当停顿国际音乐学校暑期学习之旅报价：2.5万／人（此价格为 15天价格）价格包含：落地后所有吃、住、行费用价格不含：往返国际交通、保险等两周行程：Three day in London:

时间 行程 地点第一天 入住酒店，休息，倒时差，自由活动 伦敦第二天 伦敦眼, 议会大厦

大本钟

西敏寺

唐宁街 10号

特拉法加广场

英国国家美术馆

海德公园

伦敦（全天）

第三天 大英博物馆

圣保罗大教堂

伦敦塔 3

伦敦（上午参观游览，下午购物）

第四天 白金汉宫

格林威治

格林威治天文台旧址伦敦唐人街

伦敦（全天）

第五天 伦敦——当停顿（游览沿途风光），下午到达学校，办理报到入住手续

学校

第 6天——第 13

天

开始上课（根据不同专业，不同学生程度分班学习，家长可陪同学习，也可自由活动）

学校

第 14天 上午结业典礼，老师颁发毕业证书，学生与老师合影留念下午出发，当停顿——伦敦

伦敦

第 15天 送机场，返回中国，结束音乐之旅 中国天

25 train /bus to DartingtonEnglish class taught by Barbara and Lynn White, Princeton Professor

课程时间（行程中第 6天）：（2014年 7月 26——8月 1日；8月 2日——8月 8日；8月 9日——8月 15日，可任选一周，建议第一周来）课程内容（不同专业、不同水平的学员课程有所区别，但都是著名的音乐家来做老师，所以生源确定后才能因人制定课程，以下为不同专业的课程表，仅供参考）：

Week 1: Courses (26 July – 01 August)Week 1Day one: 8am up, breakfast,

Session 1 Session 2 Session 3 Session 4

Choir Voice: Emma Kirkby* Voice: Nicholas Clapton Choir: Additional Rehearsal

Orchestral Workshop Improve your Sight-Singing

Chamber Choir*

Fortepiano: Maggie Cole Explorations Sessions†

Recorder: Jill Kemp

A Noyse of Minstrells: Music for Renaissance Band – The City Musick (William Lyons, Richard Thomas, Nicholas Perry)

Early Brass

Improvisation

Lute: David Miller

Harpsichord: Marieke Spaans*

Junk Music† Baroque Flute*

Viol Consorts

Advanced Viol Consorts*

Baroque Orchestra*

Chamber Music – you can play in any or all sessionsCourses suitable for beginners are marked with a plus sign †Advanced courses are marked with an asterisk * and are subject to an application process, see Advanced Courses for details.

ChoirAndrew GriffithsCPE Bach St John Passion

The Summer School Choir marks the tercentenary of the birth of CPE Bach by performing his 1784 setting of the St John Passion, a work recently restored to the repertory after being discovered in a library in Ukraine. CPE Bach’s music, full offantasy and invention, once eclipsed that of his illustrious father; when Mozart wrote “Bach is the father – we are the children”, it was to theyounger Bach he was referring.

Andrew Griffiths has conducted productions for The Royal Opera and Opera North, is frequently invited to direct broadcasts with the BBC Singers, and sings as a member of Stile Antico.

Session 1

Choir: Additional RehearsalJonathan WattsAn opportunity for those less familiar with the week’s choral repertoire, to build on the work done in the full morning sessions and ensure that you feel confident for the Friday evening choral concert. It is possible to attend all or any of these sessions.

Session 4

Orchestral WorkshopHolly MathiesonInstrumentalists of all abilities will play orchestral music written by 3 child prodigies:Mozart, Arriaga and Mendelssohn. There will be an informal performance at the end of the week.Holly Mathieson, a graduate of the DISS advanced conducting course, assisted Marin Alsop on her European tour with the São Paolo Symphony and at the 2013 Last Night of the Proms. She is Music Director of the Horizont Musik-Kollektiv in Berlin.

Session 1

Chamber MusicQuentin Poole, Rhiannon Evans, Claire Williams, Lisa BeznosiukChamber music for instrumentalists and singers takes place in each week at DISS.Please complete the Chamber Music booking form, available on-line or from the DISS office. You may also like to get talking to other players through the on-line Chamber Music forum. Please apply by 1st

June so that groups and repertoire can be most effectively prepared. Pre-formed groups are very welcome and anykeyboard players who can offer a list of works that are already under their fingertips will be doing a great service!

Every group will be offered one formal session every day, with coaching from Dartington’s professional guest artists, with other sessions for rehearsal, and coaching when available. There will also be regular opportunities to play in larger ensembles.

There will be every opportunity to create groups with mixed forces, so singers and pianists might come together for Brahms’ Liebeslieder Waltzes, or wind and strings in nonets by Spohr and Lutoslawski – all suggestions are more than welcome! Go on-line to discuss your ideas and proposals with each other – you can also ask for suggestions from the chamber music director, Quentin Poole.

Quentin Poole is a founder member of Endymion and fellow of the Royal Academy of Music. As a teacher he has spent over twenty years training the young musicians of the National Youth Orchestra and the Purcell School.

This week focuses on repertoire by Bach and Purcell for harpsichord-based ensembles, tuned to either 415 or 440, with both singers and instrumentalists. There will be opportunities for groups without keyboard to play together and new work for period instruments will also be welcomed.

Sessions 1, 2, 3 & 4

VoiceNicholas Clapton“Ever since coming to Dartington for the first time in 1995, I have always encouraged participants in my class to perform a wide and varied repertoire of their own free choice, on which we can work both technically and interpretatively: aged from 16 to 80+, they have responded with everything from Machaut toMaxwell Davies – fabulous!”

Nicholas Clapton.

Session 3

FortepianoMaggie ColeMaggie Cole, Professor of Fortepiano at the Guildhall School of Music and Drama, offers an introduction to the instrument which is open to all keyboard players curious about the instrument and hoping to gain new insights into their playing. A diverse Classical repertoire is welcome, as we will be examining this fertileperiod of change when composers, ranging from CPE Bach and JC Bach, Scarlatti and Soler to Mozart, Haydn and Beethoven were all being seduced by the new instrument.

The afternoon session is for participants with some experience of playing fortepiano to look in depth at questions of notation, phrasing, articulation and dynamic possibilities – the full range of expressive potential in their Classicalrepertoire. Please bring a sonata, fantasia or set of variations by Mozart, Haydn or other appropriate composers which you would like to explore.The instrument we will use is a Christopher Barlow copy of a Viennese Schantz fortepiano, generously on loan from Trinity Laban Conservatoire.

