August 13 - 20, 2016
Ars Musica, Poetica, & Chorea: Matches Made in Heaven
Imagine the stunningly beautiful setting of Pinewoods Camp as a base for exploring the inter-connections of poetic texts, dance rhythms, and various musical forms in early music coupled with a variety of dancing, English country, Baroque, and International folk.
Early Music Week 2016 offers joyful opportunities and challenges to players, singers and dancers of every level, from beginners to the highly experienced. As classes unfold through the week, we will explore and discover the innovation and creativity that lie behind some of the world’s most vibrant and compelling music, listening and playing with deeper understanding, as well as dancing together and enjoying all that the Pinewoods community has to offer. The week also offers two intensives: English Dance Leaders Training in Music and a program for advanced singers and players focusing on repertoire from the late Renaissance and early Baroque..
Instrumentalists may focus intensively on their primary instruments, enjoying the opportunity to play or sing with others in mixed ensembles and find time to explore something completely new. Singers can delve into early music repertoire in small groups, sing in a chorus and/or collegium, and try an introductory instrumental class. Dancers and ALL will find classes in English country dancing, Baroque dance, and International dance/music. And those wishing to expand their musical horizons are invited to take instrumental or vocal classes. Everyone is invited to enjoy English country dancing, with instruction during the day for all levels. This elegant, low-impact, fun and welcoming style of participatory dance is the highlight of every evening. Dances are led by expert callers with music played by an elegant live band. All are warmly encouraged to participate.
The Week at a glance:
- Each day will begin with Tai-Chi and vocal and stretching warm-ups.
- First period morning ensembles are grouped by instrument and level and will also include a Baroque master class for advanced players and singers.
- English Country dancing instruction by level follows.
- After lunch, there are two periods, and offerings include:
- Other afternoon classes include:
- Introductory instrumental classes (viola, da gamba, harp, flute, bagpipe). Instruments are provided (nominal rental charge for harp).
- Recorder Orchestra (with wide range of repertoire)
- Medieval, Renaissance and Baroque ensembles
- Loud Band
- International Folk Dance/Music class
- Baroque Dance
- English Country Dance
- Our outstanding faculty includes active professionals and acclaimed teachers and coaches of early winds (recorder, flute, capped reed, shawm, dulcian, sacbut, cornetto) strings (viola da gamba, Baroque violin, cello, vielle, rebec), voice, chorus, harp, keyboard. The program will also include mini lecture/recitals by faculty and side-by-side play/sing-ins, with more advanced participants assisting those less experienced. The week closes with a faculty concert and student performances before a final banquet and celebration.
Experience this in-depth music and dance week surrounded by exceptional natural beauty, with time for relaxation, swimming, hiking, canoeing and delicious home-cooked meals in the open-air dining hall. What better way to get inside music, and to bond with others of like mind, than to play, sing, dance, and learn together in this magical environment?
~ Larry Zukof, Program Director.
Lisa Terry will be the Viol Maven for Early Music Week this summer. She'll have a supply of nylon strings to sell, a few Sensicore strings to lend, and the expertise to get your pegs turning and your soundposts upright. See the Viol Maven each day during breakfast and lunch to make an appointment before first morning or afternoon class. Please read Viol Survival Tips, and put them in practice BEFORE camp!
Modeled on the late-16th-century Italian gatherings of a group of skilled peers working together to develop new ideas, this high-level intensive is for advanced players and singers. We will focus on music from the High Renaissance and Early Baroque, and work towards a mini-concert at the culmination of the week. Only players and singers with advanced reading skills and solid technique will be accepted. Music will be selected for the instrument mix registered and will be sent out in advance. We will work all together on a large piece or pieces, but also in break-out groups on smaller pieces.
The members of the Accademia will work in three focused daily classes:
- In the morning class, you will work with others on your same instrument at a high level.
- First afternoon class will be with Sarah Mead and Michael Barrett, all voices and instruments together.
- In the second afternoon class, singers will join the Chorus with Michael, instrumentalists will work with Sarah and Lisa. Brasses and double-reeds may choose to attend Loud Band at this time.
