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The CharltonMethodSopraninothrough BassRecordersItem JRMM001This is one ofthe mostcomprehensiveadult recordertutors available

Contents Fingering and trill charts 63basic technique exercises 69articulation amp coordination studies 39scale amp arpeggio studies 16 studiesfor bass Vibrato 16 Renaissanceduos Renaissance amp Baroqueornamentation amp MORE 180 pagesSpiral bound music book $3250

Susato DanseryeVarious Alto Tenor and BassQuartetItem LPM0101ADanserye begins with amysterious group of dancesmostly called bergerettes andreprises all of which appearunder the heading of bassedanse This is a completeedition of this classic collection

and is the first to come with four 46 page scorebooks and separate commentary $3725

BBBEEESSSTTTSSSEEELLLLLLEEERRRSSS

Mrs McGillivraysWelcomeBass Recorder TutorItem HATT001A bass recorder tutor witha Scottish flavor This bookis intended for recorderplayers who have areasonable knowledge ofalto recorder and whowould like to becomeuseful Bass recorder players Once you havetried the first few pages of this method you arelikely to find this much easier than you realizedThis tutor combines a comfortably gradedlearning sequence with plenty of interestingtunes and pieces Contents Basic bass fingeringcharts and 84 pieces exercises and traditionalEnglish Scottish and other beautiful classics ina 45 page spiral bound book $2495

Van Eyck Der FluytenLust-HofFor Soprano RecorderItem DOL0125Few works in the recorderrepertoire have received asmuch attention fromperformers students andscholars as Jacob Van EycksDer Fluyten Lust-Hof Why somuch celebrity for an obscurecollection by a composer whose total output doesnot quite fill 200 pages Recorder players areaccustomed to mining for gems and Van Eyckscollection gleams brightly because it bringstogether some of the finest melodic material of the16th and early 17th centuries in skillful settings thatare musically and technically challenging (ARSJanuary 2004) $3275

Monteclaire Airs deDanseFor Soprano or AltoRecorderItem PAR0103Monteclair was a composerof cantatas serenadesinstrumental concerts aballet and a well receivedopera He is best knowntoday for his flute duetsand the Deuxieme Concert for flute and bassThese pieces all have sections of dance tuneswhich are published here for the first time in amodern edition In the Petite Method Monteclairwrites that Nothing improves the understandingof the different tempos and metres than dancetunes All of the Airs de Danse are printed in thiscollection to avoid having to choose betweenthem 41 page score $1995

The ConsortCollectionVolume 1For RecorderQuartetItem DOL0101This must bethe ultimateanthology ofconsort musicThis collectionfeatures 39 widely varied pieces ofmusic spanning the 15th to 17thcenturies Included are pieces by desPres Senfl Janequin Byrd SusatoGibbons Dowland Lully and manyothers 45 page score $1300

BarsantiCompeteOriginalRecorderSonatasFor Alto andBassoContinuoItemDOL01266 sonatas by

Francesco Barsanti Includescommentary and performance notes52 page gem$2450

The Recorder BookItem WOLLITZBack after over a decade of absence andnewly updated the Recorder Book is aninstructive guide for everyone who plays therecorder be it beginner intermediate orexperienced and wants to play morebeautifully and skillfully From selecting arecorder to making it sing from practicingeffectively to playing ensemble andenriching your repertoire here is everything

you need To use this book is to have a uniquely gifted teacher atyour side encouraging you providing you with specific help anddelighting you with their lively knowledge of the art of makingmusic 259 pages $2995

Traditional Irish MusicFor Alto RecorderItem PAR0101A very nice collection of 22 piecesin a 16 page spiral bound score$1200

Playford DancesFor Recorder QuartetItem LPM0102These arrangements of dances from Playfordrsquos TheDancing Master which appeared in 18 different editionsare intended primarily for playing to dancers Those of uswho have been involved in dance events will be familiarwith the experience of having to cobble together versionsof these tunes for the band at short notice and it is hopedthat this volume should reduce the consumption ofmidnight oil $1325

From your friends at

ORDER TOLL FREE (888) 665-2721TEL (860) 364-5431 FAX (860) 364-5168

Email Magnamusicmagnamusiccom

Shop Online at magnamusiccomDonrsquot forget to mention yoursquore an ARS member and get a surprise

ON THE COVER

Illustration by

Wonjoung Chang

copy2009

Volume L Number 2 March 2009

Our 2009 celebration continues with anearly-bird discount deadline of May 1

to register for the ARSrsquos 70th birthdaypartymdashthe ARS Festival and Conference

This year yoursquoll continue to see ARcovers highlighting 2009 as both Volume

50 of AR and as the ARSrsquos 70th anniver-

sary year These specially selected coversare the creative output of the AdvancedIllustration class taught by Glenna Lang

at the School of the Museum of Fine Arts in Boston MA at which students comefrom all over the world to study

The Education Department in thisissue may bear resemblance to ldquoAre youSmarter than a Fifth-graderrdquomdashbut thequestions are a challenge for recorderplayers of any vintage Take Bart Span-

hoversquos quiz (page 24) and see how you doYou may want to use his questions as well asthe AR50 piece in this issue (page 23)mdashadvice from the late Leacuteonie Jenkinsmdashto prepare yourself for your workshop orfestival experience

If itrsquos March then itrsquos likely that youexpect the bulk of this issue to be devotedto the annual roundup of upcoming

recorder workshops (page 12) Whether we make your acquaintance at

the Boston Early Music Festival we meetyou in St Louis for the ARS Festival or wecross paths at one of the many workshopsyoursquoll agree that this promises to be amemorable summer for recorder players

Gail Nickless

Editorrsquos

Note______________________________

GAIL NICKLESS EDITOR

CONTRIBUTING EDITORS

TOM BICKLEY COMPACT DISC REVIEWS bull FRANCES BLAKER BEGINNERS amp TECHNIQUE

TIMOTHY BROEGE 20TH21ST-CENTURY PERFORMANCE

CAROLYN PESKIN Q amp A bull CONSTANCE M PRIMUS MUSIC REVIEWS

ADVISORY BOARD

MARTHA BIXLER bull VALERIE HORST bull DAVID LASOCKI bull BOB MARVIN

THOMAS PRESCOTT bull CATHERINE TUROCYbull KENNETH WOLLITZ

WWWAMERICANRECORDERORG

COPYRIGHTcopy2009 AMERICAN RECORDER SOCIETY INC

Features

Suite Thoughts of Sitka 9Judith Linsenberg recounts how her life changedwhile being the Sitka recorder resident

Summer Workshop Summer-y 12The annual roundup of summer workshopsincluding some earlier and some later

Departments

Advertiser Index and Classified 40

AR50 Avoiding Aches and Pains 23Dr Leacuteonie Jenkins gives advice for thosecontemplating a workshop experience

Chapters amp Consorts 32

Education 24Bart Spanhove tests our musical knowledge

Music Reviews 37

On the Cutting Edge 27Tim Broege puts the recorder into the perspectiveof the larger music world and the internet

Presidentrsquos Message 3Lisette Kielson on how to feed the passion

QampA 28Carolyn Peskin describes Renaissance fingering

Response 34More on music-reading glasses earplugs and Oskar

Tidings 4Mario Duschenes and John Updike die EarlyMusic America contest news Joe Lewnard wins Piffaro contest Matthias Maute teams up with Lincoln Center musicians

GLENNA LANG

DESIGN CONSULTANT

8

9

12

32

6 March 2009 American Recorder

AMERICAN

RECORDER

SOCIETYinc

Honorary PresidentErich Katz (1900-1973)

Honorary Vice PresidentWinifred 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 instrument to

new constituencies encouraging increased careeropportunities for professional recorder

performers and teachers and enabling andsupporting recorder playing as a shared social

experience Besides this journal ARS publishesa newsletter a personal study program a

directory and special musical editions Societymembers gather and play together at chapter

meetings weekend and summer workshops andmany ARS-sponsored events throughout

the year In 2009 the Society enters its eighth decade of service to its constituents

Board of DirectorsLisette Kielson PresidentLaura SanbornndashKuhlman

Vice President Fundraising ChairMarilyn Perlmutter Secretary

Scholarship ChairAnn Stickney Treasurer

Finance Chair Membership Co-ChairMatthew Ross Assistant Secretary

Membership Co-ChairBonnie Kelly Assistant Treasurer

Chapters amp Consort Chair SpecialEventsProfessional Outreach Co-Chair

Letitia Berlin Special EventsProfessional Outreach Co-Chair

Mark Davenport Education Co-ChairSusan Richter MariendashLouise Smith

Leslie Timmons Education Co-ChairMary Halverson Waldo Publications Chair

Nancy Weissman Counsel

StaffKathy Sherrick Administrative Director

1129 Ruth DriveSt Louis MO 63122-1019 US

800-491-9588 toll free314-966-4082 phone

314-966-4649 faxARSRecorderAmericanRecorderorg

wwwAmericanRecorderorg

In accordance with the Internal Revenue ServiceTaxpayer Bill of Rights 2 passed by the United States

Congress in 1996 the American Recorder Society makesfreely available through its office financial and

incorporation documents complying with that regulation

ALABAMA

Alabama Recorder Assoc JenniferGarthwaite (256-586-9003)

Birmingham Janice Williams (205-870-7443)

ARIZONA

Desert Pipes (Phoenix) Linda Rising (602-997-6464)

Arizona Central Highlands (Prescott) Georgeanne Hanna (928-775-5856)

Tucson Scott Mason (520-721-0846)

ARKANSAS

Aeolus Konsort Don Wold (501-666-2787)

Bella Vista Barbara McCoy (479-855-6477)

CALIFORNIA

Central Coast Margery Seid (805-474-8538)

East Bay Susan Jaffe (510-482-4993)

Inland Riverside Greg Taber (951-683-8744)

Monterey Bay LouAnn Hofman(831-439-0809)

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

Orange County Lois Sheppard(562-431-0454) amp Rayma Zack (949-624-3448)

Redding Kay Hettich (530-241-8107)

Sacramento Steve Sherman (916-489-2771) amp Robert Foster (916-391-7520)

San Diego County Harvey Winokur (619-334-1993)

San Francisco Dana Vinicoff (415-908-3258)

Sonoma County Dale Jewell (707-874-9524)

South Bay Liz Brownell (408-358-0878)

Southern California Jerry Cotts (310-453-6004) ampJuanita Davis (310-390-2378)

COLORADO

Boulder Mike Emptage(970-667-3929)

Colorado Springs Janet Howbert(719-632-6465)

Denver Dick Munz(303-286-7909)Fort Collins Roselyn Dailey(970-282-1097)

Early Music Society of Western CO Bev Jackson (970-257-1692)

CONNECTICUT

Connecticut Elise Jaeger (203-792-5606)

Eastern ConnecticutJoyce Goldberg (860-442-8490)

DISTRICT OF COLUMBIA

Washington Art Jacobson (301-983-1310)

DELAWARE

Brandywine Roger Matsumoto (302-731-1430)

FLORIDA

Ft Myers Recorder amp Early Music Ens Sue Groskreutz (239-247-3002)

Gainesville Peter Bushnell (352-376-4390)

LargoSt Petersburg Elizabeth Snedeker (727-596-7813)

Miami Zulema Garaffo(305-374-1879)

Palm Beach Beverly Lomer(954-592-2852)

Sarasota Margaret Boehm (941-761-1318)

GEORGIA

Atlanta Mickey Gillmor (404-872-3210)

HAWAII

Hawaii Irene Sakimoto (808-734-5909)

Big Island Roger Baldwin (808-935-2306)

ILLINOIS

Chicago Mark Dawson (773-334-6376)

Chicago-West Suburban Laura SanbornndashKuhlman(630-462-5427)

LOUISIANA

Baton Rouge Cody Sibley (225-505-0633) ampJohn Waite (225-925-0502)

New Orleans Victoria Blanchard (504-861-4289) amp David Kemp (504-897-6162)

MARYLAND

Northern Maryland Richard Spittel (410-242-3395)

MASSACHUSETTS

Boston Laura Conrad (617-661-8097)

RecordersEarly Music Metro-West Boston Sheila Beardslee (978-264-0584)

Worcester Hills Doug Bittner (508-852-6877)

MICHIGAN

Ann Arbor Annabel Griffiths (734-213-3172)

Kalamazoo Charles Vreeland (269-342-8069)

Metropolitan Detroit Claudia Novitzsky (248-548-5668)

Northwinds Recorder SocietyJanet Smith (231-347-1056)

Western Michigan Jocelyn Shaw( 231-744-8248)

MINNESOTA

Twin Cities Barbara Aslakson (952-545-3178)

MISSOURI

St Louis Kathy Sherrick (314-822-2594)

NEVADA

Sierra Early Music Society Kay Judson (775-322-3990)

NEW HAMPSHIRE

Monadnock Kristine Schramel (413-648-9916)amp Lynn Herzog (802-254-1223)

NEW JERSEY

Bergen County Mary Comins (201-489-5695)

Highland Park Donna Messer (732-828-7421)

Navesink Lori Goldschmidt (732-922-2750)

Princeton Louise Witonsky (609-924-2752)

NEW MEXICO

Albuquerque Bryan Bingham (505-299-0052)

Las Vegas (Flat amp Baroque in Las Vegas) Tom Curtis (505-454-4232)

Rio Grande Sylvia Burke (575-522-1742)

Santa Fe Jane Thomson (505-986-0753)

NEW YORK

Buffalo Jean Ericson (716-839-3942)

Hudson Mohawk Darleen Koreman (518-482-6023)

Long Island Barbara Zotz (631-421-0039)

New York City Gene Murrow (646-342-8145)

Rochester Liz Seely (585-473-1463) Rockland Jacqueline Mirando (845-624-2150)

Westchester Erica Babad (914-769-5236)

NORTH CAROLINA

Carolina MountainsCarol Markey (828-884-4304)

Triangle Mary McKinney (919-489-2292)

OHIO

Greater Cleveland Edith Yerger (440-826-0716)

Toledo Marilyn Perlmutter (419-531-6259)

OREGON

Eugene Lynne Coates (541-345-5235)

Oregon Coast Corlu Collier (541-265-5910)

Portland Zoeuml Tokar (971-325-1060)

PENNSYLVANIA

Bloomsburg Early Music EnsSusan Brook (570-784-8363)

Philadelphia Vincent Hurtubise (215-438-6409)

Pittsburgh Helen Thornton (412-781-6321)

RHODE ISLAND

Rhode Island David Bojar (401-944-3395)

TENNESSEE

Greater Knoxville Ann Stierli (865-637-6179)

Nashville Janet Epstein (615-297-2546)

TEXAS

Austin Marianne Weiss Kim (512-795-9869)

Dallas Jack Waller (972-669-1209)

Rio Grande Sylvia Burke (575-522-1742)

UTAH

Utah Recorder Society (Salt Lake) Mary Johnson (801-272-9015)

VERMONT

Monadnock Kristine Schramel (413-648-9916) amp Lynn Herzog (802-254-1223)

VIRGINIA

Northern Virginia Edward Friedler (703-425-1324)

Shenandoah (Charlottesville) Gary Porter (434-284-2995)

Tidewater (Williamsburg) Vicki H Hall (757-565-2773)

WASHINGTON

Moss Bay Ralph Lusher (425-275-6777)

Seattle Carolyn Wallace (206-782-6898)

WISCONSIN

Milwaukee Carole Goodfellow (262-763-8992)Southern Wisconsin Marilyn Oberst (608-836-0269)

CANADA

Montreacuteal Mary McCutcheon(514-271-6650)

Toronto Sharon Geens (416-699-0517)

Please contact the ARS officeto update chapter listings

ARS Chapters

In July 2005 before I was on theBoard I attended the very first

ARS Festival that year held at RegisUniversity in Denver CO I decidedto go at the last minute (no earlyregistration discount for me) Ithought take advantage of this greatopportunity to change rolesmdashpartici-pate as a student instead of as facultyWhat a wonderful experience it wasmdashto observe join sessions and absorb all the warmth humor and knowledgethat was presented to me I recon-nected with some and met many whowill remain good friends and respectedcolleagues throughout my life

As I recall the 2005 ARS FestivalI remember my introduction to theARS by one of my first teachersRoberta Sweet My passion lay inmaking music and she fed thatpassion lovingly and consistentlymdashone quality I believe necessary forremarkable teaching As a professionalmusician (and lifelong student ofmusic and life) I now succumb to amore sophisticated hunger thatinvolves more than just my teachingand performingmdashan appetite that nowincludes what other professionals are

saying about the recorder theirthoughts on teaching and theirapproaches to ensemble direction andperforming

This Presidentrsquos Messageprovides me with a chance not only toreflect but also to advertise This is theMarch issuemdashthe issue traditionallylisting all the summer festivals andworkshops I mentioned it in the lastissue and you have certainly read and

heard about it but it is here that Iwould like to formally invite you to our second ARS Festival and

Conference held July 30-August 2

at the University of MissourimdashSt Louis (For details go towwwAmericanRecorderorg)

The ARS Festival and

Conference will be a very specialevent honoring all aspects of therecorder an opportunity to cometogether to share ideas and play ourbeloved instrument a chance to hearlive performances from the best-of-the-best and a recognition of thosewho have been an integral part of theARS and of those who will carry itforward into the future

This is not an annual event It hasbeen years in the making Whetherpresenter performer student of everyage and level exhibitor vendoreducator auditor amateurprofessionalmdashwe are in this togetherAll are welcome (And donrsquot forgetabout the early registration discount)

I now succumb to

a more sophisticated

hunger that involves

more than just my

teaching and performing

mdashan appetite that

now includes what

other professionals

are saying about

the recorder

Presidentrsquos

Message___________________________________Greetings from Lisette Kielson ARS President

LKielsonLEnsemblePortiquecom

wwwAmericanRecorderorg March 2009 7

SWEETHEARTFLUTE CO

Baroque Flutes our ownldquoSweetheartrdquo modelFifes Flageolettes

ldquoIrishrdquo Flutes amp WhistlesSend for brochure andor

antique flute list

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

Ralphsweetaolcomwwwsweetheartflutecom

Flutist recorderist conductor andteacher Mario Duschenes (1923-2009) died peacefully in MontrealQC Canada on January 31

Born in Hamburg Germany heescaped into Switzerland before WorldWar II His early musical studiesfocused on recorder solfegravege and pianoHe then turned to the flute firststudying with his father and brothersthen in 1943 entering the GenevaConservatory In 1947 he completedhis training and won an award at the1947 International Competition forMusical Performers in Geneva

After touring Europe as soloistwith the Ars Antiqua Ensemble heemigrated to Canada in 1948

A new recorder worldmdashin partic-ular Montrealrsquos mdashwas enlivened inthe 1950s by the youthful recorderistand flutist from Europe who taughtpublished a method book (used bythousands around the world and stillavailable) and arranged for recorderensembles He made over 30 record-ings including several of flute andrecorder duets with his friend well-known flutist Jean-Pierre Rampal

With his wife Ellyn who was aresearcher and child psychologist hebrought musicians into schools andconducted youth concerts An expertin the Orff-Schulwerk teaching

method he became a member of theCarl Orff Canada advisory board in1974 His efforts in music educationwere lauded by Jamie Portman in The(Montreacuteal) Gazette writing in 1978that Duschenes ldquois probably doingmore for the image of young peoplersquosconcerts than anyone else in Canadardquo

In 1953 he was co-founder of theCAMMAC Music Centre where hetaught for many years Duschenes alsotaught at McGill University (1954-70) and at the University of Montreacuteal(1970-73) He was president in1983-85 of Jeunesses musicales du Canada

Duschenes was recognized as aleading conductor and stood beforeevery major orchestra in CanadaAmong numerous awards he receivedtwo honorary doctorates (from Con-cordia University Montreacuteal andMemorial University St Johnrsquos New-foundland) and in 1985 was made anOfficer of the Order of Canada

Duschenes wrote a number ofwidely-distributed works publishedby BMI Canada and later byBerandolmdashnotably his Method for theRecorder I (1957) and II (1962) forsoprano or alto (in French Meacutethode deflucircte agrave bec I 1962 and II 1968) SchoolRecorder Method (1957) for sopranoand alto together (in French La Flucircteagrave bec agrave lrsquoeacutecole 1973) and Studies inRecorder Playing (1960) He edited orwrote easy duos and trios studies foralto recorder and arrangements ofRenaissance and Baroque works ofBach and of Leopold Mozart

He is survived by his brotherRolf five children and 12 grandchil-dren his wife of 42 years Ellyn(1929-1994) preceded him in deathDonations in his memory may be

made to Phare - Enfants et Familleswwwphare-lighthousecom andMaison Emmanuel wwwmaison

emmanuelorgPulitzer Prize-winning novelist

John Updike (1932-2009) also diedin January of lung cancer at age 76Among his many literary efforts thatinclude the Rabbit quartet he wrote forThe New Yorker for which he contrib-uted a 1988 short story entitled ldquoTheMan Who Became a Sopranordquo Thiswas later reprinted in The Afterlife andOther Stories (Knopf 1994 amp FawcettCrest New York 1995)mdashand the titledoes refer to a soprano recorder Inthat story he led the reader throughvarious personality conflicts in aweekly recorder group that metsomewhere in the East In otherwritings Updike used classical musicto imply a level of sophistication in hischaracters such as Terry Gallagherplaying Greensleeves on recorder in his fifth novel Couples (1968)

Updike was himself knowledge-able about music reviewing classicalmusic concerts in Castle Hill MAfrom 1961-65 He had moved toIpswich near Boston after he left hisjob at The New Yorker feeling after 20months that the city was distractinghim and sometimes stifling his creativ-ity (though he kept his ties to The NewYorker and continued to send thempieces) He and his family enteredenthusiastically into small-town lifeUpdike wrote and performed in anhistorical pageant and he and his wifewere members of a recorder group

Updike commented in 2003ldquoThe real America seemed to me lsquoout therersquo Out there was where Ibelongedrdquo

