DOCSLIB.ORG

December Zoom House Concert • a Bass Viol Journey

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
December Zoom House Concert • a Bass Viol Journey DECEMBER ZOOM HOUSE CONCERT • A BASS VIOL JOURNEY FRIDAY, DEC 11, 2020 | 7:00 PM SATURDAY, DEC 12, 2020 | 2:00 PM Performed live from home, streamed via Zoom Eva Lymenstull, bass viol Jacques Ogg, Artistic Director Malachai Komanoff Bandy, bass viol PROGRAM Enlightenment, and Holland Baroque Society. She has performed at the Carmel Bach Festival, the Utrecht, JOHANNES SCHENCK • 1660–1712 Boston, and Berkeley Fringe Festivals, and on the Sonata XI in G Major from Le Nymphe di Rheno, Op. 8 Gotham Early Music and Academy of Early Music (Amsterdam 1702) series. As winner of the 2017 Voices of Music Bach Allegro-Adagio Competition, Ms. Lymenstull recorded Bach's D minor Aria (Allegro) cello suite for their online video archive. With Adagio performance and research interests ranging from the Ciacona early Renaissance to the twentieth century, she particularly enjoys playing Classical and Romantic THOMAS MORLEY • c. 1557–1602 chamber music on historical instruments. In addition to Fantasia “La Sampogna” (London 1595) performing, Ms. Lymenstull teaches baroque cello and viola da gamba as a regular guest artist at the University GOTTFRIED FINGER • c. 1655–1730 of Michigan. She holds degrees from the Royal Pastoralle from Puer Natus in Bethlehem for two viols Conservatory of The Hague (Jaap ter Linden), Rice University (Desmond Hoebig) and University of MARIN MARAIS • 1656–1728 Michigan (Richard Aaron), and will receive her DMA in Selections from Suite in G Major, Pièces de viole, Livre V historical performance practice from Case Western (Paris 1725) Reserve University in early 2021. Prelude Allemande (from Suite in G Major, Livre III) (Paris 1711) A native of Los Angeles, MALACHAI KOMANOFF Sarabande BANDY has amassed a professional performance record Gavotte on some twenty instruments spanning over 800 years of Menuet music history. He graduated cum laude with Distinction Gigue in Research and Creative Work from Rice University's Chaconne Shepherd School of Music with double bass and music Musette (from Suite in G Major, Livre III) (Paris 1711) history degrees. In recent years, Malachai has performed as a violist da gamba, violonist, and renaissance double- • • • • • • reed player with various ensembles in the U.S. and • Europe, including The Orpheon Consort, Ars Lyrica Houston, Voices of Music, Queens Baroque, Tesserae, Los Angeles-based baroque cellist and violist da gamba and Ciaramella. He is also a featured soloist in Bear EVA LYMENSTULL enjoys a diverse career that has McCreary’s scores to the films 10 Cloverfield Lane (yaylı taken her across North America and Europe as a soloist, tanbur, 2016), Welcome Home (viol, 2018), the Emmy- chamber musician, continuo player and orchestral winning title theme for the STARZ television musician. She has performed recently as concerto soloist series DaVinci's Demons (viol, 2013), and the video and principal cellist with the Lyra Baroque Orchestra, game God of War (nyckelharpa, 2018). After completing guest principal cellist of the Atlanta Baroque Orchestra, a Wagoner Fellowship-funded course of viola da gamba Apollo’s Fire, and Musica Angelica, and has also and organological study with José Vázquez in Austria, appeared with Tafelmusik Baroque Orchestra, Voices of Spain, and Switzerland, Malachai received a Presser Music, Tesserae, the Orchestra of the Age of Graduate Award (2016) to create the first comprehensive aural catalog of the Orpheon Foundation’s fifty historical violas da gamba (Duino, Italy). He is currently a PhD candidate and Oakley SEASON CHAMBER CONCERT III • Fellow in Historical Musicology at the USC Thornton JACQUES OGG FROM HOME: School of Music, in 2020 taught courses at both Pomona College and Scripps College, and was the 2019 recipient Cellebroederskapel in Maastricht, of both the Society for Seventeenth-Century Music's The Netherlands Irene Alm Memorial Prize and the AMS Pacific Southwest Chapter's Ingolf Dahl Award in Musicology. Saturday, January 23 | 11am Malachai’s scholarly interests include topics pertaining to occult philosophy, number symbolism, and Jacques Ogg, harpsichord Rosicrucianism in the North-German Baroque, as well as viola da gamba technique, repertoire, instrument In January our concert comes from Maastricht in design, and iconography. The Netherlands, set along the banks of the Meuse river. Lyra’s artistic director, Jacques Ogg brings us a special solo performance from the Lyra gratefully