2025 Festival Classes Week 1

Participants who have registered will receive a link to choose their classes.
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

Open to recorders, viols and other soft instruments (flute, lute, and others).

Class Description

Come to the sources of Renaissance polyphony! Class will explore German 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. Depending on class size, sources may include works from sources such as the Glogauer Liederbuch, Munich 3 (Isaac masses), Forster part books, Grimm & Wyrsung’s Liber selectarum (Josquin, Isaac), and Formschneyder’s Trium vocum carminum, Ott & Formschneyder’s Novum et insignie (Josquin, Senfl), and others. For recorders, viols, and other soft instruments..

Newe Day, Newe Songs: Secular Polyphony from the Collections of Hans Ott with Lisa Solomon

Open to all singers and instruments.

Class Description

Greet the morning with polyphonic song! After warming up our voices, minds, and bodies, we’ll get to sing and play a selection of works from the secular anthologies of Hans Ott (d. 1546), 16th-century editor, publisher, bookseller, and champion of German Lieder in the tradition of Franco-Flemish polyphony. Based in Nuremberg, Ott published his first collection of German-language songs -- 121 newe Lieder (new songs) -- in 1534, the vast majority of them by Ludwig Senfl. Ten years later, he published another collection -- 115 guter newer Liedlein (good, new little songs) -- still predominated by Senfl, but this time from a wider array of composers (including Senfl's teacher Heinrich Isaac) and in multiple languages (including songs by Crecquillon and Verdelot). For both collections, Ott proclaimed the songs to be "lustig zu singen" (fun to sing) and "auf allerlei Instrument dienstlich" (playable on all kinds of instruments). Let's prove him right! For all voices and instruments.

The Art of Recorder Consort Playing: Turning Notes into Music

With Teresa Deskur, Na’ama Lion, 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 Renaissance and Baroque consort music by early composers of German-speaking lands, from Senfle to Biber to Bach and beyond! Hone important skills like intonation, tone colors, articulation, rhythm, and ensemble precision. We’ll learn how to make decisions about tempo, ornaments, dynamics, and phrasing. Classes will be divided by level and involve lots of playing and hands-on exploration!

Renaissance Recorder Consort

With Miyo Aoki, Rainer Beckmann; for players familiar with Renaissance recorder fingerings who own or can borrow Renaissance consort recorders (for example Prescott, Livirghi, Ohanessian)

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 from German-speaking lands. End of the week performance a possibility! Players must bring at least two sizes. Pitch: A=440.

Mattheson Recorder Trios with Rachel Begley

For intermediate to upper-intermediate recorders.

Class Description

Wouldn't it be fun to go back in time and play recorder trios under the direction of the composer himself?! This class will channel the extraordinary Johann Mattheson (via his voluminous musical writings) to bring facility, clarity, flow, and charm - his–musical ideals–to his accessible yet sophisticated Opus 1 recorder sonatas, works which he wrote for the instrument he believed had the most beautiful sound and that he dedicated to amateur musicians.

Recorder Master Class with Saskia Coolen

Perform in class or audit.

Class Description

This is a combined class that meets with Baroque Academy recorders. Let us know if you plan to perform in class when you register, and list your repertoire if you know it. Teacher will adjust the performance schedule at their discretion. Repertoire focuses on music from German-speaking lands. Special emphasis on music by Bach, Handel, and Telemann! Please bring an extra five copies for class study. 415 and 440 instruments are welcome.

Baroque Flute Master Class with Kathie Stewart

Perform in class or audit.

Class Description

This class is a combined class with Central Program and Baroque Academy flutes, Let us know if you plan to perform in class when you register, and list your repertoire if you know it. Teacher will adjust the performance schedule at their discretion. Suggested repertoire: Repertoire from German-speaking lands preferred, but anything is fine. Pitch: A=415.

Oboe Band with Meg Owens

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

Class Description

Our focus will be on Telemann and Schieferdecker. We'll explore everything from sweet dance movements to sparkling virtuosity! And we'll play some old favorites, too. For experienced oboes, tailles, and bassoons. Pitch: A=415.