The second morning period will be left free so that members of Accademia may enjoy the English country dance classes that help to make CDSS Early Music Week at Pinewoods unique among summer workshops.
All classes with viols will be held in enclosed spaces to minimize the effects of the inevitable humidity of our pond-side setting.
~ Sarah Mead and Lisa Terry, Program Co-Directors
The Accademia is intended for players interested in working on their ensemble skills and fluent with voice or on all instruments in a family, and able to:
- sight read all but the most virtuosic music
- play most of the ensemble repertory at an appropriate tempo without getting lost
- apply stylistic elements (articulations, bowings, ornaments, etc.) appropriately
If Sarah, Michael 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.
To register, please fill out both the regular Early Music Week registration, paying your deposit, and this Special Form for the Accademia.
Please clearly indicate if you would like to attend Early Music Week, if you did not get a space in the course.
|7:00-7:30||Tai - Chi For All|
|7:45-8:15||Hot Breakfast served cafeteria style|
|8:15-8:45||Cold Breakfast Coffee/Tea available|
|8:20-8:30||Vocal warm-ups For All|
|8:30-8:50||Stretches and warm-ups|
|9:00-10:25||Instrumental and vocal consorts are assigned by level, B (Beginner) to A (Advanced): recorder, viol, voice, string, harp, and the following specialized ensembles:|
|A||Advanced Recorder ensemble||Bob Wiemken|
|A||Advanced Viol consort||Sarah Mead|
|A||Advanced Voice ensemble||Michael Barret|
|Violin, Viola, Cello||The Really Old-Time Fiddle ensemble||Brandi Berry|
|Recorders, Flutes, Singers, Cellos, Gambas and Keyboard Players||Advanced Baroque Master Class||Heloise Degrugillier, Frances Fitch|
|HI-A||Baroque Master Class|
|10:45-11:45||English Country Dance Classes|
|B||Absolute Beginner's Class||Jan Elliott|
|B and up||English Country Dance for All||Barbara Finney|
|A||Advanced English Country Dance||Gene Murrow|
|11:45-12:30||Free time: Swimming, Bookstore staffed|
|1:45-3:00||1st PM Classes|
|Voices, recorders, flutes, strings, I-A||Collegium "Heavenly and Earthly Delights"||Larry Zukof, Alexa Raine-Wright|
|Singers & instrumentalists, I-A||The French Estampie||Christa Patton|
|Recorders, flutes HI-A||Baroque Ensemble||Heloise Degrugillier|
|Musicians & dancers; All||Terpsichore: Baroque Dance and Dance Music||Barbara Finney, Francie Fitch|
|Instruments provided for the week, B||Hark the Lark: An Introduction to the Baroque Flute||Emily O'Brien|
|Instruments provided for the week, B||Strike the Viol: An Introduction to the Viola da Gamba||Lisa Terry|
|Instruments provided for the week, B||Follow the Piper: An Introduction to the Renaissance Bagpipe||Joan Kimball|
|Pre-registration||Accademia: Instruments and Voices||Sarah Mead, Michael Barrett|
|3:20-4:35||Classes include: Chorus, Recorder Orchestras, Wind Band, Baroque ensembles International dance and dance music, English country dance, Beginning harp|
|Singers, All||Chorus: Singing the Classics||Michael Barrett|
|String and wind players, HI-A||Les Caracteres de la Danse: a Baroque ensemble||Brandi Berry|
|Shawm, cornetto, sackbut and dulcian, I-HI, HI-A||Renaissance Loud Bands: Musicque de Joye! Or in the words of David Bowie, "Let's Dance!"||Joan Kimball, Bob Wiemken|
|Recorders, LI-I, HI-A||Recorder Orchestras: Banchetto Musicale||Eric Haas, Larry Zukof|
|Harps available for rent, B||The Celestial Harp: An Introduction to the Harp||Christa Patton|
|Recorders, strings, and other instruments, including chordal instruments and percussion, I-A||Balkan and Beyond: Ethnic Folk Music for Playing and Dancing||Jan Elliott, David Schonfeld|
|All||English Country Dancing Through the Ages||English Dance Leaders Training Participants, Gene Murrow|
|Pre-registration||Accademia: Instruments only||Sarah Mead, Lisa Terry|
|5:15-6:15||Free time: Informal camper readings, Swimming, Bookstore staffed|
|8:15||English Country Dancing For All Camp Dance|
