AEB Master Class Series_2015
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Transcript of AEB Master Class Series_2015
AEB Master Class Series #2
Bruges, 17Bruges, 17Bruges, 17Bruges, 17----22 August 2015:22 August 2015:22 August 2015:22 August 2015:
MMMMusicians wantedusicians wantedusicians wantedusicians wanted!!!! Context - Intro
The idea to organize a master class rooted in the activities and experience of Anima Eterna Brugge, arose
from an assessment of the current status of early music education. Curricula and workshops devoted to
‘Early Music’ are being offered by several institutes, allowing for specialists to pass on their knowledge to
a new generation of musicians. While the domain of early music - usually stretching from medieval to
18th-century - is at the center of attention, music from later era’s is usually left out.
This is the domain Anima Eterna Brugge has been exploring for over 25 years. As much joy as it has given
us to aggregate and internalize these skills and practices, we feel it would be at least equally gratifying to
share them and pass them on to the musicians of the future. This is the outset for the Master Class Series,
that since 2014 is to be organized yearly by Anima Eterna Brugge in the heart of historical Bruges.
Master Class 2015: mix it up!
After a first edition for fortepiano, the second AEB Master Class will feature multiple instruments:
fortepiano, violin, cello and clarinet. Our partner, the conservatory of Bruges, will be hosting the event
again from 17-22 August 2015. Participants will explore performance practices via 19th century repertoire
of their own choice, alongside Lisa Shklyaver (clarinet), Brian Dean (violin), Stefano Veggetti (cello),
Claire Chevallier & Jos van Immerseel (fortepiano) and a range of fortepiano’s from the latter’s collection.
Solo-master classes will be intertwined with chamber music sessions; aspiring participants can apply as a
soloist, or in an existing chamber music formation. New chamber music groups will be formed by the
teaching team as well, taking into account the candidates’ repertoire suggestions.
Set-up
Date: 17-22 August 2015
Venue: Stedelijk Conservatorium Brugge, St. Jakobsstraat, 23 [BE]
Instruments
FORTEPIANO (collection Jos van Immerseel)
-Hammerflügel Christopher Clarke, 1988, Cluny (Facsimile of an Anton Walter, Wien, ca. 1800 (5
octaves, Resonance, Verschiebung, Moderator)
-Johann Nepomuk Tröndlin, Leipzig, s.d. nr 644 ca.1835 (original grand piano with Viennese
action, 6 octaves, Resonance, Verschiebung, Moderator)
-Concert piano Carl Bechstein, Berlin, 1870 (French action)
-Demi-queue, Modèle Riche, Erard, Paris, 1897
CLARINET
- candidates bring their own instruments, fitting the repertoire (e.g. German Ottensteiner System
for Brahms, Bruch or German Grenser clarinets - 8 to 12 keys - for earlier music such as
Mendelssohn).
STRINGS
- candidates bring their own instruments ; gut strings only
Schedule
- every day comprises c. 5 hours of group sessions, including an introduction to Rhetorics in Music
(Jos van Immerseel)
- one of the sessions will take place in Jos van Immerseel’s studio (in Middelburg, c. 20 km from
Bruges – transport will be organized), where other instruments from his collection will be involved
- the master class will also include:
o an initiation to piano tuning (Claire Chevallier)
o recital by the teaching team
o time for individual practice
o a (non-obligatory) class audition on August 22
Facts & figures
o number of participants: max. 5 per instrument
o public admitted: unlimited - free access
o registration fee: 400€
o accommodation:
- hotel (supplementary): 50€ pppn (Hotel Golden Tree; breakfast included)
- guest family: the association Inner Wheel Bruges will be involved in housing master
class students who prefer this option above hotel accommodation; more information
for those interested (please indicate this option in your form) will be available soon
Applying for the Master Class: roadmap
- please complete the form below, save it in Word-format, and send it to [email protected]
- your application will only be complete by addition of a good-quality, representative recording of a
performance (video welcome, but not compulsory). Format: preferably Wav, to be provided via Dropbox
or WeTransfer to the abovementioned e-mail address
- deadline for applications: 15 May 2015.
