedesca, the result being acheerful and light piece.
Ziesmann incorporates a fun bass line,but the novelty wears off before the end ofthe introduction: the syncopation is fun,but it gets repetitive. Keeping in mind thatthis is folk music, one would expect a bitof simplicity. Harmonically, though, thisfantasia could have been spiced up a bit.The few accidentals that occur are almostalways chromatic passing tones. One feelsas though Ziesmann is about to lead us in-to some sort of harmonic development,but he proves to be a tease of sorts.
The intermingling of the brief folk tunequotations is clever and comes across as aplayable solution. The syncopated pas-sages and overall use of “busy fingers”make this work more suitable for ensem-bles of only one or two players per part.
The bottom line is that Ziesmann has aknack for writing in this gleeful style and isto be commended for composing in syn-copated rhythms without the distractionsof notes at the extremes of the instru-ments’ ranges or without challengingtechnical requirements. Perhaps, again,this work would have been even more fan-tastical if the composer had taken moreharmonic liberties. The publisher, Moeck,should also be recognized for the excellent pagination. The middle sheet isto be removed so that the players can allread from a score. Although two standswill be needed to hold the music, this de-sign gives everyone the opportunity toread from the score.
Jody L. Miller
32 American Recorder
MUSIC REVIEWS (cont.)
Kung
Moeck
Aesthé
Yamaha
Mollenhauer
Recorders
Competitive Prices
Sent on approval
Personalized
Service & Advice
Bill Lazar
Lazar’s Early Music
(408) 737-8228
www.bill-lazar.com
The bottom line is thatZiesmann has a knack for writing in this gleeful style...
ARS Membership Enrollment and RenewalPlease enroll/renew me as a member of the Society. I’m looking forward to:
American Recorder, ARS Newsletter, and the Members’ Directory Members’ Library musical editions Eligibility for the ARS Education Program examinations Discounts to some recorder workshops and on ARS publications Mailings from suppliers of materials, music, instruments. (ARS list is made
available only to purveyors of goods and services for recorder players.) Information on all aspects of playing the recorder
U.S./Canadian membership: one year $40, two years $75
Foreign membership: one year $50, two years $95
U.S./Canadian Student* membership: one year $20 two years $40
Foreign Student* membership: one year $25 two years $50
Workshop membership: one year $60 Business membership: one year $120
Address and/or phone information has changed in past year. Do not list my name in Directory.
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All dues paid in U.S. funds by check on U.S. bank, or by international money order.
Family members residing at the same address may share a membership. However,the student rate is not applicable to a shared family membership. For an additionallisting in the ARS Directory under different surnames at the same address, add $5.
Please check to be included on the ARS list of
Recorder teachers and/or Professional performers. (Since your recorder activitiesmay change, you must indicate on each renewal if you want to continue to be listed.)
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If all or some, what kind of recorder activities are involved? (Check all that apply.)
Teach privately Teach/lead workshops Teach elementary school music Performance Recorder maker Musical director/coach Other _______________________________________________________________________________
What type of recorder music do you play? (Check all that apply.) Medieval/Renaissance Baroque Modern/pop Folk Solo Recorder Orchestra Chamber music with other instruments (such as trio sonatas) Broken consort with other instruments (such as a collegium) Consort involving three or more recorders playing one-on-a-part Grand consort(format used in many chapter meetings, with several recorders playing on each part)
AMERICAN RECORDER SOCIETYP. O. Box 631, Littleton, CO 80160-0631, U.S.A.
Fax (with handset down) or call in credit card renewals to 303-347-1181
DANCES FROM DON QUICHOTTECHEZ LA DUCHESSE, BY J. BODIN DE
BOISMORTIER, ARR. ANDREW ROBINSON.Dolce DOL265 (Magnamusic), 2001. S kbd, Sc 8 pp, pt 3 pp. $6.MUSIC FOR THE BALLET ATCOVENT GARDEN THEATRE, BY
GEORGE FRIDERIC HANDEL, ARR. ANDREW
ROBINSON. DOL 264 (Magnamusic),2001. S kbd, Sc 29 pp, pt 12 pp. $10.MUSIC FOR THE ROYAL FIRE-WORKS, BY GEORGE FRIDERIC HANDEL,ARR. ANDREW ROBINSON. Dolce DOL 268(Magnamusic), 2002. A kbd, Sc 12 pp, pt 6 pp. $8.WATER MUSIC: AIRS AND DANCES,BY GEORGE FRIDERIC HANDEL. Dolce DOL269 (Magnamusic), 2002. S kbd, Sc 13 pp, pt 8 pp. $7.50.SEVEN DANCES FROM THE SUITENO. 2 (BWV 1067), BY JOHANN SEBAST-IAN BACH, ARR. ANDREW ROBINSON. DolceDOL 266 (Magnamusic), 2001. A kbd, Sc12 pp, pt 4 pp. $7.50.SÄTZE AUS DER H-MOLL-SUITE[MOVEMENTS FROM THE B-MINORSUITE] (BWV 1067), BY JOHANN SEBAST-IAN BACH, ARR. MARTIN NITZ. Moeck738/739 (Magnamusic), 2000. A hc, Sc 11 pp. $8.
Are you lucky enough to have a friendwho plays the harpsichord? Or the piano?Or even an electronic keyboard? If so, Ihope that the two of you are exploring themany original works for one recorder andkeyboard or arrangements for that combi-nation, such as those presented in thesepublications.
Boismortier (1689-1755) is known tomany of us by his duets composed for pas-toral-type instruments (such as themusette, hurdy-gurdy, recorder, andtransverse flute) that were fashionable in18th-century France. However, he alsowrote some major compositions such ascantatas, sonatas, concertos, and stageworks including the popular Don Qui-chotte Chez La Duchesse. Arrangements ofdance music from this ballet-comique,which is based on a portion of Cervantes’
May 2003 33
Are you lucky enough tohave a friend who playsthe harpsichord? Or thepiano? Or even anelectronic keyboard?
34 American Recorder
ARS PUBLICATIONSErich Katz Contemporary Music Series Members Non-Members
Suzanne M. Angevine, A Short Tale for two basses (Level II) (2 scores) $ 5 $ 8Peter Ballinger, Double Quartet for Recorders (Level II-III) (score & parts) $10 $18Anthony Burgess, Sonatina for Alto Recorder and Piano (Level II) (2 scores) $7 $12Cecil Effinger, Dialogue and Dance (SATB) (Level II-III) (score & parts) $10 $18Lee Gannon, Sonatine for three altos (Level III) (score & parts) $14 $26
(score, parts & demo cassette) $23 $43Erich Katz, Suite of Jewish Folk Tunes (S S/A8 A/T) (Level II) (three scores) $10 $18Vaclav Nelhybel, Six Short Pieces for Three Recorders, (AA/TT) (Level II)edited by Alan Drake (3 scores) $8 $14
Stanley W. Osborn, Kyrie and Vocalise for soprano voice and recorders (SATB) (Level II) (2 scores & 4 recorder parts) $ 8 $14
Frederic Palmer, Entrevista (SATB) (Level II) (2 scores & 4 recorder parts) $ 8 $14Sally Price, Dorian Mood (SATB) (Level II) (score & parts) $10 $18Jeffrey Quick, Picnic Music (SATB) (Level II) (score & parts) $ 5 $ 8
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. Pleasespecify “Members’ Library Enlargement.” * = Editions not yet available to non-members.
