ala pifarescha
May 15- 21, 2026
Waycross Camp & Conference Center
4879 Richards Road, Morgantown, IN
Sessions
Friday, May 15 – Sunday, May 17
Registration fee: $330
- Dulcian Days
- Sackbut Stravaganza
- The Cornetto from A to Zink
Sunday, May 17 – Thursday noon, May 21
Registration fee: $440
- Main Workshop
Friday, May 15 – Thursday noon, May 21
Registration fee: $770
- Full Workshop
Housing costs are not included in fee; details on registration form.
Instructors
- Bob Wiemken – shawm, dulcian
- Adam Bregman – sackbut
- Joan Kimball – shawm, dulcian
- Katharina Haun – cornetto
Pitch is a’=440.
This year’s workshop, entitled A Franco-Flemish Musical Feast, explores the origins and subsequent flourishing of Flemish polyphony throughout Europe from the mid-15th through into the early 17th centuries.
We welcome anyone with intermediate to advanced ability on early double reeds, sackbut or cornetto; modern players interested in working on the early counterpart to their modern instrument; and beginning cornetto students (Monday to Wednesday only). Pitch is a’=440. The workshop includes
- large class pursuit of technique,
- applicable performance practice discussions,
- coached one-on-a-part ensemble playing,
- reed and instrument triage, and
- evening tutti playing sessions for all.
Questions? Email adam.bregman@gmail.com or bob@piffaro.com.
The first half of each day is dedicated to separate classes for reeds, sackbuts, and cornetti. A warm-up and techniques session focuses on breath support, vowel placement and sound concept, articulation, and intonation. A session on historical performance practices continues our exploration and discussion of historical notation and mensuration, solmization and mode, and musica ficta and cadences to help us understand the music on its own terms.
Afternoons and evenings consist of playing sessions in mixed groups of brass and double reeds. Selections from all the sources will be provided in both original and modern notation, but a strong emphasis will be placed on working from original notation—this gives us the opportunity to see the music as our Renaissance compatriots did, leaving us faced with the same practical musical decisions that would have confronted them.