VOLUME XXVII NUMBER 2 MAY 1986 The American Recorder Published Quarterly by the American Recorder Society $4.00The American Recorder VOLUME XXVII NUMBER 2 MAY _ 1986 THE AMERICAN RECORDER | EDITORIAL BOARD BOARD OF DIRECTORS Sigrid Negle. Edit Martha Biker fasion Aes Benjemin Dunham Kenneth Jon Suan Kuppier, An Dic Ingest Brune Louie Aura Scum Eogoon) Eeete ean Jean Seiler, Asitant a Howard Mayer Brown | Matha Bite Shaly Gratin” Suan Prior Dale Highee, Recor Gerald Burakott Ronald Cook, Je William Wier marie Dav Puller William E, Hetrick Louise Austin, Music Reviews i : Kay Jae Cee Johanne Kutlach Suzanne Ferguson At ee (Chapter New Laurence Litin Shelley Gruskin, Pree Betty Bang M Marcha Biser, Vice Prat ‘Thomas Prescott dae Poi epee) al IM. Thonn 8. Ronald Coo : Kenneth Welit, ‘an Coa ‘The American Recorder Society, Ine Honorary Present, Etuest KATE (190. Honoraty Vice-President, WPREDJABCoR (CHAPTER REPRESENTATIVES (OFFICERS Patricia Petersen, Asi William Willett, es Suzanne Ferguson, C i Wily Tite Admins Dic Copyright ©1986 by The American Recorder Society, Amicles end latest their fs the wun of rindCONTENTS So You Want to Blow the 48 Audience Away Andrew Waldo Diminution Pieces in Ornamentation 55 Sources from 1535-1638 Which Wood Should I Choos« Philip Levin 60 When Is a Ganassi Recorder Not a 64 Ganassi Recorder? Allec Loretto Doubles: Aeolian Pair 68 Mary Mageau Reports 73 Book Reviews 7 Music Reviews 80 Chapter News 82 Letters 85 Cover: Two views of the Vienna Museum's “Ganassi" recorder (see page 64). Acknowledgements: Example 3 0n page 50 taken from Richard Eg, talon Diath fs wth more than ne mtu fro 155320 38. Reprted with permssion of Amadeos US. A., 305 Boomild Ave Nave, NJ 07110. nape $n page 5 ro Joan Joa Quant’ On Poyng te Flite New York Schner Boot, 2 vison of Maca, Inc, 196.1976, 1985: Rept with pemison, FROM THE EDITOR Some months after Peter bert’s “Omamentation for Consort Players: First Steps” appeared (November 1984), Andrew Waldo, then head of the Longy Schools early music department, called to ask if we would be interested in an article on Renaissance ornamentation for soloists Somehow he found time to write it between winding ing and performing activities in Boston and becoming a theology student in Sewanee, Tennessee. Although his article is directed to thase who want to explore sixteenth-century ommamentation in depth, it will be of value to anyone with an interest in the music of this period. An appendix lists ornamented versions of various madrigals, motets, chansons, and other works. Readers may want to study same of them to see how it was done before trying embellishments of their own. ‘Alec Loretto, who left university music teaching several years ago to make recorders in his “back garden” neat ‘Auckland, New Zealand, writes about a recorder that ‘was capable of playing virtuoso embellishments: the "Ganassi” recaeder, with a range of well aver two octaves. This is a fascinating subject and fone on which we hope to have other articles in future Phil Levin, who has written several articles on instrument care for this journal, discusses the various woods recorders are made of and the merits and drawbacks of each, Anyone who has wondered about the strange names of some of these woods may find enlightenment here. Music seems to be auch a popular feature that we're ‘including it as often as space and our inventory permit, ‘Doubles,” by an American composer living in Australi, ‘8 one of several submissions we've received from abroad, See the index of advertisers for a listing of summer ‘workshops; ARS workshops are on pages 86 and 87. Sigrid NagleSo You Want to Blow the Audience Away Sixteenth-century ornamentation: a perspective on goals and techniques Andrew Waldo Recent decades have produced ex- cellent studies of the musical circum stances that called for embelishing in the sixteenth century, the treatises writ- ten to instruct players, and the combina tions of instruments that were used.! Performing editions of madrigal and chanson omamentations (diminutions) are now readily available. More and more frequently these pieces are being performed. Players are getting accus tomed to recognizing opportunities for embellishment, and they are taking ad vantage of them. ‘What we hear very litle of, however, is improvisation in. sixteenth-century style that reflects genuine fluency in its melodic language. Few modern players of any early instrument have reached the evel of knowledge, understanding, re- flex, and physical skill in creating extem- ppore diminutions at which they can pro- duce a musical result authentic to the ‘music and to themselves. Why is this so, and how can we assimilate that oma’ ‘mental language and begin co express it poetically? What kind of technique do ‘we have to have, and how do we get i ‘The practical portions of what follows are addressed primarily to those players who would attempt to achieve a mea sure of virtuosity as soloists in playing diminutions. However, I also hope to paint as clear a picture as possible for the listening community of the extent and nature of the task at hand. Ihave not ad dressed issues relating specifically to consort ornamentation, though pieces do exist with as many as four ofthe parts ornamented simultaneously. In order to structute our efforts, itis essential that we view the process of Jearing ornamentation in much the same way we would that of leaning a spoken language: we must develop a vo cabulary, syntax, and context to our ut terances, Significant artistic expressions come later. The many sources for oc namentation dating from 1535 to 1638 are our grammar books. ‘One author suggested in these pages — and othecs would agree with him—that a dependence on these early sources is ‘not compatible with “freedom of spirit and a sense of creativity” and is “una thentic" to ourselves? And Ive heard teachers at workshops say, "Relax, just play what comes to mind. Youll get it.” Good luck. Any jazz player will ell you that in order to improvise, scales and fe" (known as passagg i sixteenth- century Italian terminology) bave to be memorized within a style early in train’ ‘ng. Only then can a performance reflect the energy and imagination of the in- dividual player and, indeed, make any sense at al to the listener. I is possible to be free of sprit and authentic to our selves and to the music only if we achieve that fluency which permits art ful prose, poetry o improvisation inthe ‘musical language we've undertaken to learn. ‘The historical sources are fun- damental to out effort. Asin earning any other complex sl many basics must be mastered fist. In addition to an historical awareness of the musical styles and repectories ofthe age, one must develop aural, analytical, and technical skills of a high order These sls are closely interconnected Hearing an ornament in your head wall do you no good if your fingers and tongue won't reproduce it. Being able to Mayer Beown, Ebeling aed Rechard Eng. alin ns (consult biography for pubaton ‘nfaenation) Peter Seibert, “Oraamentation for Coosoxt Players: First Steps” The Americon R XXV/4, Novenber 1984, While Seber ace 48 The American Recorder specially ade he does ace, the canto: plyer and his oe Seurces ae eal por ablation infrmaton on chi and othe ey play every ornament in a treatise is useless if you cant figure out where to put them into the music Developing aural skills In order to define the context of our work, it is essential first of all that we have a good aural impression ofthe style ‘we are learning to ornament. Since we, as inhabitants of the twentieth century hhave an incredible range of music styles filtering into our consciousness, it takes effoct to “think” and react in the style of any one era. And in our attempts to learn ornamentation, we have often de- pended on an astonishingly wide variety of sources for melodic ideas, ranging from Ganasei to those dating from the eighteenth century ‘There are several ways in which one cean begin to hear in sixteenth century ornamental style 1. Listen to as many recordings of ‘music of the early seventeenth century (by Monteverdi, Frescobaldi, Gabrieli Schite, and countless other early sonata /canzona composers) as possible ‘These works contain melodic material that in earlier decades was the stuff of ‘ornamentation. Seventeenth-century com- posers exercised more control over thet pieces by, as it were, writing in the or hhaments a8 integral melodic figures. (Be careful to purchase or borrow recordings by knowledgeable performers.) 2. Play as many early seventeenth- century sonatas and canzonas as you can (by de Selma, Frescobaldi, Riccio, Cima, Turini, Castello, and Fontana, to name but a few). More and more editions of their works are being published these days, There ate also a number of recent “A sina at can be ound in Ferand, “Dascic Eabelisinent Lieratie” (ee biography). The prmary diference between the hte hat {ave cin dimination. Ihave ako ex funded spd cece the ht "The rcereatety Ori and Basta can be found he modern edn of thet woke lated intheeditions of late sixteenth-century madr- fal diminutions (See the London Pro Musica Ricercate ¢ Passa series). Apart ftom learning the actual melodic Tanguage ofthe time, it is also important for you to know which madrigals /chan- sons were chosen for diminution, and to play them or listen to recordings of them fn theie unadorned versions. Your im agination has more freedom ifthe orig- inal tune is comfortably ensconced in your ear. (See the appendix for a com- plete listingof these pieces.) Theres, of course, no feason why you cannot omar ment a madrial or chanson that was not incloded in any of the diminution sources, but starting with the more pop- ular ones helps to give an idea of the ‘material composers found most suitable for embellishment. 3. In the treatises of Ortiz, Bassano (4585), Virgiiano, and Bassani, play the ricercate, or pieces for solo instruments.’ These pieces ate for the most part dif ficult musically and. technically, but ‘working on them will greatly increase your understanding of the way players assembled their melodic vocabulary. They range in interest from fascinating flights of fancy to more-or-less strict études. 4. If you have access to facsimile edi tions and can read early notation, tran seribe into modern notation diminutions of pieces that particularly interest you. By doing so, you not only hear the or- naments slowly in your head as you write (and, hopefully, assimilate) them, but you end up with a performing part, usable if you aren't comfortable playing fom the originals. Many great com posers (e.g, Bach and Haydn) learned their art in part by copying music of other composers, 30 the tradition is a venerable one. Using the treatises ‘At this point, an explanation of the layout of diminution treatises may be helpful. Most of them are divided into sections containing intervals for or- rnamentation, ascending and descent ‘with examples of how the ornamenting ‘may be done; examples of ornamented cadences; explanations of articulations to use when ornamenting (lor wind players particularly, and sometimes for string players as well), and, asin the four treatises mentioned above, entite pieces that have been ornamented for the stue dent's study and practice. So many treatises are available for study that one can easily experience in- formational overload.* Especially at risk is the talented and somewhat know!