Musical Delicacies

— Early Music Concert Series —

Summer course on the interpretation of Early Music

Map of the Czech Republic.  Kunín is 45 km southwest of Ostrava.
Where Kunín château
Course A Course B
Tue 21.08.2018, 19:00
Sun 26.08.2018, 09:00
Sat 25.08.2018, 19:00
Thu 30.08.2018, 09:00
Example of price calculation

See price list
4 lessons in main subject
+ 3 lessons Ensemble@5
Full priceV4 price
Tuition fee (1 course) 4400 Kč 3080 Kč
Accommodation (5 nights) 1215 Kč 1215 Kč
Lunch and dinner (4 days) 600 Kč 600 Kč
Total 6215 Kč
(ca. 253 €)
4895 Kč
(ca. 199 €)
The “V4 price” (−30% on course fee) is for participants
from the Visegrád countries (CZ/HU/PL/SK).
Special subjectsRecitar cantando: Martin Gester   (Courses A+B)
Baroque cantatas: Martin Gester   (Courses A+B)
Couperin & his time: Martin Gester   (Courses A+B)
Vivaldi concerti: Davide Monti   (Course B)
Improvisation: Davide Monti   (Course A)
Music and movement: Davide Monti   (Course B)
Main subjectsSolo singing: Markéta Cukrová   (Course B)
Traverso: Marta Kratochvílová   (Course A)
Recorder: Michael Posch   (Course B)
Harp: Maria Christina Cleary   (Courses A+B)
Organ (+ b.c.): Martin Gester   (Courses A+B)
Harpsichord (+ b.c.): Aline Zylberajch   (Courses A+B)
Harpsichord (+ b.c.): Martin Gester   (Courses A+B)
Guitar etc. (+ b.c.): Cristián Gutiérrez   (Courses A+B)
Lutes etc. (+ b.c.): Jan Čižmář   (Courses A+B)
Violin: Davide Monti   (Courses A+B)
Viola da gamba (+ b.c.): Petr Wagner   (Courses A+B)
Expanded offerEnsemble@5: All lecturers   (Courses A+B)
DVPP course: All lecturers   (Courses A+B)

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.

For teachers in primary and secondary schools, we offer additional lessons in 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

Kunín 1,
742 53 Kunín,
Czech Republic

Lessons will be in the stylish baroque château in Kunín Kunín château on Facebook. (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.

Lunch and dinner

Lunch and dinner can be ordered in the château’s restaurant U dobré hraběnky U dobré hraběnky on Facebook. (The Good Countess). The meals must be selected from the fixed menus before the course.

Accommodation and breakfast

Accommodation is provided by the two dormitories of the University of Veterinary and Pharmaceutical Sciences Brno, rather modest housings. 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 (Stylish accommodation U dobré hraběnky).

The following accommodations can only be booked by you directly, not via the application form:
Comparison between the alternatives
  Dormitory of the Veterinary University U dobré hraběnky
Address (with map) Kunín 190 Kunín 193 Kunín 1
Walking distance 250 m (4 min) 175 m (3 min) 30 m (1 min)
Wheelchair accessible No No Yes
Room size 3- to 5-bed 3- to 5-bed 1- to 3-bed
Sanitary facilities In the corridor In the corridor At the room
Access to kitchen Yes Yes No
Wi-fi / WLAN Yes No Yes
Price (per night) 173 Kč 173 Kč See price list
(700–1100 Kč per room)
Breakfast (per day) 70 Kč 70 Kč

† The staircase to U dobré hraběnky’s rooms has a platform lift. The rooms have wheelchair accessible toilets.

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


Special subjects:

Recitar cantando
:   Martin Gester (FR)
Copperengraving: Claudio Monteverdi. This workshop focuses on the relationship between freedom and pulse: Senza battuta / Con la battuta della mano / la battuta del cuore. Intended for singers and continuo players (harpsichord, theorbo, harp) with a repertoire of early monody: Caccini, Monteverdi, Peri, Carissimi). Possibly also some vocal works of the late renaissance (Dowland), and excerpts from operas (Cavalli, etc.). Teaching form: To get most out of the lessons, we encourage you to bring your duo partner. If you come alone, please contact the organisers, we will try to match you up with someone. It is essential that you know your repertoire well, such that you can concentrate on “freedom without anarchy”.

