Program for Friday, May 12, 2017
The Seattle Recorder Society
Last updated on: July 23, 2016
The Seattle Recorder Society meets at 7:30 p.m. at
Members Night: The Members Night meeting is a celebration of individual and ensemble efforts over the past year. During this event we share pride in the accomplishments of our members, regardless of their musical experience. Ensembles on all levels participate. The achievement of beginners is as important to us as those of professional players.
The Members Night program is open to “members-in-good-standing.” Please be sure that you have paid your dues for 2016-2017. Information you need to provide: 1) who will play, 2) the title and composer of the work, 3) the approximate timing, and 4) the name of at least one “member-in-good-standing” in your ensemble. In order to provide opportunities for all interested performers, we ask that each offering be no longer than five minutes, including any commentary.
From the Music Director - Vicki Boeckman :
click date for info...
Seattle Recorder Society meeting
Friday, May 6, 2016: Members' Night
Maple Leaf Lutheran Church
by Kathleen Arends
Hanan Bell welcomed the assembled performers and audience members. Molly Warner reported that a concert dedicated to our late SRS member L. Hotaling was held at the recent Wind and Waves workshop. Additionally, Ellen Mendoza had written a poem memorializing L., which is to be sent to L.'s family and printed in our newsletter. For the first performance, Laura Faber strolled to the front, playing a tuning note, and select people seated in the audience joined her. Then, without a word, Laura and those audience members began performing the traditional song "Dona Nobis Pacem". After performing the tune in unison, they played it in three-part canon. For those of us not playing, it was a unique and lovely "surround-sound" experience. Susan Burris, Susie Keithly, and Ellis Hillinger, a.k.a. The Woodland Consort, came up to perform an anonymous piece from the 15th century, "Bassa danza Reale". They used large recorders, giving a full, rich sound to this imitative work. They also gave us a faster dance in triple time, "La Gamba in Basso e Soprano" by Vincenzo Ruffo (c. 1508 - 1587), in which interesting rhythms interacted with one another. Then Richard Ginnis brought his soprano recorder and his guitarist friend Oscar Kipersztok to the front to perform "Vou Vivendo", a 1946 tune from Pixinguinha and Benedito Lacerda. This refreshing Brazilian choral piece is a favorite of Cléa Galhano. It features a number of sections, each with a different catchy melody. And Oscar played from memory! The Spring Consort is composed of Michael Bancroft, Dave Gloger, Christine Jerse, Rebecca Olson-Nord, Kate Riley, Karen Soma, and Woody Wood. Laura Faber led them in an anonymous Polish dance with a very old sound. They went on to play two of Steve Marshall's "Four Miniatures for Recorder Quartet" (2014). The first one began with layered entrances sounding like a fanfare; the second piece had soprano playing a lovely melody throughout. Belinda Frazier, Cathy Lacefield, Ruth Pattison, and Jill Shupe, with their comrade Nancy Gorbman unavailable, performed as Ye Olde Spice Girls (minus one). They played the prima and seconda pars of Palestrina's (1525 – 1594) "Sicut cervus". (I was surprised when Google Translate informed me that it means "Like a deer".) The first made me think of birds calling in a shady glen; the second was quicker and brighter. Careful attention to intonation was evident. The Double W's, Nancy Wright (on viol) and Carolyn Wallace, played the "Preludio, Adagio" and "Allegro assai" from "Sonata II in C Major", which in turn is from Opus 13, "El pastor fido". But it seems that Nicholas Chédeville (1705 – 1782) wrote it under the name of Antonio Vivaldi, hoping to gain more success that way; and although Chédeville did not receive the hoped-for monetary benefits, the piece was indeed attributed to Vivaldi for 250 years! The alto part was polite and agreeable, keeping to the lower parts of its range. Basso Nova was Betsy Darrah, Maja Eberhardt, Nancy Lewis, David Maughan, Barbara McKnight, Rebecca Olson-Nord, and Ione Turman, all on various basses (requiring seat cushions) and directed by Laura Faber. Clad in red and black, they performed "Invitaciòn" and "Los Tres Golpes" from Ignacio Cervantes' "21 Danzas cubanas" (1878 – 1895). In the first piece, sections characterized by leaps in the melody alternated with smoother sections; in the second, "Three Blows", witty syncopations and chromaticism made for a piece with lots of character. Kathy Parker took an extra moment or two to set up, as she was wrangling six sizes of recorders, as well as a large tambourine she played by tapping it with her foot. She played Irish tunes, beginning with a slow air on the bass, then shedding her eyeglasses and graduating up to a tenor to perform a fast waltz. She took up an alto and performed a lively polka and hornpipe. Soprano was assigned two quick jigs featuring melodic leaps; on sopranino we heard a fast-moving reel. Kathy finished, to great acclaim, with a singable waltz on garklein. (Her bravura performance from low to high also made a fine test of my partner's hearing aids.) After intermission, we were treated to "Trio Kopfnuss", which Sabine Endrigkeit explained could mean "a violent blow to the head", or "a brain-teaser", or . . .this piece, composed by Agnes Dorwarth in 1953 for three head joints. Alto, tenor, and bass head joints were wielded—I mean, played—by Miyo Aoki and Vicki Boeckman, as well as Sabine. The fascinating sounds they produced included clicks, flutter-tonguing, fortissimo, octave changes created by a hand over one end, and little swoops. It lasted exactly the right length of time, leaving us wanting more. Next, the Rain City Pipers took the floor. John Bumanglag, Chu-Lan Chiong, Paola del Sol, Kathy Graunke, David Maughan, Mike Wagenbach, and Linda Wordeman were conducted by Laura Faber in two songs by Thomas Morley (c. 1558 – 1602). "See, Mine Own Sweet Jewel" and "Lady, Those Eyes" both featured those imitations at unpredictable intervals that require such careful counting when performing Morley! The second also had multiple voices chasing each other in downward runs. The next group was also conducted by Laura Faber. Consisting of Maja Eberhardt, Tom Jerse, Nancy Lewis, Barbara McKnight, Christiane Schulz, Karen Soma, and Ione Turman, Ebb and Flow first performed a slow "Saraband" of Antonio Vivaldi (1675 – 1743) on a wide range of recorder sizes. They then gave us Ross Edwards' (b. 1943) "Rain Dance", in a slow, rocking rhythm, with Laura providing rain sounds by tilting a drum so that pellets rolled across its head. Then Mike Woolf joined Laura Faber to perform two movements of G. F. Telemann's (1681 – 1767) Sonata No. 1, TWV 40:101. The "Andante" was mostly flowing, with a few short groups of staccato notes in contrast. The duet put a lot of air through their instruments, in keeping with Aldo Abreu's coaching some months ago. The "Soave" movement was in triple time, as the two altos took turns at the melody. The players executed their Baroque ornamentations in synchrony with each other. Jill Carlson and Sabine Endrigkeit were accompanied by Ellen Siebert on viol for Tarquinio Merula's mercurial "La Cattarina" (1637). This exciting, imitative piece had numerous sections, some of them lying quite high on the recorders; and whenever the music became more difficult, the players increased their tempo! Isabella Pagel, Vicki Boeckman, and Laura Faber gave us the dulcet sounds of gemshorns (nowadays made of cows' horns, as gems are extinct). They played a slow "Iroquois Hymn", in which phrases were clearly marked; the beautiful tones were enhanced by faultless intonation. They then played "Margot labourez les vignes bien tost" ("Margo, come quickly and plow the vineyards!"), a cheerful tune with some of the same unpredictably-timed imitation as the earlier Morley, but here by Jean de Castro (c. 1540 – 1611). Finally we heard the Sweet Septembers, who were Carolyn Lober, Isabella Pagel, and Vicki Boeckman, play from Matthias Maute's (b. 1963) "Concerto per tre Flauti". The beginning "A Tempo Giusto" had wonderful dissonances and a few ornaments among its mostly long notes. The "Allegro" started out with very busy scalewise passages, which soon became almost frantic ones. At one point a slow melody sat atop a very busy duet. It seemed almost to be a perpetual motion piece, and its very sudden, unexpected ending made us giggle.
What Happened on 2016's Members' Night :