DISS 2012 Course Brochure
Full information on all courses at Dartington International Summer School this year. The Concert Brochure will be released in early January.
Dartington International Summer School 21 July - 25 August 2012 Welcome One of my most vivid memories of last year's Summer School was the concert of English string music played by an enormous string orchestra made up of young and old, experienced amateurs, beginners, schoolchildren and masterclass students. Sitting amongst them � and having a very good time indeed � were the principal bass of English National Opera, the Callino Quartet, the former leader of the Leipzig Gewandhaus Orchestra and many others. Virtually everyone who could lay hands on an instrument performed. The performance was magnificent: Leo Hussain conducted superbly, and made no concessions. Where else but at Dartington could you have this experience? Whoever you are, whatever your level, I hope that this year's Summer School will give you the opportunity to be challenged, have a good time, play or sing a little better, and to discover something new. John Woolrich, Artistic Director Dartington International Summer School Staff John Woolrich Artistic Director Emily Hoare Creative Producer email@example.com Ursula Crickmay p/t Deputy Producer firstname.lastname@example.org Lisa Buckby Administrator email@example.com Sophia Sheridan Registrar firstname.lastname@example.org David Francis Director of Arts Dartington International Summer School, Space, Dartington Hall, Totnes, Devon, TQ9 6EN +44 (0)1803 847080 www.dartington.org/summer-school Contents Course Diary What We Do A Day at Summer School 3 5 7 9 13 17 21 25 29 31 33 34 35 37 39 41 Week 1 Week 2 Week 3 Week 4 Week 5 Advanced Courses Summer School Fees How to Book Financial Assistance Further Information Volunteer at Summer School About Dartington Thank You Course Diary 1 2 3 4 5 3 One Week Courses Choir Andrew Griffiths Orchestral Workshop Rhiannon Evans Chamber Music Rhiannon Evans Soloists from the Retrospect Ensemble Instrumental and Vocal Masterclasses and Workshops Dame Emma Kirkby voice* Andrew Watts voice Gail Hennessy baroque oboe* David Miller lute, theorbo and baroque guitar* Matthew Halls harpsichord Vocal Ensembles Sally Dunkley Improve your Sight Singing Rhiannon Evans Bach on the Harpsichord Colin Booth Baroque Dance+ Sarah Cremer Mediaeval & Renaissance Music The Dufay Collective 21 > 28 July One Week Courses Choir James Weeks Orchestral Workshop Leigh O'Hara Chamber Music Rhiannon Evans Ensemble Meridiana 28 July > 04 August Instrumental and Vocal Masterclasses and Workshops Linda Hirst voice Robert Murray voice* Andrew West piano accompaniment* Ashley Wass piano Jill Kemp recorder Mark Radcliffe baroque oboe* Maggie Cole harpsichord* Vocal Ensembles Stile Antico Improve your Sight Singing Rhiannon Evans Bach on the Harpsichord Colin Booth One Week Courses Choir Stephen Cleobury String Orchestra Jonathan Morton Chamber Music Becka Rickard Barbirolli Quartet 04 > 11 August Instrumental and Vocal Masterclasses and Workshops Joan Rodgers voice* Jessica Cash voice Daniel Adni piano* Helen Reid piano Priya Mitchell violin* Jonathan Morton violin Garth Knox viola Natalie Clein cello Graham Mitchell double bass Chamber Choir Leigh O'Hara Advanced Chamber Music: String Quartets* Eberhard Feltz Composition Thea Musgrave One Week Courses Choir Sian Edwards Orchestral Workshop Benjamin Ellin Chamber Music Barbara Sue White Callino Quartet 11 > 18 August Instrumental and Vocal Masterclasses and Workshops Della Jones voice Stephen Varcoe voice* Stephen Kovacevich piano* William Howard piano Steve Lodder jazz piano Markus D�unert violin* Daniel Pioro violin Lowri Blake cello Peter Buckoke double bass John Harle saxophone Chamber Choir Benjamin Ellin & Stephen Varcoe Advanced Chamber Music: Piano Trios* Stephen Kovacevich One Week Courses Choir David Angus Orchestral Workshop Stephen Dummer Chamber Music Barbara Sue White Quatuor Diotima Wind Chamber Music Gallimaufry Ensemble Instrumental and Vocal Masterclasses and Workshops Lee Bisset voice James Gilchrist voice* Martino Tirimo piano* Ian Brown piano Alexandra Wood violin Adrian Bradbury cello 18 > 25 August Louisa Sparks flute Nicholas Daniel oboe* Holly Randall oboe David Campbell clarinet* Peter Sparks clarinet Shelly Organ bassoon Alexia Cammish french horn Paul Archibald trumpet Graham Lee trombone Richard Benjafield percussion* +These courses are suitable for those with little or no musical experience. *These courses are open to advanced participants only and some are subject to an application process. Please see course descriptions and page 29 for details. Viol Consorts Fretwork Early Brass David Staff & Emily White Balinese Gamelan Banjar Saj Landey Balinese Gamelan Examined Saj Landey Beginners Composition Joe Cutler Jazz & Improvised Music Lewis Riley Two Week Courses Baroque Dramatic Choruses Christopher Bucknall Baroque Orchestra* Nicolette Moonen & Jenny Ward-Clarke Advanced Baroque Opera* Tim Hopkins & Robert Howarth The Topping Tooters of the Town: Music of the Waits William Lyons & The City Musick Early Brass David Staff & Emily White Folk Music and Song Emily & Hazel Askew Chatterbox Dominic Murcott Beginners and Intermediate Dirty Electronics John Richards Creative Composition Philip Cashian Two Week Courses Baroque Dramatic Choruses Christopher Bucknall Baroque Orchestra* Steven Devine & Lucy Russell Advanced Baroque Opera* Tim Hopkins & Robert Howarth Demystifying Indian Music and Dance+ Sanju Sahai & Jaymini Suhai Gospel Choir Carol Pemberton English Roots Pete Cooper & Richard Bolton Introduction to the Viola d'Amore Garth Knox Three Week Course Advanced Conducting* Ilan Volkov Nicholas Kraemer Pierre-Andr� Valade Multi-piano class Clive Williamson Improvisation Daniel Pioro Songs from the Musicals Robert Purvis Write an Opera Royal Opera House Choro Jo�o Bosco de Oliveira Samba+ Jo�o Bosco de Oliveira Alexander Technique for Instrumentalists Peter Buckoke Alexander Technique for Singers Judith Kleinman Recording Production and Live Electronics Moritz Bergfeld Two Week Course Advanced Composition* Detlev Glanert Three Week Course Advanced Conducting* Ilan Volkov Nicholas Kraemer Pierre-Andr� Valade Chamber Choir Peter Selwyn Tea Dance Band Stephen Dummer Brass Ensemble Paul Archibald & Graham Lee African Drumming+ Richard Benjafield Finding Your Voice+ Jessica Cash Salsa Band and Salsa Dance Jo�o Bosco de Oliveira Two Week Course Advanced Composition* Detlev Glanert Three Week Course Advanced Conducting* Ilan Volkov Nicholas Kraemer Pierre-Andr� Valade 4 What We Do Dartington International Summer School takes place at the heart of the idyllic Dartington Hall estate just outside Totnes in South Devon. For five weeks every summer the estate welcomes a vibrant community of musicians and music-lovers drawn from all corners of the globe. 5 We offer a wide range of courses, embracing a huge range of instruments, genres and periods. We also present a rich and varied programme of performances and lectures. The Summer School welcomes everyone who wants to enjoy music, from conservatoire students and professionals to enthusiastic amateurs and late starters. All convene in one place to experience The Summer School's particular blend of musical alchemy. Is it for me? Most courses require at least a basic knowledge of music. Some courses may introduce you to a new musical genre which you perhaps haven't previously experienced. Some classes are suitable for beginners or non-musicians, and these are marked with a + in the brochure. Other courses are more specialised, and are aimed at music students and emerging professionals � these courses are marked with * or ** (see page 29 for details). Most courses give an indication of the ability required. Please pay careful attention to this and call us if you are at all unsure. Everything is open to observers � observers are particularly encouraged in masterclasses � and everyone, however experienced, learns from others. Dartington welcomes musicians of all ages, although people under 18 must be accompanied by an adult. What about performances? There are two or three concerts a day, given by the artists and tutors resident at Summer School. Some performances involve participants as well � notably that of the Summer School choir, which joins with the resident orchestra to give the penultimate concert of each week. Many courses offer the opportunity to perform informally at the end of the week. We will also be continuing our series of regular lectures and illustrated talks. Observers' tickets You do not have to book onto the Summer School to be able to sit in, watch and listen. Observers' tickets are sold in the main Summer School office and cost �8.00 per morning or afternoon session. How long can I stay for? Attendance at Summer School is for a week at a time � arriving on Saturday afternoon and departing the following Saturday morning. Prices are quoted per week, and you can stay for as many weeks as you want. Facilities There are various facilities available including practice rooms, a music library, computer room, bar, Wi-Fi areas, caf�, cinema, outdoor swimming pool and private Alexander Technique lessons. Please note that the cinema and Alexander Technique lessons are not included in the Summer School fee. What's included in the cost? � Full board accommodation (excluding camping and non-residential options: these options do not include food) � Courses and tuition � Performances and lectures Please see page 31 for accommodation options and rates. Prices listed are per person, per week. Sheet music and scores For some courses, music is provided. For others, you will need to obtain the music in advance or when you arrive. Full details will be included in the music list sent to all participants in June. Music shop During Summer School, Brian Jordan Music is based in the main courtyard, and sells a wide range of sheet music, including the repertoire for each week's courses. Music can be purchased on arrival, or you can order in advance (postage is free) by contacting: Brian Jordan Music, 10 Green Street, Cambridge, CB2 3JU. Tel: +44 (0)1223 322368. email: email@example.com How do the courses work? Courses are chosen when you book. You can work intensively at your specialism, or you can try a few different things and perhaps discover a passion for something entirely new. As well as participating you are encouraged to observe advanced classes. There will be a provisional timetable for each week available on our website: www.dartington.org/summer-school once bookings open. Please look at this timetable before making your course choices. Please see overleaf to get an impression of a day at Summer School. Please do call usus you have any questions, Please do call if if you have any no matter how trivial they may seem, on: questions, no matter how trivial they +44 (0)1803 847080 (0)1803 847080 may seem, on: +44 6 A Day at Summer School Participants spend their days studying and observing classes, and attend performances in the evening. There are four teaching sessions per day. 7 Session One 9.15am � 10.45am The first teaching session features the all-comers choir or orchestra. Masterclass students will receive a minimum of 45 minutes dedicated tuition during the week, in addition to what is learnt through observing each other within the group. Observing masterclasses is also a wonderful learning experience and all masterclasses are open