M ay 2 0 1 0 - American Recorder Society

Transcription

Published by the American Recorder Society, Vol. LI, No. 3 • www.americanrecorder.org
M a y
2 0 1 0
NEW!
Denner great bass
Enjoy the recorder
Mollenhauer & Friedrich von Huene
“The Canta great
bass is very intuitive
to play, making it
ideal for use in recorder
“The new Mollenhauer Denner
orchestras and can be
great bass is captivating with
recommended .”
its round, solid sound, stable in
every register. Its key mechanism
Dietrich Schnabel
is comfortable and especially
(conductor of recor-
well designed for small hands. An
der orchestras)
instrument highly recommended
for both ensemble and orchestral
playing.”
Daniel Koschitzky
Canta knick great bass
(member of the ensemble Spark)
Mollenhauer & Friedrich von Huene
G# and E b keys enable
larger finger holes
and thus an especially
www.mollenhauer.com
stable sound.
The recorder case with many extras
With adjustable support spike
… saves an incredible amount of space with
the two-part middle joint
… place for music
… integrated recorder stand
Order-No. 2646K
Order-No. 5606
Noteworthy News
MAY 2010
A great collection of Spirituals from Cheap Trills
Will Ayton does it again with this great new piece
Ayton: Reflections on
TR00068
SATB
$7.75
Spirituals
The music that emerged from the mingling
of folk traditions and profound devotion is
a golden thread in the tapestry of American
music. The composer has selected four of
the most beloved melodies as the basis of
thoughtful musical meditations. Upper
Intermediate difficulty. 12 page score and
parts with lyrics. Contents: 1. Were You
There, 2. There is a Balm in Gilead, 3. My
Lord. What a Morning, 4. Deep River.
GAM1364 Measure Up!
any instrument $7.95
The game that will turn you into a rhythm whiz!
Players win points by creating full bars using
signatures, note values and rests. A compelling
educational game, perfect for home or classroom.
Great New Blues
1UE21354 Russell-Smith: Easy Blue Recorder S, Pf
$16.95
Provides the recorder player opportunities to
play a variety of Blues, Jazz & Swing styles
in easy keys. The accompaniment Provides
the harmonic richness. Soprano, part &
piano score. Contents: Warm and Cozy,
Lazy Summer Day, Lumpy Custard Blues,
That Magic Touch, Take It Easy, Boop-adoop, Dreamy Girl, A Little Rhapsody
Russell-Smith: Easy Blue
SS
$15.95
Recorder Duets
17 pieces cover a wide variety of swing styles - traditional blues,
ragtime and dance music including Latin American and modern
forms. Included too is Surprise, Surprise!, a small piece of theatre.
It is accompanied by two groups of non-recorder players who clap
the underlying rhythm. Instructions are provided. Contents: The
Comedians, A Shy Smile, and more.
1UE21452
And a great new collection of alto exercises
1UE12614 Staeps: The Daily Lesson
A
$13.95
Exercises for advancing players of the alto recorder. Intensive
scale and arpeggio work covering all the major and minor keys.
Volume 2 of Recorder Sight Reading
Kember/Bowman:Recorder
ST12968
S/A
$12.95
Sight Reading, Vol. 2
While Recorder Sight Reading volume 1 covers a lot
of territory, volume 2 introduces more difficult key
signatures and variable time signatures, ornaments
and contemporary techniques. There are fun pop
style works in this volume and could be used as test
pieces for intermediate to advanced students.
New from RecorderMusicMail
Fux: Overture, Orfeo ed
PCC0016
SATB
$7.50
Eurydice, -ScP
PJT0090 Gardener:Petite Suite, Op245 A,VVVaVcDb $39.00
PRM0341 Hall: Blue Spectrum, -ScP
SATB
$18.50
Another new Jazzy piece
1UE18828 Bonsor:Jazzy Recorder vol. 1 S, Pf
$19.95
5 contrasting pieces in the jazz/swing style by Geoffry RussellSmith. This book has been specially written for a player of modest
ability with piano. Contents: Pure Silk, Fred'N'Ginger, Ragtime
Razzle, A Little Latin, Blue for a Girl
New from Polyphonic
Byrd: I thought that Love had
SATTB
$5.25
PP00182
been a boy, -ScP
Morley: April is in my
PP00187
SATB
$4.50
Mistress face, -ScP
A New Nation, from Cheap Trills
A wonderful collection of classics from Billings and Cheap Trills.
Billings: Songs for a New
TR00067
SATB
$8.75
Nation
Recorders (SATB) or Viols (tr/Tn/Tn/B). Generally regarded as
our first native-born musical genius, Billings first published book
was engraved by his friend, Paul Revere, and has been described as
a "musical Declaration of Independence." The composer
deliberately rejected European Classical models and developed his
own vigorous and highly personal style. Four performing scores in
a folder. Contents: Chester , Medway, Hartford , Camden , North
Providence , Dunstable, Brattle Street , Cohasset, Great Plain, St
Enoch for a Thanksgiving after a Victory, and Washington Street .
Wonderful lyrics included.
Great new collections from Mayfair
American and Celtic folk music with CD accompaniment in
wonderfully arranged collections. Take a look at the video online!
Walsh: American Folk Tunes
HAD1072
S, (G/Pf), CD $21.95
for Recorder
Walsh: Celtic Music for
S, CD
$22.95
HAD1182
Recorder
New from Schott Music
An anthology from Bowman that sounds like a perfect collection
and it comes with CD accompaniment!
Bowman: Baroque Recorder
ST13134
S, Pf, (G), CD $19.95
Anthology
30 Works for soprano recorder with and without keyboard or guitar
accompaniment. 80 page book with CD accompaniment! This
anthology contains pieces by seventeenth and eighteenth-century
composers in a variety of different styles. The repertoire includes
works by major composers such as Telemann and Purcell as well
as lesser-known composers including, amongst others, Daquin, van
Eyck, Hotteterre and Lully.
0DJQDPXVLF'LVWULEXWRUV,QF
ORDER TOLL FREE: (888) 665-2721
TEL: (860) 364-5431 FAX: (860) 364-5168
Email: Magnamusic@magnamusic.com
Shop Online at magnamusic.com
Don’t forget to mention you’re an ARS member and
get a 10% discount!
Editor’s
Note
______
______
______
______
______
I
Volume LI, Number 3
n 1994 I must have mentioned to my former flute teacher that I was contemplating going to work for the ARS. His reaction
was something like, “David Lasocki writes
for them; they’re OK.” “American Recorder!”
was the response from a musicologist friend
who spent many hours in the library. Since
leaving the ARS office to edit AR, I am
often reminded of those approval ratings.
In this issue is the 20th and last installment of David Lasocki’s annual compilation of writings about the recorder (page
10). He retires early in 2011, about which
you will likely hear more—especially since
he will soon add another title to his lengthy
list of books about the recorder. I heartily
echo the words of my predecessor Ben
Dunham in his last editor’s column in 2002,
when he thanked three authors who had
“probably been individually responsible for
more material in AR than any 10 other writers combined.” That list included David
(and also Connie Primus, mentioned in my
last column). David’s thoroughness and
unfailingly accurate writing will be missed.
This issue also takes me back to when
I represented the ARS at my first American
Orff–Schulwerk Association conference.
Now newly-retired Jim Tinter (page 4)
was one of the first teachers I met there.
Have no fear that, as some move on to
other endeavors, AR will change. I am constantly gratified as new writers step up to
add their own efforts to the mix in AR.
Gail Nickless
May 2010
Features
The Recorder in Print: 2008 . . . . . . . . . . . . . . . . .10
David Lasocki compiles his annual look at
“What’s been written about the Recorder in
other Publications around the World”
4
Departments
Advertiser Index and Classified Rates . . . . . . . . . .32
Chapters & Consorts . . . . . . . . . . . . . . . . . . . . . . .24
Compact Disc Reviews . . . . . . . . . . . . . . . . . . . . . .26
8
Hot chocolate! Viennese csakan and Polish repertoire
Education . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21
Eine Kleine Konsort takes its recorders to school
Music Reviews . . . . . . . . . . . . . . . . . . . . . . . . . . . .29
President’s Message . . . . . . . . . . . . . . . . . . . . . . . . .3
Lisette Kielson on the value of volunteers
10
On the Cutting Edge . . . . . . . . . . . . . . . . . . . . . . . .7
New works commissioned for recorder
Response . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8
Revisiting thumbrests,visiting Japan
Tidings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4
21
Jim Tinter retires; awards to Eileen Hadidian,
Debra Nagy and Bryan Duerfeldt
GAIL NICKLESS, EDITOR
CONTRIBUTING EDITORS
TOM BICKLEY, COMPACT DISC REVIEWS • FRANCES BLAKER , BEGINNERS & TECHNIQUE
TIMOTHY BROEGE, 20TH/21ST-CENTURY PERFORMANCE • C AROLYN PESKIN, Q & A
SUE GROSKREUTZ, MUSIC REVIEWS • MARY HALVERSON WALDO, EDUCATION
ADVISORY B OARD
MARTHA BIXLER • VALERIE HORST • DAVID LASOCKI • B OB MARVIN
THOMAS PRESCOTT • C ATHERINE TUROCY• KENNETH WOLLITZ
WWW.AMERICANRECORDER .ORG
COPYRIGHT©2010 AMERICAN RECORDER SOCIETY, INC.
ON THE COVER:
"You're out
of the woods"
by R. DiNunzio
©2010
GLENNA LANG,
DESIGN CONSULTANT
ARS Chapters
AMERICAN
RECORDER
SOCIETY
inc.
Honorary President
Erich Katz (1900-1973)
Honorary Vice President
Winifred Jaeger
Statement of Purpose
The mission of the American Recorder Society is
to promote the recorder and its music by
developing resources and standards to help
people of all ages and ability levels to play and
study the recorder, presenting the instrument to
new constituencies, encouraging increased career
opportunities for professional recorder
performers and teachers, and enabling and
supporting recorder playing as a shared social
experience. Besides this journal, ARS publishes
a newsletter, a personal study program, a
directory, and special musical editions. Society
members gather and play together at chapter
meetings, weekend and summer workshops, and
many ARS-sponsored events throughout
the year. In 2009, the Society enters its
eighth decade of service to its constituents.
Board of Directors
Lisette Kielson, President
Laura Sanborn–Kuhlman,
Vice President; Fundraising Chair
Marilyn Perlmutter, Secretary;
Scholarship Chair
Cathy Emptage, Treasurer;
Finance Chair
Matthew Ross, Assistant Secretary;
Membership Co-Chair
Bonnie Kelly, Assistant Treasurer;
Chapters & Consort Chair; Special
Events/Professional Outreach Co-Chair
Letitia Berlin, Special Events/
Professional Outreach Co-Chair
Mark Davenport, Education Co-Chair
Susan Richter, Web Site Task Force Chair
Leslie Timmons, Education Co-Chair
Mary Halverson Waldo, Publications Chair
ALABAMA
HAWAII
Alabama Recorder Assoc.: Jennifer
Garthwaite (256-586-9003)
Birmingham:
Janice Williams (205-870-7443)
Hawaii: Irene Sakimoto (808-734-5909)
Big Island: Roger Baldwin
(808-935-2306)
West Hawaii Recorders:
Marilyn Bernhardt (808-882-7251)
New York City: Gene Murrow
(646-342-8145)
Rochester: Liz Seely (585-473-1463)
Rockland: Jacqueline Mirando
(845-624-2150)
Westchester:
Erica Babad (914-769-5236)
IDAHO
NORTH C AROLINA
ARIZONA
Desert Pipes (Phoenix):
George Gunnels (480-706-6271)
Arizona Central Highlands
(Prescott): Georgeanne Hanna
(928-775-5856)
Tucson: Scott Mason (520-721-0846)
ARKANSAS
Aeolus Konsort:
Don Wold (501-666-2787)
Bella Vista: Barbara McCoy
(479-855-6477)
C ALIFORNIA
Central Coast: Margery Seid
(805-474-8538)
East Bay: Susan Jaffe
(510-482-4993)
Inland Riverside: Greg Taber
(951-683-8744)
Monterey Bay: LouAnn Hofman
(831-439-0809)
North Coast: Kathleen
Kinkela-Love (707-822-8835)
Orange County:
Jo Redmon (714-527-5070)
Redding: Kay Hettich
(530-241-8107)
Sacramento: Mark Schiffer
(916-685-7684)
San Diego County: Harvey
Winokur (619-334-1993)
San Francisco: Greta Hryciw
(415-377-4444)
Sonoma County:
Dale Jewell (707-874-9524)
South Bay:
Liz Brownell (408-358-0878)
Southern California:
Jerry Cotts (310-453-6004) &
Juanita Davis (310-390-2378)
COLORADO
Boulder: Mike Emptage
(970-667-3929)
Colorado Springs: Janet Howbert
(719-632-6465)
Denver: Dick Munz (303-286-7909)
Fort Collins: Sherry Pomering
(970-484-0305)
Early Music Society of Western CO:
Bev Jackson (970-257-1692)
CONNECTICUT
Connecticut: Elise Jaeger
(203-792-5606)
Eastern Connecticut:
Joyce Goldberg (860-442-8490)
DISTRICT OF COLUMBIA
Washington: Art Jacobson
(301-983-1310)
DELAWARE
Nancy Weissman, Counsel
Staff
Kathy Sherrick, Administrative Director
1129 Ruth Drive
St. Louis, MO 63122-1019 U.S.
800-491-9588 toll free
314-966-4082 phone
314-966-4649 fax
ARS.Recorder@AmericanRecorder.org
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 office financial and
incorporation documents complying with that regulation.
6
May 2010
American Recorder
Brandywine: Roger Matsumoto
(302-731-1430)
FLORIDA
Ft. Myers: Sue Groskreutz
(239-267-1752)
Gainesville: Peter Bushnell
(352-376-4390)
Largo/St. Petersburg:
Elizabeth Snedeker (727-596-7813)
Miami: Phyllis Hoar (305-385-5386)
Palm Beach: Gail Hershkowitz
(561-732-5985)
Sarasota: Margaret Boehm
(941-761-1318)
GEORGIA
Atlanta:
Mickey Gillmor (404-872-0166)
Les Bois (Boise):Kim Wardwell
(360-202-3427)
Carolina Mountains:
Carol Markey (828-884-4304)
Triangle: Mary McKinney
ILLINOIS
Chicago: Mark Dawson (773-334-6376) (919-489-2292)
Chicago–West Suburban:
OHIO
David Johnson (630-740-9220)
Greater Cleveland:
LOUISIANA
Baton Rouge:
Cody Sibley (225-505-0633)
New Orleans:
Victoria Blanchard (504-861-4289)
& David Kemp (504-897-6162)
Edith Yerger (440-826-0716)
Toledo: Marilyn Perlmutter
(419-531-6259)
OREGON
Northern Maryland:
Richard Spittel (410-242-3395)
Eugene: Lynne Coates
(541-345-5235)
Oregon Coast: Corlu Collier
(541-265-5910)
Portland: Zoë Tokar (971-325-1060)
MASSACHUSETTS
PENNSYLVANIA
Boston: Justin Godoy
(781-507-4891)
Recorders/Early Music
Metro-West Boston: Sheila
Beardslee (978-264-0584)
Worcester Hills: Doug Bittner
(508-852-6877)
Bloomsburg Early Music Ens.:
Susan Brook (570-784-8363)
Erie: Linda McWilliams
(814-868-3059)
Philadelphia:
Sarah West (215-984-8359)
Pittsburgh: Helen Thornton
(412-781-6321)
MARYLAND
MICHIGAN
Ann Arbor:
Annabel Griffiths (734-213-3172)
Kalamazoo: Charles Vreeland
(269-342-8069)
Metropolitan Detroit: Claudia
Novitzsky (248-548-5668)
Northwinds Recorder Society:
Janet Smith (231-347-1056)
Western Michigan: Jocelyn Shaw
( 231-744-8248)
RHODE ISLAND
Rhode Island:
David Bojar (401-944-3395)
TENNESSEE
MINNESOTA
Greater Knoxville:
Ann Stierli (865-637-6179)
Nashville:
Janet Epstein (615-297-2546)
Southern Middle Tennessee
(Tullahoma): Vicki Collinsworth
(931-607-9072)
Twin Cities: Sue Silber (651-697-7080)
TEXAS
MISSOURI
Austin: Marianne Weiss Kim
(512-795-9869)
Dallas: Jack Waller (972-669-1209)
Rio Grande: Martin Winkler
(575-523-0793)
St. Louis:
Norm Stoecker (636-230-9337)
NEVADA
Sierra Early Music Society:
Kay Judson (775-322-3990)
NEW HAMPSHIRE
Monadnock:
Kristine Schramel (413-648-9916)
& Lynn Herzog (802-254-1223)
NEW JERSEY
Bergen County:
Mary Comins (201-489-5695)
Highland Park: Donna Messer
(732-828-7421)
Montclair Early Music:
Julianne Pape (845-943-0610)
Navesink: Lori Goldschmidt
(732-922-2750)
Princeton:
Louise Witonsky (609-924-2752)
NEW MEXICO
Albuquerque: Bryan Bingham
(505-299-0052)
Las Vegas (Flat & Baroque in Las
Vegas): Tom Curtis (505-454-4232)
Rio Grande: Martin Winkler
(575-523-0793)
Santa Fe: Gus Winter
(505-603-8034)
NEW YORK
Buffalo: Mark Jay (716-649-1127)
Hudson Mohawk:
Lee Danielson (518-785-4065)
Long Island:
Barbara Zotz (631-421-0039)
UTAH
Utah (Salt Lake): Mary Johnson
(801-272-9015)
VERMONT
Monadnock:
Kristine Schramel (413-648-9916)
& Lynn Herzog (802-254-1223)
VIRGINIA
Northern Virginia:
Edward Friedler (703-425-1324)
Shenandoah (Charlottesville):
Gary Porter (434-284-2995)
Tidewater (Williamsburg):
Vicki H. Hall (757-565-2773)
WASHINGTON
Moss Bay:
Ralph Lusher (425-275-6777)
Seattle: Ruth Pattison (206-525-9878)
WISCONSIN
Milwaukee: Carole Goodfellow
(262-763-8992)
Southern Wisconsin:
Greg Higby (608-256-0065)
C ANADA
Edmonton: Nils Han (780-443-3334)
Montréal: Mary McCutcheon
(514-271-6650)
Toronto: Sharon Geens (416-699-0517)
Please contact the ARS office
to update chapter listings.
