Tuesday, September 1
Deadline to apply for Silbiger Grant from VdGSNE
The Viola da Gamba Society - New England is accepting applications for the 2020 Gian Lyman Silbiger Grant, a competitive award which supports New England viol players and vocal ensembles who wish to present music for viols and voices. Applications may include a variety of repertoire with a minimum of three viol players and one vocalist. Deadline to apply is September 1; the recipient will be announced by October 1. Performances may occur anytime in calendar year 2021.
www.vdgsne.org/silbiger-grant
The Viola da Gamba Society - New England is accepting applications for the 2020 Gian Lyman Silbiger Grant, a competitive award which supports New England viol players and vocal ensembles who wish to present music for viols and voices. Applications may include a variety of repertoire with a minimum of three viol players and one vocalist. Deadline to apply is September 1; the recipient will be announced by October 1. Performances may occur anytime in calendar year 2021.
www.vdgsne.org/silbiger-grant
Wednesday, September 2
SoHIP Online Concert Series
Tres Doulx: Rachel Carpentier, Christopher Krueger, Na'ama Lion, Laura Randall, Renaissance flutes
8pm - streamed on YouTube, Facebook, and SoHIP's website
Tres Doulx: Rachel Carpentier, Christopher Krueger, Na'ama Lion, Laura Randall, Renaissance flutes
8pm - streamed on YouTube, Facebook, and SoHIP's website
Friday, September 4
Bach and the French Suite
Byron Schenkman, harpsichord
Portland Baroque Orchestra presents the second concert in their all-digital 2020-21 Season: Bach and the French Suite. Byron Schenkman performs a selection of their favorite French and French-inspired harpsichord repertoire, including works by Jean-Henry D'Anglebert, Elisabeth Jacquet de la Guerre, and Johann Sebastian Bach. This performance, like all of PBO's 20-21 Season, is presented through Great Arts. Period., an admission-free digital concert hall. Check out more performances at GreatArtsPeriod.org.
7:30pm PST on YouTube
FREE; Donations to PBO gratefully accepted
https://pbo.org/concerts-events/bach-and-the-french-suite/
Byron Schenkman, harpsichord
Portland Baroque Orchestra presents the second concert in their all-digital 2020-21 Season: Bach and the French Suite. Byron Schenkman performs a selection of their favorite French and French-inspired harpsichord repertoire, including works by Jean-Henry D'Anglebert, Elisabeth Jacquet de la Guerre, and Johann Sebastian Bach. This performance, like all of PBO's 20-21 Season, is presented through Great Arts. Period., an admission-free digital concert hall. Check out more performances at GreatArtsPeriod.org.
7:30pm PST on YouTube
FREE; Donations to PBO gratefully accepted
https://pbo.org/concerts-events/bach-and-the-french-suite/
Wednesday, September 16
Pilgrims’ Progress: online lecture-concert
Seven Times Salt: Karen Burciaga, Dan Meyers, Matthew Wright, presenters
Contrary to what the history books tell us, the Plimoth colonists, or “Pilgrims” as they were later called, were a highly diverse, sometimes fractious group of Separatists and Anglicans, religious zealots and irreverent opportunists from many walks of life. They brought with them experiences of music as varied as their reasons for coming to the New World. In this hour-long lecture, we’ll follow the settlers from their homes in turbulent 1590s England to religious refuge in the Netherlands, and onward to challenging new lives on the unfamiliar shores of New England. You’ll also hear selections from our album “Pilgrims’ Progress” including music of the Elizabethan tavern and theater, spirited catches, Dutch ballads, psalms from the Ainsworth Psalter, and English country dance tunes.
