2025 Festival Classes Week 2

Participants who have registered will receive a link to choose their classes. (coming soon!)
Pitch for classes is A=440 unless otherwise noted.

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

Early Notation: Das Glogauer Liederbuch with Annette Bauer

open to all instrumentalists with prior notation experience (intermediate/advanced).

Class Description

Written in the 1480s, the Glogauer Liederbuch is a collection of songs containing almost 300 secular, sacred, as well as instrumental pieces. It is also the earliest surviving source written in partbooks (cantus, tenor, contratenor), and is an important source for mid to late 15th-century repertoire.

Building Up to Bach with Emily Eagen

For singers.

Class Description

Come explore German vocal repertoire from the 16th and 17th centuries, where composers such Hans Hassler sought to blend German and Italian styles in multi-part song. We'll form a mini madrigal-like ensemble to sing German repertoire “in the manner of foreign madrigal and canzonets," enjoying the nuance and beauty of these songs. Along the way, we'll note aspects of this repertoire that reveal the lineage that leads to Bach. This class is ideal for any singer who wants to strengthen their ensemble skills, and work on the technique to fully realize a vocal part.

Recorder Masterclass with Saskia Coolen

For recorders.

Class Description

We will focus on music from the German-speaking lands with an emphasis on Bach, Handel, and Telemann. Please bring an extra five copies for class study. 415 and 440 instruments are welcome.

The Art of Recorder Consort Playing: Turning Notes into Music

With Héloïse Degrugillier, Eric Haas, Na’ama Lion; for all levels of recorder. Pitch: A=440.

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 to Baroque consort music by early composers of German-speaking lands, from Senfl 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!

Sarah’s Recorder Gym! with Sarah Jeffery

For intermediate recorders.

Class Description

Welcome to the recorder gym, for the ambitious who still want to play! We will work on all aspects of your technique in a practical and approachable way, making sure you can get the most out of your playing, and really level up. For the second half of each session, we’ll work on chamber music that addresses the exercises we’ve just done, in context. For intermediate recorder players, concentrating on alto recorder but spreading out to SATB where required.

Renaissance Recorder Consort

With Rotem Gilbert and 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.

Introduction to Renaissance Recorders: Made Together, Played Together! with Patricia Petersen

For upper intermediate to advanced players who are new to Renaissance consort recorders.

Class Description

Experience the delight and ease of playing a matched set of instruments. Class will work on intonation and producing a rich sound while learning the blowing techniques and historical fingerings that the instruments require. Knowledge of G fingerings an asset, but not necessary. A consort by Peter van der Poel a A=466 will be provided.

Double Trouble, a Reed Potpourri

With Daniel Stillman and Wouter Verschuren, for upper-intermediate to advanced shawms and dulcianss.

Class Description

Reed players: start your day with an emphasis on technique and lots of playing. There will be useful tips and reminders on good posture, embouchure, sound production, tuning, articulation, and dynamics. Dan and Wouter, in two separate groups, will have you celebrating the glorious sound of shawms and dulcians in Germanic repertoire.

Sackbut, or Getting down to Brass Tacks with Liza Malamut

For sackbut players.

Class Description

Start your day with brass warm-ups, technique, and wonderful repertoire for sackbut ensemble. Liza will help you play with more ease and get to the next level. Embouchure, articulation, breath control, and much more, as well as satisfying music making.

Cornetto Revealed with Kris Kwapis

For cornetto players.

Class Description

Mysteries of the cornetto revealed! In the Renaissance period, apprentices learned to play their instruments by working with masters, who were known to guard vital information closely. Luckily for us, Kris will share with you her deep understanding of how to bring out the best in these expressive and sometimes difficult instruments. Individual attention and group playing will be part of the mix in this class for cornetto players. Bring questions!

Before and After: Musical Culture in Germany leading up to the Thirty Years' War (1618-1648)

With Rosamund Morley, Patricia Ann Neely; for viols. Class will be divided into two sections.

Class Description

From the 16th century and into the 17th, music in German-speaking lands was enriched by influences from other regions of Europe. Enjoy the multifaceted musical culture of this time by exploring German dances, lieder, canzoni and madrigals. Participants in both sections of this class will come together at week's end for a performance of Johann Hentzschel's sonorous Canzona for 8 viols. Consorts will be carefully sorted according to level of technical and musical proficiency. Open to viols. Pitch: A=415.

