The Spring Break Workshop Online 2021

Saturday & Sunday, March 20 & 21
REGISTRATION NOW OPEN!

SCHEDULE
SATURDAY, MARCH 20 (Eastern Daylight Time)
Two class periods, followed by a Composers’ Forum
1:00 – 2:30 p.m. Eastern Daylight Time (10:00 a.m. – 11:30 a.m. Pacific)
An English Division with Saskia Coolen, recorder
Touched by the best finger of that age: Three-Part Fantasies by Orlando Gibbons with John Moran and Risa Browder, viols

3:00 - 4:30 p.m. Eastern Daylight Time (12:00 p.m. – 1:30 p.m. Pacific)
A Renaissance Consort Grab Bag with Frances Blaker, recorder
Monica Madness III: Keeping it Fresh! A Lute Improvisation workout with Douglas Freundlich, lute

5:00 - 6:00 p.m. Eastern Daylight Time (3:00 – 4:00 p.m. Pacific)
Composers’ Forum with Frances Blaker, Melika Fitzhugh, and Eric Haas. (FREE)

SUNDAY, MARCH 21 (Eastern Daylight Time)
Two class periods, followed by all-workshop playing session and Faculty Concert
1:00 – 2:30 p.m. Eastern Daylight Time (10:00 a.m. – 11:30 a.m. Pacific)
A Feast of Bach with Tish Berlin, recorder
Susanna Rare on Susanna Fair with Patricia Ann Neely, viol

3:00 - 4:30 p.m. Eastern Daylight Time (12:00 p.m. – 1:30 p.m. Pacific)
Telemann’s Sonata in A minor for Viol and Continuo, with Brent Wissick, viol
Musical Borrowing in Settings of Une Jeune Fillette with Chris Morrongiello
❈ “A priest, a banker, and an emperor:” the worlds of Heinrich Isaac with Valerie Horst and Wendy Powers (modern scores and facsimiles provided)

5:00 - 6:00 p.m. Eastern Daylight Time (2:00 – 3:00 p.m. Pacific)
All-workshop playing session: Byrd Pavane and Galliard a6 with Tom Beets, recorder and viol (lute charts provided by Doug Freundlich)
6:00 p.m. Eastern Daylight Time (3:00 p.m. Pacific Time)
Spring Break Workshop Faculty concert! - (FREE for everyone!)

❈❀❉ 2021 SPRING BREAK WORKSHOP CLASSES ❈❀❉

SATURDAY, MARCH 20
1:00 p.m. Eastern Daylight Time (10:00 a.m. Pacific Time)

A (New) English Division on a Ground with Saskia Coolen, recorder The pieces in The Division Flute (1706) are transpositions from The Division-Violin. Saskia will transpose one of the violin divisions which is not in the division-flute, to create some new repertoire for the recorder. The class will work on the different variations, with most of them having a special technical focus. At the end of class we will put it together and play our new piece! If you would like to be one of the performers, please contact Saskia at saskiacoolen@me.com to get your copy of the piece early. When you register, indicate that you would like to be a performer. You’ll be notified a few days before class if you have been chosen for one of the performing spots. Pitch: A=440 Geared to: upper intermediate to advanced recorders

Touched by the best finger of that age: Three-Part Fantasies by Orlando Gibbons with John Moran, assisted by Risa Browder  Consort music is social music, a lively discourse among colleagues, preferably in the same room, which is something we’ve all been missing for some time now. In this class you will get to play three-part consorts with two other live musicians who just happen to be quarantining together. We will begin with some group warm-up and then proceed to Fantasies of three parts by Orlando Gibbons. Originally published 400 years ago, and “cut in copper, the like not heretofore extant”, these are real gems. We will play two parts from here while you supply the third voice. Feel free to bring two or three sizes of viol, if you like. Risa Browder and I look forward to welcoming you to our music room! Geared to: viols Pitch: A=415

SATURDAY, MARCH 20
3:00 p.m. Eastern Daylight Time (12:00 p.m. Pacific Time)

Consort Grab Bag for Mixed Ensemble: Gombert, Hassler, Janequin, and Ockeghem with Frances Blaker, recorder What’s in our grab bag of Renaissance delights? A gorgeous villancico by Gombert, an inviting intrada by Hassler, a quick and jaunty chanson by Janequin, and an elegant rondeau by Ockeghem. Ockeghem’s rondeau, flowing and sometimes intricate, gives us a taste of the borderland between Medieval and Renaissance styles; Clément Janequin and Nicolas Gombert show two different sides – irreverent and noble – of the middle Renaissance; Hans Leo Hassler brings a lively breeze from the very end of the Renaissance period. Geared to: intermediate to upper intermediate recorders and viols and other melody instruments. Pitch: A=440.

Monica Madness III: Keeping it Fresh! A Lute Improvisation workout with Douglas Freundlich Guided by Doug's gentle, time-tested exercises in memory, paraphrase and in-the-moment discovery, you can create your own variations on the Renaissance hit tune La Monica (aka Une Jeune Fillette). Your mute button is engaged, so you are free from scrutiny. Plenty of do-overs--an ideal environment for taking risks and trusting your ears. The class also includes a broader discussion of improvisation from historical, psychological and cross-cultural perspectives. Participation in previous Monica Madness offerings not required! Be sure to also take Chris Morrongiello’s class on Sunday! Open to: G-lutes. Pitch: A=440.

SATURDAY, MARCH 20
5:00 p.m. Eastern Daylight Time (2:00 p.m. Pacific Time)

Forum: Composers Writing for the Recorder with Frances Blaker, Melika Fitzhugh, and Eric Haas Grab your happy hour beverage or an afternoon snack and sit back and relax while Frances Blaker, Melika Fitzhugh, and Eric Haas discuss their approach to composing for the recorder. Moderated by Tish Berlin.

