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Published by the American Recorder Society, Vol. LI, No. 1 • www.americanrecorder.

org

J a n u a r y
2 0 1 0
NEW!

Enjoy the recorder Denner great bass


Mollenhauer & Friedrich von Huene

“The Canta great


bass is very intuitive
to play, making it
ideal for use in recorder
“The new Mollenhauer Denner
orchestras and can be
great bass is captivating with
recommended .”
its round, solid sound, stable in
every register. Its key mechanism
Dietrich Schnabel
is comfortable and especially
(conductor of recor-
well designed for small hands. An
der orchestras)
instrument highly recommended
for both ensemble and orchestral
playing.”

Daniel Koschitzky
Canta knick great bass (member of the ensemble Spark)

Mollenhauer & Friedrich von Huene


G# and E b keys enable

larger finger holes

and thus an especially

stable sound.
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The recorder case with many extras With adjustable support spike
… saves an incredible amount of space with
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… place for music
… integrated recorder stand
Order-No. 2646K Order-No. 5606
A Care and Maintenance Manual
For the Recorder Chapter 1 - Where It All
Started
• A Brief History
Your Recorder, like a pet, can "purr like a well fed pussycat, or an uncontrollable • How It Works
and unpredictable beast…" • The Birth of a
Recorder
"This book, like the late Barbara Woodhouse, will show you how to take your
recorder on walkies in respectable society and still stand proud!" Chapter 2 - Basic Training
• Keeping its coat shiny
• Maintaining the inner
pet – cleaning the bore.
• Block Cleaning
• Windway Cleaning
• Block Replacement

Chapter 3 - Advanced
Training
• Recorder Voicing
• Looking and Seeing

Chapter 4 - Really
Major Surgery
• The Windway
• The Labium

Chapter 5 - Tuning the


bore and finger holes
• DYI Tuning
• Diagrams for note,
finger and pitch influence,
bore diameter and pitch.
• Making a simple
Tim Cranmore, a leading British based recorder maker and a regular at adjustment reamer
recorder events throughout the world, has written a care and maintenance • Tuning,, step by step
manual for the instrument titled 'Obedience Training for the Recorder.'

Its 73 pages is a synthesis of his approach to the subject as well as a Chapter 6 - Miscellanies
practical introduction to looking after the instrument. Tim says " Unlike strings • Fruit n'Veg, or straightening bent boxwood
and orchestral winds, the skills of recorder making were largely lost after the • Being a Recorder Maker
18th century, and have been rediscovered during the last fifty years, • Popular Festivals around the World
Nowadays the market is supplied by a handful of individual makers scattered • Current Active Recorder Maker Listing
around the world. They are all single-minded, obsessive, independent, skilled
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To order:
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Serving the Recorder World for over 65 years with over 10,000 pieces for the recorder and more.
Editor’s
______
Note
______
______
______
______ Volume LI, Number 1 January 2010

P atiently waiting to see print, delayed by


articles that related to the 2009 anniver-
sary year (the 70th birthday of the ARS
Features
How the Recorder came to Japan . . . . . . . . . . . . . .9
and volume 50 of AR), was an article on the by Ewald Henseler and Mayumi Otsu
recorder in Japan. Finally it has made it
to these pages and to your door. The article A Recorder Lesson Plan for Koinobori . . . . . . . . . .18
4
clears up questions (such as the identity of Education Special for Play-the-Recorder Month
the bass recorder player seen in a photo
from 1932, later printed in AR), and also by Bonnie Kelly
gives us an idea of the effect of the 20th-
century recorder revival in Japan. Read how Departments
much more there is to the recorder in Japan Advertiser Index and Classifieds . . . . . . . . . . . . . .32
than precision-molded plastic instruments,
starting on page 9. Also enjoy playing the Chapters & Consorts . . . . . . . . . . . . . . . . . . . . . . .21
music that appears as part of the article.
6
On a path separate from the Japan Music Reviews . . . . . . . . . . . . . . . . . . . . . . . . . . . .26
article was a discussion between the ARS
and MENC, The National Association On the Cutting Edge . . . . . . . . . . . . . . . . . . . . . . . .8
for Music Education, about music to be
Recorder music and recorders you might have missed
featured for Play-the-Recorder Month
(PtRM)—which, when conceived years
President’s Message . . . . . . . . . . . . . . . . . . . . . . . . .3
ago, was chosen to occur in March in an
effort to support MENC’s Music in our Lisette Kielson encourages you to try something new
Schools Month (MIOSM). The 2010 9
special PtRM music is a piece that comes Q&A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24
from the list of music to be learned by many
Little-known facts about garkleins
schoolchildren for the MIOSM World’s
Largest Concert. Happily, the musical
Tidings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4
selection adapted for recorders is a piece
from Japan, Koinobori (page 18, with Daphna Mor plays on Sting’s new CD; Aldo Abreu
Bonnie Kelly’s lesson plan for teaching plays 300-year-old recorders (belonging to Friedrich
it to recorder students on pages 19-20).
Perhaps this year we will celebrate von Huene) on his new CD; news from Erik Bosgraaf;
21
Play-the-Rikôdâ Month. young recorder professionals win in Greenwich
Gail Nickless
and Montréal
GAIL NICKLESS, EDITOR ON THE COVER:
CONTRIBUTING EDITORS
TOM BICKLEY, COMPACT DISC REVIEWS • FRANCES BLAKER , BEGINNERS & TECHNIQUE
Illustration
TIMOTHY BROEGE, 20TH/21ST-CENTURY PERFORMANCE • C AROLYN PESKIN, Q & A
by Jin Suk
CONSTANCE M. PRIMUS, MUSIC REVIEWS • MARY HALVERSON WALDO, EDUCATION
www.js-graphics.com
ADVISORY B OARD
MARTHA BIXLER • VALERIE HORST • DAVID LASOCKI • B OB MARVIN
THOMAS PRESCOTT • C ATHERINE TUROCY• KENNETH WOLLITZ
©2010
WWW.AMERICANRECORDER .ORG GLENNA LANG,
COPYRIGHT©2010 AMERICAN RECORDER SOCIETY, INC. DESIGN CONSULTANT
ARS Chapters
ALABAMA HAWAII Rochester: Liz Seely (585-473-1463)
Rockland: Jacqueline Mirando
Alabama Recorder Assoc.: Jennifer Hawaii: Irene Sakimoto (808-734-5909) (845-624-2150)
Garthwaite (256-586-9003) Big Island: Roger Baldwin Westchester:
Birmingham: (808-935-2306) Erica Babad (914-769-5236)
Janice Williams (205-870-7443) West Hawaii Recorders:
Marilyn Bernhardt (808-882-7251) NORTH C AROLINA
AMERICAN ARIZONA
Desert Pipes (Phoenix): IDAHO Carolina Mountains:
RECORDER George Gunnels (480-706-6271)
Arizona Central Highlands
Les Bois (Boise): Aage Nielsen
(208-841-2691)
Carol Markey (828-884-4304)
Triangle: Mary McKinney
(919-489-2292)
SOCIETY (Prescott): Georgeanne Hanna
(928-775-5856)
ILLINOIS OHIO
inc. Tucson: Scott Mason (520-721-0846) Chicago: Mark Dawson (773-334-6376) Greater Cleveland:
Chicago–West Suburban: Edith Yerger (440-826-0716)
Honorary President ARKANSAS David Johnson (630-740-9220) Toledo: Marilyn Perlmutter
Erich Katz (1900-1973) Aeolus Konsort:
Don Wold (501-666-2787)
LOUISIANA (419-531-6259)
Honorary Vice President Bella Vista: Barbara McCoy Baton Rouge: OREGON
Winifred Jaeger (479-855-6477) Cody Sibley (225-505-0633) Eugene: Lynne Coates
New Orleans: (541-345-5235)
C ALIFORNIA Victoria Blanchard (504-861-4289)
Statement of Purpose Central Coast: Margery Seid & David Kemp (504-897-6162)
Oregon Coast: Corlu Collier
The mission of the American Recorder Society is (541-265-5910)
(805-474-8538)
to promote the recorder and its music by East Bay: Susan Jaffe
MARYLAND Portland: Zoë Tokar (971-325-1060)
(510-482-4993) Northern Maryland: PENNSYLVANIA
developing resources and standards to help Richard Spittel (410-242-3395)
Inland Riverside: Greg Taber Bloomsburg Early Music Ens.:
people of all ages and ability levels to play and (951-683-8744) MASSACHUSETTS Susan Brook (570-784-8363)
study the recorder, presenting the instrument to Monterey Bay: LouAnn Hofman Erie: Linda McWilliams
Boston: Justin Godoy
new constituencies, encouraging increased career (831-439-0809) (781-507-4891) (814-868-3059)
opportunities for professional recorder North Coast: Kathleen Recorders/Early Music Philadelphia:
Kinkela-Love (707-822-8835) Metro-West Boston: Sheila Vincent Hurtubise (215-438-6409)
performers and teachers, and enabling and Orange County: Beardslee (978-264-0584) Pittsburgh: Helen Thornton
supporting recorder playing as a shared social Jo Redmon (714-527-5070) (412-781-6321)
Worcester Hills: Doug Bittner
experience. Besides this journal, ARS publishes Redding: Kay Hettich (508-852-6877)
(530-241-8107) RHODE ISLAND
a newsletter, a personal study program, a
Sacramento: Mark Schiffer MICHIGAN Rhode Island:
directory, and special musical editions. Society (916-685-7684) Ann Arbor: David Bojar (401-944-3395)
members gather and play together at chapter San Diego County: Harvey Annabel Griffiths (734-213-3172) TENNESSEE
meetings, weekend and summer workshops, and Winokur (619-334-1993) Kalamazoo: Charles Vreeland
San Francisco: Dana Vinicoff Greater Knoxville:
many ARS-sponsored events throughout (269-342-8069) Ann Stierli (865-637-6179)
(415-908-3258) Metropolitan Detroit: Claudia
the year. In 2009, the Society enters its Sonoma County: Novitzsky (248-548-5668)
Nashville:
eighth decade of service to its constituents. Dale Jewell (707-874-9524) Janet Epstein (615-297-2546)
Northwinds Recorder Society: Southern Middle Tennessee
South Bay: Janet Smith (231-347-1056)
Liz Brownell (408-358-0878) (Tullahoma): Vicki Collinsworth
Board of Directors Western Michigan: Jocelyn Shaw (931-607-9072)
Southern California: ( 231-744-8248)
Lisette Kielson, President Jerry Cotts (310-453-6004) & TEXAS
Laura Sanborn–Kuhlman, Juanita Davis (310-390-2378) MINNESOTA
Austin: Marianne Weiss Kim
Vice President; Fundraising Chair Twin Cities: Sue Silber (651-697-7080)
COLORADO (512-795-9869)
Marilyn Perlmutter, Secretary; Boulder: Mike Emptage MISSOURI Dallas: Jack Waller
Scholarship Chair (970-667-3929) St. Louis: (972-669-1209)
Colorado Springs: Janet Howbert Kathy Sherrick (314-822-2594) Rio Grande: Martin Winkler
Cathy Emptage, Treasurer; (575-523-0793)
(719-632-6465) NEVADA
Finance Chair Denver: Dick Munz (303-286-7909) UTAH
Matthew Ross, Assistant Secretary; Fort Collins: Sherry Pomering Sierra Early Music Society:
Kay Judson (775-322-3990) Utah (Salt Lake): Mary Johnson
Membership Co-Chair (970-484-0305) (801-272-9015)
Bonnie Kelly, Assistant Treasurer; Early Music Society of Western CO: NEW HAMPSHIRE
Bev Jackson (970-257-1692) Monadnock:
VERMONT
Chapters & Consort Chair; Special Monadnock:
Events/Professional Outreach Co-Chair CONNECTICUT Kristine Schramel (413-648-9916)
& Lynn Herzog (802-254-1223) Kristine Schramel (413-648-9916)
Letitia Berlin, Special Events/ Connecticut: Elise Jaeger & Lynn Herzog (802-254-1223)
(203-792-5606) NEW JERSEY
Professional Outreach Co-Chair Eastern Connecticut: VIRGINIA
Bergen County:
Mark Davenport, Education Co-Chair Joyce Goldberg (860-442-8490) Mary Comins (201-489-5695) Northern Virginia:
Susan Richter, Marie–Louise Smith DISTRICT OF COLUMBIA Highland Park: Donna Messer Edward Friedler (703-425-1324)
Leslie Timmons, Education Co-Chair (732-828-7421) Shenandoah (Charlottesville):
Washington: Art Jacobson Gary Porter (434-284-2995)
Mary Halverson Waldo, Publications Chair (301-983-1310) Navesink: Lori Goldschmidt
(732-922-2750) Tidewater (Williamsburg):
DELAWARE Princeton: Vicki H. Hall (757-565-2773)
Nancy Weissman, Counsel Brandywine: Roger Matsumoto Louise Witonsky (609-924-2752) WASHINGTON
(302-731-1430) NEW MEXICO Moss Bay:
Staff FLORIDA Albuquerque: Bryan Bingham Ralph Lusher (425-275-6777)
Kathy Sherrick, Administrative Director Ft. Myers: Sue Groskreutz (505-299-0052) Seattle: Ruth Pattison
(239-267-1752) Las Vegas (Flat & Baroque in Las (206-525-9878)
1129 Ruth Drive
Gainesville: Peter Bushnell Vegas): Tom Curtis (505-454-4232) WISCONSIN
St. Louis, MO 63122-1019 U.S. (352-376-4390) Rio Grande: Martin Winkler
800-491-9588 toll free Milwaukee: Carole Goodfellow
Largo/St. Petersburg: (575-523-0793) (262-763-8992)
314-966-4082 phone Elizabeth Snedeker (727-596-7813) Santa Fe: Gus Winter Southern Wisconsin:
314-966-4649 fax Miami: Phyllis Hoar (305-385-5386) (505-603-8034) Marilyn Oberst (608-836-0269)
Palm Beach: Gail Hershkowitz NEW YORK
ARS.Recorder@AmericanRecorder.org (561-732-5985) C ANADA
www.AmericanRecorder.org Sarasota: Margaret Boehm Buffalo: Mark Jay (716-649-1127) Montréal: Mary McCutcheon
(941-761-1318) Hudson Mohawk: (514-271-6650)
Darleen Koreman (518-482-6023) Toronto: Sharon Geens (416-699-0517)
In accordance with the Internal Revenue Service GEORGIA Long Island:
Taxpayer Bill of Rights 2, passed by the United States Atlanta: Barbara Zotz (631-421-0039)
Congress in 1996, the American Recorder Society makes New York City: Gene Murrow
Please contact the ARS office
Mickey Gillmor (404-872-0166) to update chapter listings.
freely available through its office financial and (646-342-8145)
incorporation documents complying with that regulation.