President’s
Message
_______
_______
_______
_______
_______
A
s the deadline for this issue’s
greeting approached, I was
accompanying my husband to a conference in Memphis, TN. When we
crossed the Mississippi River, the
Volunteer State welcomed us and
sparked the idea for this message.
By the time you receive this issue,
your Spring Appeal donations will
have started coming in, and you may
have cast your vote for those running
for the ARS Board of Directors.
Financial support is an obvious
(and much appreciated!) way of
demonstrating support to the central
organization. Of course, voting is a
way to help insure that your desired
candidates are elected and your vision
for the organization realized. Both, I
feel, are ways of getting involved and
showing commitment to the ARS, and
I thank you for your participation!
I am so excited about this year’s
ballot: I’m thrilled that there are seven
candidates who are willing to devote
their time and energy to the ARS
for the next four years. As only five on
the slate can be voted in, I hope that
the two of us not elected will agree
to serve on a committee, pursuing
Greetings from Lisette Kielson, ARS President
LKielson@LEnsemblePortique.com
our campaign statements and goals
by volunteering to work on projects
that are important to us.
I don’t know if all of you realize
how much the Board appreciates
the volunteer work of non-Board
members—our gratitude is immense!
It rivals our appreciation of your
financial donations. Both are very
important (necessary!) to the success
of the organization.
I don’t know if all of you
realize how much
the Board appreciates
the volunteer work
of non-Board members.
The Board depends on your
funds to help keep the office running,
support important projects, improve
the web site, and provide resources
and benefits to our members. The
Board depends on your hours of
service, as consultants and committee
workers, for developing and com-
pleting projects that help fulfill the
mission of the ARS.
We will continue to ask for your
help in areas relating to both financial
assistance and project work. Appeal
letters will continue to appear in your
mailbox, asking for donations. ARS
Want Ads will be sent out soon (if not
already) to your inbox, seeking your
expertise in various areas and for
specific tasks. As a Board, we will
do our part and strive to be most
effective in these areas—developing
fundraising ideas and programs and
working efficiently on committees.
The fall, with the transition of
new and retiring Board members,
will present a timely opportunity for
you to volunteer (even if you are not
from the Volunteer State of Tennessee)
for new and continuing committee
projects and to contribute your individual strengths, expertise, great passion
—and, yes, available funds, to the
ARS. I thank my fellow candidates
and current and future ARS volunteers. I look forward to working with
you (on or off the Board) as we
advance the ARS to its highest
potential.
May 2010
7
Tidings
_______
_______
_______
_______
_______
Awards to deserving recorderists,
Flanders Recorder Quartet “Circa 1600”
“Recorder Man” Jim Tinter Retires
Longtime ARS member from Cleveland (OH) Jim Tinter retired from
public school music teaching in
October 2009, completing 35 years of
service. Originally a saxophone major
in college, he was first attracted to the
recorder while an undergraduate at
Cleveland State University, where he
traded clarinet lessons with a fellow
student for recorder lessons after
hearing the sweet sounds of recorders
in collegium rehearsals down the hall.
He then studied recorder with
Marilyn Carlson at Cleveland State.
Tinter’s teaching career began
with a junior high school assignment
(band, choir, general music and jazz
band in grades 7-9). In his seventhgrade general music classes, he introduced recorders because he believed
so strongly in giving his students a
hands-on experience with a musical
instrument. Also during that time, he
studied jazz with Jamey Aebersold, the
world-renowned jazz educator, as well
as the Orff teaching process, which
utilizes recorders to a great degree.
After nine years of junior high
teaching, Tinter transferred to elementary school, taking his love of
recorders, jazz and Orff-Schulwerk
with him. For the next 20+ years, he
developed a new process for teaching
jazz improvisation by blending Aebersold’s traditional approach with Orff
process; he called it “AeberOrff.”
Tinter describes this process as “an
The
Recorder Magazine
we invite you to visit the site
www.recordermail.demon.co.uk
8
May 2010
American Recorder
easy, safe and friendly, authentic jazz
experience for children and adults.”
One of the highlights of his
elementary career took place in January 2003, when Tinter and his fourthgraders presented a recorder workshop at the Ohio Music Education
Association state conference. Serendipitously, two members of the ARS
Board at that time, Carolyn Peskin
and Marilyn Perlmutter (both from
Ohio), attended that workshop. In
addition to over 100 music educators
from around Ohio, they witnessed
Tinter’s fourth-graders play 12 pieces
from memory, including The Star
Spangled Banner, Star Wars, and several
original jazz pieces featuring many
student improvisations. The spontaneous standing ovation offered at the
end was genuine and well-deserved.
To help meet a need for quality
recorder materials for young players
and for anyone wishing to learn to play
jazz on the recorder, Tinter has published five books, all with play-along
CDs that include interactive lessons,
and an innovative and systematic process for learning to improvise that is
pattern-based instead of emphasizing
scales and theory. These publications
may be perused and purchased at
www.recorderman.com.
Video clips from the 2003
workshop as well as other
video clips of kids playing
recorders are currently being
used as part of Tinter’s
professional presentations at
music conferences around
the country. Some of these
clips and other photos are at
gallery.me.com/jimtinter.
During the last two years of his
career, Tinter had the good fortune to
be on sabbatical. In March 2009, he
traveled to Australia, New Zealand
and Fiji. While in Australia, he had
the immense pleasure of playing his
recorder in two of the main concert
halls at the famed Sydney Opera
House during a group tour. (Unfortunately, the Opera House has a very
strict policy prohibiting photography,
so only poor-quality audio recordings
were captured as a memento.) While
in New Zealand, he met and played
recorders with a blind street musician
(Kelvin, left at bottom, with Tinter; see
the “gallery” link above for more photos),
who had incredible technical facility on
all manner of whistles and recorders.
Tinter has presented numerous
recorder workshops around the U.S.,
including summer 2009 at the ARS
Festival & Conference in St. Louis,
MO. In Tinter’s “retirement,” he is
available and eager to share his enthusiasm for teaching jazz recorder at
MENC state and national music
conferences as well as for ARS and
Orff meetings. Any groups wishing
to contact him about his availability
for a workshop or meeting may do
so at jimtinter@gmail.com.
RECORDERS IN
NEW YORK CITY
By Anita Randolfi, New York City, NY
On February 20, the Flanders
Recorder Quartet (FRQ) played a
program titled “Circa 1600” as part
of the early music series presented by
the Miller Theater, Columbia University. The concert was held in the hall
of the American Academy of Arts and
Letters, a beautiful neoclassical space
often used for recording sessions and
known for its excellent, dry acoustics.
“Circa 1600” was bookended
by a Prologue and an Epilogue. The
Prologue presented two works from
before 1600: Maske by Ashton, and
a Magnificat by Agricola. For these
early pieces, FRQ used a “speculative”
consort of recorders made for them by
the Amsterdam-based maker Adrian
Brown. Since no recorders survive
from before the 16th century, Brown
based his on the woodcut illustrations
from Virdung’s Musica getuscht of
1511. These instruments speak
quickly, and have a big sound.
For the bulk of the music from
“around 1600,” FRQ used their
Bassano consort. About 200 original
recorders survive from the 1500-1650
period—many of them in the Kunsthistorische Museum in Vienna, and
originating from the D’Este collection
in Padua. Brown made a detailed
study of this collection, and based his
modern copies on late-16th-century
instruments attributed to the Bassano
family of Venice and England. The
Bassano consort recorders have a big,
full, colorful sound that carried
throughout the large hall.
The period around 1600 saw the
emergence of the Baroque style, with
its emphasis on rousing the emotions
of listeners, and of instrumental music
independent of vocal models. The
FRQ program featured pieces typical
of the forms and practices of this time.
From the large repertory of dance
music, they chose pieces ranging from
a straightforward dance like the anonymous Volta (1621) to Sweelinck’s
complex reworking of Dowland’s
famous Pavana Lacrimae. Preexisting
non-dance sources provided cantus
firmus-based instrumental music as in
Scheidt’s Fantasia Super Io Son Ferito,
which quotes the popular Palestrina
madrigal of the same name.
The canzona was the most prevalent instrumental form of the early
17th century. The quartet offered
several examples: Canzon deta Suzanne
by Andrea Gabrieli stays close to vocal
models, but the well-known Canzon
La Spiritata by his nephew Giovanni
Gabrieli is more instrumental in concept. Canzon La Marcha and Canzon
La Livia by Tarquinio Merula are
examples of the new Baroque instrumental style. They were published in
1615, and have no vocal associations.
The Epilogue of the program was
an exciting reading of the J.S. Bach
Passacaglia in G, played on a consort
made by Friedrich von Huene. Just
listening to FRQ play the octaves at
the beginning of the Passacaglia was
magical—worth the price of admission
even if they had played nothing else.
SWEETHEART
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antique flute list.
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Enfield, CT 06082
(860) 749-4494
Ralphsweet@aol.com
www.sweetheartflute.com
May 2010
9
Honors
Recorder and Baroque flute player
Eileen Hadidian, founder and artistic
director
of Healing
Muses,
has been
named
Albany
Woman
of the
Year for
2010. The
announcement was
made by California State Assemblywoman Nancy Skinner.
Hadidian and 13 other women,
each representing one city in Skinner’s
East Bay Assembly District 14, were
chosen for their efforts to make a significant difference in their communities. They were honored at a luncheon
in Berkeley, CA, during Women’s
History Month festivities in March.
Healing Muses is a non-profit
organization that brings soothing
music, played on Celtic harp and
wooden flutes, to Bay Area medical
centers. Hadidian’s work with healing
music grew out of using music for
healing in her own cancer experience.
She has since played for many cancer
patients, exploring ways in which
music can be used to soothe critically
and chronically ill people.
The professional musicians of
Healing Muses draw on a diverse
range of music from classical, folk
and various world traditions to create
a peaceful sound environment conducive to the well-being of patients
and staff. For more information, see
www.healingmuses.org.
Cleveland’s Community Partnership for Arts and Culture (CPAC) has
completed the first full funding period
of its new Creative Workforce Fellowship (CWF) program. Recorder and
oboe professional Debra Nagy is one
of 40 individual artists to receive a
$20,000 award plus related support
services. Through the program, CPAC
has distributed $810,000 plus more
than $15,000 in support services to
Cuyahoga County (OH) artists since
the January 2009 program launch.
Support services include a oneyear membership to the COSE Arts
Network, a network of professional
artists and arts-based business owners
at www.cosearts.org; and free tuition
for CPAC’s “Artist as an Entrepreneur
Institute,” a six-session business course
tailored for the needs of artists.
Provincetown Bookshop Editions
“GO FOR NEO-BAROQUE!”
Andrew Charlton: Partita Piccola. For 4 Recorders (SATB)
[Prelude; Allemande; Courante; Musette—
a neo-baroque epitome!] (Score & Parts, PBE-25) . . . . . $7.95
Andrew Charlton: Suite Moderne. For 3 Recorders (ATB)
[Baroque shapes but Hindemithian harmony]
(3 Playing-Scores, PBE-44) . . . . . . . . . . . . . . . . . . . . . . .$9.95
Southwest of Baroque. David Goldstein’s “baroque Suite”
on Cowboy Songs. For 2 Recorders (SA) (PBE-2) . . . . . $3.50
A good source for Recorder & Viol Music of all publishers.
The Provincetown Bookshop, Inc.
246 Commercial Street, Provincetown, MA 02657 Tel. (508)487-0964
10
May 2010
American Recorder
The unique program, funded by
Cuyahoga County citizens through
Cuyahoga Arts and Culture (CAC),
was divided into two cycles. The 2009
Fellows included 20 visual media
artists. The 2010 CWF was presented
to 20 dance, interdisciplinary, literary,
music and theatre artists.
For each cycle, a panel of seven
arts professionals reviewed all of the
applications—248 visual, and 166
performing and literary. Several
panelists noted that the number and
quality of applications were a testament
to the strength of Cuyahoga County’s
arts community.
CPAC launched the CWF program with a grant it received from
CAC, a special unit of government
established to receive and distribute
local tobacco excise tax revenue dedicated to arts and culture support. Biographical information about the fellows
and links to their web sites is at www
.cpacbiz.org/business/CWF.shtml.
Bryan Duerfeldt was a featured
soloist on the annual band concert at
Jefferson High School in Bloomington, MN. Students audition
for band directors Dan
Fretland and
Jeff Levine
to perform in
between selections played by the
school's three bands. Accompanied by
Katie Jacobson on piano, 16-year-old
Duerfeldt won a spot on the program,
performing La Follia by Corelli on alto
recorder at two concerts on February
26-27. Audience members commented
on his musicality and expressed their
appreciation of the early music genre.
Duerfeldt, a student of Mary
Halverson Waldo, received a 2009
ARS workshop scholarship and was a
finalist in the young recorder players’
competition sponsored in 2008 by
Renaissance band Piffaro.
On
the
Cutting
Edge
_______
_______
_______
_______
_______
New works for recorder
by Tim Broege, timbroege@aol.com
Recorder and Electronics
T
Roderik de Man (Netherlands)
Fred Momotenko (Russia)
Marcel Wierckx (Canada)
hanks to readers who were kind
enough to send e-mails expressing appreciation for my article in the
March issue. Space is necessarily
limited for such articles and there are
many more web sites worth visiting.
The recorder world is truly international and the amount of activity is
mind-boggling.
From the Visisonor Foundation
comes news of eight commissions for
new recorder works. Visisonor, under
the artistic advice of Jorge Isaac, has
awarded commissions to the following
composers in the categories described:
New Chamber Music Works
for Recorder & Turkish
Instruments
Selim Dogru (Turkey)
Mehmet Can Özer (Turkey)
Gökçe Altay (Turkey)
Yigit Kolat (Turkey)
New Work for Recorder &
Symphony Orchestra
Elik Alvarez (U.S.)
