 |
Country Dance and Song SocietyCelebrating our 75th year at Pinewoods CampEarly Music Week at Pinewoods
|
  |
|
Country Dance and Song SocietyCelebrating our 75th year at Pinewoods CampEarly Music Week at Pinewoods
|
|
Schedule & Fees
Registration Info
Registration Form
Scholarships
Camplife
Programs Homepage
Schedule
Class Descriptions
Staff
Top
|
Early Music Week at Pinewoods June 26 - July 3, 2008 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.
A Garden of Earthly Delights
The Renaissance Lustgarten -- or Pleasure Garden -- was both a place and an ideal, a source of recreation and renewal for the mind and the senses. In 1601, Hans Leo Hassler published his influential Lustgarten neuer teutscher Gesäng, a collection of musical delights; and the image of Jacob van Eyck and "his little flute" playing for evening strollers, is immortalized in Der Fluyten Lust-Hof, which first appeared in 1646. This summer, explore the music and dance of the Pleasure Garden, where the language of flowers and birdsong served to inspire the musicians and poets of an earlier age at Pinewoods Camp a modern day place of earthly delights.
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. Advanced and intermediate-level players and singers have a wide range of classes to choose from, taught by skilled professionals in the fields of early winds (recorder, reeds and brass), strings (viol, violin, harp, and lute), harpsichord and voice.
Some people are drawn to Early Music Week through their love of dance or the sounds of ancient music. If you have never played an instrument -- or your musical skills are a bit rusty -- there are classes designed to get you started. There are daily classes in English country dance, as well as nightly dances for all. And singers can join the chorus or take part in smaller mixed ensembles.
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
Scholarships are also offered by
Early Music America and the
American Recorder Society.
Deadline for both is April 15, 2008.
| Early Music Week at Pinewoods Daily Schedule |
|
| 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 | Open reading sessions Faculty rehearsals Free time |
| 6:30 | Dinner |
| 7:45 | Mini-lectures |
| 8:15 | Community Dance Party |
| 9:45 - 10:45 | Special events |
Sheila Beardslee (recorder, English country dance) 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.
Michael Cicone (English country dance) first learned traditional English country, morris and court dance in 1980 as a performer in the green show at the Oregon Shakespeare Festival in Ashland, OR, where he worked with Carl Wittman. He has been leading English country dance ever since. Michael also regularly performs as a musician and choreographer for Christmas Revels productions in Hanover, NH and Boston, MA, sings and plays hammered dulcimer with the popular folk trio Kallet, Epstein and Cicone, and over the years has sung early American and European music in various ensembles.
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 of English virginal music and a 2-CD set devoted to the vocal and instrumental music of Elisabeth-Claude Jacquet de la Guerre. Her writing is published in several music encyclopedias. She has recently been exploring an interest in West African harp.
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), soprano, has performed throughout the U.S. and abroad with many ensembles including Apollo's Fire, Folger Consort, NYS Baroque, Parthenia, Spiritus Collective, Vox Vocal Ensemble 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 many major works such as Handel's Messiah, J.S. Bach's Magnificat, Christmas and Easter Oratorios, St. Matthew Passion, St. John Passion, Monteverdi's Vespers of 1610, 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 founding member of the ensemble AsproDolce, and a member of the music staff at St. Thomas Church Fifth Avenue, giving private voice lessons to the boys of the choir.
Hank Heijink (lute) studied lute and theorbo at the Royal Conservatory in The Hague with Toyohiko Satoh, Mike Fentross and Nigel North, after completing a master’s degree in computer science and a Ph.D. in behavioral science. He was the first theorbo player chosen to tour with the European Union Baroque Orchestra, during which time he worked with Roy Goodman, Paul Goodwin and Fabio Biondi, and played at many of the major early music festivals and venues in Europe and in Japan. He has worked with leading European ensembles such as the Amsterdam Baroque Orchestra, the Netherlands Bach Society, Orchestre d’Auvergne and the Holland Symphonia. He made his debut in the U.S. in Carnegie’s Weill Hall under Ton Koopman. Mr. Heijink has played with, among others, the Mark Morris Dance Group, Rebel, Early Music New York, Concert Royal, the Wooster Group and Apollo’s Fire. He is a founding member of AsproDolce.