6 January 2010 American Recorder


President’s
Message
_______
_______
_______
_______
Greetings from Lisette Kielson, ARS President
LKielson@LEnsemblePortique.com
_______

I n the last several months, I have


had the pleasure of many new
experiences—and how refreshing,
For the faculty recital we performed
some Renaissance music on Renais-
sance recorders. Not having played a
I am reminded
thrilling and rewarding they were! Renaissance recorder in years, it was a of the value of
At the ARS Festival and Confer- wonderful challenge to re-familiarize
ence last summer, I was introduced to myself with the technique necessary trying novel things.
an approach to articulation by Letitia to master this beautiful instrument.
Berlin (who credited much to the Some changes and new experi- reminded of the value of trying novel
teachings of Frances Blaker) that ences will take place this year with things, of getting a new and different
had never before crossed my path; the ARS. There is a new twist to our perspective, of experiencing life out-
I played South American music, traditional Play-the-Recorder Month side of our comfortable routines. I
conducted by Cléa Galhano, that (PtRM) coming up in March. The know we often yearn for the feeling
was unfamiliar to me and utterly ARS is joining forces with Music of great safety in the “known,” but it
beautiful; and I listened to Nina Educators National Conference has been such a stimulating last few
Stern perform a wonderfully unique (MENC) and bringing PtRM into months that I highly recommend
program of music from foreign lands. the schools. We are very excited about seeking out and embracing the
At the Montréal (QC) Recorder this joint project and being part of unfamiliar.
Festival , the next generation of MENC’s “World’s Largest Concert,” Participate in or audit a master
recorder players competed in the with a recorder accompaniment to class; take a lesson with a teacher
International Recorder Competition a Japanese folk song that will be per- different from your own (with your
(as I report in this issue). I listened formed across the country (see else- teacher’s blessing, surely to be
with great interest to their perform- where in this AR for information). bestowed); listen to a CD or, better
ances, intrigued by any evidence in I share with you some of my yet, a live concert of unknown per-
their playing of their mentors’ influ- recent experiences alongside our plans formers. I guarantee you will walk
ences. It was a treat (and wonderful for this year’s PtRM because I am away with insight and inspiration.
exercise) to hear these young people
and imagine their different teachers’
approaches to the recorder and its
music. A lecture was given by Drora
Bruck on both the distant and recent
history of recorder music in Israel, a
topic virtually unknown to me. And
collaboration between ensembles
Honeysuckle Music
thousands of miles apart (Quynade
and Ensemble Caprice) yielded a
Recorders & accessories
...
remarkable concert of music from
Music for recorders & viols
a faraway time and place.
Most recently, I had the honor of Jean Allison Olson
working with members of the Farallon 1604 Portland Ave.
Recorder Quartet at the Exploritas St. Paul, MN 55104
651.644.8545
(formerly Elderhostel) Recorder jean@honeysucklemusic.com
Workshop in Carmel Valley (CA).

www.AmericanRecorder.org January 2010 7


Tidings
_______
_______
_______
_______ Aldo Abreu makes recording on 300-year-old recorders,
_______ Erik Bosgraaf wins the Grachtenfestival Prize

Bits & Pieces Montréal, QC (Ensemble Alkemia


and Musica Fantasia), and the Old
Frederick Renz (Early Music New
York). All finalists benefited from the
Hall male vocal trio from Boston, coaching of Grant Herreid, NY-
MA. based early music specialist.
Early Music America (EMA) has As winners of the Unicorn Prize, The EMA Medieval/ Renais-
announced that Plaine & Easie is the Plaine & Easie receives a cash prize sance competition is sponsored by
winner of both the Unicorn Prize and and the opportunity to perform on the generous contributions from private
Audience Prize in its 2009 Medi- concert series of three distinguished donors. Visit www.earlymusic.org
eval/Renaissance Music Competi- early music presenters: Early Music for more information.
tion for North American artists. The Guild (Seattle); Early Music Now The University of Denver’s
final phase of the competition took (Milwaukee, WI); and Renaissance Lamont Society is offering for its
place last October at Corpus Christi & Baroque Society (Pittsburgh, PA). contributing members a free series
Church in New York City, NY. Judges for the competition were of “backstage” events. Participating
Plaine & Easie is a mixed con- Valerie Horst (ARS Distinguished on the March 31 offering, discussing
sort quartet based in Seattle (WA), Achievement Award Winner), Mary what knowledge of music history
specializing in English Renaissance Anne Ballard (Baltimore Consort), means to a music major, is musicolo-
music. Other competitors in the Johanne Goyette (ATMA Clas- gist and recorder player Antonia L.
biennial event are two ensembles from sique), Drew Minter (Trefoil) and Banducci.

... are also available at


The Early Music Shop
of New England,
Brookline, MA

AESTHÉ
367-b de la Briquade
Blainville, Québec
Canada J7C 2C7
tel: (450) 979-6091
www.boudreau-flutes.ca
8 January 2010 American Recorder
Professionals in the News Northumbrian dam in the Netherlands. The Canal
New York City (NY) recorderist pipes, percus- (grachten) Festival is an annual classical
Daphna Mor plays on Sting’s latest sion and lute music event. The newly-opened
recording (Deutsche Grammophon (the last two at Hermitage Amsterdam museum
B002H3F7F6), If on a winter’s night. times played was the heart of the 2009 festival.
The album’s original and traditional on the CD by The Grachtenfestival Prize is an
songs are connected to winter. Sting, who has also studied classical audience award created during the
British rocker Sting and pro- voice; in his first Deutsche Grammo- 10th festival, in 2007, for talented
ducer Robert Sadin (Grammy winner, phon effort, Songs from the Labyrinth, young musicians. Bosgraaf and Elias
performer, conductor, producer, com- Sting sang John Dowland songs in a played contemporary works and
poser, arranger) sought unique sounds way that reminds listeners that music Baroque music from Rembrandt’s
to replace the traditional all-string of that period was meant as casual time. As winners, the duo will play
accompaniment for “Cold Song,” diversion to be heard in the parlor). concerts at Hermitage Amsterdam
a famous aria from Henry Purcell’s East Bay early music performers, and St. Petersburg, Russia.
opera King Arthur. Sting and Sadin publishers and composers made their Brilliant Classsics has released
asked a studio musician if he knew of CDs, music and instruments available a new Bosgraaf recording of Vivaldi
a wind player familiar with early music at December’s second Early Music concertos (RV444, 439, 98, 105, 442,
as well as world music. That musician Musician's Bazaar at MusicSources, 441 and 443) with Bosgraaf ’s ensem-
mentioned Mor; they asked for sound Berkeley (CA). Recorders were well- ble Cordevento. Sound files from the
files of different styles of recorder represented among participants: Can- CD are at www.erikbosgraaf.com
playing. Sadin contacted Mor to çonièr, Ensemble Vermillian, Farallon In November, Bosgraaf made his
come to the studio immediately. Recorder Quartet, Glen Shannon solo debut at the Amsterdam Concert-
“I ended up recording four bass Music, Healing Muses, East Bay gebouw’s
recorder tracks which serve as the Junior Recorder Society, La Monica, Grote
sustained accompaniment to the song. Les Grâces, Musica Pacifica and Judy Zaal
Sting told me jokingly that he played Linsenberg, Shira Kammen, and (large
recorder in elementary school but he Voices of Music. hall)
misbehaved. Who knows, maybe he Danish-American recorder trio with the
missed out on a career as a recorder Wood’N'Flutes (Vicki Boeckman, Dutch
player?” (A “Cold Song” video— Gertie Johnsson and Pia Brinch Radio
showing some musicians, but not Mor Jensen) is celebrating its 10th anni- Chamber
—is at www.amazon.com/Sting/e/ versary with a concert tour on which Phil-
B000APVN7O/ref=s9_dpt_sa_bio.) they play 800 years of traditional and harmonic, conducted by Thierry
Mor’s recorder is not the only contemporary music. Fischer. He played the Suite in A minor
early or traditional instrument on the The recorder/guitar duo of Erik for alto recorder, strings and continuo by
recording. Besides guitars, modern Bosgraaf and Izhar Elias has won the Telemann and Gesti by Luciano Berio.
strings and brass, it uses melodeon, 2009 Grachtenfestival Prize, presented The concert was broadcast live on
folk harp, lap dulcimer, mandolins, last August at the Hermitage Amster- Dutch classical channel Radio 4.

Aldo Abreu kicked off his new CD, Telemann: Twelve Fan-
tasias & Other Works, with a December 7 CD release concert
at Boston (MA) University’s Marsh Chapel. The recording
features recorder maker Friedrich von Huene's collection of
original, 300-year-old recorders by some of the finest makers
of the 18th century—Bressan, Stanesby Jr., Scherer, Denner
and Boekhout. During the event, von Huene talked about his
collection, and Abreu performed on the instruments. On the
CD are selections from the Telemann Fantasies and from
the Concerto in E Minor for Recorder, Flute and Strings.
The recording is available at www.cdbaby.com.