- the selection of candidates will be finalized and communicated by 29 May.
- by 10 June, the selected candidates are required to transfer a prepayment (details below)
- by 5 July, the distribution of the chamber music groups will be communicated
More information?
Klaas Lievens: [email protected] | tel: +32 50 95 09 29 | mobile: +32 478 70 09 13
Appendices
Teaching team: bio’s
Jos van Immerseel
Jos van Immerseel was born in Antwerp in 1945. He studied piano (Eugène Traey), organ (Flor Peeters), singing (Lucie
Frateur) and direction (Daniel Sternefeld) as well as organology, rhetorics and historical fortepiano (autodidact). His
interests soon guided him to the field of early music, harpsichord studies with Kenneth Gilbert and a victory in the
very first Paris Harpsichord Competition (1973). Today, he is recognized worldwide as a remarkable soloist and an
outstanding chamber musician. Van Immerseel has built up a parallel and equally impressive career as a conductor,
with Anima Eterna Brugge – the project-based period orchestra he founded in 1987 – at the centre of his activities.
He teaches at music institutes around the world, and conducts masterclasses from Weimar to Fukuoka. Van
Immerseel and AEB are in residence at the Concertgebouw in Bruges and ‘ensemble associé at the Dijon Opera. Van
Immerseel’s activities are documented by more than 100 recordings, since 2002 with Parisian label Zig-Zag
Territoires (Outhere Music) that hosts a genuine Collection Anima Eterna. Finally, van Immerseel is an instrument
collector: convinced that a thorough knowledge of the instruments at the disposal of a composer is imperative for a
relevant performance of his works, van Immerseel has established a collection of historical keyboard instruments.
They are the key to the understanding of a composer and his music: a necessary premise without compromise.
Claire Chevallier
French-born but Brussels-based pianist Claire Chevallier (°1969) combined the study of piano at the musical
academies of Nancy, Strasbourg (Hélène Boschi) and Paris (Bruno Rigutto) with studies in mathematics and physics.
She continued her musical education at the Conservatoire Royal de Bruxelles with Jean-Claude Vanden Eynden and
Guy Van Waas, where she was awarded first prizes in piano and chamber music. She became fascinated with the
fortepiano via a master class by Jos van Immerseel. She began to concentrate on the historical background and the
evolution in the ‘construction’ of the fortepiano, developed an extensive expertise in historical keyboards and
established a collection of French historical keyboards. Highly acclaimed for her concerts and award winning
recordings, Claire specializes in period performance particularly from the classical era to the French masters of the
20th Century. Since 2004, she has been teaching fortepiano at the Conservatoire Royal de Bruxelles. She is also
considered an excellent tuner of historical keyboards. She lectures regularly on the history and the technology of
the piano, a.o. at CNSM Paris, Cité de la Musique Paris, EPTA Belgium. Recent recordings include chamber music
with tenor Jan van Elsacker, work by Franck, Saint-Saëns, Poulenc and Infante with Jos van Immerseel for Zig-Zag
Territoires – awarded a ‘Diapason d’Or’– and a recording of Ravel’s ‘Concerto pour la main gauche’ with Anima
Eterna Brugge (ZZT060901). Regular chamber music partners include Sergei Istomin, Paul de Clerck and Joris Verdin.
Interdisciplinary projects (dance, theatre, film) include collaborations with artists such as Wayn Traub, Rudolph
Mestdagh, Ann Teresa de Keersmaeker (Rosas), David Claerbout, Benoît Van Innis, Jan Decorte, Josse de Pauw.