Sessions 2 & 3

RecorderJill KempThis course is suitable for a wide range of abilities. Each class begins with work ontechnique – breathing, coordination, extended techniques, ornamentation and any other areas students would like to cover. The rest of the session is run as an informal masterclass.Each student will have the opportunity to perform a piece of their own choice at least once during the week – although it’s fine just to watch if you’d prefer! Please bring a treble at A440 for the technique sessions.Recorder consorts will be

formed according to ability and will receive coaching. Somemusic will be available to borrow and participants are encouraged to bring theirown repertoire to work on. Please bring along all sizes of recorder that you own.Jill Kemp is a freelance recorder player and teacher. She gives recitals and masterclasses throughout Europe and the US and has taught at Dartington since 2008.

Sessions 2 & 3

Early Brass: Cornetts and SackbutsEmily White and Gawain GlentonThis course focuses on 17th century Italian instrumental and vocal music and is open to players of all abilities. There will be ornamentation workshops, small ensemble work, individual coaching sessions, performance opportunities, and players will have the chance to play period instruments encompassing five hundred years of the instruments’ history.

In the morning session participants will learn about English secular instrumental and vocal music on the Noyse of Minstrells course, and join forces with the curtails, crumhorns and shawms in the Renaissance Big Band. The afternoon sessions, led by Emily and Gawain, will concentrate on ensemble playing and there will also be opportunities for one-to-one tuition.

Sessions 2 & 3

A Noyse of Minstrells: Music for Renaissance Band – The City Musick

William Lyons, Richard Thomas, Nicholas PerryA look at 16th and 17th century music from the British Isles and Europe with an emphasis on the music that would have been played by the town waits in Shakespeare’s time. Repertoire will include country dances and songs, and music for theatres, taverns, masques, dances, and processions, by Byrd, Morley, Adson, Dowland, Coprario and Campion.

Participants may also wish to attend the Early Brass course. Individual and small ensemble coaching is also available.

The course is primarily intended for wind players with some experience on shawms,cornetts, sackbuts, crumhorns, curtals and recorders. Bagpipes, fiddles and gurdys are also very welcome. Players should bring their own instruments. Existing ensembles are welcome.Singers are invited for two sessions on theatre, domestic and tavern singing.

Tavern Band SessionPopular country dance tunes of the day, and popular songs, catches and rounds, as published by Thomas Ravenscroft and others, will be performed in an informal session in the White Hart bar. Shakespeare was familiarwith this aspect of London life and would have revelled in the joyous spirit of this music.

Renaissance Big BandWe will be creating a Renaissance ‘Big Band’ to work on dance and ensemble music of the period, culminating in a performance ranging from four part crumhorn consort to a massed band of more than thirty, playing elegant canzonas and fantasias -and some cracking dance music.

Sessions 2 & 3

ImprovisationGerry Rossi piano and electronicsUna MacGlone strings and percussion George Burt guitar and percussion

This course encourages musicians and aspiring musicians of all ages and abilities to find their own voice as confident improvisers, through nonidiomatic improvisation. Each day will begin with an open warm-up, followed by smaller ensemble workshops focusing on specific areas of improvisation using a range of stimuli, including graphic scores, conduction techniques, film, literature and visual art. The afternoonsessions will draw on work from the small ensemble workshops, each led by one or more of the tutors. The week will also include a tutors concert and student sessions, culminating in a performance by the full ensemble. Come prepared for the unexpected!

Sessions 2 & 3

Viol ConsortsFretworkPlayers will be grouped into viable consorts and may choose their own repertoire. There will also be the opportunity for those without experience of playing the viol to learn the basics of its technique and to play the most approachable music.

Sessions 2 & 3

Junk MusicMichael FreemanThe course will draw on the ancient human tradition of finding objects to amplify communications and make music. Whereas our ancestors used organic materials such as wood, nutshells, dried fruits and animal skin and bone, we will be exploring the resonant qualities of synthetic and modified materials such as plastics, metals and cardboards.

Participants will have an opportunity to learn various styles of World music on a range of stage instruments made and loaned by the tutors. They will also be able to make their own hand-held instruments to keep, and are welcome to bring along re-used items (not glass) to experiment

with. There is great scope for combining junk instruments with voice and conventional instruments, and for collaborating and performing with other musicians on other courses. This course culminates in a show-case concert.

Session 2

Improve Your Sight-SingingRhiannon EvansDo you struggle with the demanding multi-tasking activity that is sight-singing? Is recognising rhythms, pitching intervals and reading the text all at once a daunting challenge? This course is open to all, especially singers who are not fluent readers. The basics of music notation will be revised, and general musicianship skills will bepractised through various activities incorporating elements of the Kodaly and Dalcroze systems.

In each session, practical and written exercises, focusing on pitch and rhythm, will be used to improve reading confidence. The relationship between rhythm and pulse will be explored, using examples from the week’s choir repertoire, and pitch work will focus on interval recognition and tonality. At the end of each session the skills we have developed will be combined to sight-sing a suitable piece. Participants will also be shown various ways of practising alone in order to continue improving. It’s not as difficult as you thought!

Session 2

Tai Chi QigongMatthew RochfordEach week, from Monday to Friday, Matthew Rochford, director of TaiChiNation, will offer an early morning Tai Chi Qigong class from 8.00 – 8.30. It is possible to attend any or all of these sessions.

Tai Chi Qigong means “to work with energy” and is generally a term

applied to exercises designed to relax the body and focus the mind. The benefits of Tai Chi Qigong can include increased relaxation, reduction in stress, improved breathing, enhanced co-ordination and improved postural alignment. Tai Chi Qigong is a dynamic form of moving meditation which helps bring about calm and peace ofmind whilst gently exercising the whole body.

It stresses the principles of relaxation and yielding, and the cultivation of inner strength and harmony of both body and mind. The practice of this art brings us into balance with ourselves and those around us. It is a form of “inner” martial art. Its principles and methods make it readily accessible to people of all ages and ability. Ideal for musicians, Tai Chi Qigong has been proven to bring great benefits bothfor good practice and performance.

Session: 8.00–8.30am, mon–fri

Week One: Exploration Sessions

Introduction to Tai Chi QigongMatthew RochfordEveryone is invited to attend this introductory session which will kick-start a week of early morning Tai Chi Qigong sessions.

