Polychoral music of the Renaissance & early Baroque
Tutor: Peter Wendland
St Mary’s Church Hall, Sale
VOICES & INSTRUMENTS
This workshop on polychoral music of the Renaissance and early Baroque, led by tutor Peter Wendland, focuses on 8 or 12 part compositions by renowned composers such as O. di Lasso, S. Scheidt, G. Priuli, A. Trombetti, and H. L. Hassler. The session aims to explore the versatility and influence of these works through both singers and mixed instruments.
The venue is 20 minutes walk from the Brooklands Metrolink tram stop. The church has an ample car park. On this occasion the workshop is for singers in all voice ranges, and players of viols, cornetts, recorders (tenor downwards) & renaissance wind instruments (A=440).
The Tutor
Peter Wendland is a viol player and early music specialist; an accomplished, versatile and
sensitive performer on all instruments of the viol family: pardessus de viole to violone. As a
soloist he plays the viol repertoire from Ortiz to Abel. Contemporary projects have included a
recording with the American cult composer “Moondog”. As a performer of Bach, he has played the three celebrated sonatas for viola da gamba and harpsichord obligato in the Bachhaus in Eisenach with Harald Hoeren and in the UK with David Roblou; the gamba solos from the Passions; and he has performed and recorded the Art of the Fugue with the Kölner Violen Consort. As a consort player he is a longstanding member of Rose Consort of Viols, whose guest arists have included Dame Emma Kirkby, Jacob Heringman, Jacob Lindberg and Timothy Roberts. With the Kölner Violen Consort in Germany: there have been radio broadcasts, CDs, premieres of contemporary music for viols and collaborations with lutenist Konrad Junghänel, oboist Helmut Hucke and cornett player Friedemann Immer.
As a teacher he has been a visiting artist at Trinity College of Music in London and taught at
summer schools and workshops throughout Europe, including the Dartington International
Summer School. He currently teaches viola da gamba at Birmingham Conservatoire and
recorder at Morley College London. As a specialist in early music he has coached and
performed with ensembles ranging from viol consorts, choirs and recorder ensembles to
renaissance wind bands.
The Music
We will study music by 5 great composers of the time in 8 or 12 parts for singers and mixed
instruments.
O. di Lasso (Flemish, 1532-1594) wrote more than 2000 works and was a very prolific, versatile
and well respected composer. His Alma redemptoris mater a 8 is a short and very beautiful
motet which has a wider range than the other music we will study today.
S. Scheidt (German, 1587-1654) was an organist and one of Germany’s most distinguished
composers at that time. The chosen motet, Christ lag in Todesbanden a 8, has a lower range
and is particularly well suited to our instruments and will not stretch the vocalists into extreme range.
G. Priuli (Italian, 1575–1626) composer and organist of the late renaissance / early baroque
period influenced the German composers with his style. He often made use of a Bc in his music, which was new at the time. If you have a Theorbo or keyboard instrument feel free to use it. Again this shorter motet – Lavabo inter innocentes a 8 – will stay in a comfortable range for singers and instrumentalists.
A. Trombetti (Italian, 1544-1590) is very familiar with the use of wind instruments and creates
beautiful effects within. The chosen music – Ad te levavi oculos meos a 12 – was published
1589 and is the earliest piece we will study today.
H. L. Hassler (German, 1564-1612) – Jubilate Deo a 12 – will be our last piece for the day. He
lived in Nuremberg, the town I come from and I think his music will uplift us all after a long day of concentration. He studied with Gabrieli in Italy and one can clearly hear the Italian influence in his triple choir composition. The vocalists should probably choose the second choir for a more comfortable range.
