Evening events include instructor concerts, an open mike, and many jam sessions (including slow jams for those of us who don't learn tunes at warp speed). On Saturday evening we will gather for a dance party featuring live music by festival participants, who collectively form the largest hurdy-gurdy band in the Western Hemisphere.
For your viewing pleasure, a video of Magdalena Kozena at Festival d'Aix-en-Provence (Jun. 7/09).
“Magdalena Kozena interprets airs of italian music from the 17th century accompanied by the ensemble Private Musicke. Programme: Giulio Caccini, Sigismondo D'India, Giovanni Paolo Foscarini, Biaggio Marini, Michelangelo Rossi, Luis de Briceno, Gaspar Sanz, Giovanni Maria Trabacci, Claudio Monteverdi, Barbara Strozzi, Tarquino Merulo, Girolamo Kapsberger.“
“Dear Lute Friends
It is with great pleasure that I announce the arrival of a new Web-Page, dedicated to the Manuscripts for Baroque Lute, their content and the concordances between them.
“This month’s program (10 minutes and 32 seconds) explores the music of Giovanni Battista Lully. In 1646, at the tender age of 14, Lully was pressed into service for the French Chevalier de Guise as a dishwasher.
The year 2009 is the occasion to celebrate the 200th anniversary of Josef Haydn’s death. We know his clavichord, an instrument by Johann Bohak (Vienna, 1794), now in the Museum of the Royal College of Music in London. As Haydn’s relation with our instrument has not been put much in evidence until now, we will take the opportunity of this Symposium to further our knowledge on the interpretation of his works on the most expressive of the keyboard
The eighteenth century was also a period in which the trend towards louder sonority saw the progressive growth of the fortepiano, after its invention by Bartolomeo Cristofori. This genial inventor took the harpsichord as a starting point; some decades later, the German instrument builders followed the same path, but starting from the clavichord, and invented the square piano. Fifty years ago, the growing interest for the ancient fortepiano was directed almost exclusively towards the grand fortepiano, considering the square piano as a “second class” instrument, similar to our modern upright piano. The second aim of this meeting is to deepen this theme and to give back to the square piano its rightful place in the history of the musical instruments, a place demonstrated by its rich iconography.
As usual, our central topics will not be our unique field of activity, and we will also dedicate time to other themes.
It is our great pleasure to welcome so many of you this time and to wish you a pleasant and fruitful sojourn in Magnano.
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