- ‘edgeable student who pulls a number of them off the library shelf and ploughs ‘through them indiscriminately, playing whatever appears next, or applying mar terial from several treatises to an orna- mentation he or she is working on. Ifyou were learning English, what would re- sult from your taking phraseology from William Faulkner and Ralph Waldo Emerson and combining these two styles in a single compositional efort? So, be dlsciplined, and stick to one or two trea tises ata time while you earn ornamental vocabulary and hone your technical kil Which treatises are good starting places? ‘The following are my suggestions. FoR MADRICALS/MOTETS CHANSONS Most ofthe written-out embellishments in the ‘treatises are based on madrigals, motets, and chansons originally composed in the middle decades ofthe sixteenth century by such masters as Lassus, Palestrina, Willaert, and particularly de Rore. There are omamented versions for singers, viol players, and wind players at levels of dificulty ranging from moderate to extreme. The examples ornament the supers, bass, or, in the case of viola bastards style (see below), all or any combination of parts, Except where ex- tended range is problem, many ofthese ornamentations can be instrumented in several ways. To learn madrigal ornamentation, Or- tic and Bassano are perhaps the best places to begin. Dalla Casa is fine for singers and viel players but presents problems for recorder players: many of his embellishments pass frequently and rapidly over the register break between 4” and & (soprano, sounding pitch, ‘which is especially awkward to nego ate if you are also learning the appro- priate articulations for fast passage- work." For vance muse Ifyour main interest isto ornament dance music, then Ganas si and Ortiz are especially appropriate. Ofte two, Ortiz isthe more accessible Ganasei includes rhythmically complr cated proportional divisions (5:4, 64, and 7:4), so it is best to focus on his Regola Prima (ia 4:4 proportion) until you get more accustomed to his wonder- ful and very interesting eecenricies* Ornamenting dance music feom earlier sources (Attaingnant, Gervais, Susato, and others containing relatively homo: phonic pieces) will give you greater freedom at you learn, Dance music atthe end of the sinteenth century and begin- ning of the seventeenth (Brade, Dow- land, Holbome, and Schein) tends to be more intricate polyphonically. You runa seater risk of upsetting what is offen a delicate balance among the parts by su- perimposing elaborate embelishments These dances can certainly be oma mented tasteflly, but you should know what effect your additions will have on the original Applying analytical skills ‘The treatises are quite clear on how to idenufy and ornament a specific inter- ‘val ~topics that are also wel covered in most recent literature on divisions.!? Therefore, I will make only a few com ments about this most basic process. If yyou take the notes on the downbeat and ‘middle of a bar and eliminate any notes in between, you can ornament the re sulting interval according to one of the diminution tables, With moce risk and possibly more interest, you can also leave out everything’ between one dovmbeat and the next, and even one downbeat and the downbeat tio mea- sures away. The more notes you leave cout, though, the more difficult it is to maintain the original counterpoint. Of course, daring results are sometimes worth the sacrifice Little has been written about the har monic implications of a given ornament. ‘Once you have identified the basic inter val to be ornamented, you need to takea look at the underlying harmony ~espe- cially if you have left out an entire measure of the original music." An awareness of the harmony is especially ‘important when you choose an ora sent that has skips or leaps, bibigraphy. The Vigan cere aepubihed in voles I (tebe instruc) and (ia bear de) ef the London Bre Mica Rice « Poot series. The tests by Basan area present “Besides bography, se Brown, Enbelishing Stee Century Mua, shih contains deep Se Eng, akan Dominion 7p 2 ‘excellent diecussion of snetrumentsion pots ices "for performing edton of dll Cass pieces, sce ep the Landon Po Musica Riercate¢ Pos sogg ene “Brow in Enblshing Sates Cetury Mare, ive pacar aterion to Cana "See exp own, EelishingSernh Conny p 17-30 “A very tase undersandingf tad harmony, which you can asc inthe fist ew weeks of ary ‘muse theory course, wil do. Later, when yoo Mi May 1986 49Taking these measures of de Rore's Anchor che col partire, we could try either ofthe following Exemple 1 position, ornamenting perhaps the open sng statement of a theme in one part and * then succesive mations in the other pare. They tend to progress through the texture, wearing an ineeeate conta tal pattern. Although they are generally sf eubstantaly reter ange then those tmamenting ony a single part, many Gan be played on recorders or comeroe "To cmament in vol bastarde eye especilly requires that you know the farmony ofthe piece. Perhape the most efficient way to Teen this type of namentation sto we out yur choces trith the sor in font of you. The trea thes offen star ther omament on one important” note and” eros, through other pare une reaching another “un portant” note, Example 3y also from Ar thor che cl pare but the tine or namented by Richardo Rognion, high lighes the notes that he has chosen ae pivot point for his omaments. Version te, 1 is easy; no 2 for accomplished players Example 3. ‘Notice that the ornament in the first half of measure 11 in Example 1, taken fom Bassano’s tables (1585), leaps down a fourth toa G, clashing with the A-minor harmony below. Example 2, from one of Bassano's own ornamenta. tions of this piece (he wrote three), is preferable: there is a skip of only a third toan A, which remains within the har- mony. It should be noted that the most artful examples in the treatises do not remain slavishly within the bounds of the un- derlying harmony. You must, however, develop a critical sense in your own playing of the effectiveness or inefiec- tiveness of straying from thete bounds, Doing so is risky. (Ornamenting in viola bastarda style re- quires another kind of analysis. The term refers to diminutions written for the viola bastarda, possibly a small bass viol, whose size enabled players to negotiate wide leaps and fast passage: work with relative ease. These diminu- tions incorporate several voices of a com It is worth stressing that the better you knows the piece to be ornamented in its unadorned form, analytically and aurally, the more likely you are to make musically sound choices of important” notes on. which to base your passa A further note about composing your diminutions on paper: in many extant diminutions for singers, particulasly those in treatises published after 1585, the omaments reinforce the meaning of the underlaid word. This kind of ex: pressive gesture is similar to the early Baroque aceenti contained in Caccin’s Le Nuove Musiche “2 They were often con- centratedd on a single word and were in- tended to express the meaning of that word. Of the diminution treatises, Bo- viceli's tases them most frequently. When you write out your diminu- tions, it becomes possible to experiment with sucka gestures. This type of exercise is Valuable for instrumentalists as well as singers, since the instrumental ideal of the age wras imitation of the voice. Also, writing out your choices gives you the chance to apply and practice diminy- tions of much greater difficulty than you will be capable of improvising for some time, want to inca dawonances in your diminution, oul eed some Inowledge of ateent-cetary councerpoit "Mod. ed, H, Wiey Hitchcock, e@. (Madson 50 The American Reconder AR Béees, "Slade war passe, book I, pp 13-16. Jehan Joachim Qua, On Paying the Fete (0752), tans. Edward R. Redly (New York Schiemer Books, 1966, 1976, 1965), p. 794 ‘Seibert, sn "Ornamentation for Consort, Phyersp.” 138, calls the kindof orumenttion discussedin chisariele “nonlinear” achracenaaHoning technical skills You need substantial skill in fingering and articulation if you hope to approach ‘our musical ancestors in accomplish- ment. Just as modern instrumentalists ‘must learn scales and arpeggios in all keys in order to perform the nineteenth and twentieth-cencury repertories, play- ers of early music must practice or namental figures from the tables in treatises repetitively on all scale degrees—as indeed several of them specifically suggest. By doing so, you vill nt only develop an ear for the notes and extend your vocabulary of figures, but, jst as important, you wil gain a feel for the patterns. The value of this work cannot be overestimated. Itis not hhelp- ful to find, in the heat of performance, that your fingers won't do what your eat is demanding. Include four to six new patterns per ‘week in your warmup/scale practice, until you can play each of them from memory and move without hesitation or slowing down at each scale degree or dif- ficult leap. Be sure to put these pacterns into ornamentations you are working out or into ground bass improvisations (Gee below), so that you don’t forget them. Over a period of several monchs to a year, you wil be amazed atthe variety of patierns you've absorbed, Cavences. Don't neglect a special category that is included in virrually every treatise: cadential ommamentation. Ganassi gives 175 ways of ornamensting a single cadential melodic pattern (he promises 300 earlier in the text!). Rlog- noni provides two pages of examples for ormamenting an “Amen.” Once you have chosen a treatise or ‘two to focus on, use as many of the cadential figures 2s you can in the music you're working on. The following has become very tiresome as an improvised figure. There are so many other possi- bilities. AxmICULATION is another area in sinteenth-century diminution technique that merits special consideration. The treatises distinguish among five basic types of tonguing single lingua dritta__ double tetete teretere —_teche (ke) dedede deredere te ghe Fingua riversa lingua morte terelere slurred de rele re lerelere ‘Single tonguing was used primarily for longer note values or repeated notes in faster passages. Lingua dita gives a gentle inequality to eighth-note a slower sixteenthnote passages. (The “r" is Italian and should be pronounced like a soft “d.") Double tonguing, though con- sidered “harsh and barbarous, disgusting to the listeners” by Rognoni and “un- grateful to the ear” by dalla Casa, had ite uses. It perhaps was applied to si teenth-note passages expressing “cruel” affects Lingua riversa, used for sixteenth- and thirty-second-note divisions, isthe most difficult to control. I have often heard teachers compare it to Quant’ “did, but it is different in a very important sense, The linear quality of fast sixteenth-century ornamentation re- quires articulation with a minimum of strong attacks.1? The few occasions on which treatise authors give specific in structions for articulation indicate that new, hard-consonant attacks within pas ‘sagg} were usually reserved for leaps and repeated notes. Quants's “did,” on the other hand, receives a new, hard-con- sonant aetack every other note. While Quants does use this attack for stepwise, linear ormaments, it becomes most useful in clarifying the quick, arpeggiated fig- ‘ures characteristic of mid-eighteenth- century music. “Strong” attacks this fre- quent would destroy the eweeping qual ity of many sixteenth-century passagi Examples 4 and 5 demonstrate the usages I've described, Example 4.16 Bxample 5.7 Pigg ici ieiprs fies Note also that Rognoni ends each phrase with a “le,” while Quantz uses the stronger “di” Both authors agree that large leaps require a new “strong” at- tack ‘Another way of illustrating the dif- ference between the articulations is sim- ply to pronounce, rapidly, a string of each variety. Rognonis would sound like: “ted lel led'l edi le," while Quantz’s would come out: “didi! didll digi did di.” “Though lingua rivers is difficult, com- plete control of this articulation is essen tial for effective performance and is best worked out under the supervision of a ood teacher Lingus morte, which we would now call slurring, was discouraged and said to be the result oflazness. In other words, even the fastest passaggi were to be tongued —which is possible with lingua riversa. There are some paired slurs in later treatises, but the only mention of longer groupings of notes occurs in those for string players" Some authors (especially Ganassi also sive many different vowel sounds to use ‘with the basic consonants, but they pro- vide no explanation on how to use them. My feeling is that a vowel change some times helps in placing the tongue for bet- ter response in certain registers (de for the lowest notes, di for higher notes) ‘Much depends, though, on how respon- sive your instrument is in those regis ‘on rarely bore oot by the ueaties. Even when liter treatiseauchocsinchoe rade pane, Ese ‘assay are ip alent structural context, with ‘ory elieent accent patter from tt of Tater "Rogen, Ste de vert pag book 2, p. 5 rts, On Playing te Flt. 8. Wee Eo lon Dninations 48-58, for 8 ‘more detailed dcussion of aicultion on bowed Instruments. See also David D. Boyden, The tory of Vin Paying fom ts Origins to 1791 (endan 1965), May 1986 $1ters. In general, i i very important to kezp the front ofthe tongue forward and just behind the teeth, with its sides lightly touching the upper molars. This position becomes critical when playing the fastest articulations. Orn recHnucaL sis In order for your efforts to sound good, it is necessary to have a thorough compre- hrension of resonance and, f you are a wind player, of the dynamics of good blowing. There are areas speciic to sirteenth-century ornamentation that axe critical, but as these topics have been effectively covered elsewhere, they will not be deale with here.