Saturday, May 1
Amherst Early Music Online - Turkish Ottoman Classical Music of the 17th-18th Centuries
Daphna Mor, recorder
Classical Turkish Music flourished in the courts of the Ottoman Empire throughout its reign. Traditionally passed down orally throughout the generations, this profound repertoire is based on the art of Maqamat (modes) and Usul (rhythm cycles ranging from 2 to 128 beats). In the 17th and 18th century, two scholars and musicians - Dimitri Cantemir (1673-1723) and Ali Ufkî Bey (1610–1675) - wrote down some of this repertoire granting us a documented version of this repertoire as it was performed at that time. In our class we will learn basic terms and components of Turkish Music and play pieces from those manuscripts. We will conclude the class performing those pieces with pre-recorded tracks of traditional Turkish instruments. Geared to: upper intermediate to advanced players of melodic instruments reading treble clef. Pitch: A=440
1-2:30pm EDT - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Daphna Mor, recorder
Classical Turkish Music flourished in the courts of the Ottoman Empire throughout its reign. Traditionally passed down orally throughout the generations, this profound repertoire is based on the art of Maqamat (modes) and Usul (rhythm cycles ranging from 2 to 128 beats). In the 17th and 18th century, two scholars and musicians - Dimitri Cantemir (1673-1723) and Ali Ufkî Bey (1610–1675) - wrote down some of this repertoire granting us a documented version of this repertoire as it was performed at that time. In our class we will learn basic terms and components of Turkish Music and play pieces from those manuscripts. We will conclude the class performing those pieces with pre-recorded tracks of traditional Turkish instruments. Geared to: upper intermediate to advanced players of melodic instruments reading treble clef. Pitch: A=440
1-2:30pm EDT - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Amherst Early Music Online - Italian Da Capo Arias: Getting a “Handel” on Ornamentation
Christine Brandes, voice
This class will touch upon approaches to ornamenting Italianate music of the 17th and 18th centuries. A brief introduction will be followed by some practical applications at cadences, within arias and at larger, final cadences calling for more extended ornaments. Participants are welcome to bring their own repertoire and ornamentation questions. Selected examples from Handel operas and The Messiah will also be made available before the class for study and consideration. PLEASE READ the letter on the class page after you receive the link for more specific instructions as to how to participate in and prepare for the class. The pace of the Early Music Singer’s Toolbox repertoire classes has experienced solo singers in mind, but all singers, voice teachers, conductors, and anyone interested in early music singing are welcome to register and learn.
3-4:30pm EDT - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Christine Brandes, voice
This class will touch upon approaches to ornamenting Italianate music of the 17th and 18th centuries. A brief introduction will be followed by some practical applications at cadences, within arias and at larger, final cadences calling for more extended ornaments. Participants are welcome to bring their own repertoire and ornamentation questions. Selected examples from Handel operas and The Messiah will also be made available before the class for study and consideration. PLEASE READ the letter on the class page after you receive the link for more specific instructions as to how to participate in and prepare for the class. The pace of the Early Music Singer’s Toolbox repertoire classes has experienced solo singers in mind, but all singers, voice teachers, conductors, and anyone interested in early music singing are welcome to register and learn.
3-4:30pm EDT - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Sunday, May 2
Amherst Early Music Online - Introduction to Renaissance Ornamentation
Catherine Motuz, trombone
This class will explore the basics of playing diminutions (also called divisions or passaggi) in Renaissance style. We will take a brief look at the approach of a few diminutions treatises, such as those by Girolamo Dalla Casa, Giovanni Bassano, Riccardo Rognoni, and Giovanni Battista Spadi. We will then learn some simple ornaments by heart, associating each one with an animal, before applying them to a three-part arrangement by Jean de Castro of Striggio’s Nasce la pena mia, and playing them along with a recording. Finally, we will take a three-part arrangement of Susann'un jour by Jean de Castro and make an ornamented version together, again to play along with a recording. Participants can play along with the simple or diminished versions of pieces. Pieces will be recorded at A=440. Geared toward: the recordings of the three-part arrangements will be made in the low version for playing along on the trombone, but it will also be possible to join in on other instruments, and treble versions of scores will be provided. Pitch: A = 440.
