recorder notes - homesteadseattlerecorder.homestead.com/newsletter/srs_newsletter_1504_apr... ·...
TRANSCRIPT
April 2015 Vol. XLVI, No. 7
Recorder Notes
From the Music Director (Peter Seibert)
SRS Meeting
Friday, March 27th, 2015 @ 7:30 pm
Opening Program C’nardally Waytes Early brass consort
Playing Session (Vicki Boeckman
and Sally Mitchell) Very old to
very new music
The Backroom Gang (Sally Mitchell)
Music will be provided.
1
Reminder: Our “April Meeting” will be on Friday, March 27, 2015.
The April Meeting has become the Annual Meeting of the SRS and is the meeting at which elections are held.
Our current president, Kathleen Arends, writes: Our “April”
meeting features our members’ annual business meeting. As explained in our previous newsletter, we will choose a president-‐elect and a new secretary. The Board’s nominee for president-‐elect is Mike Woolf, and for secretary, Kathleen Arends. Nominations may also be made from the floor, provided that the nominee has assented beforehand.
Opening Program: C’nardally Waytes, a consort of early brass players led by Dr. Kris Kwapis, will open our meeting. The performers are: Kris Kwapis and John Bolcer, cornetti; Eric Kernfeld and Toni Seales, alto sackbuts; Guy Smith, tenor sackbut; and Gary Berkenstock, dulcian. They will play selections of German music from the 17th century, and Gary will demonstrate the dulcian. Kris will talk about early brass instruments and about her ensemble and what they do. Kris Kwapis is an internationally known performer and authority on early brass instruments. The group debuted at the SRS back in 2010, and we welcome their return.
Playing Session: See below for details from Vicki and Sally. Members’ Night: Get your act together and contact Hanan Bell for
your spot in the program! For contact information, see the blue box below.
Port Townsend Early Music Workshop: There are already lots of people registered. Sign up while there’s still space! * * *
(I’m away at the time of the “April” meeting but will be on hand for Members’ Night.) (continued below)
Remember to Register!
Registration for the
Port Townsend Early Music Workshop, July 5th–11th, 2015,
is now underway!
Please visit our website to see the enticing topics that our splendid faculty have to offer.
www.seattle-‐
recorder.org/workshop
From the Music Director (continued)
It’s Getting Closer . . . Members’ Night this year is May 1st. Rather than dancing
around a maypole or protesting in Red Square, let's plan on
playing recorders for each other. Time to get your group together and work up an old favorite or a new favorite. Or, you could select a jewel from the 10-‐bin music library. (Thar's gems in
them thar bins!)
Sign-‐up sheets will be available at the March 27th meeting. Or, you can contact Hanan Bell at [email protected] to provide the name of your ensemble, the individual players, and the piece(s) you’ll be performing.
Refreshments (March 27th)
Cookies
Eunice Nakao Ione Turman
Fruit
Nancy Gorbman Mike Woolf
Veggies
Rebecca Olson-‐Nord
Thank you for volunteering!
2
Playing Session: Vicki Boeckman will be leading this final playing session of the season. Here’s what she has to say:
Greetings everyone! I am looking forward to seeing you all on March
27th. This will be our last formal playing session of the season, (next month is Members’ Night), and we have a fun evening planned.
The Backroom Gang will join us for the first part of the meeting with
Sally Mitchell at the helm sharing what they have diligently been working on these past few months.
Sally writes: I’ll begin with the chanson “Ta Bonne Grace” by Roquelay, published by Attaingmant in 1536. Then the tempo will pick up considerably with two dances from Playford: “Gathering Peascods” and “The Old Mole.” The Backroom Gang’s primary object for this year was to learn how to deal with “Flemish” rhythms; you’ll see their progress as we play Jacob Obrecht’s “Meskin es hu,” published in Petrucci’s Odhecaton in 1501.
