“There are 35 original sources for Psyché, all by Lully,
but none of them was published during his
lifetime.... So there is no authoritative source,
and certainly none from the 1678 version.”
– Paul O’Dette
ILL
US
TR
coryphee roles.
So many
singers, like
the sisters
of Psyché,
show up in
the first
act and
never
return. So
we’re doubling parts
throughout.”
BEMF is
often themed
around a national music, but this
Jean-Baptiste Lully
year, O’Dette says,
the theme comes from
/
the opera, and from a
,
particular painting. “The
Louvre has a painting that depicts
the feast of the gods, an enormous banquet scene. It’s exactly like the final scene
all sorts of stars performing for each
of Psyché, and so that’s what we’ve decidother – particularly the final scene, the
wedding of Cupid and Psyché, when all ed to do for this festival.”
Staging a 17th-century opera with
the gods and goddesses enter with their
confusing texts is bad enough; mounting
entourages.”
The use of elaborate stage machinery an accompanying festival that brings
in the original has also hampered a mod- instrument makers, musicians, and fans
from all over the world is downright
ern revival, but the Festival is investing
Herculean. BEMF executive director
extra resources in achieving the necessary technical legerdemain, using authen- Kathleen Fay speaks sanguinely about
tic reproductions of 17th-century mech- the task, but it’s clear that it takes lots of
anisms. As O’Dette and Stubbs pointed time, money, and luck. “It’s a fascinating
process that involves years of reading
out in a BEMF Newsletter: “Planning
for the opera gives BEMF an entrée into submissions, listening to CDs, and working with the staff,” she says. “We spend
the creation of authentic replicas of
two full committee weekends with Paul,
Baroque stage machinery, which will
Stephen, two board members, two corenable a number of highly dramatic
poration members, and two additional
scene stealers.... For this Festival opera,
musicians going over materials. I’ve
the special effects promise to dazzle
never calculated how much time we
nearly as much as the singers and
spend at this, but it’s significant.”
dancers on stage!”
Co-artistic directors O’Dette and
“Also challenging for this piece is that
Stubbs share in the decision making
normally an opera has a cast of about
process, but it’s far from scientific. “Basieight to ten singers and a chorus,”
O’Dette points out. “Here we have four cally, we do it on availability,” O’Dette
or five major roles and about 20 smaller, says. “When Stephen is busy, I pick up
AT
IO
N:
GI
RA
UD
O
N
46
AR
T
RE
SO
UR
CE
NY
Spring 2007 Early Music America
the slack and vice-versa.”
For Fay, the hard part is turning down
great players. “Excellent groups have to
be excluded, and that’s tricky. The good
thing for us is that we have a regular
concert season, and so if we can’t
include a group or a performer in the
festival, we can try to get them for our
regular concert season. In a way that’s
the wonderful news: there are a staggering number of new performers who are
great.
“We try for a mix of returning
favorites – back by popular demand –
new artists, and also unusual combinations of artists. And obviously we want
to make sure that all genres and instruments are represented.”
For Fay, the artistic decisions are not
the only struggle. There’s also the matter
of raising $3 million, less than half of
which comes from ticket sales. She
brings a fresh and unusual approach to
that work, however. “I consider it part
of the joy of my job,” she says. “Don’t
get me wrong; I have many sleepless
nights as we get close to the end of the
fiscal year. But people give to people, not
to causes, and showing someone that
you believe in something great is really
what support is all about. We’re always
trying to educate, to show people in
small concert settings what the larger
picture is all about. If you have a chance
to pull people in slowly, and carefully,
then you can get their support.”
Later in the month, an additional
3,000 people will see repeat performances of Psyché at the Mahaiwe Performing
Arts Center in Great Barrington, Massachusetts, a coproduction with the Berkshire Opera Company. There are plans
to take Psyché to Europe as well, although
at press time nothing was finalized.
Besides Psyché, other Festival highlights include an opening concert by
David Douglass’s superb The King’s
Keith Powers covers classical music for the
Boston Herald.
Three stars of the BEMF Psyché production:
from the top, Carolyn Sampson in the
title role, Karina Gauvin as Venus,
and Aaron Sheehan as Amour.
Noyse at Jordan Hall, appearances by the
Orlando Consort, the BEMF orchestra,
Ensemble Clement Janequin, Benjamin
Bagby and Sequentia presenting “Edda,
Viking Tales of Lust,” Royal Wind
Music, Le Poeme Harmonique performing traditional French romances and
laments, and Eric Hoeprich’s Nachtmusique. Individual recitals and master
classes feature early music favorites like
recorderist Paul Leenhouts, Kristian
Bezuidenhout, Marie-Ange Petit, gambist Phillipe Pierlot, Ellen Hargis, and
Alexander Weimann.
Early Music America and other
groups like the American Recorder Society, the Boston Clavichord Society, and
the Viola da Gamba Society will be staging events and holding meetings, and a
special symposium will present early
music iconographer and recorder maven
Anthony Rowland-Jones.
Complete information is available
The 2007 Boston Early Music Festival is making a big investment in re-creating 17th-century
online at www.bemf.org or by calling
stage machinery for its centerpiece production of Psyché. Top, a diagram for a typical
617-661-1812.
concluding “gloire.” Above, a stage model for Psyché by designer Caleb Wertenbaker.

