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SEATTLE RECORDER SOCIETY
October 2013 Vol. XLV, No. 1
Recorder Notes
SRS MEETING
Friday, October 4th, 2013
@ 7:30 p.m.
Playing Session (Vicki Boeckman)
Music of Hammerschmidt,
Victoria, Guerrero, and Charlton
SATB, GB, CB,
viols, and buzzies are welcome
Beginning Ensemble (Sally Mitchell)
Music Provided
Welcome to another year of music with the Seattle Recorder Society! After the great success of the Port Townsend Early Music Workshop, the enthusiasm feels contagious, and we are looking forward to some wonderful events in the coming months.
There are many activities we would enjoy doing that require a lot of community input and energy. Events such as the Recorder Orchestra of Puget Sound that we have done in the past, and the auction that was held at the workshop this past summer, happened because members contributed their time and effort. If you have ideas about projects like this, the Board would like to hear from you. Please talk with anyone on the Board (see page 5 for contact information) and let's see what else we can do!
Ellis Hillinger
President 2013/2014
The Seattle Recorder Society 2013/2014 season will open on Friday, October 4th, with Vicki Boeckman as conductor. She comments below on her plans for the meeting. Our season will be exciting and diverse. Charles Coldwell will present the opening program in November, and I will conduct new editions of music by Heinrich Isaac, one of the great mid-‐Renaissance composers. In December, we will be treated to an exciting trio of young players, whose performance at the recent Port Townsend workshop impressed us all. At that meeting, I will conduct some Chanukah pieces as well as the so-‐called “Pastoral Symphony” from Handel’s Messiah. In January, the enormously talented and interesting Phil and Gayle Neuman will come from Portland to lead the entire meeting. February will bring the return of Anna Mansbridge and her dancers, and the March program will be presented by the internationally famous Eva Legêne.
Less experienced players as well as beginners will be supported at each meeting by Sally Mitchell,
who returns as leader of the Beginning Ensemble. Memberships don’t pay for all of our expenditures, but they sure help. Please join us for the current
season now!
Welcome to the 2013/2014 SRS Playing Season!
From the Music Director . . . (Peter Seibert)
First (Annual) Holborne Play Date
Greetings! I am thrilled to be leading the first meeting of the new season. What an honor, and what a splendid summer we have had! In keeping with tradition, the first meeting of the season will start with everyone playing together – beginners and novices as well as the more routined players. For this I have chosen a lovely 6-‐part homophonic motet by Andreas Hammerschmidt called “Schafe in mir Gott” (Create in me, O God) that I think you will enjoy. Hammerschmidt was one of the most distinguished composers of 17th century German church music with an especially prolific output of choir and congregational music. The beginners will then be whisked away to form a small group led by Sally Mitchell's gentle hand. The large group will continue with some of my very favorite 4-‐ and 5-‐part motets from the Spanish Renaissance by Tomás Luis de Victoria and Francesco Guerrero. The stunningly beautiful “O Magnum Mysterium” and “Ave Virgo Sanctissima” will be among these works.
Then we will end the evening with some sprightly 5–part, foot-‐stompin' “Celtic Fancies” by Andrew Charlton. Bound to leave you smiling!
SATB, GB, contra bass recorders, and all sizes of viols and buzzies
are welcome. I look forward to seeing all of you again.
From the Conductor . . . (Vicki Boeckman) 2013/2014 SRS Meetings
Meetings are usually held on the first Friday of each month, October to May, at 7:30 p.m., Maple Leaf Lutheran Church, 10005 32nd NE, Seattle. Meetings
include a short performance or lecture of interest to recorder and viol players, ensemble
playing for all levels of recorder players, and a beginning
recorder ensemble. A $5.00 donation is requested for non-‐members.
October 4, 2013
November 1, 2013 December 6, 2013
January 3, 2014 February 7, 2014
March 7, 2014 April 4, 2014 May 2, 2014
Refreshments (October)
Cookies Hanan Bell
Richard Ginnis Ellis Hillinger
Fruit Katie Sprugel
Veggies Jill Shupe
Cookies, fruit, and veggies for the October meeting are provided by the SRS Board.
Sign-‐ups for future meetings will be taken at the October session.
Thank you for volunteering!
Board Meeting
** Reminder **
Monday, Nov. 18, 2013 7:30 p.m.
