Participant Reviews
Derek (violin) - 2016 Baroque course
"Glorious music and expert tuition in a beautiful setting...Philip Thorby (the vocal tutor) was an inspiring director in the larger-scale music for choir and instruments, always drawing-out our best performance and enlightening us with his insights into the beauty and character of the music. Playing a solo violin line surrounded by the glorious sounds of a choir singing the beautiful music of a Salve Regina by Alessandro Scarlatti was a special experience, and one that will stay with me for a long time."
Read the full review below:
Read the full review below:
| derek_revill__vln__review.pdf |
Janet (recorder) - 2016 Baroque course
"The tutors, Philip Thorby, Peter Holman, Judy Tarling, and Gail Hennessy, aka The Parley of Instruments, were unfailingly energetic, encouraging, good-humoured and present. It must have been exhausting for them, but somehow the momentum was sustained throughout the week. Philip Thorby, who directed the full rehearsals, deserves a special mention for keeping everyone going, and grinning, at their lowest moments of fatigue."
Read the full review below:
Read the full review below:
| janet_walker__rec__review.pdf |
Zoe (violin) - 2016 Baroque course
"I enjoyed my time surrounded by fascinating and warm colleagues, thoughtful tutors, and constant music (with many of the Spanish Baroque works new to me). I'll always remember and value my time there. Thank you for helping me realize my goal of travelling and studying Baroque violin this summer; I truly appreciated the experience!"
Read the full review below:
Read the full review below:
| zoe_kemmerling__vln__review.pdf |
Adam (viola) - 2016 Baroque course
"I enjoyed the course this summer very much, and felt it was perfect for someone, like me, coming into baroque playing after having experience playing in other styles on their instruments. It was a very sociable course and the rehearsals allowed for a lot a variety of music to be played."
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Read the full review below:
| adam_jarman__vla__review.pdf |
Greg (countertenor) - 2016 Renaissance course
"The coaching was in depth and highly specific which really meant that small details weren't overlooked during the course. The twelve hour days of, what I can only liken to heaven, meant that your brain and stamina are challenged which are all vital parts of learning to become a professional musician."
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Read the full review below:
| gregory_pritchard__ct__review.pdf |
Louise (recorder) - 2016 Renaissance course
"This was an extremely worthwhile experience. The music was accessible but stretching. The tutors were knowledgeable – and kind! Renaissance instruments are essentially a prerequisite for recorder and viol players and attendance presupposes the capability of maintaining an individual line. I will be signing up for next year!"
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Read the full review below:
| louise_guy__rec__review.pdf |
Anastassia (soprano) - 2015 Baroque & Renaissance courses
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"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".
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Susannah (mezzo) - 2015 Renaissance course
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"Receiving a bursary to study with Cambridge Early Music this summer gave me the opportunity to spend a week completely immersed in new repertoire and work with renaissance instruments... The course has furthered my musical education and I look forward to continuing my development in this field."
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Asuka (violin) - 2015 Baroque course
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"I enjoyed every minute of the Cambridge Early Music Summer School -- from the lively ensemble lessons to the wonderful mix of singers and instrumentalists highlighted by our final concert of the Bach B Minor Mass in the beautiful setting of Great St Mary's Church. Connecting with luminaries of early music musicology and performance practice brought by amazing tutors among others Peter Holman, Judy Tarling and PhilipThorby, was also a great advantage, along with making new friends (both young and old) in an open and free atmosphere, not to mention the pleasures and ethos of Cambridge itself. It was an unforgettable experience."
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Cheryl (harpsichord) - 2015 Baroque course
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"My attendance at the Summer School was one of the high points of my musical life. The company of like-minded musicians, the extensive repertoire conquered and the learning opportunities culminated in the most exciting concert in Great St Mary's. It was glorious to be a part of that after all the endeavours of the preceding week. If you are fortunate enough to be of a suitable standard to attend then carpe diem! Few paths in life reach this pinnacle of richness."
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Ada (violin) - 2015 Baroque course
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"I found the 2015 Baroque Summer School an extremely rewarding and interesting experience. It was really lovely to be able to meet people from all over the world and share common passion to baroque music! I would truly recommend this course to every musician, music lover or to somebody who would like to spend a week in a special place with great people and big portion of decent music!"
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Review of the closing concert, 2011 Renaissance course, by Clifford Bartlett, published in Early Music Review
... one item was absolutely amazing. I knew that Willaert's Inviolata a7 was an outstanding work - ... As always, Philip Thorby inspired us, and he had the same effect at Cambridge. There were seven fine singers: Annabel Malton, Selene Mills, Linda Gower, Richard Robbins, Victor Amaro, Shinji Suzuki and Nick Webb.
The motet is for SSAATTB (in terms of clef, at least, though the top two parts sing no higher than an octave above middle C). Three of the voices form a canon. It isn't an unrhythmic cantus firmus and the performers made no didactic attempt to make this structure particularly audible, though one could sense the difference between the slower and more active parts. The music held the audience spellbound. I was sufficiently aware of the singers to sense that this was one of those performances that got everything right but with nothing forced; ...
Read the full review below.
The motet is for SSAATTB (in terms of clef, at least, though the top two parts sing no higher than an octave above middle C). Three of the voices form a canon. It isn't an unrhythmic cantus firmus and the performers made no didactic attempt to make this structure particularly audible, though one could sense the difference between the slower and more active parts. The music held the audience spellbound. I was sufficiently aware of the singers to sense that this was one of those performances that got everything right but with nothing forced; ...
Read the full review below.
| 2011-renaissancesummerschool-emr-oct2011-cliffordbartlett.pdf |
Review of the 2009 Baroque course, by Megan Russ (violin)
| english_baroque_music.pdf |
Preview article of the 2009 courses
| earlybirdsarticle-preview2009.pdf |
Review of the 2008 Renaissance course, by Doris Willis (shawms) and Lizzie Gutteridge (viol)
| renaissance_music.pdf |
