Medieval & Renaissance Workshop
June 17-23, 2012
The Art of the Consort
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| Class Descriptions
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Karen Clark, voice
Twenty years ago in her burgeoning early music career, contralto Karen Clark
came to serve on the faculty of the SFEMS Medieval Summer Workshop, where she glimpsed
from her dorm window at Dominican College her first ever view of Mount Tamalpais.
She enjoyed it so much — the faculty, students and Mt. Tam — that she decided
across country from New Jersey to California. In the fall of 1979 Karen was studying
opera and art song in the Indiana University School of Music (Bloomington) when Thomas
Binkley joined the faculty to found the Early Music Institute. Upon hearing Karen sing a
Handel aria — with minimum but controlled vibrato — in a choral audition,
Binkley invited Karen to join the Pro Arte Singers. It was a fruitful time, and Karen
went on to sing with the world's leading early music specialists: Sequentia, P.A.N.,
Medieval Strings, Boston Camerata, Newberry Consort, New York Early Music,
Pomerium Musices, Waverly Consort, the Rifkin/Bach Ensemble, and others.
Karen has recorded with several of these fine folks on Deutsche Harmonia Mundi,
Erato, Focus, Musica Omnia, New Albion, and Innova labels. Recently, in 2011, Karen
performed and taught master classes with the Galax Quartet at Bowdoin College (Maine)
and at Dickinson College (Pennsylvania). Their concerts of Consort Songs Old & New
juxtapose music of John Dowland with music by 21st Century composers. Karen's
new music CD, On Cold Mountain: Songs on Poems of Gary Snyder (Innova label) was
reviewed in the San Francisco Chronicle by Joshua Kosman, who said,
"It's mesmerizing.... unplaceable timelessness... Karen Clark's majestic, throaty
singing hints of modernist extravagance and medieval troubadours." Even more recently,
in January 2012, Karen coached Stanford University students in a Renaissance
polyphony workshop titled Tinctoris Five. Karen holds B.M. and M.M. in vocal
performance from the Indiana University School of Music and is Guild Certified
as a practitioner in the Feldenkrais Method®. Karen has taught at Sonoma State
University, Swarthmore College, Princeton University, UC Berkeley, and the
Thornton School of Music of the University of Southern California.
Karen lives in Petaluma, CA.
Cheryl Ann Fulton, harp
Recognized as a leading pioneer in the field of historical harps and a popular
performer of Celtic lever harps, Cheryl Ann Fulton has had a rich international
performing, recording, teaching, and scholarly research career since 1986.
She earned a BS degree in pedal harp and an MM and DM in early music/historical
harp from the School of Music of Indiana University, Bloomington. During her
graduate work at Indiana University, she was a dedicated student of
Thomas Binkley and served as Associate Instructor of Historical Harp.
A versatile recording artist, Cheryl Ann can be heard on over fifty albums and
soundtracks ranging from medieval, baroque, orchestral, and contemporary music
to Celtic music and film scores, most on major labels including PolyGram,
Deutche Harmonia Mundi, Koch International Classics, Nonesuch, Erato,
Dorian, Gourd Music, and others.
A leading scholar in the field of historical harps, Dr. Fulton is a
contributing scholar for the latest edition of the New Grove Dictionary of
Music and Musicians and authored a chapter for A Performer's Guide to
Medieval Music (IU Press, 2000). She was awarded the Burton E. Adams Prize for
Academic Research for her doctoral thesis on the history of the triple harp.
Cheryl Ann has been a member of and worked with many distinguished early
music ensembles including Anonymous 4, Sequentia, Ensemble Alcatraz,
Les Idees Heureuses, American Bach Soloists, American Baroque, the
Boston Camerata, Camerato Mediterena, and Chanticleer. She has been on the
faculty for the Amherst Early Music workshops for over twenty-five years and
was the first Director of the San Francisco Medieval Music Workshop. She is
the founding President of the Historical Harp Society.
Known for her exceptional artistry, she has become a highly sought-after
teacher of her masterful and expressive Touch & Tone Technique for Harp and
has a full private studio in the San Francisco Bay Area. When she is not
harping she is playing with her Belgian Tervuren puppy or out riding her
two Arabian horses on the trails in the East Bay hills.
