Class Descriptions
See complete descriptions below the quick reference
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Sunday – Thursday (unless noted)
Early morning 8:30 – 9:45 am
“Playing with a Full Deck” (ZAJAC)
“A Feather on the Breath of God” (BOERGER)
Basic Harpsichord Touch Class (PRITCHARD)
Dance Warm-Up (MANSBRIDGE)
Glogauer Liederbuch (PATTON)
Renaissance Lute Class (HERRIED)
The Kapricious Krumhorn: Capped-reeds of the German Instrumentarium (WIEMKEN)
Early Violin Technique, Repertory, & Style (DOUGLASS)
Viol Consorts and Techniques (MORRIS)
Mid-morning 10:00 – 11:15 am
The Art of the Minnesinger (HUDSON)
Ludi Musici (TERRY)
German Organ Tablatures (PRITCHARD)
The Sound of the Cornetto (TOLLAKSEN)
Sackbut Techniques (INGLES)
Advanced Baroque Violin Master Class (ANDRIJESKI)
Advanced Voice Master Class (HARGIS)
Senfl Song Settings for Advanced Recorders (KIMBALL)
Regensburg Manuscript for Interm. Recorders (ZAJAC)
Greatest Hits of the 15th Century for Harp (PATTON)
Late morning 11:30 am – 12:30 pm
Beginning Harp (PATTON)
Beginning Recorder (KOENIG)
Beginning Viol (MILLER)
Beginning Voice (PROPST)
Dance for All (MANSBRIDGE)
Lecture Series
Individual Practice Time
Early afternoon 1:45 – 3:00 pm
Small Ensembles
NOTE: These classes meet Sat-Wed due to Thursday afternoon Participant Concert
Stadtpfeiffer! A German Renaissance Town Band (WIEMKEN)
Alta Capella! Intermediate Loud Band (KIMBALL)
The Three “SCHs”: Schütz, Schein or Scheidt? (HUDSON)
Kleine Geistliche Konzerte of Schütz (ROWE)
German Violin Bands of the 17th Century (DOUGLASS)
17th C. German Polyphony for Mixed Consort (MORRIS)
Ein Deutsches Weinachten (INGLES & TOLLAKSEN)
Octo Tonorum Melodiae (TERRY)
Magical Song in 17th C. Germany (HERREID)
Musical Speech in Instrumental Music (ANDRIJESKI)
Mid-afternoon 3:15 – 5:00 pm
All- Festival Rehearsal (Boerger)
Early morning classes 8:30 – 9:45 am
"Playing with a Full Deck”
Advanced instrumentalists
Instructor: Tom Zajac
The beautiful, terse and enigmatic 4-voiced pieces depicted on the back of the Flötner playing cards have never been edited in full, although there is a LPM edition of several of the sets. We will take the opportunity to make our own editions in class. The skill required to read the notation here is quite basic so a background in 16th-C mensural notation is not required but will be helpful. Those of you who are new to old notation will be in good hands as we guide you through the experience, so please don't be intimidated. We will also look at another collection of similarly short and sweet pieces, this time in a modern edition, the short, textless fantasies based on all of the modes by Adam Gumpelzhaimer, each with a descriptive title of the "mood" of each mode.
“A Feather on the Breath of God” Hildegard von Bingen
Open to all voice types and levels
Instructor: Kristina Boerger
So did the 12-century abbess, mystic, diplomat, healer, poet, and composer Hildegard von Bingen describe herself when she was moved by God to speak, write, and create. And this is what we will be as we perform her poetry and melody. Not for another 50 years did another individual leave behind such a significant corpus of music. We will begin our studies by considering the context in which Hildegard created and the unique trajectory of her significance in the tradition of Western arts and letters. Our course will culminate in the public performance of selections from her antiphons for Saint Ursula. This course is open to men and women of any voice part; material will be pitched to the greatest benefit of all assembled.
Basic Harpsichord Touch / Technique Class
Keyboard players, intermediate to advanced
Instructor: Ian Pritchard
This class will focus on the fundamentals of harpsichord touch, technique, and tone production. Students will be encouraged to work towards developing a good sound through proper touch. All repertoire allowed.
Dance Warm-up
Open to all
Instructor: Anna Mansbridge
We will begin with the Brain Dance, which is a series of 8 patterns that helps us to invigorate our bodies and prepare our minds for the busy day ahead! Then we will learn some fun and easy dances popular in Germany, France, England and Italy during the 15th through 18th centuries.
