SFEMS Medieval Renaissance Workshop at St. Albert’s Priory, Oakland, CA
(June 28- July 4, 2015)
Class Descriptions
“COUNCILS AND HERETICS”
WORKSHOP PITCH IS A=440
CLASS A 9:15-10:30 AM “Medieval and Renaissance Techniques”
A1 Early Music Lab: Rehearsal Techniques in the Collegium Setting (Chavarria)
Having trouble with the hockets in that Machaut, or feeling the rhythms of that madrigal? Learn a
few tricks to smooth out these bumps that you can later take back to your ensembles and apply to a
broad range of music.
(ALL LEVELS)
A2 Musica Practica for Instruments and Voices (but text will consist mostly of solmization)
(Gilbert)
This course will offer a hands-on approach to the techniques of that Renaissance performers and
composer lived and breathed into their music. The class will reveal just how easy it is to sing or play
in faburden/fauxbourdon/falsobordone, in three or four voices, with parallel tenths, and in
imitation. We will demyistify Guido’s hand and solmization (it’s fun, trust me!), tone and mode,
tempo and tactus, musica ficta, and those sneakiest of all devices: mutation and elision!
(ALL LEVELS)
A3 Techniques for Voices: “Music of the late 16th-century Scottish Sang Schwylls” (Hall)
In 1560, the ideals of the Reformation took hold, and all things deemed decorative, including
polyphonic music, were purged from churches. Most song schools closed, and Scotland’s musical
accomplishment greatly declined. In 1579, James VI legislated to reverse the deterioration and
reinstituted song schools whose curriculum included metrical settings of psalms, spiritual songs and
articles of the Christian Faith. In this class, we will explore this “sang schwyll” repertoire by such
composers as David Peebles, Andrew Kemps, and Andrew Blackhall.
(ALL LEVELS)
A4 Techniques for Bowed Medieval Strings: “String Music Gym: Gygges and Squeakings”
(Kammen)
We'll explore the role of strings and instruments in early medieval music (mostly Ars Antiqua). Since
so little of the written music from this era is specific to instruments, it is our challenge to
create/synthesize/arrange pieces and accompaniments based on the existing vocal models.
This class will involve some daily improvisation exercises. (no experience with improvisation
necessary) We'll also work with existing polyphonic repertoire - early motets & the like.
(ALL LEVELS)
A5 Techniques for Harp and Bowed Strings: "Interpreting the Cantigas de Santa Maria"
(La Camera Mariño)
Intended mostly for instrumentalists, but percussion, winds, and singers are also welcome to explore
this 13th-century compilation of pilgrimage songs in praise of the Virgin Mary.
(ALL LEVELS)
A6 Techniques for viols: "In the Service of Venus: Renaissance dances and the Pagan
world." (Springfels)
Using dances from Renaissance repertory, this class will explore solid playing techniques for viols.
(ALL LEVELS)
A7 Techniques for loud instruments (Verschuren)
Using examples from Renaissance repertory, this class will explore good solid playing techniques for
loud instruments, including dulcians, shawms, and sackbuts. The incomparable Wouter Verschuren
will solve all of those pesky reed problems in front of your very eyes, will help crack the code of
sackbut transposition, and will help you hone your ensemble skills in five short days!
(ALL LEVELS)
CLASS B 11:00AM-12:15PM “All Workshop Collegium”
Collegium concert will feature large works inspired by the great church councils, music inspired by
personal devotion, and some rousing music from the streets and courts of Medieval and Renaissance
Europe.
(ALL LEVELS)
CLASS C 2:00PM-3:15PM “Special Topic 1”
C1 Voices & Instruments: La ciutat dels fòls: Temporal and Spiritual Power in the Middle
Ages (Azéma & Kammen)
The basis of this short course will be the lyric music and poetry of the troubadours and trouvères of
the twelfth and thirteenth centuries, as these repertoires explore and relate to the topics of power,
morality, and public life. We will examine narrative texts and songs in praise of kings and potentates
and songs of satire and derision against the power of fallible mortals with excerpts from the Play of
Daniel (13th century), Carmina Burana (ca. 1230), the Roman de Fauvel (ca 1310), the Cantiga de
Santa Maria (ca: 1221-1284 ), the Canso de la crozada (1228), as well as compelling works by
individual authors: Peire Cardenal (c. 1215- c. 1240), Philippe le Chancelier (1165-1236), Bertran de
Born (b. ca. 1140), Thibault de Champagne (1201-1253) and others.
Topics will include the social and historical context of medieval music making; musical notation and
manuscript transmission; the all-important relation of poetry to music; vocal style and technique; the
question of instrumental accompaniment. Participants will be encouraged to deepen their
understanding of medieval lyric, singing and accompaniment, through personal performance project.
(ALL LEVELS)
C2 Voices & Instruments: “Nobody Expects the Spanish Inquisition! Music from the time
of the Catholic Monarchs” (Chavarria)
Explore some of the music from the Spanish court and Church from 1478 to 1545, from sacred
polyphony to madrigals and villancicos. Explore composers such as Cornago, Encina, Morales,
Anchieta, and more.
