2024 Festival Classes Week 1

Participants who have registered will receive a link to choose their classes. (coming soon!)
Pitch for classes is A=440 unless otherwise noted.

Early Morning Class Period: 9:00 - 10:30 a.m.

Early Notation Ensemble: Mensural Notation of the 15th and 16th Centuries with Wendy Powers

For players of recorder, viols, and other soft instruments who are familiar with clefs, ligatures, and triple notation

Class Description

Come to the sources of Renaissance polyphony! Class will explore manuscript and print sources that include both duple and triple mensuration, with an eye toward gorgeous music and fun notation problems. Students should be familiar with C clefs, ligatures, and triple notation.

The Art of Consort Playing: Turning Notes into Music

With Miyo Aoki, Cléa Galhano, Larry Lipkis; for all levels of recorders.

Class Description

Have you always wanted to be a more expressive and agile consort player? This class will work on the skills you need to not only be a better player yourself, but to inspire your fellow consort players to turn notes into music! We’ll play consort music by composers of the Renaissance, Baroque, and beyond, working on skills such as intonation, tone colors, articulation, rhythm, and ensemble precision. We’ll learn how to make decisions about tempo, ornaments, dynamics, and phrasing.

Renaissance Recorder Consort

With Rainer Beckmann, Letitia Berlin; for recorder players familiar with Renaissance recorder fingering who own or can borrow Renaissance consort recorders.

Class Description

One-on-a-part consort for accomplished players of Renaissance recorders. Blend and ensemble skills emphasized. Repertoire will include but not be limited to the works of Italian and Spanish composers Guerrero, Encina, Escobar, Bassano, Monteverdi, Marenzio, and Canale. Performance a possibility. For players familiar with Renaissance recorder fingering who own or can borrow Renaissance consort recorders. Players must bring at least two sizes.

Corelli! Concerti and Trio Sonatas with Na’ama Lion

For upper intermediate to advanced flutes and recorders. Pitch: A=415.

Class Description

Arcangelo Corelli was one of the most influential composers of the late 17th- and early 18th-centuries. We will explore his concerti and trio sonatas as well as Italian ornamentation by the leading composers of the time. For upper intermediate to advanced flutes and recorders. Pitch: A=415.

Recorder Master Class for Baroque Academy and Central Program with Saskia Coolen

Perform in class with permission of the instructor, auditors welcome.

Class Description

Suggested repertoire can include but is not restricted to diminutions and ricercars from the 16th century, canzonas and sonatas from the 17th century, and music from the 18th-century sonata and cantata repertoire. Some possible composers would be Bassano, Virgiliano, Selma y Salaverde, Frescobaldi, Castello, Vivaldi, Barsanti, and Corelli. Please bring an extra five copies for class study. 415 and 440 instruments welcome.

Baroque Flute Master Class with Kathie Stewart

Perform in class with permission of the instructor, auditors welcome. Pitch: A=415.

Class Description

This class meets with Baroque Academy flutes. Open to Central Program players to perform by permission of the instructor. Suggested repertoire: Italian and Spanish repertoire preferred, but anything is fine. Pitch: A=415.

Oboe Band with Wouter Verschuren

For experienced oboes, tailles, and bassoons. Pitch: A=415.

Class Description

Since we do not have music for oboe band from early Spain and Italy, we will work instead on a beautiful suite by Henry Purcell that was written in 1691 for a play called The Gordian Knot Untied. For experienced oboes, tailles, and bassoons. Pitch: A=415.

Viol Consort: Balliamo!

With Arnie Tanimoto, Brent Wissick; Open to viols. Pitch: A=415.

Class Description

Explore the charming four-part dance music of Giorgio Mainerio and Francesco Bendusi, found in their respective publications Il Primo Libro de Balli and Opera Nova de Balli. The only surviving Italian ensemble dance music from the 16th century, these pieces offer a refreshing contrast to Renaissance polyphony. Start your day off by feeling rhythm and energy in your body and bow–save your counting for later! Consorts will be carefully sorted according to level of technical and musical proficiency. Open to viols. Pitch: A=415.

