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

Cello with Gaetano Nasillo: 18-27 July 2019

CLOSED – maximum number of students has been reached

Programma libero.

Livello medio/avanzato.


GAETANO NASILLO è uno tra i più acclamati violoncellisti che si occupano di esecuzione su strumenti originali e di riscoperta del repertorio italiano.

Diplomato al Conservatorio “Giuseppe Verdi” di Milano sotto la guida di Rocco Filippini. Dopo aver svolto attività concertistica nei più qualificati gruppi di musica contemporanea e nelle principali orchestre milanesi, si è dedicato in giovane età allo studio della prassi esecutiva su strumenti originali, affiancando al violoncello lo studio della viola da gamba e perfezionandosi alla “Schola Cantorum Basiliensis” con Paolo Pandolfo.

Da subito è diventato collaboratore di musicisti quali Chiara Banchini, Jesper Christensen, Enrico Gatti, partecipando anche come solista all’attività dei maggiori complessi barocchi europei: Ensemble 415, Concerto Vocale, Le Concert des Nations, Ensemble Aurora, Zefiro ed altri ancora.

Spesso in veste di solista ha partecipato a numerose tournées in tutta Europa, in molti paesi dell’America Latina, Stati Uniti, Australia e Giappone ed ha effettuato oltre 100 registrazioni discografiche, molte delle quali premiate con i più importanti riconoscimenti: Diapason d’Or (A. Corelli, Concerti grossi op. VI, Ensemble 415; Muffat, l’Armonico Tributo, Ensemble 415; Monteverdi L’Orfeo, Ensemble Elyma; Conti, Cantate, Ars Antiqua Austria; A. Corelli, Sonate per violino e basso continuo op. V, Enrico Gatti; Albinoni, Sinfonie a 5 op.2, Ensemble 415;); Diapason de l’Année (Haendel Fireworks, Zefiro); 10 di Repertoire e Premio Vivaldi (A. Corelli op. V, trascrizione per viola da gamba, G.Balestracci; A. Corelli, Sonate op. V per violino e basso continuo, E. Gatti); Choc de la Musique (A. Corelli, Sonate op. V); Preis der Deutsche Schallplattenkritik (Bonporti, Invenzioni op. X, C. Banchini); A di Amadeus (Boccherini, Sonate per violoncello; Schuster, Quartetti padovani, Quartetto Joachim; J.S. Bach, Offerta Musicale; Bonporti, Invenzioni op. X), Amadeus “Cd dell’Anno” (Lanzetti Sonate per violoncello e b.c. op.1), Muse d’Or (Sonate per violoncello e b.c. di Caldara).

La produzione discografica solistica comprende due volumi di Sonate di Luigi Boccherini, l’op. V di Francesco Saverio Geminiani (cd inserito dalla rivista francese Diapason nei “30 dischi indispensabili per conoscere il violoncello”), recentemente ripubblicati da Pan Classics; le Sonate op.1 per violoncello e b.c. di Salvatore Lanzetti incisi per Zig Zag Territoires; i Concerti Napoletani (Porpora, Fiorenza , Leo e Sabatino) con l’Ensemble 415 sempre per Zig Zag Teritoires; le Sonate di Antonio Caldara e le Sonate di Carlo Graziani (In viaggio verso Breslavia) per Arcana. Nel 2015 Arcana ha pubblicato Nel Giardino di Partenope, Sonate napoletane per violoncello e basso.

L’instancabile amore per la ricerca che da sempre lo guida lo ha portato ad approfondire negli ultimi anni la prassi esecutiva del secolo XIX su strumenti originali. Insieme al pianista Alessandro Commellato ha inciso nel 2015 le Sonate di Ferdinand Ries per violoncello e fortepiano.

E’ fondatore dell’Ensemble Lycopersicon che ha debuttato nel 2012 al Festival Internazionale di Stresa, ed ha ricevuto la menzione “Musician of the Year” di Prelude Klassieke Muziek.

