August 13 - 20, 2016
Ars Musica, Poetica, & Chorea: Matches Made in Heaven
Imagine the stunningly beautiful setting of Pinewoods Camp as a base for exploring the inter-connections of poetic texts, dance rhythms, and various musical forms in early music coupled with a variety of dancing, English country, Baroque, and International folk.
Early Music Week 2016 offers joyful opportunities and challenges to players, singers and dancers of every level, from beginners to the highly experienced. As classes unfold through the week, we will explore and discover the innovation and creativity that lie behind some of the world’s most vibrant and compelling music, listening and playing with deeper understanding, as well as dancing together and enjoying all that the Pinewoods community has to offer. The week also offers two intensives: English Dance Leaders Training in Music and a program for advanced singers and players focusing on repertoire from the late Renaissance and early Baroque..
Instrumentalists may focus intensively on their primary instruments, enjoying the opportunity to play or sing with others in mixed ensembles and find time to explore something completely new. Singers can delve into early music repertoire in small groups, sing in a chorus and/or collegium, and try an introductory instrumental class. Dancers and ALL will find classes in English country dancing, Baroque dance, and International dance/music. And those wishing to expand their musical horizons are invited to take instrumental or vocal classes. Everyone is invited to enjoy English country dancing, with instruction during the day for all levels. This elegant, low-impact, fun and welcoming style of participatory dance is the highlight of every evening. Dances are led by expert callers with music played by an elegant live band. All are warmly encouraged to participate.
The Week at a glance:
- Each day will begin with Tai-Chi and vocal and stretching warm-ups.
- First period morning ensembles are grouped by instrument and level and will also include a Baroque master class for advanced players and singers.
- English Country dancing instruction by level follows.
- After lunch, there are two periods, and offerings include:
- Other afternoon classes include:
- Introductory instrumental classes (viola, da gamba, harp, flute, bagpipe). Instruments are provided (nominal rental charge for harp).
- Recorder Orchestra (with wide range of repertoire)
- Medieval, Renaissance and Baroque ensembles
- Loud Band
- International Folk Dance/Music class
- Baroque Dance
- English Country Dance
- Our outstanding faculty includes active professionals and acclaimed teachers and coaches of early winds (recorder, flute, capped reed, shawm, dulcian, sacbut, cornetto) strings (viola da gamba, Baroque violin, cello, vielle, rebec), voice, chorus, harp, keyboard. The program will also include mini lecture/recitals by faculty and side-by-side play/sing-ins, with more advanced participants assisting those less experienced. The week closes with a faculty concert and student performances before a final banquet and celebration.
Experience this in-depth music and dance week surrounded by exceptional natural beauty, with time for relaxation, swimming, hiking, canoeing and delicious home-cooked meals in the open-air dining hall. What better way to get inside music, and to bond with others of like mind, than to play, sing, dance, and learn together in this magical environment?
~ Larry Zukof, Program Director.
Lisa Terry will be the Viol Maven for Early Music Week this summer. She'll have a supply of nylon strings to sell, a few Sensicore strings to lend, and the expertise to get your pegs turning and your soundposts upright. See the Viol Maven each day during breakfast and lunch to make an appointment before first morning or afternoon class. Please read Viol Survival Tips, and put them in practice BEFORE camp!
Modeled on the late-16th-century Italian gatherings of a group of skilled peers working together to develop new ideas, this high-level intensive is for advanced players and singers. We will focus on music from the High Renaissance and Early Baroque, and work towards a mini-concert at the culmination of the week. Only players and singers with advanced reading skills and solid technique will be accepted. Music will be selected for the instrument mix registered and will be sent out in advance. We will work all together on a large piece or pieces, but also in break-out groups on smaller pieces.
The members of the Accademia will work in three focused daily classes:
- In the morning class, you will work with others on your same instrument at a high level.
- First afternoon class will be with Sarah Mead and Michael Barrett, all voices and instruments together.
- In the second afternoon class, singers will join the Chorus with Michael, instrumentalists will work with Sarah and Lisa. Brasses and double-reeds may choose to attend Loud Band at this time.