* Putting it all together ‘Mental practice” Once you have begun working on your skills and have identified special problem areas, try to overcome technical difficulties by using a technique known as “mental practic: ing.” It involves thinking through a passage without your instrument in hand, but with a vivid mental sensation of what it would feel like if you were holding it. To understand what I mean, imagine playing a C major scale on an alto recorder (or whatever instrument you play). You must first be able to hear each note at the tempo you've chosen Then try to feel the fingers moving at that tempo. Next, add a sence of blow- ing and tonguing. Then increase the tempo. Once you have mastered this technique, you'll be able actually to per- form a passage at whatever tempo Yyou've gotten your mental practicing up In learning diminutions, and indeed any other kind of piece, you can vastly increase your speed and accuracy with mental practicing, and you can do so much more efficiently than by using the start-slower and. gradually -build-up- tempo technique alone. This technique, by the way, is simply an adaptation of one used by Olympic gymnasts in preparing exceedingly pre- cise routines. The best performers can mentally work through entice routines, or, in our case, pieces, in the greatest detail without moving a muscle. Musi- cians at any level of accomplishment, One of the most choroughandluc! dictions of reorder gern an lowing technige ean be found sn Wale var Haswe's recent The Mader Recorder Player, val 1 (Londen Shot, 198) Hie discasion of arscultion 1 excell, to, but he Ales aot refer #0 apetion of eth century ‘vad playing See Manired Bukoier, Mute tn te Barve 52 The American Recorder and especially those early music players ‘who would aspire to the greatest vir- ‘uority. in performing divisions, can benefit tremendously fom disciplined use ofthis technique Tamovisanion, In madrigals /chansons and most dance music, your ornaments tions will be controlled largely by melodic material present in the original pieces. You will ether be decorating a specific line of music, and keeping more or less to its boundaries, or you will be playing bastarda style and aiming your ‘omamental melodies at important notes throughout the texture of the piece. Ground bass patterns, on the other hand ~ relatively short harmonic progressions that can be repeated ad infinitum —allow the performer to create divisions that are bound only by the harmony. Playing divisions over a ground bass combines the melodic skills you've learned by writing out ormamentations and practicing sequential patterns with the harmonic understanding you've gained ftom analyzing and playing ex- isting pieces. Because of the recurring harmonic pattern, you get many chances to try out ways of moving from one chord to the next. (It is important that you know which notes make up each chord of a progression so you can plan your arrival at che next chord change.) ‘Many teachers begin omamentation work with ground bass improvisation. I believe that one must first learn a minimal vocabulary before trying to sake sentences. However, this type of work should be introduced fairly early fn to encourage freedom from the writ ten page. INSTRUMENTATION The recorder most frequently used in playing diminutions ‘was an alto in G. Many makers are now producing such instruments, sometimes called “Ganassi” altos, with the wide bore and extended range necessary for this music. Itis much easier to articulate correctly on a well-made instrument of this type than on a Baroque-style recorder. Renaissance sopranos often ‘work for divisions on supertus parts, as do tenors In the Renaissance, however, there was clearly a difference between recorders used for consort playing and Bra (New York: Noto, 1947), p41, ora lt of round bass pattern comzoaly ued in the ax teen and seventeenth conus, See Eng, lehisn Domination, pp. 25-29 and saa, Eobefiang SitenelGrmeey Mik: Bo 8-68 forme spot dcuson of tment. "Even most ofthe prominent eay muse degree those used for divisions, particularly in respect to range Other nstsenents (probably moe) frequently used for diminutions were the cometto, viola da gamba, lute, keyboards, and later on, the violin and “ello, Of Course, diminutions were aso frequently performed vocaly.* Solo diminutions can be accompanied by any instrument capable of playing a reduction of the original voice parts of a madngal, motee, or chanson, such as harpsichord, organ, lute, or theorbo. If the solo instrument or voice is a treble one, itis effective to double the bassline of the original piece on a vila da gamba, “ello, dulcian, or sackbut. The result is virtually identical with basto continuo playing of ater Baroque music, in which a chordal anda bass instrument combine to support a soloistic melody instru nent PorwonwaNce, Preparing and. per- forming two or three programs of music from this period. each year for two or three years will give definition and pur- pose to your study, reinforce your aural Impression of the style, and, needless to ‘ay, develop your expressive abilities Soudentsat the Longy School who didso inaddition to concentrating on this style in lessons over an extended period were cleatly more creative in their improvisa tory attempts than others who were less focused or intent on gaining the ski ‘The point at which one begins to “speak the language” with art and elor quence will, of course, vary tremendous Jy fom one player to another. ‘At the present time, sixteenth-cen- tury omamentation is usually “covered” ina few weeks of a performance practice course or in. week-long summer work shops. The stimulation provided in these contexts is important, but a more com: prehensive appeoach should be under taken by universities and conservatories to train serious students in improvisa tion. Thus far administrators have found it dificult to justify such an enc mous commitment of time in program esigned to teach several centuries worth of music ‘On the other hand, there islittle ques programs in th country desl minimally wh ad anced omamerstion sil There aes few if ‘ny, perming groupe that have deste the elves to a ducpinned and prolonged flo to {chieve a syuthea of improve silent Style. Thereare many, however, ht prim cm posed drntons fromm the treaties,tion that audiences love to hear divi- sions. A growing public expects more convincing evidence of what we all peo- claim to have been an integral part of early performance practice, and to hear players from our age taking risks and sing cheirimprovisatory imaginations Andrew Waldo, @ graduate of Whittier College and New England Conservatory of Music, was chairman of the early music epartment at the Longy School of Music in Cambridge, Mass. from 1981 to 1985. He also taught recorder and condweted the Longy Chorus for Early Music. He is now studying to become an Episcopal poriest at St. Luke's Schoo! of Theology, University of the South, in Sewanee, Tenn, where he is also teaching in the music department. SELECTED BIBLIOGRAPHY SOURCES FOR MADRIGAL DIMINUTIONS Bassani, Francesco Maria. Lezion dicon- trappunto farre da Francesco Maria Bassani con alcume taccate ¢ vari rmadvigalé roti (ossia pasteggian) da Orazio Bassani suo zio anno 162.1, come sta srritco nel verso della seconda cart. (1620-1622.) Bologna, Civico Museo Bibliografico Musicale. Bassano, Giovanni, Motett, maclrigale, et canzoni francese, di diverst eccelle rissimi auttori d quattro, cingue, © sei voei. Diminuiti per sonar com ogi sorte ai sromenti, & anco per cantar con la semplice voce. Venice, 1591 Ricereate passaggi et cadente, er potersi essercitar nel dimiriuiy ter rinatamente con ogni sorte d'ist rumen: to: & anco diversi pastaggi per Ta sem- plice voce. Venice, 1585. Mod. ed. Richard Erig. Zurich: Pelikan, 1976 (ltalienische Dirninutionslehren 1). The ‘ciginal contains only two madrigal di minutions, which are not included in Erig's edition. Boniasi, Vicenzo, Alcune opere di diversi auttori a diverse voc, pastaggiace prin: cxpalmente per la viola bastarda, ma an- co per ogni sore di stroment, e dé voci da Vicenza Bonizzi. Venice: A. Vincenti, 1626. Bologna, Civico Museo Biblio: grafico Musicale. (All the pieces in this collection will appear in the Lon- don Pro Musica REP series.) Bovicelli, Giovanni Battista. Regole, Dpassaggi di musica, madrigali e motetts Dasseggiati. Venice, 1594. Facs. ed., Nanie Bridgman, KasselBasel, 1957, (Documenta musicologice 1/12.) Brunell, Antonio. VARII ESERCITIL/ PER UNA, E DUE VOCI, CIOE / Soprani, Contrale, Tenon,/&* Bassi jean-luc boudreau RECORDER & BAROQUE FLUTE MAKING & RESTORING We offer «large etion ch difret Sp of istrments SEN, 45, 202, 7, rue de Montréal (Québec) Canada, HBP 2)9 Tél: (514) 389-5089 “a modern variant of the Kortholt Corto provide the means, at minimum cot, for playing a wide range of consore music. Welldesizned of poistyrene ith « ‘root like appearance, they blend well with recorders snd fl the needs of early music enchusate, solos and collegims Alco Corel $98.00 “Tenor Cortol $180.00 for further information, please write Magoamuisie Distributors, Inc. Sharon, Connecticut 06069 NTIQUE SOUND OFFERS THE LARGEST TD SELECTION OF IMPORTED WORKSHOP, ITP HISTORICAL MUSICAL 1080 Beacon Street INSTRUMENTS IN THE Brookline, MA 02146 UNITED STATES Over 350 models of fine medieval, renaissance, baroque, and modern recorders hy Fehr, Kueng Roessler, Coolsma, Hanchet, Huber, and other ‘quality European makers More than 400 other historical woodwind, brass, string, keyboard, and percussion instruments now in stock for immediate delivery to our Every instrument custom-serviced before delivery. Fach recorder is revoiced and retuned to our own professional standards and guaranteed for the lite of the instrument. We offer warranty and non-warranty repaits for every instrument that we sell, as well as parts, reeds, mouthpieces, bows, strings, cases, and ur business hours are 10 am. to 5 pm. Monday through Friday; our workshop is open to the public by appointment wW ‘only, (617) 734-7415, May 1986 53 Our complete 32-page catalogue is available for $2 postpaid, and includes a subscription to our customer newsletter as wellber i quali si po/trd con factiea age quiseare la dispostione per il can/tare con passage € er eseritio dh Comat ‘Traverse, Flauti, Vile, Violin, © si Zan strumenti, con aleuni ruggien’/ due soprani per sonare. / Opere Unde- cdma /...Jn Fiorenza Appresso Zanobi Pignont ¢ Comp. 1614. Mod. ed. Richard Erig. Zurich: Pelikan, 197. Coclico, Adrian Petit. Compendium ‘musics, De eegartia’ et omatu...it canendo.... Nuremberg, 1552 dalla Cass, Girolamo. Ml vero modo di clminuir, con tute le sori di stromenti i fiato, © corda, © di voce human. Venice, 1584. Facs. ed, G. Vecchi Bologna: Forni Editore, 1970. (Biblio theca musica Bononiensis 11/23.) de Selma, Bartolomeo. Canzoni fantasie et correnti da suonar ad una 2. 3.4. con basso continuo. Del. P.F. Bartalome de Sdina e Salaverde Agostniano Spagno Ia, git musico © suonator di fegoto Venice: B. Magni, 1638. Facs. ed., Florence: Studio per Edizioni Scclte. Finck, Hermann, Pratica musia, Lib. V.... Wittenberg, 1556. LBM Ms. Add. 30491, Manuscript col lection with vocal works, 4-part in strumental works, and pieces for viola bastrda. (Paper, ¢. 