Calendar of Events - American Recorder Society
The American Recorder Society provides this calendar as a convenience to our members. Event information is provided by the event sponsors, and any questions should be submitted to the contact in the event listing.

November 2021
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Events available for Registration...

FREE Online Recorder Class for Beginners with Anne Timberlake (alto recorder), September 2022
9/20/2022 - 10/11/2022
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Second Level Beginners' Class with Tish Berlin: Continuing Technique (alto recorder)
10/10/2022 - 10/20/2022
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ARS Annual Membership Meeting Held Via Zoom, October 15, 2022
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FREE Online Recorder Class for Beginners with Heloise Degrugillier (soprano/tenor recorder)
10/18/2022 - 11/8/2022
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Events in the month of November 2021

Come join us for our virtual October meeting with Adam Gilbert who will present Love, Death and Hidden Fortune's Wheels in 15th Century Chansons
“The tongue is generally the tool with which the notes on the recorder can be delivered in a lively manner.” (Johann Joachim Quantz, 1752). Most of us are familiar with one or multiple types of tonguing, with dege or did’ll, varying consonances and vowels — all used to play music in an engaging and speaking manner. However, many are introduced to the concept of double-tonguing quite late and may find the prospect daunting: toil and trouble indeed!
Regardless of your level of experience this class takes a look into the specifics of fast articulation, its mechanics, Renaissance and Baroque music examples… and most importantly some tips and tricks for bewitching your listeners with your double-tonguing. Geared to: alto recorders. Pitch: A = 440.

The pioneering Venetian printer Ottaviano Petrucci’s important 1502 untexted sequel to the Odhecaton continued to mine short polyphonic repertory by Franco-Flemish composers such as Josquin, Obrecht, Compère, and Hayne van Ghizeghem. Based on AEM’s new modern edition of Canti B, class will explore a variety of sacred, forme-fixe, popular, and instrumental genres for three, four, and even five parts, with some utilizing canon. (Puzzle-lovers invited!) Geared to: SATB recorders and other instruments. Large recorders welcome. Pitch: A=440.

A plethora of 
music has been written for solo recorder by modern composers, covering the gamut from avant garde works using extended techniques to jazz and more, each decade with its own distinct style. You may know Sarah Jeffery as a teacher from her Team Recorder videos, but she is also a passionate advocate for and interpreter of contemporary works for the recorder. Sarah will guide you through selected works composed since the 1960s and introduce the techniques needed to perform them, as well as tips for interpretation and making sense of each sound world. A little history and context, and everything you need to get started!

This workshop is funded by a generous grant from the American Recorder Society.
Our second seminar in our Seminar Series in Early Music Performance will be held on Monday, November 15th, at 7:30 PM ET (NYC time), with a meet and greet at 7:15 PM. We will examine Handel’s Sonatas for Recorder and Continuo from Opus 1, a collection of 12 sonatas for a melody instrument and basso continuo. Sonatas 2, 4, 5, 7, 9, and 11 work particularly well on the recorder and, along with the “Fitzwilliam Sonata” in B-flat Major, will be the focus of this month’s seminar. The seminar is geared towards the ALTO recorder, although transpositions on other sizes of recorder will be discussed.
No genre of instrumental chamber music is more typically Baroque than the trio sonata: a composition for two soloists and basso continuo in which each of the three parts has equal importance.  Originating in the early 17th century, the trio sonata rose in prominence to become the archetype of elegant Baroque composition with the sonatas of Arcangelo Corelli.  The trio sonata style proved so appealing and influential that even compositions for larger forces such as concerti grossi can often be understood as expanded trio sonatas with extra inner parts.
This class on the trio sonata will explore the nuances of this genre from the dual perspectives of the solo instrumentalist and the basso continuo player.  Instructors Miyo Aoki (recorder) and Jonathan Oddie (harpsichord) will discuss and demonstrate how a continuo player can tailor the accompaniment to support the solo parts, and how the soloists and continuo players can interact in conversational dialogue. Geared to: intermediate and up players of treble instruments, bass line instruments, and keyboard players.  Pitch: A=440. Treble players should prepare the second part from the repertoire list below, while bass line players and keyboard players should prepare the continuo part.



In this class we’ll focus on four 4-part pieces that differ vastly in expression and content, but all have motivic similarities. We’ll look at three secular works by Heinrich Isaac— the lovely quodlibet Fortuna Desperata /Bruder Conrad, then Bruder Conrad and Ich stund an einem Morgen, and wrap up with a jaunty tune by the infamous anonymous, Wohlauff gut gesell von hinen, found in the 1540 collection of German Lieder with the delightful description …”Second book of shorter, better and newer lieder to be sung with glee…” I will encourage you to do just that—play with passion and glee on your SATB recorders.

Geared to: intermediate and up recorders. Pitch: A=440. This will be a good opportunity for anyone wanting to hone their skills at reading up an octave on the alto, and counting whole and half notes as the beat.

Submit Your Event

The American Recorder Society provides this calendar as a convenience to our members. Event information is provided by the event sponsors, and any questions should be submitted to the contact in the event listing.