Tim Bayley

Stadtpfeiffer, Piffari, Waits

Suitable for: Double reeds, Recorders of all sizes, Flutes, Homeless brass

A course exploring the music of sixteenth century wind players through Motets, Tenorlied, Chansons and Dances. Composers from Isaac, Senfl, Othmayr and Forster, followed by later musicians such as Wilder, Suzato, Praetorius and the Hessen brothers from the town wind band of Breslau, who all knew the capabilities of contemporary wind players and their instruments.

The sessions will explore aspects of intonation, instrument setup, with a sympathetic encouragement to introduce some decorations, an important part of the performer’s skill.

Rebecca Austen-Brown

Grillensymphonie!

Suitable for: Recorders of all sizes – readers

This year Rebecca will bring her own new arrangement of this humorous depiction of nature by Telemann. In almost illegible handwriting, the composer wrote a foot note: Cricket Symphony – in the Italian, French, English, Scottish and Polish styles

This piece will likely be in 8 to 10 parts, and there will be time to look at other insect-inspired works during the week.

Anne Marie Christensen and Catherine Strachan

French and early Italian music

Suitable for: Baroque strings – readers

This year we celebrate the anniversary of Les Vingt-quatre Violons du Roy (The King's Twenty-Four Violins) : the five–part string ensemble created for at the French royal court for Louis XIII in 1626.

We will do a mixture of French five-part string repertoire and early instrumental interludes from Italian Francesco Cavalli’s La Calisto and Il Zerze.

As always we are keen to encourage chamber music, so do grab us for either your preformed ensembles or your newly formed groups.

Eric Thomas

The 400th Anniversary of John Dowland (c.1563–1626)

Suitable for: Lutes

This year marks the 400th anniversary of the famous John Dowland (along with Giovanni Coperario), making it the perfect time to explore his most popular compositions. Dowland worked throughout Europe before becoming lutenist to King James I and VI, and we will explore works composed throughout his lifetime, including both his well-known and lesser-known works, arranged for the level of the participants.

This will include working on solos with a focus on technique and ensemble playing in duos, trios and quartets.

Hazel Askew

Folk song

Suitable for: Singers – by ear, any standard

This class will delve deeply into the folk singing traditions of the British Isles and beyond.

Together we will build up a repertoire of contrasting folk songs, learn about their history and social context, discuss delivery and stylistic elements, analyse source recordings and contemporary interpretations, and experiment with vocal harmonisation.

All songs will be learnt by ear with texts provided and the class is suitable for any level of singer.

Alison Kinder

The 400th Anniversary of Giovanni Coperario (c.1570–80–c.1626)

Suitable for: Viols in all sizes – readers

Giovanni Coperario (also known as John Cooper) died 400 years ago this year, in 1626, and he left us so much viol music that it seems a good year to explore it all! He worked as composer and viol player (and possibly teacher) to the Prince of Wales before and after his accession as Charles I.

There are fantasias in two, three, four, five, and six parts, the pieces for smaller consorts being quite traditionally contrapuntal in style, whereas the five and six-part pieces are often transcriptions of his madrigals, or instrumental pieces composed in a more madrigalian and Italianate style. 

We will be joined by the vocal class for one session so we can also explore some of the madrigals.

Richard Thomas and Emily Saville

Venetian polychoral beginnings:

Suitable for: Renaissance wind and brass – readers

Adrian Willaert was born in Flanders (c1490), went to Paris where he studied with Jean Mouton, and then went to Italy where he would work the rest of his life. In 1527 he was appointed maestro de cappella of San Marco, and in this position he would lay the foundations of the Venetian polychoral style. This style is usually associated with Andrea and Giovanni Gabrieli in St Mark’s, Venice, but this is an opportunity the music that inspired them.

Graham Coatman

Dowland and more Dowland

Suitable for: Singers (all voices) – readers

Lots of music by Dowland, and his contemporaries. Our starting point will be the iconic collection First Booke of Songes or Ayres of fowre partes (published in 1597). Alongside this we may discover music by Thomas Campion, John Danyel, Thomas Ford, Tobias Hume, Thomas Morley and Francis Pilkington.

The Fulke Greville sonnet ‘Who ever thinks or hopes of love for love”’ appears there too. Like other songs in the book, this one is arranged so it can be sung either by a solo voice and lute or as a four-part air. The parts are oriented in different directions so that the singers and the lutenist can sit around a table.

The immediate effect and success of this volume meant that it was reprinted at least four times over the next 16 years, but significantly made the music accessible to a much wider public.

John Dipper

Folk music: a deep and joyful dive

All instruments are warmly welcome

John’s classes invite you on a deep and joyful dive into the rich and varied traditional music of the British Isles. Together, you’ll explore phrasing, groove, and ornamentation, and discover how to shape each tune to suit your own instrument and personal style. The aim is to help you really get inside the music—getting the most from every tune while expanding and enriching your musical journey.

Tunes will be taught using a friendly mix of sheet music and learning by ear, so you can engage in the way that feels most comfortable to you (with plenty of support for trying something new!). Each workshop centres on a different piece, unpacking its history, social context, and traditional use. John will also share practical techniques for developing melodies, adding expressive ornamentation, and blending variation naturally into improvisation.