Sighting #8

Benjamin Britten (1913-1976) played the recorder!? I had no idea until my friend Frances sent me a link with this photo on it. Shame on me.

Benjamin Britten

And not only did he play recorder, having been persuaded to give it a shot by his friend and colleague Imogen Holst, but from 1958 to 1976 Benjamin Britten was the President of Britain’s Society of Recorder Players.

Britten wrote a few pieces for or involving the recorder: Scherzo (1954), for recorder quartet (SATB); Alpine Suite (1955), a diminutive trio for a friend who broke her leg skiing in Zermatt (SSA); and there are recorder parts in two operas: Noye’s Fludde [Noah’s Flood]  (1957); and A Midsummer Night’s Dream (1960).

Noye’s Fludde is based on one of the 15th-century Chester Mystery plays, and was designed to make use of many levels of musical skill – it’s a very community-oriented piece, a musical manifestation of ‘it takes a village…’  First presented in Britten’s home base of Aldeburgh (Suffolk) in 1958, it has had hundreds of performances around the world since then. Scored for a big cast – as many children extras as you can find for the animals of the ark! – it calls for adult solo singers, a children’s choir, and some younger soloists; a professional-level string quartet, recorder soloist, percussion, keyboard; and a student string orchestra, student recorder group, and so on – and a conductor, one with immense patience, unflagging enthusiasm, and no fear whatsoever. True, projects like this are a bit of a nightmare to organize, but they are completely worth the trouble. This kind of show provides the wonderful but fairly rare opportunity for younger musicians to work with professional singers and players over the whole production period; and it offers a dose of ‘get real’ for the pros, who may spend a lot of their working life in a more rarified concert atmosphere…Everyone’s horizons get broadened, and it’s brilliant.

I’ve been involved in two Noye’s Fluddes, with the Toronto Symphony under Andrew Davis and at the Guelph Spring Festival under Simon Streatfield. Both projects were inspiring, heartwarming, and worth every moment of the lengthy rehearsals required to get everything working. There was also a very high Cute Quotient once the smaller members of the cast got their costumes on.

You’ll get an idea of what I mean by those last two remarks if you take a look at this excerpt from a Canadian production of Noye’s Fludde, filmed by the CBC. Stay to the end and you’ll hear the solo recorder accompanying the dove, as she flies out from the ark and returns with an olive branch. The recorder player is Avery MacLean.

Sighting #6

Brian Jones recording for 'Ruby Tuesday'

Brian Jones recording for ‘Ruby Tuesday’

Remember him? Brian Jones, founder of the Rolling Stones. Talented, smart, savvy, and overtaken by substance abuse, he was found dead at the bottom of his swimming pool a few short months after he’d been asked to leave the band. It was 1969 and he was 27.

I wasn’t much of a Stones fan but for some reason I liked Brian Jones. I could never understand all the hundreds of girls screaming at the sight of Mick Jagger;  I thought Brian was way cuter. ‘Ruby Tuesday’ was released in 1967, but I didn’t realize it was him playing the recorder bit until years later.

Sighting #5


Yet another rock and roll shot. I’d forgotten all about this photo and just came across it this evening. Anyone remember Jefferson Airplane? I loved this band. I think I even had the LP which featured this photo on the cover. This was a really intriguing bunch of musicians, and the instruments in this picture made me feel almost cool, what with Grace Slick holding a recorder and Marty Balin with a flute. Whoa.

More writing on its way.

Sighting #4

Well, shame on me. It’s been a very busy few weeks so although I’ve had some intriguing musical work, it’s been very hard to find time for writing about it. But in the meantime, here’s something seriously worth a listen/look: Frans Brüggen as a young man, putting Telemann fantasias and the recorder on the map.

I ask you, where would we be without YouTube?

Sighting #3

Wow, a mid-20th-century hearthrob with a recorder. Talk about an unexpected prop. Judging from the hand position he didn’t really know how to play it; but I’m pretty sure that really didn’t matter…


There are a variety of photos from this shoot to choose from. Wish I knew the photographer to credit.

