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Please see our Self-Rating Guide for definitions of levels

9:00-10:25

Instrumental and vocal consorts are assigned by level, B (Beginner) to A (Advanced): recorder, viol, voice, string, harp, and the following specialized ensembles:

Advanced Recorder ensemble – Bob Wiemken

Using Renaissance recorders that will be provided (suggested option for Accademia participants).

Advanced Viol consort – Sarah Mead

Using a set of Renaissance viols by Ray Nurse (suggested option for Accademia participants).

Advanced Voice consort – Michael Barret

Focus on Italian and English madrigal, French chanson and German Lied.

The Really Old-Time Fiddle ensemble (Violin, Viola, Cello) – Brandi Berry

We will explore dances and tunes of the 17th century (Biber, Buonamente, and John Playford)

Advanced Baroque Master Class (Recorders, Flutes, Singers, Cellos, Gambas and Keyboard Players) – Héloïse Degrugillier, Frances Fitch

Participants will be asked to bring two solo pieces they know well in order to receive coaching in a master class setting.

10:45-11:45

English Country Dance classes, by level

Absolute Beginner's Class (B) – Jan Elliott

This will be offered the first couple of days to learn basic steps. The class will then join the English Country Dance Class for All.

English Country Dance for All (B and up) – Barbara Finney

Music by: Frances Fitch, Brandi Berry: Connecting with the Music and with your Community. We'll dance favorites from the canon, recent classics, joyous romps, elegant gems, and stately pavanes, while learning good dancing practices that benefit everyone. All are welcome, from new dancers to seasoned dancers!

Advanced English Country Dance (A) – Gene Murrow

Music by: Cynthia Shaw, Emily O'Brien: For dancers thoroughly comfortable with English country dance figures. Bring your brain, as we'll learn some of the more complicated dances in the repertoire, both old and new (and we may do some dances without walk-throughs). And bring your dancing body, as we'll also spend time on how we dance - the style points that increase your enjoyment and that of your fellow dancers.

1:45-3:00

Collegium "Heavenly and Earthly Delights" (Voices, recorders, flutes, strings, I-A) – Larry Zukof, Alexa Raine-Wright

From the sublime to the earthy, we will explore gorgeous sacred and secular settings of texts of love and loss. Works will include settings by Arcadelt, Marenzio, Lassus, Byrd and Victoria of biblical and poetic texts of Petrarch and Guarini, There will be some break-out sessions for the singers and for more advanced instrumentalists.

The French Estampie (Singers & instrumentalists, I-A) – Christa Patton

These finely crafted and timeless dances originating in the 12th and 13th centuries, evoke a full range of scenarios from an intimate dance of veils to an earthy and exquisite celebration of movement. They are made up of verses and refrains that make it easy to play solos, improvise, or just play together with everyone in the group on the refrains. Bring percussion and any instrument that you think might like to "wail on."

Baroque Ensemble (Recorders, flutes HI-A) – Héloïse Degrugillier

This ensemble will focus on various arrangements of dance movements from the High Baroque including works by Telemann and from the Bach Orchestral Suites.

Terpsichore: Baroque Dance and Dance Music (Musicians & dancers; All) – Barbara Finney, Francie Fitch

We will explore the various steps and other movements that are the building blocks of Baroque dance. These movements relate to music in different ways and we'll look at different types including bourées, sarabandes, gigues, menuets and gavottes. The steps will be put together into sequences and we will work on a complete choreography from the period. All levels of dance ability are welcome. Participants who wish to may also bring their instruments and do a little playing with the band.

Adventures in the Pinewoods Instrumentarium – (for absolute Beginners)

-- Hark the Lark: An Introduction to the Baroque Flute (Instruments provided for the week, B) – Emily O'Brien

Have you always wanted to try the Baroque flute? With an easeir embouchure than the Renaissance flute, this could be your entry into expanding your musical horizons. By the week's end we will be playing beautiful and lively melodies, duets, and maybe even trios.

-- Strike the Viol: An Introduction to the Viola da Gamba (Instruments provided for the week, B) – Lisa Terry

Whether you have a background playing a bowed string instrument or none at all, this is the perfect time to experience the pleasurable sound of vibrating strings!

-- Follow the Piper: An Introduction to the Renaissance Bagpipe (Instruments provided for the week, B) – Joan Kimball

Strains of bagpipes will waft once again through the pines of camp this August. Come all ye hearty players, strong of lip and lung, and learn the secrets of this delightful instrument. Can you pat your stomach and rub your head at the same time? Then this class is made for you! Pipe sets will be available for loan throughout the week (if you already have a pipe, contact the instructor in advance).

