Festival Central Program Week 1 Afternoon Classes

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

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

For recorders, viols, and other soft instruments. Students should be 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 clefs, ligatures, and triple notation. For recorders, viols, and other soft instruments.

Le Bon Goût: Unlocking the Mysteries of the French Baroque with Letitia Berlin

For upper intermediate recorders

Class Description

Explore the elegant world of the French Baroque with solos, duos, and trios by Boismortier and Hotteterre. Become familiar with the charming variety of French dance movements: the Sarabande, the Courante, the Allemande, and more. We'll learn how to play agréments (the essential ornaments) using Hotteterre's instructions, and discover the charm of notes inégales.

Common Threads, with Miyo Aoki, and Patricia Petersen

For intermediate to advanced recorders

Class Description

Musicians throughout history have re-used, re-interpreted and tried to improve on the music of their predecessors and contemporaries. In the 15th and 16th centuries, composers often took melodies from each other’s work and made new settings of them, sometimes creating surprising or humorous juxtapositions by combining two pre-existing melodies together in new ways. This class explores some of these Renaissance compositions that re-work and re-combine melodies and ideas from previously existing music. You’ll be surprised by the delightful variance in these pieces with common threads. For intermediate to advanced recorders; sections will be sorted by level..

Solo Music of Bach and Telemann with Aldo Abreu

Open to advanced recorders

Class Description

This class will cover (but not be limited to) Telemann sonatas, fantasias, and concertos; Bach sonatas, flute partita, violin partitas, cello suites, and the second and fourth Brandenburg concerti.

Renaissance Recorders Consort with Vicki Boeckman

Renaissance recorders

Class Description

One-on-a-part consort for accomplished players/owners of Renaissance recorders. Blend and ensemble skills emphasized. Performance a possibility. For players familiar with Renaissance recorder fingering who own or can borrow Renaissance consort recorders. Due to the pandemic we will not be sharing recorders in class, therefore all players must bring at least two sizes.

Baroque Flute class with Immanuel Davis

Baroque flutes

Class Description

Class will work on general technique and sound as well as French and German repertoire. We’ll work on intonation to find resonance and to hear "pure" intervals. Players will work on understanding their pieces by reading the bass lines and learning how to harmonize a piece. Participants should brush up on their bass and French violin clef reading. Participants are welcome to bring any problem or question to work on so we can help find solutions for their particular issues. Repertoire will include Boismortier’s concerti for 3 or 5 flutes, Blavet duos, especially #1 in E Minor. Open to Baroque flutes. Pitch: A=415.

Music from 16th-Century Austria with Priscilla Herreid

For dulcian, shawm, cornetto, and sackbut players

Class Description

This class will look at two important centers of music-making in Renaissance Austria. Salzburg produced many little-known but highly accomplished composers in the early part of the century. We'll examine both sacred works and the tuneful and rhythmic Gesellschaftslied by Peschin, Unterholzer, Grefinger, and others. Some decades later, Innsbruck was the seat of Ferdinand II and his Kapellmeisters Alexander Utendal and Jacob Regnart. Their simple songs and glorious, lush motets are perfectly suited for loud band.

Baroque Bassoon Master Class with Wouter Verschuren

With permission of instructor, open to auditors

Class Description

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

Baroque Oboe Master Class with Meg Owens

With permission of instructor, open to auditors.

Class Description

Class meets with Baroque Academy oboes. 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; a French piece is highly recommended for this work. In addition, you will be assigned one movement of an Hotteterre suite in advance of the workshop. Combined Baroque Academy and Central Program oboists. Please bring five copies for class study. For experienced players. Pitch: A=415.

Consort Music from the Jacobean Era with Larry Lipkis

Open to viols and violins, cellos welcome

Class Description

In this class, we’ll first take a deep dive into the glorious repertory of fantasias and dances by such early 17th c. composers as Dowland, Holborne, Brade, Coperario, and others. Moving a generation later, we’ll take the Lawes into our own hands by tackling his lesser-known but charming airs and dances for violins and viols. Cellos welcome.Pitch: A=415.

Consort Countdown! with Loren Ludwig

Open to intermediate to advanced viols

Class Description

What were the most popular pieces for viol consort in the 16th and 17th centuries? Byrd? Dowland? Gibbons?...There will be some surprises! Join us as we explore the consort music that was most widely distributed in manuscripts and prints and whose popularity shaped the development of the style. For upper-intermediate to advanced viols. Pitch: A=415.

The Keyboard Player’s Toolbox: A Pragmatic Approach to Solving Issues Faced by the Early Keyboard Player with Alissa Duryee

Open to keyboard players

Class Description

We will work on building a metaphorical toolbox (for confronting musical problems) as well as a literal toolbox (for dealing with an instrument's technical issues). Have you ever….
-Been stumped on practice techniques for a particular passage?
-Struggled with getting accustomed to changing instruments?
-Had to practice repertoire on an instrument for which it was not intended?
-Had to adapt a piece for performance on a particular instrument?
-Had minor technical issues with an instrument, which ruin your day/rehearsal/concert?
…then you are welcome to join this class, during which we will explore ways to surmount these (and other) obsta-cles to satisfaction at the keyboard.

