| Startseite | Über uns |  |
☰ |
| CS – DE – EN – FR | aA | ||
— Konzertreihe alter Musik —
| Startseite | Über uns | |
☰ |
| CS – DE – EN – FR | aA | ||
Der Kurs ist für die aktive Teilnahme von Berufsmusiker/innen, Studierenden der musischen Bildungswegen, sowie von erfahrenen Amateuren, die bereits Erfahrungen mit der Alten Musik gesammelt haben. Die aktive Teilnahme ist auch möglich für Spieler moderner Instrumente, die ein ernsthaftes Interesse an der Musik älterer Stilperioden haben (siehe die Beschreibung der einzelnen Fächer).
Die passive Teilnahme eignet sich für alle, die sich für Barock- und Renaissancemusik und deren Aufführungspraxis interessieren. Passive Teilnehmer/innen können allen Klassen beiwohnen und haben freien Eintritt zu den Konzerten und Vorträgen.
Für Lehrkräfte an Grund- und Sekundarschulen bieten wir einen zusätzlichen Lehrplan an, der entsprechend den Anforderungen des tschechischen Unterrichtsministeriums für Akkreditierung im System für Weiterbindung von Lehrkräften (DVPP) angepasst ist. Der genaue Stundenplan und die Berechnung der zusätzlichen Lektionen innerhalb des DVPP-Programms werden auf der Grundlage der bisherigen Erfahrungen der Teilnehmer/innen individuell erstellt. Kontaktieren Sie uns bitte für weitere Informationen.
Kunín 1,
742 53 Kunín,
Tschechien
Der Unterricht findet im stilvollen
Barockschloss im Kunín
statt (Kunewald, „„die kleine mährische Mirabell“, 1726–1734) und in der
Kirche der Kreuzerhöhung
(1810–1811), die durch eine Holzbrücke mit dem Schloss verbunden ist.
Mittag- und Abendessen können im Schlossrestaurant U dobré hraběnky
(Die gute Gräfin). Die Mahlzeiten müssen vor dem Kurs aus den festen Menüs ausgewählt werden.
Die Unterbringung erfolgt in den beiden Studentenwohnheimen der Veterinärmedizinischen und Pharmazeutischen Universität Brünn. Es sind recht bescheidenen Unterkünften. Wenn möglich, versuchen wir zu vermeiden, die Räume vollständig zu belegen.
Für diejenigen, die einen höheren Standard der Unterkunft oder mehr Privatsphäre wünschen, bieten wir eine begrenzte Anzahl von Zimmern im Schlosshotel an (Stilvolle Unterkunft U dobré hraběnky).
| Studentenwohnheim der Veterinäruniversität | U dobré hraběnky | ||
|---|---|---|---|
| Adresse (mit Karte) | Kunín 190 | Kunín 193 | Kunín 1 |
| Abstand zu Fuß | 250 m (4 min) | 175 m (3 min) | 30 m (1 min) |
| Behindertengerecht | Nein | Nein | Teilweise † |
| Zimmergröße | 3- bis 5-Bett | 3- bis 5-Bett | 1- bis 3-Bett |
| Sanitäre Einrichtungen | im Flur | im Flur | im Zimmer |
| Zugang zur Küche | Ja | Ja | Nein |
| Wi-fi / WLAN | Ja | Nein | Ja |
| Preis (pro Nacht) | 173 Kč | 173 Kč | Siehe Preisliste (700–1100 Kč pro Zimmer) |
| Frühstück (pro Tag) | 70 Kč | 70 Kč | |
† Die Treppe zu den Mansardenzimmern in U dobré hraběnky hat ein Plattformlift. Die Toiletten in den Zimmern sind aber nicht voll zugänglich für Rollstühle.
Wenn Sie das Angebot für Unterkunft und Verpflegung nicht nutzen, reduziert sich der Preis entsprechend. Der genaue Betrag wird angezeigt, wenn Sie das Anmeldeformular ausfüllen.
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:
2 UE zu 60 Minuten — 1400 Kč V4-Preis, 2000 Kč voller Preis. Für Recitar cantando bieten wir eine Ermäßigung an, wenn Sie als Ensemble (Sänger/in + Begleiter/in) teilnehmen. Bitte kontaktieren Sie uns für ein konkretes Angebot.
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 UE zu 120 Minuten — 2940 Kč V4-Preis, 4200 Kč voller Preis.
| 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 (?) | |
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).
Unterrichtseinheiten zu 40 Minuten — siehe Preisliste.
§ Anmeldung 14:00–15:00 im Haus 190, danach im Schloss. Telefon +421 905 161 021.
† Gottesdienst in der Kirche der Kreuzerhöhung sonntags um 8:45 und donnerstags um 18:00.
‡ Konzert der Teilnehmer/innen und Referenten.