Lawrence (Larry) Zukof (recorder and voice) has performed extensively with numerous renowned professional performing groups. He toured the U.S. and Europe with the Boston Camerata and has been a recorder soloist with Civic Orchestra of Boston, Orchestra New England, the Baroque Orchestra of Holy Lutheran and Trinity Church. He sang regularly with the Pro-Arte Singers, Connecticut’s pre-eminent professional chamber choir. As a singer and recorder soloist, Mr. Zukof has also performed with Cappela Cantorum and at the Yale Norfolk Summer Festival, the Yale Center for British. He currently sings with Yale Camerata, the Chamber Chorus and is the baritone section leader at the historic Center Church on the New Haven Green. Mr. Zukof teaches privately and is a regular workshop leader for various chapters of the American Recorder Society (ARS), including the Connecticut Recorder Society, Eastern Recorder Society of CT, the New York Recorder Guild, and Long Island. He has been on the recorder faculty at Amherst Early Music Festival, and has taught early music workshops at Westminster Choir College, Skidmore College, and Early Music Week at Pinewoods where he is the director (2015-16). He is currently a recorder teacher for the ARS national Traveling Teacher Program. Recently, Mr. Zukof stepped down as the Executive Director of the Neighborhood Music School (1996-2014), one of the ten largest community arts schools in the country. Before coming to New Haven, Mr. Zukof was the Director of Brookline Music School, MA (1984-1996). He received his Master of Music degree from the New England Conservatory of Music (Boston, MA) in early music and continues his musical journey currently focusing as well on viola da gamba and violin. www.lawrencezukof.com
Anney Barrett, soprano, holds a BA from the University of Notre Dame in Vocal Performance and Great Books and an MM in Vocal Performance from the Longy School of Music. An enthusiastic and adventurous musician, Anney is delighted to be a frequent collaborator with local composers in presenting and recording new solo and choral works, including a recent project with the Boston Composers' Coalition. She performs regularly throughout the greater Boston area with her professional quartet, Anthology, singing 40s jazz, folk, and world music. Recent collaborations include work with Cambridge Concentus, Labyrinth Choir, Schola Cantorum of Boston, The Boston Cecilia, Convivium Musicum, the Boston Concerto Soloists and the Boston Modern Opera Project. Anney co-owns and manages The Green Room, a new arts studio in Union Square, Somerville, where she also maintains a private voice studio. She is the resident soloist at Christ Church Andover, under the direction of Barbara Bruns. Anney is currently pursuing an MA in Mental Health Counseling at Lesley University.
Michael Barrett (voice, chorus) is active in the Boston area as a professional musician and teacher. As a singer he has collaborated with the Boston Camerata, Huelgas Ensemble, Blue Heron, the Netherlands Bach Society, L'Académie, Seven Times Salt, and Exsultemus, and has performed in several recent operas produced by the Boston Early Music Festival. He can be heard on harmonia mundi and Blue Heron record labels. Mr. Barrett directs the Renaissance choir Convivium Musicum and the professional vocal ensemble Sprezzatura, and he serves on the advisory board of L'Académie, a professional ensemble for Baroque music. Mr. Barrett has worked as a conductor and music theory teacher at Harvard University. He is a faculty member of IMC, a New York-based company for music curriculum and instruction, and has served as a workshop leader for professional development courses. He also maintains a studio for private instruction in voice, piano, and music theory. Mr. Barrett earned an AB in music from Harvard University, an MM in choir conducting from Indiana University Jacobs School of Music, and First Phase Diploma in Baroque and Classical singing from the Royal Conservatory in The Hague. In the fall of 2010 he began doctoral studies in choral conducting at Boston University.
