Early Music Week at World Fellowship Center, Conway, NH
JULY 25-AUGUST 1, 2021
Welcome to Early Music Week 2021! 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 14 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 complete the questionnaire at the bottom of this page, then visit www.worldfellowship.org/book-now/
to confirm registration with payment and book a room if needed.
Victoria Suchodolski, director, harpsichord
Benjamin Swartz, viola da gamba, Baroque cello
Lidia Chang, traverso flute, recorder ensemble
Emily Hale, Baroque violin
Anastasia Black, 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/
Anastasia Black, soprano, is dedicated to the performance and preservation of vocal music from the Medieval, Renaissance, and Baroque eras, especially music by female composers. Her curated program of French and Italian Baroque music titled From Shipwreck to Sleep featured music by Barbara Strozzi and Elisabeth Jacquet de la Guerre, among others. Anastasia has frequently appeared in the Summer Chamber Music on the Hill concert series at Church of St. Andrew, Marblehead. Her recent roles include Eumene in the UK premiere of Cavalli’s Xerse, Pasatea in Cavalli’s L’Ercole Amante, and Abra in a staged production of Vivaldi’s oratorio, Juditha Triumphans. She has appeared as a concert soloist in Rutter’s Magnificat, Bach’s Cantata No. 92, Fauré’s Requiem, and Pergolesi’s Stabat Mater. Other performances in the Boston area include collaborations between Longy School of Music and the Boston Camerata, Emmanuel Music, and Boston Opera Collaborative, and she has sung as a soloist and section leader at many churches in Eastern Massachusetts. Anastasia holds a Master’s Degree in Early Music from Longy School of Music and a Bachelor’s degree in Music from Mercer University in Macon, Georgia. In addition to performing, Anastasia is a passionate and empathetic voice teacher. She teaches at Note-worthy Experiences in Sudbury, maintains a private studio, and is on the voice faculty at Clark University.
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 $325 ($300 for early registration by May 1). 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.