(INTERMEDIATE)
C3 Recorder Consort: “The Song in the Mass” (Gilbert)
Renaissance composers based their most sacred Masses on some of the most unusual choices, from
erotic courtly love songs to frankly obscene chansons rustique. In this class, we will examine the
techniques they used to do this, and discover why they chose the songs they did. The answers
promise to astound (who knew a Mass could cure syphillis?). The music promises to delight.
Featuring music by Henircus Isaac, Josquin Desprez, Jacob Obrecht, and one of the alltime
favorites: Anonymous.
(INTERMEDIATE TO ADVANCED)
C4 Voices and soft instruments: “Cantiones Sacrae of Tallis and Byrd” (Hall)
In 1575, Elizabeth I granted Thomas Tallis and William Byrd an exclusive license to print and
publish music, and their first publication was Cantiones sacrae, and anthology of 34 Latin motets. We
will sing and play from this 1575 collection and explore other sacred songs by both English masters
from this period.
(INTERMEDIATE TO ADVANCED)
C5 All Instruments, especially plucked: "Scottish Renaissance Music" (La Camera Mariño)
We will explore music found in Scottish renaissance manuscripts. Learn to transcribe from
renaissance lute tablature. We will discuss interpretation, Scottish musical genres, ornamentation,
harmony, and more!
(INTERMEDIATE/ADVANCED)
C6 Instruments and Voices: “Saint or Heretic?” (Springfels)
This class will explore the laude and motets associated with the Savanorolan movement, including
gorgeous music by Willaert, Le Jeune and Ravenscroft.
(ALL LEVELS)
C7 Loud Ensemble: “Antipoles: Motets on text of Savonarola and Counterpoints on La
Spagna by Constanzo Festa” (Verschuren)
The friar Girolamo Savonarola (1452-1498) was a prophet and a preacher based in Florence. When
Pope Alexander VI learned about his prophesies, Savonarola was excommunicated and tried and
executed for heresy on 23 May 1498. His preachings against moral negligence and for plainness
inspired reformers such as Luther. His texts inspired composers in all of Europe in the 15th and
16th century. Constanzo Festa (Rome ca.1490-1545) was one of the few Italian members of the
Papal choir. Festa was imbedded in the catholic tradition. He is famous for his 125 instrumental
settings of the famous melody La Spagna.
(INTERMEDIATE/ADVANCED)
CLASS D 3:30PM-5:00PM “Special Topic 2”
D1 Voices and instruments: “The music of Guillaume Dufay (1397-1474)” (Azéma &
Kammen)
A central musical figure in the Burgundian school, he was possibly the most famous and influential
composer in Europe in the mid-15th century. We'll look at his secular and sacred music, every piece
a gem. By the end of this class, you will be able to fluently play 2 against 3 with Burgundian grace
and confidence, and you will never doubt a rondeau or virelai again.
(INTERMEDIATE TO ADVANCED)
D2 Voices & Instruments: "’It's Not What Your Council Can Do for You, But What You
Can Do for Your Council’: The Council of Trent” (Chavarria)
Did Palestrina really save polyphony? Explore the far-reaching consequences of the last great
council before Vatican I. Explore the polyphony, the reactions, and the liturgy: what changed? How
do these changes alter the context of liturgical music?
(INTERMEDIATE)
D3 Soft Insruments, Recorder Consort, and Voices: “German Music for Councils and
Heretics” (Gilbert)
Martin Luther is often given credit for the great German tradition of the Lutheran Chorale, in which
people would sing sacred words to popular melodies. However, this practice had already enjoyed
tradition in German and Dutch devotional song. Composers and singers added Latin texts to love
songs, translated Latin texts to the vernacular, and gathered rousing sacred and secular songs
together in a wonderful collection of musical manuscripts. This class will explore those songs and
their sources, including music from the Glogauer Liederbuch, the Leopold Codex, Berlin 40021, and
from a wealth of German prints.
(INTERMEDIATE TO ADVANCED)
D4 Voices and instruments: “English Reformation through Balladry” (Hall)
Explore the events of the English Reformation and the birth of the Church of England through
surviving broadside ballads and popular tunes. We will deal with the many issues of performance
practice that surround broadside ballads, including musical selection, instrumentation, and
pronunciation.
(ALL LEVELS)
D5 All Instruments, especially harps and soft winds: "Irish Music" (La Camera Mariño)
A look at how traditional, native Irish music was influenced by continental European music. The
harpist and composer Turlough O’Carolan is one of the best examples and we will explore the
fusion of these musical styles in his music. To interpret this music, we will look at original
manuscript sources and historical playing techniques and discuss how to arrange tunes for the harp.
(ALL LEVELS)
D6 Low Voices and Instruments: “Consorting with the Devil” (Springfels)
There exists a small but compelling repertoire of pieces from late medieval France and Italy that deal
with the underworld, including a ballata by Zacharias de Teramo, "Deus deorum Pluto" and a mass
movement based on the song by the same composer. Other composers will include Solage and
Lorenzo da Firenze.
(ADVANCED)
D7 Loud Ensemble: “The enemies of music are ignorant fools” (Verschuren)
Secular vocal pieces from contemporaries of Luther, including Eccard, Senfl, and others. Besides
sacred music on texts by Martin Luther, secular compositions in 16th century Germany, often with
remarkable and hilarious texts, were flourishing alongside. We will play, look at manuscripts and
enjoy the texts.
(INTERMEDIATE TO ADVANCED)