The second morning period will be left free so that members of Accademia may enjoy the English country dance classes that help to make CDSS Early Music Week at Pinewoods unique among summer workshops.
All classes with viols will be held in enclosed spaces to minimize the effects of the inevitable humidity of our pond-side setting.
~ Sarah Mead and Lisa Terry, Program Co-Directors
The Accademia is intended for players interested in working on their ensemble skills and fluent with voice or on all instruments in a family, and able to:
- sight read all but the most virtuosic music
- play most of the ensemble repertory at an appropriate tempo without getting lost
- apply stylistic elements (articulations, bowings, ornaments, etc.) appropriately
If Sarah, Michael and/or Lisa is not already familiar with your playing, please include the name and contact information of a teacher who has worked with you recently. You may also submit a video or recording to support your application if you feel it would help us to assess your qualification for the program.
To register, please fill out both the regular Early Music Week registration, paying your deposit, and this Special Form for the Accademia.
Please clearly indicate if you would like to attend Early Music Week, if you did not get a space in the course.
|7:00-7:30||Tai - Chi For All|
|7:45-8:15||Hot Breakfast served cafeteria style|
|8:15-8:45||Cold Breakfast Coffee/Tea available|
|8:20-8:30||Vocal warm-ups For All|
|8:30-8:50||Stretches and warm-ups|
|9:00-10:25||Instrumental and vocal consorts are assigned by level, B (Beginner) to A (Advanced): recorder, viol, voice, string, harp, and the following specialized ensembles:|
|A||Advanced Recorder ensemble||Bob Wiemken|
|A||Advanced Viol consort||Sarah Mead|
|A||Advanced Voice ensemble||Michael Barret|
|Violin, Viola, Cello||The Really Old-Time Fiddle ensemble||Brandi Berry|
|Recorders, Flutes, Singers, Cellos, Gambas and Keyboard Players||Advanced Baroque Master Class||Heloise Degrugillier, Frances Fitch|
|HI-A||Baroque Master Class|
|10:45-11:45||English Country Dance Classes|
|B||Absolute Beginner's Class||Jan Elliott|
|B and up||English Country Dance for All||Barbara Finney|
|A||Advanced English Country Dance||Gene Murrow|
|11:45-12:30||Free time: Swimming, Bookstore staffed|
|1:45-3:00||1st PM Classes|
|Voices, recorders, flutes, strings, I-A||Collegium "Heavenly and Earthly Delights"||Larry Zukof, Alexa Raine-Wright|
|Singers & instrumentalists, I-A||The French Estampie||Christa Patton|
|Recorders, flutes HI-A||Baroque Ensemble||Heloise Degrugillier|
|Musicians & dancers; All||Terpsichore: Baroque Dance and Dance Music||Barbara Finney, Francie Fitch|
|Instruments provided for the week, B||Hark the Lark: An Introduction to the Baroque Flute||Emily O'Brien|
|Instruments provided for the week, B||Strike the Viol: An Introduction to the Viola da Gamba||Lisa Terry|
|Instruments provided for the week, B||Follow the Piper: An Introduction to the Renaissance Bagpipe||Joan Kimball|
|Pre-registration||Accademia: Instruments and Voices||Sarah Mead, Michael Barrett|
|3:20-4:35||Classes include: Chorus, Recorder Orchestras, Wind Band, Baroque ensembles International dance and dance music, English country dance, Beginning harp|
|Singers, All||Chorus: Singing the Classics||Michael Barrett|
|String and wind players, HI-A||Les Caracteres de la Danse: a Baroque ensemble||Brandi Berry|
|Shawm, cornetto, sackbut and dulcian, I-HI, HI-A||Renaissance Loud Bands: Musicque de Joye! Or in the words of David Bowie, "Let's Dance!"||Joan Kimball, Bob Wiemken|
|Recorders, LI-I, HI-A||Recorder Orchestras: Banchetto Musicale||Eric Haas, Larry Zukof|
|Harps available for rent, B||The Celestial Harp: An Introduction to the Harp||Christa Patton|
|Recorders, strings, and other instruments, including chordal instruments and percussion, I-A||Balkan and Beyond: Ethnic Folk Music for Playing and Dancing||Jan Elliott, David Schonfeld|
|All||English Country Dancing Through the Ages||English Dance Leaders Training Participants, Gene Murrow|
|Pre-registration||Accademia: Instruments only||Sarah Mead, Lisa Terry|
|5:15-6:15||Free time: Informal camper readings, Swimming, Bookstore staffed|
|8:15||English Country Dancing For All Camp Dance|
