15° International Course of Medieval Music
July 29th to the 3th of August 2024
‘400
Ballate, Barzellette, Strambotti, the Italian music in 15th century
The 15th edition of the International Course of Medieval Music coincides with 40 years of Micrologus and 15 years of the Centro Studi Adolfo Broegg. This year’s theme will be dedicated to the musical forms of Italian Humanism. In the Italy of the 15th century, many musical genres and styles coexisted, given the great passion of the ruling families on the peninsula for music of the Oltremontani. The chapel masters of the wealthiest and most prestigious courts, such as the Aragonese court of Naples, the Este in Ferrara, the Bentivoglio in Bologna, the Medici in Florence, and the Sforza in Milan, as well as the papal court, had Flemish orNorthern French musicians in their service. The Burgundian court of Philip the Good (1420-1467) was one of the most important cultural centers in Europe, and many of the composers who passed through there were the same ones who brought a vast repertoire to Italy, as evidenced by handwritten sources, mainly Franco-Flemish. Distinguished musicologists since the early 1950s have tried to understand why the 15th century seemed to be a century without Italian music and poetry. The title of the book “Il segreto del quattrocento” [The Secret of the Quattrocento] by Torrefranca summarizes this “mystery” which other scholars, notably Nino Pirrotta, have tried to investigate. The Sicilian musicologist analyzed the possible reasons for this apparent gap in early modern Italian music. Thanks to his original intuition affirming the central role of oral tradition, certain repertoires, even regional ones such as siciliane and justiniane, can be highlighted, defining a true Italian style instead. Pirrotta argued that Italian repertoires were performed, but that a large part of them went unnotated, given the improvisational tradition and unwritten tradition that characterized that historical period. In his words, “The music from which we make history, the written tradition of music, may be likened to the visible tip of an iceberg, most of which is submerged and invisible. The visible tip certainly merits our attention, because ‘it is all that remains of the past and because it represents the most consciously elaborated portion, but in our assessments we should always keep in mind the seven-eighths of the iceberg that remain sub- merged: the music of the unwritten tradition.“
Despite the predominance of Franco-Flemish music in Italian sources, a large number of Italian-texted pieces have been transmitted. Ballate, barzellette, strambotti, and then frottole, these forms sometimes follow the compositional rules brought by theorists from Franco-Flemish countries, but very often they have a more chordal structure that follows the poetic text; the counterpoint is often simplified, suggesting a practice of monodic singing accompanied by an impromptu accompaniment on a stringed instrument. The lira da braccio, the lute and the cetra were the instruments preferred by the humanists, who saw in them the ancient classical tradition of singing to the lyre of Orpheus and Apollo. They were less interested in those “little signs of music” that characterized the rigor of polyphonic singing and ornate counterpoint, and instead were more attracted to singing strambotti, sonetti and capituli to simple melodies to better understand the sense of the text. The differences between Italian and Franco-Flemish repertoires will be analyzed in the light of the treatises of the time, with a focus on Johannes Tinctoris’ treatise “De inventione et usu musice” (c. 1480-1483).
The course is divided into two levels:
Masterclasses
(higher technical level), dedicated mainly to the theme on the programme: the Ars Nova in Italy, with the works of Jacopo da Bologna, Lorenzo da Firenze, Niccolò da Perugia, Francesco Landini and Andrea da Firenze.
Ordinary courses
(for everyone), in which it is possible to study, in addition to the selected music, also medieval repertoire at will.
Crawford Young photo Massimo Denaro
Master Class – Crawford Young
Tinctoris Treatise De inventione et usu musice (c. 1480-1483).
Crawford Young
Crawford Young graduated from New England Conservatory in Boston in 1976. Initially a guitar student of Robert Paul Sullivan, he was a guest tenor banjoist with the New York Philharmonic and National Symphony Orchestra before concentrating fully on lute. He studied medieval music with Thomas Binkley at Stanford University prior to joining the medieval quartet Sequentia in Cologne in 1978. Young has been a
founding member of two prominent medieval ensembles, Boston-based
Project Ars Nova and the Ferrara Ensemble of Basel, which under his direction in 1996 both won a Diapason d’Or de l’Année and was a finalist for Gramophone’s Early Music Recording of the Year. In addition he was a guest soloist with Jordi Savall’s Hesperion XX, worked in luteduo format with Karl-Ernst Schröder, and most recently has collaborated with Micrologus. Since 2004 Young has accompanied countertenor Andreas Scholl in recitals of English lute- and folk songs in Europe, Australia and North America. 2009 will see the release of a new recording with Andreas Scholl of music of Oswald von Wolkenstein.
