rogram: Margariet Tinde-
mans returns as guest con-
ductor of the SRS after a one
year absence and will lead
the entire February meeting.
One of our country‟s leading early musi-
cians, Margriet always brings us special
insight about the works she directs. She
has planned an evening built around the
centennial-related anniversaries of sev-
eral composers. Her choice of music
includes works of composers dating from
the Italian high renaissance as well as
the great Netherlandish composer
Ockeghem born a century earlier. The
contrapuntal techniques for which he is
famous influenced all European music,
including that of the Italians that Mar-
griet will present, for at least 150 years.
This promises to be a special evening.
Here is her description:
“Although it is never easy to be sure
about the exact dates from long ago, sev-
eral interesting composers are thought to
have been born in 1510: Andrea Gab-
rieli, Vincenzo Ruffo, Giovanni da Nola,
Clemens non Papa. I thought we would
warm up with some da Nola pieces: „Ahi,
dolce sono‟ and „Chi la gagliarda‟; then
we'll go back 100 years and do a 3-part
Ockeghem (born in 1410) work, „Ma
bouce rit‟, followed by some Andrea
Gabrieli: a 4-part „Ricercar‟ or
„Canzona alla francese‟, and a 6-part
„Motet‟ which also has a madrigal text!
To end, if we have time, we'll go to a mo-
tet by Carlo Gesualdo (some say he was
born in 1560, some say it was 1561).”
Sally Mitchell will continue in her role as
...from the Music D irector LAST ISSUE IF YOU HAVE NOT SENT IN YOUR MEMBERSHIP DJOINED! Peter Seibert
Recorder Notes
S E A T T L E R E C O R D E R S O C I E T Y February 2010
Vol. XLI, No. 5
SRS MEETING
Friday
Feb. 5, 2010
(7:30pm)
Playing:*
Margriet Tindemans,
conductor
“Anniversaries”
Recorders & Viols
Pitch: A=440
Recorder Coach:*
Sally Mitchell
*Music provided
Classified 3
Concerts & Events 2, 3
Meeting Notes 3
Membership List Insert
Membership/Board 4
Music Trivia 3
Refreshments 3
ROPS Registration Insert
Inside this issue:
...from the Music Director Peter Seibert
Recorder Coach and will play along side
players who are unsure about technique or
music reading. Seek her out, if you‟d like
someone to add stability to your playing.
Recorder Orchestra of Puget Sound
(ROPS): Rehearsals will be on Wednes-
days, starting March 17, and the perform-
ance will be at the April 9 meeting.
Among the works to be performed will be
the Fantasia on English Folksongs. Reg-
istration materials are enclosed with this
newsletter.
Members’ Night: Get your act together!
Members‟ Night is on May 7 this year.
Any member is welcome to perform for
up to five minutes (including talk). Please
contact Jill Shupe, president-elect, if you
are interested: [email protected].€
Date change—REMINDER:
SRS Board Meeting
The meeting will be held at 7:30 p.m. on
Monday, Feb. 1, 2010 at the Seibert house.
The month of March is:
“Play-the-Recorder-Month”
Celebrate the recorder on:
Play-The-Recorder Day!
March 20, 2009
(For more information: see the American Recorder Society web-site)
FEBRUARY 2010
(TUE) 2/2/10 (7:30pm): Early Music Guild: First Tuesdays! Series: Over the Water Hurdy-Gurdy Association Members: musical tour through time and social strata with music played on the hurdy-gurdy @ Trinity Episcopal Church, Parish Hall,
609 8th Avenue, Seattle; $10/$20/$25; (206-325-7066).
(FRI) 2/5/10 (7:30pm): Seattle Recorder Society: Meeting, Maple Leaf Lutheran Church, 10005 32nd NE, Seattle.
