Saturday, March 13
Amherst Early Music Online - Talking Trombones (& other wind instruments)
Adam Woolf, sackbut
Our repertoire has its roots in vocal music, and the method books we have use aspects of speaking and singing to teach us to articulate and create sound on our instruments. Yet doing so can feel surprisingly awkward and unnatural considering that we have talked and maybe even sung each day since birth. So, putting the demands of the music first, in this class we will look at exactly how we can integrate and coordinate these main aspects of our technique in a way that enables us to produce effortless, detailed flowing vocal lines. You will have an opportunity to play selections from the class repertoire unmuted to receive feedback from Adam. For players of all levels looking to master stress-free playing and maximize enjoyment from music-making. Participants wishing to play for Adam should indicate their desire in the registration process and sign on to the class 10 minutes early for a sound check. Please prepare for playing by reading these instructions for Zoom performers. Geared to: sackbuts, dulcians and other wind instruments. Pitch:A=440.
1-2:30pm EST - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Adam Woolf, sackbut
Our repertoire has its roots in vocal music, and the method books we have use aspects of speaking and singing to teach us to articulate and create sound on our instruments. Yet doing so can feel surprisingly awkward and unnatural considering that we have talked and maybe even sung each day since birth. So, putting the demands of the music first, in this class we will look at exactly how we can integrate and coordinate these main aspects of our technique in a way that enables us to produce effortless, detailed flowing vocal lines. You will have an opportunity to play selections from the class repertoire unmuted to receive feedback from Adam. For players of all levels looking to master stress-free playing and maximize enjoyment from music-making. Participants wishing to play for Adam should indicate their desire in the registration process and sign on to the class 10 minutes early for a sound check. Please prepare for playing by reading these instructions for Zoom performers. Geared to: sackbuts, dulcians and other wind instruments. Pitch:A=440.
1-2:30pm EST - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Amherst Early Music Online - A Noble Ease: Finding Flow in French Baroque Music for Stringed Instruments
Julie Andrijeski, violin
With all of its subtle rules, regulations, twists, and turns, French Baroque music can be daunting to even the best players. In this class, I aim to mitigate the angst by looking at the larger picture, finding an overall flow in instrumental works by François Couperin, Georg Muffat, and Marin Marais by focusing on gesture and phrasing. Then we will sprinkle in some ornamentation as described by these three masters of the French style/ Geared towards: players of violin family instruments, others are more than welcome to join. Pitch: A=415.
3-4:30pm EST - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Julie Andrijeski, violin
With all of its subtle rules, regulations, twists, and turns, French Baroque music can be daunting to even the best players. In this class, I aim to mitigate the angst by looking at the larger picture, finding an overall flow in instrumental works by François Couperin, Georg Muffat, and Marin Marais by focusing on gesture and phrasing. Then we will sprinkle in some ornamentation as described by these three masters of the French style/ Geared towards: players of violin family instruments, others are more than welcome to join. Pitch: A=415.
3-4:30pm EST - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Forgotten Voices
Musicians of the Old Post Road
A crescendo of instrumental forces from duo to trio to quartet to quintet that reveal the creative voices of outstanding, overlooked Classical era composers. Franz Danzi’s Duo in G Major for flute and cello, Maddalena Sirmen’s String Trio in D Major, Chevalier de Saint-Georges’s String Quartet in C Major, and Andreas Lidl’s Quintet in G Major for flute and strings.
7:30pm - Online (link sent to ticket holders)
$10-$25
www.oldpostroad.org
Musicians of the Old Post Road
A crescendo of instrumental forces from duo to trio to quartet to quintet that reveal the creative voices of outstanding, overlooked Classical era composers. Franz Danzi’s Duo in G Major for flute and cello, Maddalena Sirmen’s String Trio in D Major, Chevalier de Saint-Georges’s String Quartet in C Major, and Andreas Lidl’s Quintet in G Major for flute and strings.
7:30pm - Online (link sent to ticket holders)
$10-$25
www.oldpostroad.org
Beauty through Adversity: Mozart’s Divertimento in E-flat major, K. 563 for string trio
Sarasa Ensemble:Katherine Winterstein, violin; Jenny Stirling, viola; Jennifer Morsches, cello
Sarasa performs Mozart’s incredible Divertimento in E-flat major, K. 563 for string trio, a magnificent 6-movement work filled with lyricism, humor and brilliance. Composed in 1788, during a period fraught with financial strife and the death of his young daughter, Theresia, Mozart overcame personal obstacles to present a miraculous piece of warmth and beauty.
