EDITOR’S NOTE - American Recorder The Clay Pot That Sings.....9 The sweet potato meets the sweet flute in this exploration of the history and physics of the ocarina,

FEATURESThe Clay Pot That Sings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9The sweet potato meets the sweet flute in this explorationof the history and physics of the ocarina,by Ray and Lee Dessy

The Virtuoso Recorder Sonatas of theMysterious ‘Signore’ Schultzen. . . . . . . . . . . . . . . . . . . . . . . . . 15The editor of a modern edition of these little-known sonatasmakes a case for their historical and musical importance,by Patricio Portell

Recorder Workshop Summer-Ease . . . . . . . . . . . . . . . . . . . . 19The annual summaries of summer workshopswhere you can expand your early music horizons

DEPARTMENTSAdvertiser Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48Book Reviews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37Chapters & Consorts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46Classified . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48Music Reviews. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24On the Cutting Edge. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45Opening Measures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43President’s Message . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3Recorders on Disc . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33Tidings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Recorder Orchestra DebutRecorder Panel at Berkeley Festival

Volume XLII, Number 2 March 2001

BENJAMIN S. DUNHAM, Editor

Contributing EditorsFRANCES BLAKER, Beginners; SCOTT PATERSON, Book Reviews

CAROLYN PESKIN, Q & A; CONSTANCE M. PRIMUS, Music ReviewsEUGENE REICHENTHAL, Education; PETE ROSE, 20th-Century Performance

GILLIAN KAHN, Design Consultant

Advisory BoardMartha Bixler • Valerie Horst • David Lasocki

Bob Marvin • Howard Schott • Thomas Prescott • Catherine TurocyKenneth Wollitz

Copyright © 2001 American Recorder Society, Inc. Printed in U.S.A.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 an e-mail message. They should be for the exclusive consideration of AR, unless otherwise noted.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 fonts embedded.

Editorial office: Benjamin S. Dunham, Editor, American Recorder, 472 Point Rd., Marion, MA 02738; 508-748-1750 (business hours), 508-748-1928 (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: Scott Paterson, 77 Queensbury Ave., Scarborough, ON M1N 2X8, Canada. Music for review: Constance M.Primus, Box 608, Georgetown, CO 80444. Recordings for review: Editorial office. Cutting Edge: Pete Rose, 13 Rutgers St., Maplewood, NJ 07040;[email protected]. Chapter newsletters and other reports: Editorial office. Advertising: Editorial office. Advertising Closings: December1 (January), February 1 (March), April 1 (May), August 1 (September), and October 1 (November). Postmaster: Send address changes to American RecorderSociety, Box 631, Littleton, CO 80160-0631. Periodicals postage paid at Littleton, CO, and at an additional mailing office.

9

19

15

For years, an array of little ocarinas hasgraced our mantelpiece. While I’ve alwaysadmired them as artifacts, I confess I neverthought much about them as musical in-struments. One is a shaped like a dough-nut and blown with a flute embouchure,another is a little one-hole dove, a third isa two-hole Aladdin’s Lamp, and the last,stamped “Whistle Works,” is a smiling,spotted dog much like our late-Great Pyre-nees mix. You blow through the tail, andwe won’t say where the sound comes out!

Now, after reading “The Clay Pot ThatSings” by Ray and Lee Dessy (page 9), I’llregard them more seriously, maybe evenattempting to master the non-intuitive fin-gering system ocarinas employ.

This might be a good project for thesummer months, but there are so manyopportunities in the summer for recorderplayers, it would be hard to choose justone. The annual summaries of summerworkshops (page 19) are designed to helpyou decide upon the location, cost, courseofferings, creature comforts, and recre-ational facilities that will be ideal for you.

Another exciting opportunity may beplaying a set of sonatas, newly published inmodern edition, by the almost-unknownA.H. Schultzen (page 15). The sonatasseems more technically substantial thanyou would expect from the period of theircomposition, even as their composerseems almost totally insubstantial.

* * *Three AR covers from the past year will ap-pear in the prestigious pages of AmericanIllustration 19 (Alison Seiffer’s January2000 “new millennium” cover) and TheSociety of Illustrators’ 43rd Annual of Amer-ican Illustration (Adam McCauley’s March2000 “snake charmer” and Adam Nikle-wicz’s September 2000 “recorder player ina hammock.” Illustrations appearing inthese volumes are chosen on a competitivebasis to represent the best work in thefield. Congratulations to our wonderfulartists and our design consultant GillianKahn!

Benjamin Dunham

EDITOR’SNOTE______________________________

ON THE COVER:Illustration

byCarine Lai

© 2001

mailto:[email protected]

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 for the

study and playing of the recorder by people ofall ages and ability levels, presenting the

instrument to new constituencies, encouragingincreased career opportunities for professionalrecorder performers and teachers, and enabling

and supporting recorder playing as a sharedsocial 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 of service to itsconstituents.

Board of DirectorsJohn Nelson, President; Chair, Education

Richard Carbone, Vice President, Chair, SeniorsSheila M. Fernekes, Secretary; Chair, Education

Howard Gay, Treasurer; Chair, FinanceRuth Albert, Chair, Fund-Raising

Rebecca Arkenberg, Chair, PublicationsMartha Bixler, Editor, Members’ Library

Frances FeldonCléa Galhano, Chair

Special Events/Professional OutreachAlan Karass, Chair, Chapters & Consorts

Carolyn Peskin, Chair, ScholarshipSue Roessel, Chair, Junior Recorder Society

János Ungváry

Priscilla Winslow, Counsel

StaffGail Nickless, Executive Director

Karen Voigt, Exec. Asst./Membership Secr.P. 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]: www.americanrecorder.org

Inaccordancewith the InternalRevenueServiceTaxpayerBill ofRights2,passedby theUnitedStatesCongress in1996, theAmericanRecorder

Societymakes freelyavailable through itswebsite financial andincorporationdocumentscomplyingwith that regulation.

ALABAMABirmingham: Martin K. Payne

(205/979-6430)

ARIZONAPhoenix: Donald Harrington

(602/956-1344)Tucson: Scott Mason (520/721-0846)

ARKANSASAeolus Konsort: Louisa Rollefson

(501/225-4846)Bella Vista: Charles D. Whitford

(501/855-3623)

CALIFORNIACentral Coast: Elizabeth Blake

(805/534-9414)East Bay: Glen Shannon

(510/525-1249)Monterey Bay: Lorrie Emery

(831/423-8309)North Coast: Carolyn Moskowitz

(707/476-0421)Orange County: Doris Leffingwell

(949/494-9675)Riverside: Elizabeth P. Zuehlke

(310/376-2669)Sacramento: Ronald Koetzsch

(916/965-1341)San Diego County: Carol Resnick

(619/466-7983)Sonoma County: Stanley McDaniel

(707/571-8295)South Bay: Joanna Woodrow

(408/266-3993)Southern California: Nell Holland

(310/978-0924)Village Festival Recorder Orchestra:

Richard Geisler (530/477-2293)

COLORADOBoulder: Robert Keep (303/651-2659)Colorado Springs: Richard Wood

(719/591-0548)Denver: Keith Emerson (303/750-8460)Fort Collins: Jann Benson

(970/484-3522)

CONNECTICUTConnecticut: Dorothy Vining

(203/267-6513)Eastern Connecticut: Joyce Goldberg

(860/442-8490)

DISTRICT OF COLUMBIAWashington: Jayme A. Sokolow

(301/933-3989)

DELAWAREBrandywine: Roger Matsumoto

(302/731-1430)

FLORIDAGainesville: Russell D. Moore

(352/378-0567)Miami: Pat Coons (305/598-7201)Sarasota: Valerie Sizemore

(941/484-9589)

GEORGIAAtlanta: Glenn Middleton

(770/448-7168)

HAWAIIHawaii: Irene Sakimoto

(808/734-5909)Big Island: Diane Mallory (808/966-4442)

ILLINOISChicago: Patrick O’Malley

(773/293-3138)West Suburban: Eric Stern

(708/594-9243)

INDIANAIndianapolis: Alberta Richmond

(317/873-2930)

KANSASL&L Early Music Ensemble: Liz Low

(913/727-3554)

LOUISIANABaton Rouge: John Waite

(504/925-0502)New Orleans: Chris Alderman

(504/862-0969)

MARYLANDNorthern Maryland: Dawn Culbertson

(410/825-1379)

MASSACHUSETTSBoston: Charles Wibiralske

(617/739-9651)Worcester Hills: Jennifer Southcott

(978/263-5875)

MICHIGANAnn Arbor: Ole Lundin

734/668-4842Kalamazoo: Chris Bartley

(616/341-4590)Metropolitan Detroit: Harry Bedard

(248/681-4055)Muskegon: Marge Winter

(231/744-1703)

MINNESOTATwin Cities: Jean Fagerstrom

(612/722-4967)

MISSOURISt. Louis: Norman Stoecker

(314/532-3255)

NEBRASKAFlatwater: Richard Jizba (402/498-5671)

NEVADASierra Early Music Society: Karlene Dickey

(775/832-9124)

NEW HAMPSHIREMonadnock: Priscilla Watson

(603/357-8549)Upper Valley: Barbara Prescott

(603/643-6442)

NEW JERSEYBergen County: Mary Comins

(201/489-5695)Highland Park: Donna Messer

(732/828-7421)Navesink: Lori Goldschmidt

(732/747-4813)Princeton: Carol Hoffman-Sweeten

(609/466-4685)Somerset Hills: Pattrick Littel

(908/788-5566)

NEW MEXICOAlbuquerque: Bryan Bingham

(505/299-0052)Rio Grande: Suzanne Blanchard

(505/521-1725)Santa Fe: Jane Miller (505/984-0851)

NEW YORKBuffalo: Charles Hall

(716/835-5573)Hudson Mohawk: Emmy Grubb

(518/377-1532)

Ithaca/Finger Lakes:Mary Jaffe (607/273-1897)

New York City: Michael Zumoff(212/662-2946)

Long Island: Margaret H. Brown(516/765-1867)

Rochester: Marilyn Plain(716/475-1453)

Rockland: Lorraine Schiller(914/429-8340)

Westchester: Carol B. Leibman(914/241-3381)

NORTH CAROLINATriad: Donna Yaniglos (336/292-9995)Triangle: Cindy Osborne (919/851-1080)

OHIOGreater Cleveland: Edith Yerger

(440/826-0716)Toledo: Marilyn Perlmutter

(419/531-6259)

OREGONOregon Coast: Corlu Collier

(541/265-5910)

PENNSYLVANIAPhiladelphia: Dody Magaziner

(610/886-2241)Joanne Ford (215/844-8054)

Pittsburgh: Karen Lukas(412/731-7411)

South Central: Rick Graham(717/854-6415)

RHODE ISLANDRhode Island: Will Ayton

(401/272-1998)

TENNESSEEGreater Knoxville: Ann Stierli

(423/637-6179)Nashville: Marcus Mendenhall

(615/383-7078)

TEXASAustin: Susan Page (512/467-7520)Dallas: Bill Patterson (214/696-4892)Houston: Marianne Boshuizen

(281/293-9289)Rio Grande: Suzanne Blanchard

(505/521-1725)

VERMONTUpper Valley: Barbara Prescott

(603/643-6442)

VIRGINIANorthern Virginia: Edward Friedler

(703/425-1324)

WASHINGTONMoss Bay: Norma Baxter (425/641-1728)Seattle: Bill Stickney

(206/362-8062)

WISCONSINMilwaukee: Pat Brankle

(414/542-4551)Southern Wisconsin: Margaret Asquith

(608/233-4441)

CANADAToronto: Alison Healing (905/648-6964)Montreal: Diane Koch (514/672-8308)

Please contact the ARS officeto update chapter listings.

ARS Chapters

mailto: [email protected]

http://www.americanrecorder.org


March 2001 3

PRESIDENT’SMESSAGE___________________________________

ILOVE TO SING and I dearly love the soundof a good chorus. In fact, some of my

most memorable musical moments havecome from listening to or being in a cho-rus. Church, opera, Savoyard, college,symphony—I’ve done them all. And alongthe way, it has been my privilege to singunder some masters: David Foltz and EarlJenkins (affectionately known as “Pete” byhis many singers) at the University of Ne-braska; Daniel Moe at the University ofIowa; and finally the late, great RobertShaw, here in Atlanta.

Singing under Shaw was quite an expe-rience. He was a tough taskmaster; hecould be temperamental; he had a temperthat flared up at a moment’s notice. Youcould always tell when the chorus haddone something he didn’t like in perfor-mance. His head would go into the scoreand stay there, and when that happened,you knew you were in for a tongue-lashingat the next rehearsal. For all that, I countas one of the highlights of my choral careerthe weekend in New York when the At-lanta Symphony Orchestra and Chorusperformed the Requiems of Berlioz,Brahms, and Verdi on three successivenights in Carnegie Hall. What a way to beintroduced to this wonderful performancevenue.

So, you might be asking at this point,what does all this have to do with the re-corder? And the answer is—nothing, real-ly. It does serve, however, as an introduc-tion to some thoughts I’d like to sharewith you about a performance of JohannSebastian Bach’s St. John Passion I wasprivileged to attend last fall. The work wasperformed by the Concert Choir of EmoryUniversity in Atlanta, accompanied by theAtlanta Baroque Orchestra, and was billedas the opening event in “Emory’s Year ofReconciliation.”

Bach’s St. Matthew Passion has never

been a favorite of mine and I had never hada chance to get to know the St. John beforethis performance. I was, to say the least,most impressed by the overall effect. Thechorus was excellent, Alan Bennett (theEvangelist) was superb, and the remainingsoloists were uniformly excellent. My oneserious objection was that the strings inthe orchestra, because of limited num-bers, were often covered by the chorus,and there were some minor ensembleproblems with the orchestral soloists. As aside note, after the concert, I heard oneperson comment negatively about the“raucous” sound of the oboe da caccia.

I noted earlier that this performancewas given as part of Emory’s Year of Rec-onciliation. Prior to the performance therewas a seminar devoted to the “problems”of Luther, Bach, “the Jews,” and the St.John Passion. I have recently read MichaelMarrisen’s book on these topics and havecome to the conclusion that much of thecontroversy comes—as is far too often thecase—from ignorance and an unwilling-ness to really study the problem. As aLutheran myself, I am aware that thefounder of my church said many really rot-ten things about Jews and Judaism (sinceofficially repudiated). It is also true thatthe Gospel of John appears to put most of

the blame for theevents of the passionon “the Jews.” Yet, astudy of the particularemphases that Bach makes in the non-Bib-lical portions of the text shows clearly thathe is putting the blame right where it be-longs—not on first-century Judaism buton the Christians of every generation.

This article didn’t start life as a sermon,and I hope it won’t be taken as such. Thereare too many problems in this world andbattles between different faiths and ethnicgroups are not likely to go away any timesoon. But when controversy, prejudice, orjust plain ill will forces people to thinktwice before presenting a work as musical-ly compelling as the St. John Passion, onewonders what has become of civility, com-mon sense, and a willingness to be open toothers, no matter how different they maybe from us. We are, after all, commandedto love our neighbors; we don’t necessari-ly have to like them. Wouldn’t it be won-derful if this new millennium could trulybegin with a “year of reconciliation” and ifthese controversies could be put to restonce and for all.

To all of you, my best wishes for asplendid new year.

John Nelson

On Bach’s St. John Passion

When controversy, prejudice, or just plain ill will

forces people to think twice before presenting a work

as musically compelling as the St. John Passion,

one wonders what has become of civility, common

sense, and a willingness to be open to others,

no matter how different they may be from us.


4 American Recorder

TIDINGS___________________________________After a performance of Rose’s This and That by

Janoschka, Reihn-Zeitung called it “an extremelyvirtuosic and interesting piece of music corresponding

well to the performer’s musical capabilities of expression.”

Bits & PiecesIn early March, Pete Rose participated inthe Internationales Stuttgarter Block-flöten-Symposion, presenting a concert ofhis published works, a lecture on jazz in-terpretation, and two master classes. In ad-dition, two of Rose’s compositions will bepublished by Carus-Verlag in March: NiceFolks (recorder & guitar) and This andThat. The latter piece, a solo work, wascommissioned by Gunter Janoschka, a stu-dent in the Amherst Virtuoso RecorderProgram in 1998. Janoschka returned toAmherst in 2000 to give This and That itsAmerican premiere. After a performance ofthe work by Janoschka in Germany, Reihn-Zeitung called it “an extremely virtuosicand interesting piece of music correspond-ing well to the performer’s musical capa-bilities of expression.”

The Highland Park Recorder Societyand Chamber Orchestra has beenawarded nearly $3,500 from the Middle-sex County (NJ) Cultural and HeritageCommission to continue its innovativeprogram of public concerts and outreachactivities under the leadership of music di-rector Robert W. Butts and Chapterfounder Donna Messer.

ARS teacher Gwyn Roberts conducteda master class for students of ARS teacherCarole Rogentine at the Levine School ofMusic, Washington, D.C., on February 21.ARS provided financial support throughthe Margaret S. DeMarsh Fund. Six of Ro-gentine’s students played movementsfrom Handel, Parcham, and Telemannsonatas, and the Allemande from the BachPartita, BWV 1013. Levine School harpsi-chordist Lois Narvey accompanied the stu-dents. In a lively, playful, and informativeway, Roberts worked with the students onbreathing and articulation and discussedthe background of the music. Members ofthe Northern Virginia and Washington Re-corder Society attended the master class.

Recorder Orchestra Gives Debut Concert

The American Recorder Orchestra ofthe West (AROW), founded by RichardGeisler of the Village & Early Music Societyof Grass Valley, California, presented itsfirst concert this past November to a largeand enthusiastic audience that filled thehall at St. Alban’s Church in Albany.

In a program of music spanning tencenturies and six octaves, the fledgling re-corder orchestra began its program withthe March from a Suite of Early EnglishKeyboard Music by Jeremiah Clarke,arranged by Denis Bloodworth. Geislerthen led the orchestra, consisting of re-corders, harp, gamba, and percussion,through ancient Sephardic tunes, Broad-way show tunes, a vocal work with sopra-no voice by Monteverdi, sacred music byPalestrina (done in low-choir featuring thebig basses), and a movement from LyndonHilling’s Midsummer Meadow Suite, com-posed in 1988 specifically for recorder or-chestra. Several of the works were arrange-ments by Geisler himself.

In addition to the orchestral music, theaudience was treated to a world premiereperformance of East Bay (CA) Chapterpresident Glen Shannon’s four-movementneo-Baroque Quartet No 1 in G Minor,played by Shannon and East Bay members

Carl Lyngholm and Teri Balser, with Sacra-mento Recorder Society vice-presidentKathryn Canan. After the intermission, an-other outstanding performance was addedto the mix—Francesco Barsanti’s (c. 1690-1775) sonata for recorder and harpsichordin D minor, Op. 1, No. 1, played in virtu-oso style by Kathryn Canan, recorder, andMarta Belén, harpsichord.

AROW’s members come from all overNorthern California, from Chico toModesto. Recorder players are invited toattend and try out for membership in thenew organization. Richard Geisler can bereached via e-mail at [email protected].

Glen Shannon

Richard Geisler (back row, right) and the American Recorder Orchestraof the West at their debut concert in November.

Carol Rogentine, first row at left, poseswith her students after master classwith Gwyn Roberts, first row center.


March 2001 5

AT LAST YEAR’S BERKELEY FESTIVAL, theAmerican Recorder Society invited

five prominent recorder professionals tojoin a panel moderated by Martha Bixler todiscuss their careers in music:

MARTHA BIXLER: Can you make a living as arecorder player? Well, in the 1960s, I reallydid make my living as a recorder player. Itseems rather amazing. I belonged to sever-al performing groups, gave concerts, didrecordings (with Joan Baez and JudyCollins, among others), and made money.When “they” discovered that recorderssounded wonderful in television commer-cials, the doublers had not yet learned howto play recorder. They sat around andwatched while we took work from them(then they took lessons from us, and weweren’t hired as often!).

It was a wonderful time to be a profes-sional recorder player in New York. Therewas a lot of money from the New York StateCouncil on the Arts for things like YoungAudiences concerts in the schools—andrents were lower! In the 1970s, though, Igot tired of gigging as a musician. For onething, I was no longer the only (and there-fore the best!) woman recorder player inNew York—not even on my block. Therewas so much more competition. It wasmuch harder to make a living from playing,and I decided to devote myself more toteaching. Later, after I married a collegeprofessor, I never really knew if I was mak-ing my living as a musician, because our fi-nances became hopelessly entangled.

DAVID BARNETT: The way I came to the re-corder, pain and pleasure were going to beinevitably intertwined. In the sixth grade Iwas labeled as “a student with attitude,”and my punishment was to learn the re-corder and play for the principal once aweek. It was more fun than punishment,and it led me into the study of early musicand music in general.

When I graduated from university, I fig-ured it was nice that I could also play theclarinet, because I could make a living as aclarinetist. But as it turned out, I’ve actual-ly made a living playing recorder. I contin-ue to be amazed at this.

Life as a recorder player is not much dif-ferent from being a musician in general. Itis a hard road. I wish there were more sup-port. I do a lot of teaching, but I enjoy

watching school kids connect with thepleasures of playing. The opportunites forperformance are not as great as one wouldhope, and the small financial rewards oftenmake me ask why I am I doing this. But theanswer is that it’s fun just to get out andplay the music. I like to play both early andcontemporary music, although lately I’vegone back to my first love—Renaissanceconsort music. When I’ve really becomefrustrated with my life as a recorder player,I’ve played the clarinet. I’ve been lucky tohave a lot of options. My clarinet teacherused to say to me, “Isn’t it wonderful thatwe get to be musicians.” And I think that’sstill the bottom line.

FRANCES FELDON: Isn’t it true that we endup doing a lot of things that we never envi-

sioned for ourselves! I first consideredplaying recorder seriously when I metLaNoue Davenport at an early music work-shop. He bowled me over on a personaland musical level. I chucked being an un-dergraduate flute player at UCLA andmoved to New York to study with LaNoueat Sarah Lawrence.

After graduating, I was a professionalcook in the Philadelphia area for someyears. I’ve always loved cooking andworked my way through school as a cook.But I found that I really missed music—back to Sarah Lawrence for further studies.I also apprenticed for a while in the re-corder-making shop of Phil Levin. Then Iwent to Indiana to study with ThomasBinkley in the hope of becoming a univer-sity professor and collegium director. I al-

Berkeley Panel: Recorder Professionalsand Their Amazing Careers in Music

Introducing the PanelistsJudith Linsenberg, “...a former Board member of ARS...the quintessential Stan-

ford graduate (DMA) who plays with Seattle Baroque, Portland Baroque, Musica An-gelica orchestras...founder of Musica Pacifica...received one of the early recordinggrants from ARS for professionals.”

Cléa Galhano, “...a native of Brazil based in Twin Cities (MN) area...a recordingand performing artist with Belladonna and the Galhano/Montgomery Duo...current-ly special events chair on the ARS Board.”

Matthias Maute, “...playing at the Festival with Rebel...grew up near Stuttgart,Germany, and studied in Utrecht...a composer published by Ascolta, Amadeus, andMoeck...working on a book on improvisation...now living in Montreal.”

Frances Feldon, “...Eva Legêne student with a DA in collegium directing from In-diana University...BFA and MFA from Sarah Lawrence...director of the SFEMSColegium Evenings...member Flauti Diversi and Danza!...member ARS Board.”

David Barnett, “...a clarinetist and recorder player...member Tonal Havoc andFlauti Diversi...has commissioned works from contemporary composers...studiedwith Lyle Nordstrom at Stanford as a high school student.”

Left to right, front row: Martha Bixler, David Barnett; back row,Judith Linsenberg, Cléa Galhano, Frances Feldon, Matthias Maute.

6 American Recorder

so studied there with Eva Legêne. I’m stilllearning from Binkley in the sense thatevery now and then a lightbulb will go offin my mind, and I’ll say, “Ah! So that’s whathe meant.” Subsequently, I realized that Iwasn’t all that happy in an academicenvironment.

So here I am in California, performingand teaching. Traveling around as a free-lance musician is not really for me; I’mmore of a homebody, and I’m lucky to havea wonderful partner, a recorder-playinglawyer, whom I live with along with thebest cat in the world. I do a lot of teachingand especially enjoy teaching adult ama-teurs. I’ve also found that I have an abilityfor administration, which I’ve done for theSan Francisco Early Music Society and justrecently with the Hausmusik concert se-ries. So while I’m not doing some of thethings I thought I would be doing, the pot-pourri I’ve put together is satisfying.

