March 21-24, 2024
Menucha is pleased to partner with the Portland Recorder Society to offer this long weekend dedicated to the the music and instruments of Early Music.
This retreat is open to recorder players of intermediate to advanced level who are encouraged to bring any additional early music instruments they may play (strings, double reeds, etc).
The Portland Recorder Society has chosen an outstanding faculty for 2024:
- Sarah Jeffery
- Vicki Boeckman
- Gayle Neuman
- Phil Neuman
- Laura Kuhlman
The retreat begins on Thursday, March 21 in the afternoon and concludes on Sunday, March 24 after lunch.
Registration will begin on November 1, at 10am Pacific Time
Cost to Attend
Costs to attend are per person, all-inclusive of all classes and activities, overnight lodging (or site-use fee for commuters), and meals.
Cost is based on how many roommates you'll have. If you don't know who you want to room with, you can email us later - just type in "tell you later" or "assign one for me." If there's info we need to know in order to assign a good room for you, email or call us.
Participants will stay in Wright Hall or the Creevey Complex. We do our best to accommodate needs and preferences but cannot guarantee a request. Some single occupancy rooms will have a shared bathroom. Triple and Double occupancy rooms have bathrooms either in the room or right next to the room.
When a registration option fills up, the "Join waitlist" will show as an option. Joining the waitlist will NOT secure you a spot for the retreat. If you wish to secure a spot in the retreat, choose a different occupancy room type and complete the registration. Then follow the instructions in the confirmation email to indicate the kind of room you would prefer.
Single Occupancy $1072 (8 available)
Double Occupancy $766 (14 available)
Triple Occupancy $665 (21 available)
Commuter $503 (5 available)
You may choose to pay in one payment, or half now, half on February 1, 2024.
Our cancellation policy is here. You may also choose the Optional Purchase Protection which is offered by Purchase Protection, LLC. This is an additional cost (8.5% of total cost) and is not administered by Menucha. You can read their terms here.
Laura Kuhlman resides in Portland, Oregon and up until 2014, was active in Chicago, Illinois, where she spent many years as a freelance musician. From Bach to Broadway, Laura has enjoyed partnerships with several early music ensembles including the Burgundian Ensemble, Masqued Phoenix, and the Too Early Consort. She founded and led The Milwaukee Renaissance Band from 2009 - 2014. Laura has performed for the Portland Revels and with members of Piffaro for the Washington D.C., Revels. In December 2022, Laura played for the Portland Revels Children’s Show on recorders, flutes and bagpipes.
Laura is currently music director for the Portland Recorder Society and the Recorder Orchestra of Oregon and is past President of the national American Recorder Society. Laura has taught at many early music workshops around the US, Canada and in August 2019, in Steckborn, Switzerland. With Phil and Gayle Neuman, she returned for a second engagement with the Vernon Proms, Vernon, B.C. in July 2019. Laura also performs, leads and arranges music for the lively medieval band, Musica Universalis, whose purpose is to play early music in unusual places and collaborations with other artistic disciplines. Their 2021 performance of Danse Macabre: The testament of François Villon, performed to sold out shows and was the weekend entertainment pick of the Willamette Weekly.
Laura is the musician scheduler and performer for the English Country Dance community in Portland and is a member of the rowdy horn section in the acclaimed Portland Megaband. She performs with the Portland based, Oregon Renaissance Band and the newly formed 19th century group, the Fireside Social Orchestra. Since 2021, Laura has been teaching online with Gayle and Phil Neuman. The trio teaches over 100 recorder, strings, and double reed players from all over the USA online each 10-week session. In addition, Laura teaches flute, saxophone, recorder, renaissance double reeds and renaissance bagpipes both at workshops and in her home studio. If there is not an instrument in her hands, Laura can be found roaming the hills and dales of Oregon on her beloved bicycle and creating glass trinkets in her glass kiln.
