The Venice Workshop: among lectures and performancesBy Emilia Campagna
April 28, 2016
During the Tybo’s days in Venice, musicians admitted to the workshop will live a total immersion in music and in study, either through performance under the guidance of our conductors, whether through lectures given by three important musicologists.
Every day candidates will rehearsal both in orchestra (with Claudio Astronio), both in wind or string ensembles (with Alfredo Bernardini and Chiara Banchini): each director has chosen to work on a specific repertoire. So, orchestral rehearsals will be dedicated to Symphony in Eb Vb144 by Joseph Martin Kraus, one of TYBO’s favourite composers. Chiara Banchini will work on Sestetto in Eb Op. 23 n. 1 by Luigi Boccherini, in continuity with the work that the Swiss violinist carried out in recent TYBO tours. Wind players will rehearsal under the guidance of Alfredo Bernardini on Mozart’s Divertimento in F KV 213 and Haydn’s Divertimento in F Hob II:23; Bernardini will also work with winds and strings together: Bach’s Quintetto in D Op. 11 n. 6, Boccherini’s Notturno in Eb Op. 38 n. 1 and Pleyel’s Quintetto in Eb Op. 18 n. 3 are scheduled.
Besides rehearsals and performances we’ll have music lectures too: Christine Siegert (Professor at Beethoven Haus, Bonn) will give a lecture about “Beethoven’s symphonies as chamber music”; Marco Mangani (Professor at Università di Ferrara) about “The symphonic cycle of movements in German and Austrian music, and the question of menuet”; the last lecture will be given by Gabriele Rossi Rognoni (Professor at Royal College of Music, London): “From Pre-Classical to Classical orchestra in German countries: an organological perspective”.
This rich program of lectures will take place thanks to the collaboration with Fondazione Giorgio Cini and Istituto per la Musica (Institute for Music): the director Gianmario Borio has explained us that “the Institute pays a special attention to the so-called ‘artistic research’, i.e. the range in which performance and musicological research meet, and where the practice of music itself is already understood as an embryo research.”
About the collaboration of Istituto per la Musica with Theresia Youth Baroque Orchestra, Gianmario Borio says that “as a matter of fact, the project with Theresia is one of the moments when I try precisely this kind of meeting, and I am confident that it will be a success. The three musicologists invited to give the lectures are well aware of the kind of audience they will face; on the other hand, the Theresia musicians have already been channeled within a certain frame of mind: as well as being performers of considerable level, they know the importance of the study of the sources, the survey on historical instruments, the knowledge of the notation. In short, I am confident that there will be a great mutual willingness and I am happy that the structure in which the workshop will take place encourages this sort of encounter.”