-- The Celestial Harp: An Introduction to the Harp (Instruments provided for the week, B)

Offered second afternoon period (see below).

Accademia: Instruments and Voices (Pre-registration) – Sarah Mead, Michael Barrett

Explore the world of late 16th-century Europe, where music, poetry, and drama combined to create the fertile ground that would give rise to opera. A matched set of viols (based on Italian instruments of the 1580's) along with a set of Renaissance recorders will form the core of an ensemble which will also welcome lute, keyboard, cornetto, dulcian, violins, and a small ensemble of skilled singers. Singers must be strong sight-readers experienced with singing one-on-a-part. Instrumentalists should be advanced ensemble players comfortable on multiple instruments and clefs.

English Dance Leaders Training in Music (Pre-registration) – Gene Murrow

An intensive course (two afternoon periods) designed to meet the needs of English Country Dance teachers who feel constrained by their lack of formal musical training.

3:20-4:35

Chorus: Singing the Classics (Singers, All) – Michael Barrett

We will work with choral music with texts and themes from ancient Rome. Most Latin vocal music from the Renaissance has a sacred theme. Many composers, however, also set texts from Classical authors, including Virgil, Ovid, and Horace. Still other works of the time have contemporary texts, often celebrating a noble or special occasion, that make reference to the Classical world or Greco-Roman mythology. This year the chorus at Pinewoods will explore some of this fascinating and under-performed repertory, including several settings of Queen Dido's tragic final monologue from Virgil's Aeneid.

Les Caracteres de la Danse: a Baroque ensemble (String and wind players, HI-A) – Brandi Berry

This ensemble will explore the gestures and rhythmic characteristics of French dance music. Repertoire to include Rebel's Les Caracteres de la Danse (a through-composed piece that morphs from one dance into another) and Lully's Concert donné au soupé du roy (suite of dances).

Renaissance Loud Bands: Musicque de Joye! Or in the words of David Bowie, "Let's Dance!" (Shawm, cornetto, sackbut and dulcian, I-HI, HI-A) – Joan Kimball, Bob Wiemken

What says "dactyl" better than a good French pavane or German Allemande? Or how about those "tribrachs" and "trochees" in the lively gaillard! Is that "choriamb" in the bassus of that tourdion a hemiola or not? And what about those lilting "iambs" in that basse dance? There's plenty of poetry in those wordless workhorses of the renaissance dance floor, if we know how to look for it. The loud band class will explore the motion of poetry and the poetry of motion through the dance repertoire of the late 15 and 16 centuries, with a glimpse back to the medieval rhythmic modes that underlay it all. Consorts will be divided by ability, depending on the number and variety of instrumentation.

Recorder Orchestras: Banchetto Musicale (Recorders, LI-I, HI-A) – Eric Haas, Larry Zukof

Colorful and expressive vocal and instrumental works in 4-8 parts with emphasis on phrasing, articulation and rhetoric. The orchestra/consort will be divided by ability, depending on the number and sizes of instruments.

The Celestial Harp: An Introduction to the Harp (Harps available for rent, B) – Christa Patton

Have you always wanted to try out the harp? One of the world's oldest instruments, the harp, was ever useful on the middle ages. Medieval music is a wonderful repertoire with which to begin learning the harp. Learn the basic techniques of harp playing and enjoy the celestial harmonies they can produce.

Balkan and Beyond: Ethnic Folk Music for Playing and Dancing (Recorders, strings, and other instruments, including chordal instruments and percussion, I-A) – Jan Elliott, David Schonfeld

A class for those who like to dance as well as play, or enjoy playing for dancers. Both David and Jan are experienced dance leaders and dance musicians who love sharing music in a wide variety of scales, styles, and rhythms. The class will explore mainly traditional music and dance from the Balkans and Middle East. The focus will be on developing a familiarity with non-Western modes and meters. The associated dances are accessible and will be taught; participants are welcome to play and/or dance as they choose.

English Country Dancing Through the Ages (All) – English Dance Leaders Training Participants, Gene Murrow

Music by: Cynthia Shaw: This class will include a variety of English country dances for all levels of dancers. We'll focus on early repertoire (pre-twentieth century).

Accademia: Instruments only (Pre-registration) – Sarah Mead, Lisa Terry

Singers in Accademia will choose another class; loud winds may choose Loud Band.

     
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