Upcoming National and Regional Lute Events

Please Note: There will be no LSA Workshop West in 2019.

Lute Society of America Seminar at the Amherst Early Music Festival
July 21-28, 2019

Festival Lute Faculty:

Xavier Diaz-Latorre, Grant Herreid, Nigel North, Jason Priset, and Bor Zuljan

The Lute Society of America Seminar 2019 runs in tandem with Amherst Early Music on the campus of Connecticut College, in New London, CT from July 21-28, 2019. Classes are designed for lute players of all levels, from complete beginners to advanced. The faculty lineup for 2019 includes Xavier Diaz-Latorre, Jason Priset, and Bor Zuljan.  For registration visit: https://www.amherstearlymusic.org/aemf_lutes

Scholarships are available but time is short to apply. Deadline is MAy 13, 2019.  To obtain an application form click on the link below:

LSA-Amherst EM Scholarship Form 2019

The first week at Amherst Early Music, July 14-21, 2019 offers opportunities for lutenists to take part in the Baroque Academy. The Baroque Academy is a program for advanced Baroque lute and theorbo players. Baroque Academy Lute Faculty: Xavier Diaz-Latorre. Audition details: https://app.getacceptd.com/amherstearlymusic.

For more information contact Festival Director Jason Priset at: Oberon1013@yahoo.com

Lute Class Topics, Amherst 2019

Xavier Diaz-Latorre classes:

1. The birth of Basso Continuo in Italy

This class will be based upon a study of several Italian treatises of Basso Continuo and its application on vocal music by Caccini, Monteverdi and Frescobaldi among others. It will run as a topic class as well as giving students an opportunity to play in an ensemble setting. Plucked instruments and singers are invited to join. 

2. Italian renaissance dances 

We will study the most usual dances appearing on the Italian repertoire for the lute. We will have special interest on the music contained in the treatises by Caroso and Negri. This class will run as a topic class as well as giving students an opportunity to play and dance in an ensemble setting. Plucked instruments and dancers are invited to join. 

Nigel North's classes:

1. 16th century Intabulations:

A study of the Instructions of Le Roy and Galilei (Fronimo), intabulations by Francesco and de Rippe and help for all students to make their own transcriptions. Subjects covered will include renaissance theory and musica ficta.

2. Master Class

Bor Zuljin's classes:

1. Ricercar una fantasia : improvising counterpoint from Spinacino to Da Milano

This class will focus on discovering the techniques of polyphonic improvisation on the lute in order to improvise ricercars and fantasias in the style of the early 16th century italian masters.

2. Francesco Da Milano

A work of genius, Da Milano's Fantasias inspired lutenists for decades, during the Renaissance and nowadays. In the proposed class we'll try to understand what is behind these splendid pieces of music by performing them and analyse them from the point of view of a performer-composer-improviser.

Grant Herreid classes:

1. Singing to the Lute in Renaissance Italy

A survey of Italian lute song, from Ficino's Orphic hymns, frottole arrangements of Bossinensis (1509/11), early madrigal settings by Willaert (1536), lute songs of Bottegari (c. 1575), to the early monodies of Peri and Caccini (c. 1600). Facsimiles will be provided, as well as editions in tablature, alfabetto and score. For all plucked-string players, singers, and others.

Jason Priset:

1. The Ground Bass into the 17th Century

Throughout the history of western music he basso ostinato was very popular way to transform a simple line into something much more flourished and exciting. The simple framework of an ostinato bass became a vehicle for limitless forms of improvisation. The bergamasca, romanesca, and folia are just a small sampling of these patterns that have been composed extensively through the vast collection of compositions from the 16th and 17th centuries. This class will explore some of this repertoire, specifically how these grounds were used in compositions from the Renaissance and into the Baroque. Students are encouraged to bring in pieces that include an ostinato bass of their own. Plucked-strings, singers, and other instrumentalists are welcome.

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