Summer course on the interpretation of Early Music

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.

For teachers in primary and secondary schools, we offer additionally a course adapted according to the requirements for accreditation within the Ministry of Education’s system for further education for teachers (DVPP). The exact timetable and the calculation of additional lessons within the DVPP programme will be prepared individually based on the participant’s previous experience. Please contact us for more information.

Kunín château

Lessons will be in the stylish baroque château in Kunín

(Kunewald, “the little Moravian Mirabell”, 1726–1734) and in the church of the Exaltation of the Cross (1810–1811), which is connected with the château through a wooden covered bridge.

Accommodation is provided by two dormitories of the Veterinarian University (Kunín No. 190 and Kunín No. 193). The buildings are 150 resp. 300 m from the château; it is a more modest housing with 3–5 bed rooms, the sanitary facilities are located in the corridors. If possible, we will try to avoid occupying the rooms fully.

For those who want a higher standard of accommodation or more privacy, we offer a limited number of rooms in the château itself (Stylish Accommodation U dobré hraběnky

). The prices per night are 400–600 Kč for a bed in a double room or 700–1200 Kč for a single room. To find out about availability and prices, please contact us by e-mail.

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

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Individual lessons in the subjects:

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Solo singing

: Markéta Cukrová (CZ)

The teaching will focus on the stylistic interpretation of the works (declamation, ornamentation, phrasing) that is appropriate for the Early Music periods, but repertoire from later periods is also welcome. Students can select the literature of their liking, but it should be at least partially prepared before the course. Singing and breathing techniques will be addressed according to individual needs (vocal freedom, breath support, forward placement, timbre, range). The lessons will include technical exercises and techniques suitable for the study and maintenance of good singing.

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Recorder

: Bolette Roed (DK)

Students are welcome to bring with any repertoire. Bolette foocuses on developing techniques as well as on the interpretation of any musical style from the Middle Ages to modern. She also enjoys working with folk music and improvisation. From the interpretational perspective, the lessons are also suited for players on the traverse flute.

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Organ

: Marek Toporowski (PL)

Orgeldisposition
Hauptwerk	Rückpositiv
Prinzipal 8′ † Salicional 8′ Bourdon 8′ Oktav 4′ ‡ Flöte 4′ ‡ Quinte 2⅔′ ‡ Superoktava 2′ ‡ Terz 1⅗′ Mixtur 1⅓′	Flauto major 8′ Prinzipal 4′ § Piccolo 2′ Quinte 1⅓′
	Pedal
	Subbass 16′ Oktavbass 8′ Choralbass 4′
‡ vor 1846 † 1846 § 1899 (?)

Tonumfang: C–d′′′ / C–a, mit kurzer Oktave.
Stimmtonhöhe: a′ = 438 Hz (7 °C) / 446 Hz (18 °C).
Temperatur: annähernd gleichstufig.
Wind: 72 mm WS.

The organ in Kunín – Photo: Jiří Krátký.

Organists with any repertoire are welcome. The lessons take place in the Church of the Exaltation of the Cross which is connected with the château through a covered wooden bridge. The organ was built in 1846 by Johann Neußer, Neutitschein (Nový Jičín), using seven registers from an older instrument (Johann Kuttler?). The second manual (the positive) was added around 1899, probably by his son Karel Neußer, apparently using the case from an older organ by Frantz Horčička (1745–1800, Friedeck/Frýdek). The instrument was renovated in 1995–1996 by Jan Kubát (Kutná Hora) and Jiří Filípek (Třeboň).

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Harpsichord

: Marek Toporowski (PL)

Players with any repertoire are welcome. 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 on continuo playing in group lessons. The specialty of the lecturer is the influence of the tuned temperament on the interpretation and the effect on the performance of a particular composition.