1607.) London, British Museum, Ms. Add. 30491 Maffei, Giovanni Camillo. Delle letere del Sor. Giovarmi Camillo Mafiei da Solofra....Naples, 1562. Publ. Nanie Beidgman, "Giovanni Camilo Maffei et sa lettre sur le chant,” Ree de Musicologie 38 (1956). Notari, Angelo. Prime musiche nuove di ‘Angelo Nocari a una, due, et tre voc per cantare com la tiorba, et altri seru- ‘enti, novamente postin fue. London: Guglielmo { =William} Hole, 1613 One, Diego. De Diego Ortiz tolledano trattado de gloss sobre clausulas 9 otros ageneros de puntos en la musica de vior lones nuevamentepuestos en luz, Rome: Valerio Dorico, 1553. Mod. ed., Max Schneider. Kassel: Birenreiter’ Aus gabe, 1961 Rogniono, Richardo. Passaggi per potersi ‘esercitare nel diminuire terminatamen- te com ogni sorte dimstromenti. Et anco diversi passoggi per la semplice voce humana. Venice: Giacomo Vincenti, 1592, Rognoni, Prancesco (Taegio). Sdua de ‘vari passag’ second Fuso modern, per cantare, © sonare con ogni sore de stroment,divisa in due par... Mila: F. Lomazzo, 1620. Facs. ed, Bologna G. Barblan, 1970. (Biblacheca musica Bononiensis 11/153.) 54 The American Recorder Spadi, Giovanni Battista. Libro de pas» ex's mark}. Venice: Ricciardo Ama ‘saggi ascendenti et descendent di grado dino, 1593 er grado, et anco di terza. Con altre IL SECONDO/LIBRO/DE cadenze, © madrigali dimmuiti per INTAVOLATURA/DI_ LIUTO/DI sonare con ogni sorted sromenti, @an- GIO. ANTONIO TERZI/DA BER- co per cantare con la semplice woee, di © GAMO./Nella quale si_contengono Giovanni Battista Spadi da Facn: Fantasie, Moteti, Canzoni, Madri/ Venice: Alessandro Vincenti, 1624. gali Passe mexi, © Ball di varie, © dv Facs. ed., Bologna, 1979. verse sort./ Novamente da lui data in Tere, Antonio. DI’ GIO. ANTONIO luce. /Printer’s mark], Venice: Gia TERZI/DA BERGAMO,/INTAVO- como Vincenti, 1599 LATURA DI LIUTTO,/ACCOMO- Virgliano, Aurelio. I dlcimelo dure DATA CON DIVERS PASSAGGI io Virgiiano dove s contengono vaiati {per suonar in Concer « duoi Liat, passage, ¢ diminution’ cast per voc © sol./LIBRO PRIMO./IL QUAL come er tutte sore dinstrument CONTIENE, MOTETTI, CONTRA: musica: con loro accordi, ¢ modi di PONTI,/Canzoni Italiane, © Fran sonare. Libro primo, Libro. secondo. cese, Madrigali, Fantasie, © Balli di Libro terzo. (c. 1600.) Facs. ed, liver sori, /Italioni, Francesi, © Ale- Florence: Stucio per Edizioni Scelte, mani./CON PRIVILEGGIO./[Print’ 1979, ORNAMENTATION MANUALS nes Wolf. Berlin: Breslauer Verlag, WITHOUT DIMINUTION PIECES 1922, Conforto, Giovanni Luca. Breve et facile di Ganassi, Silvestro, Opera intitulasa maniera desserctarsi ad ogni scolaro. Fontegara. Venice, 1535. Facs. ed ‘nom solamente a far passage! sopra tutte 1934. German trans. Hildemarie Pe- Te mote che si desidera per contare ter, 1956; English trans. Dorothy Rome, 1593 [16037]. Facs. ed., Johan’ _ Swainson, Berlin: R. Lienau, 1959, MODERN SOURCES Brown, Howard Mayer. Embelishing cries of Western Music. Cologne: Ar- Sixteenth-Century Music. London: Ox- _no Volk Verlag, 1961 ford University Press, 1976. Horsley, Imogene. “Improvised Embel- Erig, Richard. Italian Diminuions: The lishment in the Performance of Re- pieces with move than one diéminus naissance Polyphonic Music.” Journal from 1553 10 1638. Zurich: Amadeus of the American Musicological Society 4 Verlag, 1979. (1951). Ferand, Emnst T. “Didactic Embellish- Seibert, Peter. “Ornamentation for Con- ‘ment Literature in the Late Renais- sort Players: First Steps,” The Amer- sance: A Survey of Sources.” Aspects ican Recorder, vol. XXV, no. 4, No- of Medieval and Renaissance Music, ed. _ vember 1984. Jan La Rue, New York, 1966. ‘Thomas, Berard, ed. London Pro Mu- Improvisation in Nine Cen sica, Ricercate'e Passaggi series. ST. SCHOLASTICA SUMMER ACADEMY July 13-18, 1986" Performance and study of mastery lay and its cultural imlien, Lectures by noled scholars art, history, and literature, Opportunities to study recorder, vos other cary wind instrament, end early notation. Directed by Shelley Greskin the collece of ST. SCHOLASTICA Mase. dud MN 53611 te) 23-8080Appendix Diminution Pieces in Ornamentation Sources from 1535-1638* Orepsl ork rnb of wes ee Comores Voie n dian Source Poe va. 1. Abb che fd ben io, Rogpero Giovansli operat az 2 2. A lafonaine do pre, 06 Adrian Wilaer sprue Baz © super fs 1 4 Alico, of ‘Tomas Cecquilon §——siperoe 2 5. Ali dicumbra,Canson af (Cipriano de Rore supers 1 ia tera pre di dete Carson ‘pera 1 1 uare parte deta Ganson tapers 1 Ta guia parted desta Canzon ‘peru 1 1G tots parted dtta Canaan ‘pert E 1 6 4 pans (ex) 38 2 i$ pans (ex) 2 2 aur diese alr, Terea pute M4 pare (ex) 2 2 Per pt ermognbor, Quart pate 14 pans (ex) “ 2 Sele ua campagne, Quinta parte 4 par (tex) 6 2 “Tanto mu pincque, Sata ula parte a4 pans (ex) 8 3 17. Aachen mi credev, 8 (piano de Rore seer 2 8 Amor deh emi come, 35 Gin, Maca Ness tpern * 9. Amoriosento, st iio Renal sere 20 10. {S}Amor la wva fama, oS (Cpa de Rore seers 2 1 11, Amore stage ea, 66 Andcea Gabn seria ” 1 tteonda parte (Aor pant ‘sper ae a 1 12, Anchor che 3 pari, of (Cipriano de Rare sperise Baa y 8. abana (eat) Ba 2B “4 prio i) Baa 0 1s, superia (ext) Bo 6 16 ci wos bard cc 20 v. supers (ext) ec s 2 8 sxperas (et) Ro 2 , supers Ro * 20. wns haar Ro s 21 . . wos barra Ro 6 2 . pees Sp 2B see alo {Angelus ad pastors] 23, Anchor cho pots die, Alesana Stggn sera (et) Baa 8 m Li supers « » 1 as . asada tye 1 a 26, Anges pores (Anche co.], Cipriano de Rove sexpert (ex) Bo #0 27. Asoumpst Jens, of Claudio Meno supers (ex) Bo @ 28. Ave Maca, of Go de Palestina sper Bat 8 ‘Ave vecum corp lo sn fests.), a5 Gio. ds Palestina spe ext) Bo a Beato me diet, Cipiano de Roce supers (ex) ac » 3. Benedict it sancta Tinta, of Gio. d4Puestim ———supenos a 6 2 bass Baz 26 53, Ben quis mostra ciel af Cipiao de Roce va bastards ac 4 | “have used HEM. Brown, lstrumenl Music Printed Before 16500 fr pce fom Bu, T1,T2, and Ro. was net abe tose copy of LBM Ms Add. 20491 ac have eluded on those pices fom it that are in Eg, lalan Dm, For the Caiceand Pick pees, Inferred to Feand st in “Dulac Embellshnet Taerstire” May 1986 55Origin wor, saber of cs “Composer Voice in dmnation Page Vol o. " trstards syle (et) N a 35, Canta un vempo, «6 Phiippe de Monte supers ro 15 1 36. Canzon, Manin Pew Argent supers ac ” i [serps ne des tatewens} 37. Canzon deli Uceel, of Clemess Janequia svperiaa Eo 1 2 [Ue Chant des enix) 38. Caro dle ben mi, 35 Andrea Gabe superias Ba 8 39. Cleve grand tor, of (Chudin de Sermiey supers) oc aw 1 40. Ohi far fede, 25 Alessndeo Striggo mad dl viola bascarda n 41. Come hava i, of Cian de Rove wil based we 29 42. Content ds, ‘Tomas Crevqilon ——_serivs a 16 49, Dalle belle contade, a5 (Cipriano de Rove seria « a1 1 4H. DafesreniOronte, 35 (Cipsano de Rote superisa ac 20 1 45. Danor ae playns, at (Adina Walaes?) vila basarda Br x0 46 Datemi pace, of Cpano de Rowe supeiv (ee) ac a 2 47. Dis Tamia i, of Lea Mizenso superias Baz 2 48. _Ditenpo in spo, at Ciprane de Rore sxperae ac 9 1 48. Divid dcomuns, oF Cipriano de Rene sperue ac «6 1 50, Dist Dominus domino [Salmo pssegpsts} Gio, Bateaes Bove peri (tex) Bo a 51, Dolee torn amor, a6 Alessandro Sergio operas a 2s 1 52, Doki romate bi, ot Gio Renal sopenos Bat » 59. Domine quando veners, (7) Anonymous superivs exe) Ro a 54, Doulce memoir, of Roger vol bastard « 2 2 55. Doulce memoirs, of Pere Sidon tue ° % 2 56 ” supers ° o 2 37. " te ° 9s 2 38, » tase ° 103 2 9. " ol asada Be 1 60. Eavoradiess, of (pane de Rare ot gard Be Py “Also modo ot sands Br 50 61. Brad bel vito ao, a (Chyna de Rare sper Ba 6 Enel face, 2a ice per Ba 15 62, Bremukavi, ot Roggero Govaneli supers (tex) Bo ” 6. Faiset glad, of (Clemens on Paps peri ac 5 pene 6 6. sperae as 66, Foie homo mutase Des ot Gio. da Palesima sapere 35 1 67, Helas ma mre, 35 ‘Adan Wilaere, superve » 1 68. Helse comment, a Cprano de Rove ola bastard 7” 68. Hod beta vigo Maia, Gio. da Palerimn supers ° 70, I dale cali, 6 con Ia 2nd parte Alessande Seago superus a 4 1 7 Inte Domine sper, 6 Cautho Merulo super exe) Bo 66 72. lnwodusie me, a5 (Gio. da Palestrina supe and Bass Ba « 73. lnvidono Amor, Alectado Seago supers Bo ° 1. ol aatarda Be B 7S. Io camteredumor di novamente, 35 Cepriano de Rore supei (eat) Bao u 16. superios ac % 1 77. loaon lero ah lato, a5 Gio. da Palestrina superi (eat) Ba 38 7. superis (eat) Bo ™ 2. . sper R 8 2 &. - ia batted 5 16 (see ai (Quati nercenai) 1. Iouiseance vous danneray, <5 ‘Adaan Willaert supers « “ 2 56 The American RecorderOnapna wrk, numberof ce Composer Voice tm dintcion Sonne Poe Vol a2 operat Be 83. Labeda banca mano Annibal Stale spent Baz 6, Label, net, ign e banca mano, of (Cipriano de Roce bastard ste (ex) Ba » 4. " sxpenus « ° , 6. win bastards Br 6 87 Languir me fal, of CGhaudin de Semisy sapere () ic 1 88. La Porta, Canon of ‘Anvonio Monaro pers Ri ey 2 89, La Rave, Cason ob Nicole Gombert ?)——_soperivs ac “ 1 0. : ‘pervs Ba e 91. Laser vel, ot Frangois de Layole all part (ext) M 2 92. Lasso che mal acorto, «5 Cipeage de Roe oa bastard Bi ow 93. Laver Tauro, a6 AtesandtoStrgpio peri ac 6 1 9h, Lego questo mi cre. at Gi. Mara Nano speriss Ba a 95, Ligue pele Amor, Luca Meera wo bard Ba so 96. . bastard ee Tn a 97. Madonaa, i mse dosio, at Cio Renal sperue Ba 18 98. Madonna mia gen, «5 luca Marersio pers Ba “ 99. Magnificat dl secondo tone Giulio Cesare Cabuse! _superiu (teat) Be ™ 100. Mast angus, at (Clemens oe Paps viola bastarda ac v 2 101, Ma poche votre, 35 (Cipriano de Rove vil bastard Bat se 102. Martin meno, a Clement Jareque wl bastards ac 2s 2 103. Mirani via mia, 05 (Clausio Merlo pervs Ba 9 104, Nasze la pia i, 6 Pale Animcia ola bastards Bi 140 105. Nasce a pena ma, a AlessandeoSeoggio alla bastards (text) Baa 56 106, . . pervs «c B 1 107, . oa bastard v a 108, . ’ ola bastards L 8 109. No & chit doo mi sem, (Cipaano de Rove supers ac 5 1 con seconda parte 0 sper ext) Baz 2 Non gem non in oo, 24 Cpaano de Rove viola bastard ac 26 e zt superus (text) ac Ps a soperius cet) Ba 13 Non a tia ben mi, of Antoni lngegnero ——bastarda le n 107 fac occ ie, ot Jeques Arcadele ass ° n 2 , pene ° 16 . bee ° ” a 2 bass ° 8 2 Onques sor, a5 ‘Tomas Crecquilon ——sperioe ac 10 2 E superve ac n 2 Oneques amour, 35 Clemens non Paps peu Baa o © somo, af CCipmano de Rove supers (ext) ac se 2 (OveT ent, 2ada pare ‘sper (ext) ac 2 2 123, Perse feue coinete, of Tomas Crecquilon ——_sperios ac 1 2 124, Peta Jauet Jean Cours pene a ° a 125, Pets Jaquet, Anonymous viola bastard ac 2 2 126. Pete Jaquet, Canzonfancese, of (Caio (Mero) bastards eye 1 “ 127. Pus ne me peut venir, a5 ‘Temas Ceeequilon viola bararda Br 7 128, Pula et amica me, a Gio. da Palesima ———superus and base (eet) Ba 6 129. . superas Ri 6 1 10, ‘bss (ala basa) RL “6 1 11, Qual pid grand, oamere, of (Cipmano de Rove ola bastards « 6 2 ‘May 1986 57Orig wrk nber of oie peer Smoce __ Page Val 132. Quando fra ake donne, 5 (Cipcano de Rore superos ac as 1 (@ada parte ony) 138, Quando i wos bepoehi 5 ca Marensio oa bastard 2 “6 14. Quando Siro acne, 2 (Cipeane de Rore a busted Ba 2 135. Quant mercenan flo ton ert.) Gio, da Palestrina supers Ri 8 1 superios ro 2 1 136. Quest che nd fan, 06 Aleerindo Sing superiut re ° 137, Ringatio edo dil, ‘Andeea Cabrel seperios a «© 1 on second parte pense ac a 1 38, Roasignoet, af Clemens non Papa specs ac M 1 39, Sela grata divin, 25 ‘Adkisn Wilber. svperion ac 6 1 40, Sfogava cone tlle Ontio Valera execs Ri n 2 EAL, Signor mi eo, af CCipoane de Rore sper mal 8 12, svperis Bat 2 3, vn bustards B 18 4, - sxpesus oc u 1 Seconda pute: Chand d Signore, of " were = 1 : M5. Sime tene, Canaan af Anoaymos superiue « 2 1 146. Souviin baci, 35 Gor, Guam da Luca superse Baa 4s 147. So mio bea, ‘Alessandco Sergio bastarda syle 1 » M8. ° tsar syle 1 a 149, Susanne wn our, 5 (Orlando di Lasso supers « 2 2 150 « 3 2 151, Susanne un jour, o5 COcando Lasso superion Ba 2 52 bastard sy 1 » 13, oa busta Ri a 2 158 " na bastard Ri e 2 15, . " ok aseacds L a 56, astra syle és ” 157, Te mance ape, of Hermann Finck specine@ P 5 158. Tempeseadidalersa Orato Valers supers Ri 74 2 159, Tend ad aru vit, of Anonymous ci w 1 160, Tasimorie ole, «5 Loa Marenso superivs Baa © nda pars, PreaiTisii desio supeies Ba a $aa pare, Cost mons supers Bo 2 161. Toua puleva es amica mea, a5 Gio, da Paleseea pei nd bass Bao 6 162. Ung gay beg, of Tomas Cresqilon visa bastard ac 9 2 163, * . suprise Baa 2 164, . sueris Ro 8 16s. . ola bastard Ro so 16 ola bastard Ro By 167. Vadamet cco, 6 TL de Vina supe (ext) Bo ss 2oda pase, Diets tus superis (ext) Bo 9 168. Vag legge ums, o¢ (Gao Rerldt seers Baz 6 Zana pare, Ch fac dal mio cor ‘pers Baz ” 169. Vago augelletto che cantando Anonymoue sperue M st Seco ct supers M iu To non so le par ‘opens M 2 Mala stagpone foe supers M 2 170, Veni dec mi, a5 (Gio. da Pals super ad bate az “6 171, Verne bell, 25 Cepriano de Rare viola bastards Bi 2 172, {Vergne bela), 25 “La pris vergine™ operas a 5 1 (Vergne saga) ‘La seconds vergne” E supers ac 3 1 [Verge pur] “La tera verge operas ac 1 [Verge santa) “Le quae verge” : supers ac n 1 58 The Amencan RecorderOriya aor amber of oes Composer aie im dimincion Some Page Yok {Verge sla mondo “La quinta verge” * snperion a 8 1 [Verge chiara] "La esta vergine™ peru ac 20 1 [Verge ne ho “La non verge” sper x 16 1 179. Vesa coli, Go.di Palen sper (text) © 36 2 mm. ” superius (ext) Bat 36 ns . bastard soe 1 20 176. . . supers v Fe 7 . pes Ri 9 2 178 iol bead Ri “s 2 19. ¢ bass s 6 1 160, sper and bas 3 ” 2 161. _Vooles oui, 25 Advan Wilbert. sper a 36 1 SOURCE ABBREVIATION KEY Bal Giovanni Bastno, Riewcate pasa et cade. Venice, 1585. N Angelo Nota, Pine musiche nore ..London: Gugino a2 Giovann Bassano, Mout, madngile, et canzont france. Venice (Witham) Hole, 1613, 1591 © Diego Ors, De Dicgo Ont lledan,.ratado de gos...Rome Bi Francesco Maia Bassani, exon di contapouo.