Maximilian's Triumph—The Musical Renaissance at Innsbruck

With Mary Springfels, Arnie Tanimoto; open to viols. Pitch: A= 415, two class sections.

Class Description

Maximilian I, the first Hapsburg prince, was an ardent collector of music, musical instruments, and composers. Among these great Renaissance musicians were Paul Hofhaimer (1459-1537), Heinrich Isaac (ca. 1450-1517), and Ludwig Senfl (ca. 1486-1542). He also amassed a splendid collection of musical instruments, including viols. We'll explore this marvelous repertoire of early consort music, addressing technical issues as they arise.

As Easy As “Ut Re Mi”: Solmization, Musica Ficta, and the Fingerboard with Mark Rimple

For lutes.

Class Description

While modern notation - including edited versions of Renaissance polyphony—tend to be specific in terms of unwritten accidentals, the original sources were often silent just when musicians trained to make decisions would have done so based on their initial training. In this class, we'll examine lute intabulations of vocal works and their sources to show how lutenists' arrangements document these decisions as they were made by the arranger. We will focus on theories and concepts taught by Hans Gerle, Francesco Spinacino and Vincenzo Galilei, with a special focus on Germanic composers and those active in German-speaking lands. This knowledge will help lutenists to better interpret the ensemble music that was a major source of their repertory and will also result in improved interpretation of ensemble music when reading from notation

Gems of the German Baroque—Harpsichord Masterclass with Kathryn Cok

For keyboard players.

Class Description

In this morning class, we will focus on the rich variety of keyboard music left to us by the likes of: J. S. Bach and sons, Buxtehude, Fischer, Froberger, Hasse, Handel, Heinichen, Pachelbel, and Walther, touching on performance styles and technique. Please prepare at least two pieces for the week, and bring five copies for the class.

Lute Master Class with Paul O'Dette

Perform in class or audit.

Class Description

A combined class with Central Program and Baroque Academy lutes. Let us know when you register if you plan to perform in class, and list your repertoire if you know it. Teacher will adjust performance schedule at their discretion.

Baroque Academy Viol Master Class with Sarah Cunningham

Audit only.

Baroque Academy Cello Master Class with Rainer Zipperling

Audit only.

Baroque Academy Violin Master Class with Aisslinn Nosky

Audit only.

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

Audit only.

Baroque Academy Harpsichord Master Class with Peter Sykes

Audit only.

Baroque Academy Vocal Master Class with Jennifer Ellis Kampani

Audit only.

Baroque Dance Technique

For dancers with some experience in historical dance. With Dorothy Ollson and Peggy Murray

Class Description

Technique class in eighteenth-century dance focusing on steps and phrases from notated German and French choreographies by Dubreil, Taubert, Pécour, Feuillet, and others, including various dance types (saraband, passepied, rigaudon, menuet, bourée, etc.)

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

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

Baroque Orchestra: Music of Telemann and Fischer with Frances Blaker

Open to all Baroque instruments at A=415.

Class Description

Elegant, colorful, theatrical, exotic, and just plain exciting work by Telemann and Fischer will feature every section of the orchestra. This class is open to all Baroque instruments: winds, strings, and continuo, including but not limited to recorders, flutes, oboes, bassoons, violins, violas, cellos, basses, gambas (all sizes), harpsichords, lutes, etc. Continuo players must be able to read figures. Pitch: A=415. Music will be sent in advance.

Collegium: “A Little Mustard, Please!” with Larry Lipkis

Open to all instrumentalists and singers.

Class Description

Collegium will focus on the music of Renaissance Swiss composer Ludwig Senfl (“little mustard” in German). Senfl, along with his teacher Heinrich Isaac, were pioneers in incorporating German folk songs into sophisticated polyphonic compositions, often interweaving two or even three songs into an exquisite contrapuntal tour-de-force. We’ll explore this large repertory of 16th c. German lieder that is in turn heartfelt, earthy, and downright beautiful. Open to all instrumentalists and singers.

