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ON THE COVER:Detail:
King René copying the psalms
©Bibliothèque de l’Arsenal, Paris
FEATURESTHE AGE OF CONSORTS...?. . . . . . . . . . . . . . . . . . . . . . . . . . . 6An iconographic conundrum is examined by Anthony Rowland-JonesMusic at the English Court (1509-1642) . . . . . . . . . . . . . . . 10A recorder concert with historical notesby Constance M. PrimusBirth of a Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14“We’re ARS,” a newly-composed song for Play-the-Recorder Dayby Carolyn Peskin
DEPARTMENTS
Advertiser Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Book Reviews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Chapters & Consorts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Classified . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Compact Disc Reviews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Music Reviews. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Poem . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
President’s Message . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Tidings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Happy Birthday, Belladonna; REBEL set to play at BEMF;
review of Dutch Recorder Orchestra Praetorius’s concert;
Intel commercial shows recorder
Volume XLIV, Number 1 January 2003
GAIL NICKLESS, Editor
Contributing EditorsFRANCES BLAKER, Beginners; SCOTT PATERSON, Book Reviews
CAROLYN PESKIN, Q & A; CONSTANCE M. PRIMUS, Music ReviewsEUGENE REICHENTHAL, Education; THOMAS CIRTIN, Compact Disc Reviews
TIMOTHY BROEGE, 20th-Century Performance; LISA SCHMIDT, Design Consultant
Advisory BoardMartha Bixler • Valerie Horst • David Lasocki
Bob Marvin • Howard Schott • Thomas Prescott • Catherine TurocyKenneth Wollitz
Copyright © 2003 American Recorder Society, Inc.
Visit AR On-Line at <www.recorderonline.org>American Recorder (ISSN: 0003-0724), 5554 S. Prince, Suite 128, Littleton, CO 80120, is published bimonthly (January, March, May, September, andNovember) for its members by the American Recorder Society, Inc. $20 of the annual $40 U.S. membership dues in the American Recorder Society is for asubscription to American Recorder. Articles, reviews, and letters to the editor reflect the viewpoint of their individual authors. Their appearance in this magazinedoes not imply official endorsement by the ARS. Submission of articles and photographs is welcomed. Articles may be typed or submitted on PC discs (Wordfor Windows, or RTF preferred) or as an attachment to or text in an e-mail message. They should be for the exclusive consideration of AR, unless otherwisenoted. Photographs may be sent as color or black-and-white prints, or 300-dpi TIFF images. Advertisements may be sent in the PDF format, with fontsembedded.
Editorial office: Gail Nickless, Editor, American Recorder, 7770 South High St., Centennial, CO 80122; 303-794-0114 (phone & fax);<[email protected]>. Deadlines for editorial material: November 15 (January), January 15 (March), March 15 (May), July 15 (September), andSeptember 15 (November). Books for review: Editorial office. Music for review: Constance M. Primus, Box 608, Georgetown, CO 80444. Recordings forreview: Thomas Cirtin, 8128 N. Armstrong Chapel Road, Otterbein IN 47970. Cutting Edge: Editorial office. Chapter newsletters and other reports: Editorialoffice. Advertising: Steve DiLauro, LaRich & Associates, Inc., 15300 Pearl Road, Suite 112, Strongsville, OH 44136-5036; 440-238-5577; 440-572-2976(fax); <[email protected]>. Advertising Closings: December 1 (January), February 1 (March), April 1 (May), August 1 (September), and October 1(November). Postmaster: Send address changes to American Recorder Society, Box 631, Littleton, CO 80160-0631. Periodicals postage paid at Littleton, CO,and at an additional mailing office.
4
18
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Last year was a year when it seemed thatmany eyes were on the United Kingdom asQueen Elizabeth II celebrated her GoldenJubilee in June 2002. Anglophiles on thisside of the Atlantic and those just wantingto observe the festivities followed the fêtes,or at least watched with interest as PBSdocumentaries chronicled her years.
One newspaper article describedBritain’s “main cultural ambassador” dur-ing the 50-year reign of this Queen Eliza-beth as “rock ‘n’ roll.”
Not so in years past, as outlined in thisissue by two frequent contributors toAmerican Recorder. The Queen’s own sub-ject Anthony Rowland-Jones examines thesubject of 16th-century recorder consortplaying as illustrated by the iconography ofthat period (page 6), asking as many in-triguing questions as he answers in his es-say. Music heard by a past Elizabeth andother British royalty in the 16th and 17thcenturies is outlined, with a list of musicfor you to play in the present, by ConniePrimus (page 10)—just in time to help youput together a program for Play-the-Recorder Month.
Music for royalty is also represented inthis month’s music reviews (page 22),which contain music for all levels fromchildren to advanced recorderplayers—more Play-the-Recorder Monthoptions to consider.
Looking for something more modern toplay during Play-the-Recorder Month inMarch? A new piece by Carolyn Peskin, another name not unfamiliar to AmericanRecorder readers, appears in this issue.“We’re ARS” was specially composed forall members to play on a worldwide Play-the-Recorder Day set for March 8. Carolynalso gives insight into how she approachedthe challenge of writing the words and mu-sic for this jazzy, original piece.
Whether you decide on a program fitfor a king (or queen) for Play-the-RecorderMonth, or mark March 8 by having yourown private audience listen to you play“We’re ARS,” have a royal time. That’swhat it’s all about anyway: having fun play-ing the recorder!
Gail Nickless
EDITOR’SNOTE______________________________
6 American Recorder
AMERICANRECORDER
SOCIETYINC.
Honorary PresidentERICH KATZ (1900-1973)Honorary Vice President
WINIFRED JAEGER
Statement of PurposeThe mission of the American Recorder Society is
to promote the recorder and its music bydeveloping resources and standards to help
people of all ages and ability levels to play andstudy the recorder, presenting the instrumentto new constituencies, encouraging increasedcareer opportunities for professional recorderperformers and teachers, and enabling and
supporting recorder playing as a shared social experience. Besides this journal,
ARS publishes a newsletter, a personal studyprogram, a directory, and special musicaleditions. Society members gather and playtogether at chapter meetings, weekend and
summer workshops, and many ARS-sponsoredevents throughout the year. In 2000, the
Society entered its seventh decade ofservice to its constituents.
Board of DirectorsAlan Karass, President; Chair, Fund-raising
Carolyn Peskin, Vice President; Chair, Scholarship; Co-Chair, Education
Marilyn Perlmutter, SecretaryAnn Stickney, Treasurer; Chair, Finance
John Nelson, Asst. Secretary; Chair, PublicationsCharles Rodewald, Asst. Treasurer
Rebecca ArkenbergFrances Blaker, Chair,
Special Events/Professional OutreachRichard Carbone, Chair, Chapters & Consorts
Sheila M. Fernekes, Co-Chair, EducationSue Roessel, Chair, Membership
Kathy SherrickJános Ungváry
Priscilla Winslow, Counsel
StaffBrock Erickson, Executive Director
Renee Baier, Exec. Asst./Membership SecretaryP. O. Box 631
Littleton, CO 80160-0631 U.S.A.303-347-1120
Faxes & membership question hot line:303-347-1181
E-mail: <[email protected]>Web: <www.americanrecorder.org>In accordance with the Internal Revenue Service Taxpayer Bill of Rights 2,passed by the United States Congress in 1996, the American Recorder
Society makes freely available through its web site financial and incorporation documents complying with that regulation.
ALABAMABirmingham: Janice Williams
(205-870-7443)
ARIZONAPhoenix: Donald Harrington
(602-956-1344)Tucson: Scott Mason (520-721-0846)
ARKANSASAeolus Konsort: Don Wold
(501-666-2787) Bella Vista: Barbara McCoy
(501-855-6477)
CALIFORNIACentral Coast:East Bay: Glen Shannon
(510-525-1249) Monterey Bay: Sandy Ferguson
(831-462-0286)North Coast: Kathleen Kinkela-Love
(707-822-8835)Orange County: Doris Leffingwell
(949-494-9675) Sacramento: Robert Foster
(916-391-7520) or Elsa Morrison (916-929-6001)
San Diego County: Richard Chang (760-726-8699)
San Francisco: Florence Kress (415-731-9709)
South Bay: Joanna Woodrow (408-266-3993)
Southern California: Lynne Snead(661-254-7922)
COLORADOBoulder: Rose Marie Terada
(303-666-4307) Colorado Springs: Richard Bradley
(719-633-5683) Denver: Keith Emerson
(303-750-8460) Fort Collins: Roselyn Dailey
(970-282-1097)
CONNECTICUTConnecticut: Dorothy Vining
(203-267-6513)Eastern Connecticut: Joyce Goldberg
(860-442-8490)
DISTRICT OF COLUMBIAWashington: Myrl Powell
(301-587-4799) or Jane Takeuchi Udelson (703-369-3022)
DELAWAREBrandywine: Roger Matsumoto
(302-731-1430)
FLORIDAGainesville: Russell D. Moore
(352-378-0567) Miami: Zulema Garraffo
(305-374-1879)Sarasota: Valerie Sizemore
(941-484-9589)
GEORGIAAtlanta: Brigitte Nahmias
(404-634-9955)
HAWAIIHawaii: Irene Sakimoto
(808-734-5909)Big Island: Roger Baldwin
(808-935-2306)
ILLINOISChicago: Kim Katulka (708-484-4578) West Suburban: Christopher Culp
(630-690-7304)
LOUISIANABaton Rouge: John Waite
(225-925-0502)New Orleans: Chris Alderman
(504-862-0969)
MARYLANDNorthern Maryland: Tanya Torres
(410-821-8678)
MASSACHUSETTSBoston: Laura Conrad (617-661-8097)BRS-West: (Boston); Sheila Beardslee
(978-263-9926)Worcester Hills: Jennifer Southcott
(978-263-5875)
MICHIGANAnn Arbor: Bill White
(734-668-7120)Kalamazoo: Chris Bartley
(616-341-4590) Metropolitan Detroit: ClaudiaNovitzsky (248-548-5668)
Western Michigan: Marge Winter (231-744-1703)
MINNESOTATwin Cities: Jean Fagerstrom
(612-722-4967)
MISSOURISt. Louis: Bruce Petersmeyer
(314-631-7962)
NEVADASierra Early Music Society:
Karlene Dickey (775-832-9124)
NEW HAMPSHIREMonadnock: Nancy Isaacs
(603-532-8328)Upper Valley: Barbara Prescott
(603-643-6442)
NEW JERSEYBergen County: Mary Comins
(201-489-5695) Navesink: Lori Goldschmidt
(732-747-4813)Princeton: Janice Arrowsmith
(609-883-9874) Somerset Hills: Keith Bernstein
(908-722-6572)
NEW MEXICOAlbuquerque: Lois Ario
(505-881-1303)Rio Grande: Joyce Henry
(505-522-4178)Santa Fe: Jane Miller (505-984-0851)
NEW YORKBuffalo: Charles Hall
(716-835-5573) Hudson Mohawk:Darleen Koreman
(518-482-6023)
Long Island: Margaret H. Brown(516-765-1867)
New York City: Michael Zumoff (212-662-2946)
Rochester: Frank Amato (716-225-6808)
Rockland: Lorraine Schiller (845-429-8340)
Westchester: Carol B. Leibman (914-241-3381)
NORTH CAROLINATriangle: Cindy Osborne
(919-851-1080)
OHIOGreater Cleveland: Edith Yerger
(440-826-0716) Toledo: Marilyn Perlmutter
(419-531-6259)
OREGONOregon Coast: Corlu Collier
(541-265-5910)
PENNSYLVANIAPhiladelphia: Dody Magaziner
(215-886-2241) orJoanne Ford (215-844-8054)
Pittsburgh: He;en Thornton (412-781-6321)
RHODE ISLANDRhode Island: David Bojar
(401-944-3395)
TENNESSEEGreater Knoxville: Ann Stierli
(865-637-6179)Nashville: Janet Epstein
(615-297-2546)
TEXASAustin: Susan Page (512-467-7520)Dallas: Bill Patterson (214-696-4892)Rio Grande: Joyce Henry
(505-522-4178)
VERMONTUpper Valley: Barbara Prescott
(603-643-6442)
VIRGINIANorthern Virginia: Edward Friedler
(703-425-1324)
WASHINGTONMoss Bay: Ralph Lusher
(253-945-9732)Seattle: Ann Stickney (306-362-8062)
WISCONSINMilwaukee: Diane Kuntzelman
(414-654-6685) Southern Wisconsin: Margaret Asquith
(608-233-4441)
CANADAToronto: Alison Healing
(905-648-6964) Montréal: Patrice Mongeau
(514-341-3449)
Please contact the ARS officeto update chapter listings.
ARS Chapters
of trivia with you. In1983 there was a studydone in Maryland sug-gesting that a librarypatron may be able toreceive a correct an-swer from a reference librarian only 55%of the time. The survey was probably nei-ther accurate nor useful, but I hope mysuccess rate as ARS president is somewhathigher! In any case, I will make my best ef-forts.
With all best wishes for good healthand good music in the New Year,
Alan Karass
January 2003 7
PRESIDENT’SMESSAGE___________________________________
Happy New Year! At the SeptemberBoard meeting in Raleigh-Durham,
NC, I was given both the honor and chal-lenge of serving as ARS President for thenext two years. It is indeed an honor tohave the opportunity to lead an organiza-tion the size of ARS with its 3000 membersworldwide. The challenge comes as welook to further increase our membership inorder to ensure a financially-stable future.
I am now in my third year of serving onthe ARS board. For those of you who don’trecall my election bio two years ago (OK,no show of hands is required), I’ll give aquick introduction. By day, I am the MusicLibrarian at the College of the Holy Crossin Worcester, MA. My daily routine in-cludes answering reference questions(such as “which French composer waskilled in a bicycle accident in 1899?”);playing “Name that Tune” for people whoneed help identifying pieces of music thatthey can hum to me; ordering and pro-cessing new books, scores and recordings;and teaching students how to find infor-mation on music. I am surrounded by awide variety of music from Balinese game-lan and classic jazz, to Mozart, Bob Dylan,Henry Purcell and Run DMC from theworld of hip-hop. Every day is a new ad-venture and keeps me on my toes. Howev-er, this career is a definite improvement onsome of my previous ones … includingstints as a pet store manager and an order-clerk at 1-800-flowers. By night, I am fin-ishing my master’s degree in historical mu-sicology, completing my thesis on Tele-mann’s Funeral Cantatas and learningGerman.
I am writing this column as I returnfrom the joint meeting of the AmericanMusicological Society and the Society forMusic Theory in Columbus, OH. As a mu-sic librarian, it is always fascinating to at-tend these meetings and learn abouttrends in scholarship and music publish-ing. The exchange of new ideas and the dis-cussion of current research remind me thatthis is an exciting time to be involved inmusic.
It is also an exciting time to be arecorder player. We are fortunate to be sur-rounded by talented professional playersand teachers, highly-skilled instrumentmakers, and by music historians who helpus to understand the past and interpretearly music. I am fortunate to live in centralMassachusetts, where I have easy access togreat concerts and many fellow recorderplayers to get together and play with. Iknow that many of you are not in the situ-ation of having all of these opportunitiesnearby. One of our goals as a Board istherefore to try and bring the wealth ofrecorder-related resources to more people.Our recently-completed video by teacherJohn Tyson, generously supported by agrant from the National Endowment forthe Arts, is an example. This video, avail-able on loan from the ARS office with aminimal deposit, brings John’s enthusi-asm and experience in teaching improvisa-tion to your home or school. With the helpof a VCR you can spend an hour with agreat teacher, no matter where you live.The ARS office also has a recital video byPete Rose that was produced a decade ago.In addition, we have a resource book forconsorts in the planning stages. Eachchapter of this book will focus on a specif-ic aspect of consort playing such as reper-toire, rehearsal techniques, promotion,marketing and business matters relating toperformance.
As I wander through airports thesedays, I notice that an increased number oftravelers are slaves to their cell phones andlaptop computers. It confirms to me thatwe are truly living in a “communicationage.” But, just because we try to commu-nicate doesn’t necessarily mean that we arealways successful. Organizations like oursmust develop a dialog. I would sincerelylike to hear from you, the ARS members,about how the ARS can facilitate sharingthe riches of the recorder world with theARS community. If you have ideas, sugges-tions or comments please let me know. E-mail is best: <[email protected]>.
In closing, I’d like to share a small piece
Happy New Year!
The Recorder Magazine
we invite you to visit the sitewww.recordermail.demon.co.uk
8 American Recorder
TIDINGS___________________________________ Performances in Portugal and on both U.S. coasts, and of Aesop and Candide
Belladonna Baroque Quartet Celebrates 10 YearsBelladonna—Barbara Weiss, harpsichord; Margaret Humphrey, Baroque violin; Cléa Galhano, recorder; Rebecca Humphrey,Baroque cello (below)—was founded in St. Paul, MN, in January 1993 after a synergistic concert that amazed both audience and mu-
sicians. The quartet has appeared in numerous festivals and music seriesaround the globe, igniting the concert stage with their energetic presen-tations and technical virtuosity.
Celebrating its tenth anniversary this month, Belladonna will releasea new CD featuring virtuoso Chinese pipa player Gao Hong. During theiranniversary year, they will perform at Pro Musica Antiqua Tage AlterMusik, Regensburg, Germany; in Zug, Switzerland; in Bordeaux, France,where they will be artists-in-residence at Restoration Travel’s early musicworkshop; and in Rio de Janeiro, Brazil, for the “Musica nas Igrejas” con-cert series.
While continuing its fruitful collaboration as artists in residence withthe Schubert Club in Minneapolis, Belladonna is planning future record-ing projects and a tour of China. For more information, visit <www.bel-ladonna-baroque.com>.
“Thou Tunest the World”I knew what to expect, but still wasn’tready for the emotional impact made Oc-tober 29 by Dutch Recorder OrchestraPraetorius of Leiden, The Netherlands, attheir New York City (NY) debut perform-ance. With De Vier Elementen [the Four El-ements], conductor Norbert Kunst pro-grammed music linked to earth, air, fireand water — Empedocles’ idea of the fourelements from which all things are madeand remade. Poetry was read by KatieQuarfordt that linked the music with spo-ken images of the “elements.” The orches-tra used a black backdrop with four can-vases to provide visual analogies to themusic presented.
