Lorenzo Coppola

Lorenzo Coppola

Urbino Musica Antica 2022

Lorenzo Coppola

/// Historical Clarinet

Period: 26th - 30th July

Approfondire la conoscenza di uno stile musicale – nel caso del clarinetto antico quello tardo barocco e soprattutto quello classico – partendo dalle sonorità degli strumenti che quello stile hanno contribuito a formare, attraverso un percorso didattico che illustri contemporaneamente la prospettiva storica, i problemi tecnici e organologici, e l’interpretazione con criteri storici.

Lorenzo Coppola

Programme

Quel che propongo, attraverso lo studio del clarinetto antico, è un percorso di conoscenza di un sistema musicale attraverso le problematiche relative all’esecuzione delle opere che in quel sistema, da noi ormai lontano, hanno visto la luce. Inoltre, cio’ che personalmente più mi anima e che ritengo utile trasmettere, è l’interesse per una ricerca più ampia possibile sul fare musica.

Dalla conoscenza organologica e acustica di uno strumento antico deriva una serie di acquisizioni riguardo intonazione, diapason e temperamento, oltre ad una estetica del fraseggio e del suono proprie allo stile in questione. 

Ad esempio all’omogeneità della gamma di uno strumento non veniva generalmente dato un valore estetico assoluto. Anzi, i compositori facevano spesso un uso espressivo delle note più « sorde » dello strumento. 

Né poteva essere altrimenti : il limite, accettato e sfruttato a fini espressivi, è spesso essenziale a chiarire l’intenzione dell’autore. 

Dalla conoscenza delle fonti (trattati, metodi, epistolari, resoconti di concerti) derivano preziose informazioni circa i canoni stilistici allora operanti nello stile esecutivo. 

Alla tradizionale idea dello strumento a fiato imitatore della voce umana, si aggiunge nel periodo classico la necessità di rendere particolarmente intellegibile l’articolazione del discorso musicale, sempre più modellato sull’esempio di quello parlato. La chiarezza dell’articolazione ad ogni livello del discorso (inciso, frase, periodo) diventa l’elemento indispensabile nell’interpretazione di un brano.

Gli strumenti antichi consentono un’articolazione naturalmente chiara e leggera. Conoscerli  ed ascoltarli potrebbe essere peraltro un valido aiuto per chi volesse arricchire il proprio modo di fraseggiare  sullo strumento moderno.

Details

  • La storia degli strumenti ad ancia semplice dalle origini fino alla metà XIX secolo, inserita nel contesto storico e nella vita culturale dell’epoca.
  • Costruttori di strumenti, virtuosi e compositori : relazioni e reciproche influenze.
  • L’evoluzione tecnico-esecutiva (becchi e posizione dell’ancia, articolazione, numero delle chiavi, diteggiature) comparata anche a quella degli altri strumenti.
  • Autosufficienza nella cura e riparazione del proprio strumento
  • Tecnica : l’approccio alle ance semplici storiche, respirazione, imboccatura, flessibilità nel controllo dell’intonazione e dell’articolazione
  • Articolazione di labbro, gola , petto, diaframma, lingua
  • Diverse articolazioni di lingua
  • Notazione musicale delle diverse epoche : apprendere a decifrare e creare la propria edizione di un manoscritto.
  • Studio del repertorio: manoscritti, prime edizioni, reperibilità di testi affidabili
  • Analisi dei molteplici diapason (da chiesa, da camera, ecc.) e loro variazioni storiche e geografiche: ciò che lo strumento d’epoca può dirci in proposito.
  • Sistemi di intonazione: panorama storico dei temperamenti (pitagorico, mesotonico, sistemi « ben temperati », equabile), la serie degli armonici e l’intonazione naturale.
  • Lettura, analisi e comparazione delle fonti : metodi, trattati, repertorio, testimonianze storiche, articoli e saggi.
  • Approfondimento della notazione musicale del XVIII/XIX secolo attraverso l’analisi dei più significativi trattati : teoria musicale, abbellimenti, metrica, inegalité, articolazioni, agogiche, dinamiche, fraseggio.
  • Interpretazione : lo strumento originale come aiuto alla comprensione del testo musicale.
  • Dallo stile barocco allo stile classico: verso una drammaturgia musicale senza parole.
  • Analisi formale e armonica delle composizioni classiche
  • Analisi delle influenze reciproche fra stile, tecniche di esecuzione e evoluzione degli strumenti
  • Le scuole nazionali
  • Abbellimenti e ornamentazione in accordo con le esigenze formali dello stile in questione
  • Elaborazione di cadenze e eingänge

The teacher

Lorenzo Coppola est né à Rome. Après ses études de clarinette moderne, il étudie les clarinettes historiques avec Eric Hoeprich au Conservatoire Royal de La Haye (Pays-Bas).