Lawrence (Larry) Zukof (recorder and voice) has performed extensively with numerous renowned professional performing groups. He toured the U.S. and Europe with the Boston Camerata and has been a recorder soloist with Civic Orchestra of Boston, Orchestra New England, the Baroque Orchestra of Holy Lutheran and Trinity Church. He sang regularly with the Pro-Arte Singers, Connecticut’s pre-eminent professional chamber choir. As a singer and recorder soloist, Mr. Zukof has also performed with Cappela Cantorum and at the Yale Norfolk Summer Festival, the Yale Center for British. He currently sings with Yale Camerata, the Chamber Chorus and is the baritone section leader at the historic Center Church on the New Haven Green. Mr. Zukof teaches privately and is a regular workshop leader for various chapters of the American Recorder Society (ARS), including the Connecticut Recorder Society, Eastern Recorder Society of CT, the New York Recorder Guild, and Long Island. He has been on the recorder faculty at Amherst Early Music Festival, and has taught early music workshops at Westminster Choir College, Skidmore College, and Early Music Week at Pinewoods where he is the director (2015-16). He is currently a recorder teacher for the ARS national Traveling Teacher Program. Recently, Mr. Zukof stepped down as the Executive Director of the Neighborhood Music School (1996-2014), one of the ten largest community arts schools in the country. Before coming to New Haven, Mr. Zukof was the Director of Brookline Music School, MA (1984-1996). He received his Master of Music degree from the New England Conservatory of Music (Boston, MA) in early music and continues his musical journey currently focusing as well on viola da gamba and violin. www.lawrencezukof.com
Anney Barrett, soprano, holds a BA from the University of Notre Dame in Vocal Performance and Great Books and an MM in Vocal Performance from the Longy School of Music. An enthusiastic and adventurous musician, Anney is delighted to be a frequent collaborator with local composers in presenting and recording new solo and choral works, including a recent project with the Boston Composers' Coalition. She performs regularly throughout the greater Boston area with her professional quartet, Anthology, singing 40s jazz, folk, and world music. Recent collaborations include work with Cambridge Concentus, Labyrinth Choir, Schola Cantorum of Boston, The Boston Cecilia, Convivium Musicum, the Boston Concerto Soloists and the Boston Modern Opera Project. Anney co-owns and manages The Green Room, a new arts studio in Union Square, Somerville, where she also maintains a private voice studio. She is the resident soloist at Christ Church Andover, under the direction of Barbara Bruns. Anney is currently pursuing an MA in Mental Health Counseling at Lesley University.
Michael Barrett is a Boston-based conductor, singer, multi-instrumentalist, and teacher. He has performed with many professional early-music ensembles, including Blue Heron, the Boston Camerata, the Huelgas Ensemble, Vox Luminis, the Handel and Haydn Society, Boston Baroque, Nederlandse Bachvereniging (Netherlands Bach Society), L’Académie, Seven Times Salt, Schola Cantorum of Boston, and Exsultemus. He can be heard on the harmonia mundi, Blue Heron, and Coro record labels. Michael has served as music director of Convivium Musicum since 2007. He also directs the Meridian Singers, a vocal ensemble based at MIT, and has served as guest director of Cantilena, a women’s chorus in Arlington, and as a visiting lecturer in choral conducting at Bridgewater State University. Michael is currently an Assistant Professor at the Berklee College of Music, where he teaches conducting courses for undergraduates. He is also Lecturer in Music at Boston University, where he teaches seminars in Renaissance and Baroque choral repertoire for graduate choral conducting students. With his wife Anney he is co-owner of The Green Room, a multipurpose arts studio in Union Square, Somerville, where he maintains a private studio for lessons in voice and music theory. Michael earned an AB in music from Harvard University, an MM in choir conducting from Indiana University Jacobs School of Music, and a First Phase Diploma in Baroque and Classical singing from the Koninklijk Conservatorium (Royal Conservatory) in The Hague, The Netherlands. In 2015 he completed his DMA in choral conducting at Boston University.