1-2:30pm EDT - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Catherine Motuz, trombone
This class will explore the basics of playing diminutions (also called divisions or passaggi) in Renaissance style. We will take a brief look at the approach of a few diminutions treatises, such as those by Girolamo Dalla Casa, Giovanni Bassano, Riccardo Rognoni, and Giovanni Battista Spadi. We will then learn some simple ornaments by heart, associating each one with an animal, before applying them to a three-part arrangement by Jean de Castro of Striggio’s Nasce la pena mia, and playing them along with a recording. Finally, we will take a three-part arrangement of Susann'un jour by Jean de Castro and make an ornamented version together, again to play along with a recording. Participants can play along with the simple or diminished versions of pieces. Pieces will be recorded at A=440. Geared toward: the recordings of the three-part arrangements will be made in the low version for playing along on the trombone, but it will also be possible to join in on other instruments, and treble versions of scores will be provided. Pitch: A = 440.
1-2:30pm EDT - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Amherst Early Music Online - With the Sound of Angels: Find your Beautiful Sound with the Treble Viol
Annalisa Pappano, viol
The treble viol is the most difficult of the viols to play with a beautiful sound, and it is often the most exposed in consort. It is an easy viol to travel with, but often people dread playing it for its perceived difficulty. Get tips on finding a beautiful sound on your treble viol, and play treble duos to have extra repertory and rewarding projects to work on after the workshop. You will receive music in advance to play with Annalisa as a duo. Open to: viol; all levels welcome, from those new to the treble to intermediate and upper intermediate. The more advanced player will naturally have an easier time reading the duos, but there will be something for all in this class! Pitch: A=415.
3-4:30pm EDT - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Annalisa Pappano, viol
The treble viol is the most difficult of the viols to play with a beautiful sound, and it is often the most exposed in consort. It is an easy viol to travel with, but often people dread playing it for its perceived difficulty. Get tips on finding a beautiful sound on your treble viol, and play treble duos to have extra repertory and rewarding projects to work on after the workshop. You will receive music in advance to play with Annalisa as a duo. Open to: viol; all levels welcome, from those new to the treble to intermediate and upper intermediate. The more advanced player will naturally have an easier time reading the duos, but there will be something for all in this class! Pitch: A=415.
3-4:30pm EDT - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Saturday, May 8
Amherst Early Music Online - Breaking Ground with Ortiz
Zoe Weiss, viol
Diego Ortiz's 1553 publication Trattado de Glosas is an important early manual on viol playing as well as the practice of improvising diminutions. Ortiz includes a number of wonderful pieces exemplifying the improvisatory practice of diminution based on popular chord progressions and luckily for us, they are not so difficult to play! In this class, we'll explore three of these recercadas sobre tenores Italianos using exciting continuo backing tracks created just for this occasion and which will be available to students after the class for their future practice and fun. I will provide parts suitable for bass, tenor, or treble viol for all three pieces well in advance of class. Students can choose to prepare one or more recercadas ahead of time or simply play along as we explore how Ortiz develops his ideas above the harmonic movement of the ground. Non-viol players who are interested in these pieces are more than welcome to join at A=415. Geared to: viols. Pitch:A=415.
1-2:30pm EDT - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Zoe Weiss, viol
Diego Ortiz's 1553 publication Trattado de Glosas is an important early manual on viol playing as well as the practice of improvising diminutions. Ortiz includes a number of wonderful pieces exemplifying the improvisatory practice of diminution based on popular chord progressions and luckily for us, they are not so difficult to play! In this class, we'll explore three of these recercadas sobre tenores Italianos using exciting continuo backing tracks created just for this occasion and which will be available to students after the class for their future practice and fun. I will provide parts suitable for bass, tenor, or treble viol for all three pieces well in advance of class. Students can choose to prepare one or more recercadas ahead of time or simply play along as we explore how Ortiz develops his ideas above the harmonic movement of the ground. Non-viol players who are interested in these pieces are more than welcome to join at A=415. Geared to: viols. Pitch:A=415.
1-2:30pm EDT - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
VdGSNE Special Topic: What Strikes the Clock?
