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Music Listings and Articles of Interest

This page is updated monthly with the listing of music presented at our regular meetings. Workshop and other special listings will also be added as they occur.

 

  • 2018 Season
  • 2017 Season
  • Recorder Myths

June 28, 2018 Gala Celebration and Performance
Led by Music Director, Deborah Booth

Deborah Booth The Loud Band:
Alleluia, Mikolaj z Radomia, 15th century
Go Hert Hurt with Adversite, anonymous, English, 15th century
Ay Triste que Vengo, Juan del Encina, c. 1500
Tres Morillas M'Enamoran, anonymous, Spanish c. 1500 (Cancionero del Palacio)
                           Ohn Dich Musz Ich, Jacob Regnart, 16th century

The Fifth Street Consort:
J. S. Bach, Ein Feste Burg is Unser Gott, 18th century
J. B. de Boismortier, Sonata in F: Gravement & Gavotte en Rondeau, 18th century
Brasilien, Adeus Sarita (traditional)

The Advanced Ensemble:
V. Haussmann, Paduan & Galliard "Go From My Window," 1604
H. Stonings, Browning My Dear, c. 1600
Josquin des Prez, Tenez Moy en Vos Bras, c 1490
Anonymous, Mon Ami (played on Renaissance Recorders), c 1500
G. P. Telemann, Concerto in A Minor: Gravement & Vistement, 18th century

The Tutti Ensemble:
Josquin des Prez, Mille Regretz, 1549
Antonio Caprioli, Una Leggiadra Nimpha, 1508
Jacques Arcadelt, Ahime, Ahime! 1540
Thomas Tallis, When Shall My Sorrowful Signing Slake. . ., c. 1550
Anthony Holborne, Three-Part Fantasia, 1597
Antonio Bertali, Sonatella, c. 1650
G. P. Telemann, Largo (with Great Bass); Le Plaisir, 18th century

May 24, 2018
Led by Nina Stern

Niina SternLuodovico Grossi da Viadana: Sinfonia "La Bergamasca"
Giovanni Gabrieli: Canzon XII (1615)

 

 

April 26, 2018
Led by Ruth Cunningham

ruth Cunningham

Claudin de Sermisy: Content Desir
Jacques Arcadelt: De Triste Cueur
Jean Mouton: Qui Ne Regrettoit Le Gentil Fevin

 

 

March 29, 2018
Led by Rachel Begley

Rachel BegleyJ. S. Bach Chorales from the St. John Passion: O Grosse Lieb; Dein Will' gescheh
David Goldstein: Passover Song: Avadim Ha-Inu
Heinrich Schutz: Die sieben Worte Jesu Christi am Kreuz
Giovanni Battista Pergolesi: Selection from Stabat Mater (dolorosa)

 

February 15, 2018
Led by Martin Bernstein

Martin Bernstein     Anthony Holborne (1545-1629): Fantasia I (1597)
    
Marc Antoine Charpentier: Concert Pour Quatre Parties de Violes:
                                                     Prelude 2,  Sarabande, Passecaille
     Ler Minuet; Deuxieme Menuet pour les hautbois des Poitevins

 

January 25, 2018
Led by Deborah Booth, NYRG Music Director

Deborah Booth  Josquin des Pres (41450-1521): Mille Regretz
  Antonio Caprioli (c. 1508): Due Frottole
  Jacques Arcadelt (c. 1540) Ahime, Ahime! Dove'l Bel Viso
  Thomas Tallis (1505-1585): When Shall My Sorrowful Sighing Slake
                                                    (from the Four Secular Songs)
  Anthony Holborne (1545-1629): Fantasia I
                               Anonymous (c. 1500): Mon Ami
                               Antonio Bertali (1605 -1669): Sonatella
                               Georg Philipp Telemann (1681-1767): Largo; Le Plaisir

December 14, 2017
Led by: Valerie Horst

Valerie Horst Music for the Season

Pieces written for Christmas, Chanukah, New Year’s Day, Twelfth Night, by Gabrieli (O Magnum Mysterium), Du Fay, Mendelssohn, and one poor anonymous composer who really hated winter!”