Recent 3Arts awardee and Violinist/Fiddler Brandi Berry, whose "four-string acrobatics" and "indispensable skill" (TimeOut Chicago) have been praised as "alert [and] outstanding" (Chicago Classical Review), has also been noted for her "riffs.. powered by a flashing blur of bow arm, [as they] rolled out with irresistible glee" (Washington Post). She has appeared with numerous ensembles including but not limited to Kings Noyse, Apollo's Fire, Newberry Consort, Ars Lyrica Houston, Bach Society Houston, Musica Angelica, Toronto's Classical Music Consort, Indianapolis Baroque Orchestra, Mountainside Baroque, and Ensemble Phoenix Munich. Ms. Berry has also performed on numerous series throughout the U.S. and Canada including at the Library of Congress, a repeat performer on the Dame Myra Hess series, Ars Musica Chicago, the 2010 CMC Springtime Handel Festival in Toronto, the Boston, Berkeley, Chicago, Indianapolis, and Madison Early Music Festivals, Kansas City's Friends of Chamber Music, Early Music Now, Chicago's Classical Music Mondays at the Cultural Center, and the Academy of Early Music in Ann Arbor. She has also appeared with various bluegrass and country bands in Texas and in Chicago as part of the Chicago Barn Dance Company, the Irish American Heritage Center, Glenwood Arts Festival, and others. On the air, Ms. Berry has been heard on the Live and Impromptu series of Chicago's WFMT classical radio station, WNUR, and Wisconsin Public Radio. Brandi serves on the faculty of DePaul University as co-director of their Baroque Ensembles program, as string faculty for the Madison Early Music Festival and fiddle faculty for the Old Town School of Folk Music. A student of Stanley Ritchie and Cynthia Roberts, she holds degrees in violin performance from Indiana University and the University of North Texas. Ms. Berry is artistic director of the Bach & Beethoven Ensemble.
Héloïse Degrugillier (recorder) has worked extensively as both a recorder performer and teacher throughout Europe and the U.S. She has performed with leading period ensembles, including the Boston Early Music Festival Opera, Newport Baroque, Harmonious Blacksmith, the Dunya Ensemble and L'Academie. Recent performances include a concert at the Indianapolis Early Music festival that was praised by the Indianapolis Nuvo: “Recorder players Justin Godoy and Héloïse Degrugillier blended their dissimilar-looking instruments to near perfection.” Héloïse also enjoys an active teaching career, working with the Boston Recorder Society, Recorder Guild of New York and others. She has recently completed her studies in the Alexander Technique and has a Masters in Music from the Utrecht Conservatory in the Netherlands. She studied recorder with Heiko ter Scheggett, Saskia Coolen and Pedro Memelsdorff. http://www.godoymusic.com/pgs/teachers.html
* Jan Elliott
Jan Elliott began her recorder studies at age 3. Her first teachers were Ruth Guillard, student of Bernard Krainis (and wife of a founding Pinewoods Morris Man), and school music teacher and early music specialist Patricia C. Brown. Later she explored advanced baroque repertoire with W. Britt Wheeler at Wesleyan University, earning a BA in music and education. Her MA thesis from UCLA focused on dance and music relations, and she happily straddles both worlds. She currently maintains a private teaching studio, directs the Woods Hole Recorder Consort, and performs with Ensemble Passacaglia, a quartet specializing in medieval, renaissance and world music. She has been a guest artist with Oyez! and Philidor early music ensembles as well as the Solstice Singers, Falmouth Chorale, Mastersingers-by the Sea and Proteus Consort. She also has an active life in the worlds of traditional music and dance, teaching morris and sword dance at the Waldorf School of Cape Cod, directing the Vineyard Swordfish and playing for the Pinewoods Morris Men. She has been on staff at many Pinewoods sessions, including Early Music week, and now serves on the board of Pinewoods Camp, Inc.