to anyone to sit in and listen. Workshops are open to all abilities (grade 5 and above). We leave the exact structure of the course to the discretion of the tutor. This could involve a mix of working with each participant individually or with the group as a whole. Main Choir The Choir is the perfect morning wake-up call for those who want to raise their voices in song and learn a major work from scratch in less than a week. The choir is open to all and not auditioned. The course culminates in a public performance with orchestra in Dartington's historic Great Hall. Chamber Music We run a variety of chamber music courses, some structured, some more flexible. Most of the courses are open to pre-formed groups, as well as individuals looking to play with new people. All groups will have some opportunity for professional coaching. Please see individual course descriptions for further details. All participants intending to participate in chamber music MUST complete a chamber music form (found on the back of the centre-spread booking sheet) when booking. Orchestral Workshop / String Orchestra Like the choir, these tutti ensembles are un-auditioned and open to all instruments and abilities. These groups extend a warm welcome to everyone, and are perfect for those who fancy anything from Haydn to Grainger after breakfast. Other Courses These include vocal ensembles, chamber choir, gamelan, baroque dance, samba, jazz, beginners' composition and improvisation � to name but a few! Whilst most courses are open to everyone, there are also opportunities for students and emerging professionals to undertake more specialised courses (see page 29 for details). Session Two, Three and Four 11.15am � 12.45pm 2.00pm � 3.30pm 3.45pm � 5.00pm All other courses run at one of the above times although there are sometimes slight variations in start times and sometimes sessions run for longer than an hour and a half. Please take a look at our online course timetable before you make your booking. Evening Performances 5.15pm Performances, talks and illustrated lectures. 7.45pm & 10.00pm Evening concerts are given by the artists teaching at Summer School � inspirational musicians of international standing � as well as end of course student performances at the end of the week. Instrumental and Vocal Masterclasses and Workshops Professional tuition is offered in a wide range of vocal and instrumental disciplines � voice, wind, brass, strings, percussion, piano and piano accompaniment. However, not every instrument is represented each week, so please choose your week(s) carefully. Masterclasses are marked with a *. They aim at high technical standards suitable for those playing at above grade 8 level: students and emerging professionals. A brochure of performances is sent to all Summer School participants in June. Access to all performances is included in the Summer School fee for each week � you can attend as many events as you like. 8 1 21 > 28 July International Summer School 2012 Once again, the Summer School begins with an array of early music delights; welcoming back Emma Kirkby, David Miller and The Dufay Collective. Andrew Griffiths, known to us as a member of Stile Antico, is rapidly making a big name for himself as a conductor. He will join us in week one to direct the choir in a concert of French Baroque music. Old friends, Fretwork return to coach Viol Consorts, whilst soloists from the Retrospect Ensemble coach Chamber Music and Chris Bucknall begins teaching our two week long Baroque Dramatic Choruses course. We are also pleased to offer a very welcome return to the Balinese Gamelan course and of course Lewis Riley will once again be leading Jazz and Improvised Music. 9 One Week Courses Choir Director Andrew Griffiths Mondonville Dominus Regnavit (ed. Halliday/Le Concert d'Astr�e � hire only on arrival at Dartington) De Lalande Cantate Domino (ed. Sawkins, purchase only on arrival at Dartington) 1 Week 21 > 28 July Charpentier Te Deum in C major H. 145 (ed. Bartlett, The Early Music Company) Orchestral Workshop Director Rhiannon Evans The all-comers orchestra will explore French Baroque music from the 17th and 18th centuries. Pitch will be A440. Players of all levels are welcome. Chamber Music Coordinator Rhiannon Evans with soloists from the Retrospect Ensemble The chamber music course will offer one formallyorganised session each day. Each participant will be assigned to a group in advance, and suitable repertoire chosen depending on numbers and standards. Pre-formed groups are welcome to bring their own repertoire. Groups can get together informally at other times (when some coaching may also be available). If you wish to take part in this course, please complete the Chamber Music booking form with your application before 1 June, as places are limited. If you have any specific requests for pieces you would like to work on please mention these on the form and we will do our best to include them. You will be contacted with details of your group and suggested repertoire before the start of Summer School. Instrumental and Vocal Masterclasses and Workshops Dame Emma Kirkby voice** Andrew Watts voice Gail Hennessy baroque oboe* David Miller lute, theorbo and baroque guitar* Matthew Halls harpsichord Vocal Ensembles Director Sally Dunkley The golden age of English music: Elizabethan and Jacobean motets and madrigals. Small vocal consorts will be formed at the start of the week to work on both sacred and secular English music. Repertoire will include some of the pieces written cont... 10 Week 1 21 > 28 July after the death of Henry, Prince of Wales in 1612. A full repertoire list will be given in the final details in June. We will aim to form well-balanced and flexible groups, so please assess your vocal skills and sight-reading ability on the application form. and vocal music including early dance music and improvisation, songs for troubadours and pilgrims and early polyphony, secular and devotional. Viol Consorts Directors Fretwork Fretwork invite viol players with some experience of consort music to come and play music from all periods and all countries, ranging from the earliest music written for viols, through the great `golden age' of consort music in England, to transcriptions of Bach and finally to try some of the more straightforward contemporary music written in the last 20 years. Players will be grouped into viable consorts and can choose their own repertoire. Complete beginners can try the viol in two sessions during the week. Improve Your Sight Singing Director Rhiannon Evans Are you confused by clefs? Perplexed by pitches? Ruffled by rhythms? This course is open to all, but is aimed mainly at those who enjoy singing in the choir and other vocal activities, but are not fluent sightsingers (or maybe can't read music at all). It will cover all the basic elements of music notation (using English rather than European or American terminology), using various games and exercises to improve confidence in reading rhythms and pitching intervals. As the course is meant to complement the choir rehearsals, musical examples will be taken from the week's choir repertoire wherever possible. Early Brass: Trumpets and Trombones FULL TIME Directors David Staff & Emily White This course is for those who are interested in the history, development and playing of the late seventeenth, eighteenth and nineteenth century trumpet and trombone. Trumpeters will focus on trumpet ensembles, working without vent holes as much as possible. Trombonists will be looking at historical performance on period instruments encompassing five hundred years of the instrument's history. Playing will be as a trombone choir, and with individual lessons. This is the first week of Early Brass, and it is possible to attend just one or both weeks of this course. Bach on the Harpsichord Director Colin Booth An introduction to the harpsichord, the instrument and its playing techniques, for pianists who want to explore Bach's music. Participants should bring one or two rehearsed pieces from any of Bach's keyboard suites, plus another Bach piece of their own choice. Baroque Dance+ Director Sarah Cremer This course is open to all ages and abilities, and explores the dances of Rameau's opera Les Indes galantes. In close collaboration with the Baroque Orchestra, all instrumentalists will be invited to dance. Balinese Gamelan Banjar+ Director Saj Landey The wonderful Indonesian tuned percussion instruments of the gamelan vary widely in terms of the level of musicianship required to play them. The `banjar' in a Balinese village is the heart of the community, and the meeting place where gamelan practice takes place. This morning group is a wonderful start to the day, and is open to anybody, regardless of age or previous musical experience. The group will study a mix of ancient and modern gamelan pieces throughout the week. The course will culminate in a short, informal performance. Mediaeval & Renaissance Music `Al Manere Minstrelsy' Directors The Dufay Collective The Dufay Collective present their ever-popular course in early music from the 12th to the 16th centuries. Participants should bring their own instruments, be able to read music, and be willing to work in mixed ensembles. Existing groups and singers are also welcome. Individual and group coaching can be arranged directly with the tutors. Classes will cover medieval and early renaissance instrumental ensemble + These courses are suitable for those with little or no musical experience. * These classes are for advanced participants only. ** These courses are for advanced participants only and entry is subject to an application process. Please see page 29 for details. 11 Week 1 21 > 28 July Balinese Gamelan Examined Director Saj Landey This course is designed for those who have had experience of playing Balinese gamelan, and for music teachers who have an interest in world music. The course will focus on studying in depth a piece of modern Balinese gamelan repertoire, using this piece to examine Balinese gamelan structure and composition. Ideas for using gamelan music in the classroom will also be introduced for teachers on the course. This class is suitable only for those over 16 years old. Two Week Courses Baroque Dramatic Choruses Director Christopher Bucknall This course will run in parallel to the Advanced Opera course and will work on French Baroque repertoire and other complementary pieces. In particular it will work on Charpentier and the chorus for Act�on, leading to participants on this course forming the chorus for the Advanced Opera performances in week 2. This course is suited to confident singers and the chorus for the opera performances may be selected from within the main course group because of required chorus size. This course will also culminate in a performance, separate to the Advanced Opera. Beginners Composition Director Joe Cutler This course is suitable for musicians who are fluent in notation, but have little or no experience of composition. Participants will initially write for a solo instrument from within the group. These compositions will then be developed into chamber works performable by members of the group. Please bring your instrument if possible. We will look at a range of works written for solo instruments from Bach to Berio and Skempton, and we will also look at flexibly scored pieces such as Terry Riley's In C and Frederic Rzewski's Coming Together. Baroque Orchestra** FULL TIME Directors Nicolette Moonen & Jenny Ward-Clarke In Week 1 the Baroque Orchestra will work on an orchestral suite from Rameau's opera Les Indes galantes as well as repertoire for this week's concert. All participants will also take part in the Baroque Dance course with Sarah Cremer and learn to dance to the music of Les Indes galantes. Please note that this course is subject to a process of application - see page 29 for details. The Baroque Orchestra runs for two weeks, and participants may do one or both weeks. Deadline for applications: 23 April Jazz and Improvised Music FULL TIME Lewis Riley director and piano Peter Fairclough drums and percussion Kevin Figes saxophones Andy Hague brass Riaan Vosloo double bass Brigitte Beraha vocals Each day will start at 9.30am with an open workshop given by each of the tutors in turn, except on day one which will be a welcome meeting. 