Solo recitals in Vienna and Basel of a recently unearthed body of German lute music from the so-called ‘Blindhammer Manuscript’ now in the collection of the Oesterreichische Nationalbibliothek were featured in the 2006-2007 concert season. With some thirty criticallyacclaimed early music recordings spanning thirty years, he continues to be a prominent interpreter of early lute music.
Research publications of Crawford Young include chapters/ articles in Performer’s Guide to Medieval Music (2000), Basler Jahrbuch für historische Musikpraxis (1984) and Companion to Medieval and Renaissance Music (1992), and a report on the 2006 conference on Alexander Agricola (Hochschule für Alet Musik, Trossingen) in Early Music Nov 2006, Vol.Sources of Early Lute Music in Facsimile, an extensive collection of the earliest lute manuscripts and definitive history of the fifteenth-century lute, was published in collaboration with Dr. Martin Kirnbauer in 2003 by Amadeus Verlag, Winterthur. Young’s current research publication is “Antiphon of the Angels: Angelorum psalat tripudium & Lantefana” (Spring 2009).
Crawford Young received his PhD in June 2018 from Leiden University with a dissertation on the Cetra, research inspired many years ago by a correspondence with Emanuel Winternitz then curator of the Metropolitan Museum in New York.
Young has taught more students in Medieval and Renaissance music than any single educator in the world thanks to the chair in medieval lute, performance practice and medieval music theory that he held for 35 years at the Schola Cantorum in Basel.
From 1989 – 94 he taught medieval lute at the Conservatoire National Superieur de Musique in Lyons, and since the early 1980’s has given courses at
conservatories and universities in Europe, North America and Australia.
Andrés Montilla-Acurero, tenore
Assistant of the Medieval Singing Class and Gregorian Chant Laboratory
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Andrés Montilla-Acurero Course on CHANT
Born in Venezuela, he completes studies in Singing with Alessandro Quarta, specializing in Baroque Singing with Gemma Bertagnolli and Teresa Chirico (Conservatorio L. Refice), in Gregorian Chant and Semiology with Alberto Turco and in Vocal Chamber Music and Vocal Ensemble Conducting with Anthony Rooley and Evelyn Tubb (Schola Cantorum Basiliensis).
He regularly collaborates as tenor/haute-contre with conductors such as Jordi Savall, Rinaldo Alessandrini, Alessandro Quarta, Ketil Haugsand, Francesco Cera, Patrizia Bovi, Jörg-Andreas Bötticher, Claudio Astronio, Fabio Lombardo, Walter Testolin, Michele Vannelli and Stephen Smith, and with ensembles such as Concerto Romano, Concerto Italiano, La Capella Reial de Catalunya, Ensemble Arte Musica, Micrologus, La Venexiana, Theresia Baroque Orchestra, De Labyrintho, Odhecaton, Concerto Ibérico, L’Homme armé, Voces Suaves, and La Compagnia del Madrigale.
His repertoire focuses on the tenor-alto parts of 17th-century Italian, haute-contre parts of 17th-7th-century French, and 18th-century tenor parts, with special emphasis on the role of the Evangelist in Bach.
Recently he has performed the role-title of Lully’s Persée at the Amuz Flanders Festival in Antwerp, the Musikhuset Aalborg Opera Festival and the Copenhagen Renaissance Music Festival, the role-title of Rameau’s Zoroastre conducted by C. Astronio at the Sagra Musicale Malatestiana in Rimini within a film production directed by Gianni Di Capua, the role-title of Stradella’s Oratorio San Giovanni Battista conducted by A. Quarta, the role of Arnalta in Monteverdi’s L’Incoronazione di Poppea in Bologna directed by M. Vannelli with direction by A. Allegrezza, the role of Shepherd in Monteverdi’s L’Orfeo in Barcelona, Adelaide and Beijing directed by R. Alessandrini, the role of Eumete in Monteverdi’s Il Ritorno d’Ulisse in Patria directed by A. Quarta at the Teatro di Villa Torlonia and Teatro Flavio Vespasiano in Rieti, the role of Un Athlète in Rameau’s Castor et Pollux in Heidelberg, and the role of Nutrice in L’Incoronazione di Poppea at Theater Kiel directed by A. Quarta. She will soon play the role of Architecture in Fux’s Gli ossequi della notte in Graz, directed by A. Bernardini.