Ros Morley and Larry Lipnik of Parthenia, instructors
With characteristic 16th-century compositional playfulness, Edward Gibbons, older brother of Orlando, is author of a trio whose cantus firmus is the imagined bell of a clock, striking the hours of the day as it outlines a scale. This piece inspires a session of trio playing in which the repertoire touches on a century of English music, from Henry VIII’s Songbook to music that might have been played by the Princes Charles and Henry, sons of James I. Together in a room with good acoustics and an excellent microphone, Larry Lipnik and Ros Morley will provide two parts of chronologically presented trios; participants play the missing third part. All sizes of viol are welcome; in “Round Robin” style, each piece will be played 2 or 3 times so all can join in. The repertoire includes music by Byrd, Edward and Orlando Gibbons, Bevan, Holborne, Lupo, Coprario, and Anonymous. A=415.
3-4:30pm - online (link sent to registrants)
Fee $15. Registration required; please register by April 30 to receive link and materials.
http://vdgsne.org/workshops/
Ros Morley and Larry Lipnik of Parthenia, instructors
With characteristic 16th-century compositional playfulness, Edward Gibbons, older brother of Orlando, is author of a trio whose cantus firmus is the imagined bell of a clock, striking the hours of the day as it outlines a scale. This piece inspires a session of trio playing in which the repertoire touches on a century of English music, from Henry VIII’s Songbook to music that might have been played by the Princes Charles and Henry, sons of James I. Together in a room with good acoustics and an excellent microphone, Larry Lipnik and Ros Morley will provide two parts of chronologically presented trios; participants play the missing third part. All sizes of viol are welcome; in “Round Robin” style, each piece will be played 2 or 3 times so all can join in. The repertoire includes music by Byrd, Edward and Orlando Gibbons, Bevan, Holborne, Lupo, Coprario, and Anonymous. A=415.
3-4:30pm - online (link sent to registrants)
Fee $15. Registration required; please register by April 30 to receive link and materials.
http://vdgsne.org/workshops/
Amherst Early Music Online - Contenance Angloise: Early English Polyphony from 1270 to 1450
Rainer Beckmann, recorder
English composers of the 15th century were praised for the sweetness and sonority of their polyphonic music. Their style of composing subsequently became known as contenance angloise, or "English manner." This class examines early English polyphony predating, leading up to, and constituting the style with its frequent use of harmonic thirds and sixths. The class’s playlist consists of a number of highly idiosyncratic vocal pieces. It opens with a lively Alleluia from the Worcester school (13th/14th century), followed by a beautiful 13th-century motet possibly written by W. de Wicumbe (fl. c.1275) and a dynamic chace-like piece linked to Johannes Alanus (d. 1373). The second half of the playlist is made up of a charming motet by Thomas Byttering (fl. 1400 - 1420) from the Old Hall Manuscript, a lesser-known motet by John Dunstable (c.1390 - 1453), as well as a mesmerizing late Medieval carol from MS Egerton 3307 (copied out between 1430 and 1444). Geared to: recorder players. Play-along recordings feature SATB recorders. Pitch: A=440.
3-4:30pm EDT - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Rainer Beckmann, recorder
English composers of the 15th century were praised for the sweetness and sonority of their polyphonic music. Their style of composing subsequently became known as contenance angloise, or "English manner." This class examines early English polyphony predating, leading up to, and constituting the style with its frequent use of harmonic thirds and sixths. The class’s playlist consists of a number of highly idiosyncratic vocal pieces. It opens with a lively Alleluia from the Worcester school (13th/14th century), followed by a beautiful 13th-century motet possibly written by W. de Wicumbe (fl. c.1275) and a dynamic chace-like piece linked to Johannes Alanus (d. 1373). The second half of the playlist is made up of a charming motet by Thomas Byttering (fl. 1400 - 1420) from the Old Hall Manuscript, a lesser-known motet by John Dunstable (c.1390 - 1453), as well as a mesmerizing late Medieval carol from MS Egerton 3307 (copied out between 1430 and 1444). Geared to: recorder players. Play-along recordings feature SATB recorders. Pitch: A=440.
3-4:30pm EDT - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Sunday, May 9
Amherst Early Music Online - Care and Feeding of Your Recorder(s)
Emily O’Brien and Roy Sansom
Join Emily and Roy from the Von Huene workshop in a short presentation covering the basics of recorder care. Learn what you should do for your recorders, what you should not do, and what you can do yourself or should have a professional repair person do. Topics will include: Cleaning and oiling (or not oiling) your recorder, warming your recorder, re-threading your tenons, and what can go wrong with your instrument. If you want to try oiling your recorder during the session, you will need the following items: A cleaning rod with a loop on one end, a small and a larger piece of cotton cloth, and either linseed oil (same as flaxseed oil) or any edible nut oil, such as almond oil, and Q-tips.
