August 11 - 18, 2018
Euterpe meets Terpsichore
Explore the many ways that music and dance inspire each other. From Pavans, Bransles, and Galliards of the Renaissance to Minuets, Sarabandes, and Courantes in Baroque suites, the sense of movement and shape in dance is an integral part of rhythm, expression, and form in music. This year's offerings include a focus on dance movements and dance-related music, and opportunities to experience historical dance in addition to our usual English country dance offerings.
Early Music Week 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 an intensive program of High Renaissance Ensembles for advanced voices, viol and wind players with strong sight-reading skills (16th c. viols and recorders provided for student use).
Less experienced recorder players who want to focus on improving their technique and rhythmic skills can opt for Recorder Boot Camp classes.
Instrumentalists may focus intensively on their primary instruments, enjoying the opportunity to play with others in mixed ensembles and find time to explore something completely new. Singers can delve into early music repertoire in small groups and sing in a chorus and/or a mixed consort, and try an introductory instrumental class. Dancers (and those interested in dance) will find classes in English country dancing and historic dance. 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.
Our outstanding faculty includes active professionals and acclaimed teachers and coaches of early winds (recorder, flute, capped reed/bagpipe, shawm, dulcian, sacbut, cornetto) strings (viola da gamba, Baroque violin, vielle, rebec), voice, chorus, harp, lute, and keyboard. The program also includes mini lecture/recitals by faculty as well as 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?
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 program/course is designed for advanced players and singers. We will focus on music from the High Renaissance and Early Baroque, culminating in a short concert at the end of the week. Only players and singers with advanced reading skills and solid technique will be accepted. Music will be selected based on the distribution of instrumentalists and singers accepted. We will work both as a full ensemble on larger works, and in smaller break-out sessions on vocal and instrumental chamber music. A limit of 15-18 participants will form three consorts: voices, viols and recorders (may double on flute or dulcian). Viol players and recorder players will have the use of matched Renaissance-style instruments for the week, provided by Pinewoods faculty members.
The members of the Accademia will work in three focused daily classes:
- In the morning class, all voices and instruments will work together, led by Sarah Mead and Michael Barrett. A breakout room will provide flexibility to work separately for part of the time.
- In the first afternoon class, voices will work with Michael Barrett, viols with Lisa Terry, and recorders with Emily O’Brien.
- In the second afternoon class, Lisa Terry and Sarah Mead will coach mixed instrumental groups large and small, with breakout rooms to provide for up to four ensembles. Michael Barrett will direct the Chorus, which will include Accademia singers.
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 are encouraged to dance every evening with the rest of the camp participants.
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, Lisa Terry, and Michael Barrett, Program Co-Directors
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
- some familiarity with historical notation, or the willingness to learn more about it
Participation in Accademia will be invitational. If you would like to be invited to apply, you may submit a letter of application to Steve Howe. 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.
Once invited, please fill out the regular Early Music Week registration and pay your deposit. Be sure to include a note: “I have been accepted into Accademia.”
|7:45-8:15||Hot Breakfast served cafeteria style|
|8:15-8:45||Cold Breakfast Coffee/Tea available|
|8:15-8:25||Vocal warm-ups For All|
|8:30-8:50||Stretches and warm-ups For All|
|9:00-10:25||Instrumental and vocal consorts grouped by level, Beginner to Advanced: Recorder, viol, voice, strings, harp, mixed instrument, and Accademia (see below for link to description) Voice Classes will include rhythmic, interval and sight reading exercises to strengthen the students’ musicianship.|
|I-HI louds||From the Battlefield to the Dance Hall — Paduanas, Battaglias, and Everything Between||Liza Malamut|
|HI-A Violin-family strings, viols, plucked strings, soft woodwinds||Lattes with Landini||Michelle Levy|
|HI-A Melody instruments and continuo instruments||Baroque ensembles||Frances Fitch, Judy Linsenberg|
|Pre-registration||Accademia: Instruments and Voices||Sarah Mead, Michael Barrett|
|10:45-11:45||English Country Dance classes, by level|
|B||Absolute Beginner's Class (Sunday only)||Jan Elliott|
|B and up||Song and Dance, Man!||Orly Krasner|