Other Materials from ARSARS Information Booklets:ARS members: 1 booklet, $13 2 booklets, $23 3, $28 4, $35 5, $41 6, $47 7, $52Non-members: 1 booklet, $18 2 booklets, $33 3, $44 4, $55 5, $66 6, $76 7, $86
Adding Percussion to Medieval and Renaissance Music (Peggy Monroe)American Recorder Music (Constance Primus)The Burgundian Court and Its Music (Judith Whaley, coord.)Improve Your Consort Skills (Susan Carduelis)Music for Mixed Ensembles (Jennifer W. Lehmann)Playing Music for the Dance (Louise Austin)Recorder Care (Scott Paterson)
Education Publications The ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996).
First copy free to ARS Members (mailed to current members in 1996 & new members as they join); replacement copies for members or non-members, $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). Graded list of solos, ensembles, and method books. Members $8; non-members, $14.Package deal available only to ARS members: Guidebook and Music Lists ordered together, $15.
Junior Recorder Society Leader’s Resource Notebook. ARS members, $20; non-members, $40 (updates at reduced rates after initial purchase). Special rate for previous purchasers of JRS Class Program, $15. Dues for each JRS student member sponsored by an ARS member, $5 ($4 each for groups of 10 of more). JRS student members receive activities plus “Merlin” badges and stickers.
Other Publications Chapter 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 to each ARS chapter with 10 members or more.
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.
All prices are in U.S. dollars and include U.S. postage and handling. For Canadian or foreign surface postage, pleaseadd an additional $1 per item; for Canadian or foreign air mail, please add an additional $3 per item. When orderingfive or more items to be shipped anywhere at the same time, ARS Members may deduct an extra $2 on top of thediscounted members' price. Please make checks payable to the ARS. VISA/MasterCard also accepted.
American Recorder SocietyP.O. Box 631, Littleton, CO 80160-0631, U.S.A. 303-347-1120
*Après Paul (David W. Solomons)Bruckner’s Ave Maria (arr. Jennifer W. Lehmann) Dancers (Richard Eastman)Different Quips (Stephan Chandler)Elegy for Recorder Quartet (Carolyn Peskin)Elizabethan Delights*Gloria in Excelsis (Robert Cowper)*Imitations (Laurie G. Alberts)Los Pastores (arr. Virginia N. Ebinger)New Rounds on Old Rhymes (Erich Katz)Other Quips (Stephan Chandler)Poinciana Rag (Laurie G. Alberts)Santa Barbara Suite (Erich Katz)Sentimental Songs (arr. David Goldstein)
Serie for Two Alto Recorders (Frederic Palmer) Slow Dance with Doubles (Colin Sterne)*Sonata da Chiesa (Ann McKinley)Three Bantam Ballads (Ann McKinley)Three Cleveland Scenes (Carolyn Peskin)Tracings in the Snowin Central Park (Robert W. Butts)
Trios for Recorders (George T. Bachmann)Triptych (Peter A. Ramsey) Two Bach Trios (arr. William Long)Two Brahms Lieder (arr. Thomas E. Van Dahm)*Variations on “Drmeš” (Martha Bishop)Vintage Burgundy
novel Don Quixote, are in this Dolce edi-tion for soprano recorder and keyboard.The editor’s introductory notes provideinteresting background information andperformance suggestions for the piecesthat follow: a marche, two tambourins, abourrée, two gavottes, and two menuets.All in D major or D minor, these shortdance movements could be performed asa suite. Both the recorder and keyboardparts are suitable for intermediate-levelplayers, who should, of course, be awareof appropriate dance tempos and correctinterpretation of the ornaments.
In Music for the Ballet at Covent GardenTheatre, Andrew Robinson offers morearrangements of dance music for interme-diate players, this time by G. F. Handel.Beginning in 1734, Handel’s operas werestaged at John Rich’s new theater atCovent Garden, which also featured theFrench dance company of Marie Sallé.Handel included this dance troupe in hisproductions, which resulted in the addi-tion of ballet music to his new and revivedoperas for Covent Garden. Short piecesfrom Oreste, Il Pastor Fido, Arianna, Alci-na, Atalanta, Ariodante, and Berenice are inthis collection for soprano recorder andkeyboard. Most of the pieces were origi-nally scored in three parts for violins, vio-las, and bass, but some specifiedrecorders (such as the delightful “Tam-burino” from Alcina). Rather than group-ing them by opera, dance type, or key, theeditor has placed them in “four loosesets,” the reasons for which are not madeclear to the performer. As in the Bois-mortier collection, the editor’s notes areof interest.
If you prefer something more familiar,try Handel’s Music for the Royal Fireworksand the “Airs and Dances” from his WaterMusic. All five movements of the originalFireworks, which were scored for a largewind band, are included in this arrange-ment for alto recorder and keyboard. An-drew Robinson consulted, but purposelydidn’t follow, an arrangement for trans-verse flute and continuo published byWalsh in 1749 [modern edition by OxfordUniv. Press], so historically this edition forrecorder and keyboard is quite appropri-ate. The “Bourrée,” “La paix,” “La réjouis-sance,” and two “Menuets” do work well,
MUSIC REVIEWS(cont.)
May 2003 35
but for the “Ouverture” one recorder witha dynamically balanced keyboard justcan’t take the place of the hundred musi-cians (including trumpets, horns, oboes,bassoons, and kettle drums) who gave itsfirst performance! And even with Robin-son’s cuts, the “Ouverture” is tediouslylong—almost 200 measures with the Dalsegno. (The measure numbers in thismovement are erroneous in both parts.)My suggestion is to omit the first move-ment, but have fun playing the others!
Eleven pieces from Handel’s Water Music have been arranged for soprano ortenor recorder and keyboard for this col-lection of “Airs and Dances,” which in-clude several airs, three minuets, a bourée,a hornpipe, and a country dance. In a va-riety of accessible keys for recorder, theyare probably not intended for perform-ance in order. The arranger, who is notnamed, has been careful to distinguish be-tween original and editorial ornamentsand titles. Articulation decisions are left tothe performer, and examples are given toshow how Handel’s dotted rhythms mayhave been performed to agree with adja-cent triplets. There is a glaring error in thefirst section of “Country Dance,” wherethe recorder part is notated incorrectly inG major, while the keyboard part is in the
correct key of G minor. Missing from thisedition are the excellent historical notes byRobinson in the publications above.
All four of the editions reviewed here sofar are well within the abilities of interme-diate-level recorder and keyboard players.However, the Bach B-minor Suite, original-ly for transverse flute and strings, is morechallenging for both recorderist and harp-sichordist.
Two editions of the suite are reviewedhere: one by Dolce, edited by AndrewRobinson, and one by Moeck, edited byMartin Nitz. They both contain four of theoriginal seven movements (“Rondeau,”“Sarabande,” “Menuet,” and “Badiner-ie”), omitting the long “Ouverture.” In ad-dition, the Dolce edition includes the“Bourées I and II” and the “Polonaise.”Except for the “Polonaise,” which Robin-son has transposed down a step (and
changed a few measures slightly) to betterfit the recorder’s range, the other pieces inboth editions have been transposed up aminor third, suiting the alto recorder well.For the Moeck edition, Nitz has used ar-ticulations from the Neue Bach-Ausgabe,and the markings in the Dolce edition fol-low it closely.
Each of these publications has its goodpoints, so teachers and serious studentsmight wish to purchase both. The biggestdifference is in the keyboard parts, whichare reductions from the original orchestralscore. For example, in the “Rondeau” thekeyboard doubles the recorder with paral-lel thirds in the Dolce edition, whereas itstays below the recorder part in the Moeckedition. Also, in the “Sarabande,” the bassline is an octave higher in the Dolce thanin the Moeck. Therefore the Moeck edi-tion has a preferable keyboard part. But it,as other ZFS editions, comes with only thekeyboard score and no recorder part, sotwo copies are required for performance,making the Moeck edition, with less totalmusic, far more expensive.