Sunday, Session 4

Strike Up, Pipers!The City Musick

An introduction to the repertoire and sounds of The City Musick, specialists in Renaissance wind instruments. Come and learn about shawms, cornets, curtails, crumhorns, recorders, rackets and bagpipes. Try them if you dare!

Monday, Session 4

Singing: Sense and NonsenseNicholas ClaptonFor everyone who loves to sing, and would like to know more about how it all works.

Tuesday, Session 4

Junk MusicMichael FreemanExplore the wonderful, resonant world of sound through recycled objects. See what the Junk Music students are up to, learn some world rhythms and get some ideas for making your own junk instruments.

Wednesday, session 4

Tavern Songs, Catches and Partsongs From Shakespeare’s LondonThe City MusickIn this session we will sing from Thomas Ravenscroft’s early 17th century publications of music popular in taverns and households of Jacobean London, as well as Shakespearian ballads, folk tunes and

country dances. This will lead to a ‘Tavern Session’ in the White Hart Bar when we will perform songs and dancesthat would have been heard in the taverns and parlours of 17th century London.

Thursday, session 4

Week One: Advanced Courses

Chamber ChoirAndrew GriffithsExperienced choral singers are invited to rehearse and perform the glorious six-voiced Stabat Mater by Agostino Steffani as part of the Friday evening concert. There will be opportunities for suitable singers to take short solo parts in the work.

Session 4

Baroque OrchestraAnton SteckThis course is aimed at advanced students and emerging professional musicians playing on period instruments. The orchestra will rehearse in the morning sessions, allowing time in the afternoons for sectional work and some opportunity for masterclasses with Richard Tunnicliffe (cello), Lisa Beznosiuk (flute) and Anton Steck (violin). The orchestra will perform a concert of works by CPE Bach including the double concerto for harpsichord and fortepiano, with Maggie Cole and Marieke Spaans, and also his St John Passion with the DISS choir.

Sessions 1, 2 & 3

Baroque FluteLisa BeznosiukLisa Beznosiuk, Professor of Baroque Flute at RAM, GSMD & RCM and internationally renowned performer, explores tone, articulation and ornamentation through one-to-one tuition and ensemble playing, covering a broad repertoire, including French Baroque, Handel Sonatas and the works of JS and CPE Bach. The course will culminate in an informal performance on Wednesday afternoon. On Thursday and Friday there will be opportunities for continued study through the chamber music programme.

Session 3

HarpsichordMarieke Spaans Bach and his sonsThis course will focus on the keyboard works of Johann Sebastian Bach and his sons. Johann Christian was renowned for his modern ‘belcanto’ style of composing. Mozart made use of several of his themes in his early keyboard concertos and symphonies. On JC Bach’s death, Mozart wrote to his father: ‘A loss for the musical world: the great Bach has died’.

Carl Philipp Emanuel wrote a pivotal work on playing the keyboard which greatly influenced Beethoven and Czerny. His new composing style, the ‘Empfindsamer Stil’ or sensitive style, influenced composers, poets and writers all over Germany.

We will concentrate on the huge development of keyboard music in the 18th century through the Bach family, starting with the most perfect counterpoint, grand French suite style and energetic Italian concerto style of JS Bach, and diving into the expressive, rhetoric, inventive and extremely unpredictable style of CPE Bach,before enjoying the gallant, highly melodic and well balanced phrases of JC Bach.The course will start each day with reading and discussing selected chapters of CPE

Bach’s book: ‘An Essay on the True Art of Playing Keyboard Instruments’ (Berlin, 1753 – 1762).

Please bring your own copy, and prepare repertoire by Bach

Sessions 2 & 3

Advanced Viol ConsortsFretworkAdvanced viol players are invited to explore some of the many contemporary pieces that have been written for the ensemble over the last 20 years, including music by George Benjamin, Michael Nyman, Nico Muhly, Orlando Gough and Thea Musgrave.

Sessions 1, 2 & 3

VoiceEmma Kirkby“I feel lucky that my career was characterised from the start by ensemble singing, both in small choirs and one-to-a-part, and performance with instruments, especially my first love, the lute; so I come to Dartington whenever I can, to take advantage of David Miller’s group of eager and accomplished lute and theorbo players. His theme in 2014 is Italian music, and I am delighted to work with that – though I will also be interested to cover some of the English responses to the Italian “secunda prattica”, with its recitative and rhetorical vigour that later gave birth to opera.Italian musicians were in England from at least the 1590s, and throughout the 17th century Italian style vied with French in British musicmaking, strands that informed the songs of Lawes, Locke, Humfry and Purcell, even though all of those remained unmistakeably English too. We will have a joint session with the Lute class early on, after which singers can make their own to explore this fascinating era together. In the morning class I am happy to coach students in their choice of repertoire; there is a student concert later in the week, and with that in mind I will

send in advance some favourite pieces, duos and trios mostly, repertoire to make the most of the riches we will have in this week” Emma Kirkby.This course is complemented by one-to-one tuition with Nicholas Clapton, and guidance from performance practice expert Robert Toft, Professor of Music at Western University in London, Canada. Treatises from the 16th to 19th centuriesdocument the old practices of singing, and Robert Toft uses these sources to showperformers how to complete the creative process the composer began. In workshops and master classes, singers explore period specific historical techniques of interpretation to turn inexpressive, skeletally notated scores into passionate musical declamation, whether frottole, English lute songs, or recitatives andarias from operas. Without altering their vocal production, performers learn to set staples of the repertoire in completely new guises through a variety of interpretive devices that form the basis of the “bel canto toolbox”: accent, emphasis, grammatical and rhetorical pauses, cadence, staccato, legato, portamento, tonal contrast, messa di voce, tempo rubato, and ornamentation.

Session 2

LuteDavid MillerThis advanced course provides a unique opportunity for players of early pluckedinstruments to develop their accompanying and continuo skills, whilst recreating thelush and sumptuous qualities of a large 17th century continuo group with lutes, archlutes, chitaroni, guitars, keyboards, harps etc. In collaboration with the singers from Emma Kirkby and Nick Clapton’s classes, there will be a number of combined sessions exploring 17th century Italian monody, vocal duets and trios as well as opera scenes by Monteverdi, Cavalli and others leading to a public performance inthe Great Hall towards the end of the week.