Joan Kimball (Renaissance winds) is co-director of Piffaro, which presents concerts in Philadelphia, tours throughout the U.S. and Europe and has numerous CDs out on the Deutsche Grammophon/Archiv and Dorian labels. In addition to her playing of early wind instruments -- recorders, shawms, bagpipes -- she also makes reeds for historical woodwinds and collaborates with instrument builder Joel Robinson on making Renaissance bagpipes. Joan teaches recorder at The Philadelphia School, where she has a dozen or more students age 6 to 16. She also teaches at early music workshops throughout the U.S.
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.
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.
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.
Dana Maiben (violin) hailed by the Boston Globe for her "supremely joyous artistry," performs on violin, viola, medieval fiddles, tenor viol, harpsichord and as a conductor. She was a founder member of the groundbreaking ensemble for 17th century music, Concerto Castello, and in 2002 she launched a new ensemble for 17th century music, Concerto Incognito. She serves as music director of the string orchestra and women’s advocacy group, Foundling, and is a founder member of the new 5-part string band, Quince. Dana was also a founding member of the ensemble for medieval music, Sequentia, following an apprenticeship with the Studio der Fruhen Musik in Basel, Switzerland. She has been on the faculty of the Amherst Early Music Baroque Academy since 2004. Since 1989 she has taught at the Longy School of Music, where she teaches violin and performance practice, coaches chamber music, offers classes in baroque and medieval music and occasionally directs opera.
Sarah Mead (Program Director, 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, returning to that position in 2006.
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
Rosamund Morley (viol) has performed with many early music ensembles as diverse as Piffaro, Lionheart, ARTEK, The Boston Camerata, Sequentia, Les Arts Florissants and Aston Magna, and has toured worldwide with the Waverly Consort. As a member of Parthenia, New York’s premiere consort of viols, she is also responsible for developing creative programs incorporating both early and new music; her interest in playing contemporary music was fostered by many years working with the New York Consort of Viols. She is a founding member of My Lord Chamberlain's Consort which specializes in full performances of Elizabethan and Stuart publications. A busy teaching schedule has included numerous national and international workshops including the Benslow Music Trust in Hitchin, U.K., the Cammac Music Center in Quebec, Canada, Summerkeys in Maine and the Port Townsend Workshop in Washington State. She directs Viols West at Cal Poly in San Luis Obispo, CA and teaches viol at Columbia University.
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.
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.
Mack Ramsey (early brass) has had a lifelong interest in the performance of repertoires of the 15th to the 17th centuries. He is a founding member of the Boston Shawm and Sackbut Ensemble. He has also performed on the sackbut, cornetto, slide trumpet, flute and recorder with other wind bands, such as Piffaro, Concerto Palatino, Les Sonneurs de Montreal and The Whole Noyse. Overseas he has performed and recorded with the Taverner Players, directed by Andrew Parrot and the Gabrieli Consort, directed by Paul McCreesh. At home in the U.S., he has appeared with many North American ensembles, including Spiritus Collective, Tafelmusik, Blue Heron, the New York Collegium, Aston Magna, the Folger Consort, The Toronto Consort, Boston Camerata, Apollo's Fire, Boston Baroque and the Boston Early Music Festival Orchestra.
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 the Boston Early Music Festival. Jennifer has recordings of English country dances on CDSS and Playford Consort labels, with The Playford Consort.
Ellen Tepper (harp) began to study classical harp and ballet at age 8 in Vienna, Austria. She graduated from Philadlephia College of the Performing Arts in Harp Performance. An independent musicology scholar, she has been active in the Historical Harp Society since 1989 pursuing early harp music and technique. As an academic authority on the Irish harp she is in demand as a lecturer and performer on both gut and wire strung harps. She teaches historical, tradtional and modern harp and freelances in the Philadelphia area. As a dance musician she has played in the ensembles, "Sutton Who?" and "E.T. and the Aliens" in dance festivals on the East Coast. She has produced five independent recordings and published arrangements of early and dance music for harp and harp ensemble and wishes there was a way to play harp and dance at the same time.