No matter which edition you choose,though, you will enjoy playing these melo-dious dance movements on recorder andkeyboard!
Constance M. Primus
If you prefer somethingmore familiar, tryHandel’s Music for theRoyal Fireworks and the “Airs and Dances”from his Water Music.
With REBEL I just recorded recorderconcertos by Vivaldi, which will be released on the Dorian label.
On the ATMA label, there will be twoTelemann discs this year with EnsembleCaprice. The first release will be recorderand flute duets by Telemann, which will beinterspersed with lute solo pieces that Iwrote for that disc. These lute pieces mod-ulate from one key to another, so the duetsare linked to each other.
The second release will be cantatas,sonatas and concertos by Telemann. Thesoprano Monika Mauch (world-famoussince the release of the disc Morimur withthe Hilliard Ensemble) and Marion Ver-bruggen will join Ensemble Caprice. Wewill record pieces that have never beenrecorded (so I won’t tell more now...).
Also, farther in the future, the REBELBaroque Orchestra together with the choirof New York City’s Trinity Church willrecord all of the sacred music by Haydn.The project is set to take nine years! Inter-
estingly enough, Haydn involved thetransverse flute only in his later works, somy participation in that project will onlystart in a couple of years... (there is norecorder in that music).
What is your life like now, being a profession-al musician, especially a recorder player, inNorth America? Is it very different from thesort of life you led before moving to Montréal?
Montréal is a great city to be in, be-cause of its charming people, the highlyinteresting musical activities, and ofcourse the good food. The move to Mon-tréal enlarged my travel activities, since Iam working much more on different con-
tinents now.In February I presented my new solo
program, “Sweet Follia: A dialogue be-tween composers” as part of the Bay AreaRecorder Series in San Francisco (includ-ing the American premiere of my electron-ic piece for amplified recorder); one weeklater, I performed two different programsin Europe, but in between there was thisrecording with the countertenor Dan Tay-lor in Montréal.... Since time has becomean important issue, I have developed dif-ferent methods of dealing with the multi-ple tasks of my musical life: I composeusually on the plane, and my book aboutimprovisation for the recorder [to be pub-lished in German in spring 2004] has beenwritten mostly while traveling.
What I like a lot here: people on theNorth American continent are really en-thusiastic about the recorder. They justlove it. It was a pleasure to join therecorder community on this continent.
36 American Recorder
MATTHIAS MAUTE INTERVIEW (cont.)
...people on the NorthAmerican continent arereally enthusiastic about the recorder.
May 2003 37
Everyone likes the idea of being able topick up an instrument and let the mu-
sic flow forth—but how many of us can ac-tually do this? If we can’t, why can’t we?What skills are needed?
Improvising is a skill—and, like anyskill, can be acquired. Some people havemore of an affinity for it than others, butanyone can learn to improvise.
The main ingredients needed for im-provising are a knowledge of your instru-ment and a smidgeon of daring. Havingsaid that, I must also say that, as long asyou are comfortable with even one finger-ing, you can begin improvising—just playall kinds of rhythms, intensities, articula-tions with that one note. You ought to trythis; you might be surprised at how muchyou can do with one note. And if you adda second note, the results can be incredi-ble. If you then add a friend playing chordson a keyboard instrument or guitar (harp,lute, zither, etc), you will have great fun.And as it happens, improvising is a greatway to get to know your fingerings better.
Whatever your current ability, whetheryou know every possible note on yourrecorder or just a few, I think a great way tobegin is simply to play with no limitationsimposed: make any kind of sound—whether note or noise—in any combina-tion, without the need to stick to actualnotes or to create conventional melody. Isuggest that you try this right now, beforeyou start thinking too much. It is a veryliberating exercise. It allows you to be ex-pressive and it is impossible to do any-thing wrong! Suspend all critical judge-ment and just listen to your sounds with anew and fresh attention. You will findyourself making beautiful sounds, eerietones, screeches, howls, weeping sobs,and pure poetry. If you judge your sounds,you will keep yourself from making any-thing you consider ugly, startling, emo-tionally raw. This would be a great pity. Itmay feel very risky to play with no restric-tions, but do it anyway. Do it when you arealone and nobody can hear you, at first.
Try this exercise once a day for a week.Do you notice any difference in your regu-lar playing? Do your ensemble-mates be-
gin remarking (favorably, we hope) onyour playing? Do you find that your sight-reading has suddenly improved? Or doyou find yourself noticing never-before-heard details in pieces you have played ahundred times before? One thing I amsure of is that this exercise, done every dayfor a week (really—no cheating) will havean effect on your overall playing. I am verycurious to hear your observations; let meknow what happens.
A next step on the road to developingimprovisational prowess is to set yourselfsome limits. When reading a biography ofthe painter Georgia O’Keefe, I was struckby her self-limitation of using only blackand white. For a time she made only black-
and-white pictures, making them as ex-pressive and meaningful as possible withjust those two colors. If you limit yourselfto certain resources, you force yourself todelve into the very depths of possibilitywithin those few resources. When you re-turn to your normal playing it becomesricher and multi-dimensional. Some examples of limits you can set: play onlyreal fingerings (real notes); play onlyrhythms—no wandering, long-note spacemusic; play only in the low range; only inthe high range; stay in one key; play onlyleaps; only steps; stay within a pentatonicscale. I could go on, but I am sure you canalso make up your own limits. Try playingtunes using these various restrictions.
As you grow familiar with these impro-vising games, you can gradually make
them more complex. You can improvise inany style from uninhibited sounds (andnoises) to particular forms such as aBaroque menuet, Chopin-style mazurka, ajazz song, Appalachian folk song, etc. Forexample, invent a tune in 3/4 time in a cer-tain key; let’s say G major. Begin and endyour tune on G and make sure to use F-sharps and B-naturals. Noodle aroundfor awhile in G major, and then slide in aC or two and come to a rest on a D; thiswill put you in D major. Tootle onward, go-ing back to G by re-introducing C naturalsand ending the whole thing on G. You havejust modulated!
It is a lot of fun, and great practice, toimprovise with others. One player cansimply begin making sounds, rhythms,bits of melody. The next person then canimitate, or contradict, by playing similar,or contrasting, music.
Professional recorder player, harpsi-chordist and composer Hanneke vanProosdij, while studying recorder in TheHague, was in the habit of leaving the tra-ditional conservatory scene once a week toparticipate in jazz improvisation sessions.She was the only recorder player there,and chose to play on a bass recorder. Thisinvolved improvising on a stage in front oflisteners, and really gave her a boost in herperformance skills. During this time shealso had weekly 8 a.m. improvising class atthe conservatory in avant-garde classicalstyle (and here I must say that Hanneke isnot a morning person, so this took greatdedication). Here is one of her suggestionsfor group improvisation practice:
Make yourselves aware of yourtools—rhythm, melody, articulation, dy-namics, extended techniques such as glis-sando or flutter tongue, etc. Each playerchooses one element and must use onlythat during the exercise. For example, Ipick rhythm, Hanneke picks melody,Louise picks trills, and Tish picks multi-phonics (fingerings that, when overblown,produce more than one pitch at a time;they sound buzzy and can produce differ-ent pitches and tone colors depending onhow one blows). I can use any rhythm Iwant, but only on one note, or one small
OPENING MEASURES___________________________________Improvising
A next step on the road to developingimprovisational prowessis to set yourself somelimits. When reading abiography of the painter Georgia O’Keefe,I was struck by her self-limitation of usingonly black and white.