Early Music America Spring 2007
47
Summer
Org an
Academy
JOHN GREW
ARTISTIC
DIRECTOR
For information contact:
McGill Summer Organ Academy
555 Sherbrooke Street West
Montreal, Quebec, Canada H3A 1E3
tel: 514-398-5530, fax: 514-398-8061
www.music.mcgill.ca/organ
M O N T R E A L ,
48
Spring 2007 Early Music America
Marie-Claire ALAIN • James David CHRISTIE
John GREW • Hank KNOX
Olivier LATRY • Jan OVERDUIN
William PORTER • Carole TERRY
Ben VAN OOSTEN • Patrick WEDD
J U L Y
9 - 1 9 ,
2 0 0 7
The 2007 EMA Guide
Workshops and Festivals
March
* 1 - 6 March Montana Early Music Festival, Helena
and Missoula, MT. Dir: Kerry Krebill. The 5th annual festival
is sponsored by Musikanten Montana and comprises four
concerts in Helena and three in Missoula spotlighting the
new organs in St. Peter’s Episcopal Cathedral (Helena) and
St. Paul’s Lutheran Church (Missoula). Festival guest artists
Evanne Browne, Marjorie Bunday, and Kevin Sutton will
perform vocal chamber music on March 1; Friday’s concert features cathedral organist Denise Finn and guests on
St. Peter’s newly rebuilt Moller organ; Saturday’s concert
will feature Domenico Scarlatti’s Stabat Mater for double
choir SSATB and orchestra. Sunday afternoon Katherine
Skinner and other Baroque flutists perform at the Catholic
Cathedral of St. Helena; Sunday evening is a repeat of Saturday’s Helena concert at St. Paul’s in Missoula. Monday
evening at St. Paul’s the Brandhout Ensemble performs
chamber music, with vocal soloists, and Tuesday evening is
an organ recital on St. Paul’s new Centennial Organ.
Tickets are available for individual concerts or for the
series in Helena or Missoula. FMI: Kerry Krebill, artistic dir,
Musikanten Montana, 8 Park Pl, Clancy, MT 59634-9759;
tel: 406/933-5246; fax: 406/442-5183;
musikantenMT@aol.com
2 - 4 March Early Music Weekend in Historic San
Antonio, San Antonio, TX. Dir: Mimi Mitchell. Includes
master classes, lectures, and concerts. Participants and
teachers reside in the charming bed and breakfasts of the
historic Monte Vista district, where the course will take
place. Faculty/Performers: Jed Wentz, traverso; Mimi
Mitchell, Renaissance and Baroque violins; Richard Egarr,
harpsichord. FMI: Mimi Mitchell, Hogeweg 80, Amsterdam, 1098 CG NETHERLANDS; tel: 31 20 6933157;
mimimitchell@hetnet.nl; www.earlymusicsanantonio.com
PHOTO: WILLIAM STICKNEY
3 - 11 March International Tropical Baroque Music
Festival, Coral Gables, FL. Dir: Kathryn Gaubatz; artistic
dir: Miles Morgan, Jay Bernfield. Faculty/Performers: Miami
Bach Society Chamber Orchestra, Camerata Köln, Les
Chantres et les Pages, Alain Pacquier, Lydian Steel, Elyma.
FMI: Kathryn Gaubatz, exec dir, The Miami Bach Society,
PO Box 4034, Coral Gables, FL 33114; tel: 305/669-1376;
fax: 305/669-1376; Info@miamibachsociety.org;
www.miamibachsociety.org/baroquefestival.htm
7 - 10 March 2nd Annual Hot Springs Early Music
Retreat, Hot Springs, MT. Dir: Katherine Skinner. Chamber music sessions are interspersed with soaks in the hot
springs at the historic Symes Hotel. Coaching is available
for Baroque flute, harpsichord, and small ensembles.
Faculty/Performers: Katherine Skinner, Lucien Hut. FMI:
Katherine Skinner, Brandhout Ensemble, 112 McLeod St,
Missoula, MT 59801; tel: 406/543-5059;
pianosint@blackfoot.net; www.pianosint.com
8 - 10 March 6th International Mae and Irving
Jurow Harpsichord Competition, Denton, TX. Dir:
Charlotte Mattax. Sponsored by the Southeastern Historical Keyboard Society and open to harpsichordists of any
nationality who are under the age of 33 at the time of the
competition. Prizes to be awarded total $9,750. After a
preliminary screening by CD, the semi-final and final
rounds will be held at North Texas State Univ. Jury: Arthur
Haas, Charlotte Mattax, Davitt Moroney, Jacques Ogg,
Webb Wiggins. FMI: Charlotte Mattax, Univ of Illinois,
1114 W Nevada St, Urbana, IL 61801; tel: 832/372-4343;
fax: 217/398-5050; mattax@uiuc.edu; www.sehks.org
16 - 18 March The Bach Festival of Central Florida,
Lakeland, FL. Dir: Gabriel Statom. Concerts include
countertenor Daniel Bubeck and pianist Paul Floyd,
“The Bach-Mozart Connection,” and Handel’s Saul.
FMI: The Bach Festival of Central Florida, PO Box 2764,
Lakeland, FL 33806-2764; tel: 863/299-2555;
info@bachfestivalofcentralflorida.org;
www.bachfestivalpolkcounty.com/
17 March Triangle Recorder Society Spring Workshop, Durham, NC. Saints and Sinners. Dir: Patricia
Petersen. A one-day, mostly recorder workshop in a beautiful rural location for players of all levels except beginner.
Some opportunities for viol players and singers.
Faculty/Performers: Tish Berlin, Frances Blaker, Vicki Boeckman, Louise Carslake, Stewart Carter, Patricia Petersen,
Kathy Schenley. FMI: Patricia Petersen, Triangle Recorder
Society, 1702 Vista St, Durham, NC 27701-1355;
tel: 919/683-9672; patpetersen@earthlink.net;
trianglerecorder.org
30 March - 2 April Hobart International Early Music
Seminar, Hobart, Tasmania, AUSTRALIA. Dir: Don & Sue
King. Seminar classes, concerts, lectures, presentations.