Lute Ensemble: 15th Century Polyphony from the Lochamer Liederbuch and Buxheim Orgelbuch with Mark Rimple

For lutes; harpists and other instrumentalists interested in this repertory also welcome.

Class Description

This class explores the local vs. the cosmopolitan musical lives of German musicians through two monumental collections of music, one of which was associated with the German organist/lutenist Conrad Paumann. While the best instrument for the class would be a five or six-course lute in G or A, a larger Renaissance lute is no barrier to entry.

Lute Masterclass: Renaissance Lute Topics with Christopher Morrongiello

For lutes.

Class Description

Participants are encouraged to prepare and perform pieces from the Renaissance lute repertoire before the class. Please bring five copies for the class.

Klavierbüchlein with Alissa Duryee

For harpsichordists.

Class Description

The musical notebooks of the Bach family offer us a glimpse into their music-making and pedagogy. Together we will browse the pages of these notebooks in order to better understand the pathways to musicianship suggested within. Depending on enrollment, the class will involve playing, listening to, singing, creating original music, or all of the above. Though these notebooks are primarily keyboard-focused, students of any instrument or voice are warmly welcome as active participants. A wide range of levels of difficulty in these pieces means there is truly something for everyone.

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

Early Notation for the New or Rusty Reader with Miyo Aoki

For those new to reading early notation.

Class Description

Playing from original notation changes the way you hear and play music, and is a great way to improve almost every musical skill, including sight-reading, rhythm, and ensemble playing. It opens up a whole new world of repertoire by enabling you to play music that has not been published in a modern edition and brings us one step closer to the people and the culture that created and played it, allowing us a deeper appreciation of this music on its own terms. But most importantly, it’s fun! In this class, you’ll learn (or re-learn) the basics of reading Renaissance notation, practice skills that will help you to successfully play from it, and engage in plenty of therapeutic laughter along the way.

Hildegard and the Cult of St. Ursula with Tracy Cowart

For singers.

Class Description

The discovery of the purported grave of St. Ursula and her 11,000 companions when Hildegard was 8 years of age coincided with a surge of interest in the martyred saint that shaped Hildegard’s trajectory as a female visionary and leader. Hildegard (1098-1179) found both inspiration and a spiritual mirror in the life of Ursula as disseminated by the mystic Elisabeth of Schönauher, a contemporary of Hildegard with whom she was in touch. This class will look at Hildegard’s Ursuline works, which include antiphons, responsories, a sequence, a hymn, and her office of Lauds for St. Ursula’s feast. We will work from modern editions, but also examine Hildegard’s notation in the Dendermonde and Risencodex manuscripts to shape our interpretation of her chants.

Renaissance Recorders Consort

With Rachel Begley, Wendy Powers; for players familiar with Renaissance recorder fingerings who own or can borrow Renaissance consort recorders (for example Prescott, Livirghi, Ohanessian). Pitch: A=440.

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 from German-speaking lands. End of the week 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.

So Suite! with Rainer Beckmann

For advanced recorders.

Class Description

Explore engaging ensemble suites by fascinating yet lesser-known composers of the German Baroque. Johann Wilhelm Furchheim (ca. 1635–1682), a violinist and student of Heinrich Schütz, spent his entire career at the Saxon electoral Hofkapelle in Dresden. His Suite à 5 looks back to earlier German models while reflecting the Dresden court’s growing fascination with French dance and music. Johann Fischer (1646–1716/17), by contrast, worked at courts across Europe and was widely travelled. As a young man, he spent five years in Paris as a copyist for Lully, and the suites that comprise his Musicalische Fürsten Lust (1706) wholeheartedly transplant Lully’s French style into German music. Johann Christian Schieferdecker (1679–1732), educated at the Leipzig Thomasschule and accompanist at the Hamburg Opera, succeeded Buxtehude as organist of Lübeck’s Marienkirche. The suite by Schieferdecker featured in this class, published in 1713, intriguingly combines French dances with the virtuosity and brilliance of the Italian concerto.