38 American Recorder
bit of melody repeated over and over:whatever I begin with, I must stick to.Hanneke can play any notes she pleases,but must play only the rhythmic patternshe begins with. Louise may play any kindof trill—long, short, changing speed, a“close shake” using notes a quarter-toneapart, or a trill using notes a half stepapart, or a whole step, or a minor third,etc. However she may only trill on onenote: that is, the main note of her trillmust remain the same. All the while, Tishis using only multiphonics—she can de-cide to stick to one rhythm repeated overand over, or she can just enter the musicfrom time to time with a long, unmea-sured multiphonic sound. Now all four ofus are doing completely different things.We bring our music together by reactingto the varying intensity and different emo-tional expression that each player uses.
By now I hope you are just itching toget hold of a recorder and try some ofthese ideas. The point is to play your in-strument in any way at all. I think you willfind that practicing improvisation makesyou a freer and (obviously!) more inven-tive player. You will not fear to try new ef-fects in your playing, and you will findyourself more confident in the presence ofother musicians. Have fun!
Frances Blaker
MUSIC FROM THE SOUTH
Southwest of Baroque, by David GoldsteinA Suite for 2 Recorders (SA) in Western style(PBE-2) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .$3.50
Una Festa di Canzone6 Popular Italian Songs, set for 4 Recorders (SATB)by Andrew Charlton (PBE-27, Score & Parts) . . . . . . . . . . . .$7.95
GASPAR SANZ: 2 Spanish Dances, 1697Españoleta; Canarios — Arr. for SATB Recorders& optional Guitar by Andrew Charlton (PBE-19, Score & Parts ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .$5.95
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.
Robert AmchinAlto Antics ensembles for beginning alto recorder with percussion accompanimentRecorder Frolics for beginning C-pipes (Play-along CD available)Moods and Modes for intermediate classroom ensembles: includes play-along CD Brent M. Holl and Michael R. NicholsThe Beatin' Path Consort Collection for beginning and intermediate ensemble Michael R. NicholsChristian Harmony Sacred Harp (Shaped Note) music arranged for SATB consort
302 East College StreetBridgewater VA 22812
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See our online catalogue of Church,choir, Orff and recorder music at:www.beatinpathpublications.comor visit your favorite music dealer
Beatin’ Path PublicationsMusic That Works!
I think you will find thatpracticing improvisationmakes you a freer and(obviously!) moreinventive player.
Several chapters have recently appeared inthe news. The Westchester RecorderGuild was the subject of a half-page articlein the Westchester Section of the SundayNew York Times. In response to a letterwritten to the New York Times about WRG,reporter Roberta Hershenson visited thechapter’s January meeting. Her article ap-peared in the March 2 edition.
Ms. Hershenson was very impressedwith the large turnout (42 people attend-ed that night) and wrote a vivid descrip-tion of the evening beginning with a “tutti” session in which Karen Snowberg,WRG music director, conducted andcoached the entire group in an animatedsix-part Intrada by Melchior Franck.
WRG then broke into four groups byskill level. Ms. Hershenson first observedEnsemble Group A, many of whose mem-bers have played one size of recorder for ayear or two. From there, she dropped in onEnsemble Group D, where playing SATB isrequired. That group was exploring thesubtleties of two works by Ockeghem.
A great deal of the New York Times arti-cle was devoted to the various sizes ofrecorders, materials from which they aremade, and their differing costs. The clearmessage for readers of the article was thatthe soprano recorder is often just the be-ginning of a long-term affair with therecorder and early music.
The article touched on the history ofthe recorder and contained interviews
with some chapter members allowingtheir enthusiasm to speak out from thenewspaper page.
In an interview with Marion Ver-bruggen before her performance in La Jol-la, CA, the San Diego Union-Tribune described the recorder as “championed by
organizations such as the San DiegoCounty Recorder Society.” In additionto mentioning the chapter’s workshopwith Verbruggen, the article did a good jobof portraying the concert as being particu-larly “unstuffy,” and the instrument as oneappreciated by many amateurs.
CHAPTERS & CONSORTS___________________________________ First Night, recorders in the news
May 2003 39
Musique Amitié: Ensemble Flûtes à Bec de LyonEnsemble Flûtes à Bec de Lyon (EFBL), under the direction of Madeleine Mirocourt, isa recorder orchestra, many of whose members are virtuosi. And, except for a few adultswho are alumni of EFBL, all are children and young adults.
At the invitation of Richard Geisler and the American Recorder Orchestra of the West (AROW), EFBL traveled from France to visit northern California from February 23-March 3 for a week of concerts and sightseeing. They also visited severalschools, performing and playing together with the students.
According to Mme. Mirocourt, Musique Amitié means the accord between musicand friendship, Since its beginning in 1969, EFBL has given almost 500 concerts, manyof which have been abroad. They have also appeared on TV and they have producedseveral audio cassettes and CDs. Their repertoire includes music spanning the entirehistory of the recorder from Medieval, Renaissance and Baroque music to contempo-rary compositions written especially for them.
The orchestra is as versatile as any there is, and their musicianship is of the highestorder. They take the recorder to heights many of us would not believe possible, havingnever heard them. As a conductor, Mme. Mirocourt is especially able to communicateher understanding of music to the orchestra, even to those who do not understandFrench. Indeed, in conversation with or without a translator, her enthusiasm, herwarmth and her humanity shines through.
The members of EFBL are very closely-knit, with friendship and camaraderie theirhallmark. To say they have a sense of teamwork is an understatement. During rehearsals, the older musicians teach the children—and the children, in turn, are as serious when performing as any professional musician needs to be. This sense of uni-ty, of purpose and friendship, enables the orchestra to achieve envious results.
I understood their level of musicianship as soon as I heard them play. They don’tjust play the notes on the printed page, they play music—and they play many piecesthat would challenge any professional musician; for example, full-scale pieces by Han-del, Vivaldi, Marais and others. As I listened to EFBL, I became aware of a change in myperception—at first subtle, then profound. I realized I was listening to the music, notthe recorders. Indeed, the recorders were incidental to my enjoyment of the music.
The American tour of Ensemble Flûtes à Becde Lyon ended all too quickly, but I will remem-ber it for a long time. Musique Amitié is exactly theright way to describe what Mme. Mirocourt hascreated: the accord between music and friend-ship. (A longer version of this article is posted at<www.acheerfullnoyse.com>.
Phil Robbins
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40 American Recorder
Farther up the California coast, the re-view of the Sacramento Early MusicConsort’s production of G. F. Handel’soratorio Solomon applauded not only thesinging but the orchestra—especially theoverture heralding the arrival of the Queenof Sheba in the third act. Playing recorderin the production were Billie Hamilton,Dorothy Orolin and Kathryn Canan.
The latest adventures of the QuintoConsort included a March performancefor Lindbergh Elementary School stu-dents in Palisades Park, NJ.
First, about 20 third-graders per-formed for the audience of about 150 inthe auditorium. The students had beenlearning to play the recorder for the pastthree months and performed well.
Taking the stage next, the Quinto Con-sort—Barbara Cahn, Mary Comins, LenGersten and Adila Goldman—played mu-sic from the 13th-19th centuries. Theystarted with Ductia and ended with varia-tions on Pop Goes the Weasel. Using Twin-kle, Twinkle, Little Star, the consort demon-strated the four recorder voices, with thesopranino added later on. In the middle ofthe program, Mary taught volunteers howto dance the pavane and round, while theconsort played Belle qui tiens ma vie and
Sellenger’s Round. The student volunteersstampeded to the stage and only a limitednumber could be accommodated.
The program was repeated for another150 students later on.
A month earlier, on one of New Jersey’scold February afternoons, the QuintoConsort performed for a small, but appre-ciative, audience at the Elmwood ParkPublic Library. Gayle Black was the fifthmember of the group that Sunday. Theyperformed works from the 14th-20th cen-turies, starting with Landini’s ballata,Questa Fanciull amor, and ending with therousing Alexander’s Ragtime Band.