The group of about 24 played on whatappeared to be mostly a matched set ofhigh choir Baroque instruments, a varietyof F bass and C bass recorders, plus thePaetzold contra and subcontra bass. Into-nation was wonderful. To say that sopranoand sopranino recorders always playedcompletely “tuned” is to understate boththe affect and effects of excellent intona-tion across the sonic spectrum. Kunst hadmany of the group playing on instrumentsin the 8’ register, which gave a really solidfoundation and feel.
The program opened with contempo-rary recorderist/composer MatthiasMaute’s Trappen in de Lucht, in memoriam
Piet Kunst. Piet Kunst, Norbert’s father,founded Praetorius in 1963, and this workconveyed a deep sense of his loss. The firstmovement was introduced by the 8’ sub-contra bass followed by other “low choir”instruments; subsequent movements em-ployed recorders using breathy and per-cussive unpitched sounds as well as vocal-izations to underlay the melodic currents.The piece ended with almost aliatorysounds, bringing the work to a very lyricaland moving conclusion.
Following a short interlude of poetry,the ensemble presented Handel’s Suite inD from the Water Music. The sense of col-oration usually provided by a number of“loud” instruments was imbued here byjuxtaposing C basses, contra and subcon-tra bass against high choir (garklein totenor), and by use of contrasting articula-tions. Following another short interlude ofpoetry, Praetorius closed out the first halfof the program with Willem Wander vanNieuwkerk’s The Water-Call, a suite forrecorder orchestra and harp. Three sopra-no recorders played stunningly in tuneover the harp, with layers of sound fromlower and higher register instrumentsphased in as the music accelerated, to il-lustrate the movement of the ocean.
The second half of the program openedwith Suzko Errobera—Basque words for“fireworks”—by Wilfred Reneman, scored
for 12-18 parts plus bass guitar and djem-be, an African percussion instrument. Fol-lowing a rather formally-structured open-ing movement, the piece became freer withmore jazz-like elements and some musical“fireworks” by soprano recorder and gui-tar. Music for the Royal Fireworks by Handelfollowed; again the high choir-low choirgroupings, coupled with very precise andfocused articulations, provided ample col-or and sonic interest.
Paul Leenhouts, well-known as arecorder virtuoso, wrote Juego de Galilei in1999 to celebrate the 35th anniversary ofPraetorius. This final selection was the“Earth” of the four elements, but musical-ly structured to comment on the interac-tions among the Earth and other heavenlybodies. The program notes detailed howthe four groups of instruments “describetheir own orbits” and lead the tonality ofthe earth along a prescribed path. Bass gui-tar, ‘ninos and a garklein, plus percussivesounds of the recorders, heightened dra-matic interest.
The interspersing of poems betweenpieces, the visual elements, the program-ming of music around a central theme,and, most of all, the precision and passionof the players made the Dutch RecorderOrchestra Praetorius performance truly ajoy for the heart, as well as for the ear!
Nancy Tooney
The theme of the Second Annual Mag-dalena Early Music Workshop is “Mu-sic of Old and New Spain.” The workshopis set for January 17-20 in Magdalena,NM, less than two hours southwest of Al-buquerque. Faculty include John Truitt,recorder and plucked strings; and AllisonEdwards Sahyoun, recorder. Special ses-sions will focus on the Cantigas de SantaMaria, Medieval modes, and early Spanishinfluences on New Mexican music. Con-tact Ms. Sahyoun for accommodationsand registration information at 505-854-2417, <[email protected]>.
The IV Encontro de Música Antiga deLoulé (fourth meeting of ancient music inLoulé, Portugal) last October included aconcert by Ensemble de Flautas deLoulé. The group played trios by Isaac,Tinctoris and Caron; quartets by Cabezon,G. P. Cima, Scheidt and Telemann; andquintets of Dowland and Scheidt.
Coached by Francisco Rosado, En-semble de Flautas de Loulé comprisesstudents from the Escola de Música doMunicípio and has given about 70 con-certs since 1994. Two CDs feature the en-semble playing music from the MiddleAges to the 20th century.
The annual early music meeting inLoulé takes place every fall, and includesconcerts and workshops.
Computer component corporation In-tel briefly shows a young girl playingrecorder in the creativity segment of a re-cently-aired 30-second commercial spotentitled “A day in the digital life.” An on-line version of the commercial may beviewed in the television section of the “Ads& Events Center” at <www.intel.com>.
The November concert of the Caroli-na Baroque was a salute to composer G. F. Handel, whom group director andrecorderist Dale Higbee proclaimed un-equivocally as his favorite composer. “Hispassion for Handel’s music is evident bothin his speaking about the composer andhis programming works that represent thecomposer at his finest,” wrote Sarah FullerHall in a review in the Salisbury Post (NC).
In the historical tradition of performingselected parts of larger works separately inconcert, Carolina Baroque offered shortinstrumental selections that had accompa-nied ballet in the operas Il Pastor Fido, Ari-odante, and Radamisto. “These piecesranged from flowing, to stately, to subduedelegance,”according to Hall. The danceswere framed by performances of arias and
continued on page 33
January 2003 9
Bits & Pieces
The Boston Early Music Festival hasannounced that part of its summer offerings will include a performanceby recorderist Matthias Maute withREBEL. The program, "Telemann allaPolacca," is set for 12:30 p.m. on Sunday, June 15, at Jordan Hall on theNew England Conservatory campus inBoston, MA. For more information ortickets, call 617-661-1812 or visit<www.bemf.org>.
THE AGE OF CONSORTS...?An iconographic conundrum
10 American Recorder
THE 16TH CENTURY, and (particularly inEngland) the earlier part of the 17th
century, is regarded by several historiansof musical instruments, and by manyrecorder players, as the age of consorts.And consort playing, despite the cominginto existence of the so-called “broken” or“English consort,” is generally thought ofas playing music in a number of parts, usu-ally polyphonic in style, in an ensembleconsisting of different sizes of the same in-strument, especially viols or recorders.But, oddly, in representations in works ofart of music-making in the 16th century,many of which are referred to as “concertscenes,” depictions of homogeneous con-sorts are far less numerous than those ofmusic-making with mixed instrumentsand/or with voices (see illustrations 1Aand B). Why is this so? Was the homoge-neous consort less important in 16th-cen-tury music-making than is generally be-lieved? Or is the iconographic evidence onits own misleading?
From their early history, musical in-struments of the same kind have beenmade in a variety of sizes. This was the casewith the Greek kithara and the Medievalfiddle–in A Survey of Musical Instruments(p.470), Sybil Marcuse refers to 10th-cen-tury fiddles almost as tall as their standingplayers. Changes and confusions innomenclature make things even more dif-ficult for organologists to determine whichis the dominating member of each family(for example, “viola” at one point referredto all related instruments including the violin). There is no standard-size flageolet(“tin whistle”) as instruments of differentsizes are made to suit the key required bythe player. Recorder players usually regardthe alto in F as the prime member of thefamily, but nowadays, as in Praetorius’sSyntagma musicum illustrations from1618/19, recorders exist in a variety ofsizes, pitches and designs to suit music ofdifferent periods.
Reference to the illustrations in twoearlier articles I wrote for AmericanRecorder (AR, November 1997 and No-vember 1999) will show that the earliestreasonably-certain representations of therecorder, in Catalan altarpieces, are rough-ly of today’s soprano size, suited to thecantus part, which is also the one most
likely to be ornamented (AR 1997, Figures1-4, and see also AR 1999, Fig. 4, whichshould be dated “?c.1389”). The two earli-est extant recorders that could also be pre-1400 (Dordrecht and Göttingen—AR1999, 1-2) are also of this size. But after1410 both alto (AR 1997, 4-7) and tenor(AR 1997, 8A) instruments appear inCatalan altarpieces. In England, tenorduct-flutes, which may be recorders, areshown in carvings in Chichester (1330;see AR 1999, 9) and Boston (c.1390—correcting a caption misprint, AR 1999,8), and there is an unambiguous tenorrecorder in King’s Lynn (1415, AR 1999,7). Tenor recorders and other sizes can befound in French art from about 1410 on-ward. The potentiality was therefore inplace of playing 15th-century music,which was generally in three parts symbol-ising the Trinity, on a trio of recorders.
There is little iconographic evidence tosuggest that consorts of like instrumentswere greatly in favor during the 15th cen-tury. But neither are there many pictorialrepresentations of consorts of like instru-ments even in the 16th century, when oth-er kinds of evidence are overwhelming thatsuch consorts were then very fashionable.The best-known early representation ofwhat could well be a recorder trio is fromJaume Huguet’s Vallmoll altarpiece shownin Fig.10 in AR 1997, but that detail doesnot show the corresponding trio of singersappearing on the opposite side. In all theillustrations in my two articles that mightpossibly have been derived from actualperformance practice, recorders are neveron their own. They appear with singers,and with plucked and bowed strings. Thistype of instrumental group, the forerunnerof the “English consort,” is shown particu-larly convincingly in AR 1997, Fig. 9, andin many other 15th- and 16th-centurypaintings—see for example Plates 4, 5, 6B,10A, 11A and B, 13 and 17 in The Cam-bridge Companion to the Recorder (ed.Thomson, Cambridge, 1995). In thatbook the only 16th-century examplesshowing consorts are at Plates 8 (JacquesModerne, c.1530, here shown as illustra-tion 3), 12 (Herlinger, c.1520) and 14 (Ro-manino, 1531—illustration 2), and alsopossibly Plate 7.
Was the homogeneousconsort less important
in 16th-century music-making than is
generally believed?
by Anthony Rowland-Jones
The author, a retired university administrator, is active as a writer and
researcher in the field of recorder performance and history. In addition
to numerous articles in American Recorder and other
journals, his work includes Playing Recorder Sonatas:
Interpretation and Technique(Clarendon Press, 1992).
An third edition of his earlier Recorder Technique will
appear later this year.
January 2003 11
...recorders are never on their own.They appear with singers, and withplucked and bowed strings.
1B
1A
Illustration 1A. King René copying the psalms Breviary ofKing René II of Anjou (c.1442-53), Bibliothèque de l’Arsenal,Paris, MS 601, fol. 2v. “A clever juxtaposition of symbol andreality” (Bowles) in the choice of musical instruments. Theartist extols the King’s piety and wisdom by associating himwith King David, who dictates the psalms and who carrieshis attribute, the harp. A long trumpet (buisine) proclaimshis majesty. It is played by one of three court musicians whoare dressed as Israelites to suit the occasion. The other twoplay fiddle and drum, standard instruments for accompany-ing dancing; this symbolizes good order in government andalso the King’s accomplishment in courtly dance. Threeladies of the court play soft music. Their domestic music-making represents both harmony and the King’s patronageof, accomplishment in, and love of music. There is no visuallink in this picture between the professional dance-musiciansand the amateur courtly music-making.
Illustration 1B. Detail from 1A atleft, showing the three ladies playing soft (“bas”) music, alwaysdistinguished at this time from theprofessionally-played “haut” or “alta” instruments. Recorders (herea tenor recorder) and flutes werethen the only wind instruments inthe soft music group. The otherinstruments here are portative organ, being the symbol of St. Cecilia, and the dulcimer,struck with a pair of beaters withwedge-shaped ends (the psalterylooks the same but is plucked with aplectrum or bare fingers). This isamateur, domestic music-making inwhich King René and any memberof his court or family of either sexcould participate. Women werenot employed as professional musicians–and then as singersonly–until the late 16th century.
Illustration 3. The title-page of abook of basse dances, probably published by Jacques Moderne inLyons in the 1530s. The instrumentshere are alto, two tenors and a direct-blown basset bass. It is surprising to see a recorder quartetassociated with dancing; dancersusually needed louder music, but thebasse dance is not vigorous and thepublisher obviously thought that softmusic would suit it. This is an all-male quartet and their fairly plaindress suggests that they are in pro-fessional service. Playing for courtlydancing was essentially a profession-al, not an amateur, activity.
12 American Recorder
2
Illustration 2. Girolamo Romanino (c.1485-c.1566) Recorder quartet in a lunette in the loggia frescos at the Castello deBuonconsiglio, Trento, northern Italy, painted in 1531. Although the next illustration, with bass recorder, belongs to thesame decade, this quartet appears to have no bass, consisting, it seems, of a soprano, two altos and a tenor recorder. Six-teenth-century classical humanism questioned the propriety of ladies playing flutes or (worse) recorders because of theirphallic shape and their disrepute in Antiquity. Nearby, Romanino has painted a courtesan holding a recorder to contrastwith a representation of Chastity. The two women in the fresco shown here do not seem to be models of virtue.
It is significant that the title-page ofGanassi’s recorder instruction book,Fontegara (Venice, 1535), shows not an ex-clusive recorder consort but threerecorder-players with a singer, and withother instruments available around, espe-cially bowed and plucked strings (see il-lustration 4). After a few pages of some ofthe best advice ever offered to recorderplayers, Ganassi’s book goes to consider-able lengths to explain the methodology ofthe florid ornamentation used in 16th-century Venice. It was probably intendedfor amateurs aspiring to emulate profes-sional virtuosi, and there must have beenenough of them in and around Venicewanting to purchase his book for it to havebeen a worthwhile proposition. ButGanassi tells them virtually nothing aboutthe art of consort playing.
There are, however, just enough 15th-century pictures including three recordersto confirm, along with other evidence, theexistence of recorder consorts playingthree-part polyphonic music such as Bur-gundian chansons on recorders, either al-ternating with voices or on their own. Her-bert W. Myers, writing on “Flutes” in EarlyMusic America’s A Performance Guide toMedieval Music (ed. Ross W. Duffin, Indi-ana University Press, 2000) discussesrecorder performances in Burgundy in1454 and 1468, both already as poly-phonic quartets, and illustrates a recordertrio from c.1485 (pp. 380-81). In Italy by
1500, however, the viol consort had comeinto being; unlike the slightly later violinconsort, and most wind instrument en-sembles, the viol consort was regarded assuitable for amateur domestic use.
As polyphonic music developed intofour or more parts, bass recorders wereadded to the trio consort. Virdung’s Musi-ca getutscht illustrates a bass recorder in1511, and there is circumstantial evidencethat bass recorders may have existed evenbefore 1500 (see AR 1997, p.13). This initself suggests that the recorder trio waswell-established during the latter part ofthe 15th century, as the soft-speaking bas-set bass recorder would not have been aparticularly valuable addition to a mixedensemble. But it enabled a recorder con-sort to operate without the high-pitchedsoprano instrument (see illustration 3).Larger bass recorders were made duringthe 16th century to build up the low-pitched great consort, satisfying the tasteof the period for deeper sounds, which lat-er were so pleasing to Praetorius. A sub-contra bass in C might possibly have exist-ed as early as 1520 if it is really the casethat Henry VIII presented such an instru-ment to Francis I at the Field of the Clothof Gold—perhaps it is the one now in theBrussels Conservatoire collection.
It seems that the enlarged recorder con-sort was the domain of professional musi-cians. This might partly account for thepaucity of iconographic representations of
recorder consorts in the 16th century, asartists would tend to paint scenes of court-ly or upper-class music-making where, asin the 15th century, recorders are usuallyshown with other instruments and/orvoices.
The activities of professional players—both those employed in courtly consortsby kings and great lords and as town waitswho played recorders as well as shawms—are well-documented. This is especiallythe case for the English court in the booksby Peter Holman already mentioned, andby David Lasocki, notably in his The Bas-sanos (Aldershot, 1995). Lasocki describesthe repertoire of the recorder consort at itsdaily attendance upon the monarch (seepp. 151-8 and 194-206). It consistedmainly of dance music—but as an art formand not music for actual dancing, whichwas played by the violins, of arrangements
of Italian and other vocal music, and fan-tasias. In their complexity the Bassanos’fantasias so closely resemble viol consortmusic that it is reasonable to suppose thatsome compositions intended for viols alsoformed part of the recorder’s repertoire.There is a lack of evidence that the Bas-sanos took part in mixed-instrument per-formances, although they both made andplayed a variety of instruments.
It seems that mixed-instrument play-ing, with or without voices, was more inthe amateur domain, as the iconographictestimony suggests. Music-making shownas vignettes in the background of paintingsby the Venetian artist Bonifazio de’PitatiVeronese (1487-1553) and his followersshows upper-class people singing, andplaying various instruments, includingrecorders, but never in a consort of like in-struments. In 20 such pictures, these en-
sembles total 42 men and 41 women (20of whom are singers). Illustration 5 showsa detail from one of these pictures.
If I am right in concluding that recorderconsort playing in the 16th century wasprimarily a professional activity, and thatamateurs tended to play in mixed ensem-bles, it is ironic that today that situationhas been reversed. The UK Early MusicNetwork Directory, containing 220 en-tries, includes 66 professional groups withrecorders of which only three (a duet, a trioand a quartet) play recorders only. In Eu-rope generally, the Amsterdam Loeki Star-dust Quartet and the Flanders RecorderQuartet are two of very few professionalrecorder consorts. Yet relatively few ama-teur recorder players today enjoy the expe-rience of playing regularly with singers andwith other instruments. Dare I suggest areversion to authenticity?
January 2003 13
5
Illustration 4. Wood-cut on the title-page ofSylvestro di Ganassi’s recorder manualFontegara (Venice, 1535). See commentary inarticle. The singer keeps time with his lefthand and fingers. Close by are viols and alute, and alto and tenor cornetts. Venetiancornettists were renowned for their skill in playing both loudly and softly, so the cornetts were admitted to the soft musicgroup of instruments, contributing to thebreaking down of the long-standing differenti-ation between the bas and the alta ensembles.