Teil der Nacht der Burgen und Schlösser, ein landesweites, reichhaltiges Kulturereignis des Nationalen Denkmalsinstituts.
Born in Valencia, Beatriz Lafont studied Guitar and Singing at the Conservatorio Profesional de Música de Valencia and at the Conservatorio Superior de Música Joaquín Rodrigo de Valencia. During her studies, she was awarded the “Audience Prize” and the “Best Performer from Valencia Prize” at the V Certamen de Guitarra “Luys Milán” (L’Olleria).
After winning a scholarship from the Instituto Valenciano de la Música she moved to the Netherlands to study a Bachelor Degree and a Master Degree in Early Music Singing at the Royal Conservatory of The Hague, specializing in the early Baroque Italian Music performace practice of singing and accompanying herself on the theorbo. In The Hague she studied singing with Rita Dams, Michael Chance, Jill Feldman and Peter Kooij, and theorbo with Mike Fentross and Joachim Held. She also attended masterclasses with renowned teachers such as Robert Expert, Marta Almajano, Cristina Miatello, Evelyn Tubb, Lambert Climent, Stephen van Dyck, Johannette Zomer, Fred Jacobs and Margreet Honig.
Beatriz Lafont has performed around Europe with various ensembles such as La Romanina, Harmonia del Parnàs, La Esfera Armoniosa, Musica Poetica, La Academia de los Nocturnos, Le Jardin Secret, Collegium Musicum Den Haag and Música Temprana, and participated in different festivals such as Festival de Música Antigua de Peñiscola, Festival de Música Antiga: Música, Història i Art (Valencia), Fringe Festival Oude Muziek (Utrecht), Festival Classique (The Hague), Festiwal Twórczosci Religijnej (Żory), Dag Oude Muziek (Bilzen), Edizione Pievi & Castelli in Musica (Italy), Hudební lahůdky (Brno) and Kasteelconcerten (Holland). She has participated in radio programs and recorded early music repertoire with various ensembles.
She has been teaching singing (both classical and historical) privately and at institutions such as the Conservatori de Música Isaac Albéniz (Girona). Since 2014 she teaches at the International Summer School of Early Music in Valtice, Czech Republic.
Unterrichtssprachen: EN, IT, ES.
Robert Bachara was born in Wrocław, Poland, in 1985. At the age of seven, he joined the Pueri Cantores Wratislavienses boys’ choir, where his musical talent was discovered. The following year, he started learning the violin with Michail and Victor Kuznetsov. He subsequently studied violin with Krzysztof Bruczkowski at the Karol Lipiński Academy of Music in Wrocław, graduating in 2009; in this year, he also qualified for the semi-final of the 4th Tadeusz Wroński Solo Violin Competiton (Warsaw). He perfected his playing in masterclasses with Ida Haendel, Grigori Żyslin and Jadwiga Kaliszewska.
Robert first appeared as soloist at the age of thirteen in Henryk Wieniawski’s “Fantaisie brillante sur des motifs de l’opéra Faust de Gounod” with Wrocław Philharmonic Orchestra. In 2007, he toured Europe with Barock Orchester Berlin (Stefan Bevier), playing as soloist in over hundred concerts. He has also performed at many music festivals, such as Wratislavia Cantans, Festiwal Muzyki Wiedeńskiej, and Polonia Cantans.
Robert Bachara has been teaching violin at the Music Academy in Łódź since 2010, later at the Wrocław Music Academy, where he also was Dean of the Music Faculty. He decided to abandon these prestigious positions and devote himself exclusively to playing Baroque violin. Since 2016 he has been concert master and soloist of the Capella Cracoviensis orchestra, but he is also particularly interested in the repertoire for solo violin without basso continuo. His doctoral thesis is devoted to unknown solo violin works by German composers. With his solo recitals, which he play exclusively by heart, he focuses among other things on the complete performance of the core works of Baroque violin literature (Bach’s Sonatas and Partitas, Biber’s Rosary Sonatas, Vilsmayr, Westhoff).
Unterrichtssprachen: EN, DE, PL.
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.
Unterrichtssprachen: EN, FR, IT, (ES).
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.
Unterrichtssprachen: CS, FR, (DE), (EN).
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”.
Unterrichtssprachen: DE, EN.
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.
Unterrichtssprachen: EN, DE, NL, ES, IT, FR, PT.
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 career.
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.
Unterrichtssprachen: DE, FR, EN, ES, IT.
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.
Unterrichtssprachen: EN, FR, DE, ES.
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.
Unterrichtssprachen: ES, EN, IT, FR.
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.
Unterrichtssprachen: CS, EN, PL, DE, (FR).
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.
