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Viola da Gamba Society - Southern Arizona

This chapter of the Viola da Gamba Society of America (VdGSA) is based in sunny Tucson, Arizona.

It was incorporated as a non-profit and tax-exempt [Section 501(c)(3)] organization in October 2001.

It pursues the same goal as its parent organization, i.e., the enjoyment of playing the viola da gamba, a musical instrument of the Renaissance and Baroque period.

To facilitate this goal, the VdGS - Southern Arizona will hold occasional meetings, encourage new players, and will organize an annual workshop.


Viol Sphere 2 - Viols in a Desert Oasis

October 18 - October 22, 2018

Biosphere 2 Conference Center in Oracle, Arizona

Faculty

Mary Springfels, Artistic Director
with
Larry Lipnik, Sarah Mead, David Morris, and Sarah Walder

See the Workshop page on this web site for more details.

About

If you have looked for this page you probably know what a viol looks like. The chief characteristics of the viol family are that all are held on or between the knees, that the neck is fretted, that the bow is usually held under-handed so that the strong stroke is the pushing stroke, and not the pulling stroke as in the violin; and, most important, that there are normally six strings and that these are tuned in fourths with a third in the middle, like those of the lute.

The following comments on the difference between the sound of the violin family and that of the viols are quoted from the book:

"The World of Baroque and Classical Musical Instruments" by Jeremy Montagu:

"On the violin there is a marked tonal difference between the sound of a fingered note, when the vibrating length of the string is terminated by the soft flesh of the finger, and the sound of the open strings, when the length of the string is terminated by the hard edge of the nut, the bar at the top of the fingerboard. On the viols, because the string is stopped just behind a fret, the fret acts as another nut so that even with gut frets, which are softer than a wooden nut, there is less difference of tone between stopped and open strings; this homogeneity of tone quality is the most important function of the frets. As a result, there is more ringing resonance in the sound of the viol than in the violin, and this is increased by sympathetic resonance from the other strings, for the lighter construction of the body and the lower tension of the strings, as well as the greater number of strings available to add their resonance, increases the probability of resonance in sympathy with any note played. Violin strings are tuned a fifth apart and there was therefore a considerable difference between their thicknesses in order to obtain so great a difference of pitch with approximately the same tension; the strings of the viols, on the other hand, being tuned only a fourth or third apart, show much less difference in this respect and this again increases their blend of sonority.

In sum, the viol was a restrained instrument used mostly for polyphonic music, capable of intense emotion but always held-in within its compass; the violin, on the other hand, was brash and extrovert, gay or moody, used for entertainment music of all sorts. Neither was of itself inferior or superior to the other, but the course of music from the early seventeenth century onwards, and the desired sonority, went the way of the violin not that of the viol, so that from the latter part of the seventeenth century viols were less and less used in consort and little new music was written for such groups."

Not to worry, though, there are several thousand compositions for viol consorts of different sizes and there are recently written works for viols that are rather lovely and enchanting.

As for the popularity of the viol: The VdGSA has now in excess of 1000 members and continues to grow. Playing the viol can become a lifelong addiction - Watch out!

Calendar

Viol Sphere 2 - Viols in a Desert Oasis

October 18 - October 22, 2018

Biosphere 2 Conference Center in Oracle, Arizona

Faculty

Mary Springfels, Artistic Director
with
Larry Lipnik, Sarah Mead, David Morris, and Sarah Walder

Workshop

Viol Sphere 2 - Viols in a Desert Oasis

October 18 - October 22, 2018

Biosphere 2 Conference Center in Oracle, Arizona

Faculty

Mary Springfels, Artistic Director
with
Larry Lipnik, Sarah Mead, David Morris, and Sarah Walder

Program

We are pleased to invite you to our 20th viol workshop in Southern Arizona. An outstanding faculty has agreed to provide instruction and coaching in a beautiful conference setting.