Glogauer Liederbuch
All levels of recorders and voices – other instruments welcome
Instructor: Christa Patton
The Glogauer Liederbuch originated in or near the town of Glogau, now Glogow, Poland, around 1480. Apparently compiled for a group of monks who enjoyed playing and singing themselves, a bit less than half of the pieces are instrumental, which was remarkable for that time. Mostly arrangements of secular songs or sacred polyphony characterized by very simple tunes that would be called popular songs today, the result is a very appealing combination of simplicity and complexity.
Renaissance Lute Class
For all levels
Instructor: Grant Herreid
Concentrated individual or group sessions for high-intermediate and advanced players on lute or guitar. Focusing on expression, performance practice musicianship, basso continuo, improvisation and ornamentation. Group instruction for beginners and intermediate players, including working from tablature, sources, forms, improvisation, and ensemble playing.
The Kapricious Krumhorn: Capped-reeds of the German Instrumentarium
Class limited to 6 players; participation by permission of instructor
Instructor: Bob Wiemken
Unfortunately the krumhorn is often maligned, poorly played, ill kept and misunderstood. Yet in the hands of a skillful adept and properly maintained it adds a distinctive, pleasing and unique tone color to concerted music and was highly valued in Germanic musical circles. This course will address all aspects of krumhorn technique and repertoire, and will shape a crack krumhorn consort to dispel the instruments lowly reputation. Instrument must be in good playing condition, in tune with a properly functioning reed. Contact the instructor well in advance of the festival if your instrument is in need of a new reed or servicing. And be sure to build your chops well in advance of festival days!
Early Violin Technique, Repertory, and Style
Intermediate and advanced violinists
Instructor: David Douglass
This year MEMF's early violin class will include the usual instruction of Renaissance (arm) violin technique and the repertories that employ it, but this year's festival will also include an examination of late 17th-century German repertories that utilize Baroque (shoulder) technique, as well as what makes the later technique a preferable choice.
Viol Consorts and Techniques
Intermediate and advanced viols
Instructor: David Morris
Mid-morning classes 10:00 – 11:15 am
The Art of the Minnesinger
Open to all singers
Instructor: Bill Hudson
Join us as we explore this grand monophonic repertoire that was modeled after the troubadour tradition in Southern France. In addition to studying the music from both modern and original sources, we will explore the social dynamics at play as these poet-musicians wrote highly refined texts revering women in the context of courtly love.
Ludi Musici: Musical Games and Theatrical Chamber Music
All viols and violins
Instructor: Lisa Terry
German music for string band by Samuel Scheidt, William Brade, Samuel Schein and more.
German Organ Tablatures
Intermediate and advanced keyboard players
Instructor: Ian Pritchard
This class will explore Italian canzonas transmitted in the well-known Foà/Giordano manuscript collections, currently in Turin. These collections include manuscripts of keyboard music in German organ tablature, with several transcriptions of Italian canzoni from the late sixteenth century by Gabrieli, Merulo, Mortaro, Macque, and others. The feature of organ tablature that distinguishes it from modern notation is the absence of staves, noteheads, and key signatures. We will explore aspects of notation and how it affects our ideas of interpretation and performance practice. We will also explore aspects of ornamentation, phrasing, tempo, and articulation. Modern editions (in modern keyboard notation) are acceptable and encouraged. Ian will bring several editions to the class, and is happy to post them digitally in advance (ipritch78@yahoo.com).
The Sound of the Cornetto: A Class on Technique
Students must have their own instrument and mouth piece
Instructor: Kiri Tollaksen
We will explore why the cornetto was considered "the most perfect of instruments" for its agility and similarity to the human voice by studying basic cornetto technique, sound production, articulation, phrasing, tonal color, temperament, some ornamentation and repertoire. There will be group playing with the possibility of individual playing as well. Students must have their own instrument and mouthpiece.
Sackbut Techniques
All levels of sackbut players; rental instruments available
Instructor: Greg Ingles
This technique class is suitable for sackbut players of all levels. Topics of discussion will include articulation, tone production and quality, breathing techniques and exercises, phrasing and warm-up routines specifically for the sackbut. Daily group reading sessions will be included as well as an option for some assigned work to be developed individually throughout the course.