11.00am -1.00pm will be the full ensemble of students and tutors led by Lewis. The afternoon will include daily small group sessions (in preparation for informal student concerts) and sectional rehearsals, each led by one of the tutors. The week will also include a jazz tutor's concert and student jam sessions, culminating in a performance by the full ensemble on Friday evening. Advanced Baroque Opera** Charpentier: Act�on FULL TIME Director Tim Hopkins Musical Director Robert Howarth This is the first week of a two-week course designed for emerging professional and advanced student singers. Tim Hopkins and Steven Devine will give coaching on Charpentier's Act�on. Please note that this course is subject to an audition process, and participants must commit to both weeks. Please see page 29 for details. Deadline for applications: 16 March 12 2 International Summer School 2012 28 July > 04 August A new course for everyone that adds contrast to the overall early music theme is Dirty Electronics; an opportunity for those with no previous experience in this field, to make their own electronic instruments and create a piece during the week. We are really pleased that alongside many familiar names we welcome back Robert Murray and The City Musick who were both so popular last year. Pianist Ashley Wass, harpsichordist Maggie Cole and Ensemble Meridiana are at Summer School for the first time this week. Visual artist Terry Smith is also in residence, creating a site specific piece for the Great Hall. This week also sees the culmination of the Advanced Baroque Opera course with two late night performances also involving participants from the Baroque Dramatic Choruses course. 13 One Week Courses Choir Director James Weeks Bach BWV 130 Herr Gott, dich loben alle wir (B�renreiter BA10130) Bach BWV 236 Missa Brevis in G major (B�renreiter BA5185a) 2 Week 28 July > 04 August Bach BWV 21 Ich hatte viel Bek�mmernis (Carus 31.021/03) Orchestral Workshop Director Leigh O'Hara Haydn's symphonies are a core part of the orchestral repertoire but it tends to be the later works that are most often performed. This week's Orchestral Workshop will be exploring a few of Haydn's earliest examples including his Symphony No.1 in D major. These early works show Haydn's characteristic flair and originality and are scored for oboes, horns, strings and continuo but as always other instruments will be welcome. There will be an informal performance in the final session on the last day of the course. Chamber Music Coordinator Rhiannon Evans with Ensemble Meridiana Please see page 10 for course description. Instrumental and Vocal Masterclasses and Workshops Linda Hirst voice Robert Murray voice* Andrew West piano accompaniment* Ashley Wass piano Jill Kemp recorder Mark Radcliffe baroque oboe* Maggie Cole harpsichord* Vocal Ensembles: William Byrd, Sacred and Secular Directors Stile Antico This year the vocal chamber music course will take an overview of the works of one of England's greatest composers, William Byrd. We will look at a range of the wealth of stunning music available, from sacred to secular, from simple four-part madrigals to complex, large-scale motets. Participants will be divided into small groups, some one-to-a-part, and will work as chamber musicians under the guidance of members of Stile Antico. A booklet of the course repertoire will be available to buy at the beginning of the week. 14 Week 2 28 July > 04 August Improve Your Sightsinging Director Rhiannon Evans Please see page 11 for course description. Folk Music and Song Directors Emily & Hazel Askew Join Emily and Hazel Askew for a course exploring folk music from the British Isles. Hazel will be teaching songs and ballads, covering style and technique. Emily will focus on traditional dance music, guaranteed to get your toes tapping. This course will culminate in an end of week ceilidh where participants can play, sing or dance. Any instrument or voice is welcome. There will be an emphasis on playing by ear, and no previous experience of folk music is necessary. Bach on the Harpsichord Director Colin Booth An introduction to the harpsichord, the instrument and its playing techniques, for pianists who want to explore Bach's music. Participants should bring one or two rehearsed pieces from any of Bach's keyboard suites, plus another Bach piece of their own choice. Chatterbox FULL TIME Director Dominic Murcott During this course participants will explore their own voices as carriers of both cognitive and abstract information. Taking conversation as the starting point, and using sequencers to manipulate the material in ways that range from the subtle to the brutal, the aim is to create unusual and intriguing narratives that combine storytelling and sonic art. The results may exist as recorded installation pieces or works that are performed live with computer. There may also be a link up with John Richard's Dirty Electronics group. A sense of play (an important aspect of Dominic's teaching and artistic practice) will be balanced with the opportunity for participants to say something that really matters to them in a way they have never said it before. Participants will be expected to have experience working with sequencers such as Logic, Cubase, Ableton Live etc. The Topping Tooters of the Town: Music of the Waits Directors William Lyons and The City Musick This course will examine the wide range of music played by the Waits � the musicians par excellence who were employed in towns and cities from the 15th to the 19th centuries. The City Musick is an ensemble formed to perform this wonderful music and participants are invited to come and discover Waits repertoire on shawms, sackbuts, cornetts, curtals, recorders, bagpipes, hurdy gurdy and other sundry wind instruments. Players should be of reasonable standard and bring their own instruments. Existing ensembles are welcome. Early Brass: Cornetts and Sackbuts FULL TIME Directors David Staff & Emily White This week's course is for Cornett and Sackbut players, working on 16th and 17th century repertoire. The mornings are dedicated to Cornett sessions with David, whilst Emily works separately with the Sackbuts. Weather and daily schedule permitting, we will come together and play at lunchtimes and in the evening. Other performance opportunities will be found in the Summer School's evening concerts. This is the second week of a two week course. It is possible to attend one or both weeks. Early Brass will also spend some time working with The City Musick. Beginners and Intermediate Dirty Electronics+ Director John Richards This course is about exploring DIY electronic musical instrument building and performance. Dirty Electronics is all about getting the hands dirty in the process of making and playing electronic musical instruments. There will be a focus on `self-supporting' instruments: portable devices with their own built-in amplifier, battery powered, and hand-held with tactile controls. The idea of self-supporting will also be extended to explore a kinetically powered electronic musical instrument, and how the very essence of an electronic instrument, electricity, can be used to shape and control sound. + These courses are suitable for those with little or no musical experience. * These classes are for advanced participants only. ** These courses are for advanced participants only and entry is subject to an application process. Please see page 29 for details. 15 Week 2 28 July > 04 August The course is open to all, and will be split into a morning and afternoon session: the morning is for beginners and those who wish to dip in and out; the afternoon to develop and explore further instruments. No knowledge of electronics or previous experience at building electronic musical devices is needed. New works for small and large groups will be created by the participants throughout the week and presented in an end-of-course event. All participants will get to take their instruments home. Two Week Courses Baroque Dramatic Choruses Director Christopher Bucknall This course will run in parallel to the Advanced Opera course and will work on French Baroque repertoire and other complementary/relevant pieces. In particular it will work on Charpentier and the chorus for Act�on, leading to participants on this course forming the chorus for the Advanced Opera performances in week 2. This course is suited to confident singers and the chorus for the opera performances may be selected from within the main course group because of required chorus size. This course will also culminate in a performance, separate to the Advanced Opera. Creative Composition: Professional Development for Teachers Director Philip Cashian Secondary school teachers are invited to develop their skills in this week of practical composition workshops during which they will have the opportunity to focus on their own creative work. The course will engage with a creative approach to teaching and learning through giving teachers support in developing their own compositional skills, with time for evaluation, listening and reflection. Course leader Philip Cashian is Head of Composition at the Royal Academy of Music. Baroque Orchestra** FULL TIME Directors Steven Devine & Lucy Russell The Baroque Orchestra will perform Chapentier's Act�on in conjunction with the Advanced Baroque Opera course, as well as repertoire for this week's choral concert. Please note that this course is subject to an application process - see page 29 for details. This is the second week of a two week course. Participants can come for either one or both weeks. Deadline for applications: 23 April Advanced Baroque Opera** Charpentier: Act�on FULL TIME Director Tim Hopkins Musical Director Robert Howarth This is the second week of a two-week course designed for emerging professional and advanced student singers. Tim Hopkins and Steven Devine will give coaching on Charpentier's Act�on. Specialist vocal coaching will this week be provided by Robert Murray. Please note that this course is subject to an audition process, and participants must commit to both weeks. Please see page 29 for details. Deadline for applications: 16 March 16 3 04 >11 August International Summer School 2012 The heart of this string focused week is the all comers String Orchestra directed by Jonathan Morton and Sir Neville Marriner. We are delighted that the distinguished violinist and teacher Eberhard Feltz is with us to coach Advanced Chamber Music. We welcome newcomers Priya Mitchell, Garth Knox and Natalie Clein for their respective masterclasses and also welcome back the Barbirolli Quartet who will be coaching Chamber Music. Thea Musgrave is teaching composition and Ilan Volkov coaches the first week of the Advanced Conducting course. Pete Cooper returns with Folk and Sanju and Jaymini Sahai will be bringing a carnatic violinist with them to open their Indian Music course up to more string players. 