Viol Sphere 2 - 2018 celebrates several notable anniversaries, including the 475th birthday of William Byrd, (1543 – 1623), an English composer of the Renaissance, who wrote in many of the forms current in England at the time, including various types of sacred and secular polyphony, keyboard, and consort music. He produced sacred music for Anglican services, and wrote Catholic sacred music later in his life. In addition to Byrd and his English contemporaries, composers from the continent will also be celebrated, including: Juan del Encina, born 1468 (550 y), a composer, poet and playwright, often called the founder of Spanish drama; Pierre de la Rue, died 1518 (500 y), a Franco-Flemish composer and singer of the Renaissance; Loyset Compere, died 1518 (500 y), one of the most significant composers of motets and chansons of that era, and one of the first musicians to bring the light Italianate Renaissance style to France; and Jacques Arcadelt, died 1568 (450 y), a Franco-Flemish composer of the Renaissance, active in both Italy and France, and principally known as a composer of secular vocal music, and also was one of the most famous of the early composers of madrigals.

There will be no shortage of beautiful music for viols. We will tune at a’ = 415 Hz.

Early morning classes will concentrate on warm-up and technique. Later classes will explore consort music for viols from England and the European continent, while the evening sessions will feature relaxed consort playing with faculty joining in.

Faculty Bios

Mary Springfels is a veteran of the American Early Music movement. She was the founder/director of the Newberry Consort in Chicago and has taught for the VdGSA for at least thirty years. In the recent past, she has been a soloist with the Victoria Bach Festival, The Houston Bach Society, the Arizona Bach Festival, and, as a frequent guest with ArsLyrica Houston, has appeared at the Berkeley and Houston Early Music Festivals. She maintains long-standing musical friendships with Sonoma Bach, the Texas Early Music Project, and the Folger Consort. Mary has begun a series in Santa Fe, NM called Severall Friends, which will feature local and nationally recognized artists, including Matthew Dirst, Elizabeth Blumentstock, Mark Rimple and Drew Minter.

Lawrence Lipnik has performed with many acclaimed early music ensembles from Anonymous 4 and ARTEK to the Waverly Consort. He is a founding member of the viol consort Parthenia and vocal ensemble Lionheart,.who's new CD "Laude: Joy and Mystery" was a top ten iTunes release this spring. This past season he was gamba and recorder soloist in Telemann's Orpheus with the New York City Opera, and conductor of the collegium at Amherst Early Music's Summer Festival. In addition to performing, he currently serves on the board of VdGS/NY and is co-director of the New York Recorder Guild, enjoys a busy teaching schedule which has included national and international festivals from the Benslow Music Trust in the UK, Port Townsend, and the San Diego Early Music Festival to Pinewoods and Amherst Early Music, instructor of viol, recorder and early music performance at Wesleyan University, and is music editor for an upcoming authoritative edition of the original songs from the plays of William Shakespeare and is a contributor to the Cambridge Companion to Shakespeare and Contemporary Dramatists. He has recorded for numerous labels including EMI, Angel, Nimbus, Virgin, Sony, Koch International and Cantaloupe Music.

Sarah Mead teaches, performs, and proselytizes polyphony in the Boston area. She founded Nota Bene Viol Consort in 2012 with Wendy Gillespie, Emily Walhout, and Joanna Blendulf. With their matched set of Renaissance viols, they have pursued a number of projects focusing on 16th-c. polyphony, while in other programs they have explored a wide range of repertoire from 17th-c. chromaticism to 20th-c. jazz. She has given solo concerts on the lyra-viol across the US and overseas, and has performed with some of this country's leading early music ensembles.

The 2007 recipient of the Thomas Binkley Award from Early Music America, Ms. Mead is Professor of the Practice of Music at Brandeis University. She has led immersive courses on 16th-c. theory at Oberlin, Juilliard, and the Longy School of Music. Her handbook on Renaissance Theory is used in historical music programs around the country. She has given master-classes, lectures, and workshops in Brazil, Japan, Australia, New Zealand and the UK. For seven years she was Conclave Music Director for the Viola da Gamba Society of America, for which she has been a regular faculty-member since 1987. She is a familiar teacher at early music workshops, including Viols West, Port Townsend, and Pinewoods, and serves as the VdGSA Circuit Rider to Houston, TX.