Illustration 5. Bonifazio de’PitatiVeronese (1487-1553) The
Gardens of a Villa in the Veneto,detail from a long panel-painting(location not known). Well-to-do
Venetians escaped the oppressiveheat of summers in their city by
residing in palaces in the mainlandVeneto. Here are some of them
making, and listening to, music. Awoman sings and keeps time, and
another woman strums or plucks asmall lute (mandora). A man plays
a bass viol and another man a cornett, the lower part of which is
hidden by the table so that it couldbe either an alto or a tenor
(lysarden); he must have acquiredthe skill to play softly. They all play
and sing from part-books of ashape associated with madrigals.
For a detailed account of the Bonifazio ensembles, see my article
on pages 4-13 of the August 2002issue of Early Music Performer(the journal of the UK National
Early Music Association).
4
14 American Recorder
Music at the English Court (1509-1642): A Recorder Concert
LLife in the English castles and palaces during the 16th and early 17th cen-
turies was full of drama, color, and music.During this time Henry VIII had six wives(consecutively) and contended with thePope; Edward VI and Mary I struggledwith the Reformation and the Inquisition;Elizabeth I conspired with her political ad-visors and toyed with her courtiers; andJames I and Charles I grappled with Puri-tanism and the Catholic Church. Suchdrama was part of the real world of thesekings and queens, and make-believe dra-ma filled their entertainments—fromHenry’s mummeries to Charles’ elaboratemasques. Kings, queens, and courtierswore colorful dress, and the walls of thepalaces were adorned with colorful tapes-tries. The finest organists, male singers,and boy choristers performed music forthe Chapel Royal, and music for dining,dancing and entertainments was providedby minstrels and four types of consorts (viols and violins, shawms and sackbuts,flutes and cornets, and recorders).
”Music at the English Court” was thetopic at a recent meeting of the DenverChapter that I conducted. Some membersthought that it would make an interestingand informative concert and suggestedthat I write an article on the subject. I haveoutlined here a sample program featuringmusic that may have actually been per-formed for (or even by) members of theroyal families. Using a consort of recorderswith optional voices and other early in-struments, the program can be adapted tovarious types of audiences—from schoolchildren (who are fascinated with storiesof kings and queens) to more sophisticat-ed adult groups. It is particularly recom-mended for Play-the-Recorder Month con-certs because it shows the recorder in itshistorical context. The suggested musiccould be performed also for madrigal din-ners, masques, Renaissance fairs, Shake-speare festivals, and other period events.Most of the selections are easy enough forintermediate consorts (including manyyoung people’s ensembles) to perform in ajoyful way, and more advanced groupsshould require just a few rehearsals for apolished presentation.
This article provides brief historical in-formation for each king and queen and forthe music to be performed in his/her hon-
or. These remarks can be read aloud at theconcert or included in the printed pro-gram (but please credit AmericanRecorder!). Texts for some of the songs areincluded; they may be shared with the au-dience if not sung. Sources for the recom-mended pieces are listed at the end of thearticle. Editions that are not available topurchase, or too expensive, can often beborrowed from music libraries, directly orthrough interlibrary loan from your localpublic library. A display of books contain-ing portraits of the kings and queens, alsoavailable through libraries, would add an-other dimension to this program. (I brought my historic dolls, made in Eng-land by Peggy Nisbet in the 1950s and‘60s, to the ARS meeting and use them forsimilar performances—see photos).
Henry VIII (b. 1491, r. 1509-1547) At the court of his father, Henry VII,
young Henry was taught music and hadhis own band of minstrels, which probablyincluded some recorder players. He en-joyed singing and playing recorders as wellas the organ, lute, virginals, and harp. Healso composed short pieces, such as the fa-vorite “Pastime with good company,”which celebrates good times with friendshunting, singing, and dancing.
Perform: “Pastime with goodcompany,” by Henry VIII (S/A8 A/T B with opt. voices)
“Pastime” and 32 other compositionsattributed to Henry VIII, as well as manyby other composers, have survived in amanuscript containing music for his courtin the early years of his reign. Many of thepieces in this collection are textless, whichcould imply that they were performed in-strumentally, probably by recorders be-cause viols were not introduced to theEnglish Court until later in Henry’s reign.
Perform: “Instrumental Piece” by Henry VIII (S A T)
One of the other composers represent-ed in this collection of music from HenryVIII’s Court is William Cornish (c.1468-1523), who had been a “Gentleman of theChapel” at the Court of Henry’s father,Henry VII. The younger King Henry put
by Constance M. Primus
Cornish in charge of music for his cere-monies, processions, and banquets. “Trol-ly Lolly” was probably composed for theMaying Festivities of 1515. Special guestswere some Venetian dignitaries who re-ported on the event: King Henry woregreen velvet from cap to shoes (green wasthe traditional color for May Day) and rodea “prancing bay.” Queen Catherine was at-tended by 25 maids in gold-trimmedgowns who rode on pure white palfreys.There was a float drawn by make-believegriffins (mythological beasts with the bod-ies of lions and the heads and wings of ea-gles) and filled with musicians. Two hun-dred archers of the royal guard, who weredressed in green, shot their arrows all atonce with a noise “strange and great.”Everyone processed to the greenwood (abanquet chamber of boughs covered withflowers and herbs) accompanied by musicof flutes, organ and lute and singing:
Trolly lolly lolly lo, sing trolly lolly lo:My love is to the greenwood gone; Now after will I go:Sing trolly lolly lolly trolly, Lolly lolly trolly lolly lolly lolly lo!
Perform: “Trolly Lolly,” by WilliamCornish, (S A T with opt. voices)
Catherine of Aragon (b. 1485; m. 1509; div. 1533; d. 1536)
Catherine, a Spanish princess, was firstmarried to Henry’s brother, Arthur, whowas heir to the throne until his untimelydeath in 1502, five months after theirwedding. Henry married Catherine in timefor both of them to be crowned as king andqueen on Midsummer Day, 1509. On NewYear’s Day, 1511, she presented the king-dom with a baby boy who unfortunatelylived only six weeks. The birth, however,was celebrated with a tournament at West-minster at which the king entered the tilt-yard in a pageant car pulled by a pan-tomime lion and antelope. At the end ofthe tournament Catherine presented Hen-
ry with the challenger’s prize of 200crowns. This song was written to be sungon behalf of Queen Catherine for the “val-orous efforts of her lord in a tournament.”
My sovereign lord for my poor sakeSix courses at the ring did make,Of which four times he did it take;Wherefore my heart I him bequest,And of all other for to love bestMy sovereign lord.
Perform: “Whiles life or breath” by William Cornish (S/A8 T B with opt. voices)
Anne Boleyn (b. c.1502; m. 1533;executed 1536)
The first years of Henry’s reign and hismarriage to Catherine of Aragon were hap-py, as shown by the previous pieces.Catherine bore two sons who died as ba-bies and one living daughter, Mary, butHenry needed a male heir, so he attemptedto get an annulment from the Pope. Whenthat was impossible he broke away frompapal allegiance and declared himselfSupreme Head of the Church of England.
Meanwhile, Henry had become infatu-ated with Anne Boleyn and married her se-cretly early in 1533. Soon afterwards his
marriage to Catherine wasdeclared null and void, andAnne was crowned queenon June 1, 1533, after aprocession down theThames with 50 barges,each with its own“melodye.” The new queenwas skilled in dancing andmusic—she played andsang to the lute and alsoplayed the virginals and theharp “better than David.”Her daughter Elizabethwas born on September 7,
1533, but she miscarried a son in January1536. Five months later she was executedand the marriage was dissolved.
“O Death,” attributed to Anne Boleyn,may have been composed in the Tower ofLondon while she faced execution. Writ-ten for voice with keyboard or lute, it isbased on a mournful four-note ostinato,and the descending minor third set to thewords “I dye” evokes the tolling of bells.
O death, rock me asleepe, bring me toquiet rest,
Let passe my wearye giltles ghost out ofmy carefull brest.
Tole on thou passeing bell, Ringe out my dolefull knell,Lett thye sound my deathe tell,
For I must dyeThere is no remedye, For now I dye.
Perform: “O Death, Rock Me Asleep,”attributed to Anne Boleyn (sopranovoice or recorder with harpsichord and opt. bass instrument)
Edward VI (b. 1537; r. 1547-1553) Henry
VIII mar-ried JaneSeymoreonly 11days afterAnne’s ex-ecution,and Janegave birthto a son,Edward,on Octo-ber 12,1537. As achild Ed-ward wasinstructedin music, as were all of Henry’s children.His instrument was the lute. After Henry’sdeath in 1547, 10-year-old Edward wascrowned king to the sound of trumpets,flutes, viols, harps, bagpipes, and singers.Unfortunately he died of consumption on-ly six years later.
During Edward’s reign Protestantismbegan to take hold in England. The mostimportant English composer of churchmusic during the Reformation years of re-ligious turmoil was Thomas Tallis (c.1505-1585). He was a “Gentleman of the ChapelRoyal” from 1543-1585, serving four Tu-dor monarchs: Henry VIII, Edward VI,Mary I, and Elizabeth I. Tallis composedsacred music in both Latin and English,whichever was appropriate to the monarchin power. A few secular songs by Tallis havesurvived, such as “O ye tender babes,”which probably dates from Edward’s reignand admonishes his young subjects to“…do your duty to God and your King.”
Perform: “O ye tender babes,” by Thomas Tallis (4 voices or instruments)
Mary I (b. 1516; r. 1553-1558)In 1553 after the death of Edward, his
half-sister Mary, daughter of Henry VIIIand Catherine of Aragon, became Eng-land’s first ruling queen. In her childhoodshe studied keyboard with the Venetian or-
((lleefftt ttoo rriigghhtt)) AAnnnnee BBoolleeyynn,, HHeennrryy VVIIIIII,, CCaatthheerriinnee ooff AArraaggoonn
January 2003 15
16 American Recorder
ganist Diony-sius Memoand at agefour per-formed onthe virginalsfor someFrench visi-tors. She alsoplayed thelute and inher later yearstaught
women in her household to play music. Queen Mary was a devout Catholic, as
was her mother Catherine. Trying to re-store “the true religion” to England, Marybecame known as “Bloody Mary” becauseso many Protestants were burned at stakeor otherwise executed during her reign.Her efforts backfired, however, and Eng-land quickly returned to Protestantism af-ter her death. This setting by Thomas Tallisof “Veni Redemptor,” originally for organ,was probably intended for Queen Mary’schapel.
Perform: “Veni Redemptor,” by Thomas Tallis (S A T B)
In 1554 Mary married King Philip II ofSpain at Winchester Cathedral. Hebrought to the English Court his favoritemusician, Antonio Cabezón (1510-1566),who was blind from childhood. He is con-sidered one of the leading keyboard per-formers and composers of his generation.Cabezón was particularly famous for histientos, which are keyboard compositionssimilar to ricercare and toccatas.
Perform: “Tiento” byAntonio de Cabezon (S A T B)
Philip returned to Spain after a two-year honeymoon because Parliament re-fused to name him “King of England.”Mary, whose hopeful pregnancy turnedout to be dropsy, died without an heir, sothe throne was inherited by her half-sister,Henry VIII’s younger daughter by AnneBoleyn, Elizabeth.
Elizabeth I (b. 1533; r. 1558-1603)Young Elizabeth was taught to play the
virginals, but she preferred to play alone,rather than for others, in order to “shunmelancholy.” Music was important at hercourt, however, and she employed at least60 musicians. Some of them performed inher professional recorder consort, whichconsisted mostly of members of the Bas-
sano family whom her father Henry hadbrought from Venice in 1539. AugustineBassano (d.1604) was a member of thesecond generation of this family. He wasappointed to serve as a court musician in1551 and was expected to attend thequeen every day. His compositions wereprobably part of the Court Recorder Con-sort’s repertoire.
Perform: Pavans & Galliards in 5 Parts, by Augustine Bassano (S A A/T T B)
Queen Elizabeth loved to dance. Evenin her later years she danced six or sevengalliards each morning to keep fit. A con-temporary painting shows her dancing thevolta with her favorite suitor, Robert Dud-ley (Earl of Leicester). The volta was con-sidered a risqué dance because the manlifted his partner so high that her anklesshowed! The composer of this volta,William Byrd (1543-1623), became a“Gentleman of Chapel Royal” in 1572 andis considered the most important Eliza-bethan composer.
Perform: “La Volta,” by William Byrd(harpsichord solo with opt. sopranorecorder on melody)
Thomas Morley (c.1558-1602) was astudent of Byrd, and in 1592 he was ap-pointed by the queen as a “Gentleman of
the Chapel Royal.” In 1601 he published acollection of madrigals by various com-posers entitled The Triumphes of Oriana(“Oriana” referred to Queen Elizabeth).The text of his song “Hard by a crystalfountain,” which was included in thismadrigal collection, refers to “Oriana thebright” and ends with “Long live fair Ori-ana.” It may have been written for an en-
tertainment to honor the queen.
Perform: “Hard by a crystal fountain” by Thomas Morley (S S A T T B with opt. sopr. voice)
James I (b. 1566; r. 1603-1625)and Anne of Denmark (d. 1619)
Elizabeth died without an heir, soshe was succeeded by James VI ofScotland who became also James I ofEngland. Descended from Henry VIII’s sister, he was the son of MaryQueen of Scots (r. 1542-1567) whowas executed for treason by Elizabethin 1587. James married Anne, sisterof Denmark’s King Christian IV, who
was the patron of John Dowland (1563-1626), an acclaimed English lutenist andcomposer. Dowland had been unable tosecure a post at Elizabeth’s Court, and
thus moved to Denmark to serve at theCourt of Christian IV. When Anne becamequeen of England, Dowland dedicated hisconsort collection Lachrimae or SeavenTeares to her. Later, in 1612, he was ap-pointed by James I as one of the “King’sLutes.”
Perform: Pavan “Lachrimae antiquaenovae,” by John Dowland (S A T T B)
Queen Elizabeth loved todance. Even in her lateryears she danced six orseven galliards eachmorning to keep fit.
Queen Anne loved masques. Thesestage productions for the entertainment ofnobility were based on mythological andallegorical subjects, combining poetry, vo-cal and instrumental music, dancing, andacting, with lavish costumes and stage set-tings. An important collection of masquemusic was published in 1621 by John Ad-son (d. c.1640), a member of the city waits(civic musicians who chanted or played atthe hours and performed at celebrations).He dedicated this publication to the Dukeof Buckingham, James I’s favorite, whoparticipated in many masque produc-tions. Later, in 1633, Adson, who playedcornett and recorder, was appointed as awind musician to the Court of Charles I.
Perform: “Masquing Ayre” by John Adson (S S A T B)
Charles I (b. 1600; r. 1625-1649) andHenrietta Maria (d. 1669)
King Charles was a cultured and gener-ous patron of the arts, but as sovereign hewas dictatorial and imprudent. His queen,Henrietta Maria, daughter of the king of
France, was both elegant and lively. Shewas a Catholic, however, and Charles wasa Protestant who favored the Church ofEngland rather than the fanatical Puritans,so Civil War erupted in 1642. The royalistswere defeated in 1649; Charles was arrest-ed, tried, and executed outside of the Ban-queting House at Whitehall where manymasques had been performed.
Jerome Bassano (1559-1635), a cousinof Elizabeth’s court musician Augustine(above), was appointed to Elizabeth’s Roy-al Recorder Consort in 1579 and served in-to the reign of Charles I, retiring in 1630 atage 71. The source of his fantasias is fromthe 1630s, but they may have been com-posed much earlier, remaining in the con-sort’s repertoire well into the 1600s.
Perform: “Fantasia a 5 No. 4” by Jerome Bassano (S S A T B)
Nicholas Lanier (1588-1666), ThomasHolmes (1606-1638), Robert Johnson(c.1583-1633), and Thomas Ford(c.1580-1648) all served as musicians atthe Court of Charles I.
Lanier was a lutenist in the reign ofJames I and appointed “Master of theKing’s Musick” when Charles becameking. Holmes, “Gentleman of the ChapelRoyal,” was an organist and bass singerwho also performed in masques. Johnsonwas a lutenist for James I and Charles I.Ford, a viol player, first served Prince Hen-ry (Charles’s older brother who died be-fore becoming king), then Charles untilthe start of the Civil War when the courtmusicians were no longer needed.
The following pieces by these com-posers were probably conceived in four orfive parts, then arranged about 1640 in thenew trio-sonata form with no instrumentsspecified. [They can easily be rearrangedfor recorder trio if harpsichord or continuoinstrument is unavailable.]
Perform: Selections from Musicat the Royal Court of London ca.1620 (S S bc or T T bc)
Richard Dering (c.1580-1630) wasorganist to Queen Henrietta Maria andalso “musician for the lutes and voices”for King Charles. He composed Angli-can and Catholic church music, madri-gals in English and Italian styles, andfantasias and dance music for viols.
Perform: Pavan by Richard Dering (S S/A A/T T B)
See page 32 for Resource List
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January 2003 17
18 American Recorder
BIRTH OF A SONG
After the ARS Board decided that March 8, would be designated as Play-
the-Recorder Day, I was asked to write mu-sic to be played on that occasion, My songwas to be suitable for players of variousability levels, so that people all over theworld would be able to play it together thatday. I set out to create the words and mu-sic.
At first the task seemed quite daunting.How could I possibly write a piece thatwould be playable by beginners and at thesame time musically-interesting enoughfor advanced players? My affiliation withthe Association of Recorder Composersand Arrangers (ARCA), founded two yearsago by Stan McDaniel, helped me plan apractical course of action. Perusal of recentarticles by ARCA members in AmericanRecorder and a review of discussions I hadsaved from the ARCA-L mailing list en-abled me to approach the problem in amore focused, less frenzied, manner.
My primary goal was to compose a songwith a catchy tune, pleasing harmonies,and simple, easily-memorizable lyrics thatwould motivate recorder players to join theARS. I decided to write a quartet for SATBrecorders. It would be cast in three sec-tions. The opening and closing sectionswould invite players to join the ARS. Themiddle section would tell what the organi-zation is and mention some of the things itdoes for its members.
