On behalf of the Fall Festival Committee, I am happy to report a greatly successful event this year, held at Boulder Public Library, theweekend of October 25th & 26th. A record number of twenty-two performers or groups graced the stage with the finest of early musicfrom Colorado Springs to Greeley and Ft. Collins. We were pleased to present a number of new faces including The New Baroque

Ensemble, Anna Schoettle and Susan Rogers, Occasional Shawm Band, Buon Cantore,Renaissance Ambiance, Lara Turner, and Dar Tarab.

We are grateful for the wonderful contributions of many returning groups; on Saturday's ros-ter: Cindy Schlagel, baroque flute, accompanied by Rose Terada on harpsichord, RegisCollegium Musicum, directed by Mark Davenport, Carol Codrescu and Elena Mathys,baroque flute and harpsichord, respectively, Aster, Maroon Bells Morris Dancers, Much AdoAbout Nothing, Stonebridge Waytes, Trio de Quattre, Brueghel, and Frank Nowell, harpsi-chord with soprano Cyrissa Robertson. Ben and Meg Baron led the Renaissance Dancingwith audience participation. Sunday's returning musicians included: Boulder RenaissanceConsort, Cindy Schlagel on shakuhachi, Brueghel, the Hedgehog Ensemble, Amuse, Vox

Renatus, and Kindred Spirits. We were fortunate to have students of Carol Codrescu, Rose Marie Terada, and Linda Lunbeck per-forming, and it is rewarding to see them mature and advance through the years.

Several musicians performed in multiple groups; those vying for the most include Jann Benson, Rose Marie Terada, and SteveWinograd. Thanks go to Rose Marie Terada, and Robert Arentz of the Boulder Messiah Chorale, for loan of their harpsichords, a verygracious acknowledgment to them for this. A huge thank you goes to Boulder Library and Juliette Leon Bartsch for the donation of thefacility for this two-day event, and for an honorarium, and to Scientific and Cultural Facilities District for the generous grant that allowedfor musician stipends.

Saturday's events included a silent auction, which is always interesting and a lot of fun; thankyou to everyone who donated and to Melody English and Ria van der Heijde, who coordi-nated this event. Finally, thank you to all the volunteers who donated many hours and toEarly Music Colorado's able Board of Directors. This is EMC's largest event, and as it con-tinues to grow, we see the greater dissemination of early music into the community. Thisevent is not to be missed. Be thinking about next year!!

Rebecca Beshore, Chair of the 11th Annual Fall Festival

E a r l y M u s i c C o l o r a d oQ u a r t e r l y

E a r l y M u s i c C o l o r a d oQ u a r t e r l y

December 2003 Volume XII, Issue 1

Eleventh Annual Fall Festivalof Early Music a Success

Kindred Spirits

Vox Renatus

Silent Auction

Leland Hoover, President of EMC

Bruce Zuver, Fall Fest Photographer

Jeff Bain (Breughel)

Pictures on this page by Paul van der Heijde

Dear EMC Members,I wish everyone a cheerful holidayseason that is filled with joyousmusic and shared with your cher-ished friends and family.

The Eleventh Annual Fall Festival ofEarly Music was a great success anda lot of fun for all, with twenty-twoensembles in two days. My thanks tothe many musicians, volunteers, andsponsors that made this possible.

The EMC Concert Series for 2003-2004 has many exciting artiststhis year including Diverse Passions, Hesperus, Amuse, and theDenver Handel Festival. Please see the Concert Series announce-ment on the back of this issue or the EMC website for more details.

I am delighted to announce that EMC now partners with Swallow HillMusic Association. EMC co-sponsors the early music classestaught at Swallow Hill and encourages everyone to sign up andexpand your skills. Early Music Classes are now listed in the EMCevent calendar on www.EarlyMusicColorado.org and moredetailed information can be found on www.SwallowHill.com.

The EMC Grant is an exciting new program where early music artistsand educators in need can apply to EMC for grant money up to $500.We embarked on this program to help us be more effective in pro-moting early music performance and educational projects and reachmore people throughout Colorado. The grant cycle occurs twice ayear. Details on the program and the application process can befound on www.EarlyMusicColorado.org and click on Grant. EMCcongratulates the successful applicants for our first grant cycle.Augustana Arts presenting Anonymous 4 was awarded $500 andMark Davenport with Ann Marie Morgan and Phoebe Craig was alsoawarded $500. Please be sure to attend the Davenport concert inFebruary! If you feel supporting early music artist and educationprojects is worthwhile, please consider donating to the EMC Grantand help us keep early music alive.