1-2:30pm EDT - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Emily O’Brien and Roy Sansom
Join Emily and Roy from the Von Huene workshop in a short presentation covering the basics of recorder care. Learn what you should do for your recorders, what you should not do, and what you can do yourself or should have a professional repair person do. Topics will include: Cleaning and oiling (or not oiling) your recorder, warming your recorder, re-threading your tenons, and what can go wrong with your instrument. If you want to try oiling your recorder during the session, you will need the following items: A cleaning rod with a loop on one end, a small and a larger piece of cotton cloth, and either linseed oil (same as flaxseed oil) or any edible nut oil, such as almond oil, and Q-tips.
1-2:30pm EDT - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Amherst Early Music Online - Seventeenth-Century Dance Music
Jason Priset, guitar
This class will be a study of 17th-century Spain and its composers. Focus will be on the dances, with variations, written for the guitar that are originally written in tablature and mostly inaccessible to non-guitarists. The music will be arranged into notation including melody and bass. The composers that will be the main focus of this class are Gaspar Sanz, Francisco Guerau, and Santiago de Murcia. Open to: all continuo instruments (lute, guitar, and harpsichord) as well as to melodic instrumentalists who wish to learn more about this repertoire. Students of all levels will be welcome. Pitch: A = 440
3-4:30pm EDT - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Jason Priset, guitar
This class will be a study of 17th-century Spain and its composers. Focus will be on the dances, with variations, written for the guitar that are originally written in tablature and mostly inaccessible to non-guitarists. The music will be arranged into notation including melody and bass. The composers that will be the main focus of this class are Gaspar Sanz, Francisco Guerau, and Santiago de Murcia. Open to: all continuo instruments (lute, guitar, and harpsichord) as well as to melodic instrumentalists who wish to learn more about this repertoire. Students of all levels will be welcome. Pitch: A = 440
3-4:30pm EDT - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Fandangos & the New World: Concert and Conversation
Rumbarroco: Daniela Tosic, Adriana Ruiz & Josaphat Contreras, voice; Lisa Brooke, violin; Eduardo Betancourt, harp; Vera Washington, percussion; Karolina Meireles, percussion; Ricardo Andrés Matute, percussion; Moah Kim, keyboards; Laury Gutiérrez, viola da gamba; and others
This program features Ibero-American dances and song-dances, including folias, jácaras, and fandangos, from the Renaissance to the present.
7pm - Online www.youtube.com/rumbarroco
FREE
ladonna@ladm.org
Rumbarroco: Daniela Tosic, Adriana Ruiz & Josaphat Contreras, voice; Lisa Brooke, violin; Eduardo Betancourt, harp; Vera Washington, percussion; Karolina Meireles, percussion; Ricardo Andrés Matute, percussion; Moah Kim, keyboards; Laury Gutiérrez, viola da gamba; and others
This program features Ibero-American dances and song-dances, including folias, jácaras, and fandangos, from the Renaissance to the present.
7pm - Online www.youtube.com/rumbarroco
FREE
ladonna@ladm.org
Saturday, May 15
Amherst Early Music Online - UT MI SOL, RE FA LA: Est tota musica!
An Introductory Workshop on Historical Solmisation with Tabea Schwartz, recorder and early bowed strings
Current teaching practice shows the great benefit of historical tools for music education. Among these, solmisation in hexachords with the aid of the Guidonian hand has proved its worth both in use with beginners and in the context of professional engagement with early music. Based on the methodology of syllable singing, music can be learned by ear or read from historical notation at all levels. The solmisation toolbox can add to our understanding of music and music education throughout the centuries. It may even function as a key to unlocking certain skills concerning the inner conception and the memorization of music or improvisation and is especially useful in the context of Renaissance repertory. This class will serve as a short introduction into the wide world of solmisation. With the aid of Mr. Gumpelzhaimer and his canon-based teaching materials from around 1600, we will take a practical approach in an attempt to integrate solmisation as a supplement in our everyday performance and teaching practice.
