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: jillshupe@hotmail.org.€

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);

mkw@eskimo.com.

(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);

mkw@eskimo.com.

**********************************************************************************************************************

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 (jobaim@msn.com)*

*(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); crvandermeulen@comcast.net

*********************************

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); lindaschmid@zipcon.com

*********************************

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

jobaim@msn.com 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) pcs.srs@gmail.com Music Director, Peter Seibert (206-329-2774) pcs.srs@gmail.com

Visit our web-site at:

www.seattle-recorder.org

Board Members (2009-10)

Officers:

President, Ruth Pattison (206-525-9878) ruth.pattison@hotmail.com President-elect, Jill Shupe (206-364-7509) jillshupe@hotmail.com

Past President, Susan Burris (206-361-1007) susan.burris@comcast.net

Secretary, Molly Warner (206-523-5192) mollyw@eskimo.com Treasurer, Richard Ginnis (206-633-1969) rginnis@ginnisandchalhoub.com

~~~~~~~~~~~

Mailing, Tomo Morita (425-255-1983) tomotomom@hotmail.com Membership, Jill Shupe (206-364-7509) jillshupe@hotmail.com

Newsletter, Nancy Gorbman (206-362-7326) ngorbman@hotmail.com

Refreshments, Gerrity Shupe, (425-820-2003), gshupe1@mindspring.com Viol Rep., Ellen Seibert, (206-329-2774), ellen415@comcast.net

Webmaster (Member-At-Large), Charles Coldwell (206-328-8238),

cpcoldwell@zipcon.net 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!€