|A||Tradition and Innovation||Graham Christian|
|11:45-12:30||Free time: Swimming, Bookstore staffed, play-ins|
|All||Under the Hood: Understanding Basic Music Theory and Harmony||Frances Fitch|
|I+||Recorder Technique Boot Camp for Intermediate Players||Héloïse Degrugillier|
|B-LI Flutes (Instruments can be provided for the week)||Sound the Bright Flutes||Alexa Raine-Wright|
|B-LI (Instruments can be provided for the week)||Follow the Piper: Renaissance Bagpipes||Christa Patton|
|LI+ Voices, I+ Instruments, percussion||Collegium: English Masters||Larry Zukof|
|All||Trobaritz Song and Accompaniment||Michelle Levy|
|LI+ Recorders, flutes, strings||Two left feet?||Judy Linsenberg|
|I-A Mixed instruments (louds welcome)||Music from Terpsichore||Liza Malamut|
|Experienced Dancers||Social Dance in Performance||Graham Christian|
|Pre-registration||Accademia: Instruments and Voices||Lisa Terry, Michael Barrett, Emily O'Brien|
|I+||Recorder Orchestra: Dance-inspired Music||Larry Zukof|
|LI+||Recorder Ensemble Skills Boot Camp||Alexa Raine-Wright, Jan Elliott|
|B Harp (Contact Program Director to arrange instrument rental)||Harping on Harp||Christa Patton|
|I+ Louds||Celebratory Wind Music for Eating, Drinking, and Dancing||Liza Malamut|
|LI+ Singers||Chorus: Renaissance Rhythm||Michael Barrett|
|HI+ All instruments except louds||ECD Dance Band||Michelle Levy|
|HI+ Dancers||Let's have a ball!||Orly Krasner, Graham Christian|
|Int+ Viols, flutes, recorders||Of Witches and Baboons and Bears: Music of the Masques||Carol Lewis|
|Pre-registration||Accademia: Instruments only||Sarah Mead, Héloïse Degrugillier|
|5:15-6:15||Free time: Informal camper music making, Swimming, Bookstore staffed|
|Music Play-in (includes singers and instrumentalists) for all levels: sit side-by-side (next to a more advanced player/singer) if you wish|
|8:15-9:45||English Country Dancing For All|
|9:45||Special Events: madrigal sing, skit night, auction, parties|
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 in recorder ensembles and historical chamber music, as well as English Country Dance bands. As a teacher, she works with private students and ensembles in the Boston area and at summer workshops. Emily's solo album "Fantasies for a Modern Recorder" explores the variety and possibilities over four centuries of repertoire offered by the Helder Harmonic Tenor recorder, including a variety of flute and violin music usually inaccessible to the recorder as well as new works commissioned for the project. In her spare time, she enjoys long distance cycling.
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
Michael Barrett is a Boston-based conductor, singer, multi-instrumentalist, and teacher. He has performed with many professional early-music ensembles, including Blue Heron, the Boston Camerata, the Huelgas Ensemble, Vox Luminis, the Handel and Haydn Society, Boston Baroque, Nederlandse Bachvereniging (Netherlands Bach Society), L’Académie, Seven Times Salt, Schola Cantorum of Boston, and Exsultemus. He can be heard on the harmonia mundi, Blue Heron, and Coro record labels. Michael has served as music director of Convivium Musicum since 2007. He also directs the Meridian Singers, a vocal ensemble based at MIT, and has served as guest director of Cantilena, a women’s chorus in Arlington, and as a visiting lecturer in choral conducting at Bridgewater State University. Michael is currently an Assistant Professor at the Berklee College of Music, where he teaches conducting courses for undergraduates. He is also Lecturer in Music at Boston University, where he teaches seminars in Renaissance and Baroque choral repertoire for graduate choral conducting students. With his wife Anney he is co-owner of The Green Room, a multipurpose arts studio in Union Square, Somerville, where he maintains a private studio for lessons in voice and music theory. Michael earned an AB in music from Harvard University, an MM in choir conducting from Indiana University Jacobs School of Music, and a First Phase Diploma in Baroque and Classical singing from the Koninklijk Conservatorium (Royal Conservatory) in The Hague, The Netherlands. In 2015 he completed his DMA in choral conducting at Boston University.
* Graham Christian
Graham Christian 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. In 2015, CDSS published, as part of its Centennial celebrations, The Playford Assembly, a major collection of more than 125 historical dances interpreted for modern dancers, with scholarly apparatus; that volume is now in its second printing. He is the author of the popular dance history column Tell Me More for the CDSS News. He is also a stage director: past projects include Trial by Jury, The Pirates of Penzance, H. M. S. Pinafore, Patience, Gianni Schicchi, Carmen, and Brigadoon. He is the co-founder of the acclaimed art song concert series Songs and Serenades with soprano Libby Maxey, and has recently begun concertizing as a solo pianist, with a repertoire that extends from Schubert and Bach to contemporary rags.