David Morris is a member of Quicksilver and the Galax Quartet. He has performed with Musica Pacifica, the Boston Early Music Festival Orchestra, NYS Baroque, Tragicomedia, Tafelmusik, the Boston Symphony Orchestra, Philharmonia Baroque Orchestra, American Bach Soloists, Musica Angelica, Seattle Baroque Orchestra, the Mark Morris Dance Group and Seattle’s Pacific Musicworks. He has recorded for Harmonia Mundi, New Albion, Dorian, New World, Drag City Records, CBC/ Radio-Canada and New Line Cinema.

Sarah Walder grew up in the deserts and mountains of Arizona. She studied cello and historical performance practice on viola da gamba with Catharina Meints at Oberlin Conservatory, graduating cum laude in 1992. She continued her education at the Royal Conservatory in The Hague, studying Baroque cello with J. ter Linden and violone with M. Urquhart. In 2012 Sarah received a degree in Physical Therapy from Avans College in Breda. Sarah plays a wide range of low and historic stringed instruments from periods ranging from the medieval era to the 21st century: vielle, violas da gamba, violone, Baroque cello, Classical cello, modern cello and modern cello with loop-station.

Accommodations

The VdGS-Southern Arizona workshop will return to the University of Arizona Biosphere 2 Conference Center located about 30 miles north of central Tucson near Oracle, Arizona in a location with lush desert and beautiful mountain views.

Facilities and Features:

  • The Conference Center provides spacious casitas containing 3-5 bedrooms each.
  • All casitas have ample living room space perfect for our viol consort needs.
  • Most bedrooms have their own bathroom, but a few bathrooms are shared between two bedrooms.
  • Most bedrooms have two double beds with upgraded furnishings.
  • Some bedrooms have two twin beds reminisent of viol workshops with housing in college dorms.
  • About 1/3 of the casitas have two of the bedrooms upstairs. The Registration Form will allow the preference for no stairs to be indicated.
  • Internet access is provided free of charge via WiFi network.
  • Cell phone coverage is limited due to the remote location.
  • Land line phones are available in the casitas and in the lobby for local phone calls.
  • The casitas include shaded porches and outdoor spaces perfect for relaxing and socializing.
  • After scheduled evening events, uncoached consort playing will be available in the classroom casitas until 10:30 pm.
  • The lobby, casitas, Sahara meeting room, and the Thar casita, where meals will be served, are all conveniently accessible from wide level paved walkways.
  • Meals will be provided by Nonna Maria's Risorante and Pizzeria catering service of Oracle, AZ.
  • nonnamarias.com
  • All meals will be provided and served from the Thar Casita, with consideration for healthy choices, and vegetarian options.
  • Casitas contain full kitchens with refrigerators, however do not include pots, pans, plates, or utensils. Due to the absence of kitchen furnishings and the remote location of the site, participants are encouraged to partake in the onsite meal program.

University of Arizona Biosphere 2 web site: biosphere2.org

Registration fees for the workshop are all inclusive, providing: tuition for 10 consort classes, two group sessions, a Voice and Viol session, an informative lecture, and a Faculty Concert; room (single or double occupancy); and all meals.

Viol and Bow doctor: Linda Shortridge will be on site to make adjustments and minor repairs to viols and bows. If you are interested in having mechanical PEGHEDS™ installed, please let Linda know in advance so that she can order the proper size for your instrument.