(SAT) 2/6/10: (7:30pm): Baroque Northwest: “The Scottish Harp, with Maxine Eilander”: music of the renaissance & ba-roque periods from the British Isles; guest artist Maxine Eilander, harp @ Trinity Parish Church, Parish Hall, 8th & James,
Seattle: $25/$20/$10; (206-368-0735); www.baroquenorthwest.com
(SAT) 2/20/10: (2:00pm): Moss Bay Recorder Society Meeting, music provided; Redmond Library; (425-822-4933);
(SAT) 2/20/10 (7:30pm): Early Music Guild: New Baroque Orchestra & Sine Nomine: choral music by Purcell and Han-del; Gary Cannon, choral director, Ingrid Matthews, orchestra director @ Trinity Episcopal Church, 609 8th Avenue, Seat-
tle; donations welcome; (206-325-7066).
(SAT) 2/27/10: (8:00pm): Early Music Guild & Seattle Baroque Orchestra: Duo: Ingrid Matthews, violin, Byron Schenk-man, harpsichord; music by Bach (including Chaconne from Bach's D Minor Partita), Corelli, and others @ Town Hall, 1119
8th Ave., Seattle; $12-$37; EMG subscribers receive a $5 ticket discount); (206-322-3118).
MARCH 2010
(TUE) 3/2/10 (7:30pm): Early Music Guild: First Tuesdays! Series: Renaissance Singers: Renaissance vocal music for dou-ble choir, including works by Italian composer Giovanni Pierluigi da Palestrina and Spanish composer Tomás Luis de Vic-
toria @ Trinity Episcopal Church, Parish Hall, 609 8th Avenue, Seattle; $10/$20/$25; (206 -325-7066).
(FRI) 3/5/10 (7:30pm): Seattle Recorder Society: Meeting, Maple Leaf Lutheran Church, 10005 32nd NE, Seattle.
(SAT) 3/14/10 Pre-concert Lecture (7:00pm); Concert (8:00pm): Early Music Guild: International Series: “Lux Feminae”: Hesperion
XXI with Jordi Savall; homage to the women in medieval and renaissance song and instrumental music @ Town Hall, 1119 8th
Ave., Seattle; $25/$37/$42; (206-325-7066).
(SAT) 3/20/10: (7:30pm): Baroque Northwest: “Back to Basics: Baroque Northwest does the Standards”: music by Vivaldi, Bach, Handel, Telemann; Kim Pineda, director, with Elizabeth C.D. Brown, Gus Denhard, and Ronnee Fullerton @
Trinity Parish Church, Parish Hall, 8th & James, Seattle: $25/$20/$10; (206-368-0735); www.baroquenorthwest.com
(SUN) 3/21/10: (3:00pm): Medieval Women’s Choir: “Greatest Hits of the Medieval Women's Choir” : medieval music by Hildegard of Bingen, Perotin, Lionel Power, and Adam de la Halle; settings of medieval texts by director Margriet Tinde-mans and Seattle composer Peter Seibert; Margriet Tindemans, artistic director; Marian Seibert, soprano; @ Town Hall,
1119 8th Ave., Seattle: $25/$20/$15; www.medievalwomenschoir.org
(SAT) 3/20/10: (2:00pm): Moss Bay Recorder Society Meeting, music provided; Redmond Library; (425-822-4933);
**********************************************************************************************************************
UPCOMING WORKSHOPS
April 2-5, 2010
“Columbia Gorge Early Music Retreat”, Menucha Conf Ctr, Corbett, Oregon (Portland Recorder Society)
May 1-3, 2010
“Winds & Waves” Sitka Center, Otis, Oregon (Oregon Coast Recorder Society)
July 11-17, 2010
“Pacific Northwest Viols Summer Workshop” Bastyr University, Kenmore, WA ([email protected])*
*(see page 3 of this issue for more information)
********************************************************************************************************************
Concerts & Events Calendar Recorder Notes Vol. XLI, No. 5 Page 2
The Program: (by L Hotaling)
King Küng, a supplemental form of choco-
late: deep dark-to-glow chocolate, and butter-
bricklescotch-macadamia-toffee-liqueur fudge
with pearly cashew-praline.
Powerful love is in this team‟s work. To
listen is to be entirely pleased, and gloryosky,
Zero, they‟re getting gigs--in Portland for in-
stance…endorphins all the way.
In the current incarnation, our once and
former David Lawrence, our Bill Stickney, our
sometime David Solet, our Molly Warner, and
guest star artist participant our Vicki Boeck-
man.
