As the church bells of the parish church chimed in Raach am Hochgebirge on Sunday, May 24th, the tones of our viols echoed through the windows of the community center playing music of Giovanni Gabrieli. Our two groups, intermediate and advanced, working all weekend separately, came together as two choirs for the culmination of this intense workshop in consort playing. The course began on Friday, May 22nd, and ended after lunch on Monday, May 25th. Our instructor, Michael Brüssing, organized and conducted the entire program.
Michael E. Brüssing, has been teaching viola da gamba for many years. He moved to Vienna in 1986 after completing his musical education studying cello in Stuttgart, to specialize in Baroque cello and Viola da gamba. After earning his soloist diploma in viola da gamba under Prof. Philippe. Pierlot in Trossingen he founded the Esterhazy Ensemble. He concertizes in Europe and overseas and teaches numerous seminars across Europe.
Mr. Brüssing originally created this program for his pupils, held each Pentecost weekend, to motivate them to continue playing, enjoy making music together, improve their technique, and make progress in the art of consort playing. This program has been around for 30 years, and it is open not only to Mr. Brüssing’s students but also to viol players who would like to take part in the event. Most of the participants, including me, stayed at the Seminarzentrum in Raach am Hochgebirge, in Austria, where the program took place this year. The picturesque backdrop of the mountains, pine trees, hiking trails, and the gardens made a perfect accompaniment to our studies, while we were served superb food three times a day and enjoyed our camaraderie. And the weather in this charming mountain area was pleasant and welcoming throughout our stay.
Our program took place in the mornings, afternoons, and evenings, during which time our sessions were enriched with works by John Ward, Thomas Lupo, John Jenkins, Thomas Tomkins, and Giovanni Gabrieli. The course always began with technical warm-ups and relaxation exercises, as we reviewed our bow technique and proper posture, and left-hand stretching exercises, such as crawling on the fingerboard while holding all the fingers in one position, then moving one finger across the strings. One favorite exercise of mine was holding the bow on a string with the left hand while the right hand moved across the bow, establishing the proper direction the hand and the bow must move. The warm-up sessions helped me a great deal with relaxation and my readiness to play that day.
After our technical studies, we divided into two groups and worked on our pieces, taking breaks for lunch or dinner. On some pieces, a couple of viol players shared their singing talents and sang along, and on some occasions, their recorder playing skills. In the afternoons after lunch, there was a significant period of rest, and some participants went out for hikes and enjoyed the beauty of the surroundings. I, for one, sat on the bench in the park behind the building and enjoyed the view for a while.
Perhaps one of the highlights of this event was when a bird flew in on the last evening we were working on our pieces. Some participants actively worked to free the bird from the room's confines. It seemed the bird wanted to find a way out, but stayed for a while, listening to early music. In the end, he was safely escorted out of a window and affectionately dubbed William the Byrd.
Mr. Brüssing commented that the general level of playing among his students has improved over the years, and the program has supported this process very well.
Overall, the event was a wonderful addition to the region’s indoor and outdoor activities and tourist attractions, as well as the Austrian cultural scene. It will continue to take place every year during the Pentecost weekend to inspire all lovers of Early music and Viola da gamba players. If you are interested in joining the program next year, contact Michael Brüssing directly. michael.bruessing@gmail.com
Add comment
Comments