Klasik Keyifler Müzik DerneÄŸi - FevzipaÅŸa Mahallesi, Çay Kenarı Sokak, No: 151, Merkez Çanakkale - music@klasikkeyifler.org +90 532 614 4955
Baroque Workshops 23
Åžirince
Director of the Workshops
Ellen Jewett, violin and chamber music
Özge Özerbek violin and chamber music
Ä°mge Tilif, violin and chamber music
Kerem Tuncer, violin and chamber music
Emre Akman, viola and chamber music
Gökhan BaÄŸcı, cello and chamber music
Muhammedjan Sharipov, violin and chamber music
Terms and Conditions
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Workshops will be held in Stoa-Åžirince
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Each workshop capacity is 12 people and accepted on a 'first come first serve basis'.
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Participation is open to professional and amateur keyboard players as well as instrumentalists interested in baroque interpretation. All ages are accepted, but participants under18 must be accompanied by a guardian.
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Participation costs:
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Baroque Interpretation Workshop
5-days - 300 Euros
All participants will perform in the class concert on August 31st and will receive 4 individual sessions with the faculty. According to enrollment, chamber music groups will be formed.
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Fugue writing Workshop
2-days ( 90 minutes per day group class) 100 Euros
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Financial assistance is available. Please indicate the reasons for your need on the application form.
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Accommodation/Food is provided by Stoa, including 3 meals per day plus snacks.
Note: food serving and cleaning is shared together by all the staff, teachers and participants residing at Stoa during the workshops.
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Choices of housing per day including meals:
Single room 85 Euros per person
Double room 60 Euros per person
Triple room 55 Euros per person
4-person Bunk room 50 Euros per person
14- person Bunk room 40 Euros per person
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Arrival date isthe night of August, 26th and departure date is the morning of September 1st
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For accommodation suggestions in nearby hotels and pensions, please click here
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Payments
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Registration fee: 25 Euros
This will be deducted from the main payment. Application fee will not be reimbursed.
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50% of both the Participation Fee and the Accommodation/Food Fee must be made before
June 30
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Note: Accommodation and food payments will be calculated according to your choices, and we will send you an iyzico link via WhatsApp/Email. Please make your payments before the deadline.
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Remaining Fees must be paid fully before Aug 11
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If you have questions:
Tel/WhatsApp: +90 532 614 4955 / +90 533 629 9118
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Baroque Interpretation Workshop
August 27-31
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Directed by Marton Borsanyi, harpsichord
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Ellen Jewett, violin and chamber music
Özge Özerbek violin and chamber music
Ä°mge Tilif, violin and chamber music
Kerem Tuncer, violin and chamber music
Emre Akman, viola and chamber music
Gökhan BaÄŸcı, cello and chamber music
Open to professionals and amateurs
Keyboard players and string players
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For many modern performers signs of musical interpretations seem very obvious. "Needless to ask what a dot over a note means, doesn't it" we would say, as we all know: it is a staccato.
But what if the dot's meaning turns out to be something completely different, such as play the note longer (the exact opposite of what we do today), or play the note later, or play it separated from the note before, or just simply: don't ornament this note? And for that matter: who was the first person in music history to have said that a dot over a note really means "staccato"?
What if a legato sign actually means: hold down all the notes underneath the slur since legato is the default way of playing and a so called "legato sign" therefore has to mean more than just a simple legato. And what if a simple, well known repetition sign turns out to be nothing more than an indication that the phrase has come to an end? And what could "Rubato" mean if the beat of the movement has to stay stable as opposed to altering it? And how is it possible to write a gigue that is supposed to be in triple time in common time?
The Baroque Interpretation Workshop offers guidance for everyone interested in such questions concerning the performance of music of the 16th to 18th centuries.
Fugue writing Workshop
August 30-31
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Fugues are difficult musical constructions, we all know that. We all have had the experience of being terrified while performing long and complicated fugues. In fact, fugues are perhaps the easiest musical constructions, but certainly more easy than many performers think. If one is familiar with counterpoint and stylistic requirements, they will see that the subject and the possible counter subject basically determine the composition. A chain of "Dux" and "Comes" entries with their respective counterpoint, a modulation pattern and the musical construction is nearly done.
The classes on fugues offer basic to advanced knowledge in counterpoint and compositional rules which will help the performer understand fugues and any polyphonic composition much better.