Ian Harrison
Alta Cappella Course
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Ian Harrison
Ian Harrison grew up in Newcastle upon Tyne, the last corner of England with a traditional bagpipe. He began his musical carreer as a Lay Clerk in the choir of Canterbury Cathedral. He gained a MA in Music Performance Practice at the City University, London and went on to study at the Royal Conservatory, The Hague and at the Schola Cantorum Basiliensis in Basel. As co-director of the medieval and Renaissance ensemble Les haulz et les bas, and of The Early Folk Band, as well as a guest in ensembles such as Sequentia, The Harp Consort, Hirundo Maris, the Metropole Orchestra, Hilversum and the Freiburger Barockorchester, he has played and broadcast throughout Europe, America, Asia and Ausralia, and has taken part in numerous highly-acclaimed CD productions. He specializes in historical wind instruments, noteably the shawm, cornett, flageolet and historical bagpipes. The international press has hailed him ‘brilliant’, ‘ecstatic’, and ‘the Miles Davis of Early Music’. His original, virtuosic and improvisational skills have earned him prizes at the Bruges Early Music Festival, the Rencontres des Maitres Sonneurs, St. Chartier and the German Pop and Rock Awards, among others. He teaches shawm and ensemble music at the Schola Cantorum Basiliensis, and historical improvisation at the Hochschule für Musik und Darstellende Kunst, Frankfurt, as well as being in demand as a teacher and lecturer at workshops and conferences.
Peppe Frana
Liuto, Chitarrino Course
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Peppe Frana
Passionate from a young age about rock music from America and overseas, he quickly became the nightmare of the best electric guitar teachers in the area.
At 20 he was dazzled by interest in modal music from outside Europe thanks to the work of Ross Daly and took up the study of Turkish oud and other cordophones played with a plectrum, making frequent trips to Greece and Turkey. There he visited some of the most renowned maestros: Yurdal Tokcan, Omer Erdogdular, Murat Aydemir, Daud Khan Sadozai and Ross Daly himself.
A meeting with the members of Ensemble Micrologus inspired his interest in European medieval music and in plectrum lute. He quickly became one of the most appreciated soloists and teachers specialising in Italian trecento repertoire.
In 2013 he has been studying medieval lute at the Schola Cantorum in Basel Switzerland under the guidance of Crawford Young, marking his first experience of academic music study.
He has an honours degree in philosophy from the Istituto Universitario “L’Orientale” in Naples.
He regularly works with many artists and musical projects in the world of early, eastern and non- classical music including Ensemble Micrologus, Ensemble Oni Wytars, Christos Barbas, Ross Daly, Vinicio Capossela, Radiodervish, Angelo Branduardi. His flourishing artistic activities mean he has performed in the most prestigious festivals both in Italy and around the world.
He is the artistic director of Labyrinth Italia.
Patrizia Bovi photo Alessandra Matarangolo
Medieval Singing Course
Patrizia Bovi
Born in Assisi, Patrizia Bovi studied voice at the Conservatorio di Perugia and with Sergio
Pezzetti. Early ensemble work included medieval/Renaissance music with Ensemble Alia
Musica (Milan), during which time she attended various seminars on early vocal performance practice in Italy and Europe. Concurrently she interpreted sixteenth- and seventeenth-century Italian repertory including Monteverdi (Ballo delle Ingrate, Combattimento di Tancredi e Clorinda, ecc.) and related repertory (La Dafne from Marco da Gagliano, Euridice from Jacopo Peri and La Morte di Orfeo from Stefano Landi), and in subsequent years widened her areas of expertise to include music from the thirteenth-century through contemporary music.
In 1984, together with Adolfo Broegg, Goffredo degli Esposti and Gabriele Russo, she founded Ensemble Micrologus, specialists of medieval Italian music, whose performances continue to find acclaim among international audiences.
Together with Micrologus she recorded 29 CDs for Quadrivium, Opus 111, Micrologus Label including the prizewinning “Landini and his Contemporaries” (Diapason d’or de l’annèe 1996), “O Jhesu dolce” (Diapason d’or 1997), and “Napolitane” Opus 111 (Diapason d’or de l’annèe 1999), “Carnivalesque” (Diapason d’or 2014).
She founded the Medusa project in 2011 to perform unknown repertoires, first two projects were “Lucrezia la figlia del papa”on Lucrezia Borgia’s life and “Justiniane or l’aer veneziano” on 15th c. venitian repertoire.