17 One Week Courses Choir Director Stephen Cleobury Haydn Te Deum in C (OUP 978-0-19-336776-0) Haydn Creation Mass (B�renreiter BA4656-90) 3 Week 04 > 11 August String Orchestra Director Jonathan Morton With guest director Sir Neville Marriner The all-comers string orchestra will study Elgar's Serenade, Penderecki's Threnody and Tchaikovsky's Serenade working towards an end of week performance. Chamber Music Coordinator Becka Rickard with the Barbirolli Quartet PRE-FORMED ENSEMBLES To take part in a pre-formed ensemble, you MUST complete a chamber music form with your initial booking and indicate which session(s) you wish to play in. Places in pre-formed groups will be limited and filled on a first-come, first-served basis. You will be sent details of your ensemble in July. Please note that, unlike in previous years, each group will be free to choose their own repertoire, either from their personal collection or from the Summer School library. Coaching will be available for Sessions 2 and 3 only. `THE CHAMBER POT', 4-5pm The Chamber Pot is a daily informal gathering to play through a major work from the chamber music repertoire. Absolutely all are welcome, but you should be prepared to double-up or swap if necessary. SPONTANEOUS CHAMBER MUSIC In addition to the pre-formed ensembles, there will be notice boards and meetings where you can arrange your own informal group, with help from the chamber music team. Instrumental and Vocal Masterclasses and Workshops Joan Rodgers voice* Jessica Cash voice Daniel Adni piano* Helen Reid piano Priya Mitchell violin* Jonathan Morton violin Garth Knox viola Natalie Clein cello Graham Mitchell double bass 18 Week 3 04 > 11 August Chamber Choir Director Leigh O'Hara The Chamber Choir will be focusing on 20th Century English a capella music culminating in a concert at the end of the week. The choir will work on music from Thea Musgrave's On The Underground which are settings of poems published on the London Underground and somewhat resemble modern-day madrigals. Alongside this, the choir will also work on folk song arrangements by Ralph Vaughan Williams and Gustav Holst. These two composers were two of the greatest exponents of this kind of free arrangement and the results range from the humorous to the profound. The music for this course is demanding and there is a lot to cover in a short rehearsal time before the concert so is suited to experienced singers who are confident sight readers or quick learners. Auditions will be held on the first day straight after choir, after which there will be time to buy the music before the first class in the afternoon. Demystifying Indian Music and Dance Directors Sanju Sahai & Jaymini Sahai Indian music is traditional and modern, classical and contemporary, and has richness and depth in its melodies and rhythms. The course is led by internationally renowned tabla maestro Sanju Sahai, who is joined by Jaymini Sahai, who will be leading the Kathak Dance workshops. Together they will demonstrate and explore the intricate relationship between Indian classical music and dance. In this string focussed week Sanju and Jaymini are joined by Kala Ramnath, an outstanding violinist who has performed both Indian and western classical music. This course gives participants of all ages, backgrounds and levels an introduction to Indian classical music and the North Indian classical dance style called Kathak. This is a chance to appreciate and enjoy the tradition of improvisation, composition and rhythm. Indian classical music is raga based and the course will aim to cover at least one morning and one evening raga. Workshop participants are encouraged to bring their own instruments. Advanced Chamber Music: String Quartets** Director Eberhard Feltz This course offers a rare opportunity for one conservatoire student or emerging professional string quartet to receive professional coaching from Eberhard Feltz. Please note that this course is subject to an application process. Please see page 29 for full details. Closing date for applications: 13 April Gospel Choir Director Carol Pemberton Uplifting, harmonious, soul-stirring, challenging and fun all describe the power and appeal of the Gospel Choir sessions. These are led by Carol Pemberton � music director of internationally acclaimed a capella group Black Voices. The workshops will cover a range of black music traditions that influence and shape what today we call black Gospel. The course will culminate in a performance of some of the pieces covered in the week's sessions. Composition Director Thea Musgrave During this course participants will write music for one or two violins, imagining one is Angry and one is Peaceful, exploring the dramatic interaction between the two contrasting emotions: how will the different lines be affected by the interaction � will the emotion be exchanged or develop independently? During the course of the week participants will write short pieces which will be worked on, discussed and workshopped by players in daily sessions and performed at the end of the course. This course is suitable for experienced and competent composers interested in exploring this idea. English Roots: Fiddle & Cello Tunes, 1651 - 2012 Directors Pete Cooper & Richard Bolton Pete Cooper, fiddle, and Richard Bolton, cello and guitar, explore dance tunes � jigs, reels, hornpipes, waltzes � and other repertoire from the English folk tradition, as well as presenting their own original pieces inspired by it. Expect a relaxed, aural teaching method: those new to folk music and more experienced players are all welcome. + These courses are suitable for those with little or no musical experience. * These classes are for advanced participants only. ** These courses are for advanced participants only and entry is subject to an application process. Please see page 29 for details. 19 Week 3 04 > 11 August Introduction to the Viola d'Amore Director Garth Knox Garth will offer an introduction to and demonstrations on the Viola d'Amore for those with no previous experience of the instrument. He will also be very happy to give a masterclass to anyone already playing the instrument. Three Week Course Advanced Conducting** FULL TIME Director Ilan Volkov (Week 3) Nicholas Kraemer (Week 4) Pierre-Andr� Valade (Week 5) This course is a unique opportunity for advanced student and emerging professional conductors to work intensively with an orchestra under the direction of three different conductors, on repertoire for which they are renowned. This is an invaluable opportunity for conductors on the threshold of their professional careers. This course is subject to a process of application and audition, and participants must commit to all three weeks. Please see page 29 for full details. Closing date for applications: 16 March 20 4 11 > 18 August International Summer School 2012 This week has many opportunities for pianists; a workshop with William Howard, a masterclass with Stephen Kovacevich, a Jazz Piano course with Steve Lodder and a multi-piano class with Clive Williamson. We have a new course in Choro, a Brazilian music that offers something for guitars and mandolins, as well as other instruments. It's the first week of the Advanced Composition course with Detlev Glanert (to get a flavour of his music, you can catch the UK premiere of his opera Caligula at English National Opera in May). As part of our series of talks, and to celebrate his 80th year, Hugh Wood is here, and Midori will also give a special masterclass this week. Nicholas Kraemer continues the Advanced Conducting course. Markus D�unert's masterclass welcomes a group of students from Latin America, supported by the Summer School Foundation. 21 Booking Form Please read the booking information thoroughly on page 33 of this brochure. Country: Telephone number: Mobile number: Date of birth: Nationality: Please give details of any special dietary or access requirements: Please telephone Sophia Sheridan on +44 (0)1803 847077 if you would like to discuss any of these requirements in detail. Complete in BLOCK CAPITALS and return to: Sophia Sheridan, Dartington International Summer School, Space, Dartington Hall, Totnes, Devon, TQ9 6EN Do not complete this form if you are applying for financial assistance (see page 34 for details) APPLICANTS FROM OUTSIDE THE EUROPEAN ECONOMIC AREA must apply for a student visitor visa, a copy of which must be sent to the summer school office along with a copy of your passport before arrival at Dartington. PLEASE COMPLETE ALL SECTIONS How did you find out about the Summer School? Have you attended before? yes no [please tick] PLEASE PULL OUT Accommodation Required: Location 1st Choice: Location 2nd Choice: Room Type: Please tick: Week 1 (21 July � 28 July) Week 2 (28 July � 4 August) Week 3 (4 August � 11 August) Week 4 (11 August � 18 August) Week 5 (18 August � 25 August) (See page 31 of this brochure for details) Personal Details: Title: First name: Surname: Dartington International Summer School aims to reduce its paper waste wherever possible. We are committed to environmental sustainability and would like email to be our primary form of communication with you. Email address: Some larger communications will need to be posted to you. If you do not use email, this will be used for all your correspondence: Additional Information Please provide a copy of your student card and tick if you wish to claim your 10% student discount [please tick] Address for correspondence: Courses Please list the courses you would like to attend (up to 4 per week). A timetable will be available online in January. Please refer to this before making your booking. We cannot guarantee that you will be able to pursue all your chosen courses. Postcode: Please list course choices: Card: I wish to pay by Visa/MasterCard/Switch (Please note that we do not accept `American Express'). Please charge to my account both the deposit(s) and the final payment(s) for the booking(s) I have requested. My card number is: Name on card: If you want to observe, but not take part, please tick here: 1st instrument or voice type: Signature: Address: Standard E I A D [please tick � see below] Expiry date: Start date (Switch cards only): Issue no. (Switch cards only): 3 digit security code: For those using the above credit card facility, the balance due on 25 May will be shown on the booking confirmation letter that we send you. This amount will be charged to your account on or after 25 May. For cheque or bank transfer payments please ensure the balance reaches us before 25 May. International bank transfers: Please email Sophia Sheridan at firstname.lastname@example.org for details. 