acknowledges the support of the many organi- zations and individuals who have generously supported Lyra’s Cellebroederskapel. This chapel was built in 1512 2020–2021 season. is activity is made possible by the voters of as an addition to the monastery established in Minnesota through Minnesota State Arts Board Operating 1360. More recently it’s where a young Jacques Support, Creative Support, and Arts Tour grants, as well as used to practice the organ. From this beautiful grants from St. Paul Cultural STAR, thanks to a legislative town of medieval streets and buildings we’ll hear appropriation from the arts and cultural heritage fund. the music of Froberger, Frescobaldi, and other relatively new-fangled composers of the 17th century. STAFF: Tami Morse, executive director | Cassidy Asch, Communications & O ce Manager | Joseph Jones, Education Director BOARD OF DIRECTORS: Margaret Sullivan, president | Bonnie Turpin, treasurer | Phebe Haugen, secretary | Stuart Holland | Susan Flygare | Ellen Rider | Sara ompson, musician representative CONTACT: 275 4th St E, Ste 280, St. Paul, MN 55101 | (651) 321-2214 | [email protected] | www.lyrabaroque.or .
Load more

Recommended publications
  • A Festival of the Arts
    WHEATLEY SECONDARY SCHOOL A FESTIVAL OF THE ARTS April 3rd, 5th, 6th, 1962 at 7.30 p.m. prompt Programme This Arts Festival is the “ brain child ” of Mr. J. W. Babb, L.R.A.M., L.T.C.L., Music Master at the School, and it is due to his enthusiasm and inspiration alone, that it has come to pass. It is his “ swan song ” as he leaves us in July to take up a similar, and I am sure, more rewarding post at Wintringham Grammar School, Grimsby. Time after time, we have offered Drama and Music classes in the Further Education Centre here, but continued support by a body of people having the same tastes and abilities has been difficult to maintain, and of late years we have had to acknowledge that the catchment area will not carry such activities on a regular weekly basis. In organising this Festival therefore, we have asked for, and obtained the support of a number of patrons who are happy to attend up to three evenings in the week to' share in the delights of music and drama made by “ live ” musicians and actors, in a hall which has recently been made accoustically far more sympathetic than in the past. The musical programme, is conservative in its choice of composers, but combines well known works with those which are not so familiar to most of us. We welcome both the Capriol Orchestra with Reginald Morley, the well-known violinist, as soloist, and The Trinity College Consort. “ Waiting for Godot ”, one of the most controversial plays of this century, cannot fail to intrigue and entertain, in a manner possibly different from the usual drama.
    [Show full text]
  • Julie Andrijeski's Cabinet of Wonders at Tregoning & Company (Nov
    Julie Andrijeski’s Cabinet of Wonders at Tregoning & Company (Nov. 12) by Nicholas Jones Cleveland-based Baroque violinist Julie Andrijeski, well-known to area audiences for her performances with Les Délices and Apollo’s Fire, premiered a new project on Saturday, November 12 in a lively concert at the Tregoning & Company gallery on West 78th Street. Surrounded by Giancarlo Calicchia’s striking sculptures, Andrijeski and friends performed fascinating works by neglected 17th-century European composers. With the support of a 2016 Creative Workforce Fellowship from the Community Partnership for Arts and Culture (funded by Cuyahoga Arts & Culture), Andrijeski is currently on research leave from her teaching and conducting duties at Case Western Reserve University. She is devoting her time to studying the enormous archive of early Baroque music for the violin, collections that are still for the most part unedited, and little performed. Spending time in this treasure trove of music, according to Andrijeski, is like visiting one of the strange cabinets of curiosities that scholars and collectors assembled in that time of scientific and artistic exploration. In such a “Wonder Chamber” — in German, a Wunderkammer — one might encounter such diverse specimens as a stuffed crocodile, a ​ nautilus shell, a neolithic axe, or a cloisonné bowl: things that fascinated and baffled the inquisitive minds of the times. A sense of discovery was evident throughout the evening. While the composers included some familiar names, such as Dieterich Buxtehude and Jan Pieterszoon Sweelinck, we also heard pieces by the little-known German Johann Schop (ca. 1590-1667) and the Austrian violinist Johann Heinrich Schmeltzer (ca.
