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Information Update: May 12, 2004
Hello all,
The week of this year's Baroque Music and Dance Workshop is fast approaching and to help spread the word we are providing more information on the web, so click on the following links for information about:
Dance
Master Classes
Telemann Opera Auditions
Concerto Evening
Work/Study
General Schedule
Directions to Workshop
Phebe Craig, Director
(510) 525-2396
phebec@aol.com
March 1, 2004
Hello Friends, Baroque Enthusiasts and Fellow Workshoppers,
This year's Baroque Music and Dance Workshop will take place the week of June 20 - 26, 2004. We are eager to invite you to our exciting week of music making and dancing. This year's focus will be the music of the German Baroque and the many influences on it.
Those of you who have attended the Baroque Workshop in the past know that it is a music-packed week of master classes, coached ensembles, Baroque dance, and faculty and student concerts. We have an exceptionally fine workshop orchestra and chorus. And our faculty are not only outstanding early music performers but also friendly and accessible teachers. Our workshop takes place on the beautiful campus of Dominican University of California, in San Rafael, California.
This summer we'll repeat the hugely successful Concerto Evening when selected students will get the chance to perform with the SFEMS Workshop Orchestra under the direction of Michael Sand, and the daily continuo sessions. Joining our stellar faculty this year on the vocal front is mezzo-soprano Jennifer Lane, and Mary Springfels will be returning to us for viols. Mark your calendars now and plan your summer around it!!
***We will be mounting another workshop production -- this time, highlights from Telemann's satirical opera, The Patient Socrates. The music is delightful and ingenious --. with great parts for solo singers, duos and many combinations. It is some of Telemann's best.
To register for our workshop, fill out the form on this website or on our brochure. Please note that we have a May 1st cutoff for an early registration discount. Also, if you are in need of financial aid, do request our short work/study application. Upon enrollment for dance, send us this form. For any other questions at all, please contact me at phebec@aol.com or (510) 525-2396.
With best regards, Phebe Craig, Director
So find all your Bachs,
dust off your Rosenmüller,
retune for Biber, grab your favorite Telemann &
join us at the Musicalischer Lustgarten.
The 2004 Baroque Workshop Faculty
Recorders: Frances Blaker, Marion Verbruggen
Baroque Flute: Kathleen Kraft
Baroque Oboe & Double Reeds: Sand Dalton
Voice: Anna Carol Dudley, Jennifer Lane
Voice & Chorus: Paul Flight
Violin & Orchestra: Michael Sand
Cello: Marc Vanscheeuwijck
Viol: Mary Springfels
Harpsichord: Phebe Craig & Katherine Heater
Dance: Angene Feves
Here is a description of how the week works:
Sunday - Participants will arrive in the afternoon for registration and a short orientation meeting. There will be a faculty concert and an initial meeting with teachers with brief ensemble placement auditions. Dinner will be followed by singing led by Paul Flight.
Monday through Friday - A typical day at our workshop might start with a run or walk around the beautiful campus, or a climb (if you are so inclined) up the mountain behind the school. Breakfast will be served at the cafeteria, a short walk from our center of activity. The first class of the day is the morning Masterclass. Each faculty member designs the week according to his or her and the participants' interests. At the end of the morning some classes may converge (by popular request) for an hour of intense ensemble and continuo coaching with the combined continuo faculty.
After lunch we have a short break before the Workshop Orchestra Chorus and dance class meet. The second part of the afternoon is taken up with coached ensembles. The evening schedule appears below.
Saturday - The day begins with the Ensemble Concert of music worked on during the week. After an early lunch we will have an afternoon performance of the workshop-wide production of Telemann's The Patient Socrates.
More Specific Daily Schedule for Baroque Workshop 2004
(Indeed, subject to change)
Sunday, June 20
2 - 3 registration
3:30 Faculty Concert
5 - Dinner
6:30 Opening meeting, followed by auditions for ensemble placement
(and, for recorder players, for Marion Verbruggen's class)
After auditions, everyone is invited to sing with Paul Flight, our choral director
Monday - Friday, June 21 - 25
9 - 12 Masterclasses
1:30 - 2:45 Chorus & Orchestra, Feuillet notation for dancers
3-5 Coached ensembles
7:30 Evening Events
Monday - Dance for Musicians
Tuesday - Faculty Concert
Wednesday - Continuo Jam Session -- all invited!