* Héloïse Degrugillier
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.
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/music relations, and she happily straddles both worlds. She currently maintains an active private studio and teaches music at elementary and middle school levels. She directs the Woods Hole Recorder Consort and performs with Ensemble Passacaglia, a quartet specializing in medieval, renaissance and world music, and Courante, a baroque ensemble that has performed across Cape Cod and at the Boston Early Music Festival. She has been a guest artist with numerous early music groups including Oyez!, Philidor, 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 and other teams. She also maintains a children's traditional dance troupe. She has been on staff at many Pinewoods sessions, and served for 12 years on the board of Pinewoods Camp, Inc.
Frances Conover Fitch has toured extensively in North America and Europe and performs with many prominent early music ensembles. She helped found the groundbreaking ensemble for 17th-century music, Concerto Castello, and has been described as a “delightfully inventive and compelling” continuo player. Ms. Fitch has participated in major music festivals, including Tanglewood, Aix-en-Provence, Pepsico Summerfare, Tage Alter Musik (Regensburg), the Boston Early Music Festival, and the Festival de Musica Antigua in Mexico. Ms. Fitch has made more than a dozen recordings, including a double CD of music by Elisabeth-Claude Jacquet de la Guerre, featuring something from every compositional genre she explored. Her playing has been noted for its “precision and delicacy of wit.” She was a member of the faculty of the Longy School of Music for nearly three decades, and served as Chair of the Early Music department there. In 2006, Longy awarded her the George Seaman Award for Excellence in the Art of Teaching. Ms. Fitch is on the faculties of Tufts and Brandeis Universities and The New England Conservatory. In 2012-13, she was Guest Professor at Ferris University in Yokohama, Japan. With Jack Ashworth of the University of Louisville, she is co-author of the figured bass workbook, Running the Numbers. She also maintains a private studio in the Boston area, and is Minister of Music at St. John’s Episcopal Church in Beverly Farms, MA.
Orly Krasner discovered English Country Dancing while finishing her PhD dissertation on a totally unrelated musical topic. She apprenticed as a dance teacher under Beverly Francis, Fried de Metz Herman, Gene Murrow, and Paul Ross. (In 2011, Orly and Gene arrived in Japan to lead several workshops just in time to feel the earthquake!) She now teaches regularly at Country Dancers of Westchester and Country Dance*New York; she has been guest teacher at the Lichfield (UK) Folk Festival and other special events throughout the U.S. and Canada. Intrigued by the idea of music made visible, Orly took up choreography, and has recently published Celebrations, a book of 20 English Country dances, the CD for which was recorded by Reunion. Orly also dabbles in baroque dance and has studied with Thomas Baird, Kaspar Mainz, Peggy Murray, and Dorothy Olsson. In “real” life, when she isn’t dancing, Orly teaches music history and theory at the City College of New York.
Michelle L O’Connor (Levy) has been performing on and exploring the possibilities of bowed string instruments for over 27 years. O’Connor studied medieval vielle with Shira Kammen, earned a Masters in Ritual Chant & Song from the Irish World Academy of Music and Dance (University of Limerick), and studied music at Brown University. She has performed internationally with an eclectic variety of ensembles, including Jordi Savall & Hespèrion XXI, Keltia Productions, and The Boston Camerata. She’s been a featured performer at the Vancouver Early Music Festival (2013) with Sequentia & The Elaine Adair Ensemble as well as at the Connecticut Early Music Festival (2010) with Istanpitta Early Music Ensemble, and at the New England Folk Festival 2013 (NEFFA) with her folk dance band, TriTonic. She enjoys playing fiddle for contra and English country dance camps in the woods as well as performing with Shira Kammen's Class V Music, an ensemble dedicated to creating music on whitewater rafting trips.