Harpsichord Masterclass with Alissa Duryee

For harpsichordists of all levels.

Class Description

This class will address the individual needs of keyboard students. Topics may include repertoire, continuo, assistance with preparing music for Baroque Ensembles, practice techniques, pedagogical literature, and basic instrument tuning/maintenance. Content will be matched to the profile of those who enroll : all profiles are welcome ! Whether you are an experienced player seeking mentorship, an experienced musician for whom the harpsichord is a secondary instrument, or a student seeking a first hands-on harpsichord experience, this class is a time for you to get your keyboard needs met. Please bring an extra five copies for the class.

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

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

Concord of Brethren: Music from Leipzig and Dresden at the Dawn of the Baroque with Lawrence Lipnik

For recorders, viols, singers, and keyboard (recorders reading alto up may be required, keyboard players will need to play from open score at times).

Class Description

Glorious motets and pastoral madrigals by two German masters of early baroque style: Heinrich Schütz, “The Dresden Orpheus," and Johann Hermann Schein, cantor and music director at the Thomaskirche in Leipzig, a position later held by J. S. Bach, embracing the latest Italian musical innovations of Monteverdi and the Gabrielis into their compositions “auf Italienische Manier”. Repertoire highlights will include selections from Schein’s Israelsbrünnlein and Diletti Pastorali, as well as majestic motets from Schütz’s Psalmen Davids.

Polychoral Ensembles

With Liza Malamut and Rotem Gilbert, for cornetto, sackbut, shawm, and dulcian.

Class Description

Two ensembles playing double choir music by composers from late 16th- and early 17th-century Germany and Austria. The focus will be on making a wonderful, well-blended sound and exploring superb repertoire. Please let us know if you would like to play a quart or quint bass dulcian or other less common brass or reed instrument. For cornetto, sackbut, shawm, and dulcian.

Renaissance Viol Consort: What’s in a Name? Elselein, Kätterlein and friends with Rosamund Morley

For Renaissance viols (instruments will be available on loan for players).

Class Description

Folktunes, from love songs to bawdy romps, are the compositional inspiration for much German instrumental music of the 16th century. This class will examine a selection of these appealing tunes and explore their use, sometimes even three at a time, in some of the most captivating German polyphony of the time. A set of Renaissance viols will be made available to students for class.

Die allerbeste Zeit: Time-Traveling Keyboards with Kevin Devine

For beginner to advanced keyboard players.

Class Description

In this hands-on class for students we will make use of three different early keyboards: Medieval portative organ, clavichord (good for Renaissance AND Baroque music!) and harpsichord. We will begin with an overview of the instrument and survey its mechanics. Students will get a masterclass on each instrument and explore the best way to interpret early music on the keyboard. Those who undertake this journey will be rewarded with several centuries’ worth of approachable music from the German Lands! Music by Hildegard von Bingen, Conrad Paumann, Johann Kuhnau, Johann Sebastian Bach and many, many more.

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

Notation: It’s Printed! with Patricia Petersen

For recorders. Familiarity with C clefs and duple meter notation expected.

Class Description

Georg Rhau and Hieronymus Formschneider took music publishing to new levels, popularizing sacred and secular songs alike, and republishing the most popular pieces from the late 15th and early 16th centuries

Choralis Constantinus: A Massive Undertaking with Tracy Cowart

For singers.

Class Description

Sought after by both Lorenzo de Medici and the Holy Roman Emperor Maximilian, Heinrich Isaac (c.1450-1517) was one of the most “in-demand” composers in Europe during his lifetime. His stylistic versatility is evident throughout his largest set of works, the Choralis Constaninus, which came about after Maximilian, having installed the Empire parliament in Contance, summoned Isaac from Florence to provide music for the joint forces of the Habsburg Hofkapelle and the Constance Kantorei (cathedral choir). Isaac’s two-year stay was met with such enthusiasm that the cathedral commissioned him to compose a set of motets for special holy days celebrated in the diocese. This class will dip its toe into the delightfully varied waters of the ensuing monumental collection, which contains over 350 plainsong-based polyphonic settings of the Mass Propers showcasing virtually all the compositional devices, mannerisms, and styles prevalent at the time.

Renaissance Recorders Consort

With Tish Berlin and Héloïse Degrugillier; for players familiar with Renaissance recorder fingering who own or can borrow Renaissance consort recorders (for example Prescott, Livirghi, Ohanessian).