Are you a newsletter editor or bookkeeper/accountant and willing todonate some time to the cultural arts? EMC is looking for aNewsletter Editor and Treasurer to start in May. Please contactPresident@EarlyMusicColorado.org if you or someone you knowis interested. Would you like the opportunity to learn and work with agreat team presenting performances and educational programs?EMC has many volunteer openings listed on our website; click onVolunteer! Get involved and make a difference.I want to personally thank everyone who renewed their donor/mem-bership and special thanks to those who contributed a little extra.Your contributions are highly appreciated.

Have a happy and safe holiday season!

Yours in the arts,- Leland

Early Music Colorado Quarterly is the journal of Early Music Colorado, PO Box 19078, Boulder, CO 80308-2078. EMC is a non-profit organization that promotes the performance andappreciation of early music in the state of Colorado, and in furthering schol-arship, education, and awareness of appropriate styles and performancepractices for this genre of music..

EMC Board of Directors

Leland Hoover................................................................................PresidentMaria van der Heijde-Zomerdijk.............................................Vice PresidentKristen Murray-Todd.....................................................................SecretaryMelody English...............................................................................TreasurerMaria van der Heijde-Zomerdijk..........................................Newsletter editorLeland Hoover...............................................Website design & maintenanceCarol Codrescu, Mark Counts, Deborah Kauffman, Frank Nowell, RosemaryWhitaker....................................................................... Members at large

EMC Advisory BoardRebecca Beshore, Joan Conlon, Linda Lunbeck, Linda Marianiello, Ann Marie Morgan

Published quarterly for donor/members of Early Music Colorado. The suggested annual donation is $30 for individuals and families, $20 forfull-time students and seniors.

Opinions expressed in articles, reports and interviews in this publicationare those of the writers and do not necessarily reflect the views of the edi-tor, officers or members of Early Music Colorado.

Contributions of articles are welcome!Please send to:

Maria van der Heijde-Zomerdijk4040 Greenbriar BlvdBoulder, CO 80305

(303) 499-2586E-mail: Newsletter@EarlyMusicColorado.org

Deadline for Spring Issue is Febuary 15, 2004

©2003 Early Music Colorado, Inc.

Early Music Colorado is a 401C(3) non-profit and your donations are tax deductible.

2

Table of ContentsReview of the 11th EMC Fall Festival .........................................................1Letter from the President............................................................................2The Mozarts: Jingling All The Way by Peggy Sexton..............................3Antonio Vivaldi, Stabat Mater (RV621) by Matt Loucks..... ..............................4In Memoriam: Frances Dwight...............................................................5The Christmas Revels, A Celtic Celebration of the Winter Solstice...........6EMC Calendar of Early Music Events.................................................................................7

Vaclav Havel on seriousness and absurdity: ‘not only does the one not exclude the other, it’s as if each polemade the other one possible! … without the laughter we would simply be unable to do the serious things.’– Disturbing the Peace. Trans. Paul Wilson.

In January, 1756, two weeks before the birth of Wolfgang Amadeus Mozart, his father Leopold’s composition, Musikalische Schlittenfahrt(Musical Sleighride), was given its first performance by the Augsburg Collegium Musicum in the Three Kings Tavern along withBauernhochzeit (Peasant Wedding). Composed for the Augsburg carnival celebrations, both works were tuneful and programmatic in con-formity with Leopold’s philosophy that music should be tuneful and approachable in order to please mass audiences, thereby improving thefinancial condition of the musicians.1 Evidently the musicians were eager for financial improvement since they actually performed it before theofficial carnival season.2

The opening trumpet and timpani fanfare is not noted in the original, but the editor of the first modern full score uses a fanfare by Jan DismasZelenka (1679-1745) to fill the need. Leopold’s Schlittenfahrt comprises a set of melodic and whimsical pieces, including a section of stringtremolo portraying the ladies shivering in the cold, which describe a trip through the snowy countryside to a ball. The actual sleighride pieces,one in duple and the second in triple time, are distinguished by a part for a set of tuned sleighbells in C, E, G for one player and F, A for thesecond.3

The depiction of a peasant wedding in Bauernhochzeit includes hurdy-gurdy, in the absence of whichLeopold would accept a dulcimer or cimbalom, and bagpipes. In accordance with rural custom, he also rec-ommends firing a pistol since apparently no marriage could be properly launched without dischargingfirearms. It is possible that the elder Mozart’s audience was more sophisticated than he had anticipated,for he writes that ‘Because of the sleigh-music, the peasant music and the other pieces I met with thegreatest prejudice… .’ 4

Perhaps it was his own experiences with the difficulty of pleasing audiences which prompted Leopold’s regular exhortations to Wolfgang aboutthe need to avoid writing over the heads of his listeners. On August 13, 1778, he warned his son to avoid bizarre harmonic progressions…which the majority of people cannot fathom, or pieces which have pleasing melodies, but which are difficult to perform.5

