Baroque Music Workshop
June 24-30, 2012
Master Class Details
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MORNING MASTER CLASSES
Monday, June 25 - Friday, June 29, 9:00 - 12:00
Each instructor at Baroque Workshop runs morning master class in
his or her own particular style. Read the descriptions below to discover the
format and focus of the instrument or voice class you are interested in.
Descriptions also contain information about repertoire to prepare before the
workshop. Please bring extra copies for the instructor(s) and auditors.
In some cases the instructor has provided an e-mail address to which you may
send your questions. If you do not see an e-mail address yet still have
questions, write to
Please note: Classes are for Baroque instruments
(i.e. Baroque oboe, Baroque flute, etc.) at A = 415.
If you are a modern instrumentalist interested in learning about
Baroque style and instruments, please contact us at the above e-mail
address for information on borrowing or renting a Baroque instrument.
Violin/viola/cello players may play modern instruments tuned down to 415.
If you have a baroque bow, bring it along.
| Viola da Gamba
Rita Lilly - Vocal Master Class
This will be an exciting week exploring the vast vocal literature of Bach, with its
challenges for and demands on the singer! All singers are expected to attend the
daily morning master class, small chorus, and their afternoon assigned ensemble,
as well as to take part in the Performance Project on Friday evening. Singers also
have an opportunity to perform an aria with the orchestra on Wednesday's Concerto Evening.
Please plan to come to the workshop with at least two Bach arias to work on. In the
interim, it would be great to hear one aria (preferably Bach) in person
(day and time TBA) or, for those living out of town, a taped or CD submission sent to
my address: 815 Seaview Dr., El Cerrito, CA 94530.
This is not an audition, but an opportunity for me to hear your voice before the workshop.
Marion Verbruggen and Frances Blaker - Recorder Master Classes
Contact Frances Blaker at firstname.lastname@example.org
if you have any questions about repertoire, class format, auditions, etc., after reading
Frances Blaker will lead a pre-class technique warm-up at 8:30 am so that students can
be ready to play their best in their 9:00 am morning classes. This is open to all
recorder students, and attendance is encouraged. You will play better all day if you
do your morning warm-up.
Morning Recorder Class
The works of J. S. Bach will be the focus of both recorder classes this year
(see repertoire list below). However, you may play other German repertoire if you prefer.
The morning recorder class will be divided into Performance and Practical Applications
sections. Marion Verbruggen will lead the Performance section in master class format,
in which students perform prepared pieces from the repertoire list below. Continuo
accompaniment will be provided. During the master class, students not performing at
the moment observe, taking notes so as to apply lessons learned to their own
performance. The highest standards of performance are encouraged (which means prepare
ahead of time to the best of your ability, whatever your playing level). Performance
in this section is by audition,* though all recorder students may observe the class.
Frances Blaker will lead the Practical Applications section. This is a more hands-on
class in which students do a lot of playing. Topics addressed include special technique
issues that arise in the prepared repertoire; questions of performance practice,
interpretation, and performance that occur in the prepared repertoire; individual
lessons. Individual lesson slots are primarily intended for those students not
accepted to the Performance section, but if time permits other students may sign up
* Auditions for recorder Master Class take place on Sunday afternoon, the first
day of the workshop. These auditions are easygoing and friendly. Their purpose
is to place all students in ensembles and to choose which students will be admitted
to Marion 's master class. Bring a piece to play that you feel comfortable with? it
does not have to be the same piece you want to play in class. We like to hear a bit
of a fast movement and a bit of a slow movement. No accompaniment will be available,
so expect to play your recorder part alone. If you feel very nervous about this
process, you can make it easier by playing a duet with another student.
Choose one or two pieces from this list to work on before the workshop. You will have
time in class to work on at most two movements, which may be from the same or two
different sonatas/solos. In the cases where just a composer name is given, you may pick
any piece by that composer. If you want to prepare a piece not on the list, please let
us know at email@example.com.
If you need help choosing a piece to prepare, don't hesitate to contact Frances at the
e-mail address above. Write something like "help with baroque repertoire" in the
Sonatas with basso continuo
Bach flute sonatas transcribed for recorder:
Sonata in F (flute, original key E) major, BWV 1035
Sonata in g (flute, original key e) minor, BWV 1034
Or other Bach sonata or transcription from keyboard or other works.
Solo recorder without continuo
Teleman - Fantasias
Bach - Partita in c minor
C.P.E. Bach - Sonata in c minor
Kathleen Kraft - Baroque Flute Master Class
This year we would like to focus on the works of Bach: sonatas, solo partita,
b minor suite, or, if you like, cantata parts. Let me know in advance which works
you would like to work on. And, if you would like to work on some other repertoire,
let me know that in advance as well.
