August 12 - 19, 2017
Masters and Mentors Through the Ages
Early Music Week 2017 offers joyful opportunities and challenges to players, singers and dancers of every level, from beginners to the highly experienced. Classes will explore the innovation and creativity that lie behind some of the world’s most vibrant and compelling music while strengthening technique and musicianship skills.
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.
The Week at a glance (see daily schedule for details):
- Each day will begin with Tai-Chi (pre-breakfast) and vocal and stretching warm-ups for those who wish immediately after breakfast.
- Morning ensembles are grouped by instrument and level and will also include a Baroque master class for more advanced players.
- English Country dancing instruction by level follows.
- Break for swimming/relaxing before lunch
- Afternoon offerings include:
- Collegium, open to intermediate level and up singers and players.
*(offered in AM only)
- Recorder Orchestra for high intermediate and up players (with wide range of repertoire)
- Recorder Boot Camp for upper beginner to Intermediate players
- Medieval, Renaissance and Baroque ensembles
- Loud Band
- Balkan and Mediterranean music class
- Playing for English Country Dance
- Body Mapping Class
- Introductory instrumental classes in flute, bagpipe, and *viola da gamba). Instruments are provided.
- Historic Dance
- Dinner followed by special events and dancing for all
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?
~ 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!
Once again, we will be joined by the Sierra Club, with 20 people using camp as their home base while they do service work with the Wildlands Trust. They will eat with us and, during their off hours, they will join us for dancing, swimming and socializing.
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.”
Adventures in the Pinewoods Instrumentarium (for Beginners)
|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 grouped by level, Beg to Adv: 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.|
|(Instruments provided for the week. B, UB)||Strike the Viol: An Introduction to the Viola da Gamba||Lisa Terry|
|(I-HI)||Loud Band ensemble||Mack Ramsey|
|(Violin, viola, cello)||The Really Old-Time Fiddle ensemble||Brandi Berry|
|(Recorders, flutes, viols/cellos, keyboard players, limited to 10 people depending on instrumentation. A)||Baroque Master Class||Héloïse Degrugillier, Frances Fitch|
|(Pre-registration)||Accademia: Instruments and Voices||Sarah Mead, Michael Barrett|
|10:45-11:45||English Country Dance Classes|
|(B)||Absolute Beginner's Class (Sunday only)||Mary Briggs|
|(B and up)||English Country Dance for All||Gene Murrow|
|(A)||Advanced English Country Dance||Graham Christian|
|11:45-12:30||Free time: Swimming, Bookstore staffed, play-ins|
|1:45-3:00||1st PM Classes|
|(Voices, recorders, flutes, strings. I-HI)||Collegium “Titans of the Renaissance”||Chris Rua, Larry Zukof|
|(Voices, instruments, percussion. I-A)||Medieval Dances, Sung and Played||Christa Patton|
|(Recorders, flutes. HI-A)||Baroque Ensemble||Héloïse Degrugillier|
|(UB-LI)||Recorder Boot Camp||Alexa Raine-Wright|
|(Recorder, flute, string, harp, lute, sackbut. HI and up)||Rate The Professor: A Renaissance Ensemble||Mack Ramsey|
|(Any instrument. Players with reasonable sight-reading facility)||Playing for English Country Dance||Gene Murrow|
|(Dancers. A)||It’s Hip to Be Square||Graham Christian|
|(Open to all)||Body Mapping: What Every Musician Needs to Know about the Body||Frances Fitch|
|(Pre-registration)||Accademia: Instruments and Voices||Lisa Terry, Michael Barrett, Emily O’Brien|
|3:20-4:35||2nd PM classes|
|(Singers. All)||Chorus: Networks -- exploring connections among Renaissance composers and their works||Michael Barrett|
|(Recorders, strings. HI and up)||Masters of Theater Music from 17th C. England and Spain||Brandi Berry|
|(Recorders. HI-A)||Recorder Orchestra: Banchetto Musicale||Larry Zukof|
|(Recorders. I-HI)||Music with Her Silver Sound||Eric Haas|
|(Recorders, strings, other instruments, including chordal instruments, percussion. I-A)||Balkan and Beyond: Ethnic Folk Music for Playing||Daphna Mor|
|(UB-I)||Recorder Boot Camp||Héloïse Degrugillier, Chris Rua|
|(Cornetto, shawm, sackbut, dulcian. HI-A)||Renaissance Loud Band||Mack Ramsey|
|Adventures in the Pinewoods Instrumentarium (for Beginners)|
|(Instruments available for loan. B)||Hark the Lark: An Introduction to the Baroque Flute||Alexa Raine-Wright|
|(Instruments provided for the week. B)||Follow the Piper: An Introduction to the Renaissance Bagpipe||Christa Patton|
|(Pre-registration)||Accademia: Instruments only||Sarah Mead, Lisa Terry|
|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||English Country Dancing For All Camp Dance|
|9:45-10:45||Special Events: madrigal sing, skit night, auction, parties|
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.
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 (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
* 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.
* 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.