2 lessons à 60 minutes — 1400 Kč V4 price,  2000 Kč full price. For Recitar cantando, we offer a reduction if you participate as ensemble (singer + accompanist). Please contact us for a concrete offer.

Baroque cantatas
:   Martin Gester (FR)
A rich repertoire of Baroque chamber cantatas (Italian, German, English and French) for singers, possibly obligatory instrument(s) (violin, traverso) and basso continuo (violoncello, bass viola da gamba, harpsichord, theorbo). H. Purcell, A. Scarlatti, G. F. Händel, M. P. de Montéclair, etc.
Repertoire: Cantatas or excerpts from cantatas. Examples: Purcell: Virgin’s expostulation; A. Scarlatti: Orfeo, Euridice dall’inferno, Il Nerone, Händel: Armida abbandonata (2 violins), Agrippina condotta a morire (2 violins), etc., Montéclair: La Morte di Lucretia, Pan et Sirinx.

3 lessons à 60 minutes — 770 Kč V4 price,  1100 Kč full price.

Couperin & his time
:   Martin Gester (FR)
Workshop focusing on the French vocal and instrumental music of the High Baroque (F. Couperin, M. Marais, E. Jacquet de la Guerre, L.-N. Clérambault, J.-P. Rameau, J.-M. Leclair). Central repertoire: Couperin, Concerts Royaux / Les Goûts Réunis for varied combinations of instruments (harpsichord, theorbo, violin, flute, recorder (in d′), oboe, bassoon, viola da gamba / violoncelo, etc.) Will also cover the relationship between music and dance.

3 lessons à 60 minutes — 770 Kč V4 price,  1100 Kč full price.

Vivaldi concerti
:   Davide Monti (IT/FR) Course B
Artistic work on 4 concerti by Vivaldi. Due to the intense content of the project, it is a prerequisite for participation that everybody arrive well-prepared. We recommend that you also enroll for Violin as Main Subject to have a possibility to work on the technical aspects.

4 lessons à 80 minutes — 1960 Kč V4 price,  2800 Kč full price.

:   Davide Monti (IT/FR) Course A
Melody and Harmony: Practical improvisation on dance forms, rhythms and ground (Bergamasca, Passamezzo, Ciaconna, Passacaglia, etc.). A more detailed description of David’s method of teaching and a tentative schedule can be found here.

4 lessons à 120 minutes — 2940 Kč V4 price,  4200 Kč full price.

Music and movement
:   Davide Monti (IT/FR) Course B
Copperengraving — Achille Marozzo: Opera Nova. YouTube video — Music and movement. Musical improvisation over movements and rhethorical figures from dancing, fencing, commedia dell’arte, etc. The aim is to gain an idea of the ideal of a courtier (in our case, an artist) as it was portrayed in Il Cortegiano (The Book of the Courtier) by Baldassare Castiglione. — Recommended only for participants with prior experience with musical improvisation. You can enroll in both courses of improvisation, they complement each other.

4 lessons à 120 minutes — 2940 Kč V4 price,  4200 Kč full price.

Main subjects:

Solo singing
:   Markéta Cukrová (CZ) Course B
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.

Lessons à 40 minutes — see price list.

:   Marta Kratochvílová (CZ) Course A
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. Within the class, individual lessons will be given especially to the baroque repertoire and to the ensemble performance of baroque but also renaissance repertoire and consort (instruments will be provided).

Lessons à 40 minutes — see price list.

:   Michael Posch (AT) Course B
Students with any repertoire are welcome. Michael focuses on developing techniques as well as on the interpretation of any musical style from the Middle Ages to modern. From the interpretational perspective, the lessons are also suited for players of the traverse flute.

Lessons à 40 minutes — see price list.

:   Maria Christina Cleary (IE/FR)
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.

Lessons à 40 minutes — see price list.