Phil Neuman, a performer on recorder, sackbutt, and various other wind and stringed instruments, co-founded and co-directs the Oregon Renaissance Band which has performed for the Regensburg Early Music Festival and recorded the CDs “Carnevale” and “Now make we joye”. He appears in the movie “Buddymoon”, and on the original soundtrack of the recent remake of Ben-Hur playing ancient Greek instruments. He has played for audiences on three continents, including performances at ancient theater sites in Greece. He teaches regularly at several early music workshops, and conducts Advanced Recorder, Renaissance Winds, and Loud Band classes at the Community Music Center in Portland. He also teaches the online Zoom Consort Class with Gayle Neuman and Laura Kuhlman. Phil has performed with the American Bach Soloists, Philharmonia Baroque Orchestra, the Mercury Baroque Orchestra, and the Handel & Haydn Society Orchestra. He wrote “Fantasia on Faithless Nancy Dawson” for the Play-the-Recorder Month 2019 featured selection of the American Recorder Society. He has composed, arranged and transcribed over a thousand works for recorder ensemble, brass ensemble, and symphonic wind ensemble, including “Theme and Variations” that won first place in the San Francisco Recorder Composition Competition. With his wife Gayle, he has built over 450 early wind and stringed instruments including krummhorns, cornamusen, douçaines, and racketts.
Gayle Neuman, a performer on violin, recorder, sackbutt, and many other instruments, is also a vocalist who has received international acclaim for her renditions of the “Song of Seikilos,” the “Chorus from Orestes,” and others upon the release of Ensemble De Organographia’s CD Music of the Ancient Greeks. Several of the tracks from that recording have also appeared in the Norton Scores Recorded Anthology of Western Music, and numerous films and television programs. She appears as herself in the award-winning film “Buddymoon” and recorded music for the recent remake of Ben-Hur. She composed and arranged music for the production of “Mary Stuart” directed by Elizabeth Huffman for Northwest Classical Theatre. She has performed for audiences in the U.S., Japan, Israel, Turkey, Greece, Canada, Norway, Germany, and for members of the royal family in Jordan. She co-founded and co-directs the Oregon Renaissance Band, and has played under the baton of Monica Huggett and Ton Koopman. She teaches Recorder and Collegium Musicum classes at Portland’s Community Music Center, and has given workshops and presentations at many institutions including Oberlin Conservatory, Rice University, Cleveland Museum of Art, and the Getty Center. She has built with her husband Phil over 400 early wind and stringed instruments including krummhorns, cornamusen, racketts, and vielles.
Vicki Boeckman is a passionate musician who has been performing and teaching since the 1980s. Her career as a professional recorder player has been a highly rewarding journey which has taken her to many countries and given her the opportunity to record numerous CDs with incredible musicians in various ensemble settings. She is honored to be an integral part of Seattle’s vibrant early music community as well as being in demand as a teacher at workshops and seminars across the US and in British Columbia.
Before settling in Seattle, Vicki resided in Denmark from 1981-2005, first as a student at the Royal Danish Academy of Music, later collaborating with some of the finest musicians and composers of the day including Per Nørgård, Hans Abrahamsen, Ole Buck, and Markus Zahnhausen to name a few. Her Danish recorder trio Wood'N'Flutes had a fantastic 15-year run performing all over Europe and received government grants to work with contemporary composers in addition to children's theater. She was an adjunct professor at the Royal Danish Academy of Music in Copenhagen for 12 years and taught at the Ishøj Municipal School of Music for 23 years. Many of those students are now professionals, performing and teaching in conservatories in Denmark and around Europe.
In the Pacific Northwest Vicki has been a featured soloist with the Seattle Symphony, Seattle Baroque Orchestra, the Yakima Symphony, Portland Baroque Orchestra, The Oregon Symphony, Portland Opera, Medieval Women's Choir, Gallery Concerts, Boise Philharmonic, Philharmonia Northwest Orchestra, and the Skagit Symphony. She is currently a member of the Farallon Recorder Quartet, Music director for the Seattle Recorder Society, co-director for the Recorder Orchestra of Puget Sound (ROPS), and Artistic Director for the Port Townsend Early Music Workshop. She adores teaching children as well as adults, and has been on the faculty at Music Center of the Northwest since 2005 in addition to having a thriving home and Zoom studio. Vicki is a two-time recipient of the recorder residency at the Sitka Center for Art and Ecology in Oregon, and a two-time recipient of the Jack Straw Artist Support Program.
Vicki embraces opportunities to laugh and appreciate friends and family, spend time outdoors, cook and eat good food, drink wine and single malts (responsibly), walk briskly, and make things grow in the garden. She is overjoyed (and relieved) to be returning to live, in-person concerts and workshops after the pandemic hiatus and eagerly looking forward to working with cherished colleagues at the Columbia Gorge Early Music Retreat.
