AEM ONLINE Saturday, May 30, and Sunday, May 31, 2020

Join AEM ONLINE this weekend! Five online class sessions are offered using the Zoom meet- ing app, or your web browser. Register for any number of sessions; classes are $25 per session. Host will be in touch on Friday with Zoom meeting link. All sessions run 90 minutes, with the first 15 minutes for introductions and last-minute tech help. (Note that Sunday’s master class with Sarah Cunningham runs two hours in length.) Participants new to Zoom are strongly en- couraged to attend the Zoom tutorial on Friday May 29 at 4 pm Eastern Daylight Time/1 pm Pacific Daylight Time. All participants who have registered by Friday morning will receive an email with a link to the tutorial, the class , and the Zoom session link. If for any reason the session doesn’t work for you, we will refund your money.

SCHEDULE (Eastern Daylight Time) Saturday, May 30, 2020 1:00 - 2:30 p.m. Basso Continuo: An Introduction for Lutenists & Guitarists with Jason Priset 3:00 - 4:30 p.m. Recorder Ensemble Music of Timothy Broege with Jody Miller

Sunday, May 31, 2020 11:00 a.m. - 12:30 p.m. Master Class with Kathryn Cok. Open to auditors. 1:00 - 2:30 p.m. Orlande de Lassus—Il Magnifico with Pamela Dellal. 3:00 - 5:00 p.m. Viola da Gamba Master Class with Sarah Cunningham. Open to auditors.

CLICK HERE TO REGISTER

CLICK HERE FOR ZOOM INSTRUCTIONS

Basso Continuo: An Introduction for Lutenists and Guitarists with Jason Priset Saturday, May 30, 1:00 pm Eastern Daylight Time (10:00 am Pacific Time)

This class is designed as an introduction for guitarists and lutenists to the practice of play- ing basso continuo. In the 16th century basso continuo was introduced to simplify complicated polyphonic musical texture into something easier to read, and with fewer page turns for organ- ists. The development of basso continuo style in 17th century Italy altered the direction of mu- sic history and helped shape the musical language we use today. The class will look at simple examples of the bergamask, in various keys, and other popular 17th century grounds like the chaconne, folias de españa, españoletas, and gallardas. Some basic understanding of single line clef reading and finding simple chords on your instrument is preferred. When registering please indicate which instrument you plan to use. Open to: and guitar players. Also open to auditors on other instruments. Pitch: A=440. Music for this class will be available here for download.

Recorder Ensemble Music of Timothy Broege with Jody Miller Saturday, May 30, 3:00 pm Eastern Daylight Time (12:00 pm Pacific Time)

Timothy Broege is a harpsichordist, organist, and who lives on the New Jersey coast. This class will play his Partita Marietta, which was performed at the 1997 Boston Festival. This multi-movement work explores old styles found within a suite, yet with the unique (and beautiful!) harmonies that typify his compositional style. Written for the inter- mediate-level player, this suite puts the player to task in utilizing chromatics and close harmo- nies. For those who have already purchased Eric Haas's new collection for , we will also analyze and play Broege's Two-Part Elegy for LaNoue Davenport if we have time. Open to: SATB recorders. Pitch: A=440. Materials for this class will be available here for download.

Master Class for Harpsichordists with Kathryn Cok Sunday, May 31, 11:00 am Eastern Daylight Time (8:00 am Pacific Time)

Gain valuable insights into interpretation, touch, tone, and technique, in this repeat of our March 29th master class. Open to: auditors. Music for this class will be available here for download.

Orlande de Lassus—Il Magnifico with Pamela Dellal Sunday, May 31, 1:00 pm Eastern Daylight Time (10:00 am Pacific Time)

Orlande de Lassus (c. 1532–1594) is one of the most famous from the 16th century, with an output of spectacular depth and variety. One of a plethora of Franco-Flemish interna- tional composers, he lived and worked all over Europe but spent the bulk of his ca- reer at the Ducal court in . While Lassus’ reputation during his lifetime was stellar, his posthumous reception has been spotty. This may be partly due to his ability to produce short, simple, and accessible pieces in many genres that appealed to his patrons, instead of concentrating on highly ambitious and elaborate contrapuntal works. We’ll spend some time in his genial company—exploring four- and five-part works in four languages and various styles. Scores will be provided with parts in G, C and F clefs, as well as texts and translations. All pieces will be available to play with pre-recorded tracks, and parts and tempi can be adjusted during the session for additional flexibility. In addition to making music together, we’ll take a look at some of the techniques and expressive innovations of Las- sus’ style. Open to: Singers, recorder, , and dulcian players. Pitch: A=440. Music for this class will be available here for download.

Viola da Gamba Master Class on Marais with Sarah Cunningham Sunday May 31, 3:00 - 5:00 p.m. (12:00 – 2:00 pm Pacific Time)

A master class focusing on music by Marin Marais from Books 1-5. Auditors will observe four players as they work on expanding their expressive bow language, understanding rhetorical structures, and smooth, deft, left hand technique. Open to: auditors. Music for this class will be available here for download.