Past Seasons
Updated 9/25/2017

Chapter Monthly Meetings, 2017-2018

September 9,
Adiaha MacAdam-Somer Changing of seasons; exploring patterns in music
October 14,
David MorrisTBD
November 11,
Mary SpringfelsTBD
December 9,
Frances BlakerTBD
January 13,
Shira KammenTBD
February 24,
Stanford Workshop Registration Form and Schedule
March 10,
Marie SzutsTBD
April 14,
Julie JeffreyTBD
May 12,
Yukimi KambeTBD
June 9,
Annual Bash!.

Chapter Monthly Meetings, 2016-2017

September 10
David Morris Georg Muffat (1653-1704)
Orchestral suite Constantia from Florilegium (Augsburg, 1695)

This is terrific five-part music written by one of the most gifted exponents of an "internationalized" music style in the late 17th century. This particular collection includes not only Muffat's incomparable orchestral compositions but also plenty of technical information for performers, including bowing articulations, the use and execution of ornaments and advice about tuning. Lovely source material from a great composer and musical thinker, Constantia is full of dances with programmatic titles; we'll work on giving each piece its own character and mood as we play through the suite.

The original is scored for five-part violin band, but we will adapt it as follows:

Violin I= Treble I
Violin II= Treble II
Viola I= Tenor I
Viola II= Tenor II (or some high basses)
Bassi= Bass Viol (with any violone players more than welcome to join in the fun!).
October 8
Frances BlakerTreasures from the Cabinet

Treasures from the Cabinet includes beautiful pieces Frances has come across while reorganizing her music collection, including The Song Called Trumpets by Parsons, Constanzo Festa's motet on the death of Anne of Brittany, a chaconne by Lully and more. Come share in the excitement of rediscovery!
If you want to listen to the Parsons before the meeting here is a link to a recording by the Rose Consort (on youtube)
November 12
Loren Ludwig"Cadence and Musica Ficta in Consort Music"

In Renaissance music, cadences act like punctuation--they help articulate musical thought into recognizable phrases, "sentences," and "paragraphs." We will look at some of the details of how cadential syntax works in consort music and how to spot cadences and use them to clarify musical architecture and unlock expressive possibility.
December 10
Mary SpringfelsAn 8-part Priuli and a gorgeous 5-part Marenzio madrigal
January 14
Hallifax and JeffreyCharpentier excerpts from the "Descente D'Orphee aux Enfers"
February 25
Stanford Workshop directed by John Dornenburg with Julie Jeffrey, Elisabeth Reed, and Marie Dalby-Szuts Classes TBA
March 11
Adaiha MacAdam-SomerFantasias a5 of Michael East
April 8
Shira Kammen15th century, 2-4 part sacred compositions
May 13
Yukimi KambeConversation in consort playing
June 10
Pacifica Chapter Concert for Friends/Family .

Chapter Monthly Meetings, 2015-2016

September 12David MorrisI'm looking forward to spending the morning working on the four-part Suite in D minor by Matthew Locke (1621?-1677), an oft-overlooked composer active during those tumultuous decades in the middle of the 17th century.
October 10Marie SzutsWe will use some American hymn tunes to work on ensemble skills ("Africa" by Billings and the classic "Wondrous Love" from the sacred harp tradition); then we'll play a 5-part variation on Wondrous Love that is spectacular on viols!
November 14David MorrisVoices and Viols. By popular demand, the music for this event will be even more selections from the voices-and-viols-friendly PRB edition of L'amorosa Ero, a collection of 4-part madrigals by a slew of different Italian composers from the late 16th century.
December 12Frances BlakerWhat can be found on the internet? It is amazing how much music is available on the internet, both recordings and sheet music, much of it for free. We will focus on just two pieces from the vast number available: Thomas Weelke's Pavan no. 1 for five viols, also called "Mr. Weelkes his Lachrymae", and "Fortuna ad voces musicales", a 4-voice composition from the early 16th century by Ludwig Senfl. These two pieces are absolute gems, filled with beautiful melody and imaginative counterpoint.
January 9Shira KammenDance music from the Middle Ages, Renaissance, and Baroque, all music intended for dancing.
February 6Stanford Workshop directed by John Dornenburg with Julie Jeffrey, David Morris and Mary Springfels Classes Include:
Bow articulation: are you really using your fingers? (All levels and sizes) John
Matthew Locke: Suite from The Little Consort. (all levels Tr T B) Julie
Basso continuo clinic: all the how's and why's! (all levels B) David
The Northern Renaissance: music 5 by Senfl, Finck, Isaac. (UI, all sizes) Mary
John Jenkins: Play his dramatic Siege of Newark. (UI-A, Tr Tr B B) John
Couperin's G Major duet transposed to C! (all levels, T only) Julie
Struggling with the Dark Side: Horrible keys and how to handle them. (All levels and sizes) David
Purcell's Sonnatas of Three Parts, adventurous and not well-known music trans. by G. Houle for viols. (UI-A, T B) Mary
Advanced Solo: Biber Toccata for viol and b.c. (B ) John
PRB's new Michael East 5 for low viols. (all levels, TT BBB one 7-string) Julie
German Big Band: 5-part music by Hammerschmidt. (All levels and sizes) David
Treble technique: Fear of flying- shifts and stretches beyond the frets. (All levels) Mary
March 12Amy Brodo.
April 9Pat O'Scannell.
May 14Hallifax and Jeffrey.
June 4Pacifica Chapter Concert for Friends/Family .
July-August2016 VdGSA Conclave in Forest Grove, Oregon.