Ha registrato per Harmonia Mundi France, Deutches Harmonia Mundi, Symphonia, Teldec, Arcana, Glossa, Ricordi, K617, Ambroisie, Zig-Zag Territoires, Alpha, Christophorus, Nuova Era, Bongiovanni, Stradivarius, Tactus, Brilliant e per le principali emittenti radiofoniche e televisive in Europa e Stati Uniti. Nel 2008 Sky Classica gli ha dedicato una puntata della serie “I Notevoli” e 2012 è stato invitato da Radio France per la trasmissione in diretta Le matin du Musicien. Ha pubblicato per Carisch i Concerti Napoletani di Leo, Fiorenza, Porpora e Sabatino.

Molto attivo sul piano della didattica, Gaetano Nasillo è docente di violoncello barocco e moderno presso il Conservatorio G. Cantelli di Novara. E’ stato docente del primo Master di Musica Barocca presso l’Università della Basilicata. Oltre ad avere insegnato in prestigiose istituzioni quali la Fondazione Cini di Venezia, l’ Accademia Internazionale della Musica di Milano e la Scuola di Musica di Fiesole, tiene corsi e masterclass in Italia (Urbino), Spagna (Daroca) e Brasile, ed è invitato regolarmente a far parte di giurie di concorsi specializzati in musica barocca quali il Concorso Internazionale di Rovereto e il Concours Corneille di Rouen.

Nel 2013 è stato invitato da Antonio Abreu come preparatore e solista per il primo concerto dell’Orchestra Barocca Simon Bolivar al Festival Decus Mundi di Caracas.

Suona un violoncello Giuseppe Ungarini del 1750.

Thorough bass with Giovanni Togni: 18-27 July 2019

CLOSED – maximum number of students has been reached

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 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, adding figures to indicate the intended harmonies (only advanced level);
      • transposition of basses of simple/medium difficulty.

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

On 25 and 26 July, there will be a specific one-hour seminar with the title “Le false che dilettano” dedicated to the extempore “false” notes in late-600 Italian treatises.

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 Press **.
      • Muffat Regulae Concentuum Partiturae **.
      • 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 **.
      • Geminiani The Art of Accompaniment…to learn to perform the Thorough Bass on the F. Couperin Concerts Royaux **/***
      • Ph. Rameau Suite da Hyppolite et Aricie**/***
      • Fr. Händel Cantata “O Numi Eterni” (Lucrezia) HWV 145***
      • S. Bach Sonate per violino e basso continuo BWV 1021 e BWV 1023 ***

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


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.

Singing with Lia Serafini: 18-27 July 2019

CLOSED – maximum number of students has been reached

Il Corso è rivolto a cantanti, studenti di Conservatorio e appassionati con un
livello vocale medio e avanzato, che intendano perfezionarsi con un breve ma
intenso percorso formativo.
Il repertorio è del tutto libero, ma nell’audizione iniziale va presentato
almeno un brano rinascimentale o barocco, per verificare i requisiti e la
disponibilità dei posti, in mancanza dei quali si potrà partecipare come
E’ desiderio della docente favorire le sinergie fra cantanti e musicisti
lavorando anche su brani d’insieme, scelti in base alle presenze effettive e alle
attitudini personali.
Verranno proposti sia concerti pomeridiani che un concerto finale.

Requisiti di base:
Abilità tecnica adeguata alla musica che si presenta, intonazione, esperienza almeno di un
repertorio affine.