Sessions 2 & 3

Session 1 Session 2 Session 3 Session 4

Choir Voice: Andrew Watts* Choir: Additional

Rehearsal

String Orchestra Strings and Things Expanding the Pianist’s Horizons

Chamber Choir*

Children’s Choir Family Programme† Exploration Sessions†

Gospel Choir† Violin – The Zemlinsky Quartet

Viola – The Zemlinsky Quartet

Cello – The Zemlinsky Quartet

Dirty Electronics†

Voice (tenors only): Charles Daniels*

Piano: Christian Blackshaw*

Violin: Simon Fischer*

Viola: Philip Dukes*

Cello: Louise Hopkins*

Advanced Conducting*

New Music*

Chamber Music – you can play in any or all sessions

Courses suitable for beginners are marked with a plus sign †Advanced courses are marked with an asterisk * and are subject to an application process, see Advanced Courses for details.

Choir

Director Jacqueline Shave

Chorus Master Jonathan Watts

Johann Sebastian Bach St John PassionAs leader of the Britten Sinfonia, Jacqueline Shave has led performances ranging from Albinoni to Zappa, but JS Bach’s St John Passion has engaged her in an intense study leading to performances in Concertgebouw, Amsterdam and Barbican, London in 2014. An un-conducted performance is not only authentic, it turbocharges your listening, giving an organic performance which requires an extra level of commitment from every performer. The choir will be prepared under the expert tutelage of Jonathan Watts and led by Jacqueline Shave with the Dartington Festival Orchestra.

Jacqueline Shave was leader of the Brindisi Quartet and the Schubert Ensemble and is currently leader of Britten Sinfonia. She has also appeared as a guest leader of the Finbonacci Sequence, Nash Ensemble, Scottish Chamber Orchestra, London Sinfonietta and the Red Note contemporary music ensemble in Glasgow.Jonathan has been a regular coach and accompanist at summer school since 2006.He is the conductor of the 170-voice Dartington Community Choir, Artistic Director of Devon Baroque, the southwest’s only period orchestra, and is the Musical Director of Devon Opera.

Session 1

Choir: Additional RehearsalJonathan WattsAn opportunity for those less familiar with the week’s choral repertoire, to build on the work done in the full morning sessions and ensure that you feel confident for the Friday evening choral concert. It is possible to attend all or any of these sessions.

Session 4

String OrchestraKenneth SillitoThe all-comers string orchestra will work towards an informal end-of-week performance under the direction of Kenneth Sillito, thirty years director of Academy of St Martin in the Fields and leader of the Gabrieli Quartet. Repertoire will include staples of the string orchestra from Mozart, Tchaikovsky and Dvorak, as well assome lesser known pieces from, for example, Sculthorpe, Lennox Berkeley, Shostakovich, and Sitkovetsky arrangements of Dohnanyi.

String players of all standards are welcome and will benefit from the experience of playing without a conductor, which promotes good listening skills and ensemble playing.

Session 1

Chamber MusicQuentin Poole, Barbara Sue White, Kenneth Sillito, Jacqueline Shave, and other tutors (tbc)This week centres on works for strings, with Richard Strauss and Samuel Barber featuring in the larger end-of-day sessions. Vaughan Williams and Percy Grainger will offer opportunities for all instruments to play together too.

Sessions 1, 2, 3 & 4

Strings and ThingsBarbara Sue WhiteA course designed for elementary players or those wishing to improve ensemble playing as well as rhythm, tone production and individual

technique. All string and wind players are welcome.

Session 2

VoiceAndrew WattsOpen to singers of all abilities, this course is an opportunity, in a supportive and relaxed environment, to improve technique and performance skills and discover new repertoire.

Participants will get to perform their own choice of repertoire at least once during the week, and receive one-to-one tuition which will be as informative to those watching as singing. If you have never really taken the time to discover what your voice can do, and relish in the possibilities, then this is the course for you.Andrew Watts, counter-tenor, is Professor of Singing at the Guildhall School of Music and Drama, Voice Teacher at the Jette Parker Young Artist Programme at the Royal Opera House, Covent Garden and vocal consultant to the Opera Studio at the Hamburg State Opera.

He has appeared at all the major opera houses including The Royal Opera Covent Garden, English National Opera, La Scala, Milan, Berlin, Vienna, Paris, Rome and Los Angeles.

Session 3

Expanding the Pianist’s HorizonsAnna TilbrookThe British pianist Anna Tilbrook, acclaimed for her recitals, broadcasts and recordings with singers and chamber groups, presents a course aimed at widening the pianist’s repertoire, developing sight-reading and performance skills, conquering nerves and working with singers and other

instrumentalists. In a friendly and supportive environment, participants of all abilities will be encouraged to tackle solo pieces during the week, and also to prepare selected German or English songs with singers. The course will end with an informal concert of solo piano pieces and songs.

Session 3

Violin, Viola, CelloThe Zemlinsky QuartetIn separate instrumental classes, string players of all abilities are offered a supportive and informative workshop environment, in which to improve technique, hone performance skills, learn new practice techniques and discover new repertoire.

Session 3

Dirty ElectronicsJohn RichardsExploring DIY electronic musical instrument building and performance, Dirty Electronics is all about getting the hands dirty in the process of making and playing electronic musical instruments and the creation of large group performances. For 2014, Dirty Electronics will conceive a new work with opera and theatre director Tim Hopkins called Wrongs of the Hand that will be presented in an end-of-course event. The course is open to all, and no knowledge of electronics or previousexperience at building electronic musical devices is needed – just an interest in exploring performance. All participants will get to take home their instruments.Since 2003, John Richards has been exploring the idea of ‘Dirty Electronics’, which focuses on face-to-face shared experience, ritual, gesture, touch and social interaction. In Dirty Electronics, process and performance are inseparably bound. The ‘performance’ begins on the workbench, devising instruments, and is extended onto the stage through playing and exploring these instruments.

Sessions 2 & 3

Family ProgrammeSuperactThis year we have developed a programme specifically for families, a week of intergenerational creative music-making for all abilities and ages, musicians and non-musicians.During Session 1 the children join the Children’s Choir, and the adults get a bit of time off. But they can watch if they’d like to, or join in with other DISS activities.

Session 2, ‘Making Music Together,’ will take as its starting point the talents and creative energy of the group. Singing and playing together will be a key element of this session, and ideas and energy emerging from this session will form the basis of subsequent sessions. Everyone can take part at a level with which they feel comfortable.

Session 3, ‘Experience Together’ is about sharing. This will vary each day, but it might be that a talented member of the group would like to perform for everyone. Story-telling, instrument-making, or a deep-listening nature walk around some ofDartington’s amazing estate might also feature – if that is what the group would like to do.