www.AmericanRecorder.org January 2010 9


Two competitions for young recorder professionals I was happily back at work on
program was successfully cohesive— Saturday morning. Players in the well-
Montréal International
blending wonderfully the colors of the organized Chamber Music Workshop
Recorder Competition had been divided by level, given music,
recorders and gambas. Larivière
gleaned from the group every nuance. and were in pre-assigned classrooms.
By Lisette Kielson, ARS President
Participants were treated to an Afterwards, ARS member Mary
extraordinary Friday evening concert McCutcheon gathered ARS members
Ensemble Caprice presented its 8th
by Swiss virtuoso Maurice Steger, for an impromptu discussion—a great
annual Montréal (QC) Recorder
performing music by Venetian masters. way to share experiences and ideas.
Festival in September at McGill Uni-
The concert was a thrilling whirlwind, The evening’s extravaganza was
versity. I sat on the jury of the Third
highlighting Steger’s incredible energy. Caprice’s first concert of the 2009-10
International Recorder Competi-
More than fast notes, one heard ex- season—a tradition, that they schedule
tion and taught in the Chamber Music
quisite recorder tone and passages with each season’s inaugural program to
Workshop. The jury—with me,
deep reflection and humor. Montréal coincide with the Festival. This works
Matthias Maute, Natalie Michaud,
and Festival harpsichordist Erin Hel- wonderfully, bringing energy and pro-
Drora Bruck and Maurice Steger—
yard matched Steger’s every gesture. viding a tremendous culmination.
judged nine talented semi-finalists,
The audience fell in love with them. Caprice collaborated with Bruck’s
each of whom played a half-hour
One of Israel’s leading recorder ensemble Quynade in “Heavens of the
program of their own design for
players/educators, Drora Bruck gave Orient.” Added to the magnificent
judges and audience. A new require-
a fascinating lecture on the recorder in playing of the recorderists (Maute,
ment this year was that each contestant
Israel. She played audio examples of Larivière and Bruck) were Medieval
prepare and perform in the semi-finals
music composed by Israelis, and per- harp, oud, gamba and percussion. The
a new work for solo alto recorder by
formed by children and by her. How audience was visibly moving in their
Canadian composer Patrick Mathieu.
stimulating to hear about recorder acti- seats to melodies and rhythms from the
A fascinating aspect of this challeng-
vities outside of the U.S. and Europe! 12th to the 20th centuries—I among
ing piece is that it can be played in
Bruck followed the lecture with them, enjoying a myriad of sensual
canon as a quartet; the four finalists
a master class for advanced amateurs. flavors not common to the Western ear.
played it in the Gala Concert Finals.
A remarkable teacher—warm, kind, Visit www.ensemblecaprice
The competition results were:
full of good humor —she pays keen .com for information on the Montréal
player who most moved the judges,
attention to detail. Recorder Festival.
Alexa Raine–Wright, U.S.; best inter-
pretation of the compulsory work,
Leonard Kwon, Korea; originality in
the semi-final program, John West,
U.S.; third prize, Anna Stegmann,
Germany; tie for first prize, Vincent
Lauzer, Canada, and Leonard
Kwon; audience appreciation prize,
Lauzer. Prizes included a first prize of
CAN$3500 and awards sponsored by
Moeck, Mollenhauer, John Ferth
Recorder Center, Jean-Luc Boudreau,
Küng, and Pierrette Ferth.
The Festival comprises an exhibit (back, l to r) Judge Natalie Michaud, competitor Karin
by recorder makers, workshops and Schneider, judge Maurice Steger, recorder maker Jean-Luc
several concerts. The first concert was Boudreau, composer Patrick Mathieu; (middle row) judge
presented by Montréal recorder orch- Lisette Kielson, prize donor John Ferth, prize winners Anna
estra Ensemble Flutissimo with pro- Stegmann and John West, organizer/judge Matthias Maute,
fessional viola da gamba ensemble Les first prize co-winners Leonard Kwon and Vincent Lauzer;
Voix Humaines. Led by Caprice co-
(seated) competitors Terri Hron and Rachel Siegel, judge
artistic director Sophie Larivière, the
Drora Bruck and prize winner Alexa Raine–Wright.
10 January 2010 American Recorder
Moeck/SRP Solo Recorder Playing Competition
It gives me a great sense
of hope for the future By David Bellugi, Florence, Italy (adapted from a Yahoogroups Recorder List posting)
to see such talented
young performers on On November 12-15, I attended the Second prize went to Per Gross,
the recorder, and it is 2009 Greenwich International a student of Dan Laurin at the Royal
also incredibly heart- Early Music Festival and Exhibi- College of Music in Sweden. Gross
warming to see a long tion at the magnificent Old Royal was superbly accompanied by harpsi-
line of people waiting ... Naval College near London (U.K.). chordist Mayumi Kamata and the
to hear three hours I first went to this exhibition in 2007 extraordinary percussionist Lief Karls-
of recorder playing! because, with Pamela Thorby and son. His program included music by
Ross Winters, I was invited to be on Andriessen, Bach, Hotteterre, Steffan
the jury of the 2007 Moeck/SRP Mossen Mark, Shinohara and Zahn-
Recorder Competition [sponsored hausen. I was particularly impressed
jointly by Moeck and the U.K. Society with his Medieval estampie (“In Pro”)
of Recorder Players]. I couldn’t resist as well as the Bach sonata BWV1034
going back again in 2008 to hear 2007 with the balanced, flawless harpsichord
winner Chris Orton perform, and yet accompaniment of Kamata.
again to hear the 2009 competition. First prize went to Pernille Peter-
Needless to say, I also had a fabulous sen, a student of Nikolaj Rominus at
time playing every instrument I could the Carl Nielsen Academy of Music
get my hands on, buying music, meet- in Denmark; she has also studied
ing old friends and making new ones! with Laurin in Stockholm. Petersen’s
The playing level in 2007 was very charming musical personality shined
high, and in 2009 even higher. It gives throughout her varied program that
me a great sense of hope for the future was accompanied by equally charming
to see such talented young performers and attentive harpsichordist Gunnhild
on the recorder, and it is also incredibly Tender, and included music by Berio,
heartwarming to see a long line of Pietro Castrucci, Christensen, Hoso-
people waiting to get into a recital hall kawa and Uccelini. Her virtuoso ren-
to hear three hours of recorder playing! dition of the Castrucci C major sonata
This year the third prize went to remains foremost in my memory, as
Leonard Kwon, who had just won does her glorious sound in her opening
the first prize (ex aequo with Vincent estampie “Principio di Virtù.”
Lauzer,) at the Montréal Recorder The 2009 jury members were
Competition. Kwon, who studies with two recorderists—Maurice Steger
Reine–Marie Verhagen at the Royal (Switzerland) and Julien Feltrin
Conservatory in the Netherlands, was (France)—and harpsichordist Jane
tastefully accompanied by Italian Chapman (U.K.). Steger, as spokes-
harpsichordist Edoardo Valorz. Kwon man of the jury, told the audience
performed two of his own composi- that it was a very difficult choice. He
tions (one of which included use of complimented all three performers,
electronics) plus music by Berio, Gott- who all received enthusiastic applause
Third Montréal International fried Finger, Van Eyck, Yung and the from the audience.
Recorder Competition required piece for this year’s competi- A video of the 2009 competition
co-winners Vincent Lauzer tion, Telemann’s Fantasy No. 2. If I had award speeches is at www.youtube
(top) and Leonard Kwon to single out one piece of his perfor- .com/watch?v=o6xLqufLVqU.
(at bottom with Erin Helyard, mance for its particularly beautiful Information about biennial Moeck/
harpsichord). All Montréal interpretation, it would probably be the SRP competitions, including past
Recorder Festival photos ground by Finger that he and Valorz winners, is at www.srp.org.uk/
by Ragnar Müller–Wille. performed with grace and elegance. competition/competition.php.

www.AmericanRecorder.org January 2010 11


On the
_______
_______
Cutting Edge
_______
_______
_______ Paying attention ...
by Tim Broege, timbroege@aol.com is up to listeners to decide. It helps that
This is very playable Maute and Ensemble Caprice are
music, well-suited for
T he recorder world, like the con-
temporary music scene at large,
is so active it’s hard to keep up with all
the soprano recorder.
so persuasive in their virtuosity.
New developments in recorder
technology and instrument-making
fronts. Worthwhile music, performers, Speaking of Telemann, recorder usually focus on the higher-pitched
ideas, instruments, etc., are sometimes virtuoso Matthias Maute and instruments: sopranos, altos and
overlooked. This column will try to Ensemble Caprice continue to tenors. Adding a new instrument
shed some light on three areas of explore links between Eastern Euro- at the bottom end of the recorder
interest that deserve wider exposure. pean “Roma” (Gypsy) music and the spectrum might easily be overlooked
Next in this issue is a survey of leading figures of the high Baroque. by those solo players who focus on the
recorder activity in Japan, whose con- This is an area of early music that was Baroque repertoire. For ensemble
tributions to the recorder—particu- little investigated until recently. players, an extension to new depths is
larly in the areas of instrument manu- Maute and his band began a an exciting development.
facture and music composition—are series of CDs with Vivaldi and the Since the mid-1990s, the instru-
of great importance. Several pieces for Baroque Gypsies on the label Analekta mentation of the fine Dutch ensemble
recorder from Japan have become con- from Canada. The next installment is The Royal Wind Music (RWM) has
temporary classics: Maki Ishii’s Black Telemann and the Baroque Gypsies. Since included the monstrous subcontra
Intention; Ryohei Hirose’s Meditation; Telemann spent time in Poland and bass recorder, which stands 10 feet tall!
and Makoto Shinohara’s Fragmente encountered various types of Eastern This giant recorder, which follows
(all conveniently available on BIS European music, it is not surprising to Renaissance principles, was the result
CD655, beautifully played by discern Gypsy influences in his work. of a collaboration among RWM
Dan Laurin). Currently Ensemble Caprice is founding director Paul Leenhouts,
One earlier piece from Japan presenting the program “Bach and recorder maker Adriana Breukink,
has escaped wider notice: the lovely the Bohemian Gypsies” in live con- and Winfried Hacki.
Sonatine for solo soprano recorder, by cert. No doubt a CD is in the works. Since 1997 this superb recorder
Hikaru Hayashi. While by no means All three of these interesting double sextet has specialized in instru-
contemporary in style, this 10-minute, programs are influenced by material mental music from 1500-1640. Visit
three-movement work may well be the found in the Uhrovska Manuscript its web site at www.royalwindmusic
first serious piece for recorder to be of 1730, which was largely unknown .org. RWM recently posted a number
composed in Japan. until rediscovered more than 200 years of video clips on their very own Youtube
Born in 1931 in Tokyo, Hayashi later. Full of single-line melodies from channel, showing the subcontra bass
is best known for his choral works. various Eastern European folk tradi- being played in performances from
In his Sonatine, he employs a lyrical tions, the collection has led Maute and Germany. Particularly enjoyable are
diatonic idiom that is without rhyth- Ensemble Caprice toward a belief that performances of Spanish pieces from
mic complexity. Melodic sequences the Uhrovska Manuscript represents a September 4, 2009, concert. “Un
occur frequently within a range of low Romany performance practice. This Sarao de la chacona” is especially
C up to A above the staff. In other project hopes to correct the long infectious, with lively syncopations
words, this is very playable music, neglect of this valuable resource, and typical of Renaissance Spanish
well-suited to the soprano recorder. in so doing bring a very contemporary dance music.
Those who enjoy the Telemann fan- approach to performance practice. The subcontra bass anchors the
tasias will find Hayashi’s Sonatine Whether the links between the ensemble and helps create a sound like
worthwhile. It is published by music of the Roma and Bach, Tele- fine organ pipes. The bottom end of
Mieroprint (EM 1110) in mann and Vivaldi are convincingly the recorder ensemble can be over-
Munich, Germany. demonstrated by these performances looked no longer, that’s for sure!
12 January 2010 American Recorder
How the Recorder
came to Japan
J by such composers as Ryohei
apanese recorder music, written Early 20th-Century Years By Ewald Henseler
How did the modern recorder find and Mayumi Otsu
Hirose (1930-2008), Maki Ishii its way to Japan?
(1936-2003) and Makoto Shinohara Some of what we know is summa-
(b. 1931), has long become a standard rized by Ichiro Tada, a pupil of Gustav
part of the repertoire of any accom- Scheck (1901-84, one of the first sig- Ewald Henseler (Ph.D., Bonn
plished recorder player. Even the nificant recorder players in Germany University) is professor of musicology and
recorder player who has not played during the 1920s, whose students recorder at Elisabeth University of Music
Japanese music has probably heard included Hans–Martin Linde). Tada in Hiroshima, Japan. His publications
music written by these composers, wrote the following in a January 1982 include articles on Catholic music
who wrote most of their works in edition of Early Music (10, no. 1:39; in Japan and on Japanese recorder music.
the last half of the 20th century. “The Recorder: Past and Present”). He has edited a number of recorder works
Little is known about how the In 1929, a Japanese gentleman who by Japanese composers for Mieroprint in
recorder first became known in Japan. had graduated from the University of Germany, his home country. His recorder
The story, as it exists, contains several Cambridge brought some recorders playing can be heard on Albany Records.
interesting coincidences. back to Japan, and in the 1930s
Mayumi (Adachi) Otsu graduated with a
Master of Arts from Elisabeth University
in Hiroshima. For her master’s thesis,
she conducted research on the music of
Naotada Yamamoto. She is co-author
of Meijiki-Katorikku-Seikashu
(Catholic Hymnology in Meiji-Era
Japan; Tokyo: Kyobunkan, 2008).