    [Show full text]
  • Eubo Mobile Baroque Academy
    EUBO MOBILE BAROQUE ACADEMY EUROPEAN CO OPERATION PROJECT 2015 2018 INTERIM REPORT Pathways & Performances CONTENTS EUBO MOBILE BAROQUE ACADEMY........................................2?3 PARTNER ORGANISATIONS ....................................................4?13 INTERNATIONAL CONCERT TOURS ....................................14?18 MUSIC EDUCATION ...............................................................19?22 OTHER ACTIVITIES ................................................................23?25 HOW DO WE MAKE ALL THIS HAPPEN ................................26?27 WHO IS WHO................................................................................28 EUBO MOBILE BAROQUE ACADEMY The EUBO Mobile Baroque Academy (EMBA) co-operation project addresses the unequal provision across the European Union of baroque music education and performance, in new and creative ways. The EMBA project builds on the 30-year successful track-record of the European Union Baroque Orchestra (EUBO) in providing training and performing opportunities for young EU period performance musicians and extends and develops possibilities for orchestral musicians intending to pursue a professional career. From an earlier stage of conservatoire training via orchestral experience, through to the first steps in the professional world, musicians attending the activities of EMBA are offered a pathway into the profession. The EMBA activities supporting the development of emerging musicians include specialist masterclasses by expert tutors; residential orchestral selection
    [Show full text]
  • A Sampling of Twenty-First-Century American Baroque Flute Pedagogy" (2018)
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Student Research, Creative Activity, and Music, School of Performance - School of Music 4-2018 State of the Art: A Sampling of Twenty-First- Century American Baroque Flute Pedagogy Tamara Tanner University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/musicstudent Part of the Music Pedagogy Commons, and the Music Performance Commons Tanner, Tamara, "State of the Art: A Sampling of Twenty-First-Century American Baroque Flute Pedagogy" (2018). Student Research, Creative Activity, and Performance - School of Music. 115. https://digitalcommons.unl.edu/musicstudent/115 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Student Research, Creative Activity, and Performance - School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. STATE OF THE ART: A SAMPLING OF TWENTY-FIRST-CENTURY AMERICAN BAROQUE FLUTE PEDAGOGY by Tamara J. Tanner A Doctoral Document Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Doctor of Musical Arts Major: Flute Performance Under the Supervision of Professor John R. Bailey Lincoln, Nebraska April, 2018 STATE OF THE ART: A SAMPLING OF TWENTY-FIRST-CENTURY AMERICAN BAROQUE FLUTE PEDAGOGY Tamara J. Tanner, D.M.A. University of Nebraska, 2018 Advisor: John R. Bailey During the Baroque flute revival in 1970s Europe, American modern flute instructors who were interested in studying Baroque flute traveled to Europe to work with professional instructors.
