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FEATURES“Fantasia & Echo” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14Jacob van Eyck’s Ultimate Mastery,by Thiemo WindSetting a Name to Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21A work commissioned as a gift to ARS members for Play-the-Recorder Month 2004,by Adam Knight Gilbert

DEPARTMENTS

Advertiser Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Book Reviews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Chapters & Consorts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Classified . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Compact Disc Reviews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Education . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Music Reviews. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

On the Cutting Edge. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Opening Measures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

President’s Message . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Q&A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Response . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Tidings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Recorder residency at Sitka, new recorder orchestra to debut,

Flanders Recorder Consort joins New Amsterdam Trio

Volume XLV, Number 1 January 2004

GAIL NICKLESS, Editor

Contributing EditorsFRANCES BLAKER, Beginners; JOHN H. BURKHALTER III, Book ReviewsTHOMAS CIRTIN, Compact Disc Reviews; JODY L. MILLER, Education

CONSTANCE M. PRIMUS, Music Reviews; CAROLYN PESKIN, Q & ATIMOTHY BROEGE, 20th-Century Performance

LISA SCHMIDT, Design Consultant

Advisory BoardMartha Bixler • Valerie Horst • David Lasocki

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

Copyright © 2004 American Recorder Society, Inc.

Visit AR On-Line at <www.recorderonline.org>American Recorder (ISSN: 0003-0724), 5554 S. Prince, Suite 128, Littleton, CO 80120, is published bimonthly (January, March, May, September, andNovember) for its members by the American Recorder Society, Inc. $20 of the annual $40 U.S. membership dues in the American Recorder Society is for asubscription to American Recorder. Articles, reviews, and letters to the editor reflect the viewpoint of their individual authors. Their appearance in this magazinedoes not imply official endorsement by the ARS. Submission of articles and photographs is welcomed. Articles may be typed or submitted on PC discs (Wordfor Windows 95, or RTF preferred) or as an attachment to or text in an e-mail message. They should be for the exclusive consideration of AR, unless otherwisenoted. Photographs may be sent as color or black-and-white prints, or 300-dpi TIFF images. Advertisements may be sent in the PDF or EPS format, with fontsembedded.

Editorial office: Gail Nickless, Editor, American Recorder, 7770 South High St., Centennial, CO 80122; 303-794-0114 (phone & fax);<editor@recorderonline.org>. Deadlines for editorial material: November 15 (January), January 15 (March), March 15 (May), July 15 (September), andSeptember 15 (November). Books for review: Editorial office. Music for review: Constance M. Primus, Box 608, Georgetown, CO 80444. Recordings forreview: Thomas Cirtin, 8128 N. Armstrong Chapel Road, Otterbein IN 47970. Cutting Edge: Editorial office. Chapter newsletters and other reports: Editorialoffice. Advertising: Steve DiLauro, LaRich & Associates, Inc., 15300 Pearl Road, Suite 112, Strongsville, OH 44136-5036; 440-238-5577; 440-572-2976(fax); <sdilauro@larichadv.com>. Advertising Closings: December 1 (January), February 1 (March), April 1 (May), August 1 (September), and October 1(November). Postmaster: Send address changes to American Recorder Society, Box 631, Littleton, CO 80160-0631. Periodicals postage paid at Littleton, CO,and at an additional mailing office.

4

36

14

Announced by all the trumpets of the sky, arrives the snow.”--Ralph WaldoEmerson

The cover artist for this issue of AR, JeffJurich (also the artist for the March 2003AR cover), seems to have substituted arecorder for the trumpet—and that ideafits nicely with my frame of mind, as I lookout from my office at snow that covers wellthe dry grass and brown earth underneath.

Looking back like Janus at last year, we will find more appearances in this issueby the November 2003 AR cover—as Rebecca Arkenberg examines moreclosely the music in the image (page 6),and readers write of their reactions to the“Vanitas,” in Response (page 25).

With this first issue of a new year, wewelcome a new department editor whosewritings will focus on education (page 12).Jody Miller teaches band at McCleskeyMiddle School in Marietta, GA, and applied recorder and early music at EmoryUniversity in Atlanta. In previous ARissues, you have read of three performanc-es at the Boston Early Music Festival by theMcCleskey Middle School Recorder Ensemble, which he directs, plus his ownARS Great Recorder Relay performances.Questions, comments or suggestions canbe e-mailed to him at <Recorder96@aol.com>, or mailed to 3970 Norman Road,Stone Mountain, GA 30083.

It took several people on two conti-nents to bring you the article in this issue(page 14) by Van Eyck expert ThiemoWind, whom we are happy to have as anAR contributor. Van Eyck also shows up inthis issue’s Music Reviews (page 27).

Using the same methods, two recorderensembles are joining forces as an interna-tional sextet of virtuosi to produce con-certs, as described in a report from RachelBegley (page 8).

It won’t have to be that much of a production to participate in Play-the-Recorder Month—unless you choose tomake it a production and submit it for the“Most Creative” event contest. It’s superto have a newly-commissioned work by Adam Gilbert for the celebration, ARS Fantasia super (page 21).

Gail Nickless

EDITOR’SNOTE______________________________

6 American Recorder

AMERICANRECORDER

SOCIETYINC.

Honorary PresidentERICH KATZ (1900-1973)Honorary Vice President

WINIFRED JAEGER

Statement of PurposeThe mission of the American Recorder Society is

to promote the recorder and its music bydeveloping resources and standards to help

people of all ages and ability levels to play andstudy the recorder, presenting the instrumentto new constituencies, encouraging increasedcareer opportunities for professional recorderperformers and teachers, and enabling and

supporting recorder playing as a shared social experience. Besides this journal,

ARS publishes a newsletter, a personal studyprogram, a directory, and special musicaleditions. Society members gather and playtogether at chapter meetings, weekend and

summer workshops, and many ARS-sponsoredevents throughout the year. In 2000, the

Society entered its seventh decade ofservice to its constituents.

Board of DirectorsAlan Karass, President

Carolyn Peskin, Vice President; Chair, Scholarship; Co-Chair, Education

Marilyn Perlmutter, SecretaryAnn Stickney, Treasurer; Chair, Finance

John Nelson, Asst. Secretary; Chair, PublicationsKathy Sherrick, Asst. Treasurer;

Chair, Fund-raisingRebecca Arkenberg

Letitia BerlinFrances Blaker, Chair,

Special Events/Professional OutreachRichard Carbone, Chair, Chapters & Consorts

Kathryn Cochran Sheila M. Fernekes, Co-Chair, Education

Sue Roessel, Chair, Membership

StaffBrock Erickson, Executive DirectorErin Spletzer, Administrative Asst.

P. O. Box 631Littleton, CO 80160-0631 U.S.A.

303-347-1120Faxes & membership questions:

303-347-1181 or <membership@AmericanRecorder.org>

General e-mail: <recorder@AmericanRecorder.org>

Web site: <www.AmericanRecorder.org>In accordance with the Internal Revenue Service Taxpayer Bill of Rights 2,passed by the United States Congress in 1996, the American Recorder

Society makes freely available through its office financial and incorporation documents complying with that regulation.

ALABAMABirmingham: Ken Kirby(205-822-6252)

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East Bay: Kathy Cochran (510-483-8675)

Monterey Bay: Sandy Ferguson (831-462-0286)

North Coast: Kathleen Kinkela-Love(707-822-8835)

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Denver: Anne Chetham-Strode (303-422-6677)

Fort Collins: Roselyn Dailey(970-282-1097)

CONNECTICUTConnecticut: Dorothy Vining(203-267-6513)

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DISTRICT OF COLUMBIAWashington: Myrl Powell (301-587-4799) or Jane Takeuchi Udelson (703-369-3022)

DELAWAREBrandywine: Roger Matsumoto (302-731-1430)

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Miami: Zulema Garraffo (305-374-1879)

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HAWAIIHawaii: Irene Sakimoto (808-734-5909)

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ILLINOISChicago: Kim Katulka (708-484-4578) Chicago-West Suburban: Christopher Culp (630-690-7304)

LOUISIANABaton Rouge: John Waite (225-925-0502)

New Orleans: Chris Alderman(504-862-0969)

MARYLANDNorthern Maryland: Dawn Culbertson(410-235-2354)

MASSACHUSETTSBoston: Laura Conrad (617-661-8097)Recorders/Early Music Metro-West Boston: Sheila Beardslee (978-263-9926)

Worcester Hills: Madeline Browning(508-842-5490)

MICHIGANAnn Arbor: David Goings(734-663-6247)

Kalamazoo: Wade Lawrence(269-353-9885)

Metropolitan Detroit: Claudia Novitzsky (248-548-5668)

Northwinds Recorder Society:Janet Smith (231-347-1056)

Western Michigan: Marilyn Idsinga (231-894-8415)

MINNESOTATwin Cities: Jean Fagerstrom(612-722-4967)

MISSOURISt. Louis: Norm Stoecker(636-532-3255)

NEVADASierra Early Music Society: Karlene Dickey (775-832-9124)

NEW HAMPSHIREMonadnock: Barbara George (802-257-1467)

Upper Valley: Barbara Prescott(603-643-6442)

NEW JERSEYBergen County: Mary Comins(201-489-5695)

Navesink: Lori Goldschmidt (732-922-2750)

Princeton: Janice Arrowsmith (609-883-9874)

Somerset Hills: Keith Bernstein(908-722-6572)

NEW MEXICOAlbuquerque: Lois Ario(505-881-1303)

Rio Grande: Joyce Henry (505-522-4178)

Santa Fe: Jane Miller (505-984-0851)

NEW YORKBuffalo: Charles Hall (716-835-5573)

Hudson Mohawk: Darleen Koreman(518-482-6023)

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

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

Rochester: Frank Amato (716-225-6808)

Rockland: Lorraine Schiller (845-429-8340)

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

NORTH CAROLINATriangle: Cindy Osborne (919-851-1080)

OHIOGreater Cleveland: Edith Yerger (440-826-0716)

Toledo: Marilyn Perlmutter (419-531-6259)

OREGONOregon Coast: Corlu Collier (541-265-5910)

PENNSYLVANIAPhiladelphia: Dody Magaziner(215-886-2241) orJoanne Ford (215-844-8054)

Pittsburgh: Helen Thornton (412-781-6321)

RHODE ISLANDRhode Island: David Bojar (401-944-3395)

TENNESSEEGreater Knoxville: Ann Stierli(865-637-6179)

Nashville: Janet Epstein (615-297-2546)

TEXASAustin: Susan Page (512-467-7520)Dallas: Bill Patterson (214-696-4892)Rio Grande: Joyce Henry (505-522-4178)

VERMONTUpper Valley: Barbara Prescott (603-643-6442)

VIRGINIANorthern Virginia: Edward Friedler (703-425-1324)

WASHINGTONMoss Bay: Gerrity Shupe(425-820-2003)

Seattle: Belinda Frazier (206-522-7342)

WISCONSINMilwaukee: Diane Kuntzelman (414-654-6685)

Southern Wisconsin: Margaret Asquith(608-233-4441)

CANADAToronto: Alison Healing (905-648-6964)

Montréal: Patrice Mongeau (514-341-3449)

Please contact the ARS officeto update chapter listings.

ARS Chapters

January 2004 7

of others. For manyfriends and musi-cians, David’s life wasa remarkable gift.

I wish you a peaceful and music-filled New Year!

Alan Karass,ARS President, <amkarass@yahoo.com>

PRESIDENT’SMESSAGE___________________________________

On September 24, 2003, I received thesad news that David Goldstein had

passed away in his New York City apart-ment. David was a long-time recorder andviola da gamba player, composer, arrangerand ARS friend. David touched many peo-ple through his enthusiasm, generosityand kind spirit. The May issue of AmericanRecorder will include a tribute to David.

My first contact with David was onlynine months ago. At its January 2003meeting, the ARS Board decided to estab-lish a new award, the Presidential SpecialHonor Award, to recognize special andunique contributions to ARS and the earlymusic community. The Board enthusiasti-cally agreed that David was the perfect per-son to be the first recipient of this award.

I called David several times during thespring. The first call was to notify him thathe would receive this award. He was veryresistant at first, insisting that there mustbe someone else more worthwhile to re-ceive the award.

During subsequent calls I assured himthat we were not going to change ourminds, and I tried to convince him to attend the Boston Early Music Festival (BEMF) in order to receive the award. Unfortunately, poor health ultimately prevented him from traveling to Boston.

A reception was held in David’s honorduring BEMF. An article on the event andhis award appeared in the September issueof AR. During the festival we were able tocollect the personal written congratula-tions from many of his friends and well-wishers in a special booklet created espe-cially for his birthday on June 24. ARSBoard member Richard Carbone present-ed David with his award over the summer.

As a tribute to David and his legacy, theARS Board has decided to create the Gold-stein Fund to support the publication ofrecorder music and ARS scholarships. Atask force has been established to outlinethe uses of this fund and the activities itwill make possible. Details will also bepublished in the May issue of AR.

David left behind a considerable library

of original compositions and arrange-ments. He wrote numerous pieces forfriends and fellow musicians, sometimesinspired by performers or challenges(“Could you arrange my favorite tune formy ensemble?”). His musical interestswere extremely varied; his personal libraryincluded Elizabethan consort music, com-positions by G. F. Handel and RichardWagner, plus music from the Christian and

Jewish heritages and from many ethnic tra-ditions. His own works are musical, inter-esting, and sometimes quite challenging.

I am happy to announce that there areplans to preserve his music at a newRecorder Music Center at Regis Universityin Denver, CO. The ARS has been assistingARS member and Regis University assis-tant professor Mark Davenport, whosedream it is to establish this center. TheRecorder Music Center will be dedicatedto preserving the legacy of recorder musicin this country. Details about the centerwill appear in upcoming issues of AR.

Last, a memorial concert for David isbeing planned for later this year in NewYork City, NY. Information will be postedon the ARS web site when available.

As we start a new year, we reflect on thegifts we’ve received over the year. These arenot only the material gifts we receive, thevisits with family and friends, but also theways in which our lives have been touchedby the kindness, generosity and goodwill

In Memoriam David Goldstein

As we start a new year, wereflect on the gifts we’vereceived over the year.These are not only thematerial gifts we receive,the visits with family andfriends, but also the waysin which our lives havebeen touched by thekindness, generosity andgoodwill of others.

Honeysuckle Music

Recorders & accessories. . .

Music for recorders & viols

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

651.644.8545 jean@honeysucklemusic.com

8 American Recorder

TIDINGS___________________________________Reflections of Sitka, European trio meets American quartet,

Suzuki workshop takes new location and leadership

Oregon Coast Recorder Recorder Residency at Sitka CenterLetitia Berlin and I were lucky to be thefirst recorder players awarded the OregonCoast Recorder Society’s recorder residen-cy at the Sitka Center for Art and Ecology.

My project was to finish composing apiece for two recorders and narrator, onwhich I had been working bit by bit overthe last couple of years. Tish and I had per-formed it in its half-finished form severaltimes, and it had been very positively received.

However, I had never had an opportu-nity to really focus on composition forlonger than an hour here or there. That iswhy the residency was such a great gift tome. Here was an opportunity to focus ex-clusively on composing and practicingrecorder for an entire month! I looked for-ward to it the entire year, planning how Iwould spend my days so as to best take ad-vantage both of the gift of unclaimed timeand of the open coast, rugged headlands,woods and streams of the area. I wanted tomake sure that the time did not simply slipthrough my fingers.

Having never composed for more thanan hour in one month, a half-hour thenext, I did not know if I would be able tomaintain a daily schedule of composing. Istarted by setting aside one hour for com-position each day, and devoted the re-maining hours to practice, rehearsal with

Tish (for our Tibia duo playing), and hik-ing. I found the setting—surrounded bytrees, and only a five-minute walk to theopen spaces of Cascade Head, with viewsof the ocean and the Salmon River estu-ary—very refreshing and inspiring.

I soon discovered that the hour of com-position began to spread. By the end of themonth, I was composing several hours aday, and also snatching brief moments towork on pieces each time I walked past mysmall desktop built into the stair landing.It faced out of a large round windowthrough which, when I looked up from mymanuscript paper, I could see betweenlarge sitka spruce down to the ocean,where the locally-famous Polly Rock, andan unnamed rock, jutted out of the water.

I now have a photograph of this view onmy computer desktop, so that, each time Ido computer work, I am reminded of thisincredible month by the sea, spent writingmusic and playing the recorder. I canscarcely imagine anything I would ratherdo. It helps me keep things in perspective.

As to what I composed...my main proj-ect was to complete my piece for tworecorders and narrator, Vejen til islandskrives på vandet (the way to Iceland iswritten on the water); however the more Iworked on it, the longer and larger, it grew.The story that forms the narration—a taleof a sea voyage in Viking times, and how itaffects the people involved—grew, ex-panded and hasn’t stopped yet. It got tothe point where I thought, “If I write any-more, this piece will need to become anopera, or else it will take hours to speak allthe words and then play all the music!” So

I came to an im-passe.

After themonth wasover, I had to re-sume normalactivities, so Ihave not beenable to devotetime to thispiece since re-turning home. Idon’t knowwhat to do withit; either I mustgreatly simplifythe story, orgreatly expandthe piece.

Throughoutthe month atSitka, I waswriting other pieces as well. Once I startedcomposing every day, I found music justwelling up, and I wrote it all down. Havingtime and freedom from care allowed mymusical ideas to flow.

I wrote several shorter recorder duos,with such titles as Rain (it was April inOregon...), and People on the Outer Edge. Iwrote a number of recorder trios, includ-ing Slow Circling of Condors (played bysome of our readers at the recent recorderElderhostel in Carmel Valley, CA) and Foxes, Ravens and Maybe a Porcupine.

Since returning home, I have tried tocontinue making time for composing. Ihave not always succeeded, but I findmore time than in the past. I have justcompleted a recorder quartet (as yet unti-tled) that our ensemble, the FarallonRecorder Quartet, will perform inPhoenix, AZ, this month.

An added, special aspect of our stay atSitka was time spent with our recorderfriends in the area. We have been teachingthe yearly “Winds and Waves” workshopeach April for five years now, so we knowmost of the members of the Oregon CoastRecorder Society. It is a small, but active,

Frances Blaker (left) and Letitia Berlin duringone of the workshops they gave during the SitkaCenter residency

Here was an opportunityto focus exclusively on composing andpracticing recorder for an entire month!

Letitia Berlin (left) and Frances Blaperform a new composition by Franat an open house for all Sitka reside

January 2004 9

Early Music AmericaAnnounces

PerformanceCompetition

Early Music America (EMA), with thesupport of a private donor, will sponsorthe EMA Medieval/Renaissance Per-formance Competition. The winner ofthe competition will receive a cash prizeand a concert sponsored by EMA as aconcurrent event at the Boston Early Mu-sic Festival (BEMF) in June 2005.

The purpose of this competition is toencourage the development of emergingartists in the performance of Medievaland Renaissance music.

Applicants must be EMA members(individual or organizational), residentsof the U.S. or Canada, and active assoloists or ensembles using voice(s)and/or period instrument(s). Repertoireis limited to Medieval and Renaissanceperiods, roughly A.D. 800-1620, per-formed in an historically informed style.

Applicants should be able to definethemselves as “emerging artists”—ensembles that have not performed to-gether for more than five years, and wheremost or all of the performers are age 35 oryounger.

By April 30, applicants should sub-mit to EMA three copies of each of the fol-lowing: an unedited audition recordingof no longer than 30 minutes, on unla-beled CDs; paper copies of the programof music recorded, with no artist or groupnames included; paper copies of theartists’ contact information, short bios ofthe performers, and, if an ensemble, ashort history of the group.

Finalists will be selected by June 30,and will receive hour-long coaching ses-sions from a distinguished early musicartist plus give live concert performancesof up to 30 minutes in New York City, NY,in early October during the New York Ear-ly Music Festival. (Small travel subsidiesare available upon application.)

A winner will be selected immediatelyafter the finalists’ concert, and will give afull-length concert performance, present-ed by EMA as a concurrent event duringthe 2005 BEMF.

The winner will also be featured onthe early music radio program Harmonia,as scheduled by host Angela Mariani.

For more information, contact EMA at 206-720-6270, <info@earlymusic.org>.

How it started, and How to apply for a Sitka ResidencyIn 2001, members of the Oregon CoastRecorder Society raised more than$10,000 to establish a recorder residen-cy at Sitka Center for Art and Ecology.This amount will provide a residency ofan average of two to three weeks eachyear, or a month every other year. Adwelling and studio are provided.

To be eligible for the residency, appli-cants are required to earn part of their in-come from recorder performance orcomposition; this is to indicate that ap-plicants have a degree of professional-ism. Those at the beginning of a career are as welcome as mature artists.

Frances Blaker and Letitia Berlinwere chosen as the first recorder resi-dents and spent a month at Sitka in thespring of 2003. During their stay,Frances completed several new composi-tions, while Tish worked on an instruc-tion book. Together they rehearsed newrepertoire. They, along with Cléa Gal-hano, presented a concert and workshopduring the first weekend of May.