Further information about early Japanese


recorder music is most welcome and
may be sent to the authors at:
Elisabeth University of Music
Naka-ku, Nobori-cho 4-15
730-0016 Hiroshima JAPAN
henseler@mocha.ocn.ne.jp

Illustration and fingering chart, after Ginteki-Doku-Annai (Guide to Playing the Ginteki),
published in 1898. Is it a recorder? No, it is a silver flute (ginteki, also called furajiyoretto,
Japanese for flageolet). This indicates that the terms flute and flageolet were used synony-
mously in the Meiji (1868-1912) and Taishô (1912-26) periods in Japan. However, the differ-
ence between them is one of detail rather than of principle: it lies in the number and position
of the fingerholes. There are six holes on the flageolet (also called French flageolet), and two of
them must be at the back of the tube. All holes of the ginteki are on the front—thus it is neither
a flageolet nor a recorder. It is a six-holed flute, better known as a tin whistle or penny whistle.

www.AmericanRecorder.org January 2010 13


the German government sent some 3:109), David Lasocki includes a
recorders and music as gifts to two photograph (below, credited to the How disappointed
Japanese professors. Shortly after collection of Emil Seiler) taken at the Sakamoto must have
World War II, an American came Berlin Hochschule für Musik in been when he finally
to Japan with recorders and pro- 1932. Among others in the photo received the first
vided an important impetus to the with Hindemith are Harald Genzmer, finished instrument
introduction of the recorder in post- Bernhard Heiden and “Shimofusa from Nikkan. It was an
war Japan. (He later became a (first name unknown; alto recorder, while his
virtuoso of the shakuhachi.) bass recorder).” books were intended for
The “Japanese gentleman” men- It is also known that, upon the soprano recorder!
tioned above was Keiichi Kurosawa Sakamoto’s return to Japan in about
(1903-82). Even though he brought May 1939, he had in his rucksack items and reproduce them for wider
recorders to Japan in 1929, he seems three Herwig recorders (descant or use—the instruments were copied
to have forgotten about the them until soprano, treble or alto, and tenor). (first probably in wood) by the manu-
after the War, when he met the “Amer- And it was he who introduced the facturer Nikkan (now Yamaha). At the
ican,” Leo Mario Traynor (1918-86). instrument for the first time to the same time, in November 1943, Saka-
As far as the two “Japanese pro- public in a broadcast by the Japan moto also introduced the first Japanese
fessors” are concerned, they were two State Radio (JOAK, now NHK) on School for the Descant-Recorder (pub-
students of Paul Hindemith—namely November 7, 1941. The recorder was lished by Ongaku-no-Tomo-Sha Cor-
Kanichi Shimofusa (1898-1962) and played by Jun Sumi, an oboist, who poration in two volumes, 24 and 55
Yoshitaka Sakamoto (1898-1968). was accompanied by Sakamoto himself pages)—or, as he called it instead of
Unfortunately, Shimofusa’s pub- on a “Gebrüder Ammer” clavichord “recorder,” the “wood flute” (kibue).
lications (music, articles, etc.) contain loaned by Eta Harich–Schneider. How disappointed Sakamoto
no reference at all to the recorder. The works for recorder on this short must have been when he finally
However, it is almost certain that he program (aired about 8:40-9 p.m.), received the first finished instrument
was one of the first Japanese to make included an anonymous Baroque Suite from Nikkan. It was an alto recorder,
use of this instrument. In “The third (Aria, Minuet, Gigue, Anglaise) and while his books were intended for the
recorder age of Bernhard Heiden,” Handel, Gavotte, Sarabande, Minuet. soprano recorder!
an article published in The American The story continues after that. None of those early instruments
Recorder of August 1989 (30, no. In typical Japanese tradition—to study seems to have survived World War II.
The two little method book volumes
At the Berlin Hochschule für Musik in 1932 (l to r): Paul
were also thought to have vanished
Hindemith (cornetto); unidentified man, standing; Harald
without a trace until, some years ago,
Genzmer (crumhorn); “Shimofusa (first name unknown; one of them was discovered in the
bass recorder)”; Bernhard Heiden (soprano recorder in A). Parliament Library in Tokyo (JP 44-
66194). A brief glance at the existing
book shows that Sakamoto’s publica-
tion was very much a child of its time:
written for an instrument with German
fingering; and except for shôka (school
songs) required by the Japanese Edu-
cation Ministry, with music mostly
made up of German folk songs,
including the “Horst Wessel Song”
(the Nazi Party anthem). This is
understandable because, as Sakamoto
wrote in the preface, the idea of intro-
ducing the instrument to Japan came
to him when he heard it being played
at the Wannsee Lake in Berlin by “the
boys and girls of the Hitler Youth.”
14 January 2010 American Recorder
One of the most famous folk songs in Japan, the Sado-Okesa (Song of the Sado Isle),
arranged for two soprano recorders by Yoshitaka Sakamoto, as it appears on page 50
of his Kibue-Kyôsokuhon (School for the Descant-Recorder).

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many other composers of the 17th and 18th Century. Historical methods
like Geminiani’s and Saint Lambert’s Rules, and just as significant,
contemporary solo and chamber music, e.g. the series
“Modern Music for the recorder from Japan” edited
by Ewald Henseler and Mayumi (Adachi) Otsu from
Elisabeth University of Music, Hiroshima.

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www.AmericanRecorder.org January 2010 15


After World War II: who played with us. These included
Leo Traynor and Friends
The trio’s first public Colonel (later Brigadier General)
Tada’s “American” aroused interest in appearance—presumably Eric Svensson, David Symon,
Japan with his recorders after the War. Norman (later Sir Norman) Brain,
A 1986 issue of the VdGSA News the first “live” concert Brian Hitch, Toyosuke Suzuki and
(23, no. 4:2) describes Traynor: with recorders in Tony Blishen…. I think it would be
During World War II he served impossible for me to list all the people
in the Army of the Pacific as [an] Japan—was on besides those already mentioned with
intelligence officer. He remained December 14, 1949. whom I have played consorts, but
in Japan after the war and became let me try: Makoto Furuya, Tsuna
a civilian employee of the Army received my first recorder, a Herwig Iwami, Lili and Hikaru Hayashi....
Documents Center there [in 1947]. tenor…. I taught myself to play, There is no evidence that Tada’s
He retired as chief of the Center in as did all recorder players in those “Japanese gentleman,” Keiichi Kuro-
1984 and moved to the Washington, days. Within two years I found sawa, played the recorder, either in
D.C. area. myself drafted into the army, and public or in private, until he met
(At http://vdgsa.org, the Viola wherever I went I searched for other Traynor. This is in spite of the possi-
da Gamba Society (VdGS) of America players…. In February 1946 I was bility that he might have heard, or
web site credits Traynor with playing sent to Japan, and there I met several perhaps even played, the recorder
recorder, harpsichord, shakuhachi, people who had a very profound while he lived in England, 1924-29;
sho and viol. In 1984, he started an influence on my musical development. or when he was a successful business-
international composition competition There was Eta Harich–Schneider, man and the director, beginning in
for contemporary viol music—then the harpsichordist and musicologist, 1929, of The Tokyo Madrigal Club
sponsored by Japan’s VdGS and more and Kurosawa Keiichi, the director (now The Tokyo Madrigal Singers).
recently by the VdGS of America.) of the Tokyo Madrigal Singers…. Perhaps he forgot about the instru-
In the manuscript for his I believe it was in 1947 that the ment until Traynor reminded him.
mémoire, The Pleasures of Playing Kurosawas—Keiichi and Hiroshi Keiichi and his son Peter began
Consort Music, Traynor wrote in 1983: (Peter)—and I began meeting at playing in a trio with Traynor. The
I had played piano for ten or eleven least once every two weeks to play trio’s first public appearance —
years when in 1939[or 1938?] I recorders. Often there were others presumably the first “live” concert

The Japanese school recorder, a so-called Superio–Paipu (Superior Pipe) manufactured


by Nikkan: left, an advertisement from the September 1957 magazine Ongaku-no-Tomo;
right, another Nikkan recorder, as shown in the Tokyo Patent Office record no. 38-1528
(applied for on February 25, 1960, and issued on February 7, 1963).

16 January 2010 American Recorder


with recorders in Japan—was on
December 14, 1949, at a “Special
Xmas Meeting” where the music
R Strings & Early Winds
played was taken from Christmas
Modern/Baroque Strings Viols Vielle
Carols (ed. Simpson). The December
16, 1949, edition of the newspaper
Nippon Times printed this report:
E Küng Moeck Mollenhauer Paetzold Yamaha Ehlert
Wenner Baroque flutes
A postwar development of the club
is the introduction of “recorders,”
C Wendy Ogle Lu-Mi Ifshin Snow
Competitive Prices

O
Sent on Approval
flute-like instruments used in Personalized Service & Advice
Shakespeare’s day. Mr. Kurosawa,
his son, Peter Kurosawa, and Leo
Traynor gave a trio recorder per-
formance as part of Wednesday’s
R
program. Mr. Traynor, a G-2 staff
member, is also an expert on the
Japanese flute and has participated
D
in a number of programs with
Japanese musicians.
E
After that, the recorder was heard
in the 21st-anniversary concert of The R Lazar’s Early Music
S
Tokyo Madrigal Club on May 25,
(866) 511-2981 bill.lazar@gmail.com
1950 (“in its first public presentation
www.LazarsEarlyMusic.com
for Occupation audiences”). The 425 N. Whisman Rd., #200, Mtn. View, CA 94043
program appears below.

www.AmericanRecorder.org January 2010 17


Probably the most important con- Affairs Department of the Ministry
It seems not only certain cert played by the trio was on October of Education. The following year a
11, 1950: a hirô (presentation) at the proposal was made that the recorder
that Hayashi was the Japanese Education Ministry (see be taught in elementary schools.
photo below). The works played were Today perhaps 2,000,000 pupils
first Japanese composer the Partita by Johann Christian Faber [in Japan] learn to play recorder
(ed. Brachvogel); and various pieces each year.
for the recorder, but by Purcell, Telemann, etc., from Kleine
Duette alter Meister (ed. Kaestner); Traynor and Hikaru Hayashi
and from Old Masters for Recorder Trio Interestingly, as it often turns out,
was also in fact very (ed. Hunt). This concert was Traynor had a previous history with
significant because the recorder (in the recorder. Even before he met the
likely the first Japanese Japanese rekôdâ, now rikôdâ) was Kurosawas, Traynor knew the young
chosen a few months later, over an musician Hikaru Hayashi.
person playing our eight-holed vertical bamboo flute, to Hayashi’s only wish was to
be included in the school curriculum. become a composer, but he had no
instrument in Japan. Traynor recalls this in a December scores to study. Traynor gave him a
1982 letter: pocket-score of Prokofiev’s fifth sym-
But perhaps the most important phony. Hayashi returned the gift in his
[thing], historically, was the lunch- own way—by composing the Sonatine
time concert of recorder trios that Kei, für Blockflöte, dated January 21, 1947,
Peter and I gave one rainy day on his only piece for the instrument.
October 11th, 1950 in the Cultural

Keiichi Kurosawa,
Leo Traynor and Hiroshi
(Peter) Kurosawa in a
newspaper clipping from
the October 12, 1950,
newspaper Yomiuri Shinbun.
(Courtesy of H. Kurosawa)

18 January 2010 American Recorder


Hayashi, a well-known composer
in Japan today, was born on October Hikaru
22, 1931, in Tokyo. When he wrote Hayashi—
his Sonatine für Blockflöte in 1947, then and
amazingly, he was only 15 years old. now.
It may be the first work ever written
by a Japanese composer for our (Top photo
instrument. from the
Hayashi’s Sonatine for solo
magazine
soprano recorder is basically diatonic,
Ongaku-
and has three contrasting movements
(Moderato, Larghetto, and Rondo:
no-Tomo,
Allegretto scherzando). It is fairly September
sophisticated—though, from the tech- 1959; bottom
nical point of view, not very difficult to photo by
play. It was published for the first time Y. Masunaga,
in 2000 by the German firm Miero- courtesy of
print (EM 1110), which has made a H. Hayashi)
sizable contribution to the recorder
literature by, among other things, pub-
lishing the latest modern Japanese
recorder works (currently 15 pieces;
our 1996 article in German, “Neue
Blockflötenmusik in Japan,” in Tibia,
2:96-105, describes 10 works Miero-
print had published at that time).
In digging deeper for information
about Hayashi, we discovered another
coincidence: that the recorder was
nothing new to him when he met
Traynor and then wrote his Sonatine.
As early as the age of five or six, his
parents had brought him a soprano
recorder back from Vienna (in 1936?).
“My recorder was made [!] in
Austria,” he wrote in a letter to the
authors, dated March 31, 1994.
With this surprising information,
it seems not only certain that Hayashi
was the first Japanese composer for
the recorder, but was also in fact very
likely the first Japanese person playing
our instrument in Japan.

www.nicholas-
www.nicholas-wynne.co.uk
Original sheet music for recorders
and a variety of other instruments.
Instantly available as pdf downloads or as hard copies by post

www.AmericanRecorder.org January 2010 19


At right is the third
movement, Rondo,
of the Sonatine in
Hikaru Hayashi’s
own hand.

