Firenze 2017

The LMFL 2nd Musical Summer Course in Firenze. Conservatorio Luigi Cherubini

Arrival day 6th August 2017 start of the course 7th August 2017 departure date 19 August 2017

A specialised course by world renowned faculty for Advanced level students (17+ years