1-2:30pm EDT - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
An Introductory Workshop on Historical Solmisation with Tabea Schwartz, recorder and early bowed strings
Current teaching practice shows the great benefit of historical tools for music education. Among these, solmisation in hexachords with the aid of the Guidonian hand has proved its worth both in use with beginners and in the context of professional engagement with early music. Based on the methodology of syllable singing, music can be learned by ear or read from historical notation at all levels. The solmisation toolbox can add to our understanding of music and music education throughout the centuries. It may even function as a key to unlocking certain skills concerning the inner conception and the memorization of music or improvisation and is especially useful in the context of Renaissance repertory. This class will serve as a short introduction into the wide world of solmisation. With the aid of Mr. Gumpelzhaimer and his canon-based teaching materials from around 1600, we will take a practical approach in an attempt to integrate solmisation as a supplement in our everyday performance and teaching practice.
1-2:30pm EDT - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Amherst Early Music Online - Rhetorical Questions: Text and Expression in 17th-Century Italian Monody
Ellen Hargis, voice
Take a deep dive into the singer's most precious currency: text! We'll look at how the rhetoric of poetry, ornamentation, and declamation enhances our understanding and enlivens our performances. The pace of the Early Music Singer’s Toolbox repertoire classes has experienced solo singers in mind, but all singers, voice teachers, conductors, and anyone interested in early music singing are welcome to register and learn.
3-4:30pm EDT - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Ellen Hargis, voice
Take a deep dive into the singer's most precious currency: text! We'll look at how the rhetoric of poetry, ornamentation, and declamation enhances our understanding and enlivens our performances. The pace of the Early Music Singer’s Toolbox repertoire classes has experienced solo singers in mind, but all singers, voice teachers, conductors, and anyone interested in early music singing are welcome to register and learn.
3-4:30pm EDT - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Sunday, May 16
Amherst Early Music Online - Eloquent Fingers: Indications of fingering in Sweelinck’s Keyboard Music
Kathryn Cok, harpsichord
"Some early keyboard fingerings that seem incredible when first tried later prove, when we have the knack, to be very worthwhile." (Lindely, 1989) The subject offingerings - early, modern, historical or personal - is one that is often the topic of research and discussion. The aim of this class is to create an awareness of the importance of fingering in connection with the creation of gestural content, and therefore musical phrasing, in early keyboard repertoire, especially that of Jan Pieterszoon Sweelinck (1562-1621). We will explore this interpretive and expressive tool through historical evidence and the music itself. Keyboard players who have yet to explore this aspect of early repertoire are encouraged to think differently about the tools available to them, if they have not already applied paired fingering to the music of Sweelinck and contemporaries. In the music of Sweelinck, these small motivic or rhythmic groups are the key towards understanding and unlocking the poetry of his keyboard music. This class will be in the form of a lecture-demonstration but volunteers (max 4) will be invited to demonstrate a short section from a work by Sweelinck. Open to: all who are interested, not only keyboard players. Those who want to be considered for a demonstrator spot should indicate their piece when registering.
1-2:30pm EDT - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Kathryn Cok, harpsichord
"Some early keyboard fingerings that seem incredible when first tried later prove, when we have the knack, to be very worthwhile." (Lindely, 1989) The subject offingerings - early, modern, historical or personal - is one that is often the topic of research and discussion. The aim of this class is to create an awareness of the importance of fingering in connection with the creation of gestural content, and therefore musical phrasing, in early keyboard repertoire, especially that of Jan Pieterszoon Sweelinck (1562-1621). We will explore this interpretive and expressive tool through historical evidence and the music itself. Keyboard players who have yet to explore this aspect of early repertoire are encouraged to think differently about the tools available to them, if they have not already applied paired fingering to the music of Sweelinck and contemporaries. In the music of Sweelinck, these small motivic or rhythmic groups are the key towards understanding and unlocking the poetry of his keyboard music. This class will be in the form of a lecture-demonstration but volunteers (max 4) will be invited to demonstrate a short section from a work by Sweelinck. Open to: all who are interested, not only keyboard players. Those who want to be considered for a demonstrator spot should indicate their piece when registering.
1-2:30pm EDT - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Intermezzi in Musica 2021 (concert 5)
Elinor Frey and Mélisande Coriveau, Viola da Gamba
As the final installment in her web-series, Elinor Frey will celebrate the completion of her new viola da gamba with a concert of viol duets.
2:30pm EST
Online - Link for Online Event here
$10-$20 (CAD)
info@elinorfrey.com
Elinor Frey and Mélisande Coriveau, Viola da Gamba
As the final installment in her web-series, Elinor Frey will celebrate the completion of her new viola da gamba with a concert of viol duets.