I created the tune first, a somewhatjazzy melody with “swinging eighth
Composers/Arrangers Special
Save this Date: March 8, 2003, is Play-the-Recorder DayNot only is March Play-the-Recorder Month, but March 8 has been designated “Play-the-Recorder Day.” In order to mark the oc-casion, ARS Vice President Carolyn Peskin has composed a new piece titled “We’re ARS.” Chapter leaders received a copy of “We’reARS” in their November Leader Link and it has been included in this month’s issue of American Recorder.
All ARS members are invited to play the new composition on March 8 to get Play-the-Recorder Month off to an exciting start.Chapters, consorts, and any other members are encouraged, but not required, to play “We’re ARS” at 3 p.m. EST (or 8 p.m. GMTfor our international friends). It will be fun to know that fellow recorder players around the world are playing the same piece at thesame time.
The most creative use of “We’re ARS” anytime on March 8 will win a special prize from the ARS. In addition, prizes will be of-fered to chapters for the most imaginative PtRM activities and for the largest percentage membership increase during March. Pleasesend the details (including photos) of your chapter, consort or individual activities to the ARS office to help us tell other membershow you celebrated Play-the-Recorder Month and Day! The winners will be announced in the September issue of American Recorder.
Alan Karass
by Carolyn Peskin
notes.” The words came next, and finallythe harmonization, which consists mostlyof triads and seventh chords. ARS Boardmembers sightread it at our SeptemberBoard meeting. Everyone agreed that itwas technically easy enough for intermedi-ate players and interesting enough for ad-vanced players, but we also wanted to in-clude beginners, and we felt the “swingingeighth-note” rhythms might be too diffi-cult for them. Since most beginners playonly soprano, I decided to write an option-al additional soprano part in longer notevalues. This added part includes only thenotes C, D, E, F, F#, G, A, B, C’, and D’,fingerings for which are taught in begin-ning method books.
Please invite your musical friends—whether or not they play recorder, and re-gardless of ability level—to pick a line andplay along , sing or hum the melody, or pro-vide a percussion accompaniment by clap-ping quarter note beats. Every ARS mem-ber should be able to participate in a per-formance of We’re ARS. Enjoy!
Carolyn Peskin is currently vice president ofthe American Recorder Society. She has beena member of the ARS and its Greater Cleve-land (OH) Chapter since 1977 and has beenediting the chapter’s newsletter for the past22 years. A former high-school scienceteacher, Mrs. peskin took early retirement inorder to obtain a master’s degree in musichistory and theory, which enabled her tocompose and arrange a good deal of musicfor recorder ensembles. Two of her originalcompositions have been published by theARS as Members’ Library editions, and an-other appeared in the May 2001 issue ofAmerican Recorder. She is also Q&A editorof American Recorder and has written arti-cles and music reviews for the magazine.
Copyright © 2003 Carolyn Peskin. All rights reserved. A MIDI playback of this piece is available at <www.recorderonline.org>.
ARS members may make photocopies of this music for their own use.
Copyright © 2003 Carolyn Peskin. All rights reserved. A MIDI playback of this piece is available at <www.recorderonline.org>.
ARS members may make photocopies of this music for their own use.
THE MIDDLE EASTERN INFLUENCEON LATE MEDIEVAL ITALIANDANCES: ORIGINS OF THE 29987ISTAMPITTAS. BY MICHELE TEMPLE. TheEdwin Mellen Press, 2001. 164 pp. Hard-cover, $79.95. ISBN: 0773474285.
One of the most important develop-ments in the early music revival has beenthe experiment of bringing Arabic tech-niques to the performance of Medievalmusic. While the results of the experimenthave generally been effective musically, es-pecially in recordings of Thomas Binkleyand the Studio der frühen Musik from the1960s, controversy existed from the begin-ning about the approach’s historical valid-ity. Michele Temple adds to the debatewith a study of the famous manuscriptnow held by the British Museum under thecall sign “MS Additional 29987.”
The 15 monophonic dances in themanuscript were probably written down inthe late 1300s in Florence and are amongthe most musically complex pieces of sec-ular music to survive from the period. By acoordinated study of the broad social andcultural background of the music, othersurviving contemporary instrumental mu-sic, and what can be discerned about Ara-bic music and Arabic influence on Europein the late Middle Ages, Temple builds acase for a strong Arabic influence on thesepieces. After making an argument for thegeneral influence of Arabic culture onnorthern Italy in the period, she turns tothe 29987 dances themselves and pointsout specific correspondences with Arabicmusical techniques.
Temple has made her arguments soconcisely and the issues she raises are sointeresting (especially descriptions of Ara-bic musical techniques and the lessons tobe learned from comparing the 29987dances with music from other parts of Eu-rope) that her study could easily have beenthree times its present length. However, foranyone with an interest in this repertoireor the general discussion of Arabic influ-
ences on the music of the Middle Ages,Temple provides some valuable insights.
The book includes several musical ex-amples, including facsimiles of some of the29987 dances themselves. There is also anindex and a substantial bibliography.
THEORIES OF FUGUE FROM THEAGE OF JOSQUIN TO THE AGE OFBACH. BY PAUL MARK WALKER. RochesterUniversity Press, 2000. 499 pp. Hardcov-er, $120.00. ISBN: 1580460291.
While most musicians would associatethe fugue with J.S. Bach and the lateBaroque, Paul Mark Walker makes it clearin this book that the term itself has a his-tory stretching back to the 14th centuryand that ideas about imitative counter-point are in many ways central to the de-
lineation of style throughout the Renais-sance and early Baroque. They are particu-larly helpful in clarifying the sometimesmurky transitional period between the twohistorical eras and in particular the transi-tion from modal to tonal thinking. In thisthoroughly-researched book, Walkertraces the history of the fugue as a musicaltechnique and as a theoretical concept.
It was Gioseffo Zarlino who really gotthe ball rolling in 1558 by providing an in-sightful critique of the use of free imitationin contrast to strict canonic writing, espe-cially as it related to the newly-emergingstructural procedure of the point of imita-tion. Most succeeding theorists started
from Zarlino’s definitions and terminolo-gy, over the course of time refining ideasabout the delineation of mode in imitativepolyphony and the distinguishing of strict-ly canonic from more broadly-imitativewriting. The focus of the new late-17th-century tonal thinking in terms of imita-tive counterpoint seems to have been onthe problems inherent in the relationshipbetween the fugue theme and its answer.Interestingly, theorists such as JohannMattheson began to dismiss the fugue asan irrelevant technique for the new galantstyle just as J.S. Bach was achieving themost artful expression of the genre.
Since it was German theorists whowere at the centre of these discussions, es-pecially in the later 17th century, Walkerfocuses his attention on German theoristsboth famous and obscure, even turning hisattention to the few nuggets of informationto be gleaned from school textbooks.Somewhat anticlimactically, Walker doesnot really bring Bach into his discussion,presumably because the composer did notleave any extended theoretical writings onthe topic. However, it would have been ofinterest to have had even a brief synopsis ofthe ways in which Bach’s lifelong interestin the fugue related to the theoretical con-cepts Walker discusses so thoroughly. Itwould also have been helpful to have hada brief mention of the ways in which theo-rists from other countries contributed tothe theoretical discussion (in the way thatRameau makes a brief appearance in rela-tion to Mattheson’s theories).
The writing here is very detailed andscholarly, but Walker’s style is also quiteengaging and his cogent arguments arebacked up by a glossary of terms, helpfulendnotes and an extensive bibliographyand index. Anyone interested in the fasci-nating topic of the emergence of theBaroque will find this book a welcome ad-dition to the overall picture of that impor-tant period of musical history.
Scott Paterson
BOOKREVIEWS___________________________________
Arabic influence on performance of Medieval dancesand a thorough history of the fugue
Interestingly, theoristssuch as Johann Matthesonbegan to dismiss the fugueas an irrelevant techniquefor the new galant stylejust as J.S. Bach wasachieving the most artfulexpression of the genre.
January 2003 21
22 American Recorder
With members distributed in severalcities, the Western Michigan RecorderEnsemble meets in two cities to accom-modate players —and members occasion-ally drive to the “north country” to playwith a group in Traverse City. To make iteasier on members coming from GrandRapids, the Muskegon contingency hasarranged for a new meeting location in therehearsal room at Meyer Music in Fruit-port, MI.
The group’s fall membership campaignsports a new logo devised by chapter mem-ber Jan Grant last summer. The design is arecorder-shaped lighthouse beaming outover dunes and water, with a tiny musicianplaying near its foundation. The logo hasbeen incorporated into chapter brochures,flyers and invitations, as well as made into
a stamp to label music in the chapter li-brary.
A last-minute substitution of DrinaBrooke as guest conductor for the Octobermeeting of the South Bay (CA) RecorderSociety turned into an evening of musicand movement. Guiding the group’s inter-pretation of the music with her wholebody, rather than with only words andhand motion, Brooke brought a new di-mension to the music. She took that onestep further, working specifically on play-ing posture, as a group and individually.
Noted gamba player and teacher JohnMark Rozendaal led the Chicago (IL)Chapter’s October gathering, giving thosein attendance some new favorite tunes totake away, plus providing new insights in-to the songs and dances of the French and
English Renaissance. One specific piece ofadvice he mentioned was that the Galliard,second only to the Pavan in gravitas, is of-ten played at too quick a tempo.
The Christmas concert of the Ameri-can Recorder Orchestra of the West(CA) was a benefit for Bay Area profession-al recorderist and teacher Eileen Hadidian,to assist with the many medical costs ofher cancer therapy. Entitled “The Gift ofLife,” the concert featured works fromPraetorius to Anton Bruckner, includingan octet by Ludwig van Beethovenarranged and conducted by Robert Daw-son.
What is a gemshorn? Seattle (WA)Recorder Society members learned theanswer to that question as a gemshornquartet opened its November meeting.
ALBUQUERQUE RECORDER SOCIETY BRINGS EVA LEGÊNE TO LEAD WORKSHOPThe Albuquerque chapter staged its first weekend workshop last October 11-13. Thirty-five participants, mostly from the Albu-querque-Santa Fe-Los Alamos (NM) area, worked under Eva Legêne; Colleen Sheinberg, director of the University of New MexicoEarly Music Ensemble; Mary Ann Shore, wind specialist with the Albuquerque Baroque Players and Musica Antigua de Albuquerque;and Ray Hale, music director of the Albuquerque Recorder Society, while hundreds of massive hot air balloons floated above the cityduring the final weekend of the annual Albuquerque International Balloon Fiesta.
Ms. Legêne’s presence for the workshop afforded the opportunity for a collaboration with the Cathedral Concerts Series of theCathedral Church of St. John in downtown Albuquerque. Bruce Barber, St. John’s music director, engaged Ms. Legêne to appear ina concert, “A Baroque Spectaculaire,” on Sunday afternoon following the workshop. She performed with Baroque bassoonist MichaelMcCraw and harpsichordist Kathleen McIntosh. The Albuquerque Journal called it “a beguiling program by some of the most tal-ented performers in the early music world,” and concluded, “There were smiles all around, the performers’ joy in each other and themusic obvious as they extended that feeling in ample measure to the audience.”
Henry Seale
CHAPTERS & CONSORTS___________________________________ Workshops, wassailing and world music
Mary Ann Shore,wind specialistwith the AlbuquerqueBaroque Playersand Musica Antigua de Albuquerque,leads a class inBaroque performance styleduring the Albuquerqueworkshop.
TOM ZAJAC LEADS NEW ORLEANS WORKSHOPThe New Orleans (LA) Early Music Society fall workshop featured Tom Zajac (seated cen-ter in photo) as musical director. Zajac is a member of Philadelphia-based wind band Pif-faro and is a faculty member of the University of Maryland-College Park. Known for hisinstrumental versatility and dynamic performance, Tom conducted the one-day work-shop using the theme “Music of the Three Worlds of Spain.”
The three worlds included the Arabic, Jewish and Christian populations that co-ex-isted until 1492, when the Spanish monarchy defeated the Arab empire and drove manyArabs out of Spain. The Jewish population was forced to convert to Christianity or leave.
Much of the Chris-tian music of the early16th century celebrat-ed the victory, as inthe lively Cavallero deaventuras. The Arabicmusic introduced byZajac, such as the tra-ditional Arab-Andalu-sian Mwasha, featuredthe distinctive Arabicscale. Since Jewishmusic was forbiddenin Spain after 1492,that music has had tobe extrapolated from
those Jewish populations that moved into northern Africa and southern France, with Israel, mira tus montes an example.
Participants enjoyed a full day playing recorders, violas da gamba, and drums such asthe djembe (at left in photo).
Chris Alderman
Performing a brief demonstration on theinstruments, which are made of the hornof an antelope or similar animal andwhich appear in historical references asearly as 1511, were Jim Truher, Bill Stick-ney, Peter Seibert and Liam Graham, ac-companied by percussionist Peggy Mon-roe on several pieces.
The centerpiece of the Seattle group’sSeptember meeting was a new arrange-ment by chapter music director Seibert ofHandel’s Concerto Grosso, Op. 6, No. 1,transposed up a fourth from the originalkey to better fit the range of the recorderorchestra. Known for also arranging sim-pler soprano and alto parts of modestability, Seibert incorporated that featurein this piece—parts that chapter mem-bers have begun to call “Soprano Lite”and “Alto Lite.”
Nearby, the Moss Bay (WA)Recorder Society did not meet in De-cember, but rather encouraged chaptermembers to attend a free participatorymusical program sponsored by theFriends of the Kirkland Library and heldat the library for singers and players ofany age to attend. Chapter music direc-tor Wini Jaeger led the “Here We Come A-Wassailing” program.
Write or call for free catalogs
and specify areas of interest.
Boulder Early Music Shop
P.O. Box 428
Lafayette, CO 80026
Monday through Friday:
10:00 am - 5:30 pm
1822 Powell Street
Erie, CO 80516
800.499.1301
303.926.4301
Fax: 303.926.4302
E-mail: [email protected]
Web: www.bems.com
January 2003 23
The Silver Winds Consort were guestperformers at the December Carson City(NV) Community Concert Band Christ-mas Concert, playing four Christmaspieces on the program. The performancewas the second time the Silver Winds hasperformed with the Carson City Commu-nity Concert Band. Members of the groupare Rex Reed, bass; Snail Scott, tenor;Kathleen McGlone, tenor; and PeterGrant, alto.
After focusing for a year on music of the16th century, the Twin Cities (MN)Recorder Guild is moving forward logi-cally in its journey through western musichistory with music from the 17th and 18thcenturies. Music director Kate Stuart hasused the opportunity to introduce two
musical forms of special interest torecorder players: the sonata and the suite,playing works by J. H. Smelzer and JohannPezel at a recent meeting to demonstratethose forms.
The September workshop of the EastBay (CA) Recorder Society was entitled“The Thrill of the Chase: Ricercars, Fugues
24 American Recorder
ADDRESS CHANGE FOR CHAPTER NEWS
Chapter newsletter editors and publicity officers should check their records to make
sure that materials are sent to the following addresses:American Recorder, 7770 South High St.,
Centennial, CO 8012-31222. by e-mail <[email protected]>;
ARS Office,P.O.Box 631, Littleton CO 80160-0631,
by e-mail <[email protected]>;Richard Carbone, Chair,
Chapters & Consorts Committee,8 Candlewood Drive,
Greenville, RI 02828-1802.
Correction to November 2002 AR:In the article describing the SanDiego County Recorder Society tripto Ireland (pp. 18-19), the referenceto Arcadian Press incorrectly lists its location as Westport. The correctaddress is: 116 Scudder Place, Northport, NY 11768.
Members of theRio GrandeChapter (withmembers fromboth Texas andNew Mexico)brought therecorder to theRenaissanceFaire in LasCruces, NM,last November. Conducting ismusic directorGail Vaucher.(Photo by RayGermany)
Adding Percussion to Medieval and Renaissance Musicby Peggy Monroe
Just as you wouldn’t use saxophones to play Medieval music, thereare appropriate percussion instruments to use for added color inearly music, especially in music for dancing. Monroe suggests howto choose instruments and provides ideas for playing them, caringfor them, and using them creatively on your own.
Order this information booklet and others in the series:
ARS Information Booklets:RReeccoorrddeerr CCaarree,, by Scott Paterson
AAmmeerriiccaann RReeccoorrddeerr MMuussiicc,, by Constance Primus
MMuussiicc ffoorr MMiixxeedd EEnnsseemmbblleess,, by Jennifer W. Lehmann
IImmpprroovvee YYoouurr CCoonnssoorrtt SSkkiillllss,, by Susan (Prior) Carduelis
PPllaayyiinngg MMuussiicc ffoorr tthhee DDaannccee,, by Louise Austin
TThhee BBuurrgguunnddiiaann CCoouurrtt aanndd IIttss MMuussiicc,, coordinated by Judith Whaley
AAddddiinngg PPeerrccuussssiioonn ttoo MMeeddiieevvaall aanndd RReennaaiissssaannccee MMuussiicc, by Peggy Monroe
ARS members: 1 booklet, $13 2 booklets, $23 3, $28 4, $35 5, $41 6, $47 7, $52Non-members: 1 booklet, $18 2 booklets, $33 3, $44 4, $55 5, $66 6, $76 7, $86
AMERICAN RECORDER SOCIETYBox 631, Littleton, CO 80160 • 303-347-1120
and Canons.” Featured presenter MarilynBoenau led those in attendance through achronological excursion through the de-velopment of imitation-inspired contra-puntal works. A similar topic was ex-plored in October as Karl Reque led theGreater Denver (CO) Chapter in “Imi-tation...the Sincerest Form of Flattery.”
“The Italians: Innovators of MusicalExpression,” a workshop led by FrancesFeldon for the Mid-Peninsula RecorderOrchestra (CA), included less familiarfare for recorders—a movement of Vival-di’s concerto for two trumpets, and Han-neke van Proosdij’s arrangement ofGiuseppe Verdi’s aria “La Donna e Mo-bile.”
