Archive Header



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

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)



Just as one rotten apple can spoil the barrel, one rotten recorder player can spoil a consort. Tom rushes. Dick drags. Harry's sharp. April's flat. May knocks her stand over whenever she tries to turn a page. June mixes up her music. They all get lost, and they all ask those questions that chill the blood: "Where are we starting?" "Did you mean the very beginning?" "Were we supposed to repeat?" "What piece are we on?" Most groups have one of these treasures. Groups with exceptionally bad karma have two or three. If it takes that little to wreck a group — and it does, believe me it does — why do we bother? Why come to meetings? Why go to workshops? Why play in a group at all?

Because when things go right, they're extraordinary. Some day Tom will have a cold, Dick will be out of town on business, Harry will be minding the children for a change, April will be meeting with her lawyer, May will be trying to talk her daughter out of divorcing her husband, and June will be having root canal. Those who are left won't be world-class musicians, but with luck they'll at least be competent. With that as a starting point, good things can happen.

The first time through a new piece you're not likely to do much listening because you're too busy figuring out your own part. But the next few times, if you have any aptitude at all for consort playing, you'll start to hear things. Now and then the soprano line copies your tenor part. Let's agree on phrasing and articulation. The alto's got the tune here, so everybody else, let's pipe down and let it stand out. Here, in the middle of this fantasia, is a little galliard. Let's play a little shorter and make it sound like a dance. Here's a grand pause. Let's look up and make sure we start together.

In fact, let's make sure we're doing everything together. That's the whole point of consort playing. You're not a soloist, you're part of a whole, and the whole is a lot more than the sum of its parts. One veteran teacher used to arrange a class in a circle and then point to the center: "That's where you should hear the sound."

Recently, I heard the Boreas Quartet Bremen, four gifted young women playing recorder music from four centuries. The pieces had hot licks for everybody, and the players made the most of them, but in the middle of even the most intricate passages they kept looking up at each other, making sure that this was a group project instead of four solos. The best accompanist I ever saw was a young guitarist named Robin Polseno. Onstage with four singers, two on each side of him, he kept looking up at them like a border collie keeping track of his flock.

At its best, a recorder consort sounds like an organ, with one mind in control. Of course the sound isn't a lot of undifferentiated mush, you can certainly hear individual lines, but there's a sense of common conception and purpose. The tuning's locked in, everybody's phrasing the same way, the dynamics rise and fall together. It's like watching the four cygnets in Swan Lake or a beautifully executed football play. It's a miraculous thing to be part of.

Judith Ann Wink




* * *

Facebook     Click here to follow us

ars logo The New York Recorder Guild is a member of the American Recorder Society