Installé à Paris depuis 1991, il a collaboré avec plusieurs ensembles, parmi lesquels : Les Arts Florissants (W. Christie), l’Orchestre du XVIII Siècle (F. Bruggen), La Grande Ecurie et la Chambre du Roy (J.C. Malgoire), Freiburger Barockorchester (G. von der Goltz), La Petite Bande (S. Kuijken), Libera Classica (H. Suzuki).

Il a eu la chance de partager son amour pour la musique de chambre avec des artistes comme Andreas Staier, Isabelle Faust, Alexander Melnikov,  et des ensembles tels que Zefiro (A. Bernardini),  Manon Quartett (A.Daskalakis), Quatuor Kuijken (S. Kuijken),  Quatuor Terpsycordes (G.Bottiglieri), 

Il est professeur de clarinette ancienne à l’Ecole Supérieure de Musique de Catalogne à Barcelone.

Letizia Dradi

Letizia Dradi

Urbino Musica Antica 2022

Letizia Dradi

/// Historical dances (basic level)

Period: 21th - 25th July

The dance at the time of Federico da Montefeltro duke of Urbino in the sixth centenary of his birth. Hints of 16th century dance.

Basic – basic/intermediate level

Letizia Dradi

Programme

In the Renaissance, dance played an important role in the education of young people and an indispensable competence in courtly life. Guglielmo Hebreo da Pesaro, a pupil of Domenico da Piacenza, was on several occasions at the court of Urbino carrying out the activity of dance teacher, theorist, composer and choreographer
The study of the choreographies described in the dance treatises of these fifteenth-century masters, with hints also of the subsequent sixteenth-century technique, will be the subject of the course, with the aim of reviving the movements and postures of the time, respecting a historical reconstruction – coherent philosophy, however highlighting how much this ancient technique resonates in the present of our gestures and our bodies.
Precisely because dance is a language that allows us to investigate spaces of experience not only bodily but also emotional and cognitive, the study of the choreographies of the masters of the fifteenth century will also lead us to identify with the women and men of this splendid historical period right in the city where as well as Guglielmo lived some extraordinary artists such as Piero della Francesca and Raffaello Sanzio.
Marchesana, Cupido, Rostiboli Gioioso, Belreguardo, here are some of the titles of the dances that we will reconstruct, without taking away the possibility of agreeing with the students also dances on request.
The course is aimed at beginners of all ages and abilities, both with an ancient dance base and other movement techniques.

Afternoon course

“A hundred years of Minuet: from André Lorin (1680) to Gennaro Magri (1779)”
The Elegant Phoenix, as the scholar Julia Sutton defined it, goes through a long period of the history of dance and music going beyond the eighteenth century just like a phoenix that is reborn from time to time. From couple dance to step in the contradictions, the Minuet is found both in the theater and at the court, but above all in the instrumental suites. Even when it was not performed to accompany the dancers, it did not lose its identity which will be investigated and tested during the course through the musical and choreographic documents in our possession.
The course does not require previous skills in dance.

“The Currents, in search of a definition”
Described in some dance treatises such as ThoinotArbeau’s “Ochésographie” or Cesare Negri’s “New Inventions of Dance”, the Corrente, as opposed to the Minuet from which it will be supplanted in the 18th century, does not have a unique structure. From jumping and fast at the beginning of the seventeenth century, it will turn into a solemn dance much loved by Louis XIV in France.
Through seventeenth-century literary and musical sources, the course aims to explore the different forms that this dance assumed in particular in the instrumental suites.
The course does not require previous skills in dance.

The teacher

Classically trained dancer, choreographer and teacher, she approaches the study of ancient dance in Urbino in 1992, under the guidance of B. Sparti, V. Daniels and D.C. Column. She deals with ethnic and contemporary dance, in 2002 she graduated dance-educator © Laban method / community dance (Mousiké, Bologna). She studied Paleography and Musical Philology at the University of Cremona.

From Europe, to Asia, to the Americas, she has performed with La Petite Bande by S. Kujiken, Le Concert des Nations by J. Savall, DoulceMémoire, Dowland Consort by J. Lindberg, Elyma by G. Garrido, La Follia by G. Fabiano, Micrologus, Musica Fiorita by D. Dolci, La Risonanza by F. Bonizzoni, LesJardins de Courtoisie, Resonances by C. Chiarappa, Norsk Barokkorkester G. von deer Gotz- R. Lislevand, Orchestra Barocca Civica Scuola di Musica Claudio Abbado- R. Balconies, La Follia by G. Fabiano, I Solisti Veneti.

For director Susanna Nicchiarelli she created the choreographies for the forthcoming film dedicated to Santa Chiara – produced by Vivo Film – and danced in Romeo and Jiuliet by Carlo Carlei – Indiana Production.

She has collaborated with Il Leoncello by A. Pontremoli and Il Ballarino dancing in various productions and in particular in the French-language show inspired by the life of Leonardo da Vinci “L’Harmoniedu Monde”.