5:30pm - streamed online
FREE; register to receive link
Presented by Massachusetts Historical Society
Seven Times Salt: Karen Burciaga, Dan Meyers, Matthew Wright, presenters
Contrary to what the history books tell us, the Plimoth colonists, or “Pilgrims” as they were later called, were a highly diverse, sometimes fractious group of Separatists and Anglicans, religious zealots and irreverent opportunists from many walks of life. They brought with them experiences of music as varied as their reasons for coming to the New World. In this hour-long lecture, we’ll follow the settlers from their homes in turbulent 1590s England to religious refuge in the Netherlands, and onward to challenging new lives on the unfamiliar shores of New England. You’ll also hear selections from our album “Pilgrims’ Progress” including music of the Elizabethan tavern and theater, spirited catches, Dutch ballads, psalms from the Ainsworth Psalter, and English country dance tunes.
5:30pm - streamed online
FREE; register to receive link
Presented by Massachusetts Historical Society
Sunday, September 20
Don Quixote, Knight Errant
Sarasa Ensemble: Christina Day Martinson, Jesse Irons, violins; Jenny Stirling, viola; Jennifer Morsches, Timothy Merton, cellos; Michael Leopold, Baroque guitar, theorbo; Julian Loida, percussion
A colorful array of Baroque composers’ reactions to one of world literature's original anti-establishment heroes, Don Quixote. This unforgettable character, created by Miguel de Cervantes (Part I in 1605 and Part II in 1615), embarks on a journey in search of chivalrous adventures, such as saving damsels in distress, combatting giants in the guise of windmills, and in general righting wrongs. In his quest to overcome his own limitations, Don Quixote dreams to be what he is not— and does not give up. The great theatrical aspect of his heroic exploits with his trusty and patient squire, Sancho Panza, and overextended horse, Rocinante, inspired many musical interpretations. Sarasa will present two one-hour concerts of 18th-century compositions based on the tales of Don Quichotte with works by Telemann, Boismortier and Francesco Conti, including readings from Cervantes’ text.
3:30pm EDT
Online Event
FREE
http://www.sarasamusic.org/events/don-quixote
Sarasa Ensemble: Christina Day Martinson, Jesse Irons, violins; Jenny Stirling, viola; Jennifer Morsches, Timothy Merton, cellos; Michael Leopold, Baroque guitar, theorbo; Julian Loida, percussion
A colorful array of Baroque composers’ reactions to one of world literature's original anti-establishment heroes, Don Quixote. This unforgettable character, created by Miguel de Cervantes (Part I in 1605 and Part II in 1615), embarks on a journey in search of chivalrous adventures, such as saving damsels in distress, combatting giants in the guise of windmills, and in general righting wrongs. In his quest to overcome his own limitations, Don Quixote dreams to be what he is not— and does not give up. The great theatrical aspect of his heroic exploits with his trusty and patient squire, Sancho Panza, and overextended horse, Rocinante, inspired many musical interpretations. Sarasa will present two one-hour concerts of 18th-century compositions based on the tales of Don Quichotte with works by Telemann, Boismortier and Francesco Conti, including readings from Cervantes’ text.
3:30pm EDT
Online Event
FREE
http://www.sarasamusic.org/events/don-quixote
Saturday, September 26
Amherst Early Music Online - Tantalizing Telemann Technicalities
Sarah Cantor, instructor
We will use the Telemann F Major duet as technical inspiration for this class. The high F’s give us opportunities to work on blowing and thumb position for high notes, scale passages are perfect for finger coordination, and the repeated sequences of 16th notes beg us to make tonguing syllable decisions. Long passages give us a chance to practice breath control, and cadential trills offer a chance to review trill fingerings and incorporate tasteful appoggiaturas. Since technique should always serve the music and not the other way around, we will make music playing the duet together. You can download the music and play the duet with Sarah on her music-minus-one video here: https://www.cantornote.com/music-minus-one.html Geared to: upper intermediate to advanced recorders. Pitch: A=440.