Ich habe das schon einmal gesehen (I’ve seen this before) with Eric Haas

For intermediate recorders, singers, and viols.

Class Description

Favorite 16th—century German tunes that keep coming back in multiple guises, plus some imports and exports. Intermediate and up, singers and viols welcome.

Early Baroque Dance Music from Germany with Larry Lipkis

For intermediate to upper-intermediate recorders.

Class Description

The first few decades of the 17th century saw a modest flowering of collections of dance music in Germany. In this class we will focus on dance music by the early Baroque composers/arrangers Michael Praetorius and Johann Hermann Schein. Praetorius’ seminal work, Terpischore (1612), contains over 300 dances, including sprightly courantes, bourrées, galliards, and other favorites of the French court. Schein’s Banchetto musicale (1617) continues the tradition with grave Paduanas and measured Almans. Time permitting, we’ll explore the dance repertories of the generations immediately before and after Praetorius and Schein.

Schhhhh: Schütz, Schein, and Scheidt with Patricia Petersen

For intermediate and up recorders.

Class Description

Heinrich Schütz, Johann Hermann Schein, and Samuel Scheidt were the preeminent composers of the first half of the 17th century in Germany. Influenced by the nascent Italian baroque style, together they explored most of the genres of the day: polychoral works on a grand scale, elaborate canzonas, gorgeous madrigals, invigorating dance suites, and even drinking songs. We’ll look at the similarities and differences among these contemporaries, and explore their various sacred and secular repertoires.

Anna Bon and Friends: Music of the Prussian Court with Na'ama Lion

For upper-intermediate and advanced Baroque flutes at A=415.

Class Description

Flute music by Anna Bon and her contemporaries. Anna Bon worked at the court of Wilhelmina of Bayreuth, older sister of Frederick the Great, who kept close ties with the court of her brother. We will explore sonatas and trio sonatas by Anna Bon, as well as Quantz and other court composers who belonged to the same musical circle. We will use Quantz’s teaching on performance practice to explore the music in depth. A short warmup session and technical work will open each session. Lots of playing! Optional: preparing an Anna Bon solo flute sonata.

Baroque Bassoon Master Class with Wouter Verschuren

Perform or audit. Pitch: A=415.

Class Description

Class meets with Baroque Academy bassoons. Let us know if you plan to perform in class when you register and list your repertoire if you know it. Class we will focus on music from German-speaking lands. We will also work on articulation, ornamentation, shaping the continuo line, and of course some reed making. Please bring extra copies of the music you prepare for the class.

Baroque Oboe Master Class with Meg Owens

Perform in class or audit. Pitch: A=415.

Class Description

Class meets with Baroque Academy oboes. Let us know if you plan to perform in class when you register, and list your repertoire if you know it. Teacher will adjust the performance schedule at their discretion. German and Dutch 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; combined Baroque Academy and Central Program oboists. Please bring five copies for class study. For experienced players.

Loud Band with Sian Ricketts

For upper-intermediate to advanced shawm, cornet, sackbut, and dulcian.

Class Description

A class for mixed loud instruments focusing on music of the late 15th and 16th centuries in the Habsburg empire. Shawm, cornet, sackbut, dulcian welcome.

Soldiers of the Reformation with Mary Springfels

For intermediate viols at A=415.

Class Description

Martin Luther (1483-1546), the architect of the Protestant Reformation, was himself a great music-lover. As a student, he and his pals played for pocket change. Luther was not just an avid player; he considered congregational singing to be central to his new liturgy. While Ludwig Senfl wasn't an official part of the Protestant revolution, he followed the movement with great interest. Among the earliest Protestant composers were Thomas Stoltzer (1480-1526), Johann Walter (1496-1570), and Caspar Othmayr (1515-1553). We will explore their compositions.

