Course programme

The course is aimed to harpists interested in knowing the technique and repertoire for harp in the Renaissance, Baroque and Classical periods.

Main course: Arpa doppia.

The course is open to all (level: beginners, medium, advanced).

For students who do not practice historical harps, a specific path of introduction to the instrument and its technique is planned.

For students of the medium and advanced level it is possible to present a specific program of your choice agreed with the teacher.

Chamber music: A tasto e a pizzico.

Ensemble music for polyphonic instruments (17th century)

Alongside the lessons of the main course, this year an ensemble music course aimed at reconstructing the seventeenth-century practice for ensemble of polyphonic instruments, according to the seventeenth-century examples (S. Landi, G.Frescobaldi, A.Guerrieri, G.Strozzi , etc.), and information drawn from historical sources. The course is open to harpists, lutenists and harpsichordists.

The teacher – Chiara Granata

Chiara is an Italian harpist. After completing traditional studies at Milan Conservatoire G.Verdi she has specialized in Baroque performance. She studied with Mara Galassi, achieving her degree both in triple harp and single action harp at the International Academy of Music of Milan and the degree in triple harp, grade 110/110 cum laude, at Conservatorio Dall’Abaco of Verona.

She works regularly with many leading early music groups: I Turchini, Napoli (cond. A.Florio), La Venexiana, Milan (cond. C.Cavina), Akademie fur Alte Musik, Berlin (cond. R. Jacobs), l’Academia Montis Regalis, Mondovì (cond. A. De Marchi), Cappella Mediterranea (cond. L Alarcon), l’Ensemble Matheus, Brest (cond. J.C.Spinosi), Los Musicos de su Alteza, Saragoza (cond. L.A.Gonzales), la Capella de Ministrers, Valencia (cond. G.Magraner), Trondheim Barokk Norway, Norvegia (cond. M. Wahlberg), Catacoustic, Cincinnati USA (cond. A. Pappano), Collegium 1713, Praga (cond. Vaclav Lucks), Camerata Berna, (Berna, Swiss), La Pedrina (cond.F.Pedrini), Il Gusto Barocco (cond. J.Halubek).

She has recorded for Eloquentia, Hyperion, Stradivarius, Dynamic, Glossa, Alpha, Sony, Deutsche Harmonia Mundi, ResonusClassic, Tactus. Eloquentia, K617, Fondazione Giorgio Cini, Claves.

Some main recordings: Haydn & the harp, Glossa, 2019, The Medici Castrato, a homage to Gualberto Magli, Glossa 2014 and E. De Cavalieri, La rappresentazione di anima e di Corpo (R. Jacobs, Akademie fur Alte Musik) Harmonia Mundi 2015.

She has performed in several theaters and concert halls around Europe and US includin: Concertghebow Amsterdam, Cité de la musique and Theatre des Champs-Elysées in Paris; Berlin Staatsoper in Schillertheatre, Sanssouci Palace in Postdam, Innsbruck Tiroler Landestheater, Madrid Auditorio and Nacional de Mùsica, Palau de la Musica de Valencia; Seville Maestranza Theatre, Luxembourg Philharmonie, Le Quartz Theatre in Brest, The Helicon Foundation New York; Rome, Auditorium Parco della Musica, Teatro Olimpico; Teatro Mercadante and Teatro San Carlo in Naples, Teatro Verdi in Pisa; Teatro Carignano Turin, and Teatro Bibbiena in Mantua, Teatro Olimpico in Vincenza.

Chiara read also Philosophy with distinction at Milan University with a thesis on Baroque aesthetics in the Philosophy of R. Descartes. She received the academy prize ‘Dal Pra’ 1998 for the best research in modern philosophy. Among her recent publications: ‘Le ombre, il chiaro e il distinto: l’esperienza musicale nelle pagine di Descartes’, (’Materiali di Estetica’, 2001), ‘La musica e l’esperienza del tempo’ (’Nuova Umanità’, 2006), ‘La musica e l’angelo. Risonanze nella musica di Monteverdi, Bach, Messiaen’ (with T. Handerson, Nuova Umanità’, 2010), and the book Sapere è un verbo all’infinito (with A. Granata and E. Granata, Il Margine, Trento 2013).  Recents studies on the history of the harp: «Un’arpa grande tutta intagliata e dorata. New documents on the Barberini harp», Recercare, XXVII 1-2, 2015; C.Granata and M.Galassi, “Tanto che non si potrebbe sentire cosa più bella”. L’arpa come strumento di basso continuo a Roma negli anni di attività di Orazio Michi,, Basler Jahrbuch für Historische Musikpraxis, Vol.39, 2020.