Tidings___________________________________Mario Duschenes and John Updike die

Joe Lewnard wins young recorder player contest

8 March 2009 American Recorder

Passing Notes

The Recorder Magazine

we invite you to visit the sitewwwrecordermaildemoncouk

Recent Performances of Note

in New York CityLast November at the Chapel of theGeneral Theological Seminary inNew York City NY Chelsea Winds

Recorder Ensemble (Lucinda andBarrie Mosher Gregory EatonDavid Hurd and this author) offeredan all-Bach program It started withthe Ricercare a3 from the MusicalOffering transposed up a step to D minor and continued through 10 contrapuncti from Art of the Fugue

The final days of 2008 held somefine recorder playing RecorderistMatthias Maute joined 16 membersof the prestigious Chamber Music

Society of Lincoln Center in aprogram titled ldquoBaroque Collectionthe Beautiful and the Bizarrerdquo Theperformance included sonatas con-certos programmatic pieces and ariasby Pachelbel Muffat TelemannBiber Vivaldi and Handel Mautecontributed his graceful and fluidplaying to the Telemann Concerto in A Minor for alto recorder two violinsand basso continuo and also to theVivaldi Concerto in G Minor forrecorder oboe bassoon violin andcontinuo (R107)

The concert was presented in thelarge Rose Theater at the LincolnCenter Jazz Center on December 19and 21 If there were ever any doubtMaute made it very clear that therecorder could hold its own in thecompany of ldquomodernrdquo instrumentseven in a large concert space

Given as part of St Bartrsquos middaymidtown concert series a concert ofmore Telemann held very nice playingfrom Deborah Booth on December17 In addition to soprano and altorecorders Booth played Baroqueflute I particularly liked her renditionof the Telemann Partita in C Minor forsoprano recorder and continuo andthe alto recorder obbligato to the arialdquoEin stetes Zagenrdquo from Telemannrsquoscantata for Advent ldquoLauter Wonnerdquo

At the end of the liturgical seasonof Christmas the ensemble at theHoly Trinity Lutheran ChurchVespers series presented JS BachrsquosCantata No 152 ldquoTritt auf dieGlaubensbahnrdquo for the first Sundayafter Christmas (December 28) Thearia ldquoStein der uumlber alle Schaumltzerdquo

with its recorder obbligato played byLarry Zukof was lovely

Chelsea Winds had an interest-ing experience when we were invitedto play a short program for a UnitedNations conference on cooperationbetween the UN and the worldrsquosreligions (December 16) LabouisseHall where the concert was held wasfull of people very many in exoticattire I confess I was dismayed at thissight because I feared our program ofcontrapuncti from Bachrsquos Art of theFugue would make no sense to themany non-Westerners brought up inother music cultures

I need not have feared Themusic was enthusiastically receivedBachrsquos music really is universal

Anita Randolfi

wwwAmericanRecorderorg March 2009 9

Mary Halverson Waldo was a Suzuki teacher trainer for the

January Festival Suzuki in Lima Peruacute Pictured are the

Huancavelicanos who attended the festival from the city of

Huancavelica in the most poverty-stricken region of Peruacute

Padre William Lopez (center front) is the school master and

recorder teacher (being an excellent recorder player him-

self) They were extremely grateful to Corinne Newbegin

(OR) and Jane Harper (MN) who donated SATB recorders

in excellent condition for two vibrant Suzuki programs in

Colombia and Peruacute

If there were ever any

doubt Maute made it

very clear that the

recorder could hold its

own in the company of

ldquomodernrdquo instruments

10 March 2009 American Recorder

Awards and HonorsMusic educator and recorderistDeborah Greenblatt and DavidSeay of ldquoThe Old Schoolhouserdquo inAvoca NE were featured in theNovember 2008 International Musi-cian the official journal of the Ameri-can Federation of Musicians of theUS and Canada They have playedand sung folk music together for morethan 30 years The duo has publishedbooks for a variety of instruments fromrsquocello to tin whistle Among the latestare Barn Dance Fiddle Tunes for Two andSinging Cowboy Fiddling Tunes for TwoVisit wwwgreenblattandseaycom

for informationThe 2009 Borletti-Buitoni Trust

(BBT) Awards acknowledge thatsome instruments present a challengefor talented and ambitious youngclassical musicians striving for a solocareer Recorder player Eric Bosgraaf

(below) and harpsichordist Mahan

Esfahani are among those selected toreceive BBT financial assistance aswell as advice in such areas as publicrelations auditions and finding agents

BBT Award winner Bosgraaf ofThe Netherlands is hailed as one ofthe most gifted and versatile recorderplayers of his generationCurrent plansinclude solo performances with theDallas (TX) Symphony Orchestra andthe Dutch Radio Chamber Philhar-monic His deacutebut recording a three-CD set of music by Jacob van Eyckwas No 1 on the 2007 Dutch classical

music charts (see the CD review in theSeptember 2007 AR and an interviewwith Bosgraaf in the May 2008 ARsee also wwwerikbosgraafcom)

Iranian-born Esfahani who hasappeared in ensemble performancesreviewed in AR was a BBT Fellowshipwinner He makes his Wigmore Halldeacutebut in London as soloist with TheEnglish Concert this month

Two BBT awards of pound20000 eachand six fellowships of pound10000 eachwere given by the Trustrsquos artistic com-mitteemdashFranco Buitoni Adam Gate-house Martijn Sanders and MitsukoUchida See wwwbbtrustcom formore on the foundation and its policiesplus news video and audio of BBTmusicians (now 45 individuals and 14 ensembles from 22 countries)

Early Music America NewsEMA with support from a privatedonor will sponsor its third Medieval

Renaissance Performance Compe-

tition in 2009 The winner receives acash prize (the Unicorn Prize) and isguaranteed three concert performancessponsored by EMA and presenters inPittsburgh PA Milwaukee WI andSeattle WA The contestrsquos goal is to encourage the development ofemerging artists in the performance of Medieval and Renaissance music

Applicants must be ensembleswith at least two performers of age 39or younger who have not performedtogether for more than five years(ldquoemerging artistsrdquo) Repertoire islimited to the period of roughly 800-1550 AD performed on voice(s)andor period instrument(s) and in astyle that is historically informed The competition is open to members

(individual or organizational) of EMAwho reside in the US or Canada

Applications are due April 30Finalists will be selected by June 30and will receive hour-long coachingsessions with an early music artist and present live 20- to 30-minuteperformances in New York City NYin October

For application requirements visitwwwearlymusicorg

EMA has also announced twoearly music ensembles receiving its2008-09 Collegium Musicum

Grant Sacabuche at IndianaUniversityrsquos Early Music Institutedirected by Linda Pearse and theUNT Baroque Orchestra and

Collegium Singers from theUniversity of North Texas under thedirection of Lyle Nordstrom

Sacabuche performs vocal musicwith sackbuts and organ

UNT has one of the largest andmost active collegium programs inNorth America The most prestigiousensembles there are the 30-piece UNTBaroque Orchestra and 26-voiceCollegium Singers whose membersregularly perform at the Boston EarlyMusic Festival (BEMF)

Nordstrom the director of theseensembles was co-director with PaulOrsquoDette of The Musicians of SwanneAlley and was the founder and artisticdirector of the Atlanta (GA) BaroqueOrchestra He received EMArsquosThomas Binkley Award in 2000 for his work with collegiate ensembles atOakland University and Clayton State College

EMA Collegium MusicumGrants provide $1000 toward the costof bringing a college or universitystudent early music ensemble toperform in a BEMF fringe concert(odd-numbered years) or at the Berke-ley (CA) Festival (even-numberedyears) The two winners will performduring BEMF June 7-14

10 March 2009 American Recorder

Awards and HonorsMusic educator and recorderistDeborah Greenblatt and DavidSeay of ldquoThe Old Schoolhouserdquo inAvoca NE were featured in theNovember 2008 International Musi-cian the official journal of the Ameri-can Federation of Musicians of theUS and Canada They have playedand sung folk music together for morethan 30 years The duo has publishedbooks for a variety of instruments fromrsquocello to tin whistle Among the latestare Barn Dance Fiddle Tunes for Two andSinging Cowboy Fiddling Tunes for TwoVisit wwwgreenblattandseaycom

for informationThe 2009 Borletti-Buitoni Trust

(BBT) Awards acknowledge thatsome instruments present a challengefor talented and ambitious youngclassical musicians striving for a solocareer Recorder player Eric Bosgraaf

(below) and harpsichordist Mahan

Esfahani are among those selected toreceive BBT financial assistance aswell as advice in such areas as publicrelations auditions and finding agents

BBT Award winner Bosgraaf ofThe Netherlands is hailed as one ofthe most gifted and versatile recorderplayers of his generationCurrent plansinclude solo performances with theDallas (TX) Symphony Orchestra andthe Dutch Radio Chamber Philhar-monic His deacutebut recording a three-CD set of music by Jacob van Eyckwas No 1 on the 2007 Dutch classical

music charts (see the CD review in theSeptember 2007 AR and an interviewwith Bosgraaf in the May 2008 ARsee also wwwerikbosgraafcom)

Iranian-born Esfahani who hasappeared in ensemble performancesreviewed in AR was a BBT Fellowshipwinner He makes his Wigmore Halldeacutebut in London as soloist with TheEnglish Concert this month

Two BBT awards of pound20000 eachand six fellowships of pound10000 eachwere given by the Trustrsquos artistic com-mitteemdashFranco Buitoni Adam Gate-house Martijn Sanders and MitsukoUchida See wwwbbtrustcom formore on the foundation and its policiesplus news video and audio of BBTmusicians (now 45 individuals and 14 ensembles from 22 countries)

Early Music America NewsEMA with support from a privatedonor will sponsor its third Medieval

Renaissance Performance Compe-

tition in 2009 The winner receives acash prize (the Unicorn Prize) and isguaranteed three concert performancessponsored by EMA and presenters inPittsburgh PA Milwaukee WI andSeattle WA The contestrsquos goal is to encourage the development ofemerging artists in the performance of Medieval and Renaissance music

Applicants must be ensembleswith at least two performers of age 39or younger who have not performedtogether for more than five years(ldquoemerging artistsrdquo) Repertoire islimited to the period of roughly 800-1550 AD performed on voice(s)andor period instrument(s) and in astyle that is historically informed The competition is open to members

(individual or organizational) of EMAwho reside in the US or Canada

Applications are due April 30Finalists will be selected by June 30and will receive hour-long coachingsessions with an early music artist and present live 20- to 30-minuteperformances in New York City NYin October

For application requirements visitwwwearlymusicorg

EMA has also announced twoearly music ensembles receiving its2008-09 Collegium Musicum

Grant Sacabuche at IndianaUniversityrsquos Early Music Institutedirected by Linda Pearse and theUNT Baroque Orchestra and

Collegium Singers from theUniversity of North Texas under thedirection of Lyle Nordstrom

Sacabuche performs vocal musicwith sackbuts and organ

UNT has one of the largest andmost active collegium programs inNorth America The most prestigiousensembles there are the 30-piece UNTBaroque Orchestra and 26-voiceCollegium Singers whose membersregularly perform at the Boston EarlyMusic Festival (BEMF)

Nordstrom the director of theseensembles was co-director with PaulOrsquoDette of The Musicians of SwanneAlley and was the founder and artisticdirector of the Atlanta (GA) BaroqueOrchestra He received EMArsquosThomas Binkley Award in 2000 for his work with collegiate ensembles atOakland University and Clayton State College

EMA Collegium MusicumGrants provide $1000 toward the costof bringing a college or universitystudent early music ensemble toperform in a BEMF fringe concert(odd-numbered years) or at the Berke-ley (CA) Festival (even-numberedyears) The two winners will performduring BEMF June 7-14

The Power of LoveJ U N E 6 - 1 4 2 0 0 9

featuring Claudio Monteverdirsquos sublime final opera

June 6 7 9 10 12 and 14 2009Stanford Calderwood Pavilion at the

Boston Center for the Arts

June 19 20 21 22 2009Mahaiwe Performing Arts Center

in Great Barrington MALrsquoincoronazione di Poppea replaces the previously announced operatic centerpiece Antiochus und Stratonica by Christoph Graupner

Tickets are on sale now at WWWBEMFORG and 617-868-BEMF

RECORDER EVENTS AT THE 2009 BOSTON EARLY MUSIC FESTIVAL

Join us for our weeklong extravaganza of early music with concerts by the worldrsquos leading early music soloists and ensembles including Stile Antico Trio Hantaiuml Ricercar Consort

Pieter Wispelwey rsquocello and Kristian Bezuidenhout fortepiano the BEMF Chamber Operapresentation of John Blowrsquos Venus and Adonis and Marc-Antoine Charpentierrsquos Acteacuteon

Flanders Recorder QuartetSunday June 14 at 1230pm

Paul Leenhouts Renaissance recorder

andGabe Shuford harpsichord amp organ

Wednesday June 10 at 11pm

Recorder Masterclass with Paul LeenhoutsThursday June 11 at 2pm

Visit WWWBEMFORG for a complete schedule of eventsregistration materials for the world-famous BEMF Exhibition Fringe Concerts

and Masterclasses and much more

Joe Lewnard winsPiffarorsquos Second Competition for Young RecorderPlayers

By Joan Kimball wwwpiffarocom

Piffarorsquos second competition for youngrecorder players ages 12 to18 washeld on January 10 at the SettlementMusic School in Philadelphia PAFive finalists chosen on the basis oftapes that they submitted in Novemberperformed before a small but enthu-siastic and supportive audience

A smattering of snow and ice keptaway some people who otherwisewould have attended Ironically the finalists had no trouble reachingPhiladelphia from distant snow capitalsof the USmdash Denver COMinneapolis MN and Chicago IL

Unique in this country as far asanyone knows this competition wasestablished in 2007 to pique theinterest of young recorder players andto encourage them to investigate therepertoire of the 15th century into theearly 17th century on recorders as wellas other early wind instruments Whilethese young players tend to focus on

18th-century and contemporary musicPiffaro hopes to convey to them theimportance of playingmdashand alsounderstanding the underlyingperformance practice issues ofmdashearlier repertoire

Joe Lewnard (at right withPiffarorsquos Joan Kimball) an 18-year-oldhigh school senior from the Chicagoarea was chosen as the winner byjudges Nina Stern from New YorkCity NY and Elissa Berardi ofPhiladelphia He has played recorderfor a number of yearsmdashstudying withAldo Abreu among othersmdashand hasattended the virtuoso program at theAmherst Early Music Workshop Alsoa trumpet player he has expressedinterest in taking up the cornettocombining his facile fingers with hisbrass embouchure

In recent months Lewnard hasbeen preparing repertoire for collegeand conservatory auditions and willapply to several schools His selectionsfor the competition were the unaccom-panied Ricercata prima by GiovanniBassano and two movements from asuite by Pierre Philidor

The other four finalists also playedwith poise and distinction in variedrepertoire (Renaissance to contem-porary) that showed their abilitiesThey were Ariel Branz (age 16) from

Boulder CO a student of LindaLunbeck Bryan Duerfeldt (15) fromMinneapolis a student of MaryHalverson Waldo Amy Pikler (16)from Chicago who studies withPatrick OrsquoMalley and Olivia Sohlen

(16) also from Minneapolis and astudent of Cleacutea Galhano

On March 7 Lewnard willappear again in Philadelphia pairedwith the competitionrsquos previous winnerAlexa Raine-Wright in a recital Thetwo young virtuosi (both of whom havewon ARS workshop scholarships) willperform a variety of 16th- 17th- and18th-century solos and duetsaccompanied by harpsichordistMarcia Kravis In addition Piffaromembers Joan Kimball Priscilla

Smith and Bob Wiemken will jointhem for a set of 16th-century workson Renaissance recorders

With two competitions success-fully completed Piffaro plans to holdanother one in two years and hopesthat young recorder players will start toprepare now Wersquod love to see moreyoung virtuosi coming our way

12 March 2009 American Recorder

Early Music America Magazine is the quarterlypublication for the Early Music Community inNorth America Professionals Students andAudience members

Articles on performance practice trends in thefield recording reviews and a new book reviewsdepartment

Call 888-722-5288 or email infoearlymusicorgfor a FREE sample issue

Last spring I had the honor andgood fortune to spend five weeks

at the Sitka Center for Art andEcology on the central Oregon coastas the recorder resident The recorderresidency is sponsored by the OregonCoast Recorder Societymdasha wonderfulgroup of people I had the chance tomeet and teach and to make musicwith while I was there Myparticipation was made possible inpart by a professional grant from theARS and also by the kind generosityof some of my loyal long-termstudents

The project I worked on while atSitka was an intensive study of Bachrsquossolo string musicmdashprimarily the rsquocellosuites and some of the violin partitasmdashwith the aim of preparing my own arrangements of them for aneventual recording

Although Irsquod been told before Iwent that Sitka was incredibly beautifuland a wonderful place to be Iapproached the residency with sometrepidation I wasnrsquot quite able toimagine it and wondered how I wouldsurvive so many weeks by myself in aremote location seven miles from thenearest townmdashand where Irsquod heardmost cell phones did not work (panic)When I arrived on April 9 I was metwith typical Oregon coast weather forthat time of the year (and many timesof the year) chilly temperatures andrain And Irsquod left sunny California for five weeks of this

I lived in what is called the TreeHousemdasha charming one-roomwooden cabin with a sleeping loft and a wood-burning stove insidemdashenveloped outside by a couple of giantSitka spruce trees After many failedattempts over several days one of myproudest accomplishments was finally

learning how to quickly and reliablybuild a fire in my wood stove My nextproudest accomplishment was learningthat one should not put wet logs on the top of the stove to dry This Idiscovered after setting off the smokealarm bringing the entire Sitka staffrunning to my aidmdashonly to find meoblivious up in the loft

It took me a week or so to getadjusted to my new life I wasnrsquot usedto being alonemdashwithout my dog farfrom civilizationmdashand with expansesof free time and no actual responsibil-ities I spent some of that time explor-ing the surrounding areas takingwalks down to the estuary throughforested woods and climbing to thetop of Cascade Head There I was metwith awe-inspiring views of the PacificOcean the coastline the mountainsand the estuary far below I soondiscovered that this was part of thetotal Sitka experience

After my first incredible climb tothe top of Cascade Head I began torelish the quiet peace and time alonethat Sitka afforded memdashsomething Inever imagined Irsquod feel given mygenerally extroverted nature Inaddition to reading writing andmeditating I was inspired to dive into

Linsenberg

on the

deck of

the Tree

House

wwwAmericanRecorderorg March 2009 13

By Judith Linsenberg

The author is founder and director ofthe Baroque ensemble Musica Pacificawhose performances and eight recordingson the Virgin Classics and Dorian labels

have received international acclaim She has performed throughout the US

and Europe including solo appearances atthe Hollywood Bowl and Lincoln Center

and has been featured with such leadingAmerican ensembles as the San Francisco

Symphony the San Francisco and LosAngeles Operas Philharmonia Baroque

American Bach Soloists and others

Her recording of the Bach organ trioswas sponsored in part by an

ARS Professional Grant The ARS CD Club carries some of her recordings

A Fulbright scholar to Austria shewas awarded the Soloist Diploma with

Highest Honors from the Vienna Academyof Music She is a summa cum laude

graduate of Princeton University holds anearly music doctorate from Stanford Uni-

versity and has been a visiting professor atthe Vienna Conservatory and Indiana

Universityrsquos Early Music Institute Visit wwwmusicapacificaorg

for more information

Suite Thoughts of Sitka

14 March 2009 American Recorder

my musical projects with renewed energy and enthusiasmI had the time not only to practice the Bach suites butalso to really study them in depthmdashanalyzing themlistening to and comparing different recordings andworking on my transcriptions of them Although it wasnrsquotpart of my original intention I now have a plan to publishmy arrangements of these pieces so theyrsquoll be available forothers to perform (While Frans Bruumlggen published hisarrangement of the first three suites in the 1970s to myknowledge there is only one other recorder editioncurrently available whose approach is quite different from mine)

I wasnrsquot however living in total isolation while at SitkaThere were artist residents of other media as well Kim awriter from New York state John and Robin a marriedcouple who were ceramicists from Washington state andtheir three daughters and Claudia an installation- andperformance-artist We became a community socializingwhen we werenrsquot working (and sometimes even when wewere) going on excursions to see the glorious naturalwonders of the Oregon coast having dinners together inour various residences and talking about our work

The setting provided the perfect atmosphere for theexchange of ideas and we began to collaborate on mutualprojects sometimes in unexpected ways Robin startedmaking ocarinas and I worked with her to design and tunethem While I immersed myself in Bachrsquos solo music flutesand musical themes began to appear in the images shepainted on her ceramic pieces Often after wersquod hung outtogether in the evening depictions of the stories I told herwould show up in her paintings over the next few daysFanciful illustrations of me playing to my dog Jake evenmade several appearances in her work (The photos aboveshow the ocarina she made for me)

Toward the end of my stay I also began collaboratingwith Claudia the installation artist Her work was creatinginstallations out of plastic bags fastened together to formdifferent naturalistic shapes which she then set up invarious locations around the Sitka campus and nearby

areas Together we created a performance piece that wepresented at the Open House at the end of our residenciesI provided music to accompany a performance that tookplace within her installation We worked together on usingthe music to express the various ideas in the installation andperformance and using the performance to express themusic in a visual way

Bachrsquos music can be very evocative and I chosemovements from the Bach suites that suggested the variousparts of the narrative she performed part of a slow preludeto depict nascent creatures emerging in a forest a C-majorbourree while they are coming to life a C-minor onesuggesting turmoil a fast 16th-note passage representingflight as they grow wings and fly and finally a wistfulsarabande as they gradually die away and disappear As in a ballet each medium enhanced the other and the wholebecame more than the sum of its parts illuminatingdifferent aspects of each and creating a more profoundeffect than either might have independently

During the Sitka open house Linsenberg plays

in an installation of plastic bag ldquocreaturesrdquo

There were other opportunitiesfor me to present the music I wasworking on Around the midpoint ofmy stay there I performed in a concertmarking the start of the annual Windsand Waves weekend workshop Iplayed one of my Bach suites thoughit was still a work in progress

