Third Annual Twin Cities Baroque Instrumental Program

AUGUST 4–13, 2017 • NOW ACCEPTING APPLICATIONS
Click here to view the TCBIP brochure

Click here to apply

To inquire about merit-based scholarships write to info@thebaroqueroom.com

The Twin Cities Baroque Instrumental Program offers advanced students and young professionals unique opportunities to study and perform with some of the world's most respected international artists in early music. Held at the University of Minnesota School of Music, this program provides world-class instruction in an engaging environment. 

"... amazing teaching, with an incredibly supportive, thoughtful, and highly personal approach by each faculty member."
"...dance class beyond criticism! Helpful, enjoyable, fun, because it was a nonthreatening event to newcomers like me. I learned more than I could have imagined about playing baroque music."

 

FULL PARTICIPANTS  • A limited number of applicants will be admitted to each instrumental class. Selection of participants will be on the basis of the audition recording and the application; the criteria for acceptance will be the quality of the applicants as well as their goals for attending the program. The tuition fee for full participation is $900 for 10 days. Included are tickets for all Twin Cities Early Music Festival performances that take place during the course. Click here to register upon acceptance into the program.

NON-PARTICIPATING AUDITORS • Non-participating auditors are welcome to observe any activity of the program for $50/day. An application is not necessary to audit. Click here to register anytime.

A limited number of scholarships are available - more information will be available later this year. Early Music America offers scholarships as well - check their website for more information in January, 2017.

Housing is available on campus upon registration: single occupancy $550 • double occupancy $425

STAFF • Tami Morse & Marc Levine, program coordinators • info@thebaroqueroom.com • (651) 705-6772

About

An advanced-level course for instrumentalists, with a special focus on music of the high baroque, the rococo, and the early classical era.

This program offers a unique opportunity to explore baroque, early classical music, and dance with some of the world's leading performers and scholars of this repertoire. Although this is a program for period-instrument players, advanced-level musicians with limited experience on period instruments may also apply, and appropriate instruments will be available upon request (please request instruments by July 1). Several fine keyboard instruments (harpsichord, chamber organ, fortepiano) are available during the program. 

Previous participants have praised the event for the intimacy of the classes, and for the special individual attention from the faculty members in a supportive, friendly, and highly personal atmosphere.

Course Outline

MASTERCLASSES • Two-and-a-half hour masterclass sessions will take place daily (private lessons may be available for an additional fee). If you need repertoire advice, please contact info@thebaroqueroom.com to get the email address of your faculty member to discuss this.

SMALL ENSEMBLES • The faculty will form ensembles and assign repertoire at the beginning of each of the two four-day sessions. Two separate, different ensemble sessions are scheduled for the afternoons; this provides an opportunity for participants to work with different instrumentalists, and on different repertoires. If you have specific repertoire interests, or would like to play in an ensemble with specific participants, please let the program know in advance; an effort will be made to accommodate such wishes.

BAROQUE ORCHESTRA/CONTINUO CLASS • A series of baroque orchestra reading sessions will be offered featuring music from the late baroque, the rococo and the early classical era, and conducted by the faculty. Simultaneously, there will be a continuo class, offered by Joseph Gascho and other faculty members. All levels and instruments welcome.

BAROQUE DANCE CLASS • One-hour daily classes will offer an introduction to baroque dance for instrumentalists. No previous experience is required. Participants should bring comfortable clothes to dance in, and very flexible shoes or socks.

TWIN CITIES EARLY MUSIC FESTIVAL • The program runs simultaneously to the Twin Cities Early Music Festival. Full participants may attend any concert for free. See www.tcearlymusic.org for festival schedule.