    [Show full text]
  • Music in the Pavilion
    UNIVERSITY of PENNSYLVANIA LIBRARIES KISLAK CENTER Music in the Pavilion PHOTO BY SHARON TERELLO NIGHT MUSIC A SUBTLE AROMA OF ROMANTICISM Friday, September 27, 2019 Class of 1978 Orrery Pavilion Van Pelt-Dietrich Library Center www.library.upenn.edu/about/exhibits-events/music-pavilion .................................................................................. .................................................................................. .................................................................................. .................................................................................................................................................................... .................................................................................. ........... ............ ......... A SUBTLE AROMA OF ROMANTICISM NIGHT MUSIC Andrew Willis, piano Steven Zohn, flute Rebecca Harris, violin Amy Leonard, viola Eve Miller, cello Heather Miller Lardin, double bass PIANO TRIO IN D MINOR, OP. 49 (1840) FELIX MENDELSSOHN (1809–47) MOLTO ALLEGRO AGITATO ANDANTE CON MOTO TRANQUILLO SCHERZO: LEGGIERO E VIVACE FINALE: ALLEGRO ASSAI APPASSIONATO PIANO QUINTET IN A MINOR, OP. 30 (1842) LOUISE FARRENC (1804–75) ALLEGRO ADAGIO NON TROPPO SCHERZO: PRESTO FINALE: ALLEGRO The piano used for this concert was built in 1846 by the Paris firm of Sébastien Érard. It is a generous gift to the Music Department by Mr. Yves Gaden (G ’73), in loving memory of his wife Monique (1950-2009). ...................................................................................
    [Show full text]
  • Direction 2. Ile Fantaisies
    CD I Josquin DESPREZ 1. Nymphes des bois Josquin Desprez 4’46 Vox Luminis Lionel Meunier: direction 2. Ile Fantaisies Josquin Desprez 2’49 Ensemble Leones Baptiste Romain: fiddle Elisabeth Rumsey: viola d’arco Uri Smilansky: viola d’arco Marc Lewon: direction 3. Illibata dei Virgo a 5 Josquin Desprez 8’48 Cappella Pratensis Rebecca Stewart: direction 4. Allégez moy a 6 Josquin Desprez 1’07 5. Faulte d’argent a 5 Josquin Desprez 2’06 Ensemble Clément Janequin Dominique Visse: direction 6. La Spagna Josquin Desprez 2’50 Syntagma Amici Elsa Frank & Jérémie Papasergio: shawms Simen Van Mechelen: trombone Patrick Denecker & Bernhard Stilz: crumhorns 7. El Grillo Josquin Desprez 1’36 Ensemble Clément Janequin Dominique Visse: direction Missa Lesse faire a mi: Josquin Desprez 8. Sanctus 7’22 9. Agnus Dei 4’39 Cappella Pratensis Rebecca Stewart: direction 10. Mille regretz Josquin Desprez 2’03 Vox Luminis Lionel Meunier: direction 11. Mille regretz Luys de Narvaez 2’20 Rolf Lislevand: vihuela 2: © CHRISTOPHORUS, CHR 77348 5 & 7: © HARMONIA MUNDI, HMC 901279 102 ITALY: Secular music (from the Frottole to the Madrigal) 12. Giù per la mala via (Lauda) Anonymous 6’53 EnsembleDaedalus Roberto Festa: direction 13. Spero haver felice (Frottola) Anonymous 2’24 Giovanne tutte siano (Frottola) Vincent Bouchot: baritone Frédéric Martin: lira da braccio 14. Fammi una gratia amore Heinrich Isaac 4’36 15. Donna di dentro Heinrich Isaac 1’49 16. Quis dabit capiti meo aquam? Heinrich Isaac 5’06 Capilla Flamenca Dirk Snellings: direction 17. Cor mio volunturioso (Strambotto) Anonymous 4’50 Ensemble Daedalus Roberto Festa: direction 18.
