Thorough bass

Course programme

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.

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.

Recommended methods and books

  • 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 *.
  • Pasquali Thorough-Bass made easy(fac-simile), Oxford University Press *.
  • O. Morris Figured Harmony at the Keyboard, part 2, Oxford University Pres**/***
  • B. Marcello Sonate I e XII Op. 2*
  • 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 **/***
  • 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 c minor BWV 1079***

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

The teacher – Giovanni Togni

Giovanni TogniGiovanni 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.

Bassocontinuo on plucked instruments

Course programme

The course is designed for all instrumentalist who want to deepen the practice and theory of continuo on plucked instruments (lute, theorbo, archlute and baroque guitar) and the 17th and 18th century repertoire.

The teacher – Evangelina Mascardi

Evangelina Mascardi is considered one of the most prominent lute players on the international scene.

Born in Buenos Aires in 1977, she graduated in classical guitar and started her concert career as a highly gifted young soloist.

In 1997 she moved to Europe to study with Hopkinson Smith at the Schola Cantorum Basiliensis (Basel, Switzerland), where she obtained her “Solisten Diplom” in 2001.

During the last decade she collaborated regularly as a continuo-player with Jordi Savall (Hespèrion XXI), Marc Minkowsky (Les Musiciens du Louvre), Andrea Marcon (Venice Baroque Orchestra), Giovanni Antonini (Giardino Armonico), Chiara Banchini (415), Simon Rattle (Berliner Philarmoniker). With them and other ensembles she took part in more than 30 recordings.

Nowadays, she confines her collaboration to Ensemble Zefiro (Alfredo Bernardini) and Monteverdi Choir (Sir John Elliot Gardiner), in order to mainly focus on solo lute repertoire.

Constantly praised by critics, she has performed recitals in a number of early music festivals such as Fringe (Barcellona), Concentus (Brno), Resonanzen (Vienna), Luth et Theorbe (Genêve), Early Music Festival (London), Musica Antigua Festival (Daroca), Forum Musicum (Breslau), and guitar festivals in Madrid, Treviso, Santander, Castell’Arquato, Pordenone and Novara.

Evangelina has four solo albums to her credit, two devoted to Johann Sebastian Bach and Sylvius Leopold Weiss (ORF-Alte Musik, Austria 2003 and 2009), one to refined and original theorbo solos by the Modena-born Bellerofonte Castaldi (Arcana 2011) and the latest recently devoted to the Belgian lutenist and composer Laurent de Saint-Luc (Musique en Wallonie 2018).

Evangelina teaches Lute at the ISSM ”Conservatorio A. Vivaldi” in Alessandria (Italy).

Historical harps

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.


Course programme

Free choice of music.

The student are suggested to bring at least 2/3 pieces from different musical contexts and some chamber music.

Starting from the original sources, in the individual lessons we will work on different tecnical aspects of the baroque flute (like: sound production, fingerings, tuning and articulations) analyzing and interpreting different musical stiles.

The teacher – Marcello Gatti

Baroque violin

Course programme

Main grounds of posture, sound emission and bowings in the fields of Italian and French baroque styles.
The imitation of the human voice as the Art of playing on the violin, in all its technical and musical aspects: pronunciation, articulation, dynamics and phrasing. Basics of the art of diminution. Technique and use of vibrato, basics of historical intonation.

Repertoire: XVII century works for violin in Italy, Spain, France, Austria, Germany and England. XVIII century violin music of Italy, Spain, France and Germany, with particular regard to sonatas and concertos by Giuseppe Tartini (1692-1770) of which 250 years have passed since his death.