Seminar Dinner “Tastes of Tasmania.” Takes place around
the same time the Tasmanian Festival 10 Days on the
Island occurs. If you would like to combine a holiday to a
beautiful place with wonderful cultural events, this is the
perfect combination. Faculty/Performers: Hopkinson Smith
(lute), John Griffiths (musicologist, vihuelist), William
Bower (lute), Sue Court (musicologist, Baroque guitar),
Rosemary Hodgson (lute), Ludovico’s Band (Tommie
Andersson, lute; Marshall McGuire, Baroque harp; Ruth
Wilkinson, viol; Guy du Blet, percussion). FMI: Don & Sue
King, Hobart Intl Early Music Seminar Inc, 45 Quayle St,
Battery Pt, Hobart, Tasmania, 7004 AUSTRALIA;
tel: 61 3 6224-8060; waiata@tassie.net.au;
members.iinet.net.au/~waiata/index.htm
April
20 - 22 April 75th Annual Baldwin-Wallace Bach
Festival, Berea, OH. Dir: Dwight Oltman. Lectures, concerts, master classes. A variety of works both large and
small, solo and ensemble, vocal/choral and instrumental
will be performed with Bach’s Mass in B Minor as the featured work. The Baldwin-Wallace Bach Festival is not only
the oldest collegiate but also the second oldest Bach festival in the nation and has presented more than 300 different Bach works as well as compositions by more than 70
other composers. Bach’s four major choral works are featured on a four-year cycle; other Baroque works by Bach’s
contemporaries are also performed each year. FMI: Mary
Tuck, Riemenschneider Bach Institute office mgr and festival coordinator, B-W College Conservatory of Music,
275 Eastland Rd, Berea, OH 44017; tel: 440/826.2207;
fax: 440/826.8138; bachfest@bw.edu;
www.bw.edu/bachfest

Over 100 listings of
workshops and festivals
where you can listen to
and learn more about
early music in 2007. Visit
www.earlymusic.org for
updated listings. Events
with an asterisk offer
discounts or scholarships to members of
Early Music America.
Early Music America Spring 2007
49
&Workshops
Festivals
17 - 20 May Galway Early Music Festival, Galway,
IRELAND. Pirates of the Corribean. Dir: Maura O’Croinin. A
swashbuckling weekend of Medieval, Renaissance, and
Baroque music on the shores of the Corrib River, Galway.
The Caribbean wasn’t the only place pirates left their
mark! St Patrick was taken by pirates to Ireland; 9th &
10th century pirates and sea raiders around the coasts of
Ireland and Scotland were the inspiration for prayers and
chants of protection; the 17th-century pirate queen, Granuaile, ruled the waters around Galway and Mayo; and we
are even featuring some modern musical pirates. The
theme is fun, and the music will be special. Faculty/Performers: Red Priest, The Irish Consort, Laoise O’Brien &
Richard Sweeney, and more. FMI: Maura O Croinin,
chair, prog dir, Galway Early Music, Caherfurvaus,
Craughwell, Co Galway, IRELAND; tel: 353 879305506;
info@galwayearlymusic.com; www.galwayearlymusic.com
21 April South Bay Recorder Society Annual
Workshop, San Jose, CA. Fire and Ice: A Medieval Journey South and North. Dir: Shira Kammen, Eileen Hadidian.
The workshop will be an exploration of northern and
southern European Medieval musical genres and manuscripts, including the gorgeous Las Huelgas Manuscript
and the Llivre Vermell from Spain, the Piae Cantiones from
Scandinavia, and contemporary settings of great Medieval
melodies. Much of this music is for equal parts, and lower
recorders (ATB) are recommended. No one is turned away,
and soprano recorders, early strings, and low reeds are
also welcome. Participants may choose between all-day or
half-day sessions, each of which will include whole-group
instruction and a period divided into higher and lower
ability levels. FMI: Liz Brownell, pres, South Bay Recorder
Society, 211 Escobar Ave, Los Gatos, CA 95032; tel:
408/358-0878; fax: 408/358-0878; zilbrown@aol.com;
SFEMS.org/sbrs
18 - 20 May Crystal Lake Ensemble Workshop,
Hughesville (near Williamsport), PA. Dir: Michael Gross,
William Schulze. Join us in the charming 19th-century
lakeside lodge at Crystal Lake Camps for a full weekend of
coached ensemble playing just for fun. Crystal Lake is on
960 acres of woods in the heart of the Endless Mountains
of north central Pennsylvania, near the Williamsport airport and less than four hours from NYC, Philadelphia, Baltimore, DC, Pittsburgh, Syracuse, and Rochester. Groups
will be low pressure, with a careful mix of skill levels to
make sure that everyone has a good time. Woodwind
players should contact the directors if they require
A=440. Faculty/Performers: Michael Sand, violin; Phebe
Craig, harpsichord; Laurie Israel, cello. FMI: Michael Gross,
757 Pine Tree Rd, Hughesville, PA 17737; tel: 570/5843324; pinetreeroad@gmail.com;
pinetreeroad.googlepages.com/home
26 - 28 April Midwestern Historical Keyboard Society 2007 Annual Meeting, St. Paul, MN. Replicas The Keyboard Builder’s Art in the 20th and 21st Centuries.
Dir: Asako Hirabayashi. Hosted by the Schubert Club, this
meeting will focus on the collection of its museum. Concerts, workshops, master classes, scholarly presentations,
exhibits of instruments by contemporary and historical
builders, and good fellowship. Faculty/Performers: David
Breitman, Lyra Baroque Orchestra, Nancy Lancaster,
Michael Barone, Laurence Libin, Andre Willis, Gregory
Crowell, Larry Palmer, Elaine Funaro, Dean Billmeyer, Gail
Olszewski, Michael Tsalka, Philip Belt, Rod Regier, Paul
Irvin, Trevor Stephenson, Asako Hirabayashi, Nanette
Lunde, Norman Sheppard, David Sutherland, Edward
Kottick, Paul Jacobson, Gesa Cordes, Yuko Heberlein. FMI:
Asako Hirabayashi, dir, Midwestern Historical Keyboard
Society, 1842 Moore St, Falcon Hts, MN 55113; tel:
651/636-1120; ahirabayashi@yahoo.com; www.mhks.org
18 - 28 May Bloomington Early Music Festival,
Bloomington, IN. FMI: Aubrey Scheffel, prog assoc,
Bloomington Early Music Festival, PO Box 734, Bloomington, IN 47402; tel: 812/331-1263; fax: 812/331-1263;
office@blemf.org; www.blemf.org
May
10 - 13 May Seattle Academy of Baroque Opera,
Seattle, WA. Claudio Monteverdi and Barbara Strozzi. Dir:
Stephen Stubbs. Roles from Monteverdi’s three operas
and his chamber duets will be joined by Barbara Strozzi’s
cantatas for the solo female voice. Faculty/Performers:
Stephen Stubbs, musical coaching, continuo; Nancy Zylstra, vocal coaching; Anna Mansbridge, Baroque dance,
gesture and movement; Margriet Tindemans, viola da
gamba, continuo; Maxine Eilander, Baroque harps, continuo. FMI: Maxine Eilander, managing dir, Seattle Academy
of Baroque Opera, 1525 NE Elshin Pl, Seattle, WA 98125;
tel: 206/913-2073; fax: 206/913-2073;
baroqueopera@gmail.com;
www.seattleacademyofbaroqueopera.org
18 May - 10 June Les Enfants Terribles, Baltimore,
MD. Dir: Timothy Nelson. The American Opera Theater’s
Les Enfants Terribles is America’s only summer opera program (biannual) focused entirely on mounting a fully
staged Baroque opera. Three intensive weeks focus on diction, rhetoric, vocal production, ornamentation, development of character, and use of body. Much attention is
given to making textual and dramatic connections with
the score. Master classes with leading early music professionals (vocalists, continuo musicians, musicologists, and
rhetoricians) culminate in a public recital. Accompanied by
Ignoti Dei, the fellows will this year perform Rossi’s 1646
L’Orfeo. Les Enfants Terribles is a program for young
singers of high caliber. All fellows are granted full scholarship to the program and provided with housing.