Advanced Baroque Violin Master Class
Instructor: Julie Andrijeski
Advanced Voice Master Class
Instructor: Ellen Hargis
Recorder Class: Senfl Song Settings
Advanced players
Instructor: Joan Kimball
German song settings of Ludwig Senfl, from his popular “Im Maien” to the hauntingly beautiful “O du armer Judas.“
Recorder Class: "The Regensburg Manuscript"
Intermediate players
Instructor: Tom Zajac
In the 1550s through 70s amateur wind player, Wolfgang Küffer, compiled a collection of five part books of songs in Latin, German, Italian and French, some texted, some without, which eventually totalled more than 300 pieces. Although it is called the Regensburg MS, after Küffer's home town and where the MS is housed today, it is more important as a study of the musical life of Wittenburg University, where Küffer was a student. We will explore this collection and enjoy some of the greatest hits found inside, as well as the little-known gems!
Greatest Hits of the 15th Century for Harp
Open to all harps
Instructor: Christa Patton
Popular melodies set by Senfl and others fall easily under the fingers and create a simple but perfectly beautiful piece when harmonized with a bass line. Yet still more delights are to be enjoyed when adding the finely crafted ornamented lines that adorn these fine old melodies. Come on down and bring your harp, there is something for everyone from the 15th century!
Late morning classes 11:30 am – 12:30 pm
Beginning Classes
Beginning Harp: Christa Patton
Beginning Recorder: Theresa Koenig
Beginning Viol: Eric Miller
Beginning Voice: Chelsie Propst
Dance For All
No previous dance experience is necessary for this class
Instructor: Anna Mansbridge
In this class we will study some of the beautiful balletto by Italian dancing masters Cesare Negri and Fabritio Caroso. In their treatises published between 1581 and 1602 they describe the steps and choreography for dances popular throughout the courts of Europe. The style of these dances highlighted male prowess and feminine charms, and very much embodied the European ideals of a noble courtier. Please wear clothing that is comfortable to dance in, and shoes that are flexible. Players welcome.
LECTURE SERIES
Note: The lectures in the series presented on Sunday, Tuesday, and Thursday will be repeated as shortened pre-concert lectures those same evenings at 6:30 pm. The pre-concert lectures for the FRIDAY evening concert can be heard only before the concert. The pre-concert lecture for the Friday concert will be presented for workshop participants on Saturday, July 6, at 2:30 pm following orientation.
“More than a ‘Theater of Instruments’: The Syntagma Musicum of Michael Praetorius”
Sunday, July 7
Presenter: J. Michael Allsen
“Biber and German Violin Playing in the late 17th Century”
Monday, July 8
Presenters: Edith Hines and John Chappell Stowe
“The Illustrated Festival Book in Context”
Tuesday, July 9
Presenter: Catherine Sawinski
“Reconstructing Dance History: Why Bother?”
Wednesday, July 10
Presenter: Anna Mansbridge
“Bible Reading and Musical Exegesis in 16th c. Germany”
Thursday, July 11
Presenter: David Crook
Early afternoon classes 1:45 – 3:00 pm
Small Ensembles
NOTE: These classes meet Saturday (7/6) – Wednesday (7/11) due to the Thursday afternoon Participant Concert
Stadtpfeiffer! A German Renaissance Town Band
Participation limited to a maximum of 8 players; instructor permission required
Instructor: Robert Wiemken
A course for high-intermediate to advanced players of shawm, cornetto, sackbut and dulcian, replicating the premier musical ensemble of German urban life in the Renaissance and early Baroque periods. The course will pursue repertoire encapsulating the musical demands of civic life in such prominent centers as Munich, Augsburg, Nuremberg and Regensburg. Participation will be limited to a maximum of 8 with permission of the instructor and/or audition required. Contact Bob Wiemken at bob@piffaro.com regarding admission.
Alta Capella! Intermediate Loud Band
For intermediate to upper intermediate players of double reeds and brass
Instructor: Joan Kimball
The rich German repertoire of the late 15th century from such sources as the Glogauer Liederbuch provides wonderful music for the early Loud Band – the combination of shawms and sackbuts. Add to that the inventive and varied compositions of Heinrich Isaac, and you have a week’s worth of wonderful music to explore.
The Three “SCHs” or, “Schütz: Schein or Scheidt?”
Advanced singers only
Instructor: Bill Hudson
Beginning with the 1609 publication of Viadana’s Cento concerti ecclesiastici in Frankfurt, the new Italian style was all the rage for German composers of the 17th century. We will delve deep into the challenging polyphonic vocal repertoire of this first generation of German Baroque composers: Heinrich Schütz, Johann Hermann Schein, and Samuel Scheidt, with a special emphasis on Schein’s masterful sacred madrigal collection, Israelis Brünlein.