    [Show full text]
  • III CHAPTER III the BAROQUE PERIOD 1. Baroque Music (1600-1750) Baroque – Flamboyant, Elaborately Ornamented A. Characteristic
    III CHAPTER III THE BAROQUE PERIOD 1. Baroque Music (1600-1750) Baroque – flamboyant, elaborately ornamented a. Characteristics of Baroque Music 1. Unity of Mood – a piece expressed basically one basic mood e.g. rhythmic patterns, melodic patterns 2. Rhythm – rhythmic continuity provides a compelling drive, the beat is more emphasized than before. 3. Dynamics – volume tends to remain constant for a stretch of time. Terraced dynamics – a sudden shift of the dynamics level. (keyboard instruments not capable of cresc/decresc.) 4. Texture – predominantly polyphonic and less frequently homophonic. 5. Chords and the Basso Continuo (Figured Bass) – the progression of chords becomes prominent. Bass Continuo - the standard accompaniment consisting of a keyboard instrument (harpsichord, organ) and a low melodic instrument (violoncello, bassoon). 6. Words and Music – Word-Painting - the musical representation of specific poetic images; E.g. ascending notes for the word heaven. b. The Baroque Orchestra – Composed of chiefly the string section with various other instruments used as needed. Size of approximately 10 – 40 players. c. Baroque Forms – movement – a piece that sounds fairly complete and independent but is part of a larger work. -Binary and Ternary are both dominant. 2. The Concerto Grosso and the Ritornello Form - concerto grosso – a small group of soloists pitted against a larger ensemble (tutti), usually consists of 3 movements: (1) fast, (2) slow, (3) fast. - ritornello form - e.g. tutti, solo, tutti, solo, tutti solo, tutti etc. Brandenburg Concerto No. 2 in F major, BWV 1047 Title on autograph score: Concerto 2do à 1 Tromba, 1 Flauto, 1 Hautbois, 1 Violino concertati, è 2 Violini, 1 Viola è Violone in Ripieno col Violoncello è Basso per il Cembalo.
    [Show full text]
  • Æ'xªêgš3{ Þi—ºes"Ƒ Wuãe"
    557249bk Buxtehude US 7/10/05 5:16 pm Page 8 Dietrich Buxtehude (c.1637–1707): Complete Chamber Music • 2 Seven Trio Sonatas, Op. 2 BUXTEHUDE Sonata No. 1 in B flat major, 8:33 Sonata No. 5 in A major, 9:15 BuxWV 259 BuxWV 263 Seven Trio Sonatas, Op. 2 1 Allegro 1:23 ^ Allegro 1:01 2 Adagio – Allegro 2:23 & Violino solo – Concitato 3:19 John Holloway, Violin 3 Grave 1:34 * Adagio: Viola da gamba solo 1:21 4 Vivace – Lento 1:14 ( Allegro – Adagio 1:19 Jaap ter Linden, Viola da gamba 5 Poco adagio – Presto 1:59 ) 6/4 – Poco presto 2:14 Lars Ulrik Mortensen, Harpsichord Sonata No. 2 in D major, 9:06 Sonata No. 6 in E major, 8:37 BuxWV 260 BuxWV 264 6 Adagio – Allegro – Largo 3:13 ¡ Grave – Vivace 3:23 7 Ariette, Parte I–X 3:40 ™ Adagio – Poco presto – Lento 3:39 8 Largo – Vivace 2:14 £ Allegro 1:34 Sonata No. 3 in G minor, 10:54 Sonata No. 7 in F major, 8:15 BuxWV 261 BuxWV 265 9 Vivace – Lento 3:07 ¢ Adagio – 4/4 3:02 0 Allegro – Lento 1:25 ∞ Lento – Vivace 2:20 ! Andante 3:16 § Largo – Allegro 2:53 @ Grave – Gigue 3:06 This recording has been based on the following editions: Dieterich Buxtehude: VII. Suonate à doi, Sonata No. 4 in C minor, 8:32 Violino & Violadagamba, con Cembalo, Opus. 1, BuxWV 262 Hamburg [1694] – Opus 2, Hamburg 1696. Facsimile # Poco adagio 1:45 edition, vol. 1-2, with an introduction by Kerala J $ Allegro – Lento 2:03 Snyder.