(Back to Vicki) I have recently become acquainted with works by
the British composer Steve Marshall and am completely sold! Steve and his wife, Ann, are both accomplished bari sax and recorder players who happen to love composing and transcribing works for recorder ensemble—especially for multi-‐voiced recorder orchestra. I am sure you will agree with me once you hear them. We will start with a double choir transcription of Gustav Holst’s “Ave Maria,” then segue into “Song for Carla,” and end with a lovely “Rhapsody” for recorder orchestra and bari sax, featuring Bill Stickney on saxophone.
The transition from being guest conductor to director of SRS is a large one, and I graciously accept your confidence in me to fill Peter’s rather large shoes (figuratively speaking, of course!). I look forward to the responsibilities associated with the leadership, and to being a part of the team that keeps this recorder society thriving.
If anyone has any questions about the music or anything else, or would like to see parts ahead of time, please feel free to send me a message.
SRS has a Paetzold contrabass recorder that may be checked out to individual SRS members. If you’re interested in trying out this instrument, contact Vicki Boeckman ([email protected]) to check on its availability. (It’s currently checked out through the middle of April.)
Contrabass Recorder for Loan
SRS Members on Stage!
(Recorder Orchestra of Puget Sound)
When: Sunday, April 12th, at 3 pm Where: Sand Point Community United Methodist Church 4710 NE 70th Street, Seattle What: The revival of the Recorder Orchestra of Puget Sound (ROPS) under the batons of Charles Coldwell and Vicki Boeckman ROPS members have been rehearsing weekly at SPCUMC since February and are de-‐lighted to have the opportunity to share the fruits of their work. They will perform works by Eric Hass, Steve Marshall, Gabriel Fauré, Dietrich Schnabel, G.F. Handel, and Stefano Bernardi. The sound is sonorous, glorious, and rich! Come enjoy the beautiful music, and stay for the reception afterward. There’s no charge, so be sure to come by!
Meeting Notes: March 6th, 2015 (Molly Warner)
1
Our March meeting opened with a lovely concert by Miyo Aoki, alto recorder, and Jonathan Oddie, harpsichord. They are recent arrivals to Seattle; both studied at the early music program at Indiana University (his degree is in piano and harpsichord, hers in recorder performance and mathematics), and Jonathan is finishing his doctorate in musicology at Oxford, studying the works of Orlando Gibbons. Miyo, who worked with Eva Legêne at Indiana and with Han Tol in Germany, gave a presentation at SRS last November and will be on the faculty at the Port Townsend Early Music Workshop this coming July.
For their concert they played a transcription in F major for
harpsichord and recorder of J.S. Bach's organ trio (BWV 529, originally in C major). Bach wrote a number of these works in which the right hand, the left hand, and the feet of the organist play separate but carefully intertwined contrapuntal parts. Many of these have been transcribed for a variety of separate instruments, and this particular trio, which is truly delightful, lovely and happy, has been transcribed several times. In this version, Miyo played the organist's right-‐hand part, while Jonathan played the organist’s left-‐hand part with his right hand and the bass line (the part originally played with the organist's feet) with his left hand. Jonathan pointed out to us the structure of the third movement, which started with a complex 9-‐bar subject in one of the upper voices. This was then imitated by the second voice, “but not in the bass, as it would be too difficult for the feet.” A five-‐note motif with ascending thirds and descending fourths comes back many times in all parts, ending in very close stretto. “Listen for the structure—the three lines are compressed very closely by the end.”
And listen we did! Miyo's beautiful, round, clear tones were too
gorgeous for me to distract myself by taking notes, so I just sat and listened raptly to all three movements. From the front row, I watched her hands, admiring her delicate finger vibrato on the occasional long note, her seemingly effortless breath support, and her relaxed facial expression. She played a beautiful alto recorder of dark and light woods made in Italy by Luca de Paolis. Jonathan played a Zuckerman spinet harpsichord (courtesy of David Calhoun) that balanced the recorder very nicely. The two of them stretched and compressed phrases as seemed appropriate, totally in sync with one another. What a wonderful way to open our meeting! Thank you so much, Miyo and Jonathan, and we certainly look forward to enjoying more of your fabulous music-‐making!