Brian Dean
Violinist Brian Dean specialized early in his career in the various historical performance techniques of the Baroque,
Classical and Romantic styles. After completing his studies in modern and Baroque violin at the Oberlin Conservatory,
and obtaining his solo performance diploma with Sergiu Luca at Rice University, Brian Dean moved to Europe. He
now mainly works as a concertmaster and leader of chamber orchestras and ensembles throughout Europe, and
teaches modern violin, Baroque violin and historical performance practice at the University of Music in Luzern,
Switzerland. Brian Dean has lead as a concertmaster such fine orchestras as Anima Eterna Brugge, Das Freiburger
Barockorchester, Balthasar- Neumann Ensemble, Collegium Musicum Luzern, and La Cercle de l'Harmonie. As
founder and leader of the Chamber Academy at the University of Music in Basel, Switzerland, he has taken an elite
group of students to the highest level of chamber orchestral playing.
Lisa Shklyaver
At the age of four Lisa Shklyaver was given her first piano lesson by her father Igor and by the age of 11 she started
to learn to play the clarinet with her grandfather Joseph. One year later she played her first clarinet recital with
orchestra. In 2006 she graduated from the Rimskiy-Korsakov Conservatory in St.-Petersburg from the clarinet class
of Prof. Valeriy Bezrutschenko and continued her trajectory in the High School of music in Karlsruhe for one year
with Prof. Wolfgang Meyer and in the High School of music in Trossingen with Prof. Chen Halevi (modern clarinet).
Studying in Trossingen, Lisa Shklyaver discovered a passion for playing historical clarinets and basset horn. Having
devoted herself to these instruments in the Trossingen class of Dr. Ernst Schlader, she started to play regularly as a
soloist and chamber music partner in Germany, France, Switzerland, Italy, Russia, Georgia and Vietnam. Lisa
Shklyaver participates in projects with orchestras such as Elbipolis - Barockorchester Hamburg, Karlsruher
Barockorchester, Chursächsische Philharmonie, Göttinger Barockerchester, L’arpa festante München and Anima
Eterna Brugge. Her repertoire ranges from the earliest clarinet/basset horn music to contemporary works for
modern clarinet for solo performance, orchestra or chamber music ensemble. In February 2015, her first recording
as a duo with Jos van Immerseel (La clarinette française) was released with Outhere Music.
Stefano Veggetti
Stefano Veggetti has been unanimously appreciated for his accurate, virtuosic playing, musicianship and
understanding of period style, and a warm and non-stuffy stage presence. He obtained his cello diploma at the
Conservatory of L’Aquila under David Cole, subsequently winning a scholarship to continue his studies in Philadelphia
(USA) with Orlando Cole. After returning to Europe, and fascinated by the sound of period instruments, he attended
masterclasses with Anner Bijlsma, and has since played as a soloist and in chamber music ensembles with musicians
specialized in period performance – including Anner Bijlsma, l’'Archibudelli, Stanley Ritchie, Alfredo Bernardini,
Ottavio Dantone, l’Astrée, Erich Höbarth, Rachel Podger, Jos van Immerseel and Anima Eterna Brugge. He has
appeared on European radio and TV (RAI, ORF, RDF Germany; RDP Antena2 Portugal, RSI.ch), and has recorded for
Nuova Era (Italy), Opus 111 (France) and Accent. In 2000 he founded Ensemble Cordia, with whom he has worked
on newly discovered chamber and orchestral music from the Baroque and Classical eras. He has made solo
appearances at the Vienna Konzerthaus, the Settimane Musicali di Stresa and Bachfest Leipzig, I Concerti del
Quirinale - Rome. Teaching forms a significant part of Stefano Veggetti’s musical life. He has been teaching Baroque
cello at the Conservatory in Verona and at various masterclasses across Europe for over a decade, and currently is
the artistic director of the Academy of Ancient Music in Bruneck. He plays a cello made by Nicola Gagliano (1737),
the ‘ex Oblach’, which has kindly been lent to him courtesy of Baronessa Mariuccia Zerilli-Marimò.
