vol. xliii, no. 1 recorder...
TRANSCRIPT
We open the SRS season on
October 7 following another
marvelous Port Townsend Early
Music Workshop. Our newslet-
ter is filled with workshop re-
views, so this column will be concise.
Membership Dues are $35 for the year
(September through August). Dues only pay
for half of our operation expenses. We appre-
ciate your additional donations!
2011-12 meeting dates: 10/7, 11/4, 12/2, 1/6,
2/3, 3/2, 3/30, 5/4
Please note that there will be two meetings
in March – and none in April.
The October 7th meeting will start with a
simple chorale of Bach. Beginners are invited
to joint the large ensemble during the opening
part of the meeting. After that, beginners will
depart to play under the able guidance of Sally
Mitchell. Experienced players will then read
the entire Music for the Royal Fireworks of
George Friderich Handel in a new arrange-
ment for SSAATTBGb. Additional parts are
available for contrabass recorder and for viols.
This is dazzling and wonderful music and a
great way to start our season!
Laura Faber‘s highly successful classes for
beginners and players of modest achievement
will resume in October. Please see article by
Laura Faber on this page and the SRS website
for more information: www.seattle-
recorder.org.
International recorder soloist Vicki Boeck-
man and distinguished recorder maker and
soloist David Ohannesian will give a duo con-
cert on the Early Music Guild First Tuesday
Series on October 4th at 7:30 p.m. at the Trin-
ity Parish Church in Seattle. See:
www.earlymusicguild.org.
John‘s Music, long the best place in the
Northwest for recorder music and instruments,
closed in August. Margaret Swain, who over-
saw the recorder section, plans an online ser-
...from the Music D irector LAST ISSUE IF YOU HAVE NOT SENT IN YOUR MEMBERSHIP DJOINED! Peter Seibert
Recorder Notes
S E A T T L E R E C O R D E R S O C I E T Y October 2011
Vol. XLIII, No. 1
SRS MEETING
Fri., Oct. 7, 2011
(7:30pm)
Playing*:
Peter Seibert, conducting
Handel: Music for the
Royal Fireworks
Bach: Chorales
Recorders and Viols
(Pitch A=440)
*Music Provided
Concerts, Events, Work-shops
2
Meeting Notes 3
Membership/Board 10
Music Trivia 3
Recorder Teachers 3
Refreshments 3
Port Townsend W/S 4
Inside this issue:
...from the Music Director Peter Seibert
vice.
There will be an American Recorder Society
Festival in Portland from July 5-8, 2012. More
information about that will be available in the
coming months.€
Last year‘s beginners classes were such a
great success (19 people joined in), we are
offering two sections for beginners this fall.
Spread the word! I will teach an evening
class Tuesdays at 7:00pm and a day class
Thursdays at 11:00am beginning the week of
October 10. The classes run for six weeks
and will be held at St. Stephens Episcopal
Church in Laurelhurst. For more information
or to register, see the SRS website or call
(206) 619-0671.€
Beginner’s Classes for Fall Laura Faber
Our library offers a great variety of music for
members—check it out! For those members
who transport boxes of music and store them
between meetings—thank you! Please bring
your library boxes to each meeting.
We have a ―new music‖ section (i.e. new
additions to the SRS Library,) that will be set
up for browsing before the music is catalogued
by genre and composer. This section is due to
the generosity of John‘s Music, who donated
over 100 pieces of new music to the SRS!
THANK YOU!!
A beginner‘s section is being developed for
new recorder players or players looking for
―easy‖ music—we welcome you to browse this
section of the library.€
Library Update Nancy Gorbman
OCTOBER 2011
(SAT) 10/1/11 (8:00pm) (pre-concert lecture (7:00pm): Early Music Guild: Seattle Baroque Orchestra: “SBO: La Paix
du Parnasse (Peace of Parnassus): The Italian French Connection” music by Corelli, Lully, Couperin, Muffat and Handel @
Town Hall, 1119—8th Ave, Seattle; $40/$35/$25/$15; (206-325-7066)
(TUE) 10/4/11 (7:30pm): First Tuesdays: Vicki Boeckman and David Ohannesian Recorder Duo; Works by Ciconia, Sweelinck,
Morley, Telemann, and Eccles @ Trinity Parish Church, 609 8th Ave., Seattle; (206-325-7066).
(FRI) 10/7/11 (7:30pm): Seattle Recorder Society Meeting @ Maple Leaf Lutheran Church, 10005 32nd NE, Seattle.
(FRI) 10/7/11 (7:30pm): Early Music Fridays: Vicki Boeckman and David Ohannesian Recorder Duo; Works by Ciconia,
Sweelinck, Morley, Telemann, and Eccles @ Northlake Unitarian Universalist Church, 308 4th Ave. S., Kirkland; (206 -325-7066).
