From the bawdy to the beautiful, from palace song book to grand motets, from viol and vihuela to shawm and sackbut - the music of 15th- and 16th-century Spain is full of dramatic contrasts of style and timbre. We will explore the music of the court of Ferdinand and Isabella, the joyous Ensaladas of Flecha, vihuela songs by Mudarra, and sacred music by Morales and Victoria for voices and instruments.

We welcome singers, lutes, viols (Spain was, after all, the birthplace of the viol!), cornetts, sackbuts, renaissance recorders and flutes, shawms, curtals and other wind instruments at A=440. Shawm players should bring a 'second study' quieter instrument for ensemble work.

Each day of the course will be divided between sectional rehearsals (directed by our specialist tutors) and ensembles, both large and small. The after-dinner sessions will include informal performances of works covered in the day, as well as exploring early dance and working on large-scale pieces in which all the course members will take part. The tutors will offer coaching and workshops on all aspects of renaissance ensemble performance. Plenty of music will be provided, but you are also invited to bring your own sets of parts and scores if you wish. Please indicate on the application form if there are particular pieces or composers you wish to study.

Philip Thorby, a powerhouse of energy and inspiration, is Director of Musica Antiqua of London and a Senior Fellow of Trinity College of Music. An unequalled performer on both viol and recorder, he is also a magnificent singing tutor and director.

David Hatcher studied viola da gamba with Charles Medlam and recorder with Philip Thorby. He has performed with his own ensemble Harmonie Universelle and as a guest with The New London Consort and Fretwork. His recordings include CDs with Evelyn Tubb, Chelys, Sprezzatura, and the Japanese ensembles Ensemble Ecclesia and the Bach Collegium of Japan. He has also appeared on Japanese national television, and his recordings with the Consort of Musicke, Evelyn Tubb and Bach Collegium of Japan are regularly broadcast on BBC Radio 3. He also teaches early dance. David will work with viol players and mixed ensembles.

Lute-player Jacob Heringman has performed and recorded with numerous English ensembles, as soloist and ensemble/continuo player, and made several highly acclaimed CDs with Catherine King and his own group, Virelai. Jacob will direct lute ensembles and aim to improve players' familiarity with playing from staff notation.

Chris Hartland - recorder Chris graduated in 2007 with a BMus(Hons) in performance from Trinity College of Music, London and was awarded the City Livery Club Prize for Excellence and the Silver Medal for Early Music. He was awarded a scholarship for postgraduate study there on the recorder with Philip Thorby and the baroque oboe with James Eastaway, achieving a Postgraduate Diploma in 2008. Playing these two instruments gives him the opportunity to perform a wide-ranging repertoire, from medieval times through the Renaissance and Baroque eras and, on the recorder, music of the 20th and 21st centuries.

Chris performs regularly on the recorder and baroque oboe in solo, chamber and orchestral roles, both in the UK and abroad and has recently appeared with The Hanover Band, the London Handel Players, Greenwich Baroque, the Leeds Baroque Orchestra and Ensemble Telemania.

Sackbut player Sue Addison, a member of His Majestys Sagbutts & Cornetts, will join the course for a day.

We invite applications from singers, and from players of Renaissance instruments at A=440 including viols, recorders, lutes, harps, sackbuts, cornetts, flutes and shawms in D and G. Recorder players should be familiar with all sizes (descant to bass), unless offering another instrument or voice as well; Renaissance recorders are strongly preferred. Shawm players should, ideally, offer a quiet instrument too, for ensemble work. Viol players are encouraged to bring Renaissance as well as Baroque instruments; please let us know which sizes you can bring. It may be possible to borrow Renaissance viols. All applicants should have a good standard of sight-reading and be able to hold a line confidently on their own. Singers may be encouraged to take solo parts as well as singing in ensembles. Those applying as instrumentalists will also have opportunities to sing if they wish. If you are at all unsure about your standard, please contact Selene Mills at info@CambridgeEarlyMusic.org / 01223 847330 to discuss.

Concerts

The course will begin with a recital at 2.00 pm (NB earlier than usual) in Little St Mary's Church. The tutors and guest performers will give a full-length concert on Wednesday 11th August. On the final evening all course members will participate in an informal concert, in which we will perform a selection of the pieces studied during the week. All concerts are open to the public, and participants attend them free of charge. (See Concerts for further details.) There will be a party after the final concert.

Participants should aim to arrive in time for the recital at 2.00pm on Sunday 8th August. Most days there is a free period of 2-3 hours after lunch, for practice or rest, but the remainder of each day is filled with music - and meals - from morning to night! The course ends with breakfast on Saturday 14th August (or after the Friday night party for non-residents). You may stay longer if you wish (please indicate on the application form).

Fees

The residential charge, including all meals, tea and coffee, tuition and concerts, for the week is £680. The supplement if you would like an en-suite room is £23 per night, totalling £161 for the week. Local residents and others finding their own bed and breakfast accommodation pay £570. Observers pay £640 (resident) or £530 (non-resident). Daily charges and half-board rates are available on request. Some financial assistance may be available: please see Bursaries.