MATTHIAS MAUTE: Where I grew up, it was“exotic” for a boy of 11 or 12 to play the re-corder. As a girl you can do that, but not asa boy. On the way home from a boring les-son, I threw my recorder in the shrubbery.But my best friend saw it and knew it wasmine because I was the only boy he knewthat would play the instrument. He re-turned it to me,...and so I had to go on.

Later in my teens, I stopped playing forabout a year. It just wasn’t interesting to methen. There was nobody who could showme what I could do with the instrument.Later, I did start studying recorder serious-ly, because the instrument just works wellwith me. But even then, I wasn’t certainthis was what I was supposed to do in life;I was supposed to enter into the familybusiness. Even when I won the competi-tion in Bruges, there was no clear direc-tion, no reaction from the outside world,not even from music organizers. But in myinner mind, at least, it was by then clear. Itwas recorder, and let’s get on with it.

When it was time for me to start myprofessional life, it was not the way it hadbeen earlier, when Brüggen and those play-ers were travelling around playing in hugehalls. So, in order to enrich my profession-al and financial life, I had to create new op-portunities for myself. I started compos-ing, accepting commissions for new worksand arranging editions. This added a lot tomy musical career, although it was notwhat I had thought I would do when I wasfirst studying recorder. Traverso playing,

composing, editing, teaching, whatever—the variety turns out to be very attractive tome. No one segment of this activity is veryimportant by itself, but altogether, it’s fine.

CLÉA GALHANO: I perform and teach, and Ilove both, dearly. One of the first thingsthat I tell my students is, “You are the in-strument, not what you are playing.” Youchoose an instrument to be your voice. Tome, recorder is a passion. I couldn’t livewithout it. Where I grew up, about threehours from São Paulo, piano was what wasavailable. I even went to college as a pianomajor. But then I played in a recordergroup and got “the bug.”

Because of the influence of RiccardoKanji, who went from Brazil to study withBrüggen, the recorder has an importantrole in Brazil. I studied with Kanji, andnow I myself have sent five students fromBrazil to study in Holland. There are freeconservatories in each state where you canstudy recorder. There is a tradition, and itis easy to envision playing recorder as aprofession. Also, as a woman, it is easier tomake this decision

I do make a living from the recorder.But my husband is a saxophone playerwith a steady job. With this support, I canplan two years ahead as a performer andnot go crazy just trying to survive. As mu-sicians, we are very lucky having this loveof music that we can share with people.

JUDITH LINSENBERG: I started playing therecorder when I was five. It was a choicebetween that and ice-skating lessons.When I got to college, I was encouraged tostudy music...there would be time later todo something else to make a living. And af-ter college, I did try other jobs. I was awriter-editor for the Red Cross Blood Ser-vices (but I couldn’t stand blood!). And Iwas an admissions counselor at a college.But when I had a chance to play a concertwith a friend of mine, I came alive and Isaid, “This is what I have to do.”

Like Frances, I went back to graduateschool at one point with the idea of teach-ing in a university, but that was a mistake.The only jobs were teaching history andtheory, and that wasn’t what I was interest-ed in doing. I also tried other instruments.I tried Baroque oboe, but couldn’t handlethe reed-making.

People ask, “Why did you choose mu-sic as a career?” But there was no choice. Itchose me. It was just so much a part of who

I was. Now I’m supporting myself as a sin-gle, woman recorder player. I live in a little,one-bedroom apartment. (I’d like to marrya lawyer—in case you know of any!) I makea living pretty evenly divided betweenteaching and performing. A lot of the per-forming is with my group, Musica Pacifica,and I also play with different Baroque or-chestras. I’d like to do more, but it is niceto be able to be a musician.

BIXLER: Like Frances, when I met LaNoueDavenport, I, too, chucked everything tostudy with him. At that point, I had givenup a career in music of any kind, but mu-sic just drags you back. You cannot escape,if that’s what you’re going to be.

I’m delighted to hear that, in one way oranother, everyone is making a livingthrough the recorder, and I want to echoCléa when she said how lucky we are to bein music. When people would ask ArnoldGrayson, a wonderful recorder teacher,when his vacation was, he would say thathis whole life was a vacation.

QUESTION: How did members of the panelform the ensembles they play in?

Galhano: Belladonna was formedwhen I met Barbara Weiss, the harpsi-chordist, and she suggested that we get to-gether with two other players for an up-coming concert. We didn’t have any inten-tion of forming an ensemble, but we keptplaying and people loved us and wanted toknow our name. We only became Bel-ladonna after that. A jazz teacher of mine atthe New England Conservatory said,“Once you find the right people to performwith, you’ll never leave them, because thisis so difficult... to find the right people.”

Feldon: My first group got started be-cause we had all studied at Sarah Law-rence. But then we went off to differentplaces. I assembled Odhecaton around theidea of playing more Franco-Flemish 16th-century repertoire, which I love.

Linsenberg: I met a number of MusicaPacifica players through playing in Philhar-monia Baroque. Ours is a group that ar-gues about all things musical. We fight likecrazy, but when we get on stage, I think wemake really good music.

QUESTION: What is it like to work with am-ateur musicians who don’t have the sameability and knowledge as yourselves?

Maute: As a teacher, I always prefer asituation in which there is a lot to say. So itis harder sometimes to teach a very goodplayer. Also, I always try to learn some-

Recorder Professionals Panel at Berkeley (cont.)

Continued on page 34

http://www.magnamusic.com

��

��

��

��

��

��

��

��

��

��

��

�

��

��

��

��

��!��"��#�� !��$%�� &��"

'��(��)��%��(*��&��$+��!��

��,��-

��

�� .��

�� %��)��/��01��,%��2��.��3

��

�� (��*��'��&��'��!��

�� %��.��.��.��'��

%��2��4��5#��!��6��&��"��!��(��&�

��

2��5#��

%��5��2��

�$7$��#89::1��2%�8;

��<=>?$:�$��.�#<=>?$:�$;;

5 ��< ��@��$��

��!<((($��$��

��

��

��

��

��

�� !��

"�#��

��$��%�#��

&�� &�� &�� &�� &�� %� �%� �%� �%� �%� �'��''��''��''��''��'

&��&(��

!��)��

��)��

�(��%)��%

��*��

��

&��(��

��"��

+��%!��(��#

&��

,��%��

-��-��

.��-�*��

�*��(��

-��

"��-��/

0��1�/��

��

��

��

��

��

� � ��

��!��"��#$��%%�

��

��

��&�'��

��

��$��%��

�� $��"()&

http://www.amherstearlymusic.org

March 2001 9

WHAT SOUNDS LIKE A RECORDER,looks like an egg, a goose or fly-

ing saucer, is made of raku-fired clay orwood, makes music like some cicadas orcrickets, and is at the heart of Nintendo’smost famous computer game? It’s theocarina. This article examines its history,fabrication, playing characteristics, anduse in recorder consorts. We’ll see howocarinas differ from recorders and ex-plore their different shapes.

An early hitchiker’s guideOcarina-type musical instruments

probably date back to 10,000 BCE. If youput your thumbs together, cup yourhands, and blow, it is easy to guess wherethe idea came from. Spherical ChineseXun instruments appeared as early as7,000 years ago, and examples of ancientEgyptian globular flutes exist. Small whis-tle-based terra-cotta figures of birds andother animals were known in India 6,000years ago. The earliest pre-Columbianclay instruments are found on the coast ofpresent-day Ecuador and date from2,000 BCE. Aztec and Mayan zoomor-phic hollow flute figures of armadillos,birds, and reptiles are known.

Typically single chambered, these lat-ter instruments were often tuned to anon-Western scale and used in solo andensemble playing for both ritual and plea-sure. Some played only a few notes, butone archaeological marvel could play animpressive 17 notes (x-rays show that ithas three chambers).

A 1988 Science Section article in TheNew York Times quoted a number of acad-emics on the significance of ocarinas(Source 1). “People often think of theseobjects as playthings,” said UCLA’s SueDe-Vale. “That’s wrong.” Sometimes“they’ve been written off as another smallartifact,” said Rutgers’ Norman Ham-mond. But discoveries at Pacbitun (Be-lize), Guatemala, Honduras, Columbia,and Peru included double, triple, andeven quadruple instruments, whichcould produce more than one note at a

time. The ease with which clay could berolled, pinched, pierced, and cut allowedthese cultures to advance musically at atime when Europe was playing with sim-ple flutes. Samuel Marti, a Mexican an-thropologist, said, “There can be nodoubt that pre-Columbian musicreached a level of development compara-ble, perhaps superior, to the contempo-rary cultures of Europe.” One earlyMayan ocarina, dating from 500-600BCE, was advanced enough to play thefirst five notes of a diatonic scale. Studieson Colombian instruments show thatmany had similar tuning systems, allow-ing them to play in harmony. Dale Olsenof Florida State University said, “The carethat went into making these instrumentssuggests that they were more than diver-sions or toys.”

Best of times, worst of timesOcarinas were brought to Europe in

1527 after the Spanish conquest. WhenCortez sent a group of Aztec dancers andmusicians to perform for the court of Em-peror Charles V at Valladolid, the alto-plano bird dancers moved in synchronic-ity with fippled pottery ocarinas.

One story tells of a Roman baker whoused his oven to make low-fire copies astoys and novelty items. The ovoid body

The clay pot...by Ray and Lee Dessy

ANIT

AFE

NG

Among the oldest of musicalinstruments, ocarinas seem like

near cousins of the recorder,until you understand the very

different physics at play

thatsings

and short stubby fipple neck led to theword “ocarina,” meaning “little goose” inthe Emilian Italian dialect.

The ocarina was slowly “modern-ized,” and in the mid-1800s Italian crafts-men produced instruments that played acomplete scale. This was an era when thedemand for inexpensive musical instru-ments increased dramatically. It was thetime for ocarinas and harmonicas. Peoplewere happy and prosperous. In the 1860sthe economic growth rate in the North“German” area was 8 to10 percent annu-ally, thanks to free trade, new rail systems,the industrial revolution, and Bismark’sluck. The Kingdom of Italy was formed in1861. In the 1860s, Giuseppe Donati setup his first ocarina workshop in Budrio,then Bologne, and finally Milan. In 1870,two ex-apprentices, Ercole and AlbertoMezzetti, set up shop in Paris and Lon-don, respectively. In 1878, CesareVicinelli began making ocarinas near Bu-drio, and in 1920 he left his workshop tohis assistant Guido Chiesa. ArrigoMignani finally bought the workshopwith its tools in 1964. Ocarina di Budriois now a prominent firm complete withweb site (Source 2).

Soldiers in World War I and II (re-member the film Stalag 17?) kept upmorale with molded plaster and Bakeliteocarinas, respectively, because they werecompact and easy to play. All of these hadthe traditional goose or sweet-potatoshape. The 1930s heard a new Broadwaysound in Girl Crazy and Anything Goesfrom the “Sweet Potato Tooters.” The“Italian Connection” of the ocarina made itnatural to feature ocarinas in Ennio Morri-cone’s film The Good, The Bad, and the Ug-ly. In Japan, Sohjiro’s ocarina concerts andrecordings generated a cult status, as we’llsee when we look at the “Nintendo Con-nection” later.

The reshaping of the ocarina beganwith John Taylor of London, who madethe first four-hole ocarinas in 1963. Imag-ine the four different-size holes as binarybits. How many combinations arethere?—16. And here, we must pause tooutline the difference between recordersand ocarinas.

Ocarinas from Venus,recorders from MarsRecorders (flûte à neuf trous—with nine

holes) play a fifteenth or more. They relyon the ability of opened holes to shortenthe effective length of the bore. Four regis-ters are passed through as the wavelengthof the standing acoustic wave is shortened

10 American Recorder

Vessel VolumeNeck-Depth

Neck-Area

Helmholtz Resonator

)_*_/()_()2/_( volumevesseldepthneckareaneckpispeedsoundf =

Air Piston

Spring

Note HoleVirtual Neck

Fipple

Figure 1: Ocarinas may be thought of as Helmholtz Resonators.

Figure 3: The air in the vessel of the ocarina acts like a spring, moving theair in the tone-holes in and out as if they were pistons in a car engine.

Figure 2: The plane of the fipple’s window is made tangential to thebody of the ocarina.

ILLUSTRATION: DWIGHT BARTHOLOMEW

and the acoustic frequency corresponding-ly increased (wavelength equals speed-of-sound divided by frequency) (Source 3).The complex airflow moving from thewindway over the labium develops a reso-nance condition with the standing wave inthe bore, stabilizing the struck note. (Res-onance describes things like pushing aswing to greater excursions by timing thepush with the swing’s motion.)

Ocarinas, on the other hand, may bethought of as Helmholtz Resonators.Named after Hermann von Helmholtz(1821-1894), a German physiologist andphilosopher, Helmholtz Resonators werehollow spherical containers with a smallopen neck at one end. They were used toanalyze complex musical tones. When thepartial of a tone had the correct frequency,it would couple with the air in the sphereso that only this amplified partial could beheard by the listener (through an ear canaltube). Until electronic instruments be-came available, it was the only way the par-tials of musical tones could be analyzed.The frequency that the Resonator re-sponds to is easily calculated (Figure 1).

What does this have to do with ocari-nas? An ocarina is a hollow vessel like aHelmholtz Resonator, but with a built-infipple assembly like a recorder. The planeof the fipple’s window must be tangentialto the body of the ocarina (Figure 2).When you blow into the fipple assemblywith all holes closed, it creates an in/outair motion. This couples with the Helm-holtz Resonator by pushing the air in thewindow into the vessel, which then re-sponds by pushing the air back out. An al-ternating air pressure is created in the ves-sel’s volume. This oscillation radiates the“do” note through the window of the oca-rina.

The labium/window square-hole isvery difficult to analyze, so let’s play theocarina with just one tone-hole open. Thealternating pressure change, which is uni-form throughout the vessel, affects the airin the open tone-hole (and window), mov-ing it in and out, just like the piston in acar. The plug of air in the open hole hasmass, which for a round hole is calculatedsimply as air-density times hole-area timeshole-depth. The open hole (and the win-dow) have become the new neck of aHelmholtz Resonator. The air in the vesselof the ocarina acts like a spring that is cou-pled with the air-piston in the virtual neck.Hang a weight on the end of a spring andpull it down, and then let go. Thespring/weight oscillates, and internal fric-tion losses will eventually slow the motion.

If you could add energy periodically to thesystem, it would oscillate forever. If youkeep blowing into the ocarina, it keepssounding its note (Figure 3).

It may be difficult to imagine a tone-hole as a piston, but an open round holein a thin-wall vessel acts as if it had aflange, _| |_ , on the inside and outside ofthe vessel, each with a height equal to thehole radius, making the “depth” of thetone-hole about equal to the hole diame-ter. As the mass of the piston air-plugpushes in, the air-spring in the vesselcompresses and pushes it outward. Asthe air-piston pulls out, the air-springstretches and pulls it back in. The biggerthe vessel (a weaker spring), the lower thefrequency of the sound. The bigger thetone-hole-area (a bigger, heavier piston),the higher the frequency. Try it with someold springs and weights. The fascinatingpart is that, for a given volume of air, thefrequency is nearly independent of theshape of the vessel. Rather, it is nearly pro-portional to the square-root of the sum of thediameters of the open holes (see Figure 4and Source 4).

March 2001 11

)/...)321(()2/( VDDDpicf ++=

nholediameterDn #_=

Figure 5: Producing a chromatic octave with a four-hole ocarina.

Figure 4: Pitch is a function of the summed sizes of all the open holes.

The fascinating part isthat, for a given volumeof air, the frequency ofan ocarina is nearlyindependent of the shapeof the vessel. Rather,it is nearly proportionalto the square-root ofthe sum of the diametersof the open holes.

SAN

DIA

ND

RIC

HAR

DSC

HM

IDT

Continued overleaf


The good and the badTheoretically, a clever pottery mak-

er could pierce the walls of ahollow, fipple equipped ves-

sel with four different-sizeholes and make an in-

strument that pro-duces sixteen differ-ent rather puretones that are chro-matically related.The holes can bealmost anywherethat makes play-ing easy (Source5).Their total openarea is the impor-tant factor. John

Taylor did just this,laying out a road that

many have followed.Unfortunately, physics is

always exact but often un-kind. Using a little geometry

and algebra, you can show thatsome of the finger combinations are

going to sound a bit “off”; a chromatic oc-tave is a more reasonable goal (Figure 5). Ifyou add another hole, the good combina-tions will allow a ninth. Some think that asixth hole makes accepted fingering pat-terns sound better. Other makers suggestshading the window will let you add onenote at the bottom. Some makers add asmall hole near the fipple entrance, andyour lip is used to open and close it.

The beauty of the ocarina is that thesound frequency is not determined by thelength of a bore, as in a recorder. Recorderbasses are big, since the scaling is linear! Ifyou want to halve the frequency, you mustdouble the length. In ocarinas, the fre-quency is determined by the ratio of di-

mensions in the square-root term, so thatbass instruments don’t need to be quite asbig, in comparison.

Two questions become important at theextreme limits: 1) Is the instrument toosmall to accommodate big fingers, and willit produce enough sound? or 2) Is it too bigfor convenience, and will your finger padscover the biggest holes? Between these ex-tremes is a vast world for creativity. I have afive-hole clay ocarina in ~C5 that is 2.5inches in diameter, about 1.5 inches thick,shaped like a flying saucer and decoratedwith a Kokopelli figure (see illustration).The windway entrance is on the rim (at thebottom of the illustration; the window andblade are on the backside together with thefifth hole), and it has four unequal diame-ter tone-holes on the top. It can be wornwith a thong around the neck like apendant.

Ten years that shook the worldWhen folk music was rediscovered in

the ’60s, an ocarina rebirth took place. Re-cently, artisans have produced a phantas-magoria of shapes and kiln colors, plus sin-gle, double, and triple ocarinas. Some ofthese are delights, while others may repre-sent only “The Ugly” toys. We’ll look atsome of the best. Many web sites listed inthe Sources offer sound bytes, so you canhear the bird sing.

Darryn Songbird (Source 6) makes a so-prano alto-tenor-baritone-bass set in raku-fired unglazed clay. Clayz and Clay-Wood-Winds (Sources 5, 7) offer a glazed so-pranino, soprano, alto, and tenor series.Often, the naming of the instruments is in-consistent with recorder practice, so it isbest to ask. Clay has a tendency to shrinkin the firing process, so it is also commonto find instruments that are in tune with

Figure 6: Making an ocarina from clay.

ILLU

STRA

TIO

N:D

WIG

HT

BART

HO

LOM

EW

DARRYNSONGBIRD

The beauty of the ocarina isthat the sound frequencyis not determined by thelength of a bore, as in a

recorder. Recorder bassesare big, since the scaling is

linear! If you want tohalve the frequency, youmust double the length.

In ocarinas, the frequencyis determined by the ratio

of dimensions in thesquare-root term,

so that bass instrumentsdon’t need to be quite

as big, in comparison.

March 2001 13

themselves, and fully chromatic, butwhich are not tuned to a common scale.Alone, in the woods, on the street, or inyour home, that doesn’t matter. If you playwith other instruments, it will, so it is bestto request a concert pitch. Egg, arrowhead,ellipsoid and flying saucers shapes areavailable from a group associated withJohn Taylor (Source 8). The Budrio (Source2) site displays the world of the “classicalocarina” from six-hole to ten-hole, cover-ing four octaves in a presentation set of fiveinstruments, or individual units.

Hind (Source 9) offers American wal-nut ocarinas with four, six, or eight holes,soprano, alto, tenor and bass, and doubleocarinas pitched a fifth apart. Avant-gardeceramic artisans such as Susan Rawcliffeand Anita Feng craft an eclectic, exotic col-lection (Sources 10, 11). Ocarinas comewith four to ten holes, diatonic or chro-matic, covering from an octave to aneleventh+. The shapes challenge anyone’simagination.

More complicated instruments areavailable. Some have more than one cham-ber in the instrument. Play a duet withyourself. Tune the two chambers a littleapart, and get a harmony similar to dualreeded harmonicas. Janie Rezner (Source12) makes a triple ocarina whose two frontchambers play a full scale, while the backchamber plays a two-note drone. Thechambers come together at the top into asingle divided mouthpiece, so the twofront chambers can be played with or with-out the drone background.

DIY: Do it yourselfMaking ceramic ocarinas is an art.

There are two basic approaches. One us-es a mold like a tennis ball to form the twohalves of the shell from moist clay (seeFigure 6 and Source 13). The two halvesare joined by slip clay, and pinched to-gether. The windway and vent are put inplace using wooden tools, and then theholes created with plunge sticks. Theslightly dried instruments are tuned, andthen fired. Post-firing tuning is necessarybecause of shrinkage. The other tech-nique uses a solid body of clay, in the ap-proximate final shape (Source 14). It iscut apart by a string-cutter, and the inte-riors scooped out. The parts are reassem-bled, and then treated as describedabove. Some artisans use polychrome lus-ter, white crackle glazes, seaweed, or oth-er interesting things for decorative pur-poses during firing. In the best-playing in-struments, the windway is tapered, theexit and the blade are positioned slightly

1. The New York Times: Science Section March 29, 1988, p

C-1; www.statnekov.com/peruwhistles/ nytimes.html

2. www.ocarina.it/

3. “Principles of Recorder Design Explained,” AR, June

1992, pp. 7-14

4. www.phy.duke.edu/ ~dtl/36h4_sho.html

5. www.clayz.com

6. www.songbirdocarina.com

7. www.clay-wood-winds.com

8. www.ocarina.demon.co.uk

9. http://germanmarketplace.com/ hind.htm

10. http://artawakening.com/ soundworks/

11. www.scn.org/~bg599/ ocarinas.html

12. Ceramics Monthly, May 1999, p. 64

13. www.geocities.com/RainForest/ Canopy/2525/

whistles/ whistle.html; Clay Whistles...the Voice of Clay,

J. Moniot (Whistle Press, 1990).

14. http://village.infoweb.ne.jp/ ~flute/egeioseisaku.htm

15. Journal of Experimental Biology, 173: 123-163 (1992);

International Journal of Insect Morphology 22: 185-205

(1993)

Some different shapes and sizesof ocarinas. Clockwise fromupper right: small ceramic

four-hole model by RobinHodgkinson; an ocarina by San-di and Richard Schmidt; classic

model ocarinas by Kenji Ogawa.

PHO

TO:C

OU

LTER

SAN

DIA

ND

RIC

HAR

DSC

HM

IDT

KEN

JIO

GAW

A

Sources for Further Study

http://www.statnekov.com/peruwhistles/nytimes.html

http://www.ocarina.it/

http://www.phy.duke.edu/~dtl/36h4_sho.html

http://www.clayz.com

http://www.songbirdocarina.com

http://www.clay-wood-winds.com

http://www.ocarina.demon.co.uk

http://germanmarketplace.com/hind.htm

http://artawakening.com/soundworks/

http://www.scn.org/~bg599/ocarinas.html

http://www.geocities.com/RainForest/Canopy/2525/whistles/whistle.html

http://village.infoweb.ne.jp/~flute/egeioseisaku.htm

differently from that of a recorder, and thewindow has an aspect ratio a little squar-er than the recorder.

Cricket, cicadas, and NintendoWith any musical instrument that has

mass appeal, is easy to learn, and is not inthe modern orchestral ensemble, there isalways the caustic comment, “It isn’t a se-rious instrument.” For such ocarina crit-ics there are serious works by Harrison,

(Canticle 3 for ocarina, guitar and percus-sion); Budaschkin, (Domra Concerto foraccordion, ocarina, and mandolin);Ichiyanagi (Concerto for four recorders,two ocarinas); even moments in works byJanácv ek and Respighi.

But the ocarina has at least one trumpcard to play that recorders don’t have.Nintendo’s best-selling video game, Leg-end of Zelda™: Ocarina of Time, has gener-ated money for Nintendo (more than 250

million copies), as well as recognition forartisans like Anita Feng. Perhaps ocarinashave another card. Biological studies onthe sound-producing and sound-detect-ing organs in certain cicadas and cricketsinvolve Helmholtz Resonators. In someAustralian species, the male abdomenforms such a structure, using a large airsac as the cavity vessel, and the tympanaas the neck of the resonator. In some an-tipodal crickets, a similar mechanism isinvolved. Within the same species, themaximum sensitivity of the female’s ear,also a Helmholtz Resonator-tuned device,coincides with the carrier frequency ofthe male’s call (Source 15). If it didn’t,there’d be no little cicadas or crickets.

