Sat 21 Sep 2019
Four-part Lute Songs, a workshop in Shadwell, Leeds, led by Jacob Heringman,
a workshop run jointly by NEEMF and The Lute Society.
Lute songs are a central part of the lute repertoire, and this is an opportunity to explore those in four parts with singers (SATB), viols (treble, tenor, tenor/bass, bass) and lutes. We will primarily work on songs from Dowland’s First Book of Songes or Ayres and Campion’s Two Bookes of Ayres, Book 1 (mostly four-part) and Book 2 (three-part).
We will start all together, sometimes singing/playing as one group, much of the time asking for volunteers to form ad hoc groups with singers either singing solo, one to part or in a group. A second room will be available for, mostly, duos (singer plus lute). In the afternoon we’ll be glad to hear other songs, from Dowland/ other composers/ countries, which people bring (bring a few spare copies if you have them), and hear the second room’s morning songs. All music will be provided. For those wishing to prepare songs, we plan to look at Dowland’s Book 1, numbers 6, 9, 13; 18, 19, 21; and 3, 14, 20; or any you choose; and Campion Book 1 numbers 11, 01, 14, 15; Book 2 numbers 12, 20; or any you choose. All are available for free download from Sarge Gerbode’s Lute Page, www.gerbode.net. For more information on the music see: https://www.dropbox.com/s/bmo85arzmu9vwk4/LuteSongLink.docx?dl=0 Instrumentalists please bring a music stand.
Pitch is A=415. The semitone down from modern pitch is a more comfortable pitch for the repertoire. If your lute/viol is usually at 440, tune it down the semitone a few days before to let it settle. Gill will have two spare lutes at low pitch.
The workshop is for Lutes, orpharion; SATB singers; viols. All are welcome. If you are able to sing a line one-to-a-part that is great (the inner parts are quite complicated), but if we prefer to have several per part that is fine too.
Download application form.
Sat 19 Oct 2019
NEEMF AGM and workshop
Polyhymnia Caduceatrix et Panegyrica
Large-scale motets from Praetorius’s seminal collection of 1619
a workshop for voices and instruments led by David Hatcher
Clements Hall, York
In 1619, Praetorius published his collection of large-scale motets, many of which are for multiple choirs in the Italian manner, under the title Polyhymnia Caduceatrix et Panegyrica. This collection of 40 motets is probably the finest German response to Monteverdi’s works in Italy, including the Vespers of 1610, showing considerably more experimentation and inventiveness than his subordinate Heinrich Schütz’s Psalmen Davids, which was published in the same year. Polyhymnia contains pieces for from four to over twenty voices and with quite specific instructions on instrumentation and even seating arrangements. Many pieces are based on Lutheran tunes and some of the larger-scale works show Praetorius’s pragmatism in including parts of varying degrees of complexity, ranging from some virtuoso players (notably one equally proficient on the violin and trombone…”) down to congregational singing.
David Hatcher studied viola da gamba with Charles Medlam and recorder with Philip Thorby at Trinity College of Music, London. He regularly teaches on summer schools such as the Cambridge Early Music Summer School, and is in demand as a tutor for many weekend and day courses.
The workshop is open to all singers and to players of cornets, trombones, sackbuts, violins and viols, recorders, harpsichord, organ, harp, lutes (proficient in continuo playing), curtals, lower shawms (tenors down), racketts and even crumhorns (providing a quorum can be achieved). Pitch will be A440. Download application form.
Sun 17 Nov 2019
Sunday 17th November 2019
‘The Noodle Factory’
A workshop on ornamentation open to singers and instrumentalists
led by Paula Chateauneuf
Priory Street Centre, York
A gentle introduction to the art of improvisation, ornamentation and decoration in the manner of the great 16th- and 17th-century Improvisation Masters.
Some people think one needs to be born with an 'Improvisation Gene' to be able to extemporise, but this couldn't be further from the truth. All that's required is to learn some basic techniques which can be 'plugged in' to a given situation. 16th- and 17th-century writers recognised this, and their fascinating improvisation manuals contain all the materials you could ever need or want to learn to improvise, and expand your ear and musical imagination. This workshop will be a taster session for anyone who would like to try their hand at doing some early improvisation - it's very informal and no prior improvisation or early music experience is necessary to take part.
The day will explore the materials in 16th- and 17th-century manuals and how to use them practically, and then apply those techniques to learn to extemporize on ground basses, create variations on popular tunes, and add your own graces and ornamentation to pre-composed pieces. Improvisation enhances, intensifies, and ‘seasons’ performances, and helps you to make a piece your own. Singers and instrumentalists are welcome - come along and dip your toe in the water!
More details later.
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 http://hz.imslp.info/files/imglnks/usimg/f/fd/IMSLP540424-PMLP315696-Psalmen_Davids_SWV_22-47-Sch%C3%BCtz-Partitur.pdf on pp 349 to 369
and Saul, Saul (1650) SWV 415 CPDL #07692. http://www2.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, http://hz.imslp.info/files/imglnks/usimg/c/c4/IMSLP47013-PMLP100130-Schuetz,_Heinrich_-_Weihnachtshistorie_SWV_435,_435a_-full_score-.pdf 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://www0.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.