In the same letter, he held up Johann Christian Bach as an example of the kinds of compositions Wolfgang should produce.‘Let it be something short, easy and popular…. Do you imagine that you would be doing work unworthy of you? If so, you are very much

mistaken. Did [J. C.] Bach, when he was in London, ever publish anything but similar trifles? What is slight can still be great, if it is writtenin a natural, flowing and easy style—and at the same time bears the marks of sound composition …. .’ 6

On the surface it might seem that Leopold felt that his son ignored his advice, for on the eve of the premiere of Wolfgang’s opera Idomeneohe further exhorts him: ‘ You must remember that to every ten real connoisseurs there are a hundred ignoramuses. So do not neglect theso-called popular style, which tickles long ears.’ 7 But Maynard Solomon, Wolfgang’s biographer, points out that Leopold’s real motive mayhave been to keep his son occupied in Salzburg within the family circle instead of pursuing his fortunes in Vienna.8

Leopold’s admonitions may sound a little silly since Mozart is now regarded asvery melodic and approachable. Leopold himself made a serious musical contri-bution by his landmark violin method book which was well received and translat-ed into several languages,9 and Wolfgang was no stranger to what Sir ThomasBeecham called “musical bonbons.” His Divertimenti for various combinations ofwinds, strings and timpani, composed between 1771 and 1779, are one suchexample.

Wolfgang got another opportunity to write popular music when Emperor Joseph II appointed him a chamber musi-cian on December 7, 1787. Paying 800 florins a year, the salary seemed paltry compared with Gluck’s Imperialsalary of 2000 gulden and Salieri’s 1200 florins as Kapellmeister in 1788.10 It was even more trivial compared witha Viennese operatic diva’s pay which was nearly five times greater.11 But the post was secure and the work easysince his chief chore was providing music for court balls. Joseph liked Mozart and was even fond of opera as longas it wasn’t too serious. His Imperial appointment also gave him the opportunity to polish his wind orchestrationtechnique by writing several serenades for winds. Unfortunately his employment was terminated when Joseph IIdied in 1790 and his brother Leopold II did not reappoint him.12

Peggy Sexton is aregular contributorto the EMCQuarter ly. She isknown as the pre-mier ear ly musicpercussionis t inTexas. She hasdone considerableresearch and hastaught classes inbui ld ing renais-sance percussionand in percussiontechnique. Shelives and teachesin Austin.

THE MOZARTS: JINGLING ALL THE WAYby Peggy Sexton

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Continued on page 5

The instrumental concerti of Antonio Vivaldi (1678-1741) are hismost often performed works and the primary reason for the eclipseof his musical ventures in other genres. Surprisingly, Vivaldi consid-ered himself to be a composer of vocal music. Modern research hasfound that he composed as many as 94 operas; however, only 50 orso have survived. He also wrote numerous musical works honoringthe Blessed Virgin Mary including a variety of Magnificats, a Vespersservice and one complete Mass. Several miscellaneous Massmovements have also survived in addition to over 30 motets, 60psalm settings, three oratorios, eight serenatas and 35 solo cantatas.

Most of Vivaldi’s music was written for the orchestra and singers atthe Pio Ospendale della Pietas which wasone of four hospitals in Venice that servedthe lame and the sick, and raised illegiti-mate and/or orphaned girls. Musical train-ing was standard curriculum at the Pietaand some of the most talented girlsreceived instruction on string, woodwindand brass instruments by some of thegreatest masters in Italy.

Popular morality of the time kept theseyoung women out of the view of the audi-ence during performances and congrega-tion during Mass (the girls were neitherallowed in the Chancel area of theSanctuary). The girls were positioned withtheir instruments behind “grills” in a galleryhigh above the organ. Philosopher Jean-Jaques Rousseau (1712-1778) afterattending a Vespers Service commentedin his Confessions:Every Sunday at the Church of each ofthese four schools during Vespers, motetsfor a large chorus with a large orchestra,which are composed and directed by thegreatest masters of Italy are performed in barred-off galleries solelyby girls…The church is always full of music lovers…What grievedme was those accursed grills which allowed only tones to gothrough and concealed the angels of loveliness of whom they wereworthy.Vivaldi’s Stabat Mater in F minor (RV 621) is one of the most intensemusical interpretations of the famous text and one of Vivaldi’s mostsignificant sacred vocal contributions. Jacopone da Todi (1228-1306) has long been credited with the text; however, it is nowbelieved to have been written by Saint Bonaventura (1221-1274)who was a Franciscan cardinal. The Stabat Mater is a devotionalpoem depicting the Virgin Mary’s vigil by Christ’s Cross. The Stabat

Mater was long used as a sequence in Roman Catholic Liturgybeginning in 1727 set to a plainchant melody. Out of the text’s 20stanzas Vivaldi set only the first 10, which were to be sung as aVespers hymn which Rome allowed on two specific feast days: TheSeven Doulors of the Blessed Virgin Mary (September15th) and thelast Friday of Lent.