Recent 3Arts awardee and Violinist/Fiddler Brandi Berry, whose "four-string acrobatics" and "indispensable skill" (TimeOut Chicago) have been praised as "alert [and] outstanding" (Chicago Classical Review), has also been noted for her "riffs.. powered by a flashing blur of bow arm, [as they] rolled out with irresistible glee" (Washington Post). She has appeared with numerous ensembles including but not limited to Kings Noyse, Apollo's Fire, Newberry Consort, Ars Lyrica Houston, Bach Society Houston, Musica Angelica, Toronto's Classical Music Consort, Indianapolis Baroque Orchestra, Mountainside Baroque, and Ensemble Phoenix Munich. Ms. Berry has also performed on numerous series throughout the U.S. and Canada including at the Library of Congress, a repeat performer on the Dame Myra Hess series, Ars Musica Chicago, the 2010 CMC Springtime Handel Festival in Toronto, the Boston, Berkeley, Chicago, Indianapolis, and Madison Early Music Festivals, Kansas City's Friends of Chamber Music, Early Music Now, Chicago's Classical Music Mondays at the Cultural Center, and the Academy of Early Music in Ann Arbor. She has also appeared with various bluegrass and country bands in Texas and in Chicago as part of the Chicago Barn Dance Company, the Irish American Heritage Center, Glenwood Arts Festival, and others. On the air, Ms. Berry has been heard on the Live and Impromptu series of Chicago's WFMT classical radio station, WNUR, and Wisconsin Public Radio. Brandi serves on the faculty of DePaul University as co-director of their Baroque Ensembles program, as string faculty for the Madison Early Music Festival and fiddle faculty for the Old Town School of Folk Music. A student of Stanley Ritchie and Cynthia Roberts, she holds degrees in violin performance from Indiana University and the University of North Texas. Ms. Berry is artistic director of the Bach & Beethoven Ensemble.
Héloïse Degrugillier (recorder) has worked extensively as both a recorder performer and teacher throughout Europe and the U.S. She has performed with leading period ensembles, including the Boston Early Music Festival Opera, Newport Baroque, Harmonious Blacksmith, the Dunya Ensemble and L'Academie. Recent performances include a concert at the Indianapolis Early Music festival that was praised by the Indianapolis Nuvo: “Recorder players Justin Godoy and Héloïse Degrugillier blended their dissimilar-looking instruments to near perfection.” Héloïse also enjoys an active teaching career, working with the Boston Recorder Society, Recorder Guild of New York and others. She has recently completed her studies in the Alexander Technique and has a Masters in Music from the Utrecht Conservatory in the Netherlands. She studied recorder with Heiko ter Scheggett, Saskia Coolen and Pedro Memelsdorff.
* Jan Elliott
Jan Elliott began her recorder studies at age 3. Her first teachers were Ruth Guillard, student of Bernard Krainis (and wife of a founding Pinewoods Morris Man), and school music teacher and early music specialist Patricia C. Brown. Later she explored advanced baroque repertoire with W. Britt Wheeler at Wesleyan University, earning a BA in music and education. Her MA thesis from UCLA focused on dance/music relations, and she happily straddles both worlds. She currently maintains an active private studio and teaches music at elementary and middle school levels. She directs the Woods Hole Recorder Consort and performs with Ensemble Passacaglia, a quartet specializing in medieval, renaissance and world music, and Courante, a baroque ensemble that has performed across Cape Cod and at the Boston Early Music Festival. She has been a guest artist with numerous early music groups including Oyez!, Philidor, the Solstice Singers, Falmouth Chorale, Mastersingers-by the Sea and Proteus Consort. She also has an active life in the worlds of traditional music and dance, teaching morris and sword dance at the Waldorf School of Cape Cod, directing the Vineyard Swordfish and playing for the Pinewoods Morris Men and other teams. She also maintains a children's traditional dance troupe. She has been on staff at many Pinewoods sessions, and served for 12 years on the board of Pinewoods Camp, Inc.