The deadline for applications for thenext residency is April 21. Dates can bechosen from mid-April to late May of2005. Applications are available at<www.sitkacenter.org/residency> or bycalling 503-994-5485.

Sitka Center is located on CascadeHead on the central Oregon coast. Thesurrounding rugged headlands andSalmon River estuary are very beautiful.

Efforts are underway to raise enoughmoney to provide a yearly month-longresidency, with the goal to raise another$10,000 by December. Friends of therecorder may send donations, ear-marked for the recorder residency, to Sit-ka Center, P.O. Box 65, Otis, OR 97368or <www.sitkacenter.org>. All dona-tions to Sitka Center are tax-deductible.

Various efforts are being made to helpraise this money. Corinne Newbegin hasdevised a basket that fits on a musicstand to hold pencils, glasses, tuners andsuch, and she has produced several ofthese. Half of the $20 price of each “LeGadget” is a donation to Sitka Center tohelp support the recorder residency. Formore information, contact Corinne at<coconew@aol.com>. “Lost in Time,”a local recorder trio, has also donatedconcert proceeds to the residency.

For more information, the OregonCoast Recorder Society contact is CorluCollier, <corlu@actionnet.net>.

akernces ents

chapter with great vision and drive. Theiraccomplishment in creating this residen-cy shows that ARS chapters can do any-thing, even with only 12 members.

Several times a week Tish and I got to-gether with various chapter members: ear-ly morning hikes through woods, streambanks and tall, wet grasses with Jane;learning to sea kayak with Corinne, andhaving French fries and beer afterwards inthe local pub with her and husbandWade; and numerous other occasionswith other chapter members.

We also met the two other artists-in-residence, both finishing four-monthstints at Sitka Center: Gabby, an installa-tion artist, and Patricia, a writer workingon a book about immigrant gardens. Patricia was happy to finally have the com-pany of women after three months; wewent for hikes on the headlands, far abovethe ocean, and to Neskowin for pumpkinpancakes. Through Gabby, I broadenedmy concept of art, and saw things in a newlight.

The time spent at Sitka has made alasting and powerful impression on mylife. I will never forget it, and I hope I willnever underestimate its importance.Thank you, Oregon Coast Recorder Soci-ety.

Frances Blaker

FrancesBlaker (left)and LetitiaBerlin withan unnamedrock on theOregon coast

The study of musical iconography is trulydetective work, requiring research into artand music, as well as literature, history,and science.

Beginning with a close examination ofthe work of art, sleuths count strings, lo-cate fingerholes, and try to sing the tunesof painted music.

But questions remain. Is that angelplaying a real lute or an artistic idiosyn-crasy? Who is the musician in that por-trait—a real performer or a model posedas a performer?

Clues lurk in such mundane docu-ments as inventories, wills, or records ofpayment. Mythologies and literature mayshed light on symbolic meanings. Politicaland religious documents provide tantaliz-ing descriptions of ceremonies, proces-sions, and lives of patrons and musicians.Musical manuscripts, letters, and otherephemera may hold a key to understand-ing the meaning of a work of art. In manycases, we will never know, but the re-search itself tells a fascinating story.

In November I attended the ninth con-ference of the Research Center for Mu-sic Iconography for four days of presen-tations by scholars from all over theworld. Entitled “Music in Art: Iconog-raphy as a Source for Music History,”the conference was organized by ZdravkoBlazekovic, director of the Research Cen-ter at The City University of New York(CUNY), with additional support fromThe Metropolitan Museum of Art, Austri-an Cultural Forum, Barry S. Brook Centerfor Music Research and Documentation,the Historic Brass Society, and Founda-tion for Iberian Music.

The conference commemorated the20th anniversary of the death of EmanuelWinternitz, first curator of musical instru-

ments at The Metropolitan Museum ofArt, and one of the founders of the field ofmusical iconography.

Leslie Hansen Kopp honored Win-ternitz in a multi-media biographicalsketch, including her own experiencesand memories. Of special interest torecorder players, a film clip from the1950s showed Winternitz handing anivory alto recorder from the Museum’scollection to a young man, who thenplayed a tune on it—a young man identi-fied by Martha Bixler as Bernard Krainis.

Martha was one of several recorderplayers I encountered who either present-ed or attended conference sessions. Su-san Thompson (Yale University Collec-tion of Musical Instruments) presented apaper on hautboists depicted in Dutchetchings and engravings. The presenta-tion by Mauricio Molina (CUNY) wason square drums. Adam Gilbert (CaseWestern Reserve University) played thebagpipe to illustrate his lecture on pas-torelle pipes and carnal humor in Les CentNouvelles Nouvelles. Christa Patton andChris Rua attended Saturday sessions.

Although a number of the presenta-tions covered themes related to Marsyas(in Greek mythology, the satyr who founda double flutethat Athena haddiscarded be-cause playing itdistorted herface; he chal-lenged Apollo,who playedkithara and sang,to a musical con-test and lost), orto wind instru-ments in general.

One sessionspecifically focused on thedepiction ofrecorders in a“Vanitas” paint-ing by Frenchpainter SimonRenard de Saint-André. Similar in imagery to theHerman Henstenburgh“Vanitas” that

appeared on the cover of the November2003 American Recorder, the painting wasthoughtfully and engagingly discussed byDebra Pring, Goldsmiths College, Uni-versity of London. Pring, a recorder play-er herself, projected details of the paintingand played a recording of the page of mu-sic that, stained with wine, lies partiallyhidden under a pair of crossed recorders.More information about this work of artwill appear in a forthcoming issue of AR.

Inspired by the work of these re-searchers, I did a little detective work ofmy own and can now point out the simi-larities between the tune in the Hensten-burgh “Vanitas” and Jacob van Eyck’s O slaep, o zoete slaep. Below is the tune asit appears in the Amadeus edition, and atranscription from the painting. When Iget a chance to examine this work with amagnifying glass and the help of the cura-tor, I will follow up with our findings.

Visit the Research Center for Music Iconography at the CUNY Graduate Center on-line at<http://web.gc.cuny.edu/rcmi> formore information about this conferenceand for abstracts of articles from past con-ferences.

Rebecca Arkenberg

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Iconography Detectives on the Case

10 American Recorder

January 2004 11

Suzuki Method Recorder Institute at New Location, under New leadership

To relieve Katherine White from her double duties as teacher trainer and institute di-rector in the past, Irmi Miller has agreed to serve as the 2004 Suzuki MethodRecorder Institute director. In collaboration with Iowa State University in Ames, IA,the program is taking shape for the 2004 Summer Institute approved by the SuzukiAssociation of the Americas (SAA).

Scheduled for July 11-23, the Suzuki Method Recorder, Flute, and Violin In-stitute offers intensive music study, observation and fellowship among a diversegroup of people touched by Shinichi Suzuki’s Talent Education. The program will include student classes in Suzuki recorder, Suzuki flute, and Suzuki violin. At the coreof the offerings are master classes, group lessons, technique classes, mixed ensem-bles, play-ins and performances, with enrichment classes also offered.

Beginners and non-Suzuki students are welcome. They are expected to communi-cate with the teacher at least one month before the start of classes.

The institute requires full-day attendance. Young children six years and youngercan register as short-day students. Classes for these students will be scheduled withfewer classroom hours and to allow for longer breaks, but may involve morning and afternoon hours. A parent or responsible adult must accompany each student under18 years old and is expected to participate in the master classes.

Recorder faculty will include Katherine White (CA), Patrick O’Malley (IL), AlanThomas (FL) and Irmi Miller (IA). Short-term teacher training for recorder teachers isplanned for Unit 1 Recorder, the Practicum Unit for Suzuki Recorder, and one of Units2, 3 or 4, depending on enrollment. Check the SAA web site, <www.suzukiassociation.org>, for short-term teacher trainee auditioning requirements. Anyone interest-ed in teaching the recorder to young and older students, in private lessons or class-room setting, may be interested in this method of teaching. CEUs will be offered.

Detailed information can be found at <http://www.geocities.com/ irmisrecorders/SuzukiRecorderInstitute.html> or by contacting Irmi Miller, 515-292-6118 or <irmim@netscape.net>.

La Notte, a Vivaldi CD recently recordedby Musica Pacifica—Judith Linsenberg,recorder; Elizabeth Blumenstock, violin;Gonzalo Ruiz, oboe; Marilyn Boenau, bassoon; David Morris, ’cello; MichaelEagan, archlute; and Charles Sherman,harpsichord—was chosen September CDof the Month by Toccata-Alte Musik Aktuellof Regensburg, Germany. Quoting thejournal, “The best compliment I can giveto these transparent, driving, and alwaysgripping performances is that they soundso authentic, as though they were beingplayed by a Venetian ensemble. In fact, aVenetian ensemble of Vivaldi’s time!”

John West, a 17-year-old student ofCléa Galhano, won the Minnetonka(MN) Orchestra Young Artist Competi-tion, and will perform Vivaldi’s Concertoin C Major with the group in February.

Milwaukee, WI, composer GeffreyGordon and the Galhano/MontgomeryDuo won a grant from the American Com-poser Forum. Gordon will compose a newwork for the duo—Cléa Galhano,recorder, and Vivian Montgomery, key-board.

Bits & Pieces

12 American Recorder

The Flanders Recorder Consort (BartSpanhove, Joris van Goethem, Paul vanLoey) and the New AmsterdamRecorder Trio (Rachel Begley, DaphnaMor, Tricia van Oers) will appear in twoconcerts together during March. Theunique program of music from seven cen-turies for three-six recorders will involvesix recorder virtuosi from two compatibleand complementary ensembles, playersfrom four countries and two generations,music for three to six recorders from sevencenturies, and a collection of dozens of in-struments from around the world.

The connections between the two en-sembles go back a long way. In fact, theNew Amsterdam Recorder Trio (NART)owes its existence to Bart Spanhove, whosuggested in 2001 that the three of usshould get together because he thoughtwe might make agood trio. He andHan Tol (both of theFlanders RecorderQuartet) knew ourplaying well: Daph-na, Tricia and I hadbeen students of oneor both of them, andwe’d maintainedcontact with our mentors over the years.

The Flanders Recorder Quartet (FRQ)had agreed to give a weekend workshoplast March for the Recorder Society ofLong Island, of which I am music director.Both Bart and I thought it would be won-derful for the students at the workshop tohear some first-rate recorder playing, but,sadly, our budget couldn’t cover a concertfee for the quartet in addition to the teach-ing. Almost as a joke—but perhaps it wasmore wishful thinking on our part—I sug-gested that, instead of a formal public con-cert, we might have a short private work-shop concert with the quartet joiningNART. To our complete surprise, theythought it was a great idea. FRQ’s onestipulation was that our entire rehearsaltime would be no more than one hour.

E-mails in both Dutch and Englishbounced back and forth over the Atlantic,as we honed our repertoire choices—admittedly limited because we would beseven players, and the repertoire shouldrequire almost no rehearsal.

Parts were assigned according to whoowned which instruments. Most of thepieces chosen were known, and in manycases recorded, by FRQ, but not all wereknown by NART. I can’t speak for the quar-tet, but our trio certainly rehearsed ourparts together ahead of time!

The differences between an ensemblethat has been together for 16 years, andone that is barely more than a year old, areso hard to quantify. Not surprisingly, wefelt pretty intimidated to be playing along-side our idols and mentors.

Miraculously, or perhaps simply due toboth the influence of our teachers and thefriendships our ensembles have built,there was an immediate chemistry. It wasnot that things didn’t need working out:for example, one of our instruments couldnot play in tune with their consort, so we

had to borrow one oftheirs. Rehearsing,in itself, was a bit of achallenge, as wedrifted in and out ofboth English andDutch!

The concert itselfwas a fantastic suc-cess, with Bart at-

testing that, for him, this was “a concert ofa lifetime.” Audience members felt thatthey had heard and seen history in themaking. Too bad, we all commented, thatit was a “one-off.”

Fast-forward now to the summer of2003: again, the e-mails are bouncingback and forth over the Atlantic. The quar-tet wants to return to Long Island inMarch 2004 for another workshop, and ishappy to do more concerts with our trio.

Unfortunately, Han Tol is unable tocome—but every cloud has a silver lining:as he pointed out, music for six is so muchmore plentiful than for seven (and largelysuperior too). Rehearsals are once againlimited, yet perhaps not so stringently,and this time it’s not so daunting to beplaying with such distinguished friends.

By the time you read this, the programwill be complete, the parts assigned andmaybe even rehearsed—at least on thewestern side of the Atlantic!

Rachel Begley

Flanders Recorder Consort/New Amsterdam Recorder Trio concerts: March 14, 3 p.m., First Presbyterian

Church, Southold, Long Island, NY. For tickets, call Arts in SoutholdTown, 631-734 7696.

March 15, 7:30 p.m.,Church of the Transfiguration, New York City, NY.Contact the New York RecorderGuild, 212-662-2946, for tickets.

Flanders Recorder Consort andNew Amsterdam Recorder Trio

in Concert

FlandersRecorder Consort (above) and New AmsterdamRecorder Trio (left)

Rehearsing, in itself, was

a bit of a challenge, as we

drifted in and out of both

English and Dutch!

January 2004 13

Strange but true: until recently, you couldfind a recorder orchestra in suburbanLong Island (NY), and you could find a(newly formed) recorder orchestra in thewilds of Connecticut—but you could notfind a regularly performing recorder or-chestra in New York City. At a time whenrecorder orchestras are becoming an in-creasingly important aspect of recorderplaying, New York City had little to offer.

That has changed with the founding ofthe Manhattan Recorder Orchestra, whichheld its first rehearsal in September andwill present its first concert on January 28.

“The Manhattan Recorder Orchestrawas formed because people in New YorkCity—supposedly the cultural capital ofthe universe—needed a recorder orches-tra and there wasn’t one,” explainsfounder and president Amanda Pond.“The commute to the other two groupswas horrendous, involving either a two-hour train ride at rush hour or a lengthydrive—and don’t forget, most New York-ers don’t own cars. The pressure wasmounting to create something in the city.”

Things started to fall into place in thespring of 2003, when Pond asked com-poser and virtuoso Matthias Maute if hemight be interested in conducting such agroup. She had heard him perform withRebel and had even met him briefly. Still,it seemed like a long shot: he lives in Mon-tréal and maintains a busy performanceschedule.

But Maute responded positively. “I thought this to be a really exciting idea,” hesays. “I have been con-ducting many differentgroups at workshops, butnever had the chance towork continuously withone group.”

With a conductor onboard, the legwork couldbegin. Players, includinga good number of profes-sional and semi-profes-sional musicians, were in-dividually invited to jointhe orchestra. Rehearsaland concert dates werescheduled, and thesearch for appropriatespace was launched.Finding a rehearsal hallturned out to be surpris-

ingly easy. “I cruised the internet for aboutan hour,” Pond reports. One phone call,and she found it: a cavernous Ro-manesque church on Manhattan’s upperWest Side.

Locating a place to perform was morechallenging, due to a little-known law ofnature, according to which affordable re-hearsal space and affordable concert spacecannot co-exist. Once again, an on-linesearch proved useful. Pond found a con-cert venue at Saint John’s in the VillageEpiscopal Church, a brightly-lit contem-porary structure downtown. She evenidentified the orchestra’s first patron—“an angel in the shape of Stanley Epstein,who is paying our rent.”

Maute’s task was to decide upon themusic. “The recorder is still an underesti-mated instrument and its possibilities de-serve to be fully explored,” he says. “Oneimportant part of this exploration is therepertoire of the recorder orchestra.”

The program he chose begins with lateRenaissance and Baroque compositionsby Johann Hermann Schein, SamuelScheidt, Henry Purcell and GiovanniGabrieli—music that, according toMaute, “leads us back to the origins of theearly recorder orchestra sound.”

It concludes with three contemporarypieces: The Party by the Dutch composerWillem Wander van Nieuwkerk, Midsum-mer Meadow Suite by the English compos-er Lyndon Hilling, and Maute’s IndianSummer, a “big band” piece originally

composed for the recorder orchestra of theIndiana Recorder Academy in Blooming-ton and its former director, Weezie Smith.

MRO’s first full concert—its debut—is scheduled for January 28 at Saint John’sin the Village Episcopal Church. However,it made its first foray into the public ear inDecember, when 13 of its members joinedARTEK (under artistic director Gwen-dolyn Toth) in a performance of HeinrichSchütz’s Christmas Story. In addition,Maute conducted the group in a presenta-tion of Schein’s Suite in G Minor.

The orchestra will also perform in Sep-tember in Montréal, as part of an exchangeproject with the Canadian recorder or-chestra Flutissimo. Other concert dateshave yet to be locked in.

What does the future hold for MRO?“I hope that the group will be consistent interms of membership, rehearsal and con-cert intervals,” Maute says. “And I hopethis collaboration will motivate the mem-bers to intensify their personal explorationof the recorder, because we plan to per-form regularly in New York and else-where.”

And someday? “Ideally we would havea set of instruments made by one recordermaker who tunes the instruments accord-ing to our needs,” Maute states.

Meanwhile, he says, “The recorderworld in the States is a very lively one andit is a great pleasure for me to be part of it.Let us keep it moving!”

Nancy Hathaway

New Recorder Orchestra Celebrates First Season

Manhattan Recorder Orchestra(Photo by Melvyn Pond )

14 American Recorder

Q & A___________________________________ Slowing down CDs, a recorder for a child with adeformed hand, how hand position became standardized

QUESTION: When and by whom was it decided that the recorder should be

played with the left hand on top?—Rebecca Arkenberg, Stratford, CT

ANSWER: In the heyday of the recorder,instruments were ambidextrous in

that they could be played with either theright or left hand down. They had singleholes and, in the case of Baroquerecorders, the foot could be rotated tomake playing with either hand easy.

As the making of woodwinds advancedthrough the years, makers began addingmore and more keys, and these key sys-tems were ultimately right-hand specific,since it was not efficient to make themboth ways.

Flutes and oboes in the late 18th cen-tury largely replaced the recorder, andtheir hand-specific keywork is whatchanged things. In 19th-century Europe,the recorder had adopted many of the keysof the other instruments. In England, therecorder was replaced to a certain extentby the flageolet, which also had a more ex-tensive key system.

For this answer, Ms. Peskin consulted Friedrich von Huene, a renowned

American maker of historical recorders.

QUESTION: Why are some recorders madein one piece and others in two or three

pieces?—Students in grades 4-6, visiting TheMetropolitan Museum of Art in New YorkCity, NY

ANSWER: Recorders made today aremodeled, at least roughly, after histor-

ical instruments found in museums andprivate collections. One-piece recordersare modeled mainly after Renaissance in-struments made in the late 15th, 16th orearly 17th century, and are designed forplaying consort music of that period. MostRenaissance recorders have a relativelywide, nearly cylindrical bore, resulting in auniformly strong sound throughout theentire range, but the range is only about 1-1/2 octaves. Others, the so-called“Ganassi” recorders, have a more complex“choke” bore, producing an upward-extended range.

A small number of one-piece recorders

are modeled after Medieval (14th- or early15th-century) instruments. They have acylindrical bore. They may or may not berepresentative of typical Medievalrecorders, for only two surviving recordersfrom that period have been found, andthey are both in unplayable condition.

Three-piece recorders are modeled af-ter Baroque instruments, developed inFrance by the Hotteterre family in the mid-17th century. Such instruments have amore complicated, basically conical bore(narrowing from top to bottom), resultingin an upward extension of their range to

over two octaves. Recorder makers in theBaroque era found that such an instru-ment could be tooled more easily and accurately in three pieces than in a singlepiece.

Three-piece recorders also have the ad-vantage of being tunable by pulling out thehead and/or foot joint. That was an impor-tant advantage in the late 17th and early18th centuries, when the recorder wasplayed as a solo or chamber instrumentalong with the basso continuo and variousother melody instruments. (Tuning hadbeen less of a problem during the Renais-sance, when recorders in a given consortwere designed together as a matched set.)

Baroque recorders sound stronger inthe second octave than in the low register.During the Baroque era, altos and, less fre-quently, sopranos and sopraninos wereused as melody instruments because oftheir bright sound in the upper registers.Larger sizes were rarely used. Today, how-ever, Baroque-style instruments are made

in all sizes and are used by amateurs formusic of various historical periods.

Historically designed two-piecerecorders are modeled after instruments ofthe late 16th and early 17th centuries, andare intended for repertoire of that transi-tional period. (Michael Praetorius, in histreatise Syntagma musicum of 1619, wasthe first to mention two-piece recordersthat could be tuned together by pullingout the head joint.)

However, practical as well as historicalconsiderations are involved in today’srecorder designs. Certain sopranos, in-tended for school use, have an essentiallyBaroque bore, but are constructed in tworather than three pieces. All the tone holesare drilled on one piece, doing away with adetachable foot joint that might be easilylost or rotated out of alignment by youngstudents.