Kleine Geistliche Konzerte of Heinrich Schütz: Toward a more flexible, practical, sacred music
Open to all singers and continuo
Instructor: Paul Rowe
The small sacred concertos for various vocal combinations, solos, duets, trios, etc., and continuo by Schütz. We will explore the smaller side of the Dresden cantor’s musical output as reflected in the three volumes of Kleine Geistliche Konzerte.
German Violin Bands of the 17th Century
All string, keyboard, and harp players
Instructor: David Douglass
All string players are welcome for this ensemble that will play some of the most beautiful, joyful, complex, and satisfying music from the late Renaissance and early Baroque. We will explore music from the court of Count Ernst at Bückeburg, composed by Thomas Simpson, Johann Grabbe, and Johann Schop, as well as that of composers Andreas Hammerschmidt, Carlo Farina, Heinrich Schmeltzer, and Heinrich Ignaz Franz Biber. Violin band music includes violins, of course, but violists are especially welcome, since many of the parts are in alto clef, but it is also a tremendous opportunity for a cellist to explore repertory for bass-violin, the predecessor of the modern cello. Keyboardists and harpists can also be included in this fabulous entertainment ensemble.
17th-c. German Polyphony for Mixed Consort
Intermediate recorders, viols and other instruments
Instructor: David Morris
Transcribed keyboard works by Pachelbel and Froberger for four-part ensemble; all clefs available. Doubling (or even tripling) is fine. Great new editions by PRB Productions!
Ein Deutsches Weinachten, or Ein Isthmus Deutsches Christmas!
All instruments and voices welcome!
Instructor: Greg Ingles and Kiri Tollaksen
Ever heard of Christmas in July? We will get in the mood with German holiday favorites and not-so-well-known gems by 17th century composers Michael Praetorius, Samuel Scheidt, Johann Schein, Heinrich Schütz and others. We will explore masterful settings of popular Lutheran hymns such as In dulci jubilo, Nun komm der Heiden Heiland and Es ist ein Ros entsprungen.
Octo Tonorum Melodiae
All viols – flexibility a must!
Instructor: Lisa Terry
The eight ecclesiastical modes are the hook for eight enthralling fantasias set in five-part polyphony by Thomas Stoltzer (c.1480–1526). Viol flexibility a must – we will trade instruments and sizes to explore the fantasias in high settings and low.
Magical Song in 17th Century Germany
For all voices and instruments
Instructor: Grant Herreid
In this class we will look at the connection between music and magic in the context of German late Renaissance music. In the 1640s Georg Philipp Harsdörffer published his "Die Tugendsterne: or, The Pageant of the Seven Planet-Virtues. This pageant explores the relationship of musical mode and orchestration to the attributes of the seven planets and virtues through seven solo songs, set to elegant melodies by Sigmund Gottlieb Staden (1607-1655), each provided with a special "entrata" or ritornello scored for specific instruments combinations of reeds, winds, strings, brass and continuo. Each entrata is accompanied by an illustration of the planet/virtue on a triumphal coach, full of symbolism and esoteric meaning. We will also look at the 'alchemical fugues' composed by the alchemist Michael Meier for his Atalanta fugiens (1617), based on a gregorian Kyrie melody, each of the 50 3-voice fugues or canons illustrating an alchemical principle through the myth of Atalanta and Hippomenes and the Golden Apples. For all voices and instruments.
Musical Speech: Rhetoric and Gesture in Instrumental Music
Intermediate/advanced violins, viols, recorders, sackbuts, bassoon/dulcian, continuo
Instructor: Julie Andrijeski
Explore how to get the message across to your audiences without words by playing through various small- to mid-sized 17th-century ensemble pieces from throughout the German lands.
Mid-afternoon classes 3:15 – 5:00 pm
All-Festival Rehersal
Instructors: Kristina Boerger and Bob Wiemken
Rehearsals for the final All-Festival Concert on Friday, July 12:
STUTTGART 1616: A Festive Celebration of the German Renaissance
Our closing celebration features a splendid Mass composed for the princely christening of the fifth song of Johann Friedrich, Duke of Wurttemberg in Stuttgart in Marche 1616. Composers include Gregor Aichinger, Ludwig Daser, Leonhard Lechner, and Michael Praetorius.