Vivaldi’s setting of the work is strophic but at the same time containselements of a cantata. He divides the Stabat Mater into nine sec-tions - the first eight set to Bonaventura’s prayer and the ninth basedon the word “Amen”. The first three sections are repeated musicallyin the following three sections but set with different text. The remain-ing movements (Eia mater, Fac ut ardet, Amen) are all new material.

All movements are in minor keys (F minoror C minor), as is consistent with thesomber and contemplative mood of thetext until the final chord (a picardy third).The work’s admirable perfection of formand organic coherence make it one of themost outstanding examples of 18th-centu-ry Italian church music.

The first eight sections of the work are allwithin a tempi compass of Adagissimo toAndante. Climaxes of expression arereached in the first and fourth movementswhere the melody acquires a throbbingpathos from the slow, pulsating stringsand continuo as well as the finely shapedrecitative of the Cujus animam gemetemand the somber melody of the O quamtristic et afficta. The intense harmoniesemphasize the pathetic mood alreadyestablished by the exceptional key of Fminor, which when performed properly onbaroque instruments (with raw gut strings)and an unequally tempered organ, pro-vide the listener with a dark and bitter

aural experience. Even more striking is the Eja mater movementwhose significant lyricism is dramatically underlined by a violinaccompaniment. The violins perform numerous jagged rhythms,leaps and string crossings which, quite brilliantly, musically depictChrist’s scourging at the pillar. The ninth section by contrast is abrisk Allegro, the only lively tempo in the entire work. Despite its pre-dominantly sacred origins Vivaldi allows his mastery of instrumentalcomposition to infiltrate the Stabat Mater from time to time particu-larly in the indicated ornamentation at the end of each movement,as well as in the final Allegro which is indicative of a final “Alleluia”movement found at the end of a sacred motet.Vivaldi’s contemporary Guiseppe Tartini (1692-1770) once said that

ANTONIO VIVALDI, STABAT MATER (RV621)by Matthew Loucks

Matthew Loucks is Director of Music at St. Mary Church in Littleton, CO

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“Mozarts” continued from page 3

It was in the last year of Mozart’s life that sleighbells re-entered themusical picture in the third of a set of German dances (K. 605) forthe court balls, composed in Vienna February 12, 1791. The tunedsleighbells used in the trio and coda, pitched identically with thosein his father’s Musikalische Schlittenfahrt of forty-five years earlier,are used in a happy, waltz-like composition for the court dancers.13

It is perhaps a karmic commentary on the various sides of Mozart’stalent that the composer of such serious works as the Requiem,Don Giovanni and the symphonies had both his birth and his deathheralded by the joyous jingle of sleighbells.[1] Dr. Andreas Holzschneider, brochure notes for Leopold Mozart,Bauernhochzeit (PeasantWedding); Musikalische Schlittenfahrt (Musical Sleighride), trans. John Coombs, EnsembleEduard Melkus, Archiv Produktion 3310 328.[2] Eszter Fontana Gát, brochure notes for Musical Curiosa: Leopold Mozart, DieBauernhochzeit; Sinfonia Pastorella; Georg Druschetzky, Parthia auf Bauerninstrumenten, PálNémeth, Capella Savaria, Hungariton Antiqua HCD 12874.[3] Leopold Mozart, Musikalische Schlittenfahrt, erstdruck (first print), herausgegeben vonRaimund Rüegge (Zurich: Edition Kunzelmann, 1985), notes.[4] Ibid.[5] Emily Anderson, trans. and ed., The Letters of Mozart and His Family, 3rd ed (2 vols. In 1),London, 1985, p. 599, 13 August 1778 (no. 323), quoted in Maynard Solomon, Mozart: A Life(New York: HarperCollins, 1995), 203. [6] Ibid.[7] Ibid., p. 685, 11 December 1780 (no. 373), quoted in Solomon, ibid., 235-236.[8] Solomon, ibid.[9] Ibid., 32.[10] Peter J. Davies, Mozart in Person: His Character and Health, Contributions to the study ofmusic and dance no. 14 (New York: Greenwood Press, 1989), 98.[11] John Rosselli, The Life of Mozart (Cambridge, UK: Cambridge University, 1998), 51-53.[12] Ibid., 129. [13] Anthony Whitehurst, trans., brochure notes for Wolfgang Amadeus Mozart, German Dances,Neville Marriner and Academy of St Martin-in-the-Fields, Musical Heritage Society 513760X; W.A. Mozart, Dance-tunes for Orchestra, Kalmus Study Scores (2 v.), No. 962-963 (HuntingdonStation, NY: E. F. Kalmus, (1974?)), 145-151.

