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Country Dance and Song SocietyEarly Music Week at Pinewoods
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Country Dance and Song SocietyEarly Music Week at Pinewoods
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Tentative Schedule
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Early Music Week at Pinewoods July 15 - 22, 2006 Program Director: Staff: * Advisor, plus: |
Program Description: [Back to Top]
Look up our Adult Programs for some general information; here is more detail about this particular program and staff.
It's About Time! Of course, time and timing are essential to all music and dance, but Early Music Week is about historical time as well. Our theme this year is Time and Time Again which resonates for us all in many ways: we bring music from ancient times into our own time; we deal with triple- and duple-time and time-changes; and we perfect our music by practicing it time and time again! Themed classes will explore and contrast the styles and aesthetics of different historical times, with particular emphasis on matters of timing.
Early Music Week provides musical challenges for players and singers at every level, from the highly experienced to those who are just getting their feet wet.
| * | 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, harp and viol. |
| * | Singers of all abilities will benefit from singing class and chorus, as well as taking part in 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 range of classes to choose from and a group of skilled musicians to teach them. Our staff is made up of active professionals and acclaimed teachers of early winds (recorders, reeds and brass), strings (viols, violin, harp and lute), harpsichord and voice. Dancers will also find a wealth of activity, including high-level technique classes, challenging ensembles and historical dance.
We welcome Five new staff members, who bring lots of workshop experience and new ideas to the week. Acclaimed lutenist and scholar Lucy Cross from Connecticut, master brass player Greg Ingles and skilled vocalist Jolle Greenleaf from New York, incredibly versatile and knowledgeable Herb Myers, from California and an exciting young recorder-player from Boston, Emily O'Brien.
Early Music Week at Pinewoods has a long tradition of skilled teaching in a supportive community, enhanced by special events, presentations, concerts and -- of course -- dancing. Advanced musicians can work intensively, amateurs are challenged and engaged and beginners are always made to feel welcome. Please join us!
-- Sarah Mead, Program Director
| Early Music Week at Pinewoods Daily Schedule |
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| 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 |
| 12:30 | Lunch |
| 2:00 - 3:15 | First afternoon class |
| 3:30 - 4:45 | Second afternoon class |
| 5:00 - 5:30 | Teatime |
| 5:30 - 6:30 | Free time, with faculty rehearsals and informal camper readings |
| 6:30 | Dinner |
| 7:45 | Mini-lectures |
| 8:15 | Community Dance Party |
| 9:45 - 10:45 | Special Events |
Lucy Cross (lute, viol) has been a familiar faculty figure at early music workshops for decades. Well-known first as a lutenist with the New York Pro Musica, then with her own prize-winning ensemble the Elizabethan Enterprise and more recently in the opera pit at the Metropolitan and New York City Operas, she is a revered presence in the world of Renaissance lute music and song. In the academic sphere, she is an international authority on medieval music theory. With a Masters degree from Yale and a Ph.D. from Columbia, she has taught and directed collegia at Columbia, Princeton, Sarah Lawrence, SUNY Stony Brook, the Manhattan School of Music and UC Riverside. C.F. Peters has published her new edition of Guillaume de Machaut's Mass. She recently appeared on Good Morning America and Late Night with David Letterman, accompanying Renee Fleming.
Frances Fitch (harpsichord) heads the Early Music Department at the Longy School of Music, teaching figured bass accompaniment, bibliographic research, chamber music and private lessons. She is also Director of Music at the Unitarian Universalist Church of Greater Lynn in Swampscott, MA. Francie has performed and recorded throughout Europe and North America as a soloist and with many early music ensembles. In addition to a dozen recordings on various labels, including a solo disk, English Virginal Music on Wild Boar, she has recently released a 2-CD set devoted to the vocal and instrumental music of Elisabeth-Claude Jacquet de la Guerre.
Brad Foster (English country dance) has been teaching and playing piano, accordion and concertina for country dancing for 35 years, and is known throughout the U.S., Canada and Europe for his clear teaching and insightful approach to English and American country dance. Brad is the Executive and Artistic Director of CDSS, was a founding director of the Bay Area Country Dance Society and was a co-founder of the Mendocino dance weeks.
Jolle Greenleaf (voice) has performed throughout the U.S. and abroad with many ensembles including Apollo's Fire, Aspro Dolce, Bach Vespers at Holy Trinity, Folger Consort, NYS Baroque and New York Collegium. After completing her Masters degree in early music from the Mannes College of Music, she received a fellowship to study at The Royal Conservatory in The Hague, Netherlands. She has appeared as soloist in major works such as Handel's Messiah, J.S. Bach's Magnificat, Christmas and Easter Oratorios and St. John Passion, John Blow's Venus and Adonis, Purcell's Fairy Queen and in over 80 Bach cantata and motet performances in New York City and beyond. She is a member of the one-voice-to-a-part vocal ensemble The Tiffany Consort, whose first CD O Magnum Mysterium was nominated for a 2006 Grammy Award. Jolle is a member of the music staff at St. Thomas Church Fifth Avenue, giving private voice lessons to the boys of the choir.
