2026 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.

Get a Move On! with Jen Meller **8:30-8:50 a.m. before first period*

Ease into the morning with this gentle daily movement warmup class. A variety of soft stretches and coordination exercises to strengthen the mind-body connection and set you up for a day of easeful movement. Open to all!

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

Hands Across the Channel: Playing Early Notation of France and England with Patricia Petersen

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

Class Description

Get up close and personal with the sources of the music you love! Playing from 15th- and 16th-century manuscripts and prints provides a direct pathway to understanding and enjoying Renaissance polyphony. One experiences rhythm, pitch, and counterpoint in a new light when barlines don’t interfere, and puzzling through a score is incredibly rewarding and fun. Students should be reasonably familiar with C-clefs and ligatures; a basic understanding of triple notation is helpful, but class will review anything that needs reviewing. We will choose works from English and French sources to suit the size and level of the class.

A Pilgrimes Solace - Dowland in Polyphony with Lisa Solomon

Open to all singers and instruments.

Class Description

Didn’t you hear? It’s “Dowland Year!” Four hundred years ago, the composer, lutenist, and renowned melancholist John Dowland (c. 1563-1626) passed into darkness, but his lute songs have lived on as some of the most beloved and oft-performed works of late Renaissance England. Though not as famous as his turn-of-the-century Books of Songs, his last published collection, A Pilgrimes Solace (1612), contains some of his richest and most interesting compositions, all in polyphonic settings. Indeed, while his works are best known as songs for solo voice and lute, Dowland composed throughout his career in “Musicall Harmonie of 3, 4, and 5 parts, to be sung and played with the Lute and Viols.” And why not recorders as well? Together we’ll explore some of Dowland’s lesser-known gems from late in his career, with a peek at a few all-time favorites as well.

The Art of Recorder Consort Playing: Turning Notes into Music with Teresa Deskur, Eric Haas, Larry Lipkis, Wendy Powers

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! Following the Festival theme—Cloth of Gold, we'll play consort music by English and French composers from Binchois to Byrd to Boismortier 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 Rainer Beckmann, Wendy Powers

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 works from French and English composers. 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.

Philidor! with Nina Stern

For upper-intermediate to advanced recorders.

Class Description

Court musicians to the French kings, the Danican Philidor family were musicians, instrument makers, and chess masters! Anne-Danican Philidor wrote the only known French Baroque suite specifically intended for flûte a bec, or recorder. His cousin Pierre Danican Philidor wrote a set of twelve stunning suites—six for solo treble instrument and basso continuo and six for two trebles. In this course, we will look at these beautiful works, comparing them to contemporary works by Hotteterre, Boismortier, and other masters of the French Baroque. Together, we will explore ornamentation styles, phrasing and articulation, inégale, the art of preluding, and more.

Recorder Master Class with Saskia Coolen

Perform in class or audit.

Class Description

This is a combined class that meets with Baroque Academy recorders. Central Program auditors welcome. Any Central Program students who wish to play should send a brief recording to be selected. Send to Click here to show mail address. Teacher will adjust the performance schedule at their discretion. The repertoire focuses on music from France and England. Examples include but are not limited to Philidor, Boismortier, Hotteterre, Couperin, Purcell, Handel, grounds from Division Flute and Division Violin, Locke, Simpson, etc. Please bring an extra five copies for class study. 415 and 440 instruments are welcome.

Renaissance Flute Consort: French Love Songs, English Fantasias! with Na'ama Lion

For Renaissance flutes.

Class Description

The most beautiful songs from 16th-century France, arranged for flutes and published by Attaignant and others, for music making with friends. This music is hauntingly beautiful! We will find the tone quality for each of the voices in our warmups, and also look into using theory and performance practice to enhance our understanding of these pieces. Later in the week we will look into fantasias from the English repertory, by Byrd, Holborne, Daman and more. All levels, A=440.