Vivaldi, as a composer for the voice, should keep in mind that “thegullet is not the neck of a violin”. Professional jealousy seems tobe the explanation for such criticism (which really would have beenmore applicable to J. S. Bach than Vivaldi). Vivialdi as a vocalisthimself and a Chorus Master was well aware of the idiomatic con-cerns of vocal writing. Throughout the Stabat Mater the musicalcharacter is elegantly restrained and conforms magnificently to thepsychological implications of the text while avoiding the bright, vir-tuosic display of the popular concertato style. The foremost Vivaldi scholar of our day, Michael Talbot, has datedthe Stabat Mater to 1711 while Vivaldi was in Brescia (in centralLombardy) during the Feast of the Purification of the Blessed VirginMary at the Chiesa della Pace. The orchestra at the Chiesa con-sisted of only four violins, one violoncello, a contrabass and organ.There was also a very talented contralto in residence who undoubt-edly sang the work under Vivaldi’s direction.

IN MEMORIAM FRANCES DWIGHTFrances Dwight passed away peacefully Nov.7, 2003, in Boulder at the age of 96. She wasan active player of recorders and viola dagambas up to retiring at age 93. Born Aug.16, 1907 in W. Orange NJ and educated atSmith College, she worked as an Englishteacher, farmer, early music store owner, wife,mother, writer, recorder teacher and tirelessmusic enthusiast. She was also an activewalker, tennis player, crosscountry skier and

storyteller, and founded a recorder class at the E. BoulderSenior Center, which is still going strong. As she had request-ed, Henry Purcell’s “When I am laid in earth” was played at hermemorial service, by ARS members. The piece is also the nameof her memoirs. Early Music Colorado granted her an "Award forLifetime Contribution to Early Music" in 1996. She was a spirit-ed woman, ever grateful for life’s experiences.

Rebecca Root, Frances Dwight, and Linda Lunbeck at theaward ceremony in the Boulder Public Library on October 26,1996, EMC’s Fourth Annual Fall Festival.

During her lengthy love affair with early music, this remarkablewoman has played both recorder and viola da gamba, and hasknown many of America’s early music leaders. She has been astudent, teacher and performer and appreciator, a merchant andan inspiration to countless others through sharing with them herjoy. In her infectious and boundless enthusiasm, FrancesDwight embodies the original and most genuine meaning ofamateur: one who loves. (Award ceremony speech)

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Revels are joyful celebrations of seasonal traditions from around the world. Performances rouse people of all ages to sing in their seatsand dance in the aisles. This year's Christmas Revels in Boulder will weave together many of the marvelous traditions of the Celticcountries in a fascinating journey back in time to 1740, when village folk would share their bounty during Christmas time and celebratethe shortest day of the year with their neighbors and friends.

This year’s show, at the Boulder theater, features pipers, an Irish fiddle band, Irish step dancers, Scottish Highland dancers, StrawBoys, a traditional brass quintet, an ancient Welsh storyteller, the ghost horse of Mari Lywd, and an audience sing-along rich with tra-ditional carols. “Our Celtic show is very different from last year’s medieval/renaissance show,” said Karen Romeo, the music directorfor the Rocky Mountain Revels. “The Christmas Revels follows traditions and rituals from Western Ireland, Wales, the ScottishHighlands, and Brittany; and explores them thoroughly. The audience will relate to the myths, the attention to details, and the beguil-ing performances from a wide variety of dancers, singers, musicians, and actors.”

The first act opens with a Pibroch—a traditional lone bagpiper with his plaintive sound setting the Celtic tone as he wanders through-out the theater. The chorus enters bedecked in kilts and other Celtic accoutrements and sings a rousing Cornish Wassail. Then anactor speaks briefly of the deep red colors of the bracken this time of year, and the audience joins in singing a traditional carol. Morepipers join the cast on stage, and some chorus members break into a simple folk circle dance. Others join the townsfolk including tra-ditional Irish step dancers.Eventually, the chorus, dancers, and musicians leave the stage, and an old storyteller comes forth to charm the children with Welshtales from the past. She talks of the Mari Lwyd (mah-ri Loo-id) or Grey Mary, the ghost horse with a bony skull and green eyes. Thisstory slowly comes alive on stage as she tells of it. The story also includes Punch and Judy, those traditional British puppet charac-ters. Punch is a man, and Judy is a man, dressed as a woman. They fight and argue, Judy trying to straighten Punch out with herbroom. After the storyteller is finished, the chorus re-enters and sings more, including a tradition Hyfredol (Welsh hymn). The actorrecites the poem The Shortest Day, and the audience joins in with the singing and dancing of The Lord of the Dance.