7:30pm - Harvard-Epworth Church, 1555 Massachusetts Ave. Cambridge, MA 02138
$10-$25
https://www.sarasamusic.org/events/beauty-adversity
Sarasa Ensemble:Katherine Winterstein, violin; Jenny Stirling, viola; Jennifer Morsches, cello
Sarasa performs Mozart’s incredible Divertimento in E-flat major, K. 563 for string trio, a magnificent 6-movement work filled with lyricism, humor and brilliance. Composed in 1788, during a period fraught with financial strife and the death of his young daughter, Theresia, Mozart overcame personal obstacles to present a miraculous piece of warmth and beauty.
7:30pm - Harvard-Epworth Church, 1555 Massachusetts Ave. Cambridge, MA 02138
$10-$25
https://www.sarasamusic.org/events/beauty-adversity
Sunday, March 14
Amherst Early Music Online - Cosmos Telemann: Original Recorder Sonatas from “Essercizii Musici“ and “Der Getreue Music-Meister“
Dorothee Oberlinger, recorder
Dorothee Oberlinger will introduce and discuss the style and structure in G.Ph. Telemann ́s original solo sonatas for the recorder from “Essercizii Musici“ (Hamburg 1739/40) in C and d and “Der Getreue Music-Meister“ (Hamburg 1728/1729 ) in F, B, f, C. She will also analyse his art of ornamentation in the mixed taste in his Methodical Sonatas (Hamburg 1728/1732 ) and demonstrate how to use his ornamentation in his recorder sonatas. Though not a master class, volunteers (maximum 4) are invited to demonstrate a movement from one of the sonatas. Please indicate your willingness to volunteer and, if selected to demonstrate, which sonata you will play, selected from the list below. This class will focus on the following pieces, using the indicated editions, and is geared toward: upper intermediate to advanced alto recorders. Pitch: A=440. Georg Philipp Telemann (1681–1767) 1. Vier Sonaten für Altblockflöte und Basso continuo TWV 41:F2, B3, f1, C2 aus "Der getreue Musikmeister" Hortus Musicus; 2. Zwei Sonaten Twv 41:C5 Essercizii Musici 88 für: Altblockflöte, Basso continuo; 3. Methodische Sonaten Volume 1 für Violine oder Querflöte und Basso continuo, Bärenreiter Urtext
1-2:30pm EST - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Dorothee Oberlinger, recorder
Dorothee Oberlinger will introduce and discuss the style and structure in G.Ph. Telemann ́s original solo sonatas for the recorder from “Essercizii Musici“ (Hamburg 1739/40) in C and d and “Der Getreue Music-Meister“ (Hamburg 1728/1729 ) in F, B, f, C. She will also analyse his art of ornamentation in the mixed taste in his Methodical Sonatas (Hamburg 1728/1732 ) and demonstrate how to use his ornamentation in his recorder sonatas. Though not a master class, volunteers (maximum 4) are invited to demonstrate a movement from one of the sonatas. Please indicate your willingness to volunteer and, if selected to demonstrate, which sonata you will play, selected from the list below. This class will focus on the following pieces, using the indicated editions, and is geared toward: upper intermediate to advanced alto recorders. Pitch: A=440. Georg Philipp Telemann (1681–1767) 1. Vier Sonaten für Altblockflöte und Basso continuo TWV 41:F2, B3, f1, C2 aus "Der getreue Musikmeister" Hortus Musicus; 2. Zwei Sonaten Twv 41:C5 Essercizii Musici 88 für: Altblockflöte, Basso continuo; 3. Methodische Sonaten Volume 1 für Violine oder Querflöte und Basso continuo, Bärenreiter Urtext
1-2:30pm EST - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Amherst Early Music Online - Lessons for Lyra
Joanna Blendulf, viol
Get to know the wonderful lyra viol repertory! Grab your bass viol and put your "chords" on for this introductory session on all things lyra viol: reading tablature, bowing and fingering chords, and more! No previous experience with tablature is required. Geared to: low intermediate to upper intermediate bass viol players in regular (viol-way) tuning. Pitch: A=440
2-3:30pm EST - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Joanna Blendulf, viol
Get to know the wonderful lyra viol repertory! Grab your bass viol and put your "chords" on for this introductory session on all things lyra viol: reading tablature, bowing and fingering chords, and more! No previous experience with tablature is required. Geared to: low intermediate to upper intermediate bass viol players in regular (viol-way) tuning. Pitch: A=440
2-3:30pm EST - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Friday, March 19
For as Many as Will: A Tour of English Country Dance