Please note the following


errors in the published
edition of the Sonatine:

1st Movement: in measure 28,


the second note should be B  .
2nd Movement: the fourth note
of measure 72 should be
G  (like measure 74).
3rd Movement: in measure 28,
the third note should be E.

20 January 2010 American Recorder


Changing attitudes toward the
recorder in Japan over the years

In 1954 Japan, except as a school instrument,


the recorder was little more than an
almost-forgotten curiosity in the history
of musical instruments (chin-gakki). This
photo shows K. Kurosawa playing the recorder,
from “Players of Odd Musical Instruments,”
in Asahi-Gurafu (The Asahi Picture News),
April 21, 1954, p. 22.

Pokémon comic books,


Pokémon toys! Everything and
anything today is Pokémon,
which started as an electronic
game for the Nintendo Game
Boy and branched out into
books, movies, TV, trading card
games and assorted toys. There
is even a Pokéflute that can be used for different
purposes such as waking up a hibernating bear-
like character (as in this Game Boy screenshot)
and making other “Pocket monsters” dance.

Now it is the robot gadget cat Doraemon


(right), another popular Japanese character,
who teaches the recorder to Japanese children.
(Title page of Rikôdâ ga fukeru, published by
Shôgakukan, 1999)

www.AmericanRecorder.org January 2010 21


Koinobori

%F
10 measures introduction Japanese Folk Song
Moderately Arranged by JOHN HIGGINS

& 43 œ œ œ œ œ œ œ œœœ œ œ ˙
Œ
œ œ œ œ œ œ œœ
Ya - ne yo- ri ta - ka - i ko- i-no- bo - ri. O - o - ki - i ma-go - i wa

&œ œ œ œ Œ œ œ œ œ œ œ œ œ
("nnn")

˙ œ œ œ œœ
fi
o - to - u - sa - n. Chi - i - sa - i hi - go - i wa ko - do - mo - ta-

& ˙ Œ œ œ œ Œ
œ œ œ œ
To Coda

œ œ œ œ ˙
chi. O - mo - shi - ro - so - u ni o - yo - i - de - ru.

& œ œ œ œ œ œ œœ Œ
4
œ œ œ œ ˙
High-er than the roof-tops, the ban-ners ride the breeze.

& œ œ œ œ œ œ œ œ œ œ œ Œ
œ ˙
Swim - ming through the gen - tle wind, like in the deep blue seas.

& œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ Œ
See the big fish, that's the fath - er swim-ming with his child.

œ œ œ
D.S. al Coda

& œ œ œ œ Œ
4
œ œ œ œ ˙
fi
Up so high, those ban - ners fly, swim-ming in the sky.
CODA
œ œ œ U
& œ œ œ œ
rit.

œ œ œ œ ˙.
Up so high, those ban - ners fly, swim - ming in the sky.

Copyright ©2010. Used in American Recorder with the kind permission of Hal Leonard Corporation.
All rights reserved. ARS members may reproduce this music for their own use,
either for RecorderDay! or for the World’s Largest Concert. Any other use is strictly prohibited.

22 January 2010 American Recorder


Education Special for Play-the-Recorder Month

A Recorder Lesson Lesson Plan by Bonnie Kelly


Introduced by Marie–Louise Smith

Plan for Koinobori March is Play-the-Recorder Month


for the American Recorder Society—when
Koinobori is a Japanese folk song sung by children in celebration of Children’s individual recorder players, ensembles and
Day. The vocal version of Koinobori, which can be played on soprano or alto ARS chapters plan and carry out creative
recorder, is reproduced after this lesson plan. Further information about the song ways to showcase the recorder in their
and Children’s Day, along with a lesson plan to help teach students to sing this communities worldwide.
song, can be found at www.americanrecorder.org/events/ptrm.htm. In addition, this year for the first
This extension of the plan includes suggestions for adding the recorder. time, the ARS is partnering with national
It assumes that your students are already familiar with singing the song. It also music educators’ organization MENC
assumes their familiarity with the notes A, G, E and D on soprano recorder. to highlight the use of the recorder in music
I would use these suggestions without the pre-recorded accompaniment. classrooms across the country. ARS Board
member Bonnie Kelly, a retired elemen-
I. Have children echo you, using A, G, E, D. tary music teacher and career-long
MENC member, collaborated with the
Here are some sample patterns:
MENC’s Creative Director for Special
Programs to plan the best way to achieve
this cooperation. They have chosen to use a
Japanese folk song, Koinobori, that will
be part of MENC’s World’s Largest
Concert on March 11. It includes an
accompanying recorder part, to be prepared
by students across the U.S. and performed
in this spectacular program.
The lesson plan at left shows how
one experienced music specialist would
approach this material and prepare a
class of elementary children to play it.
While this folk song may be aimed
primarily at school children, adults can
also benefit from playing it. “Simple”
melodies require enormous control to pro-
duce a beautiful tone quality. This lovely
song can offer adults the challenge to work
on the techniques involved in producing a
gorgeous sound. For a rehearsal track,visit
Teach the melody below by rote or using notation. Have part of the class www.menc.org/documents/wic
play the accompaniment below while others sing the song, then switch parts. /2010files/tracks/06_Koinobori_
TRAX.mp3

www.AmericanRecorder.org January 2010 23


II. Return to echoing patterns, starting on D and introducing
C below the staff.

Have some students sing the song while others accompany by playing low C
as a drone (on dotted half notes). Switch parts.
Repeat above, starting with A and introducing C above. Again, some
students sing while others play a drone (this time high C on dotted half notes).

III. Show the class the melody for Koinobori, preferably pro-
jected on a screen or white board, so that you can point to it.
Have students sing the letter names of the notes while fingering them on their
recorders (recorders may rest on chins). Ask for volunteers to play four-measure
patterns. Ask those who are comfortable reading the melody to play it. Those who
are not comfortable playing the melody can return to the accompaniment pattern.
Another possibility is to have groups of students practice one phrase and then
play individual phrases in sequence to perform the whole song.

IV. For a final performance, try any or all of the following:


· All children sing Koinobori in unison.
· Some children sing while others play the accompaniment.
· Some (or all) children play the melody.
· Some play the melody and others the accompaniment.
Transition among the above with improvised patterns (in C pentatonic)
performed by volunteers.

Play-the-Recorder Month
March is the ARS’s annual Play-the-Recorder Month celebration, and
Saturday, March 20, has been designated Recorder Day!—plus this year
the ARS has teamed up to celebrate MENC’s Music in our Schools Month
and the World’s Largest Concert on March 11.
Start planning now for your own creative activities to be held during
March. The ARS will again award prizes for Most Creative Activity, and two
prizes targeting increased chapter membership. Submit an event report by
April 27 to the ARS office in order to be eligible for the chapter membership
prizes, or the Most Creative Activity award.
A special dues price of $35 is once again available during March for
new ARS members, or for former members returning after an absence of
longer than two years. This is the perfect time for chapters to increase ARS
membership. Prizes will be awarded to the chapter that increases its member-
ship by the largest percentage as well as the chapter that gains the most
new members in terms of actual numbers.
The ARS has celebrated the recorder for over 70 years. We hope you will
keep celebrating it however and whenever you can—but especially in March.

24 January 2010 American Recorder


Chapters
& Consorts
_______
_______
_______
_______ Peter Seibert marks 40 years as Seattle Recorder Society music director,
_______ chapters are busy hitting the parkways, performances and workshops
and self-effacing way, and flyers handed out, and instruments
presented a unique pro- demonstrated. Eighteen individuals
gram of arranged and signed up for more information.
new works: Une Joyeuse Portland, OR, presented a perfect
Petite Danse, The Bijou opportunity for a recorder group to
Street Slow March, The “show the world its stuff ” on three
Wabash Blues, Ashokan Sundays in June, July and August. The
Farewell, You Made Me event, Sunday Parkways, closed miles
Love You, Yesterday, of streets around neighborhoods and
Nadine’s Tango, Horsing parks, drawing thousands of
Around and Mood Indigo. pedestrians and bicyclists to explore
His wife, along with some the city by foot or on two wheels.
children and grand- On each of the Sundays, the parks’
Greater Denver (CO) Chapter’s children —perhaps hearing his music many festivities included an intrepid
October meeting was memorable as for the first time on recorders— were group of 12-15 recorder players, dub-
Dick Wood (above, toasted by chapter an enthusiastic “cheering section.” bed the Portland Recorder Orches-
members in Lisa McInnis’s photo) pre- On the November 7-8 weekend, tra (photo below by Robert Tilley).
sented an interesting program of his the Rio Grande Chapter constructed Organized and led by Portland
own compositions and arrangements and staffed a booth at the annual Las Recorder Society member Ellen
—one, LeClercq’s Air, an ARS Mem- Cruces (NM) Renaissance Faire spon- Mendoza, the group gave many
bers’ Library edition. Anyone who has sored by the Dona Ana Arts Council folks in the bicycling community their
ever tried to compose music can appre- (www.las-cruces-arts.org/events first exposure to recorders, buzzies
ciate the complexity and difficulty in /renaissance-artsfaire/). Eight and other early instruments. Judging
doing it right. Wood, in his humble members staffed the booth over the by the number of people stopping to
two days—and, for several hours each listen, and their smiles, the orchestra
CHAPTER NEWS
Chapter newsletter editors and publicity
day, several members played music for was a big success. Next year there is
officers should send materials for the Faire patrons. Information on the talk of five Parkway dates; Mendoza
publication to: AR, 7770 South High St., chapter’s activities was available, cards hopes the orchestra will be even bigger.
Centennial, CO 80122-3122,
editor@americanrecorder.org.
Also send short articles about specific
activities that have increased chapter
membership or recognition, or just the
enjoyment your members get out of being
part of your chapter. Digital photos
should be at least 3”x4”x300dpi TIF or
unedited JPG files. Please send news to the
AR address above, and to the following:
ARS Office, 1129 Ruth Drive,
St. Louis, MO 63122-1019,
ARS.recorder@
AmericanRecorder.org;
and to Bonnie Kelly, Chair,
Chapters & Consorts Committee,
45 Shawsheen Rd. #16, Bedford, MA
01730, bksharp2@gmail.com.

www.AmericanRecorder.org January 2010 25


Philomel Baroque Orchestra recorder artist Elissa Berardi led the October annual
fall workshop of the Philadelphia (PA) Recorder Society, attended by 22 players
ranging in age from 11 to 76. The workshop concentrated on performing and
interpreting Baroque music, from the 17th and 18th centuries, and included
abundant technical instruction, including some period ornamentation.
Berardi began the day with Tai Chi-Qigong exercises (deep breathing and a
series of mind-body movements). By incorporating some of these practices into a
warm-up, one can learn to relax the body, breathe from the diaphragm—beyond
the typical shallow-chest breath. She shared how to do “three-stage breathing,”
useful for long phrases: first breathe from the diaphragm, then from the lower
chest, and then the upper chest (with shoulders, upper chest and neck relaxed).
Part of the morning helped assess technique and provided valuable tips.
Fingers should move “levered” from the knuckles in a gentle C shape and should
hover closely over the openings. Berardi handed out packets for both C and F
instruments of scales and arpeggios, which she recommends doing daily—playing them in myriad patterns and tempi,
having fun while building technical tools for better sight-reading and for flexibility with musical interpretation. To increase
speed and expressivity, she shared advice on double-tonguing. She particularly recommends the syllables duh-gah, but points
out that players must find syllables that work for them. Summing up, she said the recorder player “must incorporate
efficiency of hands and fingers with efficiency and coordination of tongue and breathing.”
Philomel Baroque’s co-artistic director and harpsichordist Bruce Bekker, who is Berardi’s husband, also gave a short
introduction to Baroque music, using thumbnail sketches of the workshop composers to place them in the context of their
time. During the balance of the day, Berardi guided the group in interpreting Baroque pieces: Forlana and La Venitienne by
Andre Campra; Pastorale by Arcangelo Corelli; Partie sur les Fleut dous a 3 by Johann Christoph Faber; a Menuet and a
Rondeau by Lully; and Hornpipe (Hole-in-the Wall) and If Love’s a Sweet Passion by Purcell.
by Janice Arrowsmith

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26 January 2010 American Recorder


