SFEMS Medieval Renaissance Workshop at St. Albert s Priory, Oakland, CA (June 28- July 4, 2015) Class Descriptions

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1 SFEMS Medieval Renaissance Workshop at St. Albert s Priory, Oakland, CA (June 28- July 4, 2015) Class Descriptions COUNCILS AND HERETICS WORKSHOP PITCH IS A=440 CLASS A 9:15-10:30 AM Medieval and Renaissance Techniques A1 Early Music Lab: Rehearsal Techniques in the Collegium Setting (Chavarria) Having trouble with the hockets in that Machaut, or feeling the rhythms of that madrigal? Learn a few tricks to smooth out these bumps that you can later take back to your ensembles and apply to a broad range of music. A2 Musica Practica for Instruments and Voices (but text will consist mostly of solmization) (Gilbert) This course will offer a hands-on approach to the techniques of that Renaissance performers and composer lived and breathed into their music. The class will reveal just how easy it is to sing or play in faburden/fauxbourdon/falsobordone, in three or four voices, with parallel tenths, and in imitation. We will demyistify Guido s hand and solmization (it s fun, trust me!), tone and mode, tempo and tactus, musica ficta, and those sneakiest of all devices: mutation and elision! A3 Techniques for Voices: Music of the late 16 th -century Scottish Sang Schwylls (Hall) In 1560, the ideals of the Reformation took hold, and all things deemed decorative, including polyphonic music, were purged from churches. Most song schools closed, and Scotland s musical accomplishment greatly declined. In 1579, James VI legislated to reverse the deterioration and reinstituted song schools whose curriculum included metrical settings of psalms, spiritual songs and articles of the Christian Faith. In this class, we will explore this sang schwyll repertoire by such composers as David Peebles, Andrew Kemps, and Andrew Blackhall. A4 Techniques for Bowed Medieval Strings: String Music Gym: Gygges and Squeakings (Kammen) We'll explore the role of strings and instruments in early medieval music (mostly Ars Antiqua). Since so little of the written music from this era is specific to instruments, it is our challenge to create/synthesize/arrange pieces and accompaniments based on the existing vocal models. This class will involve some daily improvisation exercises. (no experience with improvisation necessary) We'll also work with existing polyphonic repertoire - early motets & the like. A5 Techniques for Harp and Bowed Strings: "Interpreting the Cantigas de Santa Maria" (La Camera Mariño) Intended mostly for instrumentalists, but percussion, winds, and singers are also welcome to explore this 13 th -century compilation of pilgrimage songs in praise of the Virgin Mary.

2 A6 Techniques for viols: "In the Service of Venus: Renaissance dances and the Pagan world." (Springfels) Using dances from Renaissance repertory, this class will explore solid playing techniques for viols. A7 Techniques for loud instruments (Verschuren) Using examples from Renaissance repertory, this class will explore good solid playing techniques for loud instruments, including dulcians, shawms, and sackbuts. The incomparable Wouter Verschuren will solve all of those pesky reed problems in front of your very eyes, will help crack the code of sackbut transposition, and will help you hone your ensemble skills in five short days!

3 CLASS B 11:00AM-12:15PM All Workshop Collegium Collegium concert will feature large works inspired by the great church councils, music inspired by personal devotion, and some rousing music from the streets and courts of Medieval and Renaissance Europe.

4 CLASS C 2:00PM-3:15PM Special Topic 1 C1 Voices & Instruments: La ciutat dels fòls: Temporal and Spiritual Power in the Middle Ages (Azéma & Kammen) The basis of this short course will be the lyric music and poetry of the troubadours and trouvères of the twelfth and thirteenth centuries, as these repertoires explore and relate to the topics of power, morality, and public life. We will examine narrative texts and songs in praise of kings and potentates and songs of satire and derision against the power of fallible mortals with excerpts from the Play of Daniel (13th century), Carmina Burana (ca. 1230), the Roman de Fauvel (ca 1310), the Cantiga de Santa Maria (ca: ), the Canso de la crozada (1228), as well as compelling works by individual authors: Peire Cardenal (c c. 1240), Philippe le Chancelier ( ), Bertran de Born (b. ca. 1140), Thibault de Champagne ( ) and others. Topics will include the social and historical context of medieval music making; musical notation and manuscript transmission; the all-important relation of poetry to music; vocal style and technique; the question of instrumental accompaniment. Participants will be encouraged to deepen their understanding of medieval lyric, singing and accompaniment, through personal performance project. C2 Voices & Instruments: Nobody Expects the Spanish Inquisition! Music from the time of the Catholic Monarchs (Chavarria) Explore some of the music from the Spanish court and Church from 1478 to 1545, from sacred polyphony to madrigals and villancicos. Explore composers such as Cornago, Encina, Morales, Anchieta, and more. (INTERMEDIATE) C3 Recorder Consort: The Song in the Mass (Gilbert) Renaissance composers based their most sacred Masses on some of the most unusual choices, from erotic courtly love songs to frankly obscene chansons rustique. In this class, we will examine the techniques they used to do this, and discover why they chose the songs they did. The answers promise to astound (who knew a Mass could cure syphillis?). The music promises to delight. Featuring music by Henircus Isaac, Josquin Desprez, Jacob Obrecht, and one of the alltime favorites: Anonymous. C4 Voices and soft instruments: Cantiones Sacrae of Tallis and Byrd (Hall) In 1575, Elizabeth I granted Thomas Tallis and William Byrd an exclusive license to print and publish music, and their first publication was Cantiones sacrae, and anthology of 34 Latin motets. We will sing and play from this 1575 collection and explore other sacred songs by both English masters from this period. C5 All Instruments, especially plucked: "Scottish Renaissance Music" (La Camera Mariño) We will explore music found in Scottish renaissance manuscripts. Learn to transcribe from renaissance lute tablature. We will discuss interpretation, Scottish musical genres, ornamentation, harmony, and more! (INTERMEDIATE/ADVANCED)