For more information, consult Edgar Hunt, The Recorder and Its Music(New York: W.W. Norton, 1963; rev.reprint ed., Peacock Press, 2002) and John Mansfield Thomson, The Cambridge Companion to the Recorder (Cambridge:Cambridge University Press, 1995).

QUESTION: I was asked to teach recorder toa five-year-old girl with a birth defect on

her left hand. While her right hand is fully de-veloped, her left hand has only a thumb and avery short index finger. Are there any specialrecorders designed for people with missing ormalformed fingers? If so, which one wouldyou recommend?—Irmi Miller, Ames, IA

ANSWER: Your best bet is probably theAulos 204AF plastic soprano. This in-

strument looks like the Aulos 103N one-piece model used in elementary-schoolmusic classes, but it has a headjoint plussix separate pieces that can be assembledso as to meet the needs of players withmissing or malformed fingers. By rotatingthe pieces and plugging some of the holes,the recorder can be made to accommodateindividual players’ hands. Once the prop-er alignment has been attained, the piecesare glued in place for permanency.

In the heyday of therecorder, instrumentswere ambidextrous in that they could beplayed with either theright or left hand down.

According to the makers, anyone withsix usable digits can play a chromatic scalefrom c'' to a''', and anyone with seven us-able digits can play a full two-octave chro-matic scale (c'' to c''''). This instrument isavailable in the U.S. from the Aulos distributor, Rhythm Band Instruments,P.O. Box 126, Fort Worth, TX 76101; 800-424-4724, <www.rhythm band.com>.The current price is under $45.

Keyed wooden recorders for peoplewith only one functional hand are madeby Yamaha, Mollenhauer and Dolmetsch,but they are expensive, and the Yamahamodel is not currently available in the U.S.A Mollenhauer soprano based on model#1042 can be custom-made for eitherright-handed or left-handed players. Mollenhauer also makes one-handed alto, tenor and bass recorders, and will add keys to instruments from other makers. For further information, visit the Mollenhauer web site, <www.mollenhauer.com>.

Dolmetsch one-handed recorders in the Gold Series have been made sincethe 1930s. For more information aboutthem, visit the Dolmetsch web site,<www.dolmetsch.com/helppage.htm>.

QUESTION: I bought some play-along CDsrecently and tried practicing with them,

but found that many of the pieces are playedtoo fast for my level of proficiency. Are thereany devices on the market that can slow downa CD without changing the pitch?—C.M.K.,Carson City, NV

ANSWER: Superscope Technologies hasproduced a series of CD players that

can reduce the speed of any CD withoutaltering the pitch. The simplest model, thePSD220, can reduce the speed by 33 per-cent in one-percent increments with thetouch of a button. A reduction of aboutfive to 15 percent can be accomplishedwithout noticeable distortion. Speed canalso be increased by 50 percent in one-percent increments.

A useful feature of this machine is theA-B repeat button, which allows you toplay a difficult segment of a piece repeat-edly at a reduced tempo until it is mas-tered at that tempo, and then the speedcan be increased gradually. You can use thebattery-powered PSD220 with head-phones or can connect it to a stereo soundsystem or externally powered speakers. Itcomes with a sturdy carrying case. The

suggested retail sale price is $369.A somewhat more sophisticated model

is the PSD230, which allows you tochange speed and pitch independently.Pitch can be increased or decreased oneoctave in semitone increments withoutvarying the speed. You could, therefore,

use this machine to change the tuning ofthe instruments on a CD from a'=4l5 toa'=440 and vice versa. The suggested re-tail price for the PSD230 is $499. For more information about Superscope Tech-nologies portable CD players, go to <www.supertechnologies.com>.

If your computer has a CD player capa-ble of digital reading, Roni Music has de-signed software called Amazing SlowDowner, which can reduce the speed ofany CD by 50 percent to 400 percentwithout changing the pitch. It can alsochange the pitch incrementally by semi-tones or cents (hundredths of a semitone)at full or reduced speed. Thus it can beused to change key (as in the 415/440 ex-ample mentioned above) or to adjust a CDto a recorder that is slightly sharp or flat.

There are separate versions forPC/Windows and Mac computers. Thecurrent sale price is $39.95. Amazing SlowDowner has replaced Roni Music's olderSlow Speed CD Transcriber, which wasmentioned in the Q & A column in theMay 2000 issue of American Recorder. Formore information about Roni Music soft-ware, go to <www.ronimusic.com>.

For information about other hardwareand software capable of changing the speed and/or pitch of CDs, visit<www.alisdair.com/educator/transcribing tools .html>.

Carolyn Peskin

January 2004 15

Send questions to Carolyn Peskin, Q&A Editor, 3559 Strathavon Road, Shaker Heights, OH 44120;

<carolynpeskin@stratos.net>.

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Web: www.bems.com

A useful feature of thismachine is the A-B repeatbutton, which allows youto play a difficult segmentof a piece repeatedly at areduced tempo until it ismastered at that tempo,and then the speed can beincreased gradually.

16 American Recorder

Many recorder players pick up therecorder as a first instrument late in

life. Others learn to play the recorder as achild before having an opportunity to joinschool band or orchestra, and some ofthose become reacquainted with therecorder as adults.

In any case, a significant number ofrecorder players learn without exposure toa systematic approach to assessment andevaluation. This makes me wonder if ourstandards as recorder players and teachersare low.

Spending my professional life as bothan educator and a recorder player, I amconstantly questioning my philosophy.The given with me, however, has been thatI will freely adopt practices used by per-formers of “mainstream” instruments.

My first experience of being evaluatedformally as a musician was my audition forchair placement in my fifth grade bandtrumpet section. It is remarkable that I re-member this better than any other chairaudition (I probably did two to four ofthese yearly for the next 11 years). The au-

dition was easy, ensuring success for moststudents, but it was not announced to usbeforehand. Needless to say, tension washigh.

As my band teacher counted off thetempo for each of the students, they stum-bled through the exercise—a diatonic ex-ercise of quarter notes in the key of E ma-jor. Each time a student paused or usedtwo fingerings to make it through onenote, I mentally added points to my ownscoreboard.

I can still hear my own rendition of thiseight-bar phrase that used only five pitch-es. Mr. Pinson counted off at about 72beats per minute. I confidently played atabout 160 beats per minute. I was soproud that not only could I tongue and situp correctly, but I could play faster thanany of the other trumpet players (my cur-rent Baroque ensemble will truly appreci-ate this insight).

Mr. Pinson broke the long silence thatfollowed by carefully addressing each stu-dent’s performance. When it was my turn,he gently pricked my little bubble of in-flated ego and explained that I had notplayed what was expected. He did realize Ihad practiced more than my comradesand rewarded me with first chair.

In the end, Mr. Pinson’s assessmentserved me well. He listened and gave ver-bal feedback. Luckily for me, he pointedout the need for improvement. As arecorder player, I have noticed that assess-ment doesn’t happen frequently. Part ofthe rationale must be that we are so ap-preciative of people learning to play

recorder that we take advantage of everyopportunity to pat ourselves and others onthe back.

I am certainly not suggesting that wetake an extreme turn and begin approach-ing everyone with an overly critical ear. In-stead, we should take an approach similarto students participating in school band ororchestra.

Students who are in middle or highschool may be eligible to participate in thelocal, district, or state solo and ensemblefestival. Typically, they would prepare abrief solo or small ensemble piece and playit for a judge or small panel of adjudica-tors. In turn the judge would complete aform to evaluate the student’s perform-ance based on tone, intonation, musician-ship, and technique. Teachers can checktheir local or state music education organ-izations for these opportunities.

An effective alternative would be tohave a guest adjudicator at an annualrecital. This person could give similarfeedback to your students of any age.

In the end, the student will benefitfrom comments from the perspective ofsomeone other than his or her ownteacher. Using the same evaluation tool,the teacher can ascertain areas of weak-ness that may not have been previouslynoticed. In short, if we can raise standardsof younger students, they will learn to rel-ish the feedback they receive.

If my first band teacher had not givenme immediate and relevant feedback, it isunlikely that my first audition would havehad the same impact. My subsequent im-provement in playing the correct tempoled me to learn that tone and tonguing al-so mattered.

Students of all ages learn better whentheir instruction is multifaceted. The cre-ative teacher can implement various formsof assessment from student self-evalua-tion to festivals and competitions.

Teachers, students, or recorder playersshould feel free to e-mail me with ques-tions or suggestions. With the help of themost effective teachers in the country, Iwill attempt to increase awareness oflearners at all levels.

Jody Miller, <Recorder96@aol.com>

EDUCATION___________________________________ The value of constructive criticism

He listened and gaveverbal feedback. Luckilyfor me, he pointed out theneed for improvement. Asa recorder player, I havenoticed that assessmentdoesn’t happen frequently.

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January 2004 17

If you know your scales you can play yourinstrument faster and with more fluidity

than someone who has not taken the trou-ble to learn scales.

At first, learning scales may seem like alot of bother. I felt that way as I was learn-ing to play. Of course I could play a scalewhen faced with it on the page—but notquickly if it had more than just a couple ofsharps or flats (I always preferred theflats), and I would have made a poor show-ing if asked to play a scale without music.

Once I began my studies at music con-servatory I had to play scales to pass myexaminations, but only those with up tothree sharps or flats. The logic was thatearly music mostly stayed in these keys.Well, have you ever played all of those Hot-teterre preludes, for example, or Ferra-bosco’s fantasie on the hexachord—thesepieces move through many scary keys!

Even so, I just stuck to the require-ments, although a small voice inside mekept reminding me that I was leaving agaping hole in my technique. I knew I wasan incomplete musician as long as I didnot truly know all my scales—in fact, Iwould not truly know my instrument.

One day I decided to buckle down anddo it. I found scale work so boring that Iwas compelled to discover ways of main-taining my interest, and thus succeeded inlearning to play any scale without music—major, minor and finally also chromatic.

What a relief! I was finally free of my se-cret incompetence. During the course ofthis study (which did indeed take manymonths), my playing became much moresecure, and I spontaneously began to gainthe ability to improvise. My sight-readingimproved as well. I found myself able toplay new pieces at rapid speeds with muchless effort and time spent. So many bene-fits told me that every second of the dread-ed scale practice had paid off.

I must say I am not one of those whoadvise practicing boring scales whilewatching TV. You would be throwing awayhalf of the positive results. It is much bet-ter to use scales to practice somethingelse, such as tone or articulation—playingmindfully. If you once listen, you will dis-cover that a scale can be the most beauti-ful music in the world—and who would

want to miss the opportunity to hear that?How preachy this sounds! I will just

say this: practice scales; you will be happythat you did. Below are ways to keep yourinterest engaged while learning scales.1. Listen to your sound. Make a good and

pleasing tone. Carry your music fromnote to note.

2. Use a different scale each day whenyou practice your tonguing exercises.Practice “t,” “d,” “t r d r” and “did’l”articulations on scales—and more.

3. Pay attention to what it feels like tomove your fingers, both individuallyand severally. Let them have a life oftheir own without your interference(now this is a hard one!).

4. Focus on playing the scale itself, butuse a different rhythm each time. Notonly will this keep you attentive, but itis also an effective way to train musclesbecause they are forced to move veryrapidly at one moment and allowed torest at another moment (this is knownas interval training among athletes).

5. Use a scale (at first one octave, latertwo) to increase blowing efficiencyand breath control by playing it moreslowly each time.

6. Scale game: write key names on slipsof paper that you put in a hat. Each dayplay the scale you draw . Or write themon dice if you want the fun of tossing.

7. Improvise in a particular key. To learna scale, you don’t need to play thenotes in scale order. Choose a key andimprovise, noodle around, play tunesby ear (always staying in your key).This will be really effective training!

8. Play several different scales in a rowwithout stopping. Pick any three keys;pick three adjacent keys on the circleof fifths (the succession of keys a fifthapart—follow it around from the start-ing point, and after 12 progressionsyou will return to the original key).Play all major scales in rising chromat-ic order (on alto: F major, F major, Gmajor, etc.). Play all minor scales in thesame way. Play all major or all minorscales in the order of the circle of fifths.

9. Use a different scale each day for toneshaping. Make a crescendo on eachnote staying within one pitch; make adecrescendo on each note; make acrescendo and decrescendo on eachnote; use vibrato on each note.

10. Play unusual scales: chromatic scales;whole tone scales; church modes; jazzmodes; any others that occur to you.These should certainly keep you busy

until the next issue of AR. Happy toodling!Frances Blaker

OPENING MEASURES___________________________________ Using scales

Practice scales; you willbe happy that you did.

Born blind, and a nobleman, Jacob van Eyck(c.1590-1657) was widely known as a caril-lonneur and as a leading expert in the field ofbell casting and tuning. A letter from RenéDescartes, who lived for some years inUtrecht, to the French music theorist MarinMersenne describes how Van Eyck was ableto use resonance to isolate different partialswithout touching the bell, by whistling.

Employed in Utrecht at the Dom (cathe-dral) and other churches, Van Eyck playedcarillon, an ancient instrument found espe-cially in The Netherlands and Belgium, butalso now in the U.S. and U.K. It is played bya skilled performer from a manual and ped-als similar to those of an organ, and consistsof up to 70 bells nowadays.

Van Eyck was also an avid recorder play-er, performing on the Janskerkhof (St. John’sChurchyard) on summer evenings. Becauseof the popularity of these performances, VanEyck was urged to have his music writtendown for a printed edition. His pieces werepublished beginning in 1644, and becamepopular among amateur musicians in agrowing middle class. This work, “DerFluyten Lust-hof” (“The Flute’s PleasureGarden”), comprises sets of variations (or divisions) for the soprano recorder on psalmsand then-popular French, British, Italian,Dutch and German songs.

For more information on Van Eyck, aswell as other articles by the author of this ar-ticle, see <www.jacobvaneyck.info>.

In this article, a superscript numeral indicates on which beat of the measure a musical section begins or ends.

Jacob van Eyck is known mainly as acomposer of variation works. In the two

volumes of his Der Fluyten Lust-hof, 96%of the approximately 150 solo composi-tions can be categorized in this genre. Hid-den among them can be found a fewworks that are not associated with pre-existing materials: two small preludes(New Vellekoop Edition nos. 1, 89) andthree works referred to as fantasias (NVE 16, 90, 145).

Of these, “Fantasia & Echo” (NVE 16)is by far the most interesting. This articletakes a closer look at this composition.

The development of the fantasia genrewas closely related to the emancipation ofinstrumental music from vocal forms. Inthe 17th century, the term stood for vari-ous types of compositions. The Greekword fantasia refers to thought, internalimage. An instrumental fantasia wasbased on the individual imagination, andwas not tied to existing models or textualsources of inspiration. This freedom is oneof its basic characteristics.

In his Tratado de glosas, published inRome in 1553, Diego Ortiz said he couldnot give an example of a fantasia, “becauseeveryone plays them in their own style.”

The freedom offered by the fantasiamakes it an ideal medium for improvisa-tion, for “fantasizing.” “Et lors que le mu-sicien prend la liberté d’y employer tout cequi luy vient dans l’esprit sans y exprimerla passion d’aucune parole, cettecomposition est appellee Fantaisie,

“Fantasia & Echo”Jacob van Eyck’s Ultimate Mastery

St. Janskerk then (drawing by J. Rz. van den Bergh, 1604)...

...an

by Thiemo Windtransl. Maria van der Heijde-Zomerdijk

Thiemo Wind studied musicology at UtrechtUniversity with Marius Flothuis and WillemElders, and recorder at Hilversum Conserva-tory. He is the author of many articles on ear-ly woodwinds, and specializes in Dutch17th-century solo music for recorder (Jacobvan Eyck and others), on which he is writinga dissertation. He has served as musicologi-cal advisor to Frans Brüggen and the Orchestra of the 18th Century. For the 2ndedition of the New Grove Dictionary ofMusic and Musicians, he wrote on severaltopics, including Van Eyck.

Wind’s publications include a completeedition of Van Eyck’s Der Fluyten Lust-hof(the New Vellekoop Edition published byXYZ, replacing the out-of-print one by Gerrit Vellekoop) and an anthology of all-so-lo recorder pieces by Van Eyck’s colleagues,The Gods’ Flute-Heaven (Earlham Press).His facsimile edition of Der Goden Fluit-hemel was published by the Dutch Founda-tion for Historical Performance Practice,STIMU.

In 1993 he was the instigator of the In-ternational Recorder Symposium organizedby STIMU during the Holland Festival ofEarly Music in Utrecht.

Wind is music editor of the leadingDutch newspaper De Telegraaf, and lives inHouten, a village six miles south of Utrecht.

18 American Recorder

ou Recherche,” Marin Mersenne wrote inhis Harmonie universelle of 1636. (“Andwhen the musician takes the liberty of us-ing everything that springs to mind, with-out expressing the passion of any word,this composition is called fantaisie, orrecherche.”) “Recherche” is the Frenchequivalent of “ricercar(e)” or “ricercata,” acontrapuntal form developing in Italy atthe same time.

Mersenne’s remarks seem to apply per-fectly to the other two fantasias by Jacobvan Eyck, but not to the “Fantasia &Echo,” which shows a distinct relation-ship to the keyboard fantasia.

Keyboardists wanting to demonstratetheir skills preferred to use their highestideal: imitative counterpoint. The key-board fantasia in southern Europeancountries was a matter of polyphonicallyoriented improvisation, while in NorthernEurope this type of fantasia developed asthe highest form of keyboard composition.William Byrd initiated this development.In 1597 in A Plaine and Easie Introductionto Practicall Music, Thomas Morley gavethe first comprehensive description of thisnew type of composition:

The most principall and chiefest kind ofmusicke which is made without a dittie isthe Fantasie, that is, when a musiciantaketh a point at his pleasure, and wrestethand turneth it as he list, making eithermuch or little of it according as shall seembest in his own conceit. In this may more artbe showne than in any other musicke, be-cause the composer is tide to nothing butthat he may adde, diminish, and alter at hispleasure. And this kind will beare any al-lowances whatsoever tolerable in other mu-sick, except changing the air & leaving thekey, which in fantasias may never be suf-fered. Other things you may use at your

pleasure, asbindings withdiscords,quicke mo-tions, slowmotions, pro-portions, andwhat you list.Likewise, thiskind of musicis, with themwho practiceinstrumentsof parts ingreatest use,but for voicesit is but sil-dome used.

This newidea spreadover the Euro-pean continentin a short time.It was Jan PieterszoonSweelinck(1562-1621),the greatDutch com-poser of the late Renaissanceperiod, whoput the new insights into practice in Ams-terdam.

The designation “Fantasia & Echo”calls forth associations with works ofSweelinck, who composed various echofantasias for keyboard. There is commonground with respect to the content, aswell: Van Eyck’s solo composition showsspecific conceptual approaches that canalso be found in Sweelinck’s oeuvre.

Because no keyboard works by Sweelinck’s Dutch pupils have survived, itis difficult to verify the scope of certain ba-sic compositional principles. The echoprinciple in itself was, at the time, interna-tionally popular and had a strong Arcadi-an connotation, hinting at a world of shep-herds and shepherdesses, caves andmountains.

Without any doubt, Van Eyck was fa-miliar with the Sweelinck school. Alewijnde Vois worked from 1626 to 1635 as theorganist at the Dom (Cathedral) inUtrecht. His father, Pieter de Vois, a blindorganist and carillonneur from TheHague, had been one of Sweelinck’s mostimportant pupils. Van Eyck was alsofriends with Lucas van Lenninck from Deventer, who had been a student ofSweelinck as well.

In Sweelinck’s handling of the fantasia,two types can be distinguished: themonothematic and the echo. The lattertype is a relatively small group. As PieterDirksen indicates (see References at end ofthis article, which include the source inwhich Dirksen lists his classification num-

bers for Sweelinck’s works), echo fantasiais an unfortunate choice of term, since theecho principle is often only a very modestpart of a given work. Echo is mentionedexplicitly in the title in just three of theeight works by Sweelinck belonging to thisgroup (“Fantasia auf die Manier einesEcho,” etc.).

Sweelinck’s echo fantasias begin withan exordium (opening section), usually incanonic form. However, in his “Fantasiad4,” the introduction is fugal, while mostof the composition is defined by echoes.Van Eyck’s composition shows marked re-semblances to this work in particular.

The “Fantasia & Echo” begins with aquasi-polyphonic section that spans 14-1/2 measures. The opening theme ofthe exordium is an ascending pentachord,of which the fifth note is embellished witheighth notes (see ex. 1a). The melodic pas-sage d'-e'-f'-g'-a'-b'-c''-a' also characterizesthe opening of Sweelinck’s aforemen-tioned “Fantasia d4” (see ex. 1c). Rhyth-mically, Van Eyck’s opening phrase isidentical to that of another echo fantasia:Sweelinck’s “Fantasia C2” (see ex. 1b).

