CLASS CHOICES WINTER WEEKEND WORKSHOP 2020
Name: ______
First Period Classes 9:00-10:30 (Saturday, Sunday, and Monday) GIVE 1ST AND 2ND CHOICES!
_____Master Class: □ Voice (Baird, Katz acc.) □ Recorder (Gilbert) □ Violin (Harris) □ Flute (Roberts) □ Oboe (Burgess) □ Viol (Cunningham) □ Harpsichord (Cok) □ Bassoon (Verschuren/Merriman) □ Cello/Bass (Terry) Public “private lessons” for advanced students who have prepared a piece. Indicate whether you wish to perform or audit. If performing, give name of piece and bring 8 copies of the score so all may look on. A=415. Vocal master class performers limited to auditioned students only; auditors welcome. Recorder master class limited to 9 players; give 2nd choice. Audit___ Perform___ Piece______(recorders only) a=440?___ 415?___ Accompanist needed?______
_____ Elizabethan and Jacobean Delights (Beckmann, Haas, Horst) The polyphonic richness of music from the age of Shakespeare, Elizabeth I, and King James is a delight for recorder players: sacred music of Tallis and Byrd; Madrigals of Weelkes, Wilbye, and Ward; fantasias of Coperario and Gibbons; consorts of John Dowland, and more. Explore this music from a fascinating period in English history. Larger recorders welcome! Intermediate to advanced recorders.
_____ Spain, Portugal, and the New World (Petersen) With our usual emphasis on the Big Four (England, France, Germany, Italy), we often overlook the rich troves of music from the Iberian peninsula. Less than 30 years after Columbus’ voyage, missionaries from Spain and Portugal, in their efforts to convert the natives, brought vast amounts of music to the New World. We’ll sing and play music by well- and lesser-known Iberian and other composers, then see how their well-traveled music influenced composers in the southern colonies. Lush harmonies and Latin rhythms! Recorders (especially large ones), voices, viols, lutes, voices, dulcians welcome. A=440
______Music of Northern Italy (Kimball) Repertoire for loud wind players (piffari) in Northern Italy. Works by composers such as Costanzo Festa, Alessandro Striggio, Andrea Gabrieli, and others. For upper intermediate to advanced shawms, cornettos, and dulcians.
_____Lute and Harp Continuo Class (Patton) This class will be geared towards students' individual levels and will include the use of 17th century treatises by composers such as Agazzari, Bianciardi, Penna, as well as drawing from repertoire as a source for improvised early Baroque instrumental accompaniment. Ground basses from the 16th and 17th century will be used to develop familiarity with period sonorities and voice-leading in accompaniment.
_____Baroque Dance Technique (Mainz, Olsson) A gentle warm-up followed by a focus on step combinations from the sarabande, menuet, rigaudon, bourree, and other dance types.
Second Period Classes 11:00-12:30 (Saturday, Sunday, and Monday) GIVE 1ST AND 2ND CHOICES!
_____ Musical ABC’s (Beckmann, Gilbert, Haas, Petersen) Ottaviano Petrucci published the first prints of polyphonic music, starting with Odhecaton Canti A (1501), Motetti B, and Canti C. Franco-Flemish composers ca. 1500, especially master composer Josquin, wrote some of the most expressive polyphony of the Renaissance. Motets, love songs, lamentations, improvisational settings of tunes, all can be found in these collections. One section of this class will play on Renaissance recorders; let us know if you are interested. Intermediate to advanced recorders.
_____Medieval Ensemble: Choose your Adventure! (Bearden) Explore the adventure of putting together Medieval music! We’ll work on adding drones or descants, text vs. instrumental, doubling voices, and other experiments you might want to try. Music will range from Notre Dame conductus and Montpellier Codex to Dufay and Brumel. For soft instruments, including voices, recorders, vielles, harps.
_____Spanish Court and Chapel (Kimball, Verschuren) During the Siglo d’Oro, the 100 years beginning with Phillip II of Spain’s accession to the throne in 1556, wind playing flourished at the Spanish courts. Motets, villancicos, French chansons, and canzonas were all part of the Spanish wind band repertoire. For cornetto, shawm, sackbut, dulcian. Intermediate to Advanced.
_____Chanson et Fantasie (Terry) Enjoy playing luscious French-texted works and instrumental pieces on viols. Works by Busnois, Josquin, Sandrin, Lasso, du Caurroy, LeJeune and Mouliniè. All viols welcome!
_____Baroque Orchestra: Telemann’s La Bourse Suite (Harris, G.Roberts, Schelhase) 300 years ago, Telemann witnessed the 1720 panic at the Frankfurt stock exchange when the Mississippi Bubble burst, an experience he turned into a suite called “La Bourse,” or “The Stock Exchange.” For Baroque violin, viola, cello, viol, oboe, flute, recorder, bassoon, double bass, and continuo. A=415. Advanced. Participants must stay for concert on Monday at 12:30.
_____ The Art of 17th and 18th Keyboard Improvisation (Cok) A class devoted to better understanding the art of keyboard improvisation in the 17th and 18th centuries. Class time will be divided between a theoretical and a hands-on approach, touching on treatises as well as repertoire. Students will be provided with hand-outs/exercises taken from both historical and modern method books. We will spend time on improvising above ostinato bass lines, basso continuo, partimenti, ornamentation, and stylistic improvisation. Lots of fun! All levels welcome!
