Port Townsend Early Music Workshop July 9-15, 2023
Welcome to the Port Townsend Early Music Workshop 2023. We are delighted to be returning to the University of Puget Sound’s lovely campus in Tacoma and to make music together.
The Port Townsend Early Music Workshop offers an exciting week-long opportunity for players of recorders, viols, and percussion, as well as singers, to immerse themselves in music of the Medieval, Renaissance, and Baroque periods, music of Brazil, and much, much more. Most classes are geared towards players with reliable technique and reading skills, but there is always a place for those who feel they are less experienced or rusty, or who are coming back to music after a long break. Many of our participants agree that our workshop is one of the most friendly and inclusive of any they have attended.
Although total immersion in a week-long residential workshop is the most beneficial for learning and shared camaraderie, we understand that taking a full week off can be challenging for some families. The workshop offers new commuter options that allow participants to choose to register for individual courses or for the full week’s offerings. If you wish to sign up for individual classes or be a commuter, please contact Administrative Director Jo Baim at (206) 932-4623 or firstname.lastname@example.org.
Summary of classes offered
The following sections offer basic information about the classes being offered, according to the overall skill level for which they are intended. Click on the bars below to open each section. For complete and detailed information on the classes offered, please download the Class Curriculum Guide, and give yourself plenty of time to peruse it.
All skill levels
9 -10:15 am | A1 Viol Consort and Technique | Viols
Viol players will be grouped into small consorts of compatible levels (according to their self-evaluations) with Mary Springfels and David Morris. Content and repertoire will be decided by the faculty.
9 -10:15 am | A2 Recorder style and technique | Recorders
Recorder players will be grouped into small consorts of compatible levels (according to their self-evaluations) with one of these faculty members: Miyo Aoki, Cléa Galhano, Mark Davenport, or Vicki Boeckman. There will also be a class specifically for renaissance instruments. Content and repertoire will be decided by the faculty.
11 AM–12:15 pm | B1 Viols and Voices | For viol players and singers, and singing viol players
Music by Gibbons, Dering, and Praetorius. In this class we will explore a varied assortment of seventeenth century secular and sacred music from England, the Spanish Netherlands, and Germany. Taught by Jonathan Oddie.
11 AM–12:15 pm | B2 Recorder Orchestra: Celebrations and new beginnings | Recorders
We will feature works that suggest celebrations, new beginnings, and joy. Composers represented will be Bach, Scarlatti, Bruckner, and a Traditional Native American song called “Evening Rise” arranged by Irmhild Beutler. Taught by Cléa Galhano.
1:45 – 3 pm | C1 Rhythm Routes | Everyone welcome
In this class we’ll combine hands-on technique with cultural context as we explore percussive practices that linked Europe with North Africa and Western Asia in the Middle Ages onward. Students are welcome to bring their own frame drums and headed tambourines, finger cymbals (zils), darbukas, tabors, or side drums. Additional instruments will be provided. (Let us know if you need one.) Taught by Antonio Gomez
1:45 – 3 pm | C3 Music of the Spanish Renaissance | SATB Recorders
This class will focus on a variety of Spanish Renaissance genres from the fun and popular Spanish villancicos to the more complex sacred works of Francisco Guerrero (1528–1599), Tomás Luis de Victoria (1548–1611) and Alonso Lobo (1555–1617). Taught by Mark Davenport
Intermediate and above
1:45 – 3 pm | C2 William Byrd, Brittanicae musice parens | Recorders This class honors of the four hundredth anniversary of the death of William Byrd, England’s greatest Renaissance composer. Players will explore approaches to performing his radiant motets and anthems, as well as his splendid fantasias for viols and secular works for voice-and-viol. Taught by Peter Seibert.
1:45 – 3 pm | C5 Brownings, my dear! | Viols and Recorders
Viol and recorder players intermediate and above
This class will take a sweeping survey of these delicious and quintessentially English nuggets of delight. Works by Baldwin, Bevyn, Byrd, and others. Taught by David Morris.
3:30 – 4:45 PM | D2 Brazilian Music and its Portuguese Roots from Colonial Brazil to Modern | All Instruments
This class will feature Cantigas from Medieval Portugal and Colonial Brazil to the modern period showcasing the infectious melodies with their lovely—and sometimes strange—harmonies and exciting rhythms based on African and Portuguese influences. Taught by Cléa Galhano.
