Summer course on baroque music and dance

This course is dedicated to baroque dance and dance music and is intended for active participants focusing on …

For the public we recommend the opening performance of the tutors and the final performance of the course participants. We also offer passive participation on any day of the course for anyone interested in historical dance and music and their performance practice. Passive participants may attend all lessons during the day and in the evening join actively in the counterdances.

Lesson plan

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Objectives and methodology

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For dancers

: The main focus of the course is detailed work on a wide range of basic types of baroque dances in collaboration with musicians. A special feature of this course is the possibility to work individually with our French dance master. Unlike most other baroque dance courses, we will not focus on studying specific choreographies from period sources. Instead, the 3-hour unit of Ballet de cour will every day be devoted to another typical baroque dance form (minuet, courante, sarabande, gavotte, bourée, gigue, passepied). All accompanied by live music. Apart from this, the dancers can engage actively in the musical preparations (Pas à pas, Sous le bâton) or attend the individual dance masterclass. In the evenings we will discover the almost indefinite world of counterdances.

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For musicians

: The concentrated course content and the individual approach are aiming for a proper interpretation of baroque dance music, supported through practical dance experience. In small groups, the musicians have a unique opportunity to learn everything necessary about the most common baroque dance forms (minuet, courante, sarabande, gavotte, bourée, gigue, passepied). On top of that, they will learn something about counterdances and improvisation while having lots of fun. In addition, the instrumental tutors offer a limited number of time slots for individual masterclasses. Unlike most other early music courses, our goal is neither to rehearse a concert repertoire, nor to acquire the highest technical skills suited for competitions.

The dance style

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La belle danse

: With the term la belle danse we mean the dance style that gradually took shape in France in the first half of the 17th century, fully developed under Louis XIV (his personal reign 1661–1715) and gradually flooded the whole of Europe. It withdraws to the background towards the end of the 18th century. It was a noble style, more technically demanding compared to the previous forms of dance, systematically elaborated on an academic footing (the Royal Academy of Dance founded by Louis). It was used both in ballroom dancing and in the theatre. In ballroom dancing, the refined elements of this style gradually disappeared in the second half of the 18th century, whereas in theatre dancing, the original la belle danse absorbed other influences and gradually evolved into the form of today’s classical ballet. — This qualification is necessary, because some of the mentioned dances were danced under the same name but performed differently, both in other time periods and in the folk environment.

Often the term “baroque dance” slightly inaccurately denotes what really is the style la belle danse. However, it should be remembered that additional dance forms existed during the baroque period. In particular, a significant phenomenon was the counterdances that will be the focus of three evenings of the course.

The dance forms

Day by day, we will focus on these baroque dance forms:

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Minuet (1–2 July)

: For almost 200 years one of the most popular social dances. Dance in ¾ time, of moderate tempo and subtle character, consisting of small steps. Typically included as opening dance at balls, but also used at theatres. One of the few baroque dances that is associated with a particular step (pas de menuet with its variants), on which the whole dance is composed.

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Courante (2–3 July)

: Louis XIV’s favourite dance. Its ceremonial, slow and majestic character allowed the King to demonstrate not only his own strength and importance, but also his exquisite dance technique. The art of dancing the courante properly consists in reconciling the slow, dragged movement that require great stability with the following steps that have a moderately jumpy character. Like in the case of the minuet, the courante is associated with a characteristic step (and its variants), from which most of the resulting choreography is created. The courante left the dance floor together with Louis XIV, but continued to be taught by the dance masters due to the difficulity of its performance.

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Sarabande (3–4 July)

: Slow and noble dance jewel of the French baroque with Spanish roots. Unlike the previous two dances (minuet and courante), the sarabande uses in its choreographies a much more varied set of steps. In this dance, contrasting dynamics are favoured: a slow, drawn movement is unexpectedly followed by rapid series of steps or quick, virtuoso footwork. The sarabande is often danced on stage, most often composed for a soloist or for a couple, less often a ballroom dance.

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Gavotte, bourée, gigue, passepied (4–5 July)

: This French baroque dance repertoire also involves jumpy and fast dancing. The slower gavotte and the swift gigue rank among the dances that use abundant jumps. The faster dances also include the bourrée that at the same time is rather vigorous. The passepied which uses the same steps as the minuet but at a faster pace, has a running character.

Course content

Fixed teaching blocks

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Ballet de cour

: The fine details of the style la belle danse under the guidance of the dance master.

