Classes and lecturers
Laila Cathleen Neuman (NL) — baroque gesture, song
This class is intended for singers with at least basic experience with Early Music, who
in addition to singing techniques also want to improve their interpretive skills and
stage performance. One of the specialities of the lecturer is baroque gesture, which will
be applied to each individual student’s needs.
In the vocal lessons the students can either bring their ensemble piece or a solo piece,
the attention in the lessons will vary between performance practice, vocal coaching,
interpretation and background, presentation and pronunciation.
The accent will lie on English repertoire from the Elisabethan era, but other compositions
from the French, German and Italian repertoire are very welcome too.
Class languages: EN, DE, NL, (FR).
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Laila Cathleen Neuman started her studies in the Netherlands with Christa Pfeiler and
Susanna Waleson, before studying with Margaret Hayward at the G. Verdi conservatory in Milan,
where she completed her bachelors cum laude.
After this she studied with Breda Zakotnik and Barbara Bonney at the Mozarteum in Salzburg, where
she obtained her master’s degree in Lied and Oratorio with honors.
She participated in masterclasses with Dalton Baldwin, Max van Egmond, Johannette Zomer,
Trevor Pinnock, and Angelika Kirschlager.
She has taken a special interest in baroque music, baroque dance and the art of historic gesture,
for which she has been working with Margit Legler en Reinhold Kubik.
She sang her debut as Second woman in Purcell’s Dido and Aeneas, and sang the leading role in
Il Parnaso Confuso by Gluck, in Salzburg, Vienna, Aarhus and Kopenhagen.
Recent international activities include collaboration with Ensemble Esprit, Ensemble La Silva,
Het Philadelphus Ensemble (members of the Concertgebouw Orchestra), Convivio d’Arte and with
Jan Čižmář (theorbo and lute) in the Netherlands, Austria, Germany and Italy.
Laila teaches historical gesture at this year’s Sastamala Gregoriana summer course (FI).
www.lcneuman.com
Maria Christina Cleary (IE/IT) — harp
The class is open to players of all types of harps. The focus is on historical repertoire
from middle ages to the 19th century, including basics of continuo playing and improvisation.
Please indicate on the application your instrument, playing level
and special interests (for instance, traditional folk music or contemporary music).
Participants will have opportunity during the course to try historical harps.
Class languages: EN, DE, NL, ES, IT, FR, PT.
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Native of Ireland, Maria Cleary holds degrees from Dublin, London (Trinity College),
Den Haag and Bruxelles. She studied harp with Susanna Mildonian and Andrew
Lawrence-King.
As soloist she was prize winner at Utrecht Early Music Competition (1997), Nippon International
Harp Competition (1996), Dutch National Harp Competition (1997). She participated at the International
Harp Competitions in Israel, Geneve, Bruxelles and Madrid.
As an orchestral player she has worked as Principal Harpist in the Koninklijk Concertgebouw Orkest
Amsterdam and further held the position of Harpist at the RTE Concert Orchestra Ireland and worked
in numerous orchestras in The Netherlands and Germany.
Maria was the harpist of MusikFabrik Köln, a contemporary music ensemble for five years and also worked
with Remix Ensemble Porto and Ensemble Prometheus Belgium. She has premiered more than 30 new pieces
for ensemble. As soloist she has premiered pieces by T. Hosakawa (Darmstadt Festival 2002),
D. Dennehy, J. Friedlin, R. Ayres, R. Sims, F. Devresse.
Specialising in Historical Harps, Maria owns an original classical harp from 1780, arpa doppia,
arpa de dos ordenes and medieval harps. She has developed a chromatic medieval harp where she plays
repertoire from the 13th to the 15th century, e.g. on recordings with Tetraktys. In 2006,
she performed Mozart’s Concerto for Flute and Harp with Portland Baroque Orchestra and
Arion Ensemble Montreal to great acclaim. She has performed with most Baroque ensembles throughout
Europe. Maria performs regularly with Davide Monti under the name Arparla, a violin/harp duo
specialising in the repertoire from the 17th century to the 19th century.
Maria has been guest teacher at the Koninklijk Conservatorium The Hague,
Guildhall School of Music London and holds a teaching post at the Conservatory of Music in Padua.
www.arparla.it
Zach Adams Photography
Davide Monti (IT) — improvisation & violin
The class will focus on historically informed improvisation.
Improvisation is a major but often neglected element in Early Music.