The class will cover all aspects of technique (breathing, position, fingerings,
and embouchure) as well as musical style and expression (phrasing, ornaments,
rhetoric, and articulation). Each student will have opportunities to perform in the class.
The class has a supportive and friendly atmosphere with lots of lively group
discussion. Traversi will be available for silver flute players who wish to try them.
Please contact me in advance if you wish to use one. Feel free to call or email me
with any questions at (707) 799-2018 or
Sand Dalton - Baroque Oboe Master Class
The oboe class this year will work on the wonderful legacy of cantata obbligatos that
J.S. Bach has left for us. This will include pieces for both solo oboe and multiple
oboes. If you have an oboe d'amore or oboe da caccia, please bring it, as we will work
on obbligatos for these instruments, too. I will bring examples, but feel free to
bring your own favorites.
I will also present my latest reed making ideas, and part of our class time will be
spent making reeds under my supervision.
Anna Marsh - Baroque Bassoon Master Class
The bassoon master class will include performance, ensemble playing, improvisation
and divisions, and reed making. Please prepare two pieces to play for class.
We will dedicate much of this class to J.S. Bach chorales for multiple bassoons,
Bach obbligato arias from cantatas ("Quia Fecit" from Magnificat and others,)
the CPE Bach and JS Bach solo flute works, and the cello suites played on bassoon.
VIOLIN and VIOLA
Kati Kyme - Baroque Violin (and Viola) Master Class
Kati Kyme, Baroque Violin (and Viola) Master Class
We're in for the greatest treat of all, the soul-soothing, mind-expanding,
heart-breakingly beautiful music of J.S. Bach. We'll study the solo Sonatas and
Partitas, the trio sonatas including the "Musical Offering" and some of the great
solo violin obbligato movements from the cantatas. Can you imagine a musical
exploration richer or more satisfying?!
Kati Kyme - Orchestra
It is exhilarating this year to add chorus and orchestra projects to our week's fun.
We'll learn how the text in Bach's cantatas influences our musical approach and
discover how singers help us both 'melodify' and articulate our phrases.
We've chosen two particularly wonderful and festive cantatas to learn.
"Wachet Auf, " in all its E-flat Major bumptious glory, is extraordinary for violinists
as it includes one of the rare violino piccolo obbligato movements. This gem is so
profound that it rivals the violin solo "Erbarme Dich" from the St. Matthew Passion.
The famous chorale will be the most delicious tune ever stuck in our heads, and the
duet with its sunny oboe solo will brings smiles to us all.
Cantata 80, "Ein Feste Burg ist unser Gott," is composed in a different style.
The first movement has the chorus sections in unison throughout with their
orchestral counterpart sections, heightening our sensitivity to all the wonderfully
expressive things singers do. The duet for soprano and bass includes violins 1 and 2
plus violas in unison sixteenth notes for the whole piece, a D Major romp as joyous as
can be! The alto and tenor duet features obbligato parts for oboe da caccia and violin,
which are amazingly in canon almost entirely while still seeming utterly simple and sweet.
VIOLA DA GAMBA
Mary Springfels - Viola da Gamba Master Class
The gamba class will be "All Bach". We will work together on sonatas, viol obbligati
from the cantatas and passions, and continuo parts every viol player should know.
William Skeen - Baroque Cello Master Class
The Baroque cello class will, naturally, focus on the works of Bach this year.
His Suites for Solo Cello and Sonatas for Viola da Gamba are central to our repertoire.
We will explore ways to make sense of these quirky and densely composed compositions,
pulling them apart harmonically and rhythmically, then piecing them carefully back
Please prepare a Suite or Gamba Sonata of your choice in addition to any other solo
repertoire of your choosing. If time permits, we will also work on chamber music for
Students are expected to play something each day in cello class.
Peter Sykes - Harpsichord Master Class
Johann Sebastian Bach was, as the world knows, a master organist and harpsichordist and
a peerless composer of music for those instruments. He was also a life-long teacher of
music and, inspiringly, a life-long student of music. His experience of the music of
Vivaldi and Couperin changed and shaped his own approach to the keyboard in ways that
transformed our appreciation of its possibilities forever. Both as a master craftsman
and as a sublime artist, his music for the harpsichord (and clavichord!) continues
to teach everyone who listens to or plays it, at whatever level of accomplishment.
Our keyboard workshop will be wide-ranging, taking in all of his works and extrapolating
out to their source of inspiration, their place in the repertoire, and the myriad issues
of interpretation that continually serve as a wellspring for inspiration for every
| Viola da Gamba
Last updated 01/31/2012.
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