november 2002 - american recorder
TRANSCRIPT
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www.moeck-music.de
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sheet musicearly musicmodern musicfolk&popmethods/tutorsbooksmodern musicmusic cartoonsperiodicalstibia. magazin für holzbläserzfs recorders music seriescdswalter van hauwejeremias schwarzertrio diritto
FEATURESA Modern Recorder Player in Four Worlds . . . . . . . . . . . . . . 6Pamela Thorby Interviewedby David LasockiIt’s Not All Greek to Me. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10A recorder player’s diary of her musical journeyby Racheal CoganArranging Traditional Melodies for Recorders. . . . . . . . . . 14The eighth in a series of articles by composers and arrangersdiscussing how they write and arrange music for recorder,by Frederic Palmer
DEPARTMENTS
Advertiser Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Book Reviews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Chapters & Consorts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Classified . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Compact Disc Reviews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Focus on ARS Business Members. . . . . . . . . . . . . . . . . . . . . . . . . 5
Music Reviews. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Opening Measures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
President’s Message . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Q&A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Tidings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Bay Area Recorder Series for 2003, ARS & AMICI
news from Seattle, new groups give debut performances
ON THE COVER:Illustration by
Jeff Gold Graphics2181 Walden Hill Road
Danville, VT 05828802-684-9728
www.jeffgoldgraphics.com© 1987, 2002
Volume XLIII, Number 5 November 2002
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
LISA SCHMIDT, Design Consultant
Advisory BoardMartha Bixler • Valerie Horst • David Lasocki
Bob Marvin • Howard Schott • Thomas Prescott • Catherine TurocyKenneth Wollitz
Copyright © 2002 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.
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“This piece is harder than it looks.”The comment came as our quartet was
assembling a short program, based looselyon one that we had done for Play-the-Recorder Month. We had come back to apiece that had been cut early in the prepa-rations for that too-lengthy program. Thepiece seemed like it might be an easy oneto add back in, but it had turned out tohave some surprises we hadn’t found inour initial readings. What appeared to beseveral verses of the same traditional Nor-wegian tune contained nuances and subtlecadential changes with each repetition. Itwasn’t that it was technically hard, but itwasn’t as easy as it looked on the page.
In the eighth installment in the Com-posers/Arrangers series, Fred Palmer fillsyou in on how he arranges traditionalmelodies for recorders, using just some ofthe subtle changes and devices we found inpracticing that Norwegian piece.
Two articles in this issue give us the per-sonal perspectives of two professionalrecorder players—each with an interest inmusic where the recorder can make an un-expected but musically-valid appearance.Each one seems to have first followed a tra-ditional path of playing Renaissance andBaroque music on recorder, but then askedthe question, “Is that all there is?”
If knowing more about playing recorderin non-classical ensembles or styles inter-ests you, this is certainly not the first issueof AR where the topic has come up. A briefperusal of topics covered in recent issuesyielded several writings that would begood resources. Carolyn Peskin covers twotopics in different forums: how to arrangean original piece in Broadway style, withideas useful in arranging other pop tunes(May 2001), and a Q&A response recom-mending sources for editions of indige-nous music of the Americas (November2000). Two writers have related personalexperiences playing recorder in religioussettings: Peter Ramsey (September 2000)and Richard Carbone (January 2002).
Playing “different” music that may notseem that hard can stretch you in ways thatwill make you a better player of all styles ofmusic.
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.
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Please contact the ARS officeto update chapter listings.
ARS Chapters
November 2002 7
PRESIDENT’SMESSAGE___________________________________
The ARS fall Board meeting was held afterthe deadline for this issue, making it impos-sible for the newly-elected President to giveyou his greetings in this column (see list ofnew Board officers on the opposite page). In-stead, an American Recorder AdvisoryBoard member and former President offersthoughts on some of the advantages of notdying young. Her essay first appeared in theJune 2002 issue of the Early MusicNewsletter of the New York Recorder Guild.
Now all you young whippersnappers,stop your rainbow-chasing for a mo-
ment and listen to me. It’s great being aSenior. I mean it. There are all thoseperks: people giving you their seats on thebus or subway (yes, they really do!), thediscounts on public transportation, airtravel, car rental, lectures and concerts,and, yes, prescription drugs. I know wedon’t need them, but we deserve!
And then there’s the fact that if youstick around long enough you get to be a“Senior Recorder Player.” Of course thereare the obvious disadvantages of age: youdon’t hear so well, you don’t see so well,your memory is failing, and you don’tplay with the old facility. But the advan-tages are there too: surely you have putyour old nervousness behind you forever,or you should have. You have realized,somewhere along the line, that playing inpublic is not nearly so dangerous as brainsurgery. No lives hang in the balance; theworld will not come to an immediate endif you miss a note or even several. In factthe world is unlikely to care what you do,even if you break a string or lose the footjoint off your recorder. What the world (orthat small part of it—the friends and fam-ily who come to your performance) caresabout is having a good time, and you canmake them do that by the way you behaveon stage.
When you are a Senior Recorder Play-er you have learned to look as though youare having the time of your life, even if youaren’t, to smile and to communicate withyour audience and your fellow-musi-cians, to acknowledge applause, evenwhen it comes at the wrong moment, and
never, ever, to apologize, whether duringthe performance or at the party afterward.It is common after a children’s pianorecital to hear each child tell you exactlyhow many notes he or she missed. You’vegiven this up as kid stuff! It doesn’t reallymake you feel better and it only makesyour audience uncomfortable. You havelearned how to get on and offstage (quick-ly!), and how to take your bows at thesame time as your fellow-musicians, notthat this is so important in itself, but itmakes your audience feel that they are lis-tening to and watching pros, and cantherefore relax and enjoy themselves. It isreally amazing how much you can getaway with in a performance if you “actprofessional.”
There are other perks as well. Recent-ly I found myself, somewhat to my sur-prise, involved in a performance on therecorder for which I was to be paid—inother words, a truly professional “gig.”
Now, this has not happened in manyyears—not that I haven’t been playing therecorder, but my “performance” has beenmostly while teaching or at the occasion-al workshop or other very informal con-cert. What I can say with truthfulness isthat I hadn’t practiced the recorder for avery long time—say 30 years. I was okaywith Renaissance music, but Telemannand all those fast notes—good grief! I hadyears of sloth to make up for, to say noth-ing of dealing with arthritis in the fingersand the afore-mentioned other handi-caps.
So I started in to practice and guesswhat, all of those suggestions in AmericanRecorder by Frances Blaker and other ped-agogues really do work. If you go about itmethodically and carefully you will learnto play even the most difficult passages.And of course at this advanced age oneknows how to practice. It’s like physicalexercise; as you get older you need more
On Being a Senior Recorder Player
of it, not less. You also need to allow moretime for absolutely everything, includinggetting to both rehearsals and concerts.Have you got the right glasses? Did youbring all of your instruments, music,tuner, stand, clothing, money, Metro-card, house keys? Did you leave anythingin the copier? Oops! Did you turn off thecopier? Is this the right day (time)? Haveyou got the right address? Did you takeyour pills before leaving the house?
But back to the perks. As said, youand your colleagues have jointly given upall nervousness. Back in the 60s when wewere all making television commercials,when you had to sightread somethingperfectly the very first time or risk irefrom everyone else involved, includingthe producer, the company making thead, and the other players—now that wasa time when you had a right to be nerv-ous. But now you’ve given up that fearlike a useless extra skin.
You also find (and this certainly hap-pened to me) that you and your col-leagues are much more tolerant of eachother than you used to be. The occasion-al goof, the ubiquitous “what?” in re-sponse to every question or other re-mark, the peering at the music and say-ing “measure 69” when you mean “96,”the small imperfections when sightread-ing—these are all easily forgiven anddon’t even need to be noted.
You know the music inside out. Youalso know each other so well that you canoften sense in advance what your col-leagues are about to do, rightly or wrong-ly! You can build upon their strengthsand not worry about their weaknesses.You can take their suggestions with goodhumor and with grace, knowing thatthey are probably right in their judg-ments. You rely upon their musicianshipas they rely upon yours. You have madebeautiful music together so many timesbefore that you are confident that youwill do so again. You can enjoy both thepreparation and the performance know-ing that, above all, the fate of the worlddoes not depend upon it. You can dowith music what you were always meantto do: instead of showing off before anaudience and hoping to be loved by it (al-though that is always nice!) you can con-centrate on enriching your life and that ofothers through this remarkable medium.What could be more enjoyable and ful-filling? I’m here to tell you: “SeniorRecorder Players” have more fun!
Martha Bixler
“Senior Recorder Players”have more fun!
Bits & PiecesKim Pineda, in a July concert BläsingBaroque by Baroque Northwest, createdan ensemble performance that writer Joan
D’Andreadescribedas “a mar-velously‘whole’ ex-periencemarked byoutstand-ing high-
lights.” Solos offered by Matthias Maute,Sophie Larivíere and Pineda made theperformance a triumph of individual andensemble talents, also marking an appre-ciated and dramatic return of recorder en-semble and solo playing to the Seattle(WA) stage. Pineda chose to replace thetraditional harpsichord continuo withtheorbo, archlute, Baroque guitar and vio-la da gamba (expertly played by AugustDenhard, Elizabeth Brown and RonnFullerton). The result left the audiencewanting more—always a good sign!
Other Seattle news includes the newaddress for Early Music America: P.O. Box 12006, Seattle, WA 98102.The office move followed the announce-ment of new executive director MariaColdwell.
In June the New Amsterdam Triogave its debut performance. The group’smembers—Rachel Begley, DaphnaMor and Tricia van Oers—studiedrecorder in Amsterdam, The Netherlands,and have all settled near New York City,NY; hence the group’s name. The group’sfirst program in Brookhaven Hamlet, NY,entitled “Trio in Four Dimensions,” wasdescribed as a “look at musical parallelsacross time and space.”
Tempesta di Mare, the newestBaroque orchestra in Philadelphia, PA,opened its first home season with two freeperformances of “Concerti for the Dres-den Hofkapelle.” Artistic directors GwynRoberts, Baroque flute, and RichardStone, lute, led the ensemble in a programof concerti for multiple soloists.
8 American Recorder
TIDINGS___________________________________ Flawless in Seattle, travels to Italy, and performances in series and in debut
Bay Area Recorder Seriesannounces second seasonThe Bay Area Recorder Series (BARS) an-nounces its second season of concerts,workshops and masterclasses.
On January 26 at 7:30 p.m., recordertrio Wood’N’Flutes from Denmark pres-ents a program entitled “The Nature ofMusic.” Vicki Boeckman, Gertie Johns-son and Pia Brinch Jensen have beenperforming together since 1999, captivat-ing audiences with their unique mixture ofvirtuosity, grace and historical knowledge.Their U.S. debut will include works by Per-otin, Machaut, John Baldwine, Boismorti-er, and Matthias Maute, as well as Danishcomposers Mogens Pedersøn, Hans Abra-hamsen and others. Earlier in the day, thetrio will coach recorder players in threeseparate groups, concluding with a largegroup session.
Cléa Galhano, in town to lead a Mon-terey Bay Recorder Society meeting on Jan-uary 24 and a Mid-Peninsula Recorder Or-chestra workshop on January 25, joinsWood’N’Flutes and the Bay Area’s Faral-lon Recorder Quartet for a special pieceon the January 26 program.
On March 1-2, BARS presentsMatthias Maute, known to the Bay Areafor his 2000 Berkeley Festival virtuoso per-formance with Ensemble REBEL and aprolific composer for recorder. On March
1, Maute is featured in a lecture-demon-stration and coached playing session onhis works for recorder. On March 2 at 7:30p.m., Maute performs a program entitled“Il Flauto Solo,” including works by Bach,Machaut, Piazzola and others.
April 5 offers Bay Area audiences andplayers two events with Ensemble Ver-millian. Frances Blaker, recorder, BarbaraBlaker-Krumdieck, ‘cello, and KatherineHeater, harpsichord, will give an afternoonmasterclass for Baroque chamber ensem-bles and soloists, plus a 7:30 p.m. pro-gram of Buxtehude, Meali, Schmelzer, Ve-racini and others.
BARS concerts take place in the sanctu-ary of St. Alban’s Episcopal Church in Al-bany, CA (wheelchair accessible). Work-shops take place at MusicSources, 1000The Alameda in Berkeley.
Participatory events are open to inter-mediate through advanced and profes-sional recorder players, as well as auditors,and teenagers are accepted by special per-mission. Advance ticket purchase forworkshops and masterclasses is required,with a discount package for admission toall three available; class sizes are limited.Advance concert tickets are also availableindividually or in a series subscription.
Call series directors Letitia Berlin andFrances Blaker at 510-559-4670 or e-mail<[email protected]>for information.
ARS & AMICI continuetrips to ItalyIn April 2002, the singers and instrumen-talists of ARS & AMICI made a sixth tripto Italy under Sheila Beardslee, givingconcerts and singing masses in churchesin Padua, Venice and Bolzano.
“Our program this time focused most-ly on music connected to Venice in the lasthalf of the 16th century and early years ofthe 17th century,” Beardslee reports. “Itwas such an incredible thrill for us to sing
at the Basilica of St Anthony in Padua and at San Marco in Venice.” ARS & AMICI trav-eled with an instrumental consort of 10 and a chorus of 24—as well as some 20 “roadcrew,” as the family and friends of the performers are affectionately called.
Looming on the horizon for 2003 is a return to Orvieto and Rome, with a produc-tion of Ordo Virtutem and music heard in Italy from 1470-1530.
November 2002 9
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HOUSE OF PORTERRichard Eastman, 961 East Porter Ave.,Naperville, IL 60540-5527; 630-355-0495;[email protected] the compositions of Richard East-man, prize-winning contemporary composer.Free sample and catalog on request.
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LAZAR’S EARLY MUSICBill Lazar, 1377 Bluebird Ct., Sunnyvale, CA94087-3212; [email protected]; www.bill-lazar.comImporter/distributor of Mollenhauer, Küngand Yamaha recorders. Personal service. Instruments gladly sent on approval. Very competitive prices.
MAGNAMUSIC DISTRIBUTORS, INC.Madeline Hunter, 74 Amenia Union Rd.,Sharon, CT 06069; 860-364-5431; 860-364-5168 (fax); [email protected];www.magnamusic.com Importer/distributor of recorders, historicalwoodwind instruments, shakuhachi, and harp-sichords. Magnamusic holds one of the largestinventories of early and contemporary sheetmusic available in the USA & Canada. Freecatalogs. Prompt, friendly service. Please referto our ad for a listing of manufacturer/publisherinformation.
MEL BAY PUBLICATIONS, INC.William Bay, #4 Industrial Drive, Pacific, MO63069; 636-257-3970; 636-257-5062 (fax);[email protected]; www.melbay.com
MOECK VERLAG+MUSIKINSTRUMENTENWERKSabine Haase-Moeck, Lückenweg 4, D-29227 Celle, Germany; 49-05141-88530;49-05141-885342 (fax); [email protected].;www.moeck-music.de (U.S. agent: Magnamusic Distributors, Inc.)
PRB PRODUCTIONSPeter R. Ballinger or Leslie Gold, 963 PeraltaAve., Albany, CA 94706-2144; 510-526-0722;510-527-4763 (fax); [email protected]
PRESCOTT WORKSHOPThomas M. & Barbara C. Prescott, 14 GrantRd., Hanover, NH 03755-6615; 603-643-6442;603-643-5219 (fax); [email protected];www.prescottworkshop.com Baroque and Renaissance recorders personallycrafted by Thomas M. Prescott.