Faculty/Performers: Timothy Nelson, American Opera
Theater; Adam Pearl, Richard Stone, Tempesta di Mare;
Charles Weaver, ARTEK; Jennifer Lane, mezzo-soprano;
Rosa Lamoreaux, soprano, Hesperus; John Shirley-Quirk,
bass; others TBA. FMI: Timothy Nelson, dir,
American Opera Theater; tel: 812/322-1365;
info@americanoperatheater.org;
www.americanoperatheater.org
PHOTO: WILLIAM STICKNEY
On the go at the 2005
Winds & Waves workshop.
50
Spring 2007 Early Music America
19 May - 9 June Leicester Early Music Festival
2007, Leicester, UK. Dir: John Bence. Concerts, dance &
music workshops, junior performer’s competition, ghost
walk, wine and whisky tastings, fun for the family. Strong
emphasis on youth. Faculty/Performers: Michala Petri with
Lars Hannibal, Quodriga, Wyldes Noyse, Geoffrey Thomas,
Southampton Youth Choir. FMI: John Bence, festival dir,
Leicester Early Music Festival, 126 Shanklin Dr, Leicester,
LE2 3QB UK; tel: 0116 2709984; fax: 0116 2709984;
mail@earlymusicleicester.co.uk;
www.earlymusicleicester.co.uk
25 - 27 May Next Generation: Early Keyboard
Weekend, Winchester, UK. Dir: Dr Micaela Schmitz. Held
at a venue near central Winchester (UK) within one mile of
the rail station, the festival will include activities open to
the public, such as lectures and concerts, but its main
focus will be a course for keyboard players of all levels,
ages 16 and up. Students will have the opportunity to
play harpsichord, clavichord, and fortepiano, receive
coaching and advice, and try their hand(s) at different
interpretations, with ample practice instruments available.
Previous experience with an early keyboard is helpful but
not necessary. Faculty/Performers: Bridget Cunningham,
Steven Devine, Julian Perkins, Micaela Schmitz. FMI:
Micaela Schmitz, dir, Next Generation: Early Keyboard
Weekend, 1 Leamington Rd, Broadway, Worcestershire,
WR12 7EF UK; tel: 44 (0) 1386 859 648;
earlymusica@permutation.com;
www.earlymusica.permutation.com
25 - 28 May Amherst Early Music Memorial Day
Weekend Workshop, Orangeburg, NY. Dir: Marilyn
Boenau. FMI: Cathy Stein, admin, Amherst Early Music, 47
Prentiss St, Watertown, MA 02472; tel: 617/744-1324;
fax: 617/744-1327; info@amherstearlymusic.org;
www.amherstearlymusic.org
25 - 28 May Tage Alter Musik Regensburg, Regensburg, GERMANY. Faculty/Performers: Concerto Köln,
Regensburger Domspatzen, Alia Musica, Concert Brass,
Oman Consort, B’Rock, Cantica Symphonia, Ciaramella,
Café Zimmermann, La Venexiana, Naoki Kitaya & Continuo
Consort, I Furiosi, Asteria, Ricercar Consort, Arthur
Schoondewoerd & Cristofori. FMI: Ludwig Hartmann, Tage
Alter Musik Regensburg, Festivalburo, Postfach 10 09 03,
Regensburg, D-93009 GERMANY; tel: 49 941 830 09-48;
fax: 49 941 830 09-39; TageAlterMusik@t-online.de;
www.tagealtermusik-regensburg.de
26 - 27 May Complete Harpsichord Concertos of
J.S. Bach Presented by Brandywine Baroque,
Wilmington, DE. Director: Karen Flint. Brandywine
Baroque presents three concerts Memorial Day weekend
featuring all of Johann Sebastian Bach’s concertos for
solo, two, three, and four harpsichords on antique instruments. Lectures by John Phillips and Davitt Moroney complement the programs. Faculty/Performers: Davitt Moroney,
Arthur Haas, Karen Flint, JungHae Kim, and Adam Pearl
performing with the Brandywine Baroque orchestra. FMI:
Robert Munsell, admin dir, Brandywine Baroque, PO Box
730, Wilmington, DE 19899; tel: 302/594-4644; fax:
302/594-4538; Brandywinebaroq1@mindspring.com;
www.brandywinebaroque.org
26 May - 3 June International Academy of Sacred
Music, Venice, ITALY. The Treasures of San Marco. Dir:
Michael Procter. The 16th Venice Academy offers experienced choir singers and choral conductors a unique
opportunity to work in depth on sacred music from the
golden period of St Mark’s. Our repertoire this year will be
drawn from the whole 16th century, from the appointment of Adrian Willaert through to the early Baroque. A
balanced choir of not more than 30 will be formed. The
course is housed in the wonderful restored monastery of
the Gesuati on Zattere, and participants have the unique
privilege of singing the Solemn High Mass at San Marco
on Trinity Sunday. FMI: Michael Procter, The Venice Academy GbR, Rintheimer Str 50, Karlsruhe, 76131 GERMANY;
tel: 49 721 61 64 50; fax: 49 721 6238 9530;
VeniceAcademy@aol.com; www.Venice-Academy.com
* 27 May - 2 June Summer Texas Toot 2007, Austin,
TX. Music from Italy and England. Dir: Daniel Johnson.