Linda Shortridge: lindashortridge@aol.com

Travel

Biosphere 2 is located north of Tucson at:

32540 South Biosphere Road
Oracle, AZ 85739

By car from Central Tucson:

  • From central Tucson, go north to River Road and turn left (heading west)
  • Continue on River Road and turn right on Oracle Road/AZ Highway 77
  • Drive north approximately 24 miles on Oracle Road/AZ Highway 77
  • Turn right on to Biosphere 2 Road at Mile Post 96.5

Map: Central Tucson -> Biosphere 2

By car from Tucson International Airport:

  • Head southeast on S. Airport Drive
  • Take slight left at E. Airport Drive and continue onto S. Tucson Blvd. approximately 2.7 miles (make a slight left to stay on S. Tucson Blvd.)
  • Continue onto I-10 BUS W approximately 1.8 miles and make slight right at S. Park Avenue
  • Merge onto I-10 W via the ramp to Phoenix and drive 6.5 miles to Exit 255 towards AZ-77 N/Miracle Mile
  • Merge onto N. Casa Grande Hwy. then turn right at W. Miracle Mile and drive 1.4 miles
  • Turn left at Oracle Road and drive north approximately 26.9 miles on Oracle Road/AZ Highway 77
  • Turn right on to Biosphere 2 Road at Mile Post 96.5

Map: Tucson International Airport -> Biosphere 2

If you would like to be independent, it might be worthwhile to rent a car for the long weekend.

Local Hospital

Oro Valley Hospital is located north of Tucson at:

1551 East Tangerine Road
Tucson, AZ 85755

Map: Biosphere 2 -> Oro Valley Hospital

Schedule

Registration for the workshop will start on Thursday, October 18, 2018 at 3:00 p.m. There will be an opportunity for uncoached consort playing between 3:00 and 5:00 p.m. Dinner can be taken between 5:30 and 6:30 p.m. The evening session for all participants starts at 7:00 p.m. in the Sahara Room.

Classes on Friday, Saturday, Sunday and Monday start at 8:30 a.m. and will be held in five of the casitas. There will be two morning classes before lunch and one class after lunch. There will be time in the afternoon for practicing, scheduled events, sight-seeing, and other activities.

Dinner will be served between 5:30 and 6:30 p.m. on site.

There also will be consort sessions with faculty participation (not coaching) on Friday and Saturday evenings from 7:00 to 8:00 p.m. Lists for signing up for these sessions will be placed in the Thar Casita.

A demonstration concert by the faculty is planned for Sunday, October 21st at 7:00 p.m. in the Sahara Room.

Please re-visit this web-site for the announcement of other activities as information about them becomes available.

Detailed Workshop Schedule

VdGS-SAZ_Schedule_2018.pdf

Thursday, October 18, 2018

 3:00 –  4:00 p.m. Registration (Thar Casita)

 4:00 –  5:00 p.m. Hospitality Hour (Thar Casita)

 5:30 –  6:30 p.m. Dinner (Thar Casita)

 7:00 –  9:00 p.m. Group playing & singing with faculty (Sahara Room)

 9:00 – 10:30 p.m. Uncoached consort playing

Friday, October 19, 2018

 7:00 –  8:00 a.m. Breakfast (Thar Casita)

 8:30 –  9:45 a.m. Class 1

 9:45 – 10:15 a.m. Break with refreshments

10:15 – 11:30 a.m. Class 2

11:30 – 12:30 p.m. Lunch (Thar Casita)

12:45 –  2:00 p.m. Class 3

 2:00 –  3:30 p.m. Time for relaxing, practicing, private lessons, etc.

 3:30 –  5:00 p.m. Singing and playing with Larry (Sahara Room)

 5:30 –  6:30 p.m. Dinner (Thar Casita)

 7:00 –  8:00 p.m. Consort playing with faculty playing along

 8:30 – 10:30 p.m. Uncoached consort playing

Saturday, October 20, 2018

 7:00 –  8:00 a.m. Breakfast (Thar Casita)

 8:30 –  9:45 a.m. Class 1

 9:45 – 10:15 a.m. Break with refreshments

10:15 – 11:30 a.m. Class 2

11:30 – 12:30 p.m. Lunch (Thar Casita)

12:45 –  2:00 p.m. Class 3

 2:00 –  3:45 p.m. Time for relaxing, practicing, private lessons, etc.

