Chapter Monthly Meetings, 2016-2017
Georg Muffat (1653-1704)|
Orchestral suite Constantia from Florilegium (Augsburg, 1695)
This is terrific five-part music written by one of the most gifted exponents of an "internationalized" music style in the late 17th century. This particular collection includes not only Muffat's incomparable orchestral compositions but also plenty of technical information for performers, including bowing articulations, the use and execution of ornaments and advice about tuning. Lovely source material from a great composer and musical thinker, Constantia is full of dances with programmatic titles; we'll work on giving each piece its own character and mood as we play through the suite.
The original is scored for five-part violin band, but we will adapt it as follows:
Violin I= Treble I
Violin II= Treble II
Viola I= Tenor I
Viola II= Tenor II (or some high basses)
Bassi= Bass Viol (with any violone players more than welcome to join in the fun!).
|Frances Blaker||Treasures from the Cabinet
Treasures from the Cabinet includes beautiful pieces Frances has come across while reorganizing her music collection, including The Song Called Trumpets by Parsons, Constanzo Festa's motet on the death of Anne of Brittany, a chaconne by Lully and more. Come share in the excitement of rediscovery!
If you want to listen to the Parsons before the meeting here is a link to a recording by the Rose Consort (on youtube) https://www.youtube.com/watch?v=-hhyGuEVOs0
|Loren Ludwig||"Cadence and Musica Ficta in Consort Music"
In Renaissance music, cadences act like punctuation--they help articulate musical thought into recognizable phrases, "sentences," and "paragraphs." We will look at some of the details of how cadential syntax works in consort music and how to spot cadences and use them to clarify musical architecture and unlock expressive possibility.
|Mary Springfels||An 8-part Priuli and a gorgeous 5-part Marenzio madrigal|
|Hallifax and Jeffrey||Charpentier excerpts from the "Descente D'Orphee aux Enfers"|
|Stanford Workshop directed by John Dornenburg with Julie Jeffrey, Elisabeth Reed, and Marie Dalby-Szuts
|Adaiha MacAdam-Somer||Fantasias a5 of Michael East|
|Shira Kammen||15th century, 2-4 part sacred compositions|
|Yukimi Kambe||Conversation in consort playing|
|Pacifica Chapter Concert for Friends/Family ||.
Chapter Monthly Meetings, 2015-2016
|September 12||David Morris||I'm looking forward to spending the morning working on the four-part Suite in D minor by Matthew Locke (1621?-1677), an oft-overlooked composer active during those tumultuous decades in the middle of the 17th century.|
|October 10||Marie Szuts||We will use some American hymn tunes to work on ensemble skills ("Africa" by Billings and the classic "Wondrous Love" from the sacred harp tradition); then we'll play a 5-part variation on Wondrous Love that is spectacular on viols! |
|November 14||David Morris||Voices and Viols. By popular demand, the music for this event will be even more selections from the voices-and-viols-friendly PRB edition of L'amorosa Ero, a collection of 4-part madrigals by a slew of different Italian composers from the late 16th century. |
|December 12||Frances Blaker||What can be found on the internet? It is amazing how much music is available on the internet, both recordings and sheet music, much of it for free. We will focus on just two pieces from the vast number available: Thomas Weelke's Pavan no. 1 for five viols, also called "Mr. Weelkes his Lachrymae", and "Fortuna ad voces musicales", a 4-voice composition from the early 16th century by Ludwig Senfl. These two pieces are absolute gems, filled with beautiful melody and imaginative counterpoint. |
|January 9||Shira Kammen||Dance music from the Middle Ages, Renaissance, and Baroque, all music intended for dancing.|
|February 6||Stanford Workshop directed by John Dornenburg with Julie Jeffrey, David Morris and Mary Springfels
Bow articulation: are you really using your fingers? (All levels and sizes) John
Matthew Locke: Suite from The Little Consort. (all levels Tr T B) Julie
Basso continuo clinic: all the how's and why's! (all levels B) David
The Northern Renaissance: music 5 by Senfl, Finck, Isaac. (UI, all sizes) Mary
John Jenkins: Play his dramatic Siege of Newark. (UI-A, Tr Tr B B) John
Couperin's G Major duet transposed to C! (all levels, T only) Julie
Struggling with the Dark Side: Horrible keys and how to handle them. (All levels and sizes) David
Purcell's Sonnatas of Three Parts, adventurous and not well-known music trans. by G. Houle for viols. (UI-A, T B) Mary
Advanced Solo: Biber Toccata for viol and b.c. (B ) John
PRB's new Michael East 5 for low viols. (all levels, TT BBB one 7-string) Julie
German Big Band: 5-part music by Hammerschmidt. (All levels and sizes) David
Treble technique: Fear of flying- shifts and stretches beyond the frets. (All levels) Mary
|March 12||Amy Brodo||.|
|April 9||Pat O'Scannell||.|
|May 14||Hallifax and Jeffrey||.|
|June 4||Pacifica Chapter Concert for Friends/Family ||.