Thursday - Concerto Evening
Friday - Rehearsals for the Final Production and Party
Saturday, June 26
9 - Student ensemble performances
11 - Residents check out from rooms
11 - 12:30 Brunch
1 - Final Rehearsal
3 - Final Performance
Items of Interest
Workshop participants will have an opportunity to perform with the SFEMS Baroque Workshop Orchestra under the direction of Michael Sand at our Concerto Evening. In order to let as many people as possible play, we may have to limit each participant to one movement. We would like to put together double concertos and multiple harpsichord concertos as well. Please let us know by May 1st whether you'd like to be considered -- either by email or the phone number listed below. Interested parties will need to provide the orchestra parts, complete with measure numbers, for their concerto movements. Let us know if you need assistance with that.
More News for Bass Instruments
As we did last year we will combine a few of our masterclass sessions for gamba, cello and harpsichord into a Combined Continuo Clinic. Here we will learn how to shape the lines for expressive playing, to give the rhythmic impetus to the piece and to steal the show(!). Of course, we're inviting all other instrumentalists, singers and dancers to be there to learn how to deal with the continuo.
Work/Study
If you are in need of our work/study financial aid, please ask for our short application by checking the box on registration form, or by contacting me directly. These funds are available for all participants. If you wish to apply for the Greenberg Scholarship for promising harpsichordists, please send in a resume and CD (or cassette) to Phebe Craig, 1448 Josephine St., Berkeley, CA, 94703.
For questions about registration, housing, work/study, concerto evening participation information or anything else, please contact Phebe Craig at (510) 525-2396 or phebec@aol.com.
The morning masterclasses will focus on the specific techniques, repertoire and interpretive characteristics for each of the instruments offered at the Baroque Workshop. On Sunday evening, when the instructors first meet with the participants, they will discuss how the master class will proceed and begin a schedule of when prepared pieces will be played during the week.
Please bring extra copies of the pieces that you would like to play at the master class.
Since our week is going to center on the German Baroque, participants may want to prepare pieces from the German repertoire in particular. Feel free to contact the instructors specifically, or Phebe Craig, if you have further questions.
Recorder - Marion Verbruggen & Frances Blaker
Bring one piece with basso continuo accompaniment, one without.
For information please contact Frances Blaker at francesbl@msn.com
Harpsichord - Phebe Craig & Katherine Heater
The harpsichord class will concentrate on technique, interpretation and repertoire. Since the stylistic influences on German Baroque keyboard music come from both the Italian and French styles, we have a great wealth of repertoire from which to choose. Participants are encouraged to prepare at least one piece by J. S. Bach (an invention, a suite movement or movements, toccata, prelude & fugue, etc.) and a piece by another German composer in the French or Italian style.
For those interested in acquiring and improving their accompanying skills the continuo clinic offers participants the opportunity to either jump-start their figure reading skills or get more advanced coaching in stylistic performance. Please contact Phebe Craig at Phebec@aol.com, or (510) 525-2396
Oboe - Sand Dalton
The oboe class will concentrate on the making and maintaining of reeds, playing solo and ensemble literature (oboe band). Students should choose something by Telemann to bring with them to play and study with the class. dalton@rockisland.com
Voice - Jennifer Lane, Anna Carol Dudley & Paul Flight
Bring Baroque songs or arias you have prepared and translated in advance, with extra copies to share with the class. Class will focus on technique, languageand style. Click here for information about the Telemann opera.
In keeping with the production piece by Telemann, you may wish to work on German repertoire (from Schutz and Buxtehude to Telemann and Bach); or you may work with other repertoire if you prefer. jlane@stanford.edu, acdudley@earthlink.net, pflight1@yahoo.com
Flute - Kathleen Kraft
Bring any pieces you wish to work on. Both silver flutes and traversos are welcome, and traversos will be available for silver flute players to try if they wish. Afternoon ensembles are mostly at Baroque pitch (A=415), but are at modern pitch for modern players. kkkraft@yahoo.com
Violin - Michael Sand
Bring any pieces you wish to work on. We use Baroque pitch, A=415. Baroque bows will be available to try. Sandviolin@aol.com
Gamba - Mary Springfels
Bring any solo pieces you wish to work on. Ms. Springfels
will bring exercises and German consort music for the class. Part of class
time will be spent in the continuo class with ensembles including
harpsichords. Springfelsm@newberry.org
Cello - Marc Vanscheeuwijck, marcovan@OREGON.UOREGON.EDU
Here are a few suggestions of repertoire I could work on with students at the workshop. They may freely pick what they like out of this list. As much as possible please use facsimiles, most modern editions of these pieces are consistently bad.
