Musical Delicacies

— Early Music Concert Series —

Summer course on the interpretation of Early Music

Map of the Czech Republic, showing that Bučovice is located 35 km east of Brno.  Kunín is 45 km southwest of Ostrava.
  Course 1 Course 2
  Course 1+2
Where Bučovice château Kunín château
When
Schedule
Mon 24 Aug 2015, 15:00
until
Thu 27 Aug 2015 17:30
Thu 27 Aug 2015 18:00
until
Sun 30 Aug 2015 18:30
Individual lessons in the subjects Harp   Maria Christina Cleary
Viola da gamba   Petr Wagner
Harpsichord   Barbara Maria Willi
Violin   Davide Monti
Lute   Jan Čižmář
Traverso   Marta Kratochvílová
Recorder   Bolette Roed 
Solo singing   Laila Cathleen Neuman
Harpsichord   Aline Zylberajch
Violin   Martyna Pastuszka
Lute   Jan Čižmář
Traverso   Marta Kratochvílová
Recorder   Bolette Roed,
Jan Kvapil
Group lessons Improvisation
Basso continuo
Historical gesture
Improvisation 
Basso continuo
Ensemble lessons Consort music (renaissance)
Vocal ensemble
Chamber music
Consort music (renaissance)
Vocal ensemble
Chamber music
Active participation
Prices include tuition fee, accommo­dation and board
3150 Kč
ca. 126 €
3150 Kč
ca. 126 €
5700 Kč
ca. 226 €
Tuition fee includes:

Please indicate in the application form which combination you prefer. We will try to accommodate all wishes, but we cannot completely guarantee. Ensemble lessons are offered on the condition that there is sufficient interest, such that working ensembles can be formed from the applications received.

Target audience

The course is intended for active participation by professionals, students from specialized music schools and for experienced amateurs with previous experience with Early Music. Active participation is also possible for players of modern instruments with a serious interest in music of earlier periods (see the description of each subject).

Passive participation is possible for anyone who is interested in baroque and renaissance music and its performance practice. Passive participants can follow the lessons in any of the classes and have free access to concerts and lectures.


 

Bučovice château

Zámek 1,
68501 Bučovice,
Czech Republic

Lessons will be in the renaissance château in Bučovice . It is a unique building in the late Italian renaissance (mannerist) Style (1575–1585), the courtyard features arcaded loggias and a newly renovated and fully operational fountain from 1635, and the château contains many reliefs and paintings, some with musical themes.

Accommodation is provided by Hotel Arkáda (náměstí Svobody 32, 68501 Bučovice), located just 100 metres from the castle. This is a quality accommodation with 2-bed rooms and private facilities. If at all possible, we will try to fulfil your wishes about who shares room with whom.

Meals are provided at the hotel’s restaurant, which prides itself on the quality of local products.

If you do not use the offer for accommodation and food, the price will be reduced correspondingly. The exact amount is shown when you fill out the registration form.


Kunín château

Kunín 1,
74253 Kunín,
Czech Republic

Lessons will be in the stylish baroque château in Kunín (Kunewald, “the little Moravian Mirabell”, 1726–1734).

Accommodation is provided by two dormitories of the Veterinarian University (Kunín No. 190 and Kunín No. 193). The buildings are 100 resp. 200 m from the château; it is a more modest housing with 3–5 bed rooms, the renovated bathroom facilities are located in the corridors. We will try to distribute the participants across the rooms to give maximum privacy.

Meals have been ordered in the château’s restaurant U dobré hraběnky (The Good Countess).

If you do not use the offer for accommodation and food, the price will be reduced correspondingly. The exact amount is shown when you fill out the registration form.


Description of the subjects

◄◄◄ 

Individual lessons in the subjects:

◄◄◄ 
Solo singing
:   Laila Cathleen Neuman (NL) Kunín
In the classes we will look at each piece and their performer as a whole, and work from there, be it from the side of musical interpretation, historical gesture, vocal technique, pronunciation, and delivery of the text. All of them serving the purpose of making a performance more complete, and the a student more comfortable and confident performer, ready to explore his or her own possibilities. The musical choice is free, with a preference of the English and Italian repertoire.

