Viol Intensive at Early Music Week
|7:45-8:15||Hot Breakfast served cafeteria style|
|8:15-8:45||Cold Breakfast Coffee/Tea available|
|8:30-8:50||General Morning Warmup and Recorder Warm-up|
Introduction to Historical Dance with Sheila Beardslee
(All levels) Music by: Dan Meyers, Ellen Tepper
Simple yet elegant Renaissance dances in contrasting styles. Open to all. Please bring soft-soled dance shoes (such as a jazz dance shoe).
English Country Dance Essentials with Jan Elliott
(B and up) Music by: Sarah Cantor, Dana Maiben
Prepares newcomers for the evening dances.
Intermediate English with Anna Rain
(I and up) Music by: Francie Fitch, Emily O'Brien
Learn about style and technique, refresh your memory and learn new figures.
Advanced English with Graham Christian
(A) Music by: Peter Barnes, Judy Linsenberg
For the most experienced dancers.
|12:00-12:30||Free time: Swimming, Bookstore staffed|
Sweet and Spicy with Sarah Mead, Lisa Terry
(A) viols, voices, instruments
Join forces with the Viol Intensive in an exploration of 17th-century concerted works for voices, strings, winds, and continuo.
|5:30-6:20||Free time: Informal camper readings, Swimming, Bookstore staffed, Side-by-Side Readings|
|8:15||All Camp Dance|
June 27 - July 4, 2013
Advanced viol players are invited to apply for this special program, held during Early Music Week at Pinewoods.
Is there still room?
For up-to-date info about availability and wait lists,
see our main Dance & Music Camps page.
Sarah Mead first encountered early music in high school, when she danced and sang as Queen Elizabeth in a production led by Ingrid Brainard. After studying music history and choral conducting at Yale, she pursued graduate study in early music at Stanford both as a viol player and a choral conductor. She and her spouse were musicians at the Oregon Shakespeare Festival before moving east in 1979. She began teaching viols at Brandeis University in 1982, and is now Associate Professor of the Practice there, directing the Early Music Ensemble, teaching music history, and serving as a frequent guest choral conductor. In 2007 Early Music America recognized her with the Thomas Binkley Award for Outstanding Achievement by a Collegium Director. Her handbook on 16th-century music theory is a staple in performance practice programs, and she is recognized throughout North America as a clinician in historical performance. She has taught early music ensembles at Tufts & Northeastern Universities in the Boston area, as well as at Trinity College of Music in London, and has taught theory & performance practice in the graduate program in early music at Longy School of Music in Cambridge. She has been a guest International Tutor for workshops in Australia and Great Britain. Formerly Program Director for Early Music Week at Pinewoods, she now directs the annual Conclave of the Viola da Gamba Society of America. She serves on the boards of the VdGSA, Early Music America, and Pinewoods Camp, Inc.
Lisa Terry (viola da gamba, violoncello) practices, performs and teaches viola da gamba and violoncello in New York City, where she is a longtime member of Parthenia and the Dryden Ensemble, and a new member of BaroQue Across the River. She was a founding member of ARTEK and has performed with the New York Philharmonic, 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, Santa Fe Pro Musica 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. Ms. Terry has appeared 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 conducted by Paul Goodwin, and with Andrew Parrot, Gary Thor Wedow, Kent Tritle and Simon Carrington. Ms. Terry teaches viola da gamba and cello at the French-American School of Music in New York and at workshops around the country.
Unweave the threads in Gibbons’ works for viols: madrigals and sacred polyphony, dances and ballads, ricercares & divisions. Working in ensembles from two to six parts, we will look at the source materials from Italy and England that the great Orlando wove into his own fabric.
The members of the Viol Intensive will work together in three focused daily classes: a morning class with Sarah Mead, an afternoon class with Lisa Terry, and a second afternoon class where we will explore larger and concerted works with advanced singers, winds, and keyboard. The second morning period will be left free so that members of the Viol Intensive may enjoy the English country and Renaissance dance classes that help to make Pinewoods Early Music Week unique among summer workshops.
All Viol-Intensive classes will be held in enclosed spaces to minimize the effects of the inevitable humidity of our pond-side setting.
The Viol Intensive program is intended for Advanced players interested in working on their ensemble skills. Players should score 40 or above on the VdGSA Self-Rating Guide. If Sarah and/or Lisa is not already familiar with your playing, please include the name and contact information of a teacher who has worked with you recently. You may also submit a video or recording to support your application if you feel it would help us to assess your qualification for the program.
This course is limited to 6 participants to ensure plenty of opportunity for active participation. A specific form will be available. Please clearly indicate if you would like to attend Early Music Week, if you did not get a space in the course.