For this visit they conjured the theme
“Let‟s do some pieces we like so much we
luhuuuhvv to play them.” (For the Desperavi
they recruited Vicki to play the fifth part.) The
entire result produced dividends of joy. We
not only heard, we saw them. Each player was
having the kind of fun that must have been,
say, Purcell‟s kind of extremely well-knit fun-
group fun, which of course includes resolute
attention to all the other players. In this Küng
manifestation, David Lawrence very subtly
played leader, by the way.
The program encompassed excellent eclec-
tics, from old to new, here to there, sedate to
swing, plain to fancy, each Küng instrument
contributing its own substantial, rich sonority
to the mix. The first was Vocalise No. 11, Gio-
vanni Pierluigi da Palestrina (16th cent.). It
would seem that Palestrina planned for tran-
quility, noodling nicely on a warm-up. Next
came “I Complain Piteously” (translation),
Guillaume Dufay, 1425. First he tells us why
he complains, then arcs-cranes to the actual
plaints, and finally achieves a sort of resolute
reconciliation.
Desperavi with Vicki‟s lovely decorations
followed--Fancy in Five Parts, Michael East,
1610. Each instrument answers a clarion call
to desperation, then marches with determina-
tion to whatever fate may hold. At last does
the middle fork lead on to a happier out-
look?… Hope? Yes.
Now we come to the 20th and 21st centuries,
The Carnival Suite, Maurice C. Whitney,
1981. The Carousel goes round and round.
The Tunnel of Love, evocative progress
through it. The Roller Coaster, like the wave
development pattern in acoustics, bio-
sociology, and economics. At the end it was
neat how the roller coaster slowed down to a
stop. Jazz-swing was last on the program:
Glen Shannon (b. 1966), Jazzy Prelude and
Fugue, 2004. Nonchalant. (You know it ain‟t
really.) Glenn Shannon is a force-majeure.
Meeting Notes: Jan, 8, 2010 L Hotaling & Molly Warner
Recorder Notes Vol. XLI, No. 5 Page 3
Music Trivia
Which Italian composer wrote both
sacred and secular music and is
considered to be one of the most
prolific and adaptable composers
of the period between 1540 and
1580?
History: Before 1563, he wrote
more madrigals than sacred works,
and in 1564 published his only
collection of instrumental
compositions. After 1563, he
abandoned secular music
completely and wrote only
religious compositions based on
Latin texts, a sign of his adherence
to Counter-Reformation ideals.
His Capricci in musica a tre voci
(1564), textless compositions
apparently intended as
instrumental pieces, are full of
technical and notational
difficulties, and are the earliest
known instrumental pieces
described as „capricci‟.
Answer: (see below)
Answer: Vincenzo Ruffo
Refreshments
Cookies: Karen Berliner and
Kathleen Arends
Fruit: Naomi Schiff
Veggies: Michael Collins
measure and of the inegale eighth
notes. We worked on the ornaments,
then played the movement in a
spritely one-to-the-bar fashion. Next
came a Rondeau: (cont‟d on page 4)
FOR SALE: Küng Superio Great Bass in
C, stained maple, with case and
stand; less than 2 years old; $2,800; con-
tact John Vandermeulen @ (206-546-
5323); [email protected]
*********************************
FOR SALE: Moeck tenor krumhorn for
sale, $395; available to try out at John‟s
Music, 4501 Interlake Ave. N, Seattle; or
contact Linda Schmid @ (206-842-
5313); [email protected]
*********************************
Classified Ads
The Playing: (by Molly Warner)
Following the concert by the King Küng
Quartet, everyone met as a big group under
Peter Seibert‟s direction to play selections
from the Prologue to Jean-Baptiste Lully‟s
opera Armide. Peter had arranged several of
the instrumental movements for recorders
(soprano through contrabass) and viols, and
had included simplified soprano and alto
parts so that beginners or rusty players
could join in (ably assisted by Sally
Mitchell). Peter described this tragic opera
as characteristic of the opulence of baroque
style of the French court. The opera was
written in 1686 for Louis XIV, who loved to
dance the Menuet with the „down-up-up‟
steps that showed off his shapely calves.