Rotem Gilbert, recorder
Recorder player Rotem Gilbert is a native of Haifa, Israel and a founding member of
Ciaramella, an ensemble that specializes in music of the fifteenth century.
Ciaramella has performed in early music festivals and concert series in the
United States, Canada, and Europe with performances most recently in San Francisco,
Santa Barbara, San Diego, Houston, Tucson, Arizona, and Los Angeles. Ciaramella will
be recording its third album this summer.
Rotem is an assistant professor at the USC Thornton School of Music in Los Angeles,
where she teaches Baroque and Renaissance performance practice courses and is an
instructor of early music winds. As a member of Piffaro (1996-2007), she toured
the United States, Europe, and South America. Rotem has appeared with many American
and European early music ensembles including Chatham Baroque, King's Noyse,
Newberry Consort, and Capilla Flamenca and has been featured as a soloist for the
Pittsburgh Opera (Corronatione di Poppea), the LA Opera (Britten's Noye's Fludde,
Handel's Tamerlano, and the Play of Daniel), and Musica Angelica (Brandenburg #4).
She recently made her debut at Disney hall with the LA Philharmonica
(Living Toys by Thomas Adès and The Flowering Tree with John Adams).
After studies on recorder at Mannes College of Music in New York, she earned her
solo diploma from the Scuola Civica di Musica of Milan, where she studied with
Pedro Memelsdorff. She earned her doctorate in Early Music performance practice at
Case Western Reserve University. She has been a regular faculty member of early
music workshops in San Diego, Seattle, Madison, Amherst, and Israel's Ayala and
is currently the codirector of SFEMS Recorder Workshop. Rotem can be heard on the
Deutsche Grammophon's Archiv, Passacaille, Musica Americana, Dorian, Naxos and
Yarlung labels. For more information see www.ciaramella.org.
Grant Herreid, lute and plucked strings
Grant Herreid performs frequently on early reeds, brass, strings, and voice with
Hesperus, Piffaro, and My Lord Chamberlain's Consort and plays theorbo and lute
regularly with ARTEK and SinfoniaNY. On the faculty at Yale University, he leads
the Yale Baroque Opera Project and codirects their Collegium Musicum; in
New York City he directs the New York Continuo Collective. Grant devotes
much of his time to exploring the esoteric unwritten traditions of early music
with the groups Ex Umbris and Ensemble Viscera.
Greg Ingles, sackbut and loud band
Greg Ingles began his musical training at age twelve, when he took up the modern
trombone. He attended high school at the Interlochen Arts Academy and went on to
graduate from the Oberlin Conservatory. Two days after graduation Greg won the
position of Solo Trombone in the Hofer Symphoniker in Hof, Germany. He returned to
the United States and completed both a master's and doctoral degree in trombone
performance at SUNY Stony Brook. It was during his graduate work that Greg became
acquainted with the sackbut and historical performance. Soon after beginning his
early music studies Greg became a member of Piffaro, the Renaissance Band. He has
since played with such ensembles as the American Bach Soloists, Chatham Baroque,
Chiaroscuro, Concerto Palatino, Quicksilve,r and Tafelmusik. Greg is also a member
of Ciaramella and has recorded with this group on the Yarlung and Naxos record
labels. He is Music Director of the Dark Horse Consort, an ensemble devoted to
rarely performed brass music of the 17th century. Mr. Ingles has also recorded
with Anakekta, Centaur, Dorian, Kleos, and reZound. Greg was the adjunct trombone
professor at Hofstra University for over a decade. He teaches sackbut at the
Madison Early Music Festival each summer and taught at the SFEMS Medieval & Renaissance
Workshop this past summer.
Loren Ludwig, viol
Loren Ludwig plays acoustic and electric viols in a range of styles. He has performed in
Asia, South America, and across Europe and the US and has appeared as a recitalist and
with the Smithsonian Chamber Players, the New York and Oberlin Consorts of Viols,
the Oberlin Baroque Ensemble, Catacoustic, Les grâces, Les Délices, and many others.