Bob Wiemken (Renaissance winds) a French hornist for many years before turning to early music and period instrument performance, is now a multi-instrumentalist, focusing on the double reed instruments of the Medieval through the Baroque periods, most notably the Renaissance and early Baroque dulcian, or curtal and the Baroque bassoon. He is currently co-director of Piffaro and also directs the early music ensembles at Temple University's Esther Boyer College of Music in Philadelphia. He has performed with numerous ensembles, including New York's Ensemble for Early Music, the Grande Band, the Boston Early Music Festival Orchestra, the Philadelphia Classical Symphony, Brandywine Baroque Orchestra, the Folger Consort, the Kings Noyse and others. He has recorded on the Newport Classics, Deutsche Grammophon Archiv Produktion, Dorian Records, Vanguard Classics, Windham Hill and Pasacaille labels. He is also a noted reed maker, specializing in the double reeds of the Medieval through Baroque periods.
Class Descriptions: [Back to Top]
The first session of the day is devoted to technique and repertoire in unmixed consorts grouped by level for recorder, strings, voice and harp. 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, brasses and lutes.
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.
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 everyone
FIRST AFTERNOON CLASS: 2:00-3:15A Garden of Earthly Delights
| Class | Level | Instrument | Teacher |
| Potpourri: a daily sampler of beginning reeds, plucks & bows (instruments provided) | B | Lipkis/Kimball | |
| Seeds of Change: exotic flavors from around the world | LI-I | recorders | Mor |
| Roots & Branches: strolling in Jacob van Eyck's churchyard | I-HI | recorders | Layton |
| A Unicorn in the Garden: flowers from the time of the tapestries | I-HI | recorders | Southcott |
| A Field-Guide to the Byrd: music of William Byrd | HI-A | recorders | Linsenberg |
| Fluyten Lust-Hof: consorts for Renaissance flute | I-A | flutes | O'Brien |
| In a Garden so Green: Scottish songs & dances for mixed consort | LI-I | viols & recorders | Morley |
| Fleur-de-Lis: music & poetry of Guillaume de Machaut | I-A | voices, vielles, plucks | Maiben |
| Senses of Delight: exploring the five senses in song | I-HI | voices & instruments | Greenleaf |
| Invasive Weed: the bizarre music of Carlo Gesualdo | HI-A | voices & instruments | Heijink |
| Perennial Favorites: the great flowering of the loud band | I-A | uncapped reeds & brass | Wiemken |
| Breaking New Ground: figured bass for the faint of heart | LI-HI | keyboard | Fitch |
| English Country Garden: country dance for performance | HI-A | dancers | Cicone |
| Lying Fallow (time out for rejuvenation) | |||
SECOND AFTERNOON CLASS: 3:30-4:45 Large and small ensembles to round out your day.
| Class | Ensemble Type | Teacher |
| An Earthly Tree, a Heavenly Fruit: sacred & profane choral music | Chorus | Peek |
| Plucking Flowers: the lute as a consort instrument | Lute Ensemble | Heijink |
| In the Bullrushes: buzzy music among the quiet reeds | Krumhorns | Kimball |
| A Mighty Wind: concerted music for all sizes of recorders | Recorder Orchestra | Beardslee |
| Flowering Vines: the florid garden of Spanish polyphony | Adv. Recorder Consort | Wiemken |
| Florilegium: the growth of the 17th-century violin band | Violin/Viola/Cello | Maiben |
| Silver Bells & Cockle Shells: interplantings of brasses & strings | Viol/Sackbut/Cornetto | Ramsey/Mead |
| Round and Round the Garden: write & perform your own rounds | Composition Class | Lipkis |
| Reap what you Sow (personal practice time) | ||
Schedule
Class Descriptions
Staff
Top
|
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 |
Maintained and updated by