Following the concert, eight members of the Backroom Gang
marched off down the hall to work with Sally Mitchell. They are preparing a surprise for the rest of us that will be revealed at our next meeting (the “April” meeting on March 27th), so no details were leaked at this time!
In the big room, Peter Seibert conducted his final playing session as
Music Director of the Seattle Recorder Society (we certainly hope to see more of him as “Music Director Emeritus!”). He had crafted a program to honor Margriet Tindemans, whose contributions to the early music community were legion; several concerts have been dedicated to her since her death at the end of December. Peter took viol lessons from Margriet, and remarked that in all of the polyphonic music they played, one could always (continued below)
2
tell when she was handing off a phrase to another part, and that the back-‐and-‐forth feeding of lines to one another, especially during times of repose, was a remarkable aspect of her skill.
Locke, Jenkins, and Lawes were three English composers who wrote extensively for viol consorts, and for tonight’s playing session Peter had arranged for recorder orchestra “Suite No. 3” by Matthew Locke (ca. 1621–1677), originally for strings and most likely for viols. This began with a lovely Fantasia, which we first played through, then began to rehearse. “Watch for these syncopated places. We need little lifts, air spaces,” and Peter worked with the soprano recorders to achieve the right effect. “More separation when the tenors come in, as it’s getting thick!” There were dissonant crunches here and there. “Locke’s music is full of these places, the tenor on F sharp, the basses on E flat. That drop of an octave—it’s very viol-‐y.” We played the whole movement again. “Lovely! Now the dances—the English were behind the Italians and the French in entering into the baroque.” We played a Courante, followed by an Ayre. “Lighten it up! Put an air space where the dot is. It’s up to you, sopranos, to manage that high C. Good! Very nice C’s, not emotional.” He discussed the Sarabande that ended the suite: “This is a dance form that was brought from the New World. Over time it got slower and slower, so that by the late baroque it was very slow indeed. But this piece was written during the time that the Sarabande was still in the transition period from the colonies.”
The next piece was also a Seibert arrangement of a piece for viols, “Pavan No. 2” by John Jenkins (1592–1678). This was six-‐part music in three strains, sometimes falling into trios. “Make those repeated pitches smooth; use the articulations di ri di ri or du du du du, not dit dit dit. This music takes a lot of concentration—fabulous music!”
We have Dick Templeton to thank for Margriet’s decades spent in
Seattle. Margriet met Dick in the 1980’s during a tour here with her Europe-‐based group, Sequentia, and, despite a big difference in their ages, they fell in love and married. For Dick’s 80th birthday in 2003, Margriet asked Peter to write a piece for him, and “Mr. Richard Templeton His Fancy” was the result. Peter translated the vowels in Dick’s name into solfege notations, and built the piece around that theme. I-‐A-‐E-‐E-‐O became mi-‐fa-‐re-‐re-‐sol (or ut), or 3-‐4-‐2-‐2-‐5 of an eight-‐note scale. We played this happy piece a couple of times through, and then it was time to stop, put away chairs, and enjoy refreshments.
The early music community’s debt to Margriet Tindemans is huge. The Seattle Recorder Society's debt to Peter Seibert is gigantic. Peter, we will miss your wonderful coaching, and are ever so grateful for all the composing and arranging you have done for us directly and for others such as Dick Templeton and Margriet. We expect to see you back from time to time as Music Director Emeritus, and we will be in excellent hands with our new Music Director, Vicki Boeckman. Thank you, Peter, for everything!
Meeting Notes: March 6th, 2015 (continued) Last-Minute Reminder!
“Play the Recorder Month” Concert and Celebration!
Where: Third Place Commons http://thirdplacecommons.org/ Lake Forest Park Towne Centre 17171 Bothell Way NE Lake Forest Park When: Saturday, March 28th 3:00–4:00 pm What: Join us for a lively concert of recorder music from around the world. All ages are welcome; there will be activities for young children to enjoy! You are invited to play recorder with us—a Turkish march—“C” instrument (soprano, tenor, or C bass). The music can be downloaded here. If you would like to play, please bring a stand (or share a stand with someone). For more information, contact Nancy Gorbman at: [email protected]
2014/2015 SRS Meetings Meetings are usually (but not always) held on the first Friday of each month, October to May, at 7:30 p.m., Maple Leaf Lutheran Church, 10005 – 32nd NE, Seattle. Meetings include a short
performance or lecture of interest to recorder and viol players, ensemble
playing for all levels of recorder players, and a beginning recorder ensemble. A $5.00 donation is requested
for non-‐members.
