rogram: Annual Meeting: The

SRS Annual Meeting is held at

the May meeting prior to the

Members’ Night program. The

only order of business is the

election of officers for the coming year. Each

year we elect a new president-elect who, after

serving a year in that capacity, becomes presi-

dent the following year. In the 38 years we

have followed this system, we have had 38

different presidents. Katie Sprugel is the in-

coming president for 2012-13. The offices of

secretary and treasurer are two-year terms.

Candidates for those offices are elected in the

even-numbered years. Candidates for all three

offices are selected by the nominating com-

mittee and will be presented at the meeting.

The by-laws provide for additional nomina-

tions from the floor, as long as you have the

permission of the person you wish to nomi-

nate.

Members’ Night: The Members’ Night

meeting is a celebration of individual and en-

semble efforts over the past year. During this

event we share pride in the accomplishments

of our members, regardless of their musical

experience. Ensembles on all levels partici-

pate. The achievement of beginners is as im-

portant to us as those of professional players.

If you are still considering whether to enter

your ensemble, please e-mail book-

worm649@gmail.com to find out if space

remains on the program. Information you

need to provide: 1) who will play, 2) the title

and composer of the work, and 3) the approxi-

mate timing. In order to provide opportunities

for all interested performers, we ask that each

offering be no longer than five minutes, in-

cluding any commentary.

The American Recorder Society Festival

will be on the west coast for the first time this

summer. Located at Reed College in Portland,

ARS Festival dates are July 5-8, and it is a

major event and opportunity for recorder play-

ers. During the festival there will be a broader

Recorder Notes

S E A T T L E R E C O R D E R S O C I E T Y May 2012

Vol. XLIII, No. 8

SRS MEETING

Fri., May 4, 2012

(7:30pm)

Annual Meeting

Tomo Morita,

presiding

Program:

Annual

“Members’ Night”

President-elect, M.C.

Concerts, Events, Workshops

2

Meeting Notes 4

Membership/Board 3

Music Trivia 3

Refreshments 3

Inside this issue:

...from the Music Director Peter Seibert

— and less restricted – range of activities than is

available at typical summer workshops. There

are numerous one-time offerings for you to

choose from, as well as concerts, classes on

teaching, chapter sessions, round table discus-

sions, commercial displays and sales, coached

consorts, jam session, and much more. Have a

look at www.americanrecorder.org and click on

the link to “Festival”. If you follow the link

“Presenters”, then click on any of the photos,

you are linked to their bio and offerings at the

Festival. As you will find, there is a rich menu

of activities. Taking part should be exhilarating

for any recorder player.

Come help me celebrate the ARS Presidential

Special Honors Award on Saturday, July 7 at

5:00 p.m. In lieu of a speech, I’ll conduct the

entire workshop in my new Festival Music for

Recorders, which we previewed at our March 30

meeting.

Thank you, Board!: The SRS simply could not

function without the board. Board members have

assigned jobs that they carry out faithfully during

the season. I would not be able to do what I do as

music director without that support. Thank you,

board!

Following Members’ Night, we enter our sum-

mer hiatus. Our new season starts on Friday,

October 7, with the first membership meeting of

2012-13 season.€

Jacques-Martin Hotteterre

MAY 2012

(TUE) 5/1/12 (7:30pm): First Tuesdays: Seattle Early Dance; Renaissance dance and music, directed by Anna Mansbridge @ Trinity

Parish Church, 609 8th Ave., Seattle; $25/$20/$10; (206-325-7066); emg@earlymusicguild.org

(FRI) 5/4/12 (7:30pm): Seattle Recorder Society Meeting “Members’ Night” @ Maple Leaf Lutheran Church, 10005 32nd NE, Seattle.