Held at Concordia Univ, a lovely tree-filled campus with
air-conditioned classrooms and accommodations. Classes
include an array of small, one-on-a-part Renaissance and
Baroque ensembles and larger mixed vocal and instrumental groups. The size of the workshop enables us to create
classes for all levels of students, from those of modest
skills to advanced players and singers. Vocalists and instrumentalists will be able to join forces in a masque presentation, directed by Amy Brumley. Concert series includes an
all-faculty concert. Faculty/Performers: Flanders Recorder
Quartet, Tom Zajac, reeds, brass; Becky Baxter, Bruce Brogdon, harp, lute; Keith Womer, harpsichord; Amy Brumley,
Daniel Johnson, voice. FMI: Daniel Johnson, artistic dir,
Texas Early Music Festival - aka Texas Toot, PO Box 4328,
Austin, TX 78765; tel: 512/371-0099; dmj726@aol.com,
info@toot.org; www.toot.org
June
1 - 3 June Early Music Festival, Whitewater, WI. Dir:
Carol Stanger, Nancy Chabala, Pam Wiese. Beginning to
advance technique in recorder and viola da gamba plus
additional focus and specialty classes. Held on the campus
of Univ of Wisconsin, Whitewater, the festival includes an
on-site repair person and a variety of music and instrument
vendors. Some rental gambas available; group coaching
Boon Early MusicFeival
INTERNATIONAL BAROQUE OPERA • CELEBRATED CONCERTS • WORLD-FAMOUS EXHIBITION
Feast of the Gods
June 11-17, 2007
Fully-staged North American premiere
Paul O’Dette & Stephen Stubbs, Music Directors
Music by Jean-Baptiste Lully (1632-1687)
Carolyn Sampson, Psyche
Karina Gauvin, Venus
Grammy-nominated BEMF Orchestra & Chorus
With concerts by
Le Poème Harmonique:
Traditional French Romances & Laments
Sequentia: Edda – Viking Tales of Lust, Revenge & Family
Ensemble Clément Janequin:
A Palindromic Banquet of Franco-Flemish Music
The Royal Wind Music: The Gods’ Flute Heaven
Philippe Pierlot, viola da gamba &
Jan Willem Jansen, harpsichord: Les Festes Galantes
And much more! Please visit WWW.BEMF.ORG
or call 617-661-1812 to request a brochure.
Call For Participants
for Exhibitors, Fringe Concerts & Masterclasses.
Application materials at WWW.BEMF.ORG
7H[DV7RRW6XPPHU:RUNVKRS
0D\WR-XQH
7KLVVXPPHURXUIHDWXUHGIDFXOW\ZLOOEHWKH
)ODQGHUV
5HFRUGHU
4XDUWHW
7RP=DMDFUHHGVDQGEUDVV
%HFN\%D[WHUHDUO\KDUSV
SOXVH[SHULHQFHGIDFXOW\LQYLROYRLFHOXWH
DQGKDUSVLFKRUG6SHFLDOWKHDWHUSURMHFWD
0DVTXH7KHZHHNORQJZRUNVKRSZLOOEH
KHOGDWWKHEHDXWLIXOZDONDEOHDQGIXOO\
DLUFRQGLWLRQHGFDPSXVRI&RQFRUGLD
8QLYHUVLW\LQOLYHO\$XVWLQ7H[DV
'DQLHO-RKQVRQGLUHFWRU6XVDQ5LFKWHUDVVLVWDQWGLUHFWRU
%RXOGHU(DUO\0XVLF6KRSDQG/D]DU
V(DUO\0XVLFZLOOEH
RQVLWHZLWKLQVWUXPHQWVPXVLF&'VDFFHVVRULHVDQGPRUH
2QOLQHUHJLVWUDWLRQDWRXU:HEVLWHVWDUWLQJLQ)HEUXDU\
&RPSOHWHFODVVRIIHULQJVZLOOEHDYDLODEOHWKHUHLQODWH$SULO
ZZZWRRWRUJRUHPDLOLQIR#WRRWRUJ
AMC
Celebrating 20 Years of Presenting Early Music,
Ars Musica Chicago Currently Seeks
to fill the Position of Artistic Director
Artistic Director Position Available
This is a part-time paid position. The Ars Musica
Chicago artistic director will facilitate all aspects of
concert programming and production for our fourconcert season, including program development,
hiring ensembles, directing and/or performing in
concerts, program development, administration, and
developing new opportunities. Requirements include
a love of the genre, knowledge of the field, and
experience in bringing early music to the public.
Resumes may be submitted to
ArsMusicaChicago@aol.com.
For more detailed information, please visit
ArsMusicaChicago.org or contact 312-409-7874.
Coachings, masterclasses, rehearsals &
seminars for advanced singers & choral
conductors, held in the picturesque
Litchfield Hills of northwestern Connecticut.
Repertoire will range from the Renaissance
to the 20th century & will include both
choral & instrumental music. Sessions &
final concert will be recorded on video.
Conductors will have the opportunity to
conduct instrumental as well as choral ensembles.