Loren is the recipient of both Fulbright and Mellon fellowships to study and do
research in Holland and England, respectively, and completed his undergraduate degree
in performance at Oberlin Conservatory with Catharina Meints. He recently received a
Ph.D. in musicology at the University of Virginia, for which he wrote a dissertation
on the cultural history of the viol consort in England. Loren is a founding member of
both the Quaver and Sonnambula viol consorts and currently lives in Wellington,
New Zealand, where he is a visiting lecturer at the New Zealand School of Music.
Peter Maund, percussion
A native of San Francisco, Peter Maund studied percussion at the San Francisco
Conservatory of Music and music, folklore, and ethnomusicology at the University
of California, Berkeley. A founding member of Ensemble Alcatraz and Alasdair Fraser's
Skyedance, he has performed with early and contemporary music ensembles including
Anonymous 4, Chanticleer, Davka, The Harp Consort, Hesperion XX, Philharmonia Baroque
Orchestra and Voices of Music. Presenters and venues include Cal Performances,
Carnegie Hall, Celtic Connections (Glasgow), Cervantino Festival (Guanajuato, Mexico),
Confederation House (Jerusalem), Edinburgh Festival, Festival Interceltique de Lorient,
Festival Pau Casals, Folkfestival Dranouter, Freight & Salvage,
Horizante Orient Okzident (Berlin), The Kennedy Center, Lincoln Center,
Palacio Congresos (Madrid), Queen Elizabeth Hall (London), and Tage Alter Musik
(Regensburg). Peter Maund is the author of "Percussion" in
A Performers Guide to Medieval Music, Indiana University Press, 2000.
He has served on the faculty of the University of California, Berkeley, as well as
in workshops sponsored by Amherst Early Music, the San Francisco Early Music Society,
the American Recorder Society, and the American Orff-Schulwerk Association. D
escribed by the Glasgow Herald as "the most considerate and imaginative of
percussionists" he can be heard on over sixty recordings as well as film and
Eric Mentzel, voice
Eric Mentzel returned to the United States in 2002 after living in Germany for fifteen
years. He has enjoyed an international career as an early music specialist, working with
such conductors as Andrew Parrott, Howard Arman, Paul van Nevel, and Jean Tubery.
He has appeared at major festivals and concert venues across Europe, including the
Holland Festival, the Edinburgh Festival, the Amsterdam Concertgebouw, the Brussels
Palais de Beaux Arts, the Alte Oper in Frankfurt, and the Barber Institute of Fine
Arts in Birmingham; concert tours have taken him as far as Japan and Australia.
Mentzel is also known for his close collaboration with the most highly regarded
ensembles in the early music field, such as Sequentia, the Ferrara Ensemble,
and the Huelgas Ensemble. He has appeared on more than forty CDs for Sony, Decca,
BMG, Harmonia Mundi, Arcana, Opus 111, Raumklang, Naxos, and others, and his
recordings have been awarded the Preis der deutschen Schallplattenkritik
(German Grammy), the Diapason d'Or de l'Annee, and the Choc de Musique
(French recording awards). In 1998 he founded Vox Resonat, an ensemble
devoted to the performance of medieval and Renaissance vocal music, which has
recorded two CDs for the Marc Aurel Edition label.
In addition to his work in early music, Mentzel has long been involved in contemporary
music, premiering new works by Alfred Schnittke, Henri Pousseur, Andrew Toovey,
Johannes Fritsch, and Volker Staub both in the US and abroad. Most recently, he sang
the role of Galileo in the world premiere of Stargazer, an opera by American composer
Mentzel serves as Associate Professor of Voice at the University of Oregon and is
frequently invited to teach workshops and master classes in Europe and North America.
He has done several residencies at the Schola Cantorum in Basel, Switzerland, culminating
in a four-month study/recording project in 2010, and he performs and teaches each year
at the Mexican summer course for singers, Ars Vocalis Mexico. He is a guest professor
at the Royal Conservatory in The Hague and has also taught at the Vancouver Early Music
Programme and the Amherst Early Music Workshop.