The teacher – Enrico Gatti

Enrico Gatti has dedicated himself to the XVII and XVIII century repertoire studying with Chiara Banchini in Geneva and Sigiswald Kuijken in The Hague. He has concertized extensively around all the world performing with La Petite Bande, Ensemble 415, Concerto Palatino, Hesperion XX, La Real Cámara, as leader of Les Arts Florissants, Les Talens Lyriques, The Taverner Players, The King’s Consort, Ricercar Consort, Bach Collegium Japan, Concerto Köln, ARTEK (New York), De Nederlandse Bachvereniging and “Les Muffatti” (Bruxelles), as well as with directors such as Gustav Leonhardt and Ton Koopman. He directs the Ensemble Aurora, which he founded in Italy in 1986. He has recorded for Harmonia Mundi (France and Germany), Accent and Ricercar (Belgium), Fonit Cetra, Tactus and Symphonia (Italy), Arcana and Astrée (France), Glossa (Spain) as well as recordings for many radio networks. He was assigned the first prize “Antonio Vivaldi” in 1993 and 1998, the “Preis der deutschen Schallplattenkritik”, and several times the “Diapason d’or”. Enrico Gatti is professor of historical violin at the Royal Conservatory of The Hague and at the Conservatorio “G.B. Martini” of Bologna and he is much in demand for giving masterclasses in many unversities and music schools. He has been a member or president of the jury in several early music competitions and artistic director of the Urbino Early Music Course. He is member of the Scientific Committee for the national critical edition of the complete works of Alessandro Stradella and has been the President of the Scientific Committee for the international Symposium “Arcomelo 2013” in Fusignano which in november 2013 celebrated Arcangelo Corelli’s death tricentenary. He published several articles on early music performance practice as well as facsimile editions of Italian violin music, and more recently an essay on the history of diminution.


Course programme

Intermediate and advanced level

The program of the course is based on Italian and German late baroque repertory: 

  • Italian Sonatas for recorder and b.c. : Veracini, Corelli, Bellinzani, Marcello, Sammartini
  • Telemann:  Fantasias, Sonates Methodiques, Trietti e Scherzi Metodici, Sonate a tre, duets
  • Schickhardt: Solo sonatas, Sonate a tre, Concerti per quatto flauti e b.c.
  • Quantz: Capricci, duets
  • Concertos for recorder and strings: Telemann, Vivaldi, Mancini…

Collective technical lessons will be held, compatibly with the rules for the containment of the Covid 19 pandemic; students can be equipped for such exercises with an alto flute with a3 = 440Hz

The teacher – Daniele Bragetti

Daniele Bragetti studied recorder with Nina Stern, Kees Boeke, Marijke Miessen and Jeanette van Wingerden, graduating at the Civica Scuola di Musica di Milano and the Sweelinck Conservatorium of Amsterdam.

He gives regularly concerts, both as soloist as well as member of several ensembles of renaissance, baroque and contemporary music, among others Ensemble Baroque de Limoges, Ensemble Elyma, Ensemble Concerto, Academia Montis Regalis, Accademia Claudio Monteverdi, The Olive Consort, La Fonteverde.

He played in important halls and Festivals: Mito – Settembremusica in Milano, Festival Oude Muziek Utrecht, Musica e Poesia a S. Maurizio – Milano, Tokyo Recorder Festival, I Concerti del Quartetto – Milano, UNESCO per Venezia, Tokyo Opera City, Tokyo Bunka Kaikan and Casals Hall in Tokyo.

Since 1991 he plays in a recorder duo with Seiko Tanaka (collaborating often with the recorder players Walter van Hauwe, Kees Boeke, Antonio Politano and Tosiya Suzuki); in 2013, with her, he founded the Tokyo based recorder ensemble La Rubertina.

He realized several CD recordings for Opus 111, Passacaille, Stradivarius, Entrée, Mercury, Olive Music.

He is teaching recorder at the Haute École de Musique de Genève and recorder and historical ornamentation at the Civica Scuola di Musica “Claudio Abbado” di Milano; he has been visiting professor at the Haute École de Musique de Genève and the Universitad Pontificia de Santiago de Chile.

Happy Birthday Guglielmo Ebreo!

601 years ago Ebreo was born as the son of another dancing master Moses of Sicily who was Dancing Master at the court at Pesaro. 

In this year’s summer school in Urbino we will honor Guglielmo Ebreo as choreographer and Student of Domenico da Piacenza and explore what his contribution was to the quality of court dance in 15th century Italy.

Intermediate and advanced: Lieven Baert