Bach Chorales and Chorale Preludes with Arnie Tanimoto

For advanced viols at A=415.

Class Description

Bach’s chorales offer a perfect opportunity to practice "speaking" with the bow! We’ll explore the possibilities for phrasing and speaking with these chorale texts with the bow in their simplest form before tracing their transformation into the rich textures of chorale preludes.

German Lute Sources from the 16th and Early 17th Centuries with Christopher Morrongiello

For lutes.

Class Description

A chronological survey of lute sources, styles, genres, and playing techniques in German-speaking lands in which participants will gain knowledge and understanding of the first publishers of lute tablatures in the early 16th century by Virdung (1511) and Schlick (1512), the pedagogical works of Judenkünig (c. 1515, 1523), Gerle (1532, 1546), and Hans Newsidler (1536), the Italianate styles of Gintzler (1547) and Bakfark (1565), and the idiosyncratic, virtuosic music of Melchior Newsidler (1566, 1574). Special attention will be given to Matthaeus Waissel’s treatise (1592) and the cosmopolitan early-seventeenth-century anthologies by Besard (1603) and Fuhrmann (1615).

The International Lute Anthologies, circa 1600: Where Italian, French, German, Polish and English music came together with Paul O'Dette

For lutes.

Class Description

Beginning with Jean Baptiste Besard’s monumental Thesaurus Harmonicus of 1603, compilers of lute anthologies began presenting music from many different nationalities and styles, creating a market for a much more varied and eclectic repertoire than had been common during the 16th century. German and Belgian publishers were at the forefront of this new movement, but the English also embraced the idea, as can be seen in collections such as the Variety of Lute Lessons and Lord Herbert of Cherbury’s manuscript. The modern penchant for single composer programs, and editions of collected works has pushed many of these interesting sources to the side resulting in the neglect of a large body of outstanding lute music. Collections published by Besard, Mertel, Fuhrmann, Mylius, and Robert Dowland, and manuscripts of Lord Herbert of Cherbury, Johannes Aegidius de Rettenwerd, Ernst Schele and Elizabeth of Hesse will be examined and illuminated. The performance practices of each individual style (French, Italian, German and English) will be discussed and compared. While the musical quality of many of these sources is quite high, the proofreading standards of the scribes and printers were not. Learning how to identify mistakes in the sources will therefore be an important part of our exploration. Participants will have the opportunity to play pieces from the repertoire in class to look at some technical and interpretive questions in depth.

Mixed Style Ornamentation with Peter Sykes

For harpsichord and other Baroque instruments. Pitch A440 and 415.

Class Description

German baroque musical style borrows from both French and Italian stylistic elements. This class will examine this feature through the lens of ornamentation. What are the differences between Italian and French ornamentation? How does one decide what style to use in a given situation? How may they be combined? Through examination of scores and study of treatises we will explore this fascinating stylistic mélange and gain understanding of its expressive possibilities in both written music and in improvised ornamentation.

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

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: Aoki, Beckmann, Begley, Chen, Devine, Duryee, Lion, Lipkis, Hou, Owens; for voice, recorder, flute, oboe, bassoon, viol, violin, harpsichord, others. 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.”>

Making It Up: 14th- Early 16th-century Ensemble Collaboration Lab with Mark Rimple

For lutes and other early plucked instruments, singers, harpists, recorders, and vielles.

Class Description

This class will take examples from late medieval and early Renaissance monophonic song and dance literature as the basis for creativity and performance. Particularly from the late medieval period, little evidence exists from lutenists' ensemble participation—so what did they do? What do we know about the music itself? How can we make music today, regardless of this lack of evidence? We'll collaborate and explore a continuum of techniques and styles to explore a range of options with the aim of turning the act of interpretation into a joyous, creative act. Solo singers, harpists, recorder, or vielle players are welcome to send in a piece of repertoire and join us in the exploration. Plucked string players may bring lutes (plectrum or Renaissance), gitterns, harps, psalteries, or citoles.