Mary Springfels, viola da gamba and medieval ensembles
Mary Springfels remembers hearing New York Pro Musica perform early music for the first
time when she was fourteen years old. She said she immediately fell in love with it
and began learning early music instruments in college. She began playing viola da gamba
and related early music instruments professionally in 1968, and is one of the most
highly regarded interpreters of pre-1800 music. She was Musician-in-Residence at the
Newberry Library from 1982 until her retirement from that post in 2007. Besides
founding and directing the Newberry Consort, Mary has performed and recorded
extensively with such ensembles as the New York Pro Musica, the Waverly Consort,
Concert Royal, Sequentia, Philharmonia Baroque Orchestra, the Seattle Baroque Orchestra,
Music of the Baroque, Musica Sacra, the Marlborough Festival, the New York City Opera,
and Chicago Opera Theater, where she has served as an artistic advisor.
In Chicago, Mary has also served as a Senior Lecturer at the University of Chicago and
Northwestern University. She has taught and performed in summer festivals throughout
the US, among them the San Francisco, Madison, and Amherst Early Music Festivals, and
the Conclave of the Viola da Gamba Society of America. In 2004 she delivered the
keynote address to the Berkeley Festival and Exhibition for Early Music America.
Over the past few years, Springfels has become very active in baroque opera, and
she has performed with organizations such as the New York City Opera and Central
City Opera. She will continue this involvement as well as providing lectures.
She can be heard on over two dozen recordings, ten of which are critically acclaimed
Newberry Consort projects, including Puzzles and Perfect Beauty: Italian Music at the
End of the Middle Ages, released in 2007 by Noyse Productions.
Daniel Stillman, Renaissance reeds and loud band
As a player of a wide variety of medieval and Renaissance wind instruments,
Daniel Stillman has toured extensively with the Boston Shawm & Sackbut Ensemble,
Boston Camerata, and Waverly Consort and has performed and recorded with such groups
as the Gabrieli Players and Taverner Players (London), Oltremontano (Antwerp), Apollo's
Fire (Cleveland), Folger Consort (Washington, DC), La Nef and Les Sonneurs (Montréal),
Trinity Consort (Portland, OR), and the avant-garde ensemble Roger Miller's
Exquisite Corpse. Recent performances include a concert in Istanbul with the
Boston-based group Dünya and concerts commemorating the 400th anniversary of the
death of Tomás Luis de Victoria with Blue Heron Renaissance Choir. He is a member
of the trombone section of the period-instrument orchestra Boston Baroque and has
performed with such groups as the Handel & Haydn Society, Washington [DC] Bach Consort,
Arcadia Players, and the Boston Early Music Festival Orchestra.
Dan is a highly sought-after instructor of Renaissance wind instruments, having
taught at Wellesley College, the Longy School of Music, Tufts University, and the
Five College Early Music Program (Amherst, MA), as well as at workshops for the
Amherst Early Music Festival, the San Francisco Early Music Society, and the
Texas Toot. He can be heard on some two dozen recordings for the Telarc, Erato,
Harmonia Mundi USA, Deutsche Grammophon Archiv, EMI, Dorian, Eclectra, and SST labels.
Tom Zajac, Renaissance flutes and workshop collegium
Multi-instrumentalist Tom Zajac is a member of the well-known Renaissance wind
band Piffaro and is a frequent guest with the Folger Consort, Newberry Consort,
Hesperus, Boston Camerata, Cançonièr, and others. He has toured extensively, having
appeared in concert series and festivals in Hong Kong, Guam, Australia, Israel,
Colombia, Bolivia, Mexico, and throughout Europe and the United States. He can be
heard on over forty recordings of everything from medieval dances to 21st-century
chamber music. With his group Ex Umbris, he performed 14th-century music at the
5th Millennium Council event in the East Room of the Clinton White House and
18th-century music for the score of the Ric Burns's documentary on the history of
New York. He's played hurdy gurdy for the American Ballet Theater, bagpipe for
an internationally broadcast Gatorade commercial, and serpent in a PDQ Bach piece
live on Prairie Home Companion. He also performs on santur and zurna with the
Boston-based Turkish ensemble, Dünya. This last August, he was invited by the
Polish government to take part in a research visit to hear and meet Polish
early music ensembles. Tom teaches at recorder and early music workshops throughout
the US, is on the faculty of the Madison and Amherst Early Music Festivals, and
directs the Medieval & Renaissance week of the SFEMS workshops as well as the
early music ensembles at Wellesley College near his home in Boston.
Last updated 03/18/2012.
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