(SAT) 10/8/11 (2:00pm): Moss Bay Recorder Society Meeting, “Music from the Court of Ferdinand and Isabella (in
honor of Columbus Day)”; music provided; Redmond Library; 15990 N.E. 85th, Redmond; for more info., contact Sally
Mitchell @ (206-328-3381) or email: [email protected]
(SAT) 10/8/11 (7:30pm): Gallery Concerts: The Gallery Baroque Players: “Le Nuove Musiche”; music by Caccini, Monte-
verdi, Dowland and others; Ross Hauck, tenor; Ingrid Matthews, violin; John Lenti, lute and theorbo; Jilon Stoppels Dupree, Italian harpsichord @ Queen Anne Christian Church, 1316 3rd Ave. W., Seattle; (206-726-6088)
www.GalleryConcerts.org
(SUN) 10/9/11 (1:00pm): Early Music Guild: Early Music Discovery Series: “Boppin’ with Bach: Exploring the Dance Origins of the Suzuki Repertoire”; dance music by Lully, Gossec, Bach, Handel and others @ Town Hall, 1119—8th Ave., Seattle; $10/$5;
(206-325-7066)
(SUN) 10/9/11 (3:00pm): Gallery Concerts: (see 10/8/11 for details)
(SAT) 10/15/11 (7:30pm): The Byrd Ensemble (formerly: Renaissance Singers); “English Renaissance: Tallis & Byrd”;
Markdavin Obenza, director @ Trinity Parish Church, 609 8th Ave., Seattle; $17/$12; (206-397-3627)
(SAT) 10/15/11 (8:00pm) (pre-concert lecture (7:00pm): Early Music Guild: International Series: Toronto Consort: “The Da Vinci Codex”; renaissance music from the time of Da Vinci @ Town Hall, 1119—8th Ave, Seattle; $40/$35/$25/$15;
206-325-7066
(FRI) 10/21/11 (7:30pm): Organ Dedication Concert: Bachtoberfest II; music by Bach; James David Christie, organist @
Our Lady of Fatima Church, 3218 West Barrett Street, Seattle; $20 gen.; (206-283-1456); www.olfatima.org
(SAT) 10/22/11 (8:00pm): Pacific Musicworks: Canticum Canticorum; Vocal Music from the Songs of Solomon; Stephen Stubbs, Music Director @ Daniels Recital Hall, 5th Ave & Marion St., Seattle; $35/$20; (206 -913-2073);
www.pacificmusicworks.org
NOVEMBER 2011
(WED) 11/2/11 (7:00pm): Our Lady of Fatima Chamber Choir and Baroque Orchestra; “Requiem” by Johann David Heinichen @ Our Lady of Fatima Church, 3218 West Barrett Street, Seattle; free will offering; (206 -283-1456);
www.olfatima.org
(FRI) 11/4/11 (7:30pm): Seattle Recorder Society: “Members’ Night” Meeting; small ensemble performances @ Maple Leaf
Lutheran Church, 10005 32nd NE, Seattle.
(SAT) 11/5/11 (8:00pm) (pre-concert lecture (7:00pm): Early Music Guild: Seattle Baroque Soloists: “Music from the
City of Light: Paris at the Age of Enlightenment” music by Boimortier, Jacquet de la Guerre, Leclair & others @ Town Hall,
1119—8th Ave, Seattle; $40/$35/$25/$15; (206-325-7066)
(SAT) 11/12/11: (2:00pm): Moss Bay Recorder Society Meeting, (music and location TBA); for more info., contact Sally
Mitchell @ 206-328-3381 or email: [email protected]
(SUN) 11/13/11 (time TBA): New Baroque Orchestra: music by Telemann, Lully, Albinoni, Loeillet & Becker; Linda Melsted,
Artistic Director @ Trinity Parish Church, 609 8th Ave., Seattle; donations welcome.
(SUN) 11/13/11 (3:00pm): Sine Nomine Renaissance Choir: “Victoria and Guerrero”; music by Tomás Luis de Victoria
and Francisco Guerrero @ Trinity Parish Church, 609 8th Ave., Seattle; free will offering.
(FRI) 11/18/11 (7:30pm): Early Music Fridays: Jeff Cohan, Flutist @ Northlake Unitarian Universalist Church, 308 4th Ave.
S., Kirkland; (206-325-7066).
(SUN) 11/20/11 (3:00pm): Our Lady of Fatima Chamber Choir and Baroque Orchestra; “Messiah” by Handel @ Our
Lady of Fatima Church, 3218 West Barrett Street, Seattle; $20 in advance/$25; (206-283-1456); www.olfatima.org
Concerts & Events Calendar Recorder Notes Vol. XLIII, No. 1 Page 2
Members‟ Night: It‘s hard to believe the year
is zipping by so fast! Members‘ Night is here
again, the final meeting of our 2010-2011
season. This year fifteen groups presented
music, approximately five minutes for each
group, to the membership at large – an appre-
ciative audience for all the work and imagina-
tion that went into these performances. The
groups ranged from two to twelve players of
various winds, strings, keyboards, percussion
or voice, with and without leaders. Outgoing
SRS President Jill Shupe and incoming Presi-
dent Tomo Morita did a superb job of getting
the groups on and off stage quickly and effi-
ciently, with chairs and music stands moved
on and off as required. The stage consisted of
an area defined by an oriental rug, two brass
standing lamps, and two harpsichords; the
audience faced the windows rather than the
back of the room as we do during our regular
meetings. Although we had a printed program,
the order of performances was changed in
order to accommodate the transportation needs
of some of the players living far away.
First up were the Rain City Players, Laura
Faber‘s two beginning classes combined. They
appeared dressed in rain hats and rubber boots,
and with Laura conducting, performed Shep-
herd’s Hey (an English folk song), a Gavotte
by Handel, and an anonymous Bergamasca.
We welcome Luis Buen Abad, Chu-Lan
Chiong, Poala del Sol, Janice Hougan, Ann
Kimball, Sharon Langs, David Maughan, and
Mike Wagenbach to the wonderful world of
playing and performing on recorders! They
started their lessons just a few months ago,
and have made wonderful progress – keep up
the good work, and have fun with music!
The Puget Sounds (Donna Arbeau, Wendy
Cushner, Phyllis Koller and Clara Wall) are
based in Tacoma. These women wore match-
ing vests with spring colors (they have red
ones for Christmas), and performed on SAAB
recorders the lovely familiar tunes of Henry
Purcell, Rondeau No. 2 and Elefantanz No 4.