According to David, improvisation is not just a matter of style and respect for the formal
aspects of the work, but also a reflection of what is happening inside the artist (soul).
The course content will therefore stimulate three equally important aspects:
taste and style based on historical information, the study of structure and form,
and last but not least, communication and psychological aspects of improvisation.
The course will confront theoretical and practical aspects, like on where and when
to improvise, the different consequences within interpersonal communication in music,
and the influence on improvisation from apparently unrelated disciplines such as theatre and dance.
A more detailed description of David’s method of teaching and a tentative
schedule can be found here.
The class is primarily intended for violinists and players of melodic instruments,
but also for singers and other musicians who wish to broaden their view of improvisation
as an essential aspect of musical expression.
Violinists are also welcome to bring solo literature they wish to work on in a masterclass
setting; please indicate this on the application.
Class languages: EN, FR, IT, (ES).
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After his Primary Degree from the Conservatory in Parma, Davide Monti specialised in Early Music with numerous
professors (E. Gatti, E. Parizzi, S. Richie, M. Huggett).
Davide’s playing has evolved thanks to collaboration with great musicians of our time:
from Ton Koopman to Alberto Rasi, Vittorio Ghielmi to Michael Radulescu,
Marcello Scandelli to Roberta Invernizzi, Gemma Bertagnolli to Stefano Veggetti,
Stefano Montanari to Sergio Vartolo.
As leader of many ensembles he is known for his energy and charisma, creating a special sound
in an orchestra. He has been leader of numerous orchestras including
The European Baroque Orchestra (EUBO), Il Tempio Armonico, Athestis e Accademia de li Musici,
Il Complesso Barocco, Cordia, Teatro Armonico.
He is noted for his work with small chamber groups and chamber orchestras including Accademia
Strumentale Italiana, Ensemble il Falcone, le Parlement de Musique and Arparla with the harpist
Maria Christina Cleary, — encounters that are precious moments for research and experimentation.
This formed the idea of the score being a canvas, every performance and interpretation is different.
Supporting this philosophy, he focuses on the Art of improvising; as in Early Music performing practise
the experience of improvising is paralleled to other branches of “cultured” Art
(jazz, theatre, traditional music, dance).
Davide has given Masterclasses in Japan, lectured at Makerere University and in Kampala,
and at Summer Courses in Italy. He performed as Soloist with the Orchestra of the Arena in Verona.
He has recorded for many record labels: Agorà, Bongiovanni, Brilliant, Deutsche Harmonia Mundi,
Dynamics, Naive, Opus 111, ORF, Radio Svizzera Italiana, Sonica, Stradivarius and Tactus.
He performs throughout the world (America, Africa, Europe, Japan) and received great acclaim
in Argentina and Brazil as director and soloist.
www.arparla.it
Marc Hervieux (FR) — recorder
The class is designed for players of higher conservatory level. The course
will focus on the repertorire of 17. century connected to
J. van Eycka’s collection and the French baroque style (suites,
preludes, ornamentation). It is expected, that participants will play
in a′=415 Hz. If you do not have instrument at that pitch, please
contact the organisers before you submit your application.
Class languages: FR, DE, (EN), (SP).
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Marc Hervieux studied the recorder in the class of Jean-François Alizon at the Conservatoire
de Strasbourg where he obtained a gold medal and a Chamber Music prize at unanimity (1992). This
was followed with a specialization course with Patrick Blanc dealing with contemporary recorder
repertoire. He obtained the specialization diploma with honors (1997). In addition, Marc started
studying song, baroque oboe and traverso and was able to work with Hugo Reyne, Marcos Volontario,
Jean-Pierre Pinet and Gilles de Talhouet. He created in 1996 the baroque music ensemble
Le Masque with which he performs in France
and abroad in a wide variety of programs. In 2005 he created the Academy of Baroque Music
in Neuwiller-Lès-Saverne. Since 1991, he teaches recorder at the School of Music of Sélestat
and the Conservatoire de Musique de Mulhouse.
www.le-masque.com
Jan Kvapil (CZ) — recorder
The class is intended for players at senior year at the conservatory. The lecturer is prepared to work on
any solo, chamber and ensemble repertoire for instruments from the Middle Ages to the present day, as well as
dealing with playing technique. Please indicate your preference in the application. We recommend that you
bring at least one instrument tuned to a′=415 Hz. If your instrument
has a different tuning, please consult in advance with the teacher about your attendance.