(FRI) 5/4/12 (7:30pm): Baroque Northwest: “Battle of the Bands: Le Roi Soleil & Sanssouci take on the Dresden Hofkappelle”; music

by Couperin, Hotteterre, Quantz, C.P.E. Bach & others: Kim Pineda, baroque flute, Max Fuller, viola da gamba, August Denhard, theorbo

& baroque guitar, Julia Brown, harpsichord @ Trinity Parish Church, 609 8th Ave, Seattle; $25/$20/$10; baroquenorthwest.com

(SUN) 5/6/12 (7:00pm): New Baroque Orchestra: music by Purcell, Charpentier & others: Linda Melsted, director, @ Trinity Parish

Church, 609 8th Ave, Seattle; (206-325-7066)

(SUN) 5/12/12 (8:00pm): Medieval Women’s Choir: “Loss & Longing”; Margriet Tindemans, artistic director with Laurie Monahan @

Blessed Sacrament Church, 5050—8th Ave. N.E., Seattle; $22/$17/$13/(206-264-4822) info@medievalwomenschoir.org

(FRI) 5/18/12 (7:30pm): Ave Renaissance Women's Choir @ Trinity Parish Church, 609 8th Ave., Seattle; (206-325-7066);

emg@earlymusicguild.org

(SAT) 5/19/12 (time TBD): Early Music Guild: “Early Music Guild Annual Gala Dinner and Auction” @ Women's University Club, 1105

Sixth Avenue, Seattle; (206-325-7066); www.earlymusicguild.org

WORKSHOPS/FESTIVALS

June 3-10, 2012: Berkeley Festival & Exhibition; Berkeley, CA; berkeley-festival.org

June 17-Aug. 3, 2012: San Francisco Early Music Society (SFEMS) Summer Workshops: www.sfems.org

July 5-8, 2012: American Recorder Society Festival; Reed College; Portland, Oregon; www.americanrecorder.org

Concerts & Events Calendar Recorder Notes Vol. XLIII, No. 8 Page 2

As is our usual practice the "April" meeting

opened with announcements of musical events

and concerns. President Tomo Morita's

call for a showing of new members and visi-

tors elicited several of each. Also, Margaret

Swain's new online availability for purchases

was a good thing to hear following the retire-

ment of John of John's Music. How some of

us loved those goat’s foot clackers and rain-

sticks, not to mention the inventory of many

excellent recorders and many other appropri-

ate items.

Progam: “The C'nardally Waytes”. Your note

-taker is in thrall to the “C'nardally Waytes”

for demonstrating their instruments of inimita-

ble delight, their informal conge-

nial presentation, and their truly beautiful pro-

gram. If I were a cornetto or a dulcian I'd

be proud. Waytes members represented at our

meeting were: Kris Kwapis, their longtime

internationally-acclaimed leader and

teacher; Chuck Colburn, relatively new but a

conqueror, cornettos; and Gary Berken-

stock, player of the dulcian, sweet double-

reed bassoon forerunner.

What is a Wayte? Waytes (waits) are mem-

bers of bands of musicians and singers who

sing and play for festive occasions, often for

money. Many of us first met the word when

caroling. So of course if you play a cornetto

you should be singing—it has a singer's

voice. Heed the text. The dulcian probably

began in Italy in the 16th century and was

Meeting Notes: Mar. 30, 2012 L Hotaling

Recorder Notes Vol. XLIII, No. 8 Page 3

Music Trivia

Name two composers of the late baroque

period, one French and one German, who

were flutists and known for their treatises

or technique books on playing the

recorder and/or flute—for example:

“Principes de la flûte traversière, ou flûte

d'Allemangne, de la flûte à bec ou flûte

douce et du hautbois, divisez par traictez

(1701)” and “Versuch einer Anweisung

die Flöte traversiere zu spielen (1752)”.

(see below for answer)

Answer:

Johann Joachim Quantz

(1697 –1773)

Jacques-Martin Hotteterre Le Romain

(1674 –1763)

Refreshments

May 4

Cookies: Ellis Hillinger

Sharon Shuldt

Gerrity Shupe

Veggies: L Hotaling

Fruit: Cathy Lacefield

Thank you!

called faggot for its resemblance to a

clump of firewood. When it got to Eng-

land it was called curtal after a cannon,

again for its looks.

Ages before the wooden cornetto ap-

peared, a goat became the contributor of

its own horn to begin the tradition. A

wooden renaissance cornetto, is made by

cutting a piece of pear, maple, or walnut

in half lengthwise, then boring out the

center, gluing the pieces together and

covering it with thin black leather. The

narrow end is slightly widened to receive

the small wooden, horn, or ivory mouth-

piece, said to resemble an acorn

cup. Cross-fingering is as on the re-

corder, but each note must be focused by

the player's lips. We learned another new

thing: A short dental floss string dangling

from the mouthpiece may let you do a

minute small tuning by tightening or loos-

ening it.

