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, Beg to Adv: Recorder, viol, voice, strings, harp, mixed instrument|
|10:45-11:45||English Country Dance classes, by level|
|11:45-12:30||Free time: Swimming, Bookstore staffed, play-ins|
|5:15-6:15||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 Camp Dance|
|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 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.
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 (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.
* 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. http://www.godoymusic.com/pgs/teachers.html
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.
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
* 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.
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 the traverso and recorder, American/Canadian Alexa Raine-Wright maintains an active Montreal-based performance career. Winner of several national and international competitions, Alexa was awarded the Devonna & Amos Gerber Grand Prize and the Indianapolis Baroque Orchestra Prize at the 2016 Indianapolis International Baroque Competition. She also won First Prize at the 2015 National Flute Association's Baroque Flute Artist Competition in Washington DC, as well as Second Prize at the 2015 Mathieu-Duguay Early Music Competition in New Brunswick. Alexa is a member of the award-winning ensembles Infusion Baroque and Flûte Alors! Alexa has performed with Arion Baroque Orchestra, Ensemble Caprice, Studio de musique ancienne de Montréal, Clavecin en concert, I Musici, La Bande Montréal Baroque, and the Chicago Symphony Orchestra. She is a graduate of McGill University.
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
* 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
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 or train 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 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 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 firstname.lastname@example.org.
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.