Cello solo:
- G.B. Vitali (solos from I-MOe mss.)
- G. Colombi (solos from I-MOe mss.)
- D. Gabrielli (7 Ricercari)
- D. Galli (12 Sonate)
- J.S. Bach (Suites 1-3)
Bass violin / cello and BC and 2 bass instruments + BC
- D. Ortiz (Tratado de Glosas, 1553)
- G. Frescobaldi (Canzoni 1628)
- B. de Selma y Salaverde (Canzoni)
Cello and BC
- D. Gabrielli (2 sonatas)
- G. Jacchini (sonatas)
- A. Vivaldi (9 sonatas)
- B. Marcello (6 sonatas)
- F.S. Geminiani (6 sonatas)
- D. Scarlatti (3 sonatas)
- G. Ph. Telemann (sonata)
and other composers such as Martin Berteau, Jean Barrière, G.B. Pergolesi, E.F. Dall'Abaco, Pasqualino de Marzis, G. and A.M. Bononcini, etc.
2 Cellos and BC
- B. Marcello
Any Cello duets from the pre-classical period (1720-1770)
Faculty for the 2004 Baroque Workshop
Frances Blaker received her Music Pedagogical and Performances degrees from the Royal Danish Conservatory of Music in Copenhagen, Denmark where she studied with Eva Legêne. She also studied with Marion Verbruggen in the Netherlands. Ms. Blaker has performed as a soloist and with verious ensembles in the U. S., Denmark, England and the Netherlands, including blaker bande, Arcangeli Baroque Strings and the Atlanta Baroque Orchestra. She is a member of Tibia, the Farallon Recorder Quartet and Ensemble Vermillian with her sister, Baroque cellist Barbara Blaker Krumdieck. Ms. Blaker teaches privately and at workshops throughout the United States, and is an assistant director of Amherst Early Music. She is the author of The Recorder Player's Companion and a collaborator and performer on the DiscContinuo series of recordings. She is a new board member of the American Recorder Society.
Phebe Craig, harpsichord, spent her student years in Berlin, Brussels and San Francisco. She has earned a reputation as a versatile chamber musician and recitalist and has performed and recorded with many early music ensembles and soloists. She has appeared at the Carmel Bach Festival, the Regensburg Tage Alter Musik, and early music festivals and events throughout the United States. Currently, she is harpsichordist for the New York State Early Music Association Orchestra. Phebe is the producer of the popular DiscContinuo series of early music play-along CDs. She is on the faculty at the University of California at Davis and is the Director of the San Francisco Early Music Society's Baroque Workshop.
Sand Dalton, oboe, began playing the Baroque oboe in 1975 after graduating from the California Institute of the Arts, where he studied modern oboe with Alan Vogel. A year later he made his first instrument, and began an extensive and ongoing study of historical oboes that has taken him to many museums and private collections in Europe and North America. His workshop presently produces about thirty instruments a year, including specialties like the oboe da caccia and oboe d'amore. Concurrently he has pursued an active career as a performer and teacher. He has performed and recorded with many ensembles, including the Philharmonia Baroque Orchestra, Boston Baroque, the Handel and Haydn Society, Seattle Baroque Orchestra and the Pacific Baroque Orchestra of Vancouver, B.C. He has been on the faculties of the New Enland Conservatory, the Longy School of Music and the University of British Columbia, as well as the summer workshops of the San Francisco Early Music Society, Vancouver Early Music Program, Amherst, and Lopez Island.
Anna Carol Dudley, voice, is a graduate of Oberlin College and Conservatory of Music. She has performed with most of the San Francisco Bay Area's contemporary music ensembles, including the Kronos Quartet and the Berkeley Contemporary Chamber Players, and has premiered many works including a number that have been written for her. She has been a soloist with the San Francisco Symphony and with the Bay Area Women's Philharmonic. Also specializing in the performance of baroque music, she has sung with the Philharmonia Baroque Orchestra and at the Berkeley Festival, and has toured nationwide with Judith Nelson and Laurette Goldberg. In addition to serving as director of the SFEMS Baroque Music and Dance Workshop for many years, she has been director of the Junior Bach Festival Association, and has directed Baroque operas at the San Francisco Conservatory of Music. She has recorded for CRI and 1750 Arch Records, and for 18 years was on the music faculty of San Francisco State University. She is now on the faculty of the University of California at Berkeley.