|July-August||2016 VdGSA Conclave in Forest Grove, Oregon||.|
Chapter Monthly Meetings, 2014-2015
|September 13||Shira Kammen||Compositions based on the gorgeous chant melody 'Ave Maris Stella', including music of Josquin des Pres, Monteverdi, Dufay & Victoria.|
|October 11||Hallifax and Jeffrey||Julie (assisted by Peter) will lead a workout focusing on tidying up those pesky dotted-rhythm passages that sometimes pop up in consort music. The session will include some technical troubleshooting, exercises and some work on the attached excerpt from William Young's Fantasia a3 no. 8.|
|November 8||Roy Whelden||Roy Whelden plans to explore several late Bach canons, specifically the recently (1977) discovered Verschiedene Canons from the Goldberg Variations. These are ecstatic and complex contrapuntal creations almost unequaled in the literature. Unspecified in instrumentation, they work well indeed on viols.|
|December 13||David Morris||David Morris will work with us on a pair of Chaconnes, one in five parts by Lully, and one four parts by Purcell. We'll get a crash-course in French style for the Lully, and then see just how much of that might apply to Purcell's compositions. 1st treble parts go up to high c, and David will play along with the brave souls who want a challenge at the high-end!|
|January 10||Elisabeth Reed||A Musical Banquet: An exploration of the Johann Hermann Schein's only collection of instrumental music, the Banchetto musical, 1617. This collection contains twenty separate variation suites, which are among the earliest and finest examples of this type of form. There will be a Feldenkrais appetizer preceding this smorgasbord of dance movements. |
|February 21||Stanford Workshop directed by John Dornenburg, with Julie Jeffrey, Adaiha MacAdam-Somer, and Lynn Tetenbaum||.|
|March 14||Tobi Szuts and Brady Lanier||Two lamentations: one of crecquillon and one of tallis, focusing on how to interpret the music in a choral way, and a couple unique ways to phrase this kind of texted music.|
|April 11||Marie Szuts||Lasso's La nuict froide et sombre and Bonjour, mon coeur are delightful when sung, but also exquisite when played instrumentally. We'll work on good ensemble technique and breathing together as a group. |
|May 9||Frances Blaker||.|
|June 6||Pacifica Chapter Concert for Friends/Family ||Note change of date!
Chapter Monthly Meetings, 2013-2014
|September 14||Elisabeth Reed||Effective Use of your Entire Bow: An exploration of the three main types of bowing with exercises and musical examples.|
|October 12||David Morris||Voices and Viols. Our music this time around will be a mixed bag of late Renaissance madrigals edited by Peter Ballinger and Leslie Gold of PRB Productions. Composers include Weelkes, Coperario and Sigismondo d'India. The styles, forms and moods will be all over the map, and it's all first-rate.
|November 9||Amy Brodo||Several charming fugues and canons by August Klengel, a German composer in the late 18th and early 19th century who studied with Clementi.|
|December 14||Josh Lee||We will start the day with a left hand warm up and question and answer session about left hand, arm and finger technique.|
|January 18||Farley Pearce||"Canons and Musical Curiosities." Including Teleman's canonic sonatas and short pieces by Bach, Mozart , Beethoven ,etc. that that demonstrate a neat trick.|
|February||Stanford Workshop with John Dornenburg and others||.|
|March 8||Julie Jeffrey and Peter Hallifax||French viol consort music.|
|April 12||Yukimi Kambe||Viol expression in the consort play longing to the voice -- speak and sing, playing from vocal music by Schutz, Gesualdo, Morley and Matsushita.|
|May 10||Roy Whelden||Purcell as theorist and composer for the viol. Coaching for ensembles who will be performing at the afternoon party.|
|May 10||Pacifica Chapter Concert for Friends/Family ||.
Chapter Monthly Meetings, 2012-2013
|September 8||Josh Lee||Care of the left hand - increasing efficiency, reducing stress and avoiding injury.|
|October 13||Farley Pearce||The Bourree and possibly the Courante from J.S. Bach's Suite #3 for cello adapted for any size viol, and, time permitting, a Scottish tune from fiddler Nathaniel Gow's 18th century collection.|
|November 10||Pat O'Scannell||'Road-mapping' for more fluid and concise bowings: The forearm, the hand and then the fingers (in that order) are utilized to execute long, medium and fast notes. In addition, the whole bow, about half the bow or less, and very little bow are used to execute these same long, medium and fast notes.|
|December 8||Marie Szuts||.|
|January 12||Mary Springfels||.|
|February 9||Stanford Workshop with John Dornenburg and others||.|
|March 9||Shira Kammen||.|
|April 13||David Morris - Voices and Viols||.|
|May 11||Julie Jeffrey and Peter Hallifax||.|
|June ||Pacifica Chapter Concert for Friends/Family||.