Singers are also welcome on the course in Bučovice where they can develop their interpretive skills in ensembles led by teachers with extensive international experience.

◄◄◄ 
Harp
:   Marie Christina Cleary (IE/IT) Bučovice
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 the basics of continuo playing and improvisation. Please indicate in the application your instrument, playing level and special interests (for instance, traditional folk music or contemporary music). Players of modern instruments are also welcome. Participants will have the opportunity during the course to try historical harps. Please contact the organisers about transport options and the availability of historical instruments.
◄◄◄ 
Harpsichord
:   Barbara Maria Willi (DE/CZ) Bučovice, Aline Zylberajch (FR) Kunín
Players with any repertoire are welcome. In Kunín, the church organ can also utilized for the lessons.
  • Barbara Maria Willi invites harpsichordists and all those who are interested in the repertoire for harpsichord. Also welcome are pianists and organists, who want to familiarize themselves with harpsichord. Individually, the lecturer may also focus on the realization of figured parts, as well as continuo playing in group lessons.
  • Aline Zylberajch offers in addition special focus on French repertoire.
◄◄◄ 
Violin
:   Davide Monti (IT) Bučovice, Martyna Pastuszka (PL) Kunín
The teachers and students will work with sundry repertoire, the tone production and technical aspects of violin playing. Students are expected to bring music of their own choice, but we encourage facsimile editions of original prints or manuscripts.
  • Martyna Pastuszka will focus on the rules for bowing and phrasing of French, Italian and German dance music for violin from the 17th and 18th centuries. Another theme will be the virtuoso style in late Italian violin sonatas with special regard to tempo rubato and ornamentation.
  • Davide Monti will focus on the music of the 17th and 18th centuries with a specific attention to discover the Theory of Affect represented in the compositions, and the technique to express the figures of Musical Rhetorics.
◄◄◄ 
Viola da gamba
:   Petr Wagner (CZ) Bučovice
The class is open to all interested players above middle advanced levels. An own instrument (6- or 7-stringed viola da gamba) is prerequisite for participation. Recommended repertoire: 16.–18. century, solo literature or combined with chamber music (D. Ortiz, Ch. Simpson, T. Hume, Sainte Colombe, M. Marais, G. Finger, A. Forqueray, Ch. Dollé, J. S. Bach, G. F. Telemann, C. P. E. Bach, C. F. Abel, etc.)
◄◄◄ 
Traverso
:   Marta Kratochvílová (CZ) Bučovice + Kunín
The class is intended for players of baroque or renaissance traverse flutes. Also welcome are players of modern flute and other types of flutes, who want to embark on traverso. To the extent it is possible, the classes at the two venues will try to position themselves thematically:
  • in Bučovice, there will be more emphasis on renaissance repertoire and consort (instruments will be provided),
  • in Kunín, the preference is for baroque repertoire.
◄◄◄ 
Recorder
:   Bolette Roed (DK) Bučovice + Kunín  , Jan Kvapil (CZ) Kunín
Students are welcome to bring any repertoire they want, but each lecturer’s class will have different emphasis:
  • Bolette Roed is open to any style of music from Middle Ages to modern, and also likes to devote herself to folk music and improvisation.
  • Jan Kvapil will primarily work with recorder ensembles (from duo to octet). Established ensembles are welcome; the other participants will be divided into ensembles on the basis of the applications.
◄◄◄ 
Lute
:   Jan Čižmář (CZ) Bučovice + Kunín
The course is open for everybody interested without exception. In addition to lutenists, also guitarists with no prior experience in playing historical instruments are welcome. On site are instruments for loan. Any repertoire is welcome, but if possible, we will try to organise it according to the venue:
  • in Bučovice, renaissance lute solo repertoire and lute consort,
  • in Kunín, baroque solo and chamber music (continuo playing on the lute).

Group lessons in the subjects:

◄◄◄ 
Improvisation
:   Davide Monti (IT) Bučovice + Kunín 
The class is open to all who wish to broaden their view of improvisation as an essential aspect of musical expression. The work will be in two groups, each morning there will also be a shared improvisational warm-up for all.