Vicki’s House
Fri., Oct. 4 @ 7:30 pm: Seattle Recorder Society Meeting @ Maple Leaf Lutheran Church, Seattle. Fri., Oct. 4 @ 7:30 pm: Ensemble Amarelli presents “Mélodies crépusculaire” – Music of Couperin, Lully, and Visée. Northlake Unitarian Universalist Church, 308 – 4th Ave. S, Kirkland. EMG Sat., Oct. 5 @ 5:30 pm: Baroque Northwest presents “Fall Fundraising Fiesta” – Concert and party featuring food, wine, and four centuries of music. TPC. www.baroquenorthwest.com Sun., Oct. 6 @ 7 pm: Byron Schenkman and Friends present “Beethoven Piano Quartets.” Nordstrom Recital Hall at Benaroya Hall, Seattle. www.byronschenkman.com. Fri., Oct. 11 @ 8 pm: Jean-‐Baptiste Robin, organist, performs a solo recital. St. James Cathedral, 804 – 9th Ave., Seattle. www.stjames-‐cathedral.org. Sat., Oct. 12 @ 2 pm: Moss Bay Recorder Society Meeting conducted by Sally Mitchell – Music from the court of Ferdinand & Isabella. Redmond Library, 15990 NE 85th, Redmond. www.mossbayrecorders.org Sat., Oct. 12 @ 8 pm: Seattle Baroque Orchestra presents “Musica Transalpina” – Celebrate the musical connection between Italy and Germany. Guest director Elizabeth Blumenstock. TH, Seattle. EMG Fri., Oct. 25 @ 8 pm: Pacific MusicWorks presents “Welcome to all the Pleasures” – Music from England centered around Henry Purcell. First Baptist Church, 1111 Harvard Ave., Seattle. www.pacificmusicworks.org Sat., Oct. 26 @ 7:30 pm: Tudor Choir presents “Faire is the Heaven: Music of the English Church” – Music of Byrd, Gibbons, Stanford, and more. Blessed Sacrament Church, 5041 9th Ave. NE, Seattle. EMG
Fri., Nov. 1 @ 7: 30 pm: Seattle Recorder Society Meeting @ Maple Leaf Lutheran Church, Seattle. Sat., Nov. 2 @ 7:30 pm and Sunday, Nov. 3 @ 3:00 pm: Gallery Concerts presents “The Three Cellists play Bach” – Meg Brennand, Page Smith, and Nathan Whittaker, violincellos. Experience all six of Bach’s Cello Suites – Nos. 1-‐3 on Saturday and Nos. 4-‐6 on Sunday – with a Boccherini trio closing each program. Queen Anne Christian Church, 1316 – 3rd Ave. W, Seattle. www.galleryconcerts.org Tues., Nov. 5 @ 7:30 pm: Quintessence (Vicki Boeckman, Sabine Endrigkeit, Laura Faber, Silke Harper, and Mike Woolf) presents “A Music Journey through the Ages” – Music of Bach, Boismortier, Guerrero, Holborne, Piazzolla, and Maute. TPC, Seattle. EMG Sat., Nov. 9 @ 2 pm: Moss Bay Recorder Society Meeting conducted by Sally Mitchell – Music of Renaissance England, Redmond Library, 15990 NE 85th, Redmond. www.mossbayrecorders.org. Sun., Nov . 10 @ 3 pm: Sine Nomine Renaissance Choir presents “Playing with Fire: Gesualdo’s Madrigals” – Guest conductor Anne Lyman. TPC, Seattle. EMG Sat., Nov. 16 @ 8 pm: Lucidarium presents “Una Festa Ebraica – Celebrating Life” – Italy’s premier ensemble for medieval and Renaissance music – “Party music” from the stages of life in a Jewish community. TH, Seattle. EMG Sun., Nov. 17 @ 1 pm: Early Music Discovery: Lucidarium (plus kids!) presents “Un Bel Matin d’Amor: Discovering the Music of Medieval Italy.” Downstairs at TH, Seattle. EMG Sun., Nov. 17 @ 3 pm: New Baroque Orchestra – Music of Handel, Corelli, Rameau, and Telemann. Linda Melsted, conducting. TPC, Seattle. EMG Sun., Nov. 24 @ 3: pm: Our Lady of Fatima Chamber Choir and Baroque Orchestra present Messiah. Our Lady of Fatima Parish, 3218 W Barrett St., Seattle. www.olfatima.org. Sun., Nov. 24 @ 7 pm: Byron Schenkman and Friends present “Bach Sonatas” – Ingrid Matthews, violin; Byron Schenkman, harpsichord. Nordstrom Recital Hall, Benaroya, Seattle. EMG Sat., Nov. 30 @ 7:30 pm and Sun., Dec. 1 @ 3 pm: Gallery Concerts presents “A Baroque Christmas with Ellen Hargis.” Queen Anne Christian Church, 1316 – 3rd Ave. W., Seattle. www.galleryconcerts.org.
Concerts and Events Calendar
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EMG (Early Music Guild, 206-‐325-‐7066) www.earlymusicguild.org TPC (Trinity Parish Church, 609 8th Avenue, Seattle) www.trinityseattle.org TH (Town Hall, 1119 8th Avenue, Seattle) www.townhallseattle.org
All events are subject to change. Please confirm details as needed.