2nd instrument or voice type: Standard E I A D [please tick � see below] STANDARDS: E = Elementary (up to grade 5) I = Intermediate (up to grade 8) A = Advanced (above grade 8) D = Diploma (diploma standard) Please provide us with an honest assessment of your present standard. i.e. if you achieved a diploma some years ago but have not continued to play regularly you might grade your ability at Intermediate. Conversely if you have not followed a formal qualification route but have none-the-less studied and played at a high standard you might be Advanced. If you are unsure about your standard please contact us. Data Protection Information Statement Dartington International Summer School will use the information you have provided here for the purposes of administration and marketing. Dartington International Summer School is an activity of the Dartington Hall Trust. The Trust may, from time to time, wish to send you information on their other activities. If you would prefer not to receive this information, please tick the box If you have any query about the use we make of your data, please contact Jo McConville, The Dartington Hall Trust, The Elmhirst Centre, Dartington Hall, Totnes, Devon, TQ9 6EL Payment: I have read and understood the booking information on page 33 of the brochure, and accept this information on my own behalf and on behalf of all members of my party by whom I am authorised to make this agreement. Signed: Date: Cheque: I enclose my payment in pounds sterling for �: If you would like to support the Summer School by donating an additional amount on top of your booking fee, please include this with your total payment and indicate the amount below. I confirm that I am a UK tax payer and would like Dartington International Summer School to reclaim tax on this donation (please tick) Payable to Dartington International Summer School, being the deposit(s) for the reservation(s). � Thank you. Please note: Dartington International Summer School uses photographic images of Summer School participants in publicity and PR material. By submitting this form, you are giving your consent for these images to be used. Chamber Music Booking Form You MUST complete this form if you wish to take part in Chamber Music courses. Please read the descriptions in each week carefully, as the courses may vary. Please tick the type(s) of ensemble in which you would like to play: 3-5 players 6-8 players 9 or more players no preference [please tick] Please indicate whether you would prefer to play: 1st 2nd Do you prefer to play (in general): Baroque Music Standard Classical Music Romantic Works 20th Century Music As much variety as possible [please tick] [please tick] Details: Please complete this form as accurately as possible to help us group you with like-minded musicians. Name: Weeks 1 2 3 4 5 [please tick] To help in forming groups please indicate your level of experience playing in an ensemble: Confident and regularly play in ensembles Some ensemble experience but do get lost occasionally Little ensemble experience [please tick] Would you be happy to perform informally in front of other groups if the opportunity arose? yes no [please tick] 1st instrument or voice type: Standard E I A D [please tick � see below] 2nd instrument or voice type: Standard E I A D [please tick � see below] STANDARDS: E = Elementary (up to grade 5) I = Intermediate (up to grade 8) A = Advanced (above grade 8) D = Diploma (diploma standard) ) Please provide us with an honest assessment of your standard. Please indicate if you are coming as a pre-formed ensemble or are keen to play with particular applicants to the course. List your ensemble name (if available), and all relevant participants' names with the instruments they play. NB. For larger ensemble works music will be supplied, but please ensure that you bring scores & parts for pieces you particularly want to play. There will also be a selection of music available for you to borrow. Although the coordinators will do their best to group you according to the information above, please be aware that this may not be possible due to the responses of other participants. Please provide your email address: home and mobile phone numbers: This is so members of allocated groups can be put in contact with relevant tutors and each other before Summer School if necessary. For Week 3 Only Please indicate when you wish to do chamber music in a pre-formed ensemble: Session 1 Session 2 Session 3 Session 4 (Please check the website for an up to date timetable). Please note that your contact details will be sent out to the other players in your ensemble before Summer School in order to help you choose suitable repertoire. If you do NOT wish for your details to be known, please tick here For Week 5 Only I would like to take part in: Regular Chamber Music Wind Chamber Music with the Gallimaufry Ensemble Data Protection Information Statement Dartington International Summer School will use the information you have provided here for the purposes of administration and marketing. Dartington International Summer School is an activity of the Dartington Hall Trust. The Trust may, from time to time, wish to send you information on their other activities. If you would prefer not to receive this information, please tick the box If you have any query about the use we make of your data, please contact Jo McConville, The Dartington Hall Trust, The Elmhirst Centre, Dartington Hall, Totnes, Devon, TQ9 6EL Dartington International Summer School, Space, Dartington Hall, Totnes, Devon, TQ9 6EN Sophia Sheridan +44 (0)1803 847077 email@example.com www.dartington.org /summer-school Please note: Dartington International Summer School uses photographic images of Summer School participants in publicity and PR material. By submitting this form, you are giving your consent for these images to be used. PLEASE PULL OUT One Week Courses Choir Director Sian Edwards Berlioz L'enfance du Christ (B�renreiter BA5451-73) Orchestral Workshop Director Benjamin Ellin This week's course will focus on works by Percy Grainger and his contemporaries. Specific repertoire will be chosen in late spring to best suit the forces and instruments signed up for the course. This course will work towards an end of week performance. 4 Week 11 > 18 August Chamber Music Coordinator Barbara Sue White with The Callino Quartet Any one, at any level, may play in chamber music groups. Ensembles are formed at an initial chamber music meeting and through open sign-ups. Players select their own timetable and repertoire. Some people prefer to remain with the same group all week, whilst others participate in a variety of ensembles. If possible, please bring your own music stand and some chamber music, or borrow music from the Summer School Library. Coaches are often willing to play and coach from within groups, offering all participants, of every standard, the opportunity to play with professionals. For pianists who prepare a specific chamber music work, the coordinator will arrange a play-through. Coaching will also be available if desired. In addition, the early morning 9.15 am session will be solely dedicated to a daily, mass play-through of tutti works including the Mendelssohn Octet, Bach Brandenburgs, a Brahms Sextet, and Elgar Serenade. Instrumental and Vocal Masterclasses and Workshops Della Jones voice Stephen Varcoe voice* Stephen Kovacevich piano** William Howard piano Steve Lodder jazz piano Markus D�unert violin** Daniel Pioro violin Lowri Blake cello Peter Buckoke double bass John Harle saxophone N.B. John Harle will take a masterclass and a workshop. 22 Week 4 11 > 18 August Chamber Choir Director Benjamin Ellin and Stephen Varcoe This week's chamber choir will focus on songs by Grainger. Benjamin Ellin will direct the course, while Stephen Varcoe who has a wealth of experience performing Grainger's songs will offer additional coaching. The music for this course is demanding and there is a lot to cover in a short rehearsal time before the concert so is suited to experienced singers who are confident sight readers or quick learners. Auditions will be held on the first day straight after choir, after which there will be time to buy the music before the first class in the afternoon. Songs from the Musicals Director Robert Purvis This course, aimed at singers of all abilities and experience, will take a boisterous journey through the world of musical theatre. We will focus on a particular musical, looking at chorus and solo numbers and show structure. This course will culminate in a performance with opportunities for solo numbers as well as choruses. Write an Opera Directors Royal Opera House Write an Opera is a professional development programme for teachers. It equips teachers with the skills, resources and knowledge to support students' learning across the curriculum through the arts and creativity. Following this intensive residential course, teachers lead in-school projects in which students devise and stage their own opera from scratch. For more information and to request an application form, please contact the Royal Opera House Education Department on firstname.lastname@example.org or call 020 7212 9410. Advanced Chamber Music: Piano Trios** Director Stephen Kovacevich This course offers a rare and invaluable opportunity for piano trios � of advanced student or professional standard � to receive a week's intensive coaching from internationally renowned pianist Stephen Kovacevich.Please note, this course is subject to a process of application. Please see page 29 for details. Closing date for applications: 13 April Choro Director Jo�o Bosco de Oliveira Choro is a Brazilian instrumental tradition, a kind of Brazilian interpretation of the Polka world. It evolved at the end of the 19th century but is still very popular in Brazil. It is a style of music that relates to virtuosity in the part of the soloists and it has close links with classical or art music. The instrumentation is mainly acoustic guitar, cavaquinho (a kind of ukulele), mandolin, clarinet, flute and percussion but it can also be played on other string instruments. The soloists could also be trombone, saxophone and trumpet. Multi-piano Class Director Clive Williamson This course is designed for individuals (though groups are welcome) who would like to play piano pieces written for more than two hands. The repertoire will include the core repertoire for piano duet (two players at one piano) as well as two-pianos and multiple-piano repertoire. Repertoire will include Percy Grainger, Ravel/Grainger, Feldman, Gottschalk and more and will be suited to participants around Grade 8 standard. Improvisation Director Daniel Pioro This daily improvisation session is suitable for confident, competent players of any instrument or voice-type, who wish to lend their skills to this specific art form. It is also an ideal opportunity for classical players to have a first go at free improvisation. The only requirement is imagination. Samba+ Director Jo�o Bosco de Oliveira Discover the rhythmic secret of Samba, the most popular Brazilian style of music. The course is percussion based and looks at the rhythmic concept of Samba and the interlocking layers of patterns of different percussion instruments with its corresponding techniques. The result will be an energetic ensemble on the mold of the Samba parading Carnival groups from Rio de Janeiro. + These courses are suitable for those with little or no musical experience. * These classes are for advanced participants only. ** These courses are for advanced participants only and entry is subject to an application process. Please see page 29 for details. 