She has been a member of the Giovanna Marini Vocal Quartet from 1990 to 2013, participating in all its creations and tours.
She has been in residence several times at the Royaumont Foundation in Paris for the realization of research and teaching projects: the one on Adam de la Halle, in collaboration with the Sorbonne University, the University of Saint Denis and the Federico II University of Naples, led to the first modern staging of “Jeu de Robin et Marion,” in its full version and in its original language.
Bovi has collaborated with various musicians, including Antonio Florio, Pino de Vittorio, Vincent Dumestre, Jean Tubery, Marcel Peres, Crawford Young, Begona Olavide and Chiara Banchini .
In the 2007/8 season she directed and performed music for the choreographer Sidi Larbi Cherkaoui’s project “Myth,” which saw performances in over eighty theaters in Europe and North America. Since then she makes part of the music and performes for some of his productions: Play, Icon, 4D, Venn, 3S, Babel Words directed together with Damien Jalet. In 2011 “Babel words” received two “Laurence Olivier” awards.
Since 2007 she has been on stage with Cherkaoui’s Eastman company in all European capitals, in the US, Australia, New Zealand, Malaysia and Japan.
With the singers Fadia Tonb El Hage and Françoise Atlan in 2014 she created “Three faith one God” a concert on the three monotheistic religions which is still performed today.
In 2014 she began a doctorate research project at the University of Leiden on the reconstruction of the performance practice of musical repertoires typical of the unwritten tradition of the Italian fifteenth and sixteenth centuries, preparing a catalog of melodies for singing verses from 1400 to 1600.
She holds seminars and master classes in Italy, at the Adolfo Broegg European Center for Medieval Music Studies, and abroad, at the Butler School, University of Texas – Austin, Early Music department of the University of Melbourne AUS, Fondation Royaumont – Paris and at the Schola Cantorum in Basel.
In 2008 she was awarded the Chevalier des Arts et des Lettres title by the French Minister of Culture.
Gabriele Russo
Fiddle and Rebec Course
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Gabriele Russo
A musician from Umbria, is co-founder of the Ensemble Micrologus for which he is involved in researching about organology and performance practice of string instruments of the medieval period. Classically trained and rock (violin and guitar) he is also an interpreter of traditional Umbrian music, with the Sonidumbra, as an instrumentalist (violin, guitar and mandolin).
The progressive acquisition of performance techniques of various string instruments of the European and non-European tradition (Calabrian lyre, rebab, traditional violin etc.) will enable him to collaborate with a number of groups performing author music and song writers such as the Fratelli Mancuso, with whom he recorded a CD on Sicilian traditional music with Ambrogio Sparagna and Raffaello Simeoni.
He has given concerts, mainly with Micrologus, both in Italy and abroad playing for the most important Early Music Festivals. He has participated in the production of 29 CDs of medieval music as well as other recordings and collaborations, guesting with well-known names in the panorama of oral tradition and experimental music, such as Banco del Mutuo Soccorso, Giovanna Marini, Daniele Sepe, Novalia, Vinicio Capossela.
In addition to this concert activity, he has performed, in collaboration with the other musicians of Micrologus, some important soundtracks of Italian films such as ‘Ragazzi fuori’ by Marco Risi, ‘Mediterraneo’ by Gabriele Salvatores, Oscar winner for best foreign film ’92, “Silenzio si nasce” by Giovanni Veronesi.
He also composed several soundtracks for short films on St. Francis and St. Clare of Assisi and on Giotto,as well as music for contemporary dance performances and other productions.
He has given Seminars and Courses in various European Schools: in Antwerp, Belgium, in La Citè de la Musique in Paris, at l’Abbaye de Royaumont in France, at Jaroslaw in Poland, at the International Courses of Early Music in Urbino, of Orte (TR Italy), of Maccagno (VA Italy), in Copenhagen, Switzerland (Mendrisio), CIMM in Valldigna Spain.
Since 2009, with the other musicians of Micrologus, he has been teaching at the International Courses of Medieval Music at the “Adolfo Broegg” Study Center in Spello (PG), Umbria. He is teacher of “Ensemble music for voices and instruments of traditional music” at the A. Casella Conservatory of L’Aquila.
He is teaching Fiddle and Rebec at the Accademia Resonars in Assisi He has been Artistic Director of the “Spello Splendens” Festival since 2010.
Enea Sorini
Percussioni and Dulcimer Course
Enea Sorini
Singer, percussionist and psaltery player, Enea Sorini is a native of Urbino, Italy.