She conducted research on Manuscript 9085 “LesBassesdanses de Marguerite d’Autriche” by conducting workshops and lectures-conferences (Bourg-en Bresse 2004; Pesaro, 2012; Dolmetsch School Congress, London 2013).

She created the choreography for the following works by Claudio Monteverdi: Il Ballo delle Ingrate, L’Orfeo, Il Combattimento by Tancredi and Clorinda staged several times in Milan, Genoa, Mantua, Brescia and Trento.

She danced with C. Turocy’s New York Dance Company on “The Pleasure of the Dance” and “The Temple of Glory” at the Jarvis Theater in Napa, California.

She presented her studies in the United States for the Society of Dance History Scholars, at the Vaganova Academy (St. Petersburg Russia), at the Université de Paris-Sorbonne (France), in Germany, VII International Historical Dance Symposium at BurgRothenfelsamMain, at the University of Bologna and at the Teatro San Carlo-Conservatorio Naples.

She has conducted lessons for adults and children in numerous prestigious institutions in Italy (Conservatory of Adria, Rovigo, Pesaro, Como, Brescia, Parma, Scuola Civica Milano) and abroad (CSI Lugano, Switzerland; Rigve International Summer Course, Norway; Valtice , Czech Republic; Belgium, Slovenia, Paraguay, Indonesia).

Lieven Baert​

Lieven Baert

Urbino Musica Antica 2022

Lieven Baert

/// Historical dances (main)

Period: 23th - 30th July
Lieven Baert​

Programme

The art of dancing – l’arte di ballare

Sixteenth and seventeenth century Italian dance technique.
The course is based on the dance descriptions of Caroso – Negri and Santucci who gave us information about the style, music and technique between 1580 and 1620.
The course is aimed at dancers with a solid knowledge of the basic steps at the end of the 16th century Italian dance style.

We will dance original dances of the time but also choreographies that inspired the style at the end of the 16th century and established by Caroso /Negri and Santucci.

The teacher

Testo curriculum

Alessandro Quarta

Alessandro Quarta

Urbino Musica Antica 2022

Alessandro Quarta

/// XVII century italian repertoire (voices and basso continuo)

Period: 21th - 30th July
Alessandro Quarta

Programme

Corso principale

  • Musica vocale concertante italiana del Seicento (con Basso continuo)
  • Laboratorio pratico intensivo del repertorio da 2 a 8 voci.
  • Aperto a cantanti, tiorbe, liuti, arpe
  • Livello medio avanzato
  • Selezione: invio video di un brano del Seicento italiano (Monteverdi, Carissimi, Rossi, etc)

Corso Pomeridiano

  • Laboratorio per concerto finale festival Urbino Musica Antica in data 30 luglio
  • Oggetto di studio principale: Mazzocchi: Lamento di David
  • Aperto a cantanti solisti e di ripieno
    2 violini
  • Tiorbe, arpe, liuti, cello o viola da gamba, violone o contrabbasso.
  • Livello medio avanzato
  • Selezione: invio video di un brano del Seicento italiano (Monteverdi, Carissimi, Rossi, etc)

The teacher

Alessandro Quarta, direttore e compositore, fondatore e direttore dell’ensemble vocale e strumentale Concerto Romano (www.concertoromano.com – www.facebook.com/concertoromano) con il quale si dedica principalmente alla riscoperta del repertorio romano (e più in generale italiano) dei secc. XVI, XVII e XVIII.
L’attività concertistica alla direzione del Concerto Romano ha riscosso ampio favore nel pubblico italiano ed europeo (Accademia Filarmonica Romana, Società del Quartetto di Milano, Tage Alter Musik-Herne, Rheingau Musikfestival, Niedersachsische Musiktage, Handels-Festspiele di Karlsruhe, Halle e Goettingen WDR Funkhaus-Konzerte Koeln, Wiener Konzerthaus, Koelner Philarmonie, Styriarte, Rheinvokal, Musica Sacra Maastricht, De Bijloke – Gent, Muziekgebouw Amsterdam, Boston Early Music Festival), ottenendo eccelenti critiche da parte della stampa.

Con il Concerto Romano ha inciso tre CD per l’etichetta Christophorus; il secondo, “Sacred music for the Poor”, è stato nominato fra i progetti discografici più interessanti del 2014 dalla giuria del Preis der Deutschen Schallplattenkritik ed è vincitore del Prix Caecilia 2015. Sia quest’ultimo che il primo, “Luther in Rom” hanno inoltre ottenuto il voto massimo (5/5) dalla rivista francese Diapason. L’ultimo CD (2016) è la prima in tempi moderni della Sete di Christo di Bernardo Pasquini, ed ha ottenuto il Diapason d’or nel 2016.