Baroque Flute Master Class with Emi Ferguson

Perform in class or audit.

Class Description

This class is a combined class with Central Program and Baroque Academy flutes. Any Central Program students who wish to play should send a brief recording to be selected. Send to Click here to show mail address. Teacher will adjust the performance schedule at their discretion. Suggested repertoire: music from France and England preferred, but anything is fine. Please bring an extra five copies for class study. Pitch: A=415.

Oboe Band with Wouter Verschuren

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

Class Description

The class will explore examples from the rich archives of French and English Baroque music played by oboe bands. We’ll play a range of music, from tender dances to upbeat movements with sparkling virtuosity. For experienced players. Pitch: A=415.

Consorts Royale with Lawrence Lipnik

Open to viols. Pitch: A= 415.

Class Description

Viol Consorts from the 16th and 17th centuries at the French and English royal courts. Sample a multitude of genres: fantasies, ricercars, dances, and more as enjoyed by courtly connoisseurs and gentry. Works by Le Jeune, du Caurroy, Charpentier, Byrd, the Ferraboscos, along with Coprario and Dowland, celebrating their 400th anniversaries.

Music of England and France - From Virginal to Clavecin with Peter Sykes

For harpsichordists

Class Description

A repertoire-based masterclass with special attention given to the various styles and signs of ornamentation, from Byrd to Boyce and Chambonnières to Couperin. Please bring five copies for the class, auditors also welcome.

Baroque Academy Viol Master Class with Sarah Cunningham

Audit only.

Baroque Academy Cello Master Class with Phoebe Carrai

Audit only.

Baroque Academy Violin Master Class with Julie Andrijeski

Audit only.

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

Audit only.

Baroque Academy Harpsichord Master Class with Arthur Haas

Audit only.

Baroque Academy Vocal Master Class with Sherezade Panthaki

Audit only.

Baroque Dance Technique with Dorothy Olsson and Peggy Murray

For dancers with some experience in historical dance.

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.

Glory of the Baroque: Across the Channel! Baroque Orchestra Plays Music of France and England with Frances Blaker

Open to all Baroque instruments at A=415.

Class Description

Elegant, colorful, theatrical, exotic, and just plain exciting works by Leclair, Babell, Handel, and Rameau 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 figured bass. Pitch: A=415. Music will be sent out in advance.

Collegium: Airs de Cour and Other French Delights with Larry Lipkis

Open to all instrumentalists and singers at A=440.

Class Description

Bring on the croissants! We’ll feast on courtly airs, chansons, and instrumental works from the 16th through the 18th centuries by such luminaries as Janequin, Loeillet, Lully, Rameau, and others. Vive la France! All instruments and voices. A=440.

Getting in the Zone: The Prelude Zone with Kevin Devine

For harpsichordists.

Class Description

In this fast-paced world we live in, do you ever feel rushed? Does it ever feel like you don’t have enough time to prepare, center yourself, or in other words “get in the zone”? Well, I have one word for you: preludes. Wait, maybe I should say I have a verb for you: preluding! Playing a prelude is a great way to familiarize yourself with a new keyboard, check the tuning of your instrument or simply ease your transition into performance mode. In this class we will explore the art of preluding as it pertains to English music & French music. We will decode the mysterious language of the French unmeasured preludes of the 17th century, marvel at the clean lines of the brief preludes of the English Virginalists, and explore the preludes of the likes of Purcell, Handel, Rosengrave, and Rameau. The bravest of you may even improvise a prelude or two of your own. All experience levels are welcome.

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

Early Notation with Wendy Powers

For recorders, viols, and other soft instruments.

Class Description

The Brade Bunch with Larry Lipkis

For all instruments at A=440

Class Description

William Brade (1560-1630) was an important transitional figure in English music, whose works stylistically span the late Renaissance and early Baroque eras. Much of his composing career was spent in Northern Germany and Denmark. Brade’s output is primarily dance music, but we will explore a bunch of his canzonas as well, which are lively contrapuntal pieces that often shift meters from duple to triple and can have a ceremonial quality. Intermediate/Upper Intermediate, all instruments.