Baroque Academy Cello Master Class with Phoebe Carrai

Audit only

Baroque Academy Viol Master Class with Sarah Cunningham

Audit only.

Baroque Academy Violin Master Class with Julie Andrijeski

Audit only.

Baroque Academy Violone/Double Bass Master Class with Heather Miller Lardin

Audit only.

Baroque Academy Harpsichord Master Class with Kathryn Cok

Audit or perform with permission of instructor.

Baroque Academy Vocal Master Class with Aaron Sheehan

Audit only.

Cantemos! Singing the Songs of Spain with Temmo Korisheli

For vocalists, all levels.

Class Description

The music of Spanish Renaissance composers gets somewhat hidden behind that of composers from Italy, England, Germany, and the Low Countries. Let’s shine a light on this wonderful repertoire, exploring works by such composers as Encina, Escobar, Peñalosa, Guerrero, and Victoria. Sampling pieces from both sacred and secular traditions, we’ll gain a new understanding of music in Renaissance Spain in this a cappella chorus. For vocalists, all levels.

Coffee Break 10:30 - 11:00 a.m.

Late Morning Class Period: 11:00 a.m. - 12:15 p.m.

Baroque Orchestra: Music from the Salons and Opera Houses of Italy and Spain

With Frances Blaker; open to all Baroque instruments at A = 415: winds, strings and continuo, including but not limited to recorder, flute, oboe, bassoon, violin, viola, cello bass, viola da gamba (all sizes), harpsichord, lute, harp, etc. Continuo players must be able to read figures. Music will be available in advance.

Class Description

Elegant, colorful, theatrical, exotic, and just plain exciting concerti by Corelli, Vivaldi, and Soler will feature every section of the orchestra. Work on sound and tone, expression and Baroque style, as we prepare for performance at the end of the week. This class is open to all Baroque instruments at A=415: winds, strings, and continuo, including but not limited to recorders, flutes, oboes, bassoons, violins, violas, cellos, basses, viols (all sizes), harpsichords, and lutes.

Collegium: 1492 with Larry Lipkis

Open to all singers and instrumentalists.

Class Description

In the fateful year of 1492 when Columbus “sailed the ocean blue,” the last Moorish palace in Granada fell to the armies of Ferdinand and Isabella, and the Jews and Moors were expelled from Spain. In that same year, Lorenzo de’ Medici–the de facto ruler of Renaissance Florence–died at age 43. In this year’s Collegium, we’ll explore the wonderfully rich legacy of Spanish and Italian music of the late 15th and early 16th centuries. We’ll begin with music from the Cancionero de Palacio (The Palace Songbook) by Juan del Encina and others–poignant romances, sparkling villancicos, and more. Then we’ll turn to the music from the time of Lorenzo “Il Magnifico”: soulful songs and groundbreaking instrumental works by Marchetto Cara, Bartolomeo Tromboncino, and others.

Cancionero de Palacio with Marilyn Boenau

For upper intermediate to advanced shawm, dulcian, sackbut.

Class Description

This wonderful manuscript from late 15th- and early 16th-century Spain shows off the color and character of musical life at the court of the Catholic monarchs, Ferdinand and Isabella. We’ll play pieces by Juan del Encina, Juan de Urrede, and other Spanish and Franco-Flemish composers.

Name that Tune: Decorated Settings of Popular Music at the Keyboard from 16th- and 17th-century Spain and Italy with Kevin Devine

For keyboard players.

Class Description

Class we will look at treatments of popular songs and dances (canzoni, passagi, glosas, diferencias, partite) of the late Renaissance and early modern eras on harpsichord. We will examine works by Andrea Gabrieli, Antonio de Cabezón, Girolamo Frescobaldi, and others, exploring the ingenious ways in which these composers embellished pop music of their day. We will also delve into constructing our own passagi using techniques taught by Bovicelli, Rognoni, Dalla Casa, and others. Each participant should be prepared to play at least one pre-existing work. Observers and knowledge-seekers are also welcome. Please e-mail Kevin at Click here to show mail address for repertoire help, and please limit your piece to something Italian or Spanish from the 16th or 17th century.

