The Collegium Musicum is an ensemble of singers and instrumentalists dedicated to recreating the sounds of the distant past by studying historical performance practice—i.e., the performing styles, techniques, and instruments appropriate for historical periods and places. We focus on exploring the beautiful but less often heard repertories of Early Music (Medieval, Renaissance, Baroque, & Classical periods of Western music history). The Collegium provides students with a hands-on way of applying their “academic” knowledge of Western culture while developing musical skills such as sight-reading and active listening.
2019-20 Plans
John Rommereim will be directing the Collegium Musicum during the 2019-20 academic year while professor Brown is on leave. In the fall, we are planning a December 8 concert that emphasizes renaissance choral treasures. The repertoire will be adapted to suit the abilities of the musicians who choose to participate; we hope to assemble a highly capable vocal ensemble to perform selections from the following:
- Why Fum’st in Sight by Thomas Tallis
- A este sol pelegrino by Tomas de Dorrejon y Velasco
- Lagrime d’Amante al sepolcro d’Amanta by Claudio Monteverdi
- Canon triplex: in omnem terram by Benedetto Marcello
- Singet dem Herrn by Heinrich Schütz
- Christe, Adoramus te by Monteverdi
- Gaude virgo by Josquin
- Gaude gloriosa by Thomas Tallis
We will be organizing the ensemble in the first weeks of the semester; we plan to rehearse Wednesday nights, but we may be adapting the rehearsals to fit the schedules of those involved.
Highlights
Each year, the Collegium presents three or four concerts. On the last Sunday of the fall term, we reenact a Renaissance Compline Service by candlelight at St. Paul’s Episcopal Church.
Approximately once a year we present scenes from a musical drama, fully staged with costumes and often with historical dance.
Spring 2016 John Gay et al., The Beggar’s Opera
Spring 2015 Francesco Cavalli, La Calisto, Act III
Spring 2013 Carmina burana (medieval version)
Spring 2011 Francesco Cavalli, Scipione Affricano, Act I opening
Fall 2009 Francesco Cavalli, Giasone, Act I finale
Fall 2007 Shakespeare/Matthew Locke et al, The Tempest
Fall 2006 Adam de la Halle, Le Jeu de Robin et de Marion
Fall 2005 Francesco Cavalli, La Calisto, Act II finale
Workshops, Masterclasses, and Visiting Artists
An internationally renowned Early Music artist or ensemble visits Grinnell about once a year, and usually provides workshops, masterclasses, and private lessons especially geared towards Collegium students (though open to others as well).
In 2016-2017 we were fortunate to welcome two such groups to Grinnell:
November 19, 2016 Rook
March 12, 2017 Lyra Baroque Orchestra
Past Visiting Artists have included:
Spring 2015 Lyra Baroque Orchestra
Spring 2013 Ensemble Chaconne with Ken Pierce Baroque Dance Company
Spring 2013 Anonymous 4
Spring 2011 Aula Harmoniae Baroque Trio
Fall 2009 Arthur Haas, harpsichord and Martha McGaughey, viol
Fall 2010 Baroque Band of Chicago
Fall 2008 Baroque Band of Chicago
Spring 2008 Rose Ensemble
Fall 2007 Trevor Stephenson, fortepiano
Spring 2007 Quartet New Generation, recorders
Fall 2005 Jory Vinikour, harpsichord
Auditions and rehearsals
The Collegium Musicum is comprised of several groups, divided according to repertoire and experience level. Typical groups include the Renaissance A Cappella Vocal Ensemble, Recorder Consort, Viol Consort, Baroque String Ensemble, Medieval Ensemble, and Sackbut Ensemble; there are also opportunities for solo vocal and/or instrumental performance. Keyboard players begin with private lessons, then join a group as accompanist. Each group meets for approximately one hour a week; the vocal ensemble meets for 90 minutes a week. Rehearsals are held in the spacious Egan Early Music Room in Bucksbaum Center for the Arts (BCA 102).
Auditions (for section placement) are held at the beginning of each semester; dates are announced on posters throughout Bucksbaum. Please prepare a short piece to sing or play (on your modern instrument); please bring your instrument and sheet music, including the keyboard accompaniment if available. The audition will also include some sight-reading.
Early Instrument Collection
Instrumentalists in the Collegium perform on Grinnell’s collection of replica period instruments. Since many of these are ancestors of modern instruments, students can often transfer their knowledge of modern technique to early instruments fairly easily. Both group and individual instruction is provided. There are over 100 instruments in the collection, representing all categories of instrument and ranging in date from the Middle Ages to the early 19th century.
The full collection, with makers’ names, is listed below; those marked * are owned by faculty but available for student use. To find out more about each one, click on the instrument name.