Each day will be finished by 3.30pm, so there will be time for families to take part inother DISS activities, enjoy some time in the wonderful South Hams, or have a dip in the pool. Superact is a not-for-profit arts organisation working across a range of communities within the UK and internationally, and using the arts to make a significant contribution to people’s lives.

Carol Pemberton and Celia Wickham Anderson The family programme is a part of ‘Nourish’ – an Arts at Dartington initiative promoting enrichment and resilience through the arts.

Sessions 1, 2 & 3

Children’s Choir

Christopher WrayChildren’s Choir is for boys and girls from age 6 upwards. All levels of experience and ability are welcome – just bring your enthusiasm! The choir will learn songs that are fun to sing, and will give a short performance at the end of the week.

Session 1

Gospel ChoirCarol Pemberton and Celia Wickham AndersonUplifting, harmonious, soul-stirring, challenging and fun all describe the power and appeal of the Gospel Choir sessions. These are led by Carol Pemberton, Music Director of the internationally acclaimed a capella group Black Voices. The workshops will cover a range of black music traditions that influence and shape what today we call Black Gospel, and will include Steal Away, Nobody Knows the Trouble I See, Go Down Moses, O By and By and Deep River, – the spirituals at the heart of Michael Tippett’s A Child of our Time, which will be performed by the DISS Choir in Week 3. The course will culminate in a performance of some of the pieces covered in the week’s sessions.

Session 2

Tai Chi QigongMatthew RochfordEach week, from Monday to Friday, Matthew Rochford, director of TaiChiNation, will offer an early morning Tai Chi Qigong class from 8.00 – 8.30. It is possible to attend any or all of these sessions.

Tai Chi Qigong means “to work with energy” and is generally a term applied to exercises designed to relax the body and focus the mind. The benefits of Tai Chi Qigong can include increased relaxation, reduction in stress, improved breathing, enhanced co-ordination and improved

postural alignment. Tai Chi Qigong is a dynamic form of moving meditation which helps bring about calm and peace of mind whilst gently exercising the whole body.

It stresses the principles of relaxation and yielding, and the cultivation of inner strength and harmony of both body and mind. The practice of this art brings us into balance with ourselves and those around us. It is a form of “inner” martial art. Its principles and methods make it readily accessible to people of all ages and ability. Ideal for musicians, Tai Chi Qigong has been proven to bring great benefits both for good practice and performance.

Session: 8.00–8.30am, mon–fri

Week 2: Exploration Sessions

第二周：8月 2日——8月 8日Introduction to Tai Chi QigongMatthew RochfordEveryone is invited to attend this introductory session which will kick-start a week of early morning Tai Chi Qigong sessions.

Sunday, Session 4

Elastic Band MusicQuentin Poole

Music for any instrument, even made up ones, so Junk Music and Dirty Electronics participants are also welcome, written for any ability – just choose your part – easy, moderate or difficult. Everyone is invited to have a play through.

Monday, Session 4

Gospel ChoirCarol PembertonCarol Pemberton leads a session in which the roots of Black Gospel are explained, the music explored, and the joy of singing it experienced.

Tuesday, Session 4

Dirty ElectronicsJohn RichardsTake part in exploring Dirty Electronics’ Wrongs of the Hand, a public performance piece for large group that uses human bodies as part of a giant sound-generating electronic circuit. Electricity and the body have a long-standing relationship, from the nineteenth century Magneto-Electric Machine for the cure of ‘nervous diseases’, to lie detectors measuring galvanic skin response. Georg Mathias Bose’s eighteenth century salon piece Venus Electricata, known as the Electric Kiss, also shows how the conductivity of the human body can be used to create pure theatre and performance art. A small amount of electrical current can pass between, not only one, but many bodies. Expect to become a critical part of an electronic instrument and sculpture from human bodies in an extended process symbolising interconnectivity.

Wednesday, Session 4

Performance Psychology

Karen O’ConnorKaren O’Connor’s ground-breaking investigations have shown how the mental training regimes embraced by sport psychology can help professional musicians. In this session she gives a taster of these methods, demonstrating that performing under pressure is something to be anticipated and planned for, not feared.

Thursday, Session 4

Week 2: Advanced Courses

Chamber ChoirChristopher WrayThe Chamber Choir is aimed at experienced choral singers. It will rehearse choruses from the JS Bach St John Passion which are particularly suited to a smaller vocal ensemble, and perform them in the Friday night concert with the Dartington Festival Orchestra and Summer School Choir. Other repertoire will be studied during the week and there will be additional performance opportunities.

Session 4

VoiceCharles DanielsCharles Daniels’ repertoire extends from the ninth century to the present day but he is particularly renowned for his performances in the role of Evangelist in Bach’s Passions, which he has performed and recorded with the best orchestras, choirs and conductors in the world.

This course offers an opportunity for experienced tenors to make a detailed examination of the role of the Evangelist looking at all aspects of

technique, interpretation and performance. Students will receive one-to-one tuition in a masterclass environment, with opportunities for performance in the masterclass concert. The course culminates in a performance of St John Passion in which Charles sings the role of the Evangelist.

Sessions 2 & 3

VoiceAndrew WattsParticipants are invited to bring their own repertoire to this course for advanced singers which will provide an opportunity for students to receive one-to-one tuition in a masterclass environment covering repertoire, technique and interpretation.A chance to finesse, discover and make progress.

Session 2

PianoChristian BlackshawA performance, technique and interpretation masterclass. Christian Blackshaw is celebrated for the tremendous emotional depth, great understanding and incomparable musicality of his performance. This is a rare opportunity for amasterclass with this internationally acclaimed concert pianist.

Sessions 2 & 3

ViolinSimon FischerSimon Fischer enjoys a distinguished and wideranging playing and

teaching career. Through his technique books ‘Basics’ and ‘Practice’, he has opened up and popularised the study of violin technique in a way that has brought to thousandsof players around the world a level of help and training which had previously been the privilege of only the few. This masterclass offers the privilege of one-to-one tuition for advanced students.

Sessions 2 & 3 Dirty Electronics with John Richards

ViolaPhilip DukesAdvanced players are invited to bring their own repertoire to study in this masterclass directed by Philip Dukes, Professor of Viola at the Royal Academy of Music and Fellow of the Guildhall School of Music and Drama. Students will workin a supportive environment that is beneficial whether they are playing or listening, looking at all aspects of performance and technique.

