Early Music Program

Baroque Ensemble is open by audition only to experienced modern violin family string players (violin, viola, cello and bass) as well as harpsichordists familiar with figured bass. Use of baroque bows, and instruments when possible, introduce students to their unique capabilities. Covering repertoires from approx. 1600-1750 in Europe and the Americas, the ensemble familiarizes students with performance practice and playing techniques based on contemporaneous treatises. Baroque Ensemble may collaborate with other ensembles, such as Cornetts and Sackbuts, Lute Ensemble, Renaissance Voices, Viol Consort, or Wind Band. Led by Alice Robbins.

The sackbut is probably the instrument which differs the least from its modern evolved counterpart - the trombone. The cornetto, on the other hand, has no modern counterpart. Students may borrow both from the Loeb Collection. Cornetts and Sackbuts perform primarily European music circa 1550-1650. An early music specialist coaches them in historical performance practices. 

Open to beginning through advanced players of lute and guitar (any style). There are a limited number of lutes available, and guitarists will find it easy and fun to make the transition to lute while playing renaissance songs, dance music, and improvising renaissance-style over familiar chord progressions. Lute Ensemble may collaborate with other ensembles, such as Baroque Ensemble, Cornetts and Sackbuts, Renaissance Voices, Viol Consort, Violin Band, or Wind Band. Led by Meg Pash.

Medieval ensemble is open to vocalists and instrumentalists. Registration is by approval from the coach, usually pending an informal audition. Singers work on historic pronunciations in original languages, which may include Latin, French, Occitan, Italian, English, Spanish, German, and more. Because few students come into the ensemble already playing medieval instruments, most instrumentalists will borrow from the Instrument Collection. Some amount of rehearsal time will be spent learning new skills on instruments new to them. Repertoires may range from the 11th to the 15th centuries primarily from Europe, including chant, monophonic song (Latin, troubadour, trouvére, etc), instrumental music, chansons, and other types of polyphony. In preparing the ensemble, the coach may touch on issues of notation, iconography, accompanimental techniques, contemporaneous treatises, tuning, medieval music theory and pedagogy, vocal technique, and relevant cultural/societal background.

Renaissance Voices is open by audition only to students with a significant singing background, such as past or current private lessons or extensive experience in ensembles. This one-on-a-part ensemble explores vocal repertoires from Europe and the Americas circa 1400-1650, both sacred and secular, courtly and popular, and everything in between. Singers work on historic pronunciations in original languages, which may include Latin, French, Italian, English, Spanish, German, Polish, and more. In preparing the ensemble, the coach may touch on issues of notation, vocal technique, ornamentation, text, pronunciation, tuning, and relevant cultural/societal background. Renaissance Voices may collaborate with other ensembles, such as Baroque Ensemble, Cornetts and Sackbuts, Lute Ensemble, Viol Consort, Violin Band, or Wind Band.

Music as it was played for dancers in the 16th to 18th centuries, and adapted for concert music by composers from Monteverdi to Bach, from pavan and galliard to minuet, sarabande, and gigue.  Open to intermediate and advanced players of recorder, flute, violin, viola, cello, viola da gamba, lute, and guitar. Led by Meg Pash.

For advanced singers, and players of continuo instruments including lute, guitar, harpsichord, viola da gamba, and cello. 17th-century solos, duos, and trios, including English lute songs, French airs de cour, and Italian arias. Led by Meg Pash.

All levels, beginner to advanced, grouped by experience. Opportunity to study and play Renaissance Viol consort repertoire for 3-6 viols (treble, tenor, bass). Beginning classes will learn basic Viola da Gamba technique and will be able to play simple consort pieces by semester end. Instruments are available for enrolled students. Viol Consort may collaborate with other ensembles, such as Baroque Ensemble, Lute Ensemble, Renaissance Voices, Violin Band, or Wind Band. Led by Alice Robbins.

Violin Band performs one-on-a-part music for violin family instruments (violin, viola, and bass violin or cello) from primarily Europe circa 1550-1650. Repertoire may include dance music, consorts, consort songs, and appropriate vocal music. The ensemble familiarizes students with historical performance practices and playing techniques, all while using Renaissance bows. Violin Band may collaborate with other ensembles, such as Cornetts and Sackbuts, Lute Ensemble, Renaissance Voices, Viol Consort, and Wind Band.

Wind Band performs repertoires from Europe circa 1400-1650, primarily in whole consorts. That is, generally the whole ensemble plays the same type of instrument in various sizes: a consort of crumhorns, or of recorders, or of cornamuses, etc. Wind Band may collaborate with other ensembles, such as Lute Ensemble, Renaissance Voices, Cornetts and Sackbuts, Viol Consort, or Violin Band.

Sixteenth- through eighteenth-century European social dance, contemporary with the eras of Elizabeth I and Shakespeare in England, the Medicis in Italy, Louis XIV in France, and colonial America. The focus will be on learning the dances, supplemented by historical and social background, discussion of the original dance sources, and reconstruction techniques.
Crosslisted as: DANCE-127

Continuation of Renaissance and Baroque Dance I. Sixteenth- through eighteenth-century European social dance, contemporary with the eras of Elizabeth I and Shakespeare in England, the Medicis in Italy, Louis XIV in France, and colonial America. The focus will be on learning the dances, supplemented by historical and social background, discussion of the original dance sources, and reconstruction techniques.
Crosslisted as: DANCE-128