The Ferry Connection (Chris Harshman on
baroque bassoon, Molly Warner on baroque
flute and Gerrity Shupe on harpsichord)
played a Vivace/Adagio and an Alla Breve
from Vivaldi‘s Sonata VI in g minor from Il
Pastor Fido, using instruments pitched at
A=415.
Triple Shot Caramel Macciato (Tomo Morita
on recorder, Bryn Cannon on violin, Christy
Johnson on cello and Gerrity Shupe on a harp-
sichord tuned to A=440) performed an Affetu-
oso and an Allegro from Telemann‘s Trio So-
nata in a minor. Tomo‘s (cont‘d on page 9)
Meeting Notes: May 6, 2011 Molly Warner
Recorder Notes Vol. XLIII, No. 1 Page 3
Music Trivia
Which French composer
introduced the trio sonata
form in France, was a court
organist during the reign of
Louis XIV, was a harpsichord
virtuoso, composed over 230
pieces for harpsichord, and
wrote a famous book on
harpsichord technique and
ornamentation entitled: L’art
de toucher le clavecin?
(Answer: see below)
ANSWER: François Couperin
(1668 – 1733)
Refreshments
(October Meeting)
Cookies, Veggies & Fruit:
Board Members
Thank you to those of you who
volunteered to bring treats!
(Free): Civil War era, 1859, Emerson Box
Grand Piano: Good-to-very good condi-
tion. Not restored. Was likely unused furni-
ture in an estate. Tuned to A=430. Flower
motif, small "secret" compartment in key-
board housing. Piano seat included. Con-
tact Sonya Wilkins;
[email protected] (photo below)
Classified Ads
SEATTLE
Vicki Boeckman
(206-985-9916)
Intermediate & above private lesson,
ensemble coaching, children at any level
Laura Faber
(206-517-5739)
Beginning students of all ages
Jerry Kohl
(206-328-1413)
All levels
Sally Mitchell
(206-328-3381)
All levels
KIRKLAND AND EAST SIDE
Mary Whittington & Winifred Jaeger
(425-822-4933)
BELLINGHAM
Debbie McMeel
(360-647-9606)
Recorder Teachers: Western Washington
The Port Townsend Early Music Workshop took place in July in Ta-
coma at the University of Puget Sound, and it was a very nice week.
This was our second time at UPS, and the place works very well as a
workshop venue. Vicki Boeckman and Jo Baim assumed the helm,
Vicki in her debut as Artistic Director and Jo Baim in her second stint
as Managing Director – what a team! The workshop was slightly
smaller than before, with 13 faculty in addition to Vicki and Jo, and
78 students. We students hailed from 13 states and two Canadian
provinces (35 from Washington, 18 from British Columbia, 4 each
from Oregon and California, 3 each from Alberta and Arizona, 2 each
from Colorado and Maine, and 1 each from Missouri, Texas, Wiscon-
sin, Idaho, Montana, Indiana, and Alaska). We ranged in age from
mid-teens to well over 80 – how super that one can enjoy making
music across the lifespan! The outstanding faculty wowed us all with
their musicianship, their kindness and approachability, their astute
teaching and their sense of humor and fun. Social mixing was facili-
tated at UPS by all of us (except the commuters) being housed in the
same dorm, with ample opportunity for interacting with new friends
and old at the big tables in the cafeteria, or, when the weather cooper-
ated, outside on the patio. We enjoyed two lovely catered dinners
together in the Rotunda, a salmon dinner on Tuesday and the banquet
on Friday. In addition to the classes, there were plenty of opportuni-
ties for informal playing in the evening. In addition to Vicki, Jo, and
all the faculty, all of whom did a superlative job of making the work-
shop go so smoothly, special thanks goes to Debbie McMeel of Bel-
lingham, WA, who brought armloads of fabulous costumes for people
to wear to the Friday night banquet.
As in years past, I solicited comments and impressions from the work-
shop attendees, who wrote about individual faculty members or about
the workshop as a whole:
*************
The Port Townsend Early Music Workshop, July 10-16, 2011
Review for the B.C. Recorder Society website, by Tony Griffiths
(Vancouver B.C.)
These workshops, put on by the Seattle Recorder Society, are held
every two years, but this was the first one for me. In my opinion it
was a great success. Just what is it that makes for a successful work-
shop? Read on.
Obviously, first and foremost is the opportunity to develop one‘s
skills in the instrument you specialize in. This week provided many
such opportunities in recorders, viols, voice and percussion instru-
ments, in both solo and group play, and for all levels of experience.
The 14-member faculty were among the best in the world for these
instruments. Not only do they have virtuosic abilities to make music,
but the ones I sampled were all excellent teachers, showing well-
placed constructive remarks and encouragement to all students. In-
deed I heard no negative or critical comments all week.
Second, it is great to have an opportunity to sample other instruments
and styles in the early music stable. Two of my choices, beginning
viols and madrigal singing, were things I had never done before, and
in both cases the teachers had me well and truly hooked by the end of
the week, with the intent of pursuing these skills beyond
the workshop. Several classes involved mixed consorts of
recorders and viols, something many of us rarely experi-
ence. The range of options was remarkable including such
unusual choices as Brazilian music, Balkan music, music
written in 5 beats to the bar, and of course percussion.
The third essential is the option for meeting other musi-
cians in a relaxed setting to share music and tips relevant
to music (and other aspects of life too). In addition to
meeting at meals, we had the option of playing in im-
promptu groups in the evenings. One memorable experi-
ence for me was being able to play pieces with large num-
bers of parts (the record for me of 16 parts was attained at
this meeting). Most attendees were from western states or
Canadian provinces, but some had traveled a considerable
distance to be there.
Other memorable experiences for me:
The talented faculty performed twice. The formal concert,
which went on for over two hours, contained many memo-
rable items, but I will mention just three.