:   Martin Gester (FR)
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′
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).

Lessons à 40 minutes — see price list.

:   Martin Gester (FR), Aline Zylberajch (FR)
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 lecturer encourages emphasis on the French repertoire and gallant style.

Lessons à 40 minutes — see price list.

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:

Lessons à 40 minutes — see price list.

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.

Lessons à 40 minutes — see price list.

:   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.

Lessons à 40 minutes — see price list.

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.)

Lessons à 40 minutes — see price list.

Expanded offer:

:   All lecturers 
Uncommitting ensemble playing coached by the course lecturers. The repertoire and instrumentation will be decided according to the participants and their musical preferences. — An opportunity to discover a new repertoire and to get new musical impulses from colleagues and lecturers outside of their own main subject. For participants of all levels, also for passive participants.

3 lessons à 60 minutes — 630 Kč V4 price,  900 Kč full price. Ensemble@5 is included in the price for active participation.

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.

24 lessons à 40 minutes.

Tuition fee

◄◄◄  Hide.

Active participation

  Duration (minutes) Full price V4 price  [1]
Main subjects  [2] 1 × 40 1100 Kč 770 Kč
Recitar cantando  [3] 2 × 60 2000 Kč 1400 Kč
Baroque cantatas 3 × 60 1100 Kč 770 Kč
Couperin & his time 3 × 60 1100 Kč 770 Kč
Forqueray & his time 3 × 40 1100 Kč 770 Kč
Vivaldi concerti 4 × 80 2800 Kč 1960 Kč
Improvisation 4 × 120 4200 Kč 2940 Kč
Music and movement 4 × 120 4200 Kč 2940 Kč
Ensemble@5 (per course) 3 × 60 Included
DVPP course 24 × 40 Price on demand  [4]
Minimum enrollment  [5] 4200 Kč 2940 Kč

[1]  The V4 price (−30% on course fee) is for participants from the Visegrád countries (Czechia, Hungary, Poland and Slovakia).

[2]  The main subjects are solo singing, traverso, recorder, harp, organ, harpsichord, lutes etc., violin, viola da gamba.

[3]  For Recitar cantando, we offer a reduction if you participate as ensemble (singer + accompanist). Please contact us for a concrete offer.

[4]  For the DVPP course, the curriculum will be prepared individually based on your current education and experience. Please contact us for details.

[5]  You can enroll for any combination of main and special subjects, as long as the sum is at least 4200 Kč (2940 Kč at V4 price).

Prices for accommodation and food can be found above.

Passive participation

  Duration (minutes) Full price V4 price  [6]
One course (all lessons) 800 Kč 560 Kč
Ensemble@5 (per course) 3 × 60 900 Kč 630 Kč

[6]  The V4 price (−30% on course fee) is for participants from the Visegrád countries (Czechia, Hungary, Poland and Slovakia).

Prices for accommodation and food can be found above.

Tentative schedule

Schedule — Course A

Tuesday 21 August 2018
17:0018:00 Registration, accommodation  §
19:00   Teachers’ concert
Wednesday 22 August 2018
8:009:00 Breakfast
9:0010:10 Welcome, practical info
10:1512:30 Tuition
12:3013:30 Lunch
14:0017:15 Tuition
17:2018:20 Ensemble@5
18:3019:30 Dinner
Thursday 23 August 2018
8:009:00 Breakfast
9:3012:30 Tuition
12:3013:30 Lunch
14:0017:15 Tuition
17:2018:20 Ensemble@5  
18:3019:30 Dinner
20:00   Students’ podium
Friday 24 August 2018
8:009:00 Breakfast
9:3012:30 Tuition
12:3013:30 Lunch
14:0017:15 Tuition
17:2018:20 Ensemble@5
18:3019:30 Dinner
Saturday 25 August 2018
8:009:00 Breakfast
9:3012:30 Tuition
12:3013:30 Lunch
14:0017:15 Tuition
17:2018:00 Concert prepa­rations
18:0019:00 Dinner (buffet)
19:0022:00 Participants’ concert  
Sunday 26 August 2018
8:009:00 Breakfast
9:00   Departure

§ 17:00–18:00 in building 190, afterwards in the château. Telephone +421 905 161 021.