Early Afternoon Class Period: 1:45 p.m. - 3:00 p.m.

Early Notation: Petrucci for the People! with Valerie Horst

For recorders; other instruments will be considered upon request. Students should have some experience with Renaissance notation and C clefs.

Class Description

In solving the considerable technical challenges of printing music, the Venetian Ottaviano Petrucci created a “musical Gutenberg Bible.” Just as that first printed book did for Christianity, his publications opened music-making to countless people who could never have afforded to commission a manuscript. As we celebrate the 520th anniversary of his instrumental collection, Canti C, by playing some of its 141 pieces, we will be recreating the sounds heard in the drawing rooms of 16th-century Venetian music lovers.

The Songs of Salamone: Rossi vocal music in Italian and Hebrew with Lisa Solomon

Primarily for vocalists, instruments playing at A=440 welcome to join.

Class Description

Italian-Jewish composer and violinist Salamone Rossi (ca.1570-ca.1630) was a straddler of worlds–vocal and instrumental, Christian and Jewish, secular and sacred, Renaissance and Baroque. Serving the Gonzaga court in Mantua for almost four years, he worked with and under such composers as Giaches de Wert and Claudio Monteverdi, all the while remaining grounded in the spiritual and artistic life of his (increasingly persecuted) Jewish community. This class will focus on a selection of his vocal works, from traditional Italian-language canzonette and madrigals to the absolutely unique Ha-shirim asher li-shlomo (“The Songs of Solomon”, 1622/23,) the first ever publication of polyphonic music in Hebrew. (We’ll work on pronunciation together!)

Canti e Danze/Canciones y Danzas with Eric Haas

For intermediate to upper intermediate recorders.

Class Description

Vocal and instrumental songs and dances of Spain and Italy. Villancicos of Vasquez and Encina, madrigals by Rafaella Aleotti and Madalena Casulana, and dances of Mainerio and Anonymous.

Three in One: Canzoni, Sonate, e Folías with Rainer Beckmann

For intermediate to upper intermediate recorders.or intermediate to upper intermediate recorder players.

Class Description

This dynamic class ties together three distinct topics, repertoires, and times: 1) Italy, early 17th century: captivating canzonas a 4 and a 5 by Banchieri and Bonelli, Merulo and Maschera that will invite you to hone your skills as an ensemble player. 2) Italy, late 17th century: intriguing recorder adaptations of duo and trio sonatas by Corelli and Caldara that will help you focus on a given movement’s affect and on ways to express this emotional quality on the recorder. 3) Spain, around 1730: anonymous Follia variations adapted for recorder solo that will turn the class into a recorder boot camp dedicated to improving your technique.

Brazilian Music for Recorder Ensemble with Cléa Galhano

For advanced recorders.

Class Description

Explore repertory from Colonial Brazil, from folk music to modern and popular music showcasing the infectious melodies, lovely–and sometimes strange–harmonies and exciting rhythms based on African and Portuguese influence.

Renaissance Recorders Consort

With Miyo Aoki, Wendy Powers; for players familiar with Renaissance recorder fingering who own or can borrow Renaissance consort recorders. Players must bring at least two sizes.

Class Description

One-on-a-part consort for accomplished players/owners of Renaissance recorders. Blend and ensemble skills emphasized. For players familiar with Renaissance recorder fingering who own or can borrow Renaissance consort recorders.

Frottole and Madrigali for Renaissance Flutes with Na’ama Lion

For Renaissance flutes.

Class Description

Explore beautiful Italian music and trace the development of the madrigal, supplemented with technical work and warmups to build the ensemble and work on tuning and tone production. Music by Tromboncino, Cara, Festa, de Rore, and others.