Frances Blaker and Tish Berlin on recorders accompanied
by viols performed a wonderfully sensitive rendition of J.
S. Bach‘s Gottes Zeit ist die allerbeste Zeit (God's Time is
the very best Time). Written by a very young Bach for a
funeral, it provides an amazingly uplifting feeling which
one suspects we would all appreciate at a funeral (perhaps
even our own!).
Another item memorable for me (because I had never
heard anything like it) was a performance by Clea Gal-
hano, who specializes in playing Brazilian music on re-
corders. Luckily her CD was available so I bought one.
Third, I had heard much of Seattle‘s Peter Siebert, but to
hear him conduct his own arrangements of Handel‘s Wa-
ter Music, and several other pieces, was inspiring. The
other occasion was one in which the faculty showed off
their skills in an unrehearsed ―jam session‖, which showed
tremendous spontaneous energy.
One evening there was an organized drum circle. Almost
all attended, playing real drums, wastebaskets, spoons and
so on. I have to admit that my expectations for this were
low, but it turned out to be a remarkable experience. The
leader (well-known percussionist Peter Maund) divided
the circle into two or three groups each playing rhythmic
patterns that he had taught us previously. The effect was
unexpected as ripples of new interactive rhythmic patterns
fanned out around the circle in ghostly fashion. Drumming
seems to reach something very deep within us.
As part of the final student concert, Frances Blaker con-
ducted a 43-member recorder and viol orchestra (The
―Granda Banda‖) in a performance of her own composi-
tion ―Upwelling‖, representing the deep life-generating
swells of the ocean. Although simple in construction, it
was deeply moving when transformed by her conducting
to the huge sound of the Banda.
Since it is within an easy drive or train ride of Vancouver,
I highly recommend this well-organized meeting for all.
The music is good, the food is good, the people are very
nice, the campus of the University of Puget Sound is very
beautiful, the beds are good, and the meeting is well-
organized. It might change your life!
The Port Townsend Early Music Workshop:
July 10-16, 2011 (Impressions collected by Molly Warner)
Vicki Boeckman, Music Director by Danielle Saurette
(Post Falls, ID)
Myself and so many others were fortunate to attend the PT
workshop under this director. An amazing player, teacher,
speaker and companion, inspiring and concerned in a personal
way, she had a dedication and interest that exceed the work-
shop boundaries. The morning coffee break was about the
only time of day when something was more important than us
as students… But that, of course, is understandable. So well
organized that the student recital finished ahead of schedule!
She encouraged the few younger ones a ton, always ready
with a smile, hug, word of advice, and that intense gaze that
echoes responsibility, and vibrates intelligence and energy.
Cheers and a bunch of grateful recognition to Vicki; thank
you so much for another amazing workshop, a week of great
teaching, music, laughter and love!
Jo Baim, Managing Director, by Debbie McMeel
(Bellingham, WA)
We were well cared for at the Port Townsend Workshop by
our wonderful registrar and wonder-worker, Jo Baim. Jo sent
out electronic information in the months leading up to the
workshop with informative and exciting news including direc-
tions, payment details, and class information. By the time I
arrived, I knew everything had been taken care of. Jo worked
tirelessly throughout the week to make each of us comfort-
able. When workshop participants and faculty had problems
with phones, or computer log-ins, or meals, or transportation,
she cheerfully noted each concern and skillfully handled
every crisis no matter how small. She was prompt in her at-
tention to our questions and concerns and even followed up
later to make sure we were still happy with the out-
come. Most importantly, she did all of this with a cheerful
smile and an earnest desire to see that each person was com-
fortable and satisfied. Because Jo is a first class musician in
her own right, she always understands the needs and desires
of traveling musicians whether it is providing a missing stand,
copying music, locating parts, or coordinating gatherings
during our free time in Wednesday afternoons. Because of
Jo, my stay was much more comfortable. We were blessed
with her grace and gentle touch throughout the week. I must
say, my favorite moments with Jo during the week were dur-
ing our drumming classes with Peter Maund as we struggled
side by side to conquer (or at least grasp the concepts of) Kah,
Doom, and Tek. Many a chuckle was exchanged over our mutual
fumbles and surprising successes in the complex rhythm se-
quences. Cheers to Jo: coordinator and registrar extraordinaire;
music mama to cure all ills; and queen of the Doom-Tek-Kah!
Jack Ashworth‟s Dance Band Class, By Emily Becker
(Anchorage, AK)
When I first learned to play recorder, I practiced from a beginner
songbook with titles that included the words ―bransle‖ or
―galliard.‖ Lovely tunes, but I never thought twice about what
they might mean. I had a vague sense that the songs were, of
course, old.
Which is why Jack Ashworth‘s ―Dance Band‖ class was such a
good education! Words such as ―recoupe‖ came to life as we
performed some of the greatest hits of the Baroque and Renais-
sance eras. At each class, we sat down and played a song, such
as an ―allemaingne.‖ Then Jack leapt around, showing us the
dance movements for the song. The students then pranced about
the room, doing our best to copy him. Then we returned to our
seats and played the song again, this time armed with the knowl-
edge of where the accents and staccatos needed to be to best as-
sist the dancers. We learned that familiarity with the dances
really helps the music to be played accurately and lively, and
reiterates the strong relationship between music and dance.
Let‟s Dance! With Clea Galhano, by Jeanne Lynch
(Portland, OR)
When you see students walking about campus with a lilt in their
step, with a sway in their shoulders and with a certain magical
energy, you know they are in one of Clea‘s classes. She brings an
intangible quality to her music and her instruction, and she shares
that gift with us all. Thank you, Clea! Let‘s Dance!