Dancers: Detailed work in group, under guidance of the dance master, on the technical and artistic aspects of the studied dance. The aim is to explore the individual dances to the full extent of the step material used, to experience their typical mood, and to address the exact execution of individual step variants and the nuances between them. Preparation of a simple choreography for the final performance, accompanied by the musicians.
Musicians: Live accompaniment of the dancers. Performing the dance music that was studied musically in the previous day’s Sous le bâton block and danced in the Step-by-step block. Dance-savvy musicians may join the dancers ad hoc.

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Step-by-step

: Teaching the musicians the basic dance steps.

Musicians: Teaching the basic steps of selected dances under the guidance of one of the tutors with assistance of selected dancers. No prior experience with baroque dance is required.
Dancers (selection): Showing the dance steps to the musicians who are learning the basics of the dance for the first time. Helping and acting as dance partner when necessary. If you want to particpate, please check the box “I volunteer to help the musicians” in the application form.
Other dancers: Possibility for participating in the excursion In Napoleon’s footsteps.

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Sous le bâton

: Influence of dance on music: Applying the freshly gained dance experience in chamber ensembles rehearsing dance music.

Musicians: Under the guidance of one of the tutors and with participation of selected dancers, small groups (4–5 musicians) will focus on a detailed stylistic analysis of selected dance pieces, searching for the right tempo, accents and mood. Some groups may focus on Improvisation of dance music. Summming up the dancing experience just acquired during the lesson Pas à pas and rehearsing the music for the next day’s Ballet de cour.
If the is any specific literature that you could use our help with, please indicate it in the application form.
Dancers (selection): Showing the dance and its steps to the musicians during their preparation of the dance music in order to help them to the proper musical interpretation of the individual dances. At the same time, the dancers have the opportunity to explore the interaction between music and dance. — Not all dancers are required at the same time for this activity. If you want to particpate, please check the box “I volunteer to help the musicians” in the application form.
Other dancers: Possibility for participating in the excursion In Napoleon’s footsteps or visiting the Dance Masterclass running in paralel.

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Counterdances

: A joint active exploration of the world of baroque counterdances that everyone will enjoy, regardless of their dance experience.

Dancers: Known and less known counterdances for live musical accompaniment. Some of them will be presented at the participants’ closing performance.
Musicians: It is possible to choose ad hoc between dance and musical accompaniment. In addition to playing from scores, there will also be room for Improvisation of dance music.

The dance form of counterdances was born in England, with the first mention (country dance) dating back to the 16th century. Their popularity in the mid-17th century grew markedly with John and Henry Playford’s publications with descriptions of individual dances (first edition 1651). These are fairly simple dances for a larger number of dancers. According to the formation of the dancers, we can talk about longways (the dance couples standing behind each other), circle or square formats. Often the partners are exchanged during the dance, which corresponds to the main mission of these dances: having fun and even to dance during conversation. Since the late 17th century, counterdances have been spreading from England to other countries and getting new forms (for example, in France, more sophisticated steps of la belle danse were incorporated). They were very popular throughout the 19th century (e. g., the former quadrille) and their principles persist in some contemporary dance forms (such as modern country dances or some Scottish and Irish dances).

Complemented with wine tasting from local vineyards.

Optional blocks

Please check the corresponding boxes in the registration form. The number of participants is limited.

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Improvisation of dance movements

: Without a score and every time a bit different – a content extension for experienced musicians. In the 17th and 18th centuries it was common to improvise individual dances or even entire suites. The mastery of the harmony (the grammar of the musical language) and the understanding of the different dance forms and their rhythmic peculiarities were indispensable for this. This technique is especially natural for keyboards and other harmonic instruments (lutes, harps) but can also be practiced by players on melodic instruments (violins, flutes). Examples from Friderich Erhardt Niedt’s Musicalische Handleitung, among others, will be used to delve into this topic.

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Masterclass in dance

: A unique possibility for an individual lesson or consultation with our maître à danser. Individuals, couples or ensembles can work on the technical and artistic aspects of choreographies they have prepared. The repertoire can range from renaissance dance to ballet moderne. We encourage that the pieces studied during the masterclass are included in the final performance.

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Masterclass for musicians

: Individual lesson or consultation with the tutor of your choice. Soloists or ensembles work on the artistic and technical aspects of literature they prepared before the course. The repertoire is not limited to dance music or the baroque era. However, we recommend using this opportunity to clarify how to properly interpret the tempo signs or movement headings in the concert repertoire. It is also possible to work on the music that is used in the Ballet de cour lessons and appears in the final performance of the course participants.