Making recorders sweeterWe urge you to experiment. The musi-

cal instruments are not expensive and well-tuned ocarinas can be purchased fromaround $25 to $75. They combine wellwith recorders, since the purity of theirown sound complements the reediness ofmany recorders. For old movie buffs,watch Frank Capra’s Meet John Doe.

The recorder player will have little trou-ble adapting to the pendant five-hole oca-rina, and the tonguing techniques used areidentical. Although the resonance condi-tion for a given note is a bit broader than agood recorder, and overblowing or under-blowing will shift the frequency more thanmight be expected, the instrument returnsin multiple kindnesses (see Sidelights). Itdoes not “break” with too little or toomuch pressure and uses almost a constantbreath pressure from one end of the scaleto the other. Air movement in and out ofthe tone holes seems a bit more sensitive tothe proximity of lazy fingers. It is thereforeeasier to do slides, and you can use the fifthhole to do a glissando fifth! It is a wonder-ful instrument for the blues and jazz. Andif improvisation is new to you, the ocarinaprovides a wonderful companion thatwon’t compromise your fingers’ musclememory for stricter, more rigid music. Per-haps these lines from Charlotte Smith’sBeachy Head (1807) sum up the ocarina:

Come, visitant, attach to my reedyour nest of clay,

And let my ear your music catch.

Ray Dessy ([email protected]) is professorof chemistry at Virginia Tech in Blacksburg.With his wife Lee, he has written articles forAR on recorder acoustics, the blues, psychoa-coustics, and recorder woods. The authors ap-preciate the experiments, comments, and col-legiality of John Coltman and Jim Coulter.


Sidelights: Thinking, Sounding, PlayingThinking: The basic dissonance between the methods of scientist, artisan, andplayer is shown by an Internet exchange between David Peterson and Barry Jen-nings (John Taylor’s associate) posted at www.ocarina.demon.co.uk/FAQacad.html.

PETERSON: I am a mathematician. I have a partially verified formula (for thefour hole ocarina). The primary vagaries are the fipple impedance and equivalentdepth of holes. Do you or John Taylor have any comment?

JENNINGS: (I am an instrument maker.) Your terms... are quite different—though we may refer to the same specifics. For instance you say “mass” whereaswe think “volume.” Can you [relate] the [volume] of an ocarina to pitch?

Sounding: At low sound levels, a Helmholtz Resonator can have a high reso-nance “quality” factor, Q. Think of Q as reflecting the range of frequenciesthat might easily excite resonance; HiQ = narrow range, LoQ = broad range.Q also reflects the ratio of the blowing-energy stored to the blowing-energylost in the resonant system. This loss may be due to 1) wall-loss (think of airstriking a wall and cooling off), 2) viscous-loss (think of syrup dripping, itslayers shearing from the spout), 3) turbulence-loss (think of rushing white wa-ter), or 4) radiation-loss (think of what you hear). Typical modern flutes haveQs of 35-40. John Coltman, the flute acoustic expert, has made HelmholtzResonators from plastic toilet float balls, milling various size holes in them.Wall loss is dependent on area/volume ratios, and may be ~10-15%. Smallholes (~G3) at low sound levels have high viscous-losses (Q=26). At highsound levels, turbulence-losses become important (Q=11). With larger holes(~G4) at low sound levels, radiation-losses becomes appreciable (Q=45). Athigh sound levels, Q drops. Coltman has taken an irregular ocarina-like vesselflute in his collection, made by Martin Breton of Quebec, measuring~2.5''x2.5''x2''. With one open hole (~B4), the measured Q=16. [Q >5 isgood]

Playing: Lower, broader Q values correlate with the ocarina’s ability to strikea note with ease and shift frequencies with a change in breath pressure with-out “breaking” or losing resonance lock. “Bending” a note is simple, but get-ting out-of-tune is also made easier. Recorders tend to “break” if the shading,sliding, or rolling hole coverage is not smooth, and some holes are very sensi-tive. Ocarinas are more tolerant, and their frequencies shift up or down as thenumber or size of holes is changed by various shading, sliding, rolling, wiping,or multi-finger warble techniques. Smooth glissandos are possible. With high-er notes, especially in elongated shapes, non-uniform pressures and inhar-monicities result, and excessive losses develop. You can’t fight physics and thescale ends. The recorder just “keeps on ticking.”


March 2001 15

PERHAPS THE REASON why Schultzen’ssix sonatas have never attracted our

attention before is that almost everythingthat can be known about them is sur-rounded with mystery.

They are numbered 228 in the 1737music catalogue of the prolific editor, Esti-enne Roger of Amsterdam (see FrançoisLesure, Bibliographie des éditions musicalespubliées par Estienne Roger et Michel-Charles le Cène [Amsterdam, 1696-1743],Paris: Société française de musicologíe,1969, p. 80). But the first trace of thesesonatas is found much earlier, in 1704, in aFrench translation of Josiah Burchett’s Mé-moires de tout ce qui s’est passé de plus con-sidérable sur mer, which was published byRoger. At the end of the book, as was thecurrent practice of the time, there is a com-plete catalogue listing all the musical pub-lications of the editorial house and also theforeign editions sold in the shops of Ams-terdam and London (where, as we learnfrom another section of the Burchett Mé-moires, “François & Paul Vaillant, Librairesdans le Strand,” Roger had stationed rep-resentatives). The music catalogue is divid-ed into different sections: according to in-strument, according to ensemble (instru-ments or voices), and finally, according tocountry or to style (French, Italian, or Eng-lish). In the section, “Pièces à la Angloise età la Italienne pour les flûtes, les Hautbois

et les violons,” Schultzen’s sonatas for re-corder and thorough bass are advertisedfor the first time, together with six sonatasfor violin or oboe and thorough bass alsoby him. Each item cost two florins, whichappears to have been the usual price forcollections of six sonatas (see Illustration1). Since they do not seem to appear in ear-lier catalogues, the date of Burchett’s Mem-ories would indicate that the sonatas inquestion saw the light of day in (or just be-fore) 1704.

These two collections of sonatas are theonly known published works of Schultzen.No other compositions by this mysteriouscomposer have so far been found, even inmanuscript, and nothing at all is knownabout his nationality or where he lived andworked. Apart from the initials “A. H.,”nothing is known of his Christian names.There also seems to be some confusion re-garding the spelling of his family name,which appears in Roger’s music cataloguespublished in 1716 and 1737 as “Schultsen”or “Schultzen.” The New Grove (1980) hadno entry for Schultzen, while the early dic-tionaries, such as Walther’s MusikalischesLexicon from 1732, give only the titles ofthe two mentioned sets of sonatas, pre-sumably copied from Roger’s catalogue,but no details whatsoever of the compos-er’s life. Unfortunately, the collection ofsonatas for violin or oboe does not seem to

by Patricio Portell

THE VIRTUOSORECORDERSONATASOF THEMYSTERIOUS‘SIGNORE’SCHULTZEN

Newly available in a modernedition, the six recorder

sonatas of A.H. Schultzenmay be the first sonatas

from the middle Baroquewritten with the recorder

professional in mind

Title page of the Schultzen recorder sonatas(with the permission of the Bibliothèque Nationale, Paris).

have survived, and apparently, the onlycopy of the collection of sonatas for re-corder is preserved in the Bibliothéque Na-tionale de France.

The title of the edition is in Italian,which gives it a cosmopolitan characterand implies the style of the sonatas. It isdifficult to believe that Schultzen was ad-dressed as “Signore”—more likely itshould have been “Herr.” When the re-corder sonatas are studied carefully, it be-comes evident that the composer was in-deed inspired by the Italian style; however,it is also possible to detect a personalTransalpine influence, which—in additionto the name of the composer, obviously—lends support to the conjecture that Schul-tzen was of German or perhaps north Eu-ropean origin.

Between 1700 and 1705, when Schul-tzen’s sonatas appeared in print, the re-corder was at its height in popularityamong the music connoisseurs. Works forrecorder and continuo as well as for two re-corders and continuo by composers suchas Servaas de Konink, Daniel Purcell, Got-

tfried Keller, Gottfried Finger, Andreas Par-cham, James Paisible, Nicholas Demoivre,William Croft, Henry Eccles, JohannChristoph Pepusch and Gasparo Viscontipoured from the printing presses. The firstrecorder adaptations of Arcangelo Corelli’sviolin sonatas and trio sonatas also ap-peared around this same time. Notably,many of these composers lived and workedearly in the golden period of the recorder inLondon. Quite a few of the composerswere, in addition, the favorites of the flour-ishing publication industry led by Roger inAmsterdam, Walsh and Hare in London,and Boivan and Ballard in Paris.

If Schultzen’s compositions are com-pared with other sonatas for the recorderpublished in this period, it is possible toobserve a great difference both in the levelof invention and in the required technicalskills. The usual repertoire consisted main-ly of duos without a bass, sonatas for onerecorder or two recorders with continuo,and suites generally written as trios (that is,two recorders and continuo). Amongthese, it is possible to find sonatas of ex-


Illustration 1:The Schultzen sonatas

were first listed in 1704 in theRoger catalogue appended to

Josiah Burchett’s Mémoires de tout...(shown with the permission of the

Royal Library, Copenhagen).

THE MYSTERIOUS‘SIGNORE’SCHULTZEN(cont.)

March 2001 17

ceptional interest and of such high qualitythat they certainly deserve attention. (Oneexample is a Sonata II in D minor for re-corder and basso continuo composed in acanzona-like style by William Croft, orpossibly “An Italian Mr.” It concludes witha beautiful adagio in the form of a groundbass or chaconne.) But most of this reper-toire can be characterized as simple andsometimes naive. It was not until aroundfive years later (that is, after the publicationof Schultzen’s sonatas) that music for therecorder of the same virtuosic level andcomplexity in composition went throughthe presses.

In William Topham’s Op. I sonatas,published in 1701, one can find some ele-ments that are similar to Schultzen. Therole of the continuo part, for instance, me-diates actively with the soloist as in a dia-logue—though in Topham this detail oc-curs in a much simpler way. Schultzen’slargos of the first two sonatas are built on aground bass, suggesting a chaconne orpassacaglia, as one often finds in Englishcompositions. There can be no doubt thatSchultzen was modern for his time—inmany aspects even more advancedthan his contemporaries. Schultzen’s bassparts are not just a harmonic foundation oraccompaniment. In addition, his choicesof harmony, use of virtuosic elements, andmodes of expression belong to the practiceof a later period; they are more typical ofthe music of Francesco Mancini, GeorgPhilip Telemann, and Johann SebastianBach (see Illustration 2).

Schultzen’s sonatas follow the classicalstructure of the sonata da chiesa with thetypical movements slow-fast-slow-fast.Apart from sonata IV, the first movementsare all in duple metre with many suspen-sions. The third movements are usuallymore homophonic and written in triplemetre. While the fourth movements have adance-like quality often reminiscent of agigue, the standard dance forms encoun-tered in the so-called sonata da camera arenot found. Besides revealing an ableknowledge of the Italian style of the sonata,the collection also reveals a profound un-derstanding of the Corellian style. This is,for instance, evident in the composition ofbasses and some of the “typical” themes,especially in Sonata IV. Yet the basses oftendiffer from Corelli’s in having a moremelodic structure and having a cantabilecharacter; it is noticeable that the thor-ough basses are not merely accompani-ment, but at times very elaborate and al-ways rich in invention. The themes arevery personal: the slow movements are po-

etic, choleric, melancholic, dramatic, orsometimes pessimistic. At other times, wefind a ground bass very much like a cha-conne, as in the third movement of SonataI, or a marvellous passacaglia of emotionalsimplicity, as in the second movement ofSonata II. The fast movements are livelyand often call for virtuosic agility—not on-ly from the recorder player but also fromthe bass player or players.

The writing of the sonatas demon-strates maturity and solidity. It is not diffi-cult to find chromaticism or complex har-monies and dissonances. The music is not

easy to play at the first sight-reading—sev-eral readings are necessary in order to beable to interpret it (see Illustration 3).

When playing and studying thesonatas, it becomes clear that they are id-iomatically written for the recorder, thusindicating that the composer had an inti-mate knowledge of the instrument. Schul-tzen’s choice of tonalities and his use oftessitura emphasize this detail: D minor, Gminor, G major, and B� major. The virtu-osic passages are adapted perfectly to thepotential of the instrument, even if in somecases a solid technique is required in order

Illustration 2: Original recorder part of the second movement, Un poco presto,Sonata V (with the permission of the Bibliothèque Nationale, Paris).


to play them. On this basis, it is temptingto suggest that Schultzen must have playedthe recorder himself and maybe also theoboe—perhaps he wrote the sonatas for avirtuoso recorder player whom he knew.

A very interesting and curious detail isseen on the title page—that is, the men-tion of the bassoon, and not the viola dagamba or the violoncello, to play the basspart (o Vero Fagotto). The bassoon was con-sidered the best instrument to accompanywind instruments in the current practice ofthe time. The writing of the bass is id-iomatic and adapted perfectly to the tessi-tura of the instrument, but at the sametime it also requires good technical skills.

Is it possible to interpret Schultzen’scompositions as being among the firstsonatas for the professional recorder play-er of the middle Baroque period? Keepingin mind the date of publication, and com-paring these sonatas with other works forthis instrument printed around the sametime, the answer seems to be yes. The onlycompositions published before 1704 re-quiring advanced technical skills appear tobe Corelli’s Op. V. These, however, are notoriginally written for the recorder, but for

the violin. In Schultzen’s sonatas, not onlythe recorder and the bassoon parts requireable players; the complexity of the thor-ough bass also demands an experiencedharpsichordist (see Illustration 4).

It is hoped that this article will provokecuriosity and interest among recorder play-ers wishing to extend their repertoire andencourage them to work towards a widerappreciation of the music composed by theunknown genius, A. H. Schultzen.

Patricio Portell prepared the new modernedition of the Schultzen sonatas discussed inthis article: A. H. Schultzen: Six Sonatespour flûte à bec... et clavicin ou basson,Editions Papillon (www.editionspapillon.ch;[email protected]): Drize 1998. Hestudied recorder with Koko Taylor at theCentre de Musique Ancienne de Genève,Switzerland, and is presently editor of Le Ratde Bibliothèque (“The Library Rat”), the Pa-pillon series in which the Schultzen sonatasappeared. Future editions will include re-corder sonatas by Geminiani and Castrucci,and opera airs by Handel. The original textfor this article was translated from Spanishby Peter Hauge.

Is it possible to interpretSchultzen’s compositions as

being among the firstsonatas for the professional

recorder player of themiddle Baroque period?

Keeping in mind thedate of publication, and

comparing these sonataswith other works for this

instrument printed aroundthe same time, the

answer seems to be yes.

Illustration 3: from the second movement, Presto,Sonata III (Editions Papillon, Genève).

Illustration 4: from the second movement, Allegro,Sonata V (Editions Papillon, Genève).

http://www.editionspapillon.ch

March 2001 19

WHITEWATER EARLY MUSICFESTIVAL(ARS)

Whitewater University, Whitewater, WIJune 1-3Director: Louise AustinEnjoy an exciting weekend with a great faculty,and music for instruments, voice, and strings.Classes for all levels of recorder and gamba play-ers. Opportunity for wind band, Baroque ensem-ble and much more. Faculty will include: CléaGalhano, Lisette Kielson, David Echelard, PatrickO'Malley, Karen Snowberg, Louise Austin, andothers.Contact: Louise Austin, 706 N. Main St.,Lake Mills, WI 53551-1115; 920-648-8010;[email protected], or Carol Stanger,[email protected].

TEXAS TOOT, SUMMER EDITION (ARS)Concordia University, Austin, TXJune 3-9Director: David BartonThe Texas Toot is 25 years old this year and in itsthird year as a summer workshop. The setting forthe Summer Toot is Concordia University, a smallcampus in the heart of Austin, Texas. Buildings,including dorms, are air-conditioned and providean intimate setting for a workshop. All workshopparticipants will have the opportunity to workwith the members of the world-famous FlandersRecorder Quartet in an “up-close-and-personal”seting. Ann Marie Morgan and Susan Barton willserve as viola da gamba faculty. Other faculty willinclude Sara Funkhouser (shawms andkrummhorns), Bruce Brogdon (lute), Becky Bax-ter (harp and Spanish music), Danny Johnson(vocal and Medieval music), and a special appear-ance by Lyle Nordstrom. Jan Jackson and FrankShirley will be workshop assistants.The Texas Toot is proud to host the American Re-corder Teachers’ Association annual meeting thisyear and welcomes them as participants. Specialfacilities will be provided for their activities.The Texas Toot is known for its friendly partici-pants, helpful management, and outstanding fac-ulty. The highlight of the workshop will be a con-cert by the FRQ, who serve as artistic directorsthis year.Contact: David Barton, PO Box 571061,Dallas TX 75357-1061; 214-536-8740 (day);214-826-8721(eve); 214-324-4089 (fax);[email protected]; www.toot.org.

OBERLIN BAROQUEPERFORMANCE INSTITUTE

Oberlin College Conservatory of Music,Oberlin, OH

June 18-July 2Director: Kenneth SlowikThis year marks the 30th Institute at Oberlin,America’s premiere summer workshop forBaroque instruments and voice. The internation-ally renowned faculty, headed by the members ofthe Oberlin Baroque Ensemble (Michael Lynn,Marilyn McDonald, and Catharina Meints; LisaGoode Crawford on sabbatical in 2001), willagain lead daily masterclasses and ensemblecoachings. Faculty and student concerts promiseto offer memorable listening and music-makingexperiences; lectures and informal open discus-sions stimulate the intellect; and the ever-popularBaroque dance classes provide excellent physicalexercise as well as a kinetic appreciation for therhythms that underlie so much music of theBaroque era.Contact: Anna Hoffmann, BPI, Conservatory ofMusic, 77 West College St., Oberlin, OH 44074-1588; 440-775-8044; 440-775-6840 (fax);[email protected];www.oberlin.edu/con/summer.

LONG ISLAND RECORDER FESTIVALSUMMER WORKSHOP (ARS)

NY Institute Of Technology, Central Islip, NYJune 24-30Director: Stan DavisDaily sessions include: recorder technique andmaster classes, ensembles at all levels, and re-corder orchestra. Additional offerings: Bass Re-corder Ensemble, Swing Band, English CountryDancing, student and faculty concerts, special in-terest classes and ensembles. The Von HueneWorkshop, Inc. (the Early Music Shop of NewEngland) will be in residence with a wide selec-tion of music, instruments, and accessories.Contact: Stan Davis, 116 Scudder Place,Northport, NY 11768-3025; 631-261-8242;[email protected].

SFEMS BAROQUE MUSIC & DANCEWORKSHOP (ARS)

Dominican University, San Rafael, CAJune 24-30Director: Anna Carol DudleyDesigned for aspiring professionals and dedicatedamateurs; offers master classes, lectures, coached

Recorder WorkshopSummer-Ease

Relax! Get away from it all!Studies show that you arehappiest when you are learningnew skills in a productiveand collegial setting.That’s exactly the experiencedescribed in the followingsummaries of workshops whereyou can study recorder andother early music instruments.

Summer Study Opportunities

Workshops carrying ARS designation havejoined the ARS as workshop members.

Readers are reminded that the ARS has notsponsored or endorsed workshops since 1992.


http://www.toot.org

http://www.oberlin.edu/con/summer



ensembles, and student and faculty recitals witha focus this year on music of the countries of theMediterranean.Faculty: Angene Feves and Sandra Hammond,dance; Marion Verbruggen and Frances Blaker, re-corder; Arthur Haas and Phebe Craig, harpsi-chord; Judith Nelson and Anna Carol Dudley,voice; Michael Sand, violin and orchestra; MarySpringfels, viol; Tanya Tomkins, cello; KathleenKraft, traverso and flute; Sand Dalton, oboe;Michael McCraw, bassoon.Contact: Anna Carol Dudley, SFEMS, PO Box10151, Berkeley, CA 94709; 510-527-3748;510-848-5442 (fax); [email protected];www.sfems.org.

SUZUKI METHOD RECORDERWORKSHOPS (ARS)

State University of New York, Plattsburgh, NYStudent Institute: July 20-23; July 25-28

Unit 1A and 2: June17-23Unit 1B and 3: July 25-31

Co-directors: Nancy Kennard, Katherine WhiteThe Suzuki Method Recorder Institutes are de-signed for children and adult students using thematerials recorded by Marion Verbruggen, ArthurHaas, and Mary Springfels. Opportunities in-clude masterclasses, note reading, music theory,group ensembles; movement, and jazz improvisa-tion TBA; public performances; and parent, stu-dent, and teacher meetings. Recreation opportu-nities include indoor pool, full gym, tennis, ath-letic fields, beaches, boating, mini-putt golf, andLake Champlain ferries to Vermont. Internationalregistration is for 1-8 days, by June 9. TeacherTraining Sessions include 15 hours of pedagogyand 8 hours of master class observations for eachteacher training Unit. Often, Unit 1A and 1B aredone in adjacent schedules. Teachers will sendaudition videotapes with $30US/$40CAN andform to SAA (Suzuki Association of the Americ-as), 1900 Folsom #101, Boulder, CO 80302,USA. Postmark by May 21. The teacher videotapeapplication form is at: www.suzukiassociation.org.Scholarships are available on a limited basis.Contact: Katherine White, PO Box 233, Fairfax,CA 94930; 415-897-6500; 415-339-8163 (voicemail); [email protected]; or NancyKennard, 216-561-2505; [email protected]/Food Service secure on-lineRegistration: www.plattsburgh.edu/cas/suzuki;or 518/564-4092 (fax).

RECORDER & VIOL WORKSHOPFOR SENIORS

College of the Holy Cross, Worcester, MAJune 22 -24Directors: Jennifer Barron Southcott, Alan KarassWorcester Hills Recorder Society and Joy of Mu-sic Program present “Music of the Spheres,” AWeekend Recorder & Viol Workshop for Seniors(50+). The faculty includes Marshall Barron,Grace Feldman, Alan Karass, Gene Murrow, Lau-rie Rabut, Jennifer Barron Southcott, Peggy Ver-milya, and others TBA. The workshop will offerrecorder and viol consorts at several differentplaying levels, mixed consorts, Big Band ensem-

bles, a faculty concert, a musical instrumentdemonstration, and English Country Dancing onboth Friday and Saturday evenings, with the VonHuene Workshop “in residence.” The workshopwill once again be held at The College of the HolyCross in Worcester, MA, a beautiful settingspread over 174 acres, with swimming and tennisavailable. Classes will be held in the air-condi-tioned Brooks Center for Music, and the comfort-able dormitory rooms are also air conditioned.All facilities are handicapped accessible. Spous-es/friends who are younger than 50 may attendthe workshop at the regular registration rate, andGuest Rates are available for non-playing spous-es/ friends. Please register early, as space is limit-ed to 50 registrants. Registration deadline is May20, 2001. Scholarships are available on a limitedbasis.Contact: Jennifer Barron Southcott, 963 LibertySquare Rd., Boxborough, MA 01719; 978-263-5875; [email protected].

MOUNTAIN COLLEGIUMYoung Harris College, Young Harris, GAJuly 1-7Directors: Robert Castellano, Lorraine

Hammond, Wayne HankinMountain Collegium is a week long Early Musicand Folk Music Workshop. Study of early and tra-ditional folk music as well as informal playing invarious groups. Classes in Recorder, Viola daGamba, Lute, Folk Harp, Dulcimer, CappedReeds, Shawms, Pennywhistle, Irish Flute, Hur-dy-Gurdy and Pipe & Tabor—offered at all levels.Specialty classes: Sephardic & Medieval Music,Music of the Odhecaton, Music of Bach, TrioSonata Repertory, and 20th C. Recorder Ensem-ble Music. Highlights: Lecture-demonstrations,faculty and student concerts, English countrydancing. Facilities: Air-conditioned rooms, cafete-ria, classrooms, rehearsal and performance halls.Young Harris is 100 miles north of Atlanta nearthe North Carolina/Georgia border. Faculty: AldoAbreu, Martha Bishop, Bob Castellano, JackKitts-Turner, Lisle Kulbach, Gerald Moore, Mar-garet Pash, Patricia Petersen, Lorraine Hammond,Wayne Hankin, Roy Sansom, and John Trexler.Contact: Robert Castellano, 32 Farrar Rd.,Shutesbury, MA 01072; 413-376-0318, box 33;[email protected].