In February, members of the Boulder(CO) ARS Chapter presented a benefitconcert for the chapter, also including asilent auction of goods and services. Theevening ended with a Renaissance danceband for all, including audience members.
CHAPTER NEWSChapter newsletter editors and publicity
officers should send materials to the following addresses:
American Recorder, 7770 South High St.,
Centennial, CO 80122-3122. by e-mail <[email protected]>;
ARS Office,P.O.Box 631, Littleton CO 80160-0631,
by e-mail <[email protected]>;Richard Carbone, Chair,
Chapters & Consorts Committee,8 Candlewood Drive,
Greenville, RI 02828-1802.
Boston Recorder Society at First NightFor the second year in a row, the Boston Recorder Society sponsored a Learn-to-Play-the-Recorder workshop as part of the gala FirstNight New Year’s Eve celebration in Boston, MA. Music for the two workshop sessions was distributed in advance to schools andmusic teachers. Flyers posted in libraries and school buildings encouraged recorder players to access the chapter’s First Night Webpage, beautifully designed by Laura Conrad, and to download and print the music from the site.
Listed as a major family event in the First Night catalog, which was distributed throughout the region, the workshops were led byrenowned virtuosos John Tyson from Boston and visiting celebrity Geert van Gele from Belgium. This year BRS again received a grantfrom First Night Boston in support of this event, as well as 300 plastic soprano recorders generously donated by the Yamaha Corpo-ration of America.
As a result of Yamaha’s support, volunteers were able to hand out soprano recorders to children coming through the door for eachof the two afternoon sessions. With great hilarity, John and Geert taught eager youngsters and their families finger and thumb posi-tions for the notes G, A and B. They merrily entertained participants with chants of “recorder power” as they showed them how tomake a variety of sounds on their new instruments.
The audience quickly mastered Hot Cross Buns, after which John and Geert performed Pete Rose’s Pendulum, a virtuoso work forbass and alto recorders inspired by a trip to a clock factory. To the delight of the audience, the duet featured changing rhythms playedover the swinging pendulum of the bass recorder’s syncopated pulse. Participants then learned the notes to accompany a recordingof Caroso’s Furioso, playing along with a Renaissonics CD.
Children and families were encouraged to join the spectacular First Night Parade, the major public event of New Year’s Eve inBoston. A section was reserved for the BRS, and some 35 stalwart participants joined the long procession, a yellow banner held highfor all to see. The marchers played the tunes John and Geert had taught in the afternoon sessions, dancing along Boylston Street tothe Public Gardens and along the Boston Common, with thousands of onlookers lining the route. Stopping to play every few feet,
the performers were greeted with cries of “cheers forthe recorder!”
Thankfully, it was less cold than the previous yearin 2001, although still damp and grey—but, judgingfrom the cheers of the crowd and the group’s enthu-siasm, “recorder power” carried the day!
The evening was capped by two performances of“Recorder Rendezvous” with Geert and John accom-panied by Miyuki Tsurutani on harpsichord. In theserenity of the chapel at the First and Second Churchin Boston’s Back Bay, the performers dazzled the au-dience with works by Merula, van Wichel, Caroso, Bach, and Rose. A highlight was the American pre-miere of the Sonata Prima by P. Van Wichel(fl.1641–1678), which Geert had recently found.
Wendy Drexler and Marleigh Grayer Ryan
May 2003 41
BAROQUE RECORDER CONCERTOS.PAMELA THORBY, REC; SONNERIE: MONICA
HUGGETT, DIR. Linn 183 (Allegro), 2002, 1 CD, 63:09, $16.
A first solo recording is something of acoming-out party for a musician, even onewho has had considerable exposure else-where. Pamela Thorby has thrilled listen-ers as a member of the Palladian Ensembleand has appeared on various other com-pact discs. Now she turns to the standardvirtuoso recorder repertoire to show thestuff she is made of.
To hear new readings of familiar workscan be a revelation. It is a good study of aperformer because it enables you to dis-cern his or her special qualities (orfaults)—rather like isolating a phenome-non in a scientific experiment by control-ling other variables. “How many record-ings do I own of Telemann’s Suite in A Mi-nor?” I asked myself as I hit the startbutton. None like this, I answered shortlyinto the piece.
And I had the same experience with therest of the war horses presented here: twoflautino concertos (RV 443 and 444) andthe Concerto in C Minor (RV 441) by Anto-nio Vivaldi, and the Concerto in F Major byGiuseppe Sammartini. Thorby plays witha robust tone and aggressiveness, yet withgreat sensitivity to nuance. I particularlylike the way she toys with tempos andrhythm, using subtle rubato to createevents and emphasize important points ina passage. This is most apparent in theslow movements of the Suite in A Minor.
Furthermore, she is a master of her in-strument: there is no passage so difficultthat she cannot make it sound natural. Inthe horrendously difficult sections of theVivaldi concertos, for example, she is al-ways in control, flinging them off withabandon. The finishing touch is her orna-mentation: it is creative and spontaneous,in stark contrast to the tired clichés we of-ten hear from other performers.
Monica Huggett and Sonnerie comple-ment Thorby perfectly, almost as if theyanticipate her every move. This CD is not
to be missed.See the November 2002 issue of AR for
David Lasocki’s interview with PamelaThorby.
BEATLES BAROQUE. LES BORÉADES DE
MONTRÉAL: ERIC MILNES, DIR. Atma 2218(Harmonia Mundi), 2000, 1 CD, 41:54,$15.99.
I’ve always liked Beatles tunes, but nev-er much cared for the Beatles. I’d ratherhear tasteful instrumental adaptations oftheir music than sit down with the “WhiteAlbum.” Beatles Baroque, an offbeat offer-ing from the original-instrument ensem-ble Les Boréades de Montréal, is right upmy alley: expressive renditions of every-one’s favorites arranged for Baroque in-struments.
This is not the first time Beatles songshave attracted the attention of classicalmusicians. In 1965 Nonesuch releasedBaroque Beatles Book, an ingenious spoofby the multi-talented Joshua Rifkin. Soclever was Rifkin in his use of Baroqueforms and counterpoint that one has to lis-ten very attentively to avoid being fooledinto believing that the music is from theearly 18th century.
The present program comprises 15songs, including “Eleanor Rigby,” “Nor-wegian Wood,” “Yesterday,” “Because,”“Piggies,” and “Lucy in the Sky with Dia-monds,” arranged by harpsichordist EricMilnes. Unlike Rifkin’s work, the stylehere isn’t so much Baroque as standard in-strumental with a Baroque patina. That isto say, Milnes did not call upon Baroque
compositional techniques for his arrange-ments: there are no fugues, sonata move-ments, or Baroque dance forms here—juststraight pop songs adapted for a Baroquechamber ensemble. There is Baroque fla-voring in the performers’ approach to themusic, but you would never take this pro-gram for anything other than good popu-lar music, albeit dressed in its Sundaybest.
The performance is delightful. FrancisColpron, the founder of Les Boréades, is agifted recorder player who is featured onmany tracks and plays a glitzy solo in “Pen-ny Lane.” Hélène Plouffe, Baroque violin,largely assuming a ripieno role, is sassy asthe lead in “Good Day Sunshine” and“Penny Lane.” “The Fool on the Hill” givesthe low part of the ensemble a chance toshine as Susie Napier, Baroque ’cello,milks it for all it’s worth. Milnes solos onmany of the intros and keeps everythingtogether with solid “continuo” support.This core quartet is supplemented by sev-eral other musicians playing Baroque in-struments.
Baroque music aficionados who arecloset Beatles fans now have a “white album” of their own.
