I love the mellowness of low recorders sounding together, so of course I was excited to hear that January's PRS meeting would feature a performance by the King Kung Quartet, whose highest-sounding voice is tenor.  The quartet's name reflects the fact that the low instruments which are their trademark were all made by Kung.  Equally exciting was the prospect of meeting once again with players I had met at last year's Menucha retreat:  David Lawrence, David Solet, Bill Stickney, and Molly Warner.

The ensemble did not disappoint.  Their short program began with "Virgo Prudentissima" (Ludwig Senfl, c. 1486 - c. 1543), and the smooth intertwining of the parts suggested a stately chorus of meditative owls.  Following the Senfl was the playful three-movement Carnival Suite (1981; Maurice Whitney, 1909 - 1984).  It was clearly modern recorder music, but the quartet swung effortlessly between styles separated by four centuries.  It was just plain fun music.

Last on the mini-program was the Jazzy Prelude and Fugue (2004) by Glen Shannon, whom we also remember from last year's retreat.  The title says it all about this music.  King Kung was equal to the task of taking a 21^st-century piece based on an 18^th-century form and, understanding both eras, interpreting it to give its audience the maximal good time.

After this concert, Vicki Boeckman took her usual place at the podium and led the ensemble, enriched by the extra bass support from King Kung.  She began with an exceprt from A. Scarlatti's Exultate Jubilate and then took us through Hans aloe Hassler's version of the chorale "Befal du dine vej" ("O Sacred House" in this version, though it is more familiar to many of us as "O Sacred Head, So Wounded," and from J. S. Bach's  St. Matthew Passion).

Vicki then gave us a transcription (which she had participated in making) of Bach's organ Prelude and Fugue in Am (BWV 555).  We finished with more Bach, the Presto fugue from Brandenburg Concerto No. 4, except that we played it more moderato than presto.