Class Description

One-on-a-part consort for accomplished players/owners of Renaissance recorders. Blend and ensemble skills emphasized. Performance a possibility. Repertoire will include but not be limited to the works from German-speaking lands. For players familiar with Renaissance recorder fingering who own or can borrow Renaissance consort recorders. Players must bring at least two sizes. Pitch: A=440.

Praetorius: Dances from Terpsichore with Teresa Deskur

For intermediate recorders.

Class Description

Let the muse inspire you as we explore Praetorius' famous collection of lively songs and dances! Chase away post-lunch tiredness with galliards, courantes, and bourrées. Players will learn about the characteristic dance forms that Praetorius collected and arranged, and enjoy some truly delightful consort playing. At A=440, for intermediate SATB recorder

Getting into Contemporary Techniques with Sarah Jeffery

For upper intermediate to advanced recorders.

Class Description

How do you flutter tongue? Or sing and play at the same time? What do those new symbols on the page mean, and how do we tackle them? Sarah will take you through a host of exciting techniques and show you how to work with them confidently on your instrument, and try them all out within pieces from the repertoire. Technique, in context, is fun! For upper intermediate to advanced players, concentrating on alto recorder but spreading out to SATB where required

Going Dutch with Saskia Coolen

For intermediate to upper-intermediate recorders

Class Description

Welcome to the unknown wealth of Dutch music of the 17th century. We will play some of the 4-6 part consort pieces by Cornelis Schuyt from Leiden and his much more famous colleague from Amsterdam Jan Pieterszoon Sweelinck.

Carmina Burana with Annette Bauer

Open to instrumentalists and singers, and those who are comfortable doing both!

Class Description

Carmina Burana, literally “Songs from Beuren,” is named after the village where the manuscript was found. The songbook consists of ca. 250 poems, on subjects ranging from sex and gambling to crusades and corruption. Compiled in the 13th century in South Tyrol, a German-speaking region of Italy, it is the largest surviving collection of secular Medieval Latin verse and provides insights into the vibrant social, spiritual, and intellectual life of the Middle Ages, as portrayed by the goliards, itinerant clergy students satirizing the church. More than half the poems are preserved nowhere else—about a quarter of them also feature musical notation in staffless neumes. The title Carmina Burana remains fixed in the popular imagination today, conjured vividly by Carl Orff’s famous cantata―no Medieval Latin lyrics are better known throughout the world. We will take a closer look at the original “Codex Buranus”!

Renaissance Flute Consort with Na'ama Lion

For Renaissance flutes at A=440.

Class Description

Renaissance flute technique and tuning, followed by consort music by German and Franco-Flemish composers who worked in Germany. Music by Isaac, Senfl, Finck, Appenzeller, Hofhaimer, Lassus and others.

Lassus with Wouter Verschuren

For advanced loud players.

Class Description

Explore the rich world of Renaissance music in our Lassus course for advanced loud players. With a focus on technique, phrasing, and ensemble playing, the course includes the wonderful repertoire by Lassus and his contemporaries that was known and loved across Europe..

The Pomeranian Lassus with Daniel Stillman

For cornetto, sackbut, dulcian.

Class Description

Though not especially well known to us today, the north German composer Phillip Dulichius (1562-1631) was so highly regarded in his lifetime that he was known as the Pomeranian Lassus. We have some 250 of his motets, models of expressive and articulate polyphony, and extremely satisfying to play on instruments. In this class, we will play some of those motets and compare them with settings of the texts by some of his contemporaries. .

Sacred German Motets with Kris Kwapis

For upper-intermediate to advanced cornetto, sackbut, dulcian, continuo.

Class Description

The combination of expressive Baroque sensibilities and polyphonic style result in some of the most enchanting music from the 17th century. In this class, we will explore the subtle beauty of this repertoire by Heinrich Schütz (Geistliche Chor-Music, Op.11), Johann Hermann Schein (Israelis Brünnlein, his magnum opus collection), and Johann Schelle ("Komm, Jesu, komm"). Reading from facsimile whenever possible, we will practice the art of bringing text to life as we sing through our instruments.

Lust und Freud with Marilyn Boenau

For shawms and bass dulcian.