Madrigals, with Peter „Carimel‟ Seibert, by Vivian Bosley
(Edmonton, AB)
When Carimel his deft arm raised
The sound left list‘ning swains amazed.
With light and sprightly measure
We chanted for song‘s pleasure.
Fa la la la la, la la la.
In chamber high the echoes sound;
With ZING we chant on grassy mound;
Three, four, five voices upward fly,
Blending interchangeably.
Fa la la la la, la la la.
Smooth madrigals emollient prove
With lilting song our hearts to move.
As cheerful strains delightful rise
Kind Carimel shall have the prize.
Fa la la la la, la la la.
In Staep with Vicki Boeckman, by Carolyn Sweers
(Milwaukee, WI)
I signed up for Vicki 's class on the music of Staeps for two rea-
sons: 1) I like the way Vicki teaches and 2) I like the challenge
and the sonic pleasures of playing the music of Hans Staeps. I
was not disappointed. Vicki led an intrepid little band of 7 re-
Faculty Concert in the Chapel: (l-r) Frances Blaker, Jack
Ashworth, Tish Berlin, Joanna Blendulf, Brent Wissick, Mar-
griet Tindemans (photo by Molly Warner).
corder players through the relatively easy (for Staeps) collection of
folk dance tunes, the more complex and sprightly music of Rondelli,
three movements of which we performed on Saturday, and the very
complex, sonically and rhythmically, Arkadische Szene. The latter
challenged both the director's skill (by her own admission) as well
as that of the players.
Vicki sent out the music in advance, with parts assigned as well as a
list of translations of the musical terms found in the works to be
played. (Staeps used German words and phrases), and in the opening
moments of the class provided brief background information about
the composer as well as her own view of why he was worth the ef-
fort it takes to play his music. Vicki has a centered and focused
enthusiasm which kept us moving. She is consistently encouraging
in a way that keeps players committed to the task. Slowly and
surely she coached us toward performance-worthy playing. I can
think of no clearer example of her skill than the fact that one of the
players, who likes Vicki and signed up for the course on that basic,
thought of dropping out when she received the music. She didn't
drop out. Nobody did. Once Vicki starts the journey that is a work-
shop, participants are hooked and ready to follow her lead.
Mille Regretz with Brent Wissick, by Joanna Chesnut
(Tacoma, WA)
I was in Brent's class on Mille Regretz which is a beautiful song (I
am not clear if it is considered a madrigal) that may have been writ-
ten by Josquin de Prez. We played it in several settings and then
moved on to other pieces including two settings of Susanne un
Jour. All the pieces were lovely, and while not very difficult, were
challenging enough to be interesting. Brent is a wonderful teacher
and guided us through the pieces with kindness and gentle good
humor He helped us understand how the words worked with the
music so that we could bring out the best in the pieces. Although
we made a lot of progress over the week I believe we were all fine
with not performing at the concert.
Ars Nova and Ars Subtilior with Margriet Tindemans, by Kate
Bracher & Cynthia Shelmerdine (Brunswick, ME) and Jeanne
Lynch (Portland, OR)
Margriet‘s class on the Ars Nova and Ars Subtilior was challenging,
fun and fascinating. We played two pieces by Ciconia with delight-
ful and tricky hockets in them; we played the Istanpitta Ghaetta,
whose road map (with The Hand) would defy the most experienced
players; and we played Solage‘s Fumeux Fume, one of the harmoni-
cally weirdest pieces ever heard till the 20th century. And then there
was Ciconia‘s Sus un Fontane, with unbelievably complex
rhythms; we made it through the first system and were proud to
get that far! Margriet patiently led us through all these pieces,
with interesting background on the music, and always the smile
and serenity that is her hallmark. Thank you, Margriet!
Frances Blaker‟s Soulful class, by Sister Monika Ellis, OSB
(Lacey, WA)
C-O-R-F! No, it is not the sound of a crow with a sore
throat! It is an acronym for: Clear, Open, Round and
Full. And it is just one of many easy to remember tips on how
to produce beautiful sounds Frances Blaker gave us in her soul-
ful class. She had us use our imaginations to transform our
ordinary sounds into very lovely sounds. For example, she told
me to blow the note, imagining I was blowing air out from my
ears... you know, like a Dr. Seuss character! The sound magi-
cally changed. She said we all have it in us to make beautiful
sounds, but we just need new ways to access this through our
imaginations.
Shira Kammen's Two Against Three class, by Sister Monika
Ellis, OSB (Lacey WA)
Shira Kammen's passionate and energetic approach to her
―Two Against Three‖ class helped us grasp and enjoy the com-
plex rhythms of the 14th and 15th centuries. She had us slap-
ping our thighs to the chant, "Not dif-fi-cult... Not dif-fi-cult!"
and then we dove into a Dufay piece of twos against threes. It
was thrilling! She told us to lean into the parts of the music
that scare us. Like white-water rafting, we lean forward in the
boat when we approach the dangerous water even though we
might feel like pulling back (which destabilizes the
boat.) Thanks, Shira, for your wisdom!
Sephardic & Baltic rhythms & music with Shira Kamen
by Nancy Fahringer (Tucson AZ)
Shira's class included intricate Sephardic and Baltic rhythms
and music, and included recorder and viols both, plus Shira's
vielle. Those who attended the final celebratory dinner in the
Rotunda may remember our performance, improvising in an
exotic scale over Shira's drone, and then letting it rip as the
audience responded with intermittent "Whee-Whee's" while
they line-danced! Several of us in the class agreed that this
class was the most freeing class we'd ever taken; we loved the
chance to try improvising, using scales and rhythms we had
learned. Shira is an inspired teacher!