The second acts begins with the Abbotts Bromely Horn Dance, which is a traditional Morrisdance surrounding the fertility rites and winter blooming into spring. The second act alsoincludes a unique poem called The Rune of St. Patrick (rune is a mystery, and the origins of theword date back to early Finish or Norse traditions). One of the most anticipated elements of thesecond act is the performing of the traditional song Amazing Grace, a Scottish tune originallyplayed with pipes. In addition, we will hear Auld Lang Syne, another traditional Scottish tunemeaning the times gone past. The traditional Mummers’ play (early British amateur actors whotraveled from village to village, mumbled their lines in a crudely comic style) has an unusual twistwith all of the characters dressed as Straw Boys. This concept comes from the importance ofstraw as coming after the harvest. The straw was used in every way, for warmth and insulation,to feed the animals, so why not to decorate costumes?

“There is ample room for active audience participation, and the new venue of the Boulder Theater will prove to be a festive and happyhome for our Revels cast,” said Romeo.

The first Christmas Revels took place in 1971 in Cambridge, Massachusetts, fueled by the artistic vision of John Langstaff. TodayRevels is a beloved family tradition, with sold-out performances in 9 cities around our nation.

The Christmas Revels: A Celtic Celebration of the Winter Solstice, December 19, 20, and 21, 2003, the Boulder Theater. Tickets forthe Christmas Revels are available at the Boulder Theater box office 2032-14th St, online at www.bouldertheater.com or by phone at303-786-7030. Prices range from $16 to $30. Discounts are available for seniors, students, children, and groups of 10 or more.

THE CHRISTMAS REVELS: A CELTIC CELEBRATION OF THE WINTER SOLSTICEAnnual holiday musical theater production celebrates

Christmas and the winter solstice in the Celtic traditions of 1740

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by Janet Bracchio

December 2003Thursday, Dec 11 at 8 p.m.: Ars Nova Singers present a Colorado holiday tradition, "Music of peace", from the Middle Ages, the Renaissance and today. St. John'sChurch, Boulder. Tickets $15 adult/ $12 seniors/ $10 students. Info: 303-499-3165. Friday, Dec 12 at 8 p.m.: Ars Nova Singers repeat "Music of peace" at First Methodist Church, Boulder. Tickets $15 adult/ $12 seniors/ $10 students. Info: 303-499-3165.

Saturday, Dec 13 at 4:00 p.m.: Boulder Arts Academy presents Carol Codrescu and E. Mathys, Mostly Bach. Dairy Recital Hall, Dairy Center for the Arts, Boulder, CO. Info: (303) 449-9291 orwww.BoulderArtsAcademy.org .Saturday, Dec. 13 at 7:30 p.m.: EMC presents "A Sixteenth Century Christmas": Diverse Passions and guest artists perform seasonal delights from across Renaissance Europe, on voices and peri-od instruments. Works by Palestrina, Praetorius, Goudimel, da Rore, others. Grace Lutheran Church, 13th & Euclid in Boulder. Tickets at the door: $15, $12 seniors & students. Info: 720-304-6255Sunday, Dec 14 at 2 p.m.: Greater Denver Chapter, American Recorder Society monthly meeting: Miriam Rosenblum "Before Christmas" Hanukkah and Solstice music of the season. Christ WayCommunity Church, 3021 South University Blvd., Denver. Info: 303-791-7402.Sunday, Dec 14 at 2:30 p.m.: Boulder Chapter American Recorder Society monthly meeting: Music for the Holidays. St. Andrew Presbyterian Church,. Info: 303-666-4307 or email: rjterada@earthlink.net.Sunday, Dec 14 at 7:30 p.m.: Ars Nova Singers repeat "Music of peace" at St. Elizabeth's Church, Auraria Campus, Denver. Tickets $15 adult/ $12 seniors/ $10 students. Info: 303-499-3165. Sunday, Dec. 14 at 7:30 p.m.: Diverse Passions and guest artists repeat "A Sixteenth Century Christmas". Presented by Music at the Saints. St. Andrew's Episcopal Church, 20th & Glenarm inDenver. Tickets at the door: $15, $12 seniors & students. Info: 303-296-1712 or 303-530-2144.Monday, Dec 15 at 7:30 p.m.: Ft. Collins Chapter American Recorder Society meeting. Plymouth Congregational Church, 916 West Prospect Road, Ft. Collins. Info: 970-282-1097.Friday, Saturday & Sunday, Dec 19, 20 & 21: The Christmas Revels: A Celtic Celebration of the Winter Solstice at The Boulder Theater. Tickets at the Boulder Theater box office 2032 14th Street;by phone @ 303-786-7030, or online @ www.bouldertheater.com. Prices range from $18 to $30. Discounts are available for seniors, students, children, and groups of 10 or more. Friday, Dec 19 at 7:30 p.m.: St. Martin's Chamber Choir presents: "An Olde English Christmas," ancient English Christmas texts set to tunes both ancient and modern. St. John's Cathedral,Denver. Tickets: $18 adults/$15 seniors/$10 students. For tickets and information call 303-298-1970.Saturday, Dec 20 at 7:30 p.m.: St. Martin's Chamber Choir repeats "An Olde English Christmas" at Sacred Heart Church, Boulder. Tickets: $18 adults/$15 seniors/$10 students. For tickets andinformation call 303-298-1970.Saturday, Dec 20 at 7:30 p.m.: The Chamber Choir of Augustana Lutheran Church and the Musica Sacra Chamber Orchestra perform highlights from Handel's Messiah and Bach's ChristmasOratorio. $15 adult/$10 senior/$5 student. Augustana Lutheran Church, 5000 E. Alameda, Denver. Info & tickets: 303-388-4962Sunday, Dec 21 at 3 p.m.: The Chamber Choir of Augustana Lutheran Church and the Musica Sacra Chamber Orchestra perform highlights from Handel's Messiah and Bach's Christmas Oratorio.$15 adult/$10 senior/$5 student. Augustana Lutheran Church, 5000 E. Alameda, Denver. Info & tickets: 303-388-4962Sunday, Dec 21 at 7:30 p.m.: St. Martin's Chamber Choir repeats "An Olde English Christmas" at St. Elizabeth's Church, Auraria Campus, Denver. Tickets: $18 adults/$15 seniors/$10 students.For tickets and information call 303-298-1970.Sunday, Dec 21, at 7 p.m.: Baroque Folke present a concert at Center Stage, 37608 Fireweed Dr., Evergreen. Info: 303-526-1546.Wednesday, Dec 31 at 8 p.m.: Ridi VanZandt New Year's Eve Bach Celebration. Chamber concert and gala reception, with Robert Spillman, harpsichord, Alexa Still, flute, and Larry Graham, piano.University Lutheran Chapel, 1202 Folsom, Boulder. Info: 303-652-9101 or www.BoulderBachFest.org.