January 2003 25
FLÛTES À BEC *Discovered in a Neolithic burial site in Jiahu, Henan province, China, flutesmade of wing bones of the red-crownedcrane—six found intact, fragments ofthirty others.—American Recorder, Nov. 1999
** Flutes with a “beak-mouthpiece”— recorders
Opening a tomb,when archaeologists releasethe captured moth-breathof centuries, feel its risetoward new light,do they want to netthis artifact of resurrection,be uplifted with it?The dig at Jiahurevealed a fluteat the shoulder in each grave —amphoras of breath.Some spaces are hallowedas a human skull’s kiva,apertures echoed in tone-holescarved in wing bonesof the red-crowned crane.
Musician Taoying Xuplayed a song on one — its voiceheard again after 9,000 years,arcing the immensitythat cannot be possessed,but was caressed — flutes pipedfor ritual dance and chantin celebration or mourning,their melismas of awe.
Red-crowned cranesascend to three milesflying the Himalayas from Siberia to Southeast Asia,heads branded by the sun,leave a white and black wake,day and night enmeshedin their barbed feathers.At dawn, pairs trumpetin Gabrielian response —antiphonal aubades!One starts to dance, the flock joins in,scarlet heads bobbing,bodies deep bowing,leaping fifteen feet in the air —passamezzi, saltarelli of joy!
Across the room,hollowed from hearts of trees,the grove of my recordersassembled on a rack::sopranino’s bubinga woodsounds thin as the Indian-pipeplant it resembles;soprano’s sweet, high songsleeps in a boxwood glow;tulip wood alto’s authoritative voiceready to flow through the veined grain,Ganassi tenor’s dark-stained maplewith its large-throated call,pear wood bass’ probing soft tone.Perched on the precipice of breathwait to ride harmonic thermals.
They stand straight as cranes on one legbeaks pointing upward.
Emilie George is an ARS member and mem-ber of the Tucson (AZ) Recorder Society. Herawards include winning third place in theAnnual Statewide Poetry Contest sponsoredby the Tucson Poetry Festival XVIII and theTucson Weekly in April 2000. Her poemshave been published in the Sow’s Ear PoetryJournal.
KLANGREDEN, BY MARKUS
ZAHNHAUSEN. Doblinger 04 462(<www.doblinger.at>; <[email protected]>),1992. A and fl. 2 scs. 21 pp. ea. Abt. $15.50 + P&H.
Music for recorder and flute is rare.From the Baroque era, we have a handfulof works by G. Ph. Telemann, J.J. Quantz,J.F. Fasch, J.B. Loeillet, and a few others.Contemporary repertoire fares no better,which makes the present set of duets for al-to recorder and flute all the more welcome.
German composer Markus Zahn-hausen (born 1965) is a recorder virtuoso,music critic, and teacher, as well as a suc-cessful composer. Although the recorderfigures significantly in his output, his bodyof work includes orchestral music, choralworks, and chamber pieces for various in-struments. Furthermore, he is well-knownfor championing contemporary recordermusic as editor-in-chief of the ModernRecorder Library series at Möseler-Verlag.
Klangreden is a collection of ten move-ments, varying in tempo and mood, thatcan be performed in its entirety or as asuite of selections. Requiring intermediatetechnical ability and solid ensemble play-ing, each movement explores different as-pects of the tone qualities and technicalcharacteristics of the instruments. The“Recitativo,” for example, begins with de-clarative motifs for the flute accompaniedby the recorder playing long tones with fin-ger vibrato. Those roles are reversed at theend, except that the flute uses rhythmicbreath vibrato in contrast to the recorder’sflattement. Ensemble playing is put to thetest when voice leading crosses the parts,as in “Elegia,” “Arlecchinata,” “Burlesca,”and “Epilogo.” Perhaps the supreme en-semble challenge, however, is “Fantasiaall’unisono,” a lyrical interlude that re-quires the two performers to sound as one.
Zahnhausen employs many modernconventions and techniques, such as fre-quent meter changes, precise expressionmarkings, flutter tonguing, and glissan-do—all fully-explained in a table. For all
the modern devices, however, his style isquite accessible, with occasional allusionsto early music. For example, the “Scherzo”is reminiscent of the Medieval hocket inthe way the parts bounce back and forth.Such playfulness is found throughout theduets—for the delight of the performersand audience alike.
Thomas Cirtin
FLAUTO DOLCE SOLO, BY MARKUS
ZAHNHAUSEN. Doblinger 04-457(<www.doblinger.at>; <[email protected]>).A solo, Sc 23 pp. Abt. $13.00 + P&H.MUSICA INQUIETA, BY MARKUS ZAHN-HAUSEN. Doblinger 04-461. A Solo, Sc 11pp. Abt. $13.00 + P&H.
These two works by the German com-poser, recorder performer, and radio an-nouncer, Markus Zahnhausen, each ex-plore different approaches of writing forunaccompanied recorder. Flauto Dolce Solo is a set of seven brief pieces about 20minutes long, in total. The pieces are all ofhighly-contrasting characters and tem-peraments—ranging from the moto-per-petuo virtuosity of “Toccata” to the still,long textures of “Homage a D. SCH.”Some of the pieces, such as “Viva Vivaldi!”or “Take Five: A Vocal Finale,” display ele-ments of parody and humor.
All seven pieces are quite difficult andincorporate contemporary techniques in-cluding multiphonics, quarter-tones, glis-sandi, unusual tonguings, striking therecorder with a finger ring, foot-stomping,and singing/speaking. One of Zahn-hausen’s intentions for the work was tocreate technical studies for advanced play-ers to practice avant-garde techniques. Itwould serve very well for this purpose or asa concert solo. The edition is excellent andincludes a detailed preface with explicitperformance notes about all of the extend-ed techniques, including fingering chartsfor the multiphonics.
The second work, Musica Inquieta, is avery different kind of piece. In the preface,Zahnhausen states that he set out to “writeexpressive recorder music using tradition-al, not avant-garde, musical means.” Theresult is a highly satisfying sonata in threemovements cast in standard forms: slowintroduction with sonata-allegro, aria withdeveloping variations, and rondo. The mu-sical language is in a “contemporary tonal”idiom. Even without avant-garde effects,the piece is difficult and would make agood recital offering. The edition is easy toread, and all but one page turn is easilymanageable. Zahnhausen notes that thiswork, although originally written for therecorder, may also be performed withequal success on a flute.
Carson P. Cooman
THIS AND THAT, BY PETE ROSE. Carus-Verlag (<www.carus-verlag.com>), 2001.S/S’o/voice (one performer), Sc 5 pp.$8.00.NICE FOLKS, BY PETE ROSE. Carus-Verlag, 2001. S/A/T (one player) and gui-tar. Sc 7 pp. $14.00.
Pete Rose, well-known to readers of thismagazine, is a recorder player and com-poser living in New Jersey. He has writtenmany pieces for recorder, most of them inthe jazz or blues idiom and many that com-bine avant-garde elements with jazz orblues. Several players have commissionedpieces from him in the last 10 or so years,resulting in a variety of welcome new liter-ature for the recorder. His works have beenpublished by Universal Edition, Moeck,Carus-Verlag, and Ricordi. He has been a
The last section is ahumorous comment on theimage of young recorderplayers struggling through“Hot Cross Buns.”
MUSICREVIEWS___________________________________
Ringing in the New Year with sound speech, music for royalty,duets, teaching collections, and This and That
26 American Recorder
regular faculty member of the AmherstEarly Music Festival, teaching in both thegeneral and the virtuoso programs, andhas given master classes in many places in-cluding the Blockfluitdagen Festival at theconservatorium in Mechelin, Belgium,and at the Vienna Hochschule für Musik.
This and That was commissioned in1999 by Gunter Janoschka, a young Ger-man recorder player who had attendedRose’s class in the virtuoso recorder pro-gram at the 1998 Amherst Early Music Fes-tival. The piece combines elements fromjazz, European avant-garde music, andminimalist music. Divided into two move-ments, “This” and “That,” the first openswith the soprano alternating between free(senza misura) playing and portions of a12-bar blues. An opening glissando fromthe first octave G up to C serves as a unify-ing element, with a reappearance in the Bsection, an inversion in staccato to end“This,” and as the opening of “That” intandem with the sopranino executing aglissando down from high G to C.
Then a jazzy tune proceeds with thetwo instruments using the same finger-ings, followed with a solo turn by the so-prano developing the first tune. Slightlymore daunting at first try is the secondtime the sopranino joins the soprano. Thefingerings diverge and get a little morecomplicated, but with a little work the pas-sage can be mastered and creates interest-ing dissonances for a contrast with the pre-vious section.
Some heavy-duty over-blowing and un-conventional fingering for seldom-usedhigh notes is required for the middle sec-tion. Earplugs are optional! (For those ofyou who purchase the piece, Pete’s sug-gestion for a high E on soprano is half-thumb and 2, or just 3—the latter workedbest on my plastic Yamaha; for high E, tryhalf-thumb, 1 and 3.)
The last section is a humorous com-ment on the image of young recorder play-ers struggling through “Hot Cross Buns.”
This and That is a fun piece that wouldmake a great crowd-pleaser in a concertprogram. Performance instructions areclear, though I would have appreciated afingering chart for the seldom-played highnotes. Advanced techniques include quar-ter tones, glissandi, and, of course, the artof playing two recorders at once. Thispiece is recommended for professionalplayers and for serious students of upperintermediate and above levels. (However,I’ve just discovered that it can be a great in-spiration for younger students. One of mysixth-graders is intrigued with the idea of
playing two recorders at the same time andwants to practice this piece.)
Nice Folks was commissioned by six oftoday’s professionals who are active in thecontemporary recorder music scene: VickiBoeckman, David Barnett, Cléa Galhano,Aldo Abreu, David Bellugi, and JohnTyson. The title refers both to the commis-sioners and to the folk music upon whichthe movements are based. Written for gui-tar and one person playing SAT recorders,the piece uses folk songs and folk elementsfrom Newfoundland, China (melded witha Brazilian bossa nova), central east Africa,and the U.S. In the Chinese/Brazilianmovement, the recorder player ends by im-provising on the pentatonic scale. A veryhelpful appendix of brief exercises in pen-tatonic scales is provided for those unfa-miliar with the practice.
The first movement of Nice Folks is anunadorned statement on the tenorrecorder of the hauntingly-beautiful New-foundland folk song, “She’s like the swal-low.” The guitar then plays an ostinato in6/8, centered on an E-e octave and in-spired by the sound of the inanga, a tradi-
tional zither from central east Africa. As theguitar continues the ostinato, the sopranorecorder plays an improvisatory passagefull of tremolos. “She’s like the swallow”returns in the next section, though heavilydisguised and tossed back and forth be-tween alto and soprano with flutter tongu-ing throughout.
In the next movement, titled “Sui SinFa,” the alto recorder plays a Cantonesepentatonic folk tune while the guitar riffsaway on a bossa nova. An energetic duetbased on the American folk song, “WayDown the Ohio,” ends the piece. Thismovement utilizes a variety of articula-tions, from sputato to legato for therecorder and pizzicato on the guitar.Drumming on the guitar’s soundboardand multiphonics in the recorder make fora very exciting finish.
Nice Folks will require advanced playerson both recorder and guitar, and shouldprove rewarding for both players and audi-ence. Performance instructions are clearand plentiful.
Note: These pieces are published byCarus Verlag and may be available at mail
January 2003 27
28 American Recorder
order shops such as Boulder Early Music,Courtly Music, Honeysuckle Music andVon Huene Workshop.
Letitia Berlin
THE RECORDER FROM ZERO (2ND EDITION,VOL. II), BY CHARLES P.FISCHER. Unicorn Music UM002(<www.buyrecorders.com>). 2002. S, 39 pp. $23.95.
I am delighted to take note of the pub-lication of the second volume of CharlesFischer’s The Recorder from Zero. When thefirst edition of this method for sopranorecorder appeared in 1976, recorder teach-ers applauded it but deplored the hand-written format. The new edition is revised,expanded, and re-set in Finale.
Volume II is pricier than Volume I, butthere is more music in it. The lessons areprogressive continuing from Volume I,teaching more notes and adding pedagogyconcerning modes, scales, rhythms, andarticulations. As in Volume I, which was re-viewed in AR in May 2002, the remarkable
aspect of this book is its use of original, Me-dieval and Renaissance music as well as theusual folk tunes.
As in Volume I, a guide at the beginninggives teachers and students hints on usingthis book. The table of contents containsshort but clear notes about the pedagogypresented in each lesson. I’m pleased tosee that Mr. Fischer has put the ear-trainingexercises at the beginning of this volumeinstead of the end, as in Volume I. Thereare many pedagogical aids, such as an ex-planation of “shifting syncopations,” oftenconfused with hemiola. The explanation ofhemiola is excellent, although I think thereason for “no hemiola” in Ach Elsleinwould have been clearer if the words hadbeen supplied.
I like the tuning exercises and explana-tion and practice of modal cadences. I likethe attention to Renaissance recorders(some day perhaps beginners will actuallybe playing these instruments!) and modes.I like beginning to play without bar lines inLesson 26. In fact, I like just about every-
thing about this book, although even at acasual glance I see too many typographicalerrors—Morely for Morley, Himmelhoch forHimmel hoch, etc.—but these are smallflaws.
Everyone who plays the sopranorecorder, teachers and students, shouldown both volumes of The Recorder from Zero. I look forward to the edition for alto,which is rumored to be coming soon.
Martha Bixler
7 VILLANCICOS (CANCIONERO DEPALACIO). London Pro Musica EML 361(Magnamusic) n.d. 4 instruments or voic-es, 4 sc, 8 pp each. $7.50.TIENTOS AND HYMNS (1555), BBYY JJUUAANN
BBEERRMMUUDDOO.. London Pro Musica EML 362(Magnamusic) 2000. 4 instruments, 4 sc,8 pp each. $7.50.
The marriage in 1469 of the teenagecousins, Ferdinand (heir to Aragon) and Is-abella (heir to Castile and Leon), resultednot only in the unification of Spain and the“discovery” and European exploration ofthe Americas, but also in the Spanish In-quisition and the expulsion of Jews andMoors from Spain. Charles of Hapsburg(Charles V), the grandson of Ferdinandand Isabella who inherited their unitedkingdoms, considered Spain the “orchardof his pleasures.” But Charles, who wasHoly Roman Emperor as well as King ofSpain, also faced the challenges of theProtestant Reformation. Therefore, themusic of Spain, from c.1480 to 1555, re-flects the passion of its rulers’ religion aswell as the glory of its courts.
London Pro Musica’s 7 Villancicos is itsfinal Early Music Library edition of piecesfrom the Cancionero de Palacio, a collectionof music from the court of Ferdinand andIsabella. (See also EML 103, 114, 145, and217.) The villancico of the late 15th andearly 16th century was a Spanish song inthree or four parts, predominantly homo-phonic and often with a refrain. It was sim-ilar to the contemporary Italian frottola.Even though intended for the nobility, thevillancico texts are usually popular or rus-tic, but some have sacred or Christmasthemes. This collection of seven villancicosprovides a variety of musical and textualstyles. Juan del Encina, considered theleading composer of villancicos in this peri-od, is represented by two pieces. There are
MUSIC REVIEWS (cont.)
also two pieces by Juan Ponce, considered“one of the most polished and ingeniouscomposers of his generation” [Grove II].Another piece in the collection is by Fran-cisco Millan, a vihuelist and singer in theroyal chapel, and the rest are by“Señor/Señora Anonymous.”
Besides their historical interest, theseare good easy teaching pieces. Several arecompletely homorhythmic, and the rangesof the parts are often narrow (one part inthe first piece has only two notes!). Eventhe easiest pieces have rhythms to be ex-plored: hemiolas, triple groupings, meterchanges, etc. But the easier the piece, thefaster it needs to go!
The most difficult piece in this set in-cludes text in the top part, with the otherthree parts providing accompaniment in apolyphonic instrumental style. These vil-lancicos are fun to play and sound well onrecorders, but awareness of their texts willenhance their performance. Some of thewords are humorous, some bawdy, someromantic, with even a drinking song and ajoyous Easter piece for variety.
Juan Bermudo’s Tientos and Hymns,composed during the reign of Charles V,present quite a contrast to the above vil-lancicos. Bermudo (c.1510-aft.1559) was amusic theorist, probably self-taught, ofwhom little is known.
Three of these compositions are in thestyle of tientos, which are Spanish key-board pieces similar to ricercars, fantasias,preludes, etc. (The editor has made minorchanges to make them work better in aninstrumental consort.) The other two,“Conditor alma siderum” and “Veni cre-ator spiritus,” are settings of plainsonghymns in imitative polyphony like that ofthe Netherlands School. (The music ofJosquin, in particular, was very popular in16th-century Spain.)
Only “Veni creator spiritus” fits anSATB quartet of recorders, because thebass part of the other four pieces extendsto B or C below the staff. If your consortsports a great bass, this should be a wel-come collection for you!
Constance M. Primus
CANCIONES DE LAS TIERRAS ESPAÑOLAS (SONGS FROM SPANISHLANDS),ARR. DAVID EDDLEMAN. SweetPipes SP2384, 2002. SS opt A, opt guitarand rhythm, Sc 20pp. $4.95.
Canciones de las Tierras Españolas is adelightful collection of seven well-knownfolk songs from Spain, Mexico, Cuba, andPuerto Rico. Eddleman’s stylish arrange-ments are for intermediate players whohave mastered chromatics beyond F# andA# (B), including E (D#) and a brief G#.
Each has been written for two sopranorecorders (ranging from low D to high F#),optional alto recorder (from G to F#), andguitar; two have optional percussion.
My students and I had great success—as well as fun—with this collection. TheJunior Consort (third, fourth, and fifthgraders) were able to master each songwithin a few rehearsals. I taught each piecefirst as a folk song to acquaint the studentswith the tunes, most of which appear inthe Silver, Burdett, and Ginn or MacMil-lan/McGraw general music education se-ries. We discussed mood, form, tempo,etc., and noted any new notes. After eachpiece was mastered, I created some simplechoreography for each. For our WinterSpanish Language Celebration, we espe-cially enjoyed Eddleman’s charming andauthentic treatment of the Puerto Ricanaguinaldo (gift), “Los reyes del oriente”(“The Kings from the East”). The whole setwill be used for our Spring Celebration. Allthe pieces have met with approval from mySpanish-speaking colleagues and parents.