 4:00 –  5:00 p.m. Lecture - Demonstration (Sahara Room)

 5:30 –  6:30 p.m. Dinner (Thar Casita)

 7:00 –  8:00 p.m. Consort playing with faculty playing along

 8:30 – 10:30 p.m. Uncoached consort playing

Sunday, October 21, 2018

 7:00 –  8:00 a.m. Breakfast (Thar Casita)

 8:30 –  9:45 a.m. Class 1

 9:45 – 10:15 a.m. Break with refreshments

10:15 – 11:30 a.m. Class 2

11:30 – 12:30 p.m. Lunch (Thar Casita)

12:45 –  2:00 p.m. Class 3

 2:30 –  4:00 p.m. Optional tour of Biosphere 2

 4:00 –  5:30 p.m. Time for relaxing, practicing, private lessons, etc.

 5:30 –  6:30 p.m. Dinner (Thar Casita)

 7:00 –  8:00 p.m. Faculty Concert (Sahara Room)

 8:00 –  9:00 p.m. Reception for Faculty

 9:00 – 10:30 p.m. Uncoached consort playing

Monday, October 22, 2018

 7:00 –  8:00 a.m. Breakfast (Thar Casita)

 8:30 –  9:30 a.m. Final consort class

10:00 – 11:30 a.m. General Session (Sahara Room)

11:30 – 12:00 noon Workshop ends - Farewell

12:00 –  1:00 p.m. Time to pack and checkout.

Costs

Registration fees for the workshop are all inclusive, providing: tuition, room, and board.

Regular: single occupancy, all meals $840.00
Regular: double occupancy, all meals $680.00
Note: If roommate is not participating in the workshop, the Student must pay the full Single rate to cover the cost of the shared room. $840.00
Extra Meal Plan for non-participating guests $150.00
Optional Biosphere 2 Tour $15.00
Registration forms must be postmarked on or after August 16, 2018.
Non-refundable deposit due by September 20, 2018.
$50.00
Audit only Free-will donation

Registration Information

The workshop is limited to 30 participants at Intermediate (24 Points or higher in the VdGSA self-rating guide) playing skill level. Acceptance to the workshop is subject to approval by the Director, Faculty, and Staff.

VdGSA self-rating guide:
vdgsa.org/pgs/Self-RatingGuide.pdf

Workshop Registration form will be available here on this web site on August 16, 2018.

If you have any questions, please contact Scott Mason: scottmason701@gmail.com

History

Past Viol Workshops of the VdGS - Southern Arizona

November 3 - 5, 2000: First Workshop for Viols and Voices at the Voyager Resort in Tucson.
Faculty: Margriet Tindemans, Director with Carol Herman, Julie Jeffrey and David Morris

November 2 - 5, 2001: Second Workshop for Viols and Voices under the auspices of the new chapter of the VdGSA, the Viola da Gamba Society of Southern Arizona. It was held at the Hampton Inn & Suites in the NW part of the city.
Faculty: Margriet Tindemans, Director with Alison Crum, John Dornenburg, Julie Jeffrey and Roy Marks.

October 25 - 28, 2002: Third Workshop for Viols and Voices emphasizing Music of the German Renaissance. It was again held at the Hampton Inn & Suites.
Faculty: Margriet Tindemans, directing with Shira Kammen, Ann Marie Morgan, David Morris and John Mark Rozendaal.

March 7 - 10, 2003: Fourth Viol Workshop of the VdGS - Southern Arizona: Musicke apt both for Voyals and Voyces. The Best Western Inn at the Airport turned out to be a great venue for it. Faculty: Alison Crum, Director with Larry Lipnik and Roy Marks.

March 19 - 22, 2004: Fifth Viol Workshop of the VdGS - Southern Arizona: Emphasis was on Music by John Dowland and Michael East published initially in 1604. We returned to The Best Western Inn at the Airport as it had served us well last year. Faculty: Alison Crum, Director with Larry Lipnik, Roy Marks and Ann Marie Morgan.