January 2004Sunday, Jan 11 at 2:30 p.m.: Boulder Chapter American Recorder Society monthly meeting: “Give me excess of it.” Music for/in Shakespeare’s Plays with Shirley Carnahan. St. AndrewPresbyterian Church, education wing. Info: 303-666-4307 or email: rjterada@earthlink.net.8 Mondays, Jan 12-Mar 1, 5-5:55 p.m.: Intermediate Recorder Consort, Miriam Rosenblum. In this ongoing class, Miriam teaches a variety of ensemble pieces from the Medieval and Renaissanceperiods. The class is open to players at a variety of levels, but you should be able to sight-read. Bring as many varieties of recorder (soprano, alto, tenor and bass) as you have. New students musthave the instructor's permission in order to join, so call us at (303) 777-1003 if you're interested. Swallow Hill Music Association, 71 E. Yale Ave., Denver, CO 80210. Advance Price: $94/$89 mem-bers, Week of Class Price: $99/$94 members, Materials Fee: $3.8 Mondays, 1/12-3/1, 6-6:55 p.m.: Advanced Recorder Consort, Miriam Rosenblum. This class is designed for fairly advanced students familiar with consort playing. Instructor permission required.Swallow Hill Music Association, 71 E. Yale Ave., Denver, CO 80210. Advance Price: $94/$89 members, Week of Class Price: $99/$94 members. Info: (303) 777-1003.8 Mondays, Jan 12-Mar 1 at 7-7:55 p.m.: *NEW* Renaissance and Medieval Singing, Katrina Twitty. This class will explore music from the Renaissance and Medieval periods through the earlyBaroque. You'll learn about the beginnings of "organized" singing and its influences on both the classical and folk traditions we have today. Katrina will teach you a variety of beautiful songs and therewill be performance opportunities for students who are ready. Katrina holds a masters degree in voice from the Lamont School of Music and has a wealth of knowledge to share. For students whohave had some vocal training and are comfortable holding their own part. Swallow Hill Music Association, 71 E. Yale Ave., Denver, CO 80210. Advance Price: $94/$89 members, Week of Class Price:$99/$94 members. Info: (303) 777-1003.8 Mondays, Jan 12-Mar 1, 7-7:55 p.m.: Beginning Recorder, Miriam Rosenblum. The recorder is a simple yet beautiful wind instrument, which is widely used in folk music as well as music from theMedieval and Renaissance periods. In this class you'll learn to play simple songs as well as ensemble pieces. Miriam will cover reading music and playing by ear. An inexpensive plastic sopranorecorder is all you need to start. The materials fee is for an instruction book. Swallow Hill Music Association, 71 E. Yale Ave., Denver, CO 80210. Advance Price: $94/$89 members, Week of ClassPrice: $99/$94 members, Materials Fee: $6. Info: (303) 777-1003.8 Wednesdays, Jan 14-Mar 3, 7-7:55 p.m.: Beginning Folk Harp I, Donnabeth Darnell. The folk harp (also called the Celtic harp) is one of the most beautiful sounding instruments. This class isdesigned for the absolute beginner. Donnabeth will teach you basic techniques and simple pieces to get you started. No experience necessary. If you need to rent a harp call Kolacny Music at 303-722-6081. Swallow Hill Music Association, 71 E. Yale Ave., Denver, CO 80210. Advance Price: $94/$89 members, Week of Class Price: $99/$94 members, Materials Fee: $2.50. Info: (303) 777-1003.Sunday, Jan 18 at 2 p.m.: Greater Denver Chapter, American Recorder Society monthly meeting: William Adams "A