The next day about 45 recorderplayers descended upon our quiet littleenclave turning it into a hubbub ofactivitymdashquite a change from the low-key atmosphere of the prior severalweeks Once I got over the initialculture shock of the influx of so manypeople I thoroughly enjoyed meetingand working with all of them A class I offered on the Bach suites enabledme to share some of the work Id beendoing conversely I got input from thestudents I taught that made me thinkdifferently about the piecesmdashforexample what about playing them on a subcontrabass recorder

Shortly after the workshop theSitka residents held a communityoutreach day at which we each demon-strated our work to children from anearby school I had been working onsome contemporary pieces withnaturalistic themes (fitting for thesetting) and this event gave me theopportunity to play some of them forthe kids They were fascinated by theextended techniques used to imitatebirds and other animals and of courseVan Eyckrsquos ldquoEngels Nachtegaeltjerdquowas a hit with them as well

As hard as it was for me to getused to Sitka and the residency at thebeginning of my stay it was evenharder to leave My departure datecame too soon Irsquod had time to finishtranscriptions of only three of thesuites

Saying good-bye to all the friendsIrsquod made theremdashthe other artists aswell as the recorder players Irsquod metmdashwas hard enough but leaving the

beauty of the place and the peace Irsquodfound there saddened me greatly

Sitka had changed me and ittransformed my relationship to themusic I played as well My experienceallowed me to tap into a deep placeinside myself in a way that I never hadbefore something I was then able tocommunicate through the music I wasplaying Bachrsquos music turned out to bethe perfect vehicle because it expressesin sound the same grandeur spiritu-ality and universalitymdashas anyone whohas heard a live performance of the B-minor mass can attestmdashas does theview from the top of Cascade Head

Since the conclusion of myresidency I have given severalperformances of the rsquocello suitesincluding some lecture-recitals onthem and on my arrangements moreare planned Irsquove begun working withstudents of instruments other than therecorder who are studying the rsquocellosuites And I continue to work on myarrangementsmdashalas five weeks wasjust not long enough to learn andadapt all six suites although I do plan to publish them in the future

My work at Sitka also inspired meto pick up a project I started over 10years ago but never brought tofruition preparing my arrangementsfor recorder violin and continuo of thesix Bach organ trios (that I recorded in1992) to be published soon by PRBProductions And I have no doubt thatthe Sitka experience will continue towork on me in ways Irsquom not evenconsciously aware of at this time

I would like to give my deep and heartfelt thanks to the followingindividuals and organizations to the

Sitka Center for making my stay there sowonderful and to its founders Jane andFrank Boyden who had the vision tocreate this magical place to the members ofthe Oregon Coast Recorder Society fortheir generosity in creating and sponsoringthe recorder residency to the ARS for its financial support and to my wonderfulstudents who made it possible for me toparticipate in this life-changing experience(you know who you are)

wwwAmericanRecorderorg March 2009 15

Lost in Time Press

New works andarrangementsfor recorder ensemble

Compositions byFrances BlakerPaul AshfordHendrik de Regtand others

InquiriesCorlu CollierPMB 3092226 N Coast HwyNewport Oregon 97365wwwlostintimepresscomcorluactionnetnet

Sitka had changed meand it transformed my relationship to the music I played as well

There were other opportunitiesfor me to present the music I wasworking on Around the midpoint ofmy stay there I performed in a concertmarking the start of the annual Windsand Waves weekend workshop Iplayed one of my Bach suites thoughit was still a work in progress

The next day about 45 recorderplayers descended upon our quiet littleenclave turning it into a hubbub ofactivitymdashquite a change from the low-key atmosphere of the prior severalweeks Once I got over the initialculture shock of the influx of so manypeople I thoroughly enjoyed meetingand working with all of them A class I offered on the Bach suites enabledme to share some of the work Id beendoing conversely I got input from thestudents I taught that made me thinkdifferently about the piecesmdashforexample what about playing them on a subcontrabass recorder

Shortly after the workshop theSitka residents held a communityoutreach day at which we each demon-strated our work to children from anearby school I had been working onsome contemporary pieces withnaturalistic themes (fitting for thesetting) and this event gave me theopportunity to play some of them forthe kids They were fascinated by theextended techniques used to imitatebirds and other animals and of courseVan Eyckrsquos ldquoEngels Nachtegaeltjerdquowas a hit with them as well

As hard as it was for me to getused to Sitka and the residency at thebeginning of my stay it was evenharder to leave My departure datecame too soon Irsquod had time to finishtranscriptions of only three of thesuites

Saying good-bye to all the friendsIrsquod made theremdashthe other artists aswell as the recorder players Irsquod metmdashwas hard enough but leaving the

beauty of the place and the peace Irsquodfound there saddened me greatly

Sitka had changed me and ittransformed my relationship to themusic I played as well My experienceallowed me to tap into a deep placeinside myself in a way that I never hadbefore something I was then able tocommunicate through the music I wasplaying Bachrsquos music turned out to bethe perfect vehicle because it expressesin sound the same grandeur spiritu-ality and universalitymdashas anyone whohas heard a live performance of the B-minor mass can attestmdashas does theview from the top of Cascade Head

Since the conclusion of myresidency I have given severalperformances of the rsquocello suitesincluding some lecture-recitals onthem and on my arrangements moreare planned Irsquove begun working withstudents of instruments other than therecorder who are studying the rsquocellosuites And I continue to work on myarrangementsmdashalas five weeks wasjust not long enough to learn andadapt all six suites although I do plan to publish them in the future

My work at Sitka also inspired meto pick up a project I started over 10years ago but never brought tofruition preparing my arrangementsfor recorder violin and continuo of thesix Bach organ trios (that I recorded in1992) to be published soon by PRBProductions And I have no doubt thatthe Sitka experience will continue towork on me in ways Irsquom not evenconsciously aware of at this time

I would like to give my deep and heartfelt thanks to the followingindividuals and organizations to the

Sitka Center for making my stay there sowonderful and to its founders Jane andFrank Boyden who had the vision tocreate this magical place to the members ofthe Oregon Coast Recorder Society fortheir generosity in creating and sponsoringthe recorder residency to the ARS for its financial support and to my wonderfulstudents who made it possible for me toparticipate in this life-changing experience(you know who you are)

wwwAmericanRecorderorg March 2009 15

Lost in Time Press

New works andarrangementsfor recorder ensemble

Compositions byFrances BlakerPaul AshfordHendrik de Regtand others

InquiriesCorlu CollierPMB 3092226 N Coast HwyNewport Oregon 97365wwwlostintimepresscomcorluactionnetnet

Sitka had changed meand it transformed my relationship to the music I played as well

MARIN HEADLANDS

RECORDER WORKSHOP

Point Bonita YMCA near San Francisco CA

May 15-17

With each coming tide of that mightymetronome the Pacific Ocean and withspring peeping soon our MarinHeadlands Recorder Workshop 2009perched at the edge of the ocean andembraced in greenery gets nearer Againthis workshop will swell with harmoniesof recorders viols and perhaps apsaltery or drum Intermediate andadvanced players are warmly invited tojoin members of the sponsoring EastBay Chapter of the ARS a SFEMSaffiliate at this annual musical event

Music-making begins on Friday andcontinues through Sunday afternoon

including also one- and two-day options

This yearrsquos faculty includes a wonderfulmix of familiar and new faces DavidBarnett Tom Bickley Louise CarslakeRobert Dawson Lisa DykemanFrances Feldon Judith LinsenbergPeter Maund Fred Palmer and Glen Shannon

Music offerings will range from easilyplayable to challenging from delightfulPurcell and Renaissance music to jazzto works by a (very) living composer(led by the chap himself) Check theEBRS web site for updates

The workshop is held at the PointBonita YMCA one of very few publicfacilities on this largely undevelopedarea of California coast Set in a meadowwith short walks to Pacific Ocean vistasthe historic Point Bonita Lighthouseand remnants of WWII fortifications

it is a place to get away recharge andmeet new friends or re-connect withold The accommodations includedormitory-style rooms a large diningarea and playing spaces all on one levelRooms are also available for impromptuplaying sessions

Contact Anna Lisa Kronman

37 Meadow View Rd Orinda CA

94563 925-258-9442

annalisakronmangmailcom

symbolicsolutionscomebrs

BLOOMINGTON EARLY

MUSIC FESTIVAL

Bloomington INMay 15-25

Performances of Medieval RenaissanceBaroque and Classical music as well aseducational programs for concertgoersamateur performers and childrenPlease see BLEMForg for details

Contact Carol Huffman

PO Box 734 Bloomington

IN 47402 812-824-2412

specsorffyahoocom blemforg

WHITEWATER EARLY

MUSIC FESTIVAL (ARS)

University of Wisconsin Whitewater WI

June 5-7Directors Nancy Chabala Carol Stanger Pam Wiese

Our workshop is held on campus at theUniversity of WisconsinndashWhitewaterabout 60 miles SW of MilwaukeeClasses include focus and specialty areainstruction for all levels of recorderplaying as well as beginningmdashconsortviola da gamba wind band voicerecorder orchestra and mixed consort A variety of special interest classes onFriday evening and Saturday eveningparticipant gathering led by LouiseAustin The various classes include

16 March 2009 American Recorder

Summer Workshop Summer-y

The Madison Early Music Festival presents

Telescopic Vistas MEMF X and Music of the SpheresCelebrating the International Year of Astronomy

July 11-18 2009

Guest Artists amp Ensembles Faculty Recorder Artists Quicksilver with Marion Verbruggen Joan Kimball Piffaro The Renaissance Band Priscilla Smith The Newberry Consort Marion Verbruggen Venere Lute Quartet Robert Wiemken

Explore music from the days of Galileo and Kepler Celebrate the influence of astronomy on society arts and culture

in the 15th through 17th centuries

Our tenth anniversary festival features a seven-concert series and a week-long workshop with classes and ensembles for participants of all levels

For more information please call (608) 263-6670 or visit wwwmemfdcswiscedu

music from Medieval to modern

Several musicinstrument vendors onsite Dale Taylor will be on site forrepairs All ages are welcome as well as non-participants

Faculty includes Dale ArmentroutLouise Austin David Echelard CharlesFischer Shelley Gruskin LisetteKielson Laura Kuhlman PatrickOrsquoMalley Tulio Rondon KarenSnowberg Mary Halverson Waldo andTodd Wetherwax Brochures available

Contact Nancy Chabala

8609 45th St Lyons IL 60534-

1616 708-442-6053 (day)

630-789-6402 (fax)

nchabalamymailstationcom

(housingregistration)

thewiesessbcglobalnet (mailing

scholarships) cvstangeraolcom

(facultyfacilities)

INTERLOCHEN EARLY MUSIC

WORKSHOP

Interlochen Center for the Arts Interlochen MI

June 7-12 Director Mark Cudek

Make and enjoy Medieval andRenaissance music while learning new skills and techniques

Topics will include articulationornamentation improvisation andensemble arrangement in Medieval and

Renaissance music The workshopculminates with a participantperformance on period instruments such as recorders and other early windsviols lutes harpsichord and percussionVocalists are also welcome Participantswill supply their own instruments

Early registration is recommendedas space is limited

Contact Matthew Wiliford

Director ICCA PO Box 199

Interlochen MI 49643 231-

276-7441 231-276-5237 (fax)

collegeinterlochenorg

interlochenorgcollege

RENAISSANCE CHAMBER

MUSIC INSTITUTE

New England Conservatory of Music Boston MA

June 11-21

A unique opportunity for professionalmusicians and advanced students todiscover and explore one of the greatestrepertoires of Western music which iseminently suitable for all instruments

Players of modern and early instrumentsare encouraged to attend

Led by John Tyson director of theRenaissance music and dance ensembleRENAISSONICS who has performedand lectured worldwide including forthe Boston Symphony OrchestrarsquosTanglewood Institute

Introductory lectures will be followed byintense chamber music coaching in largeand small ensembles Concentration willbe on personal expression rhetoric andphrasing performance practice andornamentation The institute willculminate in a public performance at theNew England Conservatory of Music

Faculty John Tyson recorder LauraGulley violin Daniel Rowe rsquocello and guest artists

Contact Director of Summer

School New England

Conservatory of Music

290 Huntington Avenue Boston

MA 02115 617-585-1126

617-585-1135 (fax) newengland

conservatoryedusummer

wwwAmericanRecorderorg March 2009 17

Workshops carrying

ARS designation have

joined the ARS as

workshop members

Other shorter workshops

may be sponsored

periodically through the

year by ARS chapters and

are listed in the calendar

portion of each ARS

Newsletter as well as on

the ARS web site when

information becomes

available from presenters

Canto AntiguoWest Coast EarlyMusic and Dance

Featured Faculty

Beautiful CampusFully air-conditioned

For Information Call

800-358-6567

Early Music

WorkshopJuly 5-12 2009

Chapman UniversityOrange CA

Classes in

Baroque Music

Recorder Ensemble(all levels)

Vocal Ensemble

Renaissance Brassand Reeds

Viols

Collegium

Folk Dance

Thomas Axworthy

Mark DavenportRonald Glass

Janet Beazley

Carol LisekJim MaynardAlice Renken

wwwcantoantiguonet

18 March 2009 American Recorder

SUMMER TEXAS TOOT (ARS)

Concordia University Austin TXJune 14-20 Director Daniel Johnson

The Summer Texas Toot is a one-weekprogram of classes in Renaissance and Baroque music at all levels forrecorders viols singers plucked stringsRenaissance reeds and brass andharpsichord Our classes include anarray of small one-on-a-partRenaissance and Baroque ensemblesand larger mixed vocal and instrumentalgroups The size of the workshopenables us to create classes for all levelsof students from those of modest skills to advanced players and singers

Same Texas Toot hospitality andtraditionsmdashback in Austin but atConcordia Universityrsquos beautiful newcampus Classrooms dining and dormaccommodations are air-conditioned and easily walkable

Currently our featured faculty are Tish

Berlin (recorders) Tom Zajac (reedsand ensembles) Mary Springfels(viols) Becky Baxter (harp)mdashbut watchfor more faculty to be added soon

Contact Daniel Johnson

PO Box 4328 Austin TX 78765

512-371-0099 infotootorg

tootorg

SAN FRANCISCO EARLY MUSIC

SOCIETY BAROQUE MUSIC amp

DANCE WORKSHOP (ARS)

Sonoma State University Rohnert Park CA

June 14-20Directors Phebe Craig Kathleen Kraft Frances Blaker

A music-packed week of master classesconcerto evening coached ensemblesBaroque orchestra vocal and windensembles continuo classes concertsand lectures

Featuring recorder faculty FrancesBlaker and Cleacutea Galhano Other facultyChristine Brandes voice Phebe Craig

harpsichord Sand Dalton oboeKathleen Kraft flute Michael Sandviolin and orchestra Mary Springfelsviola da gamba Peter Sykesharpsichord Tanya Tomkins rsquocello

Contact Kathleen Kraft SFEMS

PO Box 10151 Berkeley CA

94709 707-874-2014

kkraftsonicnet sfemsorg

SAN FRANCISCO EARLY MUSIC

SOCIETY CHILDRENrsquoS MUSIC

DISCOVERY WORKSHOP (ARS)

Crowden Center for Music Berkeley CA

June 21-26 (day camp)Director Letitia Berlin

Early music and Renaissance socialhistory for youth ages 7-15 beginners to advanced students welcome Dailyschedule includes chamber musicmusicianship crafts costume-makingand games Friday night concert andtheater project presentation followed by potluck supper

Rebecca Ahrendt violJanet Beazley recorder

Tish Berlin re cord er co-direct orFrances Blaker recorder co-direct or

Vicki Bœckman recorderLouise Carslake recorder fl ute

Charles Coldwell recorder Rotem Gilbert recorder

Julie Jeff rey violShira Kammen viell e

Peter Maund per cus sionKim Pineda recorder

Ellen Seibert violPe ter Seibert recorder choir

Margriet Tindemans viol viell eBrent Wissick viol

Play early music in the spectacular Pacifi c Northwest Choose from classes in recorder viol fl ute and percussion Polish your skills andor take up a new instrument Sing and dance

Enjoy the faculty concert Take part in the student recital Make the most of your stay with a hike at nearby Mt Rainier or a visit to the Museum of Glass

For informat ion or to request a brochure call (206) 932-4623write to Port Townsend Early Music Workshop

1108frac12 Alki Ave SW Seattle WA 98116or vis it wwwseattle-recorderorg

July 12ndash18 2009

Port TownsendEarly Music Workshop

At the beautiful University of Puget Sound Tacoma WA

Tish Berlin amp Frances Blaker Co-Direct orsPresented by the Seattle Recorder Society

Please note that this is a day camp Out-of-town students may contact thedirector regarding accommodations withhost families Some financial aidavailable

Featuring recorder faculty Vida Bateauand Letitia Berlin Other facultyKatherine Heater dance ShiraKammen musicianship and theaterband Ron McKean harpsichord Carla Moore violin Farley Pearcersquocello and viola da gamba Allison Rollstheater project director

Contact Letitia Berlin SFEMS

PO Box 10151 Berkeley CA

94709 510-559-4670

tishberlinsbcglobalnet

sfemsorg

OBERLIN BAROQUE

PERFORMANCE INSTITUTE

Oberlin College Oberlin OHJune 21-July 5Directors Oberlin Baroque Ensemble (Cathy Meints Marilyn McDonald Michael Lynn Webb Wiggins) and artistic director Kenneth Slowik

Celebrating its 38th anniversary withMusic in London 1659ndash1759 thisinstitute offers instruction in Baroqueinstruments and voice Students of alllevelsmdashfrom beginning to Baroqueperformance to the professional levelmdashparticipate in master classes and coachedensembles with an international facultyof Baroque specialists Scholarships are available for qualified high schoolstudents

Contact Anna Hoffman

Conservatory of Music

77 West College St

Oberlin OH 44074

440-775-8044

440-775-8942 (fax)

ocbpioberlinedu

oberlineduconsummerbpi

WORLD FELLOWSHIP

EARLY MUSIC WEEK

Chocorua NHJune 25-July 2Directors Jane Hershey Larry Wallach

Faculty of eightmdashincluding JaneHershey Roy Sansom Pamela DellalJay Rosenberg Julian Cole AnneLegecircne Larry Wallach and JoshSholem-Schreibermdashin a beautifulWhite Mountain camp setting conducta week-long workshop in French earlymusic (late Medieval through Baroque)

Faculty and student concerts Englishcountry dancing special lecturesmorning and afternoon workshops inviols recorders voice mixed ensemblesSephardic music and Baroque chambermusic and classes in Feldenkrais bodywork

Camp facilities include hikingswimming boating camp gardenssupply kitchen with vegetables Very affordable rates

Contact Larry Wallach

69 Welcome St Great Barrington

MA 01230 413-528-7212 (day)

413-528-9065 (evening)

413-528-7365 (fax)

larrysimons-rockedu

worldfellowshiporg

INDIANAPOLIS EARLY

MUSIC FESTIVAL

Indianapolis INJune 26-July 19July 8-9 Mini Boxwood Workshop

The Indianapolis Early Music Festivalis the oldest continually running earlymusic concert series in the USPresented since 1967 our mission is toenrich educate and entertain audienceswith the music of Medieval Renais-sance Baroque and early Classical erasand feature exciting performers ofnational and international stature usinginstruments of the period and histori-cally informed styles and techniques

For 2009 we will present Reconstruction(June 26 ) Ex Umbris (June 27) ChrisNorman amp David Greenberg withRonn McFarlane amp Mark Cudek (July10) I Furiosi (July 12) HarmoniousBlacksmith (July 17) and the PeabodyConsort with Indiana Repertory Theatre(July 19) We also offer our secondannual Family Concert featuring thePeabody Consort on July 18mdash a freeconcert geared to young audiencemembers Several groups also offeroutreach events for younger (generallyhigh-school-aged) musicians and actors

In 2009 we also present a two-dayldquoMini Boxwoodrdquo workshop with Chris

wwwAmericanRecorderorg March 2009 19

Marin

Headlands

Recorder

Workshop

Norman (earlytraditional flutes andpipes) David Greenberg (Baroqueviolin and fiddle) and Ronn McFarlane(lute) on July 8-9

Contact emindyorg

SAN FRANCISCO EARLY MUSIC

SOCIETY MEDIEVAL amp

RENAISSANCE WORKSHOP (ARS)

Sonoma State University Rohnert Park CAJune 28-July 4Director Tom Zajac

Workshop theme Stories and LegendsOpen to singers and players of earlyinstruments (recorders violas da gambalutes shawms etc) Coaching by world-class specialists in Medieval and Renaissance music Classes forvoices recorders viols and alta capellavoice master class ensemble coachingstorytelling for musicians andstorytelling accompanimentRenaissance choir Medieval bandtheater project faculty and studentconcerts lectures and more

Scholarships as well as academic creditor continuing education credit areoffered Featuring recorder facultyFrances Blaker Annette Bauer DanStillman and Tom Zajac Other facultyPatrick Ball storytelling Celtic harpKaren Clark voice movement formusicians Julie Jeffrey gamba ShiraKammen Medieval strings music forstorytelling Drew Minter voice theaterproject Tim Rayborn Medieval stringspercussion music for storytelling Larry Rosenwald theater projectrhetorician in residence MarySpringfels gamba theater projectAnnette Bauer early notation DanStillman reeds alta capella ensembleTom Zajac sackbut Renaissance choir

Contact Tom Zajac SFEMS

PO Box 10151 Berkeley CA

94709 617-323-0617

medrenmailgmailcom

sfemsorg

MOUNTAIN COLLEGIUM (ARS)

Cullowhee NC June 28-July 4Director Patricia Petersen

Nestled in the Smoky MountainsWestern Carolina University provides alovely location for Mountain Collegiumwith comfortable accommodations in anew dorm and catered evening mealsThe workshopmdash at once informal andintensivemdash combines study of Renais-sance Baroque and contemporary musicand improvisation on recorder viol andother early instruments with opportu-nities to explore Celtic and othertraditional music on hurdy gurdymountain dulcimer and pennywhistle