Robin Hayden (English country dance) has been dancing since arriving at Swarthmore College nearly 30 years ago. She lives and dances in South Amherst, MA and began leading English dances there in 1993. Under her guidance, the weekly dance has become the center of a flourishing community of dancers and musicians. Known for her clear teaching and ability to analyze and articulate what makes good dancing, she has participated in weekends, workshops and festivals across the U.S. and in the U.K.
Greg Ingles (sackbut, wind band) is the Music Director of Spiritus Collective, an ensemble devoted to rarely-performed brass music of the 17th century. As a sackbut player he is a member of both Piffaro: The Renaissance Band and Ciaramella and has also performed with such period ensembles as Tafelmusik, Concerto Palatino and the New York Collegium. Greg received his Bachelor of Music from Oberlin Conservatory, is currently a doctoral candidate at the State University of New York at Stony Brook and is professor of trombone at Hofstra University.
Lisle Kulbach (viol, recorder) graduated from the New England Conservatory in 1970 as a harpsichord major. She played multiple instruments and sang under the direction of Marleen Montgomery with the Quadrivium for 21 years. She is a co-founder of, arranger and performer with, The Voice of the Turtle, the Sephardic music group. Lisle has studied recorder with Frans Bruggen, viola da gamba with Jan Silbiger, voice with Marcy Lindheimer and violin with Helen Kwalwasser. Lisle began going to Pinewoods when she was 16, joining in the Early Music Week at its inception, as well as dance and folk music weeks. Lisle also teaches each summer at Mt. Collegium. personal website
Judith Linsenberg (recorder) is recognized as one of the leading exponents of the recorder in the U.S. Founder and director of the acclaimed Baroque ensemble, Musica Pacifica, 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 SF Opera Center, 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.
Sarah Mead (Program Director, viol) holds degrees from Yale and Stanford Universities. She has been on the faculty of the Department of Music at Brandeis University since 1981, where she directs the Early Music Ensemble and serves as a guest choral conductor. A frequent freelancer in the Boston area, she has performed with Emmanuel Music, the Handel and Haydn Society, the Boston Viol Consortium and Brewster Village Consort. She is the author of Plain and Easy: A Practical Guide to Renaissance Theory and a contributor to A Performer's Guide to Renaissance Music, published by G. Schirmer. A frequent teacher at local and national early music workshops, she was Program Director at Early Music Week from 1995-97. She has directed early music ensembles at Tufts and Northeastern Universities and was a guest lecturer at Trinity College of Music in London and Longy School of Music in Cambridge, MA.
Daphna Mor (recorder) has performed throughout Europe, Israel and the U.S., including solo recitals in Wiesbaden, Germany, the Metropolitan Museum of Art, Trinity Church, and with the New York Collegium and Washington Bach Ensemble. 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 is a founding member of the New Amsterdam Recorder Trio. Daphna has been touring and recording as a world musician with different bands, expanding the use of the recorder to new repertoire and audience. personal website
Rosamund Morley (viol) has toured worldwide playing viol, vielle and violone with the Waverly Consort. She is also a founding member of the Elizabethan ensemble, My Lord Chamberlain's Consort and a member of the viol consort Parthenia. She has toured with Sequentia and performed as soloist at the Brooklyn Academy of Music with Les Arts Florissants. She works regularly with ARTEK, The Four Nations Ensemble and Le Studio de Musique Ancienne de Montreal. She studied in her hometown at the University of Toronto and at the Royal Conservatory of Music in The Hague and now teaches viol at Columbia University. She has recorded for CBS Masterworks, Arabesque, Musical Heritage Society, Classic Masters and EMI/Angel.
Herb Myers (recorder, double-reeds) is Lecturer in Renaissance Winds at Stanford University, from which he holds a DMA in Performance Practices of Early Music; he is also curator of Stanford's collections of musical instruments. As a member of the New York Pro Musica from 1970 to 1973 he toured extensively throughout North and South America, performing on a variety of early winds and strings; currently he performs with The Whole Noyse and Jubilate. He has taught at numerous summer workshops in the U.S. and Canada. As an expert in the history and construction of musical instruments, he is well known through articles and reviews in numerous journals and has contributed chapters to Early Music America's Performer's Guides to Medieval, Renaissance, and Seventeenth-Century Music. His designs for reproductions of Renaissance winds have been used by Gunther Korber and Charles Collier.
Emily O'Brien (recorder, Early Music Shop) is a graduate of Boston University, where she studied recorder and French horn. She has performed in many venues in the Boston area, currently serves on the executive board of the Boston Recorder Society (whose concert series she has also performed for) and has coached meetings of the BRS as well as the Worcester Hills Recorder Society and Recorders / Early Music MetroWest. In her spare time, she enjoys bicycle racing and long distance riding.
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 her dance company's website.
