Historical Week

Modules

• Module 1: Grammar and form in instrumental compositions of the XVIII century

  For: open to all students, with a special attention to instrumentalists (strings, clarinet, pianists)
  Teacher: Jörn Boyssen
  When: Friday April 5th 10.00-14.00 hrs
  
  Description:
  Historical performance practice means more than playing a "baroque" violin with gut strings and without vibrato. The right hardware is important, of course, but this forms only one aspect of the whole. It is important to get a good overview from different angles and to recognize connections. Knowledge of the form is essential for a correct understanding of Baroque pieces. After all, this is rhetorical music: from the process of composing itself to the performance. Certain harmonic twists and cadences have certain effects on the listener and have been associated with punctuation marks and helped to clarify the respective effect. The form of a composition is based on poems or a good speech. By analyzing instrumental works and arrangements of vocal music for instruments, I provide insight into the way of thinking of composers and musicians at the time.
  
  In the case there are English speaking students in the group, the lecture and the lessons will be conducted in English.
  
  Suggested repertoire:

  • Vocal music from the XVII and XVIII centuries (ensemble and solo): for example, Madrigals of Monteverdi, Schütz and others
  • Recitatives and arias form cantatas form A. Scarlatti, Hasse, Telemann, Bach, Händel
  • Solo instrumental music and chamber music form the late XVII and XVIII century:
  • Sonatas with basso continuo: Corelli: op. 5, Couperin: Concerts Royeaux, Les Nations,Telemann: Methodische Sonaten, J.S. Bach BWV 1021, 1023, C.P.E. Bach: Sonata for Oboe & BC, Franz Benda: Violin sonatas
• Module 2: String and Winds Solo Concerti

  For: string players, oboists, clarinettists, trumpeters, flutists
  Teacher: Víctor García García
  When: Friday April 5th 11.00-17.00 hrs
  
  Course description:
  In this group classes, we will continue with the work on the historical performance approach to the classical and romantic periods, focusing on standard solo repertoire for strings. There will be an introductory class about the diverse expressive and technical tools that musicians used in those eras, which have been somewhat forgotten nowadays. After that, we will collectively explore the performance of our standard classical and romantic concertos depending on the repertoire that students bring.
  
  The lessons will be conducted in English.
  
  Suggested repertoire:
  Mozart, Haydn, Hoffmeister, Stamitz concerti
• Module 3: Classical concerti with an emphasis on Mozart’s contribution to the genre

  For: pianists
  Teacher: Artem Belogurov
  When: Wednesday March 3 through Saturday April 6, daily from 10.00-14.00 hrs
  
  Course description:
  Taking Mozart’s Keyboard Concerti as a case in point we will delve into history, context, form and performance practice of the most prestigious genre for an 18th century keyboard player. Mozart’s innovations in form and relationship between the orchestra and the soloist set the stage for the Romantic generation of composers. He, however, according to many commentators, reached a level of cohesion, expressiveness and virtuosic display that proved difficult if not impossible to match in the centuries to come. During the project week we will study examples of his craft as both a composer and a performer, from structural elements (and how they affect us keyboard players), to improvised ornaments and cadenzas (learning from Mozart himself) and historical context of his own performances and those of his students. You will have an opportunity to explore all of this and more on a unique replica of a Stein fortepiano, just like instruments Mozart played on himself.
  
  The lessons will be conducted in English.
  
  Instrument:
  J.C. Neupert copy of a Duicken fortepiano. The range of the piano is F1-f4.
  Pitch: 430 Hz
  
  Suggested repertoire:

  • Any keyboard concerto by W. A. Mozart
  • Either of the first two concerti by Beethoven, any Haydn concerto or pre-1800 concertos by Kozeluch, Clementi, Schobert, Müthel, etc.
• Module 4: Historical Performance Practice of Classical and Romantic Chamber Music

  For: chamber music groups that include piano, winds and/or strings
  Teacher: Víctor García García
  When: Wednesday April 3 and Thurday April 4, both days from 11.00-14.00 and from 15.00-17.00 hrs
  
  Course description:
  In this module, we will work on chamber music pieces from the perspective of a historically informed performance approach, with a special focus on the classical and romantic periods. I suggest that students bring the pieces they have been working on during the year, so we can collectively rediscover those pieces from a historical point of view, exploring the expressive tools that are characteristic to the performance practice of the time. We will also experiment with various rehearsal techniques and get deeper into the preparation process towards a performance in a chamber music setting.
  
  The lessons will be conducted in English.
  
  Suggested repertoire:
  Any chamber music piece from the classical and romantic periods.*
  * Students are welcome to apply not only with their entire ensembles, but with fewer members as well or as individuals.
• Module 5: Read the manual

  For: pianists, composers, organists, carillon players
  Teacher: Laurens de Man
  When: Tueday April 2 and Thursday April 4, both days from 16.00-18.00 hrs
  
  Course description:
  We all heard about the famous treatises from the past: gold mines for historical inspiration for your playing! Many treatises are specifically discussing one instrument, but still contain relevant information on general interpretation. But who actually really read those? In this course, your knowledge of a relevant performance practice source is updated. Relevant chapters from a historical treatise are divided among students; they prepare a presentation about it and demonstrate an example of how this source can be applied in their daily music making. I could of course prepare a few chapters too, if needed.
  
  In the case there are English speaking students in the group, the lecture and the lessons will be conducted in English.
  