 

November 30, 2017
Led by: Larry Lipnik
Monteverdi

Larry L      Claudio Monteverdi, Cantate Domino, SV 298
                                     Lauda pueri, SV 196
     Gioseffo Guami, Canzonetta Francesa “La Todeschina”

 

October 26, 2017
Led by: Gene Murrow

Gene Murrow  Johann Sebastian Bach, In Meines Herzens Grunde (4 parts)
  Hans Leo Hassler, Tantzen und Springen (5 parts);
                                  Ach! Weh dess Leiden
    (5 parts)
  The B. F. White Sacred Harp, Consolation
                         Southern Harmony, Star in the East
                         Orlando Gibbons, The First Canticle (4 parts)

September 28, 2017
Led by: Wendy Powers

Wendy Powers  Johann Walther, Ein Feste Burg (4 parts)
  Martin Luther, Veni Redempton Gentium (Chant);
                             Nun Komm, der Heiden Heiland (Chant)
  Johann Hermann Schein, Nun Komm, der Heiden Heiland IV (5 parts)
                         Johann Sebastian Bach, Es ist Genug (4 parts)
                         Georg Philipp Telemann, Motetta, Werfet Panier auf im Lande (4 parts)
                         Johannes Brahms, Magdalena (4 parts)
                         Jean Sibelius, Finlandia (4 parts)

Joy Awaits You

Here Are The Facts by Judith Wink

 

The recorder has been around since the Middle Ages.  You’d think something that venerable would get some respect.  But no.  Too many people out there think it’s just a folk instrument, or a starter instrument for school kids, or a pocket-sized pipe with a shrill, obnoxious sound.  Even Anthony Baines, who wrote or edited dozens of articles and books about music and instruments, dismissed the recorder as “easy to play and cheap to buy,” perfect for the musician who is both lazy and tight-fisted.

 

Sure, in some cultures recorder-type instruments are used for folk music — Israel, for instance, which produced those abysmal Gill recorders that were made of balsa wood and left splinters in your mouth.  But in Western Europe, throughout the Renaissance and Baroque periods (and that’s a long time, let me tell you), the recorder was used for art music.  Recorder consorts entertained Henry VIII.  Bach wrote some of the solo parts in the Brandenburg concertos with recorders in mind.  In the Baroque period, the recorder was one of the premiere solo instruments, right up there with the violin.  There’s a ton of serious music just from this era. Telemann alone will keep you busy for decades with his sonatas and duets.

 

Sure, the recorder is a great starter instruments for kids.  You don’t have to struggle to get a sound out of it, as you do with the flute; you don’t have to futz with reeds, as you do with the clarinet and the saxophone and the oboe; and the finger holes on the soprano are easy for small hands to reach.  But don’t stop there!  The instrument may be easy to learn, but you can spend a lifetime mastering it, as any professional player will tell you.  And once you start exploring articulation and alternate fingerings, you will find that the recorder is as sophisticated as any orchestral instrument.  It may not have the range or the dynamics, but boy, is it expressive!  And no matter how good you get, there will always be another piece that’s just beyond your technique.  Like any other instrument worth playing, the recorder is inexhaustible.

 

As to the shrill and obnoxious sound people complain of, that’s the soprano you’re talking about, and a badly-played one at that.  The soprano has a lot of big brothers, down to the F contrabass.  Six feet tall, this monster has bottom notes that sound like the QEII setting sail.  Now and then an instrument maker with time on his hands and trees at his disposal will make something bigger. Victor Mahillon, onetime director of the Brussels Museum of Musical Instruments, copied a Renaissance extended great bass in C.  This thing is about eight feet long and virtually unplayable, but what serious musician doesn’t love a challenge?  A low consort — tenor, bass, great bass and contrabass — has the richness and sonority of an organ, and a lot more flexibility.

 

Is the recorder useless except for old music?  Absolutely not.  In Philadelphia jazz clubs, customers would laugh when Joel Levine got up to play his soprano recorder.  They stopped laughing after the first few licks.  Go on You Tube to hear a recorder quintet play “Purple Haze,” the Jimi Hendrix classic.  Go to Europe and hear conservatory-trained musicians play new works for the recorder.  Adventurous composers have discovered that there’s more to this instrument than a sweet sound and nimble articulation, and they’re making the most of it.

 

Composers

 

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