After the statement of the openingtheme, the theme follows again—butadorned, a fifth higher, “in keyboard man-ner” (see ex. 2a-b). Here, as one might ex-pect, the variation composer asserts him-self. Compared with keyboard composers,Van Eyck’s range of possibilities was ex-tremely limited, since he wrote for only asingle voice. In a keyboard work, the sec-ond entry of the theme is usually coupled

EXAMPLE 2a.

b.

January 2004 19

nd now (photo by Thiemo Wind)

EXAMPLE 1

a. Van Eyck, “Fantasia & Echo,” opening

b. Sweelinck, “Fantasia C2,” opening

c. Sweelinck, “Fantasia d4 ,” opening

with a counter-subject: “something differ-ent” happens. Melodic embellishmentwas, for Van Eyck, the only way to com-bine the thematic idea with the realizationof “something different.”

He was not alone in his efforts to trans-late polyphony into monody. In Italy, atthe end of the 16th century, Aurelio Vir-giliano did the same in one of his soloricercares from Il dolcimelo (see ex. 3).

After the theme has been established atthe upper fifth, Van Eyck makes an addi-

tion in the second part of measure 5 (e'-f'-g'-a') to cadence in A minor.

There is no third entry of this particu-lar theme, which, because of the limitedrange of the recorder, should come as nosurprise. But the imitative introduction isnot over yet. In the middle of measure 6,the composer introduces new thematicmaterial—with a descending line, unlike

the first theme. The note values ensurecontinuity, although there are never morethan two sixteenth notes in a row. Whenwe reduce this second theme to its mainnotes, an augmented retrograde version(the notes of the theme in reverse and inlonger note values—but not strict) of thebeginning of the first theme can be recog-nized (see ex. 4).

This second theme goes from A minor(or perhaps F major) through a sequenceback to D minor. Now, again, a transposed

and embellished repetition follows, thistime a sixth higher and making an ex-tended cadence before the entire repeti-tion is completed. The character of thisfourth phrase of the exordium firmly establishes the key. The section is in D minor, until a picardy third turns it into major (m.13).

A summary of the exordium in mainnotes is shown in example 5. As awhole, this cleverly constructed intro-duction completely fits Morley’s de-

scription of the fantasia. Now the real echo work begins. A total

of five echo sections can be distinguished.After the second, an imitative segmentwithout a strict echo interrupts. The lastthree measures of the piece also do not fol-low the echo principle. Therefore, eightsections can be distinguished in thispiece. Table I shows a formal outline.

If there were only echoes af-ter the exordium, the title“Fantasia & Echo” could havebeen explained as “fantasia fol-lowed by an echo.” From theinterruption (section iv) andthe final measures (viii), how-ever, it is obvious that the en-

tire work—not just the exordium—shouldbe considered a fantasia. This is a “fanta-sia in the manner of an echo,” like thecomparable works by Sweelinck.

InSweel-inck’s“Fantasiad4,” thefirst echooriginatesdirectlyfrom theexordium,becausethe last en-try of theintroduc-torytheme alsoforms thefirst echo motive. Van Eyck did not makesuch a fluid transition, but he does dove-tail the first echo section with the exordi-um, in part through the way he begins theecho motive: with a linear ascending up-beat in two sixteenth notes, followed by aneighth. A similar entry had already hap-pened in measures 6 and 10. We have seenother rhythmic and melodic elementsfrom the echo motive in the exordium aswell (see ex. 6).

In Van Eyck’s variation works, there isusually only room for echo motives lastingone or two quarter notes. In the “Fantasia& Echo,” most of the motives are longer,so the echo function becomes more im-portant.

Sweelinck’s “Fantasia d4” containsecho motives that last several measures:for some musicologists, this was reasonenough to doubt the authorship of thepiece. Pieter Dirksen points out, however,that the echo technique in this fantasiahas not been embedded in a larger struc-ture: echoes form the very essence of thepiece. For the composer, this might havebeen the reason to opt for longer motives.

Van Eyck begins both echo blocks (sec-tions ii-iii, v-vii) with the longest echo mo-tive, a logical choice. These long motivessound most clearly like a statement. Amelody like “Malle Symen” in the Lust-hof

EXAMPLE 3 Aurelio Virgiliano, Ricercar 10, beginning

Table I: Formal outline of the "Fantasia & Echo"Section Measure Description Detailsi 1-152 Exordium Imitative (between alto and soprano)

ii 153-202 Echo 1 Echo motive 5 , descending sequence

iii 203-23 Echo 2 Echo motive 2 , ascending sequence

iv 24-292 Imitative section Measures 241-263 (in A minor) =263-292 (in D minor)

v 293-40 Echo 3 Echo motive 5 , var. on Echo 1, descending "sequence,” from 343, motive is transformed to 4 and descending sequence without echo

vi 41-43 Echo 4 Echo motive 2 , tripla; descending "sequence"

vii 44-47 Echo 5 Echo motive 4 , tripla; descending "sequence"6

viii 48-50 Coda "Summary": & & 20 American Recorder

EXAMPLE 4 “Fantasia & Echo” a. opening

b. measures 63 and following (reduced)

EXAMPLE 5 “Fantasia & Echo,” exordi

January 2004 21

(see NVE 5 & 113), in which the echofunction is part of the melody, also startsout with the longest motive: the first laststwo measures, the second and third justone.

Van Eyck confines himself without ex-ception to the octave echo principle. Heclearly draws attention to the echo withthe markings forte (strong) and piano(soft): forte for the high “source,” piano forthe lower-sounding echo. The relativestrength of the registers on a recorder

takes care of the dynamic contrast by itself.Thus, the markings seem to clarify prima-rily what is happening here, more than tourge performers to play loud and soft. (Although octave echoes occur in manypieces by Van Eyck, this is the only work inwhich they have such markings!)

It is unusual that the duration of thefirst echo spans five quarter notes. Typical-ly, a linear echo is played out in regular pe-riods, spanning a quarter note, a half orwhole measure, or a multiple number ofmeasures. One can easily guess the resultof this irregular periodization: the echo

starts in a different part of the measurefrom its “source.”

The “Fantasia & Echo” is a composi-tion with a clear and balanced structure,making it likely that it was an establishedpiece in Van Eyck’s own performancerepertoire at the time he dictated it in1644. Suddenly it had to be forced into thenotational straitjacket.

Since Van Eyck repeats the first echopair one step lower, there are four entries,all starting in a different part of the meas-

ure (see ex. 7). This causes an in-triguing episode of tension. Aspark of genius? The conclusion ispremature, as a common-sense explanation is also possible.

Characteristic of this signal-likeecho motive is the way it seems toevade a strict time signature. Infact, every quarter note can beplayed as if it were the first beat. Ifwe really want to attach a time sig-nature, the motive by itself wouldfit in triple time as well as in com-mon time. The observed irregulari-ty does not become apparent untilthe chain of repetitions each timecauses a metrical displacement

(shown with dotted lines in ex. 7). The question arises as to whether Van

Eyck played this chain of motives strictlyin time, as the section lends itself to freeuse of time; a fermata over the final quar-ter note of the echo motive would havebeen a nice touch. The performer can raisethe tension by creatively playing with thetiming of the echo’s start. In this manner itbecomes a free and unmeasured, quasi-improvised fantasia section.

The notation might also be in error. Asa blind composer, Van Eyck was not usedto thinking in written note values. In

Der Fluyten Lust-hof, we can identify sever-al places where he “shifted into the wronggear” and dictated note values at half theright value. This section of the “Fantasia &Echo” is the sort of place where such athing could have happened. The motive isdominated by eighths and sixteenths,with a quarter note at the end. Supposethat Van Eyck really had wanted to end themotive with a half note. It is very possiblethat he mistakenly dictated a quarter note,which, after all the eighths and sixteenths,is long. Ending with a half note, the motivewould have been one and a half measureslong, and the periodization would havebeen considerably more regular (indeed, ahalf-measure shift had already occurred inthe exordium).

My reconstructions of various piecessuggest that the manuscript of Der FluytenLust-hof used by the printer had very fewbar lines, if any—at least far fewer than theprinted sources. The typesetter in theprint shop apparently kept placing barlines in equal periods from the beginning,until the moment he started to realize thatsomething was not quite right. If the sec-tion in question was not notated the wayVan Eyck intended it, there was not muchthat looked suspicious. After all, fourtimes five quarter notes makes five com-plete measures. Consequently, the secondecho section starts in the right place in themeasure.

The motive in this second echo sectionhas a duration of two quarter notes and is,

in compari-son with thefirst, of a fleet-ing nature.Sweelinckused similarmotives (seeex. 8). The oc-tave echo issubjected toan ascendingand tension-building se-quence, hintsat A minor,then finallylands withoutinterruption

As a blind composer, Van Eyck was not used to thinking in written note values.

um (reduced)

EXAMPLE 6 “Fantasia & Echo”: rhythmic and melodiccorrelations between the first echo motive and the exordium

EXAMPLE 7 “Fantasia & Echo”first echo section

at the middlesection (iv), facil-itated by a bridgederived from theecho motive(measure 23,second half; seeex. 9) .

As men-tioned before,like theexordium, thismiddle section

has an imitative character. OccasionallySweelinck, too, punctuated his echo sec-tions with an echoless insert. The phraseof measures 24-263 (A minor), essentiallynot more than an embellished cadence,repeats itself a fourth higher (D minor) in263-292 (see ex. 9). However, the closingscale passage ascends the first time anddescends the second. In this imitativemiddle section, we notice again the polar-ity between A minor and D minor.

The introduction of the second echoblock (section v) reflects the beginning ofthe first (section ii): the opening motive is

unmistakably derivedfrom the motive at thebeginning of the firstblock (compare ex.10a-b). The durationis again five quarternotes. The new motiveis less melodic, andbased more on harmo-ny than the first. Disre-garding passing andchanging notes, it be-gins with a broken in-verted D minor chord(f''-a''-d''), followed byan arpeggiated D ma-jor chord (a''-f''-d'').The brief note repeti-tion (a''-g''-a''-g'') re-calls the tremolos of the

preceding imitative section and creates atight structure.

As in the first echo section (ii), theecho pair is repeated one step lower, al-

though this time slightly transformed: amore melodic passage replaces the tremo-lo (compare ex. 10b-c). This type of trans-formation occurs regularly in Sweelinck’secho fantasias (a striking example wouldbe “Echo fantasia C1,” measures 104 andfollowing). Van Eyck’s motives recall an inverted (low-high) echo motive from Sweelinck’s “Toccata G1,” measures 75-79 (see ex. 11).

The transformed motive is then, again,itself transformed. Reduced to a regularfour-quarter-note period, it is no longerused as an echo, but to form a descendingsequence (see ex. 10d). Van Eyck finishesoff this sequence with a virtuoso cadencein F major, which incorporates a cadencefigure called a groppo in Italian. This trillembellishment, however, begins at thewrong place in the measure: on the fourthbeat, rather than an accented part of themeasure. Something is wrong with the hi-erarchy of beats in the measure, and theprevious sequence shows an equallystrange hierarchy.

If the bar lines are moved to the left byone quarter note, everything falls intoplace (see ex. 12). After the final quarter-note rest in measure 40 is eliminated, thetransition to measure 41 (section vi) be-comes considerably more exciting. Thethirty-second notes provide “fire in thebattle.” Similar types of virtuoso thirty-second-note interjections can be found inSweelinck’s fantasias as well.

The second echo block, like the first,continues with a section having a two-quarter-note echo motive (section vi).This time, however, it is not so short-wind-ed, since it does not include an upbeat. Itbegins on the first beat and is made up oftripla (triplets) for a change: a sextuplet ora double triplet in sixteenth notes (in thesources, indicated with one “3” per sixnotes), followed by an eighth-note triplet.

There are no fast tripla echo motives in Sweelinck’s echo fantasias; in these pieces, the Amsterdam master restricted himself to binary divisions. Sixteenth-note tripla do occur regularly in his other fantasias, though, especially to-wards the end. (Examples are the “Fantasia d1 ‘Cromatica,’” “Fantasia a1,”“Fantasia F1,” and “Fantasia g2.”)

The thirty-second notes provide “fire in the battle.”

22 American Recorder

EXAMPLE 8 Van Eyck and Sweelinck: related echo motivesVan Eyck: “Fantasia & Echo”

Sweelinck: “Echo fantasia d3,” right hand

EXAMPLE 9 “Fantasia & Echo,” measures 23 and following

EXAMPLE 10 “Fantasia & Echo”a. Echo motive section ii (measures 15 and following)

b. Echo motive section v (measures 29 and following)

c. Echo motive, transformation (measure 32)

d. Transformation to sequence motive

EXAMPLE 11 Sweelinck, “Toccata G1,” measures 76-77 (right hand)

Van Eyck proves to be inventive oncemore, because his tripla motive is a freevariation of the five-quarter motive fromthe previous section, with a descendingthird at the end (see ex. 13). Again we haveunity in variety. It is worth noting that thegroups of sixteenths marked with a smallnumber “3” have been composed melod-ically in such a way that they can be per-formed metrically as three times two (sex-tuplet) as well as two times three (doubletriplet). In the latter case, an anti-metrictension is created between the faster notesand the slower eighth-note triplet that fol-lows.

Again, the echo pair is repeated a steplower in a slightly modified form. Themost important change occurs in the six-teenth-note tripla, which are mirroredhorizontally and vertically (see ex. 14).

The second echo is not realized com-pletely: where an eighth-note tripletshould occur, the sixteenth-note triplacontinue and finish the section.

In the last echo section (vii), for thefirst time the motives have a duration offour quarter notes. Because of the regularperiodization, combined with the lengthof the motive, this section has more sta-bility than any of the previous echo pas-sages.

Just as in the preceding section, VanEyck was guided by a previous five-quar-ter-note motive—this time not from thesecond echo block, but from the first (sec-tion ii), finishing with a descending fifth(compare ex. 15a-b). The echo pair is re-peated a step lower, in a slightly modifiedform, which can also be interpreted as avariant of the motive from section ii (com-pare ex. 15c-d). The sixteenth-note triplaare shaped melodically in such a way thatthe groups of six now look like doubletriplets rather than sextuplets.

Three measures without echo con-clude the work (see ex. 16a). In measure48, Van Eyck combines tripla and dupla, asif summarizing the composition. Thisshows a similarity to the final cadence ofSweelinck’s “Fantasia d1 ‘Cromatica’”(see ex. 16b). As a separate section, thethree-measure conclusion is very short,and it might be better interpreted as a co-da. In combination with the precedingbalanced echo section, it provides theweight for a concise ending.

To sum up, with his variation works,Jacob Van Eyck straddles the border be-tween commonplace diminution tech-nique and art. In “Fantasia & Echo,” how-ever, he emerges as a real composer who

has mastered the “free” form. The workhas a clear and symmetrical plan: an ex-ordium and a closing section, two echoblocks related in motives and periodiza-tion, separated by a central imitative sec-tion. Although the first block includes twosections and the second block three, thereis a balance between the lengths of the ex-ordium and the first echo block (a com-bined duration of 22-1/2 measures occur-ring early in the piece) with the secondecho block and the coda (21-1/2 meas-ures, later in the piece). The imitative sec-tion (iv), which provides a calming inter-lude, thus has a central position.

The work can be considered a transla-tion from a polyphonic keyboard practiceinto the monophonic vernacular of therecorder—but, at the same time, it is morethan that. In the exordium as well as in the

January 2004 23

The “Fantasia & Echo” is a composition with a clear and balancedstructure, making it likely that it was anestablished piece in Van Eyck’s ownperformance repertoire at the time he dictated it in 1644.

EXAMPLE 12 “Fantasia & Echo”: measures 343-40 (corrected)

EXAMPLE 13 “Fantasia & Echo”: relation between echo motives

from section v (measures 29-30)

and section vi (measure 41)

EXAMPLE 14 Transformation of echo motives in section v

(beginning of measure 41 to beginning of measure 42)

EXAMPLE 15 “Fantasia & Echo”: relation between echo motives from sections vii and ii

a. Echo motive section ii

b. Echo motive section vii

c. Echo motive section ii

d. Echo motive section vii

24 American Recorder

echo motives, Van Eyck has enthusiasti-cally borrowed, associated and trans-formed, and made the most of limited ma-terial. To paraphrase Morley’s words: he“alters at his pleasure.”

While many of his variation works givethe impression of “frozen” improvisa-tions, here Van Eyck shows his most con-structive side. Within a tight structure,there is a balance between unity and di-versity. The transformations of the echomotives go beyond the strict diminutionpractice to which Van Eyck confines him-self for his regular variations. This explainswhy the “Fantasia & Echo” sounds likethe solid work of an imaginative compos-er, who felt the pleasure and freedom to

loosen his boundaries while working in adifferent instrumental form.

References Jacob van Eyck, Der Fluyten Lust-hof, New

Vellekoop Edition, ed. Thiemo Wind(Naarden-Huizen: XYZ, 1986-1988), 3vols. (abbreviated in this article as NVE)

Jan Pieterszoon Sweelinck, Opera Omnia,Vol. I – Fascicle I: Keyboard Works (Fantasias and Toccatas), ed. Gustav Leonhardt (Amsterdam: Vereniging voor NederlandseMuziekgeschiedenis [VNM], 1968).

This reference may be difficult to find, butmight be ordered by an early music shop or

bookseller, or found in music libraries.Within the text of this article, the severalpieces mentioned correspond to specificpieces in this volume; see below for a listshowing correlation with Dirksen’s classifi-cations.

Pieter Dirksen, The Keyboard Music of JanPieterszoon Sweelinck. Its Style, Significance and Influence (Utrecht:Koninklijke Vereniging voor Neder-landse Muziekgeschiedenis, 1997).

The classification numbers used in thisarticle were taken from this source, and correspond to the following pieces in the Opera Omnia (OO):

Echo fantasia C1: OO #13Fantasia a1: OO #4Fantasia C2: OO #14Fantasia d1 “Cromatica”: OO #1Fantasia d3: OO #11Fantasia d4: OO #34*Fantasia F1: OO #5Fantasia g2: OO #8Toccata G1: OO #18

Thiemo Wind, “‘Some Mistakes or Errors....’” Recorder Magazine,vol. 11, no. 3 (1991), pp. 82-86.

This article contains more informationon the metric errors made by the scribe innotating Der Fluyten Lust-hof.

EXAMPLE 16 a. Van Eyck, “Fantasia & Echo,” coda

b. Sweelinck, “Fantasia d1 ‘Cromatica’,” end

Setting a Name to MusicAt the suggestion of Rebecca Arkenberg

and the American Recorder Society, Ihave set the organization’s name to musicas a soggetto cavato, using some of my fa-vorite licks from the music of HeinrichIsaac and his contemporaries.

The phrase soggetto cavato delle vocale(“subject carved from the vowels”) describes a process of deriving a cantus firmus from solfège syllables relating to thevowels of a name or phrase. Applying for ajob in Ferrara in 1502, Heinrich Isaacpulled a rabbit out of his hat by compos-ing, in two days, a motet on the fantasia La mi la sol la sol la mi. These syllables havebeen suggested to be a musical represen-tation of the words….a kind of soggeto cavato.

Josquin, who beat out Isaac for the Fer-rara job, wrote Missa Hercules Dux Ferrari-ae based on the vowels of the Duke’sname. His Missa La sol fa re mi reportedlyderives its melody from the phrase, “Las-cia far a mi” (“Leave it to me”), a musicalcommentary directed at a recalcitrant pa-tron.

The practice originates in the conceptof the magical power of names, and theNeo-Platonic concept that, because every-thing is related, the sounds within a namesomehow capture the essence of a personor idea. Whether this concept is acceptedor not, once a theme is adopted, it takes onan association with a name that often out-lasts its owner.

The practice did not die with the Re-naissance, and can be heard in works byBach, Schumann, and Shostakovitch.

I approach the task of writing in histor-ical style as a study, one that can teachvolumes to students of early music. Thiscomposition adopts as its subject thewords, “American Recorder Society.” Ihave avoided the common use of Latin—although “Collegium Tibicinum Americano-rum,” suggested by my friend, the musi-cologist Kerry McCarthy, has its charms.After all, this is for an American organiza-tion.

The subject in English divides nicelyinto three phrases: Fa Re Mi Fa, Re Sol Re,and Sol Mi Re Ut. I extrapolate the last syl-lable, the historical equivalent to Do, fromthe letter “Y,” based on its partial-vowelstatus and its historical affinity to the let-ter “U” (as upsilon).

The theme appears in several literal orslightly ornamented complete statements.The first statement, which ends at meas-ure 20, appears in the bass with completetext, and could be treated as a complete(albeit short) composition. The letters “A”,

Composers/Arrangers Special

by Adam Knight Gilbert

“R” and “S” mark the individual phrases insubsequent entries of the complete theme.The text may be sung if desired.

In addition to complete statements ofthe theme, literal and paraphrased frag-ments pervade the composition. An ambi-tious performer could add text to thosefragmentary phrases.

As requested, I scored the work to beperformable by SATB recorder quartet,though it could be performed by other en-sembles as well.

