Fourth Annual Twin Cities Baroque Instrumental Program
Harpsichord • Fortepiano • Cello • Viola da Gamba • Harpsichord maintenance
JULY 29–AUGUST 5, 2018 • NOW ACCEPTING APPLICATIONS
To inquire about merit-based scholarships write to firstname.lastname@example.org.
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 Baroque Room, 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."
This year's course will consist of concentrations in harpsichord, fortepiano, cello, viola da gamba, and harpsichord maintenance, led by faculty Jacques Ogg, Jaap ter Linden, and Ton Amir. Melodic instrument players are welcome to attend with a keyboard and/or bowed bass instrument as part of an ensemble, or to participate in the afternoon ensembles. There is no tuition to participate, but players must commit to attending all afternoon coachings and the final concert, and must still apply and be accepted.
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 8 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 • email@example.com • (651) 705-6772
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.
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 firstname.lastname@example.org 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.
CONTINUO CLASS • A class, offered by Jacques Ogg and Sungyun Cho will be offered for all participants. Both beginning and advanced continuo players will benefit from this course. All instruments welcome.
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.
- July 28 | 5pm REGISTRATION and 7pm CONCERT/welcome reception at The Baroque Room
- July 29 | 8am REGISTRATION, 8:30 ORIENTATION, then follow daily schedule
- July 29–August 4 | Follow daily schedule
- AUGUST 1 | 7:30pm Faculty Concert
- AUGUST 5 | 7:30pm Participant Final Concert
- 9 am - Alexander Technique Class
- 10am - Masterclass (with a break)and Harpsichord Maintenance (harpsichordists only)
- 12:30pm - lunch
- 2pm - Ensemble I
- 3:15pm - Ensemble II
- 4:30pm - Continuo
- 5:30pm - Dinner/practice time
- 7:30pm - Concerts
Jacques Ogg • Harpsichord & Fortepiano, 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.
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.
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 have recently been released.