With degrees in music from
Rutgers University, Harvard Univer-
sity and Amherst College, Seibert has
taught at early music workshops in the
U.S., U.K. and Canada, and has held
teaching posts at University of Wash-
ington School of Music and Rutgers.
He served on the ARS Board (but
may be known now to ARS members
for the special 2007 ARS Play-the-
Recorder Month piece Deep Blue Sea).
Playing recorder was a part of
Seibert’s early family life, his mother
and father being avid recorder players.
In 1967, a couple of years after Seibert
arrived in Seattle to take a position as a
music teacher, he was invited to teach
adult recorder classes at the New
School for Music. With the formation
of the SRS in the late 1960s, Seibert
Seattle Recorder Society began to informally direct meetings of
Honors Seibert’s 40 years 25-30 members. He was formally
appointed music director in 1970.
by Nancy Gorbman SRS meetings have always been
education-based as well as a venue for
At the October meeting, opening its playing music. Though the format may
2009-10 season, the Seattle Recorder have changed slightly over the years, a
Society (SRS) celebrated composer/ variety of subjects—articulation, orna-
arranger and conductor Peter Sei- mentation, recorder care—are covered.
bert’s 40th season as music director. Seibert’s wealth of musical know-
Seibert (above, photo by Molly Warner) ledge spans centuries and styles from
has been a vital and impressive force in Medieval to 20th Century. He has Lost in Time Press
shaping the vibrant recorder and early provided his own arrangements and
music community in Seattle, WA. His compositions for most SRS meetings New works and
tribute included a presentation of a cer- during his tenure as music director, arrangements
tificate and plaque, a rendition of my and the October meeting was no dif- for recorder ensemble
SATB recorder version of For He’s ferent. The group enjoyed working on
a Jolly Good Fellow, and a reception. his Fantasia on English Folksongs recently Compositions by
composed in the style of Gustav Holst.
Frances Blaker
The piece included two easy lines (for Paul Ashford
SWEETHEART soprano and alto), but was challenging Hendrik de Regt
FLUTE CO. enough that the group began by speak- and others
Baroque Flutes: our own ing parts to get the rhythms. For sopra-
“Sweetheart” model
Fifes, Flageolettes
nino to contra bass, the work will be Inquiries:
“Irish” Flutes & Whistles. played later in the season on a concert Corlu Collier
Send for brochure and/or
antique flute list. by the Recorder Orchestra of Puget PMB 309
Sound, for which Seibert serves as 2226 N Coast Hwy
32 South Maple Street
founding music director and con- Newport, Oregon 97365
Enfield, CT 06082
(860) 749-4494 ductor. The SRS group has given an www.lostintimepress.com
Ralphsweet@aol.com corlu@actionnet.net
www.sweetheartflute.com annual spring concert since 2005.

www.AmericanRecorder.org January 2010 27


Q &
_______
_______
A
_______
_______
_______ Garklein recorders
uestion: I recently purchased an berg; and yet a third ivory garklein,
Q Aulos plastic garklein recorder,
which I have used in recorder presenta-
Referring to it as a anonymous and undated, now located
in The Hague, Netherlands. The
tions to classes of fourth graders, much to
little sopranino is lowest note of this anonymous recorder
the children’s delight. What exactly is the not quite accurate. is d''' relative to a'=440 (equivalent to
origin of the name “garklein?” The finger- c''' relative to a'=466, the most com-
ing chart that came with the Aulos calls it found in collections of original instru- mon Renaissance pitch standard).
a “little sopranino.” I would also like to ments. Peter Thalheimer, in an article Master recorder maker Fred Morgan,
know something about the history of the in the German journal Tibia (Vol. 15, who investigated its fingering, con-
instrument.—Jim Sitton, Banning, CA No. 3, 1990, pp. 203-5), mentions an sidered it to be a transitional (i.e.,
ivory garklein believed to have been
A nswer: The name “garklein”
comes from two German words:
“gar” (very) and “klein” (little). The
made by the Mazel family in Nurem-
berg around 1670. That one appears
17th-century early-Baroque) recorder.
Lander’s database includes no
garkleins from the 18th century and
garklein, only about six inches long, in Nicholas Lander’s extensive data- only one from the 19th century,
is the smallest recorder. base of original recorders existing currently housed in France’s La
Referring to it as a little sopranino today in European and American Couture–Boussey Musée. It is an
is not quite accurate. The modern collections. It is now housed in the anonymous boxwood instrument
sopranino recorder is an F instrument Museo Civico in Modena, Italy. dating from the 1880s or ’90s, coin-
an octave higher than the alto, while Lander’s database also includes ciding with the start of the early music
the garklein is a C instrument an another ivory garklein, made around and instrument revival in Europe.
octave higher than the soprano. 1660 by Hieronymus Franciscus According to the Tibia article
Its lowest note is c''', two octaves Kynseker and now housed in the mentioned above, German maker
above piano middle C. German National Museum in Nurem- Rainer Weber began producing gar-
Use of the name “garklein” for a kleins in the mid-20th
recorder-like instrument can be traced century, and then other
back to the early 17th century. Michael makers followed suit.
Praetorius included a woodcut plate Two 20th-century gar-
(at right) of eight different sizes of kleins, modeled after
recorders in the Appendix to Part II early instruments, are
of his monumental treatise Syntagma included in Lander’s
musicum (1619). The sizes ranged database.
from the “Grossbass” in F (similar to Since the garklein is
the modern contra bass) to the “klein so small, most adults can
Flötlein” (similar to the modern sopra- barely fit their hands
nino, but pitched in G rather than F). around it, and it is also
The same plate also included an even very shrill. Therefore,
smaller instrument, only three or four it has had little use as
inches long, which Praetorius called a either a consort or solo
“gar klein Plockflötlein” (very little instrument. Its main
fipple flute). That one was not, how- use today is in presen-
ever, a true recorder since it had only tations like yours for
three fingerholes and a thumbhole. elementary-school
A few true garklein recorders classes.
dating from the 17th century can be Carolyn Peskin

28 January 2010 American Recorder


References Consulted
Carter, Stewart, editor. A Performer’s
Guide to Seventeenth-Century Order your
Music. New York: Schirmer
Books, 1997. The garklein is
mentioned on p. 74 in Chapter 5,
recorder discs
“Woodwinds,” by Herbert W.
Myers.
through the
Griscom, Richard and David Lasocki.
The Recorder: A Research and ARS CD Club!
Information Guide. New York and
The ARS CD Club makes hard-to-find or limited release
London: Routledge, 2003. The CDs by ARS members available to ARS members at the
Tibia article by Peter Thalheimer special price listed. All CDs are $15 ARS members/
$17 Others unless marked otherwise. Two-CD sets are $24 ARS members/
about the history of the garklein is $28 Others. Add Shipping and Handling: $2 for one CD, $1 for each additional CD.
mentioned on p. 79. An updated list of all available CDs may be found at: www.americanrecorder.org.
Hunt, Edgar. The Recorder and Its
Music. New York: W.W. Norton, ____J.S. BACH TRIO SONATAS
Judy Linsenberg, recorders. Arr. by Linsenberg from Trio Sonatas for Organ
1962, pp. 43-4. This is just one BWV525-530. Virgin Classics Veritas, 1993.
____BURIED TREASURE: TOPAZ & SAPPHIRE
of many references showing the Ensemble Vermillian, Frances Blaker, recorders. Transcriptions of Buxtehude's Op. 1,
woodcut plate of recorders in the other pieces by Buxtehude, works by Biber, Johann Schop, Schmelzer. Fafarela, 2007.
____DOLCE MUSICA – A CONTEMPLATIVE JOURNEY
Appendix to Part II of Syntagma Eileen Hadidian,flutes, recorders; Natalie Cox, harps. Celtic, Renaissance and
Medieval melodies. Healing Muses, 2005.
musicum by Michael Praetorius. ____FOLIAS FESTIVAS
Lander, Nicholas S. “Original Belladonna Baroque Quartet: Cléa Galhano, recorders; Margaret Humphrey, Baroque
violin; Rececca Humphrey, Baroque ’cello; Barbara Weiss, harpsichord. Music from
Recorders, Makers & the 16th and 17th centuries by Falconieri, de Tafalla, Merula and others. Dorian, 1998.
Collections,” www.recorder ____PARTY OF FIVE: A FEAST OF VIVALDI AND TELEMANN
Blue Baroque Band, Cléa Galhano, recorder. Old sounds of recorder & harpsichord
homepage.net/original.html. juxtaposed with modern oboe, bassoon & violin. Vivaldi: Concerto in DM, RV94;
Concerto in gm, RV107; Concerto in gm, RV103.Ten Thousand Lakes, 2006.
Only six of the more than 1,300 ____REFLECTIONS, MUSIC TO SOOTHE AND UPLIFT THE SPIRIT
recorders included in this Eileen Hadidian, recorder & Baroque flute, with Celtic harp and 'cello. Celtic,
traditional, Renaissance & Medieval melodies. Healing Muses.
database are garkleins. ____RENOVATA BY ERWILIAN
Jordan Buetow, recorders et al. Recorder—garklein to bass—leads ensemble of exotic
stringed instruments on a journey through both energetic and expressive melodies.
Purely organic, acoustic experience, a sonic blend of traditional melodies with
distinctly modern influences. Wood, Wind & Wire.
____STOLEN JEWELS
Ensemble Vermillian, Frances Blaker, recorders. 17th-century German music adapted
by Blake.Buxtehude Op. 1, Biber, Rosenmuller, Krieger, JM Bach. Fafarela Recordings.
____SENFL (LUDWIG) Farallon Recorder Quartet (Letitia Berlin, Frances Blaker,
Louise Carslake, Hanneke van Proosdij). 23 lieder, motets and instrumental works
of the German Renaissance.
____TASTE OF PORTIQUE
L'Ensemble Portique. Early and contemporary chamber music—Bach, Telemann,
Boismortier and others.
____WILDES HOLZ – HIN UND WEG
Tobias Reisige, recorder. One of Germany's finest acoustic music trios puts the
recorder in unusual musical contexts—Swing, Bebop, Calypso, Rock.
Please indicate above the CDs you wish to order, and print clearly the following:

Name:__________________________ Daytime phone: (____) ________________


Address: _______________________ City/State/Zip:________________________
_____ single CDs x $____ = $______
_____ 2-CD sets x $____ = $______
Shipping/Handling: $2 for one CD, $1 for each additional CD $______
_____ Check enclosed for TOTAL $______
_____ Please charge the above amount to my MasterCard, Visa or AmEx:
#_______________________________________
Exp. Date: _________ Cardholder’s signature:_____________________________
Send questions, answers and suggestions to Order CDs using PayPal at www.americanrecorder.org/order/cdroms.htm.
Carolyn Peskin, Q&A Editor,
3559 Strathavon Road, Shaker Heights, OH Mail to: ARS, 1129 Ruth Dr., St. Louis, MO 63122-1019 U.S.
44120; ppeskin@roadrunner.com. Fax a credit card order to 314-966-4649.