3:30 – 4:45 PM | D5 A voice like no other Motets and chansons by Antoine Brumel | voices, viols and all soft instruments
Like his slightly older contemporaries (Obrecht and Josquin), Antione Brumel (1460–ca. 1512) spent time at the D’Este court in Ferrara. We will look at his motets and instrumental music. His harmonic language is unique, and his experimentation with music of great complexity, or, great simplicity, is compelling. Taught by Mary Springfels
Upper Intermediate and above
9 -10:15 am | A3 Recorder Master Class: Language from the Heart | Recorders
Limited to 8 “active” players or ensembles, but anyone may audit. This recorder masterclass will focus on Georg Philipp Telemann’s ‘Language from the Heart,’ which will be emphasized through concentration on breathing, phrasing, and articulation. Taught by Eva Legêne.
1:45 – 3 pm | C4 Dufay the courtier | Viols, Voices, Recorders
Guillaume Dufay (ca 1397–1474) was a master of all musical genres whose genius prevailed for most of his very long life. These lovely pieces need to be played! No need to play 15th–century instruments. Taught by Mary Springfels.
1:45 – 3 pm | C6 Music of the Cosmos: Celestial Harmonies | Recorders and Viols
We humans have always been fascinated by the cosmos and inspired by music. In this class we’ll play Renaissance and Baroque music centered around celestial objects—the sun, the moon, and more! Music by Giles Farnaby, Orlando di Lasso, Floriano Canali, and others. Taught by Miyo Aoki
3:30 – 4:45 PM | D1 Nature and Sound | SATB Recorders
Inspired by the paintings of Jerg Ratgeb in the Church of Our Lady in Herrenberg where she lives, Eva Legêne has arranged short works by composers like Dufay, Janequin, Couperin, Monteclair, Purcell, Schein, and J.S. Bach for recorder ensemble. All works contain aspects of nature and sound. Taught by Eva Legêne
3:30 – 4:45 PM | D3 Theory shakedown: Fill In the Gaps and Refresh the Basics | All Instruments
This class will review the basics of standard modern theory, then use that as a basis to cover some of the broader points of Renaissance and Medieval theory. A great refresher course and a way to put all the little pieces of knowledge in order. Taught by David Morris.
3:30 – 4:45 PM | D4 Fantasias, ricercars, canzona and capricci of Frescobaldi and Froberger | Recorders
In this class we will explore this rich and under-appreciated contrapuntal repertoire in compositions by these two composers, including fantasias featuring the hexachord, the cuckoo’s call, and the “lascia fare mi” subject that dates back to Josquin. Taught by Jonathan Oddie.
1:45 – 3 pm | C7 Lessons with Telemann | Recorders
In his Twelve Methodical Sonatas, Telemann composed one slow movement and enriched the melodic language by adding essential and free ornamentation. We will take note of Telemann’s free ornamentation and practice each specific essential ornament. We’ll study why and how Telemann chose these ornaments to emphasize the character of a slow movement. Taught by Eva Legêne.
3:30 – 4:45 PM | D6 Fugal Fugato | J.S. Bach Fugues and Double Choir Motets
This class will experience some of the fun and aesthetically satisfying motets and fugues of J.S. Bach (1685-1750), transcribed and set for recorder quartet and double choir. Bach’s use of counterpoint, to furnish each part with equal glory, was his most sophisticated and expressive skill, with the “refreshment of the spirit” being the composer’s (and our) ultimate goal. NOTE: For advanced recorder players fluent on all sizes and strong sight-readers. Taught by Mark Davenport
Location and setting
The University of Puget Sound is situated some 35 miles south of Seattle, in the city of Tacoma. Founded in 1888, the campus’s traditional brick architecture and park-like setting provide a gracious location for a residential workshop. The workshop is based around Trimble Hall, one of the University’s student residence halls. Participants stay in comfortable non-smoking single rooms grouped into small units with shared bath and common rooms. Each floor also has rooms that can be used as classrooms or rehearsal rooms. Large open green spaces, wooded walks, and many interesting campus buildings surround Trimble Hall. The modern facilities at the University are ideal for this workshop, and they offer easy access to the spectacular Northwest environment.
This workshop has been held in the city of Tacoma on the lovely campus of the University of Puget Sound since 2009. There are direct shuttles available from SeaTac airport to the University’s Trimble Hall if needed, and overnight hospitality may be possible before and/or after the workshop with one of our gracious Seattle Recorder Society or Pacific Northwest Viols members.
Check-in and housing access will be on July 9 between noon and 4 pm in Trimble Hall. Sunday dinner is included in the workshop.