PROVINCETOWN BOOKSHOPJoel Newman, 246 Commercial St., Provincetown, MA 02657; 508-487-0964; 508-487-9651 (fax)Pioneering in recorder and viol music mail order since the late 1950s. We don’t sell instru-ments and can concentrate on filling music orders. Also offer a growing list of recorder editions by Andrew Charlton, David Goldstein,and Joel Newman.
RHYTHM BAND INSTRUMENTS, INC.Bob Bergin, P.O. Box 126, Fort Worth, TX76101-0126; 800-424-4724 or 817-335-2561; 800-784-9401 or 817-332-5654 (fax); [email protected];www.rhythmband.com U.S. distributor of Aulos recorders, plus SweetPipes recorder publications, Chromaharps, bell sets, and a wide selection of percussion instruments.
SCHOTT & CO., LTD.Judith Webb, P.O. Box 411, Ashford, KentTN27 0YF, England; 44-1233-714741;44-1233-714744 (fax);[email protected]; www.schott-music.com
SWEET PIPES INC.Laura Bergin, 6722 Brentwood Stair Rd., FortWorth, TX 76112; 800-446-1067 or 817-446-3299; 800-576-7608 or 817-446-0484 (fax); [email protected]; www.sweetpipes.com Publishers of recorder materials for students,teachers, and performers: method books, solos,ensembles, editions of early music, miscella-neous recorder items, and Aulos and Yamahaquality plastic recorders.
TOYAMA MUSICAL INSTRUMENT CO., LTD.Takamura Toyama, 41, Oharacho, Itabashi-ku,Tokyo 174, Japan; 81-3-3960-8305(U.S. agent: Rhythm Band Instruments, Inc.)
VON HUENE WORKSHOP/ EARLY MUSICSHOP OF NEW ENGLANDNikolaus von Huene, 65 Boylston St., Brookline, MA 02445-7694; 617-277-8690;617-277-7217 (fax); [email protected];www.vonHuene.com The Von Huene Workshop makes and deals infine Renaissance and Baroque woodwinds. Itsaffiliate, the Early Music Shop of New England,supplies recorders, flutes, reed instruments,early keyboards, sheet music, and relateditems.
WARNER BROS. PUBLICATIONSJason Beals, 15800 N.W. 48th Ave., Miami, FL33014; 800-327-7643; 305-620-1500; 305-621-1094 (fax); [email protected]; http://warnerchappell.com; www.warnerbrospublications.com
YAMAHA CORPORATION OF AMERICAMichael Schaner, 3445 East Paris SE, GrandRapids, MI 49512-0899; 616-940-4900;616-949-7721 (fax); [email protected]/bandMarkets both wooden and plastic recorders,along with brass winds, woodwinds, concertand marching percussion, and all related accessories.
DAVID YOUNG MUSICDavid Young, P.O. Box 3120, Ashland, OR97520; 800-566-2862;[email protected]; www.davidyoung-music.com
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Information supplied by Business Members responding.
A MODERN RECORDER PLAYER IN FOUR WORLDS:Pamela Thorby Interviewed by David Lasocki
10 American Recorder
TrainingDL. Let’s start by going over your training asa musician and how you got started profes-sionally.PT. Playing the recorder is one of my earli-est memories. My sister would march‘round the living room to Black Dyke MillsBand records, with me at the front playingalong by ear. I learned to read music verylate—maybe I was 14, but I rememberplaying concertos with the school orches-tra by 15. I was obsessed with recordingsthat I had of Brandenburg Concertos 3 and6. They just seemed to be perfect in everyway, and I would play them over and over.I was always drawn to Baroque music.
But my musical training really camethrough playing the trombone, and it nev-er occurred to me to have lessons on therecorder. So my first tutoring on the in-strument was when I went to the GuildhallSchool of Music and Drama in London atthe age of 18 and it became apparent dur-ing my time there that I was naturally gift-ed at the recorder and not the trombone.At the Guildhall I studied with Philip Pick-ett and also took the occasional lessonwith Anneke Boeke (she would come overfrom Holland every few weeks). I remem-ber attending a summer course whereKees Boeke was the tutor and being might-ily impressed.
I later went to Amsterdam for a post-graduate year to study with Walter vanHauwe. But I was a strong-willed, bolshie[uncooperative] student with no patienceand decided I was better off running myown group in England. Don’t know if Ishould have stayed longer. I was probablyright to get going with my own thing. InHolland I was just a 21-year-old student.In the U.K. I had already been workingprofessionally since my second year at theGuildhall. It was the heyday of CD record-ing, and I did lots of session work with dif-ferent period bands, mostly the New Lon-
don Consort—being the garklein on thetop of a big Renaissance band for Susatoand all kinds of fun things. I played for theLondon Symphony Orchestra in a new‘cello concerto that Shchedrin wrote forRostropovich, and big orchestral pieceswith the BBC Symphony by John Tavener.I was touring Italy and Spain playing Ital-ian carnival music, and Scotland playingfolk music.
Naturally, the infamous “block”method of teaching in Amsterdam didn’tseem as cool to me as it did to the otherstudents, and they thought I was very dis-respectful. I probably was, but we all haveto find our own way. Looking back on it,that class was about a group of people at-taining an extremely high standard of play-ing. But it was too intense, too inward-looking, too “factory mentality” for me.The technical excellence on display wasamazing. But to what end? Don’t get mewrong—I too like playing fast and fantasti-cal. I hope I’ve been able to achieve thatwhile staying true to myself.
I lasted about six months in Amster-dam. Then the Palladian Ensemble reallytook off and we did some big tours in themid-1990s. We were in our early 20s whenwe got a deal with Linn Records, and therewere plenty of other period bands aroundto keep us all busy with sessions and tours.I slowly became known in the U.K. and be-gan to be asked by the English Concert andgroups like that to play Brandenburgs andthe Telemann concerto for flute andrecorder. Then Sonnerie asked me to dogamba and recorder concertos with SarahCunningham, and I played the bassoonand recorder concerto with Alberto Grazziand the English Concert. Robert Ehrlichwas a big influence on me. He was fiveyears ahead of me through my studentdays, and I had seen his Cambridge Mu-sick (with Andrew Manze, Richard Egarr,and Mark Levy) play London concerts and
In the spring, I was approached by aScottish record company, LinnRecords, to write the program notesfor a CD of recorder concertos by theBritish recorder player Pamela Thor-by and the period-instrument ensem-ble Sonnerie. Pamela was barely aname to me and the repertoire in-volved was standard: Sammartini’sconcerto, Telemann’s A minor suite,Vivaldi’s concerto in C minor andtwo flautino concertos in C. But whena first edit of the CD arrived fromLinn, the performances knocked mysocks off. Nothing standard here, Iassure you: verve, freshness, a greatfeeling for period style, and above all,risk-taking that pays off. Of course, Iimmediately wanted to know moreabout Pamela, so I wrote to her. Shewrote back mostly about her train-ing, but the paragraph that grabbedmy attention was the following: “Ihave dabbled in composition andonce made an album of my own mu-sic. Jazz is something that exercisesmy mind and fingers, and I do a bit ofpop and crossover work for TV andfilm. But my favorite thing is to playchamber music.” Here was a play-er—a modern recorder player—walking in three worlds (four, if wecount her family life). I resolved toask her more about all these worlds,and she graciously took time out fromher hectic schedule—and I meanhectic—to respond to my questionsby e-mail, in between tours.
November 2002 11
knew that this was the kind of recorderplaying I wanted to be doing. As a teenag-er I had CDs and LPs of Frans Brüggen,Michala Petri, and Carl Dolmetsch. Later, Ibought that lovely Musica Antiqua Kölnrecording of Telemann wind concerti withMichael Schneider playing recorder,Wilbert Hazelzet on flute, and FriedemannImmer on trumpet—fantastic! After that, Itried to listen to everyone and anyone. Ilike Pedro Memelsdorff, Sebastian Marq,Kees Boeke, Conrad Steinmann, and theAmsterdam Loeki Stardust Quartet, justfor starters....
ClassicalDL. On your new CD of recorder concertos Iparticularly enjoyed the great sense of risk-taking about your playing, which fitted per-fectly with Vivaldi, whose music is often wildand crazy. How did you learn to take suchrisks and to produce that “fizzing” quality?PT. “Fizzing”? Bubbles between my ears....No, the “anything-could-happen-next” el-ement is the musician that I am. It has tobe appropriate to what I’m playing, ofcourse, and it isn’t that I always wantthings to sound wild and wacky—for in-stance, it might be that I hope to play abeautiful, floating, legato line.
I feel that recorder players tend to suf-fer from the disease of over-emphasis andmannerisms in order to compensate forthe things that the instrument or playercan’t deliver. It’s very easy to fall into thetrap of playing fast/short/quirky becausethose things are easy to do. What is hard isto emulate the human voice; also, to keepin mind that the music always comes first,then the player, and then the instrument.If you get that right, then you have somechance of “saying” something that willmove others. As musicians we’re all look-ing for that elusive moment when youmove away from being aware of notes,technique, audience, and surroundingsand are at one with the music. If it happenseven once a year and for one piece, that isOK, and a whole concert would be won-derful. As long as I can remember the lasttime it happened, I will keep playing. Risk-
taking can be easier when you’re young,because you don’t know enough to beafraid. It can also be the case that the moreexperience you gain, the more room youhave to try the unexpected. The day yourepeat yourself is the day you becomebored—and boring to listen to.
Recently, I’ve been listening to Kelly JoePhelps, the American blues guitarist andsinger. I saw him play at the Jazz Cafe inLondon a couple of years ago and it wasthe best piece of musicianship I’ve everseen. He was totally involved, completelyat one with his music. Bill Frisell wrotesomething in the sleeve note of one ofPhelps’s CDs that really struck a chordwith me: “He has been inspired and ab-sorbed all kinds of influences and comeback with something all his own. Soundslike he’s coming from the inside out. Thebottom up. He’s not just playing ‘at’ themusic or trying to recreate or imitatesomething that’s happened in the past. Heseems to have tapped into the artery some-how. There’s a lot going on in between andbehind the notes.” That describes perfect-ly what I aspire to in my own playing.
DL. What kinds of classical contexts have youplayed in (solo, chamber, orchestral, vocal),and what have you gotten out of each context?PT. I’ve moved through different phaseswith the classical playing. I started outplaying mostly orchestral Baroque parts—Bach, Telemann, Handel, Blow, Purcell—with the London period bands and some-times modern orchestral music. TheShchedrin ‘cello concerto would havebeen one of my first professional dates,and I probably played it on a plastic in-
...the music always comes first, then the player, andthen the instrument. If you get that right, then you havesome chance of “saying” something that will moveothers. As musicians we’re all looking for that elusivemoment when you move away from being aware ofnotes, technique, audience, and surroundings and areat one with the music.
12 American Recorder
strument, as I wouldn’t have collected the“bits and pieces” that I have now. Baroqueopera: Monteverdi productions are greatfun, and sometimes it’s rewarding to be in-volved with the same piece of music forseveral weeks at a stretch. Modern cham-ber music with the Birmingham Contem-porary Music Group—new commissionsthat involve the recorder. The PalladianEnsemble (photo at right), myown group, is the most significantpart of my chamber music life,and the recordings we’ve madefor Linn Records have been someof the most challenging to make.Concertos and chamber musictours with Sonnerie, the EnglishConcert, and modern chamberbands. Renaissance and Medievalrecordings for Decca and Philipswith the New London Consortand Musicians of the Globe. Ihave never been involved in arecorder consort—just workedout that way. Solo recitals withharpsichord, piano, and lute....
I’m not a recorder fanatic, andif I had a beautiful voice, I’drather be a singer. But I love mak-ing music with a passion and tryhard to express myself on the one instru-ment I can play. Concertos are fun, but I’mhappiest making harmony. Ornamenta-tion, improvising within a structure issomething that I love to do more than any-thing else.
DL. Have you studied Baroque performancepractice (formally or informally)?PT. I took a year at the graduate level in ear-ly music studies at the Guildhall. But thebulk of my learning how to tackle music ina “historically informed” manner has beenon the job. I continue to piece together myjigsaws of historical, social, and musico-logical facts.
DL. Do your fellow classical musicians takethe recorder seriously?PT. I hope they take me seriously whenthey hear me play. But I don’t spend mytime waving a banner for the instrument: itis what it is.
DL. Where do you go from here with classicalmusic?PT. Sonnerie and I will be taking our CDprogram on tour in 2003. It’s been saidthat wind players don’t really hit theirstride until their 30s, so I think it has beengood for me to wait until now before mak-ing my concerto solo disc. It’s being well
received—for example, Gramophone mag-azine made it the Editor’s Choice for Au-gust—so I might try to make some more.The Handel recorder sonatas are piecesthat I’ve always loved —little pocket-booksnippets of oratorio, opera, and concertoall contained in such concise form. I’d liketo record them some time. There’s a disc ofmusic I composed— performed by me
plus vibes, bass, guitars, keyboards,strings, and percussion—which is floatingin the ether and somehow hasn’t been re-leased yet. I’d like to see that make it intothe world, so that people know the flipside to my life as an “early” musician.
My instruments are all copies or con-jectural copies of originals. For modernmusic, I use anything that plays in tuneand vaguely looks like a recorder. In my“historically informed” life I would dearlylove to have the opportunity to play someoriginal instruments and perhaps evenmake a recording on them in future if theopportunity arises.
Popular/crossoverDL. I want to ask you about your involvementwith Karl Jenkins, who seems to be a very pop-ular composer in Europe. I have listened to hisImagined Oceans CD and three of hisAdiemus CDs, which are a curious mixtureof styles: Renaissance, Baroque (I think Vi-valdi’s estate should be receiving some royal-ties), Carl Orff, the Missa Luba, ABBA.... I’mafraid I found myself waiting for all this to endand you to come in. I’m interested in how yougot involved in Karl Jenkins’ music, what it’slike to record a session with him (or to play alive concert with him), and any comments youmight have on his music and on crossover mu-sic generally.
PT. I did quite a lot of TV commercial workin the early 90s. Karl asked me to come inon the first Adiemus project—an albumthat grew out of a tune he had written for aDelta Airlines commercial. Since then I’vebeen featured on all the Adiemus projectsand Imagined Oceans. Playing for someonelike Karl uses different skills from the onesI use in my other work. It involves high lev-
els of concentration, but in differ-ent directions. I have to use aheadset and mike to my best ad-vantage. I must play exactly thesame way every time, alwaysbang in tune, and often with aclick track or TV screen to follow.I have to have quick reactionsand sight-reading skills. It’s moreto do with being a color in some-one’s paintbox than being an in-dividual. Still, it’s glamorous toplay in huge stadium gigs or atthe Albert Hall—and it’s well-paid. Because they’re such hugeoccasions, they happen perhapsonly once or twice a year, and thealbums are finished months,sometimes years, in advance.
The thing about “crossover”is that it is a purely commercial
label for an indefinable overlap of manykinds of music. The Adiemus album was avery specifically designed and marketedkind of “crossover.” That is different fromthe just-emerging new musics which are amix of cultures and historical perspectives.All musicians worth their salt in the 21stcentury must be acutely aware of the needto diversify, create, share skills—withoutlosing the talent, technique, or integritythat lie at the heart of what they do. Youcan’t be a one-trick pony any more. The19th- and 20th-century obsession withsomeone who plays one instrument and anarrow slice of repertoire for the delecta-tion of others is rapidly becoming redun-dant.