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In Napoleon’s footsteps

: Excursions to Austerlitz (10 km) and environs.

For dancers not needed for Step-by-step. We will visit places related to Bonaparte’s greatest victory, the Battle of Three Emperors (2 December 1805). The actual tours will depend on the participants’ interests and the weather, but may include Austerlitz château (where the armistice was signed on 6 December), the Zuran hill (Napoleon’s headquarter at dawn), the Pratzen heights (where the decisive assault took place) and the Posoritze Post (the stagecoach station where Napoleon stayed overnight after the battle).

Schedule

[1] Registration 13:00–14:00 in the foyer of hotel Arkáda, afterwards in the château. Telephone +420 606 222 416.

[2] Excursions to Austerlitz etc. for those dancers who are not needed for Step by step (voluntary participation, minimum 4 persons).

[3] Some groups may be focusing on Improvisation of dance music.

[4] Refreshments (snacks) are available throughout this period.

[5] Dinner will be served in wine cellar Rustico, Slavkovská 84.

Bučovice château

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 Dionysus fountain from 1635, and the château contains many reliefs and paintings, some with musical themes.

Lunch and dinner

Lunch and dinner can be ordered in the café in the château (Kavárna na zámku, restaurant Litovel). The meals must be selected from the fixed menus before the course.

Accommodation

For accommodation, we recommend Hotel Arkáda

(náměstí Svobody 32, 68501 Bučovice), located just 150 metres from the château. This is a quality accommodation in 2- and 3-bed rooms with private bathroom and facilities, Wi-Fi and coffee service in the room. You can book a room in Hotel Arkáda through our registration form. This is cheaper (group booking), but you may be sharing room with other course participants.

As an inexpensive alternative, we offer 10–20 places for sleeping bags in the House for Children and Youth (Vyškovská 376, 68501 Bučovice). It has a big room that is used during the day as a children’s playground. For this reason, it is necessary to vacate the place at 8:15, you can return any time after 16:00. Please bring your own sleeping bag. The house has mattresses, two showers and a small kitchen.

Comparison between the alternatives
	Hotel Arkáda	House for Children and Youth
Address (with map)	nám. Svobody 32	Vyškovská 376
Walking distance	150 m (2 min)	850 m (16 min)
Wheelchair accessible	Yes †	No
Room size	2- and 3-bed	Dorm room
Sanitary facilities	At the room	In the corridor
Access to kitchen	No	Yes
Wi-fi / WLAN	Yes	No
Accommodation for 5 nights	2975 Kč	400 Kč §
Breakfast for 5 days	Included	Not offered
Lunch and dinner for 5 days	1000 Kč

† Hotel Arkáda has an elevator, there is a wheelchair accessible toilet on the ground floor.

§ The prices for the dormitory are without breakfast.

Lecturers

Emmanuel Soulhat-Goudon (FR) — Dance

Emmanuel Soulhat started at the Jeune Ballet International in Cannes, directed by Rosella Hightower. He was engaged by Maîa Plissetskaîa for creating, performing and rehearsing at the Bolshoi Theatre, by the Théâtre Chorégraphique de Rennes et de Bretagne, directed by Gigi Cacuileanu, by the Ballet-Théâtre Russillo in Toulouse, the Ballet Preljocaj in Aix-en-Provence, and by Michel Kéléménis at the Marseilles Opera. Further lyrical operas lead him to the Palais Garnier and the Bastille Opera with Les Arts Florissants, La Fura dels Baus, Robert Carsen, Dmitri Tcherniakov, choreographies by Philippe Giraudeau, Sidi Larbi Cherkaoui, Denni Sayers, Maurice Béjart. With these ensembles he toured the United States, Europe, Asia, the Middle East and Russia.

He discovered baroque dance with Béatrice Massin for the film Le Roi Danse in France and Germany, then worked with Bob Wilson at the Théâtre du Châtelet, La Comédie Française, the Paris Opera, and at Watermill Center in the United States. He was hired by Christine Bayle for dance, music and theatre creations of the 16th, 17th and 18th centuries after Thoinot Arbeau’s Orchésographie, an Instruction pour danser (from the time of Henry IV) and Apologie de la danse and Louange de la Dance (from the time of Louis XIII); choreographies in the later style of la belle danse after Le maître à danser and the publications of Feuillet. Emmanuel performed these productions at the Royaumont Festival, the Bibliothèque nationale de France, the Palace of Versailles and the Imperial Theatre in Compiègne, as well as on tours in Slovenia, China and Japan.