The Art of the Fugue with Tish Berlin, by Carolyn Wallace
(Seattle, WA)
There were eight of us in this class with Tish, eager to play
several of Bach‘s fugues that Tish had arranged for recorder
quartet. Each day we played a different fugue, as well as con-
tinued our work on #1, for performance in the student recital.
We learned to identify each fugue‘s theme and its response and
to identify them in each part. Along the way, we also worked
on intonation [within each part and as an ensemble], breathing,
phrasing and playing together to bring out the beauty and dis-
tinctiveness of each fugue. We laughed at our mix-ups and
foibles. [Yes, I marked that B-flat, but I ignored it when we
Peter Seibert conducted his composition,' Ten Tenor Hit' with 20
tenor players (photo by Molly Warner).
just played that passage! Could we play it again, so I can redeem
myself?] We smiled delightedly when we played through a fugue
from beginning to end without stopping, too. And we learned
that, as an ensemble, our best intonation occurred when we sang
the theme of each fugue prior to playing it. Another trick to keep
in mind for an ensemble! Thanks to Tish for her fine arrange-
ments, for helping us through the rough spots and letting us
make beautiful music together.
Tish Berlin's Technique Class, by Debbie McMeel,
(Bellingham, WA)
I had spoken with the Port Townsend Workshop Music Director,
Vicki Boeckman, prior to registering for classes and asked her to
schedule me into the hardest technique class available. I asked
her to find someone to make me work, make me think, make me
sweat a little. She placed me in Tish Berlin's technique class
which was one of the best technique classes I have ever
taken. Tish took us through all the basics as if we were just
starting out in a crash course review of breathing, posture, hand
positions, tonguing, and phrasing. She did this by brilliantly
asking for our ideas of what we wanted out of the class within
our first 10 minutes of class. And she managed to cover our
long laundry list of questions and technical problems throughout
the week. Tish focused on breathing as our primary concern (for
without breath, there is no note...as she wisely put it). Some of
the breathing exercises included relaxing the mouth and cheeks
so that air would freely float around the teeth - a rather odd sen-
sation but effective in getting us to relax our faces. One of her
breathing exercises involved 'swoops' where a single note is
played from pp to ff and back to pp (and then repeated) in a sin-
gle breath. The focus was the use of the diaphragm for support
(a general theme throughout the class all week) creating the dif-
ference in dynamics. Tish helped everyone focus on diaphragm
support leaving the throat relaxed and open. One very helpful
exercise involved proper hand placement. To achieve this, we
were asked to shake out our hands and arms, pick up our re-
corder in our left hand, then bring the right hand into position
and place it on the recorder and then bring the recorder to the
mouth. I found both a head and hand position that I had been
struggling with were corrected using this method and I have
been practicing this approach each day whenever I get out my
instrument. Though we worked really hard, we laughed as much
as we worked. Tish has a contagious laugh and a great sense of
humor. She is very kind in her corrections and encouragement
and is especially considerate when helping a student to overcome
something that can be so basic but seems so difficult to
achieve. We all found her class to be delightful and insightful. I
am still using her handouts daily for warm-ups before jumping
into solo or ensemble work. If you have a chance to take a tech-
nique class from Tish Berlin, I encourage you to do so...fasten
your seat-belt and be prepared for a laugh or two along the jour-
ney.
Peter Maund‟s “Beat Generation”, by Betty Swift
(Seattle, WA)
"Doum, slap, doum, and-a-tek-and-a-tek-and-a-slap". Peter
Maund's Beat Generation class was ten minutes into its first ses-
sion and, already, Peter had us skimming the edge of our wits,
drumming four rhythms against each other. As the patterns of
sound grew, we began to hear basic elements of Arabic motifs
that were first noted in a 9th century manuscript. Before the last
minutes of our last sessions four days later, we had explored the
rhythms behind belly dancing, the role of Hindu drummers in
Muslim orchestras, followed Arabic rhythms across the Mediter-
ranean to Spain and down the west coast of Africa and played
original compositions by Steve Reich and by Peter himself. Not
one to waste a moment, Peter used his terrific teaching skills to
give us a foundation for drumming that most of us planned to
continue.
Drum Circle with Peter Maund, by Carolyn Wallace
(Seattle, WA)
New at the PT Early Music Workshop was a drum circle on
Tuesday evening, open to everyone. All we were asked to do was
to show up with a percussion instrument. And show up we did!
The circle of chairs got larger and larger and, as best I could tell,
every chair in the Rotunda was taken. While many of us brought
hand drums, there were other types of drums, some sticks, a box
or two, a bunch of keys and quite a few wastebaskets. Peter ori-
ented us to a drum circle, whose main purpose is to create com-
munity. Then he taught us three ways strike our instruments to
create a ‗doum,‘ a ‗tek,‘ and a ‗slap‘. One of my favorite mo-
ments was when Peter explained how to hold and strike a waste-
basket to get its best sound! We learned [if only briefly] to play
several different rhythms and then combined them in various
ways by playing as a group, or with the group divided in two with
each group playing a different rhythm. Our final ensemble fea-
tured the three rhythms plus various improvisatory rhythms
added by those competent enough to do so. An interesting, in-
vigorating and, yes, relaxing, experience! Thanks very much,
Peter.
Viol Technique with Joanna Blendulf, by Nancy Fahrenger
(Tucson, AZ)
Joanna Blendulf worked with our viol technique class and had
this picture for us to imagine as we drew the sound from our vi-
ols: ―Think of your head as a helium balloon, loose on your re-
laxed neck. That loosens your bowing arm, which is further re-
laxed by imagining a deflated balloon between it and your
body.― The sound that flowed from our viols afterwards, particu-
larly from the lower viols of Lee's and Ellen's was deep, rich and
full. Joanna added that alert posture, thinking of holding a lemon
by bringing your scapulae together, contributes to your relaxa-
tion, your stamina, and best of all, your sound. "And before and
after playing, sit quietly with your palms cupped up-
wards." (Sister Monika, agreed, "Yes, cupping your hands at your
sides, palms up, is the receptive pose.")
