Presented by Edward Parmentier
In these workshops attention is given to the musical needs of each participant. Each player is taught in such a way as to bring them forward from the level of experience they individually have had. Harpsichordists, organists, and pianists of intermediate and advanced levels are invited. Each player is guaranteed a harpsichord to practice on, either alone or shared with only one other person. Those bringing an instrument are guaranteed a locked, air-conditioned room for it, with exclusive access, plus help moving it in and out.
The workshop class schedule is from 9:00 a.m. to 8:00 p.m. (with breaks) at the University of Michigan School of Music, Theatre & Dance, in Ann Arbor Michigan. Each workshop will end at 5:00 p.m. on Friday; the workshops are open to participants who will be staying until then.
Faculty Director: Edward Parmentier, University of Michigan
This workshop is an immersion in harpsichord music and playing, through performance and study of the harpsichord music of Jan Pieterszoon Sweelinck. In performance and discussion classes, private lessons (included in the fee), and lectures, we will treat all the genres of Sweelinck's keyboard, its compositional methods and musical styles, performance techniques, and how these works can achieve effective performances. Harpsichord touch, phrasing, articulation, ornamentation, and fingering will be addressed. Also discussed will be sources and editions, the historical, social and religious background of Holland during Sweelinck's time, Sweelinck's vocal music, the song, chant, German chorale and Genevan psalm backgrounds, Sweelinck as a teacher of improvisation and composition, musical antecedents and influences upon Sweelinck, other Dutch keyboard and lute music of the time, and comparisons with music of Byrd, Bull, Cornet and Hassler.
Instruments used in class: a 2012 copy of the 1638 Ruckers transposing double-manual harpsichord in Edinburgh, and a 2008 copy of the ca. 1600 Ruckers "mother-and-child" double virginals (spinet virginals plus ottavino) in Milan. Both instruments have C/E short octaves in the bass on all of their keyboards, are in meantone tuning, and are pitched at A=392.
Each participant is to be working on four works which are assigned to all, plus at least four more works each drawn from each of these categories: fantasias, toccatas, settings of secular song and dances, and settings of sacred chorales, psalms and chants. Each participant must obtain a repertoire information sheet by emailing Mr. Parmentier (email@example.com). The sheet specifies the pieces assigned to all, and tells the other possible pieces from which to choose. The sheet also collates the pieces among the four editions.
Complete editions: Dover 1985 paperback in one volume #0-486-24935-2, =reprint of Breitkoph 1943, ed. Seiffert; Vereniging voor Nederlandse Muziekgeschiedenis 1968/rev.1974 in three vols., ed. Leonardt/Annegarn/Noske; Breitkoph 2005-7 in four vols. #8741-8744, ed. Vogel&Dirksen; Barenreiter 2003-8 in eight volumes #8473-6, 8485-7, 8494, ed. Rampe.
Application deadline: May 1, 2013
Faculty Director: Edward Parmentier, University of Michigan
This workshop is designed for pianists and organists making a transition to the harpsichord and for harpsichordists wishing broad coverage of a wide range of issues. It will present: 1) the fundamentals of harpsichord playing: touch, articulation, phrasing, fingering, tempo, ornamentation and rhythm, as they apply across the range of harpsichord repertoire; 2) fundamental information about harpsichord repertoire: styles, genres, composers, editions, original sources, again cutting across the scope of the Renaissance and Baroque repertoire; and 3) the fundamentals of basso continuo accompaniment technique. Basics of tuning and harpsichord maintenance will also be discussed, as well as the history of the instrument and basics about its construction.
Participants are asked to select in advance whatever harpsichord music they wish to play, to be working on, or to start work on during the workshop. Preparation can be on piano or organ if harpsichord is not available. Professor Parmentier wishes to communicate in advance with each participant to discuss the choices of music and to offer to assist, if needs be, in selecting music to bring, as well as to discuss their goals for the workshop generally.
In addition, at the beginning of the workshop participants will be given music for all to work on during the week.
Suggested purchases (not required for the workshop) of readily available harpsichord music include: Francois Couperin's L'Art de toucher le Clavecin; Dover editions of Sweelinck, Pachelbel, F. Couperin, Froberger, Handel, Bach, Byrd (My Lady Nevell’s Booke), and The Fitzwilliam Virginal Book (2 vols.); Le Pupitre or L'Oiseau-Lyre editions of Louis Couperin; and Schirmer (and other) editions of Scarlatti.
Application Deadline: June 1, 2013
The daily schedule for each workshop is 9 AM to 8 PM (Friday ends at 5 PM), with breaks for meals. Breaks and practice time are also available during others' private lesson times. The workshops are open only to those who will be staying until 5 PM on Friday.
No audition is required. Mr. Parmentier will communicate with each applicant ahead of time, to discuss their background and preparation for the workshop.
All Adult Workshops may be taken as a workshop for professional development enrichment without college credit, or for graduate credit (NCFD).
For information or questions on the harpsichord workshops, their contents and activities, please contact Professor Parmentier, Director of Harpsichord Workshops, (734) 665-2217 or by email at firstname.lastname@example.org
For more information on workshop registration or other School of Music, Theatre & Dance Workshops, please contact the office of Youth & Adult Programs at (734) 936-2660 or email@example.com.
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