2:30pm EST
Online - Link for Online Event here
$10-$20 (CAD)
info@elinorfrey.com
Amherst Early Music Online - A Musical Medley: Renaissance Madrigals & Brazilian Songs with Cléa Galhano, recorder
Come enjoy infectious melodies, lovely and spicy harmonies, and the exciting rhythms of Renaissance madrigals and Brazilian songs arranged for recorders. In this class we will talk about the transformation of the madrigal, and how Brazilian music was influenced by the repertory brought to Brazil by slaves in the 17th century.
Composers featured: Aquila, Tromboncino, Arcadelt, Gesualdo, Monteverdi, Lacerda and Pixinguinha. Open to: any instrumentalists, intermediate and up. Pitch: A= 440.
3-4:30pm EDT - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Come enjoy infectious melodies, lovely and spicy harmonies, and the exciting rhythms of Renaissance madrigals and Brazilian songs arranged for recorders. In this class we will talk about the transformation of the madrigal, and how Brazilian music was influenced by the repertory brought to Brazil by slaves in the 17th century.
Composers featured: Aquila, Tromboncino, Arcadelt, Gesualdo, Monteverdi, Lacerda and Pixinguinha. Open to: any instrumentalists, intermediate and up. Pitch: A= 440.
3-4:30pm EDT - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
The Bach Project at Ashmont Hill Chamber Music - Most Loved Solo Instrumental Music
Shirley Hunt, baroque 'cello; Frances Conover Fitch, harpsichord; Andrew Sheranian, organ
This will be a hybrid presentation. The concert will be live in the church for a limited audience as well as available online.
Suite No. 4 in E-flat major, BWV 1010, Shirley Hunt, baroque cello
Suite No. 5 in G major, BWV 816, Frances Conover Fitch, harpsichord
Trio Sonata No. 4 in E minor, BWV 528, Andrew Sheranian, organ
Fugue in G minor, BWV 578, Andrew Sheranian, organ
4pm ET - online and at The Parish of All Saints, Ashmont, 209 Ashmont Street, Dorchester, MA 02124
Tickets: Adult: $25; Student: $18; EBT Card Holder: $3, children under 17 free.
https://www.ahchambermusic.org/
Shirley Hunt, baroque 'cello; Frances Conover Fitch, harpsichord; Andrew Sheranian, organ
This will be a hybrid presentation. The concert will be live in the church for a limited audience as well as available online.
Suite No. 4 in E-flat major, BWV 1010, Shirley Hunt, baroque cello
Suite No. 5 in G major, BWV 816, Frances Conover Fitch, harpsichord
Trio Sonata No. 4 in E minor, BWV 528, Andrew Sheranian, organ
Fugue in G minor, BWV 578, Andrew Sheranian, organ
4pm ET - online and at The Parish of All Saints, Ashmont, 209 Ashmont Street, Dorchester, MA 02124
Tickets: Adult: $25; Student: $18; EBT Card Holder: $3, children under 17 free.
https://www.ahchambermusic.org/
Amherst Early Music Online Lecture Series: Recitare: the Art of the Recitative
Gary Thor Wedow, conductor
At a time when Italian poets were grappling with this issue in opera, Purcell stated his intention to bring the Italian style to English music. Using Purcell’s songs we will examine how singers can make the best rhetorical decisions in their singing. Open to: all. AEM’s Early Music Singer’s Toolbox series includes classes and lectures. The pace of the repertoire classes has experienced solo singers in mind, but all singers, voice teachers, conductors, and anyone interested in early music singing are welcome to register and learn. The lectures are free and open to all.
5-6pm EDT - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Gary Thor Wedow, conductor
At a time when Italian poets were grappling with this issue in opera, Purcell stated his intention to bring the Italian style to English music. Using Purcell’s songs we will examine how singers can make the best rhetorical decisions in their singing. Open to: all. AEM’s Early Music Singer’s Toolbox series includes classes and lectures. The pace of the repertoire classes has experienced solo singers in mind, but all singers, voice teachers, conductors, and anyone interested in early music singing are welcome to register and learn. The lectures are free and open to all.