1-2:30pm EDT - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Sarah Cantor, instructor
We will use the Telemann F Major duet as technical inspiration for this class. The high F’s give us opportunities to work on blowing and thumb position for high notes, scale passages are perfect for finger coordination, and the repeated sequences of 16th notes beg us to make tonguing syllable decisions. Long passages give us a chance to practice breath control, and cadential trills offer a chance to review trill fingerings and incorporate tasteful appoggiaturas. Since technique should always serve the music and not the other way around, we will make music playing the duet together. You can download the music and play the duet with Sarah on her music-minus-one video here: https://www.cantornote.com/music-minus-one.html Geared to: upper intermediate to advanced recorders. 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 - What Makes Johann Sebastian Bach ‘Bach’?
Geoffery Williams, instructor
An exploration of one of the pillars of western music and why his sacred vocal music is so well-known and revered today. Class will spend some time with the St. John and St. Matthew Passions, the Christmas Oratorio, and Church Cantatas. There will be some opportunity to sing and play along with recordings, while muted. Open to all. Pitch: A=440.
3-4:30pm EDT - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Geoffery Williams, instructor
An exploration of one of the pillars of western music and why his sacred vocal music is so well-known and revered today. Class will spend some time with the St. John and St. Matthew Passions, the Christmas Oratorio, and Church Cantatas. There will be some opportunity to sing and play along with recordings, while muted. Open to all. Pitch: A=440.
3-4:30pm EDT - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Sunday, September 27
Amherst Early Music Online - From the Bottom Up
Alissa Duryee and Jerôme Huille, instructors
An opportunity to view works from the standard recorder repertoire, as well as 18th century arrangements, from the perspective of the continuo part. The duo Dialogues (Alissa Duryee, harpsichord, and Jérôme Huille, cello) will guide participants through the note-worthy features of the pieces as seen from 'down under'. Demonstrations of different possible continuo realizations, articulations, tempi, and bowings will be given. There will be ample time for playing along with the continuo team. Every question you've never dared to ask a continuo player will be answered! Participants should prepare the first, third, and fourth movements of Handel’s Sonata in F major, Op. 1, # 11 on alto recorder, and the following arrangements of Scots tunes by Francesco Barsanti: 1. Waly, Waly 2. Johnnie Faa 3. O Dear Mother, What Shall I Do? #3 should be played on soprano or tenor recorder. Geared to: intermediate to upper intermediate treble instruments. Pitch: A=440.
1-2:30pm EDT - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Alissa Duryee and Jerôme Huille, instructors
An opportunity to view works from the standard recorder repertoire, as well as 18th century arrangements, from the perspective of the continuo part. The duo Dialogues (Alissa Duryee, harpsichord, and Jérôme Huille, cello) will guide participants through the note-worthy features of the pieces as seen from 'down under'. Demonstrations of different possible continuo realizations, articulations, tempi, and bowings will be given. There will be ample time for playing along with the continuo team. Every question you've never dared to ask a continuo player will be answered! Participants should prepare the first, third, and fourth movements of Handel’s Sonata in F major, Op. 1, # 11 on alto recorder, and the following arrangements of Scots tunes by Francesco Barsanti: 1. Waly, Waly 2. Johnnie Faa 3. O Dear Mother, What Shall I Do? #3 should be played on soprano or tenor recorder. Geared to: intermediate to upper intermediate treble instruments. Pitch: A=440.
1-2:30pm EDT - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Elinor Frey Live - Concert #5 - Bach Suite 5
Elinor Frey - Baroque Cello
Elinor Frey plays Bach Suite 5 on Baroque cello, Caprice no. 1 by Dall'Abaco, and interviews a guest TBD.
Program: Bach - Cello Suite no. 5; Bach - Partita no. 3: Gavotte en rondeaux, Menuet I, II; Dall’Abaco - Caprice 1
2:30pm - Live Stream
$20(CAD), $10(CAD) students/low income
https://www.eventbrite.ca/e/elinor-frey-live-concert-5-bach-suite-5-guest-tbd-tickets-106534132458
Elinor Frey - Baroque Cello
Elinor Frey plays Bach Suite 5 on Baroque cello, Caprice no. 1 by Dall'Abaco, and interviews a guest TBD.