LET FREEDOM RING, BY BRADLEY L.BONNER. Sweet Pipes SP 2383, 2002. S, Sc17 pp, with CD. $17.95, including dupli-cation rights.
Bradley Bonner has done it again withhis latest collection! Let Freedom Ring is a
January 2003 29
30 American Recorder
set of eight lively patriotic songs for two so-prano recorders (ranging from low C tohigh E) with CD accompaniment. Thearrangements are well-crafted to encour-age beginning and moderately advancingelementary-age players to explore their pa-triotic musical heritage.
Each melody is accompanied by twoCD tracks. The first track includesrecorder parts for listening and/or playingalong. The second is a fresh and carefullyprepared accompaniment for perform-ance. With its patriotic theme, Let FreedomRing is appropriate for both school andchurch youth music programs. The bookand CD are packaged in a large zip-lockplastic bag. Original purchasers are givenpermission to copy the written score fortheir own students. (Such a deal!)
These songs provided a curriculumtheme that I was able to use for Veteran’sDay and as a great presentation. In work-ing with this collection I found the follow-ing ideas helpful:1) Keep the original scoreand CD in a three-ring binder along withextra copies for students. Nothing getslost. 2) Sing through each song beforeplaying. The lyrics can be found in mostpatriotic or folk song collections. If yourschool encourages integrated curriculum,here are great lessons in vocabulary andpoetic forms. 3) Melodic or rhythmic linescan be doubled at the director’s discretionby the addition of Orff instruments, handbells or choir chimes, etc. 4) While the sec-ond parts are usually melodically easier, Ifound that a few advanced studentsshould play along on them in order to an-chor the rhythms. This was especially truefor “You’re a Grand Old Flag,” “WhenJohnny Comes Marching Home,” and“America the Beautiful.” 5) To facilitateease in following the different sections in“Yankee Doodle,” I had my students use ahi-lighter for their parts on page six. 6) The“unusual” notes are A#, c#, and e forwhich c is given as an alternative.
Have fun!Elyse Belanger received her B.M. and
M.A. in Vocal Performance and Choral Con-ducting from San Jose State University, SanJose, CA. She has taught K-12 music for 20years and has been a Guest Lecturer for theMusic Education Dept. at University ofWashington, Tacoma. Her current assign-ment is K-5 Music at Sheridan School of In-
ternational Languages in Tacoma, WA. Ms.Belanger uses recorders extensively in her3rd-5th grade general music classes and hasan extracurricular recorder group of 73 stu-dents that meets four days per week beforeschool. Ms. Belanger is the founder and direc-tor of the Nisqually Valley Recorder Societyand a member of the Seattle Early Music Society as well as ARS, ARTA, and AOSA.
FOUR DUETS FOR SOPRANO ANDALTO RECORDER, BY GEORG PHILIPP
TELEMANN, ARR. GRETE ZAHN. Moeck ZFS746 (Magnamusic), 2001. SA, Sc 6 pp.$7.00.
These four duets are transcriptions ofmovements from Telemann’s Drei DutzendKlavier-Fantasien [Three Dozen Keyboard-Fantasias]. There are no known originalduets by Telemann for soprano and altorecorders, so these are a welcome additionto our teaching repertoire. The arrangermade a few necessary octave transposi-tions in the soprano part and has indicat-ed if the original key has been transposed.
Intermediate players should be able tomaster these duets with only a few trips tothe practice room. They are nice arrange-ments with fairly equal technical demandsbetween the two instruments and interest-ing imitative rhythmic interaction betweenthe two voices. These are short pieces; theentire book, repeats included, can beplayed in about five minutes. If you needintermediate level SA duets for your stu-dents, I recommend this publication.
3 DUOS FÜR ZWEI ALTBLOCK-FLÖTEN, bbyy AAnnttoonn KKaarrggll, ed. NikolajTarasov. Friedrich Hofmeister 2183(<www.hofmeister-musikverlag.com>;<[email protected]>),2001. AA , Sc 29 pps, pts 27 pgs. $16.50.
Not much is known about Anton Kar-gl. We do know that, from 1808-1819, hewas a first violinist in the LeopoldstaedterTheater in Vienna. He organized severalmusical academies there and becameknown as an orchestra and opera director.
The surviving Kargl compositions are
mostly duets and trios. The editor of thisset of Kargl pieces, Nikolaj Tarasov, wasborn in Slovenia, grew up in Germany, andnow lives in Switzerland. Tarasov has re-stored a number of rare, original recorders,and he was involved in the design of theMollenhauer modern alto. He is one of theeditors of Windkanal, a German recordermagazine published by Mollenhauer, andhe continues to work on his writings aboutthe recorder’s history in the 19th century.
If you enjoy the sound of VienneseClassicism on two alto recorders, youshould give these Kargl duets a try. Theyare believed to have been composedaround 1820, and they call to mind thestyle of a number of well-known Classicaland Romantic composers, such as Haydn,Mozart, Beethoven, and even Schubert.Classical forms such as sonata-allegro,theme and variations, minuet and trio, androndo are used, and melodic material un-dergoes many of the developmental tech-niques associated with Classical music.
Each Duo consists of four move-ments—the first comprising an “AllegroModerato” in sonata-allegro form and abrief “Scherzo” (both F major), a theme-and-variations “Andante” (B major), and a“Rondo” (F major). The “Scherzo,” playedreally fast, is pure Beethoven. Its third sec-tion contains a delightful melody in thefirst recorder part supported by harmonyin the second recorder. The third section ofthe “Rondo” contains an interesting ex-change between the two recorders runningin contrary motion with voice-crossing, re-sulting in a charming playful effect.
The second Duo‘s movements are“Moderato” in sonata-allegro form (C ma-jor), “Menuetto and Trio” (C major/F ma-jor), an “Adagio” entitled “Canon” (F ma-jor), and “Polacca” (C major). Sections ofthe “Moderato” have a carefree, almost in-souciant, quality, while the “Menuetto” islike a rustic dance. An interesting move-ment, the “Canon” is not a canon in the lit-eral sense of the Telemann CanonicSonatas. An opening full statement of thetheme is accompanied by the secondrecorder. Then the second recorder repeatsan entire statement of this theme while thefirst recorder plays a more elaborate ac-companiment. There is a final statement ofthe theme played by first recorder, but thistime transformed into a graceful winding
If you enjoy the sound ofViennese Classicism...,you should give theseKargl duets a try.
MUSIC REVIEWS (cont.)
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What type of recorder music do you play? (Check all that apply.) Medieval/Renaissance Baroque Modern/pop Folk Solo Recorder Orchestra Chamber music with other instruments (such as trio sonatas) Broken consort with other instruments (such as a collegium) Consort involving three or more recorders playing one-on-a-part Grand consort(format used in many chapter meetings, with several recorders playing on each part)
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January 2003 31
variation using diminutions. The “Polac-ca” is fun to play, if you are playing the up-per part; the second part is mostly simpleaccompaniment in quarter and eighthnotes until near the end.
The movements of the third Duo are“Allegro Moderato” in sonata-allegro form(B major), “Menuetto and Trio” (B ma-jor), “Romanza” (D minor), and “Polon-aise” (B Major). The one that really caughtmy attention was the “Romanza.” Itsopening melody has a nagging familiarity,though I still cannot identify this familiar-ity. I can picture Suzanna from The Mar-riage of Figaro singing this melody in hermost mournful moments. There is even asection of harmonies that immediatelybrings to my mind the slow movement ofthe Tchaikovsky Violin Concerto. What adramatic contrast when the “Polonaise”begins! In this last lively and challengingmovement, the second and first recorderplayers have an almost-equal workout.
All of these duets were originally writ-ten for csakan. Kargl was a violinist (we re-ally don’t know if he played the csakan);thus he was working with a more restrict-ed range than that to which he was accus-tomed. Yet he managed to create musicthat feels quite idiomatic to the recorder aswell as music that (in the hands of goodplayers) can evoke the colors of an entireimaginary Viennese orchestra. Contribut-ing to this “imaginary orchestral back-ground” is the fact that sometimes the ar-ticulations are varied between the two in-struments while they are playing the samerhythms. This might seem, at first, to be aseries of misprints until you try the musicwith the indicated articulations and hearthe interesting effects that result. Thus, asyou imagine the “rest” of the orchestra,you might find yourself slipping into vari-ous orchestral colors yourself. I would rec-ommend listening to much VienneseClassical music as you study these Duos.
These are long duets, each score ninepages long, and if all repeats are taken,each takes about 15 minutes to play. Also,these Duos are not for the faint-hearted.Some passagework will send a majority ofrecorder players to the practice room. Yet Ido feel that, with work, advanced ama-teurs can master this music. Rhythmicallythe duos are straightforward, but very in-teresting, with lively rhythmic interactionbetween the two parts.
The one drawback of these duets isthat the second recorder part is usually as-signed to the role of pure accompaniment.This is in contrast with the Anton KarglOp.9 Duos that I reviewed in the May 2001
issue of AR, where the two instrumentallines are treated more equally. One reallynice aspect of this publication is that itcomes both with a score and with separateparts, something that we do not often findwith duets. However, you will need to getout your best reading glasses to use thescore, as the print is on the tiny side.
BAROQUE DANCES, ARR. CZIDRA LÁS-ZLÓ. Editio Musica Budapest 14276(Theodore Presser), 2001. AA, Sc 81 pgs.$19.95.
Are you confused as to the characteris-tics of the various Baroque dances? If so,this is the book for you!
Baroque dance music served two mainfunctions—first as an accompaniment todancing, and second as stylized instru-mental music that became independent ofthe dance. As this independent music be-came more complex, often the type ofdance on which a particular piece wasbased was not included in its title. There-fore performers had/have to be well-versed in the basic structure of Baroquedance music in order to recognize thedance origins of various movements with-in suites, sonatas, concertos, and otherworks.
This attractive publication contains 89pieces that are less stylized and remainfairly close to the dances they were origi-nally meant to accompany. Because thefour standard dances of the suite consist-ed of the allemande, courante, sarabande,and gigue, the book opens with these ex-amples, followed by menuets, passepieds,gavottes, bourrées, rigaudons, sicilianos,loures, canaries, hornpipes, tambourins,polonaises, country dances, contredans-es, and dances in rondeau form. Eachdance form includes both French and Ital-ian examples (made clear by spellings),and the preface includes a simplified ex-planation of the main stylistic differences.A student will emerge from this book witha developing concept of the differences be-tween French and Italian styles in danceforms. Most selections were originallywritten for two melodic instruments, butsome were arranged from trio sonatas orother chamber works.
While I enjoyed playing all of thesedances, I have some favorites. One of thearranged Italian sarabandes is the “Largo”
32 American Recorder
ARS PUBLICATIONSErich Katz Contemporary Music Series Members Non-Members
Suzanne M. Angevine, A Short Tale for two basses (Level II) (2 scores) $ 5 $ 8Peter Ballinger, Double Quartet for Recorders (Level II-III) (score & parts) $10 $18Anthony Burgess, Sonatina for Alto Recorder and Piano (Level II) (2 scores) $7 $12Cecil Effinger, Dialogue and Dance (SATB) (Level II-III) (score & parts) $10 $18Lee Gannon, Sonatine for three altos (Level III) (score & parts) $14 $26
(score, parts & demo cassette) $23 $43Erich Katz, Suite of Jewish Folk Tunes (S S/A8 A/T) (Level II) (three scores) $10 $18Vaclav Nelhybel, Six Short Pieces for Three Recorders, (AA/TT) (Level II)
edited by Alan Drake (3 scores) $8 $14Stanley W. Osborn, Kyrie and Vocalise for soprano voice and recorders
(SATB) (Level II) (2 scores & 4 recorder parts) $ 8 $14Frederic Palmer, Entrevista (SATB) (Level II) (2 scores & 4 recorder parts) $ 8 $14Sally Price, Dorian Mood (SATB) (Level II) (score & parts) $10 $18Jeffrey Quick, Picnic Music (SATB) (Level II) (score & parts) $ 5 $ 8
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Adding Percussion to Medieval and Renaissance Music (Peggy Monroe)American Recorder Music (Constance Primus)The Burgundian Court and Its Music (Judith Whaley, coord.)Improve Your Consort Skills (Susan Carduelis)Music for Mixed Ensembles (Jennifer W. Lehmann)Playing Music for the Dance (Louise Austin)Recorder Care (Scott Paterson)
Education Publications The ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996).
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Guidebook to the ARS Personal Study Program (1996). Material formerly published in the Study Guide and Study Guide Handbook, plus additional resources. Members, $11; non-members, $20.
ARS Music Lists (2002). Graded list of solos, ensembles, and method books. Members $8; non-members, $14.Package deal available only to ARS members: Guidebook and Music Lists ordered together, $15.
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Discography of the Recorder, Vol. I (1989). Compiled by Scott Paterson and David Lasocki.Discography of the Recorder, Vol. II (1990-1994). Compiled by Scott Paterson.
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*Après Paul (David W. Solomons)Bruckner’s Ave Maria (arr. Jennifer W. Lehmann) Dancers (Richard Eastman)Different Quips (Stephan Chandler)Elegy for Recorder Quartet (Carolyn Peskin)Elizabethan Delights*Gloria in Excelsis (Robert Cowper)*Imitations (Laurie G. Alberts)Los Pastores (arr. Virginia N. Ebinger)New Rounds on Old Rhymes (Erich Katz)Other Quips (Stephan Chandler)Poinciana Rag (Laurie G. Alberts)Santa Barbara Suite (Erich Katz)
Sentimental Songs (arr. David Goldstein)Serie for Two Alto Recorders (Frederic Palmer) Slow Dance with Doubles (Colin Sterne)*Sonata da Chiesa (Ann McKinley)Three Bantam Ballads (Ann McKinley)Three Cleveland Scenes (Carolyn Peskin)Tracings in the Snow
in Central Park (Robert W. Butts)Trios for Recorders (George T. Bachmann)Triptych (Peter A. Ramsey) Two Bach Trios (arr. William Long)Two Brahms Lieder (arr. Thomas E. Van Dahm)Vintage Burgundy
MUSIC REVIEWS(cont.)
January 2003 33
ATTENTION: TENOR RECORDER FANS
David Goldstein, Sonata for Tenor Recorder & Keyboard
(PBE-42; Score & Part) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .$8.95
This latest Provincetown Bookshop Music Edition is a worthwhile
contribution to the Tenor Recorder’s repertory. Admirers of the
composer’s Sonata for Bass Recorder & Keyboard (PBE-21)
will recognize the modal melodic atmosphere joined to a
tangy dissonant accompaniment. Both recorder and keyboard
parts of this 3-movement piece are eminently playable.
Provincetown Bookshop Editions
The Provincetown Bookshop, Inc.246 Commercial Street, Provincetown, MA 02657 Tel. (508)487-0964
A good source for Recorder & Viol Music of all publishers.
from Arcangelo Corelli’s Sonata Op. 5, No.8. The steady eighth notes heard in thebass line of the original appear in the sec-ond alto part. Although marked “Largo,”I have heard this sarabande played con-siderably faster than “Largo” might indi-cate. For instance, this movement is in-cluded in the PreDiscContinuo with ametronome setting of =104, muchfaster than one might interpret a “Largo.”The intent would be clearer if the editorhad suggested metronome markings.
My other favorite is an anonymousgigue entitled “Le Coucou” [The Cuck-oo]. This darling duet opens with the de-scending minor third in the top part an-swered by a descending major third in thesecond voice. The bird-like trills played bythe second recorder sail over the melody.
At a recent workshop I was pleased tosee teachers purchasing this nice-lookingstudy book for their students. Most of thepieces are very playable by intermediateplayers. I have already used it for sight-reading material in student lessons, andmy students really enjoy it. There is muchvaluable information in the Preface, but Iwas a bit surprised that there is no listingof the original sources for the dances, par-ticularly for those that are arrangements.
This book is also published for two so-pranos (EMB 14283), an exact transposi-tion of the alto pieces (same fingerings),also at a cost of $19.95. I enthusiasticallyrecommend this publication!
Sue Groskreutz
THREE CANZONAS, BY GIOVANNI
PICCHI. Moeck 1141 (Magnamusic),2001. SS and bc, Sc. 20 pp, pts. 4–8 pp.$28.00.
Typical of the large pool of performersand music teachers who thrived in early17th-century Venice, Picchi’s output issmall, comprising a collection of ensem-ble canzonas and sonatas containing 19works, 12 keyboard pieces, and a solomotet. He is best-known for an early ver-sion of his “Toccata” in the Fitzwillam Vir-ginal Book. Picchi has fared well withrecording artists, with fine performancesof most of his works found on CD.
The three canzonas of the present edi-tion are from his only publication, Can-zoni da sonare… (Venice, 1625). Thesource calls for violins or cornetti for theupper parts, but soprano recorders are aviable substitute. As one would expect ofmusic of this era, there are few tempo andexpression markings in the original. Fre-quent shifts between piano and forte areindicated, however. The present edition is
34 American Recorder
Robert AmchinAlto Antics ensembles for beginning alto recorder with percussion accompanimentRecorder Frolics for beginning C-pipes (Play-along CD available)Moods and Modes for intermediate classroom ensembles: includes play-along CD
Brent M. Holl and Michael R. NicholsThe Beatin' Path Consort Collection for beginning and intermediate ensemble
Michael R. NicholsChristian Harmony Sacred Harp (Shaped Note) music arranged for SATB consort
302 East College StreetBridgewater VA 22812
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See our online catalogue of Church,choir, Orff and recorder music at:www.beatinpathpublications.comor visit your favorite music dealer
Beatin’ Path PublicationsMusic That Works!