Members' Night! This evening is the culmination of the work of many groups, of many people, over many hours of rehearsal for this one occasion of short performances. Members' Night has always been a favorite time for me, and I've missed only a couple in the past 30 years. The basement of the Maple Leaf Lutheran Church is arranged differently from our other meetings, with the audience facing the south windows instead of the north wall, and the space for the players is defined by an Oriental rug and two standing lamps. In May the evening light comes in, instead of the dark of winter. Family members and friends show up to listen to the music and cheer everyone on. Each group is allowed five minutes to talk and play, and SRS volunteers help to make the transitions between groups seamless and efficient. Best of all, anyone may play as long as there is an SRS member in the group – whether a beginner, an intermediate player, or an accomplished musician – and over time we have watched individual players and groups become more and more proficient on their chosen instruments. Very gratifying!
This year, fifteen groups played, eight prior to intermission and
seven afterwards. The music they chose to perform ranged from 13th to 20th century works, with most composed during the Renaissance and Baroque periods. Our new President, Ellis Hillinger, graciously presented the players and directed traffic on and off the 'stage.’
* * * * * * * *
F irst up were the Wild Wild Women (Nancy Gorbman, alto and soprano recorder, Gerrity Shupe, harpsichord, Beatrice Dolf, violin, and Anne Dennis, viol). Their name came from a vaudeville sheet-‐music song with Nancy's uncle on the cover (although it was not his song). They played a lovely Sonata No. 5 in G Major in four movements by Nicola Francesco Haym (1678-‐1729), a Corelli-‐like piece with lots of trading off between the instruments.
D iversity (Tomo Morita, recorder, Beatrice Dolf, violin, Marjorie
Parkington, cello, and Gerrity Shupe, harpsichord) played a three-‐movement Trio Sonata in A Minor by Georg Philipp Telemann (1681-‐1767). This was well done; Tomo's playing was steady and calm. In the second movement, the violin played very low as an accompaniment to the recorder, different from the usual arrangements of equal treble parts in a trio sonata.
Jonathan and Noreen Jacky on alto recorder and bass viola da
gamba played four charming Norwegian folk tunes. Noreen told us what the songs were about: one was about a goat, another about a boy who traded his cow for a violin. It would have been fun had there been time to hear the translations! The final song was about a fox and a hare, with Noreen playing a drone.
Recorder Classes (from Laura Faber)
Beginners
Tuesdays -‐ 6:30 to 7:30 pm
Beginners Thursdays -‐ 10:30-‐11:30 am
Advanced Beginner/Lower Intermediate Ensemble Tuesdays -‐ 7:30 to 9:00 pm
Advanced Beginner/Lower Intermediate Ensemble
Thursdays -‐ 11:30 am to 1 pm
Intermediate Ensemble Tuesdays – 1:00 to 2:30 pm
* * * Class Descriptions
Beginners (SAT)
Anyone in their first year of playing
Adv. Beginner/ Lower
Intermediate Ensemble (SATB) Comfortable with all common
fingerings and rhythms
Intermediate (SATBGB) Playing both F and C
instruments, counting halves, reading from parts
People who are interested
should contact me by email at [email protected]
or by calling (206) 619-‐0671.
American Recorder Society
Have you checked out the new website for the ARS?
www.americanrecorder.org
Laura Faber is the SRS Representative to the ARS. If you have any questions regarding the ARS, you can
reach Laura at: [email protected]
or (206) 619-‐0671
Seattle Recorder Society Meeting Members’ Night – May 3rd, 2013 (From Molly Warner)
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Next came Spring Rain Consort – one of Laura Faber's recorder classes – and what a pleasure to see their progress! Laura substituted for group member Nancy Jordan; the other players were Michael Bancroft, Ann Kimball, David Maugham, Eunice Nakao, Rebecca Olson-‐Nord, Karen Soma, and Izzie Wylde. They played pieces by Tielman Susato, including “Battle Pavan,” “Ronde IX/Aliud,” and “Galliarde,” on altos, tenors, and basses (Karen played soprano on “Aliud”). The group played nicely in tune. I've always loved the Renaissance battle pieces, and this one included some good shooting!
The Woodland Consort (Susan Burris, Ellis Hillinger, and Susie
Keithly on ATB and SAB recorders) has been together for quite a few years. Last year, they began to memorize their performance music, which makes for great visual communication and coordination between the players. To illustrate their first piece, “O Sleepe fond fancie” by Thomas Morley (1558-‐1603), Susie appeared in costume with a cap and kitty slippers. Jumping from the Renaissance to the Baroque period, they ended with the Fugue in D Minor by Johann Peter Kellner (1705-‐1772).