CHARLES FRANÇOIS DIEUPART: SIXSUITES. FRANCIS COLPRON, REC &BAROQUE FL; SUSIE NAPPER, VIOLA DA GAM-BA; SKIP SEMPÉ, HC. Atma 2234/35 (Harmonia Mundi), 2001, 2 CDs, 86:20, $15.99.
The Six Suites of Charles Dieupart aresignificant for several reasons. For onething they are marvelous pieces of music,perfect examples of the late Baroque dancesuite whose influence is felt in the works ofJ.S. Bach, François Couperin, and G.F.Handel.
Furthermore, they feature little-usedmembers of the recorder family. Originallypublished in 1701, two versions were is-sued: one for harpsichord solo and a sec-ond for recorder and basso continuo. Thelatter specifies voice flute (tenor recorderin D) for the first four suites and fourth
The performance isdelightful....Baroque musicafficionados who are closet Beatles fans now have a “white album” of their own.
COMPACT DISCREVIEWS___________________________________
Beatles and other Brits, Baroque and Klangreden redux
42 American Recorder
flute (soprano in B) for the final two. Thesuites are essentially in French style andform with hints of Italian lyricism.
Francis Colpron understands Frenchstyle well. In his hands, the complex orna-ments blend into the melodic line, and hisuse of notes inégales is natural-sounding.He stretches rhythms now and again forsubtle emphasis of important moments,and he plays with a warm, round tone. Heis cautious, however, never taking riskyliberties with the music.
My only disappointment is that he per-forms suites II and IV on Baroque flute. After all, music for that instrument is plen-tiful, so why poach the sparse repertoire ofthe voice flute?
Susie Napper and Skip Sempé are ex-quisite musicians who are more than sup-porting cast: they provide a lush ensemblesound, always in step with the soloist’ssubtle shifts in rhythm and tempo. Theliner notes by François Filiatrault are well-written and deepen the enjoyment of thisrecording by placing the works in theirartistic and historical contexts.
Selections of the Six Suites, both theharpsichord and recorder versions, haveappeared on several recordings, and SuiteV in F Major is a favorite of recitalists, inpart because it fits soprano recorder in C.This fine recording of the whole set is awelcome addition, sure to please anyonewho enjoys Baroque chamber music.
HANS STADLMAIR AND MARKUSZAHNHAUSEN: KLANGREDEN: NEWMUSIC FOR RECORDER, VOL. 4.SABINE FEDERSPIELER, MARKUS ZAHN-HAUSEN, AND MARKUS BARTHOLOMÉ, REC;SANDRA STINI, FL; THOMAS SCHMÖGNER, PF.Cadenza 800 918 (Qualiton). 74:04,$18.99.
Modern recorder music ranges in stylefrom neo-Medieval to the extreme reachesof the experimental. The four works fea-tured here lean toward the avant-gardepart of the spectrum. This CD is SabineFederspieler’s premiere recording; thatshe chose a program of modern works forher debut shows the foothold the recorderhas carved in our world.
The most engaging work is Zahn-hausen’s Flauto dolce solo, a lengthy suiteof contrasting movements designed partlyas a technical study. It works on that levelwithout sacrificing its potential as a workof art. In particular, “Lullaby for a Hum-mingbird” beautifully captures the flitterof that elusive creature, and “Viva Vival-di,” a collage of quotations from the stan-
dard Baroque repertoire, makes new mu-sic from old.
Zahnhausen employs more subtle allu-sions to early music in Klangreden for altorecorder and flute in its forms, rhythms,and techniques. Here the main challengeis in the ensemble playing, which Feder-spieler and Stini bring off with ease.
Hans Stadlmair’s music is of a similarstripe; in fact, his recorder works werecommissioned by Zahnhausen. Intermezzifor three recorders shows his command ofcounterpoint as it engages the players in avariety of roles. His Sonata pastorale forrecorder and piano is a work of epic pro-portions. Federspieler is masterful in theway she navigates the complex structure ofthis music and its daredevil technicalfeats.
Accessible is the term used to describemodern music that does not drive listen-ers away, clasping their ears. The works onthis CD are that and more: some will findthem challenging, others thought-provok-ing. This is interesting and clever musicthat can be appreciated on many levels.(Reviews of the sheet music of the twoworks by Zahnhausen appear in the Janu-ary 2003 issue of AR.)
ENGLISH RECORDER CONCERTOS.JOHN TURNER, REC; KEITH ELCOMBE, HC;ROYAL BALLET SINFONIA: GAVIN SUTHER-LAND, COND. ASV 2143 (Koch), 2002, 1 CD, 76:58, $12.99.
I was delighted to receive EnglishRecorder Concertos, expecting to hear thetuneful strains of Woodcock, Babell, andothers of their ilk. I was doubly delightedwhen I discovered that all the works on theCD are modern. Why? Because, as won-derful as Baroque music is, the wealth offine contemporary recorder works is an in-dication of the continuing vitality of the in-strument, and English composers in par-
ticular seem to have a special affinity for it.Perhaps this can be explained by their pen-chant for building thoroughly modernstyles on the foundation of tradition in-stead of razing their musical heritage in fa-vor of novelty and shock, as so many con-temporary European and American com-posers have done.
Don’t mistake these works for neo-Baroque, however: they are as ensconcedin our world as computers and rush-hourtraffic. Ranging from concertos and suitesfor recorder and string orchestra—by JohnGardner, Kenneth Leighton, Philip Lane,Wilfrid Mellers, Robin Milford, andStephen Dodgson—to a smattering of program pieces—John McCabe’s “Domestic Life,” Peter Lawson’s “Song ofthe Lesser Twayblade,” and Norman Kay’s“Mr. Pitfield’s Pavane”—all are sublimevehicles for displaying the lyrical and tech-nical capabilities of the recorder. This program is simply one of the most beauti-ful collections of recorder music of any erato be found.
John Turner will be familiar to many ARreaders. He has had a varied career as asoloist and is well-known as a championof contemporary recorder music. In fact,the works on this recording were eithercomposed or arranged for him. He bringstogether a rare understanding of old andnew music to create highly sensitive andperceptive performances. Keith Elcombeis an agile sparring partner for Turner inLeighton’s double concerto, and GavinSutherland and the Royal Ballet Sinfoniaprovide a well-balanced foil throughoutthis fine recording.
Thomas Cirtin
Accessible is the termused to describe modernmusic that does not drive listeners away, clasping their ears.The works on this CDare that and more: some will find themchallenging, othersthought-provoking.
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.amazon.com>, etc. Abbreviations:rec=recorder; dir=director; vln=violin; vc=violoncel-lo; vdg=viola da gamba; hc=harpsichord; pf=piano;perc=percussion. Multiple reviews by one reviewer arefollowed by that reviewer’s name.
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NEW LISTINGS____ ARIAS, DUETS & BALLET MUSIC FROMHANDEL OPERAS Carolina Baroque. DaleHigbee, recorders; Teresa Radomski, soprano;Lee Morgan, alto; John Pruett, Baroque violin;Holly Maurer, gamba; Daniel Hannemann, harpsi-chord. New live recording of a wide selection ofexcerpts from operas of Handel, including Alcinaand Giulio Cesare in Egitto. $17 ARS/$20 others.____ BACH: MUSIC TO CHALLENGE THEINTELLECT AND TOUCH THE HEART CarolinaBaroque. Dale Higbee, recorders; TeresaRadomski, soprano; Lee Morgan, alto; RichardHeard, tenor; John Williams, bass-baritone; JohnPruett, Baroque violin; Doris Powers, Baroque vio-lin and viola; Mary Frances Boyce, Baroque viola;Holly Maurer, gamba; Daniel Hannemann, harpsi-chord & organ. Bach’s Cantata No. 21, Part Oneand Cantata No. 182. $17 ARS/$20 others.