Visisonor was founded in 2003 by
multimedia artist and recorder player
R
E
C
O
R
D
E
R
S
Strings & Early Winds
Modern/Baroque Strings Viols Vielle
Küng Moeck Mollenhauer Paetzold Yamaha Ehlert
Wenner Baroque flutes
Wendy Ogle Lu-Mi Ifshin Snow
Competitive Prices
Sent on Approval
Personalized Service & Advice
From the Visisonor
Foundation comes
news of eight
commissions for
new recorder works.
Isaac with a focus on combining Performing Arts and New Media. Each
year the foundation produces new and
exciting works with performances in
many different countries.
Some of the above commissioned
works were already premiered during
February in Ghent, Belgium. Acta
Numérica by Roderik de Man; Fred
Momotenko’s Irrational Philosophy;
and ZinTuig by Marcel Wierckx were
the compositions presented.
The foundation also sends word
that two new CDs are in production
featuring the Duo Mares performing
commissioned works written for the
duo. Recording is already underway in
Ankara, Turkey, and in Amsterdam,
The Netherlands. Check out more
activity at www.visisonor.org.
Lazar’s Early Music
(866) 511-2981 bill.lazar@gmail.com
www.LazarsEarlyMusic.com
425 N. Whisman Rd., #200, Mtn. View, CA 94043
May 2010
11
Response
_______
_______
_______
_______
_______
More on Thumbrests
I am surprised that in the matter of
thumbrests perhaps the simplest,
neatest, and most benign solution has
been overlooked—beeswax. Take a
small lump of it, warm it in your hand,
or in sunlight, or under a light bulb.
When it is plastic press it onto the
recorder about where you think it
should be, and mold it into a smooth
shape. The placement can now be
refined by pushing it up or down the
axis, and the contour altered to fit
comfortably to your thumb.
In order to remove it, just pop
it off by pushing tangentially. Cooling
may help here by making the wax
brittle. Rub the area firmly with a
No rest for thumbrests,
recorder players in Japan
paper towel so friction melts the wax
and the towel absorbs it, leaving no
visible residue. This method avoids
risk to the instrument from screws
or adhesives.
Warmest regards,
Robert Shlaer, Santa Fe, NM
News from Japan
I have continued to touch base with
my Japanese friends Reiko and
Tetsuya Sakuta, who lived in Cleveland (OH) for three years and
returned to Japan in 2003. During
their Cleveland years, Reiko and
Tetsuya, both advanced players, took
recorder lessons and were strongly
involved in our local ARS chapter;
Reiko also received summer workshop
scholarships from the ARS and the
Amherst Early Music Festival.
The Sakutas now live in Kagoshima on the island of Kyushu. Reiko
has retained her ARS membership
and now teaches recorder part time.
She and Tetsuya both play in a large
recorder group called the Kagoshima
Flauto Dolce Ensemble (KFDE),
which consists mainly of well-trained
amateur players and is coached by
Reiko’s sister, a school music teacher.
Formed in 1993, the ensemble currently has 20 members and has given
12 annual public concerts, a number
of which have been recorded on CDs
and DVDs.
... are also available at
The Early Music Shop
of New England,
Brookline, MA
AESTHÉ
367-b de la Briquade
Blainville, Québec
Canada J7C 2C7
tel: (450) 979-6091
www.boudreau-flutes.ca
12
May 2010
American Recorder
Unlike American recorder
consorts, the KFDE plays very little
Renaissance music. European selections from the Baroque, Classical and
Romantic periods are included in the
group’s repertoire, as well as Japanese
and American folk and popular music
and contemporary recorder compositions. Each of the annual concerts
has a special theme. Two concerts,
which featured Japanese folk songs,
included a koto (Japanese zither) and
wadaiko (Japanese drums) along with
recorders. For another concert, Tadanori Morooka, a Tokyo music teacher
and composer who has written a good
deal of music for amateur recorder
ensembles, was invited to come to
Kagoshima and guest conduct a
recorder orchestra of more than
50 children and adults.
For their latest concert, KFDE
members chose a theme that Reiko
and Tetsuya had suggested a number
of years ago after returning from the
U.S.—“Let’s enjoy American
music!” Reiko sent me a DVD of the performance, which
included a wide variety of musical styles: American folk,
patriotic and popular songs, and compositions by Stephen
Foster, John Philip Sousa, Scott Joplin, Andrew Charlton
and David Goldstein, as well as arrangements by David
Betts (the Cleveland ARS chapter’s music director) and
me. Eleven players performed on recorders ranging in size
from garklein to contra bass. Many of the selections featured small subgroups rather than the whole ensemble. For
an exciting rendition of Hawaiian music, recorderists joined
forces with six hula dancers and a singer, who accompanied
himself on ukulele. The program was beautifully presented,
revealing diligent preparation and showing that recorders
are appropriate for many different musical genres.
Reiko and Tetsuya also e-mailed photos of traditional
Koinobori flags. Reiko explained that the black carp is the
father, the red carp below it is the mother, and the rest are
children. She was very happy to know that many recorder
players would celebrate Play-the-Recorder Month by
playing Koinobori.
Carolyn Peskin, Cleveland, OH
Responses from our readers are welcomed and may be sent to
American Recorder, 7770 South High St., Centennial, CO 80122.
Letters may be edited for length and consistency.
May 2010
13
THE RECORDER IN PRINT: 2008
WHAT’S BEEN WRITTEN ABOUT THE RECORDER
IN OTHER PUBLICATIONS AROUND THE WORLD
by David Lasocki
The author, music reference librarian
at Indiana University, writes about
woodwind instruments, their history,
repertory and performance practices.
The third edition of his book with Richard
Griscom, The Recorder: A Research
and Information Guide, will be
published by Routledge later this year, and
also be made available as a database.
He is writing a history of the recorder for
Yale University Press. After his retirement
from IU in January 2011 (and finishing
that book), he also plans to retire
from writing about the recorder
and devote himself to energy medicine.
This report, the 20th and last in
his series, covers books and articles
published in 2008 that advance our
knowledge of the recorder, its makers and
players, its performance practice and
technique, its repertory, and its depiction
in works of art in the past or present.
To save space, articles that appeared
in American Recorder are omitted.
A few previously unreported items are also
included. Readers can obtain most items
through libraries (either in person at a
large music library or from their local
library via interlibrary loan).
Acknowledgments: For sending me
sources and providing other support during
the preparation of this review I would like
to thank Sabine Haase–Moeck and
Moeck Musikinstrumente + Verlag,
Nikolaj Tarasov and Conrad
Mollenhauer GmbH, Bernard Gordillo,
Pierre Boragno, Martin Kirnbauer,
Thiemo Wind, and my colleagues in the
William and Gayle Cook Music Library
at Indiana University.
14
May 2010
History and General
In 2000, Michael Fleming made the
claim that the 17th-century Oxford
city musician John Gerrard was a
musical instrument dealer. His evidence was that “the number and
range of instruments shown in probate
inventory was far more than a musician
could possibly need for his work.”
Now, however, he has produced
parallel evidence about another
Oxford city musician called Phillippe
Golledge, who was freed by the city
in 1628. He died only two years later,
when the inventory of his possessions
included “a significant quantity of
musical instruments: 2 sackbuts,
4 cornetts, 2 recorders, 3 hautboys
[shawms], 7 viols, 2 violins, a cittern
and a bandora”—a similar range to
those of Gerrard, and perhaps passed
on to him. Fleming concludes that
“perhaps we should think of neither
Phillippe Golledge nor John Gerrard
as instrument dealers, but rather as
versatile professional musicians who
each played a range of wind instruments, and both viols and violins, and
more than one type of plucked instrument. Such skills would enable them
to perform a very wide range of civic
and private musical functions.”
Certainly, other city musicians
of the time, as well as London theater
musicians, could play instruments of
all types. Michael Fleming, “Some
Points Arising from a Survey of Wills
and Inventories,” Galpin Society Journal
53 (2000): 302-3; Fleming, “Phillippe
Golledge: Another Oxford Musical
Instrument Dealer?” GSJ 61 (2008):
332-35; David Lasocki, “Professional
Recorder Players in London,
American Recorder
1540–1740” (Ph.D. diss., The
University of Iowa, 1983).
In an article based on a paper
given at a conference about the flute
in Michaelstein, Germany, in October
2006, Kurt Birsak surveys the use of
the pifero by Michael Haydn and the
flauto piccolo by Wolfgang Amadeus
Mozart. He concludes that the pifero
was a fife, in five sizes. More surprisingly, he assigns Mozart’s parts for
flauto piccolo or flautino to the piccolo
in C, an instrument that does not seem
to have existed in the 18th century;
even the piccolo in D was a rare bird.
He dismisses the possibility of the
flageolet, and never seriously considers
the recorder. Readers may recall that
Nik Tarasov’s articles on Mozart,
reviewed last year, adduced considerable evidence that these parts were
intended for the soprano or sopranino
recorder.
Kurt Birsak, “Von Michael
Haydns ‘Pifero’ zu Wolfgang
Amadeus Mozarts ‘Flauto piccolo,’”
in Geschichte, Bauweise und Spieltechnik
der Querflöte: 27. Musikinstrumentenbau–Symposium Michaelstein, 6. bis 8.
Oktober 2006, ed. Boje E. Hans
Schmuhl with Monika Lustig,
Michaelsteiner Konferenzberichte,
Bd. 74 (Augsburg: Wissner; Michaelstein: Stiftung Kloster Michaelstein–
Musikinstitut für Aufführungspraxis,
2008), 193-20; Tarasov, “Mozart &
Blockflöte–Teil 1: Untersuchungen in
Sachen Flauto piccolo oder Flautino,”
Windkanal 2007-1, 8-15; “Teil 2: Das
Flauto piccolo in der Entführung aus
dem Serail,” 2007-2, 14-20.
I am delighted that researchers are
paying more attention to the recorder
in the 19th century. Despite my critical
comments about it in my last review, I
should mention that Douglas MacMillan’s doctoral dissertation (2006)
has now been published as a book:
The Recorder in the Nineteenth Century
(Mytholmroyd, Hebden Bridge,
West Yorkshire: Ruxbury Publications,
2008). One scholar who has a bigger
picture in this field is Peter Thalheimer, who has written a stimulating
article on three manifestations of the
recorder in the 19th century: the Fleitl
made in Berchtesgaden, the similar
Flûte douce made in France, and the
Flötuse, which, as its Germanized
name suggests, seems to have been
the same instrument coming back
to Germany (Vogtland). The term
“Stamp Schlosser” in the entry for
Flötusen in the catalog of the Markneukirchen firm of Paul Stack in 1893
presumably refers to the Schlosser
family in Zwota (see my review for
2005, in the May 2007 AR). Fascinatingly, some Markneukirchen recorders
with and without the Schlosser stamp
found their way to Norway, where
under the names Sjøfløyte or Tusselfløyte
(sea flute or country flute), they
became a popular folk instrument.
Peter Thalheimer, “Fleitl—Flûte
douce—Flötuse: Drei Blockflötentypen des 19. Jahrhunderts,”
Tibia 33, no. 3 (2008): 176-83.
Repertoire
In an article on the transverse flute in
17th-century German sacred concerti,
Boaz Berney mentions several pieces
with parts assigned to or suggested for
the recorder: Michael Praetorius, Kommet her zu mir (1613), Jesus Christus
unser Heiland (1613), Als der gütige
Gott (1619), Herr Christ der einig
Gottes Sohn (1619), In dich hab ich
gehoffet Herr (1619), Lob sei dem Allmächtigen Gott (1619), Wenn wir in
höchsten Nöten sein (1619), and Wie
schön leuchtet uns der Morgenstern
(1621); and Tobias Michael, Wo der
Herr nicht das Haus bauet (1637).
The term flauto piccolo in Johann Hermann Schein’s Mach dich auf, werde
Licht, Zion (1626) also suggests the
recorder. This repertory clearly
deserves exploration. Boaz Berney,
“Musicalischer Seelen–Lust: The
Use of the Traverso in German Seventeenth Century Sacred Concerti,”
der Querflöte, 263-84.
The English translation of
Thiemo Wind’s dissertation on the
blind Dutch recorder virtuoso Jacob
van Eyck and his circle (2006) has
been delayed, but is expected to be
published later this year. With the
dissertation behind him, Wind wrote
the last article for his online Jacob van
North America’s
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for early music
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Visit us online at www.earlymusic.org
Visit the Berkeley Festival & Exhibition: June 6-13, 2010
For information on the EMA Conference and Exhibition, visit www.earlymusic.org
To purchase tickets, visit http://bfx.berkeley.edu
For concert information including the Fringe festival, visit www.sfems.org
The English translation
of Thiemo Wind’s
dissertation on the blind
Dutch recorder virtuoso
Jacob van Eyck ...
is expected to be
published later this year.
Eyck Quarterly in January 2008. It
concerns the importance of the psalm
variations in Van Eyck’s Der FluytenLusthof (Amsterdam, 1646–48).
Because they did not form part of the
composer’s standard repertoire, why
did he include them in the publication?
Wind suggests several possible
reasons: piety, obligation to society
in the rigidly Calvinist Utrecht, and
also the expectations of his audience.
Excerpts from the diary of David
Beck, a schoolteacher in The Hague
(1624), show that he played psalms on
the violin and recorder, by himself and
with friends. Thiemo Wind, “Psalmplaying on the Recorder in Jacob
van Eyck’s Time. I,” Jacob van
Eyck Quarterly (January 2008);
www.jacobvaneyck.info/main.htm.
After fleeing England in 1688,
James II and the Stuart royal family
lived in exile as guests of Louis XIV
at Château de St. Germain–en–Laye
(seen at top, next page), near Paris.
On James’s death in 1701, he was
succeeded by his son, James (who
used to be called the Pretender, but in
recent publications on Jacobitism is
referred to as James III). Their Court
in exile lasted over 20 years, until
James III, at the demand of the British
government, was expelled from France.
James II attracted to France some
of his former musicians from London,
notably the celebrated recorder player
and composer James Paisible, and the
former master of the Roman Catholic
Chapel in London, the Roman composer Innocenzo Fede (?1660–?1732),
May 2010
15
appointed in 1686. Fede received a
pension from the Queen in 1689,
then in 1699 was formally appointed
Master of His Majesty’s Private
Musick, as well as of the Chapel.
Fede’s role in the history of the
recorder emerged only in the 1990s,
when some manuscripts began to be
studied of music associated with
St. Germain–en–Laye. One of the
prominent courtiers, David Nairne,
was capable of performing in public
on the bass viol, violin and recorder.
Fede is also known to have been music
teacher to the two young royal princes.
One of the manuscripts contains easy
pieces, suitable for teaching; and a
further series of seven manuscripts
contains pieces mostly intended for
the court Chamber.
Honeysuckle Music
Recorders & accessories
...
Music for recorders & viols
Jean
Allison Olson
Jean
Allison
Olson
1604 Portland Ave.
St. Paul, MN 55104
651.644.8545
jean@honeysucklemusic.com
16
May 2010
Pierre Boragno has published an
edition of Fede’s Suite pour trois flutes,
a suite for three alto recorders without
basso continuo. Boragno writes: “It is
significant that the suite ... is included
in both these [manuscript] sources.
Although it is easy to play, its musical
interest made it capable of being played
in the Chamber.” It is written in a
French style reminiscent of the simpler
pieces of Paisible. Anthony Rowland–
Jones observes: “Often two parts move
together ... but there is enough imitative part-writing to keep the music
interesting.” He gives helpful advice
to modern amateurs on how to play
the trio. Anthony Rowland–Jones,
“Advocating Innocenzo,” Recorder
Magazine 29, no. 4 (winter 2008):
116-17; Innocenzo Fede, Suite en ut
majeur pour trois flûtes à bec, ed. Pierre
Boragno (Paris: Delrieu, 2004).
Gabriele Hilsheimer complains
that little is known of the life of Jacques
Hotteterre “le Romain” (1674–1763)
“beyond the relevant lexikons.” In the
corresponding footnote she cites
Ernest Thoinan’s important monograph (1894) and an American dissertation by Delpha LeAnn House
(1991), but does not mention the
important articles of Bowers (1984) or
Giannini (1993). She would also have
done well to consult the article by
Giannini in The New Grove, 2nd ed.