Friendly participants of all levels andages welcome newcomers into theMountain Collegium family Varied classofferings time for informal music-making and evening English countrydancing bring students back year afteryear Faculty Valerie Austin AtossaKramer Jody Miller Patricia PetersenJohn Tyson (recorders other winds)Martha Bishop Lisle Kulbach HollyMaurer Gail Ann Schroeder Ann Stierli(strings) Lorraine Hammond JohnTrexler (traditional music)

Contact Patricia Petersen

1702 Vista St Durham NC

27701 919-683-9672

patpetersenearthlinknet

mountaincollegiummusicorg

GREAT LAKES SUZUKI FLUTE amp

RECORDER INSTITUTE

McMaster University Hamilton ON CanadaJuly 4-11 Teacher training Book 1July 7-11 Teacher training Book 2July 7-11 Student InstituteDirector David Gerry

Master classes group instructionrecitals plus enrichment classes forstudents Teacher training with MaryHalverson Waldo

Contact David Gerry 129 Locke

Street South Hamilton ON L8P

4A7 CANADA 905-525-9549

dgerrynasnet davidgerryca

CANTO ANTIGUO EARLY MUSIC

AND RECORDER WORKSHOP

Chapman University Orange CAJuly 5-12Directors Thomas Axworthy Ronald Glass

This one-week workshop is designed to broaden the performance skills ofexperienced students and introduceRenaissance and Baroque instrumentsand musical experiences to beginningand intermediate players Students at alllevels participate in instrumental vocaland dance instruction performance

The workshop takes place at ChapmanUniversity Studios dining hall andresidences are all air-conditioned Thisinvitingly landscaped peaceful campuswith garden paths is a mixture of historic and modern architecture

The theme of this yearrsquos workshop isMusic of the Italian Renaissance Dancesmasses motets and ceremonial musicwill resonate as we explore the music ofMonteverdi Palestrina Gesualdo et al

Faculty includes Thomas AxworthyJanet Beazley Mark Davenport RonGlass Carol Lisek Jim Maynard and Alice Renken

Contact Ronald Glass

129 Altadena Dr Pittsburgh

PA 15228-1003 800-358-6567

(day) 310-213-0237 (evening)

562-946-4081 (fax)

evanesa2aolcom

cantoantiguonet

CAMMAC EARLY MUSIC WEEK

Lake MacDonald Music Center Harrington QC Canada

July 5-12Directors Francis ColpronMarie-Nathalie Lacoursiegravere

CAMMAC provides a unique oppor-tunity to make music with family and

20 March 2009 American Recorder

friends in a beautiful setting north ofMontreacuteal QC under the guidance ofinternationally acclaimed professionalmusicians

In four daily 75-minute classes pluslectures early music lovers will have the opportunity to play to their heartrsquoscontent

Small ensembles and voice classes are setup ahead of time registration for otherclasses occurs on site the first eveningCourses include choir large instrumentalensemble many recorder and violclasses Medieval and Renaissanceensembles Orff method and Baroquedancing There are courses foradolescents and a program for children 4-11 years old

Special project in 2009 The Fairy Queenby Purcell with choir instrumentalensemble soloists and staging Keyfaculty Matthias Maute ChristopherJackson Laura Pudwell MargaretLittle Marie-Nathalie Lacoursiegravere

Contact Johanne Audet

85 Chemin CAMMAC Harrington

QC J8G 2T2 CANADA

888-622-8755 1

819-687-3323 (fax)

nationalcammacca

cammaccaenglishTabLM

Summershtml

MADISON EARLY

MUSIC FESTIVAL

University of WisconsinndashMadison July 11-18Directors Cheryl Bensman Rowe and Paul Rowe artistic Chelcy Bowles program

MEMF joins the 2009 InternationalYear of Astronomy in a global celebrationof astronomy and its contributions tosociety and culture including the 400thanniversary of the first astronomicalobservation made through a telescope byGalileo Galilei Galileorsquos fatherVincenzo was a musician and musictheorist who combined the practice andtheory of music with mathematicaldiscussion of harmonymdashand influenced

Galileorsquos experiments MEMFcelebrates its tenth season exploringworks of music and the arts inspired by ascientific discovery that had tremendousimpact on culture and civilization

MEMF was created to provide anopportunity for musicians scholarsteachers and early music enthusiasts togather and exchange information andideas about Medieval Renaissance andBaroque music and to bring acclaimedearly music artists to the Midwest toperform in beautiful Madison

Featured MEMF 2009 guest artists-in-residence include Marion VerbruggenThe Newberry Consort QuicksilverPiffaro and Venere Lute QuartetRecorder faculty members includeMarion Verbruggen Joan KimballPriscilla Smith and Robert Wiemken

Contact Chelcy Bowles University

of WisconsinndashMadison 720 Lowell

Center 610 Langdon St Madison

WI 53703 608-265-5629

608-262-1694 (fax)

musicdcswiscedu

memfdcswiscedu

PORT TOWNSEND

EARLY MUSIC WORKSHOP (ARS)

University of Puget Sound Tacoma WA

July 12-18Directors Letitia Berlin Frances Blaker

Join us this summer at our new locationwith a star-studded faculty a beautifultree-lined and easy-to-navigate campuswith accessible facilities and acurriculum that will leave you wishingthere were 48 hours in a day

Consort and technique classes forrecorder and viol consort and mixedrepertoire recorder master classpercussion for all levels Hildegard forsingers Baroque flute beginning violtheory workshop orchestra and moreMake an all-Medieval schedule or mix it up with a class from almostevery period of music

Work hard and play hard with friends

new and old Intense music-making thatwill inspire you during the workshop andthroughout the year

Directors Tish Berlin and FrancesBlaker eagerly await your arrival andanticipate a splendid workshopRecorder faculty Janet Beazley TishBerlin Frances Blaker Vicki BoeckmanLouise Carslake Charles ColdwellRotem Gilbert Kim Pineda

Contact Jo Baim Workshop

Administrator 1108 frac12 Alki

Ave SW Seattle WA 98116

206-932-4623

workshopseattle-recorderorg

seattle-recorderorg

wwwAmericanRecorderorg March 2009 21

Amherst Early Music FestivalJuly 12-19 and 19-26 2009

Connecticut College New London CT

Renaissance consortsBaroque ensemblesMaster classesRenaissance AcademyEarly notation and moreNo audition required

July 12-19Baroque Academy

July 19-26 Virtuoso Recorder Recorder Seminar

Audition deadline May 15

wwwamherstearlymusicorginfoamherstearlymusicorg(617) 744-1324

AMHERST EARLY MUSIC FESTIVAL

(ARS)

Connecticut College New London CT July 12-19 Baroque Academy July 19-26 Virtuoso Recorder Recorder SeminarRenaissance Academy

Director Marilyn Boenau

Music of England and Spain Two weeksof classes in most early instrumentsvoice dance and notation

Week 1 includes classes for recorderviol other early instruments voicedance and notation Special programsBaroque Academy Baroque AcademyOpera Project (Purcellrsquos Dioclesian)

July 18-19 Music amp InstrumentExhibition

Week 2 comprises classes for recorderviol other early instruments voice andnotation Special programs VirtuosoRecorder Recorder SeminarRenaissance Academy

Evening activities include Englishcountry dance madrigals and informalplaying sessions Connecticut College ineastern CT offers comfortable air-conditioned accommodations naturalareas for walking and a view of LongIsland Sound Scholarships and work-study aid available

Contact Marilyn Boenau

Director or Cathy Stein

Administrator 47 Prentiss St

Watertown MA 02472

617-744-1324 (day)

617-744-1327 (fax)

infoamherstearlymusicorg

amherstearlymusicorg

MIDEAST WORKSHOP (ARS)

LaRoche College Pittsburgh PAJuly 19-25Director Marilyn Carlson

Music of Spain 55-60 students of allability levels adults only Instruction forrecorder (all levels except novice) violharp flute You may enroll for recorder

viol flute as primary instrument harpvoice recorder viol as secondary instru-ment Large and small ensembles all-workshop ensemble (instruments andvoices) Renaissance band (recordersviols capped reeds voice) Medievalcollegium (puzzles amp canons) consorts(by level) vocal ensemble Also Englishcountry dance penny whistle We alsooffer viol-for-novice and harp-for-novice each providing the opportunityfor hands-on experience without owningan instrument Other classes on specialearly music topics and literature

Faculty Marilyn Carlson directorMartha Bixler Stewart Carter JudithDavidoff Eric Haas Mary JohnsonPeter Ramsey Kenneth Wollitz otherfaculty to be announced All facilities areair-conditioned

Contact Marilyn Carlson

1008 Afton Road Columbus OH

43221-1680 614-754-7233

mcarlsoncolumbusrrcom

mideastearlymusicaddrcom

22 March 2009 American Recorder

San Francisco Early Music SocietySummer Workshops 2009Recorder middot July 19ndash25 2009La Dolce Vita di Flauto middot Explore the full range of recorder music from the Middle Ages to the 21st century through ensemble work technique sessions and recorder orchestra For the devoted amateur all ages intermediate to advanced Friendly atmosphere small classes Quiet campus near all amenities Special offerings Recorder orchestra recorder master class coached informal playing Faculty Louise Carslake Frances Feldon Rotem Gilbert Katherine Heater Norbert Kunst Patrick OrsquoMalley and Hanneke van ProosdijInfo Frances Feldon 510-527-9840 franfelaolcom

Baroque Music amp Dance middot June 14ndash20 2009Music in Italian Cities middot Master classes recorder ensemble concerto evening coached ensembles classes concerts and lectures Featuring recorder faculty Frances Blaker and Clea GalhanoInfo Kathleen Kraft 707-874-2014 kkraftsonicnet

Medieval amp Renaissance Music middot June 28ndashJuly 4 2009Stories amp Legends middot Classes for voices recorders viols and alta capella voice master class ensemble coaching storytelling for musicians and storytelling accompaniment Renaissance choir medieval band theater project faculty and student concerts lectures and more Featuring recorder faculty Frances Blaker Annette Bauer Dan Stillman and Tom ZajacInfo Tom Zajac 617-323-0617 medrenmailgmailcom

Music Discovery middot June 21ndash26 2009Day camp for youth ages 7 to 15 Early music and Renaissance social history Instruction in recorder harpsichord strings chamber music musicianship crafts costume-making games and more Beginners to advanced students welcome Featuring recorder faculty Vida Bateau and Letitia BerlinInfo Letitia Berlin 510-559-4670 tishberlinsbcglobalnet For more information visit our web site wwwsfemsorg

SAN FRANCISCO EARLY MUSIC

SOCIETY RECORDER WORKSHOP

(ARS)

St Albertrsquos Priory Oakland CA July 19-25Directors Frances Feldon Katherine Heater

Jam-packed week of recorder ensembleplaying concerts and the opportunity toimprove your skills working with highlyrespected recorder specialists in afriendly yet serious atmosphere Explorethe full range of recorder music from theMiddle Ages Renaissance and Baroqueto the 21st century through ensemblework technique sessions and recorderorchestra For the devoted amateur of allages from intermediate to advanced

Small classes Quiet campus Specialofferings recorder orchestra recordermaster class coached informal playing

Featuring recorder faculty LouiseCarslake Frances Feldon RotemGilbert Norbert Kunst PatrickOrsquoMalley and Hanneke van ProosdijOther faculty Katherine Heaterharpsichord

Contact Frances Feldon SFEMS

PO Box 10151 Berkeley CA

94709 510-527-9840

franfelaolcom sfemsorg

WINDSWEPT MUSIC WORKSHOP

William Jewell College Liberty MOJuly 19-25Director Phyllis Pasley

Bring your artistry to life Strengthen the mindbody connection and exploreenergy and music at Creative MotionAlliancersquos 59th annual summerconference Windswept Professionalmusicians conductors teachers studentsand amateur music enthusiasts willdiscover barriers that inhibit the free flowof energy and learn the secrets of inner-directed artistic music-making Classesin piano voice instrumental musicexpressive arts and independent studyMaster class coaching and conductingopportunities available Using move-

ment exercises analysis and bodyresponses explore music and energy in a unique inter-generational workshopformat Opportunities for independentrecorder study and private lessons enrichthe music-making experience

Registration fee $50 prior to 51509Tuition room meals $535 adults $400students 12-18 (must attend with parentteacher or sponsor) special half-weekrate $275 (Sunday-Wednesday noon)Memberfamily discounts Three hoursgraduate credit ($225) 3 CEUs ($50)and private lessons ($25 each)

Contact Phyllis Pasley 2208

Clouds Peak Maryland Heights

MO 63043 314-628-9862

directorcreativemotionorg

creativemotionorg

BOXWOOD FESTIVAL CANADA

Lunenburg Nova Scotia CanadaJuly 19-26Director Chris Norman

Discover musical and dance traditionswhile visiting one of North Americarsquosmost exquisite 18th-century seasidetowns Concerts dances sessionsclasses lectures with leading artists in therealms of traditional folk early musicdance and improvisation Work study ampscholarships available Gourmet cuisine

Faculty Chris Norman directortraditional amp early flutes FrancisColpron recorder ensembles LisaBesnoziuk Baroque flute DavidGreenberg Cape Breton amp Baroqueviolin Edmund Brownless voice shape note singing Marie Bouchardharpsichord Robert Dick contemporarytechniques amp composition Conal O Grada Irish flute Jerry OrsquoSullivanpipes whistle Rod Garnett flutefundamentals ethnic flutes PierreChartrand social dance MarlysNorman ballet classical dance Rod Cameron flute maker Tempest Baroque

Contact 902-634-9994

boxwoodorg

musiqueroyalecom

MACPHAIL SUZUKI INSTITUTE

FOR PIANO GUITAR FLUTE

AND RECORDER

MacPhail Center for the Arts Minneapolis MNJuly 19 Every Child Canreg July 19-26 Recorder Book 1July 20-24 Student InstituteDirectors Cindy Malmin Mary Halverson Waldo (auditions)

Suzuki Clinicians Marilyn Taggartpiano Tadeusz Majewski piano DavidMadsen guitar Kathleen Schoenfluterecorder MacPhail Suzuki faculty

Sanctioned by the Suzuki Association ofthe Americas MacPhailrsquos SuzukiInstitute allows Suzuki students of allages to share in motivating enrichingand wide-ranging musical experiencesStudents work with master teachers andimprove skills technically and musicallyDaily classes and observation includeapplied study theoryreading skillsensemble skills chamber music perfor-mance practices composition improv-isation master classes recitals art andmusic world musicdrumming musichistory recitals and presentations TeenMusical Revue (ages 13-18) fashioncharacter sketches develop a frameworkor theme and present to an audience

Who may attend Suzuki students whohave completed the Twinkle Variations(preschoolndashgrade 12 parents or another

wwwAmericanRecorderorg March 2009 23

Amherst Early Music Festival

(photo by Marc Weinberg)

responsible interested adult must attendwith students under high school age)teacher traineesobservers Participantsmust arrange meals housing and trans-portation Teacher Training prerequi-sites Every Child Canreg before Book 1courses must be taken in order throughBook 2 Contact workshop regardingrequired audition and preparation

Contact Cindy Malmin

612-767-5461

malmincindymacphailorg

Mary Halverson Waldo

5679 Harding Lane Shorewood

MN 55331 952-470-5853

mhalvwaldogmailcom

INTERNATIONAL BAROQUE

INSTITUTE AT LONGY

Longy School of Music Cambridge MA

July 24-August 2Directors Paul Leenhouts co-director Phoebe Carrai

VenicendashDresden Connection InternationalMeeting Grounds Music of MonteverdiVeracini Hasse Heinichen MarcelloVivaldi Pisendel Albinoni ZelenkaLotti Schein Schutz Quantz Gabrieli

2009 faculty Paul Leenhouts recorderPhoebe Carrai rsquocello ElizabethBlumenstock violin Ricard Bordasvoice Arthur Haas harpsichord LucasHarris lute Ken Pierce early danceGonzalo Ruiz oboe Mary Springfels

viola da gamba Jed Wentz traverso

Contact Karen Burciaga Com-

munity Programs Registrar One

Follen St Cambridge MA 02138

617-876-0956 X1532 (day)

617-354-8841 (fax) karenbur

ciagalongyedu longyedu

RECORDER AT THE CLEARING

The Clearing Ellison Bay WIJuly 26-August 1Directors Pat Badger Adrianne Paffrath

Recorder ensemble has been a traditionat The Clearing for over 25 yearsEnsemble playing is the weekrsquos focusEach day begins with a warm-up ofvoices and bodies as we sing rounds andready our muscles for performanceDaytime sessions focus on rhythmicchallenges recorder technique andensemble blend emphasis is on growthprocess and most of all enjoyment To participate fully you need at leastintermediate skills on a C or F recorder

Adrianne Paffrath coached on recorder with ARS teachers She is music directorat Racinersquos First Presbyterian ChurchPatricia Badger has studied early musicinstruments natural and classicaltrumpet She is performing arts head ofThe Prairie School Jointly they haveperformed for Medieval festivals grapestompings Shakespeare celebrations anda circus parade

Contact The Clearing PO Box 65

Ellison Bay WI 54210-0065

877-854-3225 920-854-9751

(fax) clearingtheclearingorg

theclearingorg

AMERICAN RECORDER SOCIETY

FESTIVAL AND CONFERENCE

University of Missouri at St Louis St Louis MO

July 30-August 2

Attend the second ARS Festival andConference for one day ($150) or allweekend ($350)

Sessions include recorder techniquepedagogy introductions to Orff Suzukiand Flutes and Drums Around the Worldmethods improvisation roundtablediscussions how to conduct yourconsort coached playing sessions forMedieval Renaissance Baroque worldand contemporary repertoire recorderorchestra incorporating percussion intoyour ensemble Also recorder mainte-nance choosing a recorder building aweb site using Sibelius music softwareMini-concerts by the next generation ofprofessionals master classes concerts byMarion Verbruggen and the FarallonRecorder Quartet Exhibition ofrecorder builders music sellers andmore CEUs available

Presenters Louise Austin AnnetteBauer Tish Berlin Frances Blaker Joyce Callanan Louise Carslake

24 March 2009 American Recorder

The Summer Toot is once again in Austin at the beautiful new facility of Concordia University The lushly wooded campus offers air-conditioned classrooms dining and dorm accommodations and is backed by a nature preserve Please join us

Our featured faculty includes Tish Berlin Tom Zajac Mary Springfels The Texas Toot offers a one-week program of classes in Renaissance and Baroque music at all levels featuring expert instructors in re-corder viol early reeds lute harp and voice

Danny Johnson workshop director Susan Richter administrator For more info

httpwwwtootorg or email infotootorg

11th Annual Summer Texas Toot June 14-20 2009 mdash Austin Texas

Mark Davenport Cleacutea Galhano LisetteKielson Lorraine Krige JudithLinsenberg Peter Maund Nina SternMarion Verbruggen Leslie TimmonsJim Tinter Mary Halverson Waldo

Contact Yvonne Miller-Nixon

Conference Administrator

1129 Ruth Dr St Louis MO

63122 800-491-9588 (day)

arsconfplannercharternet

americanrecorderorg

EARLY MUSIC WEEK AT

PINEWOODS CAMP (ARS)

Pinewoods Camp Plymouth MA August 15-22 Director Sheila Beardslee

The Myth amp Magick Creativity andInspiration in Early Music Surely thedeities of Olympus will surround us atPinewoodsndashwhere the myths of earlymusic will be made clear and our staff rsquosldquomagickalrdquo skills will hone and perfectour knowledge and performance of early music and dance

If yoursquove never played a musical instru-ment (but wish you could) or if youstudied music years ago (and fear yoursquoveforgotten) classes in recorder and violwill get you started or help brush off therust Advanced and intermediate playersand singers choose from a wide array ofclasses led by an outstanding faculty of professionals and teachers of earlywinds (recorders reeds brass) strings(viols violin) harpsichord and voice

New staff faces this summer areAnonymous 4rsquos Susan Hellauer voiceand Lisa Terry viol We welcome backDorrie Olsson historical dance andScott Higgs English country dance

We relax with two ponds for swimmingcanoeing a camphouse deck for readingafternoon tea and lots of dancing EarlyMusic Week continues its long traditionof superb teaching in a welcoming com-munity enhanced by special eventspresentations concertsmdashand dancing

Advanced musicians work intensivelyamateurs are engaged and challengedand beginners are always made welcome

Contact Steve Howe Country

Dance and Song Society

PO Box 338 Haydenville MA

01039-0338 413-268-7426 X3

(day) 413-268-7471 (fax)

campcdssorg cdssorgem

MONTREacuteAL RECORDER FESTIVAL

McGill University Montreacuteal QC Canada

September 17-20Directors Matthias Maute Sophie Lariviegravere

Conference consort music recorderorchestra concertsmdashEnsemble Capriceand Quynade (Israel) solo recital byMaurice Steger (Switzerland)

Contact Ensemble Caprice 4841

Garnier Montreacuteal QC H2J 3S8

CANADA 514-523-3611

514-523-1322 (fax)

infoensemblecapricecom

ensemblecapricecom

HIDDEN VALLEY INSTITUTE

FOR THE ARTS

EARLY MUSIC ELDERHOSTEL

Carmel Valley CANovember 1-7 November 8-14Directors Letitia Berlin workshopPeter Meckel HVIA

Enroll for one or both weeks Adults ofall ages welcome

Week I intense classes for upper inter-

mediate to advanced levels Week Ifaculty Letitia Berlin Frances BlakerLouise Carslake Annette Bauer(recorder) David Morris (gamba)

Week II all levels except beginnerClasses include recorder technique viol consort Baroque chamber musicconsort classes for Medieval Renais-sance Baroque and contemporary reper-toire workshop orchestra Week IIfaculty Letitia Berlin Frances BlakerTBA (recorder) Shira Kammen (earlystrings singing Medieval topics) MarySpringfels (viola da gamba)

Evening events include faculty concertstudent concert free-lance playing FreeWednesday afternoon for more playingor sightseeing Improve your playing in asupportive friendly atmosphere withworld-class teachers