    [Show full text]
  • Booklet & CD Design & Typography: David Tayler Cover Art: Adriaen Coorte
    Voices of Music An Evening with Bach An Evening with Bach 1. Air on a G string (BWV 1069) Johann Sebastian Bach (1685–1750) 2. Schlummert ein (BWV 82) Susanne Rydén, soprano 3. Badinerie (BWV 1067) Dan Laurin, voice flute 4. Ich folge dir gleichfalls (St. John Passion BWV 245) Susanne Rydén, soprano; Louise Carslake, baroque flute 5. Giga (BWV 1004) Dan Laurin, recorder 6. Schafe können sicher weiden (BWV 208) Susanne Rydén, soprano 7. Prelude in C minor (BWV 871) Hanneke van Proosdij, harpsichord 8. Schlafe mein Liebster (BWV 213) Susanne Rydén, soprano 9. Prelude in G major (BWV 1007) David Tayler, theorbo 10. Es ist vollbracht (St. John Passion BWV 245) Jennifer Lane, alto; William Skeen, viola da gamba 11. Sarabanda (BWV 1004) Elizabeth Blumenstock, baroque violin 12. Kein Arzt ist außer dir zu finden (BWV 103) Jennifer Lane, alto; Hanneke van Proosdij, sixth flute 13. Prelude in E flat major (BWV 998) Hanneke van Proosdij, lautenwerk 14. Bist du bei mir (BWV 508) Susanne Rydén, soprano 15. Passacaglia Mein Freund ist mein J.C. Bach (1642–1703) Susanne Rydén, soprano; Elizabeth Blumenstock, baroque violin Notes The Great Collectors During the 1980s, both Classical & Early Music recordings underwent a profound change due to the advent of the Compact Disc as well as the arrival of larger stores specializing in music. One of the casualties of this change was the recital recording, in which an artist or ensemble would present an interesting arrangement of musical pieces that followed a certain theme or style—much like a live concert. Although recital recordings were of course made, and are perhaps making a comeback, most recordings featured a single composer and were sold in alphabetized bins: B for Bach; V for Vivaldi.
    [Show full text]
  • Beginners Lute and Viol Chords — G Tuning Open Position Chords (First Three Frets Plus Nut Or Open Strings)
    Beginners Lute and Viol Chords — G tuning open position chords (first three frets plus nut or open strings) Black diamonds are root tones. Open strings tuning: G C F A D G Grayed tones are optional. White filled tones behind the nut are open string tones (to be included in chord). X ed strings at the nut are muted or not played. Large numbers inside chord dots are fingering numbers: 1 = index finger 2 = middle finger 3 = ring finger Standard 6 string Lute and Viol tuning pattern 4 = little finger 4th 4th 3rd 4th 4th T = thumb G G G G G G Major minor Dom 7 minor 7 Major 7 Major 6 1 1 1 2 1 3 2 3 1 2 2 3 2 3 142 3 3 4 R5R35R R5R35 R R 5737R R5R3 7R R5735R R5R36R C C C C C C Major minor Dom 7 minor 7 Major 7 Major 6 1 1 2 1 1 2 2 2 3 3 2 1 3 1 1 1 3 3 2 5R5R35 5R5R35 5R5735 5R57 355R5735 5R5R36 F F F F F F Major minor Dom 7 minor 7 Major 7 Major 6 X X X X X X 1 1 1 1 T 2 2 1 1 2 3 4 3 4 3 3 3 3 3 5R5R3 5R5R3 5R573 5R57 3 5R573 5R563 Basic Viol and Lute Chords TheCipher.com © 2003 Roger Edward Blumberg 1 Beginners Lute and Viol Chords (G tuning continued) open position chords (first three frets plus nut or open strings) A/B A/B A/B A/B A/B A/B Major minor Dom 7 minor 7 Major 7 Major 6 X X 1 1 2 1 1 1 1 2 see barre chord 2 see barre chord 2 3 2 3 4 3 4 4 3 4 2 3 33 3 4 R35R3R R 35R5R R35R57 R 7 35 R R 35R37 R35R36 5 D/E D/E D/E D/E D/E D/E Major minor Dom 7 minor 7 Major 7 Major 6 X X X X X X 1 1 1 1 1 1 1 1 2 2 see barre chord 2 2 3 4 3 4 3 1 2 3 3 4 4 3 4 5 R35R5 R 35R5 R37R 3 R 7 35 R3573 R36R3 G/A G/A G/A G/A G/A G/A Major minor Dom 7
    [Show full text]
  • Amherst Early Music Festival Directed by Frances Blaker
