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— Early Music Concert Series —
| Where | Kunín château | |||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| When Schedule |
23 August – 1 September 2019 | |||||||||||||||
| Special subjects | Recitar cantando:
Martin Gester
Baroque cantatas: Martin Gester Couperin & his time: Martin Gester Forqueray & the art of arranging: Petr Wagner El Siglo de Oro: Cristián Gutiérrez Medieval music: Michael Posch Improvisation: Davide Monti Music and movement: Davide Monti | |||||||||||||||
| Main subjects | Solo singing:
Beatriz Lafont Murcia
Violin: Robert Bachara Violin: Davide Monti Traverso: Marta Kratochvílová Recorder: Michael Posch Harp: Maria Christina Cleary Organ (+ b.c.): Martin Gester Harpsichord (+ b.c.): Aline Zylberajch Harpsichord (+ b.c.): Martin Gester Guitar etc. (+ b.c.): Cristián Gutiérrez Lutes etc. (+ b.c.): Jan Čižmář Viola da gamba (+ b.c.): Petr Wagner | |||||||||||||||
| Expanded offer | Ensemble@5:
All lecturers
DVPP course: All lecturers | |||||||||||||||
| Example of price calculation See price list |
The “V4 price” (−30% on course fee) is for participants
from the Visegrád countries (CZ/HU/PL/SK). |
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 1,
742 53 Kunín,
Czech Republic
Lessons will be in the stylish baroque
château in Kunín
(Kunewald, “the little Moravian Mirabell”, 1726–1734) and in the
church of the Exaltation of the Cross
(1810–1811), which is connected with the château through a wooden covered bridge.
Lunch and dinner can be ordered in the château’s restaurant U dobré hraběnky
(The Good Countess). The meals must be selected from the fixed menus before the course.
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).
| 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 | Partly † |
| 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) | 200 Kč | 200 Kč | See price list (700–1100 Kč per room) |
| Breakfast (per day) | 75 Kč | 75 Kč | |
† The staircase to U dobré hraběnky’s mansarded rooms has a platform lift. However, the toilets in the rooms are not fully wheelchair accessible.
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.
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 lessons 60 minutes each — 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.
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 120 minutes each — 2940 Kč V4 price, 4200 Kč full price.
| Great | Rückpositiv |
|---|---|
|
Principal 8′ † Salicional 8′ Bourdon 8′ Octave 4′ ‡ Flute 4′ ‡ Twelfth 2⅔′ ‡ Super Octave 2′ ‡ Tierce 1⅗′ Mixture 1⅓′ |
Major Flute 8′ Principal 4′ § Piccolo 2′ Twelfth 1⅓′ |
| Pedal | |
|
Diapason 16′ Octave Bass 8′ Choralbass 4′ | |
| ‡ before 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).
Lessons 40 minutes each — see price list.
§ Registration 14:00–15:00 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 of the Castles, a country-wide, rich cultural event, coordinated by the National Heritage Institute.
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.
Teaching languages: 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).
Teaching languages: 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.
Teaching languages: 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.
Teaching languages: 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”.
Teaching languages: 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.
Teaching languages: 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.
Teaching languages: 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.
Teaching languages: 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.
Teaching languages: 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.
Teaching languages: 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.
Teaching languages: CS, EN, DE.
| 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 | 1650 Kč | 1155 Kč |
| Forqueray & the art of arranging | 3 × 40 | 1650 Kč | 1155 Kč |
| El Siglo de Oro | 3 × 60 | 1650 Kč | 1155 Kč |
| Medieval music | 3 × 60 | 1650 Kč | 1155 Kč |
| Improvisation | 4 × 120 | 4200 Kč | 2940 Kč |
| Music and movement | 4 × 120 | 4200 Kč | 2940 Kč |
| Ensemble@5 | 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).
| Duration (minutes) | Full price | V4 price [1] | |
|---|---|---|---|
| Passive participation (all lessons) | 800 Kč | 560 Kč | |
| Ensemble@5 | 3 × 60 | 900 Kč | 630 Kč |
[1] 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 here.
| 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 | |||
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).| 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 | |||
| 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 | |||
| Number of participants |
50 | total | 28 | one course (≤4 days) |
|---|---|---|---|---|
| 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 | |
| Concerts | 4 | ~350 | ||
For additional information about the courses and the associated concerts, see the presentation “The development of our summers courses”.
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 the 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 | |||
 | Suchdol nad Odrou railway station | 4 km | to the West | |
We will fetch you by car (prior arrangement needed!), or:
| ||||
| ✈ | Leoš Janáček Airport Ostrava (IATA: OSR), Mošnov (Czechia) Budget airlines: Ryanair (London Stanstead), Smartwings. |
16 km | to North-East | |
| Taxi from the airport, tel. +420 733 766 766 (cca. 700–900 Kč / 25–35 €) | 23 km | on main roads | ||
| Bus/train from the 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 the airport (cca. 500–700 Kč / 18–26 €, 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 bus station to Kunín, take:
| ||||
| Other bus/train connections from the airport (cca. 800–1200 Kč / 30–45 €, 5–6 hours) | ||||
| ✈ | Václav Havel Airport (IATA: PRG), Prague (Czechia) Budget airlines: SmartWings, Wizz Air, Ryanair, EasyJet, … |
275 km | to the West | |
| To get from Prague Airport to Kunín, take: | ||||
| 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.
The event is organised by:
|
Hudební lahůdky, z. s. Kociánka 69/25b CZ-612 00 Brno-Sadová IČO: 22719458 Chairman: Jan Čižmář |
E-mail: kontakt@hudebnilahudky.cz Tel.: +420 606 222 416 Web: www.hudebnilahudky.cz
www.facebook.com/hudebnilahudky
|
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 8810/2019–1.
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.
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