In addition, he participated in the productions of the Compagnie de Danse l’Eventail directed by Marie-Geneviève Massé at the Royal Opera of Versailles and at the Opéra-Comique (Paris), Artemis at the Royan Theatre, the Vaux-le-Vicomte château, in churches and temples. The choreographer was invited by the ensembles of Marc Hervieux in Strasbourg, Dominique Corbiau in France and Belgium, Jean-Sébastien Beauvais for the BaroQuiales in Sospel, Trio Nitétis at the Hôtel de la Marine in Paris. He directed the Sleeping Beauty, in which he also danced, at the châteaus of Sully and Pierrefonds, the Magnin Museum (Dijon), the Hôtel de Miramion (Paris) and the Conservatoire de Créteil.

Emmanuel Soulhat teaches La belle danse at summer courses (e. g., BaroQuiales Sospel, Académie de Neuwiller) and at institutions such as Conservatoire de Nice.

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

Jörn Boysen (DE/NL) — Harpsichord

Harpsichordist, conductor and composer Jörn Boysen was born in Lübeck, Germany. After his studies at the Musikhochschule Lübeck he went to the Netherlands where he studied with Tini Mathot and Ton Koopman at the Royal Conservatory in The Hague. As founder and director of Musica Poetica, guest conductor, soloist or continuo player, he regularly performs in Germany, the Netherlands and France.

He was invited to European festivals such as Festival Mitte Europa, Göttinger Händel Festspiele, Delft Chamber Music Festival, Itinéraire Baroque and the Utrecht Festival Oude Muziek. Boysen worked with Alina Ibragimova, Lisa Ferschtman and regularly records and performs with Antoinette Lohmann (Furor Musicus). He conducted productions of the O. T. Opera Rotterdam (Orfeo Intermezzi, 2005) and the Utrechtse Spelen (Molière’s/Charpentier’s Imaginary Invalid, 2009 and 2011) for whose productions he has also composed music. In 2012 he was music director of Opéra Mosset in France. He is artistic director of concert organisation Musica Antica da Camera in The Hague.

Boysen composed various orchestral, chamber and vocal works. In 2011, he completed Bach’s St. Mark Passion by composing all missing recitatives, turba-choirs and arias. His works have been commissioned and performed by Musica Poetica (NL), De Nederlandse Bachverniging, Baroque Chamber Orchestra of Colorado (USA), by soloists of Pratum Integrum (RUS) and of the Berlin Philharmonics (DE) and the Residentie Orchestra in The Hague (NL), amongst others.

Boysen is a much sought-after lecturer and teacher. He has led projects and master classes for singers and instrumentalists on rhetoric, basso continuo, musical temperatures, historical singing, performance practice and composition at the conservatories in The Hague, Palma de Mallorca, Novosibirsk and Nizhny Novgorod amongst others. Boysen teaches at the Utrecht Conservatory. His schedule for the season 2018–19 includes masterclasses and lectures on Bach and rhetorics, guest performances of Bach’s St. John Passion at the Nizhny Novgorod Pärt Festival, and performances of his St. Mark Passion-reconstruction at the new Zaryadye concerthall in Moscow.

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

www.musicapoetica.info

Photo: Michael de Roo

María Sánchez Ramírez (ES/NL) — Cello

Hailing from Toledo (Spain), María Sánchez finished her High Degree cello and chamber music studies at the Conservatorio Superior de Música Jesús Guridi in Vitoria with the teacher Itziar Atutxa. In 1999, María moved to the Netherlands to study Baroque Cello and Classical Cello with Jaap ter Linden and Lucia Swarts at the Koninklĳk Conservatorium, The Hague, where she finished her diplomas in 2003 and 2005.

María is member of the ensemble Musica Poetica. She also collaborates with other groups and orchestras with which she has performed in Festivals and venues all along Europe. She has worked with conductors such as Jos van Veldhoven, Marcus Creed, Jacques Ogg, Adrian Rodriguez van der Spoel and Federico María Sardelli, and has played in various recordings for the labels Verso, K617, Challenge Records and Globe Records as well as for different European classical radio channels such as Radio 4 (Netherlands), Radio Catalunya (Spain) and ORF (Austria).