Called "the Jascha Heifetz of the recorder," Judith Linsenberg is one of the leading exponents of the recorder in the US, acclaimed for her "virtuosity," "expressivity," and "fearless playing." She has performed at the Hollywood Bowl and Lincoln Center; and has been featured with the SF Symphony, the SF and LA Operas, the LA Chamber Orchestra, Philharmonia Baroque, American Bach Soloists, the Portland and Seattle Baroque Orchestras, and others. She is the Director of the Baroque ensemble, Musica Pacifica, whose performances and nine recordings have received international acclaim and several awards, causing the ensemble to be described by the press as "some of the finest baroque musicians in America" (American Record Guide) and “among the best in the world" (Alte Musik Aktuell). Judy has recorded for Virgin Classics, Dorian, Solimar, harmonia mundi usa, Koch International, Reference Recordings, Musical Heritage Society, Drag City Records (with Joanna Newsom), and Hännsler Classics. She holds a doctorate in early music from Stanford University and has been a visiting professor at the Vienna Conservatory and Indiana University’s Early Music Institute. She has taught at Stanford and numerous workshops across North America, including Amherst Early Music, the Boxwood Festival (Nova Scotia), Pinewoods, and Lark in the Morning folk music camp in Mendocino. She maintains a private teaching studio in Oakland and Palo Alto, CA. In addition to early music, she enjoys playing for English Country Dances, dabbling in Celtic music, and, recently, playing clarinet in a Klezmer band.
Liza Malamut regularly appears as a sackbut specialist with the country's premier early music groups. Engagements have included performances with the Handel & Haydn Society, Boston Camerata, Music of the Baroque, Seraphic Fire, The Sebastians, Trinity Baroque, the Boston Early Music Festival, Piffaro, Baroque Orchestration X, Apollo's Fire, The Green Mountain Project, Mercury! The Orchestra Redefined, Dark Horse Consort, Boston Baroque, and others. Liza is the recipient of a 2017-2018 American Dissertation Completion Fellowship from the American Association of University Women for her work on the integration of historical performance practice with mainstream teaching. She looks forward to receiving the Doctor of Musical Arts Degree in Historical Trombone from Boston University in Spring 2018. Liza has given master classes and coachings at Boston University, Eastman School of Music, Indiana University, Tufts University, Loyola University, University of Central Oklahoma, and Northeastern University. In 2015, Liza served as Visiting Lecturer in Sackbut at Indiana University’s Jacobs School of Music, and she continues to teach students in her home city of Boston. Liza holds degrees from the Eastman School of Music and Boston University, where she studied modern trombone with John Marcellus and Don Lucas, respectively. After receiving her Master of Music degree, she spent a year touring the United States with her Indiana-based chamber ensemble, appearing with the Buffalo Symphony, the Saint Paul Chamber Orchestra, and at many other venues across America. Her work with children and students has inspired various large-scale outreach projects, including several family-friendly productions of Heinrich Schütz's Weihnachtshistorie, staged in New York and Boston in collaboration with the New York-based vocal collective Musica Nuova; and Singen und Sagen: Music for Hope in a Time of War, a concert of works by Michael Praetorius in collaboration with the Schola Cantorum of Rochester. For these and other projects, she has been the recipient of the Paul R. Judy Polyphonic Grant and the 2017 Early Music America Outreach Grant.
* Sarah Mead
Sarah Mead teaches, performs, and proselytizes polyphony in the Boston area. She is a Professor of the Practice of Music at Brandeis University where she has directed vocal and historical instrument ensembles and taught music history since 1982; she currently chairs their interdepartmental program in Medieval and Renaissance Studies. In 2007 she received the Thomas Binkley Award from Early Music America for outstanding achievement in performance and scholarship by the director of a collegium musicum. She served as Music Director of the annual Conclave of the Viola da Gamba Society of America for seven years and oversaw their 50th anniversary celebration. Overseas she has performed and taught in Brazil, Japan, Australia, New Zealand and the UK, and is a sought-after lecturer and ensemble-coach in the US, where she is a founding member and music director of Nota Bene Viol Consort. Her editions and commentary on both recent and historical works for viols are published four times a year in the Newsletter of the VdGSA under the title "NewsMusic," and her original music for viol consort is published by PRB.
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.
Cynthia Shaw, classical pianist, singer, and actor has been playing for English country dancing in New York since 1995. 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 vocal and piano accompanying faculties of Pinewoods, Buffalo Gap, The John C. Campbell Folk School, Third Street Music Settlement Chamber Music Program and The Brooklyn Friends School and plays for English Country Dances at CD*NY, LITMA and Princeton Country Dancers. She is a professional choral singer and sang with the NY Philharmonic when they won two Grammy Awards. She is the former musical director for the New York Christmas Revels and is writing a one-woman solo show, Velvet Determination, about her classical piano journey from Pueblo, CO to The Manhattan School of Music in NYC. She lives in Brooklyn, NY with her husband, David Simonoff.
* 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 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.