Angene Feves specializes in research, reconstruction and teaching of historical dance and movement. In 1995-96, she used 17th-century sources to choreograph and stage the complete "Ballet des Nations" (with incidental music and dances from Molière's "Le bourgeois gentilhomme," 1670) for the music and dance departments of the University of Akron. She staged, choreographed and costumed Mozart's "Les petits riens" in 1991 while artist-in-residence for the University of Nevada at Las Vegas. In addition, Ms. Feves has been movement and stage director for the tercentenary "Phylander and Mirtilla," a tribute to William and Mary, with music by Purcell (presented in palaces throughout the Netherlands) and "Homage to Lully" presented in Italy since 1988 (now in the repertoire of La Follia, Florence). Ms. Feves has taught regularly at workshops in the U.S. and Europe, specializing in reconstructing dances for the Commedia dell'Arte and baroque opera-ballets, among them "Les fêtes vénitiènnes." She has taught Baroque gesture and movement for several opera productions at the San Francisco Conservatory of Music, and staged the Fezziwig Dances for San Francisco's American Conservatory Theatre's "Christmas Carol" for 20 years, from its premiere in 1976 to 1996.
Paul Flight, countertenor, has sung with several distinguished groups, including The Waverly Consort, Theatre of Voices, The New York Collegium, Voices of Ascension, Pomerium Musices, and the American Bach Soloists. He has also sung in England, working as a lay-clerk in the choir of Norwich Cathedral. Paul is much in demand as a soloist, having recently performed The Messiah, the St. John Passion, the B Minor Mass, and several of Bach's cantatas with groups in the Northeast and the Midwest. Upcoming engagements include John Adam's El Niño with the Atlanta Symphony. He is also a member of the Concord Ensemble whose Dorian CD "The Victory of Santiago" was chosen Best of 1999 by the editors of Goldberg magazine. He has also recorded with Harmonia Mundi and Glissando labels. Paul has been Director of Choral Activities at Smith College and at the University of Mississippi, and he has also been a Visiting Assistant Professor of Music at UC Berkeley. He completed his Doctor of Music degree at Indiana University. His studies there focused on the Venetian composer Giovanni Croce (1557-1609), and in 1998 he helped to create a retrospective on the music of Croce for a nationally syndicated radio program called "Harmonia."
Mezzo-soprano, Jennifer Lane, is recognized internationally for her stunning interpretations of repertoire ranging from the early Baroque to that of contemporary composers. She has appeared at festivals worldwide, with such noted conductors Michael Tilson-Thomas, Mstislav Rostropovich, William Christie, Nicholas McGegan, Andrew Parrott, Christopher Hogwood, Marc Minkowski, Helmut Rilling, and Robert Shaw, among others. A noted early music specialist, Jennifer Lane appears frequently with many of the most noted period instrument orchestras: Les Arts Florissants, Les Musiciens du Louvre, Philharmonia Baroque Orchestra, the Smithsonian Chamber Players, New York Collegium, Seattle Baroque Orchestra, Portland Baroque Orchestra, Tafelmusik, American Bach Soloists, Boston's Händel & Haydn Society and Le Parlement de Musique. Jennifer Lane has taught master-classes at Old Dominion University, Mannes College, CW Post University, Royal Academy of Music in London, San Francisco Conservatory, and for the San Francisco Opera Young Artists Program. In the summer, Jennifer Lane teaches at the Amherst Early Music Festival, the San Francisco Early Music Society (SFEMS) Workshops, the International Baroque Institute at Longy, and the Lake Placid Institute Vocal Seminars. In September 1996, Jennifer Lane joined the faculty of music at Stanford University, serving as Senior Lecturer in Voice. She has also produced and directed there several operatic productions, including a period-style production of Dido & Aeneas, mounted as the culminating event in the Music Department's 50th anniversary celebration, an evening of mostly 20th century one act operas, and, most recently, Mozart's The Magic Flute.