Chapter Monthly Meetings, 2014-2015

September 13Shira KammenCompositions based on the gorgeous chant melody 'Ave Maris Stella', including music of Josquin des Pres, Monteverdi, Dufay & Victoria.
October 11Hallifax and JeffreyJulie (assisted by Peter) will lead a workout focusing on tidying up those pesky dotted-rhythm passages that sometimes pop up in consort music. The session will include some technical troubleshooting, exercises and some work on the attached excerpt from William Young's Fantasia a3 no. 8.
November 8Roy WheldenRoy Whelden plans to explore several late Bach canons, specifically the recently (1977) discovered Verschiedene Canons from the Goldberg Variations. These are ecstatic and complex contrapuntal creations almost unequaled in the literature. Unspecified in instrumentation, they work well indeed on viols.
December 13David MorrisDavid Morris will work with us on a pair of Chaconnes, one in five parts by Lully, and one four parts by Purcell. We'll get a crash-course in French style for the Lully, and then see just how much of that might apply to Purcell's compositions. 1st treble parts go up to high c, and David will play along with the brave souls who want a challenge at the high-end!
January 10Elisabeth ReedA Musical Banquet: An exploration of the Johann Hermann Schein's only collection of instrumental music, the Banchetto musical, 1617. This collection contains twenty separate variation suites, which are among the earliest and finest examples of this type of form. There will be a Feldenkrais appetizer preceding this smorgasbord of dance movements.
February 21Stanford Workshop directed by John Dornenburg, with Julie Jeffrey, Adaiha MacAdam-Somer, and Lynn Tetenbaum.
March 14Tobi Szuts and Brady LanierTwo lamentations: one of crecquillon and one of tallis, focusing on how to interpret the music in a choral way, and a couple unique ways to phrase this kind of texted music.
April 11Marie SzutsLasso's La nuict froide et sombre and Bonjour, mon coeur are delightful when sung, but also exquisite when played instrumentally. We'll work on good ensemble technique and breathing together as a group.
May 9Frances Blaker.
June 6Pacifica Chapter Concert for Friends/Family Note change of date!

Chapter Monthly Meetings, 2013-2014

September 14Elisabeth ReedEffective Use of your Entire Bow: An exploration of the three main types of bowing with exercises and musical examples.
October 12David MorrisVoices and Viols. Our music this time around will be a mixed bag of late Renaissance madrigals edited by Peter Ballinger and Leslie Gold of PRB Productions. Composers include Weelkes, Coperario and Sigismondo d'India. The styles, forms and moods will be all over the map, and it's all first-rate.
November 9Amy BrodoSeveral charming fugues and canons by August Klengel, a German composer in the late 18th and early 19th century who studied with Clementi.
December 14Josh LeeWe will start the day with a left hand warm up and question and answer session about left hand, arm and finger technique.
January 18Farley Pearce"Canons and Musical Curiosities." Including Teleman's canonic sonatas and short pieces by Bach, Mozart , Beethoven ,etc. that that demonstrate a neat trick.
FebruaryStanford Workshop with John Dornenburg and others.
March 8Julie Jeffrey and Peter HallifaxFrench viol consort music.
April 12Yukimi KambeViol expression in the consort play longing to the voice -- speak and sing, playing from vocal music by Schutz, Gesualdo, Morley and Matsushita.
May 10Roy WheldenPurcell as theorist and composer for the viol. Coaching for ensembles who will be performing at the afternoon party.
May 10Pacifica Chapter Concert for Friends/Family .

Chapter Monthly Meetings, 2012-2013

September 8Josh LeeCare of the left hand - increasing efficiency, reducing stress and avoiding injury.
October 13Farley PearceThe Bourree and possibly the Courante from J.S. Bach's Suite #3 for cello adapted for any size viol, and, time permitting, a Scottish tune from fiddler Nathaniel Gow's 18th century collection.
November 10Pat O'Scannell'Road-mapping' for more fluid and concise bowings: The forearm, the hand and then the fingers (in that order) are utilized to execute long, medium and fast notes. In addition, the whole bow, about half the bow or less, and very little bow are used to execute these same long, medium and fast notes.
December 8Marie Szuts.
January 12Mary Springfels.
February 9Stanford Workshop with John Dornenburg and others.
March 9Shira Kammen.
April 13David Morris - Voices and Viols.
May 11Julie Jeffrey and Peter Hallifax.
June Pacifica Chapter Concert for Friends/Family.

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