_____Advanced Viol Ensemble (Cunningham) By audition or permission of the instructor only. Advanced viols.
_____Voices and Continuo Project (Baird, Patton) Coaching sessions for special project. For singers who have been accepted by audition and instruments by permission of instructor.
_____La Carlstadt (Mainz, Olsson) A charming couple dance suite from a German source, this dance will be performed with live music on Monday, Jan. 20.
Third Period Classes 1:45-3:15 (Saturday and Sunday only) GIVE 1ST AND 2ND CHOICES!
_____Recorder Master class (Roberts) See First Period description. Audit___ Perform___ Class limited to 6 players. Piece______a=440?___ 415?___ Accompanist needed?_____
_____ Italian Entertainments (Beckmann, Gilbert, Kimball) Immerse yourself in the sounds of the 16th- century Italian court, or Venice’s San Marco in the early 1700’s. This class will explore the music of Costanzo Festa, Claudio Merulo, organist Andrea Gabrieli, his nephew Giovanni Gabrieli, Girolamo Frescobaldi, and others. Intermediate to advanced recorders.
_____ Beyond Machaut (Petersen) What was happening musically between the death of master composer Guillaume Machaut in 1377 and the second quarter of the 15th century? We’ll explore music by little-known composers pushing against the strictures of the middle ages, leading to the great flowering of the Renaissance that had its beginnings in the music of Guillaume Dufay. All soft instruments, voices, recorders, flutes, vielles, viols, harps, lutes. A=440
_____ Copenhagen Part Books and the Music of North German (Verschuren) The Copenhagen Part Books contain a large number of compositions played by wind players at the court in Copenhagen. From early 16th century compositions in Franco-Flemish style to rousing Reformation psalm settings ca. 1650, and more. A quirky, interesting, and voluminous collection of musical delights. For cornetto, sackbut, shawm, and dulcian. Upper intermediate to advanced.
_____Come Dance with Me (Terry) Charpentier and Lully suites work beautifully for viol consort. We will play preludes, allemandes, sarabandes, gigues, and of course passacailles! Detailed work on ensemble balance and phrasing. All viols welcome.
_____Notation (Horst) For those with some experience. Readable and playable (singable!) late 15th and early 16th century repertoire. Even if you’re rusty, come along and give it a try!
_____Baroque String Ensemble (Harris) Discover music from the rich 17th and 18th-century repertory for strings. Emphasis on Baroque string technique and ensemble skills, with time to explore individual interests such as ornamentation, etc. Violins, violas, cellos, bass. Advanced. A=415.
_____Baroque Ensembles (Burgess, Cok, Haas, Merriman, Schelhase) Recorder, oboe, flute, bassoon, strings, harpsichord. Advanced. Indicate instrument and 440 or 415. Enrollment limited. GIVE 2nd CHOICE. Instrument______Pitch______
_____Advanced Viol Ensemble (Cunningham) By audition or permission of the instructor. Advanced viols.
_____Voices and Continuo Project (Baird, Patton) Coaching sessions for project. For singers who have been accepted by audition and instruments by permission of instructor.
_____ Höfische Tanz-Vergnügungen (Mainz, Olsson) A menuet with step variations from Gottfried Taubert, and a contredanse from notation in German sources will be rehearsed for performance with live music on Monday, Jan. 20.
Fourth Period Classes 3:30-4:30 (Saturday and Sunday only)
_____Venetian Polychoral Music (Haas) End your musical day with joyful and sonorous Venetian repertoire by composers who worked at San Marco in Venice or whose works were published in Venice in the late 16th and early 17th centuries. All are welcome to sing or play. A=440.
_____Lecture: “Just How Sweet was Bach’s Coffee?” (Geoffrey Burgess) Come hear Geoffrey’s entertaining and enlightening lecture on the ever-popular Coffee Cantata. New historical information links the scientific debate about the vices of excessive coffee drinking to Leipzig, and to Bach! Saturday only.
_____Beginning Notation (Horst) Dip your toes into the waters of early notation with Valerie Horst, a leading teacher of the subject in the US and Europe. Open to all.
_____Beginning Baroque Dance (Olsson) An introduction to 18th-century dance forms—bourée, courante, sarabande, menuet, and others—with reference to musical characteristics. Open to all.
_____ Baroque Dance Topics (Mainz) Steps and step sequences from Johann Georg Pasch, Gregorio Lambranzi and other German dance sources.
EXTRA EVENT! Friday, January 17 at 8:00 at the Philadelphia Marriott Old City Hotel (room TBA) The mysterious case of the world's tiniest songbook! A talk by early notation specialist Valerie Horst about the astonishing discovery in 2014 of the 15th- century Leuven Chansonnier, with some slides and a chance to sing a few Renaissance pieces whose existence was until now completely unknown. All are welcome! Please let us know if you are likely to come (we’re making copies of a couple of pieces). _____Yes, I’ll be there. _____No, I won’t make it.
PLEASE FILL OUT THE SELF EVALUATION FORM EVEN IF WE KNOW YOU!!!