Canzoni di Diversi with Marilyn Boenau

For upper intermediate to advanced dulcian, shawm, cornetto, and sackbut players

Class Description

Villancicos de Diversos Autores published in Venice in 1556 and other contemporary collections offer a variety of pieces that work well on mixed loud instruments. Composers will include Adrian Willaert, Andrea Gabrieli, Orlande de Lassus, and others.

Baroque Oboe Master Class: Sonority and Style with John Abberger

Participants should plan to perform, auditors welcome. Pitch: A=415.

Class Description

Class meets with Baroque Academy oboes. Italian and Spanish repertoire recommended but other repertoire welcome. We will focus on technique and reed making in this class, with major emphasis on efficient and expressive tone production and expanding our articulation palette. Everyone should bring two movements of a prepared piece; possible repertoire could include sonatas by Castrucci and Sammartini, especially their respective sonatas in G major. Combined Baroque Academy and Central Program oboists. Please bring five copies for class study. For experienced players. Pitch: A=415.

Baroque Bassoon Master Class with Wouter Verschuren

Perform with permission of instructor, auditors welcome. Pitch: A=415.

Class Description

Class meets with Baroque Academy bassoons. In this class we will focus on Italy through the sonatas of Xinser and Besozzi. We will also work on articulation, ornamentation, shaping the continuo line, and of course some reed making. Pitch: A=415.

Viole Musicali with Arnie Tanimoto

For upper intermediate to advanced viols and violins. Pitch: A=415

Class Description

Frescobaldi's Fiori Musicali, published in 1635, has been regarded as one of his most iconic works. Though originally composed for organ, these polyphonic pieces are also suitable for four-part consorts, allowing viol players to enjoy these Italian gems. We will focus on articulation and shaping with the bow in order to bring out the complex counterpoint, rich harmonies, and striking chromaticism of this influential collection of liturgical music. Open to upper intermediate to advanced viols and violins. Pitch: A=415.

Triste España: Songs from the Cancionero de Palacio with Brent Wissick

For intermediate viols. Pitch: A=415

Class Description

Explore songs from the Cancionero de Palacio, a Madrid manuscript of almost 500 pieces assembled during the age of Ferdinand and Isabella (1470-1510). These polyphonic songs are sometimes romantic, but also chivalrous, festive, religious, or satirical, and though they are not difficult to play, they are rich in content. The most represented composer in this collection is Juan del Encina. Open to intermediate viols. Pitch: A=415.

Nuts and Bolts of the Harpsichord: Bring Your Harpsichord Questions! with Alissa Duryee

For harpsichord players; students for whom the harpsichord is a secondary instrument are also welcome.

Class Description

Students will be free to workshop issues they face about the harpsichord in general, including but not limited to: suggested repertoire in the Italian style for any level, practice techniques, assistance in preparing repertoire for chamber and solo projects, coaching on instrument tuning and basic maintenance. Content will be adjusted to the level and goals of the participants.

Late Afternoon Class Period: 3:30 p.m. - 4:45 p.m.

Il bianco e dolce cigno: Italian Madrigals for Voices and Viols with Brent Wissick

For voices and viols. Pitch: A=415.

Class Description

Some of the first great Italian madrigals, based on sensuous Italian poems, were composed by the Flemish composer Jacob Arcadelt. The conventions he established were imitated all over Europe and continued by others, including the later Italian composer Cipriano de Rore. We will explore the subtle ways both composers painted words with their musical settings. Enjoy an afternoon of “swan songs.”

Medieval, Renaissance, Baroque—What’s the Difference? with Larry Lipkis

For intermediate and up recorders and viols. Pitch: A=440.

Class Description

Through a combination of playing (lots) and discussing (some), we will uncover key features of each musical period. Gain an understanding of musical forms from the apex of Medieval polyphony through the flourishing of the Renaissance and on to the musical architecture of the Baroque. For intermediate and up recorders and viols. Pitch: A=440.

Baroque Ensembles

For advanced treble and basso continuo players who are musically and technically prepared to explore challenging repertoire.