WORKSHOP SCHEDULE

  • August 4 - 6pm REGISTRATION and 8pm OPENING CONCERT at Ultan Hall (entrance in the lobby of Ferguson Hall)
  • August 5 - 8am REGISTRATION, 8:30 ORIENTATION, then follow daily schedule
  • August 6-7 - Follow daily schedule
  • August 8 - Follow daily schedule PLUS 7pm Participant Concert
  • August 9 - 9-11:30 harpsichord maintenance with Ton Amir
                         11:30-1:30 lunch/practice
                         1:30-4 Baroque Dance Workshop with Paige Whitley-Bauguess
                         4pm Optional Group Activity
  • August 10-12 - Follow daily schedule
  • August 13 - Follow daily schedule for morning, afternoon schedule TBA, 3pm Final Participant Concert

DAILY SCHEDULE

  • 9 am - Dance
  • 10am - Masterclass (with a break)
  • 12:30pm - lunch
  • 2pm - Ensemble I
  • 4:30pm - Ensemble II
  • 5pm - Orchestra/Continuo/practice time
  • 6pm - Dinner/practice time/festival concerts

Faculty

Jacques Ogg • Harpsichord & Fortepiano, Co-director

One of the most prominent and influential modern masters of harpsichord and fortepiano, JACQUES OGG performs worldwide as a soloist and continuo player. He was a member of one of the world's leading period-instrument ensembles, the Orchestra of the 18th Century, and also works with Baroque orchestras in Salamanca and Sevilla, Spain.  Highly sought after as a pedagogue, he is the principal harpsichord professor at the Royal Conservatoire of The Hague, one of the world's foremost institutes for early music. Mr. Ogg co-directs the Twin Cities Baroque Instrumental Program (previoiusly the Vancouver Early Music Programme), an intensive summer music course in Minneapolis, Minnesota, and has been the artistic director of the Lyra Baroque Orchestra since 2000. His discography includes more than 60 recordings with labels such as Philips, Sony, EMI, Deutsche Harmonia Mundi, and Glossa.  Fono Forum, Germany's largest music magazine, named Mr. Ogg's CD of Bach's Goldberg Variations the finest recording of this work presently available.

Marc Destrubé • Baroque Violin, Co-director

Canadian violinist MARC DESTRUBÉ is equally at home as a soloist, chamber musician, teacher, concertmaster and director of orchestras. He is co-concertmaster of the Amsterdam-based Orchestra of the 18th Century, with whom he has traveled all over Europe, North America, Australia, China and Japan. He has also appeared with the orchestra as director and as soloist, and is heard on more than fifty recordings by the orchestra for the Philips and Glossa labels. As first violinist with the Axelrod String Quartet, quartet-in-residence at the Smithsonian Institution, Destrubé performs on the National Museum of American History’s priceless collection of instruments by Stradivarius and Amati. He has recorded a dozen solo, chamber and orchestral discs, including an acclaimed recording of Haydn Violin Concertos on the ATMA label and a Grammy Award-winning recording of Penderecki’s Credo with the Oregon Bach Festival Orchestra. A highly regarded teacher, Destrubé is on the faculty of the Baroque Performance Institute at Oberlin College, course co-director of the Baroque Instrumental Programme, presented by Early Music Vancouver, and has been a visiting artist at the Banff Centre, Indiana University, Case Western Reserve University and the Paris and Utrecht Conservatoires. He has given master classes at the Hong Kong School of the Arts, Moscow Conservatory, MacPhail School, and the University of Victoria, as well as summer courses in Poland, Germany, Portugal and Israel. He is Artistic Advisor to the New York ensemble Dorian Baroque, a member of the Turning Point Ensemble (Vancouver) and Artistic Director of the Pacific Baroque Festival (Vancouver).

Wilbert Hazelzet • Baroque Flute

Since 1970 WILBERT HAZELZET has been dedicated exclusively to the baroque flauto traverso. He specializes in ancient instrumental techniques and the performance of music from the eighteenth century according to contemporary treatises about flute play­ing and singing. Considered by many as the world’s leading baroque flute player, in 1978 he became a member of Musica Antiqua Köln. With this world-famous ensemble he appeared in Japan, India, China, the US, Canada, and across Eu­rope, from Finland to Portugal and from Ireland to Russia. He now forms perma­nent duos with Jacques Ogg, harpsi­chord, and with Konrad Junghänel, lute. He is the first flautist of Ton Koopman’s Amsterdam Baroque Orchestra, has made recordings for numerous radio and TV stations all over the world and for several recording companies such as DGG, Erato, Harmonia Mundi, and Glossa. Wilbert Hazelzet is a Professor at the Royal Conservatory in The Hague.