Most Renaissance composers wouldchoose systematic structural devices, suchas a migrating cantus firmus, or sequentialentries of a theme in ever-decreasing notevalues. In contrast, I follow the amoebicstyle, simply trying in many places to getout of a contrapuntal fix. If you find a hid-den structure, let me know. I have left sev-eral contrapuntal errors intact in favor ofpreserving thematic material. Anothercomposer would have found a different so-lution, but I comfort myself that Isaachimself used blatant parallel fifths when itsuited his purpose.

Finally, a word about the last measure:in 1496, the theorist Gafurius described a“celebrated procedure” in which paralleltenths surround a Tenor (the part abovethe lowest), noting its use by Josquin,Isaac, and “other eminently delightfulcomposers.” I have added just such a co-da, hoping that eminence might be conta-gious. Because the last note is held in bothtenor and soprano, short “ticks” take theplace of modern barlines in order to facili-tate counting.

Adam Gilbert has played recorder sincethe age of eight, where he began playing GoTell Aunt Rhodie from the Burakoff method.He has since performed as a member of theWaverly Consort, Ensemble for Early Music,and Piffaro, the Renaissance Band. He is alsoa founding member of the ensemble Cia-ramella. He completed his dissertation onelaboration in the Masses of Heinrich Isaac atCase Western Reserve University, and is cur-rently a visiting assistant professor of musi-cology at Stanford University. He also teach-es at Amherst Early Music Festival and Madi-son Early Music Festival.

Save this Date: March 13 is Play-the-Recorder DayNot only is March Play-the-RecorderMonth, but March 13 has been desig-nated "Play-the-Recorder Day" for2004. In order to mark the occasion,the ARS Board has commissioned anew piece titled ARS Fantasia super. A copy of ARS Fantasia super is printedon the following pages.

All ARS members are invited to playthe new composition on March 13 toget Play-the-Recorder Month off to anexciting start. Chapters, consorts, andany other members are encouraged,but not required, to play ARS Fantasiasuper at 3 p.m. EST (or 8 p.m. GMT forour international friends). It will befun to know that fellow recorder play-ers around the world are playing thesame piece at the same time.

The most creative use of ARS Fan-tasia super anytime on March 13 willwin a special prize from the ARS. In ad-dition, prizes will be offered to chap-ters for the most imaginative PtRM ac-tivities and for the largest percentagemembership increase during March.Please send the details (including pho-tos) of your chapter, consort or indi-vidual activities to the ARS office tohelp us tell other members how youcelebrated Play-the-Recorder Monthand Day! The winners will be an-nounced in the September issue of American Recorder.

January 2004 25

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ARS Fantasia super "fa re mi fa, re sol re, sol mi re ut" Adam Knight Gilbert (©2003)

Copyright © 2004 Adam Knight Gilbert. All rights reserved. A MIDI playback of this piece is available in Recorder On-Line at <www.recorderonline.org>.

ARS members may make photocopies of this music for their own use.

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Copyright © 2004 Adam Knight Gilbert. All rights reserved. A MIDI playback of this piece is available in Recorder On-Line at <www.recorderonline.org>.

ARS members may make photocopies of this music for their own use.

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WCopyright © 2004 Adam Knight Gilbert. All rights reserved.

A MIDI playback of this piece is available in Recorder On-Line at <www.recorderonline.org>. ARS members may make photocopies of this music for their own use.

January 2004 29

Comments about the “Vanitas” coverfrom the November 2003 issueI wanted to say that I have always enjoyedthe covers based on old art. But you out-did yourself in November. That cover wastruly spectacular—and it was great to dis-cover so much information about it insidethe magazine.

Nancy Hathaway, New York City, NY

Without analyzing the merit of [the] Her-man Henstenburgh drawing depicted onthe cover I must conclude that to use it [at]this time of the year where everybody islooking toward a joyful Christmas andHolidays, children playing and singing.you come with a human skull and “to [remind] of us of our [own] mortality andfoolishness—...”. Now, the next cover willbe what!; a tomb of an “illustre” buried in1500...with flowers and everything elseincluding a dark sky with some “vampires”?

Very inappropriate cover.Sincerely, George Albert Petersen

Annandale, VA

REPLY: Art is a very subjective taste, so it’spossible that each reader will have a differ-ent appreciation and reaction to any artused on the cover of American Recorder (orart found anywhere else). The decision toprint Henstenburgh’s “Vanitas” in No-vember was largely related to the opportu-nity to use a recently acquired, almost-unknown, image (although proximity toHalloween didn’t seem to be bad timing).

The painting is such a visual feast thatit almost seems as if it could be used at anytime of year: the flowers are brilliant andfresh with their water droplets, looking al-most spring-like. The viewer is obviouslymeant to enjoy looking at them, evenwhile pondering that they are transitory.

Also, the idea of the Christmas seasonbeginning just after Halloween is a mod-ern marketing ploy. For centuries in theChristian church, Advent has been not somuch a celebration as an introspection, a“Winter Lent” in preparation for the cele-

bration of Christmas—in fact, death is oneof the four traditional topics on which ser-mons for Sundays in Advent are oftenbased. Christmas itself traditionally beganon December 25, and the observance last-ed for the Twelve Days until Epiphany,something that has almost vanished in theface of post-Christmas clearance sales.

Harvest celebrations in years past alsohad their component of death being a partof life (think of the ballad of John Barley-corn, as recounted by Robert Burns).

On substituting recorder for other wind instrumentsAs your reviewer suggests in discussingthree of our CDs in the November issue ofAR, Carolina Baroque CDs are all record-ings of live performances, so they are not100% letter-perfect, but I hope that theyconvey the spirit of the music. The review-er says there are no program notes, butprogram notes, English texts of vocal mu-sic, and brief bios of the performers ac-company our CDs, so possibly they werenot given to the reviewer with the discs.

In the Baroque period the recorder inprofessional performances was a dou-bler’s instrument, usually played byoboists. As all serious students of therecorder discover, it has a very limited lit-erature of really first-class music. Howev-er, flexibility was the order of the day inBach’s time. Cantata BWV 82, for exam-ple, was scored for bass solo, oboe, stringsand continuo, but when the composertransposed it to fit the soprano voice inBWV 82a, he used the transverse flute asthe obbligato instrument. As mentionedon page 6 of the November issue of AR, Iplay the flute part in BWV 82a on voiceflute in d', which was used in the 18th cen-tury for playing flute music. I play the flutepart in Cantata BWV 209 an octave higheron sixth flute because the balance is betterthan with the gentler voice flute. And I of-ten use the fourth flute (soprano recorderin b' flat) or fifth flute in c'' to play oboemusic an octave higher than written,which works well because the recorder hasfew overtones whereas the oboe is unusu-ally rich in overtones.

Quantz comments both in his autobi-

ography and his famous treatise On Play-ing the Flute on the lack of good musicspecifically intended for the transverseflute, and in the first half of the 18th cen-tury violin music was frequently adaptedfor the flute. No conductor would everthink of hiring me to play Baroque musiccomposed for flute, oboe or violin on therecorder, but since I run Carolina BaroqueI often play music on the recorder that wasoriginally scored for those instruments.

Dale Higbee, Music Director/recordersCarolina Baroque

A REPLY FROM TOM CIRTIN, COMPACT DISC

REVIEWS EDITOR: Carolina Baroque’s re-cent recordings of music of J.S. Bach andG.F. Handel are delightful, joyous per-formances. The ensemble is professional,and each musician evinces a keen sense ofBaroque style. I agree with Mr. Higbee thatno one expects live performances to beperfect; nonetheless, it is incumbent onevery CD reviewer to point out the short-comings, as well as the virtues, of record-ings. After all, reviewers are advocates forthe listeners. Scott Paterson’s piece wasfair and insightful, and overall quite posi-tive. I stand by his review. I am grateful toMr. Higbee, however, for correcting an er-ror by pointing out that program notes areindeed included with his CDs.

More about “The Recorder in the Nineteenth Century”I was pleased to see Douglas MacMillan’sarticle “The Recorder in the NineteenthCentury” in the November 2003 issue ofAmerican Recorder. The survival and popu-larity of duct flutes throughout the nine-teenth century is a fascinating subject,and certainly one worthy of further explo-ration. I would like to offer a few observa-tions regarding certain aspects of Mr.MacMillan’s article. He mentions the flag-eolet only briefly on page 17 and does notoffer much explanation of this instrumentor its differences from the recorder. This isa pity, since the flageolet was certainly themost common duct flute of the period be-ing examined. An interesting article aboutthis instrument was recently published byJane Girdham, titled “The Flageolet Play-

RESPONSE___________________________________Cover opinions, CD clarification,

back to the 19th century, DIY “supercorder”

Very inappropriate cover.

30 American Recorder

er: The Ultimate Amateur Musician,” inEarly Music, Vol. 30, No. 3 (August 2002),pp. 397-409.

A larger problem lies in MacMillan’sdiscussion of the instrument illustrated onpage 18, which he identifies as a recorder,based on Richard Thompson’s descriptionof the same instrument in the November1961 issue of American Recorder (p. 3). Although superficially similar to arecorder (with seven fingerholes and athumbhole), this instrument would haveunquestionably been called a flageoletwhen it was manufactured or sold by theNew York firm of Firth, Pond and Compa-ny between about 1848 and 1863. Part ofthe identification problem may have beenthat the instrument as depicted is missingits mouthpiece, which is usually made ofivory or bone and looks rather like a shortcigarette holder. A very similar flageolet,also made by Firth, Pond and Company(and complete with its mouthpiece), ispictured in Laurence Libin, American Musical Instruments in the MetropolitanMuseum of Art (New York, 1985), p. 74,fig. 60. American-made flageolets of thistime were modeled after English exam-ples, which differed from so-called Frenchflageolets that had only four fingerholesbut two thumb holes, as pointed out byThompson. Unfortunately, Thompson al-so used this criterion to dismiss the Firth,Pond and Company instrument as a flag-eolet, further relying on NicholasBessaraboff’s oversimplified and some-what flawed classification of duct flutes inAncient European Musical Instruments(Boston, 1941), pp. 62-64.

MacMillan might be forgiven for takingThompson’s information at face value, butI cannot agree with his suggestion that fla-geolets of this type have a “wind cap.” Ihave only ever seen this term used whenreferring to reed instruments like thecrumhorn, where the cap isolates what isusually a double reed from the player’smouth. When a player blows into theopen end of the wind cap, air surroundsthe reed and is ultimately forced throughit, causing the reed to vibrate. The purposeof the “cap” that fits atop an English styleflageolet is to provide a hollow chamberfor a small piece of sponge that is sup-posed to absorb moisture from the play-

er’s breath and keep the windway fromclogging. The function is quite differentfrom that of the structure usually called awind cap. MacMillan’s makes the furtherobservation that the only other “wind-caprecorder” he knows of is one by Gouldingfrom the early nineteenth century, belong-ing to London’s Victoria and Albert Muse-um. As described by Anthony Baines inthat museum’s Catalogue of Musical Instruments, Vol. II: Non-Keyboard Instru-ments (London, 1968), p. 85, the cap on

this tenor recorder is apparently for thepurpose of housing a sponge, just as withflageolets of the period. He does not referto it as a wind cap.

On a final note, I would like to suggestthat we would all be better off classifyinginstruments like the recorder, flageolet,csakan, or any other flutes with a windwaythat directs the player’s breath past asharp edge, as duct flutes rather than asfipple flutes. In the New Grove Dictionaryof Musical Instruments, s.v. “fipple” (Lon-don, 1984), Jeremy Montagu likewise ad-vocates that use of this term be aban-doned, demonstrating that for well over acentury there has been remarkable differ-ence of opinion among scholars regardingexactly which component of a duct flute is

called the fipple. Writers have variouslysuggested that in such instruments theword fipple denotes the windway, the lip,the block, or even the head section in itsentirety. The term “duct flute” is far lessambiguous as a classification.

Darcy KuronenCurator of Musical Instruments

Museum of Fine Arts, Boston

It’s a bird, it’s a plane, it’sSupercorder!Since 1999, I have invented a tuning-vibrato control, an index-finger-alone dualB/B-flat key, and several advanced innova-tions. Applying these to modern 2-1/2 octave alto recorder designs provides aneasier-to-play recorder with strong, evensound on every note. It also plays quietlyin-tune, and has lovely vibrato for heldnotes.

I am playing a prototype as “oboe” in a45 piece orchestra with everything except(what luck!) oboes. Not as loud as an oboebut it pleasantly fills the part. I have theplum part in a Rossetti wind suite withflutes, me (“oboe”), clarinets, bassoons,horns and string bass.

Since it seems the only way to advancethe “supercorder” cause is to make andsell them myself, I am proceeding to do so.Tools are being bought or made, chal-lenges are being overcome, pleasingshapes and sounds are emerging, and Ihave confidence for presenting them fairlysoon.

I can’t yet set a price, but I am hopingto be able to sell them directly (only) for1500-2000 $Canadian (around 1125-1500 $US). At this point, I have little evi-dence there’s anybody who will wantthem, though. If you are interested in theproject or would like to comment orwould like more information, please en-courage me by sending me a note!

Craig Carmichael820 Dunsmuir Road

Victoria BC Canada V9A 5B7<craig@saers.com>

<http://www.saers.com/~craig>

RESPONSE (cont.)

I would like to suggest

that we would

all be better off

classifying instruments

like the recorder,

flageolet, csakan,

or any other flutes

with a windway that

directs the player’s

breath past a sharp edge,

as duct flutes rather than

as fipple flutes.

Responses from our readers are welcome and may besent to American Recorder, 7770 South High St.,Centennial, CO 80122. Letters may be edited for

length and consistency.

January 2004 31

DER FLUYTEN LUST-HOF, BY JACOB

VAN EYCK, ED. MARIJKE OOSTENKAMP

AND BERNARD THOMAS. Dolce 125 (Magnamusic), 2002. S solo. 3 vols. music+ 1 vol. commentary, 223 pp. $29.50.

Few works in the recorder repertoirehave received as much attention from per-formers, students, and scholars as Jacobvan Eyck’s Der Fluyten Lust-hof. Why somuch celebrity for an obscure collectionby a composer whose total output doesnot quite fill 200 pages? Recorder playersare accustomed to mining for gems, andVan Eyck’s collection gleams brightly be-cause it brings together some of the finestmelodic material of the 16th and early17th centuries in skillful settings that aremusically and technically challenging.

Van Eyck (c.1590–1657) was a blindcarillonneur and recorder player whoserved at various churches in Utrecht, TheNetherlands, and as the director of thebellworks in that city. Among his duties,he was charged with playing the recorderto entertain people taking evening strollsthrough the churchyard of Janskerk.

His Der Fluyten Lust-hof comprisesnearly 150 pieces, largely sets of variationsfor unaccompanied soprano recorder. VanEyck drew on a variety of sources: Frenchairs de cour, English dances and broadsideballad tunes, psalm tunes, and other mu-sic from Germany, The Netherlands, andItaly. Many of the works will be familiar toearly music audiences, such as “Daphne,”“Rosemont,” “The English Nightingale,”“Vater unser im Himmelreich,” GiulioCaccini’s “Amarilli mia bella,” “Puer nobis

nascitur,” and John Dowland’s sublime“Pavane Lachrymae.” The tunes are statedsimply, making them appropriate for be-ginners, whereas the variations are in-creasingly demanding, requiring masteryof the recorder and an acute understand-ing of early Baroque musical practice.

The present publication is the thirdmodern critical edition of the completecollection and has a lot to commend it, in-cluding its low price. It is offered as a four-volume set: the first three volumes presentthe music, and the fourth is a commentarythat provides historical background incor-porating recent scholarship and musicalexamples of the original tunes. The pres-entation is clean and easy to read, and theediting is intelligent. This is an excellentedition of essential repertoire and shouldbe in the library of every serious student ofthe recorder.

THREE SUITES IN ENGLISH STYLE(CA. 1700 ), BY JEREMIAH CLARKE ET AL.,ED. PIERRE BORAGNO. Alphonse Leduc(Theodore Presser), 2000. S or T & bc. Sc 28 pp. $17.95.

The late 17th century marked signifi-cant change and innovation in the musicof France and England. Lully’s iron grip onmusical esthetics in France was starting toloosen, and Italian style—perhaps intro-duced by Innocenzo Fede, a composer at-tached to King James II’s court exiled at St.Germaine-en-Laye—was making inroads.

Similarly, French style dominated Eng-lish music at that time, but another Italiancomposer, Nicolas Mattheis, was thrillingconnoisseurs with his bravura playing andlyrical melodies, making a strong impactupon English tastes.

The present edition, Trois suites dans legoût anglais, contains music for recorderin C with basso continuo by JeremiahClarke (1674–1707), Pierre Gautier (orGaultier) de Marseille (1642–96), and In-nocenzo Fede (1660–1732). It is takenfrom a manuscript of 17 works, the re-mainder of which are for alto recorder withbasso continuo.

Considered together, these works pro-vide a lesson in subtle, yet important, sty-listic differences. The Suite in G Minor byGautier is full-strength French music thatshows no foreign influences. Gautier wasa prominent French opera composer whoworked under license from Lully. Hischamber music was so highly regarded by Jacques Hotteterre le Romain that Hotteterre recommended it as supple-mentary material for his watershed trea-tise Principes de la flûte traversière of 1707.

In contrast, Clarke’s Suite in G Minor isa French-style work that reveals its Englishpedigree in its tunefulness and daring harmonies. Clarke, whose considerableoutput shows originality and inventive-ness, is perhaps the most important Eng-lish composer of the generation betweenPurcell and Handel.

Completing the anthology is Fede’sSonata di Camera [sic] in D minor. Its Ital-ianate trimmings are perhaps the first vol-ley in the stylistic skirmishes that charac-terize music of the succeeding generation.Requiring only intermediate technique, allthree suites are fine works of art that rep-resent well the shifting sensibilities of theirera and reflect the variety of English tasteat the end of the 17th century.

The present edition breaks new groundin early music publishing. Typical of man-uscript sources, the bass is largely unfig-ured. In lieu of the customary continuo realization, however, the editor providesdetailed figures, expecting performers towork out their own accompaniments.

Certainly the lack of a continuo realiza-tion limits the utility of this edition, butthere is still a lot of worth here. For onething, these works make fine duets for so-prano and bass recorders, and would workwell for tenor recorder, flute, or oboe withviola da gamba or violoncello. The coun-terpoint is complete in the two parts, andthe bass is as active as the soprano part. Atthe few places where the bass part dips be-low the range of the bass recorder, onlysmall adjustments are required to bringthose passages into line.

MUSICREVIEWS___________________________________

A new Van Eyck edition, recorder treatise facsimiles, new play-along CDs, recorder noodles, and ricercares

The tunes are statedsimply, making themappropriate for beginners,whereas the variationsare increasinglydemanding.

Furthermore, these are good practicepieces for the budding continuo player:The thorough figuring provides everythinga student needs—assuming a rudimenta-ry understanding of counterpoint—to devise an accompaniment. In any case,this volume contains a lot of good music,and adds to the sparse repertoire ofBaroque recorders in C.

Thomas Cirtin

INTEMERATA DEI MATER, BY

JOHANNES OCKEGHEM, ED. BERNARD

THOMAS. London Pro Musica Per CantareE Sonare LPM 523 (Magnamusic), 2000.Five voices or instruments. Sc 9 pp, pts 2 pp each. $7.50.D’UNG AULTRE AMER (2 SETTINGSCA. 1500), BY PIERRE DE LA RUE, AND

[JOHANNES] LE BRUN, ED. BERNARD

THOMAS. London Pro Musica EML 370(Magnamusic), 2000. Five instruments, 5 scores 4 pp each. $5.50.

These two recent LPM editions presentmusic from the late 15th century. The mu-sic of this period does not always have thefull sonorities characteristic of the HighRenaissance or the extravagant inventive-ness of the late Middle Ages, but it is often

MUSIC REVIEWS (cont.)

TRIO SONATA IN F MAJOR FOR TWOTREBLE (ALTO) RECORDERS ANDBASSO CONTINUO, TWV 42:F, by G. Ph. Telemann. Dowani Music MinusOne DOW 2500 (Excellence in Music,Inc. 1-800-573-5066), 2003. AA & bc +CD. Sc 11 pp, pts 3 pp ea. $27.50.TRIO SONATA IN C MAJOR FOR TWOTREBLE (ALTO) RECORDERS ANDBASSO CONTINUO, OP. 3, NO. 5, BY

J. M. HOTTETERRE LE ROMAIN. DowaniMusic Minus One DOW 2501, 2003. AA& bc + CD. Sc 9 pp, pts 2 pp ea. $27.50.

Do you enjoy play-along CDs? In its re-lease of two trio sonata titles, Dowani hasmade a very good product even better.(Readers may want to refer to reviews ofDowani CDs in the September 2001 AR.)