Sessions 2 & 3

CelloLouise HopkinsLouise Hopkins, Head of Strings at the Guildhall School of Music and Drama, directs this masterclass in which students will receive one-to-one tuition in a supportive and informative environment.

Sessions 2 & 3

Advanced ConductingSian EdwardsDeadline for Applications: 28th February 2013

The Advanced Conducting course offers two weeks of intense practical study fora maximum of five experienced students. Repertoire will include: Mozart Symphony Nr. 40, Stravinsky Dumbarton Oaks, Tchaikovsky Serenade, Beethoven Symphony Nr. 7, Berlioz King Lear and Sibelius Symphony Nr. 5.

Both weeks start with masterclasses with professional pianists, where technical and musical ideas and issues can be discussed and worked on, followed by rehearsals with the orchestra, workshops with choir and possibly also a joint project with the composition students. The course leads up to two orchestralconcerts conducted by the students with the Dartington Festival Orchestra, the Summer School’s orchestra in residence, made up of young professional players. The course is directed by Sian Edwards, Head of Conducting at The Royal Academy of Music, London.

The closing date for applications to this course is February 28 2014, after which a short-list of conductors will be auditioned in London.

Sessions 1, 2 & 3

New MusicColin Matthews, Joy FarrallThis 2 week intensive course for composers and performers focuses on writing andperforming new works. At the centre of this course is the expert and experienced support offered by Colin Matthews and Joy Farrall.

During the first week the performers, coached by Joy will be able to gel as an ensemble, while the composers work closely with Colin in the creation of new works. In the second week, which will include a session led by John Woolrich, the new works will be workshopped, refined and performed.

Sessions 1, 2 & 3

Week 3: Courses 09 – 15 August

第三周：8月 9日——8月 15日

Session 1 Session 2 Session 3 Session 4

Choir Vocal Ensembles Voice: Jessica Cash* Choir: Additional Rehearsal

Wind Band Composition Songs from the Musicals

Piano and Piano Duo* Exploration Sessions†

Flute: Thomas Robertello*

Flute: Sarah Bennington

Clarinet: Chen Halevi*

Clarinet: John Slack

Oboe: Nicholas Daniel*

Oboe: James Turnball

Bassoon: Andrew Watson

Trumpet: Christopher Deacon*

Big Band

Reconnecting Teachers

Book, Music, Lyrics*

Advanced Conducting*

New Music*

Chamber Music – you can play in any or all sessions

Courses suitable for beginners are marked with a plus sign †Advanced courses are marked with an asterisk * and are subject to an application process, see Advanced Courses for details.

ChoirPaul McCreeshMichael Tippett A Child of our Time

Tippett’s response to the Krystallnacht pogrom against the Jews in 1938 is this secular oratorio with its hopeful message of ultimate understanding and reconciliation. The oratorio is structured in the manner of Bach’s Passions and the intensity of the piece is heightened by the use of spiritual songs. The choir will alsotake part in the first performance of a new work by John Woolrich.Paul McCreesh is the founder and Artistic Director of the Gabrieli Consort and Players, and Principal Conductor and Artistic Advisor of the Gulbenkian Orchestra.

Session 1

Choir: Additional Rehearsal

Jonathan WattsAn opportunity for those less familiar with the week’s choral repertoire, to build on the work done in the full morning sessions and ensure that you feel confident for the Friday evening choral concert. It is possible to attend all or any of these sessions.

Session 4

Wind Band

Steve DummerThe wind band returns! It’s a great opportunity to dust off an instrument that hasn’t been played for a few years, to improve ensemble playing, or just to play some great music. We’ll be concentrating on the classic wind band music of Gustav Holst – the First and Second Suites and the wonderfully haunting Hammersmith(which includes important parts for two E flat clarinets). The course will lead to a concert at the end of the week and is open to all wind players of any standard, although anyone below Grade 5 might struggle (but we’ll do as much as we can to get you through!).

Prepare in advance: parts for the Suites no.1 and no.2 are available for download on imslp.org

Session 1

Chamber MusicQuentin Poole, Barbara-Sue White, Berkeley EnsembleThis week pays particular attention to works with wind, so mixed chamber works, such as Spohr, Martinu and Stravinsky, as well as the best wind ensemble music by Mozart, Dvorak and Strauss will feature. Please see page 9 for more information.

Sessions 1, 2, 3 & 4

Vocal EnsemblesGabrieli ConsortMichael Tippett, for all of his experimental tendencies, was a thoroughly retrospective musician who wove themes by Handel and Corelli into defining compositions and prepared realisations of music by Purcell and Blow.

He was a key contributor to ‘A Garland for the Queen’, a madrigal cycle commissioned in honour of Queen Elizabeth II’s coronation, taking its inspiration from ‘The Triumphs of Oriana’, an earlier cycle honouring Queen Elizabeth 1. As a reflection of Tippett’s more austere work in ‘A Child of our Time’ this course will concentrate of the more frivolous, flirtatious and flamboyant nature of the English madrigal, featuring music from both the aforementioned collections.

An opportunity for confident singers to sing in small ensembles. The first introductory session will be an opportunity for everyone to sing some of the repertoire together with members of the Gabrieli Consort. During this session small groups will be formed, some with one to a part, some with parts doubling up, depending on participants’ choice and ability. Each group will then receive ensemblecoaching in the subsequent sessions. An integral part of the course is one open workshop session for each group, during which anyone who would like to can perform a solo item of their choice and receive one-to-one coaching. The last day of the course will be an opportunity for informal performances.

Session 2

Piano and Piano DuoKatya Apekisheva, Tom PosterIn this course, pianists of all abilities will be coached in their own choice of solo and duo repertoire. Established duos are welcome but otherwise participants will be paired by ability.

Katya Apekisheva, a finalist at the Leeds Piano Competition, has appeared as a soloist with many of the world’s leading orchestras. Tom Poster is internationally recognised as a pianist of outstanding artistry and versatility, equally in demand as soloist and chamber musician across an unusually extensive repertoire.

Session 3

Flute, Clarinet, Oboe,

BassoonBerkeley EnsembleSarah Bennington (flute), John Slack (clarinet), James Turnbull (oboe) and Andrew Watson (Bassoon) offer wind players of all abilities a supportive and informative workshop environment, in individual instrumental classes, in which to improve technique, hone performance skills and discover new repertoire.

Session 3

Songs from the MusicalsRobert PurvisA boisterous journey though the world of musical theatre aimed at singers of all abilities and experience. The course, accompanied by a ‘pitband’, will focus on several musicals, looking at chorus and solo numbers and show structure.