Class Description

Let there be shawms! We’ll recreate this characteristic part of the soundscape in Northern Europe of the early 16th century. Our shawm band will revel in ca. 1500 repertoire, including works by Franco-Flemish composers and tenorlied repertoire by Senfl, Hofhaimer, and others. These pieces are humorous, tuneful, and full of frolicking rhythms. Nimble fingers and tongues encouraged! For shawms and bass dulcian.

Musical Banquets and Games: Festive Consorts for Viols from Northern Germany ca. 1600

With Larry Lipnik and Patricia Ann Neely, for viols.

Class Description

Survey the latest musical trends and innovations captivating German social circles at the beginning of the 17th century featuring instrumental works in the Italian style, cantzons, praeambula, sonatas, dances and more by Thieme, Widmann, Scheidemann, Franck, Schultz and Brade, as well as highlights from printed collections by Füllsack & Hildebrandt, Simpson’s Opusculum, and Scheidt’s Ludi Musici.

Tenorlied with Shira Kammen

For intermediate to advanced soft instruments of all kinds, and singers.

Class Description

Tenorlied is one of the principal types of German polyphonic song during the period ca. 1450-ca. 1550. It consists of a preexisting melody set as a cantus firmus, (or tenor!), accompanied by two or three contrapuntal parts. Fun, beautiful, entertaining music, including compositions by Senfl and Isaac. For intermediate to advanced soft instruments of all kinds, and singers.

Fun with Schemata with Alissa Duryee

For harpsichordists of all levels.

Class Description

Do you know the Jupiter, the Prinner, or the Meyer ? Can you distinguish between the Monte, the Ponte, and the Fonte ? If you have ever heard or played 18th-century music, the answer is certainly yes ! In this class, we will attach names and attributes to typical musical gestures of the 18th century, or schemata. We will observe these gestures "in their natural habitat" through discussion, listening, and hands-on application (creative work). We will learn to identify them in pieces of repertoire as well. This class is suitable for students of any background and level, as the content will be adapted to the aptitudes and interests of those enrolled.

New London Assembly Presentation Lectures

Open to all.

Class Description

NLA Lectures are open to all. A different speaker and topic will be presented for each lecture. Speakers include Dorothy Olsson and Peggy Murray, Carol Marsh, Brad Foster, and Victoria Yeomans. Topics tba.

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

Early Notation: Music from 16th-century German prints with Annette Bauer

Open to all instrumentalists and singers; basic notation experience required.

Class Description

The 16th century saw a flourishing of printed music publication in Germany, collection of hymns, songbooks, as well as instrumental settings and reworkings of famous tunes of the time. This class explores this wealth of musical material directly from the sources. Prerequisites are minimal prior experience with reading from mensural notation, including experience in reading duple mensuration, and openness to reading from moveable clefs.

Renaissance Music Theory with Loren Ludwig

Open to all.

Class Description

Renaissance music theory offers a powerful set of tools to aid performers and scholars in their approaches to polyphonic music. With instruments in hand, we’ll explore some of the key concepts of music theory using Renaissance sources, including Tinctoris, Zarlino, Morley, and others. Over the course of the week, we’ll tackle concepts including solmization and the hexachord, modes, cadences, ornamentation, and imitation, splitting our time between analysis, composition, and music making.

Baroque Ensembles

Faculty will be drawn from the following: Coolen, Degrugillier, Gilbert, Huille, Lion, Ricketts, others tba; for voice, recorder, flute, oboe, bassoon, viol, violin, harpsichord, other.

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.

Vocal Technique with Historical Inspirations for the 21st-Century Singer with Emily Eagen

For singers of all levels.

Class Description

Singers of all levels are welcome to participate in this daily technique class, where we'll explore resonance, breath, articulation, and phonation, and stretch our range and stamina. We will draw inspiration from ideas from 17th- and 18th-century vocal pedagogy: what imagery, wisdom, and science helped singers use their voices in these centuries? We'll sing solo and multi-part songs from the Renaissance and early Baroque to try out the ideas and enjoy singing together in a small group. Gain new tools and tips for your voice, and leave with a stack of some of the most beautiful songs of the eras, as we travel back in time while we sing!

Alles zusammen: German Baroque Music for Recorder Ensemble with Sarah Jeffery

For upper intermediate recorders.