Katherine Heater performs frequently on harpsichord and organ with such Bay Area groups as the California Bach Society, Teatro Bacchino, and Magnificat. She is a member of the North Carolina-based trio Ensemble Vermillian and has performed in Iceland, Taiwan, France and the Netherlands. Ms. Heater received her BA in music from UC Berkeley, her MM in historical performance from Oberlin College and an artist diploma from the Sweelinck Conservatorium in Amsterdam. An active teacher, she directs the San Francisco Early Music Society's summer children's camp, Music Discovery Workshop.
Kathleen Kraft, traverso, began specializing in Baroque flute after completing her studies at the Royal Conservatory in Holland with Frans Vester and Frans Bruggen. Her extensive chamber music and solo performances include concerts for the San Francisco Early Music Society, the J. Paul Getty Museum, the National Flute Convention, and the Locronan Festival de Musique in France. She has performed with Philharmonia Baroque Orchestra, the CBC Vancouver Orchestra, and Concerto Amabile. She lives outside of Occidental, CA, and is active in preserving coastal prairies. Kkkraft@yahoo.
Michael Sand, violin and orchestra, a founding member and first musical director of the Philharmonia Baroque Orchestra of San Francisco, is the director of Arcangeli Baroque Strings, an ensemble dedicated to the concerto grosso repertoire. He has led performances of chamber orchestras throughout the U.S. and abroad (Israel, Canada and Australia). He plays with the chamber ensemble Musical Assembly, is director of the New York State Baroque, and appears with many Bay Area early music groups. He teaches at the University of California at Davis, and has recorded for Meridian, Harmonia Mundi, Arts and Music, KATastroPHE, Wildboar and Titanic.
Mary Springfels, gamba, is one of the most highly regarded interpreters of music written before 1800 working in America today. She is Musician-in Residence at the Newberry Library, Director of the Newberry Consort, and Director of the Early Music Ensemble at Northwestern University. She has appeared with virtually every important early music group in the country, including The New York Pro Musica, The Waverly Consort, The Folger Consort, Pomerium Musices, and Concert Royal. She was a founding member of The Eliziabethan Enterprise and Les Filles de Sainte-Colombe. In Chicago she has performed with Orpheus Band, The City Musick, and The Harwood Ensemble. Recent solo appearances include the American Bach Soloists, Musica Sacra, Fretwork, and the Arcadian Academy. Ms, Springfels has taught at Duke University, The University of North Carolina at Chapel Hill and The University of Chicago. She has recorded for Nonesuch, Titanic, Columbia, Decca, Koch International and Harmonia Mundi USA
Marc Vanscheeuwijck, cello, is a Belgian native who studied art history, romance languages, and musicology at the University of Ghent, where he received his Ph.D. in 1995. After graduating from the Bruges and Ghent Conservatories in cello and chamber music in 1986, he studied Baroque cello with Wouter Moeller, and moved to Bologna, Italy, to do research in 17th-century Bolognese music. Since 1995, he has been on the music history faculty at the University of Oregon in Eugene, where he also directs the Collegium Musicum. As a scholar he concentrates his efforts on the use of various types of violoni in the Baroque period, and on seventeenth-century sacred music. His book "The Cappella Musicale of San Petronio in Bologna under Giovanni Paolo Colonna (1674-95). History - Organization - Repertoire" will be published this summer by the Belgian Historical Institute in Rome. He is a member of several Belgian, Italian, Czech, and Northwestern Baroque music ensembles.
Marion Verbruggen, recorder, is one of the most extraordinary virtuosos of her generation. Famed for her high-spirited, technically dazzling performances, she has earned an international reputation as a master of style on her instrument throughout North America, Europe, Africa, Japan and Australia. Enamored of the recorder at an early age, she studied at the Amsterdam Conservatory in The Hague with Frans Bruggen. Upon completing her diplomas cum laude, she was invited to join the faculty at the Royal Conservatory. Her prizes include the first International Recorder Competition in Bruges, the Nicolai Prize for the Performances of Contemporary Dutch Music, and the Erwin Bodky Award for Early Music. She has given solo recitals and master classes throughout America, Japan and Europe. As a chamber musician, she has performed and recorded with many early music artists and such ensembles as Musica Antiqua Koln, Amsterdam Baroque Orchestra, Philharmonia Baroque Orchestra, Orchestra of the Age of Enlightenment, and Tafelmusik. She has recorded with Harmonia Mundi, Philips/Seon, Hungaroton, EMI and Titanic. She teaches at the University of Utrecht, and plays and teaches at many festivals including the annual Holland Festival in Utrecht.