Daphna Mor has performed throughout Europe and the U.S. as a soloist and as an ensemble player. Her appearances include solo recitals in Croatia, Germany and Switzerland; Recitals at the Metropolitan Museum of Art and Trinity Church, New York; Soloist with The New York Collegium; Soloist with New York Early Music Ensemble; Soloist at Carnegie Hall with Little Orchestra Society, Orchestra member with the New York Philharmonic; City Opera, Mostly Mozart. Lincoln Center; Piffaro- The Renaissance Band and Repast. Awards include First Prize in Settimane Musicali di Lugano Solo Competition and two-time winner of The Boston Conservatory Concerto Competition. Ms. Mor received her Bachelor of Music degree from The Boston Conservatory with highest honors as Valedictorian of the class of 2000. Ms. Mor acts as musician to the education department of The Metropolitan Museum of Art. She is a frequent teacher in early music workshops around the U.S. Ms. Mor is frequently involved in performing of contemporary music. This season she was featured as a soloist with The Metropolis Ensemble, performing the world premiere of Tears, Puffes, Jumps, and Galliard by David Bruce. In 2009 she joined St Luke’s Orchestra to perform the NY premiere of The Flowering Tree, composed and conducted by John Adams. Ms. Mor is an active World Music musician as well. Ms. Mor has appeared on such prestigious stages as Summer Stage, Central Park, NY; and in festivals all over the U.S., Canada, Poland, Italy, Spain, Germany, Slovenia, Austria, Greece and Israel. She appears on Sting’s New CD If On a Winter’s Night on the Deutsche Gramophone label and is a musician at residence at B’nai Jeshurun Synagogue in New York City.
* 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
Mack Ramsey has been a lifelong specialist in performance on early instruments, playing sackbut, recorder, Renaissance flute and classical era trombones. He is a member of the early brass ensemble, Dark Horse Consort, and he frequently appears with baroque orchestras, such as Tafelmusik Baroque Orchestra, Boston’s Handel and Haydn Society, Trinity Wall Street Baroque Orchestra, Clarion Society, Apollo’s Fire and Mercury Houston. Other ensembles include New York’s Green Mountain Project, Tenet, Piffaro, Toronto Consort, and Pacific Musicworks. Overseas, he has performed and recorded with the Taverner Consort, directed by Andrew Parrott and with the Gabrieli Consort, directed by Paul McCreesh.
Chris Rua( recorders, winds) has completed a 10 year world tour with Cirque du Soleil and is very happy to be home and looks forward to returning to Pinewoods. She graduated magna cum lauda from the Crane School of Music at Potsdam, NY with a focus in oboe. After moving to Boston in the late 70s, she became inspired by the teachings and approach to sound of Marleen Montgomery, an innovative music teacher of the time. Chris then became involved in early music and since has taught, performed, recorded and toured with such ensembles as the Early Music New York, The Christmas Revels, Piffaro, and Ex Umbris. Chris has played for English Country dancing from California to England, with Bare Necessities, at English Country dance Balls and at other dance weeks including the Berea Christmas Week, Buffalo Gap and English & American Week at Pinewoods. It has been one of her most favorite ways of making music. Besides teaching for many years at Pinewoods, Chris also directed Early Music Week from 1999-2001.
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
* ADVISORS, PLUS
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 FROM BOSTON'S LOGAN AIRPORT!
It is easier than ever to get to CDSS programs at Pinewoods Camp from Boston's Logan Airport! Book a flight that arrives by 1p.m. and reserve a seat on the 2:00 van to camp – this is the earliest we will be ready to receive you. The van runs from Terminal A 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 noon and later. Please reserve your van seats at least 1 week before you arrive. We cannot guarantee space for late reservations. Also, talk with us if your flight times are incompatible with these vans, we may be able to schedule additional vans at other times.
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. 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.
The fee for the week is
DEPOSITS AND PAYMENTS
Online payments can be made with Mastercard or VISA. We can only take the amount you approve, so balance payments need to be initiated by you.
Mailed-in registrations can be paid by Mastercard, VISA or by check, made payable to CDSS, in U.S. Funds. Mail to CDSS, 116 Pleasant St Suite 345, Easthampton, MA 01027
A deposit of $150/person/week, if not paying full amount, is needed with registration.
Full cost depends on the Week and, at family programs, the ages of children.
Full payment for sessions starting before August 1: due May 20
Full payment for sessions starting on or after August 1: due June 20
There is a fee of $25 on any late payment.
Deposits/payments are processed upon receipt. In the case of cancellation from the wait list or from a session, a refund will be issued as per our cancellation policy.
Registration can be completed online or Registration Form (pdf) may be mailed, hand-delivered, e-mailed or faxed to the CDSS office. Registration confirmation and status will be sent out after April 1. If you wish confirmation that we received your application, please send a stamped, self-addressed postcard or email us at email@example.com.
Looking to pay your camp balance? You'll find the payment form here.
We offer work scholarships to any camper in need, and named scholarships to practicing teachers, leaders and musicians. Please read about our scholarship programs before applying. Scholarship applications will be considered at the time of registration and should therefore accompany the Registration Form.
Donation in support of Scholarships are needed and gratefully accepted. If you are able to help another person benefit from our programs, you can do so by making a contribution along with your registration or at our online store. In addition, at each week of our summer camps, we hold auctions which raise money for future scholarships.
If you have registered and been accepted, you should have received an email from Steve Howe that includes your Registration Status Form and an attached file titled Information for Accepted Campers. The email was sent to only one email address per registration. The body of the email is the Registration Status Form; please contact us with any specific updates and corrections to that form including your contact information, housing and job requests, your meal preferences, expected arrival time and emergency contact information. Here are link to several printable bits of important information.
Acceptance Information: This should have been attached to your Registration Status Form email.
If we do not yet have your signed Waiver, please do that now.
Getting Ready: A page with some hints on life at camp.
Packing List: Suggestions of things to bring
Public Transport: Directions to camp
Driving: Directions to camp
Self-Rating Guide and notes from the Program Director: This will help you fill out the Class Questionnaire
Printable page of class descriptions