International Summer School 2014

Week 1: Courses

(Click on course name for description)

26 July – 01 August

Session 1 Session 2 Session 3 Session 4
Choir Voice: Emma Kirkby* Voice: Nicholas Clapton Choir: Additional Rehearsal
Orchestral Workshop Improve your Sight-Singing Chamber Choir*
Fortepiano: Maggie Cole Explorations Sessions†
Recorder: Jill Kemp
A Noyse of Minstrells: Music for Renaissance Band – The City Musick (William Lyons, Richard Thomas, Nicholas Perry)
Early Brass
Lute: David Miller
Harpsichord: Marieke Spaans*
Junk Music† Baroque Flute*
Viol Consorts
Advanced Viol Consorts*
Baroque Orchestra*
Chamber Music – you can play in any or all sessions

Courses suitable for beginners are marked with a plus sign †
Advanced courses are marked with an asterisk * and are subject to an application process, see Advanced Courses for details.


Andrew Griffiths

CPE Bach St John Passion

The Summer School Choir marks the tercentenary of the birth of CPE Bach by performing his 1784 setting of the St John Passion, a work recently restored to the repertory after being discovered in a library in Ukraine. CPE Bach’s music, full of
fantasy and invention, once eclipsed that of his illustrious father; when Mozart wrote “Bach is the father – we are the children”, it was to the
younger Bach he was referring.

Andrew Griffiths has conducted productions for The Royal Opera and Opera North, is frequently invited to direct broadcasts with the BBC Singers, and sings as a member of Stile Antico.

Session 1

Choir: Additional Rehearsal

Jonathan Watts

An opportunity for those less familiar with the week’s choral repertoire, to build on the work done in the full morning sessions and ensure that you feel confident for the Friday evening choral concert. It is possible to attend all or any of these sessions.

Session 4

Orchestral Workshop

Holly Mathieson

Instrumentalists of all abilities will play orchestral music written by 3 child prodigies:
Mozart, Arriaga and Mendelssohn. There will be an informal performance at the end of the week.
Holly Mathieson, a graduate of the DISS advanced conducting course, assisted Marin Alsop on her European tour with the São Paolo Symphony and at the 2013 Last Night of the Proms. She is Music Director of the Horizont Musik-Kollektiv in Berlin.

Session 1

Chamber Music

Quentin Poole, Rhiannon Evans, Claire Williams, Lisa Beznosiuk

Chamber music for instrumentalists and singers takes place in each week at DISS.
Please complete the Chamber Music booking form, available on-line or from the DISS office. You may also like to get talking to other players through the on-line Chamber Music forum. Please apply by 1st June so that groups and repertoire can be most effectively prepared. Pre-formed groups are very welcome and any
keyboard players who can offer a list of works that are already under their fingertips will be doing a great service!

Every group will be offered one formal session every day, with coaching from Dartington’s professional guest artists, with other sessions for rehearsal, and coaching when available. There will also be regular opportunities to play in larger ensembles.

There will be every opportunity to create groups with mixed forces, so singers and pianists might come together for Brahms’ Liebeslieder Waltzes, or wind and strings in nonets by Spohr and Lutoslawski – all suggestions are more than welcome! Go on-line to discuss your ideas and proposals with each other – you can also ask for suggestions from the chamber music director, Quentin Poole.

Quentin Poole is a founder member of Endymion and fellow of the Royal Academy of Music. As a teacher he has spent over twenty years training the young musicians of the National Youth Orchestra and the Purcell School.

This week focuses on repertoire by Bach and Purcell for harpsichord-based ensembles, tuned to either 415 or 440, with both singers and instrumentalists. There will be opportunities for groups without keyboard to play together and new work for period instruments will also be welcomed.

Sessions 1, 2, 3 & 4


Nicholas Clapton

“Ever since coming to Dartington for the first time in 1995, I have always encouraged participants in my class to perform a wide and varied repertoire of their own free choice, on which we can work both technically and interpretatively: aged from 16 to 80+, they have responded with everything from Machaut to
Maxwell Davies – fabulous!” Nicholas Clapton.

Session 3


Maggie Cole

Maggie Cole, Professor of Fortepiano at the Guildhall School of Music and Drama, offers an introduction to the instrument which is open to all keyboard players curious about the instrument and hoping to gain new insights into their playing. A diverse Classical repertoire is welcome, as we will be examining this fertile
period of change when composers, ranging from CPE Bach and JC Bach, Scarlatti and Soler to Mozart, Haydn and Beethoven were all being seduced by the new instrument.

