Classes May 3 & 4

Get ready for this summer’s Amherst Early Music festival theme “Music of the German Lands” with a dive into the Ordo Virtutum, Hildegard von Bingen’s most ambitious composition and the earliest surviving music-drama attributed to a single individual. We will set the stage for this 12 th century allegorical drama, a total art-work of poetry, music, and dramatic scenes that pits more than a dozen singing “virtues” against the devil in a battle over the human soul. Together, we’ll look at some connections between the Ordo and Hildegard’s dazzling illustrations, follow along with the original manuscript to some transcendently beautiful recordings, and get a feel for the immersive drama with video excerpts from past performances. 

This is a listening and viewing class rather than a playing or singing class. All are welcome to learn about and enjoy the captivating music and drama from this highlight of the Middle Ages! Open to all.

In Nomine: How did a chant melody become the foundation for hundreds of works by some of England’s most famous composers? In this class we’ll explore the flowering of the In Nomine in 16th and 17th-century Britain, as well as what playing the In Nomine part can teach us! 

Designed for recorders but open to other instruments. Pitch = 440. The In Nomine parts are playable by players of most levels; other parts are more suitable for players who are higher intermediate and above.

French Baroque music is renowned for its elegance, grace, and expressive nuance. But what gives it that unmistakable style? Ornamentation—or les agréments—is key to transforming simple melodies into a language of refinement, sweetness, and vigor. In this class, we’ll explore the art of ornamentation through Hotteterre’s invaluable examples before applying these techniques to undecorated works by Lully and others. Discover how to bring finesse and expressive depth to your playing. Allons-y! This class is geared towards recorder players. Other instrumentalists are most welcome. Pre-recorded materials will make use of SATB recorders.

Open to recorder players, other instrumentalists are welcome. Pitch: A= 440Hz.

Talented organist and virginalist, versatile composer, Gibbons wrote consort music for two-six viols that’s a perfect blend of imagination and contrapuntal skill. We’ll take a look at his daring F major duo, one of the lyrical viol trios, and an energetic quartet with great bass. For I-A viols.
DETAILS: The duo can be played by two treble viols at pitch, and by tenor and bass viols playing the bottom line down an octave. The great bass part in the quartet is playable on 7 string bass. Tenor parts are in alto clef in the trio or alto and treble down clefs in the quartet.
Open to viol players, intermediate and up. Pitch: A=415.