Sarah Jeffery is one of the world’s foremost promoters of the recorder, and a passionate champion of contemporary music. She has commissioned and premiered dozens of contemporary works and is regularly found performing on stages and festivals all over the globe. Off-stage, she is recognized as an expert on the instrument, appearing on the BBC, as well as being a regular feature on radio and television. For her efforts, she has received praise for “standing out from the established repertoire” and “fresh, surprising, and explosive” performances from Dutch NRC newspaper, and “the height of sonic and soundtrack cool, out there at the edges of compositional innovation and performatice possiblity” from BBC Radio 3. In 2022 she was appointed ‘Recorder Professor Specialising in Contmporary Music’ at the Royal College of Music in London.
Recent accolades include Best of Classical Music 2020 in the NRC for the production While We Live, which also gathered 25 awards and nominations at international film festivals worldwide. She was recently appointed Honorary Vice President of the Society of Recorder Players in the UK, for her services to the music community. Off-stage, she is recognized as an expert on the instrument and a consummate professional presenter whether on Radio 3, discussing music education with Jeremy Vine on Radio 2, or producing books for major publishers. She is regularly asked for appointments in Hollywood, whether recording the soundtrack to Bob’s Burgers or producing content for Netflix.
She has gained significant notoriety over the years, with a full suite of past performances including contemporary stages such as Huddersfield Contemporary Music Festival, Venice Biennale, Berlin festspiele, the Gaudeamus Festival NL, Sonorities festival Belfast, and NEU/NOW festival Glasgow. Early music podia include the London International Festival of Early Music, the Utrecht Early Music Festival, and Korkyra Baroque Festival in Croatia. Audiences recognize Jeffery as the only recorder player invited to join Splendor, the award-winning Amsterdam-based music collective, as of 2016.
Competition successes include 1st prize and the contemporary music prize at the Nordhorn International Recorder Competition, contemporary music prize at the ORDA recorder competition, and the Talent Boven Water prize at the Grachtenfestival.
Recent career highlights include a guest star appearance on BBC children’s programme ‘YolanDa’s Band Jam’, recent travels to Singapore to act as musical director for the film ‘Recorder Rewrite’, which was screened at the Venice Biennale. Jeffery’s debut album, Constellations was released in 2018, for which Jeffery attained rare permission to arrange and perform Steve Reich’s “Vermont Counterpoint.” She has performed in venues globally from New Zealand to Brazil, and throughout Europe from Romania to Finland.
In addition to her solo career, Ms. Jeffery performs regularly with a number of her own projects, ranging from experimental pop band Jerboah, to recorder trio aXolot, to Renaissance recorder consort The Royal Wind Music, and much more. Other notable ensembles Sarah has worked with include the Nieuw Ensemble, Het Zuidelijk Toneel, s t a r g a z e orchestra, Psallentes choir, Amsterdam Cello Octet, Jeugdtheater Sonnevanck, PRIME recorder ensemble, the Veenfabriek, Resonate Productions, Atlas Ensemble, and the White Noise Orchestra.
In an effort to maximize her reach, Ms. Jeffery has cultivated an educational presence both on and offline. Online, she posts weekly instructional tutorials on technique, improvisation, repertoire, and much more on her YouTube channel, Team Recorder. One of the most recognizable resources for recorder, the channel has amassed over 170,000 loyal subscribers. Her channel has worked in partnership with global brands such as Netflix, Yamaha, and ABRSM. In response to Covid Sarah developed two online courses at different levels, and these regularly sell out.
Outside YouTube, Ms. Jeffery not only has teaching experience from age five to the professional level, but also conducted improvisation and composition workshops in the SoundLAB of the Muziekgebouw aan ‘t IJ for eleven years. She has taught more specialized recorder courses across Europe and in Brazil and New Zealand, including at the Birmingham Conservatoire, Dartington Summer School, Conservatorium van Amsterdam, FolkWorld Summer School, and Rijksuniversiteit Groningen.
Outside pedagogy, Ms. Jeffery co-ordinates the biannual ORDA Teachers Conference in Amsterdam, and can be found giving lectures at a range of education conferences, including MERYC and the Utrecht Early Music Festival. She also has written for music publications such as Tempo, Primephonic, and Blokfluitist magazine, where she long formed part of the editorial team.
Originally from Derbyshire in the United Kingdom, Sarah Jeffery is currently based in Amsterdam. She holds both a Master of Music cum laude and Bachelor of Music diploma from the Conservatorium van Amsterdam, where she completed a thesis on the relationship between clog dancing and contemporary music theatre, and also holds a first class Bachelor of Music degree from the Birmingham Conservatoire. She is grateful to her masterful pedagogues, who include Jorge Isaac, Walter van Hauwe and Annabel Knight.