OK, because our harpsichord for the week is an Italian model with what is known as a "short octave," I am encouraging you all to select pieces that require CONTINUO only, and to stay away from obbligato keyboard parts.
We have TWELVE (12) people officially enrolled in this year's workshop.
Of the twelve, four have given me their repertoire choices. Slack will, of course, be given to the recent enrollees to the workshop, and, because I have slacked a bit in not giving the four rep lists to our accompanists, I will hereby respectfully beseech the rest of you to consider your repertoire choices soon. Unless, of course, you are waiting for the workbook to be posted, in which case the accompanists will have the music at the same time as you.
I've uploaded to the wiki some excerpts from Friedrich Niedt's Musical Guide. It is a thoroughbass guide but because I'm always harping on flute players to learn the bass parts to their sonatas, this could be valuable to some players, IF they decide to take the UberGeek challenge and actually read it.
NB: This is hardcore History of Music Theory/Historical Performance Practice stuff, for the non-music major flute player.
I'll also post a slightly earlier French theorists guide for thoroughbass as well.
Here, at last, is the 2010 Boot Camp repertoire list.
From the solo list, we want you to choose two pieces by two different composers. It can be the whole piece or just one movement. You will also prepare one piece of your own choice, for a total of 3 composers. From the duets, choose one depending on your level. From the unaccompanied, please choose one. For the players who are new to Baroque flute, solos, duets, and unaccompanied pieces will be in the workshop workbook. All of these pieces will be available as PDFs. Location TBA. Solo with Continuo-- • Ana Bon: Sonata III in Bb Major (Op I) • CPE Bach: Sonata in D Major • Blavet: Sonata in A, Op. III, No. 4* • Blavet: Sonate, La Vibray, Op. II, No. 2* • Caix d'Hervelois: 3me Suite*+ • Couperin: Le Rossignol-en-Amour • Couperin: Premier Concert from Concerts Royaux • Handel: Sonata in G Major • Hotteterre: 1me, 2me, or 3me Suite, Book I*+ • Kirnberger: Sonata in F Major* • Kleinknecht: Sonata II, 1748 • Leclair: Sonata in e, Op. IV, No. 2* • Monteclair: Concert II or Concert IV*+ • Müthel: Sonata in D • Tartini: Sonata in A, from Giedde Collection* (and modern typeset) • Telemann: Methodical Sonatas (1st movements only) Duet-- • WF Bach: D Major or F Major (Advanced) • Blavet: Any of the Op. I duets (Entry level-Intermediate) Unaccompanied-- • JS Bach: Cello Suite III, in C, BWV 1009 (Kim Sato transcription) • J B de Boismortier: Six Suites, Op. 35 • G Ph Telemann: 12 Fantasies • J D Braun: Pièces san basse, 1740* NB: You are free to bring as many other duets or trios as you think you can manage to play during the week during the free time (assuming, of course, that no one's lips fall off before Wednesday). * = facsimile edition + = facsimile edition in French violin clef
OK, this will be the last group of pieces to focus exclusively on FLAT keys. Number 40 in Ab (if you are using the facsimile, this should show the first measure in A and then the first measure again in Ab), and number 29 in F, 2/4, for those still getting used to the idea that FLAT keys are fun, and, for those seeking to combine FLAT keys, embouchure flexibility, and variety of articulation, number 18 in F (Capricie III).
And, FYI, there WILL be a quiz on all of these Quantz pieces in flat keys at the boot camp. That means you might actually be asked to play them while Janet and I stare at you and scrutinize every finger motion and embouchure twitch.