Barbara Finney is one of the East Coast's top English country dance leaders. Described as "articulate, genial and serene," she is known for her clear teaching and welcoming presence. Her varied dance background includes teaching and performing baroque, renaissance, morris, longsword and Scottish as well as English country dance. A regular dance leader at the Country Dance Society, Boston Centre, Barbara has led workshops across the U.S. and in Canada, has taught at many dance weeks and has served as program director for CDSS English Dance Week at Pinewoods. She dances longsword with Still River Sword and was a member of Ingrid Brainard's Cambridge Court Dancers, a troupe known for the accuracy of its historical reconstructions.
* Frances Fitch
Frances Conover Fitch has toured extensively in North America and Europe and performs with many prominent early music ensembles. She helped found the groundbreaking ensemble for 17th-century music, Concerto Castello, and has been described as a “delightfully inventive and compelling” continuo player. Ms. Fitch has participated in major music festivals, including Tanglewood, Aix-en-Provence, Pepsico Summerfare, Tage Alter Musik (Regensburg), the Boston Early Music Festival, and the Festival de Musica Antigua in Mexico. Ms. Fitch has made more than a dozen recordings, including a double CD of music by Elisabeth-Claude Jacquet de la Guerre, featuring something from every compositional genre she explored. Her playing has been noted for its “precision and delicacy of wit.” She was a member of the faculty of the Longy School of Music for nearly three decades, and served as Chair of the Early Music department there. In 2006, Longy awarded her the George Seaman Award for Excellence in the Art of Teaching. Ms. Fitch is on the faculties of Tufts and Brandeis Universities and The New England Conservatory. In 2012-13, she was Guest Professor at Ferris University in Yokohama, Japan. With Jack Ashworth of the University of Louisville, she is co-author of the figured bass workbook, Running the Numbers. She also maintains a private studio in the Boston area, and is Minister of Music at St. John’s Episcopal Church in Beverly Farms, MA.
* Eric Haas
Eric Haas has taught at New England Conservatory, Tufts University and Wheaton College, as well as numerous early music workshops, including Amherst Early Music, the Long Island Recorder Festival and the Mideast Workshop. Mr. Haas is well known for his many transcriptions and editions for recorder. He performs on recorder and early flutes with lutenist Chris Henriksen as Pentimento and with the Renaissance flute consort Travessada. He served for many years as Music Director of the Boston Recorder Society and manages the retail division of the von Huene Workshop, Inc.