DL. In your work for Karl Jenkins, are yourparts written out for you, or do you improviseto some degree?PT. When I did the first couple of albums,Karl would write a very simple line whichI would embellish as necessary. As timehas gone on, it has got to the stage wherehe feels that he should write every littlenuance in—this could be to do with pub-lishing rights, too. My latest piece of workfor Karl involved playing the Adagio fromMozart’s flute and harp concerto with myembellishing Mozart’s flute part in an“ethnic” way. They don’t teach you to do
November 2002 13
that in the conservatory—ha! Maybe justas well....
DL. In what sense was Imagined Oceanswritten for you? It does seem to be almost arecorder concerto, with you supplying the so-los after the ritornellos from choir and orches-tra. The “Lacus Serenitatis” movement issimilar to James Horner’s music for the movieTitanic. Do you know which came first?PT. Imagined Oceans was a follow-up to theAdiemus projects, and Karl was inspired towrite the recorder part for me to play. Ihave no idea how it relates to the Titanicmusic: I just know there were a couple ofyears when all kinds of commercial musichad that “Celtic” feel to it. These things goin and out of fashion. At the moment I heara lot of Indian influence in movies and ads.
JazzDL. Were you taught to improvise, or did youjust pick it up as you went along?PT. I haven’t had any formal training andwouldn’t call myself a jazz musician. I’msomeone who plays with jazz musicians,and we try to influence and inspire eachother’s musical explorations. There aremany schools where you can be “taught”jazz and summer courses to be “taught”jazz and books to teach you jazz. But real-ly fine jazz musicians just learn their craftby listening to other musicians, then doinga lot of “woodshedding.”
DL. I’ve just been listening to the CD calledNew Folk Songs by the British jazz groupPerfect Houseplants, on which you’re featuredon four tracks. It’s a fine jazz album in a mod-ern eclectic vein, with electric bass and plentyof vamps. Some of the tracks are indeed basedon folk music. To my ear, you’re on the CD tosupply a folk element. If I may say so, youdon’t sound very jazz-like.PT. You’re quite right that I supply a folkinspiration on that CD. That was my jobwhen I first met Perfect Houseplants, andthe first thing I did with the group was torecord those pieces. It was only after thatthat the improvising began, when weplayed gigs to promote the album. On thealbum it was a case of me providing thetune for them to improvise on, although Iwas free to interpret the melodies with myown little swoops and graces. Since then,though, we’ve played together many timesin jazz venues and concert halls. Now thatI’m more confident of fitting in with their“sleek machine,” they are very generous inletting me have “my moment” in a tune.Last time we played, Huw Warren, thegroup’s pianist, called me the “Coltrane of
the recorder.” I wish—more like coaltrain....
DL. How can the recorder fit into a jazz con-text? Most jazz instruments have a distinctiveand flexible tone, and jazz performers learn tocreate a personal tone and style. I feel theseare much harder to achieve on the recorderthan, say, the trumpet, saxophone, trombone,clarinet.... Can the recorder in jazz rise abovethe cute and the impersonal?PT. You would have to hear me play now todecide that. The problems of balance canbe solved with microphones. The recorderin jazz is a surprising sound, because theother instruments are the traditional jazzones that your ear is expecting. But theplayer is the one deciding the notes. Youdon’t have to play “cute” or “novelty whis-tle” if you’re given a sympathetic group ofmusicians to work with, who understandyou and your particular musical language.
TeachingDL. Please tell me about your experience ofteaching the recorder.PT. I’ve taught on occasional summercourses over the years, but once a year isusually all I can manage without gettingjaded. When I hear myself saying the samething over and over again, it’s boring foreveryone and no way to teach. I took overas the principal teacher at the Guildhall in1996, and Robert Ehrlich is visiting pro-fessor there. Teaching is something that Ithink I will get better at the more I do it. Mystudents are very interesting with their In-ternet, multi-tasking, broadband minds,and make me feel old! I’m not an intellec-tual and I’m terrible with facts and figures.I read voraciously and then forget just asquickly. I’m like a magpie, collecting shinythings for my musical nest. Then it getsblown down and I start again. I prize mu-sicality above all other things in a playerand hope to bring out every ounce of it inmy students.
FamilyDL. How do you juggle the demands of moth-erhood and career? PT. I’ll have to get back to you on thatone....
DL. Who looks after George, your two-year-old, while you’re away, or do you take himwith you? PT. At the moment I have a policy of nottaking him with me and I try to keep thetrips as short as I can. I’m fortunate to havefriends and relatives who look after him.
DL. Where do you live these days?PT. In York—in the north of England— ina little Victorian terrace about 15 minutes’walk to the train station and close to thecenter of town.
DL. You must have to drive around Britain alot, or do you go by train?PT. By train: I find it relaxing.
The Modern Recorder PlayerDL. What do you think is the way of the futurefor professional recorder players?PT. If you asked 10 players how they madetheir living these days, you would get tendifferent answers. Some specialize in earlymusic. Some are doublers on other instru-ments. Some teach, with a little playing onthe side. Some become directors of theirown groups. Some become musicologists,music therapists, or radio producers.Some make instruments. Some write mu-sic for film and TV. Some do a bit of all ofthese. Of course, the touring virtuoso did-n’t exist in the recorder’s heyday. As weknow from your own research, wind play-ers tended to stay put for a long time, andto play many different instruments.
For my part, as things have slowed inthe recording industry I mostly play cham-ber music and solo or concerto concerts,work with contemporary and pop groupsand a bit of jazz and folk, and write my ownmusic alongside teaching at the Guildhall.The way the music industry has changedso rapidly recently will have come as ashock to many players and teachers. Ithink I’m right in saying that those whochoose to play instruments which requirean adaptable and enquiring mind are usu-ally the ones who are successful in histori-cally informed playing. That should give usall a bit of comfort in this time of change.The “new” skills that are being taught atmusic colleges now are the ones that “his-torically informed” players have been tack-ling all along.
DL. Can you please explain what those skillsare?PT. I’m thinking of taking an active interestin your instrument, and using your knowl-edge of it and its repertoire in a historicaland social context—not just as a means ofproducing a gratifying sound. This shouldnaturally lead to a greater awareness of thediversity of music outside the Westernclassical tradition and of the function ofmusic in contemporary society.
Pamela Thorby discographylisted on page 24
14 American Recorder
IT’S NOT ALL GREEK TO MEI leave home at five in the morning. Even
downtown Athens seems serene at thishour, and it’s still cool, although the day-time in early June is already too hot to bear.I walk a few blocks carrying my overnightbag to find a taxi. A few empty ones passme by. Some stop briefly, windows wounddown, the drivers casually leaning towardsme to hear my destination. The ritual is toshout the name of the place, and one willpick you up if it suits that driver. “Sto aero-dromio!”—The airport. A few driversshrug and drive on before one takes me.He already has a passenger that he’ll drivefirst to another suburb on the way. At thistime of the morning it’s much easier thanusual to find a taxi, which normally needsluck and intuition. If there is a bus or trainstrike you can wait desperately on thesweating, frantic roadside for a long time.Whenever I need to be somewhere ontime, especially catching a plane, there is areal possibility that I won’t make it. (For-tunately, the new airport opened recently,and there are now frequent fast and reli-able buses.)
Today, I do get to the airport on timeand tell myself that the most difficult partof the journey is over. I join up with myfour fellow musicians for the short flight toThessalonica. Arriving in Greece’s secondlargest city, we begin gathering carts, bag-gage, and instruments. The heaviest is An-gelina Tkatcheva’s tsimbali, a Russian dul-cimer, which looks like a table with stringsand weighs as much. My own instrumentsare light: two Ganassi recorders in C andG, and a low whistle in D, all made byMichael Grinter in Australia.
We’re headed for Skopje, the capital ofMacedonia (or as many Greeks call it, FYROM—the Former Yugoslav Republicof Macedonia). Our driver is waiting for us.
He grabs some of our baggage and walksus over to his small, old van; no air-condi-tioning and the back windows don’t open.For the next four hours, despite the ex-treme heat and the fatigue that threatensto overcome me, I am entranced by the un-folding landscape. In Greece the newergeneration have moved into the cities towork, and large areas of land have beenneglected. The stone terraces of the hillyand mountainous countryside are crum-bling, the water channels for irrigation dry,and the olive groves untended. After wecross the border, although this is a muchpoorer country than Greece, the land isnoticeably better tended. It seems thatmore people have stayed in the villages tolook after the farms—difficult and poorly-paid labor. The countryside here is well-looked-after and lush—layers of moun-tains and ancient trees. The rivers have amilky blue-green hue I’ve never seen be-fore. It is beautiful.
I begin thinking about the pieces we’regoing to perform tonight. I have a feelingthat we won’t have time to rehearse or evenwarm up before this concert, so as I lookout of the window I play through as manyof the pieces as I can in my mind. For awhile I’ve been developing my aural learn-ing, and it is becoming more fluent, butwhen I don’t have my instrument in handI still get confused about some notes andphrases. I have been playing with this par-ticular ensemble, Labyrinth, for only a fewweeks. My first performance with themwas a little over a week ago just outsideAthens in Nea Makri, followed by a weekon the islands of Karpathos and Rhodes atthe multicultural music festival called SeaSongs 2000.
ξξ ξξ ξξ ξξ ξξ
I arrived in Greece from Australia twomonths ago, following the dream I haveheld in my heart since I began concentrat-ing on traditional Greek music with anAustralian group called the haBiBis sixyears ago. With foundation support, I’mnow here to study with the famous folkmusician Ross Daly and the Greek clar-inetist Manos Achalinotopoulos.
I have learned most of the Labyrinthrepertoire sitting with Kelly Thomas, whoplays the Cretan lyra, an instrument relat-ed to the violin. You play it upright, resting
by Racheal Cogan
(left to right) Racheal Cogan,
Ganassi recorder; Aggeliki Xekalaki,
bendir; Ross Daly, lyra;
Kelly Thomas, lyra; dog Zikos
(Photograph byGiorgos Poupis)
on or between your knees, stopping thestrings from the side with your fingernails.One of Kelly’s bows has bells attached thatjingle rhythmically as she plays. Hermethod has been to play me a new pieceonce or twice. Then I begin repeating smallsections after her or with her, slowly build-ing up to the whole piece, which we thenplay together many times. I usually learnseveral pieces in one sitting, but the workis difficult and exhausting. The hardestpart is the inner struggle: I find it hard tobelieve that I can remember all this infor-mation. One part of myself trudges on, pa-tiently remembering, while another part isscreaming, “No, stop, this is impossible!”After a few days, I am amazed what I amcapable of doing when I let go of this fight.
After I learn a piece, Kelly might say,smiling sweetly, “There’s another piecethat I think would go very nicely on therecorder.”
“Hmmm.” I’m trying to sound calm,relaxed, and eager to learn more, but I’msure I’m not coming across that way.
“Maybe you’re tired,” she suggests.“Oh, no, no.” What a liar I am! Still,
the patient part of me really does want togo on, to stretch myself and see what’spossible. “Actually, I’mmore concernedabout you. Aren’tyou gettingbored, wait-ing for meto learnthesepieces?”
“No,it’s verygoodfor me. Ihave toknowthem in adifferentway to beable to do this.”And we beginthe music again.
I have taken the precau-tion of recording all the pieces we’veworked on, as I didn’t want them sneakingout of my memory. This has helped speedup the process and saved Kelly a lot of timesitting and working with me. I have al-ready learned hundreds of compositionsthis way. The ones that I have kept with mehave become part of me. The idea of thisaural method is to never forget anythingand to be able to recall at a moment’s no-
tice any one of the thousands of pieces thathave become part of you over a lifetime.This internalized repertoire is your guideand inspiration, which also teaches youhow to use the modes for improvising.The musicians who live within this livingsystem embody the continuation andmemory of the music.
I imagined that I came to Greece tolearn more about Greek music, and Kellyteaches me many pieces from Crete. I al-ready knew a little about this style. In 1992I had some lessons in Melbourne with aCretan lyra player and singer Michalis
Melambiotis. At around thattime, Giorgis Xylouris was liv-
ing in Melbourne. He is from afamily of well-known Cretan musi-
cians and nephew of the revered Cretansinger/lyra player Nikos Xylouris. It was anice coincidence that later on I was able toparticipate in performances and a record-ing with him in Crete. The music I amlearning is modal rather than harmonic:that is, based on melody. Chords and har-monies are infrequent.
Kelly is also teaching me pieces fromneighboring cultures that have modal tra-ditions, particularly from Turkey. When I
hear people discussing the names of themodes in this ensemble it is usually basedon the Turkish system. In my time inGreece we meet and perform with visitingmusicians from Turkey, and we later travelto Bursa, Turkey, for a concert.
ξξ ξξ ξξ ξξ ξξ
We finally reach the outskirts of Skopje.The first things I notice are many high-riseapartment buildings of red brick—a visualshock after the skeletal white sprawl ofAthens, and the more beautiful clusters of
white buildings on theGreek islands. After a fewwrong turns we arrive atthe guesthouse where wewill spend the night. It iscool inside, and my bedlooks so inviting. But wehave only three-quarters ofan hour to shower and getready to leave for the con-cert. We are all bleary fromthe long stuffy drive andearly start. The day ispulling us along as we hur-ry in and out of the twoshowers. Then we are tak-
en out in a couple of taxis to eat lunch. Wedrive through mountains to a restaurantinside a cave. Inside a cave? Perhaps I amdreaming and will soon awaken to the re-
lentless Athens traffic and the bells ofthe countless Orthodox churches.But it’s true: lunch in a cave with sta-
lagmites and stalactites, water drippingdown the stone walls, a gaudy grottofull of icons, spotless white linen, andimpeccably-set tables. The cool whitewine is good and refreshing, and we sit
around laughing and joking, eating the de-licious food with our expansive settings ofsilverware. Lunch in a cave: it is a dream.
Too soon we need to move on. My com-fortably-full belly tells me it’s siesta time. Ihave already become accustomed to tak-ing my main meal at lunchtime and thensettling in for a perfect hour of refreshingsleep in the hot afternoon. But right nowthere is work to be done. We arrive by taxiat a parking lot nestled in mountains andsurrounded by forest. One of the organiz-ers tells us we’ll be walking “a short way.”We share out the instruments. They areheavy, so I imagine that it could not be far.We walk along a narrow path, sometimesonly wide enough for two people, so wewalk mainly single file. The path is laidwith small stones and feels ancient. One
November 2002 15
Maps: CIA
16 American Recorder
side is sheer rock going up; the otherslopes down to the cloudy, aqua river. Wewalk under stone arches and through nar-row tunnels, occasionally glimpsing largeholes yawning in the rock—leading, Iimagine, deep into the mountain. It ismagical, and we become silent in awe. Yes,we are exhausted; yes, we are carryingheavy bags; but this magic eases all that.We have entered a place outside of time.
The organizer walking ahead of meturns around to look at me, then he startsto laugh. “Yes,” he remarks. “The first timeI walked here my face was like that.”
“Like what?” I ask. “Like this.” And he opens his mouth
and drops his jaw, eyes wide in astonish-ment. I laugh at his imitation and quicklytry to seem a little more blasé about thisbeauty.
He nods and smiles. “It really is a spe-cial place. That’s why we chose it for theseconcerts. Wait ‘til we get there.”