www.AmericanRecorder.org January 2010 29


Music
Reviews
_______
_______
_______
_______ Hiding in a bazaar, Haydn, Corelli, Corbett,
_______ Meijering, Sammartini, and a rich piece by Riccio
THE HIDDEN SOUQ OF EL– GAME OF LOVE (2007), BY
EZBEE (1998), BY PAUL LEEN- CHIEL MEIJERING. Moeck 1611 I hope that inclusion of
HOUTS. Moeck 1603. A (amplified), (Magnamusic). A, pf. Sc 8 pp, a reference performance
live electronics. Sc 10 pp. Abt. $12. pt 2 pp. Abt. $15.
Paul Leenhouts (b. 1957) is one of A STRAW IN THE WIND CD becomes a
the most distinguished solo players of (2007), BY CHIEL MEIJERING. common trend.
our time—a founding member of the Moeck 1612. T, pf. Sc 7 pp,
famed Amsterdam Loeki Stardust pt 1 p. Abt. $15. poser as “looking like a photograph in
Quartet, and a much sought-after PLEASE TELL ME MORE slow motion.” Over a backdrop of
teacher in contemporary, improvi- (2006-07), BY CHIEL MEIJERING. flowing eighth notes in the piano, the
sational and early music repertoire. Moeck 1613. S/A/T (one player), pf. recorder weaves a long-breathed melody,
The Hidden Souq of El-Ezbee is an Sc 15 pp, pt 4 pp. Abt. $20. and then decorates it with runs and
extremely advanced tour-de-force for Chiel Meijering (b. 1954) is a gentle glissandi.
amplified alto recorder with live elec- prolific Dutch composer with a large Please Tell Me More is the longest
tronics. The “electronics” are a series catalog of music in all genres. He of these works, with five sections of dif-
of specific effects (controlled with either composed the well-known Sitting Ducks, fering and distinct character. Though
a pedal or a technician) for which a a quartet written for the Amsterdam primarily using a soprano recorder, it
detailed plan is provided. Loeki Stardust Quartet that is now utilizes tenor and alto in the middle.
The recorder plays every sort of a contemporary standard. As always, Moeck’s editions are
extended technique imaginable, ranging Moeck has now released three excellent. I hope that inclusion of a
from multiphonics to “whispering magic delightful new duos by Meijering— reference performance CD becomes a
words.” All techniques are notated very each for a solo player and piano. A won- common trend.
clearly in the score, and two full pages of derful feature is a CD, included with Carson Cooman is an active composer
tables and explanations are provided. each piece, that contains a reference with a catalog of more than 600 musical
The music is very fast and manic; recording of each of the three works works in many forms, ranging from solo
combined with the electronics, it creates performed by recorderist Daniel instrumental pieces to operas, and from
a distinctive and phantasmagoric sound- Koschitzki and pianist Timea Djerdj. orchestral works to hymn tunes. His work
scape. The composer describes it as Meijering’s music falls firmly into is available on over 10 record labels,
follows: “What happens to lonely the post-minimalist tradition exempli- including Naxos and ABC Classics.
Western tourists lost in a dark, covered fied by many Dutch and American
North-African bazaar in the middle of a composers; it draws upon aspects of TRIO F-DUR, BY ARCANGELO
tangled labyrinth of alleys? Nervously contemporary pop music in its har- CORELLI (1653-1713), ARR .
they seek their way through throngs of monic and rhythmic language. Game ULRICH HERRMANN. Noetzel Edition
people, hearing bursts of strange and of Love is a mischievous piece of great N3966 (C. F. Peters), 2005. AAT/GB.
unknown noises, before vanishing again, momentum beginning with a section Sc 12 pp, pts 4 pp. $12.95.
direction unknown…” marked “like a broken barrel organ.” This familiar Corelli work is well-
The score is presented as a set of This mood remains as the piece bubbles arranged for recorder trio, achieving a
unbound sheets; it would need to be along to its conclusion. The only fuller sound than is common in three
spread out on a series of music stands extended technique employed is parts. Using a great bass rather than a
in performance. The musical, technical rhythmic speaking into the instru- tenor on the bottom part gives an
and technological demands will limit the ment. Though difficult, the writing interesting and appropriate sense of a
realization of this work to truly top-level is idiomatic and rewarding. ’cello or viol, and thus the alto duets are
performers. For those who can do it, A Straw in the Wind is a slow and more effectively highlighted in contrast
it will be worth the challenge. lyrical piece. It is described by the com- to the lower sound.

30 January 2010 American Recorder


This Trio moves through a dozen
tempo markings—with even numbers ARS Membership Enrollment and Renewal
of fast and slow tempos, but with the  I am a new member  I am or have been a member

vivaces and allegros dominating in U.S./Canadian Memberships Foreign Memberships


length. Between the short, lively fanfare  $45 One Year  $55 Foreign One Year
introduction and the calliope-like finish,  $75 Sustaining (Receive a Hottetere Hands Pin)  $100 Foreign Two Years
 $80 Two Years
the work offers a great variety of moods. LIFETIME MEMBERSHIP Single Dual
The slow movements combine interest- Regular Lifetime Member $1,000 (2) $1,500 (4)
4 installments of $250 available)
ing chord progressions, wonderful sus- Loyalty Lifetime Member (1) $ 800 (3) $1,200 (4)
pensions, and affecting melodies. The 4 installments of $200 available
(1) For members who have maintained membership for five consecutive years.
Largo Andante, starting at measure 99,
(2) $750 is Tax Deductible
is particularly lovely. (3) $600 is Tax Deductible

This arrangement is at the inter- (4) Installments available

mediate level in technique and ensemble


Student Memberships Other Memberships
skills. Some ensembles might wish for (Enclose proof of full time enrollment)  $65 One Year Workshop Membership
more editorial suggestions for articula-  $25 U.S./Canadian One Year  $125 One Year Business Membership
 $45 U.S./Canadian Two Years
tion and ornamentation, but those more  $30 Foreign One Year  $5 Additional Charge for Dual Address or Dual Name
familiar with Baroque style may appre-
ciate the arranger’s restraint in that area.  Do not list my name on the ARS Online Directory
 Do not release my name for recorder related mailings
Variety, liveliness and melodic  Do not release my email address for any purpose
interest make this trio suitable for  Do not contact me via email.
performance as well as enjoyable for
 My address, telephone and email address have not changed.
small group playing.
______________________________________ _________________________
Name Phone Number
DIVERTIMENTO C-DUR, ______________________________________ _________________________
OP. 3, NO. 5, BY JOSEPH HAYDN Address/City/State/Postal Code Email Address
(1732-1809), ARR . ULRICH
Please charge to: (Circle one) VISA/MasterCard/AMEX/Discover
HERRMANN. Noetzel Edition N4467
(C. F. Peters), 2006. SATB. Sc 16 pp, CC#:________________________________ Expiration Date: ______________
pts 8 pp. $19.95.
Signature of cardholder:_______________________________________________________
This Divertimento is diverting—
fun to play and entertaining! Its move- Clearly Print Name as it appears on Card:________________________________________
Renew by Mail, Online, By Phone or by Fax
ments are Presto, Andante Cantabile,
Minuetto/Trio and Scherzando. Thor- Demographic Information
oughly Classical in style, the texture is (optional information collected only to enhance ARS services and provide statistics to grant makers):
a melody line on top and harmonies in I am a member of ARS Chapter or Consort____________________________  I am the Chapter Contact
the lower parts. The Presto is more
balanced among the parts than the other My age:  Under 21  (21-30)  (31-40)  (41-50)  (51-60)  61-70)  (71+)

movements, with themes echoing Please check all that apply:


among the soprano and the other parts.  I am a Professional Recorder Performer.
The Andante melody is deservedly  I wish to be included in the list of Recorder Teachers in the ARS Directory and website.
familiar, a beautiful serenade in the I Teach: (circle your choices)
soprano with room for ornamentation. Types of Students: Children High School Youth College Students Adults
Levels: Beginner Intermediate Advanced Pre-Professional
The bass part supports the harmony, Types of Classes: Individuals Children’s Classes Adult Classes Ensembles
with the remaining broken chord notes Certifications: Suzuki Orff JRS Leader Kodaly
played by the inner parts. Players of the Where I Teach: : (circle your choices)
lower three parts will learn how it feels Music Studio Public or private school Community Music School
to be a viola player, and they will have College Other : _____________________
to work to keep the harmony light to Phone: 314-966-4082
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appropriately enhance the melody.
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The Minuetto and Trio are simply ARS.Recorder@AmericanRecorder.org
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www.AmericanRecorder.org
ized as fluffy Classical string music
www.AmericanRecorder.org January 2010 31
American Recorder Society Publications without much substance (the alto part
rests for the entire Trio), they are enjoy-
Musical Editions from the Members’ Library: able to read: think background music.
ARS members: 1 copy-$3, 2 copies-$4.50, 3-$6, 4-$7.50, 5-$10, 6-$11.50
Non-members (editions over 2 years old): 1 copy-$5, 2 copies-$8.50, 3-$12, 4-$15, 5-$19.50, 6-$23 The Scherzando suits its definition:
Arioso and Jazzy Rondo (AB) Carolyn Peskin New Rounds on Old Rhymes (4 var.)
Berceuse–Fantaisie (SATB) Jean Boivert Erich Katz gerund of scherzare, to joke. The flashy
Bruckner’s Ave Maria (SSATTBB) Other Quips (ATBB) Stephan Chandler soprano part has a bird-like quality in
Jennifer W. Lehmann, arr. Poinciana Rag (SATB) Laurie G. Alberts
Canon for 4 Basses (BBBB) David P. Ruhl Santa Barbara Suite (SS/AA/T) Erich Katz parts of the piece. In addition to indi-
Dancers (AT) Richard Eastman Sentimental Songs (SATB) David Goldstein, arr.
Different Quips (AATB) Stephan Chandler Serie for Two Alto Recorders (AA)
vidual technical challenges, particularly
Elegy for Recorder Quartet (SATB) Frederic Palmer in the soprano, this movement presents
Carolyn Peskin Slow Dance with Doubles (2 x SATB)
Elizabethan Delights (SAA/TB) Colin Sterne ensemble challenges. The musical clock
Jennifer W. Lehmann, arr. Sonata da Chiesa (SATB) Ann McKinley feel in the first half of the movement
Fallen Leaves Fugal Fantasy (SATB) S-O-S (SATB) Anthony St. Pierre
Dominic Bohbot Three Bantam Ballads (TB) Ann McKinley requires precise timing, with the soprano
Four Airs from “The Beggar’s Opera” (SATB) Three Cleveland Scenes (SAT) Carolyn Peskin
Kearney Smith, arr. Three in Five (AAB) Karl A. Stetson playing the first and fourth eighth notes
Gloria in Excelsis (TTTB) Robert Cowper Tracings in the Snow in Central Park (SAT) of measures and the lower parts playing
Idyll (ATB) Stan McDaniel Robert W. Butts
Imitations (AA) Laurie G. Alberts Trios for Recorders (var.) the second and third eighths.
In Memory of Andrew (ATB) David Goldstein George T. Bachmann
Lay Your Shadow on the Sundials (TBgB) Triptych (AAT/B) Peter A. Ramsey
The playing level of this Diverti-
Terry Winter Owens Two Bach Trios (SAB) William Long, arr. mento is intermediate to upper interme-
Leaves in the River (Autumn) (SATB) Two Brahms Lieder (SATB)
Erik Pearson Thomas E. Van Dahm, arr. diate. The soprano part in the Presto and
LeClercq’s Air (SATB) Richard E. Wood Variations on “Drmeš” (SATB) Martha Bishop Scherzando movements is more difficult
Little Girl Skipping and Alouette et al ( Vintage Burgundy (S/AS/ATT)
SATBcB) Timothy R. Walsh Jennifer W. Lehmann, arr. than the other parts, requiring cross-
Los Pastores (S/AAA/T + perc)
Virginia N. Ebinger, arr. fingerings at fast tempos, along with a
challenge to maintain a light, easy style.
ARS Information Booklets:
ARS members: 1 booklet-$13, 2 booklets-$23, 3-$28, 4-$35, 5-$41, 6-$47, 7-$52
Non-members: 1 booklet-$18, 2 booklets-$33, 3-$44, 4,$55, 5-$66, 6-$76, 7-$86 SINFONIE F-DUR, BY GIOVANNI
Adding Percussion to Medieval and Improve Your Consort Skills Susan Carduelis BATTISTA SAMMARTINI, ARR . ULRICH
Renaissance Music Peggy Monroe Music for Mixed Ensembles
American Recorder Music Constance Primus Jennifer W. Lehmann HERRMANN. Noetzel Edition N4465
Burgundian Court & Its Music Playing Music for the Dance Louise Austin (C. F. Peters), 2006. SATB. Sc 12 pp,
Judith Whaley, coord. Recorder Care Scott Paterson
pts 4 pp. $13.95.
Education Publications A composer well-known in Europe
The ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996). during his lifetime (1700-75), Sammar-
First copy free to ARS Members (mailed to new members as they join); replacements, $3.
Guidebook to the ARS Personal Study Program (1996). Material formerly published in the Study tini produced more than 80 symphonies,
Guide and Study Guide Handbook, plus additional resources. Members, $11; non-members, $20. as well as religious and court music,
ARS Music Lists (2002 with 2003 Supplement). Graded list of solos, ensembles, and method books.
Members $9; non-members, $15. Package Deal available only to ARS members: Guidebook and Music both instrumental and choral.
Lists/Supplement ordered together, $16. This essentially intermediate-level
Videos arrangement is interesting to play, but
Recorder Power! Educational video from the ARS and recorder virtuoso John Tyson. An exciting
resource about teaching recorder to young students. ARS members may borrow a copy for one month
may require upper intermediate ensem-
by sending $5 to the ARS office along with the address to which the tape should be shipped. ble skills to make it suitable for perfor-
Pete Rose Video. Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music
Festival recital. Features Rose performing a variety of music. and an interview of him by ARS member mance. Segments of the first movement
professional John Tyson. Allegro have three parts playing har-
mony, the top two of which play sets of
Other Publications
Chapter Handbook. A resource on chapter operations for current chapter leaders or those consider-
ing forming an ARS chapter. ARS members, $10; non-members, $20 (updates free after initial pur-
chase). One free copy sent to each ARS chapter with 10 members or more.
Consort Handbook. Resource on consort topics such as group interaction, rehearsing, repertoire, per-
forming. ARS member prices: CD, $10; hard copy, $20; combo price of CD and hard copy ordered
together, $25.

