First Congregational Church of Berkeley (2345 Channing Way)
First Presbyterian Church of Berkeley (2407 Dana St.)
overnight accommodations through UC Berkeley
June 14–20, 2020
Linda Pearse, Artistic Director
Paulina Francisco, Administrative Co-Director
17th-century Music in Bohemia, Slovakia, and Poland
Courtly Music-Making in 18th-century France
The turmoil of the Thirty Years War (1618–48)—marked in Czech lands by the defenestration of Prague—and the later forced Catholicization of Bohemians and Moravians of the 1660s bookend a remarkable time of musical influence. A period of intense musical output was linked inextricably to extreme social and political upheaval, the latter holding significant consequences for musical practices. The Catholic successors replaced exiled or executed Protestant nobility with a new German Catholic nobility who eagerly imported Italian musicians and musical styles into Habsburg lands, particularly at wealthy courts in Austria (Vienna), Bohemia and Moravia. The war’s impact was felt in the Hanseatic League as well. The Italian influence in Poland and also in Slovakia will be explored in the music of composers such as Ján Šimbracky, Nicolaus Zangius, Andreas Hakenberger, Crato Bütner, Johannes Wanning, Adam Jarzębski, and Mikołaj Zieleński. In the 17th-century area of the workshop, singers, cornetto, sackbuts, recorders, violinists, viols, cellists, and keyboardists will discover and revel in stunning works of this relatively unknown repertoire.
Music-making at the French court in the late 17th and early 18th centuries spurred developments with wind and string instruments that had far-reaching effects on later Baroque repertoires. The controlled and increasingly codified use of ornamentation and connection with dance movements opens the door for participants to hone their skills and familiarity with later Baroque styles as they explore music by composers such as François Couperin, J. S. Bach, G. F. Handel, and others. Recorder players, oboe players, bassoonists, violinists, singers, flautists, gambists, cellists, keyboardists, and lutenists will be challenged and encouraged by our engaged and internationally recognized faculty.
Our workshop provides a friendly and supportive atmosphere for both the dedicated amateur and the semi-professional musician. Our faculty of specialists in the field of early music includes internationally known performers and gifted teachers.
Pitch: The strings and winds are at A=415Hz. The brass will play at 440Hz for the vocal/brass ensemble project and play at 465Hz and transpose down one tone for some chamber ensembles. For brass participants who do not play at 465Hz we will create one or two chamber ensembles at 440Hz to serve your needs. These ensembles will be either unaccompanied or accompanied by the continuo organ at 440Hz.
Bruce Dickey cornetto
Cléa Galhano recorder
Wendy Gillespie viola da gamba
Rita Lilly voice
Anna Marsh bassoon, dulcian
Kathryn Montoya oboe
Nigel North lute and theorbo
Alexa Haynes-Pilon cello and viola da gamba
Aaron Sheehan voice
Kathie Stewart traverso
Peter Sykes harpsichord, organ
David Wilson violin
Linda Pearse artistic director, sackbut
Dates, Deadlines, and Fee Information
Non-Member: $775 by March 31; $825 thereafter
SFEMS Member: $725 by March 31; $775 thereafter
Room and Board (U.C. Berkeley)
Six nights. Information about accommodations and pricing to come shortly.
If you are interested in purchasing a commuter meal plan, please contact firstname.lastname@example.org.
SCHOLARSHIPS AND FINANCIAL ASSISTANCE
Tuition assistance, and in some cases housing support, is available through our scholarship and work study programs. Apply here by March 1. If you would like to donate to the Robert Dawson Baroque Scholarship Fund, please visit our donations page.
Additional questions regarding payment? Contact Stacey Helley at email@example.com.
Questions about the workshop? Contact director Linda Pearse at firstname.lastname@example.org.