Golden Age" Music of Renaissance Venice. Christ Way Community Church,3021 South University Blvd., Denver. Info: 303-791-7402.Monday, Jan 19 at 7:30 p.m.: Ft. Collins Chapter American Recorder Society meeting. Plymouth Congregational Church, 916 West Prospect Road, Ft. Collins. Info: 970-282-1097.Thursday, Jan 22 at 7:30 p.m.: Boulder Bach Festival Preview. King Center, Auraria Campus, Denver. Info: 303-652-9101 or www.BoulderBachFest.org. Friday, Jan 23 at 7:30 p.m.: Boulder Bach Festival Opening Night Concert, with Robert Spillman conducting the Bach Festival Orchestra. Brandenburg II, Suite II, Brandenburg III, Suite IV. Pre-con-cert Bach encounter at 6:30 p.m. Grusin Music Hall, CU Campus, Boulder. Info: 303-652-9101 or www.BoulderBachFest.org. Friday, January 23 at 7:30 p.m.: EMC and Regis University present Trio Dolce with Mark Davenport, recorder, Ann Marie Morgan, viola da gamba and baroque cello, and Phoebe Craig, harpsichord.This concert contains the world premier of “4 to 1” by composer Tim Risher, along with Vivaldi, a harpsichord solo, a gamba solo, some late renaissance works and a contemporary piece featuring MsMorgan. Regis University. Tickets at the door $15 adults / $12 seniors and students. Info: (720) 304-6255 or President@EarlyMusicColorado.org Friday, Jan 23 at 7:30 p.m.: Musica Sacra Chamber Players perform the double concertos of Vanhal (bassoons) and Bach (violin & oboe), along with Bach's Brandenburg Concerto #5. $15adult/$10 senior/$5 student. Augustana Lutheran Church, 5000 E. Alameda, Denver. Info & tickets: 303-388-4962Saturday, Jan 24, 1-4 p.m.: Understanding the Modes, Star Edwards. This class will take the mystery out of modes. You’ll learn how to construct and recognize modes, as well as a variety of chords thatbring out the melody of the specific mode you're playing. Star will also teach you how modes differ from Major and Minor scales. Open to players on any instrument. Some basic music theory is helpful butnot necessary. Swallow Hill Music Association, 71 E. Yale Ave., Denver, CO 80210. Advance Price: $33/$30 members, Week of Class Price: $36/$33 members, Materials Fee: $3. Info: (303) 777-1003.Saturday, Jan 24 at 7:30 p.m.: Boulder Bach Festival: Robert Spillman conducting the Bach Festival Orchestra, with Julie Albers, cello. Trio Sonata from Musical Offering, Gamba Sonata in G Minor,Suite II for solo cello, Brandenburg VI. Pre-concert Bach encounter at 6:30 p.m. Grusin Music Hall, CU Campus, Boulder. Info: 303-652-9101 or www.BoulderBachFest.org. Sunday, Jan 25 at 2 p.m.: Boulder Bach Festival: Robert Spillman conducting the Bach Festival Orchestra and Chorus. Magnificat, Christmas Oratorio. Pre-concert Bach encounter at 6:30 p.m.Grusin Music Hall, CU Campus, Boulder. Info: 303-652-9101 or www.BoulderBachFest.org. Sunday, January 25 at 3:00 p.m.: EMC and Colorado College Present Trio Dolce with Mark Davenport, recorder, Ann Marie Morgan, viola da gamba and baroque cello, and Phoebe Craig, harpsi-chord. This concert contains the world premier of “4 to 1” by composer Tim Risher, along with Vivaldi, a harpsichord solo, a gamba solo, some late renaissance works and a contemporary piece fea-turing Ms Morgan. Colorado College in Colorado Springs. Tickets at the door $15 adults / $12 seniors and students. Info: (720) 304-6255 or President@EarlyMusicColorado.org

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