Sin, Satire, Fortune, and Song: The Musical Mashup of Fauvel with Tracy Cowart

For all instruments at A=440 and voices.

Class Description

Half-man, half-ass, and one entire royal pain: The Roman de Fauvel is a musical romp that narrates the antics of the 14th-century Fauvel, a problematic leader who takes his name from six of the deadly sins. This richly allegorical satire of a wannabe despot, his sycophants, and their battle with the Virtues resonates as deeply today as it did in the time it was written. We will explore the narrative and musical arc of this monumental Medieval work, with an emphasis on understanding the various and overlapping performance concerns within its rich repertoire of over 150 monophonic songs and polyphonic motets. Whether you are a singer or instrumentalist, this class offers an opportunity to inhabit a musical world where tradition and innovation collide with wit, irony, and striking musical imagination. A=440.

Breathe and Step: Early Dances for Musicians (and Dancers, too!) with Jennifer Meller

Class Description

A low-pressure, low-impact introduction to Renaissance and Baroque dances of England and France with an emphasis on how the core movements of each dance form can deepen understanding of the music. Bring your hottest questions about tempo and affect as we walk, glide and gently spring our way through pavans, branles, minuets, country dances and more. All left feet are welcome.

Renaissance Recorder Consort with Nina Stern, Teresa Deskur

For players familiar with Renaissance recorder fingering who own or can borrow Renaissance consort recorders (for example Prescott, Livirghi, Ohanessian). Pitch: A=440

Class Description

Purcell’s Ayres for the Theatre with Rainer Beckmann

For intermediate recorders.

Class Description

In May 1697, Frances Purcell published a collection of 13 sets of airs derived from the theatre music of her late husband, Henry Purcell. Intended for domestic music-making, these adaptations are scored for a four-part string ensemble and are also well suited for recorders. This class will explore selected sets of airs from all four of Purcell’s operas, as well as from one of the spoken plays for which he composed incidental music. Delve into the enchanting soundscape of brilliant, harmonically rich overtures; elegant airs and minuets; energetic hornpipes; and mesmerizing grounds and chaconnes— all filled with breezy, tuneful, and memorable melodies!

Dame Fortune with Patricia Petersen

For upper-intermediate to advanced recorders.

Class Description

Sometimes desperate, sometimes a foe, always quixotic, Fortune winds her way through 15th- and 16th-century music both sacred and secular. From Busnois’ (or perhaps Brumel’s) song of desperate fortune to its many borrowings by such as Josquin, Isaac, and Agricola, to Shakespeare’s Fortune My Foe, with settings by Byrd and others, we’ll follow her twisting trail on both sides of the Channel, and see where it leads us.

French Ornaments for Flute and Recorder with Na'ama Lion

For upper intermediate to advanced flutes and recorders. Pitch: A=415

Class Description

Ornamenting in the French style is beautiful and easy. We will explore the language of ornaments in pieces by Hotteterre, Marais, and Couperin, with hands-on exploration of the music and ornamentation tables hand-in-hand. We will use ornaments to make the music come to life and be more fun to play. Flutes and recorders, A=415

Déjà Vu with Eric Haas

For Renaissance flutes.

Class Description

Once in a while a musical composition is so beautiful that it deserves to be heard again...and again. In this class we'll look at some of the most popular French chansons that caught the imagination of composers who arranged, reworked, or ornamented them in 2 to 6 parts: Content désir, Tant que vivray, Susanne ung jour, Dolce memoire, and others, in settings by Attaignant, Buus, Castro, Manchicourt, Susato, Turnhout, and many others. All levels, a=440. There will be an opportunity to play on a matched consort of Wenner flutes if desired.