Two Beats on the Half Rest followed – what a great name for a
group! Glory Aajfert on soprano, Stephanie Savino on tenor, Dan Hrehov on alto, and Brian Jencks on bass recorders played two selections from Dansyre by Tielman Susato (about 1510-‐15 to sometime after 1570). Brian and Dan have played together as a duo in South King County for quite a few years; how nice for them to be able to play now in a quartet.
Gerrity Shupe and L Hotaling played two songs by Franz Shubert
(1797-‐1828) on harpsichord and recorder, with great expression. “I wanted to show that recorders could be romantic,” explained L. “Poor Schubert died at age 33. He wrote ‘Der Leiermann’ (The Organ Grinder) when he was dying, and ‘Thränen’ (Frozen Tears) is all about lost love.” We can always count on L to present something original!
Ye Olde Spice Girls (Belinda Frazier, soprano, Nancy Gorbman, alto and tenor, Cathy Lacefield, alto, Ruth Pattison, tenor, and Jill Shupe, bass) played two wonderful Renaissance pieces. The first was “De vous server” by Phillip van Wilder (c. 1500-‐1554). “Gia piansi nel dolore” by Carlo Gesualdo (c.1560-‐1613) was a fascinating piece with lots of crunches and interesting transitions; Gesualdo really knew how to express mental anguish! This was one of my favorite pieces of the evening. The Spice Girls had rehearsed it at my house a couple of months earlier, coached by Vicki Boeckman's Danish colleague, Pia Brinch Jensen, so I had listened to the evolution of this work under their hands.
Following the intermission, the Double W's (Nancy Wright
on viol and Carolyn Wallace on recorder) played a Sonata in C Major for alto recorder and basso continuo by Pietri Torri (c. 1650-‐1727). This was very pleasant music, and Nancy and Carolyn matched each other very sensitively.
(more performances below . . . please keep reading)
SRS Board Members (2013/2014)
Music Director: Peter Seibert (206-‐329-‐2774) [email protected]
Officers:
President: Ellis Hillinger (206-‐547-‐0718) [email protected]
President-‐Elect: Kathleen Arends (425-‐649-‐9869) [email protected]
Past President: Katie Sprugel [email protected]
Secretary: Molly Warner (206-‐523-‐5192) [email protected]
Treasurer: Richard Ginnis (206-‐633-‐1969) [email protected]
* * * * Membership: Jill Shupe (206-‐364-‐7509) [email protected] Newsletter: Karen Berliner (206-‐550-‐3384) [email protected]
Refreshments: Evelyn Lester (206-‐726-‐9257)
Viol Representative: Ellen Seibert (206-‐329-‐2774) [email protected]
Webmaster: Charles Coldwell (206-‐328-‐8238) [email protected]
Ex-‐Officio Member: Vicki Boeckman (206-‐985-‐9916) [email protected] Members-‐At-‐Large: Hanan Bell (206-‐695-‐2276) [email protected] Betty Swift (206-‐323-‐3879) [email protected] Carolyn Wallace (206-‐782-‐6898) [email protected] “Recorder Notes” is published monthly, October through May, for its members by the Seattle Recorder Society. 4554 4th Ave NE, Seattle, WA 98105. $35 Annual Membership Dues. www.seattle-‐recorder.org
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The Ladies (Betsy Darrah, Betty Swift, Gerrity Shupe, Ione Turman, Jill Shupe, L. Hotaling, Nancy Lewis, Ruth Pattison, Sharon Schuldt, and Susan Burris, directed by Vicki Boeckman) all resplendent in red and black, took their places in a large semicircle with recorders of varying sizes. We heard three Renaissance pieces about love from the collection of the Duke of Lerma – “Adios mi Amor,” “Subiendo Amor,” and “Todos Aman” by Francisco Guerrero (1528-‐1599). The last piece featured some really interesting syncopations.
Bass Line is the name of Laura Faber's class on the bass recorder.
Accompanied by Tom Faber on the drum, Laura, David Maughan, Eunice Nakao, Maja Tritt, and Ione Turman made some wonderful sounds! Both the “Alle Psallite Cum Luya,” a thirteenth century piece by an unknown composer, and the familiar “Now is the Month of Maying” by Thomas Morley were just delightful on the bass instruments.
The Ravenna Consort (Judy Barton, Hanan Bell, Karen Berliner,
and Doug Sprugel) played a Serenade in F by Rudolf Lerich (1903-‐1982), in Allegretto-‐Andante-‐Allegro format, with the last movement being a little fugue. “Is Lerich deservedly obscure or not?” asked Doug. But, I quite enjoy this piece, which I have played before.