HOOSIER HOOT RECORDER WORKSHOPNew Harmony, INJuly 5-8The program of the Eighth Annual Hoosier HootRecorder Workshop (a Hoosier's variation on theTexas Toot) will focus on the themes “colors” and“relationships through time.” Included in theworkshop will be large ensembles, small ensem-bles, private lessons, a lecture, a faculty concert,and a student concert. The large ensemble willexplore both of this year’s themes and will in-clude the popular New Harmony Pops Orchestra.Technique Class will broaden your palette ofsound colors by introducing techniques such asalternate fingerings. Please bring some music foryour private lesson. Small ensemble repertoiremay also include music brought by participants.

The prestigious faculty includes Eva Legêne,Clara Legêne, Patrick O’Malley, and CatherineHawkes.Contact: Lara Lay, 3222 Kingsley Dr. N., Bloom-ington, IN 47404; 812-331-8498;509-351-0558(fax); [email protected].

PORT TOWNSEND EARLY MUSICWORKSHOP (ARS)

Port Townsend, WAJuly 8 - July 14Director: Peter SeibertA friendly workshop for experienced recorder andviol players produced by the Seattle Recorder So-ciety. Tidewater setting adjacent to the 7,500'Olympic Mountains. Refurbished Victorian resi-dences. Cost saving options available: camping,cooking-in, hostel. Hospitality and transportationbetween Seattle and Port Townsend available forsome out-of-town participants.Faculty of internationally known performers cho-sen for teaching ability. Morning technique andperiod style classes. Two afternoon sessions withover thirty class options daily. Evenings includecatered beach picnic, faculty, and student recitals,and a costume gala. Everyone participates dailyas a singer or player in two settings of “Rejoice inthe Lord Alway.” Wednesday afternoon open forinformal activities on campus, in town, on thebeach, or in the mountains.Contact: Ellen Seibert, Administrator,1815 Federal Avenue E., Seattle, WA 98102-4236;206-329-2774; 206-329-7656 (fax);[email protected];www.halcyon.com/emg/SRS/srs.html.

MADISON EARLY MUSIC FESTIVALMadison, WIJuly 8-21Artistic Directors: Cheryl and Paul RoweProgram Directors: Chelcy Bowles and

Julia ChybowskiThe University of Wisconsin-Madison announcesits second annual Madison Early Music Festival,featuring music of Elizabethan England and itsItalian influences. MEMF consists of two one-week workshop sessions, a Festival Concert Se-ries, and a Historical Music and Instrument Fair.Guest Artists-in-Residence The Newberry Con-sort (Session I) and Marion Verbruggen (SessionII) join other distinguished artist-teachers. Cometo learn and practice instrumental and vocalskills, learn about historical performance practicethrough ensemble participation and lectures, andenjoy concerts by exciting guest artists and facul-ty. The concert series consists of ten concerts in-cluding full performances by guest artists, mixedfaculty concerts, student performances, and theculminating All-Festival Concerts featuring work-shop participants and faculty performing togeth-er. The All-Festival Concerts will feature musicfrom the Masque of Oberon and selections byWilliam Byrd (July 14) and the Triumphs of Orian-na published by Thomas Morley, MusicaTransalpinia, and Spem in Allium by Thomas Tallis(July 21). University credit is available.Contact: Julia Chybowski, 718 Lowell Center,610 Langdon St., Madison, WI 53703-1195;608-263-2790; 608 263-1743 (fax);[email protected];www.dcs.wisc.edu/lsa/memf.


http://www.sfems.org





http://www.halcyon.com/emg/SRS/srs.html

http://www.dcs.wisc.edu/lsa/memf

March 2001 21

INDIANA RECORDER ACADEMY (ARS)Indiana University, Bloomington, INJuly 15-29Director: Marie-Louise SmithThe Indiana University Recorder Academy,founded in 1993, offers serious young recorderplayers an intensive and varied program underthe direction of an outstanding faculty at one ofthe world’s finest schools of music. The facultyincludes: Bryan Burkett, Lyn Ellen Burkett, KeithCollins, Catherine Hawkes, Clara Legêne, EvaLegêne, Matthias Maute, Ken Pierce, Marie-Louise Smith, and Barbara Weiss.Contact: Marie-Louise Smith, Office of SpecialPrograms, Indiana University School of Music,Bloomington, IN 47405; 812-855-6025;812-855-9847 (fax); [email protected];www.music.indiana.edu/som/special_programs.

CANTO ANTIGUO ELDERHOSTELRECORDER WORKSHOP (ARS)

Chapman University, Orange, CAJuly 15-20Co-directors: Thomas Axworthy, Ron Glass,

Shirley RobbinsThis Elderhostel program is designed to bring theexperience of music-making to those 55 yearsand older. This workshop features hands-on in-struction in recorder playing for beginners andensemble classes for those more experienced.Evening concert/demonstrations by the facultywill explore the history of flutes and recorders,brass, reeds, and the music of the Renaissanceand Baroque. The workshop will take place atChapman University. Located in Orange, CA, thisbeautiful campus is only minutes away from Dis-neyland, Knots Berry Farm, the Crystal Cathe-

dral, and Newport Beach. This invitingly land-scaped, peaceful campus with garden paths is amixture of historic and modern architecture. Theacoustically designed studios, dining hall, andresidences are fully air-conditionedFaculty will include Thomas Axworthy, RonaldGlass, and Shirley Robbins..Contact: Ron Glass, 4283 Moore St., #2,Los Angeles, CA 90066; 800-358-6567;310-574-6719 (fax); [email protected];www.suba.com/~drdesoto/.

SFEMS MEDIEVAL & RENAISSANCEWORKSHOP (ARS)

Dominican University, San Rafael, CAJuly 1-7Directors: Frances Blaker and Phebe CraigThe Medieval and Renaissance Workshop offersan exciting week of in-depth study of repertoire,technique, and style for musicians of all levelsand abilities. Class offerings include ensembleplaying, improvisation, transcription, and theory.An effort is made to create an enjoyable and in-spiring atmosphere for both participants and fac-ulty. Existing ensembles may request specialclasses for themselves.Faculty: Frances Blaker, recorder; Phebe Craig,keyboard; Julie Jeffrey, viol; Shira Kammen, vielle,harp and voice; Edward Martin, lute; RobertMealy, vielle and violin; Herb Myers, Renaissancewinds and strings; Dan Stillman, reeds; SuzanneElder Wallace, voice and collegium.Contact: Frances Blaker, SFEMS, PO Box 10151,Berkeley, CA 94709; 510-763-7439; 510-848-5442 (fax); [email protected];www.sfems.org.

INDIANA BAROQUE WOODWINDAND DANCE SEMINAR (ARS)

Indiana University, Bloomington, IndianaJuly 15-22Director: Eva LegêneThe Indiana University School of Music BaroqueWoodwind and Dance Seminar will include thefollowing faculty: Sandra Hammond, dance;Janet See, traverso; Corey Jamason, harpsichord;Washington McClain, oboe; Michael McCraw,bassoon; and David Lasocki, lecturer.Contact: Eva Legêne, IUSchool of Music, Bloom-ington, IN 47405; 812-855-6025; 812-855-9847(fax); [email protected].

EARLY MUSIC WEEK ATPINEWOODS CAMP (ARS)

Pinewoods Camp, Plymouth, MAJuly 14-21Director: Chris RuaOne of America’s oldest and best-loved early mu-sic workshops, the Pinewoods Camp offers a fac-ulty recognized for their high quality of teachingworking with students of all levels to improvetheir playing and their enjoyment of music. Withten recorder teachers, classes range from consortsto Baroque ensembles, master classes to an intro-ductory course for beginners. With this year’stheme, “2001: A Musical Odyssey,” students willexperience early music odysseys of all kinds: to a16th-century Italian villa, to a Spanish abbey, tothe English countryside, or to more exotic lo-cales. Recorder players from relative beginners tohighly experienced will find Pinewoods to be an

Participants at the Recorder and Viol Workshop for Seniors atHoly Cross concentrate on a musical phrase.

http://www.music.indiana.edu/som/special_programs

http://www.suba.com/~drdesoto/




enriching and rewarding experience. Englishcountry and court dancing, in daily classes andnightly dances, provides a musical and social coreto the week, while the rustic setting in a pine for-est nestled between two ponds promotes a feel-ing of community among the students and staff.Contact: Steve Howe, Country Dance and SongSociety, PO Box 338, Haydenville, MA 01039-0338; 413-268-7426 x 3; 413-268-7471(fax);[email protected]; www.cdss.org/programs.

MIDEAST WORKSHOP (ARS)LaRoche College, Pittsburgh, PAJuly 15-21Director: Marilyn CarlsonThe workshop week offers classes for recorder (alllevels), flute, viol, harp, capped reeds. Ensem-bles: Renaissance Band, Medieval Collegium,Coached Consorts, All-Workshop Ensemble,Madrigal Group. Other classes include: Orches-tration, Bass Recorder, 16th C. Divisions/Improvi-sation, Irish Whistle, Viol for the Novice, Mini-Series topics: Society in the 16th Century, RecentReleases and Publications for Early Music, Com-puter Notation Programs, and Early Music Fo-rum. Other activities: Playing with Harpsichord,Master Classes (solo or your existing consort),English Country Dance, Faculty and StudentConcerts. Early Music Shop in residence. Locatedon a small college campus with convenient accessfrom airport/major highways. Classrooms, dormi-tory, dining hall are a short distance apart. All fa-cilities air-conditioned.Faculty: Martha Bixler, Marilyn Carlson, StewartCarter, Judith Davidoff, Eric Haas, Mary Johnson,Chris Ramsey, Kenneth Wollitz, others TBA.Contact: Marilyn Carlson, 1008 Afton Road,Columbus, OH 43221-1680; 614-457-1403 (phand fax); [email protected];www.mideastearlymusic.addr.com.

CANTO ANTIGUO EARLY MUSICAND RECORDER WORKSHOP (ARS)

Chapman University, Orange, CAJuly 22-28Co-directors: Thomas Axworthy, Ron Glass,

Shirley RobbinsThis one-week workshop is designed to broadenthe performance skills of experienced students,and introduce Renaissance and Baroque instru-ments and musical experiences to beginning andintermediate players. Students at all levels willparticipate in instrumental, vocal, and dance in-struction and performance. The workshop willtake place at Chapman University. This invitinglylandscaped, peaceful campus with garden pathsis a mixture of historic and modern architecture.The workshop studios, dining hall, and resi-dences are air-conditioned. The theme of thisyear’s workshop will be “The Music of the ItalianRenaissance.” Italian dances, madrigals, masses,and canzoni will resonate as we explore the mu-sic of Palestrina, Monteverdi, Gabrieli, et.al. Fac-ulty will include Tom Axworthy, Janet Beazley,Ross Duffin, Ron Glass, Carol Hansuld, Jim May-nard, Shirley Robbins, and Beverly Simmons.Contact: Ron Glass, 4283 Moore St., #2,Los Angeles, CA 90066; 800-358-6567;310-574-6719 (fax); [email protected];www.suba.com/~drdesoto/.

SFEMS RECORDER WORKSHOP (ARS)Dominican University, San Rafael, CAJuly 22-28Director: Hanneke van ProosdijExplore the full range of recorder music from theMiddle Ages to the 20th century through tech-nique classes, master classes, ensemble work,and recorder orchestra. Ensembles are one on apart, and classes are small, with a faculty/studentratio of one to five. Highlights include a daily re-corder orchestra program, student and facultyconcerts, and informal faculty-led playing.Faculty: Hanneke van Proosdij, Letitia Berlin,Louise Carslake, Saskia Coolen, Gene Murrow,Fred Palmer, Kim Pineda.Contact: Hanneke van Proosdij; SFEMS, PO Box10151, Berkeley, CA 94709; 510-256-9808;510-848-5442 (fax); [email protected];www.sfems.org.

SFEMS MUSIC DISCOVERY WORKSHOP(ARS)

Thousand Oaks Baptist Church, Berkeley, CAJuly 16-20Director: Dick BagwellA Renaissance day camp offering an interdiscipli-nary program for ages 8-13 with a parallel pro-gram for parents, grandparents, and teachers.Adults are offered a “mini-course in the Renais-sance.” Teachers can earn continuing educationcredits. All are immersed in the Renaissance for aweek, surrounded by images of Renaissance art,while singing, dancing, and playing together themusic of 16th-century England and Italy. Theweek culminates with a performance/drama, fol-lowed by a Renaissance feast.Faculty: Dick Bagwell, Drina Brooke, RachelStreeter, Katherine Heater.Contact: Dick Bagwell, SFEMS, PO Box 10151,Berkeley, CA 94709; 510-548-1206;510-848-5442 (fax); [email protected];www.sfems.org.

INTERNATIONAL BAROQUE INSTITUTEAT LONGY

Longy School of Music, Cambridge, MAJuly 20-29Directors: Phoebe Carrai and Paul Leenhouts“Das Neu-eröffnete Orchestre”: The North Ger-man-Scandinavian Connection, Music from theHanseatic cities of Hamburg, Lübeck, Copen-hagen, and Stockholm (G.F. Handel, C.P.E. Bach,A. Düben, J.H. Roman, W. Brade, J. Schop, J.Mattheson, C. Graupner, D. Buxtehude, et al.).A program for professional and pre-professionalmusicians including master classes, concerts, or-chestra, lectures, dance, and theater. Faculty:James Weaver, voice, Phoebe Carrai, cello, ArthurHaas, harpsichord, Manfred Kraemer, violin, JedWentz, traverso, John Thiessen, trumpet, Gonza-lo Ruiz, oboe, Paul Leenhouts, recorder, KenPierce, dance.Contact: Sarah Oehmcke, Longy SummerPrograms Coordinator, One Follen Street,Cambridge, MA 02138; 617-876-0956 x 523(day); 617-492-6723 (fax);[email protected]; www.longy.edu.

AMHERST EARLY MUSIC WORKSHOP (ARS)University of Connecticut, Storrs, CTJuly 29-August 5 and August 5-12Director: Marilyn BoenauAmherst Early Music Festival looks forward to itssecond year at Storrs, CT. The University of Con-necticut has a peaceful country setting, a beauti-ful 450-seat concert hall, easy access to class-rooms from dorm rooms, a wide range of accom-modations, and a friendly and helpful campusstaff. We offer van service from the Hartford air-port and train station. There is a direct bus fromNew York to Storrs.Workshop Central Program, both weeks, July 29-August 5, and August 5-12: International facultyof 70 performers and teachers. Students choosefrom a wide range of classes in recorder, flute,viol, harp, voice, harpsichord, shawm, curtal,Baroque oboe and bassoon, cornetto, sackbut,historical dance, early notation, Medieval music.All-workshop Collegium led by David Tayler,week 1, Andrew Kirkman, week 2. Applicantsmay register for either or both weeks.Special Programs, week 1: Virtuoso Recorder,Virtuoso Viol, Renaissance and Baroque Flute,Medieval, Historic Brass, Harp, Historical Dancefor TeachersSpecial Programs, week 2: Amherst BaroqueAcademy, Baroque Reeds, Lute Society of Ameri-ca, French Connection, Theater Project.Contact: Marilyn Boenau, PO Box 1322, Shirley,MA 01464; 978-425-4400; 978-425-6644 (fax);[email protected];www.amherstearlymusic.org.

HESPERUS EAR-TRADE WORKSHOPHilltop House, Harpers Ferry, WVAugust 19-25Director: Scott ReissA workshop in early and traditional music.Have you ever wondered how folk musicians (orinstrumentalists in the Middle Ages) played tuneswithout looking at written music? In this work-shop you will learn how to play Medieval, Ap-palachian, Irish, and other tunes by ear with Hes-perus members Scott Reiss (recorder and Irishwhistle), Tina Chancey (viol and fiddle), andBruce Hutton (guitar, banjo, and mandolin). Inmixed ensemble classes, you will learn how toarrange the tunes: what sort of accompanimentto use, how to vary the melody, how to play intro-ductions, bridges, and countermelodies. You willalso learn how to combine styles in Hesperus’sown unique way.Elective classes include beginning Irish whistleand beginning lap dulcimer.No experience in playing by ear necessary! Youjust need a basic playing ability on your instru-ment.Workshop at Hilltop House with breathtakingviews overlooking the scenic and historic town ofHarpers Ferry at the confluence of the Potomacand Shenandoah Rivers. Hiking, swimming, ca-noeing, antiquing, and visits to historic Civil Warsites are among the extracurricular activities.Contact: Scott Reiss, 3706 N. 17th St., Arlington,VA 22207; 703-525-7550; 703-908-9207 (fax);[email protected]; www.hesperus.org.


http://www.cdss.org/programs

http://www.mideastearlymusic.addr.com

www.suba.com/~drdesoto/



http://www.longy.edu

http://www.amherstearlymusic.org

http://www.hesperus.org

AMHERST

CANTOANTIGUO

CANTOANTIGUOELDERHOSTEL

HESPERUS

HOOSIERHOOT

INDIANABAROQUEWINDSSEMINAR

INDIANARECORDERACADEMY

LONGISLAND

LONGYBAROQUE

MADISON

MIDEAST

MOUNTAINCOLLEGIUM

OBERLINBPI

PINEWOODS

PORTTOWNSEND

SFEMSBAROQUE

SFEMSMEDIEVAL&RENAISSANCE

SFEMSMUSICDISCOVERY

SFEMSRECORDER

SENIORSRECOREER&VIOL

SUZUKIMETHODSTUDENTS

SUZUKIMETHODTEACHERS

TEXASTOOT/SUMMER

WHITEWATEREMF

CO

ST$695D

/w$710

$495ED

$700D

$300D

$600E

$1430

$775T

$700

$500T

$498/W

$625D

$585

$540/W

$638D

$750E

$725D

$710D

$220T

$710D

$295

$140E

$305ET

/W$630E

$150ED

NO

.OF

DA

YS

7/14

76

74

815

710

7/14

77

7/14

87

77

57

38*

8/15

73

AR

SD

ISC

OU

NT

YES

YES

YES

YES

NO

NO

NO

NO

NO

NO

NO

NO

NO

NO

YES

$10

$10

NO

$10

YES

$10

$10

YES

NO

NO

.OF

FAC

./R

ECO

RD

ERFA

C.

70/24

8/5

3/3

3/1

4/4

7/4

10/6

10/8

9/1

21/2

9/6

12/7

22/2

21/9

18/11

11/1

10/1

5/2

7/7

7/6

4/2

4/2

12/8

14/12

#ST

UD

ENT

S175/wk50

2025

20NA

1750

6050

6565

125

100

115

6055

3040

5024

3060

150

REC

OR

DER

CLA

SSLE

VEL

SLI,HI,

A,V

B,LI,HI

A,V

B,LI,HI,A

LI,HI,A,VB,LI,HI,A

HI,A,V

HI,A,V

LI,HI

A,V

A,V

B,LI,HI

A,V

B,LI,HI

A,V

B,LI,HI

ALI,HI

A,V

B,LI,HI

A,V

LI,HI

A,V

LI,HI,A,VLI,HI,A,VB,LI,HI,A

LI,HI,A,VLI,HI

A,V

B,LI,HI

HI,A,V

B,LI,HI

A,V

B,LI,HI

A,V

SPEC

IAL

CLA

SSES

C,MR

MB,20

EN,M

RO,P,T

O

MR,MB

EN,RO,P

T

RO

OC,RO

P,T

C,MR

MB,20

EN,M

RO,P,T

C,MB,20

M,RO

P,T

MR,MB

20,M

ROP,T

C,MB

EN,M,P

T

C,MR,EN

M,RO,P

T,O

MR,MB

M,P,T,O

MR,

MB,20

T

MB,M

PC,MR

MB,20

RO,T

C,MR,

MB,20

M,RO

T,O

MB,M

P,T

C,MR,M

P,T

C,MR,RO

P,T

C,MR

MB,20

EN,M,

RO,P,T

O

MR,MB

RO,T

C,MB

MR,M,P

T,RP,O

C,MR

MB,T

RP,O

C,MR

MB,20

M,RO

P,T

C,MR

MB,20

MR,M

RO,T

NO

N-R

ECO

RD

ERC

LASS

ESC,W,K,V

PS,D,O

C,W,V,DC

V,PS

D,O

W,T,O

V,D,T

W,K,V

C,W,P

K,V,PS

D,T,O

C,W,K

V,PS,D

O

C,WV,PS,D

C,W,K

V,D

C,W,K

V,PS,D

C,P,V,T

C,W,K,V

D,T,O

C,W,K

V,PS,D

T,O

C,K,D

W,V,T

OD,V

T,O

OW,P,V

PS,I

C,W,K

V,PS

D

MU

SIC

AL

AC

TIV

ITIE

SF,S,L,SP

PF,S

F,S,L

F,S

F,S,L

F,S,L,SP

PF,S,L,SP

PF,S.P

F,S,L,SP

PF,S,L,SP

P,O

F,S,L,P,OF,S,L

F,S,L

F,S,L

PF,S,SP,P

F,S,L,P

F,S,L,P

S,SP,P

F,S,L,P

F,O

S,P,O

S,P,O

F,S,L,

SP,P

S,P

REC

REA

TIO

ND,G,S,T

D,S

F,S

S,F,O

FF,S,O

D,T

D,W,G

OD

D,B,S,T

D,G,S,T

D,S,W

S,T,W

D,F,S,W

D,F,S,W

DD,F,S,W

D,S,T

F,G,S,T

W,O

F,G,S,T

W,O

T

OT

HER

SW

ELC

OM

ES,C

SS

SS,C

S,C

SS,C

SS

SS,C

S,C

S,C

S,C

SS,C

S,C

SS,C

DIR

ECT

TR

AN

SPO

RT

AT

IONS,B,L,PU

S,C,L,P

S,C,L

C,PU,P

S,P

S,B

S,B,C,L

C,L,P

B,C,O

A,B,C

S,B,C,PU

PL,PU

SS,C

S,B,PU,PC,O

C,O

S,B,C,O

C,O

S,B,C,P

S,B,C

L,O

S,B,C

L,O

S,C,L

PU,P

TER

MIN

ALS

A35B1 T30

A10B10

T10

A10B10

T10

A30B15

T1

A40

A55,B2

T55

A55,B2

T55

A10,B5

T1A10,B1

T1A5,B1

A25B10

T10

A100

B50

T50

A30B8 T8

A60B12

T12

A60B50

T50

A26B15

T15

A26B15

T15

A30,B5

T5A26B15

T15

A5B3,T3

A50B5 T5

A5OB5 T5

A15B3

A60

RO

OM

SS,D

S,D

S,D

D,S

D,S

*D

S,D

SS,D

S,D

S,D

S,D

CS,D

S,D

S,D

S,D

S,D

S,D

SDS,D

S,D

BA

TH

SS,SP,P

SPSP

SP,P

SS

SP,P

SS

PSP

SS

S,SP

SS

SSP,P

S,SP,P

S,SP,P

S,SP

S

FOO

DC,V

CC

FC

C,V

GNA

C,V

CC

CF,V

FC,V

C,V

C,V

C,V

C,V

C,V

C,V

C

HA

ND

ICA

PA

CC

ESSH,C,D

H,C,D

H,C,D

H,C,D

H,C,D

H,D

H,C

H,C,D

H,C,D

H,C,D

H,C,D

H,C,D

CH,C,D

H,C,D

H,C,D

H,C,D

H,C,D

LEGE

ND

COST

:Inc

ludes

tuitio

n,roo

m(si

ngle

occu

panc

yun

lesso

therw

ise n

oted)

,mea

ls,plu

sothe

rfee

s.E=

estim

ated,

T=tui

tion

only,

D=do

uble

occu

panc

y,W=

one

week

# FA

CULTY

/REC

ORDE

RFA

CULTY

:Num

bero

ffac

ulty

and

record

er fac

ulty

withi

ntha

tnum

ber

# ST

UDEN

TS:A

verag

eov

er las

t two

years

NO.O

fDAY

S:Inc

ludes

arriva

land

depa

rture

days

*=few

erda

yspo

ssible

CLAS

SLE

VELS

:B=b

eginn

er,LI=

lowint

ermed

iate,

HI=h

ighint

ermed

iate,

A=ad

vanc

ed,V

=very

adva

nced

SPEC

IALCL

ASSE

S:C=

one-o

n-a-pa

rtco

nsort

s,MR

=mixe

d Re

naiss

ance e

nsem

bles,

MB=m

ixed

Baroq

ue e

nsem

ble,2

0=20

thce

ntury

music

,EN

=earl

y no

tation

,M=m

aster

class,

RO=rec

order

orche

stra,

P=pri

vate

lesso

nsav

ailab

le,T=

techn

ique,

RP=r

ecord

erpe

dago

gy,O

=othe

rNO

N-REC

ORDE

R CL

ASSE

S:C=

chora

l,W=

other

wind

s,P=

percu

ssion

,K=k

eybo

ard,V

=viol

s,PS

=pluc

ked

string

s,D=

danc

e,T=

theory

,I=in

strum

entb

uildin

g,O=

other

MUSIC

AL A

CTIVI

TIES:

F=fac

ulty

conc

ert,S

=stud

entc

once

rt,L=

lectur

e,SP

=spe

cialp

roduc

tion,

P=org

anize

dinf

ormal

playin

g,O=

other

RECR

EATIO

N:D=

danc

ing,F

=fiel

d trip,

G=gy

m,S=

swim

ming

,T=t

ennis

,W=w

aterfr

ont/

beac

h,O=

other

OTHE

RSWE

LCOM

E: S=

non-p

laying

spou

ses/

frien

ds,C

=chil

dren

DIRE

CT TRA

NSPO

RTAT

ION:

S=sh

uttle

from

airpo

rt,B=

bus,

C=ca

b,L=

limo,

PU=p

ickup

,P=f

ree p

arking

,O=o

ther

TERM

INAL

S:A=

air,B

=bus

,T=t

rain

(num

ber i

ndica

tesmi

lesfro

mwo

rksho

pto

termi

nal)

ROOM

S:S=

single

s,D=

doub

les,C

=cab

ins*G

radua

tedo

rmso

r loc

al ho

tels/

motel

sBA

THS:

S=sh

ared,

SP=s

emi-p

rivate

,P=p

rivate

FOOD

:C=c

olleg

esty

le,F=

family

style,

G=go

urmet,

V=ve

getar

ianHA

NDICA

PAC

CESS

:H=h

ousin

g,C=

classr

ooms

,D=d

ining

2001

SUM

MER

REC

ORD

ERW

ORK

SHO

PS

INFO

RMAT

ION

SUPP

LIED

BYWO

RKSH

OPDIRE

CTOR

S


MUSICREVIEWS___________________________________ Works by masters of the Renaissance and Baroque

and modern works written for children to play and to hear

DEZILDE AL CAVALLERO (1556), BY

NICOLAS GOMBERT, ED. MARK DAVEN-PORT. Landmark Press (415 E. Fir Ct.,Louisville, CO 80027; 303-543-8695;[email protected]), Arts ofthe Netherlands Series LP ANS-3, 1999.Voices (S/aATTB), recorders (AATT/bB),viols (TrTrTTB), or other early instru-ments, sc 5 pp, pts 1 p each. $12.00.MISSA PASCHALIS, BY LUDWIG SENFL,ED. LANOUE DAVENPORT. Art of theNetherlands Series LP ANS-2, 1999. Re-corders (SSATB), viols (TrTrTTB), ormixed ensemble, sc 21 pp, pts 8 pp each.$26.00.

