The Grand Canal in Venice
Piazza San Marco
Istituto Veneto di Scienze, Lettere ed Arti
Scala del Bovolo
View from a Small Boat in a Canal
Dale Taylor's Comments Concerning the Workshop on August 3, 2002
with the groups' interests, the program will be based upon the Glory of Venice
full weekend workshop. At the
present I'm planning four pieces, of which I expect to really work the first,
during which time we can go into a great deal of ensemble technique,
interpretive issues, some fundamental counting issues, and the like.
How much depth we get into with the other pieces will depend upon the way
the group responds to the first session. We
can work one or two works very thoroughly (as they would be in the big
workshop), or we can relax and basically read.
Most of the literature is from my own Dragon Run Press, so copies should
not be a big problem. If you wish to obtain copies early, or for the library,
I'm including information for them, and numbers for the one Nova print.
The Benoist is a
rather long, involved ricercare, with a lot of part-writing detail and good
opportunities to shift duple and triple meters, as well as examine some issues
in ficta and the like.
The Picchi is
unusual both for its high / low choirs (with matching textures), and for the fact that the two top sopranos in the high choir get to do some fairly typical
early baroque trio sonata figuration (for the more advanced players), so we can
look at that style without going totally to a more soloistic format. There are
several ties to issues I'll bring up in the Benoist. The
great bass is necessary, if we don't have any other 8' bass, such as a viol. I
will bring at least one, maybe two (if I haven't sold the other first, looking
unlikely), and have parts written as a tenor part for those who don't read c
fingerings in bass clef.
The Vivaldi is
the most approachable of his opus 10 concerti, quite beautiful without being
virtuostic. Despite the fact that
the opus 10s were probably intended for the amateur market, this is the one most
approachable for today's typical players. It allows us to spend some time on
high baroque performance style and issues, if there is interest. The great bass
is not really necessary, although it does richen the texture significantly. Last
movement a bit thin for the tenor and bass, so we might just read it for a good
provides a look in from outside. It is from the branch of that family which settled in England
as court recorder players. The
fantasia we'll do harks back to the Benoist in several ways, and may well be
contemporary, as well as originally for recorders.
If we do all of
this, we'll have a full 4 hours or so. If there are problems with any of this
literature (including the fact one work does not allow for a soprano part),
please let me know so I can arrange substitutions.
As for the rest,
I'll attempt to be available for repairs and lessons before the session, during
the breaks (except part or all of lunch) and afterwards, and can handle local
repairs and lessons during the rest of my stay in the area.