María has taught cello at the Conservatorio Profesional de Musica in Salamanca (Spain). In the last years, she was invited to give baroque cello courses and master classes in the Netherlands, France and at different conservatories in Spain. She also taught baroque cello in the Curso de Música Barroca de Denia (Alicante).

Teaching languages: EN, ES, NL.

www.musicapoetica.nl

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).

Marc Hervieux (FR) — Recorder

Marc Hervieux studied the recorder in the class of Jean-François Alizon at the Conservatoire de Strasbourg where he obtained a gold medal and a Chamber Music prize at unanimity (1992). This was followed with a specialization course with Patrick Blanc dealing with contemporary recorder repertoire. He obtained the specialization diploma with honors (1997). In addition, Marc started studying song, baroque oboe and traverso and was able to work with Hugo Reyne, Marcos Volontario, Jean-Pierre Pinet and Gilles de Talhouet. He created in 1996 the baroque music ensemble Le Masque with which he performs in France and abroad in a wide variety of programs. In 2005 he created the Academy of Baroque Music in Neuwiller-Lès-Saverne. Since 1991, he teaches recorder at the School of Music of Sélestat and the Conservatoire de Musique de Mulhouse.

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

www.le-masque.com

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

Price list

Active participation

	For dancers	For musicians
Tuition fee	4400 Kč (ca. 173 €)	3080 Kč (ca. 121 €)	5100 Kč (ca. 200 €)	3570 Kč (ca. 140 €)
Recommendations
Hotel Arkáda (5 nights)	2975 Kč [2]
Full board	1000 Kč
Total [3]	8375 Kč (ca. 329 €)	7055 Kč (ca. 277 €)	9075 Kč (ca. 356 €)	7545 Kč (ca. 296 €)
Optional blocks
Masterclass in dance [4]	850 Kč	595 Kč	Not applicable
In Napoleon’s footsteps	Extra [5]
Masterclass for musicians [4]	Not applicable	850 Kč	595 Kč
Improvisation	Included

[1] The “V4 price” is for participants from the Visegrád countries (Czechia, Hungary, Poland and Slovakia).

[2] The price has not been finalized yet and may depend on the number of participants. The value shown is an upper limit.

[3] If you do not use the offer for accommodation and food, the price will be reduced correspondingly. If you do not use the offer for accommodation and food, the price will be reduced correspondingly.

[4] Per lesson of 30 minutes. The lessons are open to the other participants.

[5] Local transport and entrance fee to museums etc. will be paid cash on the spot.

Passive participation

	Price
Tuition fee (per day) [1]	200 Kč

[1] Gives access to visit all lessons during the day, and to participate actively in the counterdances in the evening.

Our participants – 2015

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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 on the interpretation of Early Music — Bučovice château, 27 Aug 2015 — Photo: Šimon Tamaki.

Our participants – 2016

Summer course on the interpretation of Early Music, Kunín — Church of the Exaltation of the Cross, 5 Aug 2016 — Photo: Jan Šlechta.

Report by Czech TV (Events in Culture on ČT Art, 3 Aug 2016 20:08).

Review: Deník, 5 Aug 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, 5 Aug 2016 (Jan Šlechta).

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

Our participants – 2017

Summer course 2017 in numbers
Number of active participants per course	35	total	11	Bučovice
			28	Kunín
			(4	Bučovice + Kunín)
Number of active participants 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, 25 Aug 2018 — Photo: Jan Šlechta.

Photo gallery: summer course & participants’ concert, 25 Aug 2018 (Jan Šlechta).

Summer course 2018 in numbers
Number of participants	50	total	28	one course (≤4 days)
Number of participants	50	total	22	both courses (≥5 days)
Number of active participants by country of residence	50	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 minutes		Partici- pants
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 & the art of arranging	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
Other events	Concerts		4	~350

Travel information

Bučovice is a town in the South-Eastern part of the Czech Republic (the South Moravian Region).

Austria (state border)

48 km

to the South

Slovakia (state border)

30 km

to South-East

Prague (capital of Czech Republic)

1,300,000 inhabitants

230 km

to the North-West

Brno (head of South Moravian Region)

380,000 inhabitants

30 km

to the West

Bučovice (town)

6,500 inhabitants

✈

Brno Tuřany Airport (IATA: BRQ), Brno (Czechia)
Budget airlines: Ryanair (London Stanstead, Milano/Bergamo, Berlin-Schönefeld).