His first experiences with music came when he was chosen to become a boy chorister with the prestigious Pueri Cantores of Pesaro, with which he remained for fifteen years.
He graduated from the Urbino School of Art as a cartoonist and continued his artistic studies at the Urbino Accademy of Fine Art as a sculptor.
Changing course, he then moved to Pesaro to study chamber music and oratorio singing at the Gioacchino Rossini Conservatoire and later, specialising in Baroque performance practice, attending master classes with Gloria Banditelli and Claudio Cavina.
As a specialist in Medieval and Renaissance music, he has appeared in many of the major European and American festivals, including Festival de Ambronay, Festival Oudemukiek-Utrecht, Festival Centro Historico-Mexico City, MA Festival-Brugge, BRQ Festival-Vantaa, Festival de Musique-Maguelone, Early Music Festival-Boston, Festival Baroque-Pontoise, Festival de Saint-Denis and in the most prestigious concert halls, including Philharmonic hall-Krakov, Konzerthaus-Wien, National Gallery-London, National Arts Center-Ottawa, Kampnagel-Hamburg, Cité de la musique-Paris.
Currently he is working with the ensemble Micrologus (Assisi), Les Musiciens de Saint-Julien (Paris), La Morra (Basel) and Pera Ensemble (Munich/Istanbul), in addition to collaborating with the Belgian choreographer and dancer Sidi Larbi Cherkaoui whose shows are produced and distributed by Eastman Company (Antwerp) all over the world.
As a Baroque singer, he has appeared in numerous highly acclaimed productions, including;
– La Farsa del Barba, Teatro Sociale-Bellinzona (dir. Diego Fasolis)
– J.Peri’s Euridice, Teatro Piccolo Regio-Turin (dir. Maria Luisa Baldassari)
– A.Cesti’s Le Disgrazie d’amore, Teatro Verdi-Pisa (dir. Carlo Ipata)
– W.A.Mozart’s Le Nozze di Figaro, Teatro Rossini-Pesaro (dir. Enrico Gerola)
– Monteverdi’s Vespro della Beata Vergine, Macerata Opera Festival (dir. Marco Mencoboni)
– A.Vivaldi’s Serenata a tre, Teatro Rossini-Pesaro (dir. Alessandro Ciccolini)
– C.Caresana’s L’Adoratione de’ Maggi, Auditorio National-Madrid (dir. Antonio Florio)
– Orfeo 2.0 di C.Monteverdi/M.Toni, Tiroler Landestheater di Innsbruck (dir. M.Toni)
– Performances with laBarocca of Milan (dir. Ruben Jais/Gianluca Capuano).
As a recording artist, he has appeared on the Alpha, Sony, Hyperion, NovAntiqua and Tactus labels (including two CDs which received the Diapason D’or) and can be frequently heard on Radio3 (Italy), Radio France, RSI Swiss, Polskie Radio, WDR3.
He now lives and thinks in Terre Roveresche.
www.eneasorini.it
Goffredo Degli Esposti
Flauto – Flauto doppio – Cornamusa – Cennamella Course
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Goffredo Degli Esposti
Goffredo Degli Esposti (1963) is an Umbrian musician who specialises in research, execution, performance and teaching of ancient and traditional music with wind instruments.
Having taken his diploma in the transverse flute, recorder and specialized in Baroque flute, he has followed courses of study with Susan Milan, Andras Adorjan, Mario Ancillotti, Bartold Kuijken, René Clemencic and the Courses in Medieval Music at the Centro Studi dell’Ars Nova Italiana of Certaldo (Italy).
He began his concert activity in 1980; in 1984 he founded the Ensemble Micrologus, with whom he plays in the most important Festivals of Ancient Music in Europe and the Americas: Argentina, Austria, Australia, Belgium, Brazil, Bulgaria, Canada, Croatia, Denmark, Estonia, France, Germany, Japan, Great Britain, Greece, Morocco, Mexico, Holland, Poland, Portugal, Czech Republic, Russia, Spain, Switzerland, Slovenia, Hungary, USA.
He has also made CDs and radio recordings and collaborated on music for the theatre, dance-theater (“Mith” by Sidi Larbi Cherkaoui) and the cinema, including the soundtrack of Gabriele Salvatores’ “Mediterraneo”.