One-to-one coaching is available outside of ensemble sessions. There may be opportunities for performance collaborations with the Big Band and Book, Music and Lyrics courses. This course will culminate in a performance with opportunitiesfor solo numbers as well as choruses.

Session 3

Big BandSteve DummerThe big band will be playing a mixture of classic arrangements and a few original charts. There are parts for alto, tenor and baritone saxophones, trumpets, trombones plus piano, bass and drums.

Don’t worry if you’ve never played in a big band before – this will be a

great opportunity to try it out. Parts will be challenging but very playable. It’ll lead to an end of the week performance with the possible inclusion of some open jamming forkeen improvisors!

Session 3

Reconnecting TeachersJoy FarrallA professional development course for woodwind teachers, which will be of particular interest to those teachers required to teach multiple winds.Specialist lessons, given by members of the Berkeley Ensemble in flute, clarinet, oboe, bassoon and saxophone, form a core part of the course. The following topics will be among those covered in sessions given by experienced tutors:

• The use of Sibelius in writing arrangements• Teaching practice improvement techniques, including embouchure basics and posture• Repertoire• Reed improvement for oboe and bassoon with Adrian Rowlands• Instrument maintenance and basic repairs

The course will also take advantage of the opportunity to observe the expert teaching in the masterclasses. Participants will develop a valuable toolbox of skills, resources and networks in a supportive and informative environment led by Joy Farrall, Professor of Clarinet at the Guildhall School of Music, internationally renowned performer and dedicated teacher.

Sessions 2 & 3

CompositionJohn Ashton ThomasA composition course for those who enjoy creating their own work, but don’t pursue it professionally. The course will focus primarily, but not exclusively, on writing for piano, guitar and voice (either solo or in any

combination), and so is accessible for people who enjoy composing classically or for those who enjoy song-writing or arranging. We would hope to engage players on other courses to work with uson occasion, widening the choice of instruments that the group could write for. The content of the course will be determined by the creative drivers of the group and what individuals would like to compose or arrange. It might be thatyou bring an existing composition you would like to develop or improve in some way. The course is aimed at people who have some experience of writing their own music – it is not for complete beginners.

John Ashton Thomas, composer, arranger, orchestrator, conductor, pianist and teacher, is an honorary associate of the Royal Academy of Music and teaches composition at Trinity Laban Conservatoire, London

Session 2

Alexander TechniqueJoseph SandersAs musicians we are inspired by great performers. When they play, they can makeit seem so easy. The question is: how can you study that underlying easiness and get the same freedom for yourself? This is where the Alexander Technique can help. Ashkok Klouda, a Royal College of Music cello and Alexander student describes his experience:

“Many musicians are not aware that when they come to play their instrument, they are actually using two instruments. Their Self is the primary instrument and the musical instrument is the secondary one. If one is ever to find full pleasure and comfort with playing one’s secondary instrument, one’s primary instrument mustbe working in a way which allows that”

(Judith Kleinman and Peter Buckoke The Alexander Technique for Musicians)

Joseph Sanders will be resident during this week giving Alexander Technique sessions as part of the masterclass and workshop programme. He will visit different classes during the week and instruct within the

framework of the workshop/masterclass. Joseph Sanders has combined learning and teaching the Alexander Technique with performing as an oboist for the past 35 years. He has taught at the Leipzig Musikhochschule, the National Youth Orchestra of Great Britain, St. Paul’s Boys’ School in Barnes and at the Guildhall School of Music and Drama . For over 20 years he played for Ensemble Modern in Frankfurt, and now divides his performing time between, among others, the London Symphony Orchestra, the West End and Rambert Dance.

This cannot be booked as a seperate course. It is a part of the workshop/masterclass programme.

Tai Chi QigongMatthew RochfordEach week, from Monday to Friday, Matthew Rochford, director of TaiChiNation, will offer an early morning Tai Chi Qigong class from 8.00 – 8.30. It is possible to attend any or all of these sessions.

Tai Chi Qigong means “to work with energy” and is generally a term applied to exercises designed to relax the body and focus the mind. The benefits of Tai Chi Qigong can include increased relaxation, reduction in stress, improved breathing, enhanced co-ordination and improved postural alignment. Tai Chi Qigong is a dynamic form of moving meditation which helps bring about calm and peace of mind whilst gently exercising the whole body.

It stresses the principles of relaxation and yielding, and the cultivation of inner strength and harmony of both body and mind. The practice of this art brings us into balance with ourselves and those around us. It is a form of “inner” martial art. Its principles and methods make it readily accessible to people of all ages and ability. Ideal for musicians, Tai Chi Qigong has been proven to bring great benefits both for good practice and performance.

Session: 8.00–8.30am, mon–fri

Exploration Sessions

Introduction to Tai Chi QigongMatthew RochfordEveryone is invited to attend this introductory session which will kick-start a week of early morning Tai Chi Qigong sessions.

Sunday, Session 4

Unlocking your VoiceJessica CashEveryone has a voice and discovering it brings numerous physical and psychological benefits. Explore what it feels like to have your instrument on the inside instead of the outside. All are welcome but particularly instrumentalistsand those who think they don’t have a voice.

Monday, Session 4

Alexander TechniqueJoseph SandersAn introduction to Alexander Technique.

As musicians we are inspired by great performers. When they play, they can makeit seem so easy. The question is: how can you study that underlying easiness and get the same freedom for yourself? This is where the Alexander Technique can help. Ashkok Klouda, a Royal College of Music cello and Alexander student describes his experience:

“Many musicians are not aware that when they come to play their instrument, they are actually using two instruments. Their Self is the primary instrument and the musical instrument is the secondary one. If one is ever to find full pleasure and comfort with playing one’s secondary instrument, one’s primary instrument mustbe working in a way which allows that”

(Judith Kleinman and Peter Buckoke The Alexander Technique for Musicians)

Joseph Sanders will be resident during this week giving Alexander Technique sessions as part of the masterclass and workshop programme. He will visit different classes during the week and instruct within the framework of the workshop/masterclass. Joseph Sanders has combined learning and teaching the Alexander Technique with performing as an oboist for the past 35 years. He has taught at the Leipzig Musikhochschule, the National Youth Orchestra of Great Britain, St. Paul’s Boys’ School in Barnes and at the Guildhall School of Music and Drama . For over 20 years he played for Ensemble Modern in Frankfurt, and now divides his performing time between, among others, the London Symphony Orchestra, the West End and Rambert Dance.