Class Description

In this class we will get to know music arranged for 4/5 recorders, from well known names such as Bach and Handel, to lesser known pearls from composers like Samuel Scheidt and Wilhelmine von Bayreuth. What does this music have in common, and what makes it so special? Learn about this period in the best way—through immersing yourself in the music. For upper intermediate recorder players, playing multiple sizes of recorder.

The Wittenberg Nightingale: Martin Luther & Music with Wendy Powers

For intermediate to upper intermediate soft instruments (Renaissance flute, recorder, viol, other soft instruments).

Class Description

Few figures have had as large an influence on music history as theologian Martin Luther (1483-1546), the founder of the Lutheran church. His love of music, particularly that of Josquin and Senfl, led to the Lutheran church adopting music as a congregational tool, without which we would have had no Lutheran works by Praetorius, Schütz, or Bach. Class will explore pre-Luther works that inspired him, chorales, contemporaneous chorale arrangements, works by Senfl and others, publications of Georg Rhau, as well as some Counter-Reformation compositions. Why should the devil have all the good tunes?

Music Appreciation – or how to recognize and enjoy what you are hearing when you listen to music with Frances Blaker

For all musicians.

Class Description

Enjoying music can happen on many levels, from the unlearned listener who just likes the mysterious sounds floating past, to the astute listener who can hear and perceive all the lines of a composition at once, savoring the harmony, following every aspect of a piece. Most of us fall somewhere between these two extremes. My own experience has been that, the more I perceive and understand, the deeper my enjoyment and satisfaction become. Now I want to help you get a grasp of some of the various elements that make up the river of music as it flows by: melody-accompaniment, rhythms, imitation, phrasing, tone colors and recognizing various instruments and voice, texture from simple to complex. This is a listening class. We will listen to recordings as well as playing/singing piece; we’ll follow along in scores and discuss features of each piece. And in the process, you can enjoy hearing many pieces of many types—what a joy!

Teacher and Student: Isaac and Senfl with Patricia Petersen

For upper intermediate to advanced recorders.

Class Description

The Flemish master Heinrich Isaac and his Swiss pupil Ludwig Senfl represent the epitome of classic Renaissance music and the emergence of a German national polyphonic style. We will explore the variety, deep expression, and intricate fun of their sacred and secular works—motets, mass segments, Tenorlieder, instrumental, and other works.

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.

Spaghetti Spätzle: Italian German Fusion in 17th-century Madrigals with Kris Kwapis

For upper-intermediate to advanced cornetto, sackbut, dulcian, continuo.

Class Description

Exploring the cross pollination of the Italian madrigal mixed with German style, we will play music from collections of Italian madrigals written by German composers such as Heinrich Schütz (Op. 1 Il primo libro de madrigali for 5 voices) and Johann Hermann Schein (Diletti pastorali, Hirten Lust for 5 voices and continuo). Reading from facsimile whenever possible, we will practice the art of bringing text to life as we sing through our instruments. For cornetto, sackbut, dulcian, continuo

Vox Humana with Liza Malamut

For advanced singers, sackbuts, cornetti, and dulcians.

Class Description

During the Renaissance and early Baroque, winds and voices performed together and even substituted for one another in choirs. Composers such as Praetorius, Ahle, Hammerschmidt, Schein, Scheidt, and others wrote glorious music using combinations for voices and instruments. This class presents a rare opportunity to explore this music. Singers and players will learn colla parte techniques (doubled voices and instruments) and also play one-to-a-part on larger pieces. This course is for advanced singers, sackbuts, cornetti, and dulcians. .

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.

Beginning Renaissance Reeds with Marilyn Boenau

Open to all.

Class Description

What’s all the buzz about? Come and find out in this hands-on class about dulcian and shawm playing. We’ll play tenor instruments in C and you’ll get your own reed and instrument to use for the week. Insider tip: the fingering is similar to recorder. You’ll learn how to make a buzzing sound with the reed, then put it on the instrument and play different pitches. We’ll tune intervals and play simple pieces together. Open to all.

The Bamberg Manuscript with Shira Kammen

For intermediate to advanced soft instruments of all kinds, and singers. Pitch A=440.

Class Description

Explore how chant developed into polyphony and more via the gorgeous compositions in the Bamberg manuscripts, as well as musical games meant to illuminate the structure of these pieces from the inside out. This manuscript contains a large offering of 13th-century polyphony, mostly 3-voice compositions in a French style. No experience with Medieval music necessary, but a sense of adventure will serve you well. This class will include some basic improvisation and composition exercises to help us learn the style more completely. For intermediate to advanced soft instruments of all kinds, and singers.