Baroque Oboe Master Class with Geoffrey Burgess

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. French and English 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.

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 will focus on music from France and England. We will also work on articulation, ornamentation, shaping the continuo line, and of course some reed making. Please bring five extra copies of the music you prepare for the class.

Loud Band with Sian Ricketts

For shawms, cornets, sackbuts, and dulcians.

Class Description

A class for mixed loud instruments focusing on music of the late 15th and 16th centuries from the Franco-Flemish tradition. Shawm, cornet, sackbut, dulcian welcome.

Rule Brittania/Vive la France with Lawrence Lipnik

For viols.

Class Description

Treasures for Viol Consort from Renaissance England and France. Explore fantasies, ricercars, chansons, partsongs and dances found in 16th- century partbooks and published collections by Attaingnant, Le Roy & Ballard, Barley, and Este. Works by Sandrin, Sermisy, Holborne, and others including Weelkes and Dowland, celebrating their 400th anniversaries!

“Fancy Free”: Exploring the English Consort Fantasia with Heather Miller Lardin

For viols.

Class Description

The fantasy, or "fancy" as the English called it, was the form in which composers gave their imagination freest rein, unbound by cantus firmus, dance pattern, or text, and the pinnacle of the viol consort repertoire. Demanding contrapuntal awareness, ensemble sensitivity, and stylistic flexibility, we will trace its arc from Byrd through Ferrabosco II, Lupo, Gibbons, Coprario, and Jenkins to the sublime fantasias of Purcell.

The French “Invasion” of England with Arthur Haas

For harpsichordists.

Class Description

A look at harpsichord music written during the English Restoration. Participants will play music of Purcell, Croft, Locke, and other composers in England after Charles II's return to monarchy in 1660. We will discover how this music reflects Charles' long exile in France as a guest of Louis XIV.

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

Tudor Tapestries: Music from Renaissance England for Mixed-Ensemble with Lawrence Lipnik

For mixed instruments at A=440.

Class Description

A glimpse into the musical tastes of illustrious Tudor patrons tracing the stylistic evolution of the viol consort in England from its Franco-Flemish roots at the court of Henry VIII, to high French style at the dawn of the Elizabethan era and other musical trends in vogue on the continent preserved in sumptuous manuscripts, partbooks, and early printed collections.

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: Beckmann, Chen, Devine, Haas, Hou, others tba; 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.”

Nouvelle Cuisine: How to Cook Your Own Preludes with Saskia Coolen

For upper-intermediate to advanced recorders.

Class Description

In his 1719 L’Art de Preluder, Hotteterre teaches us how to make preludes, but we can also work on our technique and learn more about ornaments by following his suggestions.

Beyond Josquin: Celebrating the Josquin Generation with Patricia Petersen

For intermediate to upper-intermediate recorders.

Class Description

Most early musicians have played or sung the music of Josquin Desprez, arguably the best-known composer of the High Renaissance. Often overlooked are the other French and Flemish composers of his generation: Isaac, Compère, Mouton, Brumel, Agricola, and many more!

From the Ars Nova to the Contenance Angloise: How England Conquered France with its Sweet Thirds and Sixths with Tish Berlin

For upper-intermediate to advanced recorders.

Class Description

Follow the changes in French polyphony with music by 14th-century composers Machaut and Solage to composers influenced by English polyphony. Learn how English composers Dunstaple and Frye influenced Binchois and Dufay with their sweet English harmonies. For upper intermediate to advanced recorders.

Second Generation and Beyond - Dulcian Ensemble with Wouter Verschuren

For upper intermediate to advanced dulcians.

Class Description

Dulcian ensemble playing four part motets and chansons written by the generation following Josquin and later, including Mouton, Gombert, Crecquillon, and others.

Basso Continuo in Action! with Alissa Duryee

For harpsichordists with good sightreading skills who are new to or would like to improve their continuo skills.

