List of upcoming NEEMF events

Sat, 14 Dec 2019

'SCHÜTZ: The father of the orchestra'

a day on Schütz's polychoral motets and the Christmas story

for voices and instruments

led by David Stancliffe

St Brandon’s Church, Brancepeth, near Durham, DH7 8DF.

A workshop for singers and players of viols, violins, bass violin/'cello and violone; cornetti, recorders, sackbuts and fagotto (dulzian/curtal) with organ, harpsichord and lute or theorbo. We need two cornetti and can take up to six or seven sackbuts! We will sing/play at A=440.

This workshop sets Heinrich Schütz's Christmas Story in the context of his dramatic choral writing.

We will work on two polychoral motets in the morning Ist nicht Ephraim mein teurer Sohn (1619) and Saul, Saul (1650). These motets have singing parts for solo voices (favoriti) and for choral groups.

Then we will move to Schütz's Historia der Geburt Jesu Christi (1664) - his Christmas Story. This has solo parts for an Evangelist (T), an Angel (S) and Herod (B). The chorus - SATB - sings at the beginning and end (and will also sing the Angels). A series of Intermedia with groups of voices for Angels (SSATTB), Shepherds (AAT), Wise men (TTBar), High Priests (BarBBB), as well as Herod and the Angel are accompanied by colourful and characterful instrumentation. I hope that every singer who wishes will get a chance to sing a solo, and the application form asks you to indicate what you would like to do. Likewise, with the instrumental parts.

VERY IMPORTANT - Please note that due to the number of solos / small groups sections, this is not a workshop where you will be singing / playing all the time.

FULL DETAILS, please read carefully:

This workshop sets Heinrich Schütz's Christmas Story in the context of his dramatic choral writing.

The plan is that we will work on two polychoral motets in the morning Ist nicht Ephraim mein teurer Sohn (1619) SWV 40 CPDL #06829, alternatively the full score in all modern clefs is in IMSLP #540424 in the version edited and transcribed by Alexander Reuter

https://imslp.org/wiki/Psalmen_Davids_sampt_etlichen_Moteten_und_Concerten%2C_Op.2_(Sch%C3%BCtz%2C_Heinrich)

 on pp 349 to 369

and Saul, Saul (1650) SWV 415 CPDL #07692. http://www0.cpdl.org/wiki/images/2/23/Ws-swv_415a.pdf These motets have singing parts for solo voices (favoriti) and for choral groups, together with violins, bass violin/'cello and violone; cornetti, sackbuts and fagotto (dulzian/curtal) with organ and lute or theorbo.

'Then we will move to Schütz's Historia der Geburt Jesu Christi (1664) SWV 435 - his Christmas Story. This has solo parts for an Evangelist (T), an Angel (S) and Herod (B). The chorus - SATB - sings at the beginning and end. A series of Intermedia with groups of voices for Angels (SSATTB), Shepherds (AAT), Wise men (TTBar), High Priests (BarBBB), as well as Herod and the Angel are accompanied by colourful and characterful instrumentation - Viols, Violins, Fagotto, Recorders, Sackbuts, Cornets and bass instruments - including organ and theorbo.

'The score of the 1955 edition by Friderich Schoenich, published by Bärenreiter, is available on IMSLP #47013, https://imslp.org/wiki/Historia_der_Geburt_Jesu_Christi%2C_SWV_435_(Sch%C3%BCtz%2C_Heinrich)which you should consult before you decide what you can offer to sing or play. But the best modern edition, with a different reconstruction of the opening movement, is by Günter Graulich for Carus Verlag. David Stancliffe has a set of those instrumental parts, and people who would like to sing in one or more of the Intermedia will be singing from a Carus Vocal Score. David Stancliffe is editing his own edition of the first chorus, but the final chorus and angels will be as per the imslp edition above.

We hope that every singer who wishes will get a chance to sing a solo, and the application form asks you to indicate what you would like to do. Likewise, with the instrumental parts. We need two cornetti and can take up to six or seven sackbuts! We hope several continuo players can take part as well - the organ is by Guyla Vagi, and has a regal as well as 8', 4' and 2'. Harpsichords are welcome if they can tune the same as the organ.

We will sing/play at A=440, and use a 6th comma meantone tuning.