October 30 - November 1, 2004: Sixth Viol Workshop of the VdGS - Southern Arizona: Emphasis was on Music by Orlando Gibbons and John Wilbye, whose rarely sung and played 6-part madrigals were featured in the workshop. This workshop was again held at The Best Western In at the Airport. Faculty: Wendy Gillespie, Director supported by John Dornenburg, Annalisa Pappano, Elisabeth Reed and John Mark Rozendaal.

April 15 - April 18, 2005: Seventh Viol Workshop of the VdGS - Southern Arizona: Viols in the Blooming Desert.We played music by Thomas Tallis as it was the 400th anniversary of his birth, but also that of many other composers of the time period. Our venue was the Best Western Inn-Suites on North Oracle Road. Faculty: Alison Crum, Artistic Director with Laurie Gutiérrez, Roy Marks and Lynn Tetenbaum.

October 19 - October 23, 2006: Eighth Viol Workshop of the VdGS - Southern Arizona: Viols in a Desert Oasis. As it was the 350th anniversary of his death, there was emphasis on Fantasias, anthems and madrigals by Thomas Tomkins, besides the beautiful music of other Renaissance and early Baroque composers. We experienced the beauty of the Southern Arizona desert at the Esplendor Resort in Rio Rico. Faculty: Margriet Tindemans, Musical Director with Lee Inman, Julie Jeffrey, David Morris and Craig Trompeter.

November 1 -November 5, 2007: Ninth Viol Workshop of the VdGS - Southern Arizona: Viols in a Desert Oasis. It looks like we have finally found a fitting title for our workshops in the beautiful southern Arizona desert. This year was the 450th Anniversary of the birth of Thomas Morley, whose Canzonets and Madrigals lend themselves perfectly to be played on viols. However, we also studied compositions of Jenkins, Hingeston and White to name just a few. Our workshop venue was again the Esplendor Resort in Rio Rico that served us even better than last year. Faculty:Alison Crum, Artistic Director with Roy Marks, Sarah Mead, Gail Ann Schroeder and Lynn Tetenbaum.

October 23 - October 27, 2008: Tenth Viol Workshop of the VdGS - Southern Arizona: Viols in a Desert Oasis. We could not resist to return to the unique location of the Esplendor Resort in Rio Rico in the Sonoran desert. This year we celebrated the 425th anniversary of the birth of Orlando Gibbons. Gibbons' masterful compositions continue to fascinate viol players. Having a chance to play with faculty taking one part of the consort was rated high by the participants. Faculty: Margriet Tindemans, Musical Director with John Dornenburg, Ann Marie Morgan, David Morris and Craig Trompeter.

October 27 - November 2, 2009: Eleventh Viol Workshop of the VdGS - Southern Arizona: Viols in a Desert Oasis. The Esplendor Resort in Rio Rico remains our venue of choice as everybody loves to come there. This year three members (John Bryan, Alison Crum and Roy Marks) of the Rose Consort of Viols presented a program of viol music played on copies of the so-called Costa viols, instruments built according to paintings by Lorenzo Costa. The lecture-presentation was fascinating and the sound of these viols was enchanting and certainly very different from that of the viols we usually hear today. This was the 350th anniversary of the birth of Henry Purcell and we played and enjoyed some of his beautiful anthems. Faculty: Alison Crum, Artistic Director with John Bryan, Larry Lipnik, Roy Marks and Mary Springfels was superb and provided all of us lots of advise how to become better viol players.

October 28 - November 1, 2010: Twelfth Viol Workshop of the VdGS - Southern Arizona: Viols in a Desert Oasis. The Esplendor Resort in Rio Rico again served us well for this endeavour.This was the 450th anniversary of the birth of Peter Philips, an English composer of mostly vocal and keyboard music who lived in exile in the Netherlands. We enjoyed playing a number of his choral works for 5 & 6 parts on our viols. Faculty: Mary Springfels, Artistic Director with Joanna Blendulf, John Dornenburg, Larry Lipnik and Ann Marie Morgan. The teaching was again outstanding.