After dinner, the workshop will officially begin at 7 pm with faculty introductions, a general orientation and a playing session for all. Classes begin on Monday, July 10 at 9 am. Evening activities will include a faculty concert (one of the highlights of the week), an introduction to West African dance led by Etienne Kakpo, Byrd songs by founding director Peter Seibert, a live auction, and a costumed salmon banquet.
Wednesday afternoon is entirely free. Some participants carpool to lovely Point Defiance Park and Zoo or explore other attractions in Tacoma including the Museum of Glass, the Washington State History Museum or the Tacoma Art Museum. Others prefer to remain on campus to play music, form impromptu ensembles, or just relax.
Saturday morning, July 15, is devoted to informal performances in Schneebeck Hall where participants share what they have worked on. The workshop concludes at noon. Those planning to fly from SeaTac should book flights no earlier than 3:00 pm.
For more information about classes see our Class Curriculum Guide
Faculty and team members
Our distinguished faculty hails from across the United States and around the world. They are experts in their field and love teaching at this workshop. Click on the bars below to open any section and read their impressive bios.
Cléa Galhano, Recorder
Recorder Orchestra, Celebrations and new beginnings, Brazilian music and its Poutuguese roots
Cléa has been teaching at the PTEMW since 1997. We can’t imagine this workshop without her sparkling personality and inexhaustible energy.
“Amazing energy and highly knowledgeable. One of the best experiences of the week.”
“Cléa was dynamic! Great teaching of expression.”
“Her upbeat energy demands unflagging alertness!”
“I consider it a privilege to play under Cléa’s direction.”
“I loved the music. Clea is always good at getting the best out of us.”
“Wow…Clea always does such a lovely job of bringing everyone on board and encouraging them regardless of technical ability or experience. Since Latin music is a stretch for me (which is why I took it), I really appreciated Clea’s enthusiasm for the rhythm and the beat. It helped me feel it rather than count it and I came away with a new appreciation for the genre.”
Brazilian recorder player Cléa Galhano is an internationally renowned performer of early, contemporary and Brazilian music. Galhano has performed in the United States, Canada, South America and Europe as a chamber musician, collaborating with recorder player Marion Verbruggen, Jacques Ogg, Belladonna Baroque Quartet and Kingsbury Ensemble. As a featured soloist, Galhano has worked with the Saint Paul Chamber Orchestra, New World Symphony, Musical Offering and Lyra Baroque Orchestra.
Among other important music festivals, Ms. Galhano has performed at the Boston Early Music Festival, the Tage Alter Music Festival in Germany and at Wigmore Hall in London, Weill Hall at Carnegie Hall and Merkin Hall in New York and Palazzo Santa Croce in Rome, always receiving acclaimed reviews. Ms. Galhano was featured in 2006 in the Second International Recorder Congress in Leiden, Holland in 2007 and 2013 at the International Recorder Conference in Montréal, and in 2012 at the ARS International Conference, Portland, Oregon.
She gave her Weill Hall at Carnegie Hall debut in May 2010 and her second Weil Hall recital in December 2013 with the international Cuban guitarist Rene Izquierdo.
Galhano studied in Brazil at Faculdade Santa Marcelina, the Royal Conservatory (The Hague), and the New England Conservatory of Music in Boston, earning a LASPAU, Fulbright Scholarship and support from the Dutch government. As an advocate of recorder music and educational initiatives, she served for six years on the national board of the American Recorder Society and is the Music Director of the Recorder Orchestra of the Midwest. Ms. Galhano recently received the prestigious McKnight fellowship award and MSAB Cultural collaborative and MSAB Arts Initiative.
She is on the faculty at Macalester College and Recorder Instructor at Indiana University, Jacobs of Music.
Ms. Galhano has recordings available on Dorian, Ten Thousand Lakes and Eldorado label and she is the recipient of the National Arts Associate of Sigma Alpha Iota.
David Morris, Viol
Brownings by Baldwine, Bevin and Byrd, Renaissance Theory Shakedown
Always an inspiration to have on the team with a seemingly limitless amount of knowledge on any given subject, this will be David’s sixth or seventh time at PTEMW (we can’t remember…)
“David Morris’ Palestrina/Gesualdo class was worth the cost of tuition all by itself, One of the best classes I have ever had.”
“The content of David’s classes was imaginative, comprehensive and well taught…” ,
“I took this class because I didn’t know David. I truly lucked out. He is an exceptional teacher!”.