Big Byrds (Kathleen Arends, Tommy Arends, Anne Dennis, Jill
Shupe, Gerrity Shupe, Jim Pilon, and Molly Warner) played transcriptions for recorder by Phil Neuman of two 20th century pieces. “Intermezzo – My Bonny Boy” by Ralph Vaughan Williams (1872-‐1958) from his Folk Song Suite was dreamy, in sharp contrast to Aaron Copland's (1900-‐1990) “A Drunken Celebration” from Billy the Kid.
Trio Tibia (Cassie Lear, Thomas Reyna, and Molly Warner) is a brand-‐new group of just a few week's duration, with only two rehearsals prior to this performance. All three are flute players of modern and/or baroque varieties, but are now exploring alto, tenor, and bass Renaissance flutes. They played two pieces by Heinrich Isaac (1450-‐1517), “La Morra” and “O Venus Bant.”
The final performance was by Vicki Boeckman and Bill Stickney in a duet version of the 4-‐part Contrapunctus XIII from Art of the Fugue by Johann Sebastian Bach (1685-‐1750). Old J.S.B. probably hadn't anticipated this version of his music, here played on a modern keyed tenor recorder and a baritone saxophone! The evening ended with refreshments including a cake to honor Peter Seibert, our Music Director of more than four decades. Peter is handing over the business aspects of running the Seattle Recorder Society to the SRS Board, while retaining the job of planning and directing the music playing. Thank you, Peter, for all your years of thoughtful service to SRS, and HUGE THANKS to all who spent many, many hours preparing their presentations for Members' Night! Have a wonderful summer!
For Sale Recorders & Stand
*Moeck bass recorder Direct blow, maple, neck strap, speaks clearly, purchased ~1973 but not played much
after 1985. $500.
*Moeck tenor recorder Rottenburgh, curved windway,
maple, no keys. Price negotiable.
*Yamaha tenor recorder, plastic, keyed, straight neck,
$50.
*Wooden stand Holds 7 instruments, large dowel for bass recorder. Plastic/foam cover also available.
For information, call Carla Kaatz
(509-‐925-‐1265). Instruments may be tried out
at her son’s house in the Wedgewood area.
David Kaatz (206-‐525-‐0528)
The 16th Port Townsend Early Music Workshop (PTEMW) took place in the second week of July on the lovely campus of the University of Puget Sound in Tacoma, Washington. This Seattle Recorder Society-‐sponsored event, which has taken place in all odd-‐numbered years since 1983, was formerly held in Port Townsend, WA. Although this was now our third season at UPS, we have continued to keep the original workshop name.
And what a wonderful workshop it was! Music Director Vicki Boeckman and Administrator Jo Baim are now a veteran and well-‐organized team, and the week progressed very smoothly. Thanks to the success of previous Port Townsend sessions in Tacoma, the enrollment this year was larger than in the past years. We had good representation from the Pacific Northwest and Canada (Washington, 49; British Columbia, 19; Oregon, 7; and Alberta, 1) as well as elsewhere in the US (California, 10; Arizona, 5; Colorado, 4; and one each from Minnesota, Wisconsin, New York, Connecticut, Maine, Ohio, Texas, and Indiana). The faculty were superb. In addition to Port Townsend regulars Brent Wissick, Clea Galhano, Peter and Ellen Seibert, Joanna Blendulf, Louise Carslake, Peter Maund, and Margriet Tindemans, we welcomed newcomers Matthias Maute and Joan Griffith, and returnees after decades away, Nina Stern and Phil and Gayle Neuman.
The week followed its usual course – classes Monday through Friday with Wednesday afternoon off, evening events including the fabulous faculty concert, the dessert-‐and-‐wine party on Tuesday, the Friday night banquet with many participants garbed in Debbie McMeel's fabulous costumes, and the final student concert on Saturday morning. There were many musical highlights, many giggles and guffaws, many good conversations with friends old and new. One particularly gratifying addition to the workshop was the youngest participant, 12-‐year-‐old Bryan Boehnke of St. Paul, MN, a student of Clea Galhano's. At the Friday evening party he dazzled all of his elders by playing from memory a three-‐movement Vivaldi concerto for sopranino, accompanied on the harpsichord by his dad, Paul. The future of recorder playing is golden!
As usual, we asked for comments from participants regarding the teachers and the workshop in general.
A Lucky Raffle Ticket!
Picture this: it’s March in Oregon; you’re at an early music retreat; you buy 3 raffle tickets; the prize – tuition to the PTEMW. When the winner is announced, you walk away with the coveted prize! That was me, and I want to thank the Portland Recorder Society for that
fantastic opportunity. I very likely wouldn’t have gone to a weeklong workshop on my own, but I’m so glad that I did.