Unterrichtssprachen: CS, EN, DE.
| Zeit (Minuten) | Voller Preis | V4-Preis [1] | |
|---|---|---|---|
| Hauptfächer [2] | 1 × 40 | 1100 Kč | 770 Kč |
| Recitar cantando [3] | 2 × 60 | 2000 Kč | 1400 Kč |
| Barockkantaten | 3 × 60 | 1100 Kč | 770 Kč |
| Couperin & seine Zeit | 3 × 60 | 1650 Kč | 1155 Kč |
| Forqueray & die Kunst der Bearbeitung | 3 × 40 | 1650 Kč | 1155 Kč |
| El Siglo de Oro | 3 × 60 | 1650 Kč | 1155 Kč |
| Mittelaltermusik | 3 × 60 | 1650 Kč | 1155 Kč |
| Improvisation | 4 × 120 | 4200 Kč | 2940 Kč |
| Musik und Bewegung | 4 × 120 | 4200 Kč | 2940 Kč |
| Ensemble@5 | 3 × 60 | Inklusive | |
| DVPP-course | 24 × 40 | Preis auf Anfrage [4] | |
| Mindestanmeldung [5] | 4200 Kč | 2940 Kč | |
[1] Der V4-Preis (−30% des Kursgebührs) ist für Teilnehmer/innen der Visegrád-Länder (Tschechien, Ungarn, Polen und Slowakei)
[2] Die Hauptfächer sind Sologesang, Traversflöte, Blockflöte, Harfe, Orgel, Cembalo, Lauten usw., Geige, Viola da Gamba.
[3] Für Recitar cantando bieten wir eine Ermäßigung an, wenn Sie als Ensemble (Sänger/in + Begleiter/in) teilnehmen. Bitte kontaktieren Sie uns für ein konkretes Angebot.
[4] Für den DVPP-Kurs wird der Lehrplan individuell aufgrund Ihrer aktuellen Ausbildung und Erfahrung erstellt. Bitte kontaktieren Sie uns für Details.
[5] Sie können sich beliebige Kombinationen von Haupt- und Spezialfächern anmelden, aber die Summe muss mindestens 4200 Kč sein (2940 Kč zum V4-Preis).
| Zeit (Minuten) | Voller Preis | V4-Preis [1] | |
|---|---|---|---|
| Passive Teilnahme (alle UEs) | 800 Kč | 560 Kč | |
| Ensemble@5 | 3 × 60 | 900 Kč | 630 Kč |
[1] Der V4-Preis (−30% des Kursgebührs) ist für Teilnehmer/innen der Visegrád-Länder (Tschechien, Ungarn, Polen und Slowakei)
Preise für Unterkunft und Verpflegung finden Sie hier.
| Anzahl aktiver Teilnehmer/innen pro Kurs |
47 | insgesamt | 30 | Bučovice |
|---|---|---|---|---|
| 35 | Kunín | |||
| (18 | Bučovice + Kunín) | |||
| Anzahl aktiver Teilnehmer/innen nach Wohnsitzland |
47 | insgesamt | 27 | Tschechien |
| 6 | Slowakei | |||
| 6 | Polen | |||
| 4 | Österreich | |||
| 2 | Mexiko | |||
| 1 | Deutschland | |||
| 1 | Schweiz | |||
| Alter der aktiven Teilnehmer/innen | 70 | Älteste Teilnehmer | ||
| 29 | Durchschnitt (Mittel) | |||
| 26 | Median (Zentralwert) | |||
| 19 | Häufigstes Alter | |||
| 15 | Jüngste Teilnehmer | |||
Rezension:
Deník, 05.08.2016: „Im Schloss ertönt Barockmusik“ (Ivana Reková, auf Tschechisch).