The afternoon session is for participants with some experience of playing fortepiano to look in depth at questions of notation, phrasing, articulation and dynamic possibilities – the full range of expressive potential in their Classical
repertoire. Please bring a sonata, fantasia or set of variations by Mozart, Haydn or other appropriate composers which you would like to explore.
The instrument we will use is a Christopher Barlow copy of a Viennese Schantz fortepiano, generously on loan from Trinity Laban Conservatoire.

Sessions 2 & 3


Jill Kemp

This course is suitable for a wide range of abilities. Each class begins with work on
technique – breathing, coordination, extended techniques, ornamentation and any other areas students would like to cover. The rest of the session is run as an informal masterclass.
Each student will have the opportunity to perform a piece of their own choice at least once during the week – although it’s fine just to watch if you’d prefer! Please bring a treble at A440 for the technique sessions.
Recorder consorts will be formed according to ability and will receive coaching. Some
music will be available to borrow and participants are encouraged to bring their
own repertoire to work on. Please bring along all sizes of recorder that you own.
Jill Kemp is a freelance recorder player and teacher. She gives recitals and masterclasses throughout Europe and the US and has taught at Dartington since 2008.

Sessions 2 & 3

Early Brass: Cornetts and Sackbuts

Emily White and Gawain Glenton

This course focuses on 17th century Italian instrumental and vocal music and is open to players of all abilities. There will be ornamentation workshops, small ensemble work, individual coaching sessions, performance opportunities, and players will have the chance to play period instruments encompassing five hundred years of the instruments’ history.

In the morning session participants will learn about English secular instrumental and vocal music on the Noyse of Minstrells course, and join forces with the curtails, crumhorns and shawms in the Renaissance Big Band. The afternoon sessions, led by Emily and Gawain, will concentrate on ensemble playing and there will also be opportunities for one-to-one tuition.

Sessions 2 & 3

A Noyse of Minstrells: Music for Renaissance Band – The City Musick

William Lyons, Richard Thomas, Nicholas Perry

A look at 16th and 17th century music from the British Isles and Europe with an emphasis on the music that would have been played by the town waits in Shakespeare’s time. Repertoire will include country dances and songs, and music for theatres, taverns, masques, dances, and processions, by Byrd, Morley, Adson, Dowland, Coprario and Campion.

Participants may also wish to attend the Early Brass course. Individual and small ensemble coaching is also available.

The course is primarily intended for wind players with some experience on shawms,
cornetts, sackbuts, crumhorns, curtals and recorders. Bagpipes, fiddles and gurdys are also very welcome. Players should bring their own instruments. Existing ensembles are welcome.
Singers are invited for two sessions on theatre, domestic and tavern singing.

Tavern Band Session

Popular country dance tunes of the day, and popular songs, catches and rounds, as published by Thomas Ravenscroft and others, will be performed in an informal session in the White Hart bar. Shakespeare was familiar
with this aspect of London life and would have revelled in the joyous spirit of this music.

Renaissance Big Band

We will be creating a Renaissance ‘Big Band’ to work on dance and ensemble music of the period, culminating in a performance ranging from four part crumhorn consort to a massed band of more than thirty, playing elegant canzonas and fantasias -and some cracking dance music.

Sessions 2 & 3


Gerry Rossi piano and electronics

Una MacGlone strings and percussion George Burt guitar and percussion This course encourages musicians and aspiring musicians of all ages and abilities to find their own voice as confident improvisers, through nonidiomatic improvisation. Each day will begin with an open warm-up, followed by smaller ensemble workshops focusing on specific areas of improvisation using a range of stimuli, including graphic scores, conduction techniques, film, literature and visual art. The afternoon
sessions will draw on work from the small ensemble workshops, each led by one or more of the tutors. The week will also include a tutors concert and student sessions, culminating in a performance by the full ensemble. Come prepared for the unexpected!

Sessions 2 & 3

Viol Consorts


Players will be grouped into viable consorts and may choose their own repertoire. There will also be the opportunity for those without experience of playing the viol to learn the basics of its technique and to play the most approachable music.

Sessions 2 & 3

Junk Music

Michael Freeman

The course will draw on the ancient human tradition of finding objects to amplify communications and make music. Whereas our ancestors used organic materials such as wood, nutshells, dried fruits and animal skin and bone, we will be exploring the resonant qualities of synthetic and modified materials such as plastics, metals and cardboards.