“David is such a wonderful and supportive teacher of the viol. My life is so much richer for having worked with him off and on over the years…”
Dubbed a “basso continuo wizard” by Gramophone (UK), David Morris has performed across the U.S., Canada and in Europe on baroque cello, viola da gamba, lirone and a variety of other historical stringed instruments. He is the bowed bass continuo player for the Boston Early Music Festival’s opera productions and is a member of Quicksilver, the Galax Quartet and the Bertamo Trio. He is a frequent guest performer with the New York State Early Music Association and has performed with LA Opera, Musica Pacifica, the Boston Early Music Festival Orchestra, Tragicomedia, Pacific Baroque Orchestra, 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. David was the founder and musical director of the Bay Area baroque opera ensemble Teatro Bacchino, and has produced operas for the Berkeley Early Music Festival, Amherst Early Music and the San Francisco Early Music Society series.
Mr. Morris received his B.A. (with honors) and M.A. in Music from U.C. Berkeley, and was also awarded UC Berkeley’s Eisner Prize for Creative Achievement of the Highest Order in Music Performance. He has been a guest instructor in early music performance-practice at UC Berkeley, UC Santa Cruz, UC Davis, the San Francisco Conservatory of Music, Mills College, Oberlin College, University of Colorado at Boulder, the Madison Early Music Festival, Cornell University and Amherst College. He has recorded for Harmonia Mundi, New Albion, Dorian, New World Records, Drag City Records, CBC/ Radio-Canada and New Line Cinema.
Eva Legêne, Recorder
Master class Telemann’s ‘Language from the heart. Lessons with Telemann
Eva was a major presence at the PTEMW from its inception in 1983 until 1993. It is a great honor to have her back with us for the 40th anniversary year.
Called “the Joan Sutherland of the recorder” by the New York Times, Eva Legêne is known in Europe, North America, Australia, and Asia for her remarkable performances. Born in the Netherlands, and a member of the fourth generation of a large family of musicians, Eva Legêne studied with Frans Brüggen, taught at the Sweelinck Conservatory in Amsterdam, and was docent at the Royal Danish Academy of Music in Copenhagen. In 1985 she became professor of music at Indiana University Jacobs School of Music, Historical Performance Institute in Bloomington IN, where she enjoyed teaching Renaissance and Baroque performance and courses in Baroque performance practice.
Eva was a frequent guest at international Early Music Festivals, and has performed with many renowned early music artists. She regularly toured the US with viola da gambist Wieland Kuijken. An active proponent for contemporary music, Eva Legêne recently premiered Moonlight Serenade (2021) written for her by the Japanese composer Masahiro Ishijima, and has premiered concertos by Bernhard Heiden and Gerald Plain. She has arranged compositions by Per Nørgaard, Don Freund, David Dzubay, Hitoshi Ninomiya a.o. for unaccompanied recorder.
In 2009 Eva retired from Indiana University and continues concertizing and teaching master classes in Europe, Asia, and the United States. She has published several articles on the recorder and related historical issues, and was editor of the Recorder Education Journal. She has recorded for radio and television in Europe, the US, Australia, Canada, and Asia, and for the labels Telefunken, Denon, Focus, Rondo and Cornetto. Her CD Receuil de Pieces pour les autres instrumens (Cornetto Verlag, Stuttgart 2016) was chosen as the CD-Tipp of the Week by radio channels BR-Klassik (“not only for the lovers of the recorder a seldom heard enjoyment”) and SWR-Classic (“A small gem”). Her last CD, released by Cornetto Verlag in 2020 is called Die Freundschaft singt, with chamber music by G P. Telemann. It was recorded with the late Michael McCraw on bassoon, and Washington McClain on oboe.
Jonathan Oddie, harpsichord
Voices and Viols, Fantasias, Ricercars and Capricci
This will be Jonathan’s second time teaching at PTEMW. We are more than thrilled to have him back in the Pacific Northwest for the summer and on our workshop team.
“Jonathan was very informative and enthusiastic about the history and structure of the pieces we played …very skilled and patient at getting a diverse set of players and instruments to make music.”
“Jonathan was unfailingly kind and supportive”.
Historical keyboardist Jonathan Oddie is in demand across the United States as a soloist and collaborative artist on harpsichord, fortepiano and chamber organ. As a chamber musician, he has performed for Gallery Concerts Seattle, Philadelphia Chamber Music Society, Oregon Bach Festival, Whidbey Island Music Festival, and Salish Sea Early Music Festival, and as a soloist with the Northwest Sinfonietta and Saratoga Orchestra. As an orchestral musician he performs regularly with the Seattle Symphony and the Portland Baroque Orchestra.