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32 January 2010 American Recorder


repeated 16th notes over the bass’s
repeated eighth notes. Only a strong
tenor, combined with a very light touch
on the other parts, will enable listeners to
hear anything other than the harmony.
Later when the harmony is realized
through repeated 16ths in tenor and
bass, the soprano and alto might more
easily bring out their duet—but the low
instruments, in low ranges, may have
difficulty avoiding muddiness.
The Grave is a six-measure chorale,
with three phrases ending in fermatas.
The same dotted-eighth/16th rhythms
are shared by all the parts, playing
diminished chords in a harmony too
close to allow much ornamentation.
The Allegro assai, in 3/8 time, is
enjoyable, but will be challenging if
played as fast as it should be, at one beat
per measure. The soprano must zip
through the 16ths, but will have either a
respite or an opportunity to ornament on
measures of dotted quarters. The active,
fun bass part is frequently wide-ranging.
The Minuetto includes an alterna-
tive ornamented soprano part that pro-
vides a few ideas, but at times it seems to
suggest ornamentation for its own sake
rather than for melody enhancement.
This alternative part’s liberal addition
of triplets tends toward the frenetic.
Sally Harwood

SONATA III & IV, BY WILLIAM


CORBETT, ED. OLAF TETAMPEL.
edition baroque eba1221 (Magna-
music), 2006. AA bc. Sc 21 pp,
pts 8 pp. $29.95.
SONATA V & VI, BY WILLIAM
CORBETT, ED. OLAF TETAMPEL.
edition baroque eba 1222
(Magnamusic), 2006. AA bc.
Sc 23 pp, pts 8 pp. $29.95.
These inventive sonatas were pub-
lished in the first years of the 18th
century. William Corbett (c.1680-1748)
is one of several little-known composers
of the time worthy of rediscovery. He
was born in London, where he spent
most of his career as a violinist in theater
and court orchestras and as a popular
solo performer—but he had a strong
www.AmericanRecorder.org January 2010 33
interest in the Italian style and spent sonatas will give pleasure to a wide range
several years living in Italy. of recorder players and audiences. This is a wonderful work,
Corbett liked to introduce striking Scott Paterson teaches recorder and joyous and extroverted in
effects into his music, and these sonatas, Baroque flute at The Royal Conservatory of
part of the composer’s Opus 2, are full of Music of Toronto and is a freelance performer nature and perfect for a
unusual textures, such as the throbbing in the Toronto area. The former ARS Board small church service.
repeated notes in the third movement member has written on music for various
of Sonata VI, or the brief Adagio inter- publications for over 25 years. numerous meter changes. His motets
jections throughout Sonata III. While and instrumental works all show a strong
the music is quite idiomatic for the IUBILENT OMNES (1620), influence of Giovanni Gabrieli, except
recorder, it also has a lively, violinistic BY GIOVANNI BATTISTA RICCIO, adapted for small venues. Recorder
flair. The continuo parts are frequently ED. NICOLA SANSONE. Ut Orpheus players will recognize Riccio for some
more active than usual, often taking part Edizioni FL 3 (www.utorpheus of the earliest examples of the solo
in the overall musical argument. .com), 2008. Soprano voice, S, vln, instrumental canzona that actually specify
Although Corbett was an almost dulcian, bc. Sc 9 pp, pts 2 pp. $17. the recorder. Four have been published
exact contemporary of Bach, these early In the years around 1600, Venice by London Pro Musica in their “Cham-
works are in a very Corellian mode, was widely recognized as one of ber Music of the Seventeenth Century”
having more in common with the trio Europe’s leading centers of music. series (CS1, CS2, CS3). There is also
sonatas of composers such as Daniel The large ceremonial and sacred works a short piece in the Dolce Editions
Purcell or Jacques Paisible than those by Andrea and Giovanni Gabrieli were volume, Easy Music of Monteverdi’s Time
of Handel or Telemann. widely known at the time, thanks in (DOL 104). Players are encouraged
The technical challenges are rela- large part to the far-ranging influence to seek out these rewarding pieces.
tively modest, despite some active fast- of the younger Gabrieli’s pupils. The Venetian confraternities were
note passages in the quick movements, Instrumental music was an impor- organizations of laymen who were dedi-
and the music would be approachable for tant part of Venetian festivals and proces- cated to devotion to God, charity work,
an intermediate ensemble. However, sions. The instruments most often heard and patriotism to the Most Serene
advanced players will be best able to were the violin, cornetto and sackbut. Republic of Venice. The confraternities
make the most of these pieces by taking However, those instruments were (scuole; literally, great schools) were not,
advantage of the abundant opportunities usually found only in the largest, strictly speaking, religious organizations
for ornamentation and by highlighting richest churches and confraternities. and were free of ecclesiastical control,
the characteristic late-17th-century style. In smaller districts of Venice, the although almost all were associated with
As is usual with edition baroque, the recorder held pride of place. One such or assembled at one of Venice’s numer-
editorial approach is quite minimal — district was the sestiere (quarter) of San ous churches. As a point of reference, the
save for the continuo realization, which is Polo, where the composer Giovanni Bat- Venetian confraternities might be consid-
tasteful but elaborate, especially in the tista Riccio was employed at the Scuola ered as a Renaissance equivalent of Free-
inclusion of colorful harmonies that di San Giovanni Evangelista. Unusually, masons or Elks, albeit on a larger scale.
expand on Corbett’s bass figures. The many of the composers working in San The scuola halls are nearly all grand
score and parts are generally clear, Polo specified recorders; in addition to structures, many having been decorated
despite some crowding in the continuo Riccio, Francesco Usper, Giovanni Bat- by some of Venice’s leading artists—like
realization, and have good page turns. tista Grillo, Giovanni Picchi and Gio- Bellini, Titian and Veronese. The most
Accuracy is also generally good, vanni Priuli all wrote small-scale instru- famous confraternity, the Scuola di San
though there is a bar missing in the mental and vocal works listing recorder. Rocco (most notable musically for the
second recorder part of the last move- Riccio is one of those shadowy great ceremonial music composed by
ment of Sonata VI and an important Venetian composers, about whom we Giovanni Gabrieli) has its original deco-
tempo marking missing from the bass know next to nothing. What little we do ration still in place and preserved—the
part in the last movement of Sonata III. know about him comes from the title magnificent cycle of frescos by Tinto-
There are also a few melodic and rhyth- pages of his publications. He was elected retto. The Scuola di San Giovanni Evan-
mic inconsistencies, presumably carried organist at the Scuola di San Giovanni gelista, where Riccio was organist, had a
over from the original sources, but these Evangelista in 1609 and published three fragment of the True Cross, as well as
are easily spotted and reconciled. volumes of instrumental and vocal music frescos by Bellini and others, completed
Along with the first volume in this between 1612 and 1621. in the late 15th century. There were
series, issued in 2003 (and reviewed in Riccio’s works include specific strict rules of conduct, elected officers
the November 2006 AR), this set of trio instrumentation and dynamics, and with specific duties and so on.
34 January 2010 American Recorder
Like nearly every organization in
Venice, the confraternities were known Provincetown Bookshop Editions
for meticulous record-keeping, and it is
in the pay records that we find barely “GO FOR NEO-BAROQUE!”
even a mention of Riccio. His three
books of sacred and secular music reveal Andrew Charlton: Partita Piccola. For 4 Recorders (SATB)
[Prelude; Allemande; Courante; Musette—
that Riccio was a fine, if undeservedly
a neo-baroque epitome!] (Score & Parts, PBE-25) . . . . . $7.95
obscure and underrated, composer who
felt most at home in small scale settings. Andrew Charlton: Suite Moderne. For 3 Recorders (ATB)
This motet is from Riccio’s 1620 [Baroque shapes but Hindemithian harmony]
book, IL TERZO LIBRO / DELLE (3 Playing-Scores, PBE-44) . . . . . . . . . . . . . . . . . . . . . . .$9.95
DIVINE LODI MUSICALI / DI GIO. Southwest of Baroque. David Goldstein’s “baroque Suite”
BATTISTA RICCIO. It lists soprano on Cowboy Songs. For 2 Recorders (SA) (PBE-2) . . . . . $3.50
voice, violin, soprano recorder (flautino), A good source for Recorder & Viol Music of all publishers.
bass dulcian (fagotto), and basso con-
tinuo. This is unusually specific instru- The Provincetown Bookshop, Inc.
246 Commercial Street, Provincetown, MA 02657 Tel. (508)487-0964
mentation for this period, as it comes at
a time when, only a few years before, it
was common to underlay all parts with
text. The instrumental parts here are all
true instrumental parts and stand inde-
pendent from the vocal line. In context,
although this piece may be seen as a
miniature version of a similarly texted
motet by Gabrieli, it is written in the
concertante style brought to Venice by Early Music America Magazine is the quarterly
Claudio Monteverdi on his appoint- publication for the Early Music Community in
North America: Professionals, Students, and
ment to San Marco in 1612.
Audience members.
Iubilent omnes has many of the same
features of Riccio’s strictly instrumental Articles on performance practice, trends in the
music: numerous meter changes with field, recording reviews, and a new book reviews
shifting tempos, homophonic rhythms, department.
and vocal lines, sparingly accompanied,
contrasting with ritornello-like instru- Call 888-722-5288 or email info@earlymusic.org
mental passages. This is a wonderful for a FREE sample issue.
work, joyous and extroverted in nature
and perfect for a small church service.
Aside from the difficulty of finding
a bass dulcian player and a player of a
proper violin (gut strings vs. steel, for
example), the choice of singer is critical.
Many sopranos tend to cultivate a robust
sound more suited to Wagnerian opera,
using a wide, unvarying vibrato. This
music requires a lighter voice, and a
skilled singer who can use vibrato as it
was originally intended: as an ornament.
In short, with the right combination
of singer and players, this piece will
reveal its exuberant beauty. Substituting
instruments is not recommended, as the
contrast between the two upper lines is
essential to understanding this piece.
www.AmericanRecorder.org January 2010 35
The edition is very user-friendly. CONSIDER ADVERTISING IN
The music is large, clear, and easy to Classified
_______
read. The parts each contain a page _______
_______
turn, but it is planned to come in a block _______
_______
of rests. There is a short introduction in
Full page . . . . . . . . . . . . . . . . . . . . . . . $552
both Italian and English. The continuo
part is not realized, though, and a trans- Where the haves 2/3 page . . . . . . . . . . . . . . . . . . . . . . . $439
1/2 page . . . . . . . . . . . . . . . . . . . . . . . $366
1/3 page . . . . . . . . . . . . . . . . . . . . . . . $286
lation of the Latin text would have been and have-nots 1/4 page . . . . . . . . . . . . . . . . . . . . . . . $223
useful. These are very minor quibbles, 1/6 page . . . . . . . . . . . . . . . . . . . . . . . $175
and these flaws do not detract from the
of the recorder world 1/8 page . . . . . . . . . . . . . . . . . . . . . . . $127
1/12 page. . . . . . . . . . . . . . . . . . . . . . . $ 95
usefulness of this edition. I look forward can find each other 1 column inch . . . . . . . . . . . . . . . . . . . $ 58
to more Ut Orpheus editions of Riccio. Prices include web site/e-mail link directly
from your ad in the online AR at
Frank Cone has studied the recorder SEND IDEAS for articles on education topics, www.americanrecorder.org.
with the late Ellen Perrin, viola da gamba or submit an article or lesson plans, to
education department editor Mary Halverson Circulation: Includes the membership of the
with Carol Herman, and cornetto with Waldo at mhalvwaldo@mchsi.com. ARS, libraries, and music organizations.
Larry Johansen. He has been a member of Published five times per year:
MUSIC REVIEWERS for AR needed. Reviews January, March, May, September, November.
the Orange County Recorder Society since must be submitted by e-mail. Please send a
1985 and is a member of the Inland brief bio with a list of the types of music Reservation Deadlines:
you are interested in reviewing to Sue December 1 (January), February 1 (March) ,
Recorder Society (Riverside, CA). Groskreutz, 1949 West Court St., Kankakee, IL April 1 (May), August 1 (September),
60901, or suegroskreutz@comcast.net. October 1 (November).
KEY: rec=recorder; S’o=sopranino; COMPACT DISC reviewers for AR needed. Rates good through November 2010. Please
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36 January 2010 American Recorder