We may also use this as a warm up: Vulpius/Praetorius round with 4 part version of Es ist ein Ros entsprungen CPDL #51716 ed Kobel http://www3.cpdl.org/wiki/images/3/32/Vulpius-Praetorius_Es_ist_ein_Ros_entsprungen.pdf

All parts and vocal scores will be provided on the day. Please let Alice Brunton know if you decide to print your own, so she can reduce the amount of printing required.

We are looking forward to the day, and hope it will be rewarding musically as well as being enjoyable.

David Stancliffe (leader) & Alice Brunton (organiser)

David Stancliffe, leader of the Bishop's Consort is well known for putting on historically informed one-to-a-part performances of baroque music in county Durham. He was the leader of an excellent NEEMF workshop in 2015.

Download application form

 

Sat, 25 Jan 2020

Saturday 25th January 2020

Music for an Archduke

A workshop for loud and soft winds with Tim Bayley

Clements Hall, York

An instrumental workshop for loud and soft renaissance winds, exploring the polychoral compositions from late sixteenth century Austria and Italy contained in the Regensburg manuscript.

The Regensburg manuscript was compiled in the 1580s for Archduke Karl 11 of Inner Austria at Graz, by court musician Nicholas Rekh. The royal trumpeters had access to a wide range of wind and brass instruments owned by the court, including sackbuts, cornets, shawms crumhorns, dulcians, and Rekh produced part books of religious music by many leading composers of the time, ( Lassus, Striggio, A Gabrieli, Wert, as well as several lesser known musicians) giving precise instrumentation.

The workshop will explore some of the larger scale works in eight and ten parts, creating a variety of contrasting bands of loud and soft wind and brass.

Suitable for sackbuts, cornets, curtals, windcaps and recorders.

Pitch A 440

Tim Bayley has played early wind instruments, hurdy gurdy and harp for many years and was a founder member of the York Waits with whom he has performed since 1977. Tim regularly leads instrumental workshops for the early music forums around the country, and coaches on the week long residential Chalemie course in Oxford. He works as a wind tutor in the York area, conducting a variety of ensembles on a weekly basis as well as holiday youth orchestras with up to fifty players. 

 

Download application form

Sat, 22 Feb 2020

Saturday 22 February 2020

Dido and Aeneas, Purcell's wonderful compelling opera

with John Hancorn 

A = 415 for singers, strings and continuo

Jesmond URC, Burdon Terrace, Newcastle upon Tyne NE2 3AE

Everyone should take part in at least one performance in their lifetime!

Purcell produces music of exquisite beauty and grace and poignancy to tell this tragic story of Queen Dido and her doomed love for Prince Aeneas.

It is a joy for the chorus, with wonderful varied choruses to sing...you are courtiers, then witches in the scene with the malevolent Sorceress, then sailors and finally bear witness to Dido’s tragic final demise in a chorus of heartbreaking pathos and beauty, which follows her famous Lament ‘When I am laid’

I would encourage everyone to come and sing, and experience the joy of Purcell’s dramatic masterpiece.

The small orchestra of strings and continuo is challenging and very rewarding and has all the grace and dance like musical trademarks that distinguishes Purcell’s style.

 

John Hancorn is music director of the BREMF Singers, Baroque Collective Singers, East Sussex Bach Choir and Eastbourne Choral Society and co-director of The Baroque Collective and the newly launched Lewes Baroquefest!  Performances for the Brighton Early Music Festival include Bach’s St John Passion and B Minor Mass, Monteverdi Vespers and a staged performance of Purcell The Fairy Queen.  John leads vocal workshops and masterclasses specialising in baroque repertoire.

There is a very interesting article about Dido and Aeneas at http://www.ibmidatlantic.org/Music_Net/Dido%20and%20Aeneas%20analysis.pdf

 

Download application form

Sat, 14 Mar 2020

Saturday 14 March 2020

Machaut and the Magic of the Medieval

A workshop for all voices and instruments, ancient & modern at A=440.

Led by Lizzie Gutteridge

Burley in Wharfedale Methodist Church, LS29 7DT

Machaut lived for over 70 years in the 14th century, which in its self is impressive when you consider the famines, plagues and wars that beset Europe during this period. The length of his career helps to explain the breadth of his musical (and poetical) achievements, which include the development of secular song forms which would become the standards for decades to come, such as the rondeau, virelais and ballade, and the composition of the first complete setting of the mass ordinary by a single composer.