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.

◄◄◄ 
Historical gesture
:   Laila Cathleen Neuman (NL) Bučovice
All participants of the course will have a chance to discover the secrets of historical gesture in a lecture based on the Treatise on Rhetorical Delivery by Gilbert Austin (1753–1837). Every day there will be a practical workshop (open for all course participants), where we will try the basic components in practice and get a taste for, how many facets gesture offers and how deeply it can be connected, not only to our body, but to our voice, breath and (musical) ideas. Within the framework of the singing class, it will be possible to work individually and in-depth with gesture.
◄◄◄ 
Basso continuo
:   Barbara Maria Willi (DE/CZ), Maria Christina Cleary (IE/IT) Bučovice, Aline Zylberajch (FR) Kunín, Jan Čižmář (CZ) Bučovice + Kunín
The approach to basso continuo realization is often very individual and depends on the player’s personality, but also on the possibilities of his instrument. Our team of lecturers offers a varied view on these issues and new information for everybody, even for players with prior experience. The lessons will carried out in groups of players with similar focus. Important will be the mutual sharing of considerations and perceptions from common practice as well as bringing theoretical treatises into life.
 

Ensemble lessons:

The following subjects will be implemented as group tuition, if this is possible at all, given the structure of the received applications.

◄◄◄ 
Consort music (renaissance)
:   Maria Christina Cleary (IE/IT) Bučovice, Bolette Roed (DK), Jan Kvapil (CZ) Kunín, Jan Čižmář (CZ), Marta Kratochvílová (CZ) Bučovice + Kunín
Unlike seconda prattica, where the music consists of a top part (melody) and a harmonic bass (plus some unimportant fillers), renaissance music is polyphonic: All parts are equally important; they weave a web of independent but interdependent melodies, exchanging ideas and motives. The class will work towards expressing the polyphony in a transparent manner, understandable for a modern audience. The repertoire covers a large variety of styles, ranging from the rhythmically intricate Franco-Flemish music of the late 15th century to the more text oriented music of the late 16th century (madrigals, …). Singers and players of all period instruments (incl. cornetto and sackbut) are welcome. Instruments available on-site:
  • a′ = 440 Hz: Renaissance viols (Kunín), renaissance recorders.
  • a′ = 415 Hz: Renaissance traversos.
  • a′ = 415/440 Hz: Renaissance lutes (treble, alto, tenor, bass).
◄◄◄ 
Vocal and instrumental ensemble
:   Maria Christina Cleary (IE/IT) Bučovice, Laila Cathleen Neuman (NL) Kunín, Jan Čižmář (CZ) Bučovice + Kunín
Class for pre-existing ensembles or for groups created on the spot, either a capella or vocal-instrumental. Depending on the repertoire, lessons may include participants from the subjects renaissance consort, basso continuo and lute. In Bučovice, the focus will predominantly be on the repertoire of the 17th century; in Kunín, any repertoire is welcome. Attendance is recommended for all singers, who can combine ensemble singing in Bučovice with solo singing in Kunín.
◄◄◄ 
Chamber music
:   All lecturers.
Playing in ensemble is an essential activity and something that every musician must master in practice. It is not merely the craft of playing the right notes at the right time, but also about the art of cooperation, seeking a common musical language and expression. Under the guidance of experienced instructors, you will learn more than just that “it is not in tune and together”. The lessons will focus exclusively on instrumental baroque music. It is also possible to dedicate oneself to playing renaissance consort and working in a vocal ensemble.