Eventually, we turn a corner and cometo an opening, a gorge with cliffs reachingup and a lake on one side. In front of us isa small stone Orthodox church. As we passit we come to a large stone cafe with wood-en balconies next to a flat, open area infront of the lake. This is where we’ll be per-forming. We have only a short time for asound check. But first we sit down to drinkGreek-style coffee—a tiny cup of thickdark liquid, washed down with glasses offresh mountain water. We begin taking outour instruments, tuning one by one, thenall together. It is quickly becoming cold asthe evening settles, and I regret not havingbrought a jacket to cover my bare arms.
All of the stringed instruments take alittle more time to tune than usual. Firstthey were in the cold plane, suddenly in avery hot car, and now out in the coolevening. During the sound check, whenwe change pieces Angelina keeps re-tuninga note or two, so she can play the micro-tones in this music with us. Sometimesthese microtones change within a piece;then I notice she will tune the strings inother octaves differently to make the nec-essary adjustments. The exact pitches ofthese microtones can differ from area toarea and group to group in the MiddleEast, according to personal preference andtraining. I am still struggling to play themexactly with this ensemble. So I listen verycarefully to the way Angelina tunes them,checking to make sure that the pitches Iam using work with the ensemble.
ξξ ξξ ξξ ξξ ξξ
A few months after the concert I’m de-scribing, I studied some Classical TurkishOttoman music with a Greek nei player,Giorgos Simeonidis, while I was living inAthens. I loved learning from him, and wewould spend hours analyzing and dissect-ing music.
“Hmmm. In Rast [one of the modeslike a major scale] you are playing the ma-jor third quite flat. They did that in Turkeyabout 50 years ago. Now they play it a lit-tle sharper—almost like a Western thirdyou might say, but a hint flatter.”
“Is this way a little better?” I would ask,struggling to find a pitch that matched his.
Or again: “In Ussak [another mode]you have that second degree flattenedquite nicely for going up, but comingdown it should be even lower. Very un-comfortable: a sound you cannot reallybear. It insists on moving down to the tonalcenter.”
And another time: “One saz [lute] hashis moveable frets here, and that is fine.Then you perform with another group andsomeone else will like that note some-where else.” I have already found this to betrue: with Labyrinth I have to play like theydid in Turkey “about 50 years ago!”
All these microtones add another di-mension to pieces. The practice opens thedoors in my mind to this incredible musi-cal system that relies completely uponmelody and rhythm. It has not been easyfinding fingerings for these notes that workwell and are stable. I am moving away fromcross fingerings and trying to use as many“shaded” notes as possible, making theadjustments by subtly raising and lower-ing my fingers from the second and thirdjoints. Most recorder players limit the
movement of their fingers beyond theknuckle of the first joint, simply coveringand uncovering the holes, or half-holingthem. But the next two joints are also im-portant. With them you can train your fin-ger to lift precise distances from the fingerholes very quickly and accurately. This isuseful for semi-tones and for playingdiminuendos and crescendos in tune; it isessential for the fast practical use of micro-tones. It also aids in very fast finger move-ment and allows for more variety and col-or in ornamentation. The technique is dif-ficult for me. I have spent years working onit and I am only slowly finding it practicaleven now. This is the way that nei playersand Indian bansuri players finger theirnotes. I can feel that it suits this style ofmusic, so I keep working at it.
ξξ ξξ ξξ ξξ ξξ
We finish our sound check. Hundreds offireflies come out, glowing and dartingabout. They contrast with the steadierglow of the many candles that have beenplaced around the tables against a longstone wall at the edge of the lake. Peopleare arriving, perhaps a thousand in all, andI wonder how they managed to find thisplace. They settle around the tables, drink-ing cool drinks, reclining on blankets un-der the trees or sitting on chairs closer tothe stage area. We start to play. A thin cres-cent moon hangs brightly on top of thecliffs. I hear gentle sounds on the waterand guess that some people have takenboats onto the lake to listen.
Today we are performing modal musicfrom Azerbaijan, Turkey, and Greece, aswell as compositions by Ross Daly. Ross, ofIrish descent, has lived in Greece for morethan 25 years. He grew up in the U.K.,North America, and Japan, and has spenthis life traveling in India, Central Asia, theMiddle and Near East, Greece, and Crete,studying the classical and folk music tradi-tions. Ross plays many instruments, in-cluding the lyra, oud, laouto, and rebab.From his base in Greece he teaches andperforms around Europe, the Near East,Australia, and North America, recording,producing, and bringing musicians to-gether. Studying with Ross I concentratedon traditional Cretan music. Many of itsmelodies are quite simple and often repeatshort phrases three or four times. The mag-ic of these pieces comes in the freedom youhave to embellish the repeated phrasesand the number of times you can playthem. Through embellishment you can al-
Most recorder playerslimit the movement oftheir fingers beyond theknuckle of the first joint,simply covering anduncovering the holes, orhalf-holing them. But thenext two joints are alsoimportant. With them youcan train your finger tolift precise distances fromthe finger holes veryquickly and accurately.
so learn to compose in this style. It is a liv-ing tradition. Good musicians naturallymake up their own pieces that contributeto this living flow. In traditional music, weoften do not know the name of the com-poser, although we may—it is just not asemphasized as in the Western Classicaltradition. Some of the pieces we play couldbe thousands of years old, passed on frommusician to musician; others were com-posed yesterday.
The concert ends and we pack up, talk-ing to the audience and among ourselves.We leave this enchanted place and are tak-en to a café where we can relax anddrink—but not too much or I would beasleep! The New Age Tea Shop (Kosta Sahov 9, 91000 Skopje, Macedonia;+3891/203-854) is owned by one of theorganizers of the New Age Festival that wehave just performed in. It is another beau-tiful place, closer to the city and a littlewarmer than the higher surroundingmountains we just came from. We sit out-side in a circle around a large table under acanopy of green, with flowers twiningabove and around us. A strong sweet smellof jasmine fills the air. Many people sitwith us, smiling, asking questions, makingsure we have food and drink and are com-fortable. Kelly and Ross go to gather in-struments, and Kelly brings my recorder tome. It is a gracious gesture and slowly webegin to play again. I sit close to AggelikiXekalaki, who plays the bendir, a roundframe drum played with the hands. Sheholds it up in the air, in its usual playingposition. Sometimes I see her face, andother times I see a large ivory circle, like amoon, sitting on top of her neck. Otherpeople sit very close to us, eyes closed,couples with arms around each other, sit-ting back. This is the real concert I camefor—intimate, not distanced by soundequipment, feeling a deeper connectionwith a smaller group of people.
The long day is coming to a close.Around three in the morning I arrive in mybed at the guesthouse and fall into a deepsleep. Tomorrow we begin the return jour-ney at nine. This time I will sleep in thevan, and probably on the plane as well. Ithas been an exhausting day, but I will al-ways treasure it to remind myself of why Ikeep on playing this music that I love somuch.
ξξ ξξ ξξ ξξ ξξ
In 1987 Racheal Cogan studied Indian tablawith Debu Bhattacharyia in Australia, and
performed with him on the recorder and tablaat various concerts throughout that year.From 1988-91 she studied at the VictorianCollege of the Arts, specializing in therecorder in both their Classical and Improvi-sation streams. In 1989 she started workingwith plucked strings player John Norton, whointroduced her to music from many cultures,as well as performing the more standard Me-dieval, Renaissance and Baroque repertoireexpected of a recorder player and lutenist.From 1992 she began concentrating on tradi-tional Greek music, and in 1993 co-foundedthe ensemble the haBiBis, who perform musicfrom Greece and the eastern Mediterranean.The haBiBis released two CDs; the secondone, Intoxication, received an AustralianRecord Industry (ARIA) Award in 1999. ThehaBiBis were featured in the Australian filmHEAD ON, directed by Ana Kokkinos, andcan be heard on the CD soundtrack.
Racheal has worked with many ensemblesin Australia, Greece, and Vietnam, includingLa Compania who perform music of the Me-dieval and Renaissance periods in Mel-bourne, Australia. After studying with RossDaly in Greece and performing in his ensem-ble Labyrinth for 18 months, she has now be-gun to study Persian classical music on therecorder with master nei player HosseinOmoumi in Paris. Later she will begin studiesof Indian ragas with master sitar player Us-tad Imrat Khan in the U.S.
Select DiscographySti Dini Ton Anemo (2001). Mitsos
Stavrakakis, music and lyrics; VasilisStavrakakis and Spiridoula Toutoudaki,voice; Ross Daly, lyra; Racheal Cogan,recorder; Aggeliki Xekalaki, bendir, Gior-gis Xylouris, laouto. Distributed inGreece by Music Box International,<www.cretashop.gr/br/productsbr/cd-br/mbi16555.htm>.
Intoxication (1998), The haBiBis. Festi-val/Mushroom Records, <http://www.skynet.com.au/~jomal/habibis/cds.html>. ARIA Award Winner for best WorldMusic CD 1999.
Synavgia (1999). Ross Daly; ChemiraniTrio, zarbs; Rufus Cappadocia, ‘cello;Giorgos Symeonidis, nei. Libra Music,<www.libramusic.gr/new.html>
November 2002 17
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18 American Recorder
Arranging TraditionalMelodies forRecorders Traditional melodies such as folk songs,
Christmas carols, spirituals and hymnssound remarkably well when performed bya recorder ensemble and are a wonderfuladdition to the repertoire. These melodiestend to be short and must be repeated sev-eral times in order to arrive at a rendition ofsatisfying length. When sung, repetition istolerable, since multiple verses and otherdevices can create variety. On recordersthese features are not available and repeti-tion can be boring. One solution is to cre-ate an arrangement where each statementof the melody is orchestrated differently.My arrangement of the spiritual I Want Je-sus to Walk with Me is an example of suchan adaptation. The original melody and vo-cal harmonization can be found in Songs ofZion, Abingdon Press, 1981, p.95.
Since there are three verses, I decidedon three statements of the melody. I alsolengthened the spiritual by repeating thelast four measures of the melody twice atthe end as a coda, a device common to spir-ituals (my thanks to Dr. Anthony Jacksonfor making this device known to me). In ar-ranging this music, I was guided by boththe inherent nature of the melody and thestyle of spirituals in general.
The tenor and bass first state themelody in unison, emphasizing its slow,plaintive quality beginning at the low endof the normal singing range. As the melodyascends, it is played by tenor only and thenby alto (measures 4-10). As it descends, itappears in alto and tenor, and then tenorand bass with the final note stated by bassonly (measure 15). During these first 16measures the melody appears much of thetime in the lower two parts and is never giv-en to the soprano; thus, great care has to betaken in the harmonization or the melodywill be obscured by the upper parts.
To avoid this, I use two techniques as-sociated with spirituals: sustained harmo-nization suggesting a textless vocal accom-paniment, and three-note “tags” duringand at the end of phrases, complementingthe melody with a simple counterpoint.Other techniques include: doubling themelody so that it always appears in the
Composers/Arrangers
This is the eighth in a series of arti-
cles featuring the works of com-
posers and arrangers who write for
the recorder. Each installment is
accompanied by discussion of the
the composer’s own working meth-
ods, including the performance con-
siderations that went into creating
the selected piece of music. It is
hoped that the considerations that
composers and arrangers have to
keep in mind will be of general
interest to all AR readers, who will
also be able to add to their music
collection a series of performable
short pieces or excerpts. Stan McDaniel, Series Editor
by Frederic Palmer
strongest range of one instrument; statingthe first two notes of each phrase withoutthe accompaniment of the upper parts;and doubling certain melody notes in thesoprano as part of the accompaniment.
In measures 16-32 the second state-ment of the melody is given to the tenor ac-companied by the bass, with two-note“tags” appearing at the end of each phrasein the soprano and alto. This section servesas a quiet interlude in contrast to the moreintense settings that come before and after.The final statement of the melody is givento the soprano, initially supported by thetenor and bass doubling the soprano at theoctave. The four-part harmony that beginsat measure 38 builds to a climax at meas-ure 41. From measure 43, the lowest threenotes of the melody in the soprano aredoubled by the alto for support. This con-tinues through the coda. During the finalstatement of the melody and coda, three-note “tags” are used in all four parts as em-bellishments. While I have retained theoriginal 4/4 time signature, I have foundthat this spiritual is better played in 2/2with the half note getting the beat. Per-formers need to breathe after the first quar-ter note in measure 32 in order to bring outthe next statement of the melody.
The harmonies found in conventionalfour-part vocal settings of spirituals show apredilection for seventh chords, as well asoccasional ninth chords and non-chordtones resulting from the movement of themelody when the other parts are sus-tained. I have used a similar harmonic vo-cabulary in my arrangement (see measures33-40). When these harmonies are moreambitious than those found in conven-tional sources, the aim is to impart to therecorder setting the incisive vocal qualityassociated with the performance of spiritu-als. An effective arrangement is at timesmore than a literal transcription and re-quires creativity, as well as technical skilland stylistic background.
Frederic Palmer directs the Mid-PeninsulaRecorder Orchestra in Palo Alto, CA. He hastaught at recorder workshops throughout theU.S. and has performed extensively in north-ern California on recorder and early doublereeds. He has published several editions ofearly music and articles on the subject. In1986 he won first prize in the ARS’s ErichKatz Memorial Fund Composition Contestfor his original recorder quartet, Entrevista,which has been published by the ARS in itsKatz Contemporary Music Series.
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Copyright © 2002 Frederic Palmer. All rights reserved. A MIDI playback of this piece is available in AR On-Line at <www.recorderonline.org>.
ARS members may make photocopies of this music for their own use.
Copyright © 2002 Frederic Palmer. All rights reserved. A MIDI playback of this piece is available in AR On-Line at <www.recorderonline.org>.
ARS members may make photocopies of this music for their own use.
THE COMPLETE GUIDE TO MAK-ING MORE MONEY IN THE PRIVATEMUSIC STUDIO. BY MIMI BUTLER. Pub-lished by the author (phone 856-795-4285; fax 856-428-8947; <[email protected]>; <www.privatemusic-studio.com>), 2002. 71 pp. Softcover,$29.95 including P&H within the U.S.(credit cards not accepted).
In my review in the May 2001 Ameri-can Recorder of Butler’s previous book,The Complete Guide to Running a PrivateMusic Studio, I wrote, “The word ‘com-plete’ in the title of this spiral-boundbook is almost an understatement, be-cause I can’t think of anything concern-ing the business of running a private mu-sic studio not covered.” Well, she hascome up with another whole volume ofideas, mostly not included in her previ-ous book! Most of these come from theexperiences of other teachers, many ofwhom have attended Butler’s workshopson the business of private teaching.
To cover administration expenses,Butler suggests charging registration feesfor new students and annual activity feesfor all students. To save on bookkeeping,lessons should be billed in flat fees, eitherby the month or semester, with discountsfor those who prepay a year in advanceand late fees for delinquent accounts. Tosave precious teaching time, students canbe overlapped or taught in pairs. To ex-tend a teacher’s working hours, private orgroup lessons can be taught during theday at some schools and home schools.
To attract students of busy parents, les-sons can be taught in their homes, withan extra charge for transportation time and expenses. To take advantage ofschool breaks and summer vacations(and also help working parents), musiccamps or master classes can be offered.Similarly, to make good use of teaching time and to bring in extra income, groupclasses for children or adults in music ap-preciation, theory, teacher training, etc.,can be presented. To attract new studentsand bring in extra income from ticketsales, special theme recitals (such as tohonor a composer’s birthday, a musicalperiod, or a holiday) are popular withboth students and audiences. To makethe most of studio space, it can be rentedout to other teachers when not in use or,space permitting, additional teachers canbe hired to teach concurrently. For moreambitious teachers, large musical organi-zations (such as recorder orchestras) can
be organized, made up of select studentsand/or community musicians.