23 Week 4 11 > 18 August Alexander Technique for Instrumentalists Director Peter Buckoke This daily group Alexander course will deal predominantly with how to apply the technique to playing your instrument. You will develop your understanding of all the basic elements of the technique. There will be some `hands on' experience given by the teacher. Everyone will play to the group and be given personally tailored Alexander strategies. Two Week Course Advanced Composition** FULL TIME Director Detlev Glanert Detlev Glanert will lead daily seminars on composition for a selected number of advanced students and professional composers. In the second week, pieces written on the course will be rehearsed for performance by the Composers Ensemble. This course is subject to a process of application, and participants must commit to both weeks. Please see page 29 for full details. Closing date for applications: 16 March Alexander Technique for Singers Directors Judith Kleinman These introductory classes to the Alexander Technique for singers will work with the principles of the Alexander Technique applied to voice work and singing. Theory, anatomy and hands on work will combine to give the participants a good working knowledge of Alexander's ideas and ways of applying them to looking after ourselves and our students whilst singing. The emphasis will be on vocal ease, good practice and confident communication in performance. There will be group singing as well as solo work. The classes in the morning will be ideal for all singers, the emphasis in the afternoon classes will be on teaching singing with the Alexander Technique in mind. Three Week Course Advanced Conducting ** FULL TIME Director Ilan Volkov (Week 3) Nicholas Kraemer (Week 4) Pierre-Andr� Valade (Week 5) This week is directed by Nicholas Kraemer. This is the second week of a three week course. This course is subject to a process of application and audition. Please see page 29 for full details. Closing date for applications: 16 March Recording Production and Live Electronics in Contemporary Music Director Moritz Bergfeld This course will look at the principles of musical, room and instrument acoustics in the context of Contemporary Music recording. Both practical and seminar sessions will look at the aesthetics of Contemporary Music recording and applying this to the use of electronic music in Contemporary composition as well as live performance and practical aspects such as microphone characteristics, placements and mixing methods. This course is suited to students of recording techniques and engineering and those with an interest in recording or performing their own and others' Contemporary Music with or without electronics. N.B. There will also be a daily seminar session suited to those who are simply interested in having a greater understanding of this invaluable area of work. 24 5 18 > 25 August International Summer School 2012 Wind, brass and percussion all come together in this final week with the return of the immensely popular Gallimaufry Ensemble, a huge orchestral workshop project directed by Stephen Dummer, the Tea Dance Band, Salsa Band and a new Salsa Dance course. Barrie Gavin is here for part of this week (and some of week 4) sharing with us more of his incredible films and anecdotes. Both Finding your Voice; a new course with Jessica Cash aimed at improving your singing and Richard Benjafield's African Drumming course are open to all. Pierre-Andr� Valade coaches the final week of the Advanced Conducting course, oboist Nicholas Daniel returns and James Gilchrist teaches here for the first time: Opportunities for both advanced students and observers not to be missed! 25 One Week Courses Choir Director David Angus Dvo�k Stabat Mater (Novello NOV 072503 ed. Pilkington) Orchestral Workshop Director Stephen Dummer The Orchestral Workshop this week will study Nielsen 2nd Symphony continuing our focus on Percy Grainger, a selection of his shorter pieces - Shepherd's Hey, Early One Morning, Mock Morris and others, some of which will be performed in a Grainger concert at the end of the week. 5 Week 18 > 25 August Chamber Music Coordinator Barbara Sue White with Quatuor Diotima See page 22 for course description. Wind Chamber Music Directors Gallimaufry Ensemble Players will be put into wind ensembles of a similar standard each day, from trios to 13-wind, covering a wide range of repertoire and working on all aspects of chamber music, such as ensemble, intonation, leading and following, balance and musical interpretation. The course is open to flutes, oboes, clarinets, bassoons and horns from Grade 3 to diploma, with coaching every day from the five members of the Gallimaufry Ensemble. Pre-formed wind ensembles are also invited to apply and will be given the opportunity to spend the week working intensively together with coaching. Instrumental and Vocal Masterclasses and Workshops Lee Bisset voice James Gilchrist voice* Martino Tirimo piano* Ian Brown piano Alexandra Wood violin Adrian Bradbury cello Louisa Sparks flute Nicholas Daniel oboe* Holly Randall oboe David Campbell clarinet* Peter Sparks clarinet Shelly Organ bassoon Alexia Cammish french horn Paul Archibald trumpet Graham Lee trombone Richard Benjafield percussion* 26 Week 5 18 > 25 August Chamber Choir Director Peter Selwyn This week's chamber choir will study Messiaen O Sacrum Convivium, Ravel Trois Chansons, Debussy Trois Chansons de Charles d'Orl�ans and the 1970 Summer School commissioned John Tavener Nomine Jesu. The music for this course is demanding and there is a lot to cover in a short rehearsal time before the concert so is suited to experienced singers who are confident sight readers or quick learners. Auditions will be held on the first day straight after choir, after which there will be time to buy the music before the first class in the afternoon. Salsa Band and Salsa Dance Director Jo�o Bosco de Oliveira The Salsa Band is open to all instrumentalists of Grade 5 and above, with some spaces for singers. The course will take a riotous tour through the many aspects of Salsa, a musical style popular all over Latin America, the United States and of course Cuba, the place where it sprang from. Participants will learn a host of salsa standards, and will be putting their new found skills to use at the end of the week when they play for the Salsa Ball. There will also be a Salsa dance course to accompany this class. Two Week Course Advanced Composition** FULL TIME Director Detlev Glanert The second week of a two-week course. Please note that entry to this course is subject to a process of application. See page 29 for details. Closing date for applications: 16 March Tea Dance Band Director Stephen Dummer A tea-time rehearsal slot for the tea dance band. Every afternoon, a warm invitation is extended to all instrumentalists to join the Tea-Dance band. The course will concentrate on rehearsing popular light music which will form the soundtrack for Dartington's legendary end-of-week Tea Dance. Brass Ensemble Directors Paul Archibald and Graham Lee The course will look at a range of repertoire for brass and timpani by Richard Strauss including Festmusik der Stadt Wien, Wiener Philharmoniker Fanfare and Feierlicher Einzug. Three Week Course Advanced Conducting** FULL TIME Director Ilan Volkov (Week 3) Nicholas Kraemer (Week 4) Pierre-Andr� Valade (Week 5) This week is directed by Pierre-Andr� Valade. This is the third week of a three-week course. Please note that entry to this course is subject to a process of application and audition. See page 29 for details. Closing date for applications: 16 March African Drumming+ Director Richard Benjafield This course will explore traditional drum rhythms from Ghana and Senegal, both hand drumming and sticks. No previous experience necessary (although useful), just enthusiasm! Finding Your Voice+ Director Jessica Cash A course for singers who truly want to express themselves through their voice. Working with the group as a whole Jessica will identify and address common issues around the body, flow of energy and tension. Participants will be encouraged to understand singing as a mental, spiritual, emotional and physical activity. The aim of the course is for everyone to improve their knowledge and love of singing. + These courses are suitable for those with little or no musical experience. * These classes are for advanced participants only. ** These courses are for advanced participants only and entry is subject to an application process. Please see page 29 for details. 27 28 Advanced Courses We pride ourselves on offering high-quality, intensive, residential training for music students and those on the threshold of their professional careers. Some instrumental, vocal and ensemble classes are aimed specifically at advanced level students, or emerging professional musicians. These are marked with a single or double * in the brochure. Courses marked * are not selected and can be booked onto by completing a booking form or a financial assistance form. Those marked ** are subject to selection and are detailed on the following pages. Please note the different closing dates for each course. Baroque Orchestra � Weeks 1 - 2 The Baroque Orchestra course runs for two intensive weeks and is full time. The course offers expert tutelage from some of Europe's leading period instrument players, as well as baroque dance instruction (Week 1 only), and is aimed at advanced student and emerging professional musicians. Students may attend for either one or both weeks. The Baroque Orchestra is a period instrument group, and accompanies the main Summer School choir for the main choral concert each week. This year, the Baroque Orchestra will accompany the Advanced Baroque Opera for two performances of Charpentier's Act�on (Week 2 only). Closing date for applications: 23 April Advanced Baroque Opera � Weeks 1 - 2 The Advanced Baroque Opera course is an invaluable opportunity for singers on the threshold of their professional careers. Students can expect to receive intensive, high-quality training on a major work. This year, Tim Hopkins and Robert Howarth will offer coaching on Charpentier's Act�on. This coaching will be supplemented in Week 2 with specialist tuition from leading English tenor Robert Murray. The course culminates in two performances with orchestra. Advanced Baroque Opera participants work in close collaboration with the Baroque Orchestra, and shortlisted applicants must be available for audition in London in May. Closing date for applications: 16 March Advanced Conducting � Weeks 3 - 5 This full-time, three week intensive course offers a limited number of places to advanced student and emerging professional conductors. In its history, the course has welcomed many distinguished young professionals, as well as alumni drawn from some of the world's top conservatoires. Conductors work intensively on orchestral repertoire with a different conductor each week: in Week 3 Ilan Volkov, in Week 4 Nicholas Kraemer, and in Week 5 Pierre-Andr� Valade. There will be opportunities for students to conduct orchestral concerts in Weeks 4 and 5, concentrating on the repertoire on which the directors are respected authorities. Students must be available for all three weeks of the course. Closing date for applications: 16 March 29 Advanced Composition � Weeks 4 - 5 This two week, full-time course is particularly suited to student and emerging professional composers. There are a limited number of places available, and as with the other advanced courses, the standard is very high. This year, six students will be selected to study with Detlev Glanert. In the second week, pieces written on the course will be rehearsed for performance by the Composers Ensemble. The course will culminate in a concert of works composed during the two weeks. Participants must commit to both weeks