The printed music for earlier Dowanireleases included only the missing sololine, but this printed music, taken from anurtext edition, shows all parts (includingbass line). The scores and parts are in alarger 9”x12” size, and also serve as an in-dex to the CD tracks. Printing is clear andeasy to read, with no page turn problems.

The CDs are organized as in earlierDowani releases. The first track is a tuningnote: A=440. The next tracks featurecomplete concert performances, playedwell by Manfredo Zimmermann, firstrecorder; Ulrike Volkhardt, secondrecorder; and Alexander Puliaev, harpsi-chord. It would be great if, in the future,information could be included about spe-cific instruments used on the recording.

Ornamentation is interesting and ap-propriate to each composer. Articulationis matched well, particularly when therecorders play parallel rhythms. In theHotteterre, inégale passages are nicelyplayed—a great model for students to im-itate. The first movement of the Telemanncontains imitative passages where orna-mentation is also perfectly matched.

It may be a surprise that the harpsi-chordist does not play the printed contin-uo realization by Thomas Pauschert, butimprovises nicely as if in a live perform-ance—gently rolling chords, extra motionin appropriate places, and lead-in pas-sages at some repeats. The full score in-cludes figures, providing one more teach-ing tool—an opportunity to study howthe printed realization evolved from fig-ures, and to compare the printed realiza-tion to actual performance.

Following the complete performances,the accompaniment is played in three dif-ferent tempos, first with the first recorderpart missing and then the second missing.I especially enjoyed that separate CDtracks offer either the first or secondrecorder as the missing solo part. By mak-ing a music-minus-one solo of eachrecorder part, students can choose to playalong with each part to check intonationand stylistic details before playing as themissing part with the tracks—a wonderfulopportunity for less-advanced students.

In the slow tracks, the solo part is stillheard, muted and almost unnoticeable asyou play along. In the medium and fasttracks, the solo part disappears.

New tracks that start within longermovements are nicely placed at cadences,so that a lost student can listen to the ca-dence and then jump back in.

After listening several times to varioustracks, I realized that Dowani does not usetechnology to take the easy way out. Eachtrack, at each tempo, is recorded separate-ly. Thus ornamentation, trill speed, andother details such as continuo activity, areappropriate to each tempo—an impres-sive commitment to a quality product.

Both the Hotteterre and the Telemannare well-known trio sonatas of moderatedifficulty. After practice, advanced inter-mediate students should be able to play

along at even the fastest tempo. The rangeof tempos is as one would expect. For ex-ample, the three tempos of the Hotteterresecond movement (Courante) are roughly=104, 144 and 208. The most difficultare the fast tracks of the Telemann second(Allegro) and fourth (Vivace) movements.

A comment about the Hotteterre: inthe fourth movement, the first recorderplays alone twice. In spots like this insome previous Dowani CDs, audiblemetronome clicks guide the soloist backto join the continuo. However, in thesetrio sonatas, no clicks are heard once amovement has begun. Instead, when therecorderist plays alone, the actual melodyis also played, muted, on the CD. I feelthat this is a wonderful improvement.Now these play-along CDs could be usedin actual performances, a wonderful boonfor those who live in geographical areaswhere a continuo team cannot be found!

For future releases, I wish that the tem-po-setting metronome taps before eachmovement were notated, to avoid havingto guess how many taps you will hear. I al-so wish that approximate metronomemarkings for each of the three temposwere included in the printed music, sothat students could try each tempo beforeattempting to play along. But my most im-portant concern is this: why is there is nobass player in the continuo? The harpsi-chord bass line does come out nicely, butI still miss a gamba on the bass line.

I highly recommend these new releas-es, as I think that trio sonatas in play-alongformat are particularly enjoyable. But youmight want to make sure that your CDplayer allows you to punch in exact tracknumbers, because the Telemann has 41tracks and the Hotteterre has 47! Con-gratulations to Dowani for great improve-ments in the formatting of their products.

Sue Groskreutz

32 American Recorder

http://www.dowani.com

quite surprising and beautiful on its ownterms.

The best known work here is Ock-eghem’s motet, Intemerata Dei Mater, asubstantial piece that represents well thecomposer’s rich style. The five voices fre-quently sound all together, and yet areusually independent of one another rhyth-mically and melodically. This complex tex-ture is varied sufficiently to give a satisfy-ing sense of form to the music, however,especially through the changes of timethat occur in the course of the piece.

The words (set in the parts, as well as inthe score, and translated in the notes) areclosely linked to the musical setting, butrecorder players will enjoy preparing aninstrumental performance of music byone of the greatest composers of the age.

The contratenor part divides for the fi-nal chord, encouraging performance withat least two on a part. It would work wellin SATTB scoring with alto up the octave.

Ockeghem’s three-part song D’ungaultre amer is set in five parts by Pierre dela Rue and Johannes Le Brun in EML 370.De la Rue builds his piece around Ock-eghem’s tenor line, while Le Brun usesOckeghem’s superius as well as quota-tions from a chanson by Colinet de Lan-noy. Both settings are instrumental incharacter and add rhythmic flourishesaround the slower moving original line.

De la Rue’s setting is better balancedformally, but both works would make anentertaining challenge for an adventure-some intermediate ensemble. The de laRue can be played with SATTB recorders(A up the octave), while the Le Brun requires a S (or A up the octave) on the topwith TTTB.

As usual with London Pro Musica, thetype setting is very clean—with only acouple of printing errors in the Ock-eghem, such as a misplaced tie in bar 102of the discantus part.

Scott Paterson

MÉTHODES ET TRAITÉS FLÛTE ÀBEC 8, ED. SUSI MÖHLMEIER AND

FRÉDÉRIQUE THOUVENOT, 3 vols. J. M.Fuzeau (Courlay, France) Ref. 7427(<www.fuzeau.com>; <jmfuzeau@fuzeau .com>), 2001. 208, 306, 227 pp.Vol. I $48; II $68, III $60 (also available atBoulder Early Music Shop).

Jean-Marc Fuzeau has published animpressive and beautifully produced fac-simile edition of recorder methods andtreatises. The first three volumes of a four-volume set are now available and are re-viewed here; Volume IV is projected to beavailable in September 2004.

The collection attempts to include allof the known facsimiles of recorder meth-ods and treatises (or relevant parts ofthese). Volumes I-III are presentedchronologically, covering almost a 300-year period from the early 16th to the late18th centuries. Each volume begins with alisting of the sources where the docu-ments are found (some in libraries, othersin private collections), a table of contentsfor each volume, and an alphabetical list-ing of all of the authors and titles.

Recorder players with basic knowledgeabout the instrument’s history and reper-toire will likely be most familiar with thetreatises in the first volume that containsSebastian Virdung’s Musica Getutscht(1511); Silvestro Ganassi’s Opera intitula-ta Fontegara (1535); Martin Agricola’s Musica instrumentalis Deutsch (1545);Michael Praetorius’s De Organographia(1619); and Marin Mersenne’s Harmonieuniverselle (1636). Each of these impor-tant treatises or sections of treatises on therecorder have previously been publishedin facsimile editions, many with Englishtranslations and detailed discussion.

Lesser-known treatises in the first vol-ume include the earliest-known treatiseon the recorder, a brief anonymously au-thored manuscript (c.1510) that shows adescant recorder in G with some basic fin-gerings and several rudimentary exercises.

Also included in Volume I is PhilibertJambe de Fer’s Epitome musical (1556),the only French offering written about therecorder in the 16th century; Aurelio Vir-giliano’s Il Dolcimelo (c.1600); and PierreTrichet’s Traité des instruments (1640).

The first 124 pages of Volume II are de-

MUSIC REVIEWS (cont.)

Oberlin Conservatory of Musicpresents the 33rd

Baroque Performance Institute20 June - 4 July 2004

“La Serenissima: Glories of Venice”Kenneth Slowik, Artistic Director

with the Oberlin Baroque EnsembleMichael Lynn, recorder & traverso

Marilyn McDonald, violin; Catharina Meints, viol & celloLisa Goode Crawford, harpsichord

an international faculty includingChristopher Krueger, flute; Gonzalo Ruiz, oboe

Julie Andrijeski, baroque dance

www.oberlin.edu/con/summer/bpiocbpi@oberlin.edu tel. 440-775-8044/fax 440-775-6840

Conservatory of Music, 77 West College St, Oberlin OH 44074

34 American Recorder

January 2004 35

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What type of recorder music do you play? (Check all that apply.) Medieval/Renaissance Baroque Modern/pop Folk Solo Recorder Orchestra Chamber music with other instruments (such as trio sonatas) Broken consort with other instruments (such as a collegium) Consort involving three or more recorders playing one-on-a-part Grand consort(format used in many chapter meetings, with several recorders playing on each part)

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voted to Jacob van Eyck’s Der Fluyten Lust-hof (1646). The first few pages of DerFluyten Lust-hof, which include a fingeringchart, were actually written by GerbrantQuirijnszoon van Blankenburg (althoughnot indicated in the table of contents) andappear elsewhere as an independent trea-tise published by Paulus Matthyszoon in1654. (Of the five extant copies of DerFluyten Lust-hof, three contain a brief in-troductory recorder tutor—two by PaulusMatthysz[oon] and this copy by Blanken-burg. For more information, consult Ruthvan Baak Griffioen, Jacob van Eyck’s Der Fluyten Lust-hof (1644-c.1655),Utrecht: Vereniging voor NederlandseMuziekgeschiedenis, 1991).

Blankenburg’s fingering chart is notable since it includes separate finger-ings for enharmonically equivalent notes.Also significant is the inclusion of trill fin-gerings for every pitch. Van Eyck’s treatiseis by far the lengthiest facsimile in any ofthe volumes; indeed, this was the largestsingle collection of music for a solo wood-wind instrument (by one composer) everto be published!

Volume II continues with CompendioMusicale (1677) by Bartolomeo Bismanto-va, probably the earliest treatise writtenfor what is generally considered a“Baroque recorder” versus a “Renaissancerecorder”—e.g., a more conical instru-ment in three joints rather than a cylindri-cal instrument made of one block. (Thereis possibly an earlier treatise that men-tions a three-joint recorder, Tutto ilbisognevole… (1630), but current consen-sus—based on clefs, keys and musicalstyle—suggests a re-dating of the treatiseat 50 or even 100 years later than firstthought. For more information on this,see, for example, Peter Van Heyghen, “TheRecorder in Italian Music, 1600-1670,” inThe Recorder in the Seventeenth Century:Proceedings of the International Recorder

Van Eyck’s treatise is by far the lengthiestfacsimile in any of thevolumes; indeed, this was the largest singlecollection of music for asolo woodwind instrument(by one composer) ever to be published!

Symposium Utrecht 1993, ed. by DavidLasocki, Utrecht: STIMU Foundation forHistorical Performance Practice, 1995;and Richard Griscom and David Lasocki,The Recorder: A Research and InformationGuide, 2nd ed., New York: Routledge,2003.)

Unfortunately, Tutto il bisognevole isnot included in this or any of the firstthree volumes. In fact, for a comprehen-sive collection of recorder treatises, thereare several glaring omissions, whichDavid Lasocki (in “The Recorder in Print,2001,” his article in the May 2003 Amer-ican Recorder) and others have alreadypointed out. These include, in chronolog-ical order: Girolamo Cardano, De Musica(written c.1546 and first published in Hieronymi Cardani Mediolensis opera om-nia, 1663); Lodovico Zacconi, Prattica demusica… (1596); Paulus Matthyszoon,Vertoninge en onderwyzinge op de hand-fluit(1649); John Banister, The Most PleasantCompanion (1681); Constantijn Huy-gens, Tons de ma flute (1686); James Talbot’s Christ Church Library manu-script (c.1692-1695); Daniel Speer,Grund-richtiger kurtz-… (1697); ClaasDouwes, Grondig ondersoek… (1699);Thomas Stanesby, A New System of theFlute a’bec (1732?); Arnoldus Olofsen, Alde toonen van de fluyt abec… (c.1734-1767); Johann Berlin, Ein wenig bekanntesBuch über Musik and Instrumentenspiel(1744); Pablo Minguet é Irol, Reglas…(1754); Joos Verschuere Reynvaan, Muz-ijkaal kunst-woordenboek… (1795); andN. Swaine, The Young Musician (c.1818).(See the Griscom and Lasocki resourcelisted above for more information.)

I contacted the publisher concerningthese omissions and was informed thatthey intend to include in the forthcomingVolume IV those treatises not publishedin the first three volumes. Hopefully Vol-ume IV will include all of those omissionslisted above. One does wonder, since noexplanation was provided, why they wereleft out in the first place.

Volume II includes several other im-portant treatises, including four popularEnglish publications: John Hudgebut, AVade Mecum for the Lovers of Musick, Shew-ing the Excellency of the Rechorder…(1679); Robert Carr, The Delightful Com-

ARS PUBLICATIONSErich Katz Contemporary Music Series Members Non-Members

Suzanne M. Angevine, A Short Tale for two basses (Level II) (2 scores) $ 5 $ 8Peter Ballinger, Double Quartet for Recorders (Level II-III) (score & parts) $10 $18Anthony Burgess, Sonatina for Alto Recorder and Piano (Level II) (2 scores) $7 $12Cecil Effinger, Dialogue and Dance (SATB) (Level II-III) (score & parts) $10 $18Lee Gannon, Sonatine for three altos (Level III) (score & parts) $14 $26

(score, parts & demo cassette) $23 $43Erich Katz, Suite of Jewish Folk Tunes (S S/A8 A/T) (Level II) (three scores) $10 $18Vaclav Nelhybel, Six Short Pieces for Three Recorders, (AA/TT) (Level II)edited by Alan Drake (3 scores) $8 $14Stanley W. Osborn, Kyrie and Vocalise for soprano voice and recorders (SATB) (Level II) (2 scores & 4 recorder parts) $ 8 $14Frederic Palmer, Entrevista (SATB) (Level II) (2 scores & 4 recorder parts) $ 8 $14Sally Price, Dorian Mood (SATB) (Level II) (score & parts) $10 $18Jeffrey Quick, Picnic Music (SATB) (Level II) (score & parts) $ 5 $ 8

Musical Editions from the Members’ Library:ARS members: 1 copy, $3 2 copies, $4.50 3, $6 4, $7.50 5, $10 6, $11.50Non-members (editions over 2 years old): 1 copy, $5 2 copies, $8.50, 3,$12 4,$15 5, $19.50 6, $23The ARS is happy to provide photocopied enlargements of any Members’ Library edition at the same prices. Pleasespecify “Members’ Library Enlargement.” * = Editions not yet available to non-members.

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Adding Percussion to Medieval and Renaissance Music (Peggy Monroe)American Recorder Music (Constance Primus)The Burgundian Court and Its Music (Judith Whaley, coord.)Improve Your Consort Skills (Susan Carduelis)Music for Mixed Ensembles (Jennifer W. Lehmann)Playing Music for the Dance (Louise Austin)Recorder Care (Scott Paterson)

Education Publications The ARS Personal Study Program in Thirteen Stages to Help You Improve Your Playing (1996).First copy free to ARS Members (mailed to current members in 1996 & new members as they join);

replacement copies for members or non-members, $3. Guidebook to the ARS Personal Study Program (1996). Material formerly published in the Study Guide and Study Guide Handbook, plus additional resources. Members, $11; non-members, $20.

ARS Music Lists (2002). Graded list of solos, ensembles, and method books. Members $8; non-members, $14.Package deal available only to ARS members: Guidebook and Music Lists ordered together, $15.

Junior Recorder Society Leader’s Resource Notebook. ARS members, $20; non-members, $40 (updates at reduced rates after initial purchase). Special rate for previous purchasers of JRS Class Program, $15. Dues for each JRS student member sponsored by an ARS member, $5 ($4 each forgroups of 10 of more). JRS student members receive activities plus “Merlin” badges and stickers.

Other Publications Chapter Handbook. A resource on chapter operations for current chapter leaders or those considering forming an ARS chapter. ARS members, $10; non-members, $20 (updates free after initial purchase).One free copy sent to each ARS chapter with 10 members or more.

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 by sending a refundable $10 deposit to the ARS office along with the address to which the tape should be shipped.Discography of the Recorder, Vol. I (1989). Compiled by Scott Paterson and David Lasocki.Discography of the Recorder, Vol. II (1990-1994). Compiled by Scott Paterson.Either single volume: ARS members $23; non-members, $28. Both Discography volumes together: ARS members only, $40.

American Recorder: Cumulative Index for Vols. I-XXXX. ARS members, $20; non-members, $32.Index Supplement, Vol. XXXIV-XXXX. ARS members, $8; non-members, $14.

All prices are in U.S. dollars and include U.S. postage and handling. For Canadian or foreign surface postage, pleaseadd an additional $1 per item; for Canadian or foreign air mail, please add an additional $3 per item. When orderingfive or more items to be shipped anywhere at the same time, ARS Members may deduct an extra $2 on top of thediscounted members' price. Please make checks payable to the ARS. VISA/MasterCard also accepted.

American Recorder SocietyP.O. Box 631, Littleton, CO 80160-0631, U.S.A. 303-347-1120

Bruckner’s Ave Maria (arr. Jennifer W. Lehmann) Canon for Four Bass Recorders (David P. Ruhl)Dancers (Richard Eastman)Different Quips (Stephan Chandler)Elegy for Recorder Quartet (Carolyn Peskin)Elizabethan Delights*Gloria in Excelsis (Robert Cowper)*Imitations (Laurie G. Alberts)Los Pastores (arr. Virginia N. Ebinger)New Rounds on Old Rhymes (Erich Katz)Other Quips (Stephan Chandler)Poinciana Rag (Laurie G. Alberts)Santa Barbara Suite (Erich Katz)Sentimental Songs (arr. David Goldstein)

Serie for Two Alto Recorders (Frederic Palmer) Slow Dance with Doubles (Colin Sterne)*Sonata da Chiesa (Ann McKinley)Three Bantam Ballads (Ann McKinley)Three Cleveland Scenes (Carolyn Peskin)Tracings in the Snowin Central Park (Robert W. Butts)Trios for Recorders (George T. Bachmann)Triptych (Peter A. Ramsey) Two Bach Trios (arr. William Long)Two Brahms Lieder (arr. Thomas E. Van Dahm)*Variations on “Drmeš” (Martha Bishop)Vintage Burgundy

MUSIC REVIEWS(cont.)

36 American Recorder

panion… (1686); Humphrey Salter, TheGenteel Companion… (1683); and TheCompleat Flute-Master… (1695). Pub-lished by John Walsh and Joseph Hare,The Compleat Flute-Master became one ofthe most popular and successful recordermethods of all time. With Étienne Loulié’sMéthode pour apprendre à jouer de la flûtedouce, we have the oldest surviving Frenchmethod for the Baroque recorder. Despitethe dating listed in Volume II as c.1694,Patricia M. Ranum’s research leads her tobelieve the unpublished manuscript wasactually written in the late 1680s, andthen revised in 1701 or 1702. (Her inter-esting article, “Étienne Loulié: RecorderPlayer, Teacher, Musicologist,” was pub-lished in the March 1991 AR.)

Volume III includes 18 entries (all inthe 18th century), beginning with anotherFrench treatise—and actually the firstpublished French method for the Baroquerecorder: Freillon-Ponçein’s La veritablemanière… (1700). Since I had previouslyreviewed Catherine Parsons Smith’s trans-lated edition of the publication (On Play-ing Oboe, Recorder, & Flageolet, Blooming-ton: Indiana University Press, 1992,which I reviewed in the March 1994 Amer-ican Recorder), and was particularly famil-iar with it, imagine my surprise when Icould not find the section that is exclu-sively devoted to the recorder! Again, thepublisher has assured me this omissionwill be amended in Volume IV.

Besides the Freillon-Ponçein treatise,the other most important entries in Vol-ume III are the two Hotteterre treatises:Principes de la flûte (1707), and L’art depréluder (1719). Here, as in the other trea-tises in this volume, we find an increasing-ly diminished role for the recorder, withthe flute taking a primary position. Re-gardless, the sections on articulation andornamentation are especially useful forrecorder players, and there is still a sectiondedicated to the recorder with clear andeasy-to-read fingering charts.

Many of the other entries in Volume IIIdraw on previously published works (es-pecially taken from The Compleat Flute-Master). Schickardt’s Principes de la flûte…(1720) largely draws from Hotteterre.While they add little to our understandingof recorder technique and performancepractice, the additional treatises in Vol-ume III do provide a wonderful variety ofsongs, airs, and dances.

Because the edition does not offer anytranslations or commentary, readerswould benefit from a familiarity with oth-er languages, especially German, French

and Italian. They may also want to havecopies at hand of their favorite moderneditions of the treatises they are interestedin exploring; however, having a completeset of recorder treatise facsimiles—and allin one publication—is an important undertaking, and an extremely valuablecontribution to anyone interested in thehistory and performance of the recorder.

The publisher is to be commended forproviding us with such a significant andhelpful series. Let’s hope the forthcomingVolume IV fills in the gaps that currentlyexist in these first three volumes.