Japp ter Linden • Baroque Cello & Gamba

Cellist and conductor JAAP TER LINDEN has devoted his illustrious career to historical performance practice, reaching out to audiences with his moving performances and inspiring colleagues and students with his musical enthusiasm and integrity. His relentless curiosity for the music of Haydn, Beethoven and Mozart has led him to concentrate on this repertoire in his current conducting projects–including a Beethoven cycle with the Wroclaw Symphony–and was the driving force behind a recording of the complete Mozart symphonies with his own Mozart Akademie. The same fascination extends to his chamber music endeavors: this year he will record the complete Beethoven cello and piano works with American fortepianist David Breitman. In upcoming performances, Elizabeth Wallfisch joins them to play the Beethoven, Schubert and Brahms trios. Jaap is a regular guest conductor and performer with a number of ensembles, including Ensemble Arion (Montreal), Portland Baroque Orchestra, and the Lyra Baroque Orchestra. Recently retired from the Royal Conservatory in The Hague, he continues teaching a handful of advanced students and gives regular master classes throughout Europe and the United States. He enjoys having more time to dedicate to a long-lost passion for photography, as well as writing about various themes related to music and movement, and further exploring the world of music and meaning. Jaap has made numerous recordings: among his personal favourites are the two different versions of the Bach suites, the old Vivaldi L’Estro Armonico recording with the English Concert and his Mozart symphonies.

Joseph Gascho • Harpsichord & Basso Continuo

Harpsichordist JOSEPH GASCHO joined the U-M School of Music, Theatre & Dance's Department of Organ in September 2014 as assistant professor. Gascho enjoys a multifaceted musical career as a solo and collaborative keyboardist, conductor, teacher, and recording producer. Featuring his own transcriptions of Bach, Handel, and Charpentier, his recent debut solo recording was praised in the American Record Guide for "bristling with sparkling articulation, subtle but highly effective rubato and other kinds of musical timing, and an enviable understanding of the various national styles of 17th and 18th century harpsichord music."   In 2002, Gascho won first prize in the Jurow International Harpsichord Competition. As a student of Webb Wiggins and Arthur Haas, he earned masters and doctoral degrees in harpsichord from the Peabody Conservatory and the University of Maryland, where he also studied orchestral conducting with James Ross. Recent performing highlights include performing with the National Symphony at Carnegie Hall, the Mark Morris Dance Group and the Kennedy Center Opera Orchestra, and conducting Idomeneo for the Maryland Opera Studio. He has also conducted numerous operas from Monteverdi to Mozart for Opera Vivente. At the Oberlin Conservatory's Baroque Performance Institute, Gascho conducts the student orchestra, coaches chamber music, and teaches basso continuo. A strong proponent of technology in the arts, he has used computer-assisted techniques in opera productions, in a recent recording with the ensemble Harmonious Blacksmith and percussionist Glen Velez, and in his basso continuo classes. In demand as a recording producer, Gascho has recently produced sessions and recordings for Pomerium, the Folger Consort, Trio Pardessus, the 21st Century Consort, Ensemble Gaudior, Three Notch'd Road, pianist/composer Haskell Small, Cantate Chamber Singers, and the Washington Master Chorale.