Fotoalbum: Konzert der Teilnehmer/innen in der Kirche der Kreuzerhöhung in Kunín,
05.08.2016 (Jan Šlechta).| Anzahl aktiver Teilnehmer/innen pro Kurs |
52 | insgesamt | 25 | Bučovice |
|---|---|---|---|---|
| 35 | Kunín | |||
| (8 | Bučovice + Kunín) | |||
| Anzahl aktiver Teilnehmer/innen nach Wohnsitzland |
52 | insgesamt | 33 | Tschechien |
| 4 | Deutschland | |||
| 3 | Frankreich | |||
| 3 | Slowakei | |||
| 2 | Polen | |||
| 2 | Italien | |||
| 1 | Österreich | |||
| 1 | Schweiz | |||
| 1 | Schweden | |||
| 1 | Ungarn | |||
| 1 | Ukraine | |||
| Alter der aktiven Teilnehmer/innen | 56 | Älteste Teilnehmer | ||
| 28 | Durchschnitt (Mittel) | |||
| 26 | Median (Zentralwert) | |||
| 22 | Häufigstes Alter | |||
| 13 | Jüngste Teilnehmer | |||
| Anzahl aktiver Teilnehmer/innen pro Kurs |
35 | insgesamt | 11 | Bučovice |
|---|---|---|---|---|
| 28 | Kunín | |||
| (4 | Bučovice + Kunín) | |||
| Anzahl aktiver Teilnehmer/innen nach Wohnsitzland |
35 | insgesamt | 24 | Tschechien |
| 4 | Polen | |||
| 3 | Österreich | |||
| 2 | Slowakei | |||
| 1 | Deutschland | |||
| 1 | Ungarn | |||
| Alter der aktiven Teilnehmer/innen | 72 | Älteste Teilnehmer | ||
| 31 | Durchschnitt (Mittel) | |||
| 29 | Median (Zentralwert) | |||
| 40 | Häufigstes Alter | |||
| 14 | Jüngste Teilnehmer | |||
| Anzahl Teilnehmer/innen |
50 | insgesamt | 28 | in einem Kurs (≤4 Tage) |
|---|---|---|---|---|
| 22 | in beiden Kursen (≥5 Tage) | |||
| Anzahl aktiver Teilnehmer/innen nach Wohnsitzland |
50 | insgesamt | 28 | Tschechien |
| 6 | Polen | |||
| 3 | Slowakei | |||
| 3 | Russland | |||
| 2 | Österreich | |||
| 2 | Deutschland | |||
| 2 | Spanien | |||
| 2 | Chile | |||
| 2 | Vereinigte Staaten | |||
| 1 | Kanada | |||
| 1 | Ungarn | |||
| Alter der aktiven Teilnehmer/innen | 57 | Älteste Teilnehmer | ||
| 30 | Durchschnitt (Mittel) | |||
| 25 | Median (Zentralwert) | |||
| 22 | Häufigstes Alter | |||
| 16 | Jüngste Teilnehmer | |||
| Unterricht und Veranstaltungen | UE Minuten |
Teil- nehmer | ||
|---|---|---|---|---|
| Hauptfächer | Lauten usw. | 50 | × 40 | 14 |
| Cembalo | 49 | × 40 | 10 | |
| Viola da Gamba | 34 | × 40 | 7 | |
| Harfe | 34 | × 40 | 4 | |
| Sologesang | 31 | × 40 | 8 | |
| Blockflöte | 27 | × 40 | 7 | |
| Traversflöte | 9 | × 40 | 2 | |
| Geige | 4 | × 40 | 1 | |
| Spezialfächer | Recitar cantando | 7 | × 60 | 15 |
| Couperin & seine Zeit | 9 | × 60 | 14 | |
| Forqueray & die Kunst der Bearbeitung | 10 | × 40 | 8 | |
| Vivaldi concerti | 3 | × 80 | 4 | |
| Improvisation | 4 | × 120 | 13 | |
| Musik und Bewegung | 4 | × 120 | 8 | |
| Ensemble@5 | 42 | × 60 | 47 | |
| Veranstaltungen | Vorträge | 2 | ~42 | |
| Konzerte | 4 | ~350 | ||
Weitere Informationen zu den Kursen und den dazugehörigen Konzerten finden Sie in der Präsentation „Die Entwicklung unserer Sommerkurse“.
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:
| ||||
| 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 | ||
Buses: Tickets can be
bought from the automat or paid in cash when entering the bus.
Die Online-Anmeldung beginnt am 25. März an dieser Stelle. Falls Sie sich schon jetzt einen Platz reservieren wollen, schicken sie bitte eine E-Mail an kontakt@hudebnilahudky.cz.
Veranstaltet durch:
|
Hudební lahůdky, z. s. Kociánka 69/25b CZ-612 00 Brno-Sadová IČO: 22719458 Vorsitzender: Jan Čižmář |
E-mail: kontakt@hudebnilahudky.cz Tel.: +420 606 222 416 Web: www.hudebnilahudky.cz
www.facebook.com/hudebnilahudky
|
Der Sommerkurs in historischer Aufführungspraxis ist vom tschechischen Unterrichtsministerium (MŠMT) im Rahmen des Systems zur Weiterbildung von Lehrkräften (DVPP) unter dem Aktenzeichen 6523/2015–1–266 akkreditiert.
Der Sommerkurs in historischer Aufführungspraxis steht unter der Schirmherrschaft des Hauptmanns der Mährisch-Schlesischen Region Prof. Ing. Ivo Vondrák, CSc.
Für Wohlwollen und eine angenehme Zusammenarbeit danken wir dem Schloss Kunín (Herrn Kustos Jaroslav Zezulčík, Nový Jičín Museum), dem Pfarramt Kunín (Mons. Dr. Alois Peroutka), der Diözese Ostrava-Opava (Herrn Orgelsachverständigen Jiří Krátký), dem Restaurant U dobré hraběnky und der Verwaltung der Landwirtschaftsschule Nový Jičín unter der VFU Brno.
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