Fra le collaborazioni musicali, è stato direttore ospite dell’ensemble Ars Nova di Salamanca, ed è tuttora direttore ospite per progetti sulla musica italiana dell’ensemble Emelthée di Lione; nel 2015, ha collaborato, in qualità di continuista con l’ensemble del Boston Early Music Festival, per la trilogia monteverdiana, e nel 2016 è stato direttore ospite del Consortium Carissimi di Minneapolis per la prima messa in scena moderna del Tirinto, opera di B. Pasquini, ed ha collaborato in qualità di preparatore con l’ensemble Exultemus di Boston per l’incisione integrale de Le veglie di Siena di O. Vecchi e dell’ensemble Blue Heron di Boston.
E’ direttore ospite dell’Orchestra barocca nazionale dei Conservatori italiani e della Kurpfaelzisches Kammerorchester di Mannheim (Germania) e del teatro dell’Opera di Kiel (Germania) per la Divisione del Mondo di G. Legrenzi (2018)
Dal 2007 è docente presso i corsi internazionali di musica antica di Urbino della FIMA (Fondazione Italiana per la Musica Antica), della quale è, dal 2016, membro del Direttivo e dal 2018 direttore artistico del Festival.
Dal 2015 figura fra i conduttori della trasmissione musicale Radio3-suite in onda sulla Rai-radio3.
Svolge attività di ricerca musicologica, incentrando l’attenzione sul repertorio inedito della Scuola Romana dei secoli XVI e XVII. Ha curato un’edizione moderna dell’Oratorio Mestissime Jesu di M. Marazzoli per Analecta Musicologica (DHI, Roma), ed è collaboratore dell’IBIMUS (Istituto Bibliografico Musicale italiano), per il quale ha in preparazione un volume antologico di musiche Oratoriane romane.

Marco Frezzato

Marco Frezzato

Urbino Musica Antica 2022

Marco Frezzato

/// Trio and quartet with classical instruments

Period: 23th - 27th July

Il corso verterà sul repertorio classico in quartetto d’archi, con precedenza per ensemble già formati.

Sono comunque benvenute altre formazioni cameristiche come trio o duo d’archi, nonché singoli strumentisti, che verranno abbinati ad altri corsisti per allestire qualche brano cameristico.

Nessuna preselezione, né sono necessari brani d’obbligo.

Marco Frezzato

The teacher

Ha studiato violoncello barocco e classico con Gaetano Nasillo presso la Scuola Civica di Milano, diplomandosi con lode nel 2003. Si è perfezionato inoltre con Christophe Coin, Amedeo Baldovino, Mario Brunello e Antonio Meneses.

Nel 2002 ha fondato AleaEnsemble, insieme ai violinisti Fiorenza de Donatis e Andrea Rognoni, ed al violista Stefano Marcocchi, con l’intento di approfondire il repertorio per quartetto d’archi dei periodi classico e romantico su strumenti originali.
Con AleaEnsemble, Marco ha registrato il Divertimento per trio d’archi in mi bemolle maggiore KV 563 di W.A.Mozart per l’etichetta MVCremona, i quartetti op. II di Luigi Boccherini (Choc de la Musique, Diapason d’Or) e gli ultimi quartetti di Haydn dell’ op. 77 per Stradivarius, nonchè i quartetti inediti dell’opera 15 di Luigi Boccherini per l’etichetta Dynamic.

Dal 2016 suona come primo violoncello presso The English Baroque Soloists, Monteverdi Choir and Orchestras, diretti da John Eliot Gardiner.
Collabora inoltre con Concerto Italiano (Rinaldo Alessandrini), con Le Concert d’Astrée (Emmanuelle Haïm) e con Balthasar Neumann Chor und Orchester (Thomas Hengelbrock).

Dal 2003 al 2016 ha ricoperto il ruolo di primo violoncello di Accademia Bizantina, diretta da Ottavio Dantone, e dal 2011 al 2014 ha collaborato come primo violoncello con Orchestra of the Age of Enlightenment.

Michael Form

Michael Form

Urbino Musica Antica 2022

Michael Form

/// Chamber Music

Period: 21th - 25th July

Musica da camera con flauto dolce et altri strumenti (almeno 3 musicisti con strumentazione mista).

Livello: Avanzato

Livello di preparazione: alto, preferibilmente coaching sopratutto per ensemble già esistenti

Preselezione richiesta (audio o video)

Michael Form

Repertoire

  • G. Frescobaldi: Canzoni da sonare (1628)
  • M. Marais: Pièces en trio (1692)
  • A. Vivaldi: Concerti da camera
  • J.S. Bach: trio sonate in trascrizione
  • J.G. Janitsch: Quadri

The teacher

Michael Form was born in Mainz (Germany) in 1967. He graduated twice in 1990 and 1992 «summa cum laude» at the Hochschule für Musik Köln went on to study at the Rotterdams Conservatorium and subsequently specialised in medieval, Renaissance and baroque music at the Schola Cantorum Basiliensis (Basel/Switzerland). Apart from his interest in Early Music, he found one of his most eminent teachers in the Romanian conductor Sergiu Celibidache. Finally in 2016 he obtained a DAS (Diploma in Advanced Studies) as a classical conductor at Berne University of Arts (Switzerland).

