July 25 – August 4, 2019
July 25 – August 4, 2019
The general theme for the years 2018-2021 is the Fantasia and its historical development. In the Renaissance period, the term was used for an improvised or written out piece at the keyboard based on counterpoint rules. The concept of fantasia gradually changes through the centuries: from counterpoint the focus shifts to the extemporaneous creation of musical materials, based on the invention of the composer-performer. At the end of the 18th – and in the 19th-century, it will become the ground for expressing the individuality of the genius. The Academy will develop the historical passages of this genre, referring to different compositional techniques and their related repertoires. We will use all the historical keyboards: organ, harpsichord, clavichord, and fortepiano. We will work with specific composers and styles, always connected to the main theme of improvisation.
Enrico Baiano, Conservatorio di Avellino
Edoardo Bellotti, Hochschule für Musik, Brema
Malcolm Bilson, Cornell University, USA
Armando Carideo, Istituto dell’organo storico italiano
Ulrika Davidsson, Göteborg University
Massimiliano Guido, Università di Pavia
William Porter, Eastman School of Music, Rochester USA
Derek Remeš, Hochschule für Musik, Freiburg im Breisgau
Annette Richards, Cornell University, USA
Giorgio Sanguinetti, Università di Roma Tre – Tor Vergata
Joel Speerstra, Göteborg University
PROGRAM (Active participants have to apply for the entire Academy)
In 2019 we will continue the general theme of Fantasia, exploring it through selected repertoire and improvisation. Last year we examined Italian and South German repertoire from the late Renaissance to Bach. This academy will go backwards in time, from C.Ph. E. Bach to Scarlatti and the circle around J.S. Bach. At the end of our journey, in 2020, we will have the figure of the Cantor, as a pivotal point between different traditions and performance practices.
Historical keyboards are at the center of our interest. Therefore we will alternate between fortepiano, clavichord, harpsichord, and organ, according to the repertoire. The three modules of this year are:
A. Fantasias at the time of C.PH. Bach: Malcolm Bilson and Annette Richards
B. Fantasias in the circle of J. S. Bach: William Porter
C. Fantasias and sonata of A. and D. Scarlatti: Enrico Baiano
Keybaord technique seminars at the clavichord will be led by Joel Speerstra, while Ulrika Davidsson will introduce organists and harpsichordist to the fortepiano.
In the morning, we will explore the art of improvisation, starting with partimenti with theory classes by Giorgio Sanguinetti and practical instruction by Derek Remeš. Edoardo Bellotti and Massimiliano Guido will focus on Adriano Banchieri, Bernando Pasquini and the counterpoint-basso continuo tradition in Italy.