Contact Peter Meckel

PO Box 116 Carmel Valley CA

93924 831-659-3115

831-659-7442 (fax)

hvmsaolcom

hiddenvalleymusicorg

wwwAmericanRecorderorg March 2009 25

26 March 2009 American Recorder

Am

herst

AR

S

Festival and

Co

nference

CA

MM

AC

Early M

usic

Week

Canto

Antiguo

Reco

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at th

e

Clearing

Great L

akes

Suzuki

FluteR

ec

Hid

den

Valley

Eld

erh

ostel

Interlo

ch

en

Early M

usic

Inst

Lo

ngy Intl

Baro

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Inst

Marin

Head

land

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Festival

COST $520TW $350T C$1014ED $860 $1035E TBA $799D $389T $675T $210ED $735D $130TNO OF DAYS 814 1-4 7 7 7 5-8 714 6 10 3 6 4ARS DISCOUNT NO YES NO YES NO NO NO NO NO NO NO NONO OF FAC RECORDER FAC 4315 1716 165 85 22 82 543 11 101 1010 96 66NO OF STUDENTS 150wk 60 110 35 19 45 35 20 50 75 60 50RECORDER CLASSLEVELS

LIHIAV

BLIHIAV

BLIHIAV

BLIHIAV LIHIA BLI

LIHIAV LIHIA AV

LIHIAV

BLIHIAV

BLIHIAV

SPECIAL CLASSES USING RECORDERS

CMRMB20ENMROT

RPMRMB20MROPTO

CMRMBRO

MRMBENROPT CRO

RPMPT

CMRMB20MROPT

RPCMRMBENMROPT MBMP RP20

RPCMRMB20ENMTO

CMRMBMRO

NON-RECORDERCLASSES

CWKVPSDO PO

CWKVDT CWVD C O KVPS

CWPKVPST WK VD

CWVPSDO

MUSICALACTIVITIES

FSLSPP FLO FSLSP FS SP FSLP FSP

SLSPPO FSLP P FSLP FS

RECREATION D GS BSTW D FBSW FSO OBSTWO S O G

OTHERS WELCOME SC S SC S S S S SDIRECTTRANSPORTATION SC SBCP SP BCLP BP SB CPUP CL PUP

SBCPUP

TRANSPORTATIONTERMINALS

A50B2 T2 A B T

A10B3 T5

A80B80

A50B10 T10

A20B20 T20

A16B16

A4B3 T3 A20

A15B10 T10

A4B3 T3

ROOMS SD SD SD SD SDC SD SD SDC DBATHS SSP SSPP SP P SSPP SSPP SP P S PFOOD CV C GV CV FV C F CV CV CHANDICAP ACCESS HCD HCD HCD HCD HC HCD HD HCD C HCD HCD C

KEYCOST Includes tuition room (single occupancy unless otherwise noted) meals plus other fees E=estimated T=tuition only D=double occupancy W=one week

NO of DAYS Includes arrival and departure daysARS DISCOUNT Discount offered for ARS members FACULTYRECORDER FACULTY Number of facultyrecorder faculty within that number STUDENTS Average over last two yearsRECORDER CLASS LEVELS B=beginners LI=low intermediate HI=high intermediate A=advanced V=very advanced

SPECIAL CLASSES USING RECORDERS RP=recorder pedagogy C=one-on-a-part consorts MR=mixed Renaissance ensembles MB=mixed Baroque ensembles 20=contemporary music EN=early notation M=master class RO=recorder orchestra P=private lessons available T=technique O=other

NON-RECORDER CLASSES C=choral W=other winds P=percussion K=keyboard V=viols PS=plucked stringsD=danceT=theory I=instrument building O=other

MUSICAL ACTIVITIES F=faculty concert S=student concert L=lecture SP=special production P=organized informal playing O=other

RECREATION D=dancing F=field trip G=gym B=biking S=swimming T=tennis W=waterfrontbeach O=otherOTHERS WELCOME S=non-playing spousesfriends C=children (day care not generally available)DIRECT TRANSPORTATION TO WORKSHOP S=shuttle from airport B=bus C=cab L=limo PU=will pick up P=free parking O=other

TRANSPORTATION TERMINALS A=air B=bus T=train (number indicates miles from workshop to nearest terminal)

ROOMS S=singles D=doubles (with ldquo+rdquo can accommodate up to triples) C=cabins O=other =Graduate dormsBATH FACILITIES S=shared SP=semi-private P=privateFOOD C=college style F=family style G=gourmet V=vegetarianHANDICAP ACCESS H=housing C=classrooms D=dining

INFORMATION SUPPLIED BY WORKSHOP DIRECTORS

2009 SUMMER RECORDER WORKSHOPS

Here are some suggestions foravoiding overuse syndromes Most obvious warm up This meansincreasing your practice time graduallybefore the workshop begins andwarming up yourself and yourinstrument before each rehearsal

Make your playing situation ascomfortable as possible Take along acushion back rest footstool whateverit takes the ear and hand cannot ab-sorb what the bottom cannot tolerate

Be sure your glasses are ideal for the distance from your eyes to themusic desk that usually amounts to anarmrsquos length away (You can select apair at your local drug or departmentstore if you have no serious astigma-

tism) If glare from bright light (thosemarvelous outdoor rehearsals) is aproblem for you you may find that ayellow tint for your glasses is a help

Get your bodily playing equip-ment in the best possible shape beforethe workshop a visit to the dentist tosmooth off a front tooth for a windplayer can make an enormous differ-ence in endurance A layer of plasticwrap over the teeth (before yoursquoveworn a hole in your lip) may also help

Once yoursquove arrived at the work-shop there are ways to ensure thatstress (inevitable) doesnrsquot becomedistress (mostly preventable)

Take reasonable breaks duringrehearsal time and use them to stretchA little aerobics like running in placetakes very little time and gets rid ofthat stiff-from-sitting feeling Get yourfellow ensemble players to massageeach othersrsquo shoulders Other fre-

Do you have a favorite article from years past in AR E-mail that information to Gail Nickless

editoramericanrecorderorg

wwwAmericanRecorderorg March 2009 27

Mo

untain

Co

llegium

Pinew

oo

ds

Early M

usic

Week

Po

rt

To

wnsend

SF

EM

S

Baro

que

SF

EM

S

Ch

ild

rens

SF

EM

S

Med

ieval amp

Renaissance

SF

EM

S

Reco

rd

er

Texas T

oo

t

Wh

itew

ater

Wind

sw

ept

Music

Wo

rksh

op

Wo

rld

Fello

wsh

ip

$800ED $890ED $975 $950 $370T $950 $950 $740E $245 $535D $850E COST7 8 7 7 5 7 7 7 3 6 7 NO OF DAYSNO NO NO YES YES YES YES YES NO NO NO ARS DISCOUNT

125 189 169 102 82 124 76 136 1110 131 83NO OF FAC RECORDER FAC

50 100 100 55 30 70 40 50 110 45 30 NO OF STUDENTSLIHIAV

BLIHIAV LIHI AV

LIHIAV

BLIHIAV LIHI AV LIHIA LIHIA

BLIHIAV

BLIHIAV

RECORDER CLASSLEVELS

CMRMB20TO

CMRMBENROT

MRMB20MROPT

MBMPTO

CMRMBPTO

CMRENMPTO

C20MROPTO

CMR20MPT

CMRMB20ROTO MP

CMRMBMRO

SPECIAL CLASSES USING RECORDERS

WVDTO

CWKVPSDT CPVT

CWKVPSTO

KVDTO

CWPVPSTO O

WKVPSTO

CWVTO

CWPKVD

CKVDT

NON-RECORDERCLASSES

FSLSPP FSP

FSLSPPO FSSP

FSLSPPO

FSLPO

FSLPO SPO FSL PO FSLP

MUSICALACTIVITIES

DGBS DSWFGBSTW

DGBST D

DGBST DO SO

DFSWO RECREATION

S S SC SC S S SC SC OTHERS WELCOME

P SC CPUP SCP SCP SBC LP SPUP P BPUDIRECTTRANSPORTATION

A50B15 T15

A15B7 T6 A59

A20B2 T5 A59

A12B4 T1 A40 A

A20B15 T28 B10

TRANSPORTATIONTERMINALS

SD SD S S CALL S S SD SD SD SD ROOMSSP S SP P P SP P S S S BATHSCGV FV CV CV CV CV CV CV CV FV FOODHCD CALL HCD HCD C HCD HCD HCD HCD HD HANDICAP ACCESS

AR50 AVOIDING ACHES amp PAINSBy Leacuteonie Jenkins MD (c1925- 2000) from the March 1993 AR Vol XXXIV1

quently overused parts such asforearms and hands also respond to massage Quick tutorial on massagestart stroking toward the body and inthe direction of the flow of the veinsmdashupstream from the sorest partgradually work down to include thesore spot Yoursquore trying to move overthe underlying muscle not to rub theskin Thatrsquos why a little oil helps

Your psyche may need some relieffrom overload too Most workshopsare in surroundings that lend them-selves to taking a walk finding a placeto meditate taking in some beauty In creating anything a musical per-formance no less than more static artforms breathing in is as necessary asbreathing out be sure you take time to do it

Not to be forgotten those partiesLate hours and alcohol are stressfultry to balance off the fun yoursquore havingwith your capacity for both Above allenjoy Thatrsquos why yoursquore going

2009 SUMMER RECORDER WORKSHOPS

Here are some suggestions foravoiding overuse syndromes Most obvious warm up This meansincreasing your practice time graduallybefore the workshop begins andwarming up yourself and yourinstrument before each rehearsal

Make your playing situation ascomfortable as possible Take along acushion back rest footstool whateverit takes the ear and hand cannot ab-sorb what the bottom cannot tolerate

Be sure your glasses are ideal for the distance from your eyes to themusic desk that usually amounts to anarmrsquos length away (You can select apair at your local drug or departmentstore if you have no serious astigma-

tism) If glare from bright light (thosemarvelous outdoor rehearsals) is aproblem for you you may find that ayellow tint for your glasses is a help

Get your bodily playing equip-ment in the best possible shape beforethe workshop a visit to the dentist tosmooth off a front tooth for a windplayer can make an enormous differ-ence in endurance A layer of plasticwrap over the teeth (before yoursquoveworn a hole in your lip) may also help

Once yoursquove arrived at the work-shop there are ways to ensure thatstress (inevitable) doesnrsquot becomedistress (mostly preventable)

Take reasonable breaks duringrehearsal time and use them to stretchA little aerobics like running in placetakes very little time and gets rid ofthat stiff-from-sitting feeling Get yourfellow ensemble players to massageeach othersrsquo shoulders Other fre-

Do you have a favorite article from years past in AR E-mail that information to Gail Nickless

editoramericanrecorderorg

wwwAmericanRecorderorg March 2009 27

Mo

untain

Co

llegium

Pinew

oo

ds

Early M

usic

Week

Po

rt

To

wnsend

SF

EM

S

Baro

que

SF

EM

S

Ch

ild

rens

SF

EM

S

Med

ieval amp

Renaissance

SF

EM

S

Reco

rd

er

Texas T

oo

t

Wh

itew

ater

Wind

sw

ept

Music

Wo

rksh

op

Wo

rld

Fello

wsh

ip

$800ED $890ED $975 $950 $370T $950 $950 $740E $245 $535D $850E COST7 8 7 7 5 7 7 7 3 6 7 NO OF DAYSNO NO NO YES YES YES YES YES NO NO NO ARS DISCOUNT

125 189 169 102 82 124 76 136 1110 131 83NO OF FAC RECORDER FAC

50 100 100 55 30 70 40 50 110 45 30 NO OF STUDENTSLIHIAV

BLIHIAV LIHI AV

LIHIAV

BLIHIAV LIHI AV LIHIA LIHIA

BLIHIAV

BLIHIAV

RECORDER CLASSLEVELS

CMRMB20TO

CMRMBENROT

MRMB20MROPT

MBMPTO

CMRMBPTO

CMRENMPTO

C20MROPTO

CMR20MPT

CMRMB20ROTO MP

CMRMBMRO

SPECIAL CLASSES USING RECORDERS

WVDTO

CWKVPSDT CPVT

CWKVPSTO

KVDTO

CWPVPSTO O

WKVPSTO

CWVTO

CWPKVD

CKVDT

NON-RECORDERCLASSES

FSLSPP FSP

FSLSPPO FSSP

FSLSPPO

FSLPO

FSLPO SPO FSL PO FSLP

MUSICALACTIVITIES

DGBS DSWFGBSTW

DGBST D

DGBST DO SO

DFSWO RECREATION

S S SC SC S S SC SC OTHERS WELCOME

P SC CPUP SCP SCP SBC LP SPUP P BPUDIRECTTRANSPORTATION

A50B15 T15

A15B7 T6 A59

A20B2 T5 A59

A12B4 T1 A40 A

A20B15 T28 B10

TRANSPORTATIONTERMINALS

SD SD S S CALL S S SD SD SD SD ROOMSSP S SP P P SP P S S S BATHSCGV FV CV CV CV CV CV CV CV FV FOODHCD CALL HCD HCD C HCD HCD HCD HCD HD HANDICAP ACCESS

AR50 AVOIDING ACHES amp PAINSBy Leacuteonie Jenkins MD (c1925- 2000) from the March 1993 AR Vol XXXIV1

quently overused parts such asforearms and hands also respond to massage Quick tutorial on massagestart stroking toward the body and inthe direction of the flow of the veinsmdashupstream from the sorest partgradually work down to include thesore spot Yoursquore trying to move overthe underlying muscle not to rub theskin Thatrsquos why a little oil helps

Your psyche may need some relieffrom overload too Most workshopsare in surroundings that lend them-selves to taking a walk finding a placeto meditate taking in some beauty In creating anything a musical per-formance no less than more static artforms breathing in is as necessary asbreathing out be sure you take time to do it

Not to be forgotten those partiesLate hours and alcohol are stressfultry to balance off the fun yoursquore havingwith your capacity for both Above allenjoy Thatrsquos why yoursquore going

2009 SUMMER RECORDER WORKSHOPS

By Bart Spanhove

The author has been principalprofessor of recorder at the Lemmens-

instituut Leuven (Belgium) since 1984He is also artistic director of the world

famous recorder ensemble the FlandersRecorder Quartet which is set to perform

in concert at the 2009 Boston EarlyMusic Festival He is often asked to serve

as a jury member for internationalrecorder competitions in Canada US

Germany The Netherlands and BelgiumHe has given numerous master classes andlecture demonstrations all over the world

Spanhove is co-author of thesuccessful recorder method Easy Going(Heinrichshofen) and wrote the much-

used book The Finishing Touch ofEnsemble Playing (Alamire 2000

and Moeck 2002 with translations inChinese and German) In 2009

The Recorder Music of Frans Geysenwill come out (Mieroprint)

Currently he is researching practicetechnique for the recorder Daily

Spanhove thinks about how to makepeople happier by making music and

playing the recorder

As a conclusion for the VirtuosoRecorder class during the AmherstWorkshop in 2008 we organized aldquoHappy Hourrdquo for our nine talentedstudents Mee-Jung Ahn (Korea)Emilie Hasselgren and Kristine West(Sweden) Anne Timberlake JosephLewnard Jacob Lodico and BrycePeltier (US) Emiliano Perez(Mexico) and Fanny Massy (France)participated in a quiz that I wrote thenight before with the assistance ofReine-Marie Verhagen

We combined questions regardingmusic theory with practical exercisessuch as middot How long can a player hold a

low f in one breath on an altorecorder (You get one point foreach second)

middot How many times through a scaleis a player able to play in 30seconds (For every octave of theF major scale you get one point)

middot How many different pieces fromthe recorder repertoire can aperson play in the course of twominutes (The other members ofthe group have to guess the nameof the composer before the playercan start the next piece)

middot In one minute list as manydifferent titles as you can fromDer Fluyten Lusthof (TheRecorderrsquos Pleasure Garden) of J J van EyckThe list of questions goes onAt the ldquoHappy Hourrdquo people

were divided into three groupsaccording to dates of each personrsquosbirthday When theoretical questionswere asked (see below) the pointsystem was devised as follows threepoints were awarded when the selected

person of a group could find theanswer himherself two points whenthe selected person needed the help ofthe other group members and onepoint if the group needed the help ofour gracious class assistant Reine-Marie Verhagen (she alwaysknew the answer) No points weregiven if the quizmaster had to supplythe answer

On the next page you find someof my questions There are morewhich we hope to run in a future issueof American Recorder

The quiz was full of fun andsuspense By the end people weremore nervous than when playing aconcert on stage Jacob Lodico of theUS was the winner at Amherst

28 March 2009 American Recorder

Education___________________________________ A quiz for recorder players

wwwAmericanRecorderorg March 2009 29

Try these questions yourselfAnswers appear at the end of thisarticle

The Quiz1 Give the name of Ganassirsquos

treatise of 1535 where heextensively describes the recorder playing and diminutions of his time

2 In which German city is therecorder company Moeck based

3 In the cantata Gottes Zeit ist dieallerbeste Zeit BWV106 JS Bach calls for two altorecorders Give another name for this cantata

4 Of which famous orchestra isFrans Bruumlggen the conductor

5 List three leading Japanesecomposers of excellent solo pieces for the recorder

6 Give the names of recordermagazines published inGermany England and the US

7 What is the fundamental tone of a fourth flute

8 List two recorder makers fromthe Baroque period in England

9 Whatrsquos the title of the recitativeand chorale in the Saint MatthewPassion where the recorder isused

10 Give the names of two famouspublishers in business around1700mdashone in London and one in Amsterdam

11 The opus 10 work by AntonioVivaldi includes six concertiSome of them have beautifulnames Give the names of thefirst three concerti of this opus

12 Whatrsquos a nickname for Jean Jacques Hotteterre

13 The combination of recorder andtraverso was rarely used in theBaroque time Can you name any composers who used thiscombination

14 Which king from 16th-centuryEngland owned a large collectionof recorders and also composedand enjoyed daily recorderplaying

15 How many movements compriseHandelrsquos Sonata in C Op 1 No 7 originally written forrecorder and basso continuo

16 Give the name of Praetoriusrsquostreatise from 1609 that describesthe whole recorder family

17 Name the author of the oldestrecorder method

18 Name Jan Jacob van Eyckrsquosdisability

19 Who pretended around 1930 thatthe recorder was a kind ofclarinet

20 Who doesnrsquot belong in thefollowing group Bertho DrieverKarel van Steenhoven MarionVerbruggen Paul LeenhoutsDaniel Bruumlggen

21 Name the two instrumentsindicated to play the sonataMeiner Mutter of Hans UlrichStaeps

22 Il Pastor Fido was not composedby Antonio Vivaldi but by aFrench composer What was hisname

23 Whatrsquos the nationality of themusic company Zen-On

24 CPE Bach composed abeautiful trio that includes a bassrecorder What are the other twoinstruments

25 Give the names of the fourmovements of Bachrsquos partita forsolo traverse flute BWV1013

26 Which excellent playersperformed as the recorder trioSour Cream

27 A recorder normally has eightfingerholes Despite this musichistory describes the recorder as ldquoune flucircte agrave neuf trousrdquo (a flute with nine fingerholes)Explain why

28 Give the French name for vibratoperformed by finger movementsalone on a wind instrument

29 Who wrote in his diaryldquohellipbeyond anything in the wholeworld the wind-music when the

Answers to

Bart Spanhoversquos Quiz1 La Fontegara2 Celle3 Actus Tragicus4 The Orchestra of the

Eighteenth Century5 R Hirose M Ishii and

M Shinohara

6 Windkanal or Tibia (both ofGermany) The Recorder(England) American Recorder(US)

7 B8 The most famous English

recorder makers around 1700Bressan and Stanesby (the latterbeing both senior and junior)

9 O Schmerz Hier zittert das gequaumllte Herz

10 Walsh (and Hare) (of London)Roger (of Amsterdam)

11 La Tempesta de Mare La Notte Il Gardelino

12 Le Romain13 JB Loeillet J J Quantz

JJ Hotteterre or J B de Boismortier

14 Henry VIII15 Five16 Syntagma Musicum17 Sebastian Virdung Musica

Getutscht und Ausgezogen (1511)18 Blindness19 Igor Stravinsky20 Marion Verbruggen21 Alto recorder and piano22 Nicolas Cheacutedeville23 Japanese24 Viola and cembalo25 Allemande Courante Sarabande

Bourreacutee26 Kees Boeke Walter van Hauwe

and Frans Bruumlggen27 Before 1670 the player could

choose how to hold the recordermdashleft hand or right hand at the topThis meant that recorder makersdrilled two holes to accommodatethe little finger of the hand thatended up at the bottom Theunused hole was sealed with beeswax

28 Flattement29 Samuel Pepys30 Flanders Recorder Quartet

30 March 2009 American Recorder

Lazarrsquos Early Music(866) 511-2981 jblazaraolcom

wwwLazarsEarlyMusiccom

292 Gibraltar Dr 108 Sunnyvale CA 94089

Strings amp Early Winds

ModernBaroque Strings Viols Vielle

Kuumlng Moeck Mollenhauer Paetzold Yamaha Ehlert

Wenner Baroque flutes

Wendy Ogle Lu-Mi Ifshin Snow

Competitive Prices

Sent on Approval

Personalized Service amp Advice

R

E

C

O

R

D

E

R

S

ldquoGO FOR NEO-BAROQUErdquo

Andrew Charlton Partita Piccola For 4 Recorders (SATB)

[Prelude Allemande Courante Musettemdash

a neo-baroque epitome] (Score amp Parts PBE-25) $795

Andrew Charlton Suite Moderne For 3 Recorders (ATB)

[Baroque shapes but Hindemithian harmony]