Gabrielis Andrea and Giovanni, uncle and

nephew, were included in the Waytes'

program. Together they did many years

of service for St. Mark's Cathedral in

Venice. Cornettos were so popular with

the Doge that he had six players,

well represented in Gabrieli composi-

tions. Waytes faithfully work from fac-

simile reproductions of original notation

only, and keep alive the good word on

historical temperament.

Playing Sessions: Our players divided

into two sections, with beginners and

rusties accompanying (cont’d on page 4)

Recorder Notes is published monthly, October through May, for its members by the Seattle Recorder Soci-ety, 1815 Federal Ave. E., Seattle, WA 98102. $35 Annual Membership Dues. Visit our web-site at:

www.seattle-recorder.org

S E A T T L E R E C O R D E R S O C I E T Y

1815 Federal Ave. E.

Seattle, WA 98102

www.seattle-recorder.org

Page 4 Recorder Notes Vol. XLIII, No. 8

2011-12 Meetings

Meetings are usually held on the first Friday of each month, October to May, at 7:30 p.m., Maple Leaf Lutheran Church, 10005 32nd N.E., Seattle. Meetings include a short performance or lecture of interest to recorder and viol players, ensemble play-ing for all levels of recorder players, and a coached viol consort. A $5.00 donation is

requested for non-members.

October 7, 2011

November 4, 2011

December 2, 2011

January 6, 2012

February 3, 2012

March 2, 2012

March 30, 2012 (Last Friday in March)

May 4, 2012

1815 Federal Ave. E., Seattle, WA 98102 (206-329-2774) pcs.srs@gmail.com

Music Director, Peter Seibert (206-329-2774) pcs.srs@gmail.com Board Members (2011-12)

Officers: President, Tomo Morita (425-255-1983) tomotomom@hotmail.com Past President, Jill Shupe (206-364-7509) jill.shupe@gmail.com Secretary, Molly Warner (206-523-5192) molly.warner@ymail.com Treasurer, Richard Ginnis (206-633-1969) rginnis@ginnisandchalhoub.com Mailing & Membership: Cathy Lacefield (206-528-6121) cathylacefield@hotmail.com Jill Shupe (206-364-7509) jill.shupe@gmail.com Newsletter, Nancy Gorbman (206-362-7326) ngorbman@hotmail.com Refreshments, Evelyn Lester (206-726-9257) Viol Rep., Ellen Seibert, (206-329-2774), ellen415@comcast.net Webmaster (Member-At-Large), Charles Coldwell (206-328-8238), cpcoldwell@zipcon.net

Editor, Nancy Gorbman

U N I V E R S I T Y O F W A S H I N G T O N

(cont’d from page 3) Sally Mitchell to the nether regions, and veterans staying in the big room with Peter. Except for one thing--this time

the beginners came back later and played with us. Great progress.

Peter's first part was devoted to a fascinating premiere pre-performance of his Festival Music for Recorders, written for the Reed College

American Recorder Society Festival in Portland coming up in early July. There Peter will receive an ARS Presidential Special Honors

Award. Peter, it sounded great. Progressive. Triumphant. We like it. And I believe it will send young players who are past the first barri-

ers of producing notes they can live with jumping for joy. For some it would be like being able to go to the Museum of Natural History or

the Hayden Planetarium every Saturday. It's easy. It's not boring at all. It has life. It has distinctions. It has mysteries. Portland and the

world, you'll see. Peter told the saga of Brahms getting such an award one time, and decided that he, Brahms, should produce some reward

for getting it, so what did he write? The Academische Festival Overture (copping a student song to do it). Hmmm.

Next, we welcomed Sally and company back to the fold. We cheerfully and carefully played with all, marking differences in style and

phrasing, Praetorius Bransles and Bach Chorales. A major development of this enterprise was that Peter discovered for us the pleasures of

introducing variations in performing the dance music, as having the bass and top line part perform the first time through alone, and adding

each other part as time allows. "You can take a simple Renaissance dance like this and flesh it out." Why make the last Bransles note so

long? Because the people are bowing to each other. And you can find drone performance useful too, using the last bass note. The most

memorable cautions to keep, especially for Bach: "Remember to leave some room to begin the next phrase." "Let the eighth notes speak as

Bach wrote them."

Afterwards Potluck Fun Nibbles were magnificent as usual. Thanks Cookie Monster and contributors.€