This music list covers information about the music for Morning Session 1 tuition classes. Details of Afternoon Session 1 (choir, orchestra, recorder ensemble) may be found here: MUSIC LIST – AFTERNOON SESSION 1. More general information on the whole day is to be found here: THE FOUR DAILY NORVIS SESSIONS.
Version: 17.02.26 / ML
Morning session 1 – tuition classes
Recorders
Advanced Recorder – Chris Orton
J S Bach – Recorder Solos from the Sacred and Secular Vocal Works, Bärenreiter BA 6414.
Choose two from this book as a minimum. You may like to look at the obbligato for BWV 39, which the NORVIS choir and orchestra will perform together (this is no.6 in the book).
Also the recorder (flute) parts for Bach’s Brandenburg Concerto no.4.
https://ks15.imslp.org/files/imglnks/usimg/a/a9/IMSLP37638-PMLP82081-Bach-BWV1049.Flute.pdf
Advanced Recorder – Oonagh Lee
Intermediate Recorder – Jane Rumney
This year, we will be looking at techniques to control and match our articulation, style and sound through the study of some German Baroque masterpieces.
Suggested editions:
Georg Philipp Telemann – Sonata in B Flat Movement 1 Largo, Movement 3 Largo,
(Bärenreiter HM 6)
Georg Philipp Telemann – Sonata 2 from Sechs Sonaten im Kanon for 2 treble recorders
(Schott OFB 98)
Mattheson – Sonata Opus 1 number 3 Prelude: Adagio and Allegro (Schott OFB 10009)
And as a little extra, to mark the 50th Anniversary of Benjamin Britten’s death, we will look at his Alpine Suite.
Britten – Alpine Suite (Boosey and Hawkes BH-1389)
If you have a copy of Alan Davis – Treble Recorder Technique (Novello NOV120545) do bring it along, as we will use it for some exercises, but photocopies can be provided so don’t purchase it just for the course (and it costs £30).
Intermediate Recorder – Mary Tyers
Telemann Dances and Mattheson Trios
Telemann’s Fantasias are arguably some of the finest solo baroque music available to the recorder player, but many of them are fiendishly difficult! However, each Fantasia concludes with a miniature gem of a movement which is technically much more accessible. These movements usually have a tempo indication and are evidently based on dances, but which dance does each represent? Our aim will be to learn the notes, explore the style, then develop the articulation, phrasing and nuances of breath control to lift them off the printed page and onto the dance floor.
Then for a change of stye and texture, we will explore a selection of movements from
Mattheson’s Eight Sonatas for three treble recorders (Op1)
Suggested editions:
The Baroque Solo Book (ed. Bernard Thomas) Dolce 111 or any other urtext edition which contains all 12 of Telemann’s Fantasias
Mattheson – Eight Sonatas for three treble recorders (Op1) Schott Vol 1 OFB 1009
Flute
Baroque Flute – Annabel Knight
A Telemann Appreciation
Telemann is well known by wind players for writing idiomatic and approachable music, but there are many wonderful works in his output which are barely known and rarely played. In this class we will explore solo flute music from his collections Essercizii Musici and Die Kleine Kammermusik as well as duos and trios from his Canonic Sonatas and Trietti Metodichi. We will focus on baroque style and ornamentation from Telemann’s time as well as working on all areas of flute technique. This class is aimed at flute players who are already reasonably fluent with baroque flute fingering and playing at an intermediate to advanced level. Participants are encouraged to prepare one or two movements from the following solo pieces to play to the rest of the class, as a starting point for musical and technical discussions.
Suggested editions:
Solo Music: One or two movements from either:
Die Kleine Kammermusik Partia 2 in No 2 in G major, No 4 in G minor or No 5 in E minor (Bärenreiter HM 47) (INTERMEDIATE)
OR
Sonata in D major for flute and continuo from Essercizii Musici (Schott FTR 73)
(ADVANCED)
We will also look at movements from:
Sonate Methodique in D minor (Bärenreiter 2246, music supplied);
Canonic Duo Sonata III in D major TWV 40: 120, op 5 (Bärenreiter, Vol 1, music supplied);
Trio 1 and Scherzo 1 from Trietti Methodiche e scherzi (Breitkopf, Vol 1, music supplied).