Seven Times Salt: Karen Burciaga, violin, harp, voice; Dan Meyers, recorders, flute, bagpipes, percussion, voice; Josh Schreiber Shalem, bass viol, voice; Matthew Wright, lute, cittern, bandora, voice
In this brand new video presentation, STS takes a tour of English country dances through the centuries, from the first edition of The English Dancing Master in 1651 to the present day. We'll explore a splendid variety of dance tunes in their many guises, from court masques and Elizabethan taverns to Purcell's opera house and the finest Regency ballrooms. In addition to our original arrangements for broken consort, you’ll hear versions of ECDs as cittern solos, bagpipe airs, divisions for violin and viol, broadside ballads, and more. Includes newly filmed material, samples from past performances, and chat with the musicians. Presented by CDS-Boston.
7:30pm - on our YouTube channel
FREE; donations gratefully accepted. Donate online or PayPal to inquiries@seventimessalt.com
www.seventimessalt.com
Seven Times Salt: Karen Burciaga, violin, harp, voice; Dan Meyers, recorders, flute, bagpipes, percussion, voice; Josh Schreiber Shalem, bass viol, voice; Matthew Wright, lute, cittern, bandora, voice
In this brand new video presentation, STS takes a tour of English country dances through the centuries, from the first edition of The English Dancing Master in 1651 to the present day. We'll explore a splendid variety of dance tunes in their many guises, from court masques and Elizabethan taverns to Purcell's opera house and the finest Regency ballrooms. In addition to our original arrangements for broken consort, you’ll hear versions of ECDs as cittern solos, bagpipe airs, divisions for violin and viol, broadside ballads, and more. Includes newly filmed material, samples from past performances, and chat with the musicians. Presented by CDS-Boston.
7:30pm - on our YouTube channel
FREE; donations gratefully accepted. Donate online or PayPal to inquiries@seventimessalt.com
www.seventimessalt.com
Saturday, March 20
Amherst Early Music Online - A (New) English Division on a Ground
Saskia Coolen, recorder
The pieces in The Division Flute (1706) are transpositions from The Division-Violin. Saskia will transpose one of the violin divisions which is not in the division-flute, to create some new repertoire for the recorder. The class will work on the different variations, with most of them having a special technical focus. At the end of class we will put it together and play our new piece! If you would like to be one of the performers, please contact Saskia at saskiacoolen@me.com to get your copy of the piece early. When you register, indicate that you would like to be a performer. You’ll be notified a few days before class if you have been chosen for one of the performing spots. Pitch: A=440 Geared to: upper intermediate to advanced recorders
1-2:30pm EST - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Saskia Coolen, recorder
The pieces in The Division Flute (1706) are transpositions from The Division-Violin. Saskia will transpose one of the violin divisions which is not in the division-flute, to create some new repertoire for the recorder. The class will work on the different variations, with most of them having a special technical focus. At the end of class we will put it together and play our new piece! If you would like to be one of the performers, please contact Saskia at saskiacoolen@me.com to get your copy of the piece early. When you register, indicate that you would like to be a performer. You’ll be notified a few days before class if you have been chosen for one of the performing spots. Pitch: A=440 Geared to: upper intermediate to advanced recorders
1-2:30pm EST - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Amherst Early Music Online - Touched by the best finger of that age: Three-Part Fantasies by Orlando Gibbons
John Moran, assisted by Risa Browder
Consort music is social music, a lively discourse among colleagues, preferably in the same room, which is something we’ve all been missing for some time now. In this class you will get to play three-part consorts with two other live musicians who just happen to be quarantining together. We will begin with some group warm-up and then proceed to Fantasies of three parts by Orlando Gibbons. Originally published 400 years ago, and “cut in copper, the like not heretofore extant”, these are real gems. We will play two parts from here while you supply the third voice. Feel free to bring two or three sizes of viol, if you like. Risa Browder and I look forward to welcoming you to our music room! Geared to: viols Pitch: A=415