Jonathan studied piano and harpsichord performance at the Indiana University Jacobs School of Music, where his teachers included Elisabeth Wright, Jean-Louis Haguenauer and Edmund Battersby. He also holds a doctorate in musicology from the University of Oxford, where he researched the music of the English composer Orlando Gibbons and its relationship to 17th-century music theory. He has published articles and reviews in the journals Early Music and Historical Performance, and is the recipient of awards including a Performer’s Certificate from Indiana University and a Frank Huntington Beebe Fellowship.
As a teacher, Jonathan has led sessions for the Pacific Northwest Viols and Seattle Recorder Society, and coaches ensembles every summer at the Seattle Baroque Flute Workshop. He previously taught classes at the Port Townsend workshop on topics including Orlando Gibbons, John Coprario, and the inventions and sinfonias of J. S. Bach. In August 2021 he was appointed Visiting Assistant Professor of Early Keyboards at the Indiana University Jacobs School of Music, where he teaches harpsichord, fortepiano and continuo playing and directs concerts by the historical performance ensembles.
Mark Davenport, Recorder
Music of the Spanish Renaissance, Bach Fugues and Motets
We are thrilled to have Mark on the team. This will be his first time teaching at the PTEMW.
We are thrilled to have Mark on the team. This will be his first time teaching at the PTEMW.
“Mark is an excellent conductor and was able to make extremely efficient use of our very limited time to go through some beautiful and challenging arrangements, complete with guidance on interpretation”.
“Mark clearly knows his stuff, has worked with many ensembles of this sort and knows how to bring out the best sound in a tiny amount of time”. “Very clear that he’s a professor. Very detail-oriented. He really focused on getting the rhythms right!”.
“The pieces were beautiful! Mark conducted the class with efficiency, humor and grace”.“Mark’s arrangements of Renaissance music are fabulous, and his conducting brings out the best in them”.
Mark Davenport is Professor of Music at Regis University, Denver, where he directs the University’s Recorder Music Center (RMC), an international repository for recorder music, instruments and archival material related to the history of the recorder movement in America. As a conductor, Davenport has spent over 30 years directing large university early music ensembles, including the Collegium Musicum at Regis, a 30-member ensemble made up of singers and performers on period instruments. He is also a frequent faculty member for recorder festivals and workshops across the U.S.
Davenport was trained on the recorder from the age of three through studies with his father, LaNoue Davenport, the American recorder pioneer and first president of the American Recorder Society (1960). Mark has had an extensive performing career beginning in the late 1970s when he first toured with the internationally renowned New York Pro Musica during their performances of the thirteenth-century liturgical drama The Play of Daniel. Since moving to Colorado in 1992 he has been a featured soloist with the Colorado Music Festival and Boulder Bach Festival Orchestras, and with his own groups Fiori Musicali and Trio Dolce.
Davenport holds the Ph.D., and Master of Music in Musicology, from the University of Colorado at Boulder, and a B.A. in Music History, summa cum laude, from the State University of New York, College at New Paltz. He served two consecutive terms on the Board of Directors for the American Recorder Society (2004-2012), chairing its Education and Programs Committees. He has also served as Book Review Editor for the Society’s journal, American Recorder, and currently serves on its Advisory Board. His music publishing company, Landmark Press, is devoted to the publication of music for early instruments and voice
Mary Springfels, Viol
Dufay the Courtier and Antoine Brumel: A voice like no Other
Mary was on the original faculty team back in 1983. We have since lost count how many times she has graced this workshop and are thrilled to have her back sharing her fountain of knowledge and boundless energy.
“Mary is without doubt one of the best teachers on an individual level, and a fine coach, always keeping the atmosphere upbeat, yet helping the ensemble to improve their technique and sound…”
“Mary is simply one of the best teachers out there: wonderfully knowledgeable, terrific at keeping the pace of sessions and truly brilliant at coming up with technical exercises for learners”.
Mary is a veteran of the American early music movement. In 1968, she became the youngest member of the New York Pro Musica, and has been active in the performance of Medieval, Renaissance and Baroque music ever since. After a decade of free lancing in New York, she became Musician-in-Residence at Chicago’s Newberry Library, and was the founder and director of the Newberry Consort until 2008. While based in Chicago, she worked with Music of the Baroque, The Chicago Opera Theater and The Second City Music. In 2009 Mary moved to New Mexico, and currently is Co-Director of Severall Friends, a collection of musicians devoted to the performance of early repertoires in Santa Fe. She is a busy freelancer, appearing regularly with The Texas Early Music Project, Sonoma Bach, LOBO of Sonoma, Ars Lyrica of Houston, Parthenia, and the Folger Consort. This year, Mary was a soloist on the Main Stage of the Berkeley Early Music Festival, as well as performing in the Corona del Mar and Amherst Early Music Festivals. She has taught at the University of Chicago and Northwestern University, and is a regular faculty member at the Summer Toot, SFEMS Early Music Weeks, The Viola da Gamba Society of America Conclaves and Viols West. Mary can be heard on recordings with Drew Minter, Marion Verbruggen, Christine Brandes, Janet See, Elizabeth Blumenstock, and the Newberry Consort.
