Urbino Musica Antica 2022
/// 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.
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.
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.
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.