Butler goes into detail about how tomake these ideas work, including mar-keting, student handbooks, agreementforms, schedules, space requirements,billing, insurance, etc. She shows how tocommunicate with students, their par-ents, and prospective students through e-mail and a web site.
The amount of time, however, thatwould be spent on Butler’s proposed pa-perwork worries me. I think that some of
that time might better be devoted to indi-vidual lesson preparation. Nevertheless,there are ideas in this book that should bevaluable to all teachers interested in ex-panding the productivity of their privatestudios.
Constance M. Primus
THE ELOQUENT OBOE: A HISTORYOF THE HAUTBOY FROM 1640 TO1760. BY BRUCE HAYNES. Oxford Univer-sity Press, 2001. 560 pp. Hardcover,$99.00. ISBN: 019816646X.
As well as being a skilled Baroqueoboist (with recent recordings availableon the ATMA label), Bruce Haynes has formany years been one of the busiest re-searchers into the history of the Baroqueoboe. His pathbreaking investigation in-to pitch standards in the Baroque and hisdetailed catalogue of original music forthe Baroque oboe are just two of his manyimportant projects.
Haynes brings his love of the oboe andhis scholarly energy together for an over-all history of the instrument in theBaroque. Each of the book’s 560 pages isfilled with thoroughly-researched detailabout the Baroque oboe (or “hautboy” asHaynes calls it), its music, and the peoplewho made and played it.
There are dozens of illustrations and10 appendices that present such usefulinformation as collations of regular andtrill fingerings from period fingeringcharts, or the pitches at which 16 repre-sentative oboe makers built wind instru-ments (of all kinds, not just oboes). Thewhole is capped by an especially exten-sive bibliography and an index that is re-ally the one weak point in the book. Itcould be twice its present size and stillnot cover all the fascinating and impor-tant details to be found in the work!
Because Haynes presents independ-ent chapters devoted to the physical de-velopment of the Baroque oboe, the
continued on page 26
November 2002 21
BOOKREVIEWS___________________________________
Hautboy history, Bergmann biography, and ideas for running a private studio, revisited
Butler goes into detail about how to make these ideaswork, including marketing, student handbooks,agreement forms, schedules, space requirements,billing, insurance, etc. She shows how to communicatewith students, their parents, and prospective studentsthrough e-mail and a web site.
22 American Recorder
CHAPTERS & CONSORTS___________________________________ Chapters celebrate anniversaries, travel to Ireland,
and sponsor a contest for composers
The Chicago Chapter of ARS invites allcomposers to enter the 2003 ChicagoComposition Contest, which focusesthis year on recorder trios. Any combina-tion of recorder sizes may be used in awork of 5-10 minutes’ duration. The con-test encourages new compositions that aresuitable for playing at ARS meetings, sopieces submitted should accommodatevarious levels of ability. The deadline forreceipt of entries is September 1, 2003.For complete rules, please call Hilde Stani-ulis at 773-363-7476, or e-mail Arlene Gh-iron at <[email protected]>.
To encourage participation by as manynew composers as possible, the contest isopen to anyone. It is hoped that universi-ty composition majors and other com-posers will consider writing for recorders,
thus helping to foster a new crop of com-posers who are aware of the recorder as acontemporary instrument full of expres-sive possibilities. In an effort to reach outto the larger musical community, chaptersmight consider putting together a per-formance/information session for a localcollege, to show that recorders can go be-yond the image of a group of fourth-graders playing “Lightly Row!”
In August, members of the San Diego(CA) County Recorder Society and theGranada Consort participated in the2002 O’Carolan Harp Festival in Keadue,County Roscommon, Ireland, playingarrangements of the music of TurloughO’Carolan (1670-1738) on recorder. Par-ticipants were Frank and Ellen Quick,Vanessa Evans and Ulla Sinz.
In a tongue-in-cheek “letter” to the sec-retary of the Harp Festival, which FrankQuick entitles The Recorder’s Ramble toKeadue (a take-off on Carolan’s composi-tion, Carolan’s Ramble to Cashel), Quickmentions that he was unable to find satis-factory recorder arrangements of Irish mu-sic by Carolan and others, and thus set outto create some himself. Pondering whetherthese arrangements could be called “Irishmusic,” Quick muses, “It is, however, anopen question whether Carolan himselfwould have said that his compositionswere Irish traditional music. Although hewas trained in the traditional manner, andloved and respected traditional music, hewas also a bit of a musical revolutionary.”
Quick continues, “We have, reliably,only the melodic lines of his compositions,
most written down 50 years or more afterhis death. As a result, there is at best a poorindication of how he might have wantedhis music to sound. We do know that hewas very fond of the Italian Baroque com-posers, especially Corelli and Vivaldi, andused some of their style in his composi-tions. So, while these Baroque-stylerecorder arrangements may be only a flightof fantasy, I would like to think that theysound good enough and are interestingenough to be played on the recorder.” (Topurchase some of Quick’s arrangements,contact Arcadian Press of Westport, NY, orsellers of recorder music such as those list-ed on page five of this issue in the annualFocus on ARS Business Members.)
While going to Ireland to play Irish mu-sic on recorders “didn’t result in streets lit-tered with abandoned penny whistles af-terward, nor the stores deluged with re-quests for recorders,” the quartet reportsreceiving a warm welcome and kind indul-gence during their enjoyable trip.
Aeolus Recorder Konsort (ARK) per-formed on stage for the fifth consecutiveyear during October at the Highland ValleyRenaissance Faire, a period fair and mar-ketplace in Little Rock, AR. ARK has alsobeen invited to perform for the 23rd timeat the annual December Madrigal Dinnerswith the Concert Choir of the University ofCentral Arkansas. The Konsort plays dur-ing the seating of the guests, and duringthe dinner to entertain the paying public,offering a program of 15th-18th-centurydances and Christmas carols.
In January 2003, ARK will perform atthe Twelfth Night Ball and Revels festivitiesfor the Country Dance Society and theArkansas Scottish Country Dance Society.The Konsort began playing at TwelfthNight Dance and Revels shortly after theevent’s beginnings in 1983.
Last August in the Community Roomof the University Mall in Little Rock, ARK
sponsored aworkshop withDale Taylor (photoat left) entitled“The Glory ofVenice — FromMusica Nova toVivaldi.” Sixteen
people from Bella Vista, Hot Springs Vil-lage, and Little Rock attended morningand afternoon sessions in which music byNicolo Benoit, Giovanni Picchi,Vivaldiand Bassano was played.
Another summer event, a June work-shop and master class with Michala Petri
last June, has given the members of theTwin Cities (MN) Recorder Guild foodfor thought during their future practicing.Chapter members found Petri to be veryunpretentious in the way that she workedwith them on basics of breathing, articula-tion, tone quality and finger movement.Also inspiring was the chance to observeher working with an eager seven-year-oldand two talented high-school-age masterclass participants.
The Recorder Players of WesleyPalms Retirement Community in SanDiego, CA, began some eight years agowhen a retired music teacher came to livethere and offered to teach recorder. Thegroup’s members first began playing onlyin unison with soprano recorders, andover the years have expanded to play a fullrange of instruments from sopranino tobass. Three of the original 10 memberswho responded then are still active in thegroup, and have been joined in the meantime by another 10 new members; all buttwo of the group’s members are in their70s and 80s. Director Virginia Austin leadsthe Recorder Players in a varied repertoireincluding Mozart, Bach, Bartok andBeethoven, some arranged by members ofthe group, plus music from earlier cen-turies composed specifically for recorder.
Chapter AnniversariesThe Sacramento (CA) Recorder Societyturned 20 this year,and opened its seasonwith a meeting at which a medley of “Hap-py Birthday” variations was played. Earlyfounders/members were introduced andcertificates of appreciation presented toDonna Bettencourt, Virginia Nye, BillieHamilton and Richard Geisler.
The Greater Cleveland (OH) Chap-ter celebrated being 35 years old by devot-ing its September meeting to playing mu-sic donated to the chapter library duringits first five years. Over the decades, anumber of chapter members have donatedmusic to the chapter’s music library (in-cluding founding president Sidney Silber,for whom the chapter’s library is named).
November 2002 23
ADDRESS CHANGE FOR CHAPTER NEWS
Chapter newsletter editors and publicity officers should check their records to makesure that materials are sent to American
Recorder at 7770 South High St., Centennial, CO 8012-31222.
Send news and newsletters by e-mail to <[email protected]>. Please alsocheck that the ARS office address appears on
your newsletter mailing list:P.O.Box 631, Littleton CO 80160-0631,
or send by e-mail to <[email protected]>.
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
STARTING SOPRANO RECORDER, BY
JOS WUYTACK. Black Cat Productions(Magnamusic), 2001. S, 26 pp. $5.95.HANDELING A RONDO, BY MIGGS COG-GAN. Orpheus Music OMP 041 (<[email protected]>;<www.orpheusmusic.com.au>), 1999.SAT kbd, Sc 4 pp, pts 1 p each. Abt. $7.00+ P&H.MEDIEVAL AND RENAISSANCEDANCES FOR RECORDERS,DANCERS, AND HAND DRUMS, BY IS-ABEL MCNEILL CARLEY. Memphis MusicraftPublications, 2000. S & perc, TeacherBook 39 pp, $13.95; Student Books 22 pp,$9.95 per 4-pak.
Now in its second printing, Starting So-prano Recorder by Jos Wuytack is a methodbook especially developed for use in Orff-Schulwerk certification courses where par-ticipants are expected to make maximumprogress within a limited time frame. Play-ing techniques, such as breathing reflexes,fingering and articulation, are introducedthrough a logical progression of musicalexercises and original melodies that incor-porate a variety of key and meter signa-tures.
This independent study program is di-vided into three sections. Part I containsdaily exercises structured for eight days ofpractice. The notes from low C to high E,including B-flat and F-sharp, are intro-duced in these pages. Repetition and prac-tice at varying tempos are regarded as es-sential so that efforts can be focused onrecorder technique. Parts II and III offeropportunities for ensemble playing.
The duets in Part II are original compo-sitions in the style of Medieval and Renais-sance dance forms such as the bransle, en-
trada, and gigue. Part III includes a suite offive independent pieces titled “Vigorous,”“Vivacious,” “Gracious,” “Joyous” and“Capricious.” These clever selectionsscored for a trio of soprano recorders arerhythmically-challenging and requiremore advanced playing skills.
This method book should prove valu-able as a resource to teachers in elemen-tary music programs and would also beuseful to beginning adult players who aretrying to improve their recorder skills us-ing an accelerated approach.
Handeling a Rondo is intended for amassed ensemble of young players and isappropriate for teachers seeking accessiblemusic at beginning and lower intermedi-ate levels. A piano accompaniment thatsupports and complements the combinedinstruments has been provided. The so-prano recorder part, limited to five tonesfrom G to D, is especially devised to ac-commodate beginners. Rhythm patternsthroughout are even and predictable. Notedurations include half and quarter noteswith moving eighth notes only in the so-prano and alto lines.
The very nature of the rondo musicalform works effectively with novice players,and repeated passages with only a few con-trasting sections characterize this compo-sition. The composer, Miggs Coggan, whoreadily admits that her compositions areinfluenced by Orff and Dalcroze, has cre-ated interest in the rondo by juxtaposingpolyphonic and homophonic sections.She is a resident of Armidale, Australia,and has devoted her career to teachingclassroom music, creative dance, recorder,piano and early childhood music.
Isabel Carley’s collection of proces-
sionals, carols, farandoles, branles, andpavanes, arranged from original sources,was compiled to provide period music foruse in school music programs. Thesetunes from England, France, Hungary,Germany, and Spain are intended to com-plement language arts or European historyunits and to provide lively repertoire ap-propriate for arts fairs or madrigal dinners.The selections may be performed instru-mentally or with voices if text has beenprovided. When songs appear in lan-guages other than English, there is a trans-lation and pronunciation guide. Historicalbackground and performance suggestionsguide the teacher and students in effec-tively presenting the music of each danceform. In addition, dance instructions areincluded to engage students in line, circleand partner dances. The teacher’s book in-cludes a full score notated for recorder andpercussion instruments, such as triangleand/or finger cymbals, with a separate sec-tion devoted to developing appropriatehand drum technique. The separate stu-dent books are printed in notation that iswell-spaced and slightly enlarged to facili-tate younger players. This is a well-researched publication of history’s earliestdance music, and these mostly-mono-phonic pieces should be part of the reper-toire for recorder players of all ages.
Gwen Skeens
FLUTE BIZNESS, BY CHARLES FOUQUE.Editions Coimbre (Presser), 1999. AATB,Sc 6 pp, pts 2 pp each. $25.95.
Charles Fouque is a teacher of recorderat several music conservatories in the Parisregion, and is also a performer and com-poser of jazz pieces for piano. His publish-er describes Fouque’s desire to blendrecorder technique with the language ofjazz.
Flute Bizness was dedicated to the com-poser’s friend, Paul Leenhouts. It is anamazing piece! For one so new, it certainlyshows its roots in earlier 20th-century
These tunes from England, France, Hungary, Germany,and Spain are intended to complement language arts orEuropean history units and to provide lively repertoireappropriate for arts fairs or madrigal dinners.
MUSICREVIEWS___________________________________
Accessible music for students of all ages, Busby Berkely and bossa nova
24 American Recorder
forms. In fact, every group who joined meto try out this piece had the same immedi-ate reaction: they all declared that it madethem think of the great movie musicals ofthe 1930s and 1940s—the Busby Berkelyor Esther Williams ones where seeminglyhundreds of gorgeous young ladies tap-danced their way down crystal staircasesor swam into flower-like formations inhuge pools.
This piece is definitely higher interme-diate to advanced in terms of the abilitiesplayers need to bring to it, but it is so muchfun to play that I think everyone can getmusical satisfaction from it. There are tightharmony sections that are full of bouncyspecial effects and sudden abrupt stops,but then, twice, the pace is slowed intowhat the composer says is “a barrel organgrinding out a hackneyed song.” Then it’sback to the tight harmony and a D.C. tothe Fine. Fouque suggests a time of twoand a half minutes for the whole traversalof this material, but our tryout groupsstretched this out somewhat; in fact, play-ing the “barrel organ” slower and a bitwheezier added to the romance we allfound in this delightful romp of a piece.
One thing every group is immediatelygoing to notice is the switching of keys forwhich Fouque calls. He starts off in F, has aforay into A-flat, then back to F, then G,then F again for the D.C. and the Fine. Noone should turn down the opportunity toperform this piece because they are timidabout such changes—and the A-flat sec-tion is chromatic and one of the easiestparts! Finally, in playing Flute Bizness,Fouque advises, “anything goes, so useyour imagination to add a personaltouch.” That’s just the kind of spirit thatmade those old movie musicals so inter-esting and colorful. Enjoy!
IN BRAZILIAN STYLE, BY LANCE ECCLES.Orpheus Music OMP 028(<[email protected]>;<www.orpheusmusic.com.au>), 1999.SAAT + opt. guitar, Sc 12 pp, pts 4 ppeach. Abt. $9.00 U.S. + P&H.
