CEMS Residencies & Mini-Courses, Fall-Spring 2017-2018

During the 2017 – 2018 semesters, the Center for Early Music Studies will offer three mini courses, by producer Brad Michel (September 30-October 1), by conductor, musicologist, and performer Joshua Rifkin (December 2-3), and by harpsichordist and musicologist David Schulenberg (April 21-22), in addition to a 2-day residency by Donald Greig of the Orlando Consort.   Students wishing to register for the mini-courses, which carry one elective Musicology credit, should enroll in MH 629 Early Music Studies. 

6-7 November 2017
Residency of Donald Greig (Orlando Consort), open to all

Founding member of the Orlando Consort and former member of the Tallis Scholars, Donald Greig will be in residence at the Center for Early Music Studies from 6-7 November. His activities include

Nov. 6: Coaching early music vocal group Sourcework (“edition-free polyphony”): Marsh Chapel, 12-1
Nov. 6: Workshop with Choral Dept students 2:15-3:30
Nov. 7: Lecturing in MP 781, Spec. Topics in Performance Practice (Coelho), 9-10:45, CFA rm 216   
Nov. 7: Lecturing in MH 722/822 seminar: “Josquin Desprez: The Lost Years” (Rifkin), FLR 281, 2:30-5:15.

2-3 December 2017
Joshua Rifkin (Boston University / The Bach Ensemble)
MH 629 A1: Singing and Playing Bach

Mini-Course Overview

These sessions, for singers – and instrumentalists – interested in performing the vocal works of J. S. Bach, will concentrate on the interpretation of recitatives and arias, but potentially of ensemble movements as well. I intend to devote the first session to recitatives, considering questions of textual style and content; text, music, and notation; and manner(s) of accompaniment. Work on arias will follow. For singers, this will again focus on textual-musical relationships, although obviously from a somewhat different angle. For instrumentalists, we shall consider their role both as solo actors and partners to the voice.

As indicated, if there is a sufficient number and distribution of singers to form an ensemble, we shall also look into questions of delivery in choral numbers. We shall have appropriate keyboard instruments for continuo realization. Pitch will be a’ = 415 Hz, possibly also a’ = 465 Hz if early cantatas will figure among the repertory.

I shall appreciate it if participants let me know in advance any specific items they have in mind to work on – and also if they have questions not mentioned above that they would like to see addressed.

College of Fine Arts, 855 Commonwealth Ave, Room TBA

Saturday 12/2 & Sunday 12/3, from 10-1 pm and 2-5 pm.

21-22 April 2018
David Schulenberg (Wagner College / Juilliard)
MH 629 A1: : Cadenzas and Embellishments in Eighteenth-Century European Music

Mini-Course Overview
These four sessions will provide an intensive, hands-on introduction to the creation and performance of cadenzas and embellishments in European music of the eighteenth century, including both late-Baroque and early-Classical compositions. The focus will be on soloist music by Italian and German composers for voices as well as instruments—sonatas, concertos, and arias—because these are repertories about which we have substantial relevant documentation, which will be an important element of the course.

Sessions on the first day will identify the types of music and specific places within compositions that call for embellishments, cadenzas, and other types of additions, and will also explain relationships between harmony, continuo realization, and eighteenth-century approaches to improvisation. We will examine verbal sources, including treatises by Quantz and C. P. E. Bach, and will analyze musical sources containing written-out “variations” and cadenzas from Corelli and Handel to J. C. Bach and Mozart. The aim will be to incorporate practical advice from these sources in the composition or improvisation of new embellishments and cadenzas in styles appropriate to given repertory.

Sessions on the second day will give participants opportunities to discuss and perform examples of preserved eighteenth-century embellishment and cadenzas. Depending on the interests and capabilities of participants, we may hear performances of written-out eighteenth-century decorations and cadenzas as well as newly composed or improvised examples of the same—perhaps including embellishments and cadenzas for two or more soloists simultaneously.

A harpsichord will be available for solo keyboard players and for accompanying singers and soloists on other instruments.

College of Fine Arts, 855 Commonwealth Ave, Room TBA
Saturday 4/21 & Sunday 4/22 from 10-1 pm and 2-5 pm (location tba)

30 September  – 1 October 2017
Brad Michel – Grammy Award-Winning Producer
MH 629 B1: Recording Early Music

Course Overview

A hands on discussion of elements that will make you a better and more informed musician at a recording session, better able to record yourself and provide you with knowledge to enhance the presentation of your artistry on recorded media.

College of Fine Arts, 855 Commonwealth Ave.
Saturday 9/30 & Sunday 10/1, from 10-1 pm and 2-5 pm, Rm 426