SUZUKI METHOD INSTITUTE
Recorders, Flute, Oboe, 2003
Notre Dame de Namur University,
Belmont, CA
Students -
Recorders, Flute, Oboe
Session 1 July 8-11;
Session 2 July 13-16
Teacher Training Courses -
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Session 1 July 5-11
Units 1A, 2, 4
Session 2 July 13-19
Units 1B, 3, 5
Katherine White, P.O. Box 233, Fairfax, CA 94978Tel 1.415.339.8163 [email protected] (course info)www.ndnu.edu, [email protected] (local info)
Mary Healy, 6706 Colton Blvd, Oakland, CA 94611Tel 1.510.339.6225 [email protected]
clean—perhaps a little too clean: all edito-rial additions are clearly noted, but it isshort on helpful suggestions. For example,the music contains no demarcations of thesections, and only one tempo marking oc-curs among the three canzonas. A few sug-gestions for tempos, in particular, wouldhelp the non-specialist, especially regard-ing the several sections in three-one time,which can be confusing. Performers needto be sensitive to contrasting sections, es-pecially those with the same meter, andchange tempo and style accordingly.Nonetheless, this is a fine edition. Anyonewho commits time to study this music andlearn its structure will be well rewarded.
Requiring intermediate technical abili-ty, these works are reminiscent of Fres-cobaldi’s ensemble canzonas in scope,style, and technical demands. Picchi is askillful composer who rises above the stan-dard fare with inventive motifs and a richharmonic pallette. Recorder players willfind much to like in these works.
Thomas Cirtin
15TH CENTURY ANONYMOUSCHANSONS, VOL. III, ED. MARY A. BEN-TON. Dovehouse Editions Canada IRCS-21(Loux), 2000. Various insts., sc 30 pp, 3 pts (superius 9 pp, tenor 16 pp, con-tratenor 11 pp). $15.
This is the most recent volume of three-part anonymous chansons transcribed byeditor Mary Benton from Codex Q16, alate-15th-century manuscript housed in
the Civico Museo Bibliographico Musicalein Bologna, Italy. Vol. III contains 20 of the131 compositions in that source. (Vol. II,Dovehouse IRCS-20, containing 17 otherchansons from the same source, was re-viewed in the March 2001 issue of AR. Vol.I, IRCS-19A and IRCS-19B, containing an-other 30 chansons from Q16, includessupplementary part books in original no-tation.)
Although these were originally vocalpieces, mostly in rondeau form, the onlytexts found in Q16 are brief incipits, usedby the editor as titles. There are examplesin Italian and Spanish as well as in frac-tured French. While some of the exampleswith non-French titles show Spanish andItalian influences, the basic style of most ofthese chansons is the Franco-Burgundian“duet” style epitomized by Antoine Bus-nois. That style is characterized by inde-pendent, free-flowing melodic lines in thesuperius and tenor voices with a less
melodic, supportive contratenor line. Typ-ical features include complex rhythms,overlapping phrases, and two- and three-voice imitation of short motives. One piecein the collection is written in the earlierstyle of Dufay in which the melody appearsin the superius with the other two linesmoving together as an accompaniment.
Like most 15th-century sources, Q16tells us nothing about performance prac-tices, but historical, iconographic, and lit-erary evidence indicates that these pieceswere probably performed vocally or withwhatever instruments were available. Theeditor recommends using soft instrumentssuch as recorders, viols, harp, lute, andportative organ. Since most of the lineshave a range no wider than an octave and asixth, most of these pieces work well onrecorders, and ATB is the best combina-tion for the majority. If emphasis on tex-ture is desired, mixed instrumentation isrecommended. The “duet” style, for exam-ple, can be emphasized by choosing likeinstruments for superius and tenor linesand a contrasting timbre for contratenor.
Because of the complex rhythms, over-lapping phrases, and lack of text underlay,proper phrasing and note groupings inthese chansons are not obvious. Therefore,they should be performed by advancedplayers. This user-friendly edition includesalternate parts in treble and alto clefs to ac-commodate both wind and string players,and there are no bad page turns.
Carolyn Peskin
...historical, iconographic,and literary evidenceindicates that these pieceswere probably performedvocally or with whateverinstruments wereavailable.
MUSIC REVIEWS (cont.)
ADAGIO AND FUGA, BWV 564, BY J.S.BACH. Peacock Press Dolmetsch LibraryPDL 06 (Magnamusic), 2000. SATB, Sc 12 pp, pts 3 pp. $11.95.FIVE FOUR-PART CHORALES[CHORALE PRELUDES] BY J.S. BACH,Vol. 1. Peacock Press Dolmetsch LibraryPDL 08 (Magnamusic), 2000. SATB, Sc 12 pp, pts 3 pp. $11.95.THREE FANTASIAS, BWV 570, 563,735, BY J. S. BACH. Peacock Press Dol-metsch Library PDL 05 (Magnamusic),2000. SATB, Sc 15 pp, pts 4 pp. $11.95.THREE FUGUES, BWV 578, 574, 575,BY J. S. BACH. Peacock Press Dolmetsch Li-brary PDL 04 (Magnamusic), 2000. SATB,Sc 16 pp, pts 3 pp. $11.95.CONTRAPUNCTUS 10 FROM THEART OF THE FUGUE, BY J. S. BACH, ARR.EIJI MIKI. Avondale Press AvP46 (Magna-music), 2001. SATB, Sc 7 pp, pts 2 pp.$5.00.
These new editions demonstrate onceagain how adaptable is J.S. Bach’s music.Each volume presents arrangements froma different genre of keyboard music andprovides an enjoyable opportunity forrecorder players to experience this greatmusic “from the inside,” while at the sametime presenting good technical challenges.
The Dolmetsch Library now offers sev-eral inventive arrangements from theworks of Bach. Although the original mu-sic is often clearly in four parts, the processof transcription is not necessarily straight-forward. The range of the individual partssometimes needs adjusting to stay withinthe limits of the recorder’s range, and evenin strictly polyphonic music Bach some-times employs a more idiomatic keyboardtexture that momentarily combines partsor adds an extra voice. In general, theseproblems are met convincingly by Dol-metsch’s arranger, who unfortunately isunidentified. There is only one seriouslapse—the final chord of the wonderfulcanonic chorale prelude on In dulci jubilo isleft without the root in the bass. Also it isworth noting that the closing free-voicedsection of the Fuga in C Minor, BWV 574,has quite reasonably been omitted.
Eiji Miki has arranged Contrapunctus10 from The Art of Fugue, also makingsmall adjustments, mostly octave transpo-sitions, to keep the music within therecorders’ ranges. Once again, one chordhas lost its proper bass note, but this in-stance is more fleeting than the one in Indulci jubilo and is easily adjusted by theperformers if desired.
The presentation in all cases is cleanand legible. The notes are quite small in
the Contrapunctus score and in some of theDolmetsch parts, but page turns are thusavoided in the parts. Added slurs, orna-ments, etc. are virtually non-existent, al-though Dolmetsch’s editor provides tem-po suggestions. Miki provides a brief ex-planatory note, but it would be helpful tohave more background information, espe-cially the words of the chorales and a de-scription of the position of Contrapunctus10 in The Art of Fugue as a whole. Howev-er, these are all welcome additions to therecorder ensemble repertoire (especially atvery reasonable prices), and each will testthe abilities of upper intermediate and, insome cases, even advanced groups. No
one should be shy, however, about tacklingone or two favorites offered here—perhapsthat old chestnut, the G Minor Fuga, BWV578—in order just to spend some timewith the master.
Scott Paterson
January 2003 35
Oberlin Conservatory of Musicpresents the 32nd
Baroque Performance Institute22 June - 5 July 2003
“Music of the Bach Family”
Kenneth Slowik, Artistic Director
with the Oberlin Baroque EnsembleMichael Lynn, recorder & traverso
Marilyn McDonald, violinCatharina Meints, viol & cello
Lisa Goode Crawford, harpsichord
an international faculty includingChristopher Krueger, flute
Gonzalo Ruiz, oboeJulie Andrijeski, baroque dance
Application Deadline: May 1, 2003www.oberlin.edu/con/summer/bpi
[email protected]. 440-775-8044/fax 440-775-6840
77 West College St, Oberlin OH 44074Conservatory of Music
77 West College St, Oberlin OH 44074
KEY: rec=recorder; S’o=sopranino; S=soprano; A=alto; T=tenor; B=bass; gB=great bass; cB= contrabass; Tr=treble; qrt=quartet; pf=piano; fwd= fore-word; opt=optional; perc=percussion; pp= pages;sc=score; pt(s)=part(s); kbd=keyboard; bc=bassocontinuo; hc=harpsichord; P/H=postage and han-dling. Multiple reviews by one reviewer are followed bythat reviewer’s name.
36 American Recorder
Resource ListThanks to David Lasocki for his researchand writing on this subject, on whichmuch information in this article is based:
Lasocki, David with Roger Prior. The Bas-sanos: Venetian Musicians and InstrumentMakers in England, 1531-1665. Alder-shot, Hants, England: Scolar Press,1995.
Lasocki, David, “Professional recorderplaying in England 1500-1740,” Part I:1500-1640, Early Music 7, no. 1 (Jan.,1982), 23-29.
________, “The Recorder Consort at theEnglish Court 1540-1673,” Part I, Amer-ican Recorder 25, no. 3 (Aug., 1984), 91-100. Part II, American Recorder 25, no. 4(Nov., 1984), 131-135.
Music List in Order of Program“Pastime with good company,” by Henry
VIII (from Musica Britannica, ed. JohnStevens, Vol. XVIII, “Music at the Courtof Henry VIII,” 2nd rev. ed. London:Stainer & Bell, 1973). Also in manyrecorder collections, including: The Recorder Book, ed. Rosenberg,Schott ED11380, 1976.
“Instrumental Piece,” by Henry VIII (Mu-sica Britannica #80). These pieces are al-so in many recorder collections, includ-ing: The Schott Recorder Consort Antholo-gy, Vol. 6, “English Music,” ed.Thomas,Schott ED 12392, 1991.
“Trolly Lolly,” by William Cornish (MusicaBritannica #39). In The Recorder Book(above) and other recorder collections.
“Whiles life or breath,” by William Cor-nish (Musica Britannica #50).
“O Death, Rock Me Asleep,” attributed toAnne Boleyn, Historical Anthology of Mu-sic by Women, ed. James R. Briscoe. Indi-ana Univ. Press, 1987.
“O ye tender babes,” by Thomas Tallis, inThe Four Secular Songs, London Pro Mu-sica EML 367, n.d.
“Veni Redemptor,” by Thomas Tallis, inThe Schott Recorder Consort Anthology,Vol. 6 (above), #5.
“Tiento,” by Antonio de Cabezon, in TheSchott Recorder Consort Anthology, Vol. 2,“French and Spanish Music,” Schott ED12388, 1991. Or choose from CuatroTientos by Antonio de Cabezón (Moeck
3612, 1969) or Tientos by Antonio deCabezón (Moeck 3615, 1969).
Pavans & Galliards in 5 Parts, by AugustineBassano, ed. Peter Holman, The RoyalWind Music, Vol. I, Nova N.M. 201,1981.
“La Volta,” by William Byrd, in FitzwilliamVirginal Book, Vol. 2, ed. Maitland andSquire, Dover Publ., 1963.
“Hard by a crystal fountain,” by ThomasMorley, Polyphonic Publications PP 100,1994.
“Lachrimae antiquae novae,” by JohnDowland, in The Schott Recorder ConsortAnthology, Vol. 6 (above). Or choose fromComplete Consort Music, by John Dow-land, ed. Edgar Hunt, Schott ED 12141,1985. Pieces are also published sepa-rately by Schott.
“Masquing Ayre,” by John Adson in TheSchott Recorder Consort Anthology, Vol. 6(above). Or “A Masquing Ayre,” by Ad-son, in Three Jacobean Dances (c.1620),Loux, LMP-50, 1987. Or choose from:Courtly Masquing Ayres, by Adson, Vols. I& II (5 instruments) or Vol. III (6 instru-ments), London Pro Musica LPM EM 3(1976), 4 (1977), 5 (1979).
Four Fantasias in 5 Parts, by Jerome Bas-sano, ed. Peter Holman. The Royal WindMusic, Vol. II. Nova N.M. 202, 1981.
Music at the Royal Court of London ca.1620,ed. Peter Holman. Moeck 497, 1980.
“Pavan,” by Richard Dering, in Three Jacobean Dances (above).
Constance Primus, with a degree in MusicHistory & Literature from the University ofColorado, has taught music and performedon recorder and flute for many years. As along-time member of the ARS Board, shehelped set up the ARS Education Programand the Junior Recorder Society and waspresident from 1990 to 1994. From 1980 to1994, she was the founder and director ofthe Colorado Recorder Festival at ColoradoCollege and has been a faculty member atmany recorder, early music, and Orff-Schul-werk workshops. Now she is semi-retired inGeorgetown, CO, where she performs, di-rects a consort, and volunteers as Music Re-views Editor of American Recorder. Herlove of travel and European history led tothis article and numerous workshop classeson the subject.
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MUSIC AT THE ENGLISH COURT (cont.)
January 2003 37
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duets from Handel operas sung by alto LeeMorgan and soprano Teresa Radomski.
For the group’s next performances,Feb. 16 and April 6, Carolina Baroquepresents more music by Handel, as well asBach and Telemann.
Kathryn Canan played the small, butsignificant, part Leonard Bernstein wrotefor recorder in one song of his opera Can-dide, in a production by the Davis ComicOpera Company (CA).
The fall subscription concerts of theHarmonia Baroque Players, profession-al Baroque chamber music group in Or-ange County (CA) featuring recorderistMarika Frankl, were entitled “MusicaItaliana,” with works of Frescobaldi, di Mi-lano, Vivaldi, Lotti, Nardini and Storace.“From the Musical Courts of Europe” isthe title of the February series, and “Saintsand Sinners” the theme for May. For thespring concerts, soprano Maurita Phillips-Thornburgh will join the ensemble.
In The Tortoise and the Hare, MargrietTindemans, Gus Denhard, and Peggy
Monroe direct a light-hearted retelling ofAesop’s beloved fables, spiced liberallywith music from the Renaissance—lutes,viols and recorders. The 45-minute educa-tional performance is sponsored by theEarly Music Guild of Seattle (WA), anda performance for families with childrenage five and older is set for February 8.
The St. Paul (MN) ConservatoryBaroque Ensemble, directed by CléaGalhano performed its Recorder Feast inDecember at the Schubert Club. Perform-ers in the group (pictured below, with Ms.Galhano at center of photo) included Lau-rence Ducker, recorder, Robert Ciborowskiand Jean Allison Olson, violin; Lena Olsonand Nicholas Kor, guitar; Erik Ducker andMorgan Rutherfird, ‘cello; Jack Barrett,harpsichord; Andy and Abby Nach-scheim, Anna Nation, Jordan Brunsberg,Clara Olson, and Betsy Sullivan, voice,with solo and duo selections offered byJohn West and Jason Wirth, winners of theChamber Music Minnesota competition.
Hours of playing and enjoyment with early
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Pre DiscContinuoEarly Intermediate Handel, Lully, Purcell, Corelli, Consort Music of Lassus, Dowland, Arcadelt & more
The DiscContinuoIntermediateTelemann, Marais, Handel, Frescobaldi & even more
DiscContinuo IIAdvanced IntermediateBach, Philidor, Mancini, Handel Cantata with soprano Susan Rode Morris & even still more!
TIDINGS Bits & Pieces (cont.)
TIME SIGNALS: RECORDER MUSICFROM THE NETHERLANDS. AMSTER-DAM LOEKI STARDUST QUARTET. NM Clas-sics 92100 (Qualiton), 2001, 1 CD, 61:46,$15.50.
The Amsterdam Loeki Stardust Quar-tet has been delighting, amazing, and sur-prising audiences for over two decades. Itseems fitting, therefore, for this Dutchrecorder quartet to enter its third decadewith a recording of music from Holland.Time Signals features works from the 15th,16th, 17th, and 20th centuries by AdrianWillaert, Will Eisma, Jacob Obrecht,Christian Hollander, Tylman Susato, Ja-
cobus Clemens non Papa, Jacques Buus,Anke Brouwer, and Jan Pieterszoon Sweel-inck. As you might expect, a large variety ofrecorders is employed for this program.
The Quartet continues to delight,amaze, and surprise. Frais et gaillard byClemens non Papa, for example, is per-formed with Dalla Casa’s diminutions—the version in which all four parts are or-namented—and the players’ improvisa-tions thrown in for good measure. This isdifficult to bring off, and these guys take itin stride. Several contemporary works areinterspersed among the Renaissancepieces; perhaps the most interesting isFreeZzz for four tenor recorders and syn-thesizer. This work is built on urban clatterreminiscent of the sound effects of crimedramas. But special effects are not limitedto the modern works. The Quartet pro-vides a novel interpretation of Susato’s LaBataille, using percussive effects on the
recorders combined with dynamics andsharp articulation to suggest marching sol-diers and the fray of battle. This is the mostmoving reading of this popular piece I haveheard!
This recording is a feast of recorder con-sort music and recorder playing. Anyonewho doubts that the recorder is a seriousinstrument, capable of a wide range of mu-sical expression, needs a strong dose of theAmsterdam Loeki Stardust Quartet. Forthose of us who appreciate the instru-ment’s capacity for music making, thisperformance is delightful and amazing,but not a surprise.
THE AGE OF JOSQUIN & THE GRANDTOUR. HIGHLAND PARK RECORDER SOCI-ETY AND CHAMBER ORCHESTRA: ROBERT W.BUTTS, DIR. RWB ProductionsBOBCD20003 (ARS CD Club), 2000, 1 CD, 65:54, $17.00.
It gladdens the heart to hear of largeamateur recorder consorts around thecountry that are well-organized and ambi-tious enough to mount full-scale concerts.One such ensemble is the Highland ParkRecorder Society in New Jersey, featuredon this compact disc. When listening tothis live recording, one is reminded howhard it is to get a room full of recorders toplay in tune. Perhaps the best you canhope for is the gentle, warm fuzziness thatpervades this CD. The ensemble consistsof 16 recorders, a flute, and a string or-chestra with percussion—all playing totheir hearts’ content. The result is what
one would expect to experience in work-shops where a lot of fun is had by all.