Clavichord and fortepiano with Carmen Leoni: 23-27 July 2019

This course woud like to enable its students to experiment with the expressive possibilities of the
end of XVIII century key-board instruments and to understand the tecknical aspects of that period repertoir.
Students can study both instruments or just one of them.
All levels of preparation are accepted. No entry test is required.
Clavichord: the clavichord is an instrument that for its own characteristics prepares and develops a technique particularly refined to the keyboard; this type of technique can naturally facilitate then the correct approach to all the other "historical keyboards".
This year, besides having a free five-octave clavichord, a Saxon model from the second half of the
18th century, made by Joris Potvlieghe (Be), the course offers the possibility of approaching a very particular instrument, that is the precious reconstruction of the clavichord represented in the Tarsia of the Palazzo Ducale di Urbino realized by Maestro Angelo Mondino. This means that for those interested, it will be possible to make a very ancient repertoire of the late fifteenth and early sixteenth century such as The Faenza Codex. The clavichord by J. Potvlieghe, on the other hand, is suitable for the entire 18th century repertoire, especially for C. P. E. Bach.
Fortepiano: We will have a model Anton Walter copy of the end of the 18th century, on which it
will be possible to perform a classical and pre-classical repertoire of free choice. Articulation and
touch, ornamentation, choice of timing and understanding of the musical text according to the
stylistic criteria of the end of the eighteenth century, will be the main topics of study of this course.

Subjects of possibile, theoretical, joint lessons
– Ancient and modern fingerings
– Repertoir: harpsichord, clavichord or fortepiano?
– The Viennese fortepiano from the late eighteenth century and the use of the pedal

The students are allowed to bring any classical and preclassical piece from the keyboard repertoir; for the clavichord even XV, XVI and XVII century compositions are suitable.
Nevertheless here are some suggestions of repertoire particularly suitable for the eighteenth century clavichord:
C.P.E. Bach:
– Rondo : Abschied von meinem Silbermannischen Claviere
– Free Fantasias and Rondos from: “Die sechs Sammlungen von Sonaten, freien
Fantasien und Rondos für Kenner und Liebhaber”
– Achtzehn Probestüken zu dem “Versuch über die wahre Art das Clavier zu spielen”

W. A. Mozart
Fantasie in d minor KV.397
Fantasia in c minor KV 475
W. F. Bach:
12 Polonaises
J. Haydn:
Sonatas written from 1767 to 1774, especially the Hob. XVI / 20 in C minor, XVI / 44 in G
minor, XVI / 46 in A flat major.
Suggested Repertoire for those approaching the clavichord for the first time:
J.S. Bach: Notenbüchlein für Anna Magdalena Bach
Clavier-Büchlein vor Wilhelm Friedmann Bach

C.P.E. Bach:

Solfeggi in c minor and A major, piccole fantasie in G major and d minor

Chamber Music with fortepiano *:
Vocal Music
Vocal quartets and trios by Haydn
Lieder by C.P.E. Bach
Lieder by Haydn
Wind instruments with fortepiano ( With Lorenzo Coppola’s contribution)
Fortepiano and winds quintets by Mozart and Beethoven

Clarinet with fortepiano
Sonatas for clarinet and basso continuo by Jean-Xavier Lefevre
Sonatas for clarinet and fortepiano by F.A. Hoffmeister and J.B. Vanhal
Trio B flat major op. 11 for clarinet, cello and fortepiano by Beethoven
6 Sonata movements for clarinet, bassoon and fortepiano by C.P.E. Bach
Trio in E flat major K498 for clarinet, viola and fortepiano, Kegelstatt by Mozart

Strings instruments music
Trios for violin, violoncello and fortepiano or flute, violoncello and fortepiano by Haydn
Quartets for strings and fortepiano by Mozart

Sonatas with an accompaning violin by C.P.E. Bach, Mozart and contemporaries

*The chamber music with fortepiano, course mainly held by Lorenzo Coppola, is always strictly
connected with the other singing and classical instruments classes. Therefore students are advised
to get in touch with their teacher to ask futher informations.