(2001), which is certainly relevant.
American Recorder
At that stage Hilsheimer was also
unaware of recent Italian research
showing that Hotteterre spent two
years in Rome, although that research
was reported in my review for 2004.
Tipped off in a letter from Bart Kuijken, Hilsheimer considers the importance of Hotteterre’s Roman sojourn in
a second article; ironically, a German
translation of my 2004 review appears
in the same issue of Tibia. The importance of her first article lies in her study
of the origins of the names Hotteterre
gave to the pieces in his first book.
Gabriele Hilsheimer, “Jacques
Hotteterre ‘le Romain’ (1674–1763):
Anmerkungen zum Premier livre de
pièces pour la flûte-traversière, et autres
instruments, avec la basse, oeuvre second
mit kurzem Überblick zu Leben und
Werk,” Tibia 33, no. 1 (2008): 15-24;
letter from Barthold Kuijken in 33, no.
2 (2008): 151; Jane Bowers, “The
Hotteterre Family of Woodwind
Instrument Makers,” in Concerning the
Flute: Ten Articles Dedicated to Frans
Vester (Amsterdam: Broekmans en
Van Poppel, 1984), 33-54; Tula
Giannini, “Jacques Hotteterre le
Romain and His Father, Martin: A
Re-Examination Based on Recently
Found Documents,” Early Music 21,
no. 3 (August 1993): 377-95; Hilsheimer, “Jacques Hotteterre le Romains
Aufenthalt in Rom 1698–1700,”
Tibia 33, no. 2 (2008): 106-12.
Jean Cassignol summarizes the
works that Antonio Vivaldi wrote for
recorder and flute. Although he cites
Sardelli’s recent book on the subject
(see last year’s review), he does not
take account of the Italian author’s
dating of the works. Naturally, Cassignol mentions the concerto RV312,
which Vivaldi began writing for the
flautino (sopranino recorder) then
finished for the violin, because Cassignol has been a champion of a restoration of this work. Oddly, he neglects
to mention that Vivaldi indicated that
two of the other flautino concertos
could or should be transposed a fourth
lower (“alla 4a Bassa”), thus making
them suitable for the soprano recorder.
Jean Cassignol, “Vivaldis Blockflötenwerke: der aktuelle Forschungsstand,”
Windkanal 3/2008, 14-15.
The long version of Peter Ryom’s
catalog of all of Vivaldi’s works has
finally appeared, after an almost
30-year gestation. The instrumental
entries are highly abridged in relation
to the long catalog of the instrumental
works, RV: Répertoire Vivaldi: Les
compositions instrumentales (1986); but
the vocal works are highly expanded in
relation to the short catalog of all the
works, Verzeichnis der Werke Antonio
Vivaldis (RV): Kleine Ausgabe (1974).
All the individual parts of the large
vocal works are given their own incipits
and instrumentation, so for the first
time in the catalogs we can readily see
which of these works included recorder
parts: Salve Regina, RV616 (1720–35);
Juditha Triumphans, RV644 (1716);
La sena festeggiante, RV693 (1726);
Arsilda regina di Ponto, RV700 (1716);
L’Atenaide, RV702 (1729); La Candace
or siano li veri amici, RV704 (1720);
Dorilla in Tempe, RV709 (1726); La
fede tradita e vendicata, RV712 (1726);
La fida ninfa, RV714 (1732); Ottone in
villa (1713); Tito Manlio, 1st version,
RV738 (1719); and La verità in
cimento, RV739 (1720); as well as an
aria with flasolet I and II, “Di due rai,”
RV749.7 (1717-21?). “The Recorder
and Flute in Vivaldi’s Vocal Music”
forms a chapter of Sardelli’s book.
Peter Ryom, Antonio Vivaldi: Thematisch-systematisches Verzeichnis seiner
Werke (RV) (Wiesbaden: Breitkopf
& Härtel, 2007); Federico Maria
Sardelli, Vivaldi’s Music for Flute
and Recorder, transl. Michael Talbot
(Aldershot & Burlington, VT:
Ashgate, 2007).
In the early 1990s, Ingo Gronefeld published a four-volume thematic
catalog of flute concertos through
1850. Now he has compiled a similar
In the early 1990s, Ingo
Gronefeld published a
four-volume thematic
catalog of flute concertos
through 1850. Now he
has compiled a similar
catalog of 18th-century
trio sonatas.
catalog of 18th-century trio sonatas
that involved the flute and the recorder,
the first two volumes of which have
been published.
Each entry includes the title and
key of the work, instrumentation,
KatGro number, incipits, library holdings of manuscripts and prints, some
(but by no means all) modern editions,
and RISM number if one has been
assigned. Unfortunately from the
recorder player’s point of view, the
instrumentation has mostly been modernized into “flauti traversi,” “flauti
dolci,” and occasionally “flauti,”
whereas the original designations
would have been much more helpful.
For example, the Trio in F by Antonio
Lotti, from manuscripts in Berlin and
Brussels, is allotted to “Flauto traverso,
Viola da gamba, Bc.,” although the
date, key and tessitura of the top part
suggest recorder.
One of the bonuses of such a catalog is that it can bring to light previously unknown music. Of the works
assigned to “flauti” or “flauti dolci,”
the following were new to me: J. V.
Burckart, Overture in F, 2 flauti, Bc.
(ms. Uppsala); Jacob Greber, Trio in c,
2 flauti, Bc. (ms. Münster); Kuntzen,
Partia in E, flauto pastorelle a becco,
violino, Bc. (ms. Schwerin); Johann
Georg Linike, Trio in c, 2 flauti,
Bc. (ms. Schwerin); Overture in C,
ditto; Overture in d, 2 flauti, Bc.
(ms. Schwerin); Suite in g, ditto; Trio
in g, flute d’allemagne/flute a bec,
oboe/ violin, Bc. (ms. Arnsberg–
Herdringen); Trio in G, 2 flauti, Bc.
(ms. Schwerin). Ingo Gronefeld,
Flötenkonzerte bis 1850: Ein thematisches
Verzeichnis, 4 vols. (Tutzing: Hans
Schneider, 1992–95); Flauto traverso
und Flauto dolce in den Triosonaten des
18. Jahrhunderts: Ein thematisches Verzeichnis. Vol. 1, Abel–Eyre. Vol. 2,
Fasch–Millingre (Tutzing: Hans
Schneider, 2007).
The Variations brillantes pour le
csakan ou flûte douce avec accompagnement de piano-forte by Ernest Krähmer
(Vienna, 1829) were dedicated to
Count István Széchenyi (1791–1860),
an important Hungarian reformer
(1848 portrait below by Friedrich von
Amerling). Lajos and Siri Rovatkay
report that the count’s diaries show he
was an admirer of Rossini. He also
played the csakan publicly from a
young age (there is even a photograph
of him holding one later in life).
The Rovatkays’ article now
pulls these two threads together. The
recorder player Michael Hell let them
know that the theme of Krähmer’s
“brilliant” variations is identical
with Rossini’s cavatina “Ah! come
nascondere,” written for the star tenor
Giovanni Battista Rubini in the opera
La donna del lago (1820) on the occa-
May 2010
17
sion of its first Paris performance in
1825. A version of the opera with
Rubini was performed in Vienna in
1827–28, probably witnessed by the
count, who spoke fluent Italian. He
had developed an almost pathological
longing for Countess Crescentia
Seilern, with whom he fell in love in
1824 (and had to wait to marry until
1836, when she was widowed). The
text of the cavatina reflected the
“state of his soul.”
Moreover, Krähmer’s variations
were like a “musical psychogram of
the count.” Thus we can interpret the
piece as a special gift from the composer to someone he knew well. Lajos
and Siri Rovatkay, “Neues vom
Csakan: Krähmer, Széchenyi, Wien,
Rossini und eine kürzliche Entdeckung,” Tibia 33, no. 3 (2008): 184-91.
The English composer and musicologist Wilfrid Mellers passed away
in 2008. John Turner, a great champion
of modern English recorder music,
recounts how Mellers wrote several
pieces for him between 1999 and 2003.
Mellers was an unorthodox academic,
a “character”; Mellers describes their
first meeting, when Turner “bounced
up to me enthusiastically, looking for
all the world like a Wild West sheriff,
with his distinctive bolo tie (America
and American music were of course
one of Wilfrid’s great loves).”
For Turner, Mellers rearranged
part of an oratorio into three settings
of William Blake, later named The
Ecchoing Green, for soprano and
recorder; Mellers spoke of the voice
“having only the blameless recorder
in support.”
When Mellers turned 90 in 2004,
Turner organized celebratory recitals
for which pieces, all involving the
recorder, were composed by Philip
Grange, David Matthews, Ian Parrott,
John Paynter, Ned Rorem, Peter Sculthorpe, Howard Skempton and Robin
Walker. John Turner, “The Endearing
and Unforgettable Wilfrid Mellers
18
May 2010
(1914–2008): A Postscript,” Recorder
Magazine 28, no. 3 (autumn 2008):
76-77.
Turner also surveys the recorder
music of another Englishman, Sir John
Manduell (b. 1928), better known as a
music administrator than a composer.
Turner notes that although “his earlier
music was markedly tonal and indeed
frequently showed French influences ...
some of his middle period works used,
with flair and imagination, serial and
other strict organizational techniques
of the sort that were much in vogue at
the time.... But the music he has written since his retirement has eschewed
such devices, rather relying on the
manipulation and development of
memorable melodic and harmonic
cells to achieve its subtle and frequently
intense effects.” Manduell himself is
quoted as saying that a commission
from Turner (Variations on a Trio Tune
for solo recorder) “led me to make a
belated discovery of the rich rewards
the recorder can offer a composer
and, therefore, led indirectly to several
other works in which the recorder
figures prominently ... over the last
ten or twelve years.” John Turner,
“The Recorder Music of Sir John
Manduell,” Recorder Magazine 28,
no. 1 (spring 2008): 6-11.
The combination of recorder and
piano poses many problems, including
balance, the contrasts in dynamic range
and articulation, and the discrepancy
in pitch standard (at least, in Europe).
The German recorder player Daniel
Koschitzki (photo, top), a former member of the Amsterdam Loeki Stardust
Quartet, seeing some attraction in the
imbalance of the combination, commissioned a set of three pieces from
the Dutch composer Chiel Meijering
in 2007 (now published by Moeck).
He writes that Meijering “combines
in his works influences from minimal
music, pop, jazz, and avant-garde in
a completely individual musical
language.”
American Recorder
The pieces are “A Straw in the
Wind” (tenor), “Game of Love” (alto),
and “Please Tell me more” (soprano).
Koschitzki describes each piece and
gives advice to both recorder player
and pianist on how to play them. He
concludes with the inevitable response
to the title of the third piece: “As soon
as possible!” Daniel Koschitzki, “Drei
Werke für Blockflöte und Klavier von
Chiel Meijering,” Tibia 33, no. 4
(2008): 263-68.
Bemoaning the narrowing of the
recorder literature nowadays, particularly in the German youth competition
“Jugend musiziert,” Peter Thalheimer
presents his suggestions for (more or
less) original works that are seldom
performed but lend themselves well to
competitions. The works, which run
from the 17th century through the
late 20th, are by Riccio, Marini, Bollius, Jarzębski, Spongia detto Usper,
Vierdanck, Gletle, Hotteterre, Albinoni, Telemann, Tartini, Janitsch,
Gelinek, Carnaud aîné (actually an
arrangement, as Thalheimer discovered later), Martinů, Jolivet, Bozza,
Françaix, Schnebel and Halffter. If
some of the works are new to you,
as they were to me, check out his
article. Peter Thalheimer, “Selten
gespielte Originalliteratur für Blockflöte,” Tibia 33, no. 4 (2008): 242-52;
“Devienne statt Carnaud: Neue
Erkenntnisse zu den Drei Soli aus
der Flageolettschule von Carnaud,”
Tibia 34, no. 1 (2009): 347-49.
Performance Practice
and Technique
Férdia Stone–Davis asserts that in
The Genteel Companion, a recorder
tutor published by Humphrey Salter
in London in 1683, Salter succeeded
in his aim “to provide the beginner
with as complete an introduction to
the recorder as it is possible for a written manual to provide.” Anyone who
knows this modest little tutor could
readily dispute her claim, which seems
to be a case of the author getting carried away with her subject.
Stone–Davis is on surer ground
in looking at the book’s pedagogical
method: “Through the guidance of the
‘dot way,’ and the graces that appear in
it, the beginner becomes accustomed to
musical forms and to certain intricacies
of ornamentation.” The “dot way” was
a form of tablature notation which, as
Stone–Davis rightly observes, “allows
the beginner to play without any prior
knowledge of formal five-line stave
notation.” She suggests that the abandonment of dot way in the 1690s “may
reflect the emergence of a more general
music education and musical literacy.”
All this territory has already been well
covered by Marianne Mezger, with a
little help from Ephraim Segerman,
who provide perspective on Salter by
also looking at further tutors for the
recorder and other instruments in late17th-century England.
Marianne Mezger, “Performance
Practice for Recorder Players,” Leading
Notes: Journal of the National Early
Music Association, no. 7 (spring 1994):
13-16; “Vom Pleasant Companion zum
Compleat Flute Master: Englische
Blockflötenschulen des 17. und 18.
Jh.,” Tibia 20, no. 2 (1995): 417-31;
“Henry Purcells Chaconne Two in One
upon a Ground aus dem dritten Akt der
Prophetess or the History of Dioclesian,
London 1690,” Tibia 20, no. 2 (1995):
xxxiii-xxvi (Die gelbe Seite); Ephraim
Segerman, “Contrasts between String
and Woodwind Gracing in Purcell’s
Time,” FoMRHI Quarterly, no. 78
(January 1995): 18-19 (Communication no. 1316); Férdia Stone–Davis,
“The Genteel Companion by Humphrey
Salter: Gracing as Method,” The
Consort 64 (summer 2004): 78-89.
The indefatigable Nik Tarasov
has written a comprehensive article
about notes in the third octave of the
recorder in 18th-century music and
treatises. He cites the composers J. S.
Bach, G. P. Telemann, Robert Woodcock, Antonio Vivaldi and G. F. Handel (arranged). The 11 treatises that
present fingerings for at least one note
in the third octave are by Loulié, Berlin, Douwes, Majer, Stanesby Jr., The
Compleat Flute-Master (c.1750 and
c.1760), Minguet y Irol, Reynvaan,
Everard and Klein (see below). Tarasov helpfully shows from which harmonics the fingerings are derived. Nik
Tarasov, “Hoch hinaus: zum Spiel der
dritten Oktave im Kontext des Hochbarock,” Windkanal 2/2008, 18-24.
Labeling it “an unexpected find,”
Tarasov reports on Johann Joseph
Klein’s Lehrbuch der theoretischen Musik
in systematischer Ordnung (augmented
edition, Leipzig,1801), which includes
a few short sections on the recorder,
accompanied by a couple of fingering
charts. Truly unexpectedly, Klein
still mentions the soprano recorder
(Discantflöte, range c1-c3), alto (Altflöte,
range f- f 2 ), tenor (Tenorflöte, range
c- c2), and basset (Baßflöte, range F-f 1 ),
all given an octave above sounding
pitch, as well as “the little recorder,
flauto piccolo (“die kleine Flöte, Flauto
piccolo), a fourth above the soprano—
or, in other words, a sopranino.
Other sources suggest that
recorders below the alto more or less
disappeared during the second half
of the 18th century. Klein declares that
“This type of ‘flute’ needs the least air
of all wind instruments, and can be
readily overblown, so it can be learned
and pursued by anyone, even children,
without peril to the health.” On the
other hand, “In music today these
instruments are little used and therefore also seldom learned and pursued.”
Klein observes that the flageolet,
which formerly supplied the highest
notes in music, has been replaced by
the piccolo (Piccoloflöte). Curiously,
however, his fingering chart for the
Flauto piccolo shows recorder fingerings
for an instrument in F, range f 1 to g3
(with the clef in the wrong place).
His second chart, for Flaute douce,
less accurately shows C/F fingerings
for a recorder with a two-octave range.