Michael Form was granted scholarships from Heinrich-Strobel-Stiftung (SWF, Baden-Baden), Studienstiftung des deutschen Volkes, Cité Internationale des Arts (Paris) and Deutscher Akademischer Austauschdienst DAAD. As a flute player he was awarded at important competitions such as Internationaler Musikwettbewerb der ARD (Munich), Concours de musique contemporaine ICARE 88 (Paris) and Concours Musica Antiqua (Bruges).

He regularly performs at prestigious European festivals such as Schleswig-Holstein Musik Festival, Rheingau Musik Festival, Internationale Händel Festspiele Halle und Karlsruhe, Mosel Musikfestival, Villa Musica Mainz (Germany), Festival Oude Muziek Utrecht (Holland), Festival van Vlaanderen, Laus Polyphonie Antwerpen (Belgium), Les Museiques Basel, Lucerne Festival, Freunde Alter Musik Basel (Switzerland), Festwochen der Alten Musik Innsbruck (Austria), Brixner Initiative Musik und Kirche, Musica e Poesia a San Maurizio Milano (Italy), Automne Musical au Château de Versailles, Festival de Musique de la Chaise-Dieu, Festival Baroque de Pontoise, Rencontres de Musique Medievale de Thoronet, Bach à Silvacane – La
Roque d’Antheron, Theatre de la Ville, Paris, Bibliothèque Nationale de France, Opéra National de Bordeaux (France), Fundação Calouste Gulbenkian (Lisbon), Concentus Moraviae (Czech Republic). He works together with famous artists and groups such as the TAVERNER PLAYERS (Andrew Parrott), the ENSEMBLE GILLES BINCHOIS (Dominique Vellard) and CAFÉ ZIMMERMANN. For the last 20 years he has been performing highly acclaimed duo recitals with the German harpsichordist Dirk Börner. His live concerts have been recorded by almost all German radio stations. His CDs for Raumklang Musikproduktion, Alpha and Edition Ambronay, have received several awards such as Choc du Monde de la Musique and Diapason d’or for his Album «Bach Remixed».

Currently Michael Form works chiefly as a conductor with his ensemble LES FLAMBOYANTS, which had its début in 1997 and has been performing since then all over Europe and in New Zealand. The group is specialised in the neglected instrumental repertoire of the Renaissance era around 1500, however, it had its first big success in 1998 with a large tour dedicated to the 900th birthday of Hildegard von Bingen. 2007 Michael Form and Dirk Börner founded the ensemble AUX PIEDS DU ROY in order to put into practice the results of an extant research project for the Schweizerische Nationalfonds on French baroque Belle Danse. Michael Form has a considerable reputation as a teacher: already at the age of 21 he received a lectureship at the Johannes Gutenberg-Universität Mainz, from 2000 until 2002 he had been teaching at the Schola Cantorum Basiliensis, and from 2004 until 2007 at the Musikhochschule Freiburg (Germany). Since 2003 he is professor at the Hochschule der Künste Berne (Switzerland). He has been an invited teacher at the Conservatorio superior de música de Canarias (Spain) and has given master classes at the Meistersinger Konservatorium Nürnberg (Germany), at the Anton Bruckner Universität Linz (Austria), at the Conservatory of Sofia (Bulgaria), at the Conservatoire national supérieur musique et danse Lyon (France), at the Universidad de Alicante, at the Festival de Música Antigua de Gijón (Spain).

In 2002 Michael Form started a second career as a conductor. After having directed the baroque orchestra of the Schola Cantorum Basiliensis for several years, emphasising on a new approach to French orchestra music as well as experimenting with historical conducting techniques, he was appointed to conduct the orchestra of the FIMA Urbino, the biggest Early Music Festival in Italy. He had his debut as an opera conductor 2004 in Lausanne with «Les Indes Galantes» by Jean-Philippe Rameau, a production with turned out to be a remarkable success. Subsequently, Michael Form conducted not less than 160 opera performances in Europe and Latin America. From 2006 until 2011, he may be considered having been the central artistic figure at the festival Winter in Schwetzingen: Several German first performances of operas by Antonio Vivaldi have been rewarded with big applause by the audience as well as by the international press. In 2007, Michael Form conducted the American first performance of Vivaldi’s recently discovered opera «Motezuma» at the Teatro de la Ciudad in Mexico City coproduced by the Luzerner Theater.