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Lute & guitar

: Cristián Gutiérrez (CL), Jan Čižmář (CZ)

This course addresses not only lutenists and players of the baroque guitar, but also guitarists with no prior experience with playing on historical instruments. There will be instruments to borrow on-site. Any repertoire is welcome. Both tutors teach basso continuo, but otherwise their classes focus as follows:

Cristián Gutiérrez especially on playing baroque guitar and vihuela, in particular the Spanish and South American repertoire. He also welcomes players on the theorbo, renaissance guitar and renaissance lute with any repertoire.
Jan Čižmář focuses on playing the baroque and renaissance lutes and the mandora and theorbo. The ensemble lessons can also be devoted to renaissance lute consort and mixed (“broken”) consort.

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Basso continuo

: Lecturers of harmony instruments

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.

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Violin

: Davide Monti (IT/FR)

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.

The focus will primarily be on music of the 17th and 18th centuries, with particular emphasis on exploring the elements of the theory of affects in the studied works and the techniques to express musical-rhetorical figures. Further topics include, for example, the phrasing and bowing in the French, Italian and German repertoire of dance music for violin of the 17th and 18th centuries, or the virtuoso style of the late Italian sonatas with special attention to tempo rubato and ornamentation.

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Viola da gamba

: Petr Wagner (CZ)

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.)

Group lessons in the subjects:

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Improvisation

: Davide Monti (IT/FR)

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.

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Ensemble

: All lecturers

Gaining proficiency in ensemble playing is an integral part of the education in Early Music. To facilitate this, our Basic Package includes 3 lessons (à 60 minutes) of playing in specialized ensembles, which will take place at the end of the day. In addition, you can register for further group lessons of ensemble music with any of the tutors. In the application form, please indicate your preferences of style, cast, repertoire, tutor, etc.

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DVPP course

: All lecturers

We offer an extension of the participation for teachers of primary and secondary music schools in the form of a course accredited within the system for Further Education of Pedagogs (DVPP) of the Czech Ministry of Education (MŠMT). The practical training of the participants under the guidance of an international team of experts in the field of education and interpretation of Early Music will be complemented by special lectures on carefully chosen topics, like for instance Ornamentation, Improvisation, Basso continuo or Historical Pedagogy. This enables teachers to expand their theoretical and practical expertise in the fields of the performance and teaching of Early Music and the related repertoire. This is a very wide area, and therefore we offer this course repeatedly, each year covering different topics.

Tentative schedule

Lecturers

Markéta Cukrová (CZ) — Solo singing

Mezzosoprano Markéta Cukrová belongs to the most sought-for Czech soloists in the field of historically informed music. Her name is frequently found in the programs of Baroque oratorio and opera, chamber music and lieder recitals, as well as those of contemporary composers.

Since 1992 she has been taking part in Early Music projects throughout Europe both as a soloist and a member of numerous ensembles. Her performing abilities range from Medieval (Mala Punica, Club Mediéval) to Baroque (Les Muffatti, Collegium Marianum, Collegium 1704, Czech Ensemble Baroque, Musica Florea, Ensemble Inégal, Arte dei Suonatori) and Classicism (lieder recitals accompanied by hammerklavier).

She appears regularly at the most distinguished festivals of differing genres (Prague Spring Festival, Laus Polyphoniae, La Chaise-Dieu, Sable, Europalia, Prague Summer Festival, Brugge and Utrecht Early Music Festivals, St. Venceslas Festival, Miami Tropical Baroque, Musikverein Wien, Schleswig-Holstein Festival, Trionale). She has particiated in more than twenty recording projects, among others Officium Defunctorum and Missa Votiva/Jan Dismas Zelenka/Collegium 1704, Missa Nativitatis Domini/Zelenka/Musica Florea, Missa D-major/Antonín Dvořák/Ensemble Inégal, etc.

In 2015, she was honoured to take part in the project “Pilsen, European City of Culture” where she conceived the artistic programme of the West Bohemia Baroque Summer Festival.