From ear training in my technique class to learning haunting Armenian melodies by ear, from memorizing complex Arabic and African rhythms on hand drums to the yearning theater music of Henry Purcell; from enthusiastic and encouraging teachers to friendly and convivial students; (not to mention a gorgeous campus and meals I didn’t have to cook), it was a glorious week. To hear the incredibly talented faculty perform was inspiring and downright jaw dropping. I came away with many ideas to improve my playing, musical
directions to pursue, and a renewed commitment to continue. Sign me up for 2015! With sincere appreciation – Karen Soma, Seattle, WA
Adventures at the Port Townsend Early Music Workshop -‐ 2013 (Introduction by Molly Warner; photos from Molly Warner and Charles Coldwell)
Joan Griffith’s Class “No Wrong Notes”
It was the title that attracted me to this class. Constantly being annoyed and discouraged by playing wrong notes, I was searching for a remedy. What I found was a door to a new and exciting skill –
jamming. Joan plays guitar and teaches improvisation by backing a solo
player with chord progressions. You hear the music, you imagine the notes that could flow along over the chords, and very quickly you play them – on the fly. It sounds impossible, but if you forget about having to read the notes and just get your fingers to go to the notes you hear in your head, you are on the way to having a great time jamming. The class was positive inspiration to saturate your fingers with scales and arpeggios, counting on those digits to
gradually acquire the ability to translate that melody in your head. Joan says that music is language. You are talking about something, an actual thing or a feeling or a story. Being able to convert that experience into a sound pattern is tremendously exciting. Being able to “talk” with musical notes in a dialog with another person
is a transcendent experience, like a conversation with a beloved person.
Nancy Lewis, Kenmore , WA
Peter Maund’s Drum Circle
Everyone who has played a cardboard pizza box in a drum circle under Peter Maund’s inspiration knows how much fun drumming can be. But until I had a real, daily class with Peter, I didn’t realize that it actually is possible to not only learn a drumming routine, but that saying it is as much fun as drumming it! When I saw the
drummers in the last PT workshop recite and play, quite joyfully, a long and complicated routine, I wondered if I was up to the challenge of the drumming class. With Peter, one of the most gifted teachers, I could do it! And what fun! I have now returned home with my drum, ready to proselytize in our recorder society’s Sept. meeting . . . and perhaps I’ll bring a couple of pizza boxes with me. There’s nothing
like a good beat. There’s no one like Peter! SLAP a DUM DUM TEK! Nancy Fahringer, Tucson, AZ
Nina Stern’s Recorder Technique Class
“Air as Wind” (to the tune of “Let it Snow”)
Oh, the tone coming out is frightful, But it could be so delightful, And the only way to blow, is
Let it flow, let it flow, let it flow.
Our exercises, if done, will be proving That you must keep the air moving, Add agile tonguing, but always know, If air’s slow, it’s no go, let it flow.
For the high notes, “whistle” softly, The low notes on “ha” are wafty, Make air travel and you will glow, Let it flow, let it flow, let it flow!
Thanks, Nina, for a wonderful technique class!
Nancy Gorbman, Lake Forest Park, WA , and several classmates
Joanna Blendulf’s Viol Technique Class
Joanna Blendulf taught a superb daily class in viol technique and interpretation, concentrating on the music of John Ward, and showing us the connection between two published (Hunter) books of Ward (Madrigals and “Music of”). On technique, she showed us how to make a fast, seemingly difficult set of 8ths and 16ths into a group of notes you just toss off! This was accomplished first by surmounting the
obvious hurdles – amount of bow, location and pressure of the bow, fingerings, etc. But then Joanna added a secret weapon! When you had these difficulties mastered, you then should assume an attitude! For us, in a particularly difficult passage, it was “CASUAL!” It worked! I began to understand how assuming a kind of role when one plays can convince oneself to transform the very difficult passage into
something almost effortless . . . just by thinking, “CASUAL!” Nancy Fahringer, Tucson, AZ
Ellen Seibert’s Beginning Viol Class
I have owned a tenor gamba for longer than I will admit, and have always
wanted to get started on it. Taking the beginning viol class from Ellen was a real treat and just the boost that will
get me going. She was very informative, instructive, and kind.
This was definitely one of the highlights of the workshop.