Subsequently, he was invited as a guest conductor and soloist by the FOLKWANG KAMMERORCHESTER ESSEN, the WÜRTTEMBERGISCHES KAMMERORCHESTER HEILBRONN, the NIEDERSÄCHSISCHE STAATSPHILHARMONIE Hannover, the NDR RADIO-PHILHARMONIE the MÜNCHNER OPERNFESTSPIELE, the BADISCHE STAATSKAPELLE, the OLDENBURG STATE ORCHESTRA, the OPERN- UND MUSEUMSORCHESTER FRANKFURT, the DEUTSCHE HÄNDEL SOLISTEN, the PHILHARMOISCHES ORCHESTER DER STADT HEIDELBERG (Germany), the LUZERNER SINFONIEORCHESTER and the ORCHESTRE DE CHAMBRE DE GENÈVE (Switzerland).

In 2012 Michael Form had his debut at the Internationale Händel-Festspiele Karlsruhe: Handel’s opera «Alessandro» was a great success, it has been repeated the following year and issued as a live recording for Pan Classics. In 2015 und 2016 Handel’s early opera «Teseo» was produced at the same festival. In 2013 Michael Form conducted at the Oper Frankfurt Emilio de’ Cavalieri’s «Rappresentatione di Anima, et di Corpo» together with the first performance of «Fulgur Harmoniae» by the Austrian composer Klaus Lang, a work commissioned by the Frankfurt opera house. As well the scenic as the musical realisation of both works have been praised as the best production of the season.

In 2010 Michael Form found his own orchestra on period instruments, the ORCHESTRE ATLANTE, which is dedicated to the research and performance of late baroque and classical repertory. One of its highlightsso far was a gala concert with the famous italian soprano Roberta Invernizzi. Since 2014 he is collaborating as principal guest conductor with the SIMÓN BOLÍVAR SYMPHONY ORCHESTRA OF VENEZUELA and the SIMÓN BOLÍVAR BAROQUE ORCHESTRA in Caracas (Venezuela), which is one of the most remarkable new ensembles of EL SISTEMA.

Already for the 5th time Michael Form has been conducting the MADRIGALISTAS DE BELLAS ARTES, the famous chamber choir of the Mexican National Opera. On the 19th of September 2015 he has been elected to direct a concert broadcasted life by the Mexican television commemorating the 30th anniversary of the big earthquake in Mexico City.

Paolo Da Col

Paolo Da Col

Urbino Musica Antica 2022

Paolo Da Col

/// Polyphonic music in the 15th century Courts

Period: 21th - 25th July

On the occasion of the anniversary of the birth of Federico III da Montefeltro (1422 – 1482), the course deals with both sacred and secular polyphonic music performed or created at the courts of the main Italian territorial states between the mid-fifteenth century and the first decades of the sixteenth.

Paolo Da Col
Photo © Marco Caselli

Programme

Various themes concerning the performance practice of the polyphonic repertoire will be addressed, with reference to both musical-theoretical sources and historical evidence. The course will be available both for existing groups and for ensembles created among the course participants. At the time of registration, participants are asked to specify their vocal register. A selection of music will be sent at the beginning of July.

Repertoire

The repertoire will cover a wide range, extending from music related to the court of Urbino and drawn from a codex (the ms. Urbinate Latino 1411 of the Biblioteca Vaticana) and iconographic sources (the inlays of Federico da Montefeltro’s studiolo) to the polyphony of composers of Josquin Desprez’s generation, with particular reference to music composed or performed at the courts of Ferrara and Mantua and published in the first editions of Ottaviano Petrucci.

 

The teacher

Paolo Da Col ha compiuto studi musicali al Conservatorio di Bologna e musicologici all’Università di Venezia e presso il Centre d’Études Supérieures de la Renaissance di Tours. È il bibliotecario del Conservatorio di Venezia. Sin da giovanissimo ha orientato i propri interessi al repertorio della musica rinascimentale e preclassica, unendo costantemente ricerca ed esecuzione. Ha fatto parte per oltre vent’anni di numerose formazioni vocali italiane e dal 1998 dirige l’ensemble vocale maschile Odhecaton, al quale è stato conferito nel 2018 il Premio Abbiati della critica musicale italiana. Con Odhecaton ha registrato una quindicina di dischi che hanno ricevuto i maggiori riconoscimenti, tra i quali il Grand prix international de l’Académie du disque lyrique, 5 diapason d’or, 2 diapason d’or de l’année, cd of the Year (Goldberg), Editor’s choice (Gramophone). Ha diretto con Luigi Ferdinando Tagliavini e dirige la rivista L’Organo e ha collaborato in qualità di critico musicale con varie riviste specializzate, ha diretto il catalogo di musica dell’editore Arnaldo Forni di Bologna, è curatore di edizioni di musica strumentale e vocale, autore di cataloghi di fondi musicali e di saggi sulla storia della vocalità. Collabora all’edizione critica delle opere di C. Gesualdo da Venosa e G. Tartini.