Landmark Press continues to pro-duce excellent editions of early music.The two offerings reviewed here havebeen intelligently edited by a father-and-son team (the father now sadly deceased)with many decades of experience in per-forming and editing early music.

Gombert’s villancico Dezilde al Cav-allero is the only work with Spanish textby this Flemish master. A beautiful, fine-ly crafted piece with plenty of imitation,it will require musicians who can count,though the parts are not technically de-manding. Since Mark Davenport has un-derlaid the text, the piece can be sung aswell as played. The uppermost part isplayable on a soprano recorder, exceptfor one B� near the end. The editor pro-vides thematic incipits, range finders, atranslation of the text, performance sug-gestions, and notes on the edition. Thispublication is a model of sensible editingfor recorder ensemble.

Senfl’s Missa Paschalis will provesomewhat more challenging. Again theparts are not particularly difficult, butthe piece is thoroughly contrapuntal andthere is quite a bit of syncopation—a typ-ical feature of early 16th-century musicin the “Flemish” style. Each of the fourmovements is based on a different Gre-gorian cantus firmus (Kyrie and Gloriafrom Gregorian Mass I, Sanctus and Ag-nus Dei from Mass XVIII), a fact not men-tioned by the editor. The cantus firmus is

particularly prominent in the Kyrie,where the lower three parts intone it inimitation while the remaining two voicesweave beautiful counterpoint above it.The music is vintage Senfl—absolutelygorgeous and well worth the effort oflearning it. (A tiny quibble here: the se-ries is called “Art of the Netherlands,”but Senfl, while he followed the “Flem-ish” style of his mentor Heinrich Isaac,apparently never set foot in the Nether-lands. He was born in Switzerland, mostlikely, and worked in Germany.)

LaNoue Davenport provides no bar-lines in this edition, though he has sup-plied staff numbers that will be quite use-ful in rehearsal. From my point of view, itwould have been better to supply bar-lines between the staves—as did the edi-tors of the only other edition of this pieceknown to me, in Senfl’s complete works(see below). I think some ensembles willfind the lack of barlines intimidating.

It is disappointing that no text is sup-plied here. When performing Renais-sance vocal music instrumentally, I findit most useful to have the text before me,even if it will not be sung, as it assistswith phrasing and accentuation—andmost early musicians have at least a pass-ing familiarity with the structure of theLatin mass. Also disappointing is the ab-sence of titles for the movements. Sincethere are only four movements, theiridentification cannot be a matter of sim-ple intuition. As it turns out, this mass

appears in the first volume of Senfl’scomplete works (Sieben Messen, ed.Löhrer and Ursprung, Wolfenbüttel,1962). It lacks a Credo, and so the fourmovements are Kyrie, Gloria, Sanctus/Benedictus, and Angus Dei, respectively.

My reservations concerning the Senfledition have done nothing to dampenmy enthusiasm for Landmark’s work as awhole. Once again they have chosenwonderful music and prepared it ad-mirably for recorders and other earlyinstruments.

Stewart Carter

BAROQUE TRIOS ARRANGED FORRECORDERS: HANDEL FUGUE ANDCORELLI LARGO & ALLEGRO (1734AND 1714), ARR. CHARLES NAGEL.Cheap Trills (Magnamusic), 2000. ATB,sc 6 pp, pts 2 pp each. $4.50.

This edition contains recorder ar-rangements of movements from two con-certi grossi: a fugue (movement 2) fromHandel’s Op. 3, No. 5, and a Largo andAllegro (movements 3 and 5) from Corel-li’s Op 6, No. 6 (called Op. Post. No. 3 bythe arranger, Charles Nagel). Althoughno discussion of sources or editorial pro-cedures is included, a look at the orches-tral scores shows what Nagel has done.

The Handel fugue was originally writ-ten in three-part texture, the two melodyparts being scored for violins, with oboedoubling, and the bass part for lowstrings (viola, cello, and violone) andharpsichord. The harpsichordist was ex-pected to fill in the harmonies indicatedby the figured bass line. Corelli’s Op. 6concerti grossi were originally scored fora solo group (concertino) consisting oftwo violins and a cello, with harpsichordrealization of the figured bass expected,and a full orchestra (ripieno), includingfirst and second violin, viola, and celloparts. Since the violin and cello parts ofthe ripieno double those of the concerti-no, Corelli mentioned on the title pagethat these concerti could be performedalternatively as trio sonatas by omitting

Senfl’s Missa Paschalis isthoroughly contrapuntaland there is quite a bit ofsyncopation. The music isvintage Senfl—absolutelygorgeous and well worththe effort of learning it.


Play early music in the spectacular Pacific Northwest. Study recorder or viol.Sing in the workshop choir. Take up a new instrument. Enjoy the faculty concert.

Take part in a student recital. Hike in the mountains. Picnic on the beach.Dress for the costume gala. Swim in Puget Sound.

Tuition: $340 ARS member tuition: $325Housing: Several options availablefrom elegant rooms to campsites.

Meal plan: Optional.Brochure: Ellen Seibert, Administrator

1815 Federal Avenue E. / Seattle, WA 98102-4236Phone: (206) 328-6312 Fax: (206) 329-7656

E-mail: [email protected]

July 8 - 14, 2001

Port TownsendEarly Music Workshop

Peter Seibert, DirectorPresented by the Seattle Recorder Society

Peggy Monroe, recorder, percussionRosamund Morley, viol

Ann Marie Morgan, violGene Murrow, recorder

Kim Pineda, recorder, traversoEllen Seibert, beginning viol

Peter Seibert, recorder, choirMargriet Tindemans, viol, medieval music

Brent Wissick, viol

Jack Ashworth, viol, violinLetitia Berlin, recorder

Frances Blaker, recorderEva Legene, recorder

Charles Coldwell, recorderAugust Denhard, lute, ornamentation

Frances Feldon, recorder, traversoClea Galhano, recorder

Sally Mitchell, recorder


the ripieno. That suggestion is followedin Nagel’s recorder arrangement.

In these arrangements, Nagel substi-tutes alto and tenor recorders for theoriginal melody instruments and bass re-corder for the original bass instruments,and he also eliminates the harpsichord,thereby reducing the sonority and tim-bral variety and somewhat impoverish-ing the harmonies.

Most problematic is his use of thebass recorder, which sounds an octavehigher than the originally intended in-struments and can cause unwantedchord inversions if the bass recordernotes cross a melody line. For the mostpart, however, Nagel avoids that problemthrough octave transpositions, and in thefew places where such inversions do oc-cur, they are not readily noticeable.

While these arrangements departconsiderably from Baroque sound ideals,they are actually quite charming, and ourensemble found all parts musically inter-esting and comfortable to play. Thesepieces should prove enjoyable to inter-mediate players as well as to more expe-rienced players. For variety, we suggestobtaining the orchestral score of theCorelli Allegro (Op. 6, No. 6, movement5) and copying the tutti and soli mark-ings onto the recorder score and parts.The orchestral score can be found in Vol.4 of Les oeuvres de Arcangelo Corelli, ed. J.Joachim and F. Chrysander (London: Au-gener, ca. 1890). The movement can thenbe performed in concerto-like fashion bya recorder grand consort: one-on-a-partin the soli sections, everyone playing inthe tutti sections.

This edition has large, easily readableprint and no bad page turns. There are afew mistakes in the Corelli arrangement,though (wrong notes in the bass line inmeasure 11, missing accidentals in the

bass line in measures 24 and 44, andmisplaced accidentals in the chromati-cally descending tenor line in measure52). See the orchestral score for correc-tions.

15TH CENTURY ANONYMOUSCHANSONS, VOL. II, ED. MARY A. BEN-TON. Dovehouse (Division of Loux MusicPublishing Co.) Italian Renaissance Con-sort Series No. 20 (Magnamusic), 1999.Various instruments, sc 22 pp, 3 pts (su-perius 8 pp, tenor 12 pp, contratenor 9pp). $11.50.

This attractively printed edition con-tains 17 of the 131 compositions foundin Codex Q16, a late 15th-century manu-script in the Civico Museo Bibliograph-ico Musicale, Bologna, Italy. The selectedpieces are all three-part chansons, mostof them in rondeau (ABAAABAB) form.All are anonymous, and their survivingtexts are limited to a few opening words,used in this edition as titles.

The editor includes a page of helpfulnotes describing the pieces she has cho-sen. Many of them are in the Franco-Bur-gundian “duet” style, characterized by afree-flowing melodic line in the topvoice, an independent tenor line, and aless-melodic contratenor, which acts as asupporting voice filling out the sonority.Chansons in that style typically beginwith imitation of a simple motive in rela-tively long notes that gradually give wayto more complex, irregular rhythms.Other selected pieces, showing Italianand Spanish influence, are more homo-phonic in texture.

Like most 15th-century sources, Q16gives no information about instrumenta-tion, but historical, artistic, and literaryevidence indicates that chansons wereplayed as well as sung and were probablyperformed with whatever appropriate in-

struments were available. The editor sug-gests using soft instruments such as re-corders, viols, lute, and harp. For piecesin duet style, she recommends using likeinstruments on the superius and tenorlines and a contrasting timbre on thecontratenor line. Some of the parts arenotated in both treble and alto clef, andranges are included to help in choosingsuitable instruments. Our ensemblefound most of these chansons well suit-ed to recorders, the best combination ofrecorders varying from piece to piece.

Included on the score are incipitsshowing the original clefs, key signature,and time signature of each piece, as wellas the opening notes of each part in orig-inal notation. As is commonly done inmodern transcriptions of early Renais-sance polyphony, the semibreve (wholenote) in duple meter is transcribed as aquarter note. This eliminates the “whitelook” of the original manuscript but in-troduces many eighth and sixteenthnotes, which are beamed together ingroups. The main challenge in perform-ing such transcriptions musically lies inavoiding unwanted syncopations andother false accents produced by theadded bar lines and modern note group-ings. Figuring out where to breathe is al-so difficult, since texts were not providedin the original manuscript and phrasesfrequently overlap. While these chan-sons would make good exercises for fa-miliarizing intermediate-level playerswith complex Renaissance rhythms, werecommend at least a high-intermediatelevel for performance.

There are no bad page turns in thisedition, and the print is large and easy toread.

DER HUND, BY HEINRICH ISAAC, ED.MARTIN NITZ. Moeck Zfs 713/714 (Mag-namusic), 1998. ATB, sc 7 pp. $8.00.

Heinrich Isaac (c1450-1517) was oneof the greatest composers of the Josquinera. Flemish by birth, he transported thecompositional techniques of the Nether-lands School to Italy, where he worked inthe Florentine court of Lorenzo diMedici, and later to Germany, where hewas employed by Emperor Maximilian I.Although best known for his Mass set-tings, motets, and secular vocal polypho-ny, Isaac also wrote some instrumentalpieces, one of which, Der Hund, is a bi-partite fantasia based upon an anony-mous popular song of the same name.

The manuscript source for the pres-ent edition is included in a 16th-century

The monophonic song that inspired Isaac’s fantasiadescribes a noisy dog that gets on its owner’s nerves.Although Isaac does not quote the tune literally,suggestions of it appear throughout his fantasia. Ahumorous attempt at word painting is seen in severalshort repeated motives that sound like a dog barking.

MUSIC REVIEWS (cont.)

March 2001 27

Liederbuch now housed in the church li-brary of St. Gall, Switzerland. The editor,a professor in the Hamburg Musik-hochschule, transposed the piece up afifth, shortened the note values, andadded ficta and phrasing marks. To min-imize the interference of barlines withthe melodic flow, he placed them be-tween rather than through the staves.

The monophonic song that inspiredIsaac’s fantasia is also included in thisedition. Its humorous text describes anoisy dog that gets on its owner’s nerves.Although Isaac does not quote the tuneliterally, suggestions of it appearthroughout his fantasia. His openingthree notes, for example, which form anascending major triad, are taken from thefirst three pitches of the song, but Isaaclengthens the notes and presents them aspart of a two-voice canon, with an orna-mented version in the third voice. Hiscompulsive use of scales and melodic se-quences seems to be a spoof on the finalphrase of the song, which is based upona descending major scale. Imitativecounterpoint and cantus-firmus-like tex-tures—typical of the NetherlandsSchool—abound, and a humorous at-tempt at word painting is seen in severalshort repeated motives that sound like adog barking.

My ensemble found this lively piecefun to play. The three voices are equallyinteresting, and the melodic lines, fea-turing mainly stepwise motion, a quitenarrow range, and few accidentals, pre-sent no technical problems. Because ofits rhythmic complexity, this work mightprove difficult for many intermediateplayers but is well suited to higher inter-mediates.

My only negative comment concernsthe format in which this edition is pub-lished. One seven-page score is providedand no separate parts. Since the scorehas three very bad page turns, the onlyway an ensemble can perform the piecewithout using illegal photocopies is foreach player to purchase a copy and re-cruit a page turner. By not publishingseparate parts, Moeck Verlag is, I believe,limiting the market for its sheet music.

Carolyn Peskin

DER KLEINE VOGEL FREDDY(FREDDY, THE LITTLE BIRD), BY

HANS-EBERHARD MEYER. Moeck Nr. 2207(Magnamusic), 1996. S’oSATB, pf, perc,narrator. Sc 32 pp, narrator pt 8 pp, 2rec/perc pts 19 pp ea. $22.00.DAS VERRÜCKTE SCHAF MA-THILDE (MATHILDE, THE CRAZYSHEEP), BY CHRISTIANE MARTINI. MoeckNr. 2208 (Magnamusic), 1996. A or S,narrator, sc 14 pp. $18.50.ACHT EINZIGE STÜCKE (EIGHTONE-PAGE PIECES), BY FRANZ

MÜLLER-BUSCH. Moeck ZFS 656/657(Magnamusic), 1993. SS, sc 10 pp.$8.00.

Three delightful publications havecome our way from Moeck. Der kleine Vo-gel Freddy was composed for presenta-tion at a children’s concert. The story ofFreddy the little bird is told by a narratoraccompanied by piano, percussion, anda quintet of recorders. Clearly for veryyoung children, the narrative concernsthe adventures of an old tree (bass re-corder), a pair of nesting birds (tenor andalto recorders) who choose the tree fortheir home, their baby bird Freddy (so-pranino recorder), a grown-up Freddydeparting at the end of the summer (so-prano recorder), and the little boy whowatches them through a skylight in theattic. Although the story is for childrenthe music is not for young players. Thetwitterings of the baby bird, the exuber-ance of Freddy’s first flight, and his re-joicing (in the form of a modifiedblues!)—after an escape (not very nar-row) from the talons of a buzzard—arefor adults to play. There are a few specialeffects, notably the use of woodblocks toindicate the tapping and cracking of theegg shells as the baby birds emerge.Much of the music is syncopated, withjazzy North and South Americanrhythms. The piece is well written for re-corders, except that I question the firstentrance of the tenor recorder on a highC. Piano accompaniments are appropri-ate, the percussion parts imaginative.This charming musical story would beunavailable to American players and au-diences if the publishers had notthoughtfully provided an English trans-lation of the narrator’s part. They proba-bly would not object, however, to a tinybit of re-writing to suit the American id-iom in a performance of this piece!

Das verrückte Schaf Mathilde is anoth-er musical story with a narrator and a(somewhat more skillful) English trans-lation, but here the recorders (soprano or

Canto AntiguoWest Coast EarlyMusic and Dance

Early Music Workshop

July 22-28, 2001

Chapman UniversityOrange, CA

Classes inBaroque MusicRecorder EnsemblesVocal EnsembleRenaissance Brass&ReedsViolsCollegium

Featured FacultyThomas Axworthy

Janet BeazleyRoss Duffin

Ronald GlassCarol Hansuld

Jim MaynardShirley Robbins

Beverly Simmons

Beautiful SurroundingsFully air-conditioned

800-358-6567www.suba.com/~drdesoto/

Canto AntiguoElderhostel Recorder

Workshop

July 15-20, 2001800-358-6567

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.


alto) are intended to be played by chil-dren looking at the score. The score is insome ways a child’s picture book, withwonderful watercolor illustrations de-picting the adventures of Mathilde, thecrazy sheep, and even more wonderfulnotations of the purely avant-garde an-tics of the recorders imitating animalsounds à la Peter and the Wolf. Mathilde isa red-pigtailed sheep who is vain and alittle silly. Her adventures consist mainlyof taking a wobbly walk bobbing herhead to left and right (players bob theirheads while letting their fingers roamfreely over the recorder, flutter-tonguingall at the same time), greeting other ani-mals with a certain air of pride-going-be-fore-a-fall, then slipping on a bananaskin and having that fall, then learning tolaugh at herself after the other animalslaugh at her. The movements of a slow-worm are suggested by languorousmovements of the fingers inside thewindway of the recorder, indicated onthe page by wavy lines on a staff.Mathilde’s loud “Good morning!” to theslow-worm is indicated by jagged lineswith the direction to open and close thewindway sharply with a flattened palm.The slow-worm’s shocked hiccups areshown with a series of chaotic loops;written instructions tell the player tomake very small circles with a hand overthe windway. And so on. The spitting ofa llama is indicated by crosses on the staffto show approximate pitches and the let-ter ”t” over each to indicate a sputatotonguing. The flapping wings of thegoose family are a series of vertical linesof varying length on the staff, again to in-dicate approximate pitches, along withthe verbal direction to “play briskly alongthe whole recorder” with extreme dy-namics created by the breath.

After Mathilde slips and falls (and ru-ins her beautiful hairdo) the animals allappear and start to laugh, their charac-teristic sounds intensified. The slow-worm hurries to the scene; the llama’sspitting speeds up; a bird family trills ex-citedly on random pitches. WhenMathilde recovers enough to be able tolaugh at herself, she resumes her wobblywalk, bobbing her head and flutter-tonguing. Although an English transla-tion of the story is provided, there is, un-fortunately, none for the German in-structions. Users of this book will have to

try to figure them out on their own or geta German-speaking friend to translate.

But I love this book. Although the sto-ry is really silly, I can’t help being utterlycharmed by both it and the illustrations.The author has invented many imagina-tive ways to notate special effects on therecorder and has used them in this book.Moeck has been extraordinarily gener-ous to the American Recorder Society inallowing us to use two pages from thebook in Volume III, No. 3, the avant-garde issue, of the Activity Sheets formembers of Junior Recorder Societyclubs, as examples of avant-garde writingfor the recorder.

Franz Müller-Busch’s Acht einseitigeStücke is just what it says it is—eight orig-inal one-page pieces for two soprano re-corders. They were composed for Müller-Busch’s students, “as an attempt to ac-quaint beginners who have completed arecorder course with the notation of con-temporary music.” Again, the verbal in-structions (and bits of dialogue on thepage) are in German, but they are veryeasy to figure out, and the avant-gardenotational symbols, less pictorial butmore specific than those in “Mathilde,”are translated into both English andFrench. The pieces are mostly very easyand could be played by first-year stu-dents, either children or adults. Onceagain, the ARS has received Moeck’s kindpermission to reproduce a page from thisbook in Volume III, No. 3, of the Activi-ties Sheets for members of the Junior Re-corder Society. We are very grateful.

Müller-Busch’s special effects areamusing and not too difficult: wave-likemovements of the hand over the wind-way followed by very slow trills to imitate

waves; foot-stamping; glissandi; flutter-tonguing; humming while playing (in“The Bee”); fast fingerwork with a lazytongue; fast fingerwork with a fasttongue for chirping; acceleration, “like aball that has fallen to the floor, playing asfast as possible, but not faster.” There areamusing allusions as well to songs thatboth children and adults will know, like“Greensleeves, “My Bonnie Lies Over theOcean,” and “Sur le pont d’Avignon.”Sophisticated children and imaginativeadults will enjoy these pieces!

Martha Bixler

TEMPI PASSATI, BY GERHARD BRAUN.Heinrichshofen N2473 (C. F. Peters),2000. One player, or more (S’o, S/A, T, B),sc 7 pp. $8.95.LA LUNA, BY CHRISTIANE MARTINI.Mieroprint EM 1056 (49-25-123-2986;[email protected]), 1996. Sc 5 pp.DM 21 (ca. $10.00), plus P/H.

Here are two fine solo works by com-posers who are at opposite points in theircareers. Gerhard Braun’s Tempi Passati issubtitled 8 lätze Stücke (“8 last pieces”). Isuppose every individual has the right tosay “enough is enough” and stop doingsomething, but Braun, who retired fromteaching at the Musik Hochschule inKarlsruhe a few years ago, is an especiallyimportant person who has contributed alot in many directions. As a composer, hehas stuck to his post-Webern guns whileat the same time absorbing many con-trary ideas. There is always somethingnew (or at least some kind of surprise) inhis music. In this piece, one of the perfor-mance options is to have the compositionrendered by four players placing them-selves in four corners of a concert hall.With the exception of one player whomust double on sopranino/soprano, eachplayer would be designated one instru-ment only (A, T, or B). When the piecesare performed in order, each of the fourplayers will then perform two of thepieces. This adds an interesting extra di-mension to this collection of beautifullycrafted little gems.

Though she is a conservatory-trainedrecorderist, Cristiane Martini is just start-ing out as a composer. In La Luna (TheMoon) she has created one of the finestworks in the Mieroprint catalogue. Thecomposer’s Foreword states that thiscomposition evolved from improvisation.It does indeed have a freely improvisedquality even though it is completely writ-ten out. The rhythmic notation, however,merely suggests what is to be played.