* Joan Kimball
Joan Kimball, artistic co-director and a founding member of Piffaro, The Renaissance Band, has toured and concertized with the ensemble throughout the U.S., Europe, and parts of South America, and has performed with many of the leading early music artists and ensembles in this country. She gave full time to early music performance in 1980 after a number of years as an educator, and still treasures her work with students of all ages. She teaches recorder and early winds to children and adults and is on the music faculty of The Philadelphia School, an elementary and middle school, where she has a full roster of private recorder students and recorder ensembles. Joan also organizes Piffaro’s educational programs, initiated a residency in a Philadelphia School district elementary school where she taught recorder and percussion to third grade classes, and plans special outreach projects built around Piffaro’s concert series. In addition, she collaborates with instrument maker Joel Robinson of New York City on the construction of Medieval and Renaissance bagpipes and is a maker of double reeds for Renaissance shawms, dulcians and capped winds. Joan teaches bagpipe, recorder and double reed classes at summer music workshops and festivals. In addition to her recordings with Piffaro she can also be heard on Vanguard Classical, Eudora and Vox Amadeus. www.piffaro.org/players/joan-kimball
* Sarah Mead
Sarah Mead teaches, performs, and proselytizes polyphony in the Boston area. She is a Professor of the Practice of Music at Brandeis University where she has directed vocal and historical instrument ensembles and taught music history since 1982; she currently chairs their interdepartmental program in Medieval and Renaissance Studies. In 2007 she received the Thomas Binkley Award from Early Music America for outstanding achievement in performance and scholarship by the director of a collegium musicum. She served as Music Director of the annual Conclave of the Viola da Gamba Society of America for seven years and oversaw their 50th anniversary celebration. Overseas she has performed and taught in Brazil, Japan, Australia, New Zealand and the UK, and is a sought-after lecturer and ensemble-coach in the US, where she is a founding member and music director of Nota Bene Viol Consort. Her editions and commentary on both recent and historical works for viols are published four times a year in the Newsletter of the VdGSA under the title "NewsMusic," and her original music for viol consort is published by PRB.
* Gene Murrow
Gene Murrow has been an English country dancer and musician since 1965 and has taught and called since 1988 at clubs, workshops, festivals and balls throughout the U.S. as well as Britain, Europe and Japan. As a dance musician he performs on recorders and concertina, has made four CD recordings for dances of Fried Herman and Gary Roodman, and is the Producer of the series of English dance recordings featuring the Boston-based band Bare Necessities. At the 2001 EFDSS/Dolmetsch Historical Dance Society conference in London he was invited to present a paper tracing the history of English country dancing in America, and in 2004 he was honored as the featured country dance caller and teacher at the gala 50th anniversary of England’s Sidmouth International Festival. He has returned to England many times to teach Festivals, Gatherings, and club dates across the country. In 2006, he toured Japan for two weeks teaching English dance workshops, where he returned in 2011 to instruct over 200 folk dance teachers at the National Folk Dance Federation annual conference. Gene approaches English country dance as a medium in which dancers and musicians alike participate in the realization of works of art. His dance workshops strive to make their richness of structure, musical form, texture, and affect enjoyable and appreciated by dancers of all abilities. Gene is the founder and Executive Director of Gotham Early Music Scene, a service and advocacy organization for early music in New York City, and has served on the Board of Directors of CDSS, Early Music America, and the American Recorder Society. He currently is a member of the Board of Pinewoods Camp, Inc.
Emily O'Brien is a native of Washington, DC where she played recorder from a young age. She studied recorder and french horn at Boston University, and recorder and Baroque flute at the Hochschule für Musik in Karlsruhe, Germany. She performs in recorder ensembles and historical chamber music, as well as English Country Dance bands. As a teacher, she works with private students and ensembles in the Boston area and at summer workshops. Emily's solo album "Fantasies for a Modern Recorder" explores the variety and possibilities over four centuries of repertoire offered by the Helder Harmonic Tenor recorder, including a variety of flute and violin music usually inaccessible to the recorder as well as new works commissioned for the project. In her spare time, she enjoys long distance cycling.
Christa Patton, historical harpist and early wind specialist, has performed throughout the Americas, Europe, and Japan with many of today’s premier early music ensembles including Piffaro the Renaissance Band, Early Music New York, The King’s Noyse, Folger Consort, Newberry Consort, Apollo’s Fire, The Toronto Consort, Parthenia, ARTEK, Pegasus, New York State Baroque Orchestra, and many others. As a baroque harpist specializing in 17th century opera, Christa has performed in many early opera productions including New York City Opera and Wolf Trap Opera. She can be heard playing baroque harp and a multitude of other instruments on recordings such as "Istampitta" [Lyrachord] "Chacona" and "Trionfo d'Amore e della Morte" [Dorian] and Nobile Donna on ATMA among others. Christa is on the faculty of Rutgers University and the Graduate Center at CUNY. She is also musical director of the Baroque Opera Workshop at Queens College, specializing in the works of early 17th century composers, which she started with co-director David Ronis.