November 3 - November 7, 2011: Thirteenth Viol Workshop of the VdGS - Southern Arizona: Viols in a Desert Oasis. The Esplendor Resortin Rio Rico remains our venue of choice as everybody loves to come there.This year we celebrated the 525th anniversary of Ludwig Senfl’s birth. He was a pupil of Heinrich Isaac and a very influential composer in 16thcentury Germany. Senfl loved German folk songs and was a master of weaving them together in quodlibets. In addition, it was the 500th anniversary of the publication of Heinrich Schütz’s “Il Primo libro di Madrigali” in Venice in the year 1611. We enjoyed working on several pieces of these two composers and we heard masterful renditions of some of their works in a superb faculty concert. Faculty: Alison Crum, Artistic Director with Julie Jeffrey, Larry Lipnik, Roy Marks and John Mark Rozendaal.

October 25 - October 29, 2012: Fourteenth Viol Workshop of the VdGS - Southern Arizona: Viols in a Desert Oasis. Even though there was a change of management there, we were warmly welcomed by the staff of the Esplendor Resort in Rio Rico in the southern part of Arizona. The focal point of the workshop was the celebration of the 400 year anniversary of another German composer: Hans Leo Hassler, who lived from 1464 to 1512. We worked on several choral works by Hassler that had been transcribed for viols and voices, including "Exultavit cor meum" and "Verbum caro factum est" à 6 and "Ecce quam bonum" à 5.Mary Springfels gave us a splendid lecture about "German music in the time of Hassler". However, we played music of many of the fine composers of th late Renaissance and early Baroque at this workshop: Jane Hershey had prepared a selection of several renditions of the German hymn: "Aus tiefer Not schrei ich zu dir" culminating in a wonderful setting by J. S, Bach. The concert by the facultywas a delightful highpoint of the workshop performed expertly by Mary Springfels, Artistic Director with John Dornenburg, Jane Hershey, Josh Lee and Larry Lipnik.

October 24 - October 28, 2013: Fifteenth Viol Workshop of the VdGS - Southern Arizona: Viols in a Desert Oasis. The venue was again the Esplendor Resort in Rio Rico, close to the border of Arizona with Mexico. 2013 was the year when we celebrated the 450th Anniversary of the birth of John Dowland and we enjoyed having Roy Marks play the lute for the famous Lacrimae pavans and some of the other, more lively (5-part + lute) pieces. We also worked with Larry Lipnik on some of the vocal pieces by Carlo Gesualdo who died in 1613. And 2013 was also the anniversary of John Ward, the Elder's publication of the "First Set of English Madrigals of three, four, five, and six parts, apt both for Viols and Voices” in 1613. Alison Crum, the artistic director of this workshop, also presented a memorable lecture on the pros and cons of ‘authentic’ stringing, and its relevance to todays early music world. Last not least, we were treated to a wonderful concert by the Faculty: Alison Crum, Artistic Director, with Joanna Blendulf, Wendy Gillespie, Larry Lipnik and Roy Marks.

October 23 - October 27, 2014: Sixteenth Viol Workshop of the VdGS - Southern Arizona: Viols in a Desert Oasis at the Esplendor Resort in Rio Rico. It was the 350th anniversary of the death of Juan Gutiérrez de Padilla. He was born in Spain but worked most of his life in Mexico. He was a prolific composer of sacred motets and sacred villancicos (about 700 of his works have survived). We played and sang some of his 6-part and 8-part motets. We also celebrated the 450th anniversary of Hans Leo Hassler who was born 450 years ago on the 26. of October 1564. Mary Springfels gave us a lucid insight into what the Mexican "music scene" might have looked like when Juan Gutiérrez de Padilla worked there. Besides their phantastic coaching, the Faculty: Mary Springfels, Artistic Director, with Jack Ashworth, Julie Jeffrey, Larry Lipnik and David Morris presented a delightful concert to us, both at the Resort and on the day following the workshop at the Academy Village in Tucson.