Musica Musarum Germana “Music, Sister of the Muses": Works for Renaissance Viol Consort with Lawrence Lipnik

For Renaissance viols (instruments will be available on loan for players).

Class Description

Inspired by Jacob Handl’s glorious Musica, Musarum Germana “Music Sister of the Muses,” explore works by composers at the glittering ducal courts in Renaissance Germany and Austria, including celebrated Kapellmeisters Ludwig Senfl and Orlandus Lassus in Munich, as well as musical masters Ludwig Daser and Mattaeus Le Maistre, Jacob Handl, de Monte, and others associated with the courts.

From Voice to Viols with Rosamund Morley

For intermediate viols.

Class Description

Just as the English madrigal composers published their works as “apt for viols and voices” German madrigals are also eminently suited to performance on a consort of viols. Explore beautiful secular and sacred vocal music in the same polyphonic style by composers such as Schein, Hassler, Lassus, and de Monte.

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 and/or withouth jingles); a limited number is provided for sharing. Open to all levels.

New London Assembly: English Country Dance with Victoria Yeomans

Open to anyone with English country dance experience.

Class Description

Topic tba.

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

Early Notation: Das Glogauer Liederbuch with Annette Bauer

Building Up to Bach with Emily Eagen

Recorder Masterclass with Saskia Coolen

The Art of Recorder Consort Playing: Turning Notes into Music

Sarah’s Recorder Gym! with Sarah Jeffery

Renaissance Recorder Consort

Introduction to Renaissance Recorders: Made Together, Played Together! with Patricia Petersen

Double Trouble, a Reed Potpourri

Sackbut, or Getting down to Brass Tacks with Liza Malamut

Cornetto Revealed with Kris Kwapis

Before and After: Musical Culture in Germany leading up to the Thirty Years' War (1618-1648)

Harpsichord Masterclass with Alissa Duryee

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

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

Concord of Brethren: Music from Leipzig and Dresden at the Dawn of the Baroque with Lawrence Lipnik

Polychoral Ensembles

Renaissance Viol Consort: What’s in a Name? Elselein, Kätterlein and friends with Rosamund Morley

Die allerbeste Zeit: Time-Traveling Keyboards with Kevin Devine

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

Notation: It’s Printed! with Patricia Petersen

Choralis Constantinus: A Massive Undertaking with Tracy Cowart

Renaissance Recorders Consort

Praetorius: Dances from Terpsichore with Teresa Deskur

Getting into Contemporary Techniques with Sarah Jeffery

Going Dutch with Saskia Coolen

Carmina Burana with Annette Bauer

Renaissance Flute Consort with Na'ama Lion

Lassus with Wouter Verschuren

The Pomeranian Lassus with Daniel Stillman

Sacred German Motets with Kris Kwapis

Lust und Freud with Marilyn Boenau

Musical Banquets and Games: Festive Consorts for Viols from Northern Germany ca. 1600

Tenorlied with Shira Kammen

Fun with Schemata with Alissa Duryee

New London Assembly Presentation Lectures

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

Early Notation: Music from 16th-century German prints with Annette Bauer

Renaissance Music Theory with Loren Ludwig

Baroque Ensembles

Vocal Technique with Historical Inspirations for the 21st-Century Singer with Emily Eagen

Alles zusammen: German Baroque Music for Recorder Ensemble with Sarah Jeffery

The Wittenberg Nightingale: Martin Luther & Music with Wendy Powers

Music Appreciation – or how to recognize and enjoy what you are hearing when you listen to music with Frances Blaker

Teacher and Student: Isaac and Senfl with Patricia Petersen

Renaissance Flute Consort: Musica Teutsch with Eric Haas

Spaghetti Spätzle: Italian German Fusion in 17th-century Madrigals with Kris Kwapis

Vox Humana with Liza Malamut

Dulcian Ensemble with Wouter Verschuren

Beginning Renaissance Reeds with Marilyn Boenau

The Bamberg Manuscript with Shira Kammen

Musica Musarum Germana “Music, Sister of the Muses": Works for Renaissance Viol Consort with Lawrence Lipnik

From Voice to Viols with Rosamund Morley

Percussion with Spiff Wiegand: Dum Without Doom!

New London Assembly: English Country Dance with Victoria Yeomans

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