Miyo Aoki, Recorder
Music of the Cosmos
This will be Miyo’s third time teaching at PTEMW. Miyo is quickly becoming recognized as a major asset to early music workshops around the country, and we are very happy to have her back with us!
“Kudos to Miyo for great music choices and super clear teaching!” “Miyo was sweet, sweet, sweet!” “Kind leadership but firmly in charge”. “Miyo was skilled, knowledgeable and delightful!” “Miyo brought great, thorough preparation to the consort class.” “Miyo did an excellent job of selecting music and working on it with us to get really rewarding results”.
Miyo Aoki is a dedicated recorder player and teacher, performing music ranging from medieval to modern and teaching students of all ages and levels. She is a member of the Farallon Recorder Quartet and has performed in the US, Germany, and Poland, with groups including The Eurasia Consort, Utopia Early Music, and Gamut Bach Ensemble; and at the Amherst Early Music Festival, Bloomington Early Music Festival, and Whidbey Island Music Festival. She has premiered works by contemporary composers Natalie Williams, Agnes Dorwarth and Adam Haws, and in recent years she was delighted to play with the Boise Philharmonic, Seattle Symphony and Oregon Symphony, respectively, in performances of Harry Potter and the Prisoner of Azkaban.
Miyo holds a KAZ Diplom (Artist Diploma) from the University of the Arts in Bremen, Germany, where she studied with Professor Han Tol. While living in Bremen, she also maintained a private studio and worked in the musical outreach program “Musik-im-Ohr”, based in the Bremen concert hall, Die Glocke. She holds degrees in both early music performance and mathematics from Indiana University, where she studied with Professor Eva Legêne and received the Austin B. Caswell award for her paper on Ars Subtilior music. Miyo is a strong proponent of music education and strives to make music accessible to people from varied backgrounds. She has collaborated in planning and performing several outreach programs for children, including “Shakespeare’s Ear” and “Oskar und die Blockflötendiebe”, and she founded a successful elementary school recorder club program sponsored by Early Music Seattle. In addition to her teaching work for Early Music Seattle’s outreach programs and private lessons, she teaches regularly for Seattle Historical Arts for Kids and at workshops around the country,
Peter Seibert, Recorder
Music of William Byrd
Peter is the founding director of this workshop and the Seattle Recorder Society. He is our rock of Gibraltar!
“Peter knew what he wanted and could be both lighthearted in his comments while being serious about our performance of the music.“
“Peter is great. Attentive and focused. Appropriately critical and praising.” “Fabulous music, great conducting.”
“Peter knows how to bring out the best performance in his musicians.”
Peter Seibert (B.A. Amherst, M.A.T. Harvard, M.A. Rutgers) directed music at The Lakeside School (1965-93) and taught recorder at the University of Washington School of Music (1971-1991). He was vice-president and education director of the American Recorder Society, serving on the ARS Board from 1976-1984. Other music boards on which he served have been the Early Music Guild of Seattle, the American Recorder Teachers Association, and the Seattle Recorder Society. In 2012, the ARS presented him with the Presidential Special Honor Award. He was music director of the Seattle Recorder Society (1970-2015) and was founding director of the Port Townsend Early Music Workshop (1983-2001). He has conducted and taught recorder at workshops since 1968. An active conductor, composer, and arranger, his music has now appeared on five continents. In 2022, his former students at The Lakeside School created the Peter C. Seibert Endowment for Music Education in his honor.
Tony Gómez, Percussion
This will be Tony’s first time at our workshop. We are so excited to have him on the team and can’t believe we’ve never asked him before!
“Tony is incredibly easy, dynamic and so fun to work with!
“He loves music!!! all aspects of it too! The history behind it, the playing of it, all the fusion possibilities and sharing his knowledge”.
“I never had formal music training before. Tony was so intuitive and flexible and adapted to my learning style. I am so grateful to have been his student.”