    Amherst Early Music Festival Directed by Frances Blaker July 8-15, and July 15-22 Connecticut College, New London CT Music of France and the Low Countries Largest recorder program in U.S. Expanded vocal programs Renaissance reeds and brass New London Assembly Festival Concert Series Historical Dance Viol Excelsior www.amherstearlymusic.org Amherst Early Music Festival 2018 Week 1: July 8-15 Week 2: July 15-22 Voice, recorder, viol, violin, cello, lute, Voice, recorder, viol, Renaissance reeds Renaissance reeds, flute, oboe, bassoon, and brass, flute, harpsichord, frame drum, harpsichord, historical dance early notation, New London Assembly Special Auditioned Programs Special Auditioned Programs (see website) (see website) Baroque Academy & Opera Roman de Fauvel Medieval Project Advanced Recorder Intensive Ensemble Singing Intensive Choral Workshop Virtuoso Recorder Seminar AMHERST EARLY MUSIC FESTIVAL FACULTY CENTRAL PROGRAM The Central Program is our largest and most flexible program, with over 100 students each week. RECORDER VIOL AND VIELLE BAROQUE BASSOON* Tom Beets** Nathan Bontrager Wouter Verschuren It offers a wide variety of classes for most early instruments, voice, and historical dance. Play in a Letitia Berlin Sarah Cunningham* PERCUSSION** consort, sing music by a favorite composer, read from early notation, dance a minuet, or begin a Frances Blaker Shira Kammen** Glen Velez** new instrument. Questions? Call us at (781)488-3337. Check www.amherstearlymusic.org for Deborah Booth* Heather Miller Lardin* Karen Cook** Loren Ludwig VOICE AND THEATER a full list of classes by May 15. Saskia Coolen* Paolo Pandolfo* Benjamin Bagby** Maria Diez-Canedo* John Mark Rozendaal** Michael Barrett** New to the Festival? Fear not! Our open and inviting atmosphere will make you feel at home Eric Haas* Mary Springfels** Stephen Biegner* right away.
    [Show full text]
  • Join Us for This Summer's Baroque a Cadem Y!
    FACULTY Aaron Sheehan, voice PAID U.S. Postage Postage U.S. Brockton, MA Brockton, Non-Profit Org. Non-Profit Org. Julie Andrijeski, violin 1000 No. Permit Debra Nagy, oboe Na’ama Lion, flute Saskia Coolen, recorder Wouter Verschuren, bassoon Jaap ter Linden, cello Heather Miller Lardin, double bass Sarah Cunningham, Paolo Pandolfo, viol Arthur Haas, Peter Sykes, harpsichord Xavier Diaz-Latorre, lute, guitar, and theorbo Drew Minter, opera director Amherst Early Music Festival Jason McStoots, Vocal Soloist Project director at Connecticut College, New London CT Adam Pearl, orchestra conductor Music of France and the Low Countries Saskia Coolen, Director DAILY SCHEDULE MONDAY-FRIDAY 9:00 am Master class 11:00 am Baroque ensembles 1:45 pm Ensembles and special topics 3:30 pm Opera and Vocal Soloists rehearsals PERFORMANCES Thursday, July 12 8:00 pm Baroque Academy Faculty concert Friday, July 13 8:00 pm Opera Project: Lully’s Cadmus et Hermione Saturday, July 14 1:00 pm Baroque Academy Concert 4:30 pm Staged Baroque Cantatas with Vocal Soloists www.amherstearlymusic.org Amherst Early Music, Inc. Amherst Director Marilyn Boenau, Executive Allen House Nathaniel Street Webster 35 MA 02465 Newton West this summer’s Join us for Academy! Baroque THE BAROQUE ACADEMY is a program VIOL INTENSIVE Viol players will work for emerging professional singers and instrumentalists with two master viol teachers: Sarah Cunningham who want to develop their understanding and perfor- and Paolo Pandolfo. All-day viol program will mance of Baroque repertoire in a high-powered musi- include technical work and coaching on gorgeous cal environment. Immerse yourself in 17th and 18th viol repertoire by Marais, Couperin, and Forqueray.
    [Show full text]