Class Description

In this class we will explore continuo playing both in theory (general principles) and in practice (zeroing in on pieces students are working on in ensemble contexts). Students will receive individual attention tailored to their level of experience. Where appropriate, attention will be given to French or English elements of style. The format of this class is that students will spend the first part of each period working with Alissa, then each will go to their assigned Baroque Ensemble class. Alissa will visit those ensembles in turn to help with issues.

Pan Boum / Bang Boom! with Spiff Wiegand

Open to all.

Class Description

After a long day, cool off by hitting a drum in a relaxed atmosphere. We’ll learn and review frame drum techniques, applying them to dance rhythms of France and England. Bring frame drums with or without jingles (tar, tambourine, riq), as there are a limited number to share. Open to all levels.

Get a Move On! with Jen Meller *8:30-8:50 a.m. before first period

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

Hands Across the Channel: Playing Early Notation of France and England with Patricia Petersen

A Pilgrimes Solace - Dowland in Polyphony with Lisa Solomon

The Art of Recorder Consort Playing: Turning Notes into Music with Teresa Deskur, Eric Haas, Larry Lipkis, Wendy Powers

Renaissance Recorder Consort with Rainer Beckmann, Wendy Powers

Philidor! with Nina Stern

Recorder Master Class with Saskia Coolen

Renaissance Flute Consort: French Love Songs, English Fantasias! with Na'ama Lion

Baroque Flute Master Class with Emi Ferguson

Oboe Band with Wouter Verschuren

Consorts Royale with Lawrence Lipnik

Music of England and France - From Virginal to Clavecin with Peter Sykes

Baroque Academy Viol Master Class with Sarah Cunningham

Baroque Academy Cello Master Class with Phoebe Carrai

Baroque Academy Violin Master Class with Julie Andrijeski

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

Baroque Academy Harpsichord Master Class with Arthur Haas

Baroque Academy Vocal Master Class with Sherezade Panthaki

Baroque Dance Technique with Dorothy Olsson and Peggy Murray

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

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

Glory of the Baroque: Across the Channel! Baroque Orchestra Plays Music of France and England with Frances Blaker

Collegium: Airs de Cour and Other French Delights with Larry Lipkis

Getting in the Zone: The Prelude Zone with Kevin Devine

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

Early Notation with Wendy Powers

The Brade Bunch with Larry Lipkis

Sin, Satire, Fortune, and Song: The Musical Mashup of Fauvel with Tracy Cowart

Breathe and Step: Early Dances for Musicians (and Dancers, too!) with Jennifer Meller

Renaissance Recorder Consort with Nina Stern, Teresa Deskur

Purcell’s Ayres for the Theatre with Rainer Beckmann

Dame Fortune with Patricia Petersen

French Ornaments for Flute and Recorder with Na'ama Lion

Déjà Vu with Eric Haas

Baroque Oboe Master Class with Geoffrey Burgess

Baroque Bassoon Master Class with Wouter Verschuren

Loud Band with Sian Ricketts

Rule Brittania/Vive la France with Lawrence Lipnik

“Fancy Free”: Exploring the English Consort Fantasia with Heather Miller Lardin

The French “Invasion” of England with Arthur Haas

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

Tudor Tapestries: Music from Renaissance England for Mixed-Ensemble with Lawrence Lipnik

Baroque Ensembles

Nouvelle Cuisine: How to Cook Your Own Preludes with Saskia Coolen

Beyond Josquin: Celebrating the Josquin Generation with Patricia Petersen

From the Ars Nova to the Contenance Angloise: How England Conquered France with its Sweet Thirds and Sixths with Tish Berlin

Second Generation and Beyond - Dulcian Ensemble with Wouter Verschuren

Basso Continuo in Action! with Alissa Duryee

Pan Boum / Bang Boom! with Spiff Wiegand

Get a Move On! with Jen Meller **8:30-8:50 a.m. before first period*