Barbara Finney is one of the East Coast's top English country dance leaders. Described as "articulate, genial and serene," she is known for her clear teaching and welcoming presence. Her varied dance background includes teaching and performing baroque, renaissance, morris, longsword and Scottish as well as English country dance. A regular dance leader at the Country Dance Society, Boston Centre, Barbara has led workshops across the U.S. and in Canada, has taught at many dance weeks and has served as program director for CDSS English Dance Week at Pinewoods. She dances longsword with Still River Sword and was a member of Ingrid Brainard's Cambridge Court Dancers, a troupe known for the accuracy of its historical reconstructions.
* Frances Fitch
Frances Conover Fitch has performed extensively in North America and Europe, and recorded for Swiss, German, Dutch, and French National Radio as well as for the BBC and NPR. Her ground-breaking ensemble, Concerto Castello, won critical acclaim as well an Honorable Mention in the Deutsche Schallplatten Preis of 1983. A particularly sensitive and inventive continuo player, she has worked and played with Spiritus Collective, Cantata Singers, Emmanuel Music, Aston Magna, Boston Cecilia, Handel and Haydn Society, Concerto Palatino, and the Boston Camerata, among others. Ms. Fitch has participated in major music festivals, including the Gilmore Festival, the Festival d'Art Lyrique/Aix-en-Provence, Pepsico Summerfare, Tanglewood, Boston Early Music Festival, Tage Alter Musik (Regensburg), the Castle Hill Festival and the Festival de Musica Antigua in Mexico City, where she also gave master classes at the National Conservatory. She has over twenty solo and ensemble recordings on the EMI-Reflexe, Titanic, Harmonia Mundi, Nonesuch, Centaur, Koch International and Wild Boar labels. Ms. Fitch teaches at Tufts University and The England Conservatory of Music and for many years was Chair of the Early Music Department at the Longy School of Music, teaching harpsichord, organ, chamber music, figured bass improvisation and bibliographic research. She has also served on the faculties of Wellesley College and the Schola Cantorum Basiliensis, and recently completed a semester as Guest Professor in Performing Arts at Ferris University in Yokohama, Japan. Ms. Fitch has degrees from Bard College and New England Conservatory, and pursued studies with Gustav Leonhardt and Veronika Hampe at the Sweelinck Conservatorium in Amsterdam. Her playing has been praised as “perceptive”, “stylish” and “spectacular”, and noted for its “precision and delicacy of wit”. www.francesconoverfitch.com
* Eric Haas
Eric Haas has taught at New England Conservatory, Tufts University and Wheaton College, as well as numerous early music workshops, including Amherst Early Music, the Long Island Recorder Festival and the Mideast Workshop. Mr. Haas is well known for his many transcriptions and editions for recorder. He performs on recorder and early flutes with lutenist Chris Henriksen as Pentimento and with the Renaissance flute consort Travessada. He served for many years as Music Director of the Boston Recorder Society and manages the retail division of the von Huene Workshop, Inc.
* Joan Kimball
Joan Kimball, artistic co-director and a founding member of Piffaro, The Renaissance Band, has toured and concertized with the ensemble throughout the U.S., Europe, and parts of South America, and has performed with many of the leading early music artists and ensembles in this country. She gave full time to early music performance in 1980 after a number of years as an educator, and still treasures her work with students of all ages. She teaches recorder and early winds to children and adults and is on the music faculty of The Philadelphia School, an elementary and middle school, where she has a full roster of private recorder students and recorder ensembles. Joan also organizes Piffaro’s educational programs, initiated a residency in a Philadelphia School district elementary school where she taught recorder and percussion to third grade classes, and plans special outreach projects built around Piffaro’s concert series. In addition, she collaborates with instrument maker Joel Robinson of New York City on the construction of Medieval and Renaissance bagpipes and is a maker of double reeds for Renaissance shawms, dulcians and capped winds. Joan teaches bagpipe, recorder and double reed classes at summer music workshops and festivals. In addition to her recordings with Piffaro she can also be heard on Vanguard Classical, Eudora and Vox Amadeus. www.piffaro.org/players/joan-kimball
* Sarah Mead
Sarah Mead teaches, performs, and proselytizes polyphony in the Boston area. The 2007 recipient of the Thomas Binkley Award from Early Music America, she is Professor of the Practice of Music at Brandeis University, and has taught 16th-century theory and performance practice at the Longy School of Music. Her handbook on Renaissance Theory is used in historical music programs around the country. She has given master-classes, lectures and workshops in Japan, Australia, New Zealand and the UK. She serves on the Boards of the VdGSA and EMA, and is Conclave Music Director for the Viola da Gamba Society of America.