of the course. Closing date for applications: 16 March Applying for Advanced Courses Please submit: � Either a booking form with deposit OR a financial assistance form (see page 34 for details) � Curriculum Vitae � A covering letter � Tutor's reference � A recording of two contrasting pieces on CD, or mp3 via email only. Please label clearly and check this plays before you send it. If you need your CD returned, enclose a SAE with the correct postage attached. Envelopes with insufficient postage will not be returned. Please note: Advanced Conducting students need not submit a recording. Advanced Composition students must submit two scores, along with corresponding recordings. They need not submit recordings of themselves playing. All applications should be submitted via email or by post. Email applications should be sent in as few emails as possible. Postal applications should be sent in a single envelope to: Lisa Buckby, Dartington International Summer School, Space, Dartington Hall, Totnes, Devon,TQ9 6EN Tel +44 (0) 1803 847083 email@example.com Instrumental and Vocal Masterclasses and Workshops � Weeks 1 4 Dame Emma Kirkby Week 1 Closing date for applications: 16 March Stephen Kovacevich Week 4 Closing date for applications: 13 April Markus D�unert Week 4 Closing date for applications: 13 April 30 Summer School Fees Charges are shown per person per week. Fees paid by participants contribute toward full board accommodation and the cost of the artistic programme. To meet the full cost of the Summer School (over �820,000 per year) The Dartington Hall Trust raises over �125,000 per year, also enabling us to offer over 200 exceptional students and musicians bursaries to attend. We are very grateful to the individuals, Trusts and Foundations who contribute to this amount, in particular the Friends of the Summer School at Dartington and the Dartington International Summer School Foundation. The Summer School no longer receives any public subsidy, so we are extremely grateful to all those who support us. The average subsidy for each person attending the Summer School is �125: if you would like to contribute toward this please let Sophia know at the time of booking. Mediaeval Courtyard Deluxe Double �1,520 (limited availability) Ensuite �1,360 Private �1,200 Shared �1,050 Set around the beautiful Medieval Courtyard of Dartington Hall are 51 unique bedrooms, including single, twins, doubles, and suites furnished to offer a superb mix of heritage and comfort. Rooms are available with ensuite, private or shared bathrooms. Broadband is accessible in the East Wing bedrooms and wireless broadband is available in the lounge area of each wing. Meals are taken in The White Hart dining room adjacent to the cosy White Hart bar. For more information on rooms please phone us or check www.dartington.org/stay Higher Close Single �850 Higher Close consists of 3 buildings, Hening, Perry & Albemarle. All rooms are good sized, single, simple and functional with integral sinks and shared bathroom facilities. Higher Close is located just outside the Medieval Courtyard, has a pool and is only two minutes walk from The Great Hall. Higher Close has its own dining room for residents which overlooks the pool and a beautiful Devonshire meadow. The Postern Single, Double, Twin �750 A choice of single, double or twin rooms in conventional college halls of residence, (plus a flat for family groups). Rooms are simple and functional with integral sinks and shared bathroom facilities, adjacent to a beautiful historic manor house where you will find the cosy, inviting dining room and lounge. Residents take breakfast and dinner at the Postern, and lunch in the Higher Close dining room. The Postern is situated about one mile from the central Courtyard making it ideal for walkers and cyclists. A mini-bus service is provided for residents who prefer to save their energy for classes and concerts. 31 Foxhole White House Single, Twin �650 (limited availability on twin rooms) Foxhole White House is approximately a 10 to 15 minute walk from the Medieval Courtyard, using the driveway and hall gardens. The majority of the rooms are single and there are a limited number of twin rooms available. The rooms are basic with integral sinks, carpeted floors, double glazed windows and shared bathroom facilities. Continental breakfast is provided at Foxhole, lunch and dinner are taken at Higher Close. Residents of Foxhole White House have access to the large internal courtyard garden. Please bring a torch for the walk back after the late night concerts. Meals, tents and caravans are not provided, however the site does have a barbeque which can be used by all campers. A book exchange can also be found in the communal marquee. Please bring your own torch and wellington boots in case of rain. Non-resident Booking Adult �450 Child (5-12 years) �225 Foxhole Courtyard Single, Twin �600 (limited availability on twin rooms) Basic single rooms (some twins available) with wooden floors, sash windows and shared bathrooms. Continental breakfast is provided at Foxhole, with other meals being taken at Higher Close. Foxhole is ideal for those on a budget and has a social atmosphere with large kitchens and an internal courtyard garden. The Foxhole building is a ten to fifteen minutes walk up the driveway and through the landscaped gardens. Please bring a torch for the walk back after the late night concerts. Non-resident passes are available for those that wish to attend but who do not require accommodation. The non-resident fee covers up to 4 classes of tuition or observing per day and all concerts for the week of booking. Meals are not provided but it is possible to purchase food at the Roundhouse Caf� or The White Hart bar. Please check our local Tourist Information web site for details of local accommodation: www.totnesinformation.co.uk Children and Young People Young people under 18: must be accompanied by a parent, guardian or responsible adult (aged 18 or over). Child 3 -12 years: 10% discount for child sharing with parent(s). This increases to a 50% discount if the child sleeps on a Z-bed. Children under 3 years: free of charge. Please contact us on +44 (0)1803 847077 if you require a cot. On-site Tented Village Adult �550 Child (5-12 years) �275 Come and stay in our Tented Village, in the campsite situated by the Aller Park studios, just a short hop from all of the classes and concerts. Tents and camp beds are provided but you will need to bring your own sleeping bag, extra bedding and towels. Toilets and showers are located nearby. All meals are provided and taken at our Higher Close dining room. Please bring your own torch and wellington boots in case of rain. Students There is a 10% discount for students in full-time education or for those with a valid student card. Please present a copy of your card at the point of booking. Parents & Guardians If you need to accompany a young person under 18, but do not intend to participate in Summer School yourself, please contact Sophia Sheridan to discuss on +44 (0)1803 847077. Camping �500 (�450 for second person on the same pitch) Child under 5 free, 5 -12 years �225 The campsite is set in a sheltered field close to the Aller Park studios, where toilets and showers can be accessed. Camping is the ideal option for family groups with fees charged only for those participating. Remember, Fees cover all courses and concerts, and Residential Fees include all meals and accommodation. 32 How to Book � Select the week(s) and courses you wish to participate in. � Choose your area of accommodation. Remember that prices listed include: Accommodation and all meals starting with dinner on the day of arrival and ending with breakfast on the day of departure (excluding non-resident and campers). There is no Saturday lunch. Attendance at all performances, courses and lectures during the period booked. When a concert auditorium is filled to capacity, no guarantee of a seat is given. Contact Details Sophia Sheridan, Dartington International Summer School, Space, Dartington Hall, Totnes, Devon, TQ9 6EN +44 (0)1803 847077 www.dartington.org/summer-school Payment � Deposits of �100 per person per week should accompany your initial booking. This is not necessary if you are applying for a bursary. � Deposits are returnable (less �50 handling charge per person) if bookings are cancelled before 2 April. � Deposits will not be returned after this date unless the chosen accommodation or course cannot be provided. � The balance of fees is due on or before 25 May. � If you have paid your deposit by card, we will automatically take the remaining balance from the same card on or after 25 May unless you have already paid, or you notify us of your intention to pay using a different method. � No refunds can be made after the 25 May, and any reserved accommodation not paid for in full by this date will be re-sold. We strongly recommend that you take out insurance to cover cancellation costs. Access Information We are committed to making Summer School as accessible as possible. All performance spaces and most teaching spaces are wheelchair accessible, as are some bedrooms in the main courtyard. Mobility buggies can be ordered through Sophia Sheridan at the point of booking. An induction loop is available in the Great Hall and Barn Theatre, and access dogs are welcome on the estate. � Complete your booking form in hard copy or online, or call Sophia Sheridan if you wish to book by telephone. Please note: at busy times it may take a couple of weeks for your booking to be processed. Regardless of booking method, your booking, accommodation and courses are not confirmed until you receive a letter or email to this effect and all bookings are processed in the order in which they are received. Please let us know at the time of booking if you have any special access requirements. 33 Financial Assistance Dartington International Summer School is committed to supporting and nurturing deserving musicians of any age and any stage of their musical development. Bursaries You don't have to be a student to apply for a bursary. We welcome applications from deserving musicians from all walks of life, be they students, retired, or on a low-income. Bursaries can provide up to 90% of the full cost (fees, accommodation and meals) for participants staying in Foxhole accommodation. The number of awards is limited so please investigate all other funding and sponsorship sources. Application Process Download an application form from www.dartington.org/summer-school/ financial-assistance Please complete in full and return to us along with: � Covering letter telling us why you need financial assistance, and why attending Dartington International Summer School would be beneficial to you. � CV outlining your musical experiences and qualifications � Tutor's reference referring to your musical ability, potential and progress. � Recording of two contrasting pieces on CD or mp3 via email only. Please label clearly and check this plays before you send it. If you need your CD returned, enclose a SAE with the correct postage attached. Envelopes with insufficient postage will not be returned. � Passport sized photograph securely attached to the form with your name written clearly on the back. Electronic submissions should be an original digital image or a high quality scan. All applications should be submitted either via email, or by post. Email applications should be sent in as few emails as possible. Postal applications should be sent in a single envelope to: Participants With Disabilities In addition to applying for personal bursaries, participants with disabilities can apply for bursaries to help cover the cost of their helpers while at the Summer School. For further information, please contact Sophia Sheridan on: +44 (0)1803 847077 Lisa Buckby, Dartington International Summer School, Space, Dartington Hall, Totnes, Devon, TQ9 6EN +44 (0)1803 847083 firstname.lastname@example.org Applications must reach Dartington by Friday 13 April. LATE / INCOMPLETE APPLICATIONS, OR RECORDINGS IN AN INCORRECT FORMAT WILL NOT BE ACCEPTED 34 Further Information Whether or not you've been to the Summer School before, do remember that you can always call us on: +44 (0)1803 847080 if you have any questions. 