Christa Patton (harp) has performed medieval and Renaissance music throughout the U.S., Europe and Japan with Early Music New York, Piffaro and Ex Umbris. As a baroque harpist, Christa has performed with ARTEK, Seattle Baroque Orchestra, San Francisco Bach Choir, Wolf Trap Opera Company and the New York City Opera. As a clinician Christa has been the harp instructor at the Madison Early Music Festival since 2001. A Fulbright scholar in 1999, she studied historical harp techniques in Milan with harpist Mara Galassi. Christa has recorded for the Lyrichord, Helicon and Dorian labels.
Jennifer Barron Southcott (recorder) holds degrees from Sarah Lawrence College and New England Conservatory. She has taught at Pinewoods, at ARS workshops throughout the Northeast and currently teaches privately and for Recorder/Early Music MetroWest, for Worcester Hills Recorder Society and also directs the Children's Choir at Acton Congregational Church. Jennifer is the founder and and co-director of the Recorder and Viol Workshop for Seniors and served as the Coordinator of Outreach Programs for Seniors at Indian Hill Music Center. She composes for and is Artistic Director of Phoenix, performing Renaissance and contemporary music and has performed with Phoenix at Boston Early Music Festival. Jennifer has recordings of English country dances on CDSS and Playford Consort labels, with The Playford Consort.
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.
Class Descriptions: [Back to Top]
The first session of the day is devoted to technique classes in recorder, wind band, viol, harp and voice, grouped by level of experience. Experienced players may also sign up to take part in Baroque ensembles.
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 or can opt to try dances from the Renaissance.
Afternoon classes offer a variety of options, from master classes to mixed ensembles, with explorations of specialized repertoires ranging from Burgundian polyphony to Sephardic songs and classes in musicianship skills such as ornamentation and complex rhythms.
The afternoon is also a time for large ensembles: Chorus and "orchestras" of early instruments provide a chance to make grand sounds with bigger groups. Performance classes in English country dance and historical dances provide the opportunity for dancers to work in depth.
In keeping with our theme we will find numerous ways to explore time as an integral part of music and dance, how to keep time in pulse, tempo and proportions and how to play with it in expressive rubato and articulations.
Nightly dance parties (including an evening featuring camper callers and dance band) bring campers, staff and crew together, while madrigal sings, informal playing, concerts and presentations, skit night, auction night and the final gala banquet all complement the program and enhance a wonderful week that has become a regular destination for many people and a delightful discovery for newcomers.
FIRST MORNING CLASS: 9:00-10:30 Technique and repertory-building for instrumental and vocal consorts (all levels).
SECOND MORNING CLASS: 11:00-12:00 English Country Dance for everyon
FIRST AFTERNOON CLASS: 2:00-3:15 A variety of Timely classes for all sorts of ensembles.
| Class | Level | Instrument | Teacher | |
| Old-Time rhythms - Courtly dance of the Renaissance | (n/a) | dancers | Olsson | |
| 2 o'clock rock - Renaissance band - 16th c. dances & canzoni | LI-HI | all instruments | Patton | |
| Tempo a piacere - The joys of the Italian frottola | LI-HI | plucks & solo voices | Cross | |
| Time will tell - Sephardic music from many times and places | LI-A | instruments & voices | Kulbach | |
| Nick of Time - Fascinating rhythms of Dufay & his contemporaries | HI-A | recorders & viols | Linsenberg | |
| Time out of joint - Caccias, canons, fugues: the thrill of the chase! | I-HI | recorders & viols | Zukof | |
| The Daily Buzz - Braccios, viols, & capped reeds in a tasty blend | LI-HI | strings & krumhorns | Myers | |
| Signs of the Times - Playing continuo from the figures | I-A | keyboard | Fitch | |
| Tempus fugit - Consorts for nimble fingers and bows | HI-A | viols | Mead | |
| The Time is ripe - Beginning viol (loaner instruments available) | B | viols | Morley | |
| Quality Time - Ensemble strategies for rhythm & syncopation | I-HI | recorders | O'Brien | |
| Get it right the first Time - Sight-reading skills for consorts | I-HI | recorders | Southcott | |
| Music of the Hours - The daily music of Renaissance sacred life | I-A | winds & voices | Ingles & Greenleaf | |
| Take Time - Choose to audit or observe, practice or nap! |
SECOND AFTERNOON CLASS: 3:30-4:45 Large and small ensembles to round out your day.
| Class | Level | Instrument | Teacher |
| For all seasons - Choral music from the liturgical & secular year | (n/a) | voices | Greenleaf |
| All-Time greats - A lively romp for the bolder sonorities | I-A | reeds & brass | Patton & Ingles |
| Times are a-changin' - Changing meters, changing tempos | LI-HI | viols | Morley |
| Time-keeping - How to choose the right tempo and stick to it | LI-HI | recorders | Mor |
| Time after Time - Making sense of those pesky proportions | HI-A | viols, lutes, recorders | Cross |
| Swing Time - English Country Dance for performance | HI-A | dancers | Hayden |
| Down Time - Take some time to yourself. |
Tentative Schedule
Class Descriptions
Staff
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413-268-7426 |
Country Dance and Song Society 132 Main St/PO Box 338 Haydenville, MA 01039-0338 Office Hours M-F 9:30am - 5:00pm EST |
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