Paige Whitley Bauguess • Baroque Dance

Baroque dancer PAIGE WHITLEY-BAUGUESS interprets, recreates, and performs Baroque theatre dance in venues all over the world as a soloist and with dance partner Thomas Baird. In addition to performing, she has stage directed baroque operas for the Bloomington Early Music Festival, Magnolia Baroque Festival, Peabody Conservatory, and East Carolina University, and has produced two Baroque Dance DVDs featuring collaborative work with Thomas Baird: Introduction to Baroque Dance-Dance Types and Dance of the French Baroque Theatre. Paige gives lectures and workshops at universities and museums and has served on the faculties of the Oberlin Baroque Performance Institute, Modern Early Music Institute, East Coast Baroque Dance Workshop at Rutgers University, and Stanford Baroque Dance Workshop. She lives in North Carolina where she teaches historical dance and ballet, co-directs Baroque Arts Project with Baroque Trumpeter and husband Barry Bauguess, and directs two historical social dance troupes (youth and adult). Whitley-Bauguess holds an MA in Dance History from the University of California at Riverside, a Graduate Certificate in Online Teaching from Appalachian State University, and a BFA in Ballet from the NC School of the Arts where she also attended high school.

Anton Amir • Harpsichord Builder

ANTON AMIR first got a university degree in the Dutch language writing a thesis about the use of machinery and special effects on the stages of the 17th and 18th century European theatres. He briefly studied the recorder at the Utrecht Conservatory, but came to prefer the harpsichord and its repertoire. He decided to continue in this direction and started his training in 1982 as an apprentice in the workshop of Joop Klinkhamer. Within a few years he was invited to become partner and he is now the manager of the company. An amateur harpsichordist himself (he won Haarlem’s amateur harpsichord competition in 1988), he is an expert keyboard maker who also specializes in voicing, regulating and tuning. As a professional tuner he has contributed to recordings for such labels as Globe, Ramée, Glossa and Wildboar, and as a harpsichord technician he has traveled extensively in Europe and to Japan, Korea, the U.S.A. and Canada, servicing instruments and giving courses on tuning and maintenance. He is responsible for harpsichord maintenance at both the Amsterdam and Utrecht conservatories. These activities are guided by his belief that a well-maintained harpsichord is essential to any serious player, a point which he feels is too often neglected by players and builders alike. This is why he travels so extensively: to keep the instruments in shape. Ton is also a qualified translator of Spanish.

Sungyun Cho • Harpsichord & Ensemble Coach

Sungyun Cho began her musical studies in Seoul, South Korea, at the Seoul Arts High School, and at the Yonsei University with Professor Kwak Tong-soon. From there she went to the Royal Conservatory of The Hague where she studied harpsichord performance and chamber music with such internationally renowned pedagogues as Jacques Ogg, Patrick Ayrton, and Ryo Terakado. Throughout her studies, she performed across Europe as a soloist and chamber musician, and she completed her program in The Hague with the highest marks and distinction. After graduation, Cho’s career grew rapidly, and she quickly drew the attention of many around the world. Cho has given recitals in the Netherlands, Belgium, Spain, Italy, France, Germany, Poland, Korea, Japan, Bolivia, Peru, Columbia, and Chile. She is sought after as a performer for music festivals and prestigious concert halls such as Les Éphémères in France; La Caixa Foundation and Circulo Bach in Spain; Kirchheimer Konzertwinter in Germany; Kioi Hall and the Fukuoka Early Music Festival in Japan; the Handel Festival, Yonsei University Church Sunday Concert Series, Goeun Museum concert series, and Korea University in Korea; and the Early Music Chiquito Festival and La Paz Music College in Bolivia; the Maene Piano Museum concert series in Belgium; the Bach Festival in Poland; at Alberto Hurtado University in Chile; and on the De Glind early music concert series and Limburg Organ Festival in The Netherlands. As an ensemble player, Cho is a member of Tokyo Baroque and Animaccordi, directed by Ryo Terakado, and she regularly plays with the Belgian ensemble Il Gardellino. As a teacher, she has been an assistant for the harpsichord studio at the Royal Conservatory of The Hague, and has been invited to present guest lectures and master classes in many music festivals. She is also music director of the DaeJoen Early Music Festival in Korea. Her CD of Bach’s Goldberg Variations was released on the Belgian label Passacaille. Recordings of Scarlatti Sonatas and the Telemann Paris Quartet are currently in production.