(3 Playing-Scores PBE-44) $995

Southwest of Baroque David Goldsteinrsquos ldquobaroque Suiterdquo

on Cowboy Songs For 2 Recorders (SA) (PBE-2) $350

The Provincetown Bookshop Inc

246 Commercial Street Provincetown MA 02657 Tel (508)487-0964

A good source for Recorder amp Viol Music of all publishers

Provincetown Bookshop Editions

angel comes down which is sosweet that it ravished me andindeed in a word did wrap upmy soul so that it made me reallysick just as I have formerly beenwhen in love with my wiferdquo

30 Whatrsquos the English name for afamous recorder ensemble calledin its country Vier op lsquon Rij

Answers to

Bart Spanhoversquos Quiz1 La Fontegara2 Celle3 Actus Tragicus4 The Orchestra of the

Eighteenth Century5 R Hirose M Ishii and

M Shinohara

6 Windkanal or Tibia (both ofGermany) The Recorder(England) American Recorder(US)

7 B8 The most famous English

recorder makers around 1700Bressan and Stanesby (the latterbeing both senior and junior)

9 O Schmerz Hier zittert das gequaumllte Herz

10 Walsh (and Hare) (of London)Roger (of Amsterdam)

11 La Tempesta de Mare La Notte Il Gardelino

12 Le Romain13 JB Loeillet J J Quantz

JJ Hotteterre or J B de Boismortier

14 Henry VIII15 Five16 Syntagma Musicum17 Sebastian Virdung Musica

Getutscht und Ausgezogen (1511)18 Blindness19 Igor Stravinsky20 Marion Verbruggen21 Alto recorder and piano22 Nicolas Cheacutedeville23 Japanese24 Viola and cembalo25 Allemande Courante Sarabande

Bourreacutee26 Kees Boeke Walter van Hauwe

and Frans Bruumlggen27 Before 1670 the player could

choose how to hold the recordermdashleft hand or right hand at the topThis meant that recorder makersdrilled two holes to accommodatethe little finger of the hand thatended up at the bottom Theunused hole was sealed with beeswax

28 Flattement29 Samuel Pepys30 Flanders Recorder Quartet

30 March 2009 American Recorder

Lazarrsquos Early Music(866) 511-2981 jblazaraolcom

wwwLazarsEarlyMusiccom

292 Gibraltar Dr 108 Sunnyvale CA 94089

Strings amp Early Winds

ModernBaroque Strings Viols Vielle

Kuumlng Moeck Mollenhauer Paetzold Yamaha Ehlert

Wenner Baroque flutes

Wendy Ogle Lu-Mi Ifshin Snow

Competitive Prices

Sent on Approval

Personalized Service amp Advice

R

E

C

O

R

D

E

R

S

ldquoGO FOR NEO-BAROQUErdquo

Andrew Charlton Partita Piccola For 4 Recorders (SATB)

[Prelude Allemande Courante Musettemdash

a neo-baroque epitome] (Score amp Parts PBE-25) $795

Andrew Charlton Suite Moderne For 3 Recorders (ATB)

[Baroque shapes but Hindemithian harmony]

(3 Playing-Scores PBE-44) $995

Southwest of Baroque David Goldsteinrsquos ldquobaroque Suiterdquo

on Cowboy Songs For 2 Recorders (SA) (PBE-2) $350

The Provincetown Bookshop Inc

246 Commercial Street Provincetown MA 02657 Tel (508)487-0964

A good source for Recorder amp Viol Music of all publishers

Provincetown Bookshop Editions

angel comes down which is sosweet that it ravished me andindeed in a word did wrap upmy soul so that it made me reallysick just as I have formerly beenwhen in love with my wiferdquo

30 Whatrsquos the English name for afamous recorder ensemble calledin its country Vier op lsquon Rij

wwwAmericanRecorderorg March 2009 31

by Tim Broege timbroegeaolcom

December 11 2008 was a specialday for American music the

100th birthday of Americarsquos greatestliving composer Elliott Carter Cele-bratory concerts took place in manyvenues including Carnegie Hall inNew York There the Boston Sym-phony led by James Levine played anew work by Carter Interventions forpiano and orchestra The soloist wasanother well-known conductor DanielBarenboim who is no mean hand atthe keyboard to say the least

Itrsquos remarkable that wonderfulnew compositions continue to pourforth from Carterrsquos pen His musicsparkles and frolics packing lots of musical events into engrossingstructures Much of his music isavailable on CD so if you missed thecelebrations you can easily have yourown belated birthday party for Carter

Although he has never written for recorder (one of our prominent

recorder soloists should commissionhim) Carter has produced manychamber pieces featuring woodwindsSince many recorder players double orstarted out on woodwinds such piecesas the Sonata for Flute Oboe Cello ampHarpsichord (1952) Enchanted Preludes(1988) for flute and rsquocello Espritrudeesprit doux (1985) for flute andclarinet or the Oboe Quartet (2001)may hold special interest

If you missed Charlie Rosersquosexcellent interview (broadcast onDecember 10) with Carter Levine andBarenboim you can see it atwwwcharlierosecomview

interview9774mdashessential viewingfor fans of contemporary music

We note with sadness the passingon January 23 of another distin-guished American composer GeorgePerle An authority on the music ofAlban Berg and the Second VienneseSchool Perle developed a uniquelyrical style based upon a free approachto 12-tone and serial procedureswhich he dubbed ldquo12-tone tonalityrdquo I recommend listening to his SerenadeNo 3 for Piano amp Orchestra (1983) Six Etudes for Piano (1973-76) and the Pulitzer Prize-winning Wind Quintet No 4 (1985)

Another leading American com-poser Leon Kirchner is thankfully still with us having turned 90 onJanuary 24 Like Perle Kirchner has a highly personal and expressive styleA birthday concert was held at MillerTheater at Columbia University inNew York City NY Participatingmusicians included flutist PaulaRobison pianist Jeremy Denk and theClaremont Trio with the composerpresent to discuss his music

An excellent way to get to knowKirchnerrsquos music is through his stringquartets Just in time for his birthdayAlbany Records has released a fine CDof all four played by the Orion StringQuartet Quartet No 4 was written in2007 (when the composer was 87mdasha veritable youngster compared toCarter) The composer Allen Shawnhas described that quartet asldquoluminous and passionaterdquo words aptto describe much of Kirchnerrsquos output

Speaking of contemporary musicI have been spending pleasant hoursperusing the Catalog of ContemporaryBlockflute Music available online atwwwblokfluitorg from StichtingBlokfluit This Netherlands founda-tion offers a contemporary recordercatalog and a catalog of historicalrecorder music Access to both is byfree membership

For those who havenrsquot yet used thecontemporary catalog I urge you togive it a try You can search by manyparameters such as composer title orspecific instrumentation A search forldquovoice fluterdquo turned up a list thatincluded Moon Dances Three AmericanSketches by composer Walter Mays(intended for solo alto recorder butalso playable on tenor or voice flute)Searching the name of English com-poser Edmund Rubbra produced a listof eight works that employ recordersincluding the intriguing CantataPastorale opus 92 for high voice altorecorder rsquocello and harpsichord

Searching ldquofemale composersrdquo fora piece using ldquoBaroque altordquo yieldedAfter Meditation by Ros Bandt ofAustralia

What an easy and tremendouslyvaluable way to find new music

On the Cutting Edge___________________________________Birthdays composers and

recorder music catalogs

Elliot Carter

(photo by Meredith Heuer)

Question How does Renaissancefingering differ from standard

fingering on the recorder Is one superior tothe other Do you need a special recorder touse Renaissance fingering and if so can itbe played with regular recorders Is there afingering chart that shows RenaissancefingeringmdashWilliam BaumannWaterford WI

Answer from Carolyn Peskin Music composed in the

Renaissance the historical periodextending from about 1450 to 1600was predominantly vocal and highlycontrapuntal Recorders which oftendoubled singers at the octave orrendered vocal pieces instrumentallywere designed to make the individualmelodic lines clearly audible

Most 16th-century consortrecorders were one-piece instrumentswith large toneholes and a wide borethat contracted slightly starting nearthe upper fingerholes and thenexpanded gently near the lowest holesThat ldquochoke-borerdquo design togetherwith the voicing and tonehole con-figuration favored the fundamentaltone (first harmonic) producing astrong open sound that was aboutequally loud throughout theinstrumentrsquos range

Such recorders had a useful rangeof only about an octave plus a sixthwhich was nevertheless sufficient for the music of their day MostRenaissance-style consort recordersmade today are based loosely uponsurviving 16th-century instruments ofthe above type and are designed toapproximate the range timbre andvolume of those early instruments

Our present-day ldquoregularrdquorecorders are Baroque-derived instru-ments based loosely upon survivingrecorders from the late 17th and early18th centuries They are three-pieceinstruments with small toneholes and abore that is narrower and moretapering than a Renaissance boreextending their useful range upward totwo octaves plus a whole tone

Baroque recorders are soft andsweet-sounding in their bottom octavebut louder and brighter in the secondoctave Their lowest notes are espe-cially weak because they must be blowngently to prevent overblowing into thesecond octave Such instruments aresuitable for Baroque solo and chamberrepertoire but not very satisfying forRenaissance polyphony

Due to their different timbre andvolume Renaissance recorders will not blend well with Baroque onesFurthermore the most historicallyauthentic Renaissance-style recordersare tuned in a ldquomeantonerdquotemperament that facilitates the playingof pure major thirds Such instrumentsmake Renaissance music easier to playin tune but will produce intonationproblems if played with Baroquerecorders which are tuned in equaltemperament For the above reasonsRenaissance and Baroque recordersshould not be played together

Renaissance fingering will not work on todayrsquos neo-Baroquerecordersmdashmost of which haveldquomodernrdquo Baroque fingeringcommonly called ldquoEnglishrdquo fingering

because it was developed fromhistorical Baroque fingering by ArnoldDolmetsch in England during theearly 20th century Renaissancefingering is less standardized partlybecause a number of different originalinstruments are used as models andpartly because makers wish to improvethe intonation tone quality andorplayability of certain notes Howeverthe following generalizations apply tomany of todayrsquos Renaissance-styleconsort recorders

First in the lower octave modernBaroque fingering works for mostnotes but is often too flat for the fourth scale degree (eg soprano F)requiring removal of finger 7 (right-hand pinky) and is too sharp for theraised fourth degree (eg soprano F)requiring addition of finger 7

Modern fingering is also usuallytoo sharp for the lowered seventhdegree (eg soprano B) The correctfingering for that note varies from oneinstrument to another

In the upper octave modernfingering works for the first third andfifth scale degrees (eg soprano C Eand G) but usually not for other notesSome notes require half-holing with aright-hand finger and notes above thefifth scale degree may require additionof several fingers to bring them in tuneHistorical Renaissance fingering forthe second scale degree (eg sopranoD) is especially awkward because all ofthe fingerholes and the thumbholemust be uncovered Therefore somemakers substitute modern fingering forthat note

Although Renaissance fingeringand meantone tuning are recom-mended for the best blend some

Q amp A___________________________________ Renaissance recorder fingering

Send questions to Carolyn Peskin QampA Editor 3559 Strathavon Road Shaker Heights OH44120 carolynpeskinstratosnet

32 March 2009 American Recorder

wwwAmericanRecorderorg March 2009 33

makers of handcrafted Renaissance recorders will provide modern fingeringandor equal temperament upon request and Moeck Verlag offers a choice ofRenaissance or modern fingering for most sizes of its factory-producedRenaissance Consort series

For a most satisfying blend Renaissance ensembles should purchase amatched set of recorders tuned and voiced to be played together Renaissanceconsort sets usually include two different alto recorders one in G (lowest note g)and one in F (lowest note f ) The ATTB combination with the G-alto is best formost of the quartet music composed between 1450 and 1550 while the SATBcombination with the F-alto is more practical for much late 16th-centuryrepertoire (Playing the G-alto requires learning G-alto fingering or elsetransposing the alto line down a whole tone and using F-alto fingering)

In addition to consort recorders some makers offer ldquoGanassirdquo sopranos andaltos based upon fingering charts in Silvestro Ganassirsquos recorder tutor Fontegarapublished in 1535 and a single original instrument in the Vienna Kunst-historisches Museum Because of their special bore design (cylindrical with aflaring bell) Ganassi recorders have a range of two octaves and a sixth withcumbersome fingerings in the third octave They are used mainly as soloinstruments for playing intricate ornaments of the type found in Fontegara

Also sometimes included in the ldquoRenaissancerdquo category are ldquotransitionalrdquo(early Baroque) recorders which are based upon originals from the first half ofthe 17th century They have a bore that is wider than a Baroque bore but contractssharply near the lower end resulting in strong low notes and at least a full two-octave range usually with modern fingering Most transitional recorders aresopranos or altos designed for playing Jacob van Eyckrsquos variation sets or thehighly ornamented Italian solo repertoire of the late-16th and early-17thcenturies

However wide-bore consortrecorders with a range of at least twooctaves and modern fingering shouldalso be regarded as transitionalinstruments They differ somewhat intimbre and volume from typicalRenaissance consort recorders

Handmade wide-borerecordersmdashconsort Ganassi andtransitionalmdashare obtainable frommakers who advertise in AmericanRecorder the Prescott Workshop andthe Von Huene Workshop in the USJean-Luc Boudreau in Canada andStephan Blezinger in GermanyContact them andor visit their websites to find out what kinds ofrecorders they are currently makingand to get an idea of their prices andwait times

Factory-produced wide-borerecorders from Kobliczek Moeck andMollenhauer are available frominstrument dealers who advertise inAR New and used recordersincluding wide-bore models fromimportant makers in the US andabroad are also obtainable from Uni-corn Music For further informationvisit wwwbuyrecorderscom For a comprehensive database of recordermakers worldwide see Nicholas SLanderrsquos ldquoExtant Recorder Makers amp Retailersrdquo at wwwrecorder

homepagenetmakershtml

REFERENCES

CONSULTEDBauer Winfried

wwwrecorder-fingeringscomIncludes interactive fingeringcharts from modern makers andhistorical treatises Charts forRenaissance consort recorders byAdriana Breukink Adrian BrownBob Marvin and Tom Prescottwere consulted

Brown Adrianwwwadrianbrownorgrec

order_typesconsorthtml

Our present-day ldquoregularrdquo recorders are

Baroque-derived instruments based loosely

upon surviving recorders from the

late 17th and early 18th centuries

34 March 2009 American Recorder

The Von Huene Workshop Incis pleased to announce agreements with

CoolsmaZamra

to serve as their authorised service agents in the US

For more than 40 years the von Huene Workshop has produced some of the finest recorders in the world Our skilled staff can revoice retune and repair even the most seriously damaged instruments All repairs are done right on the premises and most can be completed within a week

For warranty repairs please include a copy of your original sales receipt

j 65 Boylston Street Brookline MA 02445 i(617) 277-8690 Fax (617) 277-7217 servicevonhuenecom

An informative article aboutrecorder sizes in Renaissanceconsorts

Brown Adrian and David LasockildquoRenaissance Recorders andTheir Makersrdquo AmericanRecorder Vol XLVII No 1(January 2006) pp 19-31 An important article based upon Brownrsquos extensive researchon 120 of the 200 surviving 16th-century recorders

Ganassi Silvestro Opera IntitulataFontegara Ed Hildemarie Peter(Berlin-Lichterfelde RobertLienau 1959) Modern edition ofthe oldest known treatise devotedentirely to the recorder (publishedin 1535) Includes 16th-centuryfingering charts

Griscom Richard and David LasockiThe Recorder A Research andInformation Guide (New York andLondon Routledge 2003) Anannotated bibliography including

references on construction anddesign of historical recorders

Levin Philip ldquoQampArdquo AmericanRecorder Vol XXXVIII No 4(September 1997) p 27Explains in simple terms thedifference between Renaissanceand Baroque recorders

Morgan Fred ldquoA Recorder for theMusic of JJ van EyckrdquoAmerican Recorder Vol XXV No 2 (May 1984) pp 47-49Describes the bore design of arecorder suitable for playing Van Eyckrsquos variation sets andcompares it with bore designs ofother types of recorders

Myers Herbert W ldquoRecorderrdquochapter in A Performerrsquos Guide toRenaissance Music ed JefferyKite-Powell (New York SchirmerBooks 1994) A 2nd edition isnow available published in 2007by Indiana University Press

FEATURING MUSICA PACIFICA

JUDITH LINSENBERG

RECORDERS____JS BACH TRIO SONATAS Arr by

Linsenberg from Trio Sonatas for Organ BWV525-

530 Sonata No 1 in E

major (transp to B

)

BWV 525 Sonata No 2 in C minor (transp to E)

BWV526 Sonata No 3 in D minor (transp to G)

BWV 527 Sonata No 4 in E minor BWV 528

Sonata No 5 in C major (transp to F) BWV529

Sonata No 6 in G major (transp to C) BWV 530

Virgin Classics Veritas 1993

____FIRE BENEATH MY FINGERS Showcases

three legendary composers who were also

virtuoso performers Vivaldi Concerto in F major

after RV 98570 ldquoLa Tempesta di Marerdquo Sonata in

A minor RV86 Concerto in G minor RV106 Con-

certo in Bb major RV503 Sammartini Concerto in

F major Tartini Concerto in A major D91 Dorian

____MANCINI CONCERTI DI CAMERA Seven

sonatas by Francesco Mancini plus one work each

from his contemporaries Francesco Durante amp

Domenico Scarlatti Highly recommended citation

from the 2000 Vivaldi Prize for Recordings of Italian

Early Music--Giorgio Cini Foundation Dorian

____MARAIS MARIN PIEgraveCES EN TRIO POUR

LES FLUcircTES VIOLON amp DESSUS DE VIOLE

Maraiss complete works for two treble lines and

bass with varied instrumentation and orchestrations

2-CD set $24

____SCARLATTI CONCERTI DI CAMERA

Seven sonatas for various instrumentations no

poor relations to the composers much more widely-

known vocal output All recorder players should

certainly have thisndashEarly Music Review

____TELEMANN CHAMBER CANTATAS

Five cantatas from Harmonischer Gottesdienst two

sonatas from Sonatas Corellisantes 2003 Chamber

Music America WQXR Record Award for best

chamber music recordings

____VIVALDI LA NOTTE Concerti per strumenti

diversi Award-winning CD featuring five Vivaldi

concerti two sonatas

AND OTHER RECORDING

ARTISTS FROM CALIFORNIA ____CORELLI ARCANGELO CONCERTI

GROSSI OPUS 6 American Bach Soloists Jeffrey

Thomas conductor Dan Laurin Hanneke van

Proosdij recorders Christmas Concerto featuring

unique 1725 London version with solos transcription

for two recorders instead of two solo violins in

three of the six concertos Delos

____CANCcedilONIEgraveR Annette Bauer recorder

multi-instrumentalist Tim Rayborn Shira Kammen

strings Phoebe Jevtovic voice in a new early

music group devoted to repertoire from the

12thndash15th centuries as well as traditional music

from related regions (the Balkans Scandinavia

Middle East) Medieval instrumental music played

on a variety of instruments including strings

recorders and percussion Medieval dances and

motets bring to life the rich world of ancient

European music-making

____SACRED AND SECULAR MUSIC FROM

RENAISSANCE GERMANY Ciaramella-Adam amp

Rotem Gilbert Doug Millikan Debra Nagy

recorders with other winds shawm sackbut amp

organ Medieval amp Renaissance sacred music with

reconstructions of folksongs amp arrangements based

on contemporary improvisation

____BURIED TREASURE TOPAZ amp SAPPHIRE

Ensemble Vermillian Frances Blaker recorders

Barbara Blaker Krumdieck cello Elisabeth Reed

gamba Katherine Heater harpsichord amp organ

Transcriptions of Buxtehudes Op 1 other pieces by

Buxtehude works by Biber Johann Schop

Schmelzer Fafarela 2007

____STOLEN JEWELS Ensemble Vermillian

Frances Blaker recorders Barbara Blaker

Krumdieck Elisabeth Reed Katherine Heater 17th-

century German music adapted by Blaker I love

violin music so I steal the music and rearrange it

for my own instrumentrdquo Buxtehude Op 1 Biber

Rosenmuller Krieger JM Bach Fafarela

Recordings

____SENFL (LUDWIG) Farallon Recorder Quartet

(Letitia Berlin Frances Blaker Louise Carslake

Hanneke van Proosdij) 23 lieder motets and

instrumental works of the German Renaissance

____DOLCE MUSICAndash A CONTEMPLATIVE

JOURNEY Eileen Hadidianflutes recorders

Natalie Cox harps Celtic Renaissance and

Medieval melodies for recorder and flute with

Celtic harp Healing Muses 2005

____REFLECTIONS MUSIC TO SOOTHE AND

UPLIFT THE SPIRIT Eileen Hadidian recorder amp

Baroque flute with Celtic harp and cello Celtic

traditional Renaissance amp Medieval melodies

Healing Muses

____AN EVENING WITH BACH Voices of Music

Hanneke van Proosdij Louis Carslake Dan Laurin

recorders Joanna Blendulf Elizabeth Blumenstock

Rodney Gehrke Lisa Grodin Katherine Kyme

Jennifer Lane Victoria Gunn Pich Susanne Ryden

William Skeen David Tayler Renaissance and

Baroque music centers on fine singing Instantly

recognizable Air on a G String Bachrsquos Prelude in

G Major (solo theorbo for rsquocello) plus lilting vocal

performancesmdashRydenrsquos weightless soprano on

Bist du bei mir Lanersquos rich alto on Es is vollbracht

____BACH amp TELEMANN SONATAS PRELUDES

amp FANTASIAS Voices of Music (Hanneke van

Proosdij Joanna Blendulf Rodney Gehrke William

Skeen David Tayler) Beautiful chamber music by

Bach and Telemann

IN STOCK (Partial listing)____ALLA TURCA FUX CALDARA BADIA

Matthias Maute amp Sophie Lariviegravere recorders

Monika Mauch soprano Vocal music of the church

accompanied by Ensemble Caprice plus sonatas

and other instrumental pieces Analekta

____CORELLI ARCANGELO CONCERTI

GROSSI OPUS 6 John Daniels Sonja Lindblad

recorders Peter Sykes harpsichord Trio sonata

arrangement by Johann Christian Schickhardt

____LES

AMIS DU

BAROQUE

Paul Nauta recorder amp

Baroque flute Koen Dieltiens recorder Music by

Bassani Corelli Vivaldi etc Highlight Intl

____LES SEPT SAUTS BAROQUE CHAMBER

MUSIC AT THE STUTTGART COURT Matthias

Maute amp Sophie Lariviegravere recorders amp traverso

Ensemble Caprice Charming repertoire by

Schwartzkopff Bodino Detri Atma Classique

____TASTE OF PORTIQUE LEnsemble Portique

Early and contemporary chamber musicmdash

Bach Telemann Boismortier and others

____TELEMANN ALLA POLACCA REBELndash

Matthias Maute recorders amp traversondash

plays concerti and suites by GP Telemann Dorian

____TELEMANN CANONS AND DUOS Lisette

Kielson amp Patrick OMalley recorders LEnsemble

Portique Telemann Canons meacutelodieux amp Sonates

sans basse 2-CD set LEP Records

____20TH CENTURY MUSIC FOR RECORDER amp

PIANO Anita Randolfi recorders Music by Jacob

Bartok Leigh others for recorder amp piano

____VIVALDI AND THE BAROQUE GYPSIES

Matthias Maute amp Sophie Lariviegravere recorders

Ensemble Caprice Gypsy music taken from

Uhrovska zbierka (now Slovakia) plus Vivaldi

____VIVALDI SHADES OF RED CONCERTOS amp

SONATAS FOR RECORDER amp STRINGS Matthias

Maute recorders REBEL Stylish high octane

readings of some of Vivaldis most beloved pieces

including the popular and raucous Concerto alla

Rustica stunningly colorful Sonata on La Follia and

four exuberant recorder concerti Bridge

____WINDFIRE Charmaine Delmatier recorder

Steve Kostelnik classical guitar Terry Hale bass

Erik Hokkanen violin Refreshing mixture of Andrew

Lloyd Weber American blues flamenco Celtic and

one original piece ltwwwyermomusicomgt

Please indicate above the CDs you wish toorder and print clearly the following

Name ____________________________________

Daytime phone (_____)______________________

Address__________________________________

CityStateZip _____________________________

Check enclosed for

_____ single CDs x $____ = $______

_____ 2-CD sets x $____ = $______

TOTAL $______

Please charge the above amount to my

MasterCard Visa or AmEx

_______________________________________

Exp Date ____________

Cardholderrsquos signature ______________________

Mail to

ARS 1129 Ruth Dr St Louis MO 63122-1019 US

You may fax a credit card order to 314-966-4649

NEW You may order CDs online using PayPal at

wwwamericanrecorderorgordercdromshtm

Order your recorder discs

through the ARS CD Club

The ARS CD Club makes hard-to-find or limited release CDs by ARS members

available to ARS members at the special price listed (non-members slightly higher)