Peter Maund and Katie Faber (photo by Molly Warner).
Ellen Seibert‟s Beginning Viol Class, by Ruth Pattison
(Seattle, WA)
Ellen Seibert once again accepted the challenge to teach a batch of be-
ginning viol players to play within a week. And she succeeded! With a
wonderful combination of patience, encouragement, and good-humor,
Ellen soon had us properly holding instruments and bows, bowing open
strings, and locating fingered notes on our treble, tenor, and bass viols.
Her charts, drawings, and photos were helpful for evening practice in
our rooms (in fact, indispensible to this beginner, when struggling to
remember how to hold the bow.) At the student recital ending the terri-
fic 2011 Port Townsend workshop, the beginning viol players performed
two pieces: Unison (to rave reviews for our unison-ness) and the first
two ‗movements‘ of Homage to J.P.
Ellen‘s confidence in us and her support for our individual levels of pro-
ficiency allowed each of us to conclude the week with a feeling of ac-
complishment. And it was fun! Thank you, Ellen. And thank you to all
those who generously lent their instruments and bows to the class.
Pop Tunes in Polyphony with Janet Beazley, by Donna Hansen
(Tucson, AZ)
I was fortunate to have a class with Janet Beasley again this year at the
Port Townsend Early Music workshop (pop tunes in polyphony). I first
met Janet about 6 years ago at the San Diego Early Music Workshop in
Palomar and liked her easy going style. Now that I've had her for more
in-depth classes, I really appreciate her. She is very much a profes-
sional, but makes everyone she works with feel at ease. Sometimes at a
workshop like this I have felt overwhelmed by the abilities of my in-
structor. I start to feel self conscious to the point that I can't play my
best. However, something about Janet immediately puts a person at ease
so they can learn from this very talented woman to the best of their abil-
ity. I admire this trait and thank Janet for her patience and wonderful
personality.
Louise Carslake on the works of Peter Phillips, by Susie Keithly
(Seattle, WA)
I attended the class taught by Louise on works by Peter Phillips. He was
unknown to me before the class, so I went in not knowing what to ex-
pect. It was a pleasant surprise to discover how powerful his composi-
tions are. We played Surgens Jesus, Pavan Passamezzo (the same piece
was played in the faculty concert), Cecilia Virgo, Canta-
bant Sancti, and De Sancto Thomas Martyre a 8. Louise
guided us through each piece demonstrating her clarity of
knowledge on this composer. She has lovely phrases
herself, such as ―lumpy eighth notes‖, and ―Oh,
bother‖ (ala Winnie the Pooh). Her joyful smile as we
reached the end was matched with a sincere ―Well
done!‖ I learned some Latin, also, as some of the pieces
were written for voices in the 1550-1630 era. Thanks to
my fellow students, and Louise, I was given some good
information on the background of the texts. It was beauti-
ful music, and I appreciated spending the time with such
an accomplished and patient leader.
Louise Carslake on the works of Peter Phillips, by
Bob Loy, (Portland, OR)
Several firsts happened for me at the Port Townsend
Workshop this summer: playing viol with recorders, Pe-
ter Philips and Louise Carslake. I'll take them in order.
Playing with recorders is not like playing with other vi-
ols; the octave pitch difference took a day or two to get
used to. Peter Philips was a composer whose name I
knew but I had only played the 6 part Passamezzo Pavan
and knew nothing of his other compositions. The same
was with Louise; I knew her name and I have some of
her recordings but I had not been coached be her before.
We played the Pavan with Peter Stewart and me playing
bass parts on viol, and in the next classes we read tran-
scriptions of some of his liturgical music. The new stuff
was beautiful and I want to play more when I find it.
Louise was great. Something I really appreciate is effi-
cient coaching with a minimum of talk and lots of play-
ing, and Louise was excellent at that. Her comments
were easily understood and she worked with us till we
got them. She was good at answering questions and good
at getting back to the music. Problems of intonation were
solved and rhythmic problems as well. The music was
beautiful, interesting and accessible. It was an excellent
class and I think we all enjoyed it.
**************
Many thanks to all of you for your contributions!€
Molly Warner, SRS
Brent Wissick and Joanna Blendulf playing a duet on the same cello.
(Photo by Molly Warner)
L-R: Nina Murano, Peter Seibert and Ellen Seibert line
dancing at the banquet (photo by Molly Warner).
alto recorder sounded so sweet!
Cheep Trills (Mike Woof, recorder, Christy Johnson on cello and
Dawn Corl on the A=440 harpsichord) played three movements
from Telemann‘s Sonata in C major. Mike played from memory!
For a change of pace, The Wheels of Fortune (Joann Andrus,
Anna Clemenger, Cali Hackmann and Katie Roe) performed two
pieces arranged for four hurdy-gurdies by Joann, each tune com-
menting on the ―Whims of Fortune‖. The first was an old tune
from the Renaissance, and the second the familiar O Fortuna
from the Carmina Burana by Carl Orff. Most agreed afterwards
that this piece was the hit of the evening – the hurdy-gurdies pro-
duced just the right strident sound for this piece! They were
joined by Joanna Chestnut on a very effective kettle drum, and by
Guy Smith, sitting in the audience, who came in at the end with
cymbals.
Tom and Laura Faber completely changed the mood with two
medieval pieces played on Renaissance recorders with didgeridoo
Members‟ Night (cont‟d from page 3)
accompaniment. Tom‘s didgeridoo provided a rhythmic drone to
Laura‘s lovely melodies. We heard Des Oge Mais, an anonymous
14th century cantiga, and Trotto, a medieval dance of the Italian
jongleurs. Haunting!