5 C6 Instruments and Voices: Saint or Heretic? (Springfels) This class will explore the laude and motets associated with the Savanorolan movement, including gorgeous music by Willaert, Le Jeune and Ravenscroft. C7 Loud Ensemble: Antipoles: Motets on text of Savonarola and Counterpoints on La Spagna by Constanzo Festa (Verschuren) The friar Girolamo Savonarola ( ) was a prophet and a preacher based in Florence. When Pope Alexander VI learned about his prophesies, Savonarola was excommunicated and tried and executed for heresy on 23 May His preachings against moral negligence and for plainness inspired reformers such as Luther. His texts inspired composers in all of Europe in the 15th and 16th century. Constanzo Festa (Rome ca ) was one of the few Italian members of the Papal choir. Festa was imbedded in the catholic tradition. He is famous for his 125 instrumental settings of the famous melody La Spagna. (INTERMEDIATE/ADVANCED)

6 CLASS D 3:30PM-5:00PM Special Topic 2 D1 Voices and instruments: The music of Guillaume Dufay ( ) (Azéma & Kammen) A central musical figure in the Burgundian school, he was possibly the most famous and influential composer in Europe in the mid-15th century. We'll look at his secular and sacred music, every piece a gem. By the end of this class, you will be able to fluently play 2 against 3 with Burgundian grace and confidence, and you will never doubt a rondeau or virelai again. D2 Voices & Instruments: " It's Not What Your Council Can Do for You, But What You Can Do for Your Council : The Council of Trent (Chavarria) Did Palestrina really save polyphony? Explore the far-reaching consequences of the last great council before Vatican I. Explore the polyphony, the reactions, and the liturgy: what changed? How do these changes alter the context of liturgical music? (INTERMEDIATE) D3 Soft Insruments, Recorder Consort, and Voices: German Music for Councils and Heretics (Gilbert) Martin Luther is often given credit for the great German tradition of the Lutheran Chorale, in which people would sing sacred words to popular melodies. However, this practice had already enjoyed tradition in German and Dutch devotional song. Composers and singers added Latin texts to love songs, translated Latin texts to the vernacular, and gathered rousing sacred and secular songs together in a wonderful collection of musical manuscripts. This class will explore those songs and their sources, including music from the Glogauer Liederbuch, the Leopold Codex, Berlin 40021, and from a wealth of German prints. D4 Voices and instruments: English Reformation through Balladry (Hall) Explore the events of the English Reformation and the birth of the Church of England through surviving broadside ballads and popular tunes. We will deal with the many issues of performance practice that surround broadside ballads, including musical selection, instrumentation, and pronunciation. D5 All Instruments, especially harps and soft winds: "Irish Music" (La Camera Mariño) A look at how traditional, native Irish music was influenced by continental European music. The harpist and composer Turlough O Carolan is one of the best examples and we will explore the fusion of these musical styles in his music. To interpret this music, we will look at original manuscript sources and historical playing techniques and discuss how to arrange tunes for the harp. D6 Low Voices and Instruments: Consorting with the Devil (Springfels) There exists a small but compelling repertoire of pieces from late medieval France and Italy that deal with the underworld, including a ballata by Zacharias de Teramo, "Deus deorum Pluto" and a mass movement based on the song by the same composer. Other composers will include Solage and Lorenzo da Firenze. (ADVANCED)

7 D7 Loud Ensemble: The enemies of music are ignorant fools (Verschuren) Secular vocal pieces from contemporaries of Luther, including Eccard, Senfl, and others. Besides sacred music on texts by Martin Luther, secular compositions in 16th century Germany, often with remarkable and hilarious texts, were flourishing alongside. We will play, look at manuscripts and enjoy the texts.