Every few decades, an explosive newinfluence arrives in our popular musicstream. One of the most productive camein the 1959 French-ltalian film, Black Or-pheus, a retelling of the Greek legend of Or-pheus, the master musician, and the love,Eurydice, that he finds but then loses. Themovie is set in the frenetic Carnival seasonof Rio de Janeiro. The music, which wascomposed by Antonio Carlos Jobim andLuis Bonfa, ignited the bossa nova craze in
North America and Western Europe. Itwas then taken up so famously by saxo-phonist Stan Getz, flutist Herbie Mann,and later by leading vocalists like FrankSinatra and Andy Williams, among manyothers.
Many composers have used the bossanova rhythms and ideas as inspiration fortheir new works. Lance Eccles, a prolificAustralian recorder composer and per-former, has contributed In Brazilian Style,consisting of four pieces of various moods.Before attempting any of them, an ensem-ble would be wise to listen to some of thegreat hits of this genre, such as “The GirlFrom Ipanema,“ “Baia,” and “A Day in theLife of a Fool,” especially paying attentionto the underlying rhythms and the lengthor shortness of the different notes. Bossanova involves many a phase of sliding overor across the main beats, like short glideswhen ice skating instead of a regularpumping of the legs for speed. This iswhere a group should be relying on thepercussion, or as here, on the guitar’schords and pulsations. Anyone who sim-ply tries to play this music straight throughwith a steady ONE-two-THREE-four typeof beat is going to be disappointed. Thewhole ensemble must listen to each othermore and sense where it is they are going.
Of the four pieces, I would start withthe third, “Capybara Heaven,” because ofits andante nature and melody. It very well“describes” the bouncing gait of the largeSouth American rodent of the title. Heremost of the rhythm comes from the sopra-no recorder while the rest of the group pro-vides a steady pulse underneath. Then,having developed a feel for the style, Iwould have everyone tackle what I believe
is the strongest of the set, number four,“Ladies of Paradise.” It reminds me of thewonderful old standard, “Tico-Tico.” Thesoprano leaps into the lead again, as in“Capybara Heaven,” but this time the firstalto breaks in, picking up some of themelody lines and creating some interestingshort “conversations.” It is a fresh and ex-uberant whole, well worth the playing.
Looking at the first two pieces of theset, I cannot be as enthusiastic. The first,“Little Horses,” struck me as too repetitiveof its main ideas for my taste. I don’t thinkI would program it for an audience. Thesecond, “Birds in the Forest,” seemed likea beginning sketch to me, one in which Inever felt I knew where it was going—orparticularly why it should want to!
I believe advanced groups and profes-sional ensembles should add this collec-tion of Eccles’s works to their repertoiresfor the sake of the last two pieces. They doneed very-good-to-crackerjack playerswho are not afraid to try new styles (themeaning of “bossa nova”). I would evenconsider multiplying players on each line,developing it into a recorder-orchestra set-ting. Any audience, I think, will love them.
Richard Carbone is a retired Englishteacher. He has played jazz and popular mu-sic on woodwinds in small and large ensem-bles most of his life. He is the music director ofthe Bradenton (FL) Early Music Society.
November 2002 25
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.
26 American Recorder
Q & A___________________________________ Recorder (with fipple) meets recorder (with microphone)
QUESTION: Can you recommend a smallportable recording device that would
record our ensemble’s practice sessions withless distortion than a standard cassetterecorder? Can you also recommend a speakersystem that would allow us all as a group tohear an immediate playback of the recording?Can that be done with small portable speak-ers?—Ruth Seib, Oakland, Maryland
ANSWER FROM EDWARD GOSFIELD III:Buy a portable minidisc recorder
($180-280) and a decent electret conden-sor microphone ($80-200), which canplug into the recorder.. I use a Sharp mini-disc recorder. Sony also makes some goodones, but most people who make liverecordings prefer the Sharp due to someconvenience features. For better sound re-production, I have added a high-qualityportable microphone preamplifier and acouple of professional microphones,which together cost many times what the
minidisc cost. Your results using thecheaper microphone and the built-in mini-disc preamp may not sound as good, butwill be better than any cassette recorderand may be adequate for practice sessions,depending upon your group’s standards.Do a web search on “minidisc” to findsome good general pages with educational
articles on how minidiscs work, and com-parative features. A particularly good placeto start is <www.minidisc.org>.
For playback, although the sound qual-ity is not great, you can purchase self-pow-ered speakers designed to be used withWalkman-type equipment. These shouldbe listed under “portable speakers” at
<www.amazon.com> or the equivalent. Ifyour standards are higher, there are somevery expensive high-quality poweredspeakers made for the professional publicaddress equipment industry. Try a websearch on “AER” equipment. (AER is a Ger-man company, which manufactures a lineof very well-respected portableamplifier/speaker units for use in amplify-ing acoustic instruments and/or vocal pro-duction.) There are also other self-poweredspeakers made for the recording industry.
However, investing in expensive play-back equipment is frustrating unless youalso have excellent microphones and ahigh-quality microphone preamp, becausethe microphone is the most important partof the recording chain. You will find that se-rious equipment costs serious money. Be-low that level, you will have to choose thetype and amount of distortion your groupcan tolerate.
To find further advice, I recommend contacting Sonic Sense, <www.sonicsense.com>. They specializein live recording of concerts and sell manyfirst-class microphones, both new andused, as well as preamps and other soundequipment. They should be able to helpyou select the equipment most desirablefor your ensemble. (I have absolutely noconnection with Sonic Sense other thanhaving bought a very nice preamp fromthem.)
Edward (Ted) Gosfield’s professionaltraining is as an anthropologist and physi-cian, but he plays a number of musical instru-ments, including Baroque recorder, avoca-tionally and has been experimenting withsound recording equipment since 1966. Hehas played guitar and mandolin in profes-sional recording studios, and he worked in the“state-of-the-art” audio industry for five yearsduring the 1970s, in the “last golden age” ofanalog electronics. More recently, he hasrecorded a number of musician friends using“true stereo” techniques into minidisc andCD recorders.
Send questions to Carolyn Peskin, Q&A Editor, 3559 Strathavon Road, Shaker Heights, OH 44120;
The microphone is themost important part of the recording chain.
November 2002 27
SWEETHEART
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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
QUESTION: I teach instrumental music ina public middle school and am planning
to initiate a recorder program. Can you sug-gest some three-, four-, or five-part music thatwould be suitable for an ensemble of seventhand eighth graders?—C.M.F., Cleveland,OH
ANSWER FROM JODY L. MILLER: There isa wealth of music suitable for seventh
and eighth graders, as they tend to have adeeper appreciation of historical musicthan we adults often realize. Assumingthat the students know the fundamentalsof playing the recorder, a teacher can takethem in many musical directions.
A wise choice might be to start your li-brary off with some compilations so thatyou have a varied repertoire at your imme-diate disposal. Susato dances are fun, es-pecially when the students have an oppor-tunity to learn to play some percussionparts. A classroom-friendly publication isa London Pro Musica edition (LPM 101,pub. 1993) that is available as a set of fourcomplete scores and commentary for lessthan $25. Steve Rosenberg’s The RecorderConsort series (Volume 1, Boosey &Hawkes 2279, pub. 1978; Volume 2, B&H2280, pub. 1982; Volume 3, B&H 7445,pub. 1986; Volume 4, B&H 9765, pub.1995) contains music in one to six partsand includes the many historical periodsand a limited amount of contemporary lit-erature. Using one or more of the abovecompilations will allow you to use thesame book year after year; this should be aconsideration if you are on a tight budget.
If you are interested in Christmas mu-sic, which is often popular to students be-cause so much of the music is already well-known, try The Christmas Collection, edit-ed and arranged by Eric Haas (available intwo volumes, pub. 1994 and 1995 by VonHuene Press). Each comes in a set of two
scores and is available through the VonHuene Workshop. (Keep in mind beforeusing religious music in your program thatnot all communities welcome this genre. Itis best to do one’s homework first. Formore information on the subject, visit<http://www.menc.org/publication/books/relig0.html>, or directly contactMENC: The National Association for Mu-sic Education.)
In the way of single pieces, I have al-ways liked Jane Gannaway’s “ScarboroughFair” (Fentone M105, pub. 1982). Writtenfor SAT, this work gives the tenors plenty todo and is always a favorite with my ownstudents. The publisher includes a scoreand three copies of each part. Also, begin-ning students are forever enraptured byBach’s famous “Minuet.” Albrecht Rosen-stengel uses this tune in his SATB arrange-ment of Two Minuets and a March, pub-lished by Bosworth Editions (BoE3835,pub. 1983). Ron Hancock, who publisheshis own works, has arranged some musicfor students. The Good King (S’oATB) is hissetting of “Good King Wenceslas;” it isfairly repetitive and gives students achance to easily explore the different sizesof recorders. I use this yearly with childrenand adults; it is always a hit! Contact Han-cock at 404-633-2108.
Remember to balance fun tunes (funfor them, not you!) with the standardrepertoire so that you keep the interest ofyour students. I hope these suggestionshelp, but your own experimentation willprove just as valuable.
Jody L. Miller, an instrumental musicteacher at McCleskey Middle School in Mari-etta, GA, is director of the school’s renownedrecorder ensemble, which performed at theBoston Early Music Festival in 1997, 1999,and 2001. He is also the music director of theAtlanta Recorder Society and Emory Univer-sity Early Music Ensemble.
FFOORR TTHHEE HHOOLLIIDDAAYYSS!!
CCHHRRIISSTTMMAASS AATT TTHHEE CCAASSTTLLEE Blue Oak Consort and guests, Richard Geisler, director. Five centuries of holiday music from many lands.
CCHHRRIISSTTMMAASS MMOORRNNIINNGG David Young, recorders; Lisa Franco, celtic harp. Well-known Christmas music on recorders & harp with other Renaissance instruments.
DDAANNCCIINNGG DDAAYY Scott Reiss, Tina Chancey, and Jane Hershey, recorders and otherearly instruments; Rosa Lamoreaux, soprano; Mark Cudek, lute & cittern; Joshua Lee and Daniel Rippe, bass viol & percussion. Medieval, Renaissance & traditional Christmas music spanning about 500 years.
MMEERRRRYY CCHHRRIISSTTMMAASS David Young, recorders. Full symphonic sound on John Lennon’s “Happy Christmas,” Irving Berlin’s “White Christmas,” and other favorites.
See more listings in the AARRSS CCDD CClluubb elsewhere in this issue, or visit the ARS web site, <<wwwwww..aammeerriiccaannrreeccoorrddeerr..oorrgg>> for full listings.
28 American Recorder
Mollenhauer, Yamaha,
Kung Recorders
Competitive Prices
Quality instruments sent on approval
Personalized service/advice
Bill Lazar jbla m
h
[email protected](408) 737-8228
ttp://www.bill-lazar.com
PAMELA THORBY (cont.)
SELECTED DISCOGRAPHYPalladian EnsemblePamela Thorby, recorders; Rachel Podger,
violin; Susanne Heinrich or JoannaLevine, viola da gamba, ‘cello; WilliamCarter, theorbo, archlute, guitar. Somethese recordings have been republishedor distributed by Honest Entertainmentin Nashville, TN.
An Excess of Pleasure. Music by John Blow,Francesco Geminiani, Matthew Locke,Biagio Marini, Nicola Matteis, HenryPurcell, Christopher Simpson, MarcoUccellini, and anonymous. Glasgow:Linn Records, CKD 010, 1993.
The Winged Lion. Music by Giovanni Bat-tista Buonamente, Dario Castello,Francesco Cavalli, Santiago De Murcia,Francesco Turini, Marco Uccellini, Gio-vanni Battista Vitali, and Antonio Vival-di. Linn Records, CKD 015, 1994.
Bach Trio Sonatas. Trio Sonatas, BWV 525,527, 529, 530; Duettos, BWV 802–805;Fourteen “Goldberg” Canons, BWV1087. Linn Records, CKD 036, 1995.
A Choice Collection: Music Of Purcell’s Lon-don. Music by John Banister I, ThomasBaltzar, John Blow, Henry Butler,Matthew Locke, Nicola Matteis, JohnWeldon, and anonymous. Linn Records,CKD 041, 1995.
Trios for 4. Music by George Frideric Han-del, Jean-Marie Leclair, Johann Joachim
Quantz, and Georg Philipp Telemann.Linn Records, CKD 050, 1997.
Les saisons amusantes. Music by AntonioVivaldi, adapted by Nicolas Chédeville.Linn Records, CKD 070, 1998.
The Sun King’s Paradise. Music byFrançois Couperin, Etienne Lemoyne.Marin Marais, and Jean-Féry Rebel. LinnRecords, CKD 100, 1999.
Held by the Ears. Music by Nicola Matteis,traditional, and anonymous. LinnRecords, CKD 126, 2000.
Karl JenkinsAdiemus: Songs of Sanctuary. New York:
Virgin CAROL 7524-2, 1995.Adiemus 2: Cantata Mundi. New York:
Sony Classical, SK 60282, 1997.Adiemus III: Dances of Time. Malibu, CA:
Higher Octave, OMCD 46674, 1998.Adiemus IV: The Eternal Knot. Malibu, CA:
Omtown, OMCD 49965, 2000.Adiemus Live. Malibu, CA: Omtown,
11476, 2002.Imagined Oceans. New York: Sony, SK 60668, 1998.
OtherSweeter than Roses. Music by Purcell.
Catherine Bott, soprano; Pamela Thor-by, recorder; and others. London: Edi-tions de L’Oiseau Lyre, 443 699-2, 1995.
Bach and Zelenka. Includes J.S. Bach,
Hidden Valley Music SeminarRecorder, Viola da Gamba and Harpsichord WorkshopHidden Valley Music Seminar, Carmel Valley, CA, April 13-19, 2003Director: Letitia Berlin; faculty: Geert Van Gele, recorder, Letitia Berlin , recorder, Webb Wiggins, harpsichord, Margriet Tindemans, viola da gambaA new workshop offering masterclasses for recorder, viola da gamba and harpsichord, coached baroquechamber ensembles, separate renaissance consort classes for recorder and viols, continuo classes for harpsichordists, evening activities including faculty concert, lecture/demo, student concert Saturday morning. For advanced amateurs and pre-professionals. Enrollment limited, inquire early.
Beautiful country setting, lodging is in spartan but comfortable; rooms on site or nearby motels, food isvery good. Carmel Valley is two hours south of San Francisco, nearest airport is 20 minutes away in Monterey, Amtrak station 45 minutes away in Salinas.
Contact: for workshop information, Letitia Berlin, 510-559-4670, [email protected] register or inquire about fees & accommodations, Peter Meckel, 831-659-3115,[email protected]
Please support ourloyal advertisers!
ARS Membership Enrollment and RenewalPlease enroll/renew me as a member of the Society. I’m looking forward to:
American Recorder, ARS Newsletter, and the Members’ Directory Members’ Library musical editions Eligibility for the ARS Education Program examinations Discounts to some recorder workshops and on ARS publications Mailings from suppliers of materials, music, instruments. (ARS list is made
available only to purveyors of goods and services for recorder players.) Information on all aspects of playing the recorder
U.S./Canadian membership: one year $40, two years $75
Foreign membership: one year $50, two years $95
U.S./Canadian Student* membership: one year $20 two years $40
Foreign Student* membership: one year $25 two years $50
Workshop membership: one year $60 Business membership: one year $120
Address and/or phone information has changed in past year. Do not list my name in Directory.