* Gene Murrow
Gene Murrow has been an English country dancer and musician since 1965 and has taught and called since 1988 at clubs, workshops, festivals and balls throughout the U.S. as well as Britain, Europe and Japan. In 1996, he organized the Amherst Assembly, a week-long conference devoted to a scholarly and practical look at the origins and evolution of the country dance. Sought out for his deep understanding of both music and dance and for his exceptional clarity when teaching, Gene has written a resource guide and training curriculum on musicianship for English country dance leaders. He has also performed on four recordings as a member of MGM, produced the CDS Boston English Country Dance series featuring Bare Necessities and served on the Board of Directors of CDSS and Early Music America. Gene is the Executive Director and Founder of Gotham Early Music Scene.
Emily O'Brien is a native of Washington, DC where she played recorder from a young age. She studied recorder and french horn at Boston University, and recorder and Baroque flute at the Hochschule für Musik in Karlsruhe, Germany. She performs and teaches in the Boston area, including the Society for Historically Informed Performance concert series, the Boston Recorder Society concert series, and in fringe events surrounding Boston Early Music Festival, as well as Early Music New York, Helios Opera, and the NEC Baroque Society. She teaches regularly at various summer music workshops including CDSS's Early Music Week and MidEast Early Music Week, and this summer will also be on the staff as a dance musician at Amherst Early Music's New London Assembly. Currently she is working with Friedrich von Huene on his "Well-tempered Recorder" project, a collection of recordings of the entire Well-tempered Klavier in arrangements for recorders. In addition to her early music activities, she plays frequently for English Country Dances in the Boston area. When not playing recorder, she makes instrument cases and bicycle gear for her own company, Dill Pickle Gear. In her spare time, Emily is an avid long distance cyclist.
Christa Patton, historical harpist and early wind specialist, has performed throughout the Americas, Europe, and Japan with many of today’s premier early music ensembles including Piffaro the Renaissance Band, Early Music New York, The King’s Noyse, Folger Consort, Newberry Consort, Apollo’s Fire, The Toronto Consort, Parthenia, ARTEK, Pegasus, New York State Baroque Orchestra, and many others. As a baroque harpist specializing in 17th century opera, Christa has performed in many early opera productions including New York City Opera and Wolf Trap Opera. She can be heard playing baroque harp and a multitude of other instruments on recordings such as "Istampitta" [Lyrachord] "Chacona" and "Trionfo d'Amore e della Morte" [Dorian] and Nobile Donna on ATMA among others. Christa is on the faculty of Rutgers University and the Graduate Center at CUNY. She is also musical director of the Baroque Opera Workshop at Queens College, specializing in the works of early 17th century composers, which she started with co-director David Ronis.