5-6pm EDT - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Vivaldi’s Orphan Girls: Virtuosi della Pietà
Sarasa: Kristen Watson, soprano; Susanna Ogata, Susannah Foster, Keats Dieffenbach, violins; Jenny Stirling, viola; Timothy Merton, Jennifer Morsches, cello; John McKean, harpsichord
Celebrating the young orphan girls under Antonio Vivaldi’s tutelage, whose virtuosic talent and charisma created a musical mecca in 18th-century Venice. Also streaming FREE beginning May 22nd at 7:30pm. Chat with Sarasa musicians as they answer your questions and offer unique insights into the music as it is performed. Don't miss it!
8:30pm - Harvard-Epworth Church, 1555 Massachusetts Ave. Cambridge, MA 02138
$10-$25
http://www.sarasamusic.org/events/vivaldis-orphans
Sarasa: Kristen Watson, soprano; Susanna Ogata, Susannah Foster, Keats Dieffenbach, violins; Jenny Stirling, viola; Timothy Merton, Jennifer Morsches, cello; John McKean, harpsichord
Celebrating the young orphan girls under Antonio Vivaldi’s tutelage, whose virtuosic talent and charisma created a musical mecca in 18th-century Venice. Also streaming FREE beginning May 22nd at 7:30pm. Chat with Sarasa musicians as they answer your questions and offer unique insights into the music as it is performed. Don't miss it!
8:30pm - Harvard-Epworth Church, 1555 Massachusetts Ave. Cambridge, MA 02138
$10-$25
http://www.sarasamusic.org/events/vivaldis-orphans
Thursday, May 20
The Beggars' Songbook: Music of the Dutch Revolt
Anne Legêne and Karen Burciaga, presenters
Four hundred years ago, the Pilgrims sailed to New England. A lesser-known chapter of their journey is the decade they spent in the Netherlands during the Twelve Years' Truce, a time of peace and prosperity amid the otherwise turbulent Dutch Revolt against Spanish rule. In this lecture-concert by early music ensemble Long & Away, we explore the music leading up to the Pilgrims' time in the garrison town of Leiden, as well as the religious and political climate that led to their eventual departure in 1620. Musical examples will include Dutch songs of rebellion, Spanish works, and traditional English tunes performed by Long & Away on viola da gamba, voice, recorder, and lute.
6pm - online (link sent to registrants)
https://www.americanancestors.org/education/online-classes
Anne Legêne and Karen Burciaga, presenters
Four hundred years ago, the Pilgrims sailed to New England. A lesser-known chapter of their journey is the decade they spent in the Netherlands during the Twelve Years' Truce, a time of peace and prosperity amid the otherwise turbulent Dutch Revolt against Spanish rule. In this lecture-concert by early music ensemble Long & Away, we explore the music leading up to the Pilgrims' time in the garrison town of Leiden, as well as the religious and political climate that led to their eventual departure in 1620. Musical examples will include Dutch songs of rebellion, Spanish works, and traditional English tunes performed by Long & Away on viola da gamba, voice, recorder, and lute.
6pm - online (link sent to registrants)
https://www.americanancestors.org/education/online-classes
Saturday, May 22
Amherst Early Music Online - Frescobaldi! Canzon a due, canto e basso
Tom Beets and Joris Van Goethem, recorders, harpsichord, viola da gamba
Frescobaldi’s canzonas are enjoyable for many different instrumental combinations. Treble and bass part are equal partners and can be played Con Ogne Sorte di Strumenti. Cornetto, recorder, viol, trombone, cello, curtal... pick your favorite instrument and join Tom and Joris in Frescobaldi’s tour de force. The Canzon a due for canto e basso is a strong composition with different moods and contrasts and an interesting alternation of tempo and rhythmical and free passages. Open to: All instruments welcome, intermediate and up. Pitch: A=440.
1-2:30pm EDT - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Tom Beets and Joris Van Goethem, recorders, harpsichord, viola da gamba
Frescobaldi’s canzonas are enjoyable for many different instrumental combinations. Treble and bass part are equal partners and can be played Con Ogne Sorte di Strumenti. Cornetto, recorder, viol, trombone, cello, curtal... pick your favorite instrument and join Tom and Joris in Frescobaldi’s tour de force. The Canzon a due for canto e basso is a strong composition with different moods and contrasts and an interesting alternation of tempo and rhythmical and free passages. Open to: All instruments welcome, intermediate and up. Pitch: A=440.