Class languages: CS, EN, (DE), (FR).
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Jan Kvapil studied recorder with P. Holtslag at the Royal Academy of Music in London and with
C. van Heerden at Linz Conservatory, graduating as Licentiate of the Royal Schools of Music (London, 2001).
In 2011 he completed his doctoral studies at Palacký University in Olomouc, earning the academic degree
Ph.D. He has performed with renowned local and international ensembles, recorded for radio, television and
music publishing, currently he performs most frequently in a duo with the lutenist J. Čižmár.
His interests centre on teaching activities. He founded the First Weekend School for playing the recorder
in Prague, and the Olomouc Weekend School for playing recorder, which focus on the continued education of
music school teachers. Under his leadership there have been seminars at many places in the Czech Republic
to supplement the education of pedagogs. He is the artistic director of the Summer School of Early Music
in Prachatice, where leading Czech and international names play and teach. He also publishes printed music
and translates scholary literature. He teaches recorder at the Janáček Conservatory in Ostrava; in the years
2006–2012 he worked in the Department of Music Pedagogy at Palacký University in Olomouc, and in 2014
he started to teach at the Academy of Ancient Music at Masaryk University in Brno.
www.jankvapil.com
Marta Kratochvílová (CZ) — traverso
The class is open to players who already own and play a historical instrument, as well as to
players of modern flute or recorder who are interested in a baroque or renaissance flute
and its repertoire. There will be some baroque flutes and a renaissance consort available for
playing by the participants. Please indicate on the application the planned solo repertoire.
In addition to solo lessons, some time will be devoted to chamber music and renaissance consort.
Class languages: CS, FR, (DE), (EN).
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Marta Kratochvílová studied flute at the Conservatory in Pardubice and then at the Janáček Academy of Performing
Arts in Brno. In 2000 began her studies in France at the Conservatoire National de Région de Strasbourg, where she specialized
in baroque and renaissance flute with Jean-François Alizon and Nancy Hadden, and chamber music with Martin Gester and Patrick
Blanc. She has participated in masterclasses and workshops by prominent figures such as Paul McCreesh, Barthold Kuijken,
Jan Latham-Koenig and Sir Neville Marriner. In France she played baroque and renaissance flute extensively in the ensembles
Le Parlement de Musique Strasbourg, Bohemia duo and NotaBene. She also performed renaissance workshops (Ferrara, Munich,
Stuttgart, Basel) with a consort of traverso players from Strasbourg.
Since 2010 she lives in the Czech Republic while performing regularly throughout Europe. In chamber and solo
projects she cooperates closely with artists such as Jan Čižmář, Karel Fleischlinger, Joel Frederiksen, Martin Jakubíček,
Petr Kolař, Ján Krigovský, Marcin Świątkiewicz, Marc Vonau and Petr Wagner. She is also leader of the renaissance flute
consort Tourdion.
As a teacher with many years of experience she is invited to presentations and masterclasses throughout Europe;
she teaches also privately baroque and renaissance traverso playing and interpretation.
Jan Čižmář (CZ) — lute
The class is open to players who already own a historical instrument, or guitarists who want to take
the first steps. For this purpose, instruments can be rented on-site. The studied repertoire will
follow the individual needs of the participants, with time devoted to the fundamentals of continuo
playing, renaissance consort music, and the lute repertoire from the archives of the Harrach family,
the builders of Kunin château.
Class languages: CS, EN, PL, DE, (FR).
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Jan Čižmář is a versatile performer focusing on historical plucked instruments. He performs
regularly in Europe, Asia and the USA with ensembles such as Royal Concertgebouw Orchestra, Orchestra of the Age of Enlightenment,
Orchestra of the Eighteenth Century, Rotterdam Philharmonic Orchestra and Capella Cracoviensis, and under conductors such as
Frans Brüggen, Christopher Hogwood, Giovanni Antonini, Yannick Nézet–Séguin and Christina Pluhar. He appears also as
soloist with of baroque and renaissance repertoire.
After graduation in guitar and musicology in his native Brno he studied at the Royal College of Music in London,
where he began playing the lute in the class of Jakob Lindberg. He continued his studies at the Royal Conservatory of The Hague
with the teachers Nigel North, Joachim Held, Mike Fentross and Christina Pluhar.
He was the founder and editor of the Czech guitar magazine Kytara and contributes regularly to other musical
periodicals. He is also intensely involved with publishing and research activities in the field of early music.