(1620-1622) ‘Valene Docc, 1533, Bo Giovanni Batista Bove, Repl, pasa wuss, mx Ri rancenco Region (Taegi), Sha de vari pasa. . ‘nae! psugg.. Venice, 1398, amass, 1620 Be Vicenza Bons, Alene oie di dea autora dines vo, Ro Ricardo Rogrions, Pasa pr tr etree... Venice: ascent. Vere A. Vincent, 1626. Giacome Vincenti, 1992, © ‘Adnan Peet Cocico, Compeninm musics, De deena et Sp Govan Batis Spa, Labo de pasa. Venice: Alesana ‘mau mcarendo,” Noemberg, 1952 Vincent, 1624 2 Girolama dill Casa, I yo modo di domsnur. Venice, 1584 T mi Tex, Itaoltie Lito. Libr Primo. Venice: SS Bartolomeo de Sel, Cont fnuae coment Reccade Amado, 1593, suoner Venice: B. Mages, 1688 2 Antonin Tera, I'Scondo Libro de ftavolria dk Lio... Venice F Hermann Finck, Praca mis, Lib. V..Witenberg, 1556 G Vincenti 1599. LBM Me. Ada 30901 v fo Virgin, I dlemel. (1600) M_— Giovanni Cannio Mai, Dele kere. Naples, 1582 (poet numbers eft to Baignan's atl) Baroque and Classical Music Workshop July 7 - 18, 1986 Wilfrid Laurier University Waterloo, Ontario, Canada ELAINE BIAGI TURNER, dance MICHAEL PURVES SMITH, oboe JAN OVERDUIN, chorus CHRISTINA MAHLER, violoncello BOYD MCDONALD, fortepiano JEAN LAMON, violin SUSAN PRIOR, recorder & flute COLIN TILNEY, harpsichord JULIANNE BAIRD, voice The Workshop offers the modern instrumentalist and vocalist. the experienced performer of the baroque style and the ‘enthusiastic amateur. an opportunity to participate in master classes, chorus, dance. chamber ensemble and fac: {ty/student recitals Instruments are available for student use and on-campus accommodation may be arranged. Gniversity credit course for Canadian students: $193; for Visa Students: $500 Daily Auditors welcome. Non-credit participation: $331.00 Tuition Fee may be adjusted on May 1, 1986 ‘Winner of Concerto/Concert aria Competition will perform with Workshop Ensemble Tuition Scholarships awarded to top semifinalists For Workshop and Competition information: ‘Summer Music Workshops, WLU, 75 University Avenue West, Waterloo, Ont. N2L3C5 (519) 8841970 ext. 2631, May 1986 59Which Wood Should I Choose? Philip Levin If any one question arises more often than others in our dealings with cus- tomers, it's “Which wood should 1 choose?” Unfortunately, there is no brief answer. The thought of discussing the problem over the phone with a customer in, say, Alueke would surely warm the heart of an AT@T shareholder. Your choice must be based on a number of variables 1. the hygroscopic quality ofthe wood tunder consideration (does it tend to ab- sorb moisture, and consequently swell and shrink”); 2. its ability to disperse moisture (does water bead up on it?) 3.its surface texture (is it fine or coarse grained?) 4. its density or weight specific gravity”); 5. its acoustical reflectivity (is the sur- face opaque, thus reflecting sound, or porous, absorbing it?); 6. its acoustical “Lveness” (does it vibrate in sympathy with sound?); 7. its visual appeal; and 8. the size, weight, and style of the in- strument in question ‘As you may have guessed, these con: siderations are all o interrelated that i's impossible to discuss them separately Til try to make sense of the subject by evaluating some of the woods commonly used in recorder making with regard to these variables, starting with the densest. Since the commercial names of these woods are frequently a source of confusion, I will in some cases give botanical names as well." For example, ‘while “sugar maple” always designates a specific species, although one whose characteristics vary immensely from one growing region to another, the name Shoxwood” applies to dozens of bo- (what is the My source for these mimes is David A. Ka (Commercial Fareign Wovds onthe American Market (ew York: Dover, 1968) (60 The American Recnder tanically unrelated gpecies growing from Honduras to Tibet and poseessing. a wide variety of characteristics, The densest woods are the heaviest, most acoustically reflecive, and least hygroscopic, and they often have the finest surface texture. These woods, in cluding (in descending order of density) ligaum vitae or izonwood, grenadillo, palisinder, and kingwood, are often Called exotic hardwoods, and, except for Iigoum vitae, are members of the Dal bergia family. They are extremely resin ous, even after cing, and are conse- quently very water repellent, though by hho means inert. Their resin tends to make them very toxic to machine, and they are powerful allergens, affecting pethaps five percent ofthe people who handle them The fine surface texture of lignum vitae and grenadillo allows them to receive an exteemely refined voicing, with highly palished surfaces. Because heir density, however, instruments made from thei warm up to playing temperature slowly. When cold, they tend t> play quite flat—as much as several cents per degree ~and to clog auickly with moisture; the wood surface quality, often rather waxy, can exacer bate the moisture problem Exotics are ideal for Baroque sopranos and altos chat will be played intensely by devotees of the solo literature of the period. They ace more likely than softer fr more hygroscopic woods to hold up lunder intense practicing and long re- hearsals and recording sessions without physical or tonal deterioration. On the other hand, they are noc ideal for regular consort playing, even though some play- ers claim that their grenadillo altos are perfectly satisfactory for their weekly group sessions. This kind of playing, however, usually involves switching in- struments, s0 recorders that require careful warming up are not the best choice. The exotic woods are in general ot very suitable for consort in- struments, and because of their weight ticularly impractical for tenor and 8 recorders, ‘The exotic woods are extremely reflec- tive acoustically, so they can be used to make the loudest instruments, although shoice of woods generally has less effect ‘on loudness of tone than the design of the voicing and bore. In other words, an instrument made of 2 softer and more resonant or acoustically absorbent wood could possibly be made louder than another made of a denser wood — but to the limited extent to which any wood af fects the tonal characteristics of a re- corder made from it, the opposite condi- tion tends to preva, Let's discuss some specific exotic woods: Lignum vitae and itonwood are popu lar names for Guciacu officinale, a super hard and resinous wood commercially used for steamship propeller bearings. Although excellent recorders canbe ‘nade from this wood, itis not often used for the purpose because it is extremely heavy, somewhat prone to warping, andis allergen wo many people. Its color ‘sally dark olive brown with a greenish cast, and it has a waxy feel and ap- pearance “Blackwood” is a catchall monik Virtually any black wood can be called “blackwood,” and some of them are ex- tremely unsatisfactory for woodwind making. One “blackwood” a certain com- mercial maker is using has « dull jet black surface of uniform color and no visible grain whatever, and is extremely brittle and troublesome. "Ebony" is another name for “blackwood” and is equally useless for identifying “wood species “The one black wood that is universally accepted for woodwind making is gren- ‘illo, sometimes called "African Black- wood This is the wood of ‘which smodern oboes and clarinets are made Ws usually back vo dark brown in colo, with a waxy, glossy surface and dack brown to gold highlights, and a clearly discernible but very fine grain. Its botanical name is Dalbergia melanaxglon Palisander in woodwind making usw ally designates East Indian rosewood! or Dalbergia latifolia teas a striking dark red color with black streaks and charac- teristics otherwise similar to grenadl Like “blackwood,” however, the name can be applied to/any of a numberof oc cidentalrosewoods and other red- colored woods thar may be of no valve for woodwinds. Indeed, one sees the Jabel “palisande” on instruments made out ofall ors of stuf. Ifyou are examin- ing a “palisandee" instrument, look for a dense, heavy wood with a very fine: gained surface, and be on the lookout for heavy varnish, often used to disguise 2 poor quality wood. Kingwood i another_mystery ‘wood. Ive seen the name applied to woods of widely varying colors and den- sities. Von Huene and Dolmetsch used a Dlond-coloced, very lightweight wood designated “kingwood” back inthe early seventies. It appeared to be in the Dal bergia family and made excellent in- struments, but I haven't seen this wood in recent years. Another kingwood, Dal bergia cearenss, i currently being used 1y Roessler in ts Oberlender line, and by several makers of fine modern oboes, Ie resembles East Indian rosewood, but is lightly beowner and lighter in weight. ‘This wood appears to be one ofthe best in it class for woodwinds, possessing a nearly. ideal combination of acoustic feflectvity, water repellence, and mod- erate weight Bubinga is a very soft exotic that is sometimes passed off as palisander. One of ts industry names is, in fact, “Alrican rosewood,” butt is not a Dalbergia and shares few of the characteristics of that family. Icis poor wood for smal record- ers because af its porosity and its surface texture, which tends tobe too coarse for fine voicing, Moeck used bubinga for a while but abandoned it some years ago This wood is fine for larger instruments, for which its gran poses fewer problems, and its relatively light weight is advan- tageous ‘Moving rom the exotics toward softer and lighter woods, we come to box- wood. "Genuine boxwood” is one ac- cepted commercial name for Buxus sempervirens Calways green,” so called because its leaves stay green throughout the winter). The queen of woods fr his- torical woodwinds, boxwood was used for every sore of instrument, but its acoustical qualities are best suited for smaller Renaissance and Baroque re- corders, flutes, oboes, and. clarinets Daring the Renaissance, boxwood in- struments were usually left in their natural color, while in the Baroque period they often were given a dark The species grows with somewhat var ying characteristics throughout the noe them lativudes, but the boxwood from the area bordered by Spain to the west and Turkey to the east is most highly prized for woodwinds. lts popularity for ‘many artistic and industrial applications has brought it close to commercial ex: tinction, and instrument makers pay several dollars per pound far boxwood in log form. Indeed, boxwood is by far the most expensive wood with which to work, since not only is it difficult to season properly, but even the clearest logs produce as much waste as usable ‘wood. The larger diameters needed for ‘oboe and clarinet bells ace extremely rare and expensive aww boxwvoed varies in color from pale to school-bus yellow; in hardness and density, it is Somewhere between the exotics and the fruitwoods, and