Tuesday, Session 4

The Bluffers Guide to ConductingSteve DummerLearn the basics in twenty minutes, look like a professional in forty. A light-hearted look at the art of waving your arms about.

Wednesday, Session 4

Songs from the Musicals

Robert PurvisA short journey into the genre of musical theatre, and an opportunity to see what the Songs from the Musicals course can offer.

Thursday, Session 4

Week 3: Advanced Courses

Book, Music and LyricsRichard Sisson, Richard StilgoeA course for music, theatre writers and composers led by Richard Sisson and Richard Stilgoe. During the week students will create new scenes and songs, from opening chorus number through power ballad to love duet, with the guidanceof the tutors. At the end of the week, with the help of students from other courses, this work will, like so many other music theatre dreams, be given its first and only performance. Richard Sisson is a composer and pianist. He has written many hundreds of songs in 35 years as a cabaret artist. He broadcasts regularlyon BBC Radio 3 and has extensive international experience as a teacher. He was recently awarded an honorary MA from the University of Bedfordshire for services to music education.Richard Stilgoe has spent fifty years as a performer and writer in all forms of theperforming arts. He wrote lyrics for Cats, Starlight Express, The Phantom of the Opera, The Magistrate and Road Rage, and music and lyrics for Bodywork , Brilliant the Dinosaur and ‘Orpheus – the Mythical’. His broadcasting work has earned him the New York Radio Festival Gold Award, three Monaco Festival Prizes and the Prix Italia. In 1997 he founded the Orpheus Centre in Surrey, where young disabled people prepare for independent living through a series of performing arts courses.

Sessions 1, 2 & 3

Voice

Jessica CashFor advanced singers whose desire is to truly free the voice and body to express the music. Jessica Cash doesn’t work with any specific method or theory, but rather looks at each individual to discover and address particular energy blocks, tensions and stresses. She works holistically,bringing the body back to its natural place and rhythm, to free the energy necessary for beautiful singing. Students are asked to bring to the class an aria from opera or oratorio that they can sing from memory, and a piece of their choice that challenges them. Jessica Cash has spent over fifty years teaching in conservatoires, privately and giving masterclasses throughoutEurope, her students have included Emma Kirkby, Evelyn Tubb, Lilian Watson and Lesley Garrett. She is constantly amazed at the marvel of creation that gives us all a very individual voice and so throughout her career has focused on addressing individual needs.

Session 3

Piano and Piano DuoKatya Apekisheva and Tom PosterAdvanced pianists will have the opportunity to work with Katya Apekisheva and Tom Poster in a masterclass environment. Duet repertoire, as well as the students’ own choice of repertoire can be studied.

Session 2

FluteThomas RobertelloStudents are invited to bring their own repertoire to this class for advanced players, covering solo works (with and without piano), orchestral excerpts and practice techniques. Each of these three repertoire categories will be covered in the course. The practice techniques classes

will involve discussions about material to practice for tone, tuning, finger technique, breathing, etudes, and various exercises. A suggested list of materials will be provided prior to the course.Thomas Robertello is on the faculty of the Jacobs School of Music at Indiana University.He is a former member of the Pittsburgh Symphony, Cleveland Orchestra, and National Symphony, having also played as guest principal flutist with the Chicago Symphony, LA Philharmonic, and Houston Grand Opera.

Sessions 2 & 3

ClarinetChen HaleviStudents are invited to bring their own repertoire to this course for advanced players which will provide an opportunity students to receive one to one tuition in a masterclass environment covering repertoire, technique and interpretation.Chen Halevi is Clarinet Professor in the Trossingen Hochschule for Music in Germanyand has performed as soloist with some of the most important orchestras in America, Europe and Japan. He is a pioneer of a new school of playing looking at what the clarinet and clarinettist should be in the 21st century.

Sessions 2 & 3

OboeNicholas Daniel“I look forward to welcoming you to Dartington for a week of oboe classes in an environment which is completely unique. There are so many different things happening there at one time and many options for you to choose from, but theessence is that you come for an intense oboe course with me with 2 sessions per day, and then there are other options. There will be performance opportunities as well as the possibilities for chamber music and various ensembles, and I’m excited that Joseph Sanders, himself a superb oboist, will be there for the week helping with

Alexander Technique. In our classes we will work on concerto, recital and solo repertoire, a pianist will be available, we will have a daily allocation of orchestral extract work and we will be having a mock audition session as well as concert performance opportunities. I have invited Master Reedmaker Adrian Rowlands to join us for a day and there will be sessions on instrument maintenance and teaching you can opt for.Having a course like this in a week with so much entertaining and stimulating work going on around is unique and I know I will greatly enjoy working with you all in this environment.”

(Nicholas Daniel)

Sessions 2 & 3

TrumpetChristopher DeaconChristopher Deacon, Professor of Trumpet at the Guildhall School of Music and principal trumpet for Royal Ballet Sinfonia, directs this masterclass in which students will receive one to one tuition in a supportive and informative environment.

Session 2

Advanced ConductingSian EdwardsThis is the second week of this two week course.

Deadline for Applications: 28th February 2013

The Advanced Conducting course offers two weeks of intense practical study for a maximum of five experienced students. Repertoire will include: Mozart Symphony Nr. 40, Stravinsky Dumbarton Oaks, Tchaikovsky Serenade, Beethoven Symphony Nr. 7, Berlioz King Lear and Sibelius Symphony Nr. 5.

Both weeks start with masterclasses with professional pianists, where technical and musical ideas and issues can be discussed and worked on, followed by rehearsals with the orchestra, workshops with choir and possibly also a joint project with the composition students. The course leads up to two orchestral concerts conducted by the students with the Dartington Festival Orchestra, the Summer School’s orchestra in residence, made up of young professional players. The course is directed by Sian Edwards, Head of Conducting at The Royal Academy of Music, London.

The closing date for applications to this course is February 28 2014, after which a short-list of conductors will be auditioned in London.

Sessions 1, 2 & 3

New MusicColin Matthews, Joy FarrallThis is the second week of this two week course. This 2 week intensive course for composers and performers focuses on writing and performing new works. At the centre of this course is the expert and experienced support offered by Colin Matthews and Joy Farrall.

During the first week the performers, coached by Joy will be able to gel as an ensemble, while the composers work closely with Colin in the creation of new works. In the second week, which will include a session led by John Woolrich, the new works will be workshopped, refined and performed.

Sessions 1, 2 & 3