† Service in the church of the Exaltation of the Cross Sundays at 8:45 and Thursdays at 18:00.

‡ Concert of the participants and teachers.
   Part of Night in the Castle, a country-wide, rich cultural event, coordinated by the National Heritage Institute.

Schedule — Course B

Saturday 25 August 2018
17:0018:00 Registration, accommodation  §
19:0022:00 Opening concert  
Sunday 26 August 2018
8:009:00 Breakfast  
9:3010:10 Welcome, introduction
10:1512:30 Tuition
12:3013:30 Lunch
14:0017:15 Tuition
17:2018:20 Ensemble@5
18:3019:30 Dinner
Monday 27 August 2018
8:009:00 Breakfast
9:3012:30 Tuition
12:3013:30 Lunch
14:0017:15 Tuition
17:2018:20 Ensemble@5
18:3019:30 Dinner
20:00   Students’ podium
Tuesday 28 August 2018
8:009:00 Breakfast
9:3012:30 Tuition
12:3013:30 Lunch
14:0017:15 Tuition
17:2018:20 Ensemble@5
18:3019:30 Dinner
Wednesday 29 August 2018
8:009:00 Breakfast
9:3012:30 Tuition
12:3013:30 Lunch
14:0017:15 Tuition
17:2018:00 Concert prepa­rations
18:0019:00 Dinner (buffet)
19:00   Participants’ concert
Thursday 30 August 2018
8:009:00 Breakfast
9:00   Departure

§ 17:00–18:00 in building 190, afterwards in the château and in the church. Telephone +421 905 161 021.

‡ Concert of the participants and teachers in course A.
   Part of Night in the Castle, a country-wide, rich cultural event, coordinated by the National Heritage Institute.

† Service in the church of the Exaltation of the Cross Sundays at 8:45 and Thursdays at 18:00.


Martin Gester (FR) — Harpsichord & organ

With an education in literature as well as music, both instrumental and vocal, and a passion for history and attentive to oral traditions, to the art of dancing and to the theatre, Martin Gester strives to reestablish the interrelationships that modern usage have disconnected, renewing, in his own way, the ideals of the Baroque musician: open, manysided and humanist.

After completing his studies (organ, harpsichord, composition) at the Conservatory and the University of Strasbourg and gleaning experiences from travelling, he founded in 1990 Le Parlement de Musique, an ensemble that is inventive, discovering and malleable, situated at the crossroads of the Baroque and Classical styles and of concert and stage, and also preoccupied with detecting new talents for collaborating with the established artists. He also conducts other ensembles and orchestras, baroque and sometimes symphonic. A very particular collaboration was established in 1998 with the Polish baroque orchestra Arte dei Suonatori; their recording of Händel’s 12 Concerti Grossi op. 6 for BIS (Sweden) has been acclaimed (BBC, Toccata Alte Musik Aktuell, Diapason etc.) as one of the “reference versions”. But Martin Gester also enjoys the intimacy of the keyboards, often surrounded by a circle of selected musicians for Monteverdi madrigals, for Couperin’s motets and Concerts Royeaux, or for chamber music by Bach, Haydn and Mozart.

Martin Gester teaches the interpretation of the baroque repertoire for instrumentalists – especially for harpsichord, organ on historical instruments and the pianoforte – and for singers at the Strasbourg Conservatory and at L’Académie Supérieure de Musique de Strasbourg. He is the founder of the opera atelier Génération Baroque where young singers and instrumentalists can collect their first professionel experiences while starting an international carreer.

Martin Gester has been appointed Chevalier des Arts et des Lettres by the French Minister of Culture for his direction of Le Parlement de Musique, and awarded the Order of Merit by the Polish Minister of Culture for his work with Arte dei Suonatori.

Teaching languages: DE, FR, EN, ES, IT.

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).

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).

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 until 2010, 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.