Bowed Strings
- rebec (L. Higgins, after medieval models); bow (clip-in frog)
- vielle (Bernard E. Lehmann, after medieval models); bow (fixed frog)
- hurdy gurdy (Kelischek Minnesinger, after 13th cent models)
- treble viol (John Pringle, after John Rose c. 1580); bow
- treble viol (Karl Roy); bow
- tenor viol (Karl Roy); bow (R. Dotschkail)
- bass viol (Hermann Bächle); bow
- bass viol* (Charlie Ogle, after Barak Norman, late 17th c); bow (Charlie Ogle)
- violone in G (Dominik Zuchowicz, after Ernst Busch, early 17th c); bow (Bernard P. Halke)
- baroque violin (Dominik Zuchowicz, after Nicolò Amati, mid 17th c); bow (H. F. Grabenstein)
- baroque viola (Dominik Zuchowicz, after Gasparo da Salò, late 16th c); bow (H. F. Grabenstein)
- baroque cello (19th century German, retrofitted as baroque cello); bow (Ralph Ashmead)
Plucked Strings
- Gothic harp (Lynne Lewandowski, after Hans Memling paintings, 15th c)
- psaltery (Lynne Lewandowski, medieval)
- dulcimer (Dusty Strings)
- medieval 5-course lute (Daniel Larson, after Henri Arnault, mid 15th c)
- 2 renaissance 8-course lutes (Lawrence K. Brown, after Giovanni Heiber, ca. 1580)
- renaissance 8-course lute (Edward Kottick, after Hans Frei, early 16th c)
- modern 8-course lute, guitar tuning (Juan Estruch)
- renaissance 4-course guitar
- baroque 5-course guitar (Michael Schreiner, 17th c)
- theorbo, 6 courses/8 bass strings (Michael Schreiner, after Venere, early 17th c)
Woodwinds
- set of 11 renaissance style recorders (Mollenhauer, after Hieronymous Kynseker, mid 17th c): sopranino, 2 sopranos, 2 altos in F, alto in G, 2 tenors, 2 basses, great bass
- renaissance soprano recorder* (Moeck)
- set of 6 baroque recorders (Moeck, after Jean-Hyacinth-Joseph Rottenburgh, early 18th c): sopranino*, soprano, alto*, tenor, 2 basses
- alto baroque recorder, A = 415 (Moeck, after Jacob Denner, early 18th c)
- alto baroque recorder (Joachim Paetzold)
- 23 practice recorders (sopranino, 8 sopranos, 5 altos, 8 tenors, bass)
- 3 tenor renaissance flutes (Tom Boehm/ Jeffrey Cohan)
- tenor renaissance flute (“SG”)
- soprano and 3 tenor renaissance flutes (Wyley)
- alto renaissance flute (Aardvark)
- 2 fifes (Cooperman, 18th c)
- baroque flute, A = 392/415 (Folkers & Powell, after Jacob Denner, ca. 1720)
- baroque flute, A = 415/440 (R. Sanders)
- baroque flute, A = 440 (maker unknown)
Reeds
- set of 3 crumhorns (Wood): alto, tenor, bass
- tenor crumhorn (Moeck)
- shawm (Gunter Korber, after 14th c models)
- sordun (Renaissance Workshop, after Praetorius, 1619)
- dulcian (Antique Sound Workshop)
- baroque oboe (Bosworth & Hammer, after Thomas Stanesby Sr., c. 1700)
Brass
- cornettino (Christopher Monk, after 17th c model)
- cornetto (Christopher Monk, after 17th c model)
- alto sackbut (Böhm & Meinl Symphonic)
- tenor sackbut (Ewald Meinl)
- tenor sackbut (Frank Tomes)
- bass sackbut (Michael Rath, after Ehe, early 17th c)
- 2 baroque trumpets (Meinl & Lauber, Tarr model)
- 2 baroque horns (Richard Seraphinoff, after J.W. Hass, early 18th c)
- 2 classical horns (Richard Seraphinoff, after Antoine Halari, ca. 1810)
- Viennese horn (Hermann Ganter, after Leopold Uhlmann, ca. 1820)
Keyboards
- continuo organ (John Bennett-Glenn Giuttari, after Nikolaus Manderscheit, 17th c)
- double manual harpsichord (William Dowd, after Blanchet/Taskin, mid/late 18th c)
- single manual harpsichord (Edward Kottick, after Flemish models, 17th c)
- single manual harpsichord* (D. Jacques Way, after Italian models, 17th c)
- single manual harpsichord (Rutkowski & Robinette, modern hybrid)
- fortepiano (John Broadwood & Son, 1804). Original instrument, not in playing condition.
- fortepiano (Rod J. Regier, after Conrad Graf, ca. 1824).
Percussion
- nakers, pair
- tabor (Paul Williamson)
- tenor drum (Jeremy Montagu)
- 2 pairs cliquettes