Carmen Leoni ha iniziato gli studi musicali, all’età di undici anni sul clavicembalo.
Un anno dopo, affascinata dalle toccate di Frescobaldi e da “ … questo modo di sonare
che non dee star soggetto a battuta”, eseguiva il repertorio antico con diteggiature
storiche, e imparava il basso continuo con Laura Alvini.
A quattordici anni ha conosciuto Scott Ross che le ha dato lezioni sul cembalo anonimo
francese del settecento presso il Chateau D’Assas in Francia.
Dopo essersi diplomata in organo a Verona, si è trasferita in Olanda, dove, presso il
Koninklijk Conservatorium de L’Aia, frequentando i corsi di Jacques Ogg, Ton Koopman e
Stanley Hoogland, ha conseguito il diploma di clavicembalo solista.
Presso il Conservatorio di Verona, dove ha insegnato musica da camera e basso
continuo dal 2001 al 2008, ha organizzato diversi laboratori musicali sul repertorio
classico, in collaborazione con Lorenzo Coppola. Dal 2009 al 2012 è stata docente di
clavicembalo e basso continuo presso il “Conservatorio Superior de Salamanca”.

Attualmente insegna clavicembalo e basso continuo presso il Conservatorio di Cesena e
presso il conservatorio di Venezia.
Ha collaborato regolarmente a Verona con l’orchestra barocca Il Tempio Armonico, e il
gruppo vocale Delitiae Musicae. Non sono mancate nella sua attività professionale
numerose collaborazioni con diverse orchestre barocche tra le quali La Petite Bande,
Amsterdam Baroque Orchestra, La Risoluzione Amsterdam, Zefiro, I Barocchisti, Venice
Baroque Orquestra, Ensemble Il Divino Sospiro, Nederland Kamerkoor (T. Hengelbrock,
F. Bruggen). Con

Gamba viol with Hille Perl: 18-22 July 2019

The repertoire for the course is: Solo music for Viola da Gamba with or without Basso continuo from the 16th to the 18th century, such as Marais, Forqueray, Telemann, Bach, Schenk, Snep, Simpson, Hume & ct


Musician, gamba-player, has played music as long as she can think. For her, music is the foremost means of communication between human beings, more precise, intense and unmistakable than language, of greater emotional significance than any other experience besides love. To her, music is a means of connecting not only the past and the future but also a way of socially integrating the most conflicting aspects of existence.
She travels the world, playing concerts and recording CDs with different groups or soloizing, or
with her main musical partner, the lutenist and composer Lee Santana, but also with her viol consort SIRIUS VIOLS. With this group she recorded a CD with works by John Dowland and a CD of 17th Century Italian compositions for viol consort They mostly perform in the field of 17th and 18th century music, but they also let the music take them to places they never even dreamed of. The CD SiXXes is an example of this, the consort recorded exclusively 20th century music by American composers.
She enjoys to play concerts together with her daughter Marthe Perl, who is a gambist as well.
Together they made the CD-projects ‘ELEMENTS’ and ‘Born to be mild’ where they venture into the world of electrified gambas and cross a few musical genres, ranging from medieval music to jazz.
Hille Perl records for SONY and has published many solo recordings, amongst others three CDs
with compositions by Johann Sebastian Bach, two CDs with works of the great gambist Marin
Marais, several recordings with concertoes for viola da gamba with the Freiburg Baroque Orchestra (Telemann, Graun, Pfeiffer  & others).
She is a specialist for the gamba-arias in the Passions by Johann Sebastian Bach and has performed them with many notable Directors, Sir Simon Rattle, Claudio Abbado, Herbert Blomstedt, Thomas Hengelbrock, Helmut Rilling, Masaaki Suzuki and Ton Koopman.
When she is not travelling she lives on a farm in northern Germany with her husband and and a few chickens, geese, sheep, three cats and two dogs. She enjoys to grow a lot of vegetables or pick
mushrooms in the woods around her house. She passionately teaches her students at the University of the Arts in Bremen, Germany, everything she knows about music, playing the gamba, and how not to be jealous if someone plays better than you.
People of the world: relax