October 10, 2014 November 14, 2014 December 5, 2014 January 2, 2015 February 6, 2015
March 6, 2015 March 27, 2015
May 1, 2015
Recorder Classes (Laura Faber)
Note: New beginners are welcome at any time.
Contact Laura to get started.
Advanced Beginner/Lower Intermediate Ensemble
Tuesdays – 7:30 to 9:00 pm
Advanced Beginner/Lower Intermediate Ensemble
Thursdays – 12:30 to 2:30 pm
Intermediate Ensemble Tuesdays – 12:30 to 2:30 pm
Bass Class
Saturdays – 10 am to 12 pm
* * *
Class Descriptions
Advanced Beginner/ Lower Intermediate Ensemble (SATB) Comfortable with all common
fingerings and rhythms
Intermediate Ensemble (SATBGB)
Playing both F and C instruments, counting halves,
reading from parts
Bass Class Any player interested in learning more about bass technique
may join at any time.
10-‐10:30 Beginners/technique 10:30-‐11:15 Everyone together 11:15-‐12:00 Intermediate
Players are welcome to attend any or all sections of this class.
* * *
People who are interested
should contact Laura by email at [email protected]
or by calling (206) 619-‐0671.
SRS Statement of Activity 2013/14
9/1/13-8/31/14
Cash, beginning $46,582 Income Memberships 2,975 Donations 2,260 Employer matching funds 975 Recorder Notes subscriptions Visitors 48 Interest income 46 Newsletter ad Merchandise sales (auction) Recorder class ARS dues collected 1,135 ARS dues remitted (1,135) Total 6,304 Expenditures Music director 200 Conductors 1,450 Consort leaders 700 Opening programs 650 Insurance 278 Church honorarium 1,000 Music production 800 Recorder class fees Recorder class costs Photocopying 151 Office expenses Postage 72 Printing Advertising 300 Travel 100 State of WA fee 10 Bank charges and fees Miscellaneous 32 SRS website 240 Total 5,983 Excess of income over expenditures 321
Activities outside the budget ARS annual meeting, concert, and potluck – net (238)
Grant made to Early Music Guild (1,000)
Ad for ARS’ anniversary (200) Dues and donations received in advance 210
Less application of dues received in advance last year (35)
Increase (decrease) in Port Townsend account 30
Cash, ending $45,670
SRS Board Members (2014/2015)
Music Director: Peter Seibert (206-‐329-‐2774) [email protected] Officers: President: Kathleen Arends (425-‐649-‐9869) [email protected] President-‐Elect: Hanan Bell (206-‐695-‐2276) [email protected] Past President: Ellis Hillinger (206-‐547-‐0718) [email protected] Secretary: Molly Warner (206-‐523-‐5192) [email protected] Treasurer: Richard Ginnis (206-‐633-‐1969) [email protected] * * * * Membership: Betty Swift (206-‐323-‐3879) [email protected] Newsletter: Karen Berliner (206-‐550-‐3384) [email protected] Refreshments: Mike Woolf (206-‐300-‐6623) [email protected] Viol Representative: Ellen Seibert (206-‐329-‐2774) [email protected] Webmaster: Charles Coldwell (206-‐328-‐8238) [email protected] Ex-‐Officio Member: Vicki Boeckman (206-‐985-‐9916) [email protected] Members-‐At-‐Large: Katie Sprugel [email protected] Carolyn Wallace (206-‐782-‐6898) [email protected] “Recorder Notes” is published monthly, October through May, for its members by the Seattle Recorder Society. 4554 – 4th Ave NE, Seattle, WA 98105. $35 Annual Membership Dues. www.seattle-‐recorder.org