All CDs are $15 ARS members$17 Others unless marked otherwise Two-CD sets are

$24 ARS members$28 Others Add Shipping and Handling $2 for one CD $1 for each

additional CD An updated listing of all available CDs may be found at the ARS

web site ltwwwamericanrecorderorggt

The first meeting of the newly-formedFort Myers Recorder and Early

Music Ensemble was January 26 atthe Florida home of chapter rep Sue

Groskreutz For this year the groupis somewhat loosely organized andplans to meet for extended sight-reading Repertoire at the first meetingcomprised everything from Renais-sance duets to chamber music involv-ing three treble parts and continuo

Among the five musiciansattending the first meeting (photobelow front row Elizabeth Spang SueGroskreutz back row Suzanne FergusonSibylle Baumgartner Arlene Sowka) allplayed recorder three harpsichord

and one each played traverso violinand gamba Due to the scarcity ofrecorder players south of the Sarasotaarea modern string players are alsoincorporated into this ensemble

The group decided not to chargedues and to meet at Groskreutzrsquoshome For more information pleasecontact Groskreutz at 239-267-1752spgembarqmailcom Snowbirdsdrifting through the area are welcome

Last fall at the requestof a student Kay Hettich

(inset below right) taught abeginning recorder class atthe Redding (CA) Senior

Center The five-weekclass was so successful thatmost participants haveformed a bi-weekly noviceensemble (right) coachedby Hettichmdashwho consid-ers them her ldquohatchedeggsrdquo

A new batch of ldquoeggsrdquostarted to incubate when afive-week class began on February 20Other senior center members havebecome interested as they heard oftheir colleaguesrsquo success These noviceplayers comprise some who previouslyread music and played instruments as well as people who are totally new to music notation

One student has also formulated amaxim ldquoEveryone at age 40 ought tolearn to play the recorder if heshehasnrsquot alreadyrdquo Just think how theworld would be transformed byshifting our focus to music

After Lynn Whidden attendedthe Montreacuteal Recorder Festival lastfall when the ARS Board met inQuebec she joined the ARS and nowrelays news of the lively interest in therecorder exhibited by a group underthe new leadership of Brent Legg ofBrandon University in ManitobaCanada Although his hands wereldquostill partly frozenrdquo he wrote that theBrandon University Collegium

Musicum in collaboration with theWaverley Park Recorder Club is

preparing a spring concert calledldquoEnglandrsquos Golden AgerdquoRepertoire spans the 16th century

from Henry VIIIrsquos accession in 1509to the death in 1603 of Elizabeth Iand includes solo songs four- andfive-part settings of Renaissancedances (with dancers) three- to five-voice madrigals and ldquobig-bandrdquoarrangements of William Byrdrsquos TheBells and The Dargason as re-imaginedby Gustav Holst (further re-imaginedfor recorders and percussion)

Of the 15 collegium membersseven are encountering the recorderfor the first time since elementaryschool The Collegium Musicumpromotes the study of early music at the university and is open to theuniversity community and the generalpublic This year there are five com-munity participants with interest fromseveral more both within and outsideof the university For informationcontact BrentLegggmailcom

January 16 marked the thirdannual recorder workshop of threeFlorida groups the Pasco Collegium

Recorder Consort of Hudson theImperial Recorder Consort of

36 March 2009 American Recorder

Chapters

amp Consorts___________________________________Workshops and activities from

coast to coast in the US and Canada

Lakeland and the Pilgrim Pipers Recorder Consort of St Petersburg Theygathered for a morning tackling selections by Banchieri Monteverdi PurcellCorelli Mendelssohn Bach Mozart and Glen Shannon Each group presenteda piece for the other participants Sweet Georgia Brown by Ben Bernie (St Pete)a Sonata by Sammartini (Lakeland) and The Gospel Train arr by KW Ford(Pasco) The 29 participants were led by Marlene Cracraft (Pasco) Jane

Spencer (Lakeland) and Elizabeth Snedeker (St Pete) Tom Bickley (photo below) directed the fall workshop of the Mid-Peninsula

Recorder Orchestra in Cupertino CA The 30 players started with Gregorianchants written in ldquooldrdquo notation Bickley gave basic instruction on how tointerpret the notes and then had the group sing the chants prior to playing them

The workshop theme of ldquoThe Articulate Recorderrdquo was literally played out as the music presented used variations in tonguing phrasing and breathingOther repertoire included a Kyrie by Tomas Luis de Victoria Bachrsquos Jesu Joy ofManrsquos Desiring a double-choir piece by Gabrieli Christopher Tyersquos In NomineXIII and a Purcell chaconne The workshop ended with a rhythmically-challenging minimalist piece by Bickley entitled Beginning composed for theWaldorf School teacher training program George Greenwood reports that thegroup had a productive event and plans to ask Bickley to lead a future workshop

wwwAmericanRecorderorg March 2009 37

A Muse in the DesertThe sound of a pin dropping hellip thesound of eager minds and fingersabsorbing information and inspira-tion hellip the sounds of ldquoNuevaEspantildeardquo Spanish- and indigenous-influenced music of the 1600s in theNew World These were the soundsof the Desert Pipes (Phoenix AZ)chapterrsquos fall workshop given byEileen Hadidian On a Saturdaylast October 30 players from all overArizona gathered to learn from andbe inspired by the founder of a SanFrancisco Bay Area group dedicatedto sharing music for healing inhealthcare settings Healing Muses(wwwhealingmusesorg)

The day began with relaxationstretching and breathing exercisesfollowed by travels to Peruacute MexicoGuatemala and Colombiamdashhighchurch music vernacular pieces anda mixture of the two Participantsenjoyed the historical and contextualbackground provided as an overviewfor the day and for each piece

Remarkably the sound heardbetween pieces and passages was anenergy-filled quiet the attentivestillness of active engagement in theworkshop experiencemdashnot the chat-tering noodling and conversationsthat often occur when the musicstops That activity was reserved forthe breaks when participants couldenjoy the cool (at last) outdoorschat with Hadidian and peruse the popular garage sale (to benefitDesert Pipes) of previously-enjoyedbooks and other treasures

On Sunday Hadidian sharedher expertise and inspiration in indi-vidual and group coaching sessionsThe weekend was a special experi-ence and Desert Pipes memberslook forward to the next visit of this Healing Muse

Ann Koenig Scottsdale AZannisalesprocom

Members

of three

Florida

groups

met

in January

for a joint

workshop

CHAPTER NEWS

Chapter newsletter editors and publicity officers should send materials for publication toAmerican Recorder 7770 South High St Centennial CO 80122-3122

editoramericanrecorderorg Also send short articles about specific activities that haveincreased chapter membership or recognition or just the enjoyment your members get out of

being part of your chapter Digital photos should be at least 3rdquox4rdquox300dpi TIF or unedited JPG files Please send news to the AR address above and to the following

ARS Office 1129 Ruth Drive St Louis MO 63122-1019 ARSrecorderAmericanRecorderorg

and to Bonnie Kelly Chair Chapters amp Consorts Committee 45 Shawsheen Rd 16 Bedford MA 01730 bksharpaolcom

Lakeland and the Pilgrim Pipers Recorder Consort of St Petersburg Theygathered for a morning tackling selections by Banchieri Monteverdi PurcellCorelli Mendelssohn Bach Mozart and Glen Shannon Each group presenteda piece for the other participants Sweet Georgia Brown by Ben Bernie (St Pete)a Sonata by Sammartini (Lakeland) and The Gospel Train arr by KW Ford(Pasco) The 29 participants were led by Marlene Cracraft (Pasco) Jane

Spencer (Lakeland) and Elizabeth Snedeker (St Pete) Tom Bickley (photo below) directed the fall workshop of the Mid-Peninsula

Recorder Orchestra in Cupertino CA The 30 players started with Gregorianchants written in ldquooldrdquo notation Bickley gave basic instruction on how tointerpret the notes and then had the group sing the chants prior to playing them

The workshop theme of ldquoThe Articulate Recorderrdquo was literally played out as the music presented used variations in tonguing phrasing and breathingOther repertoire included a Kyrie by Tomas Luis de Victoria Bachrsquos Jesu Joy ofManrsquos Desiring a double-choir piece by Gabrieli Christopher Tyersquos In NomineXIII and a Purcell chaconne The workshop ended with a rhythmically-challenging minimalist piece by Bickley entitled Beginning composed for theWaldorf School teacher training program George Greenwood reports that thegroup had a productive event and plans to ask Bickley to lead a future workshop

wwwAmericanRecorderorg March 2009 37

A Muse in the DesertThe sound of a pin dropping hellip thesound of eager minds and fingersabsorbing information and inspira-tion hellip the sounds of ldquoNuevaEspantildeardquo Spanish- and indigenous-influenced music of the 1600s in theNew World These were the soundsof the Desert Pipes (Phoenix AZ)chapterrsquos fall workshop given byEileen Hadidian On a Saturdaylast October 30 players from all overArizona gathered to learn from andbe inspired by the founder of a SanFrancisco Bay Area group dedicatedto sharing music for healing inhealthcare settings Healing Muses(wwwhealingmusesorg)

The day began with relaxationstretching and breathing exercisesfollowed by travels to Peruacute MexicoGuatemala and Colombiamdashhighchurch music vernacular pieces anda mixture of the two Participantsenjoyed the historical and contextualbackground provided as an overviewfor the day and for each piece

Remarkably the sound heardbetween pieces and passages was anenergy-filled quiet the attentivestillness of active engagement in theworkshop experiencemdashnot the chat-tering noodling and conversationsthat often occur when the musicstops That activity was reserved forthe breaks when participants couldenjoy the cool (at last) outdoorschat with Hadidian and peruse the popular garage sale (to benefitDesert Pipes) of previously-enjoyedbooks and other treasures

On Sunday Hadidian sharedher expertise and inspiration in indi-vidual and group coaching sessionsThe weekend was a special experi-ence and Desert Pipes memberslook forward to the next visit of this Healing Muse

Ann Koenig Scottsdale AZannisalesprocom

Members

of three

Florida

groups

met

in January

for a joint

workshop

CHAPTER NEWS

Chapter newsletter editors and publicity officers should send materials for publication toAmerican Recorder 7770 South High St Centennial CO 80122-3122

editoramericanrecorderorg Also send short articles about specific activities that haveincreased chapter membership or recognition or just the enjoyment your members get out of

being part of your chapter Digital photos should be at least 3rdquox4rdquox300dpi TIF or unedited JPG files Please send news to the AR address above and to the following

ARS Office 1129 Ruth Drive St Louis MO 63122-1019 ARSrecorderAmericanRecorderorg

and to Bonnie Kelly Chair Chapters amp Consorts Committee 45 Shawsheen Rd 16 Bedford MA 01730 bksharpaolcom

TO THE STARS

AND BEYONDThe cover of the November magazinegenerated a few comments Some werenrsquotsure how to interpret the title (in theartistrsquos native German it could besomething close to ldquostarlit moonrdquo)Longtime member Carolyn Peskin wrote to offer her vision of that cover

In the beginning the Great Spiritinvented Mr Sun to light the day andMiss Moon to light the nightHowever as Miss Moon floated up inthe sky all by herself like a big yellowballoon she began to feel very lonelyso one night to relieve her lonelinessshe decided to take out her recorderand make music

But when she started to playsomething miraculous happened Not only beautiful melodies but alsoyellow dust poured out of the bottomof her recorder and the dust particlesimmediately coalesced to form yellowstars As she continued playing moreand more stars were created and theyfloated up around her filling the nightsky

At last Miss Moon was happy fornot only was she herself able to enjoyher music but she now had a wholecrowd of starry companions to enjoy itwith her And if you listen very care-fully on a quiet night you might beable to hear her recorder and thatstarry choir humming along

Carolyn Peskin

LOCATING EARPLUGSI read with interest the QampA in theNovember lsquo08 AR regarding hearingloss and use of earplugs Where do you get musicianrsquos earplugs

Dolly Hirata Kensington CA

CAROLYN PESKIN PROVIDED THIS

INFORMATION Musicianrsquos earplugs arecustom made for individual usersThey can be purchased only fromlicensed hearing professionals (ieaudiologists and hearing instrumentspecialists) To find a licensed hearingprofessional in your area look underldquoaudiologyrdquo or ldquohearingrdquo in your localyellow pages

For information about how musi-cianrsquos earplugs are produced visitwwwetymoticcomephperme-w

tbaspx That web page also has a linkto contact information for authorizedlabs that make the custom earmolds formusicianrsquos earplugs If the yellow pagesdo not prove helpful those labs canrefer you to a licensed hearing pro-fessional in your area from whom youcan purchase musicianrsquos earplugs

MORE FROM CAROLYN

THIS TIME ABOUT OSKARIn the September 2008 AR the musicreview by Leslie Timmons of the Oskarpieces by Matthias Maute mentionedthat Carolyn Peskin had translated twoof the Oskar books from German toEnglish People can obtain thetranslations free of charge as Wordattachments by contacting her atCarolyn Peskin 3559 StrathavonRoad Shaker Heights OH 44120carolynpeskinstratosnet

ANOTHER KIND OF

MUSIC-READING

GLASSESIn the January 2009 issue of AmericanRecorder therersquos something (in myopinion) the ldquoRecorder with GlassesObbligatordquo article omitted which canenable a nearsighted musician to avoidneck strain in the use of bifocals

Irsquove found the solution to thisvexing problem is to have onersquos bifocalsconstructed differently [from] normalMy optometrist was willing to work

38 March 2009 American Recorder

Response___________________________________Two kinds of vision

the better to see with and (not) to hear with

Honeysuckle Music

Recorders amp accessories

Music for recorders amp viols

Jean Allison Olson1604 Portland AveSt Paul MN 55104

6516448545jeanhoneysucklemusiccom

Responses from our readers are welcomedand may be sent to American Recorder 7770 South High St Centennial CO

80122 Letters may be edited for length and consistency

ARS Membership Enrollment and Renewal I am a new member I am or have been a member

USCanadian Memberships Foreign Memberships $45 One Year $55 Foreign One Year $75 Sustaining (Receive a Hottetere Hands Pin) $100 Two Years $80 Two Years

LIFETIME MEMBERSHIP Single Dual Regular Lifetime Member $1000 (2) $1500 (4) 4 installments of $250 available) Loyalty Lifetime Member (1) $ 800 (3) $1200 (4) 4 installments of $200 available

(1) For members who have maintained membership for five consecutive years (2) $750 is Tax Deductible (3) $600 is Tax Deductible (4) Installments available Student Memberships Other Memberships (Enclose proof of full time enrollment) $65 One Year Workshop Membership

$25 USCanadian One Year $125 One Year Business Membership $45 USCanadian Two Years $30 Foreign One Year $5 Additional Charge for Dual Address or Dual Name

Do not list my name in the ARS Print Directory Do not list my name on the ARS Online Directory Do not release my name for recorder related mailings Do not contact me via email

My address telephone and email address are the same as last time

______________________________________ _________________________ Name Phone Number ______________________________________ _________________________ AddressCityStatePostal Code Email Address Please charge to (Circle one) VISAMasterCardAMEXDiscover CC________________________________ Expiration Date ______________ Signature of cardholder_______________________________________________________ Clearly Print Name as it appears on Card________________________________________

Renew by Mail Online By Phone or by Fax

Demographic Information (optional information collected only to enhance ARS services and provide statistics to grant makers)

I am a member of ARS Chapter or Consort____________________________ I am the Chapter Contact Your age Under 21 (21-30) (31-40) (41-50) (51-60) 61-70) (71+) Please check all that apply

I am a Professional Recorder Performer

I wish to be included in the list of Recorder Teachers in the ARS Directory and website I Teach (circle your choices) Children High School Youth College Students Adults Beginner Intermediate Advanced Pre-Professional Individuals Childrenrsquos Classes Adult Classes Ensembles Suzuki Orff JRS Leader Kodaly Where I Teach (circle your choices) Music Studio Public or private school Community Music School College Other _____________________

American Recorder Society 1129 Ruth Dr St Louis MO 63122-1019

Phone 314-966-4082Fax 314-966-4649

TollFree 800-491-9588ARSRecorderAmericanRecorderorg

wwwAmericanRecorderorg

with me [to find] an ideal (for me)placement size and focal length of thebifocal lens

Before visiting the optometristIrsquod had my wife measure the distancefrom my eyes to the music on mymusic stand With this measurementthe optometrist set up her machine toprepare a vision prescription for memaximized for this reading distance

When I look at my bifocals (withthem off) the lenses (through which Iread my music) occupy most of thelower two-thirds of my glasses (they are set very high and beginimmediately at the inner rims) Thisleaves the upper third and smallportions of the outside [of each lens]for focusing on the conductor As longas my stand is set low enough my necknever experiences any strain (even if Ihave to read three to a part) and Irsquove no problem in seeing theconductor (in sharp focus) either

For me trying to use glasses [toread] from a music stand [that] weredesigned for use in reading from acomputer screen also results in neckstrain (not to mention unreliability in aldquopressurerdquo situation) Having studiedTai Chi extensively and so being

wwwAmericanRecorderorg March 2009 39

There are lots ofsolutions to thepresbyopic musicianrsquosproblem but all involve compromises

40 March 2009 American Recorder

American Recorder Society PublicationsErich Katz Contemporary Music Series Members Non-MembersA Short Tale for Two Basses Suzanne M Angevine (Level II) (2 scores) $5 $8Dialogue and Dance Cecil Effinger (SATB)(Level II-III) (score amp parts) $10 $18Dorian Mood Sally Price (SATB) (Level II) (score amp parts) $10 $18Double Quartet for Recorders Peter Ballinger (Level II-III) (score amp parts) $10 $18Entrevista Frederic Palmer (SATB) (Level II) (2 scores amp 4 recorder parts) $8 $14Kyrie and Vocalise for Soprano Voice ampRecorders Stanley W Osborn $8 $14

(SATB) (Level II) (2 scores amp 4 recorder parts) Picnic Music Jeffrey Quick (SATB) (Level II) (score amp parts) $5 $8Six Short Pieces for Three Recorders edited by Alan Drake $8 $14

(3 scores) Vaclav Nelhybel (AATT) (Level II)Sonatina for Alto Recorder and Piano Anthony Burgess $7 $12

(Level II) (2 scores)Sonatine for Three Altos Lee Gannon (Level III) (score amp parts) $14 $26Suite of Jewish Folk Tunes Erich Katz (S SA8 AT) (Level II) (three scores) $10 $18

Musical Editions from the Membersrsquo Library ARS members 1 copy-$3 2 copies-$450 3-$6 4-$750 5-$10 6-$1150Non-members (editions over 2 years old) 1 copy-$5 2 copies-$850 3-$12 4-$15 5-$1950 6-$23The ARS is happy to provide photocopied enlargements of any Membersrsquo Library edition at the same prices Please specify ldquoMembersrsquo Library Enlargementrdquo

ARS Information BookletsARS members 1 booklet-$13 2 booklets-$23 3-$28 4-$35 5-$41 6-$47 7-$52Non-members 1 booklet-$18 2 booklets-$33 3-$44 4$55 5-$66 6-$76 7-$86

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

First copy free to ARS Members (mailed to new members as they join) replacement copies $3Guidebook 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 $20ARS Music Lists (2002 with 2003 Supplement) Graded list of solos ensembles and method books