Viols
Solo Bass Viol – Jacqui Robertson-Wade
Suggested editions:
Sainte Colombe – Le Retour
https://imslp.org/wiki/Concerts_%C3%A0_deux_violes_esgales_(Monsieur_de_Sainte-Colombe)
Music on 3 pages also available from tutor.
J S Bach – Gamba Sonata in G minor BWV 1029, Second movement only: Adagio
Carl Friedrich Abel – Sonata in D, First movement only: Moderato. Edition Güntersberg G303B
Intermediate Viols – Alison Kinder, Susanna Pell, Peter Wendland
We will form three viol consort classes
Players at all levels are welcome and we aim to have groups of players who are well matched in experience. Matters of technique will be discussed as they arise from the consort music from the 16th and 17th centuries including composers such as Coprario, the Ferraboscos, Holborne, Byrd, Lawes and Jenkins.
Students wanting material to practise are invited to contact us via Molly, our NORVIS Administrator, and we will get in touch. If you have not been to NORVIS before, please provide us with an indication of your experience as a consort player, and any problems or matters of technique which you would like to address during the course.
Keyboard
Harpsichord – John Treherne and Nathaniel Mander
Please prepare a piece by J S Bach of your own choice. Something from the Goldberg Variations would be welcome.
Please also prepare a piece of your choice by one of the Elizabethan virginalists, for example, William Byrd, John Bull, Orlando Gibbons, Giles Farnaby or Thomas Tomkins.
Lute and historic guitar
Lute and Historic Guitar – Richard Mackenzie
NOTE – the following information may be revised.
The lute and guitar class is organised on a flexible basis according to the needs of the students. Topics will include solo repertory, technique and ensemble playing skills. A collection of graded solos pieces and duets will be available to download HERE from the NORVIS website.
Students may prepare one or multiple pieces from this list, together with a piece or pieces of their own choice. If you need advice on this, or any other matter, please contact the tutor by email chalumeau.mackenzie@gmail.com
Modern guitarists who are curious about the lute or historic (early) guitars are welcome to both sessions.
Technical studies will be derived from:
Stefan Lundgren – Method for the Renaissance Lute (can be downloaded legally for FREE)
Additional repertoire recommendations:
Lynda Sayce’s “Beginners Lessons” are available for FREE on The Lute Society website, an excellent musical and pedagogical resource.
Recommended Lute Society publications:
58 Very Easy Pieces, 40 Easy to Early Intermediate Pieces, 70 Easy Intermediate Pieces, Lessons for Lute, Hans Newsidler’s Das Erst Buch (plus CD), 158 Early Cinquecento Preludes and Recercars for Renaissance Lute, 114 Early to Intermediate Pieces.
Singing
Consort Singing – Andrew Fowler
Printed music will be provided by the tutor.
Vocal technique, focusing on vowels, agility and phrasing, applied to the following pieces.
Hans Leo Hassler – Ach weh des Leiden
https://test.cpdl.org/wiki/images/7/74/Ach_weh_des_Leiden_Hassler.pdf
Verbum caro factum est
https://www.cpdl.org/wiki/images/c/cd/Verbum_caro_factum_est_a_6_Hassler.pdf
J S [or J C] Bach: Ich lasse dich nicht BWV Anh 159
https://test.cpdl.org/wiki/images/7/72/BWV_Anh_159.pdf
John Dowland – from the First booke of songes or ayres (1597)
No.4 If my complaints https://www.cpdl.org/wiki/images/7/75/If_my_complaints_Dowland.pdf
No.20 Come heavy sleep https://www.cpdl.org/wiki/images/0/00/Dowland_Come_heavy_sleep_a4.pdf
NORVIS - Early Music Summer School 