Program: Bach - Cello Suite no. 5; Bach - Partita no. 3: Gavotte en rondeaux, Menuet I, II; Dall’Abaco - Caprice 1
2:30pm - Live Stream
$20(CAD), $10(CAD) students/low income
https://www.eventbrite.ca/e/elinor-frey-live-concert-5-bach-suite-5-guest-tbd-tickets-106534132458
Amherst Early Music Online - It’s All About the Bass
Tina Chancey, instructor
Learn to add drones and chords to your favorite Early Music tunes. Whether you're playing a 13th-century cantiga, a Renaissance dance tune by Arbeau, or one of D'Urfey's Pills to Purge Melancholy, it always helps to fill out the piece by adding some chords and double stops. We viol players are lucky to have six strings, a rounded bridge, and and two and a half octave range—we’ve got lots of sounds at our disposal. Each different era of music has its own accompaniment techniques. In this class you'll learn to play sustained and rhythmic drones whether you play the tune yourself or accompany a singer; to find different versions of the most common chords on your instrument and how to decide what chords to use, to create arrangements with introductions and interludes that combine playing the tune and supporting chords, and to create obbligato bass parts from a simple ground bass. Geared to: Intermediate to advanced treble and bass viols (D instruments). Pitch: A = 415
3-4:30pm EDT - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Tina Chancey, instructor
Learn to add drones and chords to your favorite Early Music tunes. Whether you're playing a 13th-century cantiga, a Renaissance dance tune by Arbeau, or one of D'Urfey's Pills to Purge Melancholy, it always helps to fill out the piece by adding some chords and double stops. We viol players are lucky to have six strings, a rounded bridge, and and two and a half octave range—we’ve got lots of sounds at our disposal. Each different era of music has its own accompaniment techniques. In this class you'll learn to play sustained and rhythmic drones whether you play the tune yourself or accompany a singer; to find different versions of the most common chords on your instrument and how to decide what chords to use, to create arrangements with introductions and interludes that combine playing the tune and supporting chords, and to create obbligato bass parts from a simple ground bass. Geared to: Intermediate to advanced treble and bass viols (D instruments). Pitch: A = 415
3-4:30pm EDT - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Monday, September 28
Creating Music for the Plimoth Colony Settlers 1590-1650
In this interest session for EMA, Dan and Karen of Seven Times Salt will take you the process of creating a compelling concert program around a historical topic for which very little musical evidence exists—the Mayflower passengers. We'll explain how we pieced together a musical narrative for the Plimoth settlers for the period 1590-1650 drawing on works by Dowland, Morley, van Eyck, and Campion, collections of catches and part songs published in England and the Netherlands, songs from the Elizabethan theater captured in Shakespeare’s plays, traditional English country dance tunes, and our original setting of a text by Thomas Morton of Merrymount--along with a healthy dose of imagination. Along the way, we’ll provide musical examples from our 2019 album “Pilgrims’ Progress.”
8pm - online
FREE; register to receive link
Presented by Early Music America
In this interest session for EMA, Dan and Karen of Seven Times Salt will take you the process of creating a compelling concert program around a historical topic for which very little musical evidence exists—the Mayflower passengers. We'll explain how we pieced together a musical narrative for the Plimoth settlers for the period 1590-1650 drawing on works by Dowland, Morley, van Eyck, and Campion, collections of catches and part songs published in England and the Netherlands, songs from the Elizabethan theater captured in Shakespeare’s plays, traditional English country dance tunes, and our original setting of a text by Thomas Morton of Merrymount--along with a healthy dose of imagination. Along the way, we’ll provide musical examples from our 2019 album “Pilgrims’ Progress.”
8pm - online
FREE; register to receive link
Presented by Early Music America