Early Music Week at Pinewoods
August 15 - 22, 2009
This week is over -- see you next year!
|Early Music Week at Pinewoods
|7:00 - 7:30||Exercises|
|7:45 - 8:15||Breakfast|
|8:30 - 8:50||Morning warm-ups for all|
|9:00 - 10:30||First morning class|
|11:00 - 12:00||Dance classes|
|12:00 - 12:30||Break, swimming, etc.|
|2:00 - 3:15||First afternoon class|
|3:30 - 4:45||Second afternoon class|
|5:00 - 5:30||Teatime|
|5:30 - 6:30||Open reading sessions
|8:15||Community Dance Party|
|9:45 - 10:45||Special events|
Look at Adult Programs for general information; here are details about this particular program and staff.
Myth & Magick: Creativity and Inspiration in Early Music
Surely the deities of Olympus will surround us at Early Music Week at Pinewoods! Ours is a week of exploration where the myths of early music will be made clear and our staff's "magickal" skills will hone and perfect our knowledge and performance of early music and dance. What magic do we offer? The fascination of medieval modes, the mysteries of improvisation and ornamentation, the moving power of unison chant, new instruments and expanded techniques -- all yours to explore and conquer.
Early Music Week provides musical challenges for players and singers at every level, from highly experienced to those who are just beginning.
- If you've never played a musical instrument (but wish you could) or if you studied music years ago (and fear you've forgotten everything), there are classes to get you started or to help brush off the rust. Introductory classes are offered in recorder and viol.
- Singers of all abilities will benefit from singing class, chorus and mixed ensembles with instruments.
- Dancers and dance teachers can learn an instrument and participate in the daily dance classes and the nightly dance parties.
Advanced and intermediate players and singers have a wide array of classes from which to choose, led by an outstanding and dedicated performing faculty. Our staff features active professionals and acclaimed teachers of early winds (recorders, reeds and brass), strings (viols and violin), harpsichord and voice. Dancers will also find a wealth of activity, including high-level technique classes, challenging ensembles and historical dance. In addition to our music classes, we relax with two ponds for swimming or canoeing, a Camphouse deck for summer reading, afternoon tea and lots of wonderful dancing.
New staff faces this summer are Anonymous 4's Susan Hellauer, voice, and Lisa Terry, viol; we welcome back Dorothy Olsson, historical dance and Scott Higgs, English country dance. Early Music Week continues its long tradition of superb teaching in a warm and welcoming community, enhanced by special events, presentations, concerts and -- of course -- dancing. Advanced musicians can work intensively, amateurs are engaged and challenged, and beginners are always made welcome.
Please join us! -- Sheila Beardslee, Program Director
Sheila Beardslee (Program Director, recorder) has taught recorder, historical flutes, viol and period dance for early music societies and workshops from Maine to Florida and a good many places in between. Director of Recorders/Early Music Metrowest and Concordia Consort, she teaches privately and at the Boston Archdiocesan Choir School, where recorder has taken the school by storm! She also directs the vocal ensemble Ars et Amici, and is a founding member of Phillips Consort of Viols, twice winner of the VdGs-NE's Silbiger Grant. She has led nine performance/study tours to Italy and has recorded for the Viola da Gamba Society-New England, Amherst Early Music and Northeastern.
Peter Barnes (keyboard) has been playing piano, flute, whistle, guitar and assorted other instruments for dancers and listeners for many years, and has been invited to most major contra, square, English and Irish dance events throughout the U.S., performing for dances and concerts, leading ensemble workshops and generally acting in a crazy and often undignified manner. He is one of Boston's busiest musicians and has played for festivals and tours from Budapest to Hawaii. He currently divides his time among bands Bare Necessities, The Latter-Day Lizards and Says You!, the NPR radio show. He has also published three music books and appears on over 50 recordings.
Graham Christian (English country dance) started dancing English and Scottish at Swarthmore College. He has taught English country dance all over the U.S. as well as in England and Europe. He has studied Renaissance and Baroque dance with Dorothy Olsson, Kaspar Mainz and Ken Pierce, and has created many reconstructions of Playford-era dance, as well as writing the acclaimed dance history column Tell Me More for the Country Dance and Song Society News.
Eric Haas (recorder) received a M.M. degree in early music performance from the New England Conservatory of Music, where he studied recorder with John Tyson and baroque flute with Sandra Miller. He has taught at New England Conservatory, Tufts University and Wheaton College, as well as numerous early music workshops. Eric has performed with La Sonnerie and Duo Pentimento, and has appeared with the Ocean State Chamber Orchestra and Emmanuel Music. He has served as music director of the Boston Recorder Society for more than 15 years and is currently on the staff of the von Huene Workshop, Inc. (the Early Music Shop of New England).
