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Jul 26

Cambridge Early Music Baroque Week

July 26 @ 4:00 pm - August 2 @ 10:00 am BST

CEMSS 2019 Baroque Summer School © Andrew Wilkinson Photography

About the Baroque Week

  • Baroque Dresden: The Musical Melting Pot
  • The Parley of Instruments

In the early eighteenth century, Dresden, the capital of the electors of Saxony and kings of Poland, was one of the most important cultural centres of Europe. Its world-famous court orchestra and singers included many of the greatest virtuosi of the day, who performed music written by its court composers, including Heinichen, Lotti, Zelenka, Pisendel and Hasse, as well as works specially written for it by composers with Dresden connections, including Vivaldi, J.S. Bach (who was made a Dresden court composer in 1736), and Telemann. Much of the music performed there has survived in the Saxon State and University Library in Dresden and has recently been made available online.

Our 2020 summer school will be devoted to exploring the riches of Baroque Dresden’s cosmopolitan musical scene. The focus will be on two large-scale works written by JS Bach for the Dresden court, the Trauerode BWV198 (1727) and the first portion of the Mass in B minor (1733), together with choral and orchestral works by Vivaldi, Hasse and Zelenka. We also plan to work on music performed by the court orchestra, by Telemann, Vivaldi, Heinichen and others, and motets written for the seventeenth-century Dresden court chapel by Heinrich Schütz, Christoph Bernhard and Vincenzo Albrici.

Each day we will offer technique workshops, choral and orchestral sessions for large-scale works, and smaller ensemble sessions exploring unusual repertoire in various combinations – not necessarily restricted to the Dresden theme – selected and coached by the tutors.

​Auditions for solo vocal and instrumental roles in the works performed in the final concert will be held if necessary. Instrumentalists (particularly wind players) should be prepared to sing in the choir in large-scale pieces that do not have parts for their instruments. Vocal scores for the major works will be made available in advance.


Course leaders

  • Peter Holman: course director & continuo
  • Judy Tarling: upper strings
  • Mark Caudle: lower strings
  • Gail Hennessy: woodwind
  • Philip Thorby: voices


Is the Baroque course for me?

Applications are invited from proficient singers and confident players of gut-strung Baroque instruments (violin, viola and cello), with Baroque bows (some instruments and bows are available to hire), bass viol, violone, flute, oboe, bassoon, lute family and harpsichord/organ. (Suitable keyboard instruments are provided.) Pitch: A=415.

Players should have a good mastery of instrumental technique, but not necessarily any experience of Baroque playing. However, the wind players need to be fluent and confident on their Baroque instruments, able to sight-read solos with confidence. Continuo players should have a good knowledge of figured bass.

Singers should be experienced and fluent sight-readers; they may be encouraged to take solo parts as well as singing in ensembles.

​Pre-existing groups are welcome to apply together, and may bring prepared music for coaching in some of the chamber music sessions. Non-singing/playing observers are welcome if we have space.


From a previous participant

Anastassia (Soprano) – 2015 Baroque & Renaissance courses

‘I instantly felt a connection with each and every person there, and it was a wonderful feeling. The tutors are exceptionally knowledgeable and are full of enthusiasm about the music, which infects all participants, and that makes rehearsals exciting and engaging.’



A typical day’s schedule might be:

  • 09.30 sectionals
  • 11.00 coffee
  • 11.30 choir session / orchestra session
  • 13.00 lunch break
  • 13.30 free time / self-organised groups
  • 16.00 tea
  • 16.30 smaller ensemble session (organised by the tutors)
  • 18.30 dinner
  • 19.30 talk by one of the tutors
  • 20.00 tutti session for large-scale works

Tuition will stress historically-informed techniques and style. A large selection of music for many combinations of instruments and voices will be provided; you are also invited to bring your own sets of parts and scores.

​Participants should arrive in time for the concert at 4pm on Sunday 26 July. The course ends with breakfast on Sunday 2 August.



  • 26 July, 4pm: the course begins with a short lecture-recital by The Parley of Instruments in the College Chapel
  • 29 July, 8pm: The Parley of Instruments will give a full-length evening concert at Emmanuel United Reformed Church, in central Cambridge. Preconcert talk by Dr Stephen Rose will start at 7pm
  • 1 August, 7.30pm: on the final evening, course members will participate in a public concert, performing works studied during the week, at Emmanuel United Reformed Church


Applications and fees

Applications will be acknowledged but may not be accepted until April, by when we hope to have a workable balance of voices and instruments. You will then be informed if your application has succeeded, and your deposit will be returned if not.

Fees shown below for our 2020 summer schools are per course. Early bird discount of £25 will apply for bookings made by 28 February 2020. This discount will be included in the prices displayed in the booking form.

Please visit the Cambridge Early Music website for full information about bookings.

Bookings close on 19 June 2020.


Residential fees

  • Single room with bathroom shared between 5-6 people: £950 per person
  • En-suite single room (limited availability): £1,150 per person
  • ​En-suite double room (limited availability): £2,125 per two persons

​Non-residential fees

  • £750 per person


  • We make every effort to assist with bursaries where appropriate.  Please see our Bursaries page for details.


Header photo: Cambridge Early Music Summer School 2019 Baroque Summer School © Andrew Wilkinson Photography


July 26 @ 4:00 pm BST
August 2 @ 10:00 am BST
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St Catharine’s College Cambridge
Trumpington St
Cambridge, CB2 1RL United Kingdom
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