“Tony’s presentation was really enriching. I can’t believe how much he packed in…”
Antonio M. Gómez works across education, the arts and public media. His passion is facilitating transformative arts and culture experiences which are highly accessible. This commitment is evident in his work as a musician, educator, producer and arts administrator. As a percussionist, he co-founded Trío Guadalevín which focuses on the musical intersections between the Indigenous, African, European and Pacific elements that shape Latin American cultural identities. He collaborates with various West Coast ensembles including Pacific MusicWorks, Tacoma Refugee Choir, Seattle Medieval Women’s Choir, the Eurasia Consort, Puget Sound Revels, Tango del Cielo and Orquesta Northwest. Tony designed and curates Deep Roots, New Branches for Early Music Seattle, a series that advocates an inclusive view of musical history. As Director of Community Engagement & Extended Learning at Tacoma Arts Live, Tony focuses on creating economically and culturally accessible arts experiences for all ages. A former K12 teacher, he’s designed curricula for PBS, KCTS 9, and arts nonprofits. He is the president of the Western Arts Alliance, and has collaborated with the Center for Washington Cultural Traditions as an Associate Folklorist. He is honored to have received support from the City of Tacoma’s Office of Arts & Cultural Vitality, Artist Trust (2018 James W. Ray Arts Innovator), ArtsWA, 4Culture, and the Jubilation Foundation (2014 Music Education Fellow). Tony completed his MA in Education at UC Berkeley and has studied music and culture in Latin America, North Africa and Southern Europe.
Vicki Boeckman, Artistic Director and Recorder
Vicki has been the Artistic Director for the Port Townsend Early Music Workshop since 2011. She loves getting to know each and every one of the participants and welcomes the organizational challenges that directing workshops require. She can’t imagine ever doing it without Jo, however!
“Vicki exudes a warmth and openness that people immediately respond to. Demanding in her standards for the quality of music but never impatient or critical of people’s limitations. She understands what makes music important, fun, and accessible to all”.
“Vicki was both gracious and skillful in leading us through some breathtakingly gorgeous music”.
“There is little doubt if you put Vicki’s cells under an electron microscope you would find music of some sort in each of them!”
Vicki Boeckman has been performing and teaching since the 1980s. She is a well-known pillar of the recorder community in Seattle and in demand as a teacher at workshops across the country and in British Columbia. She is a passionate performer of all styles of music and her career has been a highly rewarding journey performing with wonderful musicians throughout the US, Denmark, Sweden, Norway, Germany, Austria, Italy, England, Scotland and British Columbia. She has recorded about 15 Cds with various ensembles and loves playing a wide variety of musical styles.
Before settling in Seattle Vicki resided in Denmark from 1981-2004 and had the opportunity to collaborate with some of the finest musicians and composers of the day. Her Danish recorder trio Wood’N’Flutes had a fantastic 15-year run performing all over Europe and working with contemporary composers in addition to doing children’s theater. She was an adjunct professor at the Royal Danish Academy of Music in Copenhagen for 12 years and taught at the Ishøj Municipal School of Music for 23 years. Many of those students are now professionals, performing and/or teaching in conservatories in Denmark and around Europe. A recorder youth orchestra founded by Vicki and Danish colleague, Dorte Lester, continues to flourish.
In the Pacific Northwest Vicki has been a featured soloist with the Seattle Symphony, Yakima Symphony, Seattle Baroque Orchestra, Portland Baroque Orchestra, The Oregon Symphony, Portland Opera, Medieval Women’s Choir, Gallery Concerts, Boise Philharmonic, Philharmonia Northwest Orchestra, and the Skagit Symphony. She is currently a member of the Farallon Recorder Quartet, Music director for the Seattle Recorder Society, co-director for the Recorder Orchestra of Puget Sound (ROPS) which she dearly hopes to resuscitate, and Artistic Director for the Port Townsend Early Music Workshop. She adores teaching children as well as adults and has been on the faculty of the Music Center of the Northwest since 2005 in addition to having a thriving home (and Zoom) studio. Most of all, Vicki is overjoyed to be returning to live, in-person workshops and concerts after the pandemic hiatus.
Jo Baim - Administrative Director
Jo Baim, Administrative Director of the Port Townsend Early Music Workshop, has played organ and harpsichord for some fifty years (ouch!). She has performed and worked around the Pacific Northwest, the Midwestern United States, and in Scotland. She has performed solo recitals, and also performed with the Trinity Consort, the Alba Consort (Glasgow), and the Eurasia Consort, as well as working with church choirs and soloists. One of her favorite things is playing continuo because of the creative exchanges between all the parts, written and improvised. Jo is also a recorder player, and most recently has begun studies on native flute. She holds a master’s in organ performance from the University of Oregon, and a PhD in historical musicology from the University of Cincinnati-College Conservatory of Music, where a research grant took her to Buenos Aires and resulted in Jo writing her dissertation on the history of the tango. With a specialty in historic social dance, Jo ran a dance company in Seattle for many years that specialized in dances of the Victorian through the Ragtime eras. Jo looks forward to seeing many familiar faces at the workshop and will do her best to ensure that everyone has a wonderful experience!