Markéta has taken part in the première setting of Monteverdi’s Orfeo (Euridice) at the Prague National Theatre, Händel’s Rinaldo (Eustacio) at the theatres in Prague, Caën, Luxembourg and Rennes, and in Bohuslav Martinů’s The Miracles of Mary. In 2012 she was invited by the Internationale Händel-Festspiele Göttingen to perform Händel’s Amadigi di Gaula (Dardano) under the baton of the widely known musicologist and conductor Andrew Parrott, staged by Sigrid T’Hooft, a performance that claimed wide success both in the public and in the reviews.

Teaching languages: CS, EN, (DE), (PL), (FR).

www.marketacukrova.com

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.

Teaching languages: EN, FR, DA, (DE), (PL).

www.boletteroed.com

Marek Toporowski — Photo: Irmina Comodore

Marek Toporowski (PL) — Harpsichord & organ

Marek Toporowski graduated from the Academy of Music in Warsaw (Józef Serafin, organ; Leszek Kędracki, harpsichord). He continued his studies in France (Strasbourg), Germany (Saarbrücken) and Holland (Amsterdam) with Aline Zylberajch and Bob van Asperen (harpsichord) and Daniel Roth (organ). He was awarded First Prize of the Conservatory in Strasbourg for organ and harpsichord and the Concert Diploma at the Musikhochschule des Saarlandes for organ. He also owes much to his encounters with the excellent pianist, Kajetan Mochtak.

In 1991 he founded Concerto Polacco, a group specialising in historical performance. In Warsaw he initiated a regular cycle of Oratorio concerts performed according to historical practice. Many ancient Polish compositions have received their first performances and recordings under his direction, e. g. the opera Agatka by J. D. Holland, the oratorio Christiani poenitentes ad sepulchrum Domini by J. T. Żebrowski, works by Wronowicz, Cichoszewski, etc. For 20 years he has been the co-organiser of the summer course for the Interpretation of Organ Music in Koszalin.

As Professor he is head of Early Music at the Academy of Music in Cracow and head of the harpsichord class at the Academy of Music in Katowice. He also teaches organ and clavichord at the Elsner State Music School in Warsaw.

Teaching languages: PL, EN, DE, FR, ES, CS, UK.

www.marektoporowski.pl

Cristián Gutiérrez (CL) — Baroque guitar, vihuela, theorbo

Cristián Gutiérrez was born in Santiago, Chile, where he studied with Professor Ernesto Quezada at the Conservatory of Music, University of Chile. He was awarded a scholarship to travel to Spain for advanced studies with Juan Carlos Rivera (Sevilla) and Xavier Díaz-Latorre (Girona), and earned his M. A. at the Royal Conservatory in The Hague under guidance of Joachim Held. He has participated in courses and seminars of Early Music, notably under the direction of Hopkinson Smith.

Cristián has recorded more than 15 CDs, including the award winning anthology of colonial music A tocar, a cantar, a baylar and his solo CD Cifras Selectas de Guitarra for the label Carpe Diem, and he has appeared on live broadcasts in Chile, Spain, France, England, Holland and Portugal. He has performed as soloist and ensemble member together with notable personalities such as Monica Huggett, Bruce Dickey, Gabriel Garrido, Manfredo Kraemer, Pedro Estevan, Charles Toet, Michael Chance and Ventura Rico. He has appeared in more than 20 countries in Europe, the Americas, the Middle East and Korea.

He is artistic leader of the trio La Pulsata. Since 2014 he is appointed Professor at the Alberto Hurtado University in Santiago de Chile.

Teaching languages: ES, EN, IT, FR.

https://cristiangutierrez.cl

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, and is the artistic leader of the ensemble Plaisirs de Musique.

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.

Teaching languages: CS, EN, PL, DE, (FR).

www.jancizmar.com

Zach Adams Photography

Davide Monti (IT/FR) — 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.

Teaching languages: EN, FR, IT, (ES).

www.arparla.it

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 teaches, among other places, at the Academy of Ancient Music in Brno.