Anima Eterna Brugge
Founded in 1987 by Jos van Immerseel as a musical Petri dish to cultivate the results of his research into music of
the baroque era, Anima Eterna Brugge evolved from a compact string ensemble to the full-bred symphonic orchestra
it is today, exploring repertoire from Bach, Mozart and Beethoven to Strauss, Debussy and Orff. The consequent use
of period instruments, the permanent direction by van Immerseel, a project-based setup and respect for the
composer’s intentions, are at the core of this orchestra’s vision. Soloists either stem from Anima’s own ranks, or are
‘friends of the family’ - Claire Chevallier (piano), Sergei Istomin (violoncello), and Thomas Bauer (baritone), to name
but a few. With its partners Opéra de Dijon and Concertgebouw Brugge, AEB continues along the lines of an
exceptional trajectory that now stretches over a quarter of a century. During this time, the orchestra has produced
an impressive range of recordings, since 2002 constituting the Zig-Zag Territoires (Outhere) series Collection Anima
Eterna. Anima’s curiosity and the public’s amazement haven’t faded over the years: the orchestra still vouches for
innovation without provocation, and keeps on getting its drive from musicological research and analysis, a logical
and natural approach, and tons of musical passion and pleasure.
Fortepiano’s
-Hammerflügel Christopher Clarke, 1988, Cluny (Facsimile A. Walter, Wien, ca. 1800)
-Johann Nepomuk Tröndlin, Leipzig, s.d. nr 644 ca.1835
-Concert piano Carl Bechstein, Berlin, 1870
-Demi-queue, Modèle Riche, Erard, Paris, 1897
Participants are requested to complete this registration form and return it in MS Word format to
Anima Eterna Brugge via email: [email protected]. The form must be followed by a good-quality
recording of a performance (solo for applying soloists, chamber music for applying ensembles), to be
provided via Dropbox or WeTransfer to the abovementioned address. Deadline: 15 May 2015.
SECTION 1: CONTACT INFORMATION
TITLE: Mr Mrs Ms
FIRST NAME: LAST NAME:
ADDRESS: MAIN TELEPHONE:
TOWN/CITY: MOBILE PHONE:
POST CODE PRIMARY EMAIL:
COUNTRY SECONDARY EMAIL:
WEBSITE HOME CONTACT (in
case of emergency):
NAME & TELEPHONE
AFFILIATION (CONSERVATORY,
MUSIC INSTITUTE):
REPERTOIRE
PREFERENCES in SOLO REPERTOIRE:
PREFERENCES in CHAMBER MUSIC REPERTOIRE:
APPLYING WITH EXISTING
CHAMBER MUSIC
FORMATION? If yes: please
specify constellation and
repertoire, and add a link to your
group’s website if possible
Application Form
SECTION 2: HOTEL RESERVATION
I WOULD LIKE ANIMA
ETERNA BRUGGE TO BOOK A
ROOM FOR ME AT HOTEL
GOLDEN TREE
(RATE: 50€ pppn, breakfast incl.)
YES
NO
I WOULD LIKE TO STAY AT A
GUEST FAMILY
(More information on terms and
conditions will follow soon)
YES
NO
IF YES, please add the NUMBER
OF NIGHTS and the DATES of
your ARRIVAL/DEPARTURE
I ARRIVE ON……. I LEAVE ON…… NUMBER OF
NIGHTS:………
SECTION 3: PAYMENT INFORMATION
REGISTRATION FEE 400€
HOTEL COSTS (if applicable) …….€
TOTAL …….€
BANK DETAILS ANIMA ETERNA BRUGGE: IBAN BE77 0681 0555 6942 - BIC
GKCCBEBB
SIGNATURE DATE
NOTE: Receipts will be provided during the master class (August) unless urgently required.
Every participant is required to transfer a prepayment of 150€ by 10 June (bank details
below). This sum cannot be reclaimed in case of cancellation by the participant.
The remaining sum of fee + hotel nights (if applicable) should be paid on 17 August – the first
day of the master class – at the latest, either by transfer or in cash