1-2:30pm EST - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
John Moran, assisted by Risa Browder
Consort music is social music, a lively discourse among colleagues, preferably in the same room, which is something we’ve all been missing for some time now. In this class you will get to play three-part consorts with two other live musicians who just happen to be quarantining together. We will begin with some group warm-up and then proceed to Fantasies of three parts by Orlando Gibbons. Originally published 400 years ago, and “cut in copper, the like not heretofore extant”, these are real gems. We will play two parts from here while you supply the third voice. Feel free to bring two or three sizes of viol, if you like. Risa Browder and I look forward to welcoming you to our music room! Geared to: viols Pitch: A=415
1-2:30pm EST - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Amherst Early Music Online - Consort Grab Bag for Mixed Ensemble: Gombert, Hassler, Janequin, and Ockeghem
Frances Blaker, recorder
What’s in our grab bag of Renaissance delights? A gorgeous villancico by Gombert, an inviting intrada by Hassler, a quick and jaunty chanson by Janequin, and an elegant rondeau by Ockeghem. Ockeghem’s rondeau, flowing and sometimes intricate, gives us a taste of the borderland between Medieval and Renaissance styles; Clément Janequin and Nicolas Gombert show two different sides – irreverent and noble – of the middle Renaissance; Hans Leo Hassler brings a lively breeze from the very end of the Renaissance period.
3-4:30pm EST - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Frances Blaker, recorder
What’s in our grab bag of Renaissance delights? A gorgeous villancico by Gombert, an inviting intrada by Hassler, a quick and jaunty chanson by Janequin, and an elegant rondeau by Ockeghem. Ockeghem’s rondeau, flowing and sometimes intricate, gives us a taste of the borderland between Medieval and Renaissance styles; Clément Janequin and Nicolas Gombert show two different sides – irreverent and noble – of the middle Renaissance; Hans Leo Hassler brings a lively breeze from the very end of the Renaissance period.
3-4:30pm EST - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Amherst Early Music Online - Monica Madness III: Keeping it Fresh! A Lute Improvisation workout
Douglas Freundlich, lute
Guided by Doug's gentle, time-tested exercises in memory, paraphrase and in-the- moment discovery, you can create your own variations on the Renaissance hit tune La Monica (aka Une Jeune Fillette). Your mute button is engaged, so you are free from scrutiny. Plenty of do-overs--an ideal environment for taking risks and trusting your ears. The class also includes a broader discussion of improvisation from historical, psychological and cross-cultural perspectives. Participation in previous Monica Madness offerings not required! Be sure to also take Chris Morrongiello’s class on Sunday!
Open to: G-lutes. Pitch: A=440.
2-3:30pm EST - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Douglas Freundlich, lute
Guided by Doug's gentle, time-tested exercises in memory, paraphrase and in-the- moment discovery, you can create your own variations on the Renaissance hit tune La Monica (aka Une Jeune Fillette). Your mute button is engaged, so you are free from scrutiny. Plenty of do-overs--an ideal environment for taking risks and trusting your ears. The class also includes a broader discussion of improvisation from historical, psychological and cross-cultural perspectives. Participation in previous Monica Madness offerings not required! Be sure to also take Chris Morrongiello’s class on Sunday!
Open to: G-lutes. Pitch: A=440.
2-3:30pm EST - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Amherst Early Music Online - Forum: Composers Writing for the Recorder
Frances Blaker, Melika Fitzhugh, and Eric Haas
Grab your happy hour beverage or an afternoon snack and sit back and relax while Frances Blaker, Melika Fitzhugh, and Eric Haas discuss their approach to composing for the recorder. Moderated by Tish Berlin.
5pm EST - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Frances Blaker, Melika Fitzhugh, and Eric Haas
Grab your happy hour beverage or an afternoon snack and sit back and relax while Frances Blaker, Melika Fitzhugh, and Eric Haas discuss their approach to composing for the recorder. Moderated by Tish Berlin.
