Cascadia Viols Message from the Pr newsletter January 2017.pdfprofessor of viola da gamba, Baroque cello, and cello at Oberlin Conservatory. Cathy will expand our horizons by showing

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  • 606 Wilbur St. SE Volume III, No. 1 January 2017 info@cascadiaviols.orgSalem, OR 97302 www.cascadiaviols.org

    Cascadia Viols is the quarterly newsletter of the Viola da Gamba Society ~ Cascadia, a chapter of the Viola da Gamba Society of America.

    President

    Tim Scotttimcello@gmail.com

    Vice PresidentAnthony Allen

    allena392@gmail.comSecretary

    Janet Loyjandayloy@comcast.net

    TreasurerJeanne Collins

    traingal@teleport.comBoard members at large

    Dirk Freymuth dirk@dirkfreymuth.com

    Bill Monicalwmonical05@earthlink.net

    Connie Newmanconstancenewman@hotmail.com

    Daniel Rouslindrouslin@willamette.edu

    Bruce Van Buskirkbruce_vanbuskirk@yahoo.com

    Gwyneth Van Buskirkgwynethvanbuskirk@yahoo.com

    Karen Bartlett, editor

    dagamba@ucsbalum.netMichael Babcock, designer and producer

    mjb_nemo@yahoo.com

    Cascadia Viols is grateful to: Knuckleheads for website development and maintenance Trinity Cathedral for hosting our events this year Boulder Early Music Shop for the material in our lending library

    Message from the PresidentTim Scott

    Cascadia Viols has had an impressive and successful first two years, but to continue we need more members. The viol repertoire contains so much wonderful and idiomatic music, that I believe there are many people who would enjoy learning to play the viol and experience the music themselves. Dowland, Jenkins, Ward, Tomkins, Marais, Byrd, andmany others wrote music that should be preserved and heard on viols. Please help the board do outreach

    by telling your friends to come to a workshop. If they pay for lunch they can come to a workshop for free, to observe; we will even lend them an instrument to try, and give a beginners class, with advance notice. Anyone who is interested may contact any board member. Any more ideas for outreach are very welcome.We will also soon have some general information flyers to give out at concerts, classes, and share on social media. Remember our Facebook page, and please post on it, ask questions, and discuss viol matters. January is a busy month for viols. We have Catherina Meints, one of our most prominent teachers and performers, coming on January 14 to give a workshop, and, on Sunday, private lessons. On January 21 I will be giving a Byrd workshop for Pacific NW viols in Seattle, and then on January 29 Phantasm will perform in Eugene. Seattle has a Gallery concert featuring our own Joanna Blendulf, with John Dornenberg and Elizabeth Reed, on Saturday, January 21. This spring we will have board elections, and if any of you have a desire to serve on the very friendly board, please let us know. We are going to try to have some consort playing to make the meetings more fun. Another way you can help is by donating airline miles so that we can pay the air fare for workshop presenters to come. We are currently limited to one far-away presenter a year. If you have someone in mind you might liketo sponsor to come out for a workshop, that would also be most welcome and helpful.

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    mailto:info@cascadiaviols.orgmailto:dagamba@ucsbalum.netmailto:traingal@teleport.comhttp://www.cascadiaviols.org/

  • January CV Workshop With Catharina Meints

    We are fortunate and honored to welcome the presenter for our January workshop, Catharina Meints,a distinguished viola da gambist, a leader in the revival of the viola da gamba, and current associate professor of viola da gamba, Baroque

    cello, and cello at Oberlin Conservatory.Cathy will expand our horizons by showing how ten minutesa day of technical focus can make one a different and better player. She will go through a number of exercises for both the left hand (including clear passage work, intonation and shifting), and the right (clear string crossing, bow speed usage, contact point work), with the emphasis on creating a beautiful, expressive sound. During the morning session she will focus on the right hand before break and left hand after. The afternoon small ensemble sessions will be devoted to playing In Nomines. There will also be an opportunity in theafternoon to observe a master class, if you so choose. Please bring your favorite instrument tuned to a 415.

    During her distinguished career as a performer, Catharina Meints has played and recorded on five instruments, including bass and treble viols, modern and Baroque cello, and pardessus de viole. After completing a cello performance degree at the Eastman School of Music, she became assistant principal with the Chamber Symphony of Philadelphia.

    In Philadelphia, she met her future husband and collaborator, oboist and viol enthusiast James Caldwell. It was the beginning of a 40-year partnership during which both became leaders in a revival of the viol. They spent theirfirst summers in Europe studying the instrument together with August Wenzinger, the Swiss virtuoso and viola da gamba pioneer.