Mark Davenport Regis University, Denver, CO

THE COMPLETE SCOTTISH & ENGLISH COUNTRY DANCE MASTER FOR RECORDERS, PART I:THE SPRING GARDEN, ARR. PATRICIA

M. O’SCANNELL. Mel Bay Publications,Inc. MB97752, 2001. Various recorder en-sembles. Sc 63 pp. $12.95.

Oh, the sound of English CountryDance music! Who has not been thrilledon first hearing—and then dancing to, orfailing that, playing—these marveloustunes? I first heard this music in the late1950s at Pinewoods Camp (MA), where Ihad gone to teach the recorder to EnglishCountry Dancers. In those days, recorderarrangements were non-existent. It wasPhilip Merrill’s transcendent playing ofthe anachronistic piano arrangements byCecil Sharp and others that came waftingthrough the trees. Other instrumentsjoined him—violins, oboes, clarinets, andrecorders, usually playing and improvis-ing on the fiddle tunes (many of whichwere originally ballads).

I decided that I must arrange somecountry dances for recorders, and spenthours copying (illegally, in pencil on man-uscript paper) the Cecil Sharp arrange-ments in order to get the harmonies hehad added to the melodies. I soon gave upthe task as too time-consuming and reliedfor some time on the piano arrangementsfor my playing and teaching of EnglishCountry Dance.

Gradually over the years, as interest inboth English Country Dance and recorderplaying spread in this country, arrange-ments of the dances for recorders began toappear. But often arrangers didn’t knowhow difficult it is to arrange these tunes sothat they are playable in harmony onrecorders. Tempos are much faster thanmany people realize. Some recorder play-ers become English Country Dancers, andalthough the pieces do not have to be

played at dance tempo, it is bothersome toa dancer to hear them played too slowly.

Another trap for arrangers is that theloveliest Playford tunes (used by the danc-ing masters of the early 17th century) areoften attached to the most difficultdances. Since each tune is associated witha particular dance, you have to be a danceryourself to know which tunes are the mostuseful for actual dancing.

The best arrangements to come downthe pike were, and are, those of MarshallBarron, a violinist and dancer who workedclosely with Merrill for many years. Her at-tractive three-part arrangements (PlayfordConsort Publications), although not in-tended for recorders, can mostly be playedby them at the proper tempos. I have alsofound arrangements compiled by AlCofrin in Early Period and Popular DanceMusic (self-published, 1996) that are use-ful in my teaching of English CountryDance. Likewise useful are BernardThomas’s four-part settings in PlayfordDances (London Pro Musica Editions.)

I was initially attracted to Patricia O’Scannell’s The Spring Garden because itis a book of arrangements specifically forrecorders, although they can be played onother instruments. This made it appear tobe a particularly suitable volume to takealong to a recorder workshop where Iteach English Country Dance. The onlyproblem seemed to be that about half ofthe dances themselves are too difficult toteach at a recorder workshop.

Still, all of the tunes are great for play-ing, if not for dancing, and I looked for-ward to adding them to my repertoire ofrecorder arrangements—particularly“Childgrove,” a lively dance with a mourn-ful melody (I’m grateful to O’Scannell forthe archaic meaning of the word “child-grove”—“secondary blossoms”); “EasterThursday,” a fairly easy dance with a beau-tiful melody; “Fenterlarick”; and the ever-popular “Hole in the Wall” with a tune byHenry Purcell.

To my disappointment, I found thatthe arrangements—at least for the dancesI chose to teach—were not very good.There were poor harmonizations, wrongscorings and, unforgivably, mistaken re-peats. There were even misspellings—

January 2004 37

KEY: rec=recorder; S’o=sopranino; S=soprano; A=alto; T=tenor; B=bass; gB=great bass; cB= contrabass; Tr=treble; qrt=quartet; pf=piano; fwd= fore-word; opt=optional; perc=percussion; pp= pages;sc=score; pt(s)=part(s); kbd=keyboard; bc=bassocontinuo; hc=harpsichord; P/H=postage and han-dling. Multiple reviews by one reviewer are followed bythat reviewer’s name.

e.g., Fentalarich” for “Fenterlarick.” I havenot thoroughly searched the book for errors, but I can imagine that, havingfound so many in the few dances at whichI looked, there must be many more.

In invoking the name of Carl Whitman, a country dancer and teacherwhom she claims to have known intimate-ly, and whom I knew, O’Scannell gives theimpression that she also knows thedances intimately, and this does not seemto be the case.

Martha Bixler

CHERUB'S DANCE, BY JASON JEFFREY. Orpheus Music YCS 010(<www.orpheusmusic.com.au>), 2001.A & guitar, Sc 5 pp, pt 2 pp. Abt. $8.75 +P&H.SALAD UNDRESSING, BY BENJAMINTHORN. Orpheus Music OMP 094, nopubl. date given. A & ’cello, Sc 11 pp, pts 6 pp each. Abt $11.50 + P&H.

These moderately challenging workspair the alto recorder with a member of thestring family.

In Cherub’s Dance, Jeffrey uses the gui-tar strictly to accompany, playing a patternin five that is rhythmically identical towhat Dave Brubeck played on Take Five.Jeffrey’s harmony may be considered neo-tonal, but really comprises unresolvedtonal suspensions and sudden, unpre-pared modulations.

Against this accompaniment, therecorder plays a melody that sounds likean improvisation, though it is not at alljazz-related. It’s like noodling—or, to bemore specific, playing around with an ideaand then switching to another one seem-ingly at random. The main difficulty inthis music is rhythm.

Except for the opening section of the first movement (which offers an enchanting, highly ornamented cadenza,a la Greek wedding music, played by therecorder over the ’cello’s drone), Thorn’sSalad Undressing is a true duet with bothinstruments as equal partners. The entirepiece is in C minor and has an excitingodd-meter dynamism typical of many ofThorn’s works. Though the content of thefour movements is fairly similar, each willhave a different impact upon the listenerdue to their differences in tempo.

Both editions are very good, and themusic is worth checking out. These piecesare best suited to advanced amateurs.

Pete Rose

2 RICERCARI FOR FOUR INSTRU-MENTS (1556), BY ANNIBALE PADOVANO.London Pro Musica LPM IM10 (Magnamusic), 2000. ATTB. Sc 11 pp, pts 4 pp each. $9.

During his early career, Padovano(1527-1575) was organist at San Marco inVenice, where he is presumed to havebeen in contact with Willaert, A. Gabrieli,and Buus, among others. Best known inhis time for organ playing and organ com-positions, he published a book of ricercarifor keyboard, which brought togethercharacteristics of that genre that had beendeveloping in the area. The two ricercaripresented here are from that collection.

The beauty and dignity of these twopieces are brought about by a complexweaving together of rhythms and scalarpatterns. As in much organ music, it is asif one were not aware of that complexityuntil each piece is finished and the wholecomes into an immediate memory of theexperience. The constant reworking ofrhythms in each of the voices gives the interesting impression of a mystery thatshould not, after all, be that mysterious.

One of the selections is written in “Terzo Tono,” and the other in “PrimoTono,” but they are similar in both textureand direction. The third-mode one is a lit-tle more aggressive in its general feel, butboth make stimulating use of dissonancecommon in organ music.

They are accessible tointermediate players will-ing to count carefully. Wefound them beautiful atboth slow and rapid tem-pi. The canto part of thethird-mode piece can beplayed on soprano, ratherthan alto up an octave, ifnecessary. Both pieces also lend themselves wellto viol consort.

This edition is a joy in its clarity and ease ofreading.

Jann Benson

38 American Recorder

Amherst EarlyMusic Festival

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MUSIC REVIEWS (cont.)

January 2004 39

CHAPTERS & CONSORTS___________________________________ Chicago Chapter composition contest winners,

busking against the California recall results

Young players in the newsHaley Huang, a member of the Atlanta Recorder Society, was awardedfirst place in the Reflections Competitionsponsored by the Parent Teacher StudentAssociation in Cobb County, GA. Thefifth-grader’s winning composition is aduet for recorder and ’cello entitled I AmHappy When I am Dreaming.

Haley (age 10), Zack Siegel (11) andEvan Taylor (12), all students of JodyMiller, performed a trio by Mattheson forthe Georgia Music Educators AssociationSolo and Ensemble Festival in November,receiving a rating of superior. Haley alsoplayed the Telemann recorder sonata in Cmajor and received a superior rating.

The MacPhail Center for MusicSuzuki Recorder Consort—Erik An-derson, Jacob Myhre, Andrew Davis,Benjamin Waldo and Phillip Colantti(ages 12-15, pictured below)—performedrecently for the Milkweed Book Lover’sBall in Minneapolis, MN. This was thegroup’s first paid gig, and they are usingthe money earned to pay for a tour to Iceland next June with other Suzuki students from MacPhail.

These five students of Mary Halver-son Waldo, plus 10 other MacPhail Suzu-ki recorder students as young as five yearsold, also performed in recital for the November meeting of the Twin CitiesRecorder Guild.

Chicago ChapterAnnounces 2003 RecorderComposition Contest WinnersThe winners of the 2003 ChicagoChapter Recorder Composition Con-test have been announced. First prizewent to Karl Stetson of Coventry, CT,with Three in Five. Second prize wentto Glen Shannon of El Cerrito, CA,with Canterbury Trio, and HonorableMention to Richard Eastman ofNaperville, IL, with Happy Days. Firstprize was $150, and second prize was$75.

The 2003 contest was for recorder trios only. Entries had to be original, unpublishedcompositions suitable for ensemble playing in ARS chapter meetings that are likely tohave players of varying levels of ability. The pieces were to last between five and 10 min-utes.

There were 13 entries by 11 different composers from across the U.S., and even onefrom Australia (Patrick Liddell, who used to live in Chicago). Judges were Mike Beck-er, Kim Katulka and David Smart. David is a retired professor of music in composi-tion and theory from the Moody Bible Institute. Both Mike and Kim have Master of Mu-sic degrees, and are professional recorder players.

“In judging this year’s impressive array of entries, the judging panel evaluated eachpiece on its originality, technical merit, and playability by a group of players of mixedabilities. The composition which we unanimously decided best met all three of thesecriteria was Three in Five by Karl A. Stetson. This well-constructed, tuneful three move-ment work for AAB recorders is interesting and enjoyable to play, as well as being verysuitable for group playing at ARS chapter meetings,” said Becker.

The winning compositions will be presented in a special program at the April 18Chicago (IL) Chapter meeting. With the composers present, it is always an excitingopportunity for everyone to play the music.

This year’s winner, Karl Stetson, is a physicist and engineer by profession and hashis own company selling electronic holographic systems. As a child, he would pick outtunes on his dad’s piano. He began studying clarinet in eighth grade.

After picking up a recorder while visiting the Dolmetsch factory in England, he be-gan to explore all recorder sizes, as well as related double reeds. Years of attending ear-ly music workshops such as the Amherst workshop, a course in music theory, a love ofjazz, and two good musical friends who needed music to play brought him to write thewinning piece, Three in Five. He says he was inspired when he heard the FlandersRecorder Quartet play the Paul Desmond/Dave Brubeck song, Take Five.

As ever, the contest’s goal is to encourage latent composers in our midst to turn theirattention to writing for the recorder. Keep this mind and get ready for a future contest.

Arlene Ghiron

Karl Stetson

In early October, the Rio Grande Chapter (with members from both Texasand New Mexico) sponsored a weekend workshop for recorders and viols inLas Cruces, NM. Pictured above are the workshop faculty (left to right): Letitia Berlin, Frances Blaker, Jack Ashworth and Cléa Galhano. (Photo by Carol Ann Council)

Alex Ives and I spent 16 days in New YorkCity recently, catsitting for Dorabella,Martha Bixler’s beloved cat, while Marthaand her husband vacationed in Hollandand Belgium. We had wonderful experi-ences, but this one takes the cake!

On the day after the recall election inCalifornia, Alex provoked me into takingour recorders and “busking” on the cornerof 93rd and Broadway. She said that wecould boast that we “played on Broad-way.”

She made a sign that said, “CALIFORNIA REFUGEES DUMPSCHWARZENEGGER FUND.” Withstand in hand, plus a book of easy Renais-sance duets for soprano and altorecorders, and a small basket for dona-tions, off we went past the doorman of ourapartment, heading for the corner.

We set up, somewhat shyly, betweenthe newsstand and the back of the subwayentrance, taped the sign to the front of themusic stand and started playing. The highpitch of the soprano recorder made a des-cant for the sirens and bus noises.

Encouraged by the startled glances ofthe passersby, we quickly moved to a moreauspicious area in front of billboardposters for theater productions, still at thesame corner. Thinking we would play for

only a few minutes, wefound ourselves souped upby the second “takes” of thehurrying pedestrians—andespecially by the coins andbills being dropped into thebasket! We think they wereamused by the sign, markingtheir agreement, and proba-bly not by the music!

Passersby included nan-nies with kids, men withtheir charges, camera buffstaking our picture, a knowl-edgeable street cleaner, ablack-hatted rabbi, andmany shoppers who re-turned to read the sign andnodded in agreement. Westayed for over an hour andnetted $27.

But, it turned out, thatwas not all. On Sunday, ourpicture appeared in the Citysection of The New York Times.

Never underestimate the power of therecorder!

Billie Hamilton, member of the

Sacramento (CA) Recorder Society

Alex Ives (left) and Billie Hamilton, in a photo taken by a passerby with Alex’s camera, similar to a photo that appeared in The New York Times.

Recorders take to the Sidewalks of New York City

fine editions of early & contemporary music

PRB PRODUCTIONS Peralta Avenue, Albany, CA

Phone: -- Fax: --E-mail: PRBPrdns@aol.comWeb: www.prbmusic.com

CHAPTER NEWSChapter newsletter editors and publicity

officers should send materials to the following addresses:

American Recorder, 7770 South High St., Centennial, CO 80122-3122.

by e-mail <editor@recorderonline.org>; ARS Office,

P.O.Box 631, Littleton CO 80160-0631, by e-mail

<recorder@AmericanRecorder.org>;Richard Carbone, Chair,

Chapters & Consorts Committee,8 Candlewood Drive,

Greenville, RI 02828-1802.

More Chapter NewsOn October 17, Recorder Society ofConnecticut members Elise Jaeger,Janet Kiel, Barbara Masonpierre,Rosalie Tisch and Maisie Kohn-stamm (the last playing viola da gamba)participated in a musical recital spon-sored by Western Connecticut State Uni-versity to celebrate the gift to the univer-sity’s music department of a virginalfrom the 16th and early 17th centuries.

The program appropriately included16th- and 17th-century songs anddances on virginal, plus recorder worksby Praetorius, Schein, Sandrin, Hol-borne and Allegri.

A multi-year fund-raising effort by theMid-Peninsula Recorder Orchestrahas successfully resulted in the purchaseof a contra bass for the group.

40 American Recorder

January 2004 41

Although many recorder players thinkof our instrument mainly in “histori-

cal” terms because of the recorder’s im-portance in early music, the ongoing de-velopment of new types of recorders is ofinterest to quite a few professional and ad-vanced amateur players. In this column Iwant to take a look at several of the newtypes of recorders or related instrumentsthat have appeared in recent years.

A good place to start is with the Har-monic Tenor and Harmonic Altorecorders developed by Maarten Helder.These instruments have been covered inAmerican Recorder in columns by PeteRose (see issues from September 1996and March 1997—and, by the way, checkout Pete’s new web site at <www.peteroserecorder.com>) and are frequent topics ofdiscussion in advanced recorder circles. Inessence, these are thoroughly redesignedrecorders that produce a powerful soundthroughout a range of more than three oc-taves. The bore has been designed to pro-duce harmonics of the two lowest notesthat are correctly in tune. In addition, theblock is adjustable to aid in dealing withcondensation and to provide special voic-ing effects.

Both the alto and tenor include keys forthe lower tone holes, as well as a piano or“soft” key that allows a diminuendo effect.The instruments are made of either rio pal-isander or rosewood and have a strikingmodern appearance, worlds away fromtraditional Baroque alto or tenorrecorders.

The Helder instruments are now beingcustom-produced by the Conrad Mollen-hauer firm in Germany. In the words ofMollenhauer promotional literature,“This instrument is intended for the professional performer of 19th- and 20th-century music, and is custom-made onspecial order only.” Both the alto andtenor are currently equipped with a“Sound Unit,” which consists of three interchangeable windway roofs and a spe-cial mechanism that allows modificationof the voicing and control of tone qualityand dynamics during performance.

In a sense, the “Holy Grail” for recorderplayers has been an instrument with a

full sound, wide range, and the dynamicflexibility of modern woodwinds. TheHelder instruments come closer to thisgoal than any yet produced. Alas, they areexpensive (over $2500 for the alto, andover $3000 for the tenor, with prices al-ways subject to change due to theeuro/dollar relationship)—but, givenwhat they can do, not unreasonably ex-pensive.

Rose tells me that Walter van Hauweand Johannes Fischer, two distinguishedEuropean recorder players, have used theHelder instruments extensively. Mollen-hauer’s web site (<www.mollenhauer.com>) doesn’t yet list any availablerecordings featuring the Harmonic instru-ments, but it seems likely that some willappear soon. Any readers with knowledgeof CDs featuring the Harmonic Recordersare urged to share it with this column.

The search for louder, more dynamical-ly flexible recorders also leads one to theTrichterflöten produced by the firm ofAdler-Heinrich (a merger of two long-standing recorder names) in Germany.Quoting the web site, “The Trichterflöte isa very sophisticated woodwind instru-

ment for all who want to realizenew sounds. The Trichterflöte al-lows a considerably stronger dif-ferentiation of the airstream re-sulting in a remarkable range of ar-ticulation.”

These instruments are availableas either soprano or alto recorders,and are what is known as “bellrecorders.” The alto is equippedwith a polished brass bell giving itquite a “horn-like” appearance. Either Baroque or German finger-ing is available, and maple, pear-wood and rosewood are the currentwood choices.

Not having played or heardthese recorders, I cannot commenton what they can or cannot do. It isinteresting that the web site doesnot mention the range of these in-struments. Pictures of the soprano

and alto reveal that there are nokeys, only the traditional fingerholes.

A different path toward recorder“modernity” involves microtonality. Thedivision of the octave into 12 tones haslong since been superceded, at least bysome composers and instrument makers,by divisions into as many as 48 tones.American composers such as Harry Partchand Ben Johnston have composed exten-sively using microtones. In the early musicworld, harpsichord maker Willard Martinhas produced an extraordinary cembalocromatico that includes extra keys to allow

the microtonal flexibility to play highlychromatic music in meantone tuning. Insuch tuning, C-D are different pitches, asare E-F, etc., throughout the range.

The division of the octave into 19 tones(which is essentially what Martin’s cemba-lo cromatico does) has been achieved byLewis Jones and David Armitage inrecorders made in the Woodwind Work-shop at London Guildhall University.These instruments have five keys that al-low comfortable playing of accidentals inthe lower range while also providing reli-able high notes. Equal temperament isused which, combined with the 19-division microtonal octave, allows per-formance of both pre-19th-century tun-ings and contemporary microtonal music.

Based at the Centre for New MusicalInstruments at London Guildhall Univer-sity, Jones and Armitage are part of the ef-fort to develop and produce new versionsof mainstream acoustic and orchestral in-struments. Check out the web site at<www.lgu.ac.uk/mit/cnmi/intro.html>.

Mention should be made here of the Swedish recorder maker RagnarArvidsson. He has produced Baroquerecorders of his own design that feature a

ON THE CUTTING EDGE___________________________________ New types of “modern” recorders being developed

The “Holy Grail” forrecorder players has beenan instrument with a fullsound, wide range, andthe dynamic flexibility ofmodern woodwinds.

42 American Recorder

special bore derived from his backgroundas an engineer of microwave guide systemsin radar and telecommunications. The in-struments are said to have the sound ofRenaissance wide-bore recorders but uti-lize Baroque fingering to provide a fullchromatic range of over two octaves. Ihave not encountered these instruments,but readers who have played orheard them are encouraged to e-mail any information they have.

Returning briefly to the ex-tensive product list of the Con-rad Mollenhauer firm, I want tomention the “Dream”recorders designed by Dutchrecorder maker AdrianaBreukink. Available in soprano,alto and tenor ranges, these in-struments are hybrid designswith a wide Renaissance-stylebore, coupled with standardmodern Baroque fingerings.Unlike the Maarten Helder in-

struments, the “Dream” recorders arecompetitively priced, but correspondinglydo not provide the features of the Har-monic instruments. Recorder soloist AldoAbreu has been using a “Dream” soprano,and John Tyson uses a “Dream” alto spe-cially revoiced to play even louder thannormal.

Mollenhauer also produces what theycall the Modern Alto Recorder. This newinstrument has its roots in a recorder orig-inally designed by the recorder makerJoachim Paetzold, and is a collaborationwith the young recorder virtuoso NikolajTarasov. Slightly longer than a convention-al alto, the instrument has a double key for

ON THE CUTTING EDGE (cont.)

