My tentative schedule:
Arranging Pipe and Fiddle Tunes for Harp: not so much because I want to arrange pipe and fiddle tunes, but because I expect the information on intros, bridging and arrangement may apply to other melody-only pieces, like medieval monophony. Otherwise, I'll take The Art of Relaxed Performing.
Wire Harp Master Class with Ann Heymann, the premier reconstructor of ancient wire technique. (There's a class on "Authentic-sounding medieval music" at the same time, but I'm afraid it will rehash a lot of what I already know about modes and simple interval accompaniment.)
Scandinavian Harp Ensemble, to explore the modern folk music of the descendants of the Vikings.
Improvising on early music melodies. It's medieval, it's improv, I'm there.
Wire Harp Fingerings: Bunting and ap Huw figures, another Heymann class. There's a historical harp show and tell at the same time, but again... I figure I know half the material, and am not in a position to make use of (read: buy another harp using) the other half.
Telyn Rawn: the horsehair harp, yet more Heymann. Gerald of Wales gives a singularly odd description of a Welsh harp made from horsehide and strung with horsehair, and most everyone has always thought Gerald just didn't know what he was talking about. Some folks actually tried building a harp as he described it, and this is a show and tell of the result. Way cool!
I attended my first Somerset back in... 2000?, and this is only my third. (They're expensive.) But I always come away with some new musical insights and a lot more excitement and energy. The follow-up can be... lacking (I have two or three books on Norwegian and Finnish music purchased in 2003 or so, largely untouched, and Ann Heymann's "Coupled Hands" technique book, read but not practiced...) but it's all good. I feel sometimes like I'm storing up nuts and, when the right season comes, I'll have the materials on-hand to do the work I'm finally ready to do.