January 15 & 16

Explore Tielman Susato's noteworthy collection of cantus firmus chansons and improve your skills as an ensemble player. Published in 1544, Susato's Premier livre des chansons à deux ou trois parties contains two- or three-part didactic settings of famous Franco-Flemish songs. Its repertoire seems to be ready-made for our new reality of Zoom gatherings: 1) Enjoy beautiful melodies of well-known chansons such as Mille regretz and Doulce memoire; or 2) choose a second, more challenging contrapuntal line (with both these parts supported by pre-recorded material); or 3) be in charge of the optional bass part all on your own in a music-minus-one format.
Geared to: recorder players. The music is equally well suited for emerging as for more experienced ensemble players. Singers and other instrumentalists are welcome! Pre-recorded materials will make use of SATB recorders.  Pitch: A=440.

Four years ago Wouter started his investigation into the largest sizes of the dulcian family. Remarkable instruments made out of large pieces of wood made without modern equipment - who played them? What music was played and where, and what role did they play? This class will be a presentation of Wouter’s four year PhD journey into these fascinating instruments.

Many musical regrets survive from the end of the 15th century; we’ll play settings of chansons by Josquin, Hayne, Agricola, Compere, and others, from various manuscript and print collections.  When it’s over, we can  send all our regrets packing!  We’ll be teaching from modern scores, but will provide facsimiles of the originals for those who would like to use them. 

Geared to: recorders and any other instruments (or voices, but most pieces are not texted) who don’t mind playing along with Pat and Doug at 4’ pitch.  High intermediate and up; participants should be comfortable with Renaissance rhythms. Pitch: A=440.

Rehearse and perform trios for three alto recorders by Mattheson and Boismortier with Gwyn Roberts and Sarah Shodja. We’ll play two lines, you play the other. We’ll discuss our interpretive choices and take your suggestions as we work through them together, then play through the whole set at the end of the class.

Geared to: upper intermediate to advanced recorders. Pitch: A=440.

A hands-on class for viol players and harpsichordists, with analysis and practical techniques for how to approach these beautifully constructed, rhetorical works. Sarah and Leon have been working intensively together on understanding the ensemble challenges and musical issues presented by this rewarding repertoire. We’ll demonstrate by analyzing the rhythmic structure, harmonic structure, and phrase structure in selected Preludes, from simple to more complex, which participants may prepare ahead of time in order to play along. Viol players can experience solo or continuo roles, or both. We'll offer technical tips, musical insights, and answer your questions.

Repertoire:
From Book 5:  Prelude 1
From Book 2:   Prelude 22
From Book 4:   Prelude 23
Geared to: viol and harpsichord players. Pitch: A=415.