Today she lives in the Czech Republic and performs regularly throughout Europe. She appears in mostly chamber and solo projects with artists such as Jan Čižmář, Karel Fleischlinger, Joel Frederiksen, Martin Jakubíček, Petr Kolař, Ján Krigovský, Marcin Świątkiewicz, Marc Vonau, Petr Wagner, and with the ensembles {oh!} Orkiestra Historyczna and Plaisirs de Musique, of which she is a founding member. She is also artistic 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.

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

Michael Posch (AT) — Recorder

Michael Posch was born in Klagenfurt. He studied recorder at the Carinthian State Conservatorium in Klagenfurt (diploma with distinction), at the Academy of Music and Performing Arts in Vienna (H. M. Kneihs) and at the Academy of Music in Trossingen (K. Boeke). He attended masterclasses specialized in medieval and early baroque music with Frans Brüggen, Walter van Hauwe and Pedro Memelsdorff.

Michael Posch has performed in nearly all countries of Europe and the Middle East, in Marocco, the UAE, Iran, Canada and Taiwan. He has recorded more than 60 CDs and appeared in radio and on television, both as a soloist and also with early music ensembles like Oni Wytars, Accentus Austria, Clemencic Consort, Concentus Musicus Wien (N. Harnoncourt). He performs contemporary recorder literature in collaboration with Österreichische Kammersymphoniker. In 1991 he founded Ensemble UNICORN, specializing in secular music 1250–1550. With his group he won several prizes for CD-productions (20 CDs available) and made world premiere recordings, e. g. of Music of Codex Torino, Oswald von Wolkenstein and Austrian Minnesingers. Since 2014 he is musical director and performer of the Globe Theater Vienna, focusing on plays by Shakespeare.

Michael Posch gives masterclasses for recorder and early music, for instance at the Higher Institute for Western Music Damascus, the Royal Conservatory Amman, the Royal Conservatory in Brussels, the Tchaikovsky Conservatory Moskau, Musikum Salzburg, Iceland Academy of the Arts (Reykjavik), Early Music Forum Warszaw, ESMAE Porto, Conservatorio di Bari, and is invited as guest-professor for Master studies in Medieval Music at Fontys Conservatorium Tilburg (the Netherlands). Since 1995 he is invited as member of juries of national and international recorder and early music competitions as well as for commissions for exams, e. g. at the HEM-CSMG in Geneva. Since 1995 he teaches recorder and Early Music at the Music and Arts University of the City of Vienna (MUK); since 1998 he is Head of its Programme of Early Music and since 2014 Dean of the Faculty of Music. He co-authored the monography “Einführung in die mittelalterliche Musik”.

Teaching languages: DE, EN.

Maria Christina Cleary (IE/FR) — 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. She is currently completing an artistic Ph.D. at Leiden University, The Netherlands.

She has performed as soloist with, among others, Amsterdam Baroque Orchestra, American Bach Soloists, Bayerische Staatsoper, Portland Baroque Orchestra, Arion Ensemble Montreal and the RTE Concert Orchestra. In 2014, Maria was invited to perform a Concerto by J. B. Krumpholtz with the Orchestra of the Antipodes at The World Harp Congress in Sydney. This was the first time the harpe organisée was featured at the Congress. 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 has worked for years in the area of contemporary music, with MusikFabrik Köln and Remix Ensemble Porto. She has premièred over fifty pieces for solo harp and harp in ensemble, including Arc Song by T. Hosakawa at the Darmstadt Festival in 2002 with Peter Veale (oboe).

Specialising in historical harps, Maria performs on medieval harps, the Italian arpa doppia, the Spanish arpa de dos ordenes and the 18th century harpe organisée. She promotes a pedal technique that was exclusively used on harps with a single-action pedal mechanism. 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 teaches historical styles, improvisation and chamber music to both modern and historical harpists. She has taught at the Guildhall School of Music London, Conservatories of Singapore, Brisbane, Venice, Padova (2005–2008), Krakow Academy of Music, Sibelius Academy Helsinki and the Haute École de Musique de Genève. She holds the position of historical harp professor in Verona Conservatory, Italy. In 2016 she will give a masterclass at the Juilliard School of Music New York.