Members $9 non-members $15Package Deal available only to ARS members Guidebook and Music ListsSupplement ordered together $16Junior Recorder Society Leaderrsquos Resource Notebook

ARS members $20 non-members $40 (updates at reduced rates after initial purchase)$5 Dues for each JRS student member sponsored by an ARS member ($4 each for groups of 10+)

VideosRecorder 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 onemonth by sending $5 to the ARS office along with the address to which the tape should be shipped

Pete Rose Video Live recording of professional recorderist Pete Rose in a 1992 Amherst Early Music Festival recitalFeatures Rose performing a variety of music and an interview of him by ARS member professional John Tyson

Other PublicationsChapter Handbook A resource on chapter operations for current chapter leaders or those considering forming an

ARS chapter ARS members $10 non-members $20 (updates free after initial purchase) One free copy sent toeach ARS chapter with 10 members or more

Consort Handbook Resource on consort topics such as group interaction rehearsing repertoire performingARS member prices CD $10 hard copy $20 combo price of CD and hard copy ordered together $25

Discography of the Recorder Vol I (1989) Compiled by Scott Paterson and David LasockiDiscography of the Recorder Vol II (1990-1994) Compiled by Scott Paterson

Either single volume ARS members $23 non-members $28Both Discography volumes together ARS members only $40

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

Shipping amp Handling FeesUnder $10 - add $3 $10-1999 - add $4 $20-2999 - add $5 $30-3999 - add $6 $40-4999 - add $7 All prices are inUS dollars For Canadian or foreign postage pay by credit card and actual postage is charged

Please make checks payable to ARS VISAMCAMEXDisc also accepted

ARS 1129 Ruth Drive St Louis MO 63122 US800-491-9588 ARSrecorderAmericanRecorderorg

Arioso and Jazzy Rondo (AB) Carolyn PeskinBerceusendashFantaisie (SATB) Jean BoivertBrucknerrsquos Ave Maria (SSATTBB)

Jennifer W Lehmann arrCanon for 4 Basses (BBBB) David P RuhlDancers (AT) Richard EastmanDifferent Quips (AATB) Stephan ChandlerElegy for Recorder Quartet (SATB) Carolyn PeskinElizabethan Delights (SAATB)

Jennifer W Lehmann arrFallen Leaves Fugal Fantasy (SATB) Dominic BohbotFour Airs from ldquoThe Beggarrsquos Operardquo (SATB)

Kearney Smith arrGloria in Excelsis (TTTB) Robert CowperIdyll (ATB) Stan McDanielImitations (AA) Laurie G AlbertsIn Memory of Andrew (ATB) David GoldsteinLay Your Shadow on the Sundials (TBgB)

Terry Winter OwensLeClercqrsquos Air (SATB) Richard E WoodLittle Girl Skipping and Alouette et al (SATBCb)

Timothy R Walsh

Los Pastores (SAAAT + perc) Virginia N Ebinger arrNew Rounds on Old Rhymes (4 var) Erich KatzOther Quips (ATBB) Stephan ChandlerPoinciana Rag (SATB) Laurie G AlbertsSanta Barbara Suite (SSAAT) Erich KatzSentimental Songs (SATB) David Goldstein arrSerie for Two Alto Recorders (AA) Frederic Palmer Slow Dance with Doubles (2 x SATB) Colin SterneSonata da Chiesa (SATB) Ann McKinleyS-O-S (SATB) Anthony St PierreThree Bantam Ballads (TB) Ann McKinleyThree Cleveland Scenes (SAT) Carolyn PeskinThree in Five (AAB) Karl A StetsonTracings in the Snow in Central Park (SAT)

Robert W ButtsTrios for Recorders (var) George T BachmannTriptych (AATB) Peter A RamseyTwo Bach Trios (SAB) William Long arrTwo Brahms Lieder (SATB) Thomas E Van Dahm arrVariations on ldquoDrmešrdquo (SATB) Martha BishopVintage Burgundy (SASATT)

Jennifer W Lehmann arr

Adding Percussion to Medieval and Renaissance Music Peggy Monroe

American Recorder Music Constance PrimusBurgundian Court amp Its Music Judith Whaley coord

Improve Your Consort Skills Susan CarduelisMusic for Mixed Ensembles Jennifer W LehmannPlaying Music for the Dance Louise AustinRecorder Care Scott Paterson

acutely aware of any kind of neckstrain when it begins to develop these ideas have been a big help to meIrsquom hoping they may be of help toother musicians as well

Best wishes to you And inanswer to your questionmdashyes the new[AR] format (with more white spacebetween the lines) is much easier toread (in my opinion)Your magazinejust keeps getting better and better

Very sincerely Ed Green WestSuburban (Chicago-area) Chapter

RESPONSE FROM DR BILL LONG

What Ed describes is a variant of theuse of conventional bifocals as musicglasses described on page 8 in thearticle Instead of lowering his musicstand into the field of view of hisbifocal segment Ed and his optome-trist have fabricated special purposebifocals with the segment really highso he can focus on his music instraight-ahead view That approachrestricts his distance vision to an areaabove his usual line of sight whichseems to work for Eds playing setup

Eds comments on the difficultiesin using conventional progressiveaddition lenses as music lenses con-firm what I said on page 9 Thats whymanufacturers have marketed special-ty progressive lenses designed specif-ically for intermediate distance taskslike computer use and playing music

There are lots of solutions to thepresbyopic musicians problem but all involve compromises The key toevaluating those compromises andchoosing the best solution for yourselfis to understand your needs and toenlist the help of a sympathetic visioncare specialistmdashjust as Ed did

Please change your

browserrsquos favorites list

AR online is now at wwwameri

canrecorderorgmembership

magazinehtm Send news to

editoramericanrecorderorg

FOUR FOUR-PART CANZONAS

(1608) BY GIOVANNI GABRIELI

ED GREG LEWIN Hawthorns Music RB 16 (Magnamusic) 1999 SATBSc 16 pp pts 4 pp $1950

Giovanni Gabrieli was probablyborn between 1554 and 1557 in theparish of San Geremia in Venice Thedetails of his early life are sketchy butit appears that he was born Giovannidi Fais and later changed his name toGabrieli out of respect to his uncleAndrea with whom he shared a closerelationship In fact in 1587 Gabrielidescribed himself ldquoas little less than asonrdquo It is commonly thought thatAndrea provided Giovanni with hisearly musical training Andrea whohad spent some time in Munichstudying under the great Orlando deLassus sent Giovanni to Munich for a similar period of study in theearly 1570s

Gabrieli remained in Munichuntil the death in 1579 of the dukeAlbrecht V who had been Lassusrsquosemployer for a number of years andwho was an enthusiastic patron of the arts particularly music With hisdeath a number of musicians lost theirjobs it seems as if Gabrieli were also a victim of such culling of talent(Within a generation the tide wouldturn and the Munich court wouldagain hire Venetian expatriates such as Priuli Valentini and Neri)

Upon his return to VeniceGabrieli was hired as a temporaryorganist at San Marco his positionbecoming permanent in 1585 For a few months that year uncle andnephew served together as first and

second organists in the chapel of thedoge In Giovannirsquos absence fromVenice there had been a plague thathad decimated the ranks of theprofessional musicians Andrea setabout rebuilding his forces at SanMarco by hiring a full-time windband consisting of Girolamo dallaCasa a renowned cornettist andviolist his two brothers who playedsackbut and later the cornett virtuosoGiovanni Bassano Giovanni Gabrieliaugmented these forces with addi-tional players and began composingthe large-scale ceremonial music forwhich he is so well known today

Giovanni was also elected to bethe organist and composer to theconfraternity of San Rocco in 1585and it is now thought that his largestpieces were intended for that venuewith its large central gallery andfrescos by Tintoretto instead of SanMarco Gabrieli held both thosepositions at the basilica of San Marcoand the Scuola Grande di San Roccountil he died in 1612 of a kidney stone

Although best known today forhis ceremonial and festival musicGabrieli was at home in smaller-scaleformats as well These four four-partcanzoni are taken from the 1608publication by the Venetian publisherAlessandro Raverji Canzoni per sonarecon ogni sorte di strumenti These werevery popular pieces to judge by themany collections in which they appear

Additionally like Gabrielirsquoskeyboard music they are found inother arrangements These four-partcanzoni lie well under the fingers inarrangements for keyboard and lute

As seen from the title Gabrielispecified no instrumentation but like asimilar edition of madrigals and battlepieces from a few years earlier a dis-tinction was made that they wereintended for wind instruments almostcertainly cornetts and sackbuts

Recorders were not unknown in Venice they were used regularly inthe confraternity of San GiovanniEvangelista where Giovanni BattistaRiccio was organist

These pieces are relativelysimplemdashplayable by beginning tointermediate ensembles They aremostly contrapuntal (with a fewhomophonic sections) and have few rhythmic eccentricities

These canzoni are found in manymodern brass editions but there arefew editions available to the recorderplayer This edition by Greg Lewin ofHawthorns Music might be consid-ered a ldquobare-bonesrdquo edition There islittle background information andeditorial practices are not specified

The music itself has a handwrittenlook that can be distracting but is easyenough to read Lewin has thought-fully supplied phrasing marks that willbe helpful for ensembles unused tothis style of music

Music

Reviews___________________________________ Infectious music created in spite of the plague

wwwAmericanRecorderorg March 2009 41

This is a good edition

for small ensembles that

canrsquot get eight players

together to play

Gabrielirsquos more famous

eight-part canzoni

42 March 2009 American Recorder

The parts are four pages but mycopy had all four pages printed on avery large page This is not a problemand there are no page turns

This is a good edition for smallensembles that canrsquot get eight playerstogether to play Gabrielirsquos morefamous eight-part canzoni Thesesmall-scale pieces are by no meansinferior to Gabrielirsquos more elaboratemusic and deserve to be better known

7 CANZONEN (1637) BY

TARQUINIO MERULA ED JOACHIM

ARNDT WITH CONTINUO REALIZATION

BY CLAUDIA SCHWEITZER MieroprintMusikverlag EM2088 (availabledirectly from wwwmieroprintcom)2005 SS or TT bc Sc 24 pp pts 8 pp$28

Tarquinio Merula was bornaround 1595 in either Busseto orCremona in Italy As was the case withso many composers of the day either alack of regular employment or a rest-less nature took him from his home inCremona to as far away as Warsaw He is found as the organist of thechurch and the chambers to the kingof Poland Sigismund III in 1624

Merula was one of the leadingexponents of the relatively new con-certante style pioneered by ClaudioMonteverdi and others in the seconddecade of the 17th century and may be described as one of the earliestBaroque composers His compositionsin the concertante style are fresh andunforcedmdashhe was born into this styleand didnrsquot encounter it as somethingnew as was the case with so many ofMonteverdirsquos contemporaries

After several years of peripateticexistence Merula found regularemployment in 1631 in Bergamo atthe church of San Maria MaggioreThe prior holder of the post of maestrodi cappella Alessandro Grandi haddied the previous year in the plagueMerula had signed a three-year

contract but by December 1632 hewas terminated with accusations thathe had molested several studentsMerula threatened a lawsuit to recoverhis lost wages but that threat wascountered with a pending criminalcharge lodged by the board ofgovernors of San Maria Maggiore By mid-1633 the matter was settledwith an apology from Merula and astatement that he relinquished allclaims to his salary

He then returned voluntarily toCremona where he stayed until 1635By 1638 Merula was once again inBergamomdashthis time as maestro dicappella and organist in the cathedralnext to San Maria Maggiore Asmight be expected there was con-siderable tension between the twochurches eventually resulting in theboard of San Maria Maggioreforbidding their musicians to perform under Merularsquos direction

He returned in 1646 to a familiarCremona post which he had heldthree times in various years and wherehe now settled downmdashthat of organistand maestro di cappella for Laudi dellaMadonna services in which he ledmusic at the main altar on Saturdaysand on vigils of Marian feasts

None of his employment issues

prevented the Pope from awardinghim the Order of the Golden SpurMerula was also elected to theAccademia dei Filomusi in BolognaHe died in 1665 in Cremona

His existing compositions showthe products of a lively mind Hisworks range from sacred songs andmotets to purely instrumental piecesnotably the ever-popular variations onvarious ground basses It is knownthat Merula was an accomplishedviolinist as well as a fine organist Hissurviving instrumental writing showsa predilection for strings In fact hewas one of the earliest composers tospecify string accompaniments tosacred motets

Merularsquos pieces look backwardtoward some of the more progressiveVenetian composers such as Monte-verdi while looking forward to thehigh Baroque with his innovative style

These seven canzoni like theearlier-published chaconne (EM2084)come from Merularsquos third bookpublished in 1637 CANZONI overo SONATE CONCERTATE perchiesa e camera a due et a tre delcavaliere This collection typifiesMerularsquos output pieces based onRenaissance-era ground basses arefound next to more ldquomodernrdquo sonatas

The original edition specifiesviolins and basso continuo This newedition is intended for recorders thespecific choice of which is up to theplayers Due to the relatively hightessitura tenor recorders work best inthese pieces (although listed as analternative soprano recorders tend to be on the screechy side)

Not surprisingly given Merularsquosskill as an organist the continuo partneeds a keyboard instrument forsuccessful realization Instead of beinga purely accompanying part the bassocontinuo part is an equal partner in these pieces the canzona ldquoLaRuggierardquo opens with a run that therecorders echo a few measures later

A more recorder-specific

edition intended for

altos would have been

ideal There is nothing

preventing the more

adventurous and

industrious players

from making their

own editions of this

delightful music

mentioned were a bit shrill A morerecorder-specific edition intended foraltos would have been ideal There isnothing preventing the moreadventurous and industrious playersfrom making their own editions of thisdelightful music

Prior to playing the previouslypublished chaconne I had notencountered MieroprintMusikverlag Mieroprintrsquos extensivecatalog has an equal focus on newmusic for recorders and on editions ofBaroque masters with emphasis on therecorder and flute Due to the lack of

wwwAmericanRecorderorg March 2009 43

are also available at

The Early Music Shop

of New England

Brookline MA

AESTHEacute

367-b de la Briquade

Blainville Queacutebec

Canada J7C 2C7

tel (450) 979-6091

wwwboudreau-flutesca

A bass viola da gamba or rsquocello is not necessary for these pieces and may infact make them sound heavy and ponderous rather than light and breezy as thismusic seems to be

More so than the above-mentioned chaconne these canzoni are written in avery idiomatic violin style with multiple examples of arpeggios In particular thecanzona ldquoLa Trecchardquo contains a notated example of a string tremolo figurerecurring through the piece ldquoLa Trecchardquo also dips well below the range of a Crecorder going down to low G the lowest string on the violin The editors havesupplied no alternative notes preferring to let the performers to fend forthemselves (in practice we took this passage up an octave with no problems)

The two recorder parts require virtuosity These upper parts are demandingwith the players needing to double-tongue in unison in order to negotiate themany runs of 16th notes and the shared rhythmic ldquolicksrdquo The harmoniclanguage unlike much of Merularsquos music is undemanding and contains none of the harmonic crunches for which he is famous

This is wonderful music that needs a couple of advanced recorder players fora successful performance The string idiosyncrasies can be overcome by advancedplayers and many of the editions of the era (although not this one) list thecornetto as an alternative to the violin so the use of wind instruments in the solo literature of the early Baroque was not unknown

Our experience with this edition left us with the opinion that these pieceswould have been better if transposed down a minor third so as to fit on a pair ofalto recorders (as is the case with much Baroque flute music to make it lie betteron the recorder) The tenors we used tended to sound a bit murky in the lowerregister next to the more aggressive harpsichord while the sopranos we tried as

KEY rec=recorder Srsquoo=sopraninoS=soprano A=alto T=tenor B=bassgB=great bass cB= contra bass Tr=treble qrt=quartet pf=piano fwd=foreword opt=optional perc=percussionpp=pages sc=score pt(s)=part(s)kbd=keyboard bc=basso continuohc=harpsichord PampH=postage andhandling Multiple reviews by one reviewerare followed by that reviewerrsquos name Pleasesubmit music for review to AR 7770 SHigh St Centennial CO 80122-3122 US

an American distributor this musicwill be hard to findmdashin fact can befound only at the time of this writingon their web site noted above But theeffort will be repaid

This edition is clear and easy toread and the parts require no pageturns The basso continuo realizationis simple and elegant

This is music deserving ofrediscovery My only quibble is thatthe editorial notes are all in GermanThis seems to be the practice ofGerman music publishers with thenotable exception of Moeck Otherpublishers of early music such asLondon Pro Musica routinelyprovide notes in English and German and often in French and Italian making their editionsaccessible to a wider audience

Frank Cone studied the recorderwith the late Ellen Perrin the viola dagamba with Carol Herman and thecornetto with Larry Johansen TheCalifornia multi-instrumentalist has been a member of the Orange CountyRecorder Society since 1985

Advertiser Index

AMERICAN ORFF-SCHULWERK ASSN 3

AMERICAN RECORDER SOCIETY 31 35 36

AMHERST EARLY MUSIC FESTIVAL 17

STEPHAN BLEZINGER 24

JEAN-LUC BOUDREAU 21 39

BOSTON EARLY MUSIC FESTIVAL 7

CANTO ANTIGUO EARLY MUSIC WORKSHOP 13

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EARLY MUSIC AMERICA 8

HONEYSUCKLE MUSIC 34

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KEITH E LORAINE EARLY DOUBLE REED SERVICE 35

LOST IN TIME PRESS 11

MADISON EARLY MUSIC FESTIVAL 12

MAGNAMUSIC DISTRIBUTORS BC

MOECK VERLAG IFC

MOLLENHAUER RECORDERS IBC

PORT TOWNSEND WORKSHOP 14

PRESCOTT WORKSHOP 30

PROVINCETOWN BOOKSHOP 26

THE RECORDER MAGAZINE 4

THE RECORDER SHOP 6

SAN FRANCISCO EARLY MUSIC SOCIETY 18

SWEETHEART FLUTE CO 3

TEXAS TOOT 20

VON HUENE WORKSHOP INC 30

WICHITA BAND INSTRUMENT CO 21

DOMINIK ZUCHOWICZ 34

CONSIDER ADVERTISING IN

Full page $55223 page $43912 page $36613 page $28614 page $22316 page $17518 page $127112 page $ 951 column inch $ 58

Prices include web sitee-mail link directly from your ad in the online AR at wwwamericanrecorderorg

Circulation Includes the membership of theARS libraries and music organizations

Published five times per year January March May September November

Reservation Deadlines December 1 (January) February 1 (March) April 1 (May) August 1 (September) October 1 (November)

Rates good through November 2009 Pleaseinquire about discounts on multiple-issuecontracts inserts or other special requestsExtra charges for typesetting layout half-tones and size alterations 133-line screenrecommended Advertising subject toacceptance by magazine First-time adver-tisers must include payment with order

For more information contact the ARS office 1129 Ruth Drive St Louis MO63122-1019 800-491-9588 toll free 314-966-4082 phone 314-966-4649 faxadvertisingamericanrecorderorg

44 March 2009 American Recorder

Classified___________________________________

FOR SALE Cherrywood hurdy gurdy and hard-side case made by Kelischek bought 2005Originally $765 plus $89 for case Rarely usedBoth for $450 or make offer Please contact marjalocomcastnet Can ship

ASPIRE ANNOUNCE INSPIRE Afford-able PR for teachers and recitalists wwwrecitalroomcom

PHOTOS NEEDED of ARS events 1970sndash1990sto illustrate last chapters of Martha Bixlerrsquos histor-ical memoir about the ARS (to be posted online)E-mail scanned photos (300dpi JPG or TIF)arsrecorderamericanrecorderorg Hardcopies mail to ARS office to be scanned ampreturned Info 800-491-9588

T-SHIRT FOR ENSEMBLE PLAYERS to wear orshare Top 10 Reasons Why I Got Lost Wrongfingering bad lighting etc on blue cotton shirt$18 Highlighter tape and other goodies Beth amp Lindas Boutique as seen at BEMF CallLinda at 617-671-8694 or e-mail for brochurelindakushverizonnet

Where the havesand have-nots

of the recorder world can find each other

Classified rate for American Recorder 60centper word ten-word minimum ldquoFOR SALErdquoand ldquoWANTEDrdquo may be included in thecopy without counting Zip code is oneword phone e-mail or web page is twoPayment must accompany copy Deadlinesare one month before issue date Send copywith payment to ARS 1129 Ruth Drive St Louis MO 63122-1019

AMERICAN RECORDER (ISSN 0003-0724) 1129 Ruth Dr St Louis MO 63122-1019 is publishedbimonthly (January March May September and November) for its members by the AmericanRecorder Society Inc $20 of the annual $45 US membership dues in the ARS is for a subscriptionto American Recorder Articles reviews and letters to the editor reflect the viewpoint of their individ-ual authors Their appearance in this magazine does not imply official endorsement by the ARS

EDITORIAL DEADLINES November 15 (January) January 15 (March) March 15 (May) July 15(September) and September 15 (November) Submission of articles and photographs is welcomedArticles may be typed or sent as an attachment (Word or RTF preferred) to or text in an e-mail mes-sage They should be for the exclusive consideration of AR unless otherwise noted Photos may besent as prints or unedited JPG or 300dpi TIF files (minimum 3rdquox4rdquo) Advertisements may be sent inPDF or EPS format with fonts embedded

EDITORIAL OFFICE Gail Nickless Editor 7770 S High St Centennial CO 80122-3122 303-794-0114 (phone amp fax) editoramericanrecorderorg Books for review Editorial office Musicfor review Editorial office Recordings for review Tom Bickley 1811 Stuart St Berkeley CA 94703Cutting Edge Tim Broege 212 Second Ave Bradley Beach NJ 07720-1159 Chapter newslettersother reports Editorial office Postmaster Send address changes to ARS 1129 Ruth Drive St LouisMO 63122-1019 Periodicals postage paid at St Louis MO and at an additional mailing office

Chapter leaders

We know yoursquore out there

and that you want to share

your plans concerns

solutions and ideas with

other chapter leaders Visit

httpamericanrecorder

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