Joanna Blendulf: "The Ferrabosco family: Alfonso the Elder and Younger" Advanced Father and illegitimate son, composed in their own very distinctive voices. This class will take you though the consort music of both composers, including challenging fantasies by the son and madrigals and motets by the father. For viol consort.
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.
James Chaudoir: Two-Part Music (Bicinia) from the Sixteenth Century
Lower-Intermediate (S, A, & T)
This class will focus on sixteenth-century music composed specifically for two parts, sometimes called bicinia, voiced for SAT recorders in various combinations. In vocal music, bicinia created a pleasant contrast to the rich texture of late sixteenth-century motets and madrigals. Though mainly used for German vocal music, the term has also been applied to instrumental music in two parts such as ricercare, fantasias, variations, etc. We will play examples of both vocal and instrumental compositions.
Music for class selected from:
Georg Rhaw: Bicinia Germanica (LPM TM2)
Leopold Nowak (ed.): Bicinias of the Renaissance (Hortus Musicus 27) out of print
Thomas Morley: Twelve Two-Part Canzonets (Hargrave: EN-507) out of print
David Echelard: "Creating a Composite Mass" Singers of all voices and any instruments are welcome. Creating a "composite" musical setting of a Sacred Polyphonic Mass from composers Palestrina, Victoria, Morales, Viadana, Machaut, Gabrieli, Verdelot, Dufay and anon. We will musically explore the ordinary sections (Kyrie, Gloria, Credo, Sanctus, Agnus Dei) of the Latin Mass composed by several composers. We will create a composite Mass using chosen ordinary sections of the Mass. A further understanding of the structure, background and ritual of the Latin Mass will unleash a new kind of musical beauty from the compositions of the Mass from the Renaissance and Medieval period.
Link to music:
Julie Elhard: "Gems of Viol Consort Literature" (Viol Consort: Lower Intermediate) Music of Josquin, Sandrin, Gibbons and Ortiz encourage viol players to sing with their instruments on these texted works and give breath to the music. We will explore techniques that teach us to play more freely and allow the instrument speak for itself. Let the music come alive!
Shelley Gruskin: "Descriptive, or Programatic Music": 14th through 18th centuries. (Upper intermediate/Advanced) Specifically illustrative music is not exclusively an aspect of 19th century Romantic music. We will explore examples from as far back as the 14th century.
Eric Haas: "The Golden Age of English Consort Music" Works of Gibbons, Byrd and Ferrabosco II (Advanced) A whirlwind survey of some of the greatest masterpieces of the English Renaissance, including a chromatic fantasia by Orlando Gibbons and his amazing variations on 'Goe from my window' with its virtuosic division bass parts, a gorgeous psalm setting and fantasia by William Byrd, and Alfonso Ferrabosco's unique 'In nomine through all the parts' which modulates into some extremely remote territory.
Lisette Kielson: "Sturm und Drang: Henry Purcell's 4-part Fantazias" (advanced) Perhaps a bit of a stretch? Maybe not! Although the period of 'Sturm und Drang' does not refer to Purcell, nor England for that matter, the movement's elements of 'storm and stress' depict well the character of Purcell's musical language. The chromaticism, wide range, and dramatic shifts in tempo and mood in these fantazias make them masters of the repertoire and provide wonderful challenges for recorder quartet. For advanced recorder players.
Henry Purcell, The Four-Part Fantazias, For 4 Recorders, Dolce [DOL 324]
Laura Kuhlman: "Discovering the depths of Thomas Weelkes" (Intermediate and above recorders, strings, and voice all are welcome to partake and participate.) Thomas Weelkes (1576 - 1623) is noted for his word painting, lively rhythms, and highly developed sense of form and structure. Weelkes did not lead an easy life and often battled his demons through drinking. You can often hear the pain and yearning in his music coupled with the rich polyphonic textures. Whether one-on-a-part or in large group settings, Weelke's music needs to be experienced.
Mona Mann: "Advanced Beginner Consort" Are you ready to start playing trios and quartets, but need to move at a slower pace in order to succeed? In this class, we will explore music for three and four voices at a manageable pace, working through rhythms and fingerings and having fun as we improve both our music reading and recorder playing skills.
Gayle Neuman: "The Works of Johannes Ockeghem: Music of contemplative vastness and inward rapture." (Intermediate) We will explore the legacy of the most important Franco-Flemish composer between Du Fay and Josquin, active in the latter half of the fifteenth century, who was a friend of Du Fay and wore eyeglasses. We will play the best of his secular pieces including "Mors tu as navré," the canonic "Prenez sur moi," "Malor me bat," "Ma bouche rit," and some of his sacred compositions including the Kyrie from the outstandingly clever "Missa prolationem" that possesses "such structural ingenuity, but far from being dryly academic, is beautifully and artfully concealed in an almost timeless flow of counterpoint."
Phil Neuman: "Songs about food from the Renaissance to the 20th Century: "If music be the food..." (Lower Intermediate) Wine is not the only consumable that has inspired song through the ages; various food items and how they are obtained and prepared, from eggs and cheese to geese and boars' heads were treated musically by a wide cross section of composers. This promises to be great material to program on your group's future concerts. Selections will include "Ein seltzam newe abentheür" (A strange new adventure), "A' nyul a vetemenyek," (The Rabbit looks out through the vegetable field), "Alla cazza" (To the hunt), "Canto di donne maestre di far cacio" (Song of the expert women who make cheese), "A ce matin" (This morning), "Den besten Vogel" (The best bird),"The Angler's Song," "At a Georgia Campmeeting," and many more. Composers will include Orlando di Lasso, Georg Forster, Henry Lawes, Kerry Mills, and others.
Patrick O'Malley: "LPM à 5 - Ayres and Dances" (Intermediate) We will play through excellent early-17th-century instrumental music for quintet, published by London Pro Musica. We will visit "Courtly Masquing Ayres" of 1621 by John Adson (LOPM EM4) and "Fifteen Dances" of 1601 by Christoph Demantius (LPM GM2). We will play from parts rather than from scores. Copies will be provided. All sizes of recorders and viols are welcome, at A=440 pitch. For Adson, there is also lute tablature available. A rollicking good time will be had by all!
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.
Katherine Shuldiner:"Consort Sampler" (Intermediate). From Di Lasso to Byrd-Fantasies to In Nomines- in this class you will experience and explore a variety of consort composers and styles. Who knows, maybe you'll find your favorite.
Karen Snowberg: "The Music of Alexander Agricola (c.1445-1506)" (Upper Intermediate) The music of this Franco-Flemish composer, is known for its use of complex, rhythmically diverse contrapuntal writing with flowery imitation and repetition of sequences. This is music to stimulate your brain. Regardless of which part you're playing, there will be rhythmic challenges.
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.