“Dream” recorders

low f and f and produces a clear, non-reedy flute-like sound that is uniformthroughout the range. Louder than tradi-tional Baroque-style instruments, the in-strument is said to complement the soundof historical and modern pianos quitewell. Playable into the third octave, this in-strument is starting to turn up in thehands of professional soloists, and isworth investigating, especially due to itssurprisingly moderate price.

Coming from a different planet entire-ly, the Yamaha WX5 Wind MIDI Con-troller is perhaps the ultimate contempo-rary “woodwind.” This device is not arecorder, but it can be easily mastered byadvanced players (or even intermediateplayers) since it uses saxophone-type fin-gerings. MIDI technology (Musical Instru-ment Digital Interface) allows the WX5 toproduce a virtual universe of new soundswhen connected to computers, synthesiz-ers or other electronic gadgets. Althoughoriginally provided with a saxophone-typemouthpiece, the WX5 is now also avail-able with a reedless recorder-type mouth-piece. The fingering system offers variouschoices, so that the player can customizethe fingering for ease of playing. The in-strument responds to the player’s breathand lip pressure and generates MIDI data

using high resolution sensors that are alsocapable of custom calibration.

The WX5 can be programmed to pro-duce almost any type of sound, and, witha recorder-style mouthpiece, is quite easyto learn. In Yamaha’s words, “the WX5 canopen the door to a whole new world of ex-pression and musical versatility.”

Many jazz saxophonists have incorpo-rated the WX5 into their instrumental ar-senal, and I have heard the device live inconcert on several occasions. I also havehad the delightful experience of trying outthis space-age gizmo at a music store and Iurge all interested readers to do the same.

To me the WX5 is a logical extension ofthe recorder for those not put off by am-plified music. As more and more music inthe concert world becomes amplified—the string quartet that calls itself “Ethyl” isone example (I am still waiting to hear anamplified recorder quartet)—and as moreand more composers call for amplificationof instruments, the Yamaha WX5 mayprove more and more useful to contempo-rary musicians. Tyson sometimes uses awireless system amplifier with a lapelmike, since he loves to move around whenhe plays. Wouldn’t you love to hear whathe would do with a WX5?

Tim Broege <timbroege@aol.com>

January 2004 43

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THE ART OF DANCING IN SEVEN-TEENTH-CENTURY SPAIN. JUAN DEESQUIVEL NAVARRO AND HISWORLD. INCLUDING A TRANSLA-TION OF THE DISCURSOS SOBRE ELARTE DEL DANZADO BY JUAN DE ESQUIVEL NAVARRO (SEVILLE,1642), AND COMMENTARY ON THETEXT. BY LYNN MATLUCK BROOKS.Bucknell University Press, 2003. 322 pp.Hardcover, $60. ISBN: 0-8387-5531-3.

“Truly the Dance is a careful noncha-lance.” So proclaims Juan Esquivel deNavarro, whose dance treatise, Discursossobre el arte del danzado (Seville, 1642),forms the main focus of this book.

The topic of 17th-century Spanishdance—indeed of most 17th-century Eu-ropean dance—has long been an elusiveone due to the scarcity of dance texts fromthis period. With this publication, the au-thor has added considerably to our bodyof knowledge about Spanish dance, gath-ering valuable information from a wide ar-ray of sources. Lynn Matluck Brooks is awell-respected scholar who has writtenwidely about Spanish dance as well as17th- and 18th-century dance.

While the book centers on the Spanishtranscription and English translation ofNavarro’s Discursos, more than half of the

volume is devoted to contextual informa-tion not only about this dance treatise andits author, but about the place of dance inSpanish society, dance education in Spain,related movement sources, and the vari-

ous dance types of this period. The infor-mation is well documented with scholarlyfootnotes and an excellent bibliography.Some of the illustrations belong to privatecollections and are therefore of great inter-est. The single illustration from the Navar-ro treatise is also reproduced, showing thefoot positions and tracks for two reveren-cias (reverences).

As the only known published dancebook from 17th-century Spain, Navarro’sDiscursos is an important source for dancehistorians. Although not a dancing masterhimself, Navarro was admired in his ownday as an accomplished dancer, and, hav-

ing studied with Antonio de Almenda, thedancing master to King Philip IV of Spain,Navarro was well-equipped to converse onthe variety of topics found in his treatise.He gives descriptions for dance steps, vari-ations, and a few short choreographies(pavana, gallarda, and villano). He also of-fers information on other dance types,posture and stance, behavior for gentle-men, and the values of dancing. Perhapsmost illuminating is his discussion aboutthe Spanish dancing school and dancingmaster; this was most appropriate, asNavarro probably intended his book fordance students and potential dancingmasters. Navarro also outlines his require-ments for a good dancing master.

Brooks has given meticulous attentionto the translation of Navarro’s treatise andmany footnotes are supplied to clarify ob-scure or unclear references in the text. Asthe reconstruction of the dance steps fromNavarro is problematic due to mostly-vague descriptions, the author offers herown carefully considered solutions. It isuseful for the dance historian to have theSpanish transcription in the same volumebecause, when reconstructing historicaldance material, it is best to refer to theoriginal source.

Sadly, there are no musical examples inthe Discursos treatise, but it is evident thatmusic was important to Navarro. He ex-pects the dancer to “have a good ear, be-cause lacking this, it is extremely difficultto dance to the measure.” The dancingmaster in Spain, like many of those in Eu-rope, was also a musician who accompa-nied his classes. But while most Europeandancing masters played the violin, the in-strument of choice amongst Spanishdancing masters was most likely the guitar,according to Brooks.

The dancing master was also expectedto be familiar with the musical require-ments of all types of dances—those cur-rently in fashion, as well as older types,which were apparently employed whencreating entertainments at a ball ormasque. The author informs the reader

The dancing master inSpain, like many of thosein Europe, was also amusician whoaccompanied his classes.

BOOKREVIEWS___________________________________ The Spanish dancing master, and dance in Spanish society

44 American Recorder

January 2004 45

about the musical forces employed for thevarious dance types, and she also clarifiesthe terms baile and danza (the genericSpanish terms for dance).

Numerous details about the proce-dures and format of Spanish dancingschool lessons emerge in the author’s dis-cussion about education in dance. Welearn about the formalities at the begin-nings of the lessons, which dances werepracticed and in what order, and the num-ber of mudanzas, or variations, performedfor each dance. When not engaged indancing exercises, students at the dancingschool learned about courtesy and dress,or entered into discussions on gentleman-ly topics such as philosophy, grammarand skill in arms. As women were general-ly not welcome at these schools, protocolsfor their unexpected visits are prescribed.An intriguing solution was developed forany disagreements between gentlemenstudents: a well-regulated reto, a chal-lenge or dance duel.

Brooks brings in many other danceand movement sources into her discus-sion about the dance. She catalogues oth-er Spanish dance sources from the 15ththrough the 18th centuries, providingsummaries of their content and describ-ing the relationships with Navarro’s mate-rial. Other European dance sources, in-cluding those by Caroso, Negri, Arbeau,and lesser-known works are drawn on aswell. Spanish fencing manuals are also ex-amined and are very useful for explainingcertain terms and movements, especiallyNavarro’s five basic movements. (Theseare not the five positions of the feet codi-fied later into ballet.)

The author gives valuable informationon many dance types not only associatedwith Navarro but from other contempo-rary sources as well. She also describeshow the body was viewed as an instru-ment for expression and behavior as wellas for dance technique. From her carefulstudy, Brooks clearly articulates and elab-orates upon her conclusion that the 17th-century style of Spanish dance was closerto the Renaissance style than to theBaroque style, yet retaining certainunique Spanish characteristics.

While this publication will be indis-pensable to dance historians (a goodtranslation of Navarro’s Discursos hasbeen long overdue), anyone interested inthe artistic culture of 17th-century Spainwill find this book a valuable addition totheir library.

Dorothy J. Olsson

DAVID GOLDSTEIN

(1918-2003)

Pediatrician, Recorder and Viol Enthusiast,

Composer, Arranger, Humorist...

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Our approach to playing Baroque mu-sic has changed dramatically since the ear-ly music movement began about 100 yearsago. At the start of the 20th century, theworks of Bach, Monteverdi, and a handfulof others were treated romantically, a stylemore appropriate for the works of Brahmsand Liszt. That is not a bad approach, ac-tually, because the artists at least ex-pressed the music with an emotional lan-guage, albeit a foreign tongue.

By mid-century, reaction to Romanticexcesses produced something far worse: aperforming style that can be described ascolorless, odorless, and tasteless. Audi-ences were anesthetized with dreary, exer-cise-like renditions of standard fare in

which every hint of emotion and spon-taneity was suppressed. Often called au-thentic performance, the term became a pejorative in some quarters—and rightfully so.

During the last three decades, we havewitnessed the rise of historically informedperformance, perhaps best defined as thecreative application of musicology. In oth-er words, performers seek to express theemotive qualities of the music, but withinthe stylistic and technical limitations of

earlier eras and social contexts. What weare finding, however, is that there aremany valid ways of doing this, and theprecincts are not as confining as we oncesurmised. Early-music performance hashit its stride.

Enter Red Priest—Piers Adams,recorders; Julia Bishop, violin; AngelaEast, violoncello and viola da gamba; andJulian Rhodes, harpsichord—astonishingvirtuosi who know few bounds in convey-ing Baroque sentiments. Liberally apply-ing such techniques as rubato, dynamics,tempo changes, and vibrato, they push thelimits of style to the breaking point to ex-press the music embedded in the notes.

Their playing defies words; you musthear them to understand the seismic shiftthey have triggered. Although most of thisprogram will be familiar to early musicfans, including works by Ortiz, Montever-di, Purcell, Handel, Vivaldi, and Tele-mann, listeners will feel as if they are hear-ing the music for the first time. What a gift!It seems you can go home again.

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They push the limits of

style to the breaking point

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COMPACT DISCREVIEWS___________________________________ HIP on the run

Each CD review contains a header with some or all of thefollowing information, as available: disc title; composer(multiple composers indicated in review text); name(s)of ensemble, conductor, performer(s); label and catalognumber (distributor may be indicated in order to helpyour local record store place a special order; some discsavailable through the ARS CD Club are so designated);year of issue; total timing; suggested retail price. ManyCDs are available through such online sellers as<www.cdnow.com>, <www.towerrecords.com>,<www.amazon.com>, etc. Abbreviations:rec=recorder; dir=director; vln=violin; vc=violoncel-lo; vdg=viola da gamba; hc=harpsichord; pf=piano;perc=percussion. Multiple reviews by one reviewer arefollowed by that reviewer’s name.

46 American Recorder

NEW LISTINGS____REFLECTIONS Music to Soothe and Upliftthe Spirit Eileen Hadidian, Renaissance & Baroqueflute & recorder; Maureen Brennan, Celtic harp;Natalie Cox, Celtic & Renaissance harp; Dan Reiter,’cello. Celtic, traditional, Renaissance & Medievalmelodies. Healing Muses. $17 ARS/$20 others.____20TH CENTURY MUSIC FOR RECORDER &PIANO Anita Randolfi, recorders; Marcia Eckert,piano; Douglas Lima, piano; Mary Barto, flute.Original music composed by Jacob, Bartok, Leighand others for recorder and piano, from early 20thcentury through the 1960s. $17 ARS/$20 others.____RECORDER JAZZ Warren Kime, recorder;Gary Mayone, keyboards; Don Coffman, bass;George Mazzeo, drums & percussion. Original jazzcharts with a great groove, including Sweet PotataSamba, Key Biscayne, Coastin’ and MidnightExpresso. Sunlight Records. $17 ARS/$20 others.

IN STOCK (Partial listing)____THE AGE OF JOSQUIN: THE GRAND TOURHighland Park Recorder Society & ChamberOrchestra, Robert W. Butts, conductor. RWB Productions. $17 ARS/$20 others.____AIRES AND DUETS FOR TWO FLUTES ANDBASS Vicki Boeckman & Dorte Lester Nauta, recorder;Mogens Rasmussen, gamba; Viggo Mangor, archlute& chamber organ. Trio sonatas by Handel, Telemann,Braun, Merula, Rossi. Primavera. $17 ARS/$20 others.____ ARIAS, DUETS & BALLET MUSIC FROMHANDEL OPERAS Carolina Baroque. DaleHigbee, recorders. Live recording of a variety ofexcerpts from operas of Handel, including Alcinaand Giulio Cesare in Egitto. $17 ARS/$20 others.____ BACH & HANDEL: BAROQUE MASTERSCarolina Baroque. Dale Higbee, recorders. Excerptsfrom several of the masters' operas and cantatas,recorded in 2002 concert. $17 ARS/$20 others. ____BACH ARIAS, DUETS AND CHAMBERMUSIC Carolina Baroque, Dale Higbee, recorders.Recorded live in 2003, this CD features Bach can-tatas and other works, including Cantata BWV 140,Wachet auf. $17 ARS/$20 others.____ BACH: MUSIC TO CHALLENGE THEINTELLECT AND TOUCH THE HEART CarolinaBaroque, Dale Higbee, recorders. Cantata No. 21,Part One; Cantata No. 182. $17 ARS/$20 others.____BLOCKFLOETENENSEMBLE WIENIrmtraut Freiberg, Karin Heinisch, Susanne Jurdak,Eva Maria Kaukal & Prisca Loeffler, recorders.Ensemble music for three-five players; works byJ.Chr. Demantius, J. Hilton, M. Kaeser, Monteverdi,Morley, Mozart, W. W. van Nieuwkerk, Pachelbel,Reichardt, Schermann. $17 ARS/$20 others.____CHARLESTON PRO MUSICA ON TOURMarsha Evans, Lewis Fitch & others, recorders,gemshorns, guitar and voice. Medieval andRenaissance music with consort and singers.Millennium Music/ Charleston SC. $17 ARS/$20 others.____CONCERTI DI NAPOLI Rebel: Matthias Maute,recorders; and REBEL. Sonatas by Mancini, RobertoValentini, A. Scarlatti. Dorian. $17 ARS/$20 others.____DREAMS INSIDE THE AIR TUNNELZana Clarke, recorder & composer. “Drawing on themusic of the didjeridu & shakuhachi...beautiful &hypnotic...”—American Recorder. Orpheus Music.$17 ARS/$20 others.

____ENSEMBLE PIACERE 2002 EnsemblePiacere. Maria Brojer, soprano; Irmtraut Freiberg,recorder, harpsichord, organ, rankett; Eva MariaKaukel, recorder & organ; Eva Mock, guitar.Sparkling performances of works from theRenaissance to the 20th century by Frescobaldi,Ortiz, Telemann, Fux, Keil and many others.Ensemble Piacere. $17 ARS/$20 others.____FOLIAS FESTIVAS Belladonna Baroque Quartet.Cléa Galhano, recorders.16-17th-century music byFalconieri, de Tafalla, Merula, others. Dorian. $17 ARS/$20 others.____FRUIT OF A DIFFERENT VINE Alison Melville,Natalie Michaud & Colin Savage, recorders; A. Hall,piano. Works by Hindemith, Berkeley, Leigh,Staeps. 1994 ARS Professional Recording GrantCD. S.R.I. $17 ARS/$20 others.____THE GREAT EMU WAR Batalla Famossa, ayoung ensemble, with first CD of Australian recordermusic. Orpheus Music. $17 ARS/$20 others.____HANDEL: THE ITALIAN YEARS ElissaBerardi, recorder & Baroque flute; PhilomelBaroque Orchestra. Handel, Nel dolce dell’oblio &Tra le fiamme, two important pieces for obbligatorecorder & soprano; Telemann, Trio in F; Vivaldi,All’ombra di sospetto. Dorian. $17 ARS/$20 others.____IMAGINE II David Young, recorders. More con-temporary interpretations of classic songs from the1970s by Neil Young, Jim Croce, Carole King, andMoody Blues. Universe Music. $17 ARS/$20 others.____IN NOVA CANTICA Eileen Hadidian, flute &recorder; Elisabeth Engan, soprano; Neal Rogers,tenor; Shira Kammen, vielle, violin, harp, alto; KitRobberson, vielle, gamba; David Tayler, lute,Baroque guitar. Traditional carols, chansons andfestive dances from the 13th-17th centuries.Healing Muses. $17 ARS/$20 others.____JOURNEY Wood’N’Flutes (Vicki Boeckman,Gertie Johnsson & Pia Brinch Jensen, recorders).Works by Dufay, Machaut, Henry VIII, MogensPederson, W.W. Van Nieuwkerk & Maute—sevencenturies. Kadanza Classics. $17 ARS/$20 others.____LANDSCAPES David Bellugi, recorders; AliTajbakhsh & Chris Hayward, percussion. “Virtual”recorder orchestra created by Bellugi. Three centuriesof ethnic music by Encina, Brouwer, Ortiz, Bartok.Frame. $17 ARS/$20 others.____LES AMIS DU BAROQUE Paul Nauta, recorder& Baroque flute; Koen Dieltiens, recorder; Jan deWinne, Baroque flute; Christina Mahler, ’cello; ShalevAd-El, harpsichord & organ. Music by Bassani, Corelli,Vivaldi, etc. Highlight Intl. $17 ARS/$20 others.____MANCINI: CONCERTI DI CAMERA JudithLinsenberg, recorders; Musica Pacifica. SevenMancini sonatas, plus works of Durante, D. Scarlatti.“Highly recommended” citation, 2000 Vivaldi Prize,Giorgio Cini Foundation. Dorian. $17 ARS/$20 others.____MIDNIGHT SUN Alison Melville & Colin Savage,recorders; Ensemble Polaris members playing flute,clarinet, guitar, ‘cello, hurdy-gurdy, percussion. Newarrangements of traditional music of Norway, Finland,Estonia, Sweden, Scotland. Classic CD Disc of theMonth, August 2000. Dorian. $17 ARS/$20 others.____MY THING IS MY OWN: BAWDY MUSIC OFTHOMAS D URFEY Tina Chancey, Grant Herreid &Scott Reiss, recorders & other early instruments;Rosa Lamoreaux, soprano. Improvisations on tunesof love, sex & seduction in 18th-century England.Koch Int’l. $17 ARS/$20 others.

____PRIESTON THE RUNPiers Adams, recorders. Concerti composed by theensemble’s namesake, flame-haired Antonio Vivaldi.Upbeat. $17 ARS/$20 others.____ SACRED & SECULAR CANTATAS OF J. S.BACH. Carolina Baroque. Dale Higbee, recorders;Teresa Radomski, soprano; John Pruett & DorisPowers, violin; Mary Frances Boyce, viola; SelinaCarter, ’cello; Daniel Hannemann, harpsichord &organ. Live performances of three cantatas, BWV82a, BWV 202, BWV 209. $17 ARS/$20 others.____A. SCARLATTI: CONCERTI DI CAMERA JudithLinsenberg, recorders; Musica Pacifica. Seven sona-tas, various instrumentations. $17 ARS/$20 others.____SOMETHING OLD, SOMETHING NEW JohnTyson, recorders, with Renaissonics. Baroque & con-temporary music. Titanic. $17 ARS/$20 others.____SONGS IN THE GROUND Cléa Galhano, recorder, Vivian Montgomery, harpsichord. Songsbased on grounds by Pandolfi, Belanzanni, Vitali,Bach, others. 10,000 Lakes. $17 ARS/$20 others.SUZUKI RECORDER SCHOOL (Four vols.)Recordings to accompany the Suzuki® RecorderSchool method books, with Marion Verbruggen,recorders. $17 ARS/$20 others, for each single CD, or$33 ARS/$40 others for any two Suzuki® CDs: ____Vols. 1 & 2 for Soprano or ____Vols. 1 & 2 for Alto

(Vols. 1 & 2: folk & children’s songs, Baroque dances)____Vols. 3 & 4 for Soprano: Handel, de la Guerre, others____Vols. 3 & 4 for Alto: Handel, J.S. Bach, Purcell, others____TELEMANN ALLA POLACCA REBEL, withMatthias Maute, recorders & traverso, play concertiand suites by G.P. Telemann. . $17 ARS/$20 others.____TELEMANN: CHAMBER CANTATAS AND TRIOSONATAS Judith Linsenberg, recorders; MusicaPacifica. Five cantatas from HarmonischerGottesdienst, plus two trio sonatas from SonatasCorellisantes. 2003 Chamber Music America/WQXR Record Award for best chamber musicrecordings of the year. Dorian. $17 ARS/$20 others.____TRIO ATLANTICA Lisette Kielson, recorders;Julie Elhard, gamba, Paul Boehnke, harpsichord.Works by Bach, Telemann, Montéclair, Leclair. TrioAtlantica. $17 ARS/$20 others.____ VIVALDI: LA NOTTE Concerti per strumentidiversi. Judith Linsenberg, recorder; Musica Pacif-ica. Award-winning CD, featuring five Vivaldi con-certi, two sonatas. Dorian. $17 ARS/$20 others.

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48 American Recorder