1-2:30pm EDT - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Amherst Early Music Online - Pavan Fest
John Mark Rozendaal, viol
A survey ranging from the danceable pavans of Claude Gervaise through the range of concert/consort pavans of Holborne, Dowland, Lawes, and Jenkins. No need to be frightened of those last two names. The pavans of Lawes and Jenkins include some of the most accessible music of those remarkable composers (easier than some Dowland pieces). Open to viols. Pitch: A=415.
3-4:30pm EDT - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
John Mark Rozendaal, viol
A survey ranging from the danceable pavans of Claude Gervaise through the range of concert/consort pavans of Holborne, Dowland, Lawes, and Jenkins. No need to be frightened of those last two names. The pavans of Lawes and Jenkins include some of the most accessible music of those remarkable composers (easier than some Dowland pieces). Open to viols. Pitch: A=415.
3-4:30pm EDT - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Sunday, May 23
Amherst Early Music Online-Sing We Enchanted: Vocal Technique & Historical Inspirations for 21st-c. Singers Emily Eagen
This is a vocal technique class - with a twist! Singers of all levels are welcome to join in this hour-and-a-half of vocal exploration. From the beginning we will be up and singing! Build confidence and versatility as we do exercises for resonance, breath, articulation, and phonation, and stretch our range and stamina. The twist? We will draw inspiration from ideas found in 17th- and 18th-century vocal pedagogy sources as we sing. What imagery, wisdom, and science helped singers use their voices in these centuries? What is "news we can use" today to help us sing? We'll pepper these ideas in as we do a full vocal warmup, then sing some simple songs from the Renaissance and Early Baroque to put the ideas into practice. Give your voice a real workout, as we travel back and forth in time while we sing! Open to: singers of all levels.
1-2:30pm EDT - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
This is a vocal technique class - with a twist! Singers of all levels are welcome to join in this hour-and-a-half of vocal exploration. From the beginning we will be up and singing! Build confidence and versatility as we do exercises for resonance, breath, articulation, and phonation, and stretch our range and stamina. The twist? We will draw inspiration from ideas found in 17th- and 18th-century vocal pedagogy sources as we sing. What imagery, wisdom, and science helped singers use their voices in these centuries? What is "news we can use" today to help us sing? We'll pepper these ideas in as we do a full vocal warmup, then sing some simple songs from the Renaissance and Early Baroque to put the ideas into practice. Give your voice a real workout, as we travel back and forth in time while we sing! Open to: singers of all levels.
1-2:30pm EDT - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Amherst Early Music Online - Canons, Grounds and Imitations
Vicki Boeckman, recorder
This class will focus on three- and four-part canons and grounds spanning the Medieval, Renaissance, and Baroque eras. The red thread that connects them all is that they are beautiful and accessible and some of my favorite pieces! Participants will have the option of playing various parts and comparing the subtleties of being “first” or “second” or “last”. Works and composers represented will be Sans Cuer by Guillaume Machaut, O Virgo Splendens from the Llibre Vermell, a Ballo by the infamous Anonymous, Two in one upon a Ground by Henry Purcell and a Chaconne by Matthias Maute. Geared to: alto, tenor and bass recorder players at the intermediate and slightly above levels. Pitch: A=440.
3-4:40pm - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Vicki Boeckman, recorder
This class will focus on three- and four-part canons and grounds spanning the Medieval, Renaissance, and Baroque eras. The red thread that connects them all is that they are beautiful and accessible and some of my favorite pieces! Participants will have the option of playing various parts and comparing the subtleties of being “first” or “second” or “last”. Works and composers represented will be Sans Cuer by Guillaume Machaut, O Virgo Splendens from the Llibre Vermell, a Ballo by the infamous Anonymous, Two in one upon a Ground by Henry Purcell and a Chaconne by Matthias Maute. Geared to: alto, tenor and bass recorder players at the intermediate and slightly above levels. Pitch: A=440.
3-4:40pm - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
May 29-30
Amherst Early Music Online - Memorial Day Weekend Workshop
Two days of classes exploring a treasure trove of repertoire and eras, led by AEM's distinguished faculty.
$25 per session
https://www.amherstearlymusic.org/mdw_online_2021
Two days of classes exploring a treasure trove of repertoire and eras, led by AEM's distinguished faculty.
$25 per session
https://www.amherstearlymusic.org/mdw_online_2021