This challenging program surveys mu-sic from the 15th through the 20th cen-turies, including works by Josquin desPres, Antoine Busnois, Heinrich Isaac, Or-lando Lasso, Arcangelo Corelli, G.F. Han-del, W.A. Mozart, Erik Satie, Béla Bartok,and the group’s director Robert W. Butts.Half the music is from the Renaissance.
This is not a recording for the purist:the meaning is found in the pure joy ofrecorder playing—not stylistic niceties.Perhaps the most compelling offerings arethe two works by Butts for recorder con-sort and strings. May Song is a lovely piecewith lyrical, well-played solos set againstthe large ensemble, whereas La Mer, UnMatin en Septembre is a darker work withan antiphonal opening that gives way to afugue for the whole ensemble.
This recording can provide a wealth ofideas for large ARS chapters who needrepertoire for concerts and workshops.Many of the works fit recorders well, andare worth the rehearsal time.
Thomas Cirtin
The Quartet provides a novel interpretation of Susato’s La Bataille, using percussive effects on therecorders combined with dynamics and sharparticulation to suggest marching soldiers and the fray of battle. This is the most moving reading of this popular piece I have heard!
COMPACT DISCREVIEWS___________________________________
Professionals and amateurs alike offer recordings to like
Each CD review contains a header with the following in-formation: disc title; composer (multiple composers in-dicated in review text); name(s) of ensemble, conductor,performer(s); label and catalog number (distributor maybe indicated in order to help your local record storeplace a special order; some discs available through theARS CD Club are so designated); year of issue; total tim-ing; suggested retail price. Many CDs are availablethrough such online sellers as <www.cdnow.com>,<www.towerrecords.com>, <www.amazon.com>,etc. Abbreviations: rec=recorder; dir=director;vln=violin; vc=violoncello; vdg=viola da gamba;hc=harpsichord; pf=piano; perc=percussion. Multi-ple reviews by one reviewer are followed by that review-er’s name.
38 American Recorder
Carolina Baroque
Dale Higbee, Music Director
Music of 1600-1750
on period instruments
Concerts -- Carolina Baroque CDs
412 S. Ellis St., Salisbury, NC 28144-4820
[email protected] ~ (704) 633-9311
www.carolinabaroque.org
January 2003 39
RECENT LISTINGS!____ BACH & HANDEL: BAROQUE MASTERSCarolina Baroque. Dale Higbee, recorders.Recorded in concert in 2002, this delightful CDoffers a various selections by Bach and Handelincluding excerpts from several of the masters'operas and cantatas. $17 ARS/$20 others.____ VIVA VOCE! TWO MINI-OPERAS BY HAN-DEL (2-CD set, live recording) Carolina Baroque.Dale Higbee, recorders. Acis and Galatea & Apolloand Daphne are "two of the most charming worksfrom the Baroque era."—American Recorder. $24ARS/$28 others.
IN STOCK (Partial listing)____THE AGE OF JOSQUIN:THE GRAND TOURHighland Park Recorder Society & ChamberOrchestra, Robert W. Butts, conductor.RWB Productions. $17 ARS/$20 others.____BLOCKFLÖTENENSEMBLE WIENIrmtraut Freiberg, Karin Heinisch, Susanne Jurdak,Eva Maria Kaukal & Prisca Loeffler, recorders.Ensemble music for three-five players (sopraninoin g” to great-bass in F); compositions by J.Chr.Demantius, J. Hilton, M. Kaeser, Monteverdi,Morley, Mozart, W. W. van Nieuwkerk, Pachelbel,Reichardt, Schermann. $17 ARS/$20 others.____CHARLESTON PRO MUSICA ON TOURMarsha Evans, Lewis Fitch & others, recorders,gemshorns, guitar and voice. Medieval andRenaissance music with consort and singers.Millennium Music/ Charleston SC. $17 ARS/$20 others.____AIRES AND DUETS FOR TWO FLUTES ANDBASS Vicki Boeckman & Dorte Lester Nauta,recorder; Mogens Rasmussen, viola da gamba; ViggoMangor, archlute & chamber organ.Trio sonatas byHandel, Telemann, G. B. Braun, Merula, S. Rossi.Primavera. $17 ARS/$20 others.____CONCERTI DI NAPOLI Rebel: Matthias Maute,recorders; Jörg-Michael Schwarz & Karen MarieMarmer, violin; John Moran, ‘cello; Dongsok Shin,harpsichord. Sonatas by Mancini, Roberto Valentini,A. Scarlatti. Dorian. $17 ARS/$20 others.____DANCE! RENAISSONICS John Tyson,recorder, pipe & tabor; James Johnston, violin;Reinmar Seidler, ‘cello; Douglas Freundlich, lute;Jacqueline Schwab, virginals. Renaissance dancesand improvisations.Titanic. $17 ARS/$20 others.____DREAMS INSIDE THE AIR TUNNELZana Clarke, recorder & composer. “Drawing onthe music of the didjeridu & shakuhachi...beautiful& hypnotic...”—American Recorder. OrpheusMusic. $17 ARS/$20 others.____FOLIAS FESTIVAS Belladonna BaroqueQuartet. Margaret Humphrey, Baroque violin; CléaGalhano, recorders; Rececca Humphrey, Baroque'cello; Barbara Weiss, harpsichord. Music from the16th and 17th centuries by Falconieri, de Tafalla,Merula and others. Dorian. $17 ARS/$20 others.
____FRUIT OF A DIFFERENT VINE AlisonMelville, Natalie Michaud & Colin Savage,recorders; A. Hall, piano. Works by Berkeley,Genzmer, Hindemith, Leigh, Staeps. Supported bythe 1994 ARS Professional Recording Grant. S.R.I.$17 ARS/$20 others.____THE GREAT EMU WAR Batalla Famossa, anensemble of young players records the first CD ofdiverse Australian recorder music. Orpheus Music.$17 ARS/$20 others.____IMAGINE II David Young, recorders. More con-temporary interpretations of classic songs from the1970s by Neil Young, Jim Croce, Carole King, andMoody Blues. Universe Music. $17 ARS/$20 others.____JOURNEY Wood’N’Flutes (Vicki Boeckman,Gertie Johnsson & Pia Brinch Jensen, recorders).Seven centuries of recorder—the Middle Ages tothe present; works by Dufay, Machaut, Henry VIII,Mogens Pederson, W.W.Van Nieuwkerk & Maute.Kadanza Classics. $17 ARS/$20 others.____A JOURNEY AMONG TRAVELLERS (CDSHORT) Peter Bowman and Kathryn Bennetts per-form Donald Bousted’s 26-minute quarter-tonal piecefor two alto recorders. $12 ARS/$14 others____LANDSCAPES David Bellugi, recorders; AliTajbakhsh and Chris Hayward, percussion. “Virtual”orchestra of recorders created single-handedly byBellugi.Three centuries of ethnic music by Encina,Brouwer, Ortiz, Bartok. Frame. $17 ARS/$20 others.____LES AMIS DU BAROQUE Paul Nauta,recorder/Baroque flute; Koen Dieltiens, recorder; Jande Winne, Baroque flute; Christina Mahler, ‘cello;Shalev Ad-El, harpsichord/organ. Ensemble in CDtitle plays music by Bassani, Corelli, Vivaldi, etc.Highlight Intl. $17 ARS/$20 others.____MANCINI: CONCERTI DI CAMERA JudithLinsenberg, recorders; and Musica Pacifica. Sevensonatas by Mancini, plus works from his contempo-raries Durante and D. Scarlatti. “Highly recom-mended” citation from the 2000 Vivaldi Prize forRecordings of Italian Early Music—Giorgio CiniFoundation, Venice. Dorian. $17 ARS/$20 others.____MIDNIGHT SUN Alison Melville & Colin Savage,recorders; Ensemble Polaris members playing flute,clarinet, guitar, ‘cello, hurdy-gurdy, percussion. Newarrangements of traditional music of Norway, Finland,Estonia, Sweden, Scotland. Classic CD Disc of theMonth, August 2000. Dorian. $17 ARS/$20 others.____MY THING IS MY OWN: BAWDY MUSIC OFTHOMAS D’URFEY Tina Chancey, Grant Herreid& Scott Reiss, recorders & other early instruments;Rosa Lamoreaux, soprano. Common tunes of love,sex & seduction in 18th-century England, collectedby D’Urfey in “Pills to Purge Melancholy,” used inimprovisations. Koch Int’l. $17 ARS/$20 others.____POPULAR MUSIC OF THE RENAISSANCE,Anne & Rob Burns (A Reasonable Facsimile) playrecorders, shawm, cittern, Renaissance guitar, strawfiddle, and a variety of drums, whistles, and pipes.Second From the Bottom. $17 ARS/$20 others.____A. SCARLATTI: CONCERTI DI CAMERA JudithLinsenberg, recorders; with other members of MusicaPacifica. Seven sonatas for various instrumentations.$17 ARS/$20 others.
____SHINE AND SHADE Piers Adams, recorder;Julian Rhodes, harpsichord. Works of Norman Fulton,Edmund Rubbra, York Bowen, Lennox Berkeley,Edward Gregson, Stephen Dodgson, Donald Swann.$17 ARS/$20 others.____SONGS IN THE GROUND Cléa Galhano,recorder, Vivian Montgomery, harpsichord. Works byPandolfi, Belanzanni, Vitali, Bach and contemporariesThomas, Morrison and Setti, featuring songs basedon grounds. 10,000 Lakes. $17 ARS/$20 others.SUZUKI® RECORDER SCHOOL (Four vols.)Recordings to accompany the Suzuki® RecorderSchool method books, with Marion Verbruggen,recorders. $17 ARS/$20 others, for each single CD, or$33 ARS/$40 others for any two Suzuki® CDs:____Vols. 1 & 2 for Soprano or____Vols. 1 & 2 for Alto
(Vols. 1 & 2: folk & children’s songs, Baroque dances)____Vols. 3 & 4 for Soprano: Handel, de la Guerre, others____Vols. 3 & 4 for Alto: Handel, J.S. Bach, Purcell, others____TELEMANN ALLA POLACCA REBEL withMatthias Maute, recorders & traverso, play concertiand suites by G.P.Telemann. . $17 ARS/$20 others.____TELEMANN: CHAMBER CANTATAS ANDTRIO SONATAS Judith Linsenberg, recorders;Christine Brandes, soprano, Jennifer Lane, mezzo-soprano, members of Musica Pacifica. Five cantatasfrom Harmonischer Gottesdienst (soprano, recorder& continuo, or mezzo-soprano, violin & continuo); plustwo trio sonatas from Sonatas Corellisantes (in thestyle of Corelli). Dorian. $17 ARS/$20 others.____TRIO ATLANTICA Lisette Kielson, recorders;Julie Elhard, viola da gamba, Paul Boehnke, harpsi-chord. Works by Bach, Telemann, Montéclair, Leclair.Trio Atlantica. $17 ARS/$20 others.
Please indicate above the CDs you wish to order,and print clearly the following:
Name _____________________________________Daytime phone: (_____) _______________________
Address: ___________________________________
City/State/Zip: ______________________________
Check enclosed for _____ single CDs x $____ = $______ _____ 2-CD sets x $____ = $______
TOTAL = $______
Please charge the above amount to my MasterCardor Visa:
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Mail to: AMERICAN RECORDER SOCIETY,Box 631, Littleton, CO 80160-0631, U.S.A.You may fax or call in your credit card order to 303-347-1181.
Order your recorder discsthrough the ARS CD Club!The ARS CD Club makes hard-to-find or limited release CDs by ARS members available to ARS members at the special price listed (non-members slightlyhigher), postage and handling included. An updated listing of all available CDs may be found at the ARS web site: <www.americanrecorder.org>.
40 American Recorder
CLASSIFIED___________________________________
FOR SALE: Moeck Bass with separate Bocal, $1,500.303-338-9594. E-mail: <[email protected]>.
FOR SALE: Moeck baroque bass. Maple bone rings. Direct blow. No case. $500. Mollenhauer tenor maple f/f# keys. $175. 615-292-2999. <[email protected]>
www.acheerfullnoyse.com We are a full line, virtualmusic store specializing in instruments, sheet musicand accessories for early music. If you want somethingbut don't see it listed on our website, please ask and wewill order it for you. Customer Service is our middlename.
AMERICAN RECORDER seeks articles on recorder:history, performance practice, artists and repertoire,education, instrument building, etc. Also, photographsand reports of news events. Will considerartwork, poetry, riddles, puzzles. Modest hon-oraria by special arrangement. Send inquiries to: American Recorder Editor, 7770 SouthHigh St., Centennial, CO 80122; <[email protected]>.
SCHOLARSHIPS for recorder players of any ageto attend recorder/early music weekend work-shops. Apply two months before funding is need-ed. Weekend workshop scholarships are madepossible by memorial funds set up to honor formermembers Jennifer Wedgwood Lehmann and Margaret DeMarsh. Contact ARS, Box 631,Littleton CO 80160; 303-347-1120;<[email protected]>.
MUSIC REVIEWERS for AR needed. Reviews mustbe submitted by e-mail or on disk. Pleasesend a brief bio with a list of the types ofmusic you are interested in reviewing to ConniePrimus, Box 608, Georgetown, CO 80444, or <[email protected]>.
COMPACT DISC REVIEWERS for AR needed. Re-views must be submitted by e-mail or on disk.Please send a brief bio with a list of the types of mu-sic you are interested in reviewing to Thomas Cirtin,8128 N. Armstrong Chapel Road, Otterbein IN 47970,<[email protected]>.
Classified rate for American Recorder: 60¢per word, ten-word minimum. “FOR SALE”and “WANTED” may be included in thecopy without counting. Zip code is oneword; phone, e-mail, or web page is two.Payment must accompany copy. Dead-lines are one month before issue date.Send copy with payment to: ARS, Box 631, Littleton, CO 80160.
ADVERTISER INDEXAMERICAN ORFF-SCHULWERK ASSN. . . . . . . . . . . . . . . . . 23AMERICAN RECORDER SOCIETY. . . . 20, 27, 28, 33, 35, 36BEATIN’ PATH PUBLICATIONS . . . . . . . . . . . . . . . . . . . . . . . . 30STEPHAN BLEZINGER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25JEAN-LUC BOUDREAU . . . . . . . . . . . . . . . . . . . . . . . . . . . 21, 32BOULDER EARLY MUSIC SHOP . . . . . . . . . . . . . . . . . . . . . . 19CAROLINA BAROQUE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34COURTLY MUSIC UNLIMITED. . . . . . . . . . . . . . . . . . . . . . . . 13COLLINS AND WILLIAMS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3HONEYSUCKLE MUSIC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13KATASTROPHE RECORDS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33BILL LAZAR’S EARLY MUSIC . . . . . . . . . . . . . . . . . . . . . . . . . . 32MARGRET LÖBNER RECORDERS . . . . . . . . . . . . . . . . . . . . . 19KEITH E. LORAINE EARLY DOUBLE REED SERVICE. . . . . . 36MAGNAMUSIC DISTRIBUTORS . . . . . . . . . . . . . . . . . . . . . BCMOECK VERLAG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IBCMOLLENHAUER RECORDERS . . . . . . . . . . . . . . . . . . . . . . . IFCTHE MUSIC STORE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IFCOBERLIN BAROQUE PERFORMANCE INSTITUTE . . . . . . 31PRESCOTT WORKSHOP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33PROVINCETOWN BOOKSHOP. . . . . . . . . . . . . . . . . . . . . . . 29THE RECORDER MAGAZINE . . . . . . . . . . . . . . . . . . . . . . . . . . 3THE RECORDER SHOP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3SAN FRANCISCO EARLY MUSIC SOCIETY . . . . . . . . . . . . . . 5SCOTT REISS, RECORDER, IRISH WHISTLE. . . . . . . . . . . . . 29SWEETHEART FLUTE CO. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36SUZUKI RECORDER METHOD INSTITUTE . . . . . . . . . . . . . 30SUZUKI TEACHER DEVELOPMENT COURSES. . . . . . . . . . 23VON HUENE WORKSHOP, INC. . . . . . . . . . . . . . . . . . . . . . . 29J. D. WALL PUBLISHING CO. . . . . . . . . . . . . . . . . . . . . . . . . . 25WICHITA BAND INSTRUMENT CO. . . . . . . . . . . . . . . . . . . . 24DOMINIK ZUCHOWICZ. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Where the havesand have-nots
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CONSIDER ADVERTISING IN
Full page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $5402/3 page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $4001/2 page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $3301/3 page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $2551/4 page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $2001/6 page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $1551/8 page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $1151/12 page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $ 851 column inch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $ 50
Prices include web site/e-mail link directly from your ad in AR On-line (www.recorderonline.org).
Circulation: Includes the membership of theAmerican Recorder Society, libraries, and music organizations.
Published five times a year: January, March, May,September, November.
Reservation Deadlines: December 1, February 1,April 1, August 1, October 1.
Rates good through November 2003. Please inquireabout discounts on multiple-issue contracts, inserts,or other special requests. Extra charges fortypesetting, layout, halftones, and size alterations.133-line screen recommended. Advertising subjectto acceptance by magazine. First-time advertisersmust include payment with order.
For more information, contact Steve DiLauro, Adv. Mgr.LaRich & Associates, Inc.15300 Pearl Road, Suite 112Strongsville, OH 44136-5036440-238-5577; Fax: 440-572-2976E-mail: <[email protected]>
SCHOLARSHIPSfor recorder players to attend
recorder/early music
SUMMERWORKSHOPS
applications must be
postmarked by April 15
for recorder players to attend
recorder/early music
WEEKEND WORKSHOPS
throughout the year,
apply two months
before funding is needed
Workshop scholarships are made
possible by memorial funds
established to honor Andrew Acs,
Jennifer Wedgwood Lehmann
and Margaret DeMarsh.
AMERICAN RECORDER SOCIETYBox 631, Littleton CO 80160-0631, U.S.A.
303/347-1120 • 303/347-1181 (fax)[email protected]
SWEETHEART
FLUTE CO.
Baroque Flutes: our own“Sweetheart” modelFifes, Flageolettes
“Irish” Flutes & Whistles.Send for brochure and/or
antique flute list.
32 South Maple StreetEnfield, CT 06082(860) 749-4494