Susan Hellauer (voice) is a founding member of the vocal ensemble Anonymous 4, and the director of ChantVillage.com. She holds advanced degrees in musicology from Queens College and Columbia University and handles all of Anonymous 4's medieval music research. Susan is also an Adjunct Assistant Professor of Music at Queens College, CUNY, teaching courses in the history of music and directing the Collegium Musicum. She has appeared as a soloist with the Harp Consort, the Spirit of Fes U.S. tour, and Parthenia and is a frequent guest instructor at early music workshops and college master classes. Susan also plays Baroque guitar and clawhammer banjo, and is a volunteer EMT with the Nyack Community Ambulance Corps.
Scott Higgs (English country dance) has led dances and organized events for over 25 years. From Seattle to Antwerp, dancers praise Scott's engaging programs, dynamic presentation and emphasis on fun. His ten-word business card: Playful, spirited, elegant, zesty, joyful contra, English and couple dancing. Personal Webpage
Roxanne Layton (recorder) started playing the recorder at age 6 with Arnie Grayson as her teacher. She attended New England Conservatory of Music and has played with the New Orleans Philharmonic, Portland Baroque Orchestra, New World Symphony, Utah Opera, Boston Opera, Handel and Haydn, Emmanuel Music, Boston Pops with John Williams and many more. Roxanne is also a member of Mannheim Steamroller (with whom she has performed at the White House), Second Wind and plays with songwriter Zoe Lewis. Personal Webpage
Judy Linsenberg (recorder) is recognized as one of the leading exponents of the recorder in the U.S. Director of the acclaimed Baroque ensemble, Musica Pacifica, whose eight recordings on the Virgin Classics and Dorian labels have received international acclaim, she has performed throughout the U.S. and Europe, including solo appearances at the Hollywood Bowl and Lincoln Center; and has been featured with such leading ensembles as the San Francisco Symphony, the San Francisco Opera, Philharmonia Baroque, American Bach Soloists, the Los Angeles Opera and the LA, Portland and Seattle Baroque Orchestras. A Fulbright scholar to Austria, she was awarded the Soloist Diploma with Highest Honors from the Vienna Academy of Music. She has been a visiting professor at the Vienna Conservatory and Indiana University's Early Music Institute in Bloomington and has taught at Stanford, the SF Conservatory and early music workshops throughout the U.S. Personal Webpage
Larry Lipkis (viol) performs and records with the Baltimore Consort and directs early music activities at Moravian College in Bethlehem, PA, where he serves as Professor of Music and Composer-in-Residence. He has written several works based on the characters of the Commedia dell'arte: his bass trombone concerto, Harlequin, was premiered in 1997 by the Los Angeles Philharmonic and his bassoon concerto, Pierrot, was premiered in 2002 by the Houston Symphony. Larry is also a music director of the Pennsylvania Shakespeare Festival and is on the Board of Managers of the Bach Choir of Bethlehem. He is in demand as a clinician at recorder, viol and pedagogy workshops. Personal Webpage
Sarah Mead (viol) lives and works in the Boston area and holds degrees in music and historical performance from Yale and Stanford Universities. The 2007 winner of Early Music America's Thomas Binkley Award for Outstanding Achievement by a Collegium Director, she is Associate Professor of the Practice at Brandeis University, where she directs the Early Music Ensemble and is a frequent guest choral conductor. She is the author of the Renaissance Theory chapter in A Performer's Guide to the Renaissance, recently re-issued by Indiana University Press. She has taught early music ensembles at Tufts and Northeastern Universities as well as at Trinity College of Music in London, and is a regular guest lecturer at Longy School of Music in Cambridge. She was Program Director at Early Music Week from 1995-97 and 2006-08. Personal Webpage
Daphna Mor (recorder) has performed throughout Europe, Israel and the U.S., including solo recitals in Germany, Switzerland and Croatia, the Metropolitan Museum of Art, and Trinity Church, NY; soloist with the New York Collegium and NY Early Music Ensemble; and as guest member with the New York Philharmonic, City Opera, Piffaro and Repast, to name few. She won first prize in the Settimane Musicali de Lugano solo competition, and was two-time winner of the Solo Competition at the Boston Conservatory, from which she graduated in 2000 with highest honors as Valedictorian. She was awarded the prestigious status of Privileged Musician for her services to Israel. Her teaching experience includes positions with the Metropolitan Museum and the NY Collegium educational programs and as coach at numerous ARS workshops. Daphna has been touring and recording as a world musician with different bands, as a recorder and nay player, expanding the use of the recorder to new repertoire and audiences. Her latest album East of the River with Nina Stern and musicians from jazz and world music backgrounds was released in 2007. Personal Webpage
Dorothy Olsson (Renaissance dance, recorder) is Director of the New York Historical Dance Company, and has performed and choreographed for many early music ensembles including Piffaro, Folger Consort, Parthenia, the Philadelphia Classical Symphony and the Mannes Camerata. She has given numerous workshops in historical dance and her article on 17th-century dance appears in A Performer's Guide to Seventeenth-Century Music, published by G. Schirmer. Dorothy teaches at the Amherst Early Music Festival where she has choreographed for and/or directed several historical theatrical productions. Originally a bassoonist, she studied recorder with Shelley Gruskin, and has her Masters in Musicology from Manhattan School of Music. For ten years she was an Assistant Professor in Dance Education at New York University, where she received her Ph.D. in Performance Studies. With her German dance partner Kaspar Mainz, she has co-written six books on historical dance. She is also a budding web designer, recently creating herDance Company's Website
Bill Peek (dance band, musicianship) is the Music Director and Organist at the historic First Unitarian Church in Brooklyn, New York. He also teaches at the Portledge School in Locust Valley, NY, where he directs the choral music program, teaches music theory and coaches chamber and jazz ensembles. He has been playing music for English country dancing for many years and can be heard on several recordings.