Participants will have an opportunity to learn various styles of World music on a range of stage instruments made and loaned by the tutors. They will also be able to make their own hand-held instruments to keep, and are welcome to bring along re-used items (not glass) to experiment with. There is great scope for combining junk instruments with voice and conventional instruments, and for collaborating and performing with other musicians on other courses. This course culminates in a show-case concert.

Session 2

Improve Your Sight-Singing

Rhiannon Evans

Do you struggle with the demanding multi-tasking activity that is sight-singing? Is recognising rhythms, pitching intervals and reading the text all at once a daunting challenge? This course is open to all, especially singers who are not fluent readers. The basics of music notation will be revised, and general musicianship skills will be
practised through various activities incorporating elements of the Kodaly and Dalcroze systems.

In each session, practical and written exercises, focusing on pitch and rhythm, will be used to improve reading confidence. The relationship between rhythm and pulse will be explored, using examples from the week’s choir repertoire, and pitch work will focus on interval recognition and tonality. At the end of each session the skills we have developed will be combined to sight-sing a suitable piece. Participants will also be shown various ways of practising alone in order to continue improving. It’s not as difficult as you thought!

Session 2

Tai Chi Qigong

Matthew Rochford

Each week, from Monday to Friday, Matthew Rochford, director of TaiChiNation, will offer an early morning Tai Chi Qigong class from 8.00 – 8.30. It is possible to attend any or all of these sessions.

Tai Chi Qigong means “to work with energy” and is generally a term applied to exercises designed to relax the body and focus the mind. The benefits of Tai Chi Qigong can include increased relaxation, reduction in stress, improved breathing, enhanced co-ordination and improved postural alignment. Tai Chi Qigong is a dynamic form of moving meditation which helps bring about calm and peace of
mind whilst gently exercising the whole body.

It stresses the principles of relaxation and yielding, and the cultivation of inner strength and harmony of both body and mind. The practice of this art brings us into balance with ourselves and those around us. It is a form of “inner” martial art. Its principles and methods make it readily accessible to people of all ages and ability. Ideal for musicians, Tai Chi Qigong has been proven to bring great benefits both
for good practice and performance.

Session: 8.00–8.30am, mon–fri

Week One: Exploration Sessions

Introduction to Tai Chi Qigong

Matthew Rochford

Everyone is invited to attend this introductory session which will kick-start a week of early morning Tai Chi Qigong sessions.

Sunday, Session 4

Strike Up, Pipers!

The City Musick

An introduction to the repertoire and sounds of The City Musick, specialists in Renaissance wind instruments. Come and learn about shawms, cornets, curtails, crumhorns, recorders, rackets and bagpipes. Try them if you dare!

Monday, Session 4

Singing: Sense and Nonsense

Nicholas Clapton

For everyone who loves to sing, and would like to know more about how it all works.

Tuesday, Session 4

Junk Music

Michael Freeman

Explore the wonderful, resonant world of sound through recycled objects. See what the Junk Music students are up to, learn some world rhythms and get some ideas for making your own junk instruments.

Wednesday, session 4

Tavern Songs, Catches and Partsongs From Shakespeare’s London

The City Musick

In this session we will sing from Thomas Ravenscroft’s early 17th century publications of music popular in taverns and households of Jacobean London, as well as Shakespearian ballads, folk tunes and country dances. This will lead to a ‘Tavern Session’ in the White Hart Bar when we will perform songs and dances
that would have been heard in the taverns and parlours of 17th century London.

Thursday, session 4

Week One: Advanced Courses

Chamber Choir

Andrew Griffiths

Experienced choral singers are invited to rehearse and perform the glorious six-voiced Stabat Mater by Agostino Steffani as part of the Friday evening concert. There will be opportunities for suitable singers to take short solo parts in the work.

Session 4

Baroque Orchestra

Anton Steck

This course is aimed at advanced students and emerging professional musicians playing on period instruments. The orchestra will rehearse in the morning sessions, allowing time in the afternoons for sectional work and some opportunity for masterclasses with Richard Tunnicliffe (cello), Lisa Beznosiuk (flute) and Anton Steck (violin). The orchestra will perform a concert of works by CPE Bach including the double concerto for harpsichord and fortepiano, with Maggie Cole and Marieke Spaans, and also his St John Passion with the DISS choir.