October 22 - October 26, 2015: Seventeenth Viol Workshop of the VdGS - Southern Arizona: Viols in a Desert Oasis at the Esplendor Resort in Rio Rico, Arizona. Faculty included Artistic Director Alison Crum with Joanna Blendulf, Julie Jeffrey, Larry Lipnik and Roy Marks. It was the 8th workshop under the artistic direction of Alison Crum. This year is the 475th Anniversary of the birth of William Byrd (1540). William Byrd is known for some intrigung rhythms in his compositions, just like Rumba dance rhythms from Latin America that will get some special attention. He also took some inspiration from another composer of the Renaissance, John Sheppard, who was born in 1515 and is known for a great number of mostly sacred music compositions. Finally, we have another anniversary and that is the publication of Giovanni Gabrieli's Symphoniae Sacrae II in 1615. Some of the motets of this collection will be featured in this workshop.

October 27 - October 31, 2016: Eighteenth Viol Workshop of the VdGS - Southern Arizona: Christened Viol Sphere 2 - Viols in a Desert Oasis was held at a new location north of Tucson in the beautiful Biosphere 2 Conference Center in Oracle, Arizona. Faculty included Mary Springfels, Artistic Director with John Dornenburg, Larry Lipnik, Josh Lee, and David Morris. 2016 marked the 400th anniversary of Shakespeare's death. William Shakespeare lived from 1564 to 1616 producing most of his known work between 1589 and 1613. While Shakespeare was well known as an English poet, playwright, and actor, he was not known to have been a composer; however, he flourished at the same time as a great many Elizabethan musicians and composers. The workshop featured music of these contemporaries of William Shakespeare, including many of the greatest Elizabethan composers, such as William Byrd (1543-1623), John Dowland (1563-1626), Orlando Gibbons (1583-1625), Thomas Tallis (1505-1585), Thomas Tomkins (1572-1656), John Ward (1571-1638), Thomas Weelkes (1576-1623), and John Wilbye (1574-1638).

October 19 - October 23, 2017: Nineteenth Viol Workshop of the VdGS - Southern Arizona Chapter - Viols in a Desert Oasis returning to the Biosphere 2 Conference Center in Oracle, Arizona. Faculty: Alison Crum, Artistic Director with Julie Elhard, Larry Lipnik, Roy Marks, and Zoe Weiss. Viol Sphere 2 celebrates several notable anniversaries including the 450th birthday of Monteverdi (b. 1567), the 425th birthday of John Jenkins (b.1592), and the 500th anniversary of the death of Heinrich Isaac (d. 1517). Monteverdi’s Selva Morale along with contrasting motets, mass movements and madrigals will be explored during group sessions led by Larry Lipnik. Classes will consider the works of John Jenkins, Heinrich Isaac and their respective contemporaries. Workshop music director Alison Crum will provide a lecture demonstration based upon Josquin’s Mille Regretz and all the many pieces connected with it.

Membership

Anyone interested in the viola da gamba or early music is welcome as a member.

Annual dues are handled like donations.
They are $20.00 and include admission to play days. Student (full time) dues (donations) are $10.00.

The Viola da Gamba Society- Southern Arizona is tax-exempt. Donations are tax deductible.

Contact information: Scott Mason - e-mail: scottmason701@gmail.com

Contact

Office Name E-mail
President Scott Mason scottmason701@gmail.com
Vice President Chris Zerendow czerendow@gmail.com
VdGSA-Liason and Secretary Scott Mason scottmason701@gmail.com
Treasurer Ulrich Michael ufmichael@theriver.com

Office Name
Honorary Member Rachel (Archie) Archibald (1911 - 2013)
Honorary Member Dr. Charles (Chuck) Warner (1920 - 2006)

VdGS-SAZ

Viola da Gamba Society - Southern Arizona

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