Although the story ofMathilde, the Crazy Sheep,is really silly, I can’t help being utterlycharmed by both it andthe illustrations. The author has invented many imaginative ways to notate special effects on the recorder.



March 2001 29

http://www.boudreau-flutes.ca


HHeerrbbeerrttPPaaeettzzoolldd SSqquuaarree BBaassss RReeccoorrddeerrss Modeled after an organ pipe, four sizes are now available: bassin F, great bass in C, contrabass in FF, and sub-contrabass in CC. These relatively inexpensiveinstruments have a unique designand an impressively strong, richtone, even on the lowest bottomnotes, with a quick and lightarticulation over an easy two-octave response.

I’m now a MollenhauerDealer. Contact me forlowest US prices.

Bill Lazar, Exclusive N. American Distributor

1377 Bluebird Ct.Sunnyvale, CA 94087(408) 737-8228 (phone & FAX)E-mail: [email protected]://members.aol.com/

jblazar/paetzold.html

When performed by a good and sensitivemusician, La Luna is a beautiful and di-rectly emotional piece influenced by theaesthetic of impressionism and the gen-eral idiom of the Middle Eastern nay tra-dition. It is intended for a high pitchGanassi alto in g' but the composer statesthat it can also be played on a standard al-to recorder. It sounds fine on either in-strument.

Both editions are excellent and havewell-written performance instructions inEnglish and German and, in the case ofTempi Passati, French as well. There areno bad page turns in Tempi Passati; La Lu-na is in file form.

NIETS/IETS, BY WINFRIED MICHEL.Mieroprint EM 1070 (49-25-123-2986;[email protected]), 1998. AAAA, 2 sc11 pp each. DM 21 (ca. $10.00), plus P/H.FARBEN, BY MATTHIAS MAUTE. Moeck1587 (Magnamusic), 2000. SATB, 4 sc 18pp each. $25.00.

These solid recorder quartets make foran interesting comparison because theirdetails express some of the same con-cepts. Both compositions have been in-fluenced by minimal music, utilizing—atleast at times—a small degree of contentand large degree of repetition. Both alsoemploy episodes of microtonality. In hisown way, each composer eschews mel-ody in favor of sonority and texture. In ad-dition to these details, the two pieceshave a conceptual commonality in thatthey both have arch forms.

What is different is the way the com-posers have utilized these concepts. Forone thing, Michel’s piece is a true mini-malist composition. That cannot be saidof Maute’s piece, though certainly thethird movement, which begins with a col-lage of ostinato figures (each of which isgradually reduced to a bare-bones sug-gestion of itself, as if being progressivelyerased) would certainly qualify. So wouldthe perpetuum mobile seventh movementand perhaps even the ninth, with its one-chord ostinato.

Michel uses quarter-tones and eveneighth-tones in repeated figures thatrange within a narrow compass. These areproduced by special fingerings given inthe instructions. Maute produces micro-tonality in both the fourth and sixthmovements of his piece by having the

players remove the foot-joints of their re-corders (the written score in these move-ments is actually an indication of finger-ings, not of pitch). In Movement Five, theplayers use only the head-joints of theirinstruments along with their voices. Pitchin this movement is indeterminate exceptfor relative highness or lowness.

Melody is virtually nonexistent in Ni-ets/Iets (“Nothing/Something”), unlessone insists that a note here followed by anote there constitutes a melody. Mautehas written melodies in some of themovements of Farben (“Colors”), butthey are rather oblique. Even in the ninthmovement, which clearly has a melodygiven to the alto recorder almost through-out, the tune (if one can call it that) is not particularly tuneful and it acquiresmost of its musical meaning from itscontext.

Niets/Iets is more thorough in its ap-plication of the arch-form principle.Michel starts with nothing, or what hecalls “conscious breathing,” which is al-most nothing. From there, we go to a sin-gle unison note, micro intervals, wholesteps, thirds, and then suddenly an erup-tion of the highest possible altissimonotes followed by the lowest closed-bellsubtones. The piece works its way back toalmost nothing via the same principlesbut with totally different material.

Maute’s arch form in Farben is moreon the surface. The first three and lastthree of its nine movements use the re-corder in an essentially traditional man-ner. The key to his arch form is in thethree middle movements: the fourth andsixth being played without foot-jointsand the fifth being played on the head-joints only. This version of the arch formis based solely on degree of pitch deter-minacy.

Both editions are beautifully printedand have excellent instructions in Eng-lish, German, and in the case of Farben,French. There are two bad page turns inNiets/Iets.

These pieces join a long list of avant-garde recorder quartets published in Eu-rope. Though they were written with pro-fessional performers and/or conservatorystudents in mind, both works would bechallenging but not overwhelming mate-rial for good advanced amateur groups.

Pete Rose


http://www.boudreau-flutes.ca

March 2001 31

2 SONATAS (1624), BY TARQUINIO

MERULA, ED. MARTIN NITZ. Schott OFB187 (European American Music), 1998. Sbc and obbligato B, sc 15 pp, pts 4 pp.$17.95.

Martin Nitz provides the following in-formation about Tarquinio Merula (ca.1594-1665): He was maestro di cappellaat churches in Bergamo and Cremonaand also held the post of organist at thePolish Court in Warsaw. Merula wrotewhat he called canzonas, pieces that a lat-er composer might have called sonatas.These canzonas were put together likepatchwork; they were through-composedwith several sections of varying length,each with a new series of musical ideas.

The two sonatas in this new edition al-so fall under this “patchwork” descrip-tion. According to Mr. Nitz’s preface,both were written for the violin or the cor-nett, but they also work very well on so-prano recorder. The original manuscript,which can be found in the library of theLiceo Musicale in Bologna (shelf-mark:AA 297/1-5), is incomplete. The bassopart, an extra obbligato bass part, was lostand has been reconstructed by MartinLubenow. The sonatas may be performedwithout the obbligato bass part, but Imuch prefer them with the added bassline because in many instances, thisadded line provides extra melodic andrhythmic interest. The original figuredbass line, labeled “basso per l’organo,” wasfound intact and not altered in this edi-tion. In both sonatas, irregular bar linesfound in the original have been changedto regular bar lines.

The sonatas run from one set of musi-cal ideas to the next ”patchwork.” Yetthese many musical ideas hold togetherand form a satisfying whole as well. Thetwo bass parts run parallel throughoutmuch of both sonatas, but occasionally,the obbligato bass part drops out. Some-times, the obligato bass part is in eighth

notes, filling in the thirds provided by thebasso per l’organo. During other sections,the two bass parts are quite different—-quarter notes in the basso per l’organo areenriched by various patterns of eighthnotes, sometimes in contrary motion.

Definitely the most curious musical el-ement found in these sonatas is that theyboth end on half cadences. As the per-former walks off the stage, they mightleave the modern listener wonderingwhat was supposed to come next. Theseare early Baroque sonatas, however, andbecause they are still under the influenceof the modes, they don’t play entirely bythe rules of tonal thinking. Although it ispossible to do a Roman numeral analysisof these sonatas, this will not shed muchlight on the musical essence of their hori-zontally conceived melodic material. Infact, these sonatas wander from key to keyso often and so freely that inexperiencedlisteners might not even notice the finalhalf cadences. Listeners during Merula’stime would be more likely to hear thesecadences as final because of the continu-ing influence of the church modes oncomposition. Clearly, the conventionalrules of tonality do not apply. Readerswho want more information about theevolution of modal thinking into tonalthinking might be interested in readingJoel Lester’s Between Modes and Keys(Pendragon Press, 1989). I would also re-fer readers to an article by Gregory Bar-nett, “Modal Theory, Church Keys, andthe Sonata at the End of the SeventeenthCentury,” published in the Journal of theAmerican Musicological Society, 51:2,Summer 1998. [And see the review of An-alyzing Bach Cantatas in this month’sBook Reviews department.–ED.]

It is also significant that composersmuch later than Merula occasionally donot end sonatas on authentic cadences.Barnett shows the phenomenon beingused by Corelli’s contemporaries as wellas by Corelli himself. Corelli’s Sonata àtre, Op. 1 (1681), follows a perfect au-thentic cadence with a half cadence,much in the manner of these two Merulasonatas.

All of this being said, the sonatasthemselves are quite nice, present no in-surmountable technical problems, andcould be learned by an upper intermedi-ate player. I really enjoy some of the mu-sical effects created by the reconstructedbass line. I especially recommend thesesonatas to those who are interested instudying early Baroque style.

Susan Groskreutz

Definitely the mostcurious musical elementfound in these sonatas isthat they both end onhalf cadences. As theperformer walks off thestage, they might leavethe modern listenerwondering what wassupposed to come next.

The ARS CD Club makes hard-to-find or lim-ited release CDs by ARS members availableto ARS members at the special price listed(non-members slightly higher), postage andhandling included. An updated listing ofavailable CDs may be found at the ARS website: <http://ourworld.compuserve.com/homepages/recorder>.

NEW ADDITIONS____LES AMIS DU BAROQUE Paul Nauta,recorder/Baroque flute; Koen Dieltiens, recorder;Jan de Winne, Baroque flute; Christina Mahler,cello; Shalev Ad-El, harpsichord/organ. Ensemble inCD title plays music by Bassani, Corelli, Vivaldi, etc.Highlight Intl. $17 ARS/$20 others.____POPULAR MUSIC OF THE RENAISSANCE, Anne& Rob Burns (A Reasonable Facsimile) play re-corders, shawm, cittern, Renaissance guitar, strawfiddle, and a variety of drums, whistles, and pipes.Street and popular music of the Renaissance (and alittle later), plus Elizabethan popular music for Ladsand Lasses (the duo joined by a children’s chorus).“This album is funny; it has moments of sublime mu-sical expression....” Renaissance Magazine. SecondFrom the Bottom. $17 ARS/$20 others.

RECENT LISTINGS:____THE AGE OF JOSQUIN: THE GRAND TOURHighland Park Recorder Society & ChamberOrchestra, Robert W. Butts, conductor. Music ofJosquin’s era plus popular music of five centuries.RWB Productions. $17 ARS/$20 others.____ÁGUA E VINHO Rodney Waterman, recorder,Doug DeVries, guitar. Brazilian jazz/folk music.Orpheus Music. $17 ARS/$20 others.____CELTIC ROOTS Scott Reiss, recorders, whistle,hammered dulcimer; and Hesperus, with BonnieRideout, Scottish fiddle; Philippe Varlet, Irish fiddle;Bill Taylor, harps; Grant Herreid, lutes, guitars,recorder; Tina Chancey, viol, Irish fiddle, recorder.17th- and 18th-century Scottish, Irish, English andAmerican traditional and parlor music. Maggie’sMusic. $17 ARS/$20 others.____DISTRIBUTION OF FLOWERS Cléa Galhano,recorder; Tony Hauser, guitar. Latin CD featuringworks by Argentinian accordion virtuoso AstorPiazzolla. Ten Thousand Lakes. $17 ARS/$20 others.____FOLIAS FESTIVAS 17th- and 18th-century foliasfrom Spain, Italy, and France. Belladonna BaroqueQuartet: Cléa Galhano, recorder; MargaretHumphrey, Baroque violin; Rebecca Humphrey,Baroque cello; Barbara Weiss, harpsichord. TenThousand Lakes. $17 ARS/$20 others.____FRUIT OF A DIFFERENT VINE Alison Melville,Natalie Michaud, and Colin Savage, recorders;A. Hall, piano. Works by Berkeley, Genzmer,Hindemith, Leigh, Staeps, and others. Supported bythe 1994 ARS Professional Recording Grant. S.R.I.$17 ARS/$20 others.____I LOVE LUCETTE Scott Reiss, Tina Chancey,and Jane Hershey, recorders and other early instru-ments; Rosa Lamoreaux, soprano; Howard Bass,lute. Charming, bawdy, and sentimental music fromthe French Renaissance theatrical tradition. KochInternational. $17 ARS/$20 others.____A JOURNEY AMONG TRAVELLERS (CDSHORT) Peter Bowman and Kathryn Bennetts per-form Donald Bousted’s 26-minute quarter-tonalpiece for two alto recorders. $12 ARS/$14 others.____MINSTREL, MINNESINGER, MUSIKERHighland Park Recorder Society & ChamberOrchestra, Robert W. Butts, conductor. Germanmusic of the Renaissance and Baroque, in live con-cert. EO Music Publishing. $17 ARS/$20 others.

____MUSICK FYNE PLAYS MUSIC OF THE ITALIANBAROQUE Alison Melville and Colin Savage, re-corders; with other members of Musick Fyne (voice,harpsichord, lute/theorbo) and W. M. Gay, cello.17th- and 18th-century duos, trio sonatas, arias,diminutions. Upbeat Classics. $17 ARS/$20 others.____NEO-MEDIEVAL Tina Chancey, Grant Herreid,and Scott Reiss. Medieval improvs for a postmodernage. Dorian Discovery. $17 ARS/$20 others.____A. SCARLATTI: CONCERTI DI CAMERAJudith Linsenberg, recorders; with other membersof Musica Pacifica. Seven sonatas for variousinstrumentations.. $17 ARS/$20 others.____SHINE AND SHADE Piers Adams, recorder;Julian Rhodes, harpsichord. Works of NormanFulton, Edmund Rubbra, York Bowen, LennoxBerkeley, Edward Gregson, Stephen Dodgson,Donald Swann. $17 ARS/$20 others._____SONGS IN THE GROUND Cléa Galhano,recorder, and Vivian Montgomery, harpsichord.Works by Pandolfi, Belanzanni, Vitali, Bach and con-temporaries Thomas, Morrison and Setti, featuringsongs based on grounds. Ten Thousand Lakes. $17ARS/$20 others.

ALSO IN STOCK:____BAROQUE RECORDER CONCERTI Scott Reissand Hesperus. Golden Apple. $17 ARS/$20 others.____BEYOND...CELESTIAL WINDS with DavidYoung, recorder, and others. $17 ARS/$20 others.____BLISS with David Young, recorders. $17ARS/$20 others.____BLOCKFLÖTENENSEMBLE WIEN $17 ARS/$20others.____CELESTIAL WINDS I with David Young,recorders. $17 ARS/$20 others.____CIRCULO MAGICO with Cléa Galhano,recorder. $17 ARS/$20 others.____A CURIOUS COLLECTION FOR THE COM-MON FLUTE Alison Melville and Colin Savage,recorders; with other members of Musick Fyne.$17 ARS/$20 others.____DANCE!: RENAISSONICS with John Tyson,recorder, pipe & tabor. $17 ARS/$20 others.____DREAMS INSIDE THE AIR TUNNEL ZanaClarke, recorder and composer. $17 ARS/$20 others.____EARLY AMERICAN ROOTS Scott Reiss,recorders, hammered dulcimer, flageolet; TinaChancey, viol, Baroque violin; Mark Cudek, cittern,Baroque guitar. $17 ARS/$20 others.____FLEMISH CONTEMPORARY RECORDERMUSIC, VOL. II Geert Van Gele, recorder. $17ARS/$20 others.____FOR NO GOOD REASON AT ALL Scott Reiss,Bruce Hutton, and Tina Chancey. Golden Apple.$17 ARS/$20 others.____THE GREAT EMU WAR Batalla Famossa, ayoung Australian ensemble. $17 ARS/$20 others.____HANDEL: THE ITALIAN YEARS with ElissaBerardi, recorder & Baroque flute. $17 ARS/$20others.____IMAGINE David Young, recorders.Contemporary interpretations of classic songs byJohn Lennon, Cat Stevens, James Taylor, GeorgeHarrison, Elton John and more. Universe Music.$17 ARS/$20 others.____LANDSCAPES with David Bellugi, recorders.$17 ARS/$20 others.____LUMINOUS SPIRIT: CHANTS OF HILDEGARDVON BINGEN Scott Reiss and Tina Chancey,recorders and other early instruments, plus RosaLamoreaux, soprano. Koch International. $17ARS/$20 others.____MUSICK FYNE Alison Melville and ColinSavage, recorders, and members of Musick Fyne.$17 ARS/$20 others.

____OCEANSOF LOVE withDavid Young,recorders. $17 ARS/$20 others.____ORCHESTRA DEL CHIANTI with David Bellugi,recorder. $17 ARS/$20 others.____PERGOLESI: LA SERVA PADRONA with ElissaBerardi, recorder. $17 ARS/$20 others.____PRIEST ON THE RUN with Piers Adams,recorders. $17 ARS/$20 others.____RECORDER BRAVURA with Piers Adams,recorders. $17 ARS/$20 others.____RENAISSANCE David Young, recorders.Universe Music. $17 ARS/$20 others.____A. SCARLATTI: ISHMAEL (2-CD SET) ElissaBerardi, recorder; plus five singers and the BrewerBaroque Orchestra. $33 ARS/$40 others.____SOMETHING OLD, SOMETHING NEW JohnTyson, recorders, plays Baroque and contemporarymusic. $17 ARS/$20 others.____SPAIN IN THE NEW WORLD Rosa Lamoreaux,soprano, with Scott Reiss, Tina Chancey, MarkCudek, Robert Eisenstein, and Peter Marshall. $17ARS/$20 others.SUZUKI® RECORDER SCHOOL (FOUR VOLUMES)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: folk and children’s

songs, Baroque dances____Vols. 3 & 4 for Soprano: Handel, de la Guerre,

others____Vols. 1 & 2 for Alto: folk and children’s songs,

Baroque dances____Vols. 3 & 4 for Alto: Handel, J.S. Bach, Purcell,

others____TELEMANN: CONCERTO FOR RECORDERAND BASSOON, VIOLA CONCERTO IN G MAJOR,SUITE IN A MINOR Philomel Baroque Orchestrawith Elissa Berardi, recorder. $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(with handset down) or call in your credit cardorder to 303-347-1181.

Order your recorderdiscsthrough theARSCDClub!


March 2001 33

RECORDERSON DISC___________________________________ A variety of discs of early music and the

debut of two groups with connections to Dan Laurin

The debut recording of Les Amis duBaroque (Highlight International71951*) reacquaints U.S.-based recor-derist Paul Nauta (Dan Laurin’s teacher)—after some years away from the early musicscene—with a number of his internationalcolleagues, outstanding performers all:Jan De Winne (playing a traverso of hisown manufacture), flute, Koen Dieltiens,recorder, Christina Mahler, cello, FrankCoppieters, double bass, and Shalev Ad-El,organ and harpsichord, along withMichiyo Kondo and Makoto Akatsu, vio-lins. In order to fit the personnel, there’s acertain amount of part-reassignment. Inthree works that call for paired instru-ments—the Pepusch C Major Concerto,Op. 8, No. 5, for two recorders and two tra-versi; the D minor sonata from Schick-hardt’s Op. VI for two German flutes; andtwo of the Schickhardt arrangements ofCorelli’s Op. 6 for two recorders and con-tinuo (as performed on the Nina Stern/Michael Lynn recording [Wildboar9203])—the pairings are replaced by thecombination of recorder and flute. Smallerand partial items by Frescobaldi, Bassani,Purcell, and Bach are worked in, along withan arrangement of arias from the Bonon-cini opera Il Trionfo di Camilla. The analo-gous instrumentation and anomalous pro-gramming give the recording a convivialfeeling, as if friends were handing aroundthe parts after dinner—with playing ofsuch high quality, who would turn downan invitation to come over and listen?

Just hearing Viggo Mangor’s archlute asit ripples through the arpeggios that openG.B. Braun’s Sonata in G Major, Op. 11,No. 1, is enough to provide assurance thatyou are in good hands with Opus 4. Theother members of Opus 4, including VickiBoeckman and Dorte Lester Nauta, re-corders, and Mogens Rasmussen, gamba,combine with Mangor to offer a satisfyinglistening experience on Aires and Duets(Primavera Music PVCD 9812; phone 45-4352-1373), a recording that also includesmusic of Telemann (Trio Sonata in C Major,Duetto No. VI in G Major, from the 1752duets, and Trio in F Major [transposed

from D Major] from Musique de table, partIII), Salomone Rossi, Tarquinio Merula (abeautiful, flowing Ciaccona), and Handel(including an instrumental version of“Laschia, ch’io pianga” from Rinaldo thatborrows Handel’s own ornaments).

Cléa Galhano has released Songs in theGround (Ten Thousand Lakes SC-114*), adocumentation of the live concert she gaveat the Berkeley Festival with Vivian Mont-gomery, her smoothly assured harpsichordpartner. While no recording can perfectlyreproduce the sparkling, intense perfor-mances that Galhano typically gives on-stage, the disc succeeds both musicallyand programmatically because of the wayit ties together recorder-appropriate histor-ical literature with somewhat far-fetchedbut intriguing adaptations (Bach’s C mi-nor organ passacaglia, BWV 582, with analto recorder playing the pedal part and thefinal note of each iteration going up) andinventive contemporary compositions.The connection is a use of, or reference to,grounds—even as loose as the ground tra-versed by the Galhano/MontgomeryDuo as they traveled to rehearsals of JohnMorrison’s Twisted Little Ground. [Newsalert: Folias Festivas, a CD privately re-leased by Galhano’s mixed quartet, Bel-ladonna (see AR, March 2000, page 35),has been licensed by the Dorian label andwill be re-released in May 2001].

While Dolce Musica, a ContemplativeJourney—a “healing” recording by EileenHadidian, flutes and recorders, and Na-

talie Cox, harps—is intended to be rest-ful, anxiety-reducing, and pain-diffusing, itis not at all vacuous or without musical in-terest. The Celtic, Renaissance, and Me-dieval melodies on the disc are treated withrespect and musical grace. If you buycopies for friends or family in the hospitalor facing an ordeal at home, you may trustthat you will be giving real comfort to therecipients. It is available from Hausmusik,510-524-5661; [email protected].

Readers of their original if arcane news-letter might easily confess to a certain baf-flement about the activities of Anne andRob Burns, a.k.a. A Reasonable Facsimi-le, but if you aren’t acquainted with theirdanceable rhythms, pleasant singing, gen-tle strumming, and roundly enthusiasticpiping, you’re in for a treat. Popular Musicof the Renaissance (Second from the BottomRecords SBR002*) is a “double album,”presumably a compilation of two cassettesrecorded in the late 1980s (About as Closeas You Can Get and The Merry Pranks ofRobin Goodfellow), and it demonstrates theengaging stage personalities they employin concerts in schools and other venues.

Up until recently, readers of AmericanRecorder have known Sirena as a talentedgroup of four women in California; nowthey’ll have to identify that name with adifferent recorder ensemble, four womenfrom Denmark (Karina Helene Jensen,Helle Nielsen, Marit Ernst, and Pia Loman)who created a quartet under the guidanceof Dan Laurin at the Carl Nielsen Academyof Music in Odense, Denmark, in the early1990s. Their Sitting Ducks CD (BIS 112) isan impressive debut, from the openingeponymous work by Chiel Meijering to hisconcluding Een paard met 5 poten. Along theway, the disc investigates modern quartetsby Tore Bjørn Larsen, Bart de Kemp,Ryokei Hirose, and Daan Manneke. TheAmerican Sirena has graciously changedits name to the Farallon Recorder Quartet.

Benjamin Dunham

NOTE: Items marked with an asterisk areavailable through the ARS CD Club. Seethe listings on the opposite page.

The debut CD byLes Amis du Baroquehas a convivial feeling,as if friends were handingaround the parts afterdinner—with playingof such high quality,who would turn downan invitation tocome over and listen?



Honeysuckle Music

Recorders & accessories. . .

Music for recorders & viols

Jean Allison Olson1604 Portland Ave.St. Paul, MN 55104

651.644.8545 [email protected]

Courtly Music Unlimited

800-2-RICHIE (800 274-2443)

www.courtlymusic.com

"Everything for the recorder enthusiast, or those who

would like to be."

Fine wood and plastic recorders, sheet music, method books, play-along CDs,

accessories, workshops.

thing through my teaching. For instance,the whole world of improvisation openedup to me through thousands of hours play-ing together with students. For me, teach-ing has been a very enriching experience.

Barnett: I do enjoy 90 percent of myteaching, but there’s one thing I don’t like.It’s when students just want to read a tonof music and don’t want to work on it. I seeless of this than I used to, especially atchapter meetings. When I encouraged onestudent to listen more closely to placeswhere the music could be improved, shesaid, “But you’re asking me to be critical ofmy own playing!” Well, yes, that was theidea. If you’re not going to try to learn whatis really deep in the music, put the instru-ment down and do something else. Butwhen I see commitment and passion, nomatter what the level of ability, then teach-ing is fruitful.