well above maple. Ic is not particularly water absorbent, but is wildly unstable, warp- ing and distorting crazily when made to instruments without frst being sea ssoned with great care—one reason why it is seldom used in mass production, Otherwise, its characteristics are ideal for woodwind making: smooth grain, creamy surface texture, light weight, fairly high reflectivity, extraordinary machinability, and a surface that tends tw disperse moisture without beading. Moreaver, in obces and clarinets, which produce much more acoustical energy than the recorder, the resonating characteristic of the wood produces unique qualities of tone and response. Although these qualities are much less clearly defined in recorders, the best boxwood recorders still seem to have something special Many woods that are called “box ‘wood” have absolutely no relationship ‘to genuine boxwood. They ate variously called “zapatero,” the common Spanish name for such woods, or “ “Honduras,” or "Colombian ‘The best of them may actually approach real boxwood ia averall quality excepe for resonance. The grain, however, is always somewhat more open and sus- ‘ceptible to finger dirt and stains, so best cosmetic results are obtained ‘with a sealing finish, a8 with the Moeck “box- wood" Rottenburghs. The worst are no denser than maple and very porous ‘There are so many varieties that it's exteemely difficult to identify good zapatero without actually trying to make an instrument from it. Most rank ber ‘oween genuine boxwood and the fruit- ‘woods in density and moisture-related qualities. Some commercial manufac- turers wax-impregnate their zapatero to improve its stability, a process 1 will discuss later. Moeck, the largest current user of ersatz boxwood, employs this procedure. This company seems to have done an excellent job of wood selection and preparation, and its “boxweod” in- May 1986 61struments are an especially good value. The particular wood Moeck uses rests fn the line between solo and consort qualities, so we recommend it to all our customers who don't have more spe- cialized interests, Roessler also uses zapatero for its Oberlender line but omits Moeck’s wax process and epoxy finish, using oil and a light sealer instead. This treatment also has produced successful, trouble-free recorders that sometimes even display hints of the unique character of genuine boxwwood. The fruitwoods, in descending order of density, include plum, pear, and cherry. Plumwood was especially popular historically for less expensive in struments, Since few musicians in eater times could afford presentation-quality instruments made of exotic woods, it is likely that many of them played in- struments of plum or pear. Many Ba rogue oboe makers, who cannot work with softer or more hygroscopic woods because the tiny boce diameter at the top makes dimensional stability extreme- ly ritcal, consider plum hard enough for 00d oboes. Plumwood can be identified by its strike ing purple-and-white-striped appearance. Teisa fail live, resonant wood that in ts natural state has good moiseure-lspers- ing characteristics. Since it is also some- ‘what porous, plum instruments that are oiled must be well saturated and receive supplemental applications for good perfor- mance. Instead of ol, commercial makers who use plumwood impregnate their billets (the blocks of wood fom which recorders are made) with paraffin wax to improve its hygroscopic quality and Peters oe PASSAMEZZO sheet music sellens Facsintis ‘and 2 Fine Epirions: DISCOUNT (62 The American Reconder reflectivity. Because the wax doesn't penetrate this wood very well, however, instruments made from waxed plumwood have tended to deteriorate quickly Incidentally, Lstated ina previous art cle "Oiling Recorders,” February 1982) that wax-impregnated instruments should not be oiled because the oil dissolves the wax and removes it from the wood. I have subsequently dis covered that the issue is controversial, and some knowledgeable players and makers claim to have had good results, oiling waxed instruments, I suspect, however, that even a poor wax im pregnation keeps the oil from pen- etratingas it should. Moreover, the wax dissolving into the ol seems to produce a gummy mess, I will therefore continue to advise my customers against ein wax- impregnated recorders Pearwood ranges in color from light to dark tan. It is widely used for low- priced recorders ofall sizes, often receiv- ing a bright orange or red finish, Pear- ‘wood for commercial recorders is always wwaxrimpregnated. The ooly finishes that will adhere to the waxed wood are shel- Jac and marine epoxy varnish. Since the latter is rather expensive t0 purchase and apply, itis reserved for moderately priced lines like Moeck’s wax-impreg, nated Rottenburghs. On low-priced re- corders, shellac with red coloring added serves as a base fora lacquer finish. Like other impregnated softer woods, waxed pearwood's moisture resistance and stability are limited, This wood has no special acoustical properties, but it is employed with great success by almost every commercial maker of bass re- coxders. (On the other hand, unwaxed pear- ‘wood that's been given a traditional oi treatment has fine musical qualities. It is more resonant than maple, light in weight, and not unattractive, Oiled pearwood was used historically for large instruments like bass recorders, bas- soons, and dulcians, and would still be an excellent choice for such instruments ‘were it not presently unavailable in large diameters. It should be noted that the oil eneral- ly used on such woods, raw linseed oil, hardens slowly over time and produces & vvarish-like finish that penetrates deep into the wood fibers without accumu: lating on the surface. A year or so after the delivery ofan oikimpregnated instru- iment, when it’s received several supple- mental oilings, the bore is usually quite permanently sealed, and subsequent oil ing can then be much less frequent Cherrywood has not been widely used for woodwinds, although the Zen- ‘On basces appear to be made oft. Ibis 8 very attractive wood with a color some- shat like plum but is more red than pur- ple when new. Being very photore active, it changes to a beautiful dark orange-tan as it ages. Tve always been fascinated with cher- rywood because of its remarkable res0- nance, s0 I tried making some bassoons from it. Besides being pretty and light in weight, they are extremely responsive and have an interesting and unusual tone quality, so I have continued the line. The acoustical quality of the wood is evident primarily because bassoons, like oboes and clarinets, generate a great deal of acoustical energy. les liveliness sould be somewhat less noticeable in lange recorders Cherrywood is less dense and more porous than plum or pear. It mast be ‘thoroughly oilimpregnated during man- vufaccure and oiled regularly during use for good performance Although maple is among North America’s hardest woods, it is the softest commonly used for woodwind construction. Historically, many Renais- sance recorders, flutes, shawms, and dulcians were made of it. Baroque and Classical bassoons were made of maple as well as other woods, but modern ones are made exclusively of maple. Maple from different regions can possess very different qualities, and it has proven extremely dificult to imitate European varieties using North Ameri can types, Some makers in this country have experimented with various native subspecies, but only sugar maple is easi- ly machined. When used for fine histor: ical replicas, maple must be carefully selected and seasoned; after machining, the instrument must be well impreg: nated with oil. Maple instruments, in fact, depend more than any others on cil Jmpeegnation for acoustical opacity, so their playing qualities can suffer severely ifthey are allowed to dry out too much. ‘Those that receive intense use, lke dul cians and Baroque bassoons, must be dried carefully after playing’ and kept well oiled to preserve dimensional stability Since maple is so soft, nitric acid was traditionally applied to the exterior of the instrument to produce a harder sure face and the characteristic dark color. Because ofthe dangers of handling nitric acid and the possible toxicity of nitro-amines, however, many modern makers use dye to simulate its color and a syn: thetic sealer to harden the exterior sur- face. “Among commercial recorders, only the least expensive are made of maple, and these are almost always wax-impreg- nated. | am not particularly fond of wax- impregnated maple: it remains extremely hygroscopic, and shrinks and swells sea- sonally quite a bit. Also, it seems to soak up lots of moisture during playing, and consequently does not lend itself to in- tense use, Efforts to produce a precise voicing on such instruments are frustrating, since the extreme instability of the wood quickly destroys one’s careful work. For smaller recorders, waxed maple is suit able mainly for entry-level instruments and those that will never see intense vuse, For commercial bass recorders, however, tis an especially useful wood because of its low cost and light weight. Generally speaking, the acoustical qualities of woods, though not insignifi- cant, are quite outweighed in impor: tance by matters of design and work- rmanship. It should be noted that, even in mass-produced instruments, slight dif: ferences in the machining may result in the production of an exceptional record- er from one billet of wood, and an in ferior one from another with seemingly similar attributes. In custom-made te- corders, on the other hand, variations in ‘workmanship often completely offset the ‘wood's acoustical qualities. Interesting ly, some makers feel that replicas of a specific instrument made of a wood dif ferent from the original tend to play at a different pitch, even when no measur- able dimensional differences can be found. In conclusion, let_me mention one more consideration ~perhaps the most Jmportant one for purchasers of commer cially made recorders. It is a fact of smarketing that a dollar of added cost at the factory translates to several dollars. at the retail level. In factories with vast investments in equipment, the single greatest expense in the making ofa quali- ty recorder ie stll che few minutes of human attention it must receive. Because makers charge premium prices for recorders made of expensive woods, they are willing to invest more of these minutes in the production of instru- ments made of these woods, while main- taining especially strict quality control. The result is a better recorder. PBacwnreier Recorders Johann Sebastian Bach ‘Twelve Chorales for Pentecost and Trinity (Harras). SATB. Playing score BA8D75 Pierre Danican-Philidor Two Suites from Op. 1 (Nos. 2 & 3) (Harras). AA. Playing score BAGS s Recorders and Keyboard Johann Sebastian Bach Sonata in D minor after BWV 527 (Harras). T & hpchd. $ 450 570 BABO76 $ 840 Johann Sebastian Bach Sonata in A minor after BWV 528(Harras). A & hpchd. BAQ077 $3 720 Johann Melchior Molter Concerto in B-flat (Harras). AAAA & basso continuo. BA8073 $ 9.00 Carl Rosier Two Trio Sonatas (Ruf). AA & basso continuo. Hortus Musicus 231 $1080 Georg Philipp Telemann Two Partitas (Harras). S & basso continuo. Bag07e $9.60 Robert de Visée Suite in G (Nitz). S & basso continuo. Hortus Musicus 232 $ 7.80 Write for Baerenreiter catalogue "Music for Winds and Brass”. Order from your local dealer or direct from: Foreign Music Distributors Sole Selng Agen fo Baronet Pract Eons 305 Bloomfield Avenue Nutley, New Jersey 07110 201-667-0956 May 1986 63When Is a Ganassi Recorder Not a Ganassit Recorder? Alec V. Loretto The Vienna Museum's “Ganasst recorder. balanced positioning of the finger holes (64 The American Recorder Note the elegant limes and the well If you were able to collec all the alto recorders made by Bressan, say, and have them in one room and examine their shapes, you could reach many con- clusions. One of these conclusions might be that all the shapes are slightly dit ferent yet all seem to have much in com- ‘mon. Instruments turned by hand (a8 op posed to a modem copy lathe) will always possess unique characteristic but the eye can be trained to recognize the work of Bressan or of other makers. How i t then that the many modern “Ganasatype instruments bear litle resemblance to one another? What prompts makers to label theic instra- ments “Ganasai” recorders? Does an original actually owned or played by Ganassi survive? How can so many dit ferentlooking instruments have the same name? The answers to these ques- tions are not hard to find Ganassi is a well-respected name among recorder players the world over His famous tutor Fortegara, published in Venice in 1535, is a carefully planned treatise on the art of recorder playing, Astonishingly, itis wnitten’ for a recorder with a chromatic range of two octaves anda sixth! A modern reprint is a familiar sight among the books of studies of serious recorder teachers and scudents, who in many cases have spent long hours coming to grips with the spe- cial articulations, the various and com plicated fingerings, and the florid divi Sions ofthe period Just as challenging for the recorder maker is the search for an instrument that, while responding to the fingering pattems given by Ganass, is itself a 00d enough product to meet the numer- us other demands contained in Fonte- gare. Bur there is no instrument known today that is, without the slightest shadow of a doubt, the exact recorder which Ganassi wrote his tutor. So the modern maker, not having a cer tified, named, and Stamped recorder to copy, has to follow other paths. These paths all lead to Fontegara, but the methods of working and therefore the finished products can differ widely. We will consider the solutions of four hypo- thetical makers. 