  Suggested repertoire:

  • C.P.E. Bach: Versuch über die wahre Art, das Klavier zu spielen
  • Quantz: Versuch einer Anleitung, die Flöte traversière zu spielen
  • Czerny: Pianoforte-Schule op. 500
• Module 6: Meet the organ

  For: pianists
  Teacher: Laurens de Man
  When: Tuesday April 2 and Thursday April 4, both days from 14.00-16.00 hrs
  
  Course description:
  This course consists of three integral partis. We will kick off with an introductory lecture in which the organ is discussed covering a brief overview of the mechanics, the history etc.. Form there on we will continue with individual lessons where each student would play prepared repertoire in front of the eintre group and receive feedback and instructions. The module will conclude with a group lesson during which the students will present and discuss their pieces.
  
  Suggested repertoire:
  Students are welcome to choose any piece of J.S. Bach. All levels and lengths are possible.

• Module 7: Getting to know the harpsichord & clavichord

  For: pianists, organists, carillon players
  Teacher: Siebe Henstra
  When: Tuesday April 2 and Thursday April 3, both days from 14.00-18.00 hrs
  
  Course description:
  There will be an introduction lecture about the harpsichord, its history and the different building styles, dispositions, etc. The lessons will cover compositions written for the harpsichord that are also often played on the piano.
  
  In the case there are English speaking students in the group, the lecture and the lessons will be conducted in English.
  
  Suggested repertoire:
  Chose yourself 1-2 pieces form the following list:

  • J.S. Bach: English suites in a, g en F BWV 807-809; French suites 1-6 BWV 812-816 (Bärenreiter or Henle ed.)
  • D. Scarlatti: Sonatas K 3, 52, 96, 105, 115, 116, 119, 132, 133, 238, 239, 460, 461, 513, 517? (Schirmer Sixty Sonatas in two Volumes or Ricordi complete ed in Library or Le Pupitre on IMSLP)
  • Rameau: suites in a, e
• Module 8: Renaissance Consort Music on Renaissance Flutes

  For: flutists from both historical and classical sections. Recorder players: if you are interested, please contact the teacher Doretthe Janssens before signing up for this module.
  Teacher: Siebe Henstra
  When: Wednesday April 3 15.00-18.00 hrs & Thursday April 4 10.00-13.00 hrs
  
  Course description:
  For these two classes we will use copies of renaissance flutes (instruments will be provided). First concern will be to learn the fingerings. Next we will be dealing with reading music from the original part books which were used when printing music started to develop (ca 1550). Attention will also be paid to intonation (meantone temperament), alongside with a short introduction to solmisation. The aim is to play as much as possible and we will use music from the collections of Pierre Attaignant and Tilman Susato.
  
  In the case there are English speaking students in the group, the lecture and the lessons will be conducted in English.
  
  Suggested repertoire:
  No specific repertoire is requested.

• Module 9: Modern VS Historical Instruments

  For: singers, instrumentalists
  Teacher: Heiko ter Schegget
  When: Wednesday April 3 14.00-16.00 hrs
  
  Course Description:

  • Authentic instruments compared to modern instruments
  • Old recordings compared to new recordings
  • Documentary "the color of air" ; a search for sound in the 16th to 19th century
  • Questions and discussion

  In the case there are English speaking students in the group, the lecture and the lessons will be conducted in English.
  
  Suggested repertoire:
  No preparation is required.

• Module 10: Come Again - English Consort Music

  For: singers, organists, gamba, choir conductors, harpsichordists
  Teacher: Jörn Boysen
  When: Tuesday April 2 through Thursday April 4, daily from 10.00-14.00 hrs
  
  Course description:
  The consort song is an English genre of the 16th and 17th centuries, which developed from the air and madrigal of the Elizabethan period. It was composed on simple, folksong-like melodies for a four- or five-part gamba consort and one, sometimes several vocal parts. The term first appeared in William Leighton's 1614 collection The Teares and Lamentatacions of a Sorrowfull Soule, which includes consort songs by important representatives of the genre, such as William Byrd, John Dowland, Martin Peerson and other contemporary composers.
  
  The program offers students the opportunity to practice both solo and ensemble singing.
  The predominantly polyphonic works are performed alternately by soloists and polyphonists.
  Instrumentation is flexible; missing voices can be replaced by instruments (viola da gamba, harpsichord, organ).
  Ensemble musicianship is cultivated and the treatment of themes from historical performance practice, e.g., tempo relationships, affects or ornamentation, provides students with knowledge that helps them develop a sense of style and is also useful in connection with other repertoire.
  
  In the case there are English speaking students in the group, the lecture and the lessons will be conducted in English.
  
  Suggested repertoire:
  Students are free to choose and prepare a few songs form the suggested repertoire. Be mindful to chose the voice that suits you the best.
  
  John Dowland
  Can she excuse [2‘5)
  Come again [3‘]
  Flow my tears [4‘5]
  
  Robert Jones
  Harke, harke [3‘]
  
  Samuel Akeroyde
  When Beauty such as yours [2‘5]
  
  Thomas Campion
  I care not for these ladies [2‘5]
  
  Martin Peerson
  Disdaine That So Doth Fill Me [3‘]
  
  William Byrd
  Susanna fair [4‘]
  This sweet and merry month [3‘]
  
  Anthony Holborne
  Fantasia I trium vocum 3 gamba’s [2‘5]