We began rehearsing a Menuet by speak-
ing the notes, to get the feel of the lifts of
the second and third quarter notes of the
Pacific Northwest Viols is pleased to announce its Summer 2010
Workshop, to be held on the campus of
Bastyr University in Kenmore, WA. We
are happy to return to this wonderful
campus with its legendary food. This
small, congenial workshop, directed by
Margriet Tindemans, will include a
faculty of Jack Ashworth, John Dornen-
burg, Ann Marie Morgan, Ros Morley,
and Craig Trompeter.
***(For more information or to make
sure you receive a brochure, contact
Workshop Administrator Jo Baim at
[email protected] or (206-932-4623).
This workshop fills quickly, so save the
dates and register soon!)
Recorder Notes is published monthly, October through May, for its members by the Seattle Re-
corder Society, 1815 Federal Ave. E., Seattle, WA 98102. $25 Annual Membership Dues.
S E A T T L E R E C O R D E R S O C I E T Y
1815 Federal Ave. E.
Seattle, WA 98102
www.seattle-recorder.org
Page 4 Recorder Notes Vol. XLI, No. 5
2009-10 Meetings
Meetings are usually held on the first Friday of each month, October to May, at 7:30 p.m., Maple Leaf Lutheran Church, 10005 32nd N.E., Seat-tle. Meetings include a short performance or lecture of interest to recorder and viol players, ensemble playing for all levels of recorder play-ers, and a coached viol consort. A $5.00 donation
is requested for non-members.
October 2, 2009
October 30, 2009*
December 4, 2009
January 8, 2010
February 5, 2010
March 5, 2010
April 9 , 2010
May 7, 2010
* (“November” meeting in October)
1815 Federal Ave. E., Seattle, WA 98102 (206-329-2774) [email protected] Music Director, Peter Seibert (206-329-2774) [email protected]
Visit our web-site at:
www.seattle-recorder.org
Board Members (2009-10)
Officers:
President, Ruth Pattison (206-525-9878) [email protected] President-elect, Jill Shupe (206-364-7509) [email protected]
Past President, Susan Burris (206-361-1007) [email protected]
Secretary, Molly Warner (206-523-5192) [email protected] Treasurer, Richard Ginnis (206-633-1969) [email protected]
~~~~~~~~~~~
Mailing, Tomo Morita (425-255-1983) [email protected] Membership, Jill Shupe (206-364-7509) [email protected]
Newsletter, Nancy Gorbman (206-362-7326) [email protected]
Refreshments, Gerrity Shupe, (425-820-2003), [email protected] Viol Rep., Ellen Seibert, (206-329-2774), [email protected]
Webmaster (Member-At-Large), Charles Coldwell (206-328-8238),
[email protected] Editor, Nancy Gorbman
S E A T T L E R E C O R D E R S O C I E T Y
(cont‟d from page 3) “Lift! Don‟t have me pull you along!” Peter coached. We tackled the Ouverture: “Remarkably good reading!” Peter
noted the transition from cut time to triple meter, pointing out the hemiolas and the swinging eighth notes. We played it again, moving it up
a notch in speed. Peter sprinkled his coaching with interesting tidbits such as, “The court conformed to what Louis XIV did, and when he
had an operation for hemorrhoids, everyone else did too!” We played the Ouverture through again, rapidement, without repeats. Next came
an Entrée; “This is where the dancers would come onstage with much pomp – think Empire.” A very short and light Menuet followed; this
one we read through once without practice. “This next Entrée has a lot of snap to it.” We began by speaking the parts in mid-movement,
then whispering them to get the feel of the interplay between parts. Then we played it though once, up to tempo. To wrap up the evening,
we played all six movements through from the top, Ouverture- Entrée-Menuet-Rondeau-Entrée-Menuet, mostly in a minor key with the last
two movements in major. This is really beautiful music and we sounded pretty good, with lots of support from the bass section (6 basses, 2
great basses and 2 contrabasses). Peter‟s arranging and his efficient and humorous coaching are so appreciated!€