For Applications: web WWW.YALE.EDU/NORFOLK
email NORFOLK@YALE.EDU call 203.432.1966
Early Music America Spring 2007
51
Summer at Eastman
2007
?cfhel_i_d]Wjj^[>Whfi_Y^ehZ
M_bb_WcFehj[h @kd[(+Å(/
:[l[bef oekh ia_bbi _d j^ehek]^XWii" WdZ ki[ j^ei[ ia_bbi _d
b[Whd_d] je _cfhel_i[ fh[bkZ[i" ik_j[i" eij_dWje f_[Y[i" WdZ
\k]k[i Wj j^[ ^Whfi_Y^ehZ$ De fh[l_eki [nf[h_[dY[ _d _cfhel_i_d]
_i h[gk_h[Z \eh j^_i Yekhi[" Xkj fWhj_Y_fWdji i^ekbZ ^Wl[ iec[
\Wc_b_Wh_jo m_j^ j^[ ^Whfi_Y^ehZ WdZ Wd [W][hd[ii je X[ Yh[Wj_l[$
EhdWc[dj_d]>WdZ[b"8WY^"HWc[Wk"
CepWhj"WdZCedj[l[hZ_
@kb_Wdd[8W_hZ @kbo(.Å7k]kij'
J^[ _dj[hdWj_edWbbo h[Ye]d_p[Z iefhWde WdZ h[YehZ_d] Whj_ij
b[WZi j^_i i[c_dWh ed ijob_ij_YWbbo Wkj^[dj_Y f[h\ehcWdY[
fhWYj_Y[i$ FhWYj_YWb j_fi WdZ [n[hY_i[i \eh fh[fWhWj_ed e\ YWZ[dpWi
jh_bbi" jkhdi" Wffe]]_WjkhWi" cehZ[dji" iY^b[_\[hi" [jY$ WdZ ej^[h
ZW YWfe ehdWc[djWj_ed" 8Whegk[ =[ijkh[ WdZ IjW][ J[Y^d_gk[$
mmm$[ic$heY^[ij[h$[Zk%Ikcc[h
ikcc[h6[ic$heY^[ij[h$[Zk
+.+#(-*#'*&&eh'#.&&#(*,#*-&,
52
Spring 2007 Early Music America
&Workshops
Festivals
by pre-registration. Saturday evening planned activity for
all participants and opportunities for group playing. Faculty/Performers: Dale Armentrout, Louise Austin, Julie
Elhard, Cléa Galhano, Albert Jackson, Lisette Kielson,
Laura Sanborn Kuhlman, Patrick O’Malley, Karen Snowberg, Craig Trompeter, Mary Halverson Waldo, Todd
Wetherwax. FMI: Carol Stanger, dir, Faculty and Facilities,
Oak Park Recorder School, 8328 Woodland Dr, Darien, IL
60561-5265; tel: 630/789-6402; fax: 630/789-6441;
cvstanger@aol.com
1 - 14 June Tafelmusik Baroque Summer Institute
2007, Univ of Toronto, Toronto, ON. Music dir: Jeanne
Lamon; chamber choir dir: Ivars Taurins; artistic coordinator: Charlotte Nediger. 14-day training program in orchestral and choral performance practice. Classes are offered
in strings (violin, viola, viola d’amore, cello, bass), woodwinds (flute, oboe, bassoon), brass (trumpet), harpsichord, lute, and voice. The Institute also offers a program
for conductors and directors. For advanced students, preprofessional, and professional musicians. The institute
offers master classes for solo instrument and voice;
orchestra and choir rehearsals led by Jeanne Lamon, Ivars
Taurins and faculty; instrumental and vocal chamber
ensembles; private lessons; lectures/workshops on
Baroque performance practice, theater, art; Baroque opera
and dance workshops; participant performances including
a Grand Finale concert with the Tafelmusik Baroque
Orchestra and Chamber Choir. Faculty/Performers: Jeanne
Lamon, dir, violin; Ivars Taurins, Claire Guimond, flute;
John Abberger, oboe; Dominic Teresi, bassoon; Norman
Engel, trumpet; Patricia Ahern, Thomas Georgi, Genevieve
Gilardeau, Aisslinn Nosky, Christopher Verrette, Julia Wedman, Cristina Zacharias, violin; Patrick Jordan, viola;
Christina Mahler, cello; Alison Mackay, double bass; Charlotte Nediger, Olivier Fortin, harpsichord; Lucas Harris,
lute; Ann Monoyios, Rufus Muller, voice; Marshall Pynkoski, opera; Ivars Taurins, David Fallis, ensembles; Jeannette
Zingg, dance. FMI: Jennifer Bryan, marketing mgr, Tafelmusik Baroque Orchestra and Chamber Choir, 427 Bloor
St W, Toronto, ON M5S 1X7; tel: 416/964-9562; fax:
416/964-2782; info@tafelmusik.org; www.tafelmusik.org
* 2 June The Central PA Early Music Festival, New
Cumberland, PA. Dir: Edythe Sarnoff. This day-long workshop will include learning sessions for all levels of technique and repertoire exploration, with lots of playing; a
shop of early music instruments and recordings; round
table discussion; mini-faculty recital; open stage performance opportunity linked to a preceding master class. Faculty/Performers: Rainer Beckmann, recorders; Ann Marie
Morgan, bowed strings; Orum Stringer, recorders, reeds,
cornetto; Andy Rosenfeld, voice. FMI: Edythe Sarnoff,
pres, Pommerian Early Music Guild, 45 Fairmount Rd,
Aspers, PA 17304; tel: 717/677-7072;
PEMGmusic@hotmail.com; pommerianearlymusicguild.org
7 - 17 June Bach Festival Leipzig, Leipzig, GERMANY.