Jan Čižmář taught lute and related instruments at the Karol Szymanowski Academy of Music in Katowice in Poland;
currently he is teaching at the Janáček Academy of Music and Performing Arts (JAMU) in Brno
and at the Academy of Ancient Music at Masaryk University in Brno. He regularly gives courses and
masterclasses in Europe and overseas.
www.jancizmar.com
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Travel information
Kunín is a village in the North-Eastern corner of the Czech Republic (Moravian-Silesian Region).
Poland (state border) | 45 km | to the North |
Slovakia (state border) | 50 km | to South-East |
Prague (capital of Czech Republic) | 1,300,000 inhabitants | 300 km | to the West |
Ostrava (head of Moravian-Silesian Region) | 300,000 inhabitants | 40 km | to North-East |
Nový Jičín (district city) | 24,000 inhabitants | 7 km | to the South |
Kunín (village) | 1,900 inhabitants | |
✈ Leoš
Janáček Airport Ostrava in Mošnov (IATA: OSR) |
16 km | to North-East |
Taxi from airport, tel.
+420 733 766 766 |
23 km | on main roads |
Bus
from airport (cca. 43–87 Kč / 2–3 €, but slow) |
|
Hranice na Moravě train station
(Eurocity Praha – Ostrava – Žilina) |
30 km | to the West |
Studénka train station
(line 270 Česká Třebová – Přerov – Bohumín) |
12 km | to North-East |
Suchdol nad Odrou train station |
6 km | to North-West |
Bus stop Zdravotní středisko
(bus route Suchdol
nad Odrou – Nový Jičín) |
1200 m | to the South |
Bus stop U kovárny
(Ostrava – Studénka
– Nový Jičín & Fulnek – Nový Jičín) |
200 m | to the South |
Local transport
- Map of Kunín can be found
here.
(House no. 1 = château, nos. 190 and 193 = dormitories.)
Air transport
- Airport: Leoš Janáček Airport
Ostrava (IATA: OSR) in Mošnov is 16 km away.
Mainly served by discount airlines (Ryanair to London Stanstead, SmartWings to Paris Charles de Gaulle).
- Taxi from the airport costs roughly
700–900 Kč (25–35 €).
Ask for the price before starting (kolik stojí?) to avoid bad surprises.
- Buses from the airport require changing in Nový Jičín, see next section.
Public land transport
- Time tables: The state-wide time table system
IDOS
covers all trains and almost all buses.
(Your browser must accept session
cookies from jizdnirady.idnes.cz, otherwise the web page switches to Czech.)
- Buses: Tickets can be paid in cash when entering the bus.
- Bring small bank notes, 100 Kč or 200 Kč (cca. 3.75 € and 7.50 €),
otherwise the driver may not be able to change.
- The fare depends on the duration of the journey and the number of
tariff zones passed.
- Tickets can be used on connecting busses and trams (within the time limit and zone limit).
Trains:
You buy tickets at the station (automat or counter).
- On long-distance trains you can also buy tickets on board, with a surcharge.
- Two-way tickets cost twice a single fare (no rebate).
- Assistance: If you need help getting to Kunín (heavy instruments, handicap), please contact
the organisers.
We can fetch you by car from Suchdol nad Odrou or perhaps from another of the train stations in the table above.
Individual transport
- GPS: 49.642639°N, 17.990139°E, altitude 249 m Bpv.
- Car: Kunín is on state road 57 (Opava – Vsetín),
7 km north of Nový Jičín.
- Motorway D1 (Olomouc – Ostrava) is 7 km
north of Kunín.
Take exit 330 (Hladké Životice)
and follow state road 57 towards Nový Jičín.
After 7 km you are in Kunín; the château is on the right-hand side, entrance after the church.
- Parking: in front of the château, or 200 m to the south, on the opposite side of state road 57,
see map.
- Bicycle: Kunín is on long-distance route
cyklotrasa 5, the Amber Trail, Greenway Kraków – Vienna.
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Colophon
The event is organised by:
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The workshop takes place with financial support by
the Ministry of Culture of the Czech Republic.
For goodwill and pleasant cooperation we thank
the municipality Kunin (mayoress Mrs. Dagmar Novosadová),
Kunin château (warden Mr. Jaroslav Zezulčík, Nový Jičín museum),
restaurant U dobré hraběnky, and
the management of Nový Jičín school farm under VFU Brno.