1. The first maker might be someone who has heard of a recorder with a range cof two octaves and a sixth but has never seen Fontegara, is not familiar with the special fingerings, and is unaware of the frontispiece picture illustrated here Such an uninformed maker is highly un likely, but if such a person did exist and felt inclined to make such an instrument, |The damaged labium and wind canal | Many museum nstraments have suffered sn this way.‘The bell, showing che mstrumentsdennfcation number and some small cracks. Noce alsa the wax covering duplicate hole 7 and the repair to the bell the task would be daunting. With an enormous amount of luck he might com- bine a suitable bore shape with correct windway geometry and well-positioned finger holes to get everything correct ‘upon his fist attempt! But the chances are that, after much effort and with a large pile of unsatisfactory recorders, he ‘would give up in despair. 2. Maker number two is a little more informed than the previous one. He hes in his possession the numerous and varied fingering charts given by Ganassi, but nothing else. Starting with that in’ foemation, and after much careful study and thought, he might reach certain con- clusions about the type of recorder in question. Ifthe maker had previous ex: perience in making cylindrically bored recorders, as well as Renaissance and Baroque ‘models with their tapering bores, then perhaps he could achieve quite satisfactory results. 3. Next we might consider a maker who has the information and skills of maker number two, but in addition has made a detailed study of the frontispiece picture. He might assume that the re- cocders inthe illustration are the sorts of instruments Ganassi had in mind, although there i8 no definite evidence that this is the case. By careful examina tion of the picture, particulary of those details loosely related to linear measure: | sent (the widths across the knuckles of the hand, the distance between the | eyes, and the height ofa table from che | floor, to name a few), this maker could extrapolate the approximate lengths of the recorders. He could assume with sme justification thatthe internal shape ofthe instrument (the bore) bears some relation to the outer shape. Armed with this information, he would have a better chance of success. Indeed itis this apr proach —working fom pictures of che period that has enabled quite afew ine Sruments to be successfily built 4. Finally, we could consider the case of the maker who, convinced that a suitable surviving recorder does exist (that is, one chat meets all the demands of Ganass), sets off on the time- consuming journey of discovering ic Visiting every collection of original records in castles, monasteries, muse- ums, and private houses could in tselfbe a pleasant if expensive task, and working through the many fingerings on each instrument would add even more time To establish quickly which instruments should be inspected further, he need only play three notes: the lowest (01234567), sts octave (02), and itso tave (61234567). If the octaves were true, the instrument could be a Ganasst ‘type, and further investigation would be called for. If the octaves were not true, the chances of t being useful for his pur- poses would be minimal. Having discovered such an instrument, maker number four need only measure it, draw it, photograph it, and test its tuning, and many of the earlier discussed problems ‘would disappear. Needless to say, a combination of ap- proaches is used by those making Ganas- Si-and other ~ recorders. To save the expense of approach number four, read- ers should know that an instrument (the only one to my knowledge) does in fact survive, and appears to be the recorder Ganassi had in mind. It is aumber C 8522 in the famous collection of the Vienna Kunsthistorisches Museum. This boxwood instrument, in spite of a seriously damaged windway and labium, still clearly demonstrates the principles outlined in Fontegara. On a more per- sonal note, Ihave played this instrument more times than I can remember. Each year while teaching recorder making in the Breiteneich Course in lower Aus- tria, I accompany my students to the Vienna collection. There we inspect and play the original and are able to compare it with copies they have made. As is common in many museums today, no measuring is allowed.* Mey 1986 65Ban TEACHER PERFORMER \ ad # Poy oe ners Ere acd | CjJames woodwind shop BAROQUE RECORDERS & FLUTES DENNER 9 GRENSER ROTTENBURGH & HAKA FINE HANDCRAFTED INSTRUMENTS ‘AT MODERATE PRICIS 1382 CASTLETON RDN COLUMBUS, OHIO 43220 Dominik Zucuowicz Violins, violas, elles; modern and bacoque Viots da gamba sper retoration CConirabasses, modem BE Doen Fneiria Fontegara 3h agli Ba . aCe Ute tog rue fa cd cS a phe de Si oaerteg ay fe a ‘The frontispiece of ag ae i atresia fr eunc ss Fontegara. Are the three recorder players using instruments capable of playing the exercises contained in chs tutor? conscious” in the early 1970s, the prob- lems of deciding what to make and at what pitch, where to look, and how to play it were all major hurdles. The varied stories about makers who knew the Vienna instrument are probably true: like the one who guessed it was a Ganassitype recorder but dida’t know the fingerings, or the one who knew ex- actly what it was but dismissed it as an instrument of no great importance, or the one who measured C8520 and assumed 8522 was its twin! But today the situation is different, and Ganass: type recorders are an accepted pat of the concert scene. What enables C8522 to respond to the Ganassi fingerings is, among other things, the shape of the bore. In spite of warping and damage inflicted by over- enthusiastic measurers in the past, the bore can be regarded as cylindrical ~ex- cept for a marked flaring over the last few centimeters, terminating in a bell diameter about 32% greater than that of the bore. An instrument with a similar bore that range could be made with slightly increases towards th with marked flare at the bell. What definitely spoils the intonation, par ticularly in the extreme upper register, is When some makers became “Ganassi a typical Renaissance bore, a straight | cylindrical bore, or a Baroque bore. All this raises many questions, in- cluding the most obvious one. Where all the other Ganassitype in struments? Why does only one survive: an alto whose lowest note is a High Renaissance G (Le. a modern G-sharp at 440)? That they were being made is clear from Ganassi’s Chapter 4 (asis the fact that intonation was a problem then as now: "...you should try opening or closing one or two holes alittle more ora little les, and you should also regulate the force of your breath,.."), The answer to this question really lies out- side the scope of this article. But pechaps readers are now better ‘equipped to answer the question con- tained in the ttle. Perhaps 2 Ganassire- corder is one that meets all the demands of Fontegara, Are readers equipped to meet the demands of a Ganassi recorder? 1A posmeseig baw sa Museum some yes Mester Strader and Hl come up with a satiscory solution. They have Engaged the Amterdamstused recorder maker Hiee Schimmel to. pregare drawings of the recorders, using 300 ment and tes ‘gues, and starting wth he comprehensive ange of Renamance instruments, incidng CRS22, ‘When wvalble in the not tao data far, sed from the Museu impoted by th View Tit my god Sends plant canbe pr This arc s based on an illustrated le ture given in Austria (1978), Germany (1983), and Boston (1983), ‘Alec Loretto is a New Zealand recorder rmaker who tvavels overseas regularly 10 teach and lecture on the theory and practice of making wind instruments, and to ex plore original instrumentHohner. From classroom to concert hall.Doubles: Aeolian Pair For recorder quartet and optional percussion Mary Mageau Cantabile J=%6 Since eceiving an M.Mus. im composition from the University Doubles was commissioned by the Brishane Recorder Society i of Michigan im 1969, Mary Mageau has written numerous sym- 1977. The work is in two parts; the second, entitled “Dorian Phonic, choral, chamber, and keyboard works. She now lives in Pav,” wll appear in furue issue ‘Australia, where, besides writing and lecturing, she performs as & Dpianise. She also plays harpsichord with the Brshane Baroque Trio, of which she isa founding member. Music auzography by Wendy Keaton (68 The American RecorderHand dram | : May 1986 6970 The American RecorderSina in Ea. ae san May 1986 71\ HISTORICAL \ \ INSTRUMENTS INCORPORATED STORICAL WOODWIND MAKERS, SELLERS, & REPAIRERS | P.O. Box 407, Newfoundland, New Jersey 07435-0407 Telephone: (201) Sreenpond Roa Specialists in Historical Woodwinds BUILT IN OUR SHOP Renaissance flutes, recorders, shawms, cornetti, dulcians, portative organs, Baroque bassoons, Classical clarinets & FROM OTHER FINE MAKERS Renaissance recorders, flutes, cometti, shawms, dulcians, krummhoms, rankets, Baroque recorders, oboes, and flutes ACCESSORIES Tuners, instrument cases, reeds and reed-making tools, kits for historical woodwinds and strings THE OLDEST ESTABLISHED REPAIR SERVICE IN THE UNITED STATES Our workshop isa collaboration of craftsmen and performers. The instruments we man- uficture are used and respected by professional musicians throughout the woeld and each ‘of the instruments we sell, including those by other makers for whom we are agents, is thoroughly tested and adjusted in our shop before its sold. Our prices are competitive and wwe offer two-year service warranty on all sales. Because we know that all recorders will need revoicing at some point during the warranty petiod, we send yearly service reminders to all our customers so they may take advantage of our warranty service Hundreds of colleges, conservatories, and professional musicians depend on us for the ‘most consistent, reliable instruments and prompt, ethical service PLEASE WRITE FOR OUR FREE CATALOGUE ‘The American RecorderRIEIP OUR TGS: Music by Jewish composers Pentaweynde, our recorder ensemble, re- cently put together a series of programs of ‘music by Jewish composers or for Jewish ceremonies, Since the occasion for theit presentation was a scholarly one the in uguration of the Center for Jewish Studies and the Philip and Mariel Berman Chai for Judaica, which ate associated with insticu- ‘tons of higher learing inthe Lehigh Valley ‘of Pennsylvania we decided onan historical survey. Our programs would display both the variety of Jewish ethnic muscal traditions and the way in which the music of Jewish composers belongs to the mainstream of ‘Western art music. We would perform music from the Renaissance to the twentieth cen- tury using, in addition to