Etienne Cakpo, African Dance Specialist
Originally from Benin, Etienne is the Artistic Director and lead choreographer/dancer of Gansango Music and Dance. Etienne has been building his repertoire of traditional and modern dance for over thirty years. As director of Gansango Music & Dance, Etienne leads the company’s work with dozens of public libraries, schools and independent arts agencies locally and nationally to make performance of dance and music from Africa available to a wide range of audiences, including young children.
David Ohannesian - Recorder doctor
David Ohannesian has been making recorders for over forty years, and his instruments are used by artists around the world. In 1979 he received a grant from The National Endowment for the Arts that allowed him to examine and measure instruments in European museums. He has also performed with organizations such as the Ashland Shakespeare Festival, Seattle Baroque Orchestra, Portland Baroque Orchestra, the Vancouver Baroque Orchestra, and as part of the Boston Early Music Festival. He has taught and been “Recorder Doctor” at various workshops, including the Port Townsend Early Music Workshop, the Columbia Gorge Early Music Retreat, Vancouver Early Music Festival, and the San Francisco Early Music Society’s recorder weeks.
The entire fee for the week-long residential workshop including tuition, accommodations, and meals is $1,350. The fee for commuters (all classes and evening events, no meals) is $800. This year we are also inviting students to sign up for one or more individual classes for the full week. Each morning class that meets all five days is $250 for the week; each afternoon class that meets four days (Monday, Tuesday, Thursday, Friday) is $200 for the week. Any and all questions will be happily answered by contacting Administrative Director Jo Baim at (206) 932-4623 or email her at email@example.com.
Accommodation and meals
All residential participants will stay in Trimble Hall, one of the University’s modern residence halls. All rooms are non-smoking rooms with single beds. Several single rooms are grouped around shared bathrooms and a common room with kitchen. Linens and towels are provided. There are also laundry and full kitchen facilities on each floor.
The University will make every effort to accommodate food allergies. Standard, vegetarian, gluten free and vegan meals are available through the University food service. Please indicate any food preferences or requirements when you register.
We are thrilled to be back on this beautiful campus for this unique workshop. Washington State has lifted all Covid-19 restrictions, but, because we will be living, playing, singing, eating and dancing together we must all take responsibility for preventing the spread of Covid-19 and other viruses.
Vaccinations and boosters are highly encouraged but not required. Anyone with symptoms or feeling unwell should notify us immediately, and plan on not attending classes or events.
We request that all participants and faculty take a rapid test on the day of arrival and mid-week. This will be on the honor system. We will have tests on hand, but please bring an extra test in case more are needed.
Before coming to the workshop, if you are experiencing Covid symptoms please, notify us right away and DO NOT COME. Refunds will be offered. Anyone who tests positive for Covid during the workshop week will be moved to an isolated room and can decide to return home (if local) or have meals brought to their room. Refunds will be made on a pro-rated scale.
Masking is optional, but encouraged, in indoor spaces when not playing, singing or eating.
Read what participants have said…
“I can easily say that PT is the best Early Music workshop in the country. It can’t get any better than this. Thoroughly enjoyable.”
“I loved the whole experience….I was a workshop newbie and knew I’d be challenged and that’s what I was there for.”
“The highlight of the week has to be the nice people I met and played with.”
“I was very impressed by how warm-hearted, open-minded, friendly, engaged, generous and positive everybody was. The sense of community, the love for the music and the skill of organization were truly impressive.”
“This was my first time at this workshop and it has been a fantastic experience! The faculty is all excellent, I learned a lot, enjoyed good company, made new friends, and had too little time for practicing.”
“This is a remarkable workshop. Certainly the most friendly and inclusive of any I have attended.”
“Thank you, Vicki and Jo, for all you have done to make this workshop a wonderful experience for everyone involved. You are the inspiration and the glue that holds this workshop together.”
Registration is now closed. Thank you to all our attendees!
Click on this link if you still need to make your payment.
Thank you for signing up for the Port Townsend Early Music Workshop. If you have questions or need assistance with registration, please contact Administrative Director Jo Baim (206) 932-4623 or email her at firstname.lastname@example.org.