    In 1971, they moved to northern Ohio, where Cathy joined the Cleveland Orchestra. That year, they also established theOberlin Baroque Performance Institute to help build a new generation of players. That program still thrives to this day.

    Cathys career on early instruments has included playing bass viol in the Oberlin Baroque Ensemble and with the Cleveland Baroque Soloists. As their collection of antique viols grew, Cathy and her husband formed and recorded with the Oberlin Consort of Viols, in which Cathy plays treble viol exclusively.Cathy retired from a 35-year career with the Cleveland Orchestra in 2006. She continues teaching as associate professor of viola da gamba, Baroque cello, and cello at Oberlin Conservatory, and now plays frequently with

    Apollos Fire as well as in solo and chamber music concerts. In 2012, she authored a book, The Caldwell Collection of Viols: A Life Together in the Pursuit of Beauty, a catalog and memoir of the large and important collection of antique viols that she and Caldwell collected together.

    Calendar of Events--2017Cascadia Viols Events January 14 Workshop: Catharina Meints 10 a.m. - 4:30 p.m Trinity Episcopal Cathedral (please arrive to 147 NW 19th Ave., Portland set up by 9:30 a.m.) January 15 Private Lesson Opportunity:

    Catharina Meints ( to arrange, please contact Anthony Allen,

    allena392@gmail.com) February 11 CV Board Meeting 1 - 3 p.m. Trinity Episcopal Cathedral,

    PortlandMembers are welcome to attend

    March 4 Workshop: Joanna Blendulf, Eugene May 20 Workshop: Joanna Blendulf "Hassler and other Germans"

    Trinity Episcopal Cathedral,Portland

    More Events of Interest to Our Members

    January 22 ConcertGallery Concert, Seattle Joanna Blendulf John Dornenberg Elizabeth Reed

    http://livemusicproject.org/performer/gallery-concerts/

    January 25 J D. Hardt: Duetto (2 bass viols) 7 p.m. Anthony Allen

    Cindy MahlauWillamette View Chamber Players Willamette View Auditorium,

    12705 SE River Road, Portland

    January 29 Phantasm Concert 3 - 5 p.m. Beall Concert Hall

    University of Oregon http://oregonbachfestival.com/details/4943 Tickets will be discounted 25% for Cascadia Viol members. At the festival's website, use code VIOLS. At the door, mention that you are a CV member.

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    http://oregonbachfestival.com/details/4943http://livemusicproject.org/performer/gallery-concerts/

  • Report: Pat OScannellsNovember WorkshopFull Of Sound And Fury: Music Of Shakespeares PlaysJanet Loy

    Fifteen participants gathered in the choir room of Trinity Cathedral on Saturday, November 12th, to greet Pat OScannell and learn about music that possibly flowed from the stages where plays by Shakespeare were presented during his lifetime. Pointing out the challenges of projecting music from the stage to the audience, Pat took us through ways of executing strong bows. Some of the techniques Pat had us practice included using lots of bow for slow notes andusing much less bow for quicker ones; playing closer to the bridge for some sound effects; and creating wispy sounds farther from the bridge, while using lots of bow. Pat talked about using the fingers on the hair of the bow to help create a good core sound. Having control of the speed of the bow and being able to make gestures going both directions were also discussed as helpful tools for dealing with surprises one might have while supplying music for a play.We then had the fun of applying some of this insight while playing A la bataglia by Heinrich Isaac. This piece also gave us good practice in playing proportions, where we moved smoothly (mostly) from a whole note to a dotted whole note and back again.

    On the front of a packet Pat handed out was a timeline of composers whose music could have been used on a Shakes-

    perian stage. She highlighted those composers most likely to be represented: Edwards, Holborne, Morley, Johnson, and Ravenscroft. Her packet included not only a list of theaters where Shakespeares plays were performed, but also colorful pictures of postage stamps illustrating Shakespearean theaters of the time. Among the theaters were The Rose, Swan, Globe, and Hope. Companies such as The Kings Men were also mentioned as playing in the Globe. A picture of a cross section of the Globe served well to see where the underlings stood (not a good angle tosee the many levels of action), where the Royal Box was, where the Musicians Gallery was (toward the top of the theater), where other levels were, the casement windows, and the trap. Pat also shared some interesting anecdotes based on her own experiences in Shakespearian theater, both as a musician and as a cast member.To experience being a little theatrical ourselves, some participants took on the role of actors by r