Early Music Week at World Fellowship Center, Conway, NH
Due to the Covid-19 pandemic, Early Music Week is postponed until summer 2021.
Welcome to Early Music Week 2020! Early Music Week is a summer program devoted to the study and performance of music from the Medieval, Renaissance, and Baroque periods. We welcome amateur and pre-professional instrumentalists
and vocalists ages 12 and up. Early Music Week workshops are intimate, personalized, and non-competitive, and faculty
are all devoted and experienced professionals in early music. The focus of the program is chamber music, with at least one performance opportunity for participants who are interested.
Early Music Week was founded in 1996 under the directorship of Jane Hershey and Larry Wallach. After more than two successful decades, the founding faculty members have decided to pass on their responsibilities to a new team, directed by Victoria Suchodolski, with the hope that Early Music Week will continue to thrive and grow for future generations of early music enthusiasts.
Early Music Week is held at the World Fellowship Center in Conway, NH. WFC is an independent, intergenerational, and
secular summer camp and conference center located near the White Mountain National Forest, whose mission is to promote social justice, community, and a connection with nature.
To register, please visit: www.worldfellowship.org/book-now/
Victoria Suchodolski, director, harpsichord
Benjamin Swartz, viola da gamba, Baroque cello
Lidia Chang, traverso flute, recorder ensemble
Emily Hale, Baroque violin
Teri Kowiak, voice
Victoria Suchodolski is a Boston-based pianist, harpsichordist, and organist. Trained first on the piano, Victoria's love of the music of J.S. Bach brought her to the 2015 Baroque Music Workshop at Orford Musique, where she discovered a strong affinity for the harpsichord. Since then, she has been increasingly in demand as a harpsichordist and organist around New England, and has performed major Baroque works as a continuo player. As a soloist, Victoria has performed in harpsichord masterclasses in the United States, Canada, and Europe for Corey Jamason, Luc Beauséjour, and Marco Mencoboni. She has performed Bach concertos on both harpsichord and piano with the Euridice Baroque Ensemble of Amherst, MA and with members of the Lublin Philharmonic as part of the 17th International Piano Festival in Nałęczów, Poland. Victoria holds degrees from Carnegie Mellon University (BFA) and the University of Massachusetts Amherst (MMus). She is currently the organist at St. Lawrence Church in Brookline, MA. https://www.victoriasuchodolski.com/
Benjamin Swartz has concertized extensively in the United States and Europe with particular emphasis on historically-informed performance and contemporary performance practice. Equally at home on cello, Baroque cello, and viola da gamba, he has gained increasing recognition for multi-instrumental virtuosity spanning the Ars Subtilior to the present day. As a recitalist, chamber musician, and orchestral player, recent engagements have included New York’s Carnegie Hall, Philharmonie de Paris, Berliner Philharmonie, Hamburg’s Elbphilharmonie, KKL Lucerne, and Boston’s Symphony Hall. Highlights of the current concert season include appearances with the Callithumpian Consort, Boston Modern Orchestra Project, Boston Microtonal Society, Odyssey Opera, Marsh Chapel Collegium, and Lucerne Festival Orchestra in
Switzerland. Ben is an honors graduate of the Royal Academy of Music (MMus), Peabody Conservatory (BMus), Johns Hopkins University (BA, MA, American history), and was a DAAD Scholar to Germany. A much sought-after teacher, Ben is currently on the cello and chamber music faculties at Bridgewater State University, Endicott College, South Shore Conservatory, Ipswich and Rockport high schools, and as recording artist-in-residence at the Berklee College of Music. He lives in Ipswich in the Rindge-Pinder-
Leatherland house (1718). http://www.benswartz.net/
A versatile musician and well-rounded scholar, Lidia Chang double majored in Flute Performance and Music History at the University of Massachusetts Amherst. She went on to earn a Master's in Historical Performance on the Baroque flute at McGill’s Schulich School of Music, and a second Masters in Historical Musicology at the University of Massachusetts. Lidia has the pleasure of performing with a number of period instrument ensembles including Arcadia Players, Dorian Baroque, and Ensemble Musica Humana, of which she is a founding member. She has released two albums of Regency era dance music (Twelve Cotillions by Giovanni Gallini, 1770 and Country Dances by Thomas Skillern, 1781), which can be heard on the BBC’s recent adaptation of Poldark. As a scholar, Lidia’s primary focus is on the intersection of literature, gender, material culture, and music performance practices in the long eighteenth century. She has served as the managing editor for Women and Music: A Journal of Gender and Culture and has presented her research at the Jane Austen Society of North America’s annual and regional meetings, the American Musical Instrument Society, the Galpin Society, the American Musicological Society, the North American British Music Studies Association, and at the Museum of Fine Arts in Boston. Lidia is currently pursuing a PhD in Musicology at the City University of New York and working as an adjunct lecturer in the music departments of Brooklyn College and the University of Massachusetts Amherst. https://www.lidiachang.com/