*Enclose proof of full-time enrollment.
All dues paid in U.S. funds by check on U.S. bank, or by international money order.
Family members residing at the same address may share a membership. However,the student rate is not applicable to a shared family membership. For an additionallisting in the ARS Directory under different surnames at the same address, add $5.
Please check to be included on the ARS list of
Recorder teachers and/or Professional performers. (Since your recorder activitiesmay change, you must indicate on each renewal if you want to continue to be listed.)
I wish to contribute $_________ to help sustain the work of the Society.
Please charge to my VISA/MASTERCARD:#____________________________________ Exp. Date: _______________________________________Cardholder’s signature _______________________________________________________________
NAME________________________________ PHONE (______)_________________________________ADDRESS ___________________________________________________________________________________________________________________E-MAIL __________________________________________CITY_________________________________ STATE ____ ZIP/POSTAL________________________
CHAPTER/CONSORT AFFILIATION, IF ANY:__________________________________________
OPTIONAL INFORMATION:
Chapter officer or committee member? Yes (officer/committee: _____________) No Have served chapter in past
Age: _____ For how many years have you played the recorder? _____
Level of recorder playing: Amateur Semi-professional Professional
Annual income: Under $10,000 $10,000-30,000 $30,000-50,000 $50,000-75,000 $75,000-100,000 Over $100,000
Portion of your income derived from music: All Some None
Portion of music income derived from the recorder? All Some None
If all or some, what kind of recorder activities are involved? (Check all that apply.)
Teach privately Teach/lead workshops Teach elementary school music Performance Recorder maker Musical director/coach Other _______________________________________________________________________________
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)
AMERICAN RECORDER SOCIETYP. O. Box 631, Littleton, CO 80160-0631, U.S.A.
Fax (with handset down) or call in credit card renewals to 303-347-1181
November 2002 29
Brandenburg Concerto No. 2, withPamela Thorby, recorder; Kerstin Linder-Dewan, violin; Paolo Grazzi, oboe;David Staff, trumpet; Fiori Musicali,Penelope Rapson, dir. London:Metronome MET CD 1019, 1997.
Baroque Recorder Concertos. Music byGiuseppe Sammartini, Georg PhilippTelemann, and Antonio Vivaldi. PamelaThorby, recorder; with Sonnerie, dir.Monica Huggett. Linn Records, CKD182, 2002.
New Folk Songs. Perfect Houseplants; withPamela Thorby, recorder. Linn Records,AKD 130, 2000.
The interviewer, a music librarian at Indi-ana University, writes about woodwind in-struments, their history, repertory, and per-formance practices. He is the author of 21articles in The New Grove Dictionary ofMusic and Musicians, 2nd ed. (London:Macmillan, 2000).
30 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
Musical Editions from the Members’ Library:ARS members: 1 copy, $3 2 copies, $4.50 3, $6 4, $7.50 5, $10 6, $11.50Non-members (editions over 2 years old): 1 copy, $5 2 copies, $8.50, 3,$12 4,$15 5, $19.50 6, $23The ARS is happy to provide photocopied enlargements of any Members’ Library edition at the same prices. Pleasespecify “Members’ Library Enlargement.” * = Editions not yet available to non-members.
Other Materials from ARSARS Information Booklets: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
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).
First copy free to ARS Members (mailed to current members in 1996 & new members as they join); replacement copies for members or non-members, $3.
Guidebook to the ARS Personal Study Program (1996). Material formerly published in the Study Guide and Study Guide Handbook, plus additional resources. Members, $11; non-members, $20.
ARS Music Lists (2002). 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.
Junior Recorder Society Leader’s Resource Notebook. ARS members, $20; non-members, $40 (updates at reduced rates after initial purchase). Special rate for previous purchasers of JRS Class Program, $15. Dues for each JRS student member sponsored by an ARS member, $5 ($4 each for groups of 10 of more). JRS student members receive activities plus “Merlin” badges and stickers.
Other Publications Chapter Handbook. A resource on chapter operations for current chapter leaders or those considering forming
an ARS chapter. ARS members, $10; non-members, $20 (updates free after initial purchase).One free copy sent to each ARS chapter with 10 members or more.
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.
Either single volume: ARS members $23; non-members, $28. Both Discography volumes together: ARS members only, $40.
American Recorder: Cumulative Index for Vols. I-XXXX. ARS members, $20; non-members, $32.Index Supplement, Vol. XXXIV-XXXX. ARS members, $8; non-members, $14.
All prices are in U.S. dollars and include U.S. postage and handling. For Canadian or foreign surface postage, pleaseadd an additional $1 per item; for Canadian or foreign air mail, please add an additional $3 per item. When orderingfive or more items to be shipped anywhere at the same time, ARS Members may deduct an extra $2 on top of thediscounted members' price. Please make checks payable to the ARS. VISA/MasterCard also accepted.
American Recorder SocietyP.O. Box 631, Littleton, CO 80160-0631, U.S.A. 303-347-1120
*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)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
development of Baroque oboe tech-nique ,and to Bach’s oboe music, in ad-dition to the general chronological histo-ry (unusually but effectively subdividedaccording to geography), he is able to tellhis story twice and sometimes threetimes from different perspectives, thusalmost giving the book the character ofan encyclopedia of the instrument ratherthan just a simple history.
While the book is full of facts (for in-stance, that there were 1,919 trio sonatasinvolving oboe written before 1760), it isalso made quite readable by Haynes’swillingness to express his own enthusi-astic but well-considered views on suchsubjects as the quality of various piecesof repertoire or of surviving original in-struments he has had the chance to play.He also has some thought-provokingviews on various aspects of Baroque per-formance practice, such as his idea thatflattement is most effective when the fin-ger motion does not result in a flatteningof the pitch.
Obviously, this is a book for morethan just the Baroque oboe player. Therecorder, for instance, is mentionedmany times, not least because manywell-known recorder performer/com-posers (e.g., Telemann, Sammartini,Loeillet) would have considered them-selves primarily as oboists. In fact, any-one interested in the music of theBaroque will find Haynes’s grounding ofthe story of the instrument in its socialcontext invigorating and capable of pro-ducing unique insights. It is not toomuch to say that this book should be onthe shelf of anyone seriously interestedin the music of the Baroque.
MUSICIAN FOR A WHILE: A BIOG-RAPHY OF WALTER BERGMANN. BY
ANNE MARTIN. Peacock Press (Scout Bot-tom Farm, Mytholmroyd, HebdenBridge, U.K., HX7 5JS), 2002. 202 pp.Softcover, $25.50. ISBN: 0907908837.
Walter Bergmann’s name will be fa-miliar to most recorder players, whetherfrom his many editions of old music, hiscompositions (especially those for begin-ners), or perhaps from personal acquain-tance through one of the many coursesand workshops he led in both the U.K.and the U.S. Anne Martin’s biographyfills out the story behind the name.
BOOK REVIEWS(cont.)
November 2002 31
Bergmann was born in Germany acentury ago, in 1902. His father was anengineer and the family was a close, hap-py one. Although he loved music,Bergmann decided to take a more securecourse and study law, which he did suc-cessfully, becoming qualified in 1930.The rise of the Nazis caused him to flee toEngland, where his wife and daughterjoined him in 1939. Never really happyas a lawyer and unable to practice in Eng-land, Bergmann finally turned to musicdefinitively and never looked back.
As a performer, Bergmann’s greatesttalent was as an accompanist. He servedas a partner to many well-known talents,including Alfred Deller and FransBrüggen. As a musicologist, his greatestinterest was in Telemann, but his work asan accompanist led to an expertise in re-alizing continuo parts and brought himinto collaboration with Michael Tippettand Benjamin Britten in their rediscov-ery of the music of Purcell and his con-temporaries. Bergmann also became in-volved with the recorder movement inEngland and began a long series ofrecorder editions and compositions prin-cipally for Schott & Co.
Throughout his career, Bergmannshowed a special interest in amateur per-formers and young professionals, lead-ing courses and workshops on both sidesof the Atlantic and giving a boost to thecareers of performers such as Brüggen,Michala Petri and Evelyn Nallen beforehis death in 1988.
Martin was able to draw onBergmann’s diaries to help tell his story.This allows her to give an intimate andvery human portrait of the man. Unfor-tunately, Bergmann’s failings, notably hislack of confidence, come through veryclearly and perhaps take on greaterprominence that they really warrant.From time to time, the use of the diary al-so gives the narrative the effect of a sim-ple chronicle, as Martin gives a straight-forward listing of Bergmann’s activitiesfor a given period. On the whole, howev-er, this is an affectionate yet unflinchinglook at a man who contributed greatly tothe revival of the recorder and of earlymusic generally in the 20th century.
The presentation is quite attractive,despite several misprints. A section of bi-ographical notes helps to identify themany personalities who touched onBergmann’s life. As well, there are sever-al photographs and an extensive index.
Scott Paterson
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.
Fast TonguingOne of the big hurdles on the path to fastplaying is tonguing. Often players canmove their fingers quickly and pretty accu-rately, playing very rapidly when slurring,but when they add articulation it soundsjerky, rough or indistinct. Becoming ac-complished at articulation, including dou-ble tonguing, will enable you to play clean-ly and clearly at rapid speeds.
Tonguing is the use of various syllableswhispered into the recorder to make thefront edge of each note sound a certainway. We call these syllables “articulation.”Some of these syllables can be producedmore quickly than others, so they are thebest ones to use for fast notes.
We choose which syllable to use foreach note based on how we want that noteto sound and how fast we want to play. Ar-ticulations can be divided into two groups:hard sounds and soft sounds. Articula-tions can also be divided into two methodsby which the sound is articulated: singletongue articulations, and compound(double and triple) tongue. This meansthat we have hard and soft single articula-tions, and hard and soft compound articu-lations. A recorder player should learn todo all of these articulations well. They arelike the colors on an artist’s palette. Whatwould you think of a painter who couldpaint only with blue, green and white?What would such a painter do if she or hesuddenly had a dream of vivid reds and yel-lows and wanted to paint them?
I teach my students first the basic sin-gle articulations “t” and “d” (a hard and asoft). After that, I go to the slower com-pound articulations that include the “r” (t r t r and d r d r patterns). Then I teach thefast compound articulation “did’ll.” I wantmy students to become very adept with“did’ll,” since it is the most flexible of thefast double tonguings. After that, I teachthe less flexible (and therefore less useful)fast double tonguings “t k t k” and “d g dg.” The last thing I teach is triple tonguingand “lere.” It takes a long time to masterthese articulations (mostly because peopledon’t like to work on them consistently),so most students don’t get this far.
“Did’ll” is the most useful doubletonguing for recorder players because itcan be done in a broad range of firmness-es. Just as one can make a complete spec-trum of sounds from the firmest “t” to thesoftest “d,” one can vary “did’ll” from avery firm “tit’ll” to a very soft “lid’ll.” Thebasic movement is the same for all of theseshadings of sound. Although the otherdouble tonguings (t k t k/d g d g) can bevaried in firmness to a degree, they will al-ways sound more disconnected because ofthe way in which the second syllable isproduced. I will not take up space by goingfurther into this now.
What can you do to learn fast articula-tion? Practice! Study with a good teacher.In the meantime, follow the instructionslater in this column.
How to Say “Did’ll”Say “sssssssssssssssssss.” You will find
that you can only produce a nice clean hiss(the snakier the better!) when the sides ofyour tongue are touching your upper mo-lars.
Say “sssssssssssssss(t)”—that is, hissand then get ready to say “t.” During thehiss air can escape only past the tip of yourtongue, since the sides are resting againstyour upper molars. Get ready to say “t” byputting the tip of your tongue against thepalate immediately behind your frontteeth. Now your tongue should be makinga complete seal all the way around. No aircan escape, even if you push with yourblowing muscles, unless you release yourtongue. When we are articulating the sim-ple single articulations “t” or “d,” thetongue begins in this position. At this
point you are ready to practice “t” and “d”until you do them well. I will assume youhave already done so, and continue with“did’ll.”
To say “did’ll” correctly you must beable to make a good, clean, round “d” ar-ticulation.
The “di—” of “did’ll” is produced bystarting with your tongue in the above po-sition and then whispering “di—” (with ashort vowel sound as in “I did it!”). As thefirst syllable ends, the tongue tip comesback to the palate just behind the frontteeth and then the sides of the tongue pulldown from the molars to produce the “—d’ll.” It is amazing how we make thissound! Practice saying the word “little”over and over as fast as you can. Observeyourself, and you will find that this is howyour tongue moves. If there is anyone outthere who can say “little” quickly using on-ly the tip of the tongue, please let me know.I will want to observe you (naturally in aspirit of unbiased enquiry).
Practice saying “did’ll” in a relaxed andsomewhat lazy manner. Say it quickly. Youwill get the best results if you chant yourchain of “did’ll” articulations with good airflow and support. Your air flow should feelsimilar to buzzing your lips “brrrrrrrrrrr,”which one can only sustain if using goodsupport. Next, try playing many “did’ll”articulations all on one pitch. Keep yourbreath flowing well.
I find that most people experiencethree distinct problems with “did’ll.”
1) they are too conscientious in theirpronunciation of “did’ll,” saying almost“deet-tle,” which makes notes sound stiffand disjointed.
2) they find it frustratingly difficult tocoordinate the tongue and finger move-ments.
3) they find that they cannot keep“did’ll” going for very many notes.
Solutions to These Problems1) First, relax and be a little lazy. Prac-
tice saying chains of “did’ll” using goodblowing and support with a somewhat lazytongue. Also practice saying “little” asabove, and saying “leddle.” These are soft-
Tonguing is the use ofvarious syllableswhispered into therecorder to make the frontedge of each note sound acertain way.
32 American Recorder
OPENING MEASURES___________________________________Use your palate to create your
recorder articulation palette
November 2002 33
er versions of “did’ll,” the latter with amore relaxed vowel. You can also practicewith emphasis on the first syllable, makingthe second syllable a very passive reactionto the first: “DI—d’ll (think decrescendo).
2) This problem is due to the fact thatpeople move their fingers from note tonote of their fast passage as evenly as theypossibly can (having worked hard to beable to play evenly), yet the two syllables of“did’ll” are not even. The first is minutelylonger than the second, and the second isslightly shorter and very closely connectedto the first. It is almost like a shy child try-ing to slip in behind a mother as they entera room full of strange people.
Choose a passage of fast notes. Make itan easy one, perhaps just a nice mid-rangescale (C major on alto, G major on sopra-no or tenor). First play it all slurred in onelong slur with uneven notes—long-short-
long-short like the Swingle Singers’ “shu-bi-du-bi-du-bi” (that’s the finger motionI’m talking about, not an articulation).Practice this faster and faster. You will findthat the amount of unevenness decreasesas you speed up until, at very rapid speed,it sounds even (but you and I know that itis minutely uneven). Now you are ready tomatch the notes up with your “did’ll” ar-ticulation. Note that, because of the twosyllables, there are two notes for every“did’ll.” Give it a try and repeat severaltimes!
3) This last problem is merely one ofmuscle endurance, and easy to fix. Youmust simply practice consistently overmany days. Using one note or a scale, be-gin by playing several short chains of“did’ll” articulation: “did’ll did’ll di— restdid’ll did’ll di— rest did’ll did’ll di— rest.”Add another set or two of “did’ll” to each
chain every day. As athletes know, it is im-portant to allow your muscles to rest be-tween attempts.