QUESTION: What is the difference betweenperforming live and recording?

Bixler: A tremendous difference. Yes,you can do multiple takes in a studiorecording, but after a few takes, you can getvery stiff. From my point of view, it’s mucheasier to perform live.

Linsenberg: You do have to play differ-ently. You can take more risks in a live per-formance. If you make a little mistake, itgoes by and is forgotten. It’s true you cando things over in a recording, but after thefifth take, you’ve got to get down to busi-ness. Even the actual placement of the mu-sicians for miking purposes can mean thatthere is less interaction and communica-tion. And it makes a difference whether ornot you make the record before you givethe live performances. Often we say after aconcert, “Why didn’t we think of that dur-ing the recording?”

Galhano: I love recording in a studio,but a recording done from a live perfor-mance is so much more truthful.

Barnett: Sometimes I feel that groupsthat do a lot of performing seem flattenedout in a live concert, as if playing in a stu-dio has affected their style of performance.

Maute: To record is indeed pretty bor-ing. You have to do it over and over, andyou start to hear yourself with the ear of themicrophone. That leads to a constrictedconception of the music. But the nice partis that afterwards, you have something youcan hold in your hand. With a perfor-mance, it’s just air.

BERKELEY PANEL(cont.)

http://www.courtlymusic.com


Third Annual Summer

TexasTOOT

June 3-9, 2001Concordia University • Austin, Texas

For further information, contactDavid Barton, workshop director:

214/536-8740 • Web site: www.toot.org e-mail: [email protected]

featuring

The FlandersRecorderQuartet:

Bart Spanhove, Han Tol,Paul Van Loey,

Joris Van Goethem

and other outstanding faculty:

Ann Marie Morgan, Becky Baxter,Susan Barton, Bruce Brogdon,Sara Funkhouser, Jan Jackson,

Danny Johnson, Lyle Nordstrom,Frank Shirley

March 2001 37

BOOKREVIEWS___________________________________ Books about Bach, Schütz, and Lennox Berkeley,

and a new edition of sonatas by Fontana

ANALYZING BACH CANTATAS. BY

ERIC CHAFE. Oxford University Press,2000. 304 pp. Hardcover, $55.00. ISBN:0-19-512099-X.

The title of this book reveals little aboutthe depth and wide-ranging implicationsof Eric Chafe’s work on Bach. Readers whoare familiar with his 1991 study for theUniversity of California Press, Tonal Alle-gory in the Vocal Music of J. S. Bach, will re-call that his observations about tonal orga-nization had broad implications for under-standing Bach’s music in new ways. Thepresent work overlaps slightly with thatwork but, for the most part, Chafe mapsout a different approach, one in which hedemonstrates the relationship betweenwords and music within the context of thescriptural (hermeneutic) interpretationthat Bach understood. He demonstratesthat the musical forms and tonal settingsthat Bach chose contributed to the listen-er’s faith experience, altering it in a dy-namic way as the musical forms and affec-tions unfolded. To illustrate how thisworks, Chafe examines several cantatasfrom Bach’s Weimar period until the 1730sfrom a variety of points of view.

The first two chapters begin on the out-er edge of what seem like concentric circlesthat gradually move the reader inward tothe texts and, finally, to Bach’s music.Chafe defines the boundaries of thehermeneutic tradition as a context for un-derstanding Bach’s settings and demon-strates that his scriptural interpretationwas also influenced by the framework ofthe church year. He then draws the musicinto an important relationship with scrip-tural interpretation through reference toLuther’s view that music was “next to the-ology” and illustrates how cantata textscan be interpreted according to the sameprinciples by which Luther interpreted thescriptures. Chapter 3 is devoted to a spe-cific study of Cantata 21 (“Ich hatte vielBekümmernis”), a relatively early workwhose remarkably varied musical treat-ment appears to be strongly shaped by thetext. Chafe also brings into the discussion

some of his previous work on tonal alle-gory, illustrating the relationship betweentonal centers and how they are shaped bythe text.

In Chapter 4, Chafe moves to a differenttheme: Bach’s interaction with modalmelodies and the influence these melodieshad on the formal design of the cantata asa whole. (A modal chorale melody is onewhose harmonization typically ends onwhat sounds like a dominant rather than atonic chord.) Here the background to un-derstanding Bach’s interpretation ofmodal chorale melodies comes from twogenerations of theorists: Johann AndreasWerckmeister representing the generationprior to Bach, and Johann Philipp Kirn-berger representing the generation afterBach. Werckmeister and other theoristsdescribed a disparity between sensus andratio, which can be said to correspond inmusical terms to one’s hearing vs. the wayone understands through the rational senseof the mind. When we hear such choralesettings as modal, we are relying on the earrather than on theoretical suggestion or re-ceived opinion. Each generation of theo-rists, from Werckmeister to Mattheson toKirnberger, took a different view of the in-fluence of the modes on tonal harmoniclanguage. Since Bach stood betweenWerckmeister and Kirnberger, Chafe con-cludes that he “understood like no one elsethat we know of, the potential of the modesnot only to enrich the harmonic content ofchoral settings but also to deepen the pow-er of music to raise questions that have

close analogues in the realm of textsetting.”

In order to illustrate Bach’s considera-tion of modality in his chorale settings andtheir effect on the musical and interpretiveshape of entire cantatas, Chafe moves to aspecific musical discussion of two choralecantatas. He devotes two chapters to Can-tata 77 (Du sollst Gott, deinen Herrn,lieben). Building on previous musicologi-cal work on the numerological qualities ofthe opening movement of Cantata 77,Chafe relates these elements to the OldTestament perspective on the Law, demon-stratrating that the movement’s tonal qual-ities engage aspects of the New Testamentand the Gospel. Then he examines one ofBach’s best-known cantatas, BWV 60 (OEwigkeit, du Donnerwort) which ends withthe famous chorale setting, “Es ist genug.”This cantata was written shortly after Can-tata 77 within the same Leipzig cycle of1723-24.

Most of the cantatas discussed thus farhave obbligato instruments in addition tosolo voices, but none has parts specificallyfor recorders. Instrumentalists will never-theless be interested to find that Chafe re-lates his theory of tonal allegory to worksoutside of vocal tradition, drawing exam-ples from keyboard works such as Bach’sCapriccio on the Departure of His BelovedBrother and “Das alte Jahr vergangen ist”from the Orgelbüchlein. Passing mention isalso made of Cantata 119 (Preise, Jerusalem,den Herrn) which has two recorders in theinstrumental complement. Although

Chafe demonstrates that the musical forms and

tonal settings that Bach chose contributed to the

listener’s faith experience, altering it in a dynamic

way as the musical forms and affections unfolded.

To illustrate how this works, Chafe examines several

cantatas from Bach’s Weimar period until the 1730s.


Chafe does not suggest how any of the pas-sages he discusses might be played orsung, it seems conceivable that playerscould find their interpretation of certainpassages changed by his analysis. In briefreferences to Cantata 106 (Actus Tragicus)for voices, two recorders, two gambas, andcontinuo, Chafe observes that the cantatacontains “a complex and highly purpose-ful design that encompasses the core ideasof Lutheran hermeneutics,” with a sym-metrical tonal plan that is representative ofascent and descent (destruction/restora-tion) and historical movement in timefrom Old and New Testament eras to thepresent, ending with the hope of the be-liever today for salvation. His discussion ofthe soprano solo ending of “Ja, komm,Herr Jesu, komm” gives a particularly wel-come interpretation that certainly has im-plications for performance.

Also of interest to recorder players isChafe’s elucidation of the final chorale ofCantata 46 (Schauet doch und sehet ob ir-gendein Scherz sei), in which two recorderparts can be heard with strings. The re-corders have a cadential figure in sixteenthnotes while the continuo holds a D majorchord after an authentic cadence (A to D).Over the final chord, the recorders play abeguiling descent from E� using the notesof a G minor scale, coming to E� only onthe final beat. This juxtaposition of au-thentic and plagal elements in the cadencetends to alter our interpretation of the finalchord either as dominant or tonic and, asChafe demonstrates, understanding thiscadential figure within the context of thetonal shape of the movement and thescriptural meaning may lead us to hear itdifferently. Recorder players who are con-vinced about Chafe’s conclusion that thispassage represents, according tohermeneutic interpretation, the “hope ofthe believer for God’s mercy” may verywell perform it differently. Although Chafedoes not prescribe an interpretation basedupon his ideas, he provides an opportuni-ty throughout for players to explore newinterpretations by bringing about a betterunderstanding of Bach’s intentions. Hisbook is a remarkable achievement, onethat will reward the admirer of Bach’s mu-sic with many new insights and paths forfurther exploration.

Mary Cyr

BOOK REVIEWS(cont.)


March 2001 39

SONATAS FOR ONE, TWO, ANDTHREE PARTS WITH BASSO CONTIN-UO. BY GIOVANNI BATTISTA FONTANA (EDIT-ED BY THOMAS D. DUNN). A-R Editions (Re-cent Researches in the Music of theBaroque Era No. 99), 2000. 152 pp (parts2-48 pp). Softcover, $55.00 score ($50.00set of part books). ISBN: 0-89579-449-7.

Although this is an edition of music—18 Sonatas by G.B. Fontana, published in1641—rather than a book, we present it inthe Book Reviews department. This is inrecognition of the fact that A-R Editionshas an enviable record of having publisheddozens of editions that are scholarly in pre-sentation as well as practical in layout.These editions make available music ofhigh quality that is difficult to find else-where, often with extensive notes that setthe music in context.

Recorder players will probably havecome across Fontana’s First Sonata inHans-Martin Linde’s revelatory 1972Schott publication, Venetian Music About1600. Other editions of various sonatashave appeared, including those by Dob-linger, Moeck, and Musica Rara. Dunn’sedition, however, presents all 18 sonatas,including those for unusual combinationssuch as two trebles and bass with continuo.

Dunn’s Introduction and Critical Re-port together make up a detailed articleabout the historical record concerningFontana and his music (Dunn also wrotethe article on Fontana for The New Grove).Almost everything that is known aboutFontana comes from the original editor’spreface to the posthumous publication ofhis sonatas in 1641. He was a renowned vi-olin virtuoso who died from plague in1630, leaving these works to a church inBrescia with which he was connected.Even though there may have been someeditorial intervention by the church’s or-ganist, who saw the manuscript collectioninto print, the music shows Fontana tohave been on the cutting edge of instru-mental composition in the early 1600s.Not only does his writing feature bursts ofvirtuosity, but he occasionally reaches be-yond the patchwork style familiar fromFrescobaldi’s Canzonas to repeat sections,and even to hint at larger, more integratedstructures. Dunn also gives some sugges-tions for instrumentation and perfor-mance practice, and even includes recom-mendations of recorded performances ofthe pieces.

While the music was originally writtenfor violin or cornetto (with bassoon or cel-lo on the solo bass part), most of it is di-rectly playable on recorders. There are six

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, thestudent rate is not applicable to a shared family membership. For an additional listing inthe 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 _________________

CHAPTER/CONSORT AFFILIATION, IF ANY: ______________________________

OPTIONAL INFORMATION:

Chapter officer or committee member? ❏ Yes (officer/committee: _______________)❏ No ❏ Have served chapter in the 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 astrio 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



sonatas for treble and continuo, four fortwo trebles and continuo, one for three tre-bles and continuo, two for treble, bass, andcontinuo, and five for two trebles, bass,and continuo. Small adjustments will takecare of the few places where the music goesout of range, although the solo bass partwould take a little more arranging if it wereto be played on bass recorder. The mainchallenge to the recorder player is the vir-tuosic writing to be found in many of thesesonatas, which frequently surpasses thelevel of difficulty found in the sonata print-ed by Linde.

Dunn’s edition, as is usual with A-R, ispresented in large, clear type with carefulattention given to page turns. He adds on-ly the most necessary markings and ex-plains the changes he has made to the orig-inal. He makes suggestions regarding mat-ters such as proportional tempo changesand ornamentation, but he gives enoughinformation for performers to make theirown decisions.

The original print is sometimes contra-dictory and incorrect, and it is especiallyhelpful to have a knowledgeable guide likeDunn. The only area where even more de-tailed commentary would have been use-ful is in the matter of slurs, which are to befound in the original and which are some-times unclear in their placement there. Per-haps a set of facsimile reproductions of theoriginal (to supplement the single page ac-companying the Introduction) would havebeen the best way to address this thorny is-sue. Somewhat unusually, the continuo isunrealized (though figures are given), mak-ing the volume less immediately useful asa playing edition. Anyone with even a rudi-mentary knowledge of continuo practice,however, should be able to deal with themusic, which is relatively uncomplicatedharmonically.

Like many other A-R editions, this vol-ume re-introduces the reader to some fa-miliar repertoire by surrounding it withother works in the same vein and by pre-senting it in a fashion that will satisfy boththe scholar and the performer. Recorderplayers who have enjoyed Fontana’s stylein other editions may want to invest in thiscomplete volume (which is, in fact, quitecost effective given the number of worksincluded).

Scott Paterson

BOOK REVIEWS(cont.)ARS PUBLICATIONS

Erich 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.Please specify “Members’ Library Enlargement.” * = Editions not yet available to non-members.

Bruckner’s Ave Maria (arr. Jennifer W. Lehmann) Dancers (Richard Eastman)Different Quips (Stephan Chandler) *Elegy for Recorder Quartet (Carolyn Peskin)Elizabethan Delights 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) Three Bantam Ballads (Ann McKinley)Three Cleveland Scenes (Carolyn Peskin) Tracings in the SnowTrios for Recorders (George T. Bachmann) in Central Park (Robert W. Butts)*Triptych (Peter A. Ramsey) Two Bach Trios (arr. William Long)Two Brahms Lieder (arr. Thomas E. Van Dahm) Vintage Burgundy

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 PublicationsThe ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996).

First copy free to ARS members, 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 (1996). 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 ClassProgram, $15. Dues for each JRS student member sponsored by an ARS member, $5 ($4 each forgroups of 10 of more). JRS student members receive activities plus “Merlin” badges and stickers.

Other PublicationsChapter 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,please add an additional $1 per item; for Canadian or foreign air mail, please add an additional$3 per item. When ordering five or more items to be shipped anywhere at the same time, ARS Members maydeduct an extra $2 on top of the discounted 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


March 2001 41

SCHÜTZ. BY BASIL SMALLMAN. OxfordUniversity Press, 2000. 236 pp. Hardcov-er, $35.00. ISBN: 0-19-816674-5.

Considering that he is arguably thegreatest composer between Monteverdiand Bach, it is surprising how little most ofus know about Heinrich Schütz, and howlittle of his music we hear on a regular ba-sis. Even his greatest masterpieces, theGerman-language Requiem (MusikalischeExequien, 1636) and the delightful Christ-mas Story (Historia der Geburt Jesu Christi,1664) aren’t done all that often—I’veplayed the Christmas Story a couple oftimes, and heard the Requiem in perfor-mance once, but that’s pretty slim forworks of this importance. In the wellknown series The Master Musicians, whichhas been publishing reliable biographies ofcomposer for about half a century now,Basil Smallman brings us a timely new bi-ography of Schütz. Smallman’s credentialsare impeccable; Professor of Music at Liv-erpool University until his retirement in1985, he has throughout his life been inthe forefront of Schütz studies.

Taking his cue from the aims of the se-ries, Smallman emphasizes that his book ismore a biographical study of Schütz thanan analysis of his works, and he thereforeproceeds chronologically, discussing ex-amples of Schütz’s music as keys to the de-velopment of his style, but making noclaim to surveying his works in a compre-hensive manner. This will serve the pur-poses very well of those who would like athorough overview of the man and hiswork, though each reader who has morethan a passing acquaintance with Schütz’smusic will find a few favorites that are notdiscussed. This is, however, a small priceto pay for such a clear survey of Schütz’s ca-reer and his place in the extraordinarilycomplex society of 17th-century Germany.Much of Schütz’s career coincided with theThirty Years’ War (1618-1648), the basis ofwhich was religious but which became in-creasingly politicized during the course oftime. Smallman is particularly good on theways in which the composer succeeded inavoiding direct involvement in the conflictor the religious debates that fueled it, re-maining throughout the period a staunchLutheran but composing settings of Latintexts suitable for use in Catholic services(especially the Cantiones Sacrae of 1625).

Smallman’s principal competition isthe extensive chapter on Schütz by JoshuaRifkin and Colin Timms in the 1985 Nor-ton volume, North European Baroque Mas-ters, which is an expansion of their articlein The New Grove Dictionary of Music and

Musicians of 1980. Although both of theseare excellent introductions to the compos-er, Smallman’s larger format allows a con-siderably greater range of detail and a moreleisurely pace. Both volumes close with acomplete list of works, and it is here thatThe New Grove volume is generally superi-or. Both are forced to deal with a biblio-graphical nightmare: there are three com-plete editions of Schütz’s work, the third ofwhich (begun in 1971) is not yet complete.Smallman tackles this problem by giving aminimal amount of information—a short-list of Schütz’s publications and the SWV(Schütz Werke Verzeichnis) numbers con-tained in them keyed to all three editions,followed by an alphabetical list of individ-ual works with their SWV numbers. Thus,by cross-referencing the two lists, the mod-ern edition for any individual work can befound. The Grove list gives all the works inSWV order. Although it is harder to use, italso gives much fuller information, withdetails of voicing and instrumentation foreach work. For the most recent completeedition, of course, it only includes the vol-umes published before 1980.

There are a few problems with Small-man’s work. He is very inconsistent in theway titles and texts of individual works arecited; sometimes the original text is given(German, Italian, or Latin) with an Englishequivalent in parentheses, sometimes thereverse. On occasion, the original title isgiven with no translation, and in some cas-es, works are cited by an English transla-tion of the title only. Quotations from doc-umentary sources (mostly in German) areregularly given in translation in the textand the original provided in a footnote, butthe exact text quoted there is often not thesame as the passage translated, and eitherthe beginning or the end of the passage issometimes omitted. Smallman has notmade a consistent decision whether to call

the brass instrument with a slide a sackbutor a trombone, and although he usuallycalls the bass double-reed a bassoon, occa-sionally it is a dulcian or curtal. Discussingthe two “fiffaro” parts in the paired motetsAnima mea liquefacta es and Adjuro vos, fili-ae Hierusalem (SWV 263-4), with their oddrange of a to e� '', Smallman suggests thatSchütz may have meant a bass transverseflute. This is highly unlikely: for one thingthe bass flute would be virtually inaudiblein the context; also, this would ignorePraetorius’s comment that the flute oftensounds an octave higher than it is written,which I would take to mean that it is oftenplayed at 4' pitch in the context of other in-struments playing at 8' pitch. The “fiffaro”parts in these motets must be intended tosound an octave higher, played most likelyon a pair of tenor flutes in the upper part oftheir range, where they would be quite au-dible.

Finally, the index is woefully inade-quate. Although it is very complete in itsreferences to individual works of Schütz,the bulk of its other references are to prop-er names, with few citations of ideas, in-struments, forms, or styles, and wherethese do occur, they are often unhelpful.As an example, there is an index entry for“oxymoron” with a single citation of a briefdiscussion of the use of oxymora in Italianmadrigals; there is no entry for “cornetto,”“sackbut,” bassoon,” or even “organ.”These few problems aside, Smallman’sbook provides a fascinating introductionto a composer very few of us know as wellas we should.

David Klausner

LENNOX BERKELEY: A SOURCEBOOK. BY STEWART R. CRAGGS. AshgatePublishing, 2000. 395 pp. Hardcover,$99.95. ISBN: 0-85967-933-0.

Stewart Craggs is professor of musicbibliography and former development ser-vices librarian at the University of Sunder-land. Compiled over a period of 15 years,this tome on the music of Lennox Berkeley(1903-1989) joins Craggs’s previous workson William Walton, Edward Elgar, andArthur Bliss, and is a feat of bibliographicwizardry. It is a reference book of extraor-dinary and exhaustive detail, which noself-respecting music library or specialiston 20th-century English music should bewithout.

What, one might ask, would a bookabout Berkeley have to do with recorderplayers? One of the more significant com-posers of 20th-century England, he wrotenumerous works for early instruments,

Smallman is particularly

good on the ways in

which Schütz succeeded

in avoiding direct

involvement in the Thirty

Years’ War (1618-1648)

or the religious

debates that fueled it.


and his output includes several works forrecorder: besides the Sonatina for alto re-corder and piano (Op. 13), there is a Con-certo for alto recorder, violin, cello, andharpsichord (Op. 49), and a “cantata con-certante” for soprano voice, soprano re-corder, viola da gamba, and harpsichord(Op. 98). Many composers of his centurywrote recorder music, but Berkeley’s issome of the best and well worth enjoying.

The book is well-planned and easy touse. It begins with an alphabetical list ofcompositions, meticulously cross-refer-enced to the various other parts of thebook. Following this is a chronology ofBerkeley’s life, beginning with the genealo-gy of his grandparents and parents, andcontinues on through a list of events bothpersonal and professional. It is strikinghow much traveling this composer did,how many colleagues with whom heshared, and how much time was requiredfor various works to materialize. More en-tertaining, perhaps, are the several men-tions of lunching with the Queen at Buck-ingham Palace and other such data.

The third section is a “Catalogue Rais-onné,” in which pieces are listed chrono-logically and then by opus number, and ahuge amount of information is to be foundhere. To use the Sonatina as an example:apart from the basic data on title, opusnumber, date, number and name of move-ments, duration, etc., I learned here thatthe first performance was a private oneheld at the Contemporary Music Centre inLondon, with Carl Dolmetsch playing therecorder part. Sadly, the other details ofthis performance are lacking, and I am surethat, were they traceable, Craggs wouldhave found them. The first public perfor-mance, by Dolmetsch and harpsichordistChristopher Wood, took place at WigmoreHall on November 18, 1939. Also men-tioned is another version of this wonderfulpiece arranged for flute and strings. Everyother available piece of Berkeley’s output isgiven equally detailed treatment.

The next section on “Manuscripts andFirst Editions,” prepared by Joan Redding,is also meticulously detailed—right downto descriptions of the coffee and tea stainson the paper. The “Discography” is divid-ed into two sections: a list of 78s, LPs, CDsand cassettes of Berkeley’s music, and a listof recordings of the composer as speaker inradio programs, interviews, tribute

speeches and the like. At this point I mustsay I was sorry to see that my own record-ing of the Sonatina, commercially releasedin early 1999, is not included among thelistings for this piece, and found myselfwondering what else has been missed, dueto inefficient promotion and distribu-tion...but I digress, and this is not any faultof Stewart Craggs.

The book concludes with a select bibli-ography, three appendices, and a generalindex. The bibliography includes writingsby Berkeley, general writings about him,and references to specific works. Appendix1 is a classified index of main works; Ap-pendix 2 is a list of lost or missing manu-scripts; and Appendix 3 is a list of “per-sonalia,” a sort of “who’s who” of Berke-ley’s professional colleagues.

It has surely taken the patience of Job tocompile all the information included inthis book, and many might wonder how orwhy Mr. Craggs could stick with sopainstaking a task. But he has provided anenormously useful service for anyone do-ing research on Lennox Berkeley, his mu-sic, or the musical epoch in which heworked. Stewart Craggs is to be congratu-lated for his dedication to his task and theexcellent quality of the book that is its re-sult.

Alison Melville

NOTE: Alison Melville’s CD “Fruit of a Differ-ent Vine,” available through the ARS CD Club,is a collection of 20th-century recorder clas-sics, including Lennox Berkeley’s Sonatina.

BOOK REVIEWS (cont.)

Mr. Craggs has providedan enormously usefulservice for anyone doingresearch on LennoxBerkeley, his music,or the musical epochin which he worked.Many composers of hiscentury wrote recordermusic, but Berkeley’s issome of the best andwell worth enjoying.

http://www.longy.edu

March 2001 43

OPENINGMEASURES___________________________________ How to count in half notes

A lot of the music I choose when leadingworkshops or ARS chapter meetings isfrom the Renaissance period and needs tobe counted in half-notes rather than inquater-notes. This gives many playersquite a lot of trouble. Some can’t get thehang of it at all, having little or no experi-ence with counting half-notes. Others havetried to do it often, and can do it, but theconcentration required means they tend tomake other mistakes, lose their place, missentrances.