IN STOCK (Partial listing)____THE AGE OF JOSQUIN:THE GRAND TOURHighland Park Recorder Society & ChamberOrchestra, Robert W. Butts, conductor.RWB Productions. $17 ARS/$20 others.____ BACH & HANDEL: BAROQUE MASTERSCarolina Baroque. Dale Higbee, recorders.Recorded in concert in 2002, this delightful CDoffers a various selections by Bach and Handelincluding excerpts from several of the masters'operas and cantatas. $17 ARS/$20 others.____BLOCKFL TENENSEMBLE WIENIrmtraut Freiberg, Karin Heinisch, Susanne Jurdak,Eva Maria Kaukal & Prisca Loeffler, recorders.Ensemble music for three-five players (sopranino ing” to great-bass in F); compositions by J.Chr.Demantius, J. Hilton, M. Kaeser, Monteverdi, Morley,Mozart, W. W. van Nieuwkerk, Pachelbel, Reichardt,Schermann. $17 ARS/$20 others.____CHARLESTON PRO MUSICA ON TOURMarsha Evans, Lewis Fitch & others, recorders,gemshorns, guitar and voice. Medieval andRenaissance music with consort and singers.Millennium Music/ Charleston SC. $17 ARS/$20 others.____AIRES AND DUETS FOR TWO FLUTES ANDBASS Vicki Boeckman & Dorte Lester Nauta,recorder; Mogens Rasmussen, viola da gamba; ViggoMangor, archlute & chamber organ.Trio sonatas byHandel, Telemann, G. B. Braun, Merula, S. Rossi.Primavera. $17 ARS/$20 others.____CONCERTI DI NAPOLI Rebel: Matthias Maute,recorders; Jörg-Michael Schwarz & Karen MarieMarmer, violin; John Moran, ‘cello; Dongsok Shin,harpsichord. Sonatas by Mancini, Roberto Valentini, A.Scarlatti. Dorian. $17 ARS/$20 others.____DREAMS INSIDE THE AIR TUNNELZana Clarke, recorder & composer. “Drawing on themusic of the didjeridu & shakuhachi...beautiful &hypnotic...”—American Recorder. Orpheus Music.$17 ARS/$20 others.____FLEMISH CONTEMPORARY RECORDERMUSIC Geert Van Gele, recorder. Former FlandersQuartet member records his first solo CD “live.”Works by JanPieter Biesemans, Boudewijn Buckinx,Frans Geysen, & Jan Van Landeghem. Qualiton.$17 ARS/$20 others.
____FOLIAS FESTIVAS Belladonna Baroque Quartet.Margaret Humphrey, Baroque violin; Cléa Galhano,recorders; Rececca Humphrey, 'cello; Barbara Weiss,harpsichord. 16-17th-century music by Falconieri, deTafalla, Merula, others. Dorian. $17 ARS/$20 others.____FRUIT OF A DIFFERENT VINE Alison Melville,Natalie Michaud & Colin Savage, recorders; A. Hall,piano. Works by Berkeley, Leigh, Staeps, Hindemith.1994 ARS Professional Recording Grant CD. S.R.I.$17 ARS/$20 others.____THE GREAT EMU WAR Batalla Famossa, anensemble of young players records the first CD ofdiverse Australian recorder music. Orpheus Music.$17 ARS/$20 others.____HANDEL:THE ITALIAN YEARS ElissaBerardi, recorder & Baroque flute; Julianne Baird,soprano; Philomel Baroque Orchestra. Handel, Neldolce dell’oblio & Tra le fiamme, two importantpieces for obbligato recorder & soprano; Telemann,Trio in F; Vivaldi, All’ombra di sospetto. Dorian. $17ARS/$20 others.____IMAGINE II David Young, recorders. More con-temporary interpretations of classic songs from the1970s by Neil Young, Jim Croce, Carole King, andMoody Blues. Universe Music. $17 ARS/$20 others.____JOURNEY Wood’N’Flutes (Vicki Boeckman,Gertie Johnsson & Pia Brinch Jensen, recorders).Seven centuries of recorder—the Middle Ages tothe present; works by Dufay, Machaut, Henry VIII,Mogens Pederson, W.W.Van Nieuwkerk & Maute.Kadanza Classics. $17 ARS/$20 others.____LANDSCAPES David Bellugi, recorders; AliTajbakhsh and Chris Hayward, percussion. “Virtual”orchestra of recorders created single-handedly byBellugi.Three centuries of ethnic music by Encina,Brouwer, Ortiz, Bartok. Frame. $17 ARS/$20 others.____LES AMIS DU BAROQUE Paul Nauta,recorder/Baroque flute; Koen Dieltiens, recorder; Jande Winne, Baroque flute; Christina Mahler, ‘cello;Shalev Ad-El, harpsichord/organ. Ensemble in CD titleplays music by Bassani, Corelli, Vivaldi, etc. HighlightIntl. $17 ARS/$20 others.____MANCINI: CONCERTI DI CAMERA JudithLinsenberg, recorders; Musica Pacifica. Seven sona-tas by Mancini, plus works from his contemporariesDurante and D. Scarlatti. “Highly recommended” cita-tion from the 2000 Vivaldi Prize—Giorgio CiniFoundation, Venice. Dorian. $17 ARS/$20 others.____MIDNIGHT SUN Alison Melville & Colin Savage,recorders; Ensemble Polaris members playing flute,clarinet, guitar, ‘cello, hurdy-gurdy, percussion. Newarrangements of traditional music of Norway, Finland,Estonia, Sweden, Scotland. Classic CD Disc of theMonth, August 2000. Dorian. $17 ARS/$20 others.____MY THING IS MY OWN: BAWDY MUSIC OFTHOMAS D URFEY Tina Chancey, Grant Herreid &Scott Reiss, recorders & other early instruments;Rosa Lamoreaux, soprano. Common tunes of love,sex & seduction in 18th-century England, collectedby D’Urfey in “Pills to Purge Melancholy,” used inimprovisations. Koch Int’l. $17 ARS/$20 others.____POPULAR MUSIC OF THE RENAISSANCE,Anne & Rob Burns (A Reasonable Facsimile) playrecorders, cittern, guitar, straw fiddle, drums, whistles,pipes. Second From the Bottom. $17 ARS/$20 others.____A. SCARLATTI: CONCERTI DI CAMERA JudithLinsenberg, recorders; Musica Pacifica. Seven sona-tas, various instrumentations. $17 ARS/$20 others.
____SHINEAND SHADE PiersAdams, recorder; Julian Rhodes, harpsichord. Worksof Norman Fulton, Edmund Rubbra, York Bowen,Lennox Berkeley, others. $17 ARS/$20 others.____SONGS IN THE GROUND Cléa Galhano,recorder, Vivian Montgomery, harpsichord. Works byPandolfi, Belanzanni, Vitali, Bach and contemporariesThomas, Morrison and Setti, featuring songs based ongrounds. 10,000 Lakes. $17 ARS/$20 others.SUZUKIfi RECORDER SCHOOL (Four vols.)Recordings to accompany the Suzuki® RecorderSchool method books, with Marion Verbruggen,recorders. $17 ARS/$20 others, for each single CD, or$33 ARS/$40 others for any two Suzuki® CDs:____Vols. 1 & 2 for Soprano or____Vols. 1 & 2 for Alto
(Vols. 1 & 2: folk & children’s songs, Baroque dances)____Vols. 3 & 4 for Soprano: Handel, de la Guerre, others____Vols. 3 & 4 for Alto: Handel, J.S. Bach, Purcell, others____TELEMANN ALLA POLACCA REBEL withMatthias Maute, recorders & traverso, play concertiand suites by G.P.Telemann. . $17 ARS/$20 others.____TELEMANN: CHAMBER CANTATAS AND TRIOSONATAS Judith Linsenberg, recorders; ChristineBrandes, soprano, Jennifer Lane, mezzo-soprano,members of Musica Pacifica. Five cantatas fromHarmonischer Gottesdienst (soprano, recorder & con-tinuo, or mezzo-soprano, violin & continuo); plus twotrio sonatas from Sonatas Corellisantes (in the style ofCorelli). Dorian. $17 ARS/$20 others.____TRIO ATLANTICA Lisette Kielson, recorders;Julie Elhard, viola da gamba, Paul Boehnke, harpsi-chord. Works by Bach, Telemann, Montéclair, Leclair.Trio Atlantica. $17 ARS/$20 others.____ VIVA VOCE! TWO MINI-OPERAS BY HAN-DEL (2-CD set, live recording) Carolina Baroque.Dale Higbee, recorders. Acis and Galatea & Apolloand Daphne are "two of the most charming worksfrom the Baroque era."—American Recorder.$24 ARS/$28 others.