Equally at ease on recorder and baroque flute, American/Canadian Alexa Raine-Wright has shared her passion and talent for early music with audiences across the U.S. and Canada in solo, chamber and orchestral performances. She is a graduate of McGill University, where she studied with Claire Guimond (baroque flute) and Matthias Maute (recorder). She has also studied with Cléa Galhano and Barbara Kaufmann (recorder) and Immanuel Davis and Beth Kelly (baroque flute). In 2015, Alexa won 1st place in the National Flute Association's Baroque Flute Artist Competition in Washington DC, as well as 2nd place in the Mathieu-Duguay Early Music Competition in New Brunswick, Canada. Alexa is a founding member of the ensemble Infusion Baroque, winner of the Grand Prize and Audience Prize in the 2014 Early Music America Baroque Performance Competition in Chicago. She is also a member of the celebrated recorder quartet Flûte Alors! She has made recent appearances with Ensemble Caprice, Arion Baroque Orchestra, I Musici and the Chicago Symphony Orchestra. Alexa has performed at music festivals across North America (including the Montreal Baroque Festival, Boston Early Music Festival and Berkeley Festival & Exhibition) and has recorded with Arion Baroque Orchestra and La Bande Montréal Baroque on the label ATMA Classique. www.alexarainewright.com
David Schonfeld is a folk dancer and woodwind player based in West Hartford, CT. He has degrees in Music and Music Theory from CCNY and Yale. He also studied South Indian classical music for many years, both in the U.S. and in Madras (now Chennai) on a Fulbright, concentrating on vina. David plays oboe, clarinet, and recorder and has been focusing on baroque oboe since 2013. Participation in the Amherst Early Music Festival has deepened his appreciation for early music. David has done international folk dance since 1983 and is a core member of Always on Sunday, in Wethersfield, CT. Since 1988 he has been a member of IFD dance bands, first A Different Village, and later Hijaz. He has prepared many transcriptions for use in these bands.
Cynthia Shaw, pianist and singer, has been playing for English country dancing in New York since 1995 where she heads the highly successful ECD Musician’s Apprenticeship program. As one New England dance caller has noted, she plays '...springing and spirited backups for other instruments, and her solos positively sparkle…’. She has been on the faculties of Pinewoods, Buffalo Gap, The John C. Campbell Folk School, Third Street Music Settlement Chamber Music Program and The Brooklyn Friends School. She is the former musical director for the New York Christmas Revels and professional early music and choral church and concert singer and pianist in NY. www.CynthiaShawMusic.com
* Lisa Terry
Lisa Terry (viola da gamba, violoncello) practices, performs and teaches viola da gamba and violoncello in New York City, where she is a member of Parthenia and the Dryden Ensemble (Princeton). Lisa is principal cellist and viol soloist with Tempesta di Mare, Philadelphia’s baroque orchestra, and she serves the Viola da Gamba Society of America as Vice President. Lisa teaches viola da gamba and cello privately in New York and at workshops around the country, with expertise in technique analysis and discovery; baroque viol solo repertoire; lyra viol; and ensemble coaching (especially ‘how to work well as a chamber ensemble’). 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, Winter Park Bach Festival, Bethlehem Bach Festival, Concert Royal, New York Collegium, American Classical Orchestra, Four Nations Ensemble, Santa Fe Pro Musica and Chicago Opera Theatre. http://www.learningmusician.com/gambalisa
* Bob Wiemken
Bob Wiemken began his musical life as a French hornist many years ago and continued pursuing modern brass for some 18 years. Eventually, however, he became inexplicably enamored of the double-reed instruments and leapt at the chance to begin playing early reeds in the Collegium while a graduate student in Classics at the University of Pennsylvania. That began a long love affair with medieval through early Baroque double-reed instruments that has only crescendoed over the past 27 years of playing, exploring, studying, maintaining, servicing and, above all, making reeds for shawms, dulcians, bassoon, krumhorns and more, for himself and many others. As Artistic Co-Director of Piffaro, The Renaissance Band, he has performed worldwide, recorded extensively, built over 100 programs of Renaissance and early Baroque music and commissioned new works for early winds and chorus. He has been very fortunate to perform with many of the world’s leading early music ensembles, in festivals in North and South America and throughout Europe, and in spaces contemporary with the music that helped him define the role, sound and capabilities of double reeds in historic performance settings. He is an eager and well-appreciated teacher and lecturer in college and university settings, having directed the Early Music Ensembles at the Esther Boyer College of Music and Dance at Temple University for 20 years, bringing the world of early reeds to modern players. He also teaches regularly at festivals and workshops throughout the country. Currently, in addition to his performing, researching, recording and educating responsibilities, he continues to attempt to plumb the depths of early reed construction, design and technique in an effort to understand the mysteries of these glorious instruments. www.piffaro.org/players/bob-wiemken
* ADVISORS, PLUS