23 km

to the West

Taxi from the airport, tel. +420 542 321 321 (cca. 900–1100 Kč / 33–40 €)

29 km

driving distance

Bus/train from the airport (cca. 50–90 Kč / 2–4 €, 5–6 tariff zones, tickets from automat in arrival hall or from newspaper stand in departure hall).

✈

Václav Havel Airport (IATA: PRG), Prague (Czechia)
Budget airlines: SmartWings, Wizz Air, Ryanair, EasyJet, …

225 km

to the North-West

To get from Prague Airport to Bučovice, take:

Bus AE (Airport Express) from Terminal 1 to Prague main station
(cca. 60 Kč / 3 €, 45 minutes, departure every 10–15 minutes.)
Train from Prague via Brno to Bučovice
(cca. 150–500 Kč / 6–20 €, 3–3½ hours).

Note, Brno main station is partially closed due to construction works; change at Brno-Židenice.

✈

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

120 km

to the South

To get from Schwechat Airport to Bučovice, take:

Student Agency bus from Schwechart Airport Busstation to
Brno (Hotel Grand, 100 m from the main station) (cca. 17 €, 1½ hours)
Bus/train from Brno main station (hlavní nádraží) to Bučovice

✈

Milan Rastislav Štefánik Airport (IATA: BTS), Bratislava (Slovakia)
Budget airlines: Ryanair, SmartWings (many destinations), Wizz Air (Skopje).

110 km

to the South

To get from Bratislava Airport to Bučovice, it is usually fastest to take:

Bus 61 from Letisko (airport) to Hlavná stanica (main station) (cca. 20 minutes).
Buy 60-minutes ticket from automat at bus stop, stamp when boarding bus (cca. 1 €).
EC train to Brno. (Buy ticket at box office in station, cca. 5–8 €, cca. 1½ hours)
Train from Brno to Bučovice (cca. 60 Kč / 3 €, 30–50 minutes).
Buy ticket at box office in station (or on-line, but you must bring the credit card to show).

Other busses/trains from the airport (cca. 250–500 Kč / 9–18 €, usually 3–3½ hours)

Bučovice train station (line 340 Brno – Uherské Hradiště – Bylnice)

600 m

to the South

Bučovice bus station

250 m

to the South

Note, some buses stop in front of the train station but not at the bus station.

Local transport

Map of Bučovice can be found here (House no. 1 = château, náměstí Svobody 32 = Hotel Arkáda.)

Public land transport

Time tables: The Czech time table system IDOS covers all trains and almost all buses..
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 and the number of tariff zones passed.
- Tickets must be stamped (validated) when entering the bus (or tram).
- The stamped ticket can be used on connecting buses and trams (within the time limit and zone limit).
Trains: There are 3 Czech train operators, ČD (biggest), RegioJet and LEO Express (each with their own tariffs and tickets).
- ČD tickets can be bought at the station, on-line 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 SCIC-tickets.
  (Foreigners should buy tickets for the Czech trains in the Czech Republic or on-line, not through foreign agencies.)
- Travellers via Germany can combine DB’s “Sparpreis Europa” (Savings Fare Europe) to Prague with a Czech domestic ticket.
Assistance: If you need help (heavy instruments, handicap), please contact the organisers.
We can fetch you by car from the train station or bus station.

Individual transport

GPS: 49.1494753°N, 17.0012447°E, altitude 230 m Bpv.
Car: Bučovice is on state road 50 (Brno – Uherské Hradiště – Trenčín, SK), 33 km East of Brno.
Motorway D1 (Prague – Ostrava) is 17 km from Bučovice.
From the West, take exit 210 and follow route 50 to Bučovice. The château is signposted to the right.
From the East, take D46 Vyškov – Olomouc, exit 2 into Vyškov, then left onto route 431 to Bučovice.
Parking: in front of hotel Arkáda, or in the side streets, see map.

Registration

Colophon

The Summer course on baroque music and dance – Le Roi danse is accredited by the Czech Ministry of Education (MŠMT) within the system for Further Education of Pedagogs (DVPP) under the reference 8810/2019–1.

Thank you

The Summer course on baroque music and dance – Le Roi danse enjoys the auspices of the Governor of the South Moravian Region JUDr. Bohumil Šimek. It takes place with financial support from the South Moravian Region and the State Cultural Fund of the Czech Republic.

For goodwill and pleasant cooperation we thank the municipality Bučovice, Bučovice château (wardeness Ms. Jana Burianková, the National Heritage Institute) and hotel Arkáda.

Musical Delicacies