Easy access to streamed music is one of those things we take for granted these days. But it wasn’t so long ago that if you wanted to listen to a particular piece of music you had to go out and buy the CD, or at least borrow it from your local library. One of the things I love about our access to music now is the way it can take you down all sorts of rabbit holes, bringing fresh discoveries.
It seemed about time I created another of my Sounding Pipes playlists, so over recent weeks I’ve been rummaging on YouTube and elsewhere for gems to share with you. My choices are all linked to the recorder in some shape or form, even if the music isn’t entirely played on our favourite instrument.
G.F.Handel - O ruddier than the cherry from Acis and Galatea
The Love of Acis and Galatea by Alexandre Charles Guillemot
Handel described Acis and Galatea as a “little opera” in a letter to a friend during its composition, but it’s since been called a serenata, masque and oratorio by others. However you wish to classify it, Acis and Galatea is one of Handel’s most enduringly popular works. Written in 1718 while working for the 1st Duke of Chandos in Cannons, north London, this was Handel’s first dramatic work in the English language. It features three major characters - the shepherd Acis, Galatea (a nymph) and Polyphemus, a monstrous giant, who features in this aria. Having just sung about his jealous love of Galatea (“I rage, I melt, I burn”) he then bursts into song with “O ruddier than the cherry”, accompanied by strings and a sopranino recorder!
I was lucky enough to play recorder in a performance of this while studying for my A level exams and I’ve had a soft spot for the work since then. Handel’s juxtaposition of the tiniest of recorders alongside the bass voice surely couldn’t fail to make anyone smile!
Gordon Jacob - Suite for recorder and strings
Annabel Knight and the Maggini quartet - Gordon Jacob Chamber Music with Recorder
The search for a modern recorder concerto which can hold its own against other instruments came to the fore some years ago when Charlotte Barbour-Condini and Sophie Westbrooke both made it to the concerto final of the BBC Young Musician competition in quick succession. Finding a work for recorder which contrasts favourably with large scale Romantic concertos is a challenge, especially as our instrument naturally suits a more intimate setting. Sophie chose to perform Gordon Jacob’s Suite for recorder and strings, albeit augmented with wind instruments (an arrangement made by an old school friend of mine, David Knotts as it happens).
This is a work I love very much and had the honour of performing in Chichester Cathedral many years ago. Here I’ve chosen Annabel Knight’s performance which goes back to its roots, accompanied by the more modest forces of a string quartet. I’ve always had a soft spot for this beautiful Lament, which combines a doleful melodic line and some exquisite string harmonies. Gordon Jacob (1895-1984) wrote several works including the recorder, but was adept at creating beautifully crafted music for any instrument. His catalogue includes concertos for no fewer than sixteen different instruments! Reading about him, I was fascinated to learn he studied with Ralph Vaughan Williams, Charles Villiers Stanford and Herbert Howells while at the Royal College of Music - a real who’s who of composers. Later in life he returned to the RCM as a teacher himself and Malcolm Arnold was one of his students - another composer who later wrote works for the recorder.
Samuel Scheidt - Canzon on O Nachbar Roland
Seldom Sene - Concerto Barocco
The Canzon (or canzona) was the forerunner to the sonata. Ultimately the sonata matured into a multi-movement work, but during the Renaissance the canzona instead featured shorter sections whose tempo and metre varied, while fundamentally remaining a single movement work. Sometimes, as in this case, they were based upon well known melodies or chord progressions.
I first encountered O Nachbar Roland at the Recorder Summer School when I was a teenager. Five of us worked on it in our spare time, with a plan to perform it in the students’ concert at the end of the week. During rehearsals we worked diligently on the transitions between the sections, but also made a plan for what we might do if anyone came unravelled due to nerves. Ultimately our cunning plan was vital as no fewer than three of us came adrift in one section. Unperturbed, we regrouped at the next tempo change and continued as if nothing untoward had happened!
I’m pleased to say Seldom Sene’s performance of O Nachbar Roland is altogether more polished than ours. I love its exploratory nature at the start - each part coming in tentatively until there’s sufficient group momentum for a definitive tempo to be set. While reading up about this piece I discovered a connection I’d never considered before. O Nachbar Roland was a popular tune in the Renaissance and many composers wrote pieces based upon it. However, I hadn’t previously realised its connection with Lord Peregrine Bertie Willoughby, a noted member of the 16th century aristocracy. His name may not be immediately familiar to you, but you may well know of him through William Byrd’s Lord Willoughby’s Welcome Home. The melody is a near doppelgänger of O Nachbar Roland, and was composed in Willoughby’s honour when he returned to a hero’s welcome in London after his victory in the Siege of Bergen in 1588.
Gioacchino Rossini - Overture: The Italian Girl in Algiers
Berlin Recorder Orchestra, conducted by Simon Borutski
When I encountered my first recorder orchestra in 1991 the sound tended to be a rather top heavy affair. The larger bass recorders were still relatively unusual in the UK and it was difficult to achieve a really pleasing balance of sound. How things have changed in 30 years! Today it’s not unusual to have half a dozen contrabasses in such ensembles and the number of even larger recorders is gradually growing too.
In recent months YouTube has offered me a steady stream of recordings by the Berlin Recorder Orchestra and I just had to share this one with you. They seem to have hit a sweet spot in terms of balance with a small forest of big basses in the back row, and relatively few of the high instruments. The result is a wonderfully mellifluous tone, complemented by some fantastic precision playing.
The Romantic period isn’t an obvious one to raid for recorder orchestra music, but this fabulous overture by Rossini is just a joy to listen to. I’ve played in and conducted it myself with different groups (albeit in a different arrangement) and it’s so exciting to be a be part of the excitement and drive which is intrinsic to Rossini’s compositional style. After you’ve watched this video, do have a rummage through the BRO’s YouTube channel because you’re guaranteed to find some more recorder orchestra gems there.
J.S. Bach Violin Concerto in A minor, BWV 1041
Andrew Manze and the Academy of Ancient Music - Bach Solo and Double Violin Concertos
The recorder connection with this piece may be a little tenuous, but this particular album is one of my absolute favourites and is too good not to share. The first movement of this concerto appears as the centrespread of the June issue of The Recorder Magazine, in an arrangement by James Howard Young. Bach is always a challenge to play, as his music rarely takes into account the need for wind players to breathe. That small wrinkle aside, James’ transcription fits the recorder remarkably well and I have a copy of it on my music stand right now - an excellent workout for both brain and fingers. If you’d like to try the Bach for yourself but don’t have a copy of the June Recorder Magazine you can download the music by clicking on the button below.
This recording is 25 years old now, but I adore its energy and Manze’s effortless musicianship. These days he’s more likely to be found conducting orchestras, in repertoire which stretches well beyond the Baroque, but I recommend you listen to the whole album and explore his other recordings too.
Charlie Parker - Ornithology
Lucie Horsch and Fuse - Origins
My last playlist finished with a little frippery, so it seemed appropriate to do the same this time. This track comes from Lucie Horsch’s newest album, Origins, which will be released next month. A number of behind the scenes videos are already available on YouTube though and it’s wonderful to see her delving into this classic jazz number by Charlie Parker. While many of us enjoy jazz, it’s often played badly by recorder players. This always strikes me as a curiosity because so much of the Renaissance and Baroque music we play demands a similar spontaneity in its performance. I love Lucie’s relaxed demeanour here and it’s great to see the interaction between her and the ensemble Fuse.
Hopefully there’ll be something for everyone there. If you’ve discovered a wonderful new recording recently why not share it in the comments below for us all to enjoy - there’s a world of new and exciting music out so let’s explore it together!