reorders, ‘cello, harpsichord, guitar, and an assortment of per ‘A numberof sources helped us locate his- torical data, names of composers, and titles of pieces. Three books were particulary val- lable: Jewuh Medieul end Renatsance Saudies edited by Alexander Altmann (Car> bridge: Harvard University. Press, 1967); AZ. Idelson’s Jewish Music in Its Develod- ‘nen (New York: Henry Holt and Co., 1928); and Cecil Roth's The Jes in the Renaissance (Philadelphia: Jewish Publication Society of ‘America, 1977). We also found useful his- torical material in chapters five and six of Peter Gradenwits’s The Music of Irae. Is Rise and. Growth Through $00 Years (New York: W.W. Norton, 1949), ‘Two journal articles, both by Roger Prot, provided us with biographical information on ‘composers: “Jewish Musicians at the Tudor Court,” in The Musical Quarterly 69/2 (1983), and “The Bassanos of Tudor Eng land," in the Jewish Chronicle Literary Supple: ment, June 1979. We also refered to Joel ‘Newman's Ph.D, dissertation, “The Made fails of Solomon de Ross” (University ‘Microfilm No. 63-6121); Neal Zaslaw’ ari- de "Choral Music in the Liturgy," in the ‘American Choral Review 14-15 (1972), and Israel Adlece La pratique musicale savante dons quelques communauté juives en Europe fave XVI a XVII sce, vols. Land (Pars Mouton, 1966). (Our programs of course featured pieces by Salomone Rossi, the most famous Jewish composer of the late Renaissance-eariy Ba- rogue periods, Rossi was also a virtuoso viel slayer and leader of group of Jewish mus ening is Manto hea He pus collections of madrigals, sinfonias, galliards, tnd canonetes. His compositions ae sl instye to thee of Monteverdi a clleagie at foe Muntiet conts Ba cation ue sonatas was the ist publshed example of that fm inthe Baroque period Rost ar tings of the Pals at Hash Ader i Slomo (1628), nthe antiphonl syle of the Venetian plychral shoo, epresent 8 radial departre fom tadkionl Jewish Seagrass Foroxeperermances, we chose four voiced Deon fem Snfege Cogiceid ad Cine toa, vol 1 edted by Fitz Riko and Joel Newman. (New. Yorks Mercury Mine, 1965), alongwith threpartcntonetes from 15 Constr, seo eed by Newman (New York Onegs Mori, 1957 ollning the petirmmoce poctes f Roath day, we played a snfonia before each caaonete "The earieet works on our progam sere compoted by members of the Bassano an Lge fic. Then alow asians emigrated to Eagan ‘rom Tay under the petronage of HencyVIIL The Lipos were ol piyern The’ Sve Blsseno brothers Became noted recorder vireoet and intr tent mule. at the Titer court, They Created the Royal Wind Bate, which was Composed of nine mosis, all Jews. The ‘two families introduced into England the art of consor paying, wrote mas and formed the ba ofthe royal monalexablshent feemetcrnen ‘We played a “Gallard fo ive vices by covet Ue neste Maes Brace tel IX, edited by T. Dart and W. Coates (Lon- deo: Staner and Bel, 1966). We selected two fantsas by Thomas Lapo: No. B fem ‘AtegcheVikwnasit zu dra Seinen ol: lh edited by F) Giesber (Kaeo: Nagel I97ijand No.5 fem Fontan and Ree Cares ofthe th nd 1th Corin eed for three recorders by Ench Rats (New York Carl van Roy, 1954). The jews ofthe Comat Venn ace in athe Price wees kngesababed und prosperous merchant communay dating back {othe dave of the Avignon poes. This com Imanty commissioned Lou Saladin (oho seas probly nota Jew) o wie a Cancun Hebricom, a pce ctebrating the cecum cison of 3 fusvbern son. Scored for two oboes, two flutes, bassoon, strings, and con tinvo, along with alto, tenor, and base soloists and SATB chorus, is wntten in the grand mmotet style of Lully, Charpentier, and Cam pra. Between the choral sections are five-part dances that we excerpted and pecformed asa site for five recorders. The movements in: clude a rtournell, air, bourée, gavotte, and rigaudon, We found the music in Adler's La pratgue masial savant, vl. I (see above) “Amsterdam inthe eighteenth century har bored a prosperous community of both Ash ‘enazic and Sephardic Jews with along tad ton of instrumental music. Engraving by the eghteenth-century Duceh artist Bernard le rea, for example, show varius Jewish wed- ding ‘celebrations with musicans playing violins, vols, oboes, and a eymbalom (ham mered dulcimer. In oue programs, music by ‘Abraham Cacceres and Giseppi Lidart represented the Amsterdam community Both wrote cetings ofthe Amesiah, a prayer recited before the commencement ofthe Sab: bath service, in the form ofa vocal duet with basso continue. We performed these pieces (also taken from Adler's La pratique musicale sevarte) on two recorders, cello, and harp- chord Por examples of ninetsenth-century Jewith music, we selected several songs from the Yidaith cheater and played them on recorder swith guitar accompaniment. We used Ruth Rabir's Jewish Fok Songs in Yiddish and English (New York: Oak Publications, 1965). ‘These songs were especially popular with the colder members of the audience “As a representative selection of twentieth- ‘encury Jewish composers, we chose David Raksio, David Goldstein, and George Gersh- ‘win, We played Raksin’s lovely “Serenade” from his Unicorn in che Garden suite forfour recorders (London: Schott 6098, 1957). This ie a beautil piece bur dificult to perform because of its long melodic lines David Goldstein's Perite Ste for SAT recorders is charming and faly easy. Our director ar ranged three Gershwin songs for recorders: “Someane to Watch Over Me" (AAATB), “The Man I Love” (GATB), and "Lady Be Good” (SATB). They brought smiles of recognition from the audience and provided a fieing conclusion to our programs. The ar rangements are unpublished. ‘Agrant from the Center for Jewish Studies funded our research and performances, Pen- May 1986 73tawynde is planning a numberof further con ‘cert and lecture rectal devoted tothe music ‘of Jewith composers which, we hope, will Appeal to non Jewish audiences as well Paul Lars ard Angelo Spinosa (On being your own publisher or years 1 have been arranging music for my own use, for my cliseeeat Morey College ‘in London, and forthe Society of Recorder Players, Los of other people known to me do the same, If you added together all the un’ published recorder music in use by litle {groupe round the word, it would probably fpproach in volume what i actually pub- lished. What ashame, always used to thnk, that more of thie misie cannot be given a wider distribution For years I nursed an ambition to publish some of it myself, and when [retired from the Civil Service eight years ago, it seemed that ‘now might be the very time to start realizing this ambition. But when I looked into the ceconomics of getting the music et, printed, collated, distributed, and advertised through normal commercial channels, I saw that this enterprise could probably never be competi- tive, and that should have to risk a fair amount of capital just to get started. The am bition was put on the back burner. Then, about four yeart ago in a chance dlscussion with people in the Media Resources Department of Morley College, someone asked me if | had ever considered using an electron eter cuter or scanner in Conjunction with a duplicator fr reproducing music. Tnever had, bt they offered to ran a tial stenel for me to show what could be done. The results were better chan I would ever have imagined, and the seeds of an idea for being my own printer and publsher were planted ‘The scanner and duplicator are classic ex- amples of obsolescent technology. They ate Slower, messier, and more labor intensive than the electrostatic copier and the offet litho machine chat have supplanted them al- most entzely inthe progressive affce. They linger on in inpovershed comers, producing tainly thing like parth magazines. But they ace cheap to run, amall enough to fit into the WOODW IND INSTRUMENTS. by CHARLES COLLIER and RICHARD PALM I Authentic Copies of Extant Instruments: Renae wee ecokoens, fl wumeomern So ors, | hastens ih Tine Sra eel! Pech po etionr itn The Loux Music Publishing Co. 2 Hawley Lane, P.O. Box34 Hannacroix, New York, US.A 12087-0034 Tel. (518) 756-2273, Agents forthe U.S.A. & Canad Magnamusic Dietibutors, Ie ‘Sharon, Conn 09068 Agents for the United Kingdom and other commonwealth countrie' Colsemia ews, 183 Farm Fe Hove Suseeu NG 1FE We are curent considering music manne sents for publeaion. wile for our Stretton sheot on manuscript reparation Publishers of fine music for the recorder and hioncal wovdvinds | bg===ss=s= = i K. Lee Coline 74 The American Recorder Restoration, Repair and Maintenance of Fine Instruments Collins and Williams i Historic Woodwinds H White Hollow Road, Lakeville, Connecticut 06039 p: SMM neat cc = SS ee ay ee Roger Clark Wiliams average suburban room, and extraordinarily reliable, needing hardly any servicing Because they lst for years and years, they can be picked up second hand for, com paratively speaking, a song. T bought an old Roneoteonic 200 scanner for $420 (£1 =$1.40 throughout this arse). sow know that that was aboue $100 more than T ought to have paid, but you have to learn by experience. had a very primitive, nd-wound Roneo duplicator that 1 had bought for $56 years before, but it would clearly not do for long runs. tied a powered Gestetner but could not persuade ie to pro duce really black copy, 20 I swopped it fora Roneo 865 that cost me 6275. What a faithful beast that has been! Te wat already mature ‘when i came to me, but it has now rolled off early 700,000 copies with searcely a hiccup ‘in return for just an occasional drop of and a scraping of grease [Now that Ia abl to print musi, Thad to getit written in a hand presentable enough ro charge money for. Iknew my own was nei ther steady nor patient enough toserve. Fara long tine I had admired the hand of Wilham England, Our paths bad crossed on many ‘weekend courses and on the comnttee ofthe Society of Recorder Payers, of which he was easurer and [was Chairman, His generosi- ty in supplying his friends with the most beautifully written copies of his own. transcriptions was legendary. To my delight be agreed to join me. "AE this point, [had to make frm decisions about what to publsh, in what format, at ‘what price, and how to distribute what 1 published. The duplicator would not take Anything much larger than the seandard Euror pean A4 size of paper (114 x 9%". A. ‘manageable playing scare needs to be pinted ‘on sheets tice this size and felded. So play ing scores were out, I would publish in parts fon single Ad sheets, with a miniature AS scare made by folding and stapling Ad sheets, resolved that everything would have 10 ‘command the maximum market by being sut- able forthe sort of massed playing that goes fon in SRP branches and for one-toapart domestic playing ‘General editoral policy was simply decid- ced: would publish nothing that I and my friends had not played with general enjoy ment, and nothing of which I or my frends cluding Walter Bergmann and Hans-Martin Linde, came from lands away ‘The North Jersey Chapter sponsored some notable programs. The first rectal in this country by Frans Brggen, with harpsichord- fst Gustav Leonhardt, was presented at Seton Hall University’ in November 1964 ‘under its sponsorship, as was Hans-Martin Linde’s American debut in May 1967. (Both [Briggen and Linde had previously appeared at Bernard Kani’ Intemational Schoo! at Skidmore but had not played for the general public there) Tickets were $3! When Linde retumed in 1968 to perform at Hunter Col- lege in New York City, he treated the chap. ter toa lecture on articulation ‘The members were dawn from a broad area too broad. In 1967 a group of them helped to create the Bergen Chapter. Many members transferred, and the following year North Jerseys roster dropped to saty thee. “The Somerset Hills Chapter, composed large ly of members who lived to the south and west ofthe Maplewood Montclair area, was bom a few years later. By 1980 Norch Jersey's membership had dusinled to twen ty, of whom less than half were active "This number proved to be too smal to sup- port the programs enjoyed in the past. liv terest faded elowly, but by the spring of 1985 the board found s€ necessary to declare the chapter inactive. Like Husley's worl, itend- ced “not with a bang, but with a whimper.” ‘Kenneth LeBare May 1986 83