From Monteverdi to Bach. Faculty/Performers: Nikolaus
Harnoncourt, Heinrich Schiff, Emma Kirkby, Monteverdi
Choir, English Baroque Soloists, Musica Fiata Koeln,
Gesualdo Consort, St. Thomas’ Boys Choir, Leipzig,
Hannover Boys’ Choir, Tolzer Knabenchor. FMI:
bachfest@bach-leipzig.de; www.bach-leipzig.de
8 - 24 June Connecticut Early Music Festival, New
London, CT. 25th Anniversary Season. Artistic dir: John
Metz; music dir: Judson Griffin. The concert series, held
over 3 weekends, includes performances of or by: Liber
Unusualis with selections from Vivaldi’s instrumental collection L’Estro Armonico; Purcell’s domestic music; selections from Bach’s lighter choral and instrumental works;
Haydn’s Sturm und Drang symphonies from the 1760s
and 1770s; Mozart’s String Quintets; Guy Whatley playing
late 16th- and early 17th-century English and Dutch music
for virginals; Handel’s Alexander’s Feast featuring the
Amor Artis Choir under conductor Johannes Somary. FMI:
Jan MacGregor, exec dir, Connecticut Early Music Society,
PO Box 329, New London, CT 06320; tel: 860/536-2164;
j.r.macgregor@snet.net; ctearlymusic.org
* 10 June - 31 July Early Music Summer Series,
Thousand Oaks, CA. Soiree Francaise. Dir: Joshua E
Shekhtir. The art of the passacaille and chaccone in 17thcentury France. Faculty/Performers: Eric Kinsley, clavecin;
Joshua E. Shekhtir, violin; guest artists TBA. FMI: Dorothy
Schechter, artistic dir, California Lutheran Univ, 60 W
Olsen Rd 4000, Thousand Oaks, CA 91360; tel: 805/6444419; fax: 805/493-3904; schechte@clunet.edu;
www.ensemblebellamusica.org
* 11 - 17 June Boston Early Music Festival & Exhibition, Boston, MA. BEMF is the world’s leading presenter, promoter, and producer of pre-Romantic music and
Baroque opera, featuring the field’s most accomplished
musicians and directors; the 2007 festival will feature the
North American premiere of Jean-Baptiste Lully’s 1678
tragédie-lyrique Psyché under the artistic leadership of
Paul O’Dette and Stephen Stubbs and featuring Canadian
soprano Karina Gauvin as Venus. The festival will also
include over a dozen concerts by the world’s preeminent
early music soloists and ensembles, scholarly symposia,
performance master classes, fringe concerts by an international array of established and emerging artists, and North
America’s largest exhibition of instrument makers, music
publishers, service organizations, schools & universities,
performers, recording companies, and related businesses
and organizations. FMI: Kathleen Fay, exec dir, Boston
Early Music Festival & Exhibition, 161 First St, Ste 202,
Cambridge, MA 02142; tel: 617/661-1812;
fax: 617/661-1816; bemf@bemf.org; www.bemf.org
Il re pastore at the
2006 Bloomington
Early Music Festival.
Early Music America Spring 2007
53
&Workshops
Festivals
16 - 21 June Interlochen Early Music Institute,
Interlochen, MI. Musica Transalpina: the English-Italian
Connection. Dir: Mark Cudek. This six-day institute focuses
on learning early style techniques, articulation, ornamentation/improvisation, and arrangement, culminating in
performances on period instruments. Faculty/Performers:
Mark Cudek. FMI: Peter Colson, dir, Interlochen College of
Creative Arts, Interlochen Center for the Arts, PO Box 199,
Interlochen, MI 49643; tel: 231/276-7387; fax: 231/2765237; colsonpj@interlochen.org; www.interlochen.org
17 - 19 June Zuckermann Harpsichords International, Stonington, CT. Dir: Richard Auber. A workshop
for owners, players, enthusiasts, and aficionados of the
harpsichord and clavichord, held in the beautiful historic
seaport of Stonington in the shop of Zuckermann Harpsichords Intl. Lectures, demonstrations, and concerts, plus a
talk by a world-class chef on preparing seafood. Lectures
will include harpsichord and clavichord building, decoration, and maintenance; regional schools of building; basic
acoustics of harpsichords and clavichords; playing the
harpsichord and clavichord expressively. Concerts on harpsichord and clavichord. The workshop will conclude with a
seafood spectacular on the bay. Opportunities for participants to talk to faculty about voicing, maintenance problems, performance practices, fingering and other players’
problems, Baroque keyboard literature, kit building, and
spices appropriate for seafood. Faculty/Performers: Richard
Auber, Zuckermann Harpsichords Intl; Carol lei Breckenridge, Farver professor of music, Central College, Pella, IA;
Michael Herrick, Holland, professional chef; Ed Kottick,
professor of musicology emeritus, Univ of Iowa; Tatyana
Nivana, artist-in-residence at Zuckermann Harpsichords.
FMI: Ed Kottick, assoc workshop dir, 502 Larch Lane, Iowa
City, IA, 52245; tel: 319/337-3770; fax: 319/337-4595;
ed@kottick.com; www.zhi.net
Cambridge Early Music
Summer Schools 2007
BAROQUE MUSIC:
HANDEL IN ITALY
29 July – 5 August 2007
The Parley of Instruments
Intensive historically-informed coaching on style
and repertoire, for ensemble singers, baroque
strings, flutes, recorders, oboes, bassoons and
continuo from figured bass (lute, harp, violone,
harpsichord, chamber organ) at A=415.
RENAISSANCE MUSIC FOR
VOICES & INSTRUMENTS
5-12 August 2007
Philip Thorby & Friends
Inspirational tuition for experienced singers,
viols, lutes, recorders, cornetts, sackbuts, curtals
and other renaissance instruments at A=440.
CEMSS, Trinity College,
Cambridge CB2 1TQ, England, UK
Tel/fax: +44 1223 847330;
info@cemss.org / www.cemss.org
54
Spring 2007 Early Music America
* 17 - 23 June SFEMS Baroque Music & Dance
Workshop, Sonoma State Univ, Rohnert Park, CA. The
Crossroads of the Baroque: Dresden, Prague & Vienna.