George Simmons, Seattle, WA
Margriet Tindemans & “German Music for Viol Consort”
With her usual patience and grace, Margriet got us thinking about and feeling a strong basic pulse and incorporating it into various patterns. Her exercise creation, “Count your blessings,” was explored in order to apply these thoughts and feelings. This was a great help in our efforts to examine some music by German composers. A couple of pavans gave us a chance to practice playing and feeling that strong pulse while adding interesting but predictable counterpoint. A Schein piece required keeping the pulse internally while playing the text-‐based lyrical counterpoint. After enjoying a
number of other composers, we ended with reading a Bach Ricercare a 6, a noble effort showing the need for this participant to refine some skills. This was a fun class and left me wanting to find out more about
German music for viols. Janet Loy, Portland, OR
Brent Wissick’s Viol Technique Class and “Byrd for Viols” Class
It’s always a privilege and a learning experience to have Brent for an instructor. His enthusiasm for music and musicality is contagious and inspirational. In his technique class, he emphasized finding the “sweet spot,” or “G spot” as he called it, for each string to get the optimal sound and resonance. He then taught us
how to “tune” our instrument without using the pegs by getting closer or farther from the bridge with the bow – closer for more intense and slightly sharper
sound and farther from the bridge for a more mellow and slightly flatter sound. In the Byrd class, Brent emphasized making the viol sing like the human voice. In addition to other works, we had the opportunity to enjoy Byrd’s masterful interplay of the different viol voices in the 3-‐part Fantasias I and II. What a joy
to work on those great pieces under his tutelage! Bill Warren, Seattle, WA
Vicki Boeckman’s Recorder Technique Class
Being at the low end of the skill level and a first timer at this workshop, Vicki’s class was a godsend. To have her class first thing in the morning on that first day was such a relief! “I can follow this; I get it. This is going to be useful for my level.”
I felt grounded as if I actually belonged here. I was going to learn, be challenged, but not overwhelmed. Our main focus was exploring articulation. In addition to this one theme, Vicki gave space for other questions and individual concerns.
I felt in the hands of an experienced, effective teacher that has given thought to evocative ways to describe the different dynamics we need to bring under our control. We touched on starting with a sense of groundedness in ourselves, physical stretches and alignment, breath control, the play of breath in our recorders with low and high pitches, etc. We also touched on different structures we could create for
ourselves as exercise forms for practicing at home. I liked her suggestion of a practice journal to keep track of what exercises I’ve created and what tempos I’m working with. She also suggested some books that could give us inspiration and additional guidance.
I truly appreciated the wide scope of what Vicki was willing to explore with us while not losing touch of our main theme for the week. The class served as a very important anchor to all the other challenges I managed to face during the week.
Patricia Nichols, Vancouver, BC
Louise Carslake’s Recorder Technique Class
Louise brought many skills to our class: good humor, patience, and a wealth of knowledge and experience. We talked about posture, breathing and support (Louise’s
favorite term is “AIR”), articulation, and thumb movement, among other things. Each day we played a piece that
Louise had chosen to complement what I thought of as the “technical issue of the day.” Louise guided us with
suggestions and conducting to get us started, but she let us play without her leading us, as well. In the final class,
Louise led us in an interesting discussion of different ways to play phrases and had us try out various suggestions. Our last version was a much different piece than our first version – not surprising, really, but certainly rewarding. Many thanks, Louise, and to everyone else in the class!
Carolyn Wallace, Seattle, WA
Gayle Neuman
I am so impressed by the many talents of Gayle Neuman. She was the reed doctor in Phil’s
crumhorn class. Without her expertise, some of us would not have been able to participate. She also offered interpretive commentary and
alternate fingerings, and sang the vocal parts. Her support, advice, and assistance were lighthearted and inspirational and so knowledgeable. I look forward to future classes with Gayle and Phil.
Miranda Manners, Long Beach, CA
Phil Neuman’s Historical Reed Class
Phil took a motley group of about 15 reed players – three dulcians, a racket, and assorted crumhorns and cornamuses –
and shaped us up splendidly. On Monday morning we sounded pretty chaotic; by Saturday’s student concert we were tight and even played pretty well in tune.
His enthusiasm (“that was fantastic!”) and knowledge were boundless. In addition, Gayle Neuman was on the sidelines
to help people with their reeds, and she made great improvements on many instruments. And who besides Phil could play “Summertime” on a sweet potato?!
Thanks to both for a fine week. Kate Bracher, Brunswick, ME
Clea Galhano’s Class “Stilo Fantastico”
I think for most members of this class the notion of Stilo Fantastico was unfamiliar. My present understanding, based on Clea’s explanation, is that it is a style adopted by a number of early 17th century composers who produced works that contained several
qualitatively different sections within the piece, sections that later in the Baroque period would diverge to become separate movements. One of the biggest challenges in our playing was to switch between the different moods and tempi. Clea’s conducting was effective in enabling us to make these transitions. She conducts with great energy and enthusiasm and seems able to coach each line in full flight,
bringing each one back to the right meter and the right articulation, complete with vocal encouragement. I like Clea’s approach. Musically, she is an iron fist in a velvet glove. She insists on her tempi and her articulation, and accepts no other. This approach worked very well for the quite complex pieces, in what was a large group with some line doubling. However, despite her tough approach, she maintains a
friendly, encouraging attitude throughout. There is never any doubt that she is on your side, pulling for you. This was the first class I had ever taken from Clea, but I look forward very much to the next one. Furthermore, I found the music interesting and exciting and will try
Stilo Fantastico pieces in my own groups. Tony Griffiths, Vancouver, BC
Peter Seibert’s Recorder Technique Class
The packet for this class contained music by Palestrina, Attaignant, JS Bach, Telemann, and Praetorius as well as Peter’s arrangement of “Deep Blue Sea,” two pages of white mensural notation, an essay on ornamentation, and two pages of scales for F and C recorders.