Finally, once you have learned the ba-sics of “did’ll,” you must learn how to ap-ply it in music. Use “did’ll” at first only forpassages of stepwise notes. Once you be-come good at this you can include smallleaps in your passages. However, it is im-portant to understand that “did’ll” is bestsuited to stepwise notes or small leaps. Al-though it is possible to articulate largeleaps with “did’ll,” it rarely sounds good,so for leaping passages use single tongue(“t”), or “t k t k” or “d g d g.”
Now I hope you are inspired to go offand practice. With due diligence and pa-tience I am sure you can learn to playsparklingly-rapid passages using “did’ll.”Have fun!
Frances Blaker
Hours of playing and enjoyment with early
music specialists
“Seldom will any of us get to be accompanied by such fine players!”
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Baroque Chamber Music Play-Along CDs!with Music and Performance Guides for Recorder Players
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Pre DiscContinuoEarly Intermediate Handel, Lully, Purcell, Corelli, Consort Music of Lassus, Dowland, Arcadelt & more
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DiscContinuo IIAdvanced IntermediateBach, Philidor, Mancini, Handel Cantata with soprano Susan Rode Morris & even still more!
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Michael R. NicholsChristian Harmony Sacred Harp (Shaped Note) music arranged for SATB consort
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Beatin’ Path PublicationsMusic That Works!
THE FOOD OF LOVE: EARLY INSTRU-MENTAL MUSIC OF THE BRITISHISLES. HESPERUS. Dorian DOR- 90290(ARS CD Club), 2001, 1 CD, 66:35,$17.00.
“The music in this recording is some ofthe most dramatic, imaginative, and ex-pressive in the vast compendium of instru-mental literature from the 16th to 18thcenturies,” so says the booklet with thisCD, and so it is. Hesperus is a cutting-edgeconsort. The group is renowned for taking
innovative approaches to early music byadding traditional and contemporary mu-sic to the mix, as well as putting togethermany fine recordings of Renaissance andBaroque music. Here we have the core en-semble of Scott Reiss, recorders; TinaChancey, viols and fiddle; and Grant Her-reid, lute, guitar, and theorbo, joined byJane Hershey, viols, for a program of artand folk music of three centuries.
If there is a theme to be found in thisprogram, it is simply the distinctiveness ofthe pieces. Two of my favorite works of17th-century consort music are given finereadings: Browning by Elway Bevin, basedon the popular tune “The Leaves BeGreen,” and Bonny Sweet Robin by ThomasSimpson. Despite having similar subjects,the two works show radically differenttreatments of their themes. Bevin’s is adarkly-introspective piece in which thesubject is hidden in a web of polyphony,while Simpson’s theme is exposed to thelight of day as it bounces from part to part.In a sense, these works form the founda-
tion of this program, as both are hallmarksof the blend of art and folk music. We aretreated to music by John Dowland,Thomas Morley, William Byrd, and Orlan-do Gibbons, to name a few, as well as tra-ditional music from the British Isles.
Hesperus is an ensemble of the firstrank. The performers are consummatemusicians with unqualified command oftheir instruments who give us a perform-ance that is thrilling from beginning toend.
JOURNEY. WOOD‘N’FLUTES. KadanzaClassics KAD48130-2 (ARS CD Club),2001, 1 CD, 50:07, $17.00.
Wood‘N’Flutes is a professionalrecorder ensemble made up of three mas-ter performers: Vicki Boeckman, GertieJohnsson, and Pia Brinch Jensen. Theyperform on a wide variety of Renaissanceand Baroque recorders, ranging from so-prano in C to great bass in F.
Journey is a collection of the familiarand unfamiliar, the old and the new. The
CD opens with Kadanza by Willem Wan-der van Nieuwkerk, a contemporaryDutch composer. The work is energetic,yet melodic, and works nicely as a preludeto three pieces by Guillaume Du Fay: Jelanguis en piteux martire, the ever-popularVergine Bella, and Belle quevous.
The recording contains a couple of fa-vorites of recorder players: Johann Matthe-son’s Sonata in G minor, Op. 1, No. 9, forthree alto recorders and Louis-AntoineDornel’s Sonata in B minor played on threevoice flutes. Here we have contrasting ap-proaches for fusing French and ItalianBaroque styles: Mattheson imparts Ger-manic seriousness to his blend, while Dor-nel’s style is essentially French with Italiantrimmings. Another chestnut, Henry VIII’s Taunder Naken, serves as a vehicle fordisplaying the group’s superior ensembleplaying, with its complex rhythms andpart-writing.
Of special note are the works of twoearly 17th-century Danish composers,Truid Aagesen and Mogens Pedersøn. Herewe get to hear the sensuous sonorities ofthe largest members of the recorder familyin these lovely pieces from the rich musicalmilieu of Christian IV’s court.
Perhaps the most engaging work of theprogram is Les Barricades, a take-off onFrançois Couperin’s Les Barricades mis-terieuses by the modern German composerMatthias Maute (now living in Montréal,Quebec). As mysterious as the original,Maute’s piece captures its essence in adriving, yet lyrical, work that still leaves usguessing about the nature of the enigmat-ic obstacles of Couperin’s title. The discends with another study in contrast withNieuwkerk’s Bye Bye, Blues and Sans Cuerby Guillaume de Machaut.
This trio plays with extraordinary vital-ity; energy oozes from every bit and byte ofthis disc. None of it is to be missed byrecorder players and fans of recorder con-sort music.
Thomas Cirtin
The group is renowned for taking innovativeapproaches to early music by adding traditionaland contemporary music to the mix, as well as putting together many fine recordings of Renaissance and Baroque music.
COMPACT DISCREVIEWS___________________________________
A menu of favorite folk and art music,and a journey into past and present
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.
34 American Recorder
November 2002 35
FOR THE HOLIDAYS!_____ CHRISTMAS AT THE CASTLE Blue OakConsort and guests, Richard Geisler, director. Fivecenturies of holiday music from many lands; aChristmas concert set in a castle, played and sungby 17 musicians on recorders, strings, percussionand voice. $17 ARS/$20 others._____ CHRISTMAS MORNING David Young,recorders and Lisa Franco, celtic harp, play well-known Christmas music, with other Renaissanceinstruments. Recorded in 3D Surround Sound.Universe Music. $17 ARS/$20 others._____ DANCING DAY Scott Reiss, Tina Chancey,& Jane Hershey, recorders & other early instru-ments; Rosa Lamoreaux, soprano; Mark Cudek,lute & citern; Joshua Lee and Daniel Rippe, bassviol & percussion. Medieval, Renaissance and tra-ditional Christmas music spanning 500 years—from the British Isles, German, Italy, France, Spain,America. Koch International. $17 ARS/$20 others._____ MERRY CHRISTMAS David Young,recorders. Full symphonic sound on JohnLennon's "Happy Christmas," Irving Berlin's "WhiteChristmas," other seasonal favorites. UniverseMusic. $17 ARS/$20 others.
NEW!_____ BACH & HANDEL: BAROQUE MASTERSCarolina Baroque. Dale Higbee, recorders; TeresaRadomski, soprano; Holly Maurer, viola da gambaand Baroque flute; Daniel Hannemann, harpsi-chord. Recorded in concert in 2002, this delightfulCD offers 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; Teresa Radomski,soprano; Richard Heard, tenor; John Williams,bass-baritone; John Pruett & Mary Frances Boyce,Baroque violin; Doris Powers, Baroque viola; HollyMaurer, gamba; Daniel Hannemann, harpsichord.Acis and Galatea & Apollo and Daphne are "two ofthe most charming works from the Baroqueera."—American Recorder. $24 ARS/$28 others.
IN STOCK (Partial listing)____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: MatthiasMaute, recorders; Jörg-Michael Schwarz & KarenMarie Marmer, violin; John Moran, ‘cello; DongsokShin, harpsichord. Sonatas by Mancini, RobertoValentini, 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._____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.____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.____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, includingworks 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; Elizabeth Blumenstock & LisaWeiss, violin; George Thomson, viola; David Morris,‘cello; John Schneiderman, archlute & Baroque gui-tar; Charles Sherman, harpsichord & organ. 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.____NEO-MEDIEVAL Tina Chancey, Grant Herreid,and Scott Reiss. Medieval improvs for a postmodernage. Dorian Discovery. $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: Concerti andSuites by Georg Phillip Telemann. Rebel: MatthiasMaute, recorders & traverso; Jörg-Michael Schwarzand Karen Marie Marmer, violin; Risa Browder, viola;John Moran, violoncello; John Dornenburg, violone;Dongsok Shin, harpsichord. Dorian. $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:
#___________________________ Exp. Date: _____
Cardholder’s signature:________________________
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>.
36 American Recorder
CLASSIFIED___________________________________
FOR SALE: Brand new, never used Great bass PaetzoldRecorder in C with excellent case. Asking $1,700.00.Call 806-359-8602 before 9:00 p.m. CST.
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]>.
BOOK REVIEWS EDITOR AND CUTTING EDGEEDITOR for AR needed. Reviews and articlesmust be submitted by e-mail or on disk. Pleasesend a brief bio to American Recorder Editor,7770 South High St., Centennial, CO 80122;<[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 INDEX
AMERICAN ORFF-SCHULWERK ASSN. . . . . . . . . . . . . . . . . 21
AMERICAN RECORDER SOCIETY. . . . . . . . . . . 23, 25, 26, 31
BEATIN’ PATH PUBLICATIONS . . . . . . . . . . . . . . . . . . . . . . . . 29
STEPHAN BLEZINGER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
JEAN-LUC BOUDREAU . . . . . . . . . . . . . . . . . . . . . . . . . . . 18, 24
BOULDER EARLY MUSIC SHOP . . . . . . . . . . . . . . . . . . . . . . 19
CAROLINA BAROQUE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
COURTLY MUSIC UNLIMITED. . . . . . . . . . . . . . . . . . . . . . . . 13
HIDDEN VALLEY MUSIC SEMINAR . . . . . . . . . . . . . . . . . . . 24
HONEYSUCKLE MUSIC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
KATASTROPHE RECORDS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
BILL LAZAR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
MARGRET LÖBNER RECORDERS . . . . . . . . . . . . . . . . . . . . . 25
KEITH E. LORAINE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
MAGNAMUSIC DISTRIBUTORS . . . . . . . . . . . . . . . . . . . . . BC
MOECK VERLAG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IBC
MOLLENHAUER RECORDERS . . . . . . . . . . . . . . . . . . . . . . . IFC
THE MUSIC STORE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IFC
PRESCOTT WORKSHOP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
PROVINCETOWN BOOKSHOP. . . . . . . . . . . . . . . . . . . . . . . 27
THE RECORDER MAGAZINE . . . . . . . . . . . . . . . . . . . . . . . . . 13
SCOTT REISS, RECORDER, IRISH WHISTLE. . . . . . . . . . . . . 27
THE RECORDER SHOP. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
SWEETHEART FLUTE CO. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
VON HUENE WORKSHOP, INC. . . . . . . . . . . . . . . . . . . . . . . 27
WICHITA BAND INSTRUMENT CO. . . . . . . . . . . . . . . . . . . . 22
DOMINIK ZUCHOWICZ. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Where the havesand have-nots
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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]>
STATEMENT OF OWNERSHIP, MANAGEMENT ANDCIRCULATION (Required by 39 U.S.C. 3685) 1. Publica-tion title: American Recorder. 2. Publication No. 0003-0724. 3. Filing date: September 20, 2002. 4. Issue frequen-cy: Bi-monthly except summer. 4. No. of issues publishedannually: five. 6. Annual subscription price: $32. 7.Complete mailing address of known office of publication:American Recorder Society, P.O. Box 631, 5554 S. Prince St.,Suite 128, Littleton, CO 80160-0631. Contact Person:Brock Erickson. Telephone: 303-347-1120. 8. Completemailing address of the headquarters of general business of-fices of the publisher: same. 9. Full names and completemailing address of publisher, editor, and managing editor:Publisher: American Recorder Society, P.O. Box 631, Little-ton, CO 80160-0631. Editor: Gail Nickless, 7770 SouthHigh Street, Centennial, CO 80122. Managing Editor:same. 10. Owner: American Recorder Society, P.O. Box 631,Littleton, CO 80160-0631. 11. Known bondholders, mort-gagees. and other security holders owning or holding 1 per-cent or more of total amount of bonds, mortgages or othersecurities: none. 12. For completion by non-profit or organ-izations authorized to mail at special rates: The purpose,function, and nonprofit status of this organization and theexempt status for federal income tax purposes have notchanged during preceding 12 months. 13. PublicationName: American Recorder. 14. Issue Date for CirculationData Below: September 2002. 15. Extent and nature of cir-culation. A. Total number of copies. Average number ofcopies each issue during preceding 12 months 3,711. Num-ber of copies of single issue published nearest to filing date3,570. B. Paid and/or requested circulation: 1. Paid/Re-quested outside-county mail subscriptions stated on form3541. Average number of copies each issue during preced-ing 12 months 2,956. Actual number of copies of single is-sue published nearest to filing date 2,892. 2. Paid in-coun-ty subscriptions. Average number of copies each issue dur-ing preceding 12 months 0. Actual number of copies ofsingle issue published nearest to filing date 0. 3. Salesthrough dealers and carriers, street vendors and countersales, and other non-USPS paid distribution. Average num-ber of copies each issue during preceding 12 months 0. Ac-tual number of copies of single issue published nearest to fil-ing date 0. 4. Other classes mailed through the USPS. Aver-age number of copies each issue during preceding 12months 0. Actual number of copies of single issue publishednearest to filing date 0. C. Total paid and/or requested cir-culation. Average number of copies each issue during pre-ceding 12 months 2,956. Actual number of copies of singleissue published nearest to filing date 2,892. D. Free distri-bution by mail. 1. Outside county as stated on Form 3541.Average number of copies each issue during preceding 12months 0. Actual number of copies of single issue publishednearest to filing date 0. 2. In-county as stated on Form 3541.Average number of copies each issue during preceding 12months 0. Actual number of copies of single issue publishednearest to filing date 0. 3. Other classes mailed through theUSPS. Average number of copies each issue during preced-ing 12 months 7. Actual number of copies of single issuepublished nearest to filing date 10. E. Free distribution out-side the mail. Average number of copies each issue duringpreceding 12 months 13. Actual number of copies of singleissue published nearest to filing date 10. F. Total free distri-bution. Average number of copies each issue during preced-ing 12 months 20. Actual number of copies of single issuepublished nearest to filing date 20. G. Total distribution. Av-erage number of copies each issue during preceding 12months 2,976. Actual number of copies of single issue pub-lished nearest to filing date 2,912. H. Copies not distrib-uted: Average number of copies each issue during preceding12 months 735. Actual number of copies of single issuepublished nearest to filing date 658. I. Total. Average num-ber of copies each issue during preceding 12 months 3,711.Actual number of copies of single issue published nearest tofiling date 3,570. Percent paid and/or requested circulation.Average percentage during preceding 12 months 99. Actualpercentage for single issue published nearest to filing date99. 16. Publication of Statement of Ownership. Will beprinted in the November issue of this publication. 17. Sig-nature and Title of Editor, Publisher, Business Manager, orOwner: Brock Erickson, Executive Director, September 20,2002. I certify that all information furnished on this form istrue and complete. I understand that anyone who furnishesfalse or misleading information on this form or who omitsmaterial or information requested on the form may be sub-ject to criminal sanctions (including fines and imprison-ment) and/or civil sanctions (including multiple damagesand civil penalties).