Fueled by a sense of curiosity and discovery, Emily Hale’s performances have been described as animated, intuitive and elegant. Emily has recorded with the Early Opera Company for a BBC Channel 4 series about life in the 18th century, and performed at the Valetta International Baroque Music Festival in Malta and the London Handel Festival. She has collaborated with the Four Nations Ensemble, the Sebastians, and Emmanuel Music. With her ensemble The Halfmoon, Emily curates multi-disciplinary events that connect early music and culture with our lives today. Her project Vanitas explored the 17th-century art concept focused on the fleetingness of life and pleasure, combining the music of Monteverdi and his contemporaries, poetry of the period, and an on-site illustrator. Her Pajama Concerts at libraries and schools offer innovative “musical story-telling,” pairing classic children’s literature with chamber music in an open, inclusive format. Emily holds degrees from the Royal College of Music in London (MPerf), where she won the McKenna Prize for Baroque Music, from Penn State University (MMus) and Houghton College (BMus). She is Assistant Professor of Violin and Viola at Bridgewater State University, and coached baroque ensembles in the Junior Department of the Royal College of Music. https://www.emilyrhale.com/
A graduate of the Early Music Program (MMus) at the Longy School of Music, Teri Kowiak specializes in the historically-inspired performance of Medieval, Renaissance, and Baroque music, while also performing a wide range of styles including classical, jazz, traditional Irish/Celtic, and premiering new compositions. Her repertoire spans from the chants of Hildegard von Bingen to Samuel Barber to James Bond Movie themes to newly-composed choral works. She greatly enjoys vocal improvisation in many styles and collaborative composition via improvisation. She is a featured vocalist on the premier solo album “Redline” by bagpiper Michael McNutt (of Cu Dubh) and currently performs with Cappella Clausura, Red Shift (Baton Rouge, LA), Diamonds from the Dust, Vox Futura (recording choir), and the choir of the Church of Our Saviour in Brookline, MA. She is the founder and artistic director of Boston-based Medieval ensemble Meravelha, and the lead singer of the eclectic band Night’s Blackbird, for whom she has written lyrics and melodies. Outside of performing, Teri loves to help others make music. She runs a thriving private voice studio, gives workshops on historical performance practice, and provides choral coaching to local ensembles. She is also an opera librettist and writer of speculative fiction. http://www.terikowiak.com/
Frequently Asked Questions
Q. How do I register for Early Music Week?
Please visit: https://worldfellowship.org/book-now/
There you will fill out a reservation form to secure your housing at the World Fellowship Center. Please specify on the form that you are coming to attend Early Music Week, and WFC will bill you for both tuition and housing. Please also submit the Participant Questionnaire at the end of this FAQ section.
Q. How much does it cost to attend Early Music Week?
A. Tuition is $300. Participants are also responsible for the cost of housing, which should be arranged directly with the World Fellowship Center. WFC offers a variety of housing options from tent camping to comfortable guest rooms, ranging in cost from $416-$878 for the week (which includes three meals per day). Participants must provide their own transportation to WFC.
Q. I am under 18. May I still attend Early Music Week?
A. Minors must be accompanied by a parent or adult chaperone for the entire week. It is possible to arrange for a small group to attend under the supervision of one adult chaperone.
Q. I am a pianist, but have never played the harpsichord. Is Early Music Week for me?
A. Yes! If you can read music and are at least at the level of playing a Bach Two-Part Invention, then you are very welcome to come and learn how to play the harpsichord!
Q. I do not own a period instrument. Does Early Music Week provide instruments to rent for the week?
A. We are working on securing a limited number of viols and recorders for those who don't own an instrument. Please let us know if you would need to borrow an instrument, and we will let you know if we can accommodate your needs. There will be a harpsichord on site, so keyboardists need not bring their own instrument.