His enthusiasm and his ability to play various wind instruments in the Mediterranean tradition have led him to various musical experiences, collaborating with Fratelli Mancuso, Ambrogio Sparagna, Giovanna Marini, Sonidumbra, Tamburi del Vesuvio, Tetraktis Percussioni, Daniele Sepe, Vinicio Capossela, Héloïse Combes, Raffaello Simeoni, Giuliano Gabriele Ensemble.
Currently he is working on musical improvisations for wind instruments with Katerina Ghannudi (Renaissance and Early Baroque), Lirum Li Tronc (Renaissance music), Principi di Galles (folk-rock), Sara Marini in “Torrendeadomo”(world music).
He has given seminars and courses at various European Schools: at the Cité de la Musique in Paris, at the Abbaye de Royaumont in France, at Jeroslaw in Poland, at the Istituto superiore di Studi musicali “Briccialdi” in Terni, and International Courses of Ancient Music in Urbino and in Copenhagen. Since 2009 he teaches at the International Course of Medieval Music in Spello (Italy).
He has recorded 29 CDs of medieval music for Quadrivium, Fonit Cetra, Zig-Zag Territoires, Stradivarius, and Opus 111, of which two have been awarded the “Diapason d’Or de l’Année”, and 17 CDs of traditional and experimental music for Ricordi, Penta Music, SudNord Record, BMG, Il Manifesto, Alphamusic, RadiciMusic Records.
Since 2010 he is Artistic Director of the Spello Splendens’ Festival.
He is Professor of Recorder at the “S. Giacomantonio” Conserva
tory of Music in Cosenza.
(webpage https://www.goffredodegliesposti2.com)
Ryszard Lubieniecki
Organetto portativo- Clavisimbalum Course
Ryszard Lubieniecki
Composer, musicologist, instrumentalist, and improviser from Poland.
He studied composition and accordion performance at the Academy of Music in Bydgoszcz (Poland). Currently, he is a Ph.D. candidate in the Institute of Musicology at the University of Wrocław, where he studies late medieval music. His recent research focuses on the memory craft and its relationship to musical and theoretical sources from the early XV century. Besides the accordion, he plays medieval keyboard instruments (portative organ, hammered clavisimbalum). He is the co-founder of contemporary music trio Layers, the medieval music ensemble Vox Imaginaria, and more ephemeral groups of free improvised music, e.g. Widzicie, Lubieniecki/Rupniewski, and Ute von Bingen. In January 2023 his album „Musikformen der Natur” with new pieces for portative organ has been released by EMA Vinci.
https://soundcloud.com/ryszard-lubieniecki
Giordano Ceccotti
Symphonia and Hurdy-gurdy course
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Giordano Ceccotti
Giordano Ceccotti, since he was a child, has shown a talent and great interest in music. He graduated as a “Master of Arts” at the Istituto Statale “B. Di Betto” in Perugia.
He joined a Medieval music ensemble as a fiddle player and met some of the members of ensemble Micrologus, thus giving birth to a long series of collaborations.
He played in several local groups and in 1998 he founded ensemble Laus Veris, participating in many important Italian and International festivals and historical reconstructions.
He took part in the “27th Rencontres internationales de luthiers et maîtres sonneurs” in Saint Chartier, France, where he attended the hurdy-gurdy workshop with J-F. “Maxou” Heintzen, and then the workshop on French and Occitan violin with Gabriele Ferrero.
He has made instruments since 1999 and at the moment he’s dealing with in-depth iconographic research on musical instruments from 14th and 15th-century central Italy and on other extant ancient instruments, focusing on the materials and the techniques, in order to reproduce them full scale. Particularly, his intense research let him discover an image showing a nyckelharpa from early 15th-century Siena. This image was shown to Swedish musicologist Per-Ulf Allmo, who compared it to other images and stated that it is one of the oldest in Italy and Sweden. Consequently, Giordano and his colleagues gained the praise of the Swedish Institution as well as their approval to create the first International School of Nyckelharpa in Forlimpopoli, led by Master Marco Ambrosini from Oni Wytars.
Giordano Ceccotti can reproduce fiddles, rebecs, lire da braccio, hurdy-gurdies, lutes, psalteries, chitarrini and any type of string instrument from iconography, and carries out his research along with musicians known all over the world.
The 14th International Course of Medieval Music 2023 is in partnership with:
Fondation Royaumont – Paris
Fondation Royaumont – Paris Haute École de Musique de Genève -Département de Musique Ancienne
Haute École de Musique de Genève -Département de Musique AncienneA special thanks goes to the Friends of Micrologus Committee with their help it will be possible to finance part of the activities of the 2023 International Course.