35 After Booking Once your booking and deposit have been processed you will receive a letter or email confirming your accommodation and course bookings. You will then receive a final details letter, with a copy of the concert brochure, at the end of May. This will include information on arrival times, practical details, facilities, music that you will need to hire and purchase and how you can do this. If you book after the end of May, we will send final details to you with your confirmation letter. You will also receive further information on arrival, including site maps, how to book practice rooms, emergency numbers and meal times. Please remember you can email or call us at any time if you have any questions. Getting Here Travel, particularly via London, may be affected during the first three weeks of the Summer School that coincide with the Olympic Games. We therefore advise you book as early as possible. Dartington is just over a mile from Totnes station which is under 3 hours by rail from London Paddington, and on the main train line for the north of England and Scotland. Exeter and Bristol are the closest airports, and you can reach Totnes by taking an airport bus and train. A coach will be provided to meet the train arriving in Totnes at around 4pm; the exact timing will be available in our final details letter, but please do not wait for this to book your train ticket. Once again, please do get in touch if you have any questions. Reminders The course timetable is available online, if you don't have access to the internet, just give us a call. Masterclasses are open to observers, please take advantage of this opportunity. We have over 30 pianos on site and studios or practice rooms can be booked on a daily basis. You can sign up to our email list to stay up to date with news from the Summer School by visiting: www.dartington.org/signup You can also follow us on: 36 Volunteer at Summer School The Summer School relies on a large number of volunteers to help make the courses, performances and accommodation arrangements run smoothly. 37 House Parents House Parents are based in each of the residential areas, and make sure that Summer School attendees are well looked after. While House Parents have the time to participate in courses, they should consider themselves on duty at all times. Duties differ from area to area but may include anything from driving the Summer School minibus to registering late arrivals. House Parents receive all accommodation and food for their stay. House Parents MUST: � have attended the Summer School previously � be at least 21 years old In addition, the Postern House Parents must have a D1 category on their driving licence and be at least 25 years old so that they can drive the minibus. food during their stay. Although Trogging is extremely rewarding and good fun, the work is demanding both physically and mentally, so please consider carefully before choosing to apply. � Suggested minimum age: 21 � Must have musical knowledge to at least A-level standard or equivalent � Applicants whose first language is not English must be completely fluent in English � Full driving licence is highly desirable � Computer literate Please note that in Week 5, Trogs will be required to stay until the afternoon of Sunday 26 August. An application form for all placements is available online. Applications should be received by 4 May. Stewards Stewards provide the front-of-house operation for all Summer School performances. Duties include selling programmes and tickets prior to events, checking tickets and the evacuation of performances in an emergency. Stewards are the public face of performances and are responsible for ensuring high levels of customer care. Stewards are charged �75 towards their accommodation and food. In return for their work they have the opportunity to take part in Summer School courses when duties allow. � Minimum age: 21 � Applicants must be physically fit � Experience of customer service / stewarding is highly desirable � Knowledge of Health and Safety and First Aid procedures is desirable For further information, please contact us on 01803 847080 or email@example.com Trogs Trogging is considered excellent experience for those interested in careers in arts administration. Trogs acquire a privileged knowledge of the ins-andouts of running a major festival, and many former Trogs have found their way into some of the most acclaimed arts institutions in the country. Sir Nicholas Kenyon CBE (Managing Director of the Barbican Centre and formerly Director of the BBC Proms) began his career as a Trog. A Trog's role is to look after artists, stage manage concerts, and run the Summer School office. Duties include setting up spaces for courses and events, artist liaison, back stage performance management, writing programmes, running hospitality, moving pianos and harpsichords, page turning... and anything else that needs to be done! Customer care is paramount, and trogs provide a first point of contact for both artists and participants who visit the Summer School office. Due to the long working hours, Trogs are unable to take part in courses, but do receive accommodation and 38 About Dartington The Summer School is a department of The Dartington Hall Trust, a pioneering charity and place of experiment, education and enterprise, where the arts, sustainability and social justice come together. 39 The Dartington Hall Trust The Trust has a rich heritage as the home of the `Dartington Experiment': an inspirational project founded by Leonard and Dorothy Elmhirst in 1925 that included rural regeneration, progressive education and creative endeavour. Within a few years, Dartington was a centre of educational and agricultural innovation and a magnet for artists from around the world, who saw Dartington as the ideal environment to conceive, develop and test promising ideas. This extraordinary heritage of creative activity has developed and inspired a distinctive culture that underlies the spirit of Dartington. The next few years are key for Dartington and will see rapid expansion in our three charitable areas, with a significant investment of �15 million over five years. To find out more about how we're expanding and our year-round charitable work in the arts, social justice and sustainability, visit: www.dartington.org/about, sign up for our monthly e-bulletin at: www.dartington.org/signup or call 01803 847026. Anthony Steen Paul Strang Michael Johnson (Company Secretary) John Maddox (Treasurer) Jeremy Wilson (Archivist) Friends of the Summer School at Dartington (FOSSAD) FOSSAD is the membership scheme for individual supporters of the Summer School. The minimum subscription is �35 per year. Individual support upholds our programme while monies from subscriptions are used to support young musicians in their pursuit of musical careers. Each year, during the five weeks, members are invited to attend the Friday drinks receptions, to socialise with old Friends and new, and to witness firsthand the results of their continued commitment to the Summer School. Members also receive Resonance, the popular bi-annual newsletter. In 2012 the fundraising team will be working to raise approximately �125,000 to support the Summer School. This annual requirement is met with grants from Trusts and Foundations, Corporate sponsorship and support from the many loyal individuals who recognise the need for their charitable donations. If you have any questions, would like to join FOSSAD, or if you are already a member and would like to increase your subscription, please contact: The Fundraising Team on: +44 (01803) 847008 or email: firstname.lastname@example.org Trustees Sir David Green KCMG (Chairman) Gay Cranmer Liz Firth Sir Nicholas Kenyon Patricia Williams Peter Mather Dame Jo Williams Rob Sexton Dartington International Summer School Foundation The Foundation is an independent charity dedicated to supporting the Summer School. The Trustees are passionate about encouraging and enabling brilliant young musicians to attend, supporting the commissioning and producing of exceptional artistic projects and are dedicated to the long term development of the Summer School. The Foundation achieve these aims through fundraising for bursaries and artistic projects and by developing an endowment to allow the Summer School to flourish into the future. If you share our aims and would like to support the Foundation please do let us know by contacting the main summer school office. Dartington International Summer School is a member of: British Arts Festivals Association (BAFA) European Centre for the Promotion of New Music (ECPNM) Incorporated Society of Musicians (ISM) Trustees Marcus Davey (Chairman) Richard Creed Judith Jackson Gareth Keene Sir Nicholas Kenyon CBE Sir Humphrey Maud David Sigall 40 Thank You... We would like to extend our thanks to all the businesses, organisations, trusts and individuals that supported the 2011 Dartington International Summer School. These included: Andrew Hayman Anglo-Austrian Society Ann Barber Arts Council England Bruce Wake Charity Catherine Meek Central School of Speech and Drama Colin Booth Early Keyboard Instruments D'Addario Music Foundation Dartington International Summer School Foundation Diaphonique Ernest Rainer Bequest Esther Salaman Memorial Fund for Singers Etain Todds Ewen Balfour Bequest Friends of the Summer School at Dartington Helen Roll Charity Ingpen & Williams Ltd Joan Haward Kenneth Counter KET Charitable Trust Matthew Hodder Foundation Michael Johnson Michael Tillett Bequest Mirhane McLaren-Howard Mr and Mrs F Nichols Mrs W Godfrey Payton Trust Music Sales Charitable Trust Pennon Group PRS Foundation Richard Creed Richard Gardner Royal Opera House Royal Overseas League Steinway & Sons The Andor Charitable Trust The Barbara Whatmore Charitable Trust The Behrens Foundation The Daphne Oram Trust The Dartington Hall Trust The Deakin Charitable Trust The Derek Hill Foundation The D'Oyly Carte Charitable Trust The Eleanor Barton Trust The Elmgrant Trust The Eversley Charitable Trust The Exeter & District Classical Music The Fidelio Charitable Trust The Gavin Henderson Bursary Fund The Harold Hyam Wingate Foundation The Leverhulme Trust The Millichope Foundation The Nicholas Boas Charitable Trust The Radcliffe Trust The RVW Trust The Thistle Trust The Wakefield Trust TL Trust Trinity College of Music We would also like to say a special thank you to everyone who supported the Summer School's fundraising challenge during 2011, to raise money for the Foundation, supporting the future of the Summer School. PhotograPhy � Kate Mount � alice carfrae cover illustration by www.telegraMMe.co.uK Design by www.atworKPortfolio.co.uK