Tentative schedule

Bučovice château   (Course 1)
Monday 24 August Tuesday 25 August Wednesday 26 August Thursday 27 August
12:0015:00 Registration, accommo­dation
15:0018:00 Tuition
18:0019:00 Dinner
19:30   Teachers’ concert
20:30   ? Free programme
8:009:00 Breakfast
9:3010:30 Lecture
Improvisation
10:3013:00 Tuition
13:0014:00 Lunch
14:3018:00 Tuition
18:0019:00 Dinner
19:30   ? Free programme
8:009:00 Breakfast
9:3013:00 Tuition
13:0014:00 Lunch
14:3018:00 Tuition
18:0019:00 Dinner
19:30   ? Free programme
8:009:00 Breakfast
9:3013:00 Tuition
13:0014:00 Lunch
14:0015:30 Concert prepa­rations
16:00   Participants’ concert
17:30   Departure to Kunín
(Course 2)
Kunín château   (Course 2)
Thursday 27 August Friday 28 August Saturday 29 Sunday 30 August
15:0018:00 Registration, accommo­dation
18:0019:00 Dinner
19:0021:30 Tuition
22:00   Teachers’ concert
23:00   ? Free programme
8:009:00 Breakfast
9:3010:30 Lecture
Historical gesture
10:3013:00 Tuition
13:0014:00 Lunch
14:3018:00 Tuition
18:0019:00 Dinner
19:30   ? Free programme
8:009:00 Breakfast
9:3013:00 Tuition
13:0014:00 Lunch
14:3018:00 Tuition
18:0019:00 Dinner
20:0024:00 Teilnahme in der
Nacht im Schloss
8:009:00 Breakfast
9:3014:00 Tuition
14:0015:00 Lunch
15:0016:30 Concert prepa­rations
17:00   Participants’ concert


Lecturers

Laila Cathleen Neuman (NL) — Historical gesture, Solo singing

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.

In 2014, Laila taught historical gesture at Sastamala Gregoriana summer course (FI).

Class languages: EN, DE, NL, FR.

www.lcneuman.com

Maria Christina Cleary (IE/IT) — Harp

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.

Class languages: EN, DE, NL, ES, IT, FR, PT.

www.arparla.it

Zach Adams Photography

Davide Monti (IT) — Improvisation & Violin

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.

Class languages: EN, FR, IT, ES.

www.arparla.it

Martyna Pastuszka (PL) — Violin

Martyna Pastuszka has been devoted to historical performance practice since 2001. After her graduation from the Academy of Music in Katowice in 2004, she developped further as a member of the Polish ensemble Arte dei Suonatori and through musical encounters with important artists such as Barthold Kuijken, Martin Gester, Stefano Montanari, Kati Debretzeni, Hidemi Suzuki, Rachel Podger, Eduardo Lopez Banzo, Andrew Parrott, Giuliano Carmignola and Konrad Junghänel.

She works currently as a soloist, chamber and orchestral musician with Arte dei Suonatori (Poznań), Le Cercle de l’Harmonie (Paris), Le Concert Lorrain (Metz) and as concertmaster of Le Parlement de Musique (Strasbourg, since 2009) and Capella Cracoviensis (Kraków, since 2010).

In 2012, Martyna Pastuszka and the manager Artur Malke founded the ensemble Orkiestra Historyczna, whose members are young musicians full of enthusiasm and commitment, with the wish to take the performance of classical music in Silesia to a whole new level and become ambassadors of culture for the region and all of Poland. In 2014 she was concertmaster for Hudební lahůdky’s production of Sarri’s opera Didone Abbandonata.

She recorded multiple CDs and DVDs, including performances for Polish TV and the programmes Arte and Mezzo. Many of these recordíngs received acclaim of international music critics. Since 2007 she teaches Baroque Violin at the Academy of Music in Katowice.

Class languages: EN, PL, FR.

www.martyna-pastuszka.com

Petr Wagner (CZ) — Viola da gamba

Born in Prague, Petr Wagner studied cello at the Prague Conservatoire with Josef Chuchro. This was followed by studies in musicology at the Charles University in Prague and at the Royal Holloway University of London. There he was introduced to viola da gamba by Richard Boothby, later continuing with Jaap ter Linden at the Akademie für alte Musik Dresden. He completed his studies of viola da gamba with Wieland Kuijken at the Royal Conservatoire in The Hague.