Katie Faber & Chris Harshman were up next, playing Triste and
Allegro movements from a Sonata in f minor by Telemann. Katie, a
student of Vicki Boeckman‘s, did a very creditable job with her
recorder, accompanied by Chris on modern bassoon.
After a brief intermission, Ye Olde Spice Girls (Belinda Frazier,
Nancy Gorbman, Cathy Lacefield, Ruth Pattison and Jill Shupe) led
off the second half of the evening. This recorder group has been
playing together for several years – and its distinguished members
have all have been presidents of SRS or served as newsletter editor!
We heard a late 16th or early 17th century Paduana by Melchior
Borchgrevink (SSATB), followed by Come Away Death (SAATB),
a very pretty piece by Ralph Vaughn Williams.
Drums Along the Duwamish – we eagerly awaited the offering of L
Hotaling, who can always be counted on to produce an original and
highly entertaining performance at Members‘ Night! This year she
was accompanied by Vicki Boeckman (tenor recorder) and Linda
Anderson (drum) as she recited Lewis Carroll‘s The Walrus and the
Carpenter in a loud voice with a Cockney accent. ―A Political
Commentary!‖ she announced. Very dramatic!
Ladies of the Night (Judy Barton, Karen Berliner, Laura Faber,
Barbara Green, L. Hotaling, Cathy Lacefield, Nancy Lewis, Ruth
Pattison, Gerrity Shupe, Jill Shupe, Betty Swift & Ione Turman –
minus Betsy Darrah) has grown in membership due to its popular-
ity. Explained coach Vicki Boeckman ,―I‘m sorry, but I can‘t ac-
commodate any more people in the group as there‘s no space for
any more bodies in my music studio!‖ Vicki conducted the group in
a spirited rendition of three dances (Czakan, Schalmy and Sambuca)
by the 20th century composer, Hans Ulrich Staeps. These were
lively, syncopated, and a lot of fun.
The Woodland Consort (Susan Burris, Ellis Hillinger and Susie
Keithly) set out four chairs for their trio, and placed on the fourth a
portrait of former member John Vandermeulen, who recently
moved with his wife to Massachusetts to live near their kids.
Mourning his departure, they played first a sad piece ―Ich sachs
ayns mals den lichten Morgenstern‖. Then, moving on emotionally,
they followed with Myrie Jigg from Canterberry Trio by Glen
Shannon.
Rainier Recorder (Brian Jenks and Dan Hrehov) presented us with
Apologies to Buttercup, a rendition of a Gilbert and Sullivan tune.
They began on two recorders, then Brian spoke a funny poem with
Dan‘s accompaniment.
Twlewtes Lautrec (Guy Smith and Joanne Andrus) did indeed play
on two lutes, with My Lady Carey’s Dompe arranged by Chris
Goodwin and Rogero by John Johnson. Guy played variations on
the two melodies, accompanied by Joanne. Lovely!
Wrapping up the evening, Jon and Noreen Jacky on recorder and
bass viol entertained us with ―old and older popular tunes‖, played
without a break. There were laughs from the audience as they rec-
ognized in turn Almost Like Being in Love from Brigadoon, Daphne
from Jacob Van Eyck‘s Der Fluyten Lust-hof, a tune from Star
Trek, The Next Generation and the theme from Star Trek.
MANY thanks to all for the many hours of practice, thoughtfulness,
cleverness and imagination for a wide range of presentations and
variety of instruments. Amateur music-making is alive and well
Seattle!€
L-R: Debbie McMeel, Sydney Schlotterback, Danielle Suarette &
Donna Hansen (photo by Molly Warner).
Recorder Notes is published monthly, October through May, for its members by the Seattle Recorder Soci-ety, 1815 Federal Ave. E., Seattle, WA 98102. $35 Annual Membership Dues. Visit our web-site at:
www.seattle-recorder.org
S E A T T L E R E C O R D E R S O C I E T Y
1815 Federal Ave. E.
Seattle, WA 98102
www.seattle-recorder.org
Page 10 Recorder Vol. XLIII, No. 1
2011-12 Meetings
Meetings are usually held on the first Friday of each month, October to May, at 7:30 p.m., Maple Leaf Lutheran Church, 10005 32nd N.E., Seattle. Meetings include a short performance or lecture of interest to recorder and viol players, ensemble play-ing for all levels of recorder players, and a coached viol consort. A $5.00 donation is
requested for non-members.
October 7, 2011
November 4, 2011
December 2, 2011
January 6, 2012
February 3, 2012
March 2, 2012
March 30 , 2012 (Last Friday in March)
May 4, 2012
1815 Federal Ave. E., Seattle, WA 98102 (206-329-2774) [email protected]
Music Director, Peter Seibert (206-329-2774) [email protected] Board Members (2011-12)
Officers: President, Tomo Morita (425-255-1983) [email protected] Past President, Jill Shupe (206-364-7509) [email protected] Secretary, Molly Warner (206-523-5192) [email protected] Treasurer, Richard Ginnis (206-633-1969) [email protected] Mailing & Membership: Cathy Lacefield (206-528-6121) [email protected] Jill Shupe (206-364-7509) [email protected] Newsletter, Nancy Gorbman (206-362-7326) [email protected] Refreshments, Evelyn Lester (206-726-9257) Viol Rep., Ellen Seibert, (206-329-2774), [email protected] Webmaster (Member-At-Large), Charles Coldwell (206-328-8238), [email protected]
Editor, Nancy Gorbman
U N I V E R S I T Y O F W A S H I N G T O N