5pm EST - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Beauty through Adversity: Mozart’s Divertimento in E-flat major, K. 563 for string trio
Sarasa Ensemble: Katherine Winterstein, violin; Jenny Stirling, viola; Jennifer Morsches, cello
Sarasa performs Mozart’s incredible Divertimento in E-flat major, K. 563 for string trio, a magnificent 6-movement work filled with lyricism, humor and brilliance. Composed in 1788, during a period fraught with financial strife and the death of his young daughter, Theresia, Mozart overcame personal obstacles to present a miraculous piece of warmth and beauty.
7:30pm - Online
FREE
https://www.sarasamusic.org/events/beauty-adversity
Sarasa Ensemble: Katherine Winterstein, violin; Jenny Stirling, viola; Jennifer Morsches, cello
Sarasa performs Mozart’s incredible Divertimento in E-flat major, K. 563 for string trio, a magnificent 6-movement work filled with lyricism, humor and brilliance. Composed in 1788, during a period fraught with financial strife and the death of his young daughter, Theresia, Mozart overcame personal obstacles to present a miraculous piece of warmth and beauty.
7:30pm - Online
FREE
https://www.sarasamusic.org/events/beauty-adversity
Sunday, March 21
Amherst Early Music Online - A Johann Sebastian Bach Feast: Contrapunctus 7 and Two Chorales
Tish Berlin, recorder
We’ll enjoy a musical banquet with an entree and dessert of two Lutheran chorale settings, and a main course of Contrapunctus #7 from Die Kunst der Fuge. Open to: Upper intermediate to advanced recorders. Parts will be available for soprano, alto, tenor, and great bass recorders in C, and alternate parts for F bassets. Pitch: A = 440.
1-2:30pm EST - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Tish Berlin, recorder
We’ll enjoy a musical banquet with an entree and dessert of two Lutheran chorale settings, and a main course of Contrapunctus #7 from Die Kunst der Fuge. Open to: Upper intermediate to advanced recorders. Parts will be available for soprano, alto, tenor, and great bass recorders in C, and alternate parts for F bassets. Pitch: A = 440.
1-2:30pm EST - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Amherst Early Music Online - Susanna Rare on Susanna Fair
Patricia Ann Neely, viol
Susanne un jour, a poem by Guillaume Guéroult (1507-1569), on the story of Susanna and the Elders, and the text associated with several vocal settings, first associated with Didier Lupi Second and then Orlando de Lassus.We usually associate the melody with s ettings for viola bastarda, however we will explore settings in four and five parts from France, Italy, Iberia, England, Poland, The Low Countries and Germany. Composers: France - Didier Lupi Second, Orlando de Lassus, Claude Lejeune, Italy- Ippolito Tartaglino, Iberia- Hernando Cabezon, England - Ferrabosco I, Giles Farnaby, Poland, Low Countries, North Germany - Adam Jarzebski, Jean de Castro, Sweelinck, John Dowland and Johann Sommer. Geared to: intermediate to upper intermediate viols. Pitch: A=415.
1-2:30pm EST - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Patricia Ann Neely, viol
Susanne un jour, a poem by Guillaume Guéroult (1507-1569), on the story of Susanna and the Elders, and the text associated with several vocal settings, first associated with Didier Lupi Second and then Orlando de Lassus.We usually associate the melody with s ettings for viola bastarda, however we will explore settings in four and five parts from France, Italy, Iberia, England, Poland, The Low Countries and Germany. Composers: France - Didier Lupi Second, Orlando de Lassus, Claude Lejeune, Italy- Ippolito Tartaglino, Iberia- Hernando Cabezon, England - Ferrabosco I, Giles Farnaby, Poland, Low Countries, North Germany - Adam Jarzebski, Jean de Castro, Sweelinck, John Dowland and Johann Sommer. Geared to: intermediate to upper intermediate viols. Pitch: A=415.
1-2:30pm EST - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
VdGS-NE Special Topics: Exploring Fingering Possibilities on the Treble Viol
Catharina Meints, viola da gamba
Using a number of exercises to compare "bass" style and "diatonic" style fingerings, Cathy will discuss the merits of both, and propose a hybrid style. Several pieces of standard consort literature will be discussed with respect to fingering options. Participants will receive four pages of standard consort music with the suggested fingerings.