Why must we count those stupid half-notes when we can just as well count thequarter-notes? After all, it is a public secretthat a lot of players are sneakily tappingquarter-notes inside their shoes while thedirector beats half-notes. It all comes outright, so why not do it?

Because the pulse of the music is veryimportant in giving notes greater or lesserimportance. The pulse of the music createsthe Swing. This is true of music from all pe-riods. The pulse helps bring out the largermusical lines.

You must be able to play using a half-note pulse (without tapping that hiddentoe in quarter-notes). But learning thisskill is really not so difficult. Take heart andgive it an honest try! Think how accom-plished you can then feel at the next work-shop or ARS meeting when the directorsays, “We’ll be counting this in half-notes.”You might even be able to give the playernext to you a helping hand.

Before we begin, review your note val-ues as shown in Ex. 1. Counting half-notesis simply a matter of learning to subdividethem accurately. If you can keep a pulse forquarter-notes you can keep a pulse for half-notes. The difficulty lies in subdividing thehalf-notes without becoming confused.

Practice Ex. 2 as often as you can dur-ing the next week,and continue to do itonce in awhile. It is very simple and can bedone while waiting to get off hold on thephone, while walking (and there you havea built in pulse in your steps!), on the exer-cise machine, while waiting at that longand irritating stop light, while in line at the

bank. It need not take long, so you have noreason not to do it. If done regularly, theexercise will give you a strong sense of howthe smaller note values should feel whencounting half-notes. When you becomemore accomplished and confident you canadd sixteenth notes to the exercise.

Ex. 3a - 3c are to be played on a re-corder. They will help you continue tostrengthen your ability to play differentrhythms while counting half-notes. Use ametronome clicking at 60 to the half-note,and beat this pulse with alternate feet (seesidebar about alternating feet).

Continued overleaf

& 22 w Note Values: each measure is equal in total value.˙ ˙ œ œ œ œ œ œ œ œ œ œ œ œ

& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .˙ œ1 and 1/2 beats + 1/2 beat

.œ jœ ˙equals 1 beat + 1 beat

& 22 ˙ ˙Half Half

œ œ œ œQuar - ter Quar - ter

œ œ œ œ œ œ œ œEighth-note Eighth-note Eighth-note Eighth-note

& œ œ œ œQuar - ter Quar - ter

˙ ˙Half Half

& 22 w Glogauer Liederbuch: J'ay pris amours I, Tenor, b. 1˙ ˙ w w Ó ˙

& ˙ ˙ ˙ œ œ ˙ ˙

& 22 w Josquin: Mille Regretz, superius, b. 17˙ ˙ ˙ ˙

& .˙ œ œ œ ˙# w

& 22 œ œ œ œ œ œFB - composite from Josquin

˙ ˙ œ œ œ œ œ œ œ w

Clap a continuous half-note pulse while saying the text

Ex.1

Ex.2

Ex. 3a

Ex. 3b

Ex. 3c

ALTERNATE FEETYou can increase the strength of yourinner pulse by beating half-notes withalternate feet—not just beating onefoot, which is a nasty habit that willbring you dirty looks from the con-ductor and annoy your fellow players.Beating alternate feet helps you devel-op an inner sense of pulse, whiletending not to become a habit. Youhave to think about it to do it, so it isharder to do automatically. Further-more, it is my personal theory thatbeating alternate feet uses both sidesof your brain and therefore gives you amore wholistic and complete sense ofpulse, more likely to stick with you. Itis like walking, and will give you thenatural inner beat you need.

Once you become good at a givenexercise, cease to beat time, keepingjust your inner half-note pulse feeling.


Dotted Quarter NotesAnother stumbling block in your path

is figuring out how long dotted quarter-notes should be. You know that whencounting quarter-notes, the dotted quartergets one and a half beats. Well, whencounting half-notes, the dotted quarternote plus its following eighth-note get onefull beat together.

First play an octave scale, using thenote values � � � with a metronome beat-ing half-notes at 60, one beat for each � � �unit. Then practice Ex. 4a and 4b.

Other RhythmsThe same type of problem is caused by

syncopations of various speeds, and by tiesover the barline.

A syncopation is a note that lies acrossthe end of one beat and the beginning ofthe next. In Ex. 5a, the syncopation ap-pears in bar 2, beginning on the secondhalf of the first beat. If you have a strong

pulse feeling, you will easily be able to di-vide the beat to begin the syncopation atthe right moment. Then hold that note un-til the second half of the second beat, whenthe final quarter-note is played.

Play this exercise with a metronomebeating half-notes at 60. (Once again, beat-ing the pulse with alternate feet will makethis exercise even more effective.)

Ties over the bar line are very like syn-copations and sometimes are, indeed, syn-copations. Practice Ex. 5b - 5d until youcan play them with confidence. Do you no-tice that in 5b we have a quicker syncopa-tion in bar 1 and a slow one in bar 2?

In Ex. 5d the dotted quarter-note andeighths group is just the same rhythm asthe one that crosses the bar line in Ex 5c.This is a very common pattern in 16th-cen-tury music, so learn it well.

Finally, try Ex. 6: it tosses everything atyou!

Once you have mastered all these ex-amples you can begin to trust your abilityto count half-notes. Congratulations, andgood for you! You’ve made it!

Frances Blaker

& 22 wJosquin: Mille Regretz, Superius, b. 1

˙ ˙ .˙ œ œ .œ jœ ˙ œ Œ Ó

& 22 œ œ œb œFB - composite from Susato

œ œ œ œ œ œ œ .œ jœ œ œ œ ˙ Ó

& 22 ˙ ˙Glogauer Liederbuch: J'y pris amours V, Bassus, b. 6

œ ˙ œ œ œ ˙ w

& 24 ˙ œ ˙ œ ˙J'ay pris amours I, Tenor, b. 27˙ w ˙# Wthis note equals four half-notes

& 24 ˙ œ ˙ œ œ œJ'ay pris amours III, Altus, b. 24 œ œ œ œ ˙ ∑

& 24 œ œ œ œ .œ œ œ œ ˙J'ay pris amours II, Tenor, b. 12

˙ Ó ∑

& 24 œ œ ˙ Œ ˙ œJ'ay pris amours II, Altus, b. 7œ œ œ ˙ œ .œ œ œ œ ˙ ˙ ˙ Ó

Ex. 4a

Ex. 4b

Ex. 5a

Ex. 5b

Ex. 5c

Ex. 5d

Ex. 6

OPENING MEASURES(cont.)

http://www.blezinger.de

March 2001 45

Looking Back to See AheadIs it possible to predict where modern

recorder music is going from looking at themusic of a past decade? The correct answeris “sometimes.”

Certainly the eclecticism and lack of acentral mainstream that characterized therecorder music of the 1990s were largely inplace by the end of the 1980s. One couldeven make a case that this eclecticism be-gan in the 1970s, when minimal music be-gan to challenge the primacy of the post-Webern school. Stretching the point fur-ther, a weak but plausible case could bemade that the origin of this eclecticism wasfound in the late 1960s when chance ele-ments began finding their way into post-Webern-style compositions.

By contrast, no real precedent for theavant-garde works of the 1960s can befound any time before that. One couldpoint to Benjamin Britten’s use of fluttertonguing perhaps, but that’s a bit narrowand in and of itself does not represent atrend. One could also point to some of TuiSt. George Tucker’s works, but they wereunknown to the composers of the Euro-pean avant-garde literature that definedthe era. Besides, Tucker’s experimentalworks of the 1950s evolved from a premisethat was entirely different from and op-posed to the language of the post-Webernschool—a premise more in tune, oddlyenough, with the eclecticism of today’smodern recorder music.

For the purpose of identifying impor-tant contemporary trends in the recordermusic of the 1990s, I have established tencategories based on a variety of shared as-pects including language, style, esthetics,instrumentation, and general orientation.Individual pieces often overlap, represent-ing several different trends and thereforefitting into more than one of these cate-gories. But that is beside the point. This es-say will merely provide a cursory look froma distance; an in-depth analysis of repre-sentative works would be an enormous un-dertaking, clearly beyond the scope of thiscolumn.

The recorder music trends of the 1990s

(or at least my perception of them aftercareful thought) are as follows:

1) Globalization - Though not a compo-sitional trend per se, the dissemination andtherefore greater awareness of non-Euro-pean works has had a significant impactand following. It has been due to the effortsof publishers, distributors, record compa-nies, and performing artists as much ascomposers. In 1989, only a handful ofJapanese works, most published by Zen-on, represented to most recorder playersthe essential body of important recordermusic outside Europe. By the early 1990s,interesting new works from Latin America,Australia, and the U.S.A. began to be pub-lished and/or recorded. Some of thesecompositions were highly acclaimed andwell received by both performers and audi-ences. By the end of the decade, a numberof new Japanese works appeared in print,thereby making it impossible to point tothe familiar works published by Zen-on asrepresentative of non-European recordermusic or even of the Japanese literature.

2) Compositions with a Jazz, Pop, or RockOrientation - Such pieces have had a con-siderable following in the 1990s. Works inthis genre have varied from original com-positions to arrangements and/or adapta-tions, from difficult to fairly easy, and fromunique to hackneyed.

3) Works for Recorder and Mixed Instru-ments - Combining the recorder with otherinstruments evolved into an importanttrend during the 1990s. It has been appliedto three distinct types of music: composi-tions for chamber groups that employ therecorder with classical music instruments;written and/or improvised works forgroups with more of a jazz, pop, or rockorientation and instrumentation; and writ-ten and/or improvised works of an eclecticnature and instrumentation.

4) What Might Be Called Post-Post-We-bern Music - that is, compositions whichare clearly rooted in the post-Webern stylewhose composers have absorbed otherideas into an eclectic mix.

5) The “New Romanticism” - This labelcan be applied to a very diverse lot of com-

positions that have little in common in re-gard to language and style. What theyshare is the direct expression of heartfeltemotion.

6) The New Dynamism - Somewhatmore homogeneous than the above group,these works express rhythmic energy andmovement rather than emotion. Most havea direct aesthetic connection with the mu-sic of Stravinsky (early period) and Bartók.Many are informed by minimalism.

7) Electro-Acoustic Music - Except forthe use of live electronics, this category iscompletely diverse. Electro-acoustic musichas become very popular in Europe.

8) Conservative Modern - This kind ofmusic is still being composed and pub-lished. Some of the more recent composi-tions in this genre have borrowed an effector two from the avant-garde.

9) New Age Music - Soft, simple, de-signed for unfocused listening, this genrehas some notable practitioners and has ac-quired an audience.

10) Microtonal Music - Quarter-tones,eighth-tones, sixteenth-tones, and struc-turally modified (i.e. “prepared”) instru-ments have all been put into practice morethan at any time in the modern history ofthe recorder.

Looking Back to Look BackWith this edition, On The Cutting Edge

is now a decade old. Its mission has beento call attention to what is happening inthe world of modern recorder music byprofiling important performing artists,musical compositions, recordings, andconcert events. In many cases, especially inthe first couple of years, the subjects ofCutting Edge received little notice else-where. My only regret in writing this col-umn is that I was not able to cover somemajor events—most notably the Second20th Century Blockflute Festival in Hol-land and the Calw Competitions in Ger-many. At any rate, I hope to continue topresent interesting news about modern re-corder music and the devoted people whocreate and perform it.

Pete Rose

ON THECUTTING EDGE___________________________________ View from the edge


The first public appearance of the newNorth Coast (CA) Chapter took placeDecember 17 during The Ink People’s Hol-iday Gift Fair at the Eureka Municipal Au-ditorium. Members performing were, inorder of range, Karla Talbert, KathleenKinkela-Love, Carolyn Moskowitz, HarryHaecker, and Kathy LaForge. The pro-gram for the concert presented a melodictheme in settings by different composersor by the same composer in different con-texts. For example, they played five ver-sions of the “Allein Gott in der Hoh seiEhr” theme: one arranged by Praetorius,one by Sweelinck, and three by J.S. Bach.

On Sunday, November 12, members of theEast Bay (CA) Chapter presented theirfirst Autumn Salon, an informal and pri-vate home version of their larger MembersRecital held in March. Six small consortstook turns playing audience and per-former, including the trio Those Three Al-to Guys, who performed a sonata by

Beethoven originally written for threeflutes. The Autumn Salon is expected tobecome an annual event.

The Hawaii Chapter’s Skylarks per-formed at a Hawaii Music Education Asso-ciation luncheon on January 21 at the PearlCity Recreation Center, and also at CentralUnion Church on January 21.

On Saturday, March 3,members of the At-lanta Early Music Association took a field-trip to the Kelischek Workshop in Brass-town, N.C. The group was hosted byMichael Kelischek, who answered ques-tions as the participants observed manymusical instruments in various stages ofconstruction.

Several members of the New Orleans(LA) Early Music Society participated in“An Evening of Shakespeare and Song” onDecember 1 at St. George’s EpiscopalChurch in New Orleans. The entertain-

ment interspersed drama performed by theSt. George Players in Renaissance garbwith songs found in Shakespeare’s plays,including “Fortune My Foe,” “Heigh Ho!for a Husband,” “When That I Was a LittleTiny Boy,” and “Greensleeves.” The con-sort of recorders, harp, and viola da gambaincluded Victoria Blanchard, David Kemp,Marilyn Peak, Gary Porter, ShaunaRoberts, and Betty Wauchope.

The February meeting of the GGGGrrrreeeeaaaatttteeeerrrr DDDDeeeennnn----vvvveeeerrrr ((((CCCCOOOO)))) CCCChhhhaaaapppptttteeeerrrr was transformed into a17th-century masque, complete with ap-propriate music, dance, poetry, costumes,scenery, and refreshments. Everyone at-tending wore “jewel colors, lots of jewelry,and masks” (with the help of a mask-mak-ing workshop hosted by Bobbie Blanc).Connie Primus was leader of the event,dubbed “The Masque of the Queen of theJewels,” and Victoria Taylor played the roleof the Queen. The entertainments wererecorded for the chapter’s continuingvideotape project.

Cedar Lane Unitarian UniversalistChurch, the site for the Washington (DC)Recorder Society meetings, has agreed tomake space available for filing cabinets tohouse the WRS Music Collections. TheCollections, consisting mostly of a largedonation of music formerly belonging toDr. Wesley Oler, have not been easily avail-able to members since meetings weremoved to the new site.

CHAPTERS& CONSORTS___________________________________ Chapters learn dances, perform a 17th-century masque, present

music from Shakespeare, and introduce a new JRS ensemble

CHICAGO COMPETITIONEntries for the Chicago Chapter’sSeventh Biennial Recorder Composi-tion Contest are due May 15. Theseentries should be original composi-tions suitable for ensemble playing inrecorder society meetings that arelikely to have players of varying ability.It is open to the entire ARS member-ship. For more information and therules, contact either Arlene Ghiron,[email protected], or HildeStaniulis 773-363-7476.

Thirty recorder players from Ne-braska, Iowa, and Kansas attend-ed the Flatwater Recorder Soci-ety’s first annual Omaha RecorderWorkshop on November 25 at St.Vincent De Paul Catholic Churchin Omaha, Nebraska. The worksrehearsed included A ChristmasAntiphon by Keith Davis, the Hal-lelujah Chorus from Handel’sMessiah, and Concerto Grosso inD Minor by William Boyce. RichieHenzler of Courtly Music Unlim-ited came from New York to conduct the ensemble. It was a rare opportunity for play-ers in the area to participate in a recorder orchestra, whose rich sonorities were per-fectly supported by the church’s live acoustics.

For the past three years members of the Flatwater Recorder Society have played atelementary schools in the Omaha area during Play-the-Recorder Month. Last March,they played at five elementary schools. Activities varied at each school. At one school,students sang a rehearsed piece (“Amazing Grace”) with recorder accompaniment,and at another school, Flatwater members participated in a session with the school’srecorder group.

Flatwater Recorder Society SponsorsIts First Recorder Workshop

An informal moment at the Omaha workshop.


March 2001 47

SWEETHEART

FLUTE CO.

Baroque Flutes: our own“Sweetheart” modelFifes, Flageolettes

“Irish” Flutes & Whistles.Send for brochure and/or

antique flute list.

32 South Maple StreetEnfield, CT 06082(860) 749-4494

[email protected]

[email protected]

Award-winning recorder musicwith a Baroque flavor

�

BAROQUE WOODWIND

AND DANCE

SEMINAR

JULY 15 - 22, 2001

Eva Legêne - Recorder, Director

Sandra Hammond - Dance

Janet See - Traverso

Corey Jamason - Harpsichord

Washington McClain - Oboe

Michael McCraw - Bassoon

David Lasocki - Lecturer

For more information, please contact:

Eva Legêne

IU School of Music

Bloomington, IN 47405

E-mail: [email protected]

INDIANA UNIVERSITY

SCHOOL OF MUSIC

CHAPTER NEWSLETTER EDITORSWant to see your chapter in the news? Check

to be sure that a copy of your chapternewsletter goes to American Recorder, 472Point Road, Marion, MA 02738; or e-mail

text to [email protected].

From left: Sally Dawson, director,Hunter Block, Julia Kesselem, KatieKesselem, Erin Bolyard, GabbyCappello, all members of the GreaterCleveland Chapter’s new JuniorRecorder Society group.

In November, the members of the TwinCities (MN) Recorder Guild and theNorth Star Viols teamed up to offer an in-troduction to Renaissance social dancingat the Lynnhurst Congregational Churchin Minneapolis. Jane Peck, founder and di-rector of Dance Revels and an instructor ofdance history at the University of Min-nesota, presented the pavane, galliard, andother dances from the 16th and early 17thcenturies.

At their January 9 meeting, members ofthe Princeton (NJ) Recorder Societystudied the historical dances that go withthe music they play. Kjirsten Hendriksendemonstrated Renaissance dances to adrumbeat established by Russell Almond.Sue DuPre led the English country dances,while Judy Klotz and Susie Lorand con-ducted music published by John Playford.

Princeton members dance the pavane.


http://www.bems.com

http://www.screamingmarymusic.com


CLASSIFIED___________________________________

FOR SALE: Moeck wood tenor recorder. $120.

Call Vivian Lipson, 973-402-9198.

FOR SALE: Paetzold FF contrabass, with stand, ex-

tra mouthpiece. Like new, rarely played. A good

deal. Call before 10 pm EST, 616-471-5224, or

[email protected].

FOR SALE: Recorders and Sheet Music. Prices re-

duced. Please see our website, www.holtmar.com.

Email address: [email protected].

AMERICAN RECORDER seeks articles on re-

corder: history, performance practice, artists and

repertoire, education, instrument building, etc. Al-

so, photographs and reports of news events. Will

consider artwork, poetry, riddles, puzzles. Modest

honoraria by arrangement with editor: Benjamin S.

Dunham, 472 Point Road, Marion, MA 02738.

Phone: 508-748-1750 (bus. hrs.); fax: 508-748-

1928; e-mail: [email protected].

SCHOLARSHIPS for recorder players to attend

recorder/early music weekend workshops during

the year. Apply two months before funding is

needed. Weekend workshop scholarships are

made possible by memorial funds set up to honor

Jennifer Wedgwood Lehmann and Margaret De-

Marsh. Contact ARS, Box 631, Littleton CO 80160;

303-347-1120; [email protected].

MUSIC REVIEWERS for AR needed. Reviews must

be submitted by e-mail or on disk. Please send a

brief bio with a list of the types of music you are in-

terested in reviewing to Connie Primus, Box 608,

Georgetown,CO 80444,[email protected].

Classified rate for American Recorder: 60¢

per word, ten-word minimum. “FOR SALE”

and “WANTED” may be included in the

copy without counting. Zip code is one

word; phone, e-mail, or web page is two.

Payment must accompany copy. Dead-

lines are one month before issue date.

Send copy with payment to: ARS, Box

631, Littleton, CO 80160.

ADVERTISER INDEXAMERICAN RECORDER SOCIETY . . . . . . . . . . . . . 39, 40, 48

AMHERST EARLY MUSIC FESTIVAL . . . . . . . . . . . . . . . . . . . . . 8

TURE BERGSTRØM RECORDERS . . . . . . . . . . . . . . . . . . . . . 34

STEPHAN BLEZINGER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

JEAN-LUC BOUDREAU . . . . . . . . . . . . . . . . . . . . . . . . . . . 29, 30

BOULDER EARLY MUSIC SHOP . . . . . . . . . . . . . . . . . . . . . . 47

CANTO ANTIGUO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

COURTLY MUSIC UNLIMITED. . . . . . . . . . . . . . . . . . . . . . . . 34

HESPERUS WORKSHOP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

HIGHLIGHT INTERNATIONAL . . . . . . . . . . . . . . . . . . . . . . . IFC

HONEYSUCKLE MUSIC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

INDIANA UNIVERSITY SCHOOL OF MUSIC . . . . . . . . . . . 47

KATastroPHE RECORDS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

KELISCHEK WORKSHOP. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

LONGY INTERNATIONAL BAROQUE ACADEMY . . . . . . 42

KEITH E. LORAINE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

MAGNAMUSIC DISTRIBUTORS . . . . . . . . . . . . . . . . . . . . . BC

MOECK VERLAG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

MOLLENHAUER RECORDERS . . . . . . . . . . . . . . . . . . . . . . . . 29

THE MUSIC STORE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

OXFORD UNIVERSITY PRESS . . . . . . . . . . . . . . . . . . . . . . . . . 35

HERBERT PAETZOLD SQUARE RECORDERS . . . . . . . . . . . 30

PORT TOWNSEND WORKSHOP . . . . . . . . . . . . . . . . . . . . . 25

PRESCOTT WORKSHOP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

PROVINCETOWN BOOKSHOP. . . . . . . . . . . . . . . . . . . . . . . 38

THE RECORDER MAGAZINE . . . . . . . . . . . . . . . . . . . . . . . . . 48

RECORDER SHOP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

SAN FRANCISCO EARLY MUSIC SOCIETY . . . . . . . . . . . . . 25

SCREAMING MARY MUSIC . . . . . . . . . . . . . . . . . . . . . . . . . . 47

SUZUKI STUDENT INSTITUTES . . . . . . . . . . . . . . . . . . . . . . . 48

SWEETHEART FLUTE CO. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

TEXAS TOOT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

VON HUENE WORKSHOP, INC. . . . . . . . . . . . . . . . . . . . . . . 31

YAMAHA CORPORATION . . . . . . . . . . . . . . . . . . . . . . . . . . IBC

DOMINIK ZUCHOWICZ. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Where the havesand have-nots

of the recorder worldcan find each other

CONSIDER ADVERTISING IN

Full page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $5002/3 page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $3651/2 page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $3001/3 page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $2401/4 page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $1801/6 page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $1401/8 page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $1051/12 page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $ 751 column inch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $ 45Web link in AR On-Line . . . . . . . . . . . . . . . . . . . . . . $20

Circulation: Includes the membership of theAmerican Recorder Society, libraries, andmusic 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 2001. Pleaseinquire about 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, contactBenjamin S. Dunham, Editor472 Point Road, Marion, MA 02738508-748-1750 (bus. hrs.); Fax: 508-748-1928E-mail: [email protected]

SCHOLARSHIPSfor recorder players to attend

recorder/early music

SUMMERWORKSHOPS

applications must be

postmarked by April 16

for recorder players to attend

recorder/early music

WEEKENDWORKSHOPS

throughout the year,

apply two months

before funding is needed

Weekend workshop scholarships

are made possible by memorial

fundsestablished to honor

Jennifer Wedgwood Lehmann

and Margaret DeMarsh.

AMERICAN RECORDER SOCIETYBox 631, Littleton CO 80160-0631, U.S.A.

303/347-1120 • 303/347-1181 (fax)e-mail: [email protected]

the organization for recorder players since 1939

SUZUKI STUDENT INSTITUTES:July 20-23; July 25-28

Teacher Training:Unit 1A, 2: July 17-23Unit 1B, 3: July 25-31

State University of New YorkPlattsburgh, NY 12901

Katherine WhiteBox 233, Fairfax, CA [email protected]

Tel/Fax: 415/897-6500;vm: 415-339/8163

or Nancy Kennard, [email protected]: 216/561-2505, 216/402-7130

The Recorder Magazine

we invite you to visit the sitewww.recordermail.demon.co.uk

PLEASE PATRONIZEOUR ADVERTISERS


http://www.recordermail.demon.co.uk







Documents

EDITOR’S NOTE - American Recorder The Clay Pot That Sings.....9 The sweet potato meets the sweet flute in this exploration of the history and physics of the ocarina,