Giovanni Togni

Giovanni Togni

Urbino Musica Antica 2022

Giovanni Togni

/// Thorough bass

Period: 23th - 30th July

The course will be organized into two levels:
1. introductory
2. intermediate/advanced
Students may participate as auditor to the activities of the other level.

Giovanni Togni

Programme

Introductory level

Basic thorough-bass technique will be articulated in these points:

  • direction of the voices with numbers referring to the perfect chord, related inversions and, within the end of the course, to the seventh with related inversions;
  • short exercises of improvisation on simple basses;
  • use of different numbers of voices and expressive nuances, of simple level, in a stylistic context;
  • simple parts of sonatas for one or two continuo players;
  • historical approach to the origin of the “Rule of the octave” and stylistic implementation.

Intermediate/advanced level

  • direction of the voices related to chorals with intermediate/complex numbers;
  • chamber music;
  • basses without numbers (only advanced level);
  • provision of a bass to a given melody (only advanced level);
  • Sonatas for Basso solo of the XVII century (scores sent to the students);
  • transposition of basses of simple/medium difficulty.

Students may work on their own repertoire pieces or those for the chamber music courses in Urbino; XVII and XVIII century music scores will be provided to the participants.

During the course a short seminar will be held with a critical reading of the Regole per Sonare il cembalo sopra la parte del basso continuo (Bologna, Museo Internazionale e Biblioteca della Musica, P 140); the manuscript can be consulted digitally at the link http://www.bibliotecamusica.it/cmbm/viewschedatwbca.asp?path=/cmbm/images/ripro/gaspari/_P/P140/

Recommended methods and books

* all levels, ** intermediate/advanced level, *** only advanced level

  • Bourmayan & J. Frisch Méthode pour apprendere la pratique de la Basse Continue à l’usage des amateurs, ed. du Cornet *.
  • Erich Wolf Generalbassübungen, ed. Breiktopf 6620 *.
  • B. Christensen Fondamenti di prassi del basso continuo nel XVIII secolo, ed. Ut Orpheus *.
  • N. Pasquali Thorough-Bass made easy (fac-simile), Oxford University Press *.
  • O. Morris Figured Harmony at the Keyboard, part 2, Oxford University Press **
  • B. Marcello Sonate I e XII Op. 2*
  • F.A. Bonporti Sonate da Camera a Violino solo col basso continuo Op. 7*/**
  • Bernardo Pasquini Sonate per basso continuo. Si consiglia il vol. VI dell’Opera Omnia per tastiera (London, Bl Ms. Add. 31501, I) a cura di Edoardo Bellotti, ed. Il Levante **.
  • F. Couperin Concerts Royaux **/***; Les Nations**/***
  • G. F. Händel Sonate per flauto, oboe o violino Op. 1**
  • P. A. Locatelli Sonate a violino solo e basso Op. 8***.
  • J. S. Bach Triosonata in do minore BWV 1079 (Offerta Musicale) ***; Sonata in mi minore BWV 1034

The teacher

Giovanni Togni graduated with top marks in piano, harpsichord and choir direction further extending his musical knowledge with studies in composition and organ. His musical interests have been focused on early keyboards (harpsichord, clavichord and fortepiano) since meeting his harpsichord teacher Laura Alvini.

He is the winner of the 1991 ECBO selections (harpsichord and organ continuo) in Paris, France, and of the 1993 National Harpsichord Competition in Bologna, Italy.

He performed as continuo player (at the harpsichord and organ) with many ensembles, such as Ensemble Concerto, Il Complesso Barocco, Accademia Bizantina, Ensemble Zefiro, Ensemble Aurora, the European Community Baroque Orchestra (ECBO), the RAI Orchestra in Rome, the Orchestra Mozart directed by Claudio Abbado. Furthermore, he had collaborations with opera theatres like the Teatro Massimo in Palermo and the Opéra de Monte-Carlo and he performed in prestigious Italian and European early music and chamber music festivals, both as a soloist at the harpsichord and fortepiano and in chamber groups.

He has recorded for labels such as Glossa, Brilliant, “Amadeus”, Dynamic, Concerto, Deutsche Harmonia Mundi, EMI-Virgin, Deutsche Grammophone (Archiv Produktion) and for the Radiotelevisione Italiana and other European broadcasters.

He has been engaged as lecturer, speaker and jury member, by several institutions like the Giorgio Cini Foundation in Venice, European Harpsichord Competition (Bologna) and the International Early Music courses in Urbino (Fondazione Italiana per la Musica Antica). Since 2017 he is director of the International Early Music courses in Urbino.

He taught harpsichord and historical keyboards at the Cagliari and Milan Conservatoires. Currently he is professor for the same disciplines at the Conservatoire “G. Verdi” of Como.