Hamlet’s Recorders

There are various recorder ‘sightings’ in film, TV and celebrity photography, one of which I posted yesterday, and more of which I’ll post as time passes. A number of these are very entertaining but unfortunately also tend to reinforce negative stereotyping of the instrument, but there are also few times when something goes right. One of the latter happens in Kenneth Branagh’s film production of Hamlet. I first saw this movie on a snowy weekday afternoon in the dead of winter, a very suitable time for the sad story of the mad prince of Elsinore. The cinema was maybe half full, which was impressive for a weekday afternoon in bad weather, but almost everyone there was either a senior citizen or a high school student. There were several classes of the latter, so it must have been English Class Field Trip Day as well as Seniors Tuesday, and I was one of only a handful of people between the ages of 17 and 60. A very interesting and unusual crowd and atmosphere!

There’s a section of Hamlet (in Act 3, scene 2) in which Guildenstern and Rosencrantz attempt to talk some sense into the seriously messed-up prince. It’s a brilliant little bit of double entendre on the art of manipulation, and it begins shortly before Hamlet’s line, ‘The recorders, let me see one!” This is the moment in the play where all recorder nerds and musicological purists wait with bated breath to see exactly what kind of a recorder Hamlet is handed, and it’s here that you find out whether or not the director actually gave any thought to the musical instrument to which Shakespeare refers. Will it look like a recorder from Shakespeare’s era, or will it be a $20 piece-of-crap soprano? Will it be like the purple one with glitter that I got at a Japanese truck stop for $5? (Seriously, if anyone ever does a production of Hamlet in drag, I’ve got the perfect instrument for that scene.)


It’s believed that Hamlet was written between 1599 and 1603, and at that time anyone in London would have expected to see a recorder looking like this:

As you can see from the link, this particular instrument currently lives in New York’s Metropolitan Museum of Art. It dates from around 1600 and was made by a member of the Bassano family or one of their colleagues, in either Venice or London. The Bassanos were a celebrated of Italian musicians, some of whom were brought to England by Henry VIII to work in his musical household. Members of the family remained in royal employ until the 1630s.

But back to the movie. Branagh’s vision for Hamlet obviously didn’t include setting it in Shakespeare’s time or anything earlier, and that’s just fine – the costumes and sets are a sumptuous feast for the eyes, and the cinematography is beautiful. But it did make me wonder what was coming in Act III scene 2. A flutophone, or a Bakelite alto for that ‘old’ effect? A serpent, maybe? The moment arrived, Branagh uttered the famous cue, and to my complete surprise, he was handed – a Renaissance  tenor recorder, looking very much like a copy of the one that’s pictured above!  Property master Danny Hunter did his homework and found the appropriate horn, and I was totally impressed. I’m still so impressed that I made sure to look up Danny Hunter’s name before writing this. Granted, a serpent or a clarinet might have been more appropriate in the context of Branagh’s choice of historical setting – and frankly, in the great scheme of things all this doesn’t really matter – but it was exactly the right flute for Shakespeare’s language, and it was so much fun to see that.

If you want to see this segment of Branagh’s film, here’s a YouTube link:

For comparison, and an example of unfortunate recorder typecasting, here’s the link to an excerpt of another made-for-TV production made by the Royal Shakespeare Company in 2009. It’s a longer clip: the recorder scene begins around 5:30 and if you stick with it, you’ll hear Three Blind Mice (I kid you not) around 6:58.

There’s one other small tale to tell from that winter afternoon visit to the movies, apart from how much I enjoyed the film in general and that little scene in particular. During the intermission, while standing in line for the loo between two fifteen- or sixteen-year-old girls, I couldn’t help but overhear the following conversation:

“So what do you think of the movie?”

“Oh, I like it, it’s pretty cool.”

“Yeah, I like it too, but Bethany hates it. She thinks it sucks.”

“She hates it? How come?”

“She says it’s not as good as the book.”

“The book? What book?”

“You know – Hamlet.”