* Larry Zukof
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
* PROGRAM ADVISORS, plus
Life at Camp
ABOUT PINEWOODS CAMP
CDSS has been at Pinewoods Camp since 1933. Located on 25 acres of woodlands near Plymouth, Massachusetts, it provides the setting for educational vacations filled with music and dance. Spacious, wooden outdoor dance pavilions are nestled among the towering pines. Cozy two-person cabins offer accommodations between two beautiful lakes, which are ideal for swimming, kayaking, canoeing and relaxing. The main pebbly beach has a long dock, with deep-water swimming to the anchored raft offshore. Scattered along the shores of the two lakes are other, more private, entries to the water. Gatherings, parties and concerts are held in the lakeside Camphouse, next to the main beach. The open-air, lakeside Dining Hall offers delicious meals and a congenial atmosphere for meeting new friends. With their large stone fireplaces, both the Dining Hall and the Camphouse provide a warm place to gather in cooler weather.
Plan your packing so that you can carry luggage to your cabin over narrow, sometimes uphill paths. There are carts available in the parking areas to help with loading or unloading.
Pinewoods is about a one hour drive from Boston, MA, and about five hours from New York, NY. It is accessible by train, bus and van service.
GETTING TO CDSS PROGRAMS AT PINEWOODS BY PUBLIC TRANSIT
It is easier than ever to get to CDSS programs at Pinewoods Camp from Boston's Logan Airport or South Station! Book a flight that arrives by 1p.m. (or train that arrives by 1:40) and reserve a seat (available after January 1) on the 2:00 van to camp – this is the earliest we will be ready to receive you. The van runs from Logan Airport and South Station right to camp, where the greeters will help you unload at the place most convenient to your cabin. You can also reserve a seat for your 9:45 departure on the last day of camp, suitable for flights, or trains, noon and later. Please reserve your van seats at least 10 days before you arrive. We cannot guarantee space for late reservations. Van seats are $30 in each direction.
The program begins with swimming and an informal tour of camp on the afternoon of the first day; followed by an orientation meeting and dance after dinner.
Arrival time is after 3:00pm on the starting Saturday. Departure is by 10:00am the final Saturday.
You will need to bring a flashlight to find your way around at night. A battery powered or wind up alarm clock and insect repellent may be useful. If you are on a special diet, you may need to bring your own particular food. An ice chest for drinks and snacks to share at after-dance parties may be handy; there is some refrigeration available. A specific packing list is sent with acceptance information.
Don't forget to pack your swimsuit, raincoat, sweater, towels, bed linen, and blankets or a sleeping bag. An extra blanket could be needed.
The nearest stores are a 15-30 minute drive away.
All participants are assigned on-site housing in the month before camp starts. Space is limited; we can't guarantee that all specific requests will be filled. Requests may be made on the Registration Form or with information sent later.
Most housing is in double-occupancy cabins with bathrooms close by. There are some buildings with several single rooms, as well as a few houses with a variety of bedrooms and bathrooms. Double cabins tend to be quieter than singles or houses.
General housing categories at Pinewoods are:
- Quiet or party areas
- Double or single occupancy
- Double cabin
- Building with bathroom
- Specific area or building
For Family and Campers' Weeks, housing will be assigned based on the age of the youngest family member; most children over six are assigned a roommate in a cabin near their parents.
In the cooperative spirit of camp life, all campers have a daily job to help camp run smoothly.
Jobs are usually a half hour or less per day, every day, and the same job all week. Jobs are assigned in the month before camp starts; you have the opportunity make specific requests about your job assignment either on the Registration Form or later with your Registration Status Form.
We can't guarantee that all specific job requests will be filled, but please let us know if you have a preference or limitation (e.g., dust allergy, unable to lift heavy objects, can't stay up late, can't get up for breakfast).
At family sessions parents are generally assigned a job with their young children.
General job categories are:
- Dining room: breakfast, lunch or dinner (set/clear tables)
- Kitchen (serve food, clear, wash dishes, make coffee/tea)
- Sweeping (pavilions, community areas)
- Party help (late night party setup/cleanup)
- Clerical (office, bookstore, auction)
- Greeters (must be able to arrive by 2:00pm)
- Gopher (campstore, auction, lifting)
PHONE & COMPUTERS
Though your plate will be full with activities while at camp, for those of you who must keep in contact with work or home, there are options. There is first class mail and UPS service. We do ask that laptops and cell phones be kept out of the awareness of other campers. Even if you can't, others want to enjoy this time away from the reminders of work-a-day living.
There is a touch-tone phone for camper use; you will need a calling card to make long distance calls. Cell coverage is ok.