Pierre Goy

Pierre Goy

Urbino Musica Antica 2022

Pierre Goy

/// Fortepiano

Period: 26th - 30th July
Pierre Goy

Programme

The course will cover the fortepiano repertoire from about 1780 to 1820. Students may bring works from the three great schools of fortepiano playing, Viennese (Haydn, Beethoven), English (Clementi, Cramer) and French (Dussek, Steibelt). We will discuss the styles of these different schools, pedal problems and performance practices.

The teacher

During his training, Pierre Goy was taught by pianists from three major schools: Fausto Zadra and Edith Murano, both pupils of Vincenzo Scaramuzza (whose pianistic lineage dates back to the great Sigismund Thalberg): Esther Yellin, pupil of the pianist and teacher Heinrich Neuhaus of Moscow: and finally Vlado Perlemuter in Paris.

Fascinated by the expressive possibilities of old instruments, he followed courses for the fortepiano given by Luciano Sgrizzi, Paul Badura-Skoda and Jos van Immerseel, and Jesper Christensen for the romantic piano.

Pierre Goy seeks to perform the music of each era on an instrument that corresponds to it. 

His recordings have been acclaimed by the critics, receiving the highest distinctions.

He gives numerous concerts as a soloist or in chamber music.

He teaches in the Hautes Ecoles de Musique of Geneva HEM and Lausanne HEMU and frequently shares his knowledge of old instruments and performance practice during master class and seminars.

Pierre Goy is the founder of the Rencontres Internationales harmoniques de Lausanne, which since 2002 has seen instrumentalists, musicians, musicologists and museum curators gathering to exchange knowledge of old instruments.

For publications and recordings see https://pierregoy.com

Carmen Leoni

Carmen Leoni

Urbino Musica Antica 2022

Carmen Leoni

/// Fortepiano and Clavichord

Period: 21th - 25th July

The course is open to all interested parties and does not include an audio or video pre-selection.

You can choose to play both instruments Fortepiano and Clavichord, but also only one of the two.

The nature of the course, which aims to analyse the language of the 18th century and not necessarily specific pieces, will leave a wide margin of freedom on the choice of repertoire, and also to attend the lessons of other fellows. Each member is entitled to a single lesson per day.

During the course there will be group meetings to discuss some methods for Fortepiano and Clavichord of both German and Italian authors of the late eighteenth century very instructive about central issues such as: body and hand position, fingering, embellishments, expression marks, articulation, touch, dynamics, and use of the pedal.

Carmen Leoni

Fortepiano Course

The aim is to deal with the repertoire of the late 18th century with particular attention to the classical language and the specific rhetoric of composers such as Haydn, Mozart and Beethoven, who were strongly influenced by musical theatre also in their instrumental compositions. In their keyboard sonatas, the various affetti are often presented in a frenetic succession of contrasting themes, and just as in the opera buffa, humour and drama are the sides of the same coin.

The course will use a Fortepiano copy of A. Walter from the late 18th century.

Clavichord Course

Harpsichord, Fortepiano or Clavichord? Which of the three instruments is the correct one to use for the interpretation of the late 18th century repertoire is difficult to establish. What is certain is that many souces report a great predilection for the Clavichord, which thanks to its infinite expressive possibilities leads to the conception and expression of the most refined musical thoughts. This course therefore offers the opportunity to experiment on the Clavichord a particular type of touch, phrasing, articulation, a certain type of dynamics up to vibrato.

The course will use an unfretted five-octave Clavichord, built by Joris Potvlieghe on the model of the Saxon Clavichord of the second half of the 18th century.

The teacher

Born in Verona, Italy, in 1965, she began to play the harpsichord at the age of 11. In 1989 she obtained an organ degree at the Conservatory F.E. Dall’Abaco in Verona. Later, in Holland, she studied at the Koninklijk Conservatorium of The Hague with Jacques Ogg, Ton Koopman (harpsichord) and Stanley Hoogland (fortepiano) obtaining a soloist degree in 1993.

Her professional activity include numerous collaborations with various baroque orchestras such as La Petite Bande, Amsterdam Baroque Orchestra, La Risoluzione Amsterdam, Zefiro, I Barocchisti, Venice Baroque Orquestra, Ensemble Il Divino Sospiro. Recently she has taken part, in many productions of the Chamber Orchestra of Europe, as harpsichordist.

Together with Roberta Invernizzi she has formed a classical duo Voice and Fortepiano, and with the Mannheimer Schule Ensemble, she usually plays quintets by Mozart and Beethoven for winds and fortepiano.

In her professional activity she has partecipated in several Cd recordings for labels as Naxos, Emergo, Hungaroton, Tactus, Stradivarius and Spanish National Radio.

At the Conservatory of Verona, as a teacher of chamber music, she organized, several international music workshops on the classical repertoire in collaboration with Lorenzo Coppola. Currently she teaches harpsichord and historical keyboards at the Conservatory of Frosinone.