James Chaudoir: "Fantasias from the 15th and 16th Centuries" (SAT)
(Lower Intermediate) Consider this class an introduction to playing the imitative compositional style known as a Fantasie. We will play through very approachable three-part settings by master composers of the 15th and 16th centuries, including Josquin, Dunstable, and Willaert.
Mark Davenport: "Dances and Aires: English Music from the Courts of Queen Elizabeth to Charles I." (upper intermediate to advanced): This class will look at secular dances by some of the leading composers working in the English courts between 1550 and 1650 (William Byrd, John Dowland, Giovanni Coprario and William Lawes). Drawing on Davenport's doctoral work the group will play through some of Lawes's most astonishing and inventive compositions with newly transcribed arrangements for recorders.
David Echelard: "Glorious European Madrigals of the Renaissance" for all voices and any instruments. We will vocally investigate and digest some of the most beautiful European Madrigals from the European Renaissance period. Explore these exquisitely constructed works as you reinvigorate and hone your vocal technique or play and think instrumentally like a singer sings. Singers of all voices and any instruments are welcome.
Shelley Gruskin: "Early Baroque Ensemble Sonatas" (Advanced) Explore the exciting transitions from the renaissance consort music into the flowery movements of the Baroque sonata.
Lisette Kielson: "Sounds of Africa: The Music of Sören Sieg" (Advanced) German composer Sören Sieg (b. 1966) describes a unifying theme in his music when he writes that his basic intention is "to unite the joyful relaxedness of African music with the dramatic tension of European music."
Sieg's African Suites are captivating and transporting with his driving minimalism, complex meters and rhythmic patterns, and haunting and soaring melodies. His music leaves you breathless, off balance, and wanting more!
Vitambo vya moyo (African Suite No. 4) ATTB
Wakati njema (African Suite No. 15) SATB
Laura Kuhlman: "The French Noel" (Lower Intermediate) The French word, noël is believed to be related to newness, as in "good news" or "New Year." Early uses of the word did not refer to Christmas or to songs sung at Christmastime; rather a noël was a cry to get attention or express joy. By the 13th-century and onward, the word noël began to refer to the birth of Jesus and by the late 15th century, the word also designated a song sung at Christmas time. Together we will peal back the layers of the noël and delight in the charms of the poety, the music and dances that shaped the journey of this song form.
Gayle Neuman: "The Orchestral Music of Telemann: Be a part of the orchestra!" Play exciting selections from Georg Philipp Telemann's orchestral ensemble repertoire, specially arranged for recorders, including the "Wassermusik" (Water Music), the common name of his "Hamburger Ebb' und Fluth "(Hamburg ebb and flood), written to celebrate the one hundredth anniversary of the Hamburg Admiralty in a performance on April 6th 1723. The work's ten movements represent the physical movement of the ocean, the sleeping sea goddess Thetis, Neptune in love; the playful Naiads (water nymphs), Neptune's son Triton making jokes, Aeolus, the ruler of the winds, and Zephir, god of the west wind. Also featured will be the stunning "Suite in F Major" of 1730.
Phil Neuman: "Pure, Correct and Pleasant to the Ear" The Music of Michael Praetorius (Intermediate) A new look at a cross section of works by the prolific arranger and music theorist of "amazing industry." The class will feature hymn settings of abundant variety including the ultimate four part version of "Ein feste Burg" (A Mighty Fortress), polychoral works, dances from "Terpsichore," and secular songs, interspersed with practical and often humorous insights on performance practice and instruments from his three volume music treatise, "Syntagma Musicum."
Patrick O'Malley: "Homophonic Suite" (Advanced Repertoire) Tired of polyphony? Fugues got you in a state? Try this class. Bob Dorough, the jazz legend, was the composer and singer of many Schoolhouse Rock songs! This trio was written specifically for SAT recorders, with the goal of imitating a sax or brass "family" in a big band. All parts have equally interesting melodies!
Phillip Serna: Ophelia's Madness? - From Orlando Gibbons' fantasia on Go from My Window to Thomas Simpson's Bonny Sweet Robin and William Cranford's Walsingham variations, we'll explore the ballad tunes that Shakespeare uses to illustrate Ophelia's descent in Hamlet alongside some of the most stunning settings for viol consorts! Not for the faint of heart and doubling encouraged!
Katherine Shuldiner: "Getting to know consort music" (Advanced Beginner - Lower Intermediate) This class will delve into consort music through the wonderful composers of Holborne, Ferrabosco, Ward, and more! Through these composers we will get a taste of style and basic ideas of interpretation that can be applied to most consort music.
Karen Snowberg: German double choir music for mixed instruments by composers such as Hassler, Handl, Schütz and Praetorius. (Intermediate) For recorders and louder instruments. Depending on participants, some pieces will be done with only recorders, others will be done with one choir soft and the other loud, or one choir high and one choir low.
Lisa Terry: The 100 Year Dance (Upper Intermediate to Advanced) Suites and dances for string band (1500 to 1600) from all across Europe. We will shape this exciting rep into a lively performance for Sunday.
Anne Timberlake: "King Hal: Henry VIII had six wives- and 49 recorders!"(Lower Intermediate) If that isn't a sign of which category he valued more, it's at least a testament to his love for, and support of, music. We'll explore musical gems from Henry's era, including a few penned by the monarch himself.
Pam Wiese: "Beginning Ensemble" (Beginner Recorder)
Depending on student level, we will work through some of the duets in the Recorder Guide or I will provide you with some simple SA and SAT ensemble pieces. We will work on facility of reading, confidence in playing and listening to the other parts.