Nik Tarasov, “Ein unerwarteter Fund:
Bemerkenswerte Informationen und
zwei Grifftabellen zur Blockflöte fand
... in einem musik-theoretischen Buch
von Johann Joseph Klein aus dem Jahr
1801,” Windkanal 2/2008, 26-27.
Is the recorder really as limited
in dynamics as the general public
believes? The Dutch recorder player
Is the recorder
really as limited
in dynamics as the
general public believes?
Erik Bosgraaf shows us otherwise. He
has four main means of creating
dynamics. The first is special
fingerings: lowering the pitch and
blowing harder, or raising the pitch
and blowing more gently. Small
crescendos and decrescendos can be
made by means of “leaking”
or “shading” (he says “shadowing”)
a fingerhole—or, in other words,
gradually moving a finger on or off
a hole. Second, “timing,” which we
would call rubato: bringing in a note
a little early makes it sound louder.
Third, he lists tone color, which is
affected by the position of the tongue,
uvula, lips and vocal cords, and also by
certain alternative fingerings. Fourth,
ornaments and vibrato draw more
attention to the notes in question,
making them seem more important.
May 2010
19
He goes on to discuss dynamics
in consorts, which partly depend on
the overtone series of the notes in
question. If all else fails, or to make
like a jazz singer, you can use a microphone (dynamic or condenser types)....
Most of this territory has already been
explored in greater depth by Johannes
Fischer.
Erik Bosgraaf, “Dynamik auf
der Blockflöte, Illusion oder Wirklichkeit? Einige spieltechnische Konsequenzen und psycho-akustische
Betrachtungen,” Tibia 33, no. 4
(2008): 253-62; Johannes Fischer,
Die dynamische Blockflöte (Celle:
Moeck, 1990).
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Baroque ensembles
Master classes
Renaissance Notation
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and more!
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info@amherstearlymusic.org
(781) 488-3337
20
May 2010
Instruments and Makers
Over the last 35 years, five Medieval
recorders—two only fragments, one
of which is therefore only speculatively
identified—have been discovered in
archaeological digs in Dordrecht
(The Netherlands), Göttingen (northern Germany), Esslingen (southern
Germany), Tartu (Estonia) and Würzburg (Germany). (Nicholas Lander’s
Recorder Home Page mentions another
possible recorder in Rhodes, Greece.)
A further, intact instrument has
now been found in a latrine in the
former Hanseatic city of Elbląg
(Elbing), near Danzig, Poland, and
is housed in the Muzeum w Elblągu
(Elbląg Museum), No. 4891. The
recorder came to light in 1998, was
described briefly in three German news
articles of limited circulation in 1999–
2002, and in 2004 was the subject of
a more substantial Polish article by
Dorota Popławska, with German
summary, in an archaeological book
published by the Museum. The Polish
article has now been translated into
German for Windkanal, and two
recorder experts, Martin Kirnbauer
and Nik Tarasov, add comments.
The instrument, 299 mm in
length, has a thumbhole and seven
basic fingerholes, the lowest one being
doubled to allow for playing with either
left hand or right hand up. A professional maker is strongly suggested by
the doubled hole, undercut fingerholes, and precisely cut window and
labium, as well as the presence of a
maker’s mark—a circle with a hole
in the middle, “like the impression
of a thumb tack.” For this reason,
the recorder is unique.
Kirnbauer observes that “In the
inner bore sits a wooden block; on both
visible sides are inserted thin pieces of
wood, working like a wedge, which
help to fix the block in the inner bore
as well as to lift the two sides of the
wind channel, resulting in a more
American Recorder
sophisticated guidance of the air
stream.” Tarasov comments: “The
technique provides more stability than
if you make the same shape of block
from one piece of wood.” The instrument’s sounding length of 270 mm
corresponds to a modern soprano in
d2 . As on the other surviving early
recorders, the lowest interval of the
basic scale is not a tone but a semitone.
Although Popławska claims that
“the archeological context permits a
dating of the instrument in the 14th15th century,” Kirnbauer states that
“the related ceramic finds can be dated
in the 15th century.” In any case, a
professional instrument from before
the 16th century is a major find.
No woodwind makers are known
from the archival records in Elbląg,
but a “proconsul cum fistulatorum” is
mentioned in 1348. Popławska takes
that to refer to a recorder player, but it
all depends on the meaning of fistula—
literally “pipe” or “tube,” a term that
could refer to members of the flute
family, reed pipes, and also woodwind instruments in general.
Norbert Naumann, “Der Schatz
aus der Latrine,” GEO Epoche, no. 2
(October 1999): 116-23; Martin Kirnbauer and Crawford Young, “Musikinstrumente aus einer mittelalterlichen
Latrine,” Institutsbeilage der Schola Cantorum Basiliensis 1/2001; Kirnbauer,
“Musikzeugnisse des Mittelalters,”
Archaeologie in Deutschland 6/2002, 5455; Dorota Popławska, “Flet prosty i
fujarka: nowe odkrycia archeomuzykoligii Elbląga,” in Archaeologica et historia urbana (Elblag: Muzeum w
Elblągu, 2004), 483-88; Popławska,
with additions by Martin Kirnbauer
and Nik Tarasov, “Blockflöte und
Pfeife: Neue musikarchäologische
Entdeckungen in Elblag/ Polen,”
Windkanal 2/2008, 14-17; www.recor
derhomepage.net/medieval.html;
David Lasocki, “The Flute Family in
the Middle Ages: Names and Literary
References” (in preparation).
Simultaneous singing
and playing also go back
to the 17th century.
Nik Tarasov takes us on a comprehensive and well-illustrated survey of
how a single player has been able to
produce more than one note at a time
throughout recorder history. Playing
two recorders at once, or singing and
playing at the same time, are well
known from certain 20th-century
pieces (Maki Ishii’s Black Intention;
Vagn Holmboe’s Trio, Op. 133).
New to me was a piece that
Arnold Dolmetsch wrote for his son
Carl in 1933: 3 Duos pour 2 recorders
joués par une seule personne (3 duets for
2 recorders played by a single person).
Making an echo with two
recorders of differing properties
goes back to the 17th century, when
John Banister Sr. and Jr. in London
were well-known for the trick.
The practice led on to the echo
flute, mentioned by Etienne
Loulié (1696) and performed by
James Paisible (1713–19), not to
mention the fiauti d’echo of J. S.
Bach’s Brandenburg Concerto
No. 4, second movement.
Simultaneous singing and
playing also go back to the 17th
century, being mentioned by
Marin Mersenne (1636), and
featured in a humorous description of a Scotsman named Cherbourn performing in a London
tavern (1710).
Paired pipes can be ultimately
traced back to the ancient Greek aulos;
a Medieval duct-flute version may be
seen in a fresco by Simone Martini
(c.1330) in Assisi. A genuine double
recorder, probably from the 14th or
15th century, survives in the Bate
Collection at Oxford. In his opera
Euridice (1600), Jacopo Peri scored for
a triflauto; because the music is notated
on three staves, perhaps it was merely
played by three players behind the
scenes. Manfredo Settala of Milan
(1600–80) invented biflauti and an
armonia di flauti with 3-8 tubes.
In 1692, Michael Parent, a woodwind maker working in Amsterdam,
advertised “to all music lovers that
he has devised and invented two
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combined recorders, the like of which
has never been seen and on which two
different parts can be played simultaneously”; his widow (1710) called
them “accoorden” (chord recorders).
The 18th century saw the production
of many flûtes d’accords, double
recorders with paired holes and flat
fronts for ease of fingering thirds.
Finally, double and even triple
flageolets became enormously popular in the 19th century. Nik Tarasov,
“Akkordflöten: Mehrstimmig
spielen—als einzelner Spieler,”
Windkanal 4/2008, 8-13.
The alto recorder SAM 135 in the
Kunsthistorisches Museum Vienna,
bearing the silkworm moth mark (!!)
that I have associated with the Bassano
family, was used by Fred Morgan and
Alec Loretto in the 1970s as a model
for the so-called Ganassi recorder,
notable for its wide range and strong
low register. Although the Ganassi
recorder is widely used today as a
solo instrument, in 1998 Maggie
Lyndon–Jones (now Kilbey), after
observing that the same mark was
found inside the lid of a case in the
same collection (SAM 171), suggested that the instrument was “originally part of a consort comprising
descant [soprano], 2 altos, and a tenor,
and therefore not used exclusively
for solo music.” The case, in typical
Renaissance fashion, is made out of
four tubes fastened together.
Beatrix Darmstädter and Wiebke
Lüders point out that Lyndon–Jones’s
hypothesis that SAM 135 was originally kept in this case could not be
tested, because the case was in such a
poor state of repair. The authors
describe how they restored the case,
which was made of maple (lid) and
lime or poplar (tubes). After careful
examination and X-ray analysis of
how SAM 135 fits into the two alto
tubes of the case, the authors conclude
it is highly likely that the instrument
was originally kept in the case. That is
22
May 2010
Strahov
Premonstratensian
Monastery Library
not true, however, of any
of the other surviving
instruments with the
!! mark in the Vienna
museum.
Beatrix Darmstädter
and Wiebke Lüders,
“Über die Wiederherstellung eines
bedeutsamen Blockflötenköchers,”
Tibia 33, no. 2 (2008): 95-105;
Maggie Lyndon– Jones, “A Case
for the ‘Ganassi Recorder’ in Vienna,”
FoMRHI Quarterly, no. 92 (July
1998): 20 (Communication no. 1584);
Lyndon– Jones, “A Checklist of
Woodwind Instruments Marked !!,”
Galpin Society Journal 52 (1999): 24380; David Lasocki with Roger Prior,
The Bassanos: Venetian Musicians and
Instrument Makers in England, 1531–
1665 (Aldershot, Hampshire:
Scolar Press, 1995).
The celebrated German woodwind restorer Rainer Weber estimates
that, over his 50-year career, he has
restored more than 900 original instruments—among them more than 100
recorders of “all” periods and types.
He begins by surveying some historical recorders, presumably ones that
went through his hands, discussing
their properties and idiosyncracies: a
tenor by Rafi, great bass and extendedgreat bass by Rauch, basset by J. C.
Denner, two altos by Heitz, basset by
Steenbergen, and alto by Schell.
Then he looks at various tools
that were used historically for turning
recorders. The article includes lots of
interesting pictures, but rather small
and only in black and white. Rainer
Weber, “Einblicke in originale Blockflöten aus dem 16. bis 18. Jahrhundert,” Neues Musikwissenschaftliches Jahrbuch 15 (2007): 21-65.
American Recorder
Two articles by Michaela Freemanová shed a little light on the
history of members of the flute family
in Bohemia, previously a virtually
unexplored subject. Her translations
of two inventories from the Rožmberk
court band (1599, 1610), however,
have a few problems. (Readers may
compare my own versions, published
in 2005.) She omits “To w gednom
póuzdˇr e wsse gest” (all of them
together in a case) from the set of
recorders in the 1599 inventory. For
both inventories she translates “Alty” as
“Altos [trebles]”; I feel that “trebles,”
the modern British term for altos, is
better reserved for Baroque recorders.
Two interesting tidbits: A recorder
(flettna) is one of the musical instruments illustrating a poem written by
the Strahov Premonstratensian monastery organist Ludovicus Skurba in
1680; the recorder is contrasted with a
fistula (fife). An inventory shows that
the monastery in Osek (Ossegg) in
North Bohemia apparently had two
flutes and two boxwood recorders in
1753: “33. Flauto-Traversae duae; 35.
Flautae duae ex buxo.” A companion
article by Klaus-Peter Koch gives one
detail about Osek that she omits: the
inventory of 1706 includes not only
“Flauta antiqua vulgo Teutsche Flötten
duo” (two old flutes, popularly called
German flutes—perhaps Renaissance
style) but “Chorus Flautarum vulgo
Flothußen sine una” (a consort of
recorders, popularly called flutes douces,
lacking one). Michaela Freemanová
and David Freeman, “Rare Instruments in the Bohemian Collections,”
in Musikalische Aufführungspraxis in
nationalen Dialogen des 16. Jahrhunderts,
Teil 2: Musikinstrumentenbau-Zentren im
16. Jahrhundert, 26. Musinstrumentenbau-Symposium Michaelstein, 6. bis 8.
Mai 2005, ed. Boje E. Hans Schmuhl
with Monika Lustig, Michaelsteiner
Konferenzberichte, Bd. 72 (Augsburg:
Wissner; Michaelstein: Stiftung
Kloster Michaelstein, 2007), 237-60;
Klaus-Peter Koch, “Das Wirken
deutscher Holzblasinstrumentenbauer
im östlichen Europa des 18. Jahrhunderts,” in ibid., 111-30; Freemanová,
“Bohemian Flutes and Flutemakers,”
der Querflöte, 103-10; David Lasocki,
“A Listing of Inventories and Purchases of Flutes, Recorders, Flageolets, and Tabor Pipes, 1388–1630,” in
Lasocki, ed., Musicque de joye: Proceedings of the International Symposium on the
Renaissance Flute and Recorder Consort,
Utrecht 2003 (Utrecht: STIMU
Foundation for Historical Performance Practice, 2005), 419-511.
Until now, nothing has been
known of the life of the Milanese
woodwind maker Giovanni Maria
Anciuti, except for what is inscribed
on his surviving instruments: names
(“Ioannes Maria Anciuti” or plain
“Anciuti”), dates (1709–40), and the
winged lion of St. Mark, a symbol of
Venice. It had been suggested that the
winged lion recalled a commercial link
to Venice; and even that Anciuti was
merely a pseudonym, derived from
ancia, reed. Francesco Carreras and
Cinzia Meroni now report archival
work in Milan, Forni di Sopra
(Udine), and Udine that reveals something of his background and career.
In Venice on December 30, 1693,
Anciuti acknowledged a debt to his
uncle, paid in “pifferi et flauti” (oboes
and recorders). So perhaps he had
apprenticed in Venice or had close ties
to its workshops. A document relating
to his marriage dated October 30,
1699, shows that by then he was living
in Milan, and that he was the son of
Antonio of Forni di Sopra, a town in
the Dolomites now known for its
skiing and nature reserve.
Anciuti may have been motivated
to move to Milan by the restrictions
of the Venetian guilds. In Milan, an
ordinance of July 24, 1690, permitted
makers who used “legno ordinario”
(ordinary woods) to belong to either
the guild of concari (vase turners and
merchants) or the guild of legnamari
(carpenters); “flauti e cifoli” are named
among the goods made. If, like
Anciuti, makers worked with ivory
or exotic woods, the ordinance gave
them permission to do so.
His age is given in a parish register as 25 in 1699, so he was born
around 1674. A debt to his cousin,
dated Venice August 11, 1700, was
contracted for “roba di avolio” (some
ivory), doubtless for instrumentmaking; perhaps he was visiting Venice
on business. His precise and neat signature, “Gio Maria Anciuti,” demonstrates a good level of education, and
no pseudonym. His father’s will, made
on July 1, 1706, mentions G.M. as
“living in Milan”; the father owned
property and was quite well off.
Anciuti died of apoplexy on November 15, 1744, aged 70, according
to a parish death register in Milan.
There are 12 surviving recorders
by Anciuti, 5 double recorders,
15 oboes, and some “bold experiments” such as a contrabassoon and
a bass flute. The six recorders mentioned by Philip Young are dated 1717,
1725, 1729 (twice), 1733 and 1740;
four of the double recorders are from
1712, 1713, 1719 and 1722. A
flageolet dated 1715 and a double
recorder dated 1713 are known
from an exhibition catalog of 1892.
In his other article, Carreras
mentions a guidebook to Venice by
Vincenzo Coronelli (1706), which
notes that “to purchase oboes and
other wind instruments one had to go
to Milan. The indication could imply
a reference to Anciuti, whose first
dated instruments are an oboe and
a sopranino recorder of 1709.”
The article by Carreras and
Meroni does not address why some of
Anciuti’s instruments bear the mark of
a gryphon. Their suggestion that a
well-known woodwind maker named
Grassi was living in Milan in the mid17th century has long been refuted in
the literature: “Graffi” was evidently an
understandable misreading of the
mark “Cl. Rafi,” in which there is a
ligature between the “C” and the “l.”
The maker in question was Claude
Rafi (d. 1553).
