APRIL, 2012
A crumhorn is
not a cromorne, but a cornamusa or a piva.
It is a capped reed instrument that is hookshaped. According to the 1996 book by Anthony
Baines, European and American
Instruments, it is also extinct, though "it flourished in the 16th and
17th century, especially in Germany and Italy". Well, Mr. Baines,
crumhorns are not only flourishing again in our neck of the woods, but they are
proliferating and adding zest to any early music performance.
Actually, crumhorns with a professionally turned and
exactly fitted wooden cap begin to turn up towards the end of the 15th century.
They were a technical compromise between taking the reed directly between the
lips and feeding air from an inflated bag (bagpipe). Primitive reed caps have been found
among hornpipes, so the idea of a cap with a hole or slit on top through which
to blow air to set the reed in motion has been around for quite a while.
Boxwood was the preferred material used for crumhorns. Usually the instrument had a narrow
cylindrical bore from about 0.38 to 0.85 cm in diameter, depending on pitch
and size of the
instrument. The original straight
pipe was bent round with the aid of heat after having the bore pierced with
seven finger holes plus one thumb hole as well as a vent hole farther down.
In its hay days, a set of crumhorns consisted usually of
six instruments: ~a descant, two trebles, two tenors and a bass. A klein diskant and great bass also existed. A consort of six crumhorns was easily
maintained, offered a cheerful, nasal sound and thus pleasant in-door
entertainment. It has one
shortcoming, namely that its range is limited to an octave plus one whole step
since, unlike the recorder, it does not overblow into
the next octave. Several modern
makers did extend the crumhorn range through the addition of one or two keys
which added a hole, respectively a tone and a half.
Modern crumhorns are either c instruments (soprano,
tenor) or f instruments (alto, bass).
In the Middle Ages, the klein diskant ranged from c'-d"; the
descant (soprano) from g - a'; the alto/tenor from c - d'; the bass from F - g;
and the great bass from C - d or B - c.
The natural cane reeds have given way to plastic reeds which are less
fragile and can last for years. Of
course, if you are a purist, you better start making your own cane reeds. There are fairly detailed instructions
on how to do that - but they are too lengthy to be included in this article.
Music in the 16th century was rarely written for a
specific instrument or group of instruments. Instead, one used what was at
hand. However, there are
exceptions, such as a six-part "Shepherd's Chorus" in the wedding
music written by Francesco Corteccio in 1539 for the
Court of the Medici and Joh.
As you well know, MPRO has a very sizable contingent of
enthusiastic crumhorn players who are definitely not extinct. Yet!
Angela
Owen (from UpBeat,
April 1997)
ConductorÕs Corner
Dear members of the Mid-Peninsula
Recorder Orchestra,
I am pleased to announce that
Irene Beardsley will be playing keyboard with MPRO at its May 2 meeting. Since this will be the last time before
the dress rehearsal for the June 2 concert to rehearse some of the music for
that performance with all forces present, I encourage everyone to attend this
meeting. Listed below is the music
for the orchestra's next two meetings.
Please note that there will be sectional seating for the Stradella Sonata, with those playing
the Soprano 1 and 2, Alto 1 and Bass 1 parts sitting on the right as they face
the conductor and those playing Alto 2, Tenor, Bass 2 and Contrabass on the
left. Please observe this seating
arrangement when you choose your place at the beginning of the meetings on
April 25 and May 2. Please note as
well that bass viola da gamba
and great bass and contrabass recorders will be needed at both
meetings and sopranino recorder, dulcien and krummhorns, on May 2.
April 25
Dunstable: Sancta Maria
Piazzolla: Resurrecci—n del Angel, Un Dia de Paz,
Los
Paraguas de Buenos Aires
Schmelzer: Sonata ˆ 7
Stradella: Sonata
May 2
Stradella: Sonata
Hovhaness: Let them praise the name of the Lord
Brade: Allmand
Schmelzer: Sonata ˆ 7
I look forward to seeing you at
these upcoming meetings and working on this music with you.
Sincerely,
Fred Palmer
New or
Returning Members 2011-12
Chris Flake, our Membership
chairman, reports that nine recorder players have joined or returned to MPRO
this season:
First Name |
Last Name |
Membership |
Dalia |
Orr |
Participating |
Stuart |
Elliott |
Participating |
Lee |
Fisher |
Student Player |
Amanda |
McMaster |
Student Player |
Steffi |
Andersen |
Student Player |
Meredie |
Cohen |
Student Player |
Anna |
Dairaghi |
Student Player |
Lucy |
Smith |
Student Player |
Dan |
Bloomberg |
Associate |
Welcome to MPRO! YouÕve all helped to make our orchestra
better than ever!
u u u u u u u u u u
Foothill
Presbyterian Church Music Series
Saturday,
April 14, 2012 Ð 3:00 PM
The Albany Consort: Led by Jonathan Salzedo and Marion Rubinstein who present their string
chamber orchestra playing a mix of music from the Baroque,
as well as the 20th century. (www.albanyconsort.com/ ).
Sunday, April 29, 2012 Ð 7:00 PM
Flauti Diversi - A Tale of Two Composers: Boismortier & D. Purcell. Frances Feldon (baroque flute, recorder), David Morris (violoncello, viola da gamba) & Katherine Heater (harpsichord). Beguiling, elegant trio sonatas by Joseph Bodin de Boismorter for baroque flute, viola da gamba, and harpsichord; and fiery, quirky solo sonatas by Daniel Purcell for recorder with harpsichord and baroque cello.
Suggested Donation for all concerts is $10 per
person. Reception
to follow each concert.
Foothill Presbyterian Church is located at 5301 McKee Road in San
Jose. Wheelchair accessible. For further information email FoothillPC@gmail.com or call
408.258.8133.
Where I Have Been
(continued)
I would like to go to
Conclusions, but you have to jump, and I'm not too much on physical activity
anymore.
I have also been in Doubt. That is a sad place to go, and I try not
to visit there too often.
I've been in Flexible, but only
when it was very important to stand firm.
The Board: President: Amy Booth; Treasurer: Leslie Pont; Membership: Chris Flake; Publicity: Marguerite Dilley;
Newsletter Editor: Dick Davies; Music Sales: Laura Gonsalves; Graphics: Mary Ashley; Webmaster: Dan Chernikoff;
Workshop Coordinator: TBD; Consort Coordinator: TBD; Hospitality: Claire Heinzelman; Historian: TBD;
Music
Director: Fred Palmer. MPRO website: < http://www.mpro-online.org >