Class Description

Faculty will be drawn from the following: Abberger, Beckmann, Devine, Hou, Tanimoto, others tba; for voice, recorder, flute, oboe, bassoon, viol, violin, harpsichord, other. These one-to-a-part Baroque ensembles are for advanced treble and basso continuo players who are musically and technically prepared to explore challenging repertoire. Our priority will be to provide advanced players with well-matched ensembles. If there are more players of treble instruments than of continuo, one set of treble-line players in a trio sonata class may share a continuo section (and a coach) with another set, or some treble players may receive their second or third choices. Please list clear second and third choices. Indicate pitch: “440” or “415” or “either.”

Let’s Hear That Again with Eric Haas

For upper intermediate recorders.

Class Description

The most popular Renaissance compositions survive in multiple versions, reworked with added (or fewer) parts; decorated and transformed. Explore madrigals in highly ornamented settings and recast as canzonas and dances. Music of Palestrina, Anerio, Banchieri, Cabezón, Mainerio, and more. For upper intermediate recorders.

The Many Sides of Francisco Guerrero with Valerie Horst

For upper intermediate to advanced recorders.

Class Description

of the Spanish Big Three composers, Guerrero has been described as “the most purely Spanish.” Unlike the more high-minded Morales and Victoria, he wrote not only masses (e.g., a rousing Missa Batalla), motets (e.g., “Sound the Trumpet”), and Magnificats, but also many secular pieces: some cheerful, some lovelorn, and some celebrating Christmas. We will play them all!

The Two Faces of Baroque Instrumental Music: Stylus Fantasticus and the Concerto with Cléa Galhano

For upper intermediate to advanced recorders.

Class Description

Athanasius Kircher described early Baroque fantastic style as “the most free and unrestrained method of composing, it is bound to nothing, neither to any words nor to a melodic subject.” We will explore this style, with its use of short, contrasting episodes and a free form, in works by composers such as Turini, Cima, and Priuli. Fast forward to the first quarter of the 18th century, where we’ll explore the concerto, with its distinct three-movement structure showcasing a soloist or group of soloists. We’ll play works by Boismortier, a French composer whose music reflects the new fascination with Italian music in 18th-century France, and then compare the two styles, with regard to composition, harmony, tempi, affetti, articulation, improvisation, and performance practice.

A 12th-Century Guide to the Camino de Compostela with Tracy Cowart

Open to all voices and instruments

Class Description

Produced in the 12th century, the Codex Calixtinus is considered Europe’s first guidebook, with its advice on where to stay, what to eat, and things to take into account while traveling the different pilgrimage routes to Santiago. It is also a rich source of musical description and material, recounting how “whoever sees the choirs of pilgrims keeping vigil around the venerable altar marvels with extreme delight… some sing with lutes, some with lyres, some with drums, some with pipes, some with trumpets, some with harps, some with vielles, some with crwths, some with psalteries… keeping vigil by singing to the various kinds of music.” The codex contains monophonic music for the offices, as well as some of the earliest recorded polyphonic pieces. We’ll explore various singing techniques to unlock this repertoire as we consider the concept of medieval pilgrimage in general. A=440.

Music of Victoria with Wouter Verschuren

For upper intermediate to advanced dulcians, cornettos, sackbuts, and shawms.

Class Description

The Spanish composer Tomás Luis de Victoria (1548-1611) was one of the most highly-regarded composers of the late 16th century. He worked in Rome starting in 1565, where he was influenced by Marenzio and Palestrina, and returned to Spain in 1587. Our repertoire will include motets and madrigals by Victoria and his contemporaries.

Schiaffo sul viso! Drumming in Italy and Spain with Spiff Wiegand

Open to all.

Class Description

End your long day of classes with a slap in the face–of a frame drum of course! Grab a tambourine, tar, or pandeiro, let the steam rise off your espresso, and fall into a meditative state of rhythmic repetition. Focus on historic dance rhythms with frame drum techniques of the Italian tamburello and the Spanish pandereta. There are a limited number of drums to share, bring your own if possible. While a light drum with jingles is ideal, techniques can be translated across instruments. Open to all levels.