David Schonfeld is a folk dancer and woodwind player based in West Hartford, CT. He has degrees in Music and Music Theory from CCNY and Yale. He also studied South Indian classical music for many years, both in the U.S. and in Madras (now Chennai) on a Fulbright, concentrating on vina. David plays oboe, clarinet, and recorder and has been focusing on baroque oboe since 2013. Participation in the Amherst Early Music Festival has deepened his appreciation for early music. David has done international folk dance since 1983 and is a core member of Always on Sunday, in Wethersfield, CT. Since 1988 he has been a member of IFD dance bands, first A Different Village, and later Hijaz. He has prepared many transcriptions for use in these bands.
Cynthia Shaw, classical pianist, singer, and actor has been playing for English country dancing in New York since 1995. As one New England dance caller has noted, she plays '...springing and spirited backups for other instruments, and her solos positively sparkle…’. She has been on the vocal and piano accompanying faculties of Pinewoods, Buffalo Gap, The John C. Campbell Folk School, Third Street Music Settlement Chamber Music Program and The Brooklyn Friends School and plays for English Country Dances at CD*NY, LITMA and Princeton Country Dancers. She is a professional choral singer and sang with the NY Philharmonic when they won two Grammy Awards. She is the former musical director for the New York Christmas Revels and is writing a one-woman solo show, Velvet Determination, about her classical piano journey from Pueblo, CO to The Manhattan School of Music in NYC. She lives in Brooklyn, NY with her husband, David Simonoff.
* Lisa Terry
Lisa Terry (viola da gamba, violoncello) practices, performs and teaches viola da gamba and violoncello in New York City, where she is a member of Parthenia and the Dryden Ensemble (Princeton). Lisa is principal cellist and viol soloist with Tempesta di Mare, Philadelphia’s baroque orchestra, and she serves the Viola da Gamba Society of America as President. Lisa teaches viola da gamba and cello privately in New York and at workshops around the country, with expertise in technique analysis and discovery; baroque viol solo repertoire; lyra viol; and ensemble coaching (especially ‘how to work well as a chamber ensemble’). She was a founding member of ARTEK, and has performed with the New York Philharmonic, New York City Opera, Juilliard Opera Orchestra, Opera Lafayette, Orchestra of St. Luke’s, Winter Park Bach Festival, Bethlehem Bach Festival, Concert Royal, New York Collegium, American Classical Orchestra, Four Nations Ensemble, Santa Fe Pro Musica and Chicago Opera Theatre.
* Bob Wiemken
Bob Wiemken began his musical life as a French hornist many years ago and continued pursuing modern brass for some 18 years. Eventually, however, he became inexplicably enamored of the double-reed instruments and leapt at the chance to begin playing early reeds in the Collegium while a graduate student in Classics at the University of Pennsylvania. That began a long love affair with medieval through early Baroque double-reed instruments that has only crescendoed over the past 27 years of playing, exploring, studying, maintaining, servicing and, above all, making reeds for shawms, dulcians, bassoon, krumhorns and more, for himself and many others. As Artistic Co-Director of Piffaro, The Renaissance Band, he has performed worldwide, recorded extensively, built over 100 programs of Renaissance and early Baroque music and commissioned new works for early winds and chorus. He has been very fortunate to perform with many of the world’s leading early music ensembles, in festivals in North and South America and throughout Europe, and in spaces contemporary with the music that helped him define the role, sound and capabilities of double reeds in historic performance settings. He is an eager and well-appreciated teacher and lecturer in college and university settings, having directed the Early Music Ensembles at the Esther Boyer College of Music and Dance at Temple University for 20 years, bringing the world of early reeds to modern players. He also teaches regularly at festivals and workshops throughout the country. Currently, in addition to his performing, researching, recording and educating responsibilities, he continues to attempt to plumb the depths of early reed construction, design and technique in an effort to understand the mysteries of these glorious instruments. www.piffaro.org/players/bob-wiemken
* ADVISORS, PLUS