Early Notation: Let Us Pray with Patricia Petersen

For recorders, singers, and viols.

Class Description

An entire mass without kneeling! We will add propers from the Choralis Constantinus, Isaac’s magnum opus, to a mass published in Germany in the early 16th century. Familiarity with C clefs and duple meter notation expected.

Be a Bass Boss! Bass Recorder Technique and Repertoire for all Bass Sizes with Tish Berlin

For intermediate bass and larger recorders

Class Description

Anyone wishing to improve their bass recorder playing who can read bass clef and can play at least the low G up to the high B flat is welcome to join this class. Great and contra basses are invited too!
Each class will start with a warm-up to improve posture and general bass technique, then move on to work on bass solos and duos using Eric Haas’ books, Bass Recorder Solo Book, and Volumes I and II of Duets for Basses, and bass lines in Renaissance, Baroque, and Contemporary repertoire. Mönkmeyer’s Playing the Bass Recorder will serve as part of our warm-ups. The Haas collections and the Mönkemeyer will be available in the von Huene shop at the Festival, but can also be ordered in advance at the Von Huene Workshop.

Nach Englischer Art with Miyo Aoki

For upper-intermediate to advanced recorders.

Class Description

In the sixteenth and seventeenth centuries, several English musicians and composers left their home country to seek employment on the continent. Many of them found work in Germany, where they both absorbed the continental styles of music in fashion at the time and influenced other composers, some of whom produced pieces "nach Englischer Art" (after the English fashion). This class will explore music by English expats and their German counterparts who were influenced by the imported English music. Pieces by William Brade, Thomas Simpson, Valentin Haussmann, and others. For upper intermediate to advanced recorders

Renaissance Flute Consort: Musica Teutsch with Eric Haas

For Renaissance flutes.

Class Description

In homage to Hans Gerle’s 1532 treatise Music Teutonicized we’ll play German and Swiss music for Renaissance flutes in 2, 3, and 4 parts. Gerle’s treatise contains a Who’s Who of 16th—century Germany and Switzerland with vocal and instrumental music of Alder, Forster, Greiter, Haussmann, Isaac, Praetorius, Senfl, Walter and others.

Dulcian Ensemble with Wouter Verschuren

For upper-intermediate to advanced dulcians.

Class Description

Through the course of the 16th century instrument inventories show the evolution of the dulcian family from the bass to other sizes. With this expansion came ensemble playing, including G and F alto dulcians, sopranos (rarely), and quart and quint basses. This class will play sacred and secular vocal repertoire and make use of all sizes of dulcians.

Ludi Musici with Heather Miller Lardin

For advanced viols, pitch A=415.

Class Description

We'll explore and enjoy the playful spirit and stylistic variety in music from Samuel Scheidt's 1621 collection: a rich mix of dances and consort pieces that blend German structure with French elegance and Italian flair. This class will focus on digging deeply into repertoire, with opportunities to delve into interpretation together.

"Been There, Done That" with Mary Springfels

For viols, lutes, vielles, and harps, pitch A=440

Class Description

Oswald von Wolkenstein (ca. 1376-1445) was among the greatest poets and composers of the early German Renaissance. He was also a diplomat and something of a “soldier of fortune.” He used his life of extensive travel and high adventure as the subject matter for his songs. Wolkenstein also put clever new lyrics to well-known partsongs. We'll work on the performance of both these genres, including approaches to the accompaniment of vocal pieces.

Strictly Funck with Arnie Tanimoto

For intermediate to upper intermediate viols, pitch A=415.

Class Description

Lesser-known masterpieces for viol consort, David Funck’s Stricturæ viola-di gambicæ (1677) combine rich contrapuntal textures with the irresistible rhythms of late 17th-century dance. Stylish, surprising, and tailor-made for viols. For intermediate to upper intermediate viols.

Aspects of Renaissance Lute Technique and Practicing with Christopher Morrongiello

For lutes.