Sat., Apr. 11 @ 10 am–5 pm: Moss Bay Recorder Society holds it annual April meet. Conductors include Charles Coldwell, Larry Stark, and Sally Mitchell. Come for one or for all. Kirkland Congregational Church, 106 – 5th Ave., Kirkland. www.mossbayrecorders.org Sat., Apr. 11 @ 8 pm: Seattle Baroque Orchestra presents: “Vivaldi: The Four Seasons.” Carrie Krause, guest director and violin soloist. TH. EMG. Sun., Apr. 12 @ 3 pm: The revival of the Recorder Orchestra of Puget Sound, under the batons of Charles Coldwell and Vicki Boeckman, will perform works by Eric Hass, Steve Marshall, Gabriel Fauré, Dietrich Schnabel, G.F. Handel, and Stefano Bernardi. Sand Point Community Methodist Church, 4710 NE 70th St., Seattle. Sat., Apr. 18 @ 7:30 pm and Sun., Apr. 19 @ 3 pm: Gallery Concerts presents: “Fandango!” Guest artist Michael Partington, classical guitar. Celebrate the arrival of spring. Queen Anne Christian Church, 1316 – 3rd Ave. W, Seattle. www.galleryconcerts.com Sun., Apr. 19 @ 7 pm: Byron Schenkman & Friends present: “Handel and Telemann.” Nordstrom Recital Hall, 200 University St., Seattle. www.byronschenkman.com Sat., Apr. 25 @ 8 pm: Chanticleer presents: “Mystere.” Includes works by Gabrieli, Desprez, Lasso, Palestrina, Byrd, Victoria, Wolf, Poulenc, and Rachmaninoff. TH. EMG.
Sat., May 2 @ 7:30 pm: The Tudor Choir presents: “Night Music: Music for the Soul.” Blessed Sacrament Church, 5050 8th Ave. NE, Seattle. www.tudorchoir.org Sun., May 3 @ 3 pm: New Baroque Orchestra and Ave Renaissance Women’s Choir present: “Vivaldi’s Gloria and Magnificat.” TPC. EMG. Fri., May 8 @ 7:30 pm: Pacific MusicWorks presents: “Mozart’s The Magic Flute.” A collaboration with UW School of Music. Meany Hall for the Performing Arts, 4140 George Washington Ln. NE, Seattle. www.pacificmusicworks.org Fri., May 8 @ 7:30 pm: NW Showcase presents: “Seattle Send-‐off Concert: Mostly Monteverdi.” This is a benefit concert for the music program at Trinity Parish Episcopal Church. TPC. EMG. Sat., May 9 @ 7:30 pm: Pacific MusicWorks presents: “Mozart’s The Magic Flute.” See May 8 for details. Sun., May 10 @ 2 pm: Pacific MusicWorks presents: “Mozart’s The Magic Flute.” See May 8 for details. Fri., May 15 and Sat., May 16 @ 7:30 pm: “The Silk Road: Trade and the Currency of Music.” This concert imagines sounds that a traveler on the ancient Silk Road may have heard when journeying from East to West from Japan through China, the Middle East, arriving eventually in Italy. Soma Towers, 288 106th Ave. NE, Bellevue. For more information, please call 206-‐200-‐3394. Fri., May 15 and Sat., May 16 @ 8 pm: Medieval Women’s Choir presents: “Ordo Virtutum.” St. James Cathedral, 804 9th Ave, Seattle. EMG. Sat., May 16 @ 7:30 pm: Salish Sea Early Music Festival presents: “1600: Renaissance Winds.” Christ Episcopal Church, 1305 NE 47th St., Seattle. www.salishseafestival.org.
Concerts and Events Calendar
A
P
R
I
L
–
2
0
1
5
M
A
Y
–
2
0
1
5
EMG (Early Music Guild, 206-325-7066) www.earlymusicguild.org TPC (Trinity Parish Church, 609 – 8th Avenue, Seattle) www.trinityseattle.org
TH (Town Hall, 1119 – 8th Avenue, Seattle) www.townhallseattle.org All events are subject to change.