Francesco Carreras and Cinzia
Meroni, “Giovanni Maria Anciuti: a
Craftsman at Work in Milan and
Venice,” Recercare 20/1-2 (2008): 181215; Phillip T. Young, 4900 Historical
Woodwind Instruments (London: Tony
Bingham, 1993); Maurice Byrne,
“Instruments by Claude Rafi in the
Collection of Manfred Settala,” Galpin
Society Journal 18 (1965): 126-27: Carreras, “Flute Making in Italy during
May 2010
23
the Eighteenth and Early Nineteenth
Centuries,” in Geschichte, Bauweise und
Spieltechnik der Querflôte, 71-102.
According to William Waterhouse’s New Langwill Index, Carlo
Palanca (1688/90–1783) worked as a
bassoonist at the court in Turin by
1719/20, and later became the city’s
best-known woodwind maker. Carreras reports some new information on
the Palanca family. Carlo’s father, Giovanni Lorenzo, is mentioned in a population census of Turin in 1705, where
it is stated that he makes recorders (“fa
flutte”) and Carlo, aged 14, helps in the
workshop. Thus it seems that Carlo
was actually born around 1691. Furthermore, “Giovanni Lorenzo Pittetti,
named Palanca, was born in 1645 in
the small village of Palanca, in Val
Sesia,” an area where the trade of
turner was common.
Carreras also brings up the
Castel family, from whom he says
nine recorders, four oboes and five
flutes survive (his footnote lists seven,
four and four, respectively), with three
different versions of the maker’s mark:
CASTEL, GIUSEPPE CASTEL,
and N CASTEL, suggesting at least
three members of the family. No documents have been found about the
family so far.
He notes that “The name (‘castèl’
means castle in the Veneto dialect) and
the association of the image of a lion
with the mark ‘CASTEL’ may indicate
24
May 2010
the Venice area. However, the figure
represents a rampant lion, a common
symbol in Europe, and not the typical
seated lion of Venice that is present on
many instruments by Anciuti.” That
three surviving instruments have parts
by other makers from Bologna, Naples
and Turin suggests that “N. Castel
must ... have been a well-known maker
whose instruments were circulating in
various towns.” In his tables, Carreras
lists surviving recorders by Domenico
Bertani of Modena (third quarter of
the 18th century), Francesco Garsi
of Parma (1764–1856), Antonio
Grassi of Milan (fl. 1797–1802), and
Giovanni Panormo of Naples (18th–
19th century). Carreras, “Flute
Making in Italy”; Waterhouse, New
Langwill Index: A Dictionary of Musical
Wind-Instrument Makers and Inventors
(London: Tony Bingham, 1993).
An article by Rob van Acht, based
on a paper given at the Michaelstein
meeting, recapitulates his research of
the 1980s and ’90s, now largely superseded by the work of Jan Bouterse.
Potentially the most interesting part is
the acoustic research that produced
sound spectra of various Dutch woodwinds, including a recorder by Engelbert Terton. Van Acht claims that the
instrument’s “emphasis ... on the odd
harmonics in the spectrum of the note
a1 ... results in a round and dark tone
colour.” The accompanying table, however, tells a different story: the strongest harmonics (in parentheses) varied
for the four notes measured: d1 (1, 3,
5), f 1 (1, 2, 3, 4), a1 (2, 1, 4, 5), and
d 2 (1, 2); presumably the notes were
actually an octave higher. Rob van
Acht, “Dutch Wind Instruments in
the Seventeenth and Eighteenth Centuries,” in Geschichte, Bauweise und
Spieltechnik der Querflöte, 53-69; Jan
Bouterse, Dutch Woodwind Instruments
and their Makers, 1660–1760 (Utrecht:
Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 2005).
American Recorder
Geri Bollinger describes
how he created the new
Superio contra bass recorder in
F for the Swiss firm of Küng:
“preliminary considerations,
plans, successes, and setbacks
in the construction of his new
recorder model.” He hopes
that the instrument will be
suitable for Baroque, Classical
and Romantic music, jazz,
folk, pop and “ethno.” A
Quartet New Generation
endorsement fulfils his hopes:
“It is usable in every repertoire,
whether Renaissance consort,
chorale, tango, or modern work.” Geri
Bollinger, “Die Entwicklung eines
Subbasses—ein Werkstattbericht,”
Tibia 33, no. 3 (2008): 192-98.
Peter Madge reports his research
on modifying recorder blocks by
removing material from the block face:
cutting from top to bottom at an angle,
drilling a parallel-sided hole, or forming an elliptical or conical recess. The
purpose is to facilitate the production
and tone of the highest notes (from the
sixth note of the second octave upwards). All methods of removing the
material are satisfactory, although the
conical recess is the easiest to carry out.
The depth of the recess varied from
11 mm for a soprano to at least 30 mm
for a great bass.
The result: “without exception,”
the modification “allowed the top notes
to speak clearly and all notes played
with less effort. There was more
strength to the notes, greater dynamic
range, and a faster response. Additionally, there was not the same propensity
for moisture to collect around the exit.”
The difference in the clarity of the high
notes is clearly visible in the accompanying graphs. Recorder makers, take
note! Peter N. Madge, “Modification
of Recorder Blocks to Improve Sound
Production,” FoMRHI Quarterly, no.
110 (November 2008): 9-19
(Communication no. 1816).
Education
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_______
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Eine Kleine Konsort goes to School
By Pam Yanco
Pam Yanco is the President of
the New England Orff Chapter and
co-directs Eine Kleine Konsort.
She is on the music education faculty at
The Boston Conservatory and
teaches recorder in the Orff Levels
Certification Program
at Boston University.
(Editor’s Note: It’s mere chance
that the school program presented
by Eine Kleine Konsort bears
the same title as a portion
of the ARS web site—
“The Recorder Goes to School.”
We hope this happy coincidence reminds
you to visit the ARS web site!)
F
or over 20 years, Eine Kleine
Konsort has performed throughout New England for thousands of
beginning recorder students in grades
three and four. We developed the
school workshops as an extension
of our own school recorder programs
in our Orff classrooms.
Many teachers treat the recorder
as a special unit that is separate from
their regular music lessons. We feel
that this is a disservice to the instrument. The recorder is a vital part of
the Orff–Schulwerk instrumentarium
because the voice and recorder are
the prime melodic instruments. Long
maligned as a “pre-band” instrument,
the recorder needs to take its rightful
place in the music curriculum.
Our program, “The Recorder
Goes to School,” was designed with
this in mind. It is participatory in
nature with a decidedly “Orff ” flavor
to it and is presented as a special
program just for the recorder students.
Our program repertoire spans
many centuries and includes Medieval
songs, Baroque works, blues and even
a recorder rap! School performances
take place in the spring—and, in a
number of towns, attending is a
reward for the students for their many
hours of practice on the recorder.
We try to convey our love for
the recorder and to show that it is an
instrument for a lifetime of enjoyment.
We consider ourselves “Recorder
“Put your hands together now, give me a clap, ‘cause
everybody’s doing the recorder rap!” (l to r) Pam Yanco,
Susan Duffy, Jean Burke, Dotty Moffett.
Photo: Joe Burke.
New from Don Muro...
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and lush, evocative CD accompaniments.
RM18KCD score & CD $16.95
RM18EP economy pack (10 scores) $19.95
Listen to audio excerpts at
www.jdwallpublishing.com
May 2010
25
ARS Membership Enrollment and Renewal
I am a new member
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(1) For members who have maintained membership for five consecutive years.
(2) $750 is Tax Deductible
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(4) Installments available
Student Memberships
(Enclose proof of full time enrollment)
$25 U.S./Canadian One Year
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$30 Foreign One Year
Other Memberships
$65 One Year Workshop Membership
$125 One Year Business Membership
$5 Additional Charge for Dual Address or Dual Name
Do not list my name on the ARS Online Directory
Do not release my name for recorder related mailings
Do not release my email address for any purpose
Do not contact me via email.
My address, telephone and email address have not changed.
______________________________________
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(optional information collected only to enhance ARS services and provide statistics to grant makers):
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My age:
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Types of Students: Children
Levels:
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Types of Classes: Individuals
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Where I Teach: : (circle your choices)
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American Recorder Society
1129 Ruth Dr.
St. Louis MO 63122-1019
26
May 2010
American Recorder
Phone: 314-966-4082
Fax: 314-966-4649
TollFree: 800-491-9588
ARS.Recorder@AmericanRecorder.org
The recorder is a
vital part of the
Orff–Schulwerk
instrumentarium
because the voice and
recorder are the prime
melodic instruments.
Ambassadors!”—and we like to have
fun with it as well.
During the 45-minute hands-on
program, the recorder family is introduced, from the bass to the tiny garklein. We even play the flutophones
that we learned on in the third grade.
Music for several selections is sent
to the recorder teacher in advance, for
the students to practice and then play
with the quartet. For instance, students
perform a two-part arrangement of
Beethoven’s Ode to Joy with xylophone
accompaniment. The 12-bar blues
offers an opportunity for recorder
improvisation, which culminates in
student recorder solos and boisterous
singing.
The workshop provides student
activities including: active listening,
recorder playing, performing on
pitched and unpitched percussion,
singing and improvisation. We do not
perform on a stage, but prefer to be on
the same level as the students. Short
music stands are used, so the students
have a clear view of our instruments
and our hands as we play. Questions
are encouraged and the students are
actively engaged throughout the
program.
“The Recorder Goes to School”
always ends with The Recorder Rap,
which is a crowd favorite. The
students dance in their seats to the
beat of the rap track. Eine Kleine
Konsort is bedecked in glitter hats and
guitar-shaped sunglasses as we wind
up our celebration of the recorder.
B
F
E
E
R
K
E
L
V
A
E
S
T
I
X
H
I
B
I
T
E
Y
L
I
O
N
June 6-13, 2010
“The Berkeley Festival & Exhibition has become a remarkable
institution on the American musical scene.”
— T h e Ne w Yo r k Ti m e s
Come and experience the magnificence of Italian music in
and around 1610, from the glories of St. Mark’s Cathedral
in Venice to the haunting spiritual cloisters of Milan, a
golden age filled with the glorious sounds of centuries past.
FESTIVAL HIGHLIGHTS
THE MAIN STAGE
¡Sacabuche! With Paul Elliott & Nigel North will offer a program that
explores the stunningly beautiful double-choir writing of the composers associated
with St. Mark’s Cathedral in Venice.
ARTEK will present an exciting, dramatic and fluid exploration of “The
Perfection of Modern Music” as expounded in a reading from Zarlino’s Rules of
Composition (1558) and exemplified by Claudio Monteverdi’s Madrigals, Book V.
Magnificat will recreate the angelic voices of nuns singing Chiara Margarita
Cozzolani’s passionate and ecstatic motets.
Artists Vocal Ensemble (AVE) will probe the heart and mind in a performance of the awe-inspiring and terrifying Tenebrae Responsoria by Carlo Gesualdo.
Music’s Re-creation will present the most distinguished English composers
in the mid-seventeenth century before Henry Purcell.
The Marion Verbruggen Trio will appear in a dazzling concert of
masterpieces from the Baroque: a musical tour of music from Germany and France.
Festival Finale Celebration
explores Vespers in Venice from Monteverdi to
Vivaldi in a program designed to showcase each of the ensembles
participating in the festival.
The Fringe One of the most exciting components of BFX Ten is the Fringe — a
series of self-produced concerts by soloists and ensembles from around the world.
The Early Music America (EMA) Conference & Exhibition
The Conference, “400 Years of Vespers”, will commemorate the 400th anniversary
of Claudio Monteverdi’s Vespers of 1610
The Exhibition features publishers, instrument builders, service organizations,
universities and other early music practitioners. Free and open to the pubic check
EMA’s website (http://www.earlymusic.org/) for details.
Order tickets securely at
www.bfx.berkeley.edu
Subscribe and Save!
Choose three or more events on a single order and save 10% on single ticket
prices. Subscriptions are available only through the BFX Ticket Office
directly at 510.642.9988
May 2010
27
Chapters
&
Consorts
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StopTime performs jazz at Denver’s Merc Cafe and elsewhere,
a trip through time, and an evening of “Soupe and Musick”
CHAPTER NEWS
Chapter newsletter editors and publicity officers should send materials for publication to:
AR, editor@americanrecorder.org, 7770 South High St., Centennial, CO
80122-3122. Also send short articles about specific activities that have increased chapter
membership or recognition, or just the enjoyment your members get out of being part of your
chapter. Digital photos should be at least 3”x4”x300dpi TIF or unedited JPG files.
Please send news to the AR address above, and to the following:
ARS Office, ARS.recorder@AmericanRecorder.org, 1129 Ruth Drive, St. Louis,
MO 63122-1019; and to Bonnie Kelly, Chair, Chapters & Consorts Committee,
bksharp2@gmail.com, 45 Shawsheen Rd. #16, Bedford, MA 01730.
28
May 2010
American Recorder
Greater Denver (CO) Chapter’s
StopTime (l to r above, recorderists
Philip Belefski, Dick Munz, Janet
Handmaker, Gary Gregor, Susy
Wilcox holding sackbut, and vocalist
Erin Bell; recorderist Ed Pinfield
missed the photo shoot, but had a note
from home) gave their second annual
“concert” at Denver’s Mercury Cafe in
February. Selections included I Got it
Bad and That Ain't Good, Tin Roof Blues,
Basin Street Blues, Aunt Hagar's Children
Blues, A Good Man is Hard to Find, St.
Louis Blues, and some music that wasn’t
"blue." The jazz recorder ensemble
kept busy during Play-the-Recorder
Month, playing at two elementary
schools for a total of 900 eager young
faces, and giving two-hour programs
at both the Tattered Cover Bookstore–
Highlands Ranch and Barnes and
Noble at Denver Pavilions.
On January 15, four area recorder
groups in Florida met at Church of the
Isles, Indian Rocks Beach, with
Martha Bixler to explore “Spanish
Music Old and New.” Groups present
were The Imperial Recorder
Consort of Lakeland (led by Jane
Spencer); Pasco Recorder Collegium (Marlene Cracraft); Sarasota Recorders (Charlotte Trautwein), and Pilgrim Pipers from
St. Petersburg (Elizabeth Snedeker).
Those attending concentrated
most on Super Flumina Babylonis by
Tomas Luis da Victoria (1548-1611)
for two choirs, and also played music
by Juan de Urrede and Juan del
Encina.
Following lunch, Bixler (in photo
above, bottom row, fourth from left)
coached participants in country
dancing while the rest of the group
accompanied on recorders.
South Bay (CA) Recorder
Society’s January meeting included
playing a canzona that forms the
middle section of Sonata No 2 from
the School of Schmelzer, recently completed by meeting leader Fred Palmer.
Palmer also augmented the group’s
recorder sound by playing organ continuo on pieces by Schein and Corelli.
Also in January, over 25 members
and friends of the Sacramento (CA)
Recorder Society gathered on a cold
evening for “Soupe and Musick.”
Continuing a long SRS tradition of
“we won’t play if we don’t eat,” the
evening opened with a peasant’s feast
of bread and nine kinds of soup. Yum!
The evening’s music, provided
by four small ensembles and the
Sacramento Recorder Society (SRS)
Orchestra, was varied and eclectic.
The San Joaquin Trio played the
most intriguing piece of the evening—
Three in Five by Karl Stetson, with all
three movements in 5/4 time.
The newly-formed Foxes 4,
festooned in “faux” fur, performed
Bacco, Bacco by Corteccia and Daphne
by Playford. Sine Nomine offered
Se La Dura Durezza and Da Si Felice
Sorte by Arcadelt, Canzon “La
Galuppa” by Banchieri, the Agnus
Dei from The Barcelona Mass (13th
century), and two Polish hymns by
Szamotul. An accomplished (but
nameless) ensemble of two recorders
and viola da gamba presented the Trio
Sonata in G Minor by Telemann.
The SRS Orchestra, under the
direction of Jerry Schwartz, rounded
out the musical evening with three
seasonal pieces: The Twelve Days of
Christmas arranged by Paul Clark;
I Wonder As I Wander arranged by
Eric Haas; and a rousing recorder
version of Hallelujah dal Messiah
by Handel.
