Yesterday was a double-whammy-of-recorder-goodness! First – I had my second lesson, and my teacher very graciously allowed me to play on some of her best instruments! It was easy to both feel and hear that I would be able to more easily work on sound production/tone issues with a better quality instrument. My poor 1970’s Dolmetsch (complete with super-glued crack!) is sadly limiting. She encouraged me to consider an upgrade! Second – I sat in my first consort reading session! A new colleague of mine at my College just so happens to be a very talented recorder player. How’s that for serendipity? He kindly invited me to sit in, and it was SO MUCH FUN playing with other humans. [Aside: I played my bass for the second time in my entire life, and read bass-clef badly.] I hope I am able to attend again.
As I mention in this post, I was recently reading some of the many music-related entries by the famous 17th-century diarist Samuel Pepys. On Thursday, the 27th of February 1667, Pepys attended a staging of the Thomas Dekker/Philip Massinger play “The Virgin Martyr.” He said of the music:
“But that which did please me beyond any thing in, the whole world was the wind-musique when the angel comes down, which is so sweet that it ravished me, and indeed, in a word, did wrap up my soul so that it made me really sick.”
This is what recorder music does to me, friends!! I’ve been listening to so many Frans Brüggen recordings, and they are so beautiful that they literally make me feel a weird kind of sick. In a good way. Good sick. But complete with a touch of melancholy sadness. Describing this isn’t making any sense! At any rate, I’m at 60-some days in a row of practice, and my enthusiasm only grows. Thanks for reading, and PLAY ON!