NB: This workshop’s topic is treble-specific; not suitable for tenor and bass players.
3-4:30pm - online (link sent to registrants)
$15. Please register by March 14.
http://vdgsne.org/workshops/
Catharina Meints, viola da gamba
Using a number of exercises to compare "bass" style and "diatonic" style fingerings, Cathy will discuss the merits of both, and propose a hybrid style. Several pieces of standard consort literature will be discussed with respect to fingering options. Participants will receive four pages of standard consort music with the suggested fingerings.
NB: This workshop’s topic is treble-specific; not suitable for tenor and bass players.
3-4:30pm - online (link sent to registrants)
$15. Please register by March 14.
http://vdgsne.org/workshops/
Amherst Early Music Online - Telemann’s Sonata in A minor for Viol and Continuo
Brent Wissick, viol
Telemann's Sonata in A Minor for gamba and continuo is a wonderful piece for practicing expressive bowing and a variety of continuo techniques. The solo part was originally for bass gamba, but can be played on tenor or even on treble an octave higher.
The continuo bass line can be played on tenor as well as bass; so players of all three sizes can participate in this study of Baroque style. Most of the time will focus on the two slow movements, but we will also look at some of the two fast movements where fingering and bowing agility are important. Music will be provided in several clefs. Geared to: intermediate to upper intermediate viols. Pitch: A=415.
3-4:30pm EST - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Brent Wissick, viol
Telemann's Sonata in A Minor for gamba and continuo is a wonderful piece for practicing expressive bowing and a variety of continuo techniques. The solo part was originally for bass gamba, but can be played on tenor or even on treble an octave higher.
The continuo bass line can be played on tenor as well as bass; so players of all three sizes can participate in this study of Baroque style. Most of the time will focus on the two slow movements, but we will also look at some of the two fast movements where fingering and bowing agility are important. Music will be provided in several clefs. Geared to: intermediate to upper intermediate viols. Pitch: A=415.
3-4:30pm EST - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Amherst Early Music Online - Musical Borrowing in Settings of Une Jeune Fillette
Chris Morrongiello, lute
"Une jeune fillette," also known as "Aria della Monica," "Ich ging einmal spazieren," "The Old Almain," "The Queen's Almain," "Almande Nonette," "The King of Africa," "Von Gott will ich nicht lassen," among other colorful titles, is one of the most important and widely disseminated melodies in the history of Western music. Many late 16th- and early 17th-century settings of the melody survive in printed or manuscript tablatures for lute, cittern, bandora, and guitar. There are at least fifty-five settings extant for solo lute, including the longest piece in the book—Daniel Bacheler’s magnificent extended set of variations in the Lord Herbert of Cherbury Lute Book (GB-Cfm Mus. MS 689, fos. 23v–25). While examining the English and Continental settings contemporaneous with Bacheler’s setting, Dr. Morrongiello discovered a complex interchange of extensive borrowed materials (whole variations and sections of variations shared among several different settings). In this lecture/demonstration he will throw light on this fascinating interrelationship and extensive exchange of borrowed music while introducing many beautiful, diverse solo settings of this international melody. Participants are encouraged to prepare their favorite setting of the melody for coaching at the end of the class. Please indicate what piece you hope to play when you register. Be sure to also take Doug Freundlich’s class on Sunday! Open to: players of lute, cittern, bandora, and guitar. Pitch: A=440.
3-4:30pm EST - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Chris Morrongiello, lute
"Une jeune fillette," also known as "Aria della Monica," "Ich ging einmal spazieren," "The Old Almain," "The Queen's Almain," "Almande Nonette," "The King of Africa," "Von Gott will ich nicht lassen," among other colorful titles, is one of the most important and widely disseminated melodies in the history of Western music. Many late 16th- and early 17th-century settings of the melody survive in printed or manuscript tablatures for lute, cittern, bandora, and guitar. There are at least fifty-five settings extant for solo lute, including the longest piece in the book—Daniel Bacheler’s magnificent extended set of variations in the Lord Herbert of Cherbury Lute Book (GB-Cfm Mus. MS 689, fos. 23v–25). While examining the English and Continental settings contemporaneous with Bacheler’s setting, Dr. Morrongiello discovered a complex interchange of extensive borrowed materials (whole variations and sections of variations shared among several different settings). In this lecture/demonstration he will throw light on this fascinating interrelationship and extensive exchange of borrowed music while introducing many beautiful, diverse solo settings of this international melody. Participants are encouraged to prepare their favorite setting of the melody for coaching at the end of the class. Please indicate what piece you hope to play when you register. Be sure to also take Doug Freundlich’s class on Sunday! Open to: players of lute, cittern, bandora, and guitar. Pitch: A=440.