Seattle (WA) Recorder Society
members traveled in time with the
chapter’s February meeting leader
Margriet Tindemans. “Several
interesting composers are thought
to have been born in 1510: Andrea
Gabrieli, Vincenzo Ruffo, Giovanni
da Nola, Clemens non Papa.” In
addition to music by those Italians,
she brought her own transcription
of a work by Diego Ortiz (also born
c.1510) and a work by another Italian,
Gesualdo (born in 1560) .
Last October, the Muskegon Recorder Players
(a part of the West Michigan Recorder Consort)
held a Hausmusik recital at the home of director
Marge Winter. The recital honored member Ellen
Rockwood and her harpsichord, which was built by
her husband Al. When Ellen found she could
no longer play it, she donated it to Winter.
Winter played two harpsichord solos (one
each by Bach and Scarlatti); two trios (Telemann
and Barsanti), along with Connie Graham, alto
recorder, and Tony Parise, viola da gamba (photo,
left); and three pieces with the Muskegon Recorder Players (Marche, Minuet and Musette by Bach). Parise also played
a short gamba solo with harpsichord accompaniment.
Muskegon Recorder Players in attendance that afternoon were Clieve Hendrick, Marilyn Idsinga, Deb Medema
and Jocelyn Shaw. Family and friends attended the concert and refreshments were served.
May 2010
29
Compact Disc
Reviews
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Vienna and eastward
Reviewed by Tom Bickley
VIENNOISERIES MUSICALES
1806-1826, HUGO REYNE, CSAKAN,
WITH LA SIMPHONIE DU MARAIS.
Musiques à la Chabotterie 605007,
2009, 1 CD, 77:52. Abt. $22 U.S.,
www.simphonie-du-marais.org/
Viennoiseries-musicales.html.
Previous releases from the
Musiques à la Chabotterie by Hugo
Reyne and his ensemble La Simphonie
du Marais come in elegant packages
with useful notes and excellent
recorded sound that complements
well the engaging musicality of the
ensemble. This recording continues
... wonderful illustrations
of the csakan, helpful
commentaries and a
recipe for Viennese
hot chocolate.
that trend and leads us to a significantly less familiar repertory and
instrument.
The csakan is a close cousin to the
recorder, and was first heard in Vienna
in the early 19th century. It was a keyed
flute—often built as a walking stick,
with the duct mouthpiece in the han-
dle. As Reyne explains in his notes,
with this recording he moves “beyond
the ‘Baroque’ to ‘Romanticism’ at its
heights.” The accompanying booklet
for this CD contains wonderful illustrations of the csakan, helpful commentaries and a recipe for Viennese
hot chocolate.
The music itself—composed by
Anton Heberle, Josef Gebauer, Karl
Scholl, Wilhelm Klingenbrunner,
Ernest Krähmer and Anton Csermák
—provides sonic nourishment along
the lines of hot chocolate and
croissants. It is lightweight, thoroughly
virtuosic, and quite entertaining. Some
of the repertory is playable on recorder,
The Von Huene Workshop, Inc.
is pleased to announce agreements with
7KH7
Coolsma
Zamra
to serve as their authorised service agents in the U.S.
For more than 40 years, the von Huene Workshop has produced some of the ﬁnest recorders
in the world. Our skilled staﬀ can revoice, retune and repair even the most seriously damaged
instruments. All repairs are done right on the premises, and most can be completed within a week.
For warranty repairs, please include a copy of your original sales receipt.
j65 Boylston Street, Brookline, MA
02445 i
(617) 277-8690 Fax (617) 277-7217 service@vonhuene.com
30
May 2010
American Recorder
though quite demanding in terms
of fingering and agility.
This disc gives us insight into our
instrument’s family tree in the world
of Europe between the fading of the
recorder and its rediscovery. Like hot
chocolate and croissants, it’s difficult
to imagine this music as one’s steady
or only sonic diet, but it is a treat to
add to the mix.
POLISH POPULAR MUSIC
OF THE XVIITH CENTURY:
DANCES AND SONGS FROM
THE “POLOCKI” MANUSCRIPT, GREENSLEAVES (MARILYN
FUNG, VIOLA DA GAMBA; SHANNON
PURVES–SMITH, RECORDERS &
VIOLS; MAGDALENA TOMIŃSKA,
LUTE; WITH MICHAEL PURVES–
SMITH, RECORDERS, KEYBOARDS &
PERCUSSION; STEPHANIE KRAMER ,
SOPRANO; JENNIFER ENNS–
MODOLO, MEZZO-SOPRANO;
JERZY BUGAJ, NATHANIEL WISEMAN,
BARITONE; ROBIN PURVES–SMITH,
JAW HARP). Chestnut Hall Music
CHM091115, 2009, 1 CD, 78:00.
$16.50 ($9.99 mp3 downloads), www
.cdbaby.com/cd/Greensleaves.
The Kitchener-area-based Greensleaves—with support from, among
others, the Consulate General of the
Republic of Poland in Toronto (ON)
—create a fine collection of 27 tracks
Each CD review contains a header with
some or all of the following information, as
available: disc title; composer (multiple
composers indicated in review text);
name(s) of ensemble, conductor, performer(s); label and catalog number (distributor may be indicated in order to help
your local record store place a special order;
some discs available in the ARS CD Club
are so designated); year of issue; total
timing; suggested retail price. Many CDs
are available through such online sellers as
www.towerrecords.com, www.cdnow.com,
www.cdbaby.com, www.amazon.com, etc.
Abbreviations: rec=recorder; dir=
director; vln=violin; vc=violoncello;
vdg=viola da gamba; hc=harpsichord;
pf=piano; perc=percussion. Multiple
reviews by one reviewer are followed by
that reviewer’s name.
Order your
recorder discs
through the
ARS CD Club!
The ARS CD Club makes hard-to-find or limited release
CDs by ARS members available to ARS members at the
special price listed. All CDs are $15 ARS members/
$17 Others unless marked otherwise. Two-CD sets are $24 ARS members/
$28 Others. Add Shipping and Handling: $2 for one CD, $1 for each additional CD.
An updated list of all available CDs may be found at: www.americanrecorder.org.
FEATURING HESPERUS! (Partial listing)
____CELTIC ROOTS
Scott Reiss, recorders, whistle, hammered dulcimer; Bonnie Rideout, Scottish fiddle;
Philippe Varlet, Irish fiddle; Bill Taylor, harps; Grant Herreid, lutes, guitars, recorder; Tina
Chancey, viol, Irish fiddle, recorder. 17-18th century Scottish, Irish, English, American
traditional & parlor music from the earliest written sources. Maggie's Music.
____COLONIAL AMERICA
Tina Chancey, Scott Reiss & Grant Herreid, recorders & other early instruments. From
the first colonists to the Revolution,in town and village, parlor and ballroom, from the
Appalachian mountains to the great concert halls, hear the musical pulse of early
America on a wide variety of folk and early music instruments. Maggie's Music, 2003.
____AN EARLY AMERICAN QUILT
Tina Chancey, Scott Reiss, Grant Herreid, Mark Cudek, Robert Eisenstein,Peter Marshall
guests Melissa Weaver Dunning, Shape-Note Chorus, Bonnie Rideout, Maggie Sansone, William Taylor, Phillippe Varlet; recorders, whistles, gamba, other early/traditional
instruments. In town hall & village, parlor & ballroom, from the Appalachian mountains to
concert halls, celebrate the musical patchwork of early America. Maggie's Music, 1993.
____EARLY AMERICAN ROOTS
Scott Reiss, recorders, and other HESPERUS members. Lively instrumental music from
America's past-country dance tunes, cotillions, marches, divisions, common tunes, etc.
Alto recorder solo on Daniel Purcell's Ground, recorder trios on shape-note hymns.
____MY THING IS MY OWN: BAWDY MUSIC OF THOMAS 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,
collected by D'Urfey in "Pills to Purge Melancholy," used in improvisations. Koch.
____UNICORN
Tina Chancey, Bruce Hutton, Scott Reiss, Bruce Molsky, recorder, viol fiddle, kamenj,
banjos, steel guitar, ukulele, dulcimers, flageolet, Cajun triangle, nakara. Medieval,
Appalachian, world music fused with selections from 13th–16th century Europe & from
Africa; traditional American folk, blues, Cajun. Discovery, 1996.
Please indicate above the CDs you wish to order, and print clearly the following:
Name:__________________________ Daytime phone: (____) ________________
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Mail to: ARS, 1129 Ruth Dr., St. Louis, MO 63122-1019 U.S.
Fax a credit card order to 314-966-4649.
May 2010
31
American Recorder Society Publications
Musical Editions from the Members’ Library:
ARS members: 1 copy-$3, 2 copies-$4.50, 3-$6, 4-$7.50, 5-$10, 6-$11.50
Non-members (editions over 2 years old): 1 copy-$5, 2 copies-$8.50, 3-$12, 4-$15, 5-$19.50, 6-$23
Arioso and Jazzy Rondo (AB) Carolyn Peskin
Berceuse–Fantaisie (SATB) Jean Boivert
Bruckner’s Ave Maria (SSATTBB)
Jennifer W. Lehmann, arr.
Canon for 4 Basses (BBBB) David P. Ruhl
Dancers (AT) Richard Eastman
Different Quips (AATB) Stephan Chandler
Elegy for Recorder Quartet (SATB)
Carolyn Peskin
Elizabethan Delights (SAA/TB)
Fallen Leaves Fugal Fantasy (SATB)
Dominic Bohbot
Four Airs from “The Beggar’s Opera” (SATB)
Kearney Smith, arr.
Gloria in Excelsis (TTTB) Robert Cowper
Idyll (ATB) Stan McDaniel
Imitations (AA) Laurie G. Alberts
In Memory of Andrew (ATB) David Goldstein
In Memory of David Goldstein (SATB)
Will Ayton
Lay Your Shadow on the Sundials (TBgB)
Terry Winter Owens
Leaves in the River (Autumn) (SATB)
Erik Pearson
LeClercq’s Air (SATB) Richard E. Wood
Little Girl Skipping and Alouette et al (
SATBcB) Timothy R. Walsh
Los Pastores (S/AAA/T + perc)
Virginia N. Ebinger, arr.
New Rounds on Old Rhymes (4 var.)
Erich Katz
Other Quips (ATBB) Stephan Chandler
Poinciana Rag (SATB) Laurie G. Alberts
Santa Barbara Suite (SS/AA/T) Erich Katz
Sentimental Songs (SATB) David Goldstein, arr.
Serie for Two Alto Recorders (AA)
Frederic Palmer
Slow Dance with Doubles (2 x SATB)
Colin Sterne
Sonata da Chiesa (SATB) Ann McKinley
S-O-S (SATB) Anthony St. Pierre
Three Bantam Ballads (TB) Ann McKinley
Three Cleveland Scenes (SAT) Carolyn Peskin
Three in Five (AAB) Karl A. Stetson
Tracings in the Snow in Central Park (SAT)
Robert W. Butts
Trios for Recorders (var.)
George T. Bachmann
Triptych (AAT/B) Peter A. Ramsey
Two Bach Trios (SAB) William Long, arr.
Two Brahms Lieder (SATB)
Thomas E. Van Dahm, arr.
Variations on “Drmeš” (SATB) Martha Bishop
Vintage Burgundy (S/AS/ATT)
ARS Information Booklets:
ARS members: 1 booklet-$13, 2 booklets-$23, 3-$28, 4-$35, 5-$41, 6-$47, 7-$52
Non-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
Burgundian Court & 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
of music most of us have not
encountered before. The musical
language is familiar from other
European 17th-century repertory.
Perhaps the most unusual aspect is
the lovely sound of sung Polish.
Musical precision and verve
characterize Greensleaves’ sound.
As I’ve commented before, in reviews
about recordings of music for dancing
(of which there are several wonderful
examples here), longer versions would
serve many listeners well.
The repertory is drawn primarily
from the Polocki Manuscript (1680),
discovered in 1962 and available in a
modern scholarly edition (Muzyczne
silva rerum z XVII wieku [Musical
Treasures of the 17th Century],
Polskie Wydawnictwo Muzyczne, vol.
XVI, ed. J. Golos and J. Steszewski,
Warsaw, 1970). This edition is fairly
widely available in larger academic
music libraries in the U.S. and well
worth a look.
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 new members as they join); replacements, $3.
Guidebook to the ARS Personal Study Program (1996). Material formerly published in the Study
Guide and Study Guide Handbook, plus additional resources. Members, $11; non-members, $20.
ARS Music Lists (2002 with 2003 Supplement). Graded list of solos, ensembles, and method books.
Members $9; non-members, $15. Package Deal available only to ARS members: Guidebook and Music
Lists/Supplement ordered together, $16.
Videos
Recorder Power! Educational video from the ARS and recorder virtuoso John Tyson. An exciting
resource about teaching recorder to young students. ARS members may borrow a copy for one month
by sending $5 to the ARS office along with the address to which the tape should be shipped.
Pete Rose Video. Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music
Festival recital. Features Rose performing a variety of music. and an interview of him by ARS member
professional John Tyson.
Other 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.
Consort Handbook. Resource on consort topics such as group interaction, rehearsing, repertoire, performing. ARS member prices: CD, $10; hard copy, $20; combo price of CD and hard copy ordered
together, $25.
Shipping & Handling Fees: Under $10 - add $3; $10-19.99 - add $4; $20-29.99 - add $5;
$30-39.99 - add $6; $40-49.99 - add $7. All prices are in U.S. dollars. For Canadian or foreign postage,
pay by credit card and actual postage is charged. Please make checks payable to ARS.
VISA/MC/AMEX/Disc also accepted.
See www.AmericanRecorder.org for complete publication offerings, for sale and free to members.
ARS, 1129 Ruth Drive, St. Louis, MO 63122 U.S.
800-491-9588
ARS.recorder@AmericanRecorder.org
32
May 2010
American Recorder
Lost in Time Press
New works and
arrangements
for recorder ensemble
Compositions by
Frances Blaker
Paul Ashford
Hendrik de Regt
and others
Inquiries:
Corlu Collier
PMB 309
2226 N Coast Hwy
Newport, Oregon 97365
www.lostintimepress.com
corlu@actionnet.net
Music
Reviews
_______
_______
_______
_______
_______
KIS MAGYAR SZVIT (LITTLE
HUNGARIAN SUITE), ARR .
HELMUT BROOK. Edition Moeck.
2141 (Magnamusic), 2008. AATTB
or AATBB. Sc 11 pp, 6 pts 3 pp ea.
$39.
This is a suite of five short, nicelyarranged, , enjoyable pieces. The edition supplies some interesting information: this music is from the Verbunkos period (1770-1860). Verbunkos
refers to the activity of recruiting military personnel; the music was also
used for entertainment and distraction
of the soldiers. The musical style of
this Hungarian music continued into
the middle of the 19th century and
eventually inspired Franz Liszt to
compose his Hungarian Rhapsodies.
This music is
from the Verbunkos
period (1770-1860).
Verbunkos refers to the
activity of recruiting
military personnel.
The first piece, “Lassan,” was
originally a piano composition by
József Bengráf (1745-91). Lassan
means slowly, or leisurely. The first
alto player gets the greatest share of
this lovely melody, but the other players get some of the decorative 16ths.
The second piece is 36 measures
long, with 21 time signature changes.
It is based on an old folk song called
“Tiszán innen, Dunán túl” (On
this side of the Theiss—beyond the
Danube). The haunting melody (and
the text) is passed around among the
More from Eastern Europe, czakan variations,
bawdy trios, and pieces for one person playing two recorders
first alto, second alto and bass parts.
No translation is provided; thus, I was
fortunate to receive a basic translation
provided courtesy of Edit Palmer,
lecturer at Stetson University:
On this side of the Tisza (a river in
Hungary), over the Danube, over the
Tisza there is a horseman with his
[horses]. His small horse is tied with
rough rope, without cover, with its master.
The third piece is the second
“Lassan” by Bengráf. Most of the
melodic activity is in the first alto part,
with some sections in the second alto
part running in parallel thirds. The
bottom three parts function as rhythmic and harmonic foundation. Downward skips of diminished octaves give
the melody an exotic touch.