This workshop will offer an introduction to some Machaut's most famous works, alongside a few less familiar numbers and a brief foray into the earlier Montpelier Manuscript where music from the previous generation provides us with some context. We'll cover the poetic song forms of virelais & rondeau, including the well known douce dame joilie, and ma fin est mon commencement. Where these are monophonic we'll look approaches to building an arrangement with drones and countermelodies. We'll also take some time to get used to navigating the forms and relishing the harmonies in the polyphonic works, which can be startling at first to the modern ear but have a logic and richness that's worth pursuing. We'll also tackle the hoquetus David, composed in one of Machaut's more backward looking moments and will compare with an earlier hocket from the Montpellier manuscript, and while we're there we'll take a look at one or two motets on the same tenor.

Lizzie took up playing shawm as a part of the historical re-enactment movement to re-form Waits bands throughout the country, then decided to pursue it further and make it her main occupation. She plays a wide range of historical instruments, including bagpipes, recorders, curtals and fiddles.

Lizzie now performs up and down the country, in and out of historical costume, as a member of Blondel and The York Waits. Freelance engagements have included the Globe's “Nell Gwynn”, both on tour and in the West End, “The Knight of the Burning Pestle” at the Wanamaker Theatre, performances in Morocco and London with Passamezzo, and large scale events at Hampton Court and the Tower of London.

Lizzie's latest project “Consort of 1” combines early music on historical instruments with the use of live looping equipment which allows layering of parts to show Medieval and Renaissance melodies from a new perspective. She also makes and sells historical double reeds for shawms & curtals.

Burley in Wharfedale lies off the A65 (Kendal – Skipton - Leeds road) between Ilkley and Otley. Main Street was the original A65, and is now accessed by a roundabout at either end of the town. The Methodist Church is on the left as you travel westwards, opposite the Co-op. There is a small car park at the back, on Back Lane, but also plenty of on-street parking. The railway station, which is on the Leeds – Ilkley line, is 15 minutes’ walk away to the SW of the church.

Lizzie will be performing a 'looping' concert at Ilkley Manor House the evening before, the 13th. Keep an eye on the Ilkley Manor House website for details when these are released. https://www.ilkleymanorhouse.org/

 

Download application form

Sun, 26 Apr 2020

NEEMF performing day at Temple Newsam

an opportunity to hear music performed by NEEMF members and their friends throughout the day in this historic setting.

Details later. alan.neemf@btinternet.com

Sat, 23 May 2020

Baroque Workshop with
Rachel Brown (flute and recorder) Adrian Butterfield (violin)
Monkseaton Middle School, Whitley Bay


It is anticipated that we gather together 6 groups (A415 or 440), preformed (or not) and play and study trio sonatas, quadros etc. especially baroque flutes, recorders, oboe, violin and BC. 

Adrian Butterfield has gained an international reputation as a violinist, director and conductor who specialises in period performance of music from about 1600-1900. He is Musical Director of the Tilford Bach Society, Associate Music Director of the London Handel Festival, Professor of Baroque Violin at the Royal College of Music in London and teaches on the Pro Corda Conservatoire Baroque Summer Course. He leads and directs The Revolutionary Drawing Room and The London Handel Players and directs and conducts The London Handel Orchestra as well as being invited to work as a guest with many other ensembles in Europe and North America.
A leading exponent of historical flutes, Rachel Brown is in great demand world-wide, as a soloist, orchestral player and teacher. As principal flute and recorder player with the Academy of Ancient Music, the Hanover Band, the Brandenburg Consort, Collegium Musicum 90, Ex Cathedra and, more recently, Arcangelo, she has recorded extensively and performed throughout Europe, North and South America, Japan, China and Australia. Her acclaimed solo recordings include the Telemann Fantasias, sonatas and concertos by JS, CPE and JC Bach, Handel, Quantz and Leclair. With her ‘dream-team’ London Handel Players, Rachel has immersed herself in the rich repertoire of baroque chamber music.

Details later.

Sat, 13 Jun 2020

Workshop for singers, with Rory McCleery

Infelix Ego - Recusant masterpieces by Byrd, Tallis & De Monte

Clements Hall York. Details later.

Sat, 19 Sep 2020

'Sisters of Ferrara' workshop (female voice polyphony)

led by Prof. Laurie Stras

Clements Hall, York. Details later.