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

Aline Zylberajch (FR) — Harpsichord & organ

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 Martin Gester’s 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.

Teaching languages: EN, FR, DE, ES.

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.

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).

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.

Our participants – 2014

◄◄◄  Hide.

Summer course 2014 in numbers
Number of active participants
by country of residence
33 total 28 Czechia
3 Slovakia
1 Poland
1 Germany
Active participants’ age 48 Oldest participant
28 Average age
24 Median age
16 Youngest participant
Report by Czech TelevisionReport by Czech TV: “School for playing baroque instruments” (Studio 6, Michal Polášek, 31.08.2014 09:23).

Our participants – 2015

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 2015 — Number of participants per class (categorised by age band and subject).
Summer course on the interpretation of Early Music — Bučovice château — Photo: Šimon Tamaki, 27 August 2015.

Our participants – 2016

Summer course on the interpretation of Early Music, Kunín — church of the Exaltation of the Cross — Photo: Jan Šlechta, 5 August 2016.
Report by Czech TelevisionReport by Czech TV: “Interpretation courses in Early Music” (Events in Culture on ČT Art, Helena Dohnalová, 03.08.2016 20:08).
Review: Deník, 05.08.2016: “Baroque music is sounding in the castle” (Ivana Reková, in Czech).
Photo gallery: Participants’ concert in the church of the Exaltation of the Cross in Kunín, 05.08.2016 (Jan Šlechta).
Summer course 2016 in numbers
Number of active
per course
52 total 25 Bučovice
35 Kunín
(8 Bučovice + Kunín)
Number of active
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

Our participants – 2017

Summer course 2017 in numbers
Number of active
per course
35 total 11 Bučovice
28 Kunín
(4 Bučovice + Kunín)
Number of active
by country
of residence
35 total 24 Czechia
4 Poland
3 Austria
2 Slovakia
1 Germany
1 Hungary
Active participants’ age 72 Oldest participant
31 Average age
29 Median age
40 Most common age
14 Youngest participant

Our participants – 2018

Summer course on the interpretation of Early Music, Kunín — church of the Exaltation of the Cross — Photo: Jan Šlechta, 25 August 2018.
Photo gallery: summer course & participants’ concert, 25 August 2018 (Jan Šlechta).
Summer course 2018 in numbers
Number of active
52 total 30 one course (≤4 days)
22 both courses (≥5 days)
Number of active
by country
of residence
52 total 28 Czechia
6 Poland
3 Slovakia
3 Russia
2 Austria
2 Germany
2 Spain
2 Chile
2 United States
1 Canada
1 Hungary
Active participants’ age 57 Oldest participant
30 Average age
25 Median age
22 Most common age
16 Youngest participant
Tuition and events Lessons
Main subjects Lutes etc. 50 × 40 14
Harpsichord 49 × 40 10
Viola da gamba 34 × 40 7
Harp 34 × 40 4
Solo singing 31 × 40 8
Recorder 27 × 40 7
Traverso 9 × 40 2
Violin 4 × 40 1
Special subjects Recitar cantando 7 × 60 15
Couperin & his time 9 × 60 14
Forqueray & his time 10 × 40 8
Vivaldi concerti 3 × 80 4
Improvisation 4 × 120 13
Music and movement 4 × 120 8
Ensemble@5 42 × 60 47
Other events Lectures  2 ~42
Concerts  4 ~350

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 inhabitants300 km to the West
Ostrava (head of Moravian-Silesian Region)300,000 inhabitants40 km to North-East
Nový Jičín (district city)24,000 inhabitants7 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:
  1. Student Agency bus to Nový Jičín  (cca. 25 €, usually 4½–5½ hours)
  2. 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

Public land transport

Individual transport



The event is organised by:

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

IČO: 22719458
Chairman: Jan Čižmář
Phone: +420 606 222 416


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 Governor of the Moravian-Silesian Region prof. Ing. Ivo Vondrák, CSc.

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.

Moravskoslezský kraj Logo restaurace U dobré hraběnky Logo VFU Brno ŠZP Nový Jičín