The fourth piece, an Andante
Expressivo called “Fa leszek, ha fánek
vagy virága,” is a very popular Hungarian tune with text by the poet
Sándor Petöfi (1823-49). Palmer
stresses that the following is a very
basic translation of Petöfi’ s poetry:
I’ll be a tree if you are a flower on the
tree; if you are dew, I’ll be a flower;
I’ll be dew if you are sunshine; as long
as our beings unite. If, little girl, you
are heaven, then I’ll become a star.
In the first eight measures, the
text is in the second alto part, while the
two altos play a lighthearted melody
featuring dotted rhythms. This is followed by an 18-measure textless rhythmic middle section. The final eight
measures, still in light-hearted dotted
rhythms, place the text in the first alto.
As in the third piece, most of the
melodic interest is in the alto parts
with harmonic support in the lower
three parts. The middle section, however, is lively and rhythmic for all.
The fifth piece is a third “Lassan”
by Bengráf. This is an active adagio
with melodic interest in all parts
(though less so in the second tenor).
The bass line is also interesting and
very active. There is a minor editorial
error in the score—the fifth piece is
marked as number 4.
Remaining true to the Moeck
tradition, this suite is published on
high quality paper and will enjoy a
long stand life. The front cover is
graced with a picture of cheering
Hungarian soldiers.
It is unfortunate that no translation is provided, as my attempts to
translate it online produced gibberish.
I wish to state my sincere appreciation
to Edit Palmer for her translations.
Concerning instrumentation,
the second tenor part can be played
on a bass recorder; thus, a separate
part is supplied in bass clef.
Technically speaking, these pieces
are playable by intermediate players.
Rhythmically speaking, the Hungarian rhythms can be a bit complex for
less experienced rhythm readers, as
there are many rapid shifts from
on-beat to off-beat rhythmic figures.
This is an attractive suite to add
to the recorder consort repertoire.
Sue Groskreutz has music degrees
from Illinois Wesleyan University and the
University of Illinois, plus Orff-Schulwerk
certification from DePaul University.
Playing and teaching recorder are the
greatest musical loves of her life. She was
president of the American Recorder Teachers’
Association for 10 years.
May 2010
33
SHORT RESTORATION
SONGS FOR THREE VOICES,
ED. CHARLES NAGEL. Cheap Trills
Tr 66 (Magnamusic), 2009. TTB
or viols (tr/tr/B). Sc 8 pp. $3.75.
This small volume of songs
includes the text for singers as well
as the notation for either recorders or
viols. In the introduction, editor
Charles Nagel notes that he found
these pages in an anthology of music
printed in England after Cromwell’s
Protestant theocracy had ended.
Some of the pieces are by Gastoldi
and were taken by John Forbes, the
original publisher in 1682, from Gastoldi’s 1594 publication Balletti a tre
voci, which Forbes then supplied with
new English texts. Nagel’s editing
“consisted of transcribing the music
into notation familiar to the modern
musician and setting the music in score
format. Spelling of the texts has been
modernized.”
The 12 pieces presented here are
just plain fun. The texts are typical of
the more bawdy English theater genre
of the 17th century. For example, the
first song says: Here’s a health unto His
Majesty, with a Fa la la, with a fa la.
Conversion to his enemies, with a Fa la la,
with a fa la. And he that will not pledge
his health, I wish him neither wit nor
wealth, nor yet a rope to hang himself,
with a Fa la la .... Even cursing enemies of the king can be a rollicking
good time if you throw in a few fa las.
Or take the fifth song’s opening text:
KEY: rec=recorder; S’o=sopranino;
S=soprano; A=alto; T=tenor; B=bass;
gB=great bass; cB= contra bass; Tr=
treble; qrt=quartet; pf=piano; fwd=
foreword; opt=optional; perc=percussion;
pp=pages; sc=score; pt(s)=part(s);
kbd=keyboard; bc=basso continuo;
hc=harpsichord; P&H=postage and
handling. Multiple reviews by one reviewer
are followed by that reviewer’s name.
Publications can be purchased from ARS
Business Members, your local music store,
or directly through some distributors . Please
submit music for review to: Sue Groskreutz,
1949 West Court St., Kankakee, IL 60901
U.S., suegroskreutz@comcast.net.
34
May 2010
A lot can be done with
these little pieces. They
are moderately easy and
so would be fun for a
less experienced group.
Phyllis, why should we delay pleasures
shorter than the day? (And people think
early music lovers are a stodgy group.)
The eighth song, one by Gastoldi,
is the tune In dir ist Freude, often in
hymnals to the text “In Thee is Gladness.” While the musical arrangement
would be a suitable offering in church,
I would not recommend singing the
text Forbes put with Gastoldi’s tune!
A lot can be done with these little
pieces. They are moderately easy and
so would be fun for a less experienced
group. A more experienced ensemble
would have fun mixing up the voices
with recorders and/or viols and even
adding improvised hand percussion.
These would also be fun for a reading
group or an ARS chapter program.
Valerie E. Hess, M.M. in Church
Music/Organ from Valparaiso University,
is Coordinator of Music Ministries at
Trinity Lutheran Church, Boulder, CO,
where she directs the Trinity Consort.
She has also published two books on the
Spiritual Disciplines.
BRAVOUR-VARIATIONEN,
OP. 7, BY ERNEST KRÄHMER , ED.
NICOLAI HESKE. Edition Moeck
2569 (Magnamusic), 2009. S, kb.
Sc 27 pp, pt 11 pp. $23.
Ernest Krähmer (1795-1837)
was one of the foremost composers for
the czakan, a recorder-like instrument
that was popular in Vienna around
1800. It was pitched in A, between the
soprano and the alto recorder, but brilliant music such as this set of variations
generally sounds best when transcribed
for soprano recorder, as it is here.
The style of most czakan music
is very different from that of other
American Recorder
recorder music, since it often shares
the early Romantic virtuosic style
so familiar from music for clarinet
or flute of the period (Krähmer’s
Op. 7 was published in 1825).
This set of six variations is based
on a lied (song) by F.H. Himmel
(1765-1814) entitled “An Alexis send
ich dich.” The melody is a lilting
triple-time Andantino in C major,
while the variations become quickly
more elaborate, beginning with
predominant 16th-note motion and
moving in succeeding variations to
triplet-16ths and then 32nd notes with
interpolated arpeggio figures of 13 and
14 notes to the beat. The penultimate
variation, as is often the case, is a
mournful Adagio in the minor key.
Interestingly, the back cover of
this edition, listing Moeck’s czakan
transcriptions, rates this piece as only a
3 on a 5-point scale of difficulty, but it
is definitely for the advanced player.
Not only are the technical challenges
substantial, but the variation form
demands an extra degree of musicality
from the performers, so that the music
does not descend into an empty display
of virtuosity. Krähmer has supplied
several attractive touches here for
both recorder and piano that can be
employed advantageously to lift the
piece above the clichés of its genre.
The edition is accurate and well
laid-out. There is an extensive and
informative preface that even gives the
words to Himmel’s song, though only
in the original German.
Those recorder players looking
for a new challenge, both technically
and musically, will enjoy exploring
this piece. Heske mentions in his preface that there is a repertoire of approx-
imately 400 czakan pieces waiting to be
discovered, so there would seem to be
many similar delights in store.
Scott Paterson teaches recorder and
Baroque flute at The Royal Conservatory
of Music of Toronto and is a freelance performer in the Toronto area. He has written
on music for various publications for
over 25 years.
DIAULOS 2, BY BRUNO GINER .
Éditions François Dhalmann FD0207
(www.dhalmann.fr), 2008. S/A (one
player). Sc 3 pp. Abt. $10.60.
T’SO (1994), BY FRANÇOIS ROSSÉ.
Éditions François Dhalmann FD0188,
2009. T solo. Sc 2 pp. Abt $9.20.
AIR (2007), BY KARL NAEGELEN.
Éditions François Dhalmann
FD0199, 2009. A solo. Sc 3 pp,
2 pp instr. Abt. $12.
These three compositions by
contemporary French composers are
new releases in a series from Éditions
François Dhalmann entitled “music
of our time for old instruments.” (In
addition to recorder publications, this
series also features works for viol consorts.) The editions are well-prepared
and clear, although the necessary
explanatory prefaces are provided
exclusively in French.
All three are difficult pieces that
lean towards the avant-garde in one
aspect or another. However, all are
also pieces of brevity and audience
accessibility and would thus be welcome to hear on any recital.
With Diaulos 2, French composer
Bruno Giner (b. 1960) has created an
extremely difficult work for a single
player with two recorders (soprano and
alto). Much of the piece involves playing the two instruments simultaneously. The title refers to an ancient
Greek instrument made of two reed
pipes; in period art it looks much like
someone playing a soprano and alto
recorder at the same time (see page 17).
Extended techniques are kept
to a minimum in this brief work,
but quarter tones are employed, for
which fingerings are provided.
T’so by François Rossé (b. 1945)
is a slow and largely quiet meditation,
in which one moves to all notes by
means of gentle slides/glissandi. The
result is a modal melodic line with an
oozing character. Multiphonics are
called for in several places, but the specific choice is left up to the performer.
Air by Karl Naegelen (b. 1979) is
a fast and virtuosic piece, chock full of
extended techniques and textures. A
key to many extended notational elements is provided in the preface. After
a dramatic introduction (which returns
as the coda), the majority of the piece
employs fast, flowing figurations that
intersperse muffled tones and tongue
slaps with normal playing.
All three of these contemporary
French composers have impressive
resumes; here are just a few highlights.
Giner has studied with Pierre Boulez,
Luis De Pablo, Ivo Malec and Brian
Ferneyhough. He has a long list of
commissioned works, and his works
are regularly programmed at French
and international festivals in Germany,
Holland, Switzerland, the Czech
Republic, Spain, Italy, Argentina and
Venezuela. He has also published three
books on music topics.
Rossé studied composition with
Olivier Messiaen, and has won many
national and international composition
competitions.. He was a professor of
musical analysis at the Conservatoire
de Bordeaux from 1974-85. His prolific catalog of works includes a wide
variety of genres—works for soloists,
chamber groups, symphonic, vocal and
choral, plus spatializations and other
mixed works. Twenty of his works have
been recorded.
Naegelen composes for the
Orchestra National de Lyon, Ensemble Linea, Quartuor Pli and Ensemble
Résonance Contemporaine, and works
regularly with the pianist Wilhem
Latchoumia. His creations are played
at many festivals in France and abroad.
He has also created soundtracks for
shows, co-composing with Johanna
Lemarchand Alice in wonder, a composition for a dancer and two musicians.
He is currently pursuing studies in
gamelan music in Java (Indonesia).
Carson Cooman is an active composer
with a catalog of more than 600 musical
works in many forms, ranging from solo
instrumental pieces to operas, and from
orchestral works to hymn tunes. His work
is available on over 10 record labels,
including Naxos and ABC Classics.
THE BIRD AND THE DONKEY,
BY PETE ROSE. Heinrichshofen
N2583 (Edition Peters, www.edi
tion-peters.com), 2006. S/A/A
(one player). Sc 8 pp. $10.50.
Pete Rose (born 1942) is a wellknown composer and recorder performer who lives in New Jersey. He
has been commissioned to compose
pieces for numerous performers
including the Amsterdam Loeki
Stardust Quartet. His compositions
tend to be original and full of life.
Rose has performed all over the
world with great recognition.
The Bird and the Donkey was
commissioned by Gunter Janoschka,
www.nicholaswww.nicholas-wynne.co.uk
Original sheet music for recorders
and a variety of other instruments.
Instantly available as pdf downloads or as hard copies by post
May 2010
35
a younger German recorder player
who had attended Rose’s class at the
1998 Amherst Early Music Festival.
This work is fairly advanced in difficulty and is a true enrichment to the
recorder repertoire. It can be played
at any type of recital—including (or
especially) recitals for non-recorder
friends—because this fun piece
leaves such a lasting impression.
The publication is appealing and
very informative. It includes ample
background information such as a
guide for the special notation and
instructions for the piece in general,
plus Rose’s biography. The large size
of the notes makes them easy to read.
As its title implies, the piece is in
two movements. “The Bird” is a very
jazzy piece, boldly combining an
excerpt from the bird catcher Papageno’s song from Mozart’s The Magic
Flute with Charlie Parker’s bebop
style. The soprano recorder adds to
the birdlike sound as well. A player
who is accustomed to jazz scales will
find the piece easier to play than a
purely classically-schooled musician.
“The Donkey” is written as a solo
using two alto recorders. Yes, at times,
the player has to play two instruments
at the same time. Although based on a
simple Greek folk song, this is a challenging movement in all aspects. Rose
fills the 7/8 measures with diverse
effects, such as sputato, two instruments in one mouth, flutter-tonguing,
rhythmical challenges, improvisation,
very high notes (up to the high c)—
and, as if that weren’t enough, he asks
the player to chase through all these
changes at a fast tempo. However,
these challenges are the spices in the
soup, and this piece is “hot.”
The Bird and the Donkey does not
get boring during practice. On the
contrary, with every little improvement, the player is rewarded by mastering new effects. In the end, the
pleasure of adding such a daring,
imaginative and rich piece to a player’s
repertoire easily pays back the
effort—thank you, Pete!
Mirja Lorenz was born in Lübeck,
Germany, into a musical family. She
learned her first recorder notes on Sunday
mornings in her mother’s bed, accompanied by a lingering smell of coffee and
motivated by her mom’s morning hugs.
She studied recorder in Duisburg, Germany, with Gudrun Heyens, and later
in Utrecht, The Netherlands, with
Heiko ter Schegget, while teaching the
recorder in local music schools. When she
came to the U.S. in 2002, she allowed
her recorder a break in favor of a
Bachelor’s degree in English Literature.
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36
May 2010
American Recorder
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Advertiser Index
AMERICAN ORFF-SCHULWERK ASSN. . . . . . . . . . . . . . 5
AMERICAN RECORDER SOCIETY . . . . . . . . . . 22, 27, 28
AMHERST EARLY MUSIC FESTIVAL . . . . . . . . . . . . . . . 16
BERKELEY FESTIVAL & EXHIBITION . . . . . . . . . . . . . . . 23
STEPHAN BLEZINGER . . . . . . . . . . . . . . . . . . . . . . . . . 23
JEAN-LUC BOUDREAU. . . . . . . . . . . . . . . . . . . . . . . 8, 22
COURTLY MUSIC UNLIMITED. . . . . . . . . . . . . . . . . . . . 7
EARLY MUSIC AMERICA . . . . . . . . . . . . . . . . . . . . . . . 11
HONEYSUCKLE MUSIC . . . . . . . . . . . . . . . . . . . . . . . . 12
INDIANAPOLIS EARLY MUSIC FESTIVAL. . . . . . . . . . . . 9
BILL LAZAR’S EARLY MUSIC . . . . . . . . . . . . . . . . . . . . . 7
KEITH E. LORAINE EARLY DOUBLE REED SERVICE . . . 3
LOST IN TIME PRESS. . . . . . . . . . . . . . . . . . . . . . . . . . . 28
MAGNAMUSIC DISTRIBUTORS . . . . . . . . . . . . . . . . . BC
MOECK VERLAG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IFC
MOLLENHAUER RECORDERS . . . . . . . . . . . . . . . . . . IBC
MONTRÉAL RECORDER FESTIVAL. . . . . . . . . . . . . . . . 17
DON MURO/J.D. WALL PUBLISHING . . . . . . . . . . . . 21
MUSICA PACIFICA . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
POLYPHONIC PUBLICATIONS . . . . . . . . . . . . . . . . . . . 3
PRESCOTT WORKSHOP . . . . . . . . . . . . . . . . . . . . . . . 21
PROVINCETOWN BOOKSHOP. . . . . . . . . . . . . . . . . . . 6
THE RECORDER MAGAZINE . . . . . . . . . . . . . . . . . . . . . 4
THE RECORDER SHOP. . . . . . . . . . . . . . . . . . . . . . . . . 30
SWEETHEART FLUTE CO. . . . . . . . . . . . . . . . . . . . . . . . 5
VON HUENE WORKSHOP, INC. . . . . . . . . . . . . . . . . . 26
NICHOLAS WYNNE SHEET MUSIC. . . . . . . . . . . . . . . 31
DOMINIK ZUCHOWICZ . . . . . . . . . . . . . . . . . . . . . . . . 5