SUNDAY, MARCH 21
1:00 p.m. Eastern Daylight Time (10:00 a.m. Pacific Time)

A Johann Sebastian Bach Feast: Contrapunctus 7 and Two Chorales with Tish Berlin, recorder  We’ll enjoy a musical banquet with an entree and dessert of two Lutheran chorale settings, and a main course of Contrapunctus #7 from Die Kunst der Fuge. Open to: Upper intermediate to advanced recorders. Parts will be available for soprano, alto, tenor, and great bass recorders in C, and alternate parts for F bassets. Pitch: A = 440.

Susanna Rare on Susanna Fair with Patricia Ann Neely, viol  Susanne un jour, a poem by Guillaume Guéroult (1507-1569), on the story of Susanna and the Elders, and the text associated with several vocal settings, first associated with Didier Lupi Second and then Orlando de Lassus. We usually associate the melody with settings for viola bastarda, however we will explore settings in four and five parts from France, Italy, Iberia, England, Poland, The Low Countries and Germany. Composers: France - Didier Lupi Second, Orlando de Lassus, Claude Lejeune, Italy- Ippolito Tartaglino, Iberia- Hernando Cabezon, England -Ferrabosco I, Giles Farnaby, Poland, Low Countries, North Germany - Adam Jarzebski, Jean de Castro, Sweelinck, John Dowland and Johann Sommer. Geared to: intermediate to upper intermediate viols. Pitch: A=415.

SUNDAY, MARCH 21
3:00 p.m. Eastern Daylight Time (12:00 p.m. Pacific Time)

Telemann’s Sonata in A minor for Viol and Continuo, with Brent Wissick, viol  Telemann's Sonata in A Minor for gamba and continuo is a wonderful piece for practicing expressive bowing and a variety of continuo techniques. The solo part was originally for bass gamba, but can be played on tenor or even on treble an octave higher. The continuo bass line can be played on tenor as well as bass; so players of all three sizes can participate in this study of Baroque style. Most of the time will focus on the two slow movements, but we will also look at some of the two fast movements where fingering and bowing agility are important. Music will be provided in several clefs. Geared to: intermediate to upper intermediate viols. Pitch: A=415.

Musical Borrowing in Settings of Une Jeune Fillette with Chris Morrongiello, lute  "Une jeune fillette," also known as "Aria della Monica," "Ich ging einmal spazieren," "The Old Almain," "The Queen's Almain," "Almande Nonette," "The King of Africa," "Von Gott will ich nicht lassen," among other colorful titles, is one of the most important and widely disseminated melodies in the history of Western music. Many late16th- and early 17th-century settings of the melody survive in printed or manuscript tablatures for lute, cittern, bandora, and guitar. There are at least fifty-five settings extant for solo lute, including the longest piece in the book—Daniel Bacheler’s magnificent extended set of variations in the Lord Herbert of Cherbury Lute Book (GB-Cfm Mus. MS 689, fos. 23v–25). While examining the English and Continental settings contemporaneous with Bacheler’s setting, Dr. Morrongiello discovered a complex interchange of extensive borrowed materials (whole variations and sections of variations shared among several different settings). In this lecture/demonstration he will throw light on this fascinating interrelationship and extensive exchange of borrowed music while introducing many beautiful, diverse solo settings of this international melody. Participants are encouraged to prepare their favorite setting of the melody for coaching at the end of the class. Please indicate what piece you hope to play when you register. Be sure to also take Doug Freundlich’s class on Sunday! Open to: players of lute, cittern, bandora, and guitar. Pitch: A=440.

“A priest, a banker, and an emperor:” The Worlds of Heinrich Isaac with Valerie Horst and Wendy Powers  A list of Isaac’s principal employers reads like a bar joke. This incredibly versatile Northerner first embraced the Italian style at the Medici household in Florence, then transformed German music at the court of Emperor Maximilian I, then produced a monumental three-volume set of chant settings for the Prince-Bishop of Constance. We will follow Isaac on his odyssey, carrying SATBGB at A440 recorders, or other instruments, or your voice. Music will be provided in original notation (from some unusual sources!) and also in modern scores. Pitch: A=440 Open to: All welcome.

SUNDAY, MARCH 21
5:00 p.m. Eastern Daylight Time (2:00 p.m. Pacific Time)

All-Workshop Playing Session: Byrd Pavane and Galliard a6 with Tom Beets, recorder and viol  (lute charts provided) Don’t miss the workshop finale! Tom has recorded all the parts of this Byrd Pavane and Galliard, on recorders and viols. Doug Freundlich has made lute charts so lutenists can join in too. Tom will take us through our paces so we can make a beautiful sound. Open to: all workshop participants. Pitch: A=440.

SUNDAY, MARCH 21
6:00 p.m. Eastern Standard Time (3:00 p.m. Pacific Time)

Spring Break Weekend Workshop Faculty Concert  Get comfortable and enjoy performances by the Spring Break faculty! ❈❀❉❈❀❉❈❀❉❈❀❉❈❀❉❈❀❉❈❀❉❈❀❉❈❀❉❈❀❉❈❀❉❈❀❉❈❀❉

2021 Faculty:
Letitia Berlin Workshop Director, recorder
Tom Beets
Frances Blaker recorder
Risa Browder
Saskia Coolen
Melika Fitzhugh
Douglas Freundlich lute
Gail Gillispie lute
Eric Haas recorder
Valerie Horst recorder
John Moran
Christopher Morrongiello lute
Patricia Ann Neely
Wendy Powers recorder
Brent Wissick viol