As a soloist, chamber and continuo player, Petr has appeared at numerous European festivals, such as Queen Elizabeth Hall/Southbank Early Music Series London, Festival Île-de-France, Festival Art et Spiritualité (Troyes/France), Mexico City Shakespearean Festival, Prague Spring, Festival Mitte Europa, Forum Musicum Wrocław and Concentus Moraviae. He performed with leading musicians, for instance Jacques Ogg, Andrew Parrott, Konrad Junghänel, Sirkka-Liisa Kaakinen, Shalev Ad-El, Wilbert Hazelzet and Philip Pickett, and with the New London Consort, Capella Cracoviensis, Musicians of the Globe, Concerto Palatino, Orfeo Orchestra, Collegium 1704, Solamente naturali, Musica Florea and others.

In 1998 Petr Wagner founded Ensemble Tourbillon which focuses on 17th and 18th century repertoire, with music by Couperin, Bach, Marais, Rebel, Purcell, Finger, Fischer and Händel.

Petr Wagner has recorded solo CDs that have won enthusiastic reviews and reception world-wide. His recordings of Pièces de Viole by Charles Dollé and the complete works for viola da gamba by Gottfried Finger are considered some of the most important gamba recordings worldwide. In 2011, Petr Wagner’s world premiere recording of Pièces de Viole by Roland Marais was released by ACCENT label and has immediately received very warm acceptance (Choc du mois / CLASSICA, Diapason etc). In 2013, a new CD Gottfried Finger: The Complete Music for Viola da Gamba Solo with Petr and his Ensemble Tourbillon was released by ACCENT.

Petr taught viola da gamba at the Music Academy in Wrocław; he currently teacher, among other places, at the Academy of Ancient Music in Brno.

Class languages: CS, EN, DE.

www.petrwagner.com

Aline Zylberajch (FR) — Harpsichord

A graduate of the Conservatoire National Supérieur de Musique, Paris, and of the New England Conservatory of Music, Boston, Aline Zylberajch started her career as a harpsichordist. She contributed to the early productions of ensembles such as La Chapelle Royale, Les Musiciens du Louvre and Le Parlement de Musique, with which she performed numerous operas and oratorios. These concerts fostered her predilection for vocal music and the way it is echoed in works written for keyboard instruments. Later, her interest in the music of the late 18th century led her naturally to an intensive involvement in the performance practice of the early piano and the amazing variety of instruments built at that time. This period, which also saw the increasing popularity of duos, trios and quartets with obbligato keyboard opened up a whole new field of research into chamber music, another one of her many passions.

Based in Strasbourg, where she teaches harpsichord at the Académie Supérieure de Musique, she travels extensively to give recitals both on the harpsichord and fortepiano and interpretation Masters classes (in Australia, Austria, Czech Republic, Germany, Japan, Mexico, North America, Poland and Spain). She also teaches the pedagogy of the harpsichord at the Pedagogy Department of the Conservatoire National Supérieur de Musique in Paris.

Her recordings have received much praise in Classica, Gramophone, Early Music Review, etc. and several prizes such as “Diapason d’Or”, Répertoire, “Choc du Monde de la Musique”, etc.

Class languages: EN, FR, DE, ES.

www.aline-zylberajch.net

Barbara Maria Willi (DE/CZ) — Harpsichord

Barbara Maria Willi studied harpsichord in Freiburg and Strasbourg, followed by post-graduate studies of performance practice, harpsichord and fortepiano with Nikolaus Harnoncourt at the Mozarteum in Salzburg. In 1995 she won the “Prix d’encouragement – special mention” award in the International Harpsichord Competition in Bruges. She is currently professor at the Janáček Academy of Music and Performing Arts in Brno.

As a harpsichordist and pianoforte player, she performs with renowned artists such as Sergio Azzolini, Martina Janková, Jana Boušková, Doron Sherwin and Jos van Immerseel. She has performed at major venues, for instance the Rudolfinum in Prague, the Opera House in Zürich, the Concertgebouw in Utrecht, and the Konzerthaus in Vienna. Together with the famous British violinist John Holloway and lutenist Nigel North, she recorded newly discovered sonatas by J. H. Schmelzer from the music collection in Kromeříž (Kremsier). This recording was awarded the prize of the German Music Critics and made headlines in the USA.