Daniel Stillman (recorder, louds) is a founding member and director of the Boston Shawm & Sackbut Ensemble. As a player of Renaissance wind instruments (both double reeds and brass), he has performed with the Gabrieli Consort and Taverner Players (London), Oltremontano (Antwerp), Apollo's Fire (Cleveland), Folger Consort (Washington, DC), La Nef and Les Sonneurs (Montréal), Trinity Consort (Portland, OR), and the avant-garde ensemble Roger Miller's Exquisite Corpse, and has toured extensively with both the Boston Camerata and Waverly Consort. As a player of historical trombone with period-instrument orchestras, he is an ongoing member of Boston Baroque and has performed with such groups as the Handel & Haydn Society, Washington [DC] Bach Consort, Arcadia Players and the Boston Early Music Festival Orchestra. Dan is a highly sought-after instructor of Renaissance wind instruments, having taught at Wellesley College, the Longy School of Music, Tufts University and the Five College Early Music Program (Amherst, MA), as well as at summer workshops for the Amherst Early Music Festival, the San Francisco Early Music Society and the Texas Toot. He can be heard on some two dozen recordings for the Telarc, Erato, Harmonia Mundi USA, Deutsche Grammophon Archiv, EMI, Dorian, Eclectra and SST labels.
Lisa Terry (violoncello and viola da gamba) practices, performs and teaches in New York City, where she is a long-time member of ARTEK and Parthenia. She also has been a member of New Jersey's Dryden Ensemble since 1989. She has performed with New York City Opera, Juilliard Opera Orchestra, Opera Lafayette, Orchestra of St. Luke's, Concert Royal, New York Collegium, American Classical Orchestra, Four Nations Ensemble and Chicago Opera Theatre. She earned her degree in cello performance from Memphis State University and continued her studies in New York with Richard Taruskin, viol, and Harry Wimmer, cello. Lisa appears to great acclaim as soloist in the Passions of J.S. Bach, notably under the batons of Robert Shaw, Richard Westenburg and Lyndon Woodside in Carnegie Hall, in the Jonathan Miller staged performances at the Brooklyn Academy of Music, and with the New York Collegium under the direction of Andrew Parrot. Lisa teaches at the French-American School of Music in New York. In November 2008, she appeared with the New York Philharmonic in performances of Bach's Brandenburg Concerto 6.
Peggy Vermilya, (English country dance) at six years of age, whirled about her basement, listening to Peter and the Wolf, longing to be both a ballerina and an orchestra. She took lessons in tap, ballet, and acrobatics as a child; as a teenager she jitterbugged, strolled, and twisted. Later, international folk dance, contra and squares, and eventually English country dance claimed her heart. For more than a decade she has enjoyed teaching English country dance at the Neighborhood Music School in New Haven, being described by Marshall Barron as an "exciting," "sensitive," "inspiring" and "skillful" teacher. Peggy has attended many dance weeks at Pinewoods and became a "regular" at Early Music Week where she began her love affair with the recorder and performances of early music. With her husband Peter she sails a Beetlecat named Poussette and a cruising catboat named Purcell.
Larry Zukof (recorder) has taught at Pinewoods, Amherst Early Music, Skidmore and ARS workshops in Connecticut, New York and Massachusetts. He has a MM from New England Conservatory in recorder and voice. He is a past member of the Boston Camerata and has appeared with the Boston Classical Orchestra and the Pro Arte Singers. Larry is currently the Director of the Neighborhood Music School in New Haven, CT.
more to come
The first session of the day is devoted to technique and repertoire in unmixed consorts grouped by level for recorder, strings and voice. Advanced players may opt to sign up for Baroque ensembles in this period.
Late morning is for dancing: a class in basic English country dancing prepares newcomers for the evening dances, while those with more experience can choose to work on style and repertoire in intermediate or advanced classes.
Early afternoon classes offer a variety of options, exploring repertoires and topics of special interest to our faculty related to our theme. Broaden your horizons by playing in a mixed ensemble, digging into an unfamiliar repertoire or sampling various new instruments.
Late afternoon classes include several larger ensembles: chorus, recorder orchestra and fiddle-band, as well as special choices for capped reeds, viols and brasses.
Nightly dances (including an evening featuring camper callers and dance band) bring campers, staff and crew together on the dance floor. Evening madrigal sings, concerts and presentations, skit night, auction night and the final gala banquet all complement the program, as do the many opportunities for informal playing. Early Music Week at Pinewoods is a unique workshop that has become a regular destination for generations of early musicians and continues to be a delightful discovery for newcomers.