3-4:30pm EST - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Amherst Early Music Online - “A priest, a banker, and an emperor:” The Worlds of Heinrich Isaac
Valerie Horst and Wendy Powers
A list of Isaac’s principal employers reads like a bar joke. This incredibly versatile Northerner first embraced the Italian style at the Medici household in Florence, then transformed German music at the court of Emperor Maximilian I, then produced a monumental three-volume set of chant settings for the Prince-Bishop of Constance. We will follow Isaac on his odyssey, carrying SATBGB at A440 recorders, or other instruments, or your voice. Music will be provided in original notation (from some unusual sources!) and also in modern scores. Pitch: A=440 Open to: All welcome.
3-4:30pm EST - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Valerie Horst and Wendy Powers
A list of Isaac’s principal employers reads like a bar joke. This incredibly versatile Northerner first embraced the Italian style at the Medici household in Florence, then transformed German music at the court of Emperor Maximilian I, then produced a monumental three-volume set of chant settings for the Prince-Bishop of Constance. We will follow Isaac on his odyssey, carrying SATBGB at A440 recorders, or other instruments, or your voice. Music will be provided in original notation (from some unusual sources!) and also in modern scores. Pitch: A=440 Open to: All welcome.
3-4:30pm EST - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Amherst Early Music Online - All-Workshop Playing Session: Byrd Pavane and Galliard a6
Tom Beets, recorder and viol (lute charts provided)
Don’t miss the workshop finale! Tom has recorded all the parts of this Byrd Pavane and Galliard, on recorders and viols. Doug Freundlich has made lute charts so lutenists can join in too. Tom will take us through our paces so we can make a beautiful sound. Open to: all workshop participants. Pitch: A=440.
5pm EST - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Tom Beets, recorder and viol (lute charts provided)
Don’t miss the workshop finale! Tom has recorded all the parts of this Byrd Pavane and Galliard, on recorders and viols. Doug Freundlich has made lute charts so lutenists can join in too. Tom will take us through our paces so we can make a beautiful sound. Open to: all workshop participants. Pitch: A=440.
5pm EST - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Amherst Early Music Spring Break Weekend Workshop Faculty Concert
Get comfortable and enjoy performances by the Spring Break faculty.
6pm EST - online (link sent to registrants)
https://www.amherstearlymusic.org/weekend_online_classes
Get comfortable and enjoy performances by the Spring Break faculty.
6pm EST - online (link sent to registrants)
https://www.amherstearlymusic.org/weekend_online_classes
Monday, March 29
Intermezzi in Musica 2021 (concert 1)
Elinor Frey, Baroque cello; Laura Andriani Lisa Citterio, Baroque violins
In the third installment of her online concert series, Elinor Frey plays string trios of Luigi Boccherini.
7:30pm EST - Online
$10-$20 (CAD) Tickets
info@elinorfrey.com
Elinor Frey, Baroque cello; Laura Andriani Lisa Citterio, Baroque violins
In the third installment of her online concert series, Elinor Frey plays string trios of Luigi Boccherini.
7:30pm EST - Online
$10-$20 (CAD) Tickets
info@elinorfrey.com
Wednesday, March 31
Blue Heron Spotlight Session: Cipriano de Rore’s Madrigali of 1542
Jessie Ann Owens & Alessandro Quarta, presenters
Blue Heron's third Spotlight Session. Details TBA.
7pm - online. This event will be held live on Zoom, then recorded and posted for ticketholders.
$35 Adult / $10 Student & Low-Income
https://www.blueheron.org/spotlight-sessions/
Jessie Ann Owens & Alessandro Quarta, presenters
Blue Heron's third Spotlight Session. Details TBA.
7pm - online. This event will be held live on Zoom, then recorded and posted for ticketholders.
$35 Adult / $10 Student & Low-Income
https://www.blueheron.org/spotlight-sessions/