Sessions 1, 2 & 3

Baroque Flute

Lisa Beznosiuk

Lisa Beznosiuk, Professor of Baroque Flute at RAM, GSMD & RCM and internationally renowned performer, explores tone, articulation and ornamentation through one-to-one tuition and ensemble playing, covering a broad repertoire, including French Baroque, Handel Sonatas and the works of JS and CPE Bach. The course will culminate in an informal performance on Wednesday afternoon. On Thursday and Friday there will be opportunities for continued study through the chamber music programme.

Session 3


Marieke Spaans Bach and his sons

This course will focus on the keyboard works of Johann Sebastian Bach and his sons. Johann Christian was renowned for his modern ‘belcanto’ style of composing. Mozart made use of several of his themes in his early keyboard concertos and symphonies. On JC Bach’s death, Mozart wrote to his father: ‘A loss for the musical world: the great Bach has died’.

Carl Philipp Emanuel wrote a pivotal work on playing the keyboard which greatly influenced Beethoven and Czerny. His new composing style, the ‘Empfindsamer Stil’ or sensitive style, influenced composers, poets and writers all over Germany.

We will concentrate on the huge development of keyboard music in the 18th century through the Bach family, starting with the most perfect counterpoint, grand French suite style and energetic Italian concerto style of JS Bach, and diving into the expressive, rhetoric, inventive and extremely unpredictable style of CPE Bach,
before enjoying the gallant, highly melodic and well balanced phrases of JC Bach.
The course will start each day with reading and discussing selected chapters of CPE Bach’s book: ‘An Essay on the True Art of Playing Keyboard Instruments’ (Berlin, 1753 – 1762).

Please bring your own copy, and prepare repertoire by Bach

Sessions 2 & 3

Advanced Viol Consorts


Advanced viol players are invited to explore some of the many contemporary pieces that have been written for the ensemble over the last 20 years, including music by George Benjamin, Michael Nyman, Nico Muhly, Orlando Gough and Thea Musgrave.

Sessions 1, 2 & 3


Emma Kirkby

“I feel lucky that my career was characterised from the start by ensemble singing, both in small choirs and one-to-a-part, and performance with instruments, especially my first love, the lute; so I come to Dartington whenever I can, to take advantage of David Miller’s group of eager and accomplished lute and theorbo players. His theme in 2014 is Italian music, and I am delighted to work with that – though I will also be interested to cover some of the English responses to the Italian “secunda prattica”, with its recitative and rhetorical vigour that later gave birth to opera.
Italian musicians were in England from at least the 1590s, and throughout the 17th century Italian style vied with French in British musicmaking, strands that informed the songs of Lawes, Locke, Humfry and Purcell, even though all of those remained unmistakeably English too. We will have a joint session with the Lute class early on, after which singers can make their own to explore this fascinating era together. In the morning class I am happy to coach students in their choice of repertoire; there is a student concert later in the week, and with that in mind I will send in advance some favourite pieces, duos and trios mostly, repertoire to make the most of the riches we will have in this week” Emma Kirkby.
This course is complemented by one-to-one tuition with Nicholas Clapton, and guidance from performance practice expert Robert Toft, Professor of Music at Western University in London, Canada. Treatises from the 16th to 19th centuries
document the old practices of singing, and Robert Toft uses these sources to show
performers how to complete the creative process the composer began. In workshops and master classes, singers explore period specific historical techniques of interpretation to turn inexpressive, skeletally notated scores into passionate musical declamation, whether frottole, English lute songs, or recitatives and
arias from operas. Without altering their vocal production, performers learn to set staples of the repertoire in completely new guises through a variety of interpretive devices that form the basis of the “bel canto toolbox”: accent, emphasis, grammatical and rhetorical pauses, cadence, staccato, legato, portamento, tonal contrast, messa di voce, tempo rubato, and ornamentation.

Session 2


David Miller

This advanced course provides a unique opportunity for players of early plucked
instruments to develop their accompanying and continuo skills, whilst recreating the
lush and sumptuous qualities of a large 17th century continuo group with lutes, archlutes, chitaroni, guitars, keyboards, harps etc. In collaboration with the singers from Emma Kirkby and Nick Clapton’s classes, there will be a number of combined sessions exploring 17th century Italian monody, vocal duets and trios as well as opera scenes by Monteverdi, Cavalli and others leading to a public performance in
the Great Hall towards the end of the week.

Sessions 2 & 3

Bookings: +44 (0)1803 847080

Not been before? Call us if you want help working out the best course choices for you.

Excellent course, high standard of teaching and fellow course mates.”

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