In 2000, she realised a Händel project with the mezzo-soprano Magdalena Kožená and the countertenor Thierry Grégoire at the Concentus Moraviae festival. The TV broadcast of this project won the prestigious Golden Prague 2000 prize. Another major music critics prize, the French “Choc du monde de musique”, was awarded to a record “Salve Mater„ with Schola Gregoriana Pragensis and the leading Belgian vocal ensemble Capilla Flamenca.

In 2005, she was jury member at the International Harpsichord Competition within the Prague Spring festival. In Brno, she founded “Barbara Maria Willi presents”, a successful concert series with Early Music. She is also guest artistic director of the international music festival Concentus Moraviae.

Class languages: DE, EN, FR, CS, PL.

Bolette Roed (DK) — Recorder

Bolette Roed graduated from the Royal Danish Academy of Music in Copenhagen (Dan Laurin) and Conservatoire National Superieur de Musique et Danse in Lyon (Pierre Hamon). She also holds a degree as Doctor of Medicine from the University of Copenhagen.

Bolette is an all-embracing musician, working not only with the classical repertoire for recorder, but also with improvisation, folk and world music. Her repertoire ranges from medieval through renaissance and baroque to contemporary music and she has world premiered a large number of works. As part of her innate curiosity, Bolette is constantly striving to expand the musical playground of the recorder. She works with many different instrument combinations and styles, including innovative co-operations such as with DJ’s, jazz musicians and the theatrical stages.

Bolette has toured as a soloist with Arte dei Suonatori, the Danish National Symphony Orchestra and the Royal Danish Orchestra. Her solo career took her to stages across Europe and USA. In addition to this, she often performs with her own unique ensembles, Gáman, Lune Rousse and Alpha, which was nominated for the Nordic Council Music Prize in 2009. She appears on a number of recordings. “Royal Recorder Concertos” with Arte dei Suonatori (Dacapo), Alpha (Dacapo) and Alpha World (Gateway) with her trio Alpha, A Joker’s Tale with Paradox (BIS-CD) and Bach harpsichord concertos (Concerto Copenhagen, CPO) are just examples from her discography.

Bolette is co-founder and co-organiser of Denmark’s largest baroque music festival, Midsommerbarok, at Frederiksberg, Copenhagen, and she is head of the Early Music Department at the Royal Danish Academy of Music, where she also teaches recorder since 2009.

Class languages: EN, FR, DA, DE.

www.boletteroed.com

Jan Kvapil (CZ) — Recorder

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. Čižmář.

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 since 2014 he teaches at the Academy of Ancient Music at Masaryk University in Brno.

Class languages: CS, EN, DE, FR.

www.jankvapil.com

Marta Kratochvílová (CZ) — Traverso

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.

Class languages: CS, FR, DE, EN.

Jan Čižmář (CZ) — Lute

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.

Class languages: CS, EN, PL, DE, FR.

www.jancizmar.com


Registration


Colophon

The event is organised by:

Hudební lahůdky, z. s.
Cacovická 729/50
CZ–61400 Brno-Husovice

IČ: 22719458
Chairman: Jan Čižmář
E-mail: kontakt@hudebnilahudky.cz
Phone: +420 606 222 416
 
Web: www.hudebnilahudky.cz
 www.facebook.com/hudebnilahudky

Thank you

The course in historical performance praxis takes place with financial support by the Ministry of Culture of the Czech Republic and the town Bučovice.

For goodwill and pleasant cooperation we thank the municipality Bučovice (mayor Mr. Radovan Válek), Bučovice château (wardeness Ms. Jana Burianková, the National Heritage Institute), Kunin château (warden Mr. Jaroslav Zezulčík, Nový Jičín museum), hotel Arkáda, restaurant U dobré hraběnky, and the management of Nový Jičín school farm under VFU Brno.

Logo of Ministry of Culture Logo Města Bučovice Logo Národního památkového ústav Logo hotelu Arkáda Logo restaurace U dobré hraběnky Logo VFU Brno ŠZP Nový Jičín