Vocal Happy Hour with Tracy Cowart

Open to all voices

Class Description

More than a century after John Hilton published Catch as Catch Can (1652), Charles Burney noted that it “still affords great pleasure to the lovers of this species of humorous and convivial effusions.” This class will enjoy catches from this tuneful collection, as well as ones from Pammelia (published by Ravenscroft in 1609 and the first collection of its type), and the Catch Club (published in 1690 and containing music by Purcell & Co.); we’ll also look at a few part-songs by the same composers. All voices are welcome. Classes will begin with a gentle warm-up, and catches are an excellent way to stretch the vocal instrument and enjoy community singing in a lighthearted fashion. Open to all voices.

Historical Dance Program

No class at this hour.

Class Description

Individual practice time, rest, or attend a music class.

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

A Taste of Lassus with Wendy Powers

Open to singers and instrumentalists, intermediate and up

Class Description

Orlande de Lassus wrote over 2,000 works in almost every Western European genre, style, and language of the mid-16th century. Come find out why he was one of the great masters of the Renaissance

Advanced Notation with Patricia Petersen

Class will be oriented toward recorders; singers and players of other instruments are free to sit in, and to participate with permission from the instructor

Class Description

repertoire to challenge and inspire the participants will be chosen from such favorite late 14th- to early 15th-century sources such as Canonici 213, Mod. A, Chantilly, Bologna Q15, and perhaps the Old Hall MS. Clef fluency, familiarity with ligatures, and acquaintance with imperfection and alteration are expected.

Art of the Baroque Ensemble with Miyo Aoki

For upper intermediate players of all Baroque instruments: recorder, flute, violin, harpsichord, viol, cello, lute, and others who have reasonable facility and a basic knowledge of Baroque style

Class Description

Experience the beautifully blended style of German Baroque music and explore its structure, influences, and ornamentation to help you refine your interpretation and deepen your enjoyment. Lots of emphasis on ensemble skills, lots of playing. For upper intermediate players of all Baroque instruments: recorder, flute, violin, harpsichord, viol, cello, lute, and others who have reasonable facility and a basic knowledge of Baroque style. Pitch: A=440.

Our Bodies/Our Selves: The Feldenkrais Method as a Tool to Being a Better Musician with Drew Minter

Open to all

Class Description

Drawing on his experience as a certified Feldenkrais teacher, as well as Deep Listening exercises and the Viewpoints work, Drew will assist students in developing greater awareness of their entire selves so that they may give themselves over more freely to their instruments and improve their playing and singing with enhanced sensitivity and freedom. Each day Drew will teach a different Feldenkrais lesson, emphasizing better use of the body and hands, followed by a variety of activities. Students will need to bring a blanket or mat for lying on the floor and should wear loose clothing in which they can move easily.

Baroque Ensembles, with faculty: Aldo Abreu, Vicki Boeckman, Joyce Chen, Kevin Devine, Stephen Gamboa-Diaz, Jennifer Streeter, and others.

For voice, recorder, flute, oboe, bassoon, viol, violin,and harpsichord

Class Description

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 first 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.”

Recorder Fun! with Letitia Berlin

For recorders, intermediate and up

Class Description

After two years of staying at home, let’s travel! We’ll go on a whirlwind tour of the Western world with English fantasies by Purcell and Picforth, Italian madrigals by northerners Phillipe Verdelot and Giaches de Wert, Spanish villancicos and motets by Juan del Encina and Pedro Escobar, German songs by Senfl and Isaac, and French dance music published by Michael Praetorius

Bounty from Dutch Soil with Saskia Coolen

For recorders

Class Description

we’ll work on pieces written in the last few years for recorder ensemble by Dutch composers. Lots of fun rhythms and exciting harmonies!

Northern Italian Madrigals and Motets: 16th-Century Vocal Repertoire for Mixed Loud Ensemble with Marilyn Boenau

Upper intermediate to advanced dulcians, cornet, sackbuts, and shawms

Class Description

The new Italian madrigal style that was developed in the mid-16th century produced pieces that employed close harmony and encouraged expressive singing and playing. Wind players appropriated their favorite pieces from printed collections, as we can see from surviving wind band manuscripts. Composers will include Adrian Willaert, Cipriano da Rore, Andrea Gabrieli, and Giovanni Bassano.

Dancing with the Viol: Playing Dances on the Viol with Sarah Cunningham

For viol players, low intermediate to upper intermediate and above

Class Description

This class will integrate working on left-hand technique and bowing technique, and engaging the entire body in a relaxed, expressive, and balanced manner, while using Pavans, Galliards, and Almains by Holborne, Byrd, Tomkins, and Dowland to put this physical dance of playing into practice, thus allowing the music to dance too..

Whyte’s Noyse: The Fantasies of William Whyte and his Contemporaries with Patricia Ann Neely

For viol players

Class Description

(in anticipation of the release of the première recording by Abendmusik) William Whyte is one of the least familiar composers of anthems and consorts in Jacobean England. He is believed to be a contemporary of Orlando Gibbons, Thomas Tomkins, Thomas Ford, and Giovanni Coprario. We will explore his style and discuss whether he influenced his contemporaries or if his contemporaries influenced him by looking at his works next to several of the composers mentioned above. His five- and six-part fantasies are rich harmonically and focus attention of pairs of viols together in dialogue. He also contributed a few three-part works as well as two duets for bass viols. Pitch: A=415.

Dance Rehearsal with Dorothy Olsson and Mark Mindel

For dancers in the Historical Dance program

Class Description

Dance rehearsal for opera project, The Judgement of Paris. Performance Friday evening, August 12, 8:00 pm. Possible evening rehearsals on Monday, Tuesday, and Wednesday. Opera project dress rehearsal, late Thursday evening. See important information under Dance in the first period descriptions..