Dir: Phebe Craig. Master classes, coached ensembles, concerto evening, Baroque dance, orchestra, chorus, continuo
classes, opera project, concerts, and lectures. Faculty/Performers: Frances Blaker, Marion Verbruggen, recorder;
Karen Clark, Chris Fritzsche, voice; Phebe Craig, Katherine
Heater, Peter Sykes, harpsichord; Sand Dalton, oboe; Kathleen Kraft, flute; David Morris, cello, viola da gamba;
Michael Sand, violin; Tangkao Tan, Baroque dance; Bob
Worth, chorus. FMI: Phebe Craig, workshop dir, San Francisco Early Music Society, PO Box 10151, Berkeley, CA
94709; tel: 510/684-5177; phebec@aol.com;
www.sfems.org
17 June - 21 July Baroque Performance Institute,
Oberlin College, Oberlin, OH. Faculty/Performers: Oberlin
Baroque Ensemble and guest artists. FMI: Anna Hoffmann, adm dir, Oberlin College Conservatory of Music, 77
W College St, Oberlin, OH 44074-1588; tel: 440/7758044; fax: 440/775-6840; anna.hoffmann@oberlin.edu;
www.oberlin.edu/con/summer
18 - 22 June Michigan Harpsichord Workshop, Ann
Arbor, MI. Dir: Edward Parmentier. A weeklong harpsichord workshop on the performance of Bach’s English
Suites and 2-part inventions. Master classes, lectures, lessons, informal concerts. Touch, style, fingering, rhythm,
phrasing, analysis, ornamentation. FMI: Edward Parmentier, prof of music, Univ of Michigan, School of Music,
Ann Arbor, MI 48109; tel: 734/665-2217; fax: 734/7635097; eparment@umich.edu; www.music.umich.edu
22 - 25 June Montreal Baroque, Montreal, PQ. Du Ciel
aux Enfers/From Heaven to Hell! Dir: Susie Napper. Montreal Baroque offers creative and daring programming and
unconventional concerts that combine theatrical, sacred,
profane, festive, and courtly music; parades; street music;
garden concerts - all taking place in the elegance of the
18th- and 19th-century village of Old Montreal. The program offers Vivaldi’s Gloria, Biber’s Mystery Sonatas, and
Buxtehide’s Membra Jesu Nostri, as well as Monteverdi’s
L’Orfeo. Faculty/Performers: Charles Daniels, Harry van der
Kamp, Monika Mauch, Suzie Leblanc, Matthew White,
Nathaniel Watson, Maria Cleary, Ensemble Ausonia, Bande
Montreal Baroque, Constantinople, Studio de musique
ancienne, Les Voix humaines, Les Voix Baroque, I Furiosi,
Ensemble Caprice. FMI: Susie Napper, artistic dir, Montreal
Baroque Festival, 3589 Ste Famille, Montreal, PQ H2X 2L2;
tel: 514/845-7171; info@montrealbaroque.com;
www.montrealbaroque.com
* 23 - 30 June Medieval Renaissance Workshop,
Rohnert Park, CA. Tales of a City. Dir: Hanneke van Proosdij, Louis Carlsake. Ensembles, master classes, viol consorts, Renaissance recorder consort, lute songs, Renaissance wind band, voices and viols, Renaissance Choir, Boccaccio’s Decameron project, concerts, lectures, and more.
Faculty/Performers: Joanna Blendulf, viola da gamba, cello;
Louise Carslake, recorder; John Dornenburg, viola da
gamba; Rotem Gilbert, recorder, Renaissance reeds; Laura
Heimes, voice; Greg Ingles, sackbut, slide trumpet; Daniel
Johnson, voice; Peter Maund, percussion; Jennifer Paulino,
voice; Hanneke van Proosdij, recorder, harpsichord;
Lawrence Rosenwald, scriptwriter, language coach; Mary
Springfels, vielle, viola da gamba; David Tayler, lute; Bob
Worth, Renaissance choir director. FMI: Hanneke van
Proosdij, workshop dir, San Francisco Early Music Society,
PO Box 10151, Berkeley, CA 94709; tel: 510/236-9808;
medren2005@sbcglobal.net; www.sfems.org/medren.htm
23 - 30 June Stephen Preston Traverso/Flute Master Class, Little Switzerland, NC. Flute Smorgasbord. Dir:
Anna Thibeault. As part of the Wildacres Flute Retreat.
Faculty/Performers: Stephen Preston, master classes,
Baroque dance; Amara Guitry, traverso; John Chappel
Stowe, harpsichord; Göran Marcusson, modern flute;
Bradley Garner, orchestral excerpts, technique; Amy Blumenthal, flute choir symposium; Lea Pearson, bodymapping; Helen Spielman, performance anxiety; Joy Sears,
flute repair. FMI: Anna Thibeault, course dir, Wildacres
Flute Retreat, PO Box 1522, Swainsboro, GA 30401;
tel: 478/237-4464; wildacresflute@bellsouth.net;
barefootboy.org/wildacres.html
24 June - 19 August CAMMAC Lake MacDonald
Music Centre, Harrington, PQ. Weekly sessions with all
kinds of music for participants of all abilities: voice, all
instruments, all ages. You can also try out your French in
this completely bilingual setting. Families are welcome
(kids do their own program), and there are many exciting
concerts with faculty and invited guests. Studios and large
concert hall in new green architecture building. Sunday
brunch & concerts. Swimming, boating, tennis, nature
trails. Located 80 miles north of Montreal in the beautiful
Laurentians. FMI: Raymond Legault, member services,
CAMMAC, 85 chemin Cammac, Harrington, PQ J8G 2T2;
tel: 888/622-8755; fax: 819/687-3323;
national@cammac.ca; www.cammac.ca
25 - 29 June Improvising at the Harpsichord, Eastman School of Music, Rochester, NY. Develop your skills in
thoroughbass and use those skills in learning to improvise
at the harpsichord. Using the early 18th-century Musicalische Handleitung of Friederich Erhardt Niedt, along with
other sources from the same period, as a guide, we will
explore how thoroughbass practice facilitates the improvising of preludes, suites, ostinato pieces, and fugues. No
previous experience in improvising is required for this
course, but participants should have some familiarity with
the harpsichord and an eagerness to be creative. Individual and group instruction will provide direction and
encouragement. Faculty/Performers: William Porter. FMI:
Community Music School & Summer Session Office, Eastman School of Music; tel: 585/274-1400, 800/246-4706;
fax: 585/274-1005; community@esm.rochester.edu,
summer@esm.rochester.edu; www.esm.rochester.edu
25 - 29 June Michigan Harpsichord Workshop, Ann
Arbor, MI. Fundamentals of Harpsichord Playing and
Repertoire. Dir: Edward Parmentier. This workshop,
designed for pianists and organists making a transition to
harpsichord and for harpsichordists wishing broad coverage of a wide range of issues, will have master classes, lectures, and lessons. It will cover performance fundamentals
(touch, articulation, fingering, ornamentation, rhythm),
repertoire fundamentals, and basso continuo fundamentals. FMI: Edward Parmentier, prof of music, Univ of Michigan, School of Music, Ann Arbor, MI 48109; tel: 734/6652217; fax: 734/763-5097; eparment@umich.edu;
www.music.umich.edu