A very useful take-‐home package! Peter suggested getting our faces out of the printed page and really learning about our instruments, to recognize note sounds and intervals. To illustrate, he played a short scale, beginning at C, up and back down, and asked us to imitate him. I had to make myself stop watching his fingers for clues. The rest of the week he sat behind us for this exercise. I found that I could not imitate him every time. Revelation! I have much to learn. Thumb action was pondered: flesh or nail? Peter wrote out different styles of
tonguing, some of which we shouldn’t try at home. Each session included playing music, with emphasis on accents and the shaping of phrases. The class was altogether informative and enjoyable!
Justine Nagel, Vashon, WA
Clea Galhano’s Recorder Technique Class
In Clea’s technique class, the techniques serve the music. That is something all too rare in my
experience, as often techniques are taught almost as an end in themselves. Not so with Clea. Always,
always her focus is on the music, on the spirit of the music, and what is required for an amateur player to
enter into that music in an expressive and collaborative way. There is, of course, information about and demonstrations of articulations, as well as
breathing and phrasing guidelines. But all the technical instructions are in the context of the music itself and what is demanded of those who choose to transmit it. As a result, the musical journeys which Clea plans and directs are challenges that inspire.
Carolyn Sweers, Milwaukee, WI
Matthias Maute – His Own Music
One of the most exciting classes I have taken in years was the class by Matthias Maute working on his compositions. The course
description stated: “What could be more fun than having a living composer instruct his very own pieces? This class will focus on
playful, innovative, and challenging music with a twist including some basic forms of improvisation.”
And indeed? What could have been more fun than to work with a living composer? Matthias was delightful, using subtle humor and
deadpan comedy to ease all of us through his complex and demanding compositions. His expectations were high and everyone in the class wanted to meet them, prompting organized rehearsals by students during free blocks of time in the hopes of surprising the maestro with portions of his work polished enough for refinement.
The two main pieces we worked on were “Tanto Quanto” and “10 Times Tenor.” Though “10 Times Tenor” proved too elusive to be selected for the student recital on Saturday, “Tanto Quanto” came
together nicely. On the final rehearsal day Matthias added whimsical performance touches such as an improv jazz solo, standing sections during featured solos, and some vocalizations. For those of us more familiar with Gibbons and Dowland this was a stretch, but his humor
and gentle urging managed to get us over the hump of embarrassment and stretch our possibilities a little further. He was patient and yet driven, funny, and very clear about what he wanted, and had all of us wanting more music, more direction, and more
class time. Besides being the extraordinary musician that he is, he is a phenomenal teacher. I am so glad I broke out of my Holborne self
and tried something entirely new. What an awesome class! Debbie McMeel, Bellingham, WA
The Music of Matthias Maute
This class was a relaxing post-‐lunch session where we learned to perform his works directly from the composer. Among the tidbits we picked up:
* A composer remembers exactly how the work should go (not) * All of his works are Adagio (ha!)
* Once a work is published, it should never ever change (hardly) * This is all completely serious (really?)
Needless to say, we all lost sleep trying to figure out how to weave together several of his pieces and put something together for the student concert. I can’t wait to try again!
Ellis Hillinger, Seattle, WA
Jo Baim, Administrative Director
Once again, we were so fortunate to have Jo Baim in attendance to our every need. Upon arriving and checking in, I lost my keycard. Within minutes, it had been found and returned to me. Jo was always present to listen, reassure, and immediately respond to every concern. She kindly extended herself as available
to accompany on the harpsichord “in a pinch!!” We couldn’t have had it any better! Thanks so much, dear Jo .
Cathy Lacefield, Seattle, WA
Silent Auction and Other Donations
Many of you perused music for viols and recorders, as well as instruments given to the Seattle Recorder Society, manuscript pages, and some miscellany at the workshop.
We appreciated your interest and enthusiasm for the silent auction and the free music.
Now for the results: $2,790 was raised at the silent auction, and $329 was collected for the music and other contributions. Thank you!
Carolyn Wallace, Seattle, WA
Thanks to all who made the 2013 Port Townsend Early Music Workshop such a resounding success!