Class Description

We will explore topics related to holding the lute, playing standing up, different ways of using a strap, right-hand thumb-under and thumb-out techniques to suit the repertoire, left-hand exercises for increasing facility, accuracy, and tone, hinge bars, using gut strings, tuning and temperaments, adding graces and ornamentation, reading from modern notation, accompanying singers and other instrumentalists, playing continuo, practicing, and performing in a relaxed, focused manner.

Percussion with Spiff Wiegand: Dum Without Doom!

All are welcome!

Class Description

Dum, Pah, Tak! End your day of classes by drumming in a relaxed and focused atmosphere. Learn the techniques and rhythms that make the music dance with confidence. Please bring any frame drums you have, (with or without jingles); a limited number is provided for sharing. Open to all levels.

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

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

Newe Day, Newe Songs: Secular Polyphony from the Collections of Hans Ott with Lisa Solomon

The Art of Recorder Consort Playing: Turning Notes into Music

Renaissance Recorder Consort

Mattheson Recorder Trios with Rachel Begley

Recorder Master Class with Saskia Coolen

Baroque Flute Master Class with Kathie Stewart

Oboe Band with Meg Owens

Maximilian's Triumph—The Musical Renaissance at Innsbruck

As Easy As “Ut Re Mi”: Solmization, Musica Ficta, and the Fingerboard with Mark Rimple

Gems of the German Baroque—Harpsichord Masterclass with Kathryn Cok

Lute Master Class with Paul O'Dette

Baroque Academy Viol Master Class with Sarah Cunningham

Baroque Academy Cello Master Class with Rainer Zipperling

Baroque Academy Violin Master Class with Aisslinn Nosky

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

Baroque Academy Harpsichord Master Class with Peter Sykes

Baroque Academy Vocal Master Class with Jennifer Ellis Kampani

Baroque Dance Technique

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

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

Baroque Orchestra: Music of Telemann and Fischer with Frances Blaker

Collegium: “A Little Mustard, Please!” with Larry Lipkis

Lute Ensemble: 15th Century Polyphony from the Lochamer Liederbuch and Buxheim Orgelbuch with Mark Rimple

Lute Masterclass: Renaissance Lute Topics with Christopher Morrongiello

Klavierbüchlein with Alissa Duryee

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

Early Notation for the New or Rusty Reader with Miyo Aoki

Hildegard and the Cult of St. Ursula with Tracy Cowart

Renaissance Recorders Consort

So Suite! with Rainer Beckmann

Ich habe das schon einmal gesehen (I’ve seen this before) with Eric Haas

Early Baroque Dance Music from Germany with Larry Lipkis

Schhhhh: Schütz, Schein, and Scheidt with Patricia Petersen

Anna Bon and Friends: Music of the Prussian Court with Na'ama Lion

Baroque Bassoon Master Class with Wouter Verschuren

Baroque Oboe Master Class with Meg Owens

Loud Band with Sian Ricketts

Soldiers of the Reformation with Mary Springfels

Bach Chorales and Chorale Preludes with Arnie Tanimoto

German Lute Sources from the 16th and Early 17th Centuries with Christopher Morrongiello

The International Lute Anthologies, circa 1600: Where Italian, French, German, Polish and English music came together with Paul O'Dette

Mixed Style Ornamentation with Peter Sykes

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

Baroque Ensembles

Making It Up: 14th- Early 16th-century Ensemble Collaboration Lab with Mark Rimple

Early Notation: Let Us Pray with Patricia Petersen

Be a Bass Boss! Bass Recorder Technique and Repertoire for all Bass Sizes with Tish Berlin

Nach Englischer Art with Miyo Aoki

Renaissance Flute Consort: Musica Teutsch with Eric Haas

Dulcian Ensemble with Wouter Verschuren

Ludi Musici with Heather Miller Lardin

"Been There, Done That" with Mary Springfels

Strictly Funck with Arnie Tanimoto

Aspects of Renaissance Lute Technique and Practicing with Christopher Morrongiello

Percussion with Spiff Wiegand: Dum Without Doom!

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