Teaching languages: CS, EN, DE.

www.petrwagner.com

Summer course 2015 in numbers
Number of active participants per course	47	total	30	Bučovice
35	Kunín
(18	Bučovice + Kunín)
Number of active participants by country of residence	47	total	27	Czechia
6	Slovakia
6	Poland
4	Austria
2	Mexico
1	Germany
1	Switzerland
Active participants’ age	70	Oldest participant
29	Average age
26	Median age
19	Most common age
15	Youngest participant

Summer course 2016 in numbers
Number of active participants per course	52	total	25	Bučovice
35	Kunín
(8	Bučovice + Kunín)
Number of active participants by country of residence	52	total	33	Czechia
4	Germany
3	France
3	Slovakia
2	Poland
2	Italy
1	Austria
1	Switzerland
1	Sweden
1	Hungary
1	Ukraine
Active participants’ age	56	Oldest participant
28	Average age
26	Median age
22	Most common age
13	Youngest participant

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)
Budget airlines: Ryanair (London Stanstead), Smartwings (via Prague).

16 km

to North-East

Taxi from airport, tel. +420 733 766 766 (cca. 700–900 Kč / 25–35 €)

23 km

on main roads

Train/bus from airport (cca. 50–90 Kč / 2–4 €)

✈

Katowice International Airport (IATA: KTW), Poland
Budget airlines: Wizz Air (many destinations), Ryanair.

120 km

to North-East

Bus + train from airport (cca. 500–700 Kč / 18–26 €, usually 3–3½ hours)

✈

Wien Schwechat Airport (IATA: VIE), Vienna (Austria)
Budget airlines: Niki, EasyJet, Eurowings (many destinations),
Germanwings, airBaltic, Norwegian Air, Pegasus, Vueling, …

200 km

to the South

To get from Schwechat Airport Busstation to Kunín, take:

Student Agency bus to Nový Jičín (cca. 25 €, usually 4½–5½ hours)
Bus to Kunín, bus stop “U kovárny”
(cca. 20 Kč / 1 €, 10 minutes, 6 km, 2 tariff zones)

Other bus/train connections from airport (cca. 800–1200 Kč / 30–45 €, usually 5–6 hours)

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, no. 191 = parish house.)

Public land transport

Time tables: The Czech 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 bought from the automat or paid in cash when entering the bus.
- The fare depends on the duration of the journey, the distance (km) and the tariff zones.
- Tickets can be used on connecting buses and trams (within the distance and time limits).
Trains: There are 3 Czech train operators, ČD (biggest), RegioJet and LEO Express (each with their own tickets).
- ČD tickets can be bought at the station, online or from the conductor when boarding the train
  (but you must actively contact the conductor, cca. 40 Kč / 1.50 € surcharge, you can pay in Kč or Euros).
- Two-way tickets cost usually twice a single fare (no rebate).
- Train tickets in “domestic” format are up to 30% cheaper than international TCV-tickets.
  (Foreigners should buy tickets for the Czech trains in the Czech Republic or online, not through foreign agencies.)
- Travellers via Germany can combine DB’s “Savings Fare” to Prague with a Czech domestic ticket.
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 (Brno – 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.

Registration

Colophon

The Summer course on the interpretation of Early Music is accredited by the Czech Ministry of Education (MŠMT) within the system for Further Education of Pedagogs (DVPP) under the reference 6523/2015–1–266.

Thank you

The Summer course on the interpretation of Early Music enjoys the auspices of the Minister of Culture of the Czech Republic Mgr. Daniel Herman.

For goodwill and pleasant cooperation we thank Kunin château (warden Mr. Jaroslav Zezulčík, Nový Jičín museum), the Kunín parish (Mons. Dr. Alois Peroutka), the diocese of Ostrava-Opava (organologist Mr. Jiří Krátký), restaurant U dobré hraběnky, and the management of Nový Jičín school farm under VFU Brno.

Musical Delicacies