Please indicate above the CDs you wish to order,and print clearly the following:Name ______________________________________Daytime phone: (_____) ________________________
Address: ____________________________________
City/State/Zip: _______________________________
Check enclosed for _____ single CDs x $____ = $______ _____ 2-CD sets x $____ = $______
TOTAL = $______
Please charge the above amount to my MasterCard orVisa:#______________________________________
Exp. Date: ____________
Cardholder’s signature:_________________________AMERICAN RECORDER SOCIETY,Box 631, Littleton, CO 80160-0631, U.S.A.You may fax or call in your credit card order to 303-347-1181.
Order your recorder discsthrough the ARS CD Club!The ARS CD Club makes hard-to-find or limited release CDs by ARS members available to ARS members at the special price listed (non-members slightlyhigher), postage and handling included. An updated listing of all available CDs may be found at the ARS web site: <www.americanrecorder.org>.
44 American Recorder
CLASSIFIED___________________________________
A CHEERFULL NOYSE. Selling recorders, other instru-ments, sheet music and accessories for early music. Besure to read “Playing The Recorder Only Seems Easy”online, each month. Customer service is our middle name. www.acheerfullnoyse.com,[email protected].
FOR SALE: Zen-On Great Bass 6000, Maple, case,excellent, $1675. 609-883-9874 for emailed photos.
FOR SALE: Moeck Rottenburgh Alto recorder, black-wood, excellent condition, $350.00. 435-259-8311.
FOR SALE: Von Huene rosewood/ivory alto. Extras,$1,250. Moeck ebony soprano $100. 562-597-6587.Leave address &/or phone #.
NINE-NOTE RECORDER METHOD Easy duet bookschildren/beginners. www.ninenote.com.
AMERICAN RECORDER seeks articles on recorder:history, performance practice, artists and repertoire,education, instrument building, etc. Also, photographsand reports of news events. Will consider artwork,poetry, riddles, puzzles. Modest honoraria by specialarrangement. Send inquiries to: American RecorderEditor, 7770 South High St., Centennial, CO 80122; <[email protected]>.
MUSIC REVIEWERS for AR needed. Reviews mustbe submitted by e-mail or on disk. Please send abrief bio with a list of the types of music you are in-terested in reviewing to Connie Primus, Box 608,Georgetown, CO 80444, or <[email protected]>.
COMPACT DISC REVIEWERS for AR needed. Re-views must be submitted by e-mail or on disk.Please send a brief bio with a list of the types of mu-sic you are interested in reviewing to Thomas Cirtin,8128 N. Armstrong Chapel Road, Otterbein IN 47970,<[email protected]>.
Classified rate for American Recorder: 60¢per word, ten-word minimum. “FOR SALE”and “WANTED” may be included in thecopy without counting. Zip code is oneword; phone, e-mail, or web page is two.Payment must accompany copy. Dead-lines are one month before issue date.Send copy with payment to: ARS, Box 631, Littleton, CO 80160.
ADVERTISER INDEXALAMIRE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IFC
AMERICAN ORFF-SCHULWERK ASSN. . . . . . . . . . . . . . . . . 27
AMERICAN RECORDER SOCIETY . . . . . . . . . . . . . . . . . 29, 30
BEATIN’ PATH PUBLICATIONS . . . . . . . . . . . . . . . . . . . . . . . . 34
STEPHAN BLEZINGER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
JEAN-LUC BOUDREAU . . . . . . . . . . . . . . . . . . . . . . . . . . . 23, 31
BOULDER EARLY MUSIC SHOP . . . . . . . . . . . . . . . . . . . . . . 23
CAROLINA BAROQUE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
COLLINS & WILLIAMS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
COURTLY MUSIC UNLIMITED. . . . . . . . . . . . . . . . . . . . . . . . 40
HONEYSUCKLE MUSIC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
KATASTROPHE RECORDS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
BILL LAZAR’S EARLY MUSIC . . . . . . . . . . . . . . . . . . . . . . . . . . 28
MARGRET LÖBNER RECORDERS . . . . . . . . . . . . . . . . . . . . . 25
LONG ISLAND RECORDER FESTIVAL. . . . . . . . . . . . . . . . . . 21
KEITH E. LORAINE EARLY DOUBLE REED SERVICE . . . . . . . 3
ANN MCKINLEY (PARNELL PRODUCTIONS) . . . . . . . . . . 26
MAGNAMUSIC DISTRIBUTORS . . . . . . . . . . . . . . . . . . . . . BC
MOECK VERLAG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
MOLLENHAUER RECORDERS . . . . . . . . . . . . . . . . . . . . . . . . 25
PRB PRODUCTIONS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
PRESCOTT WORKSHOP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
PROVINCETOWN BOOKSHOP. . . . . . . . . . . . . . . . . . . . . . . 34
YOAV RAN RECORDERS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
THE RECORDER MAGAZINE . . . . . . . . . . . . . . . . . . . . . . . . . 23
THE RECORDER SHOP. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
SCREAMING MARY MUSIC . . . . . . . . . . . . . . . . . . . . . . . . . . 28
SUZUKI RECORDER METHOD INSTITUTE . . . . . . . . . . . . . 27
SWEETHEART FLUTE CO. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
VON HUENE WORKSHOP, INC. . . . . . . . . . . . . . . . . . . . . . . 34
WICHITA BAND INSTRUMENT CO. . . . . . . . . . . . . . . . . . . . 32
YAMAHA CORPORATION . . . . . . . . . . . . . . . . . . . . . . . . . . IBC
DOMINIK ZUCHOWICZ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
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Rates good through November 2003. Please inquireabout discounts on multiple-issue contracts, inserts,or other special requests. Extra charges fortypesetting, layout, halftones, and size alterations.133-line screen recommended. Advertising subjectto acceptance by magazine. First-time advertisersmust include payment with order.
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fine editions of early & contemporary music
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Phone: -- Fax: --E-mail: [email protected]: www.prbmusic.com
Courtly Music Unlimited
800-2-RICHIE (800 274-2443)
www.courtlymusic.com
"Everything for the recorder enthusiast, or those who
would like to be."
Fine wood and plastic recorders, sheet music, method books, play-along CDs,
accessories, workshops.
Honeysuckle Music
Recorders & accessories. . .
Music for recorders & viols
Jean Allison Olson1604 Portland Ave.St. Paul, MN 55104
651.644.8545 [email protected]
Carolina Baroque
Dale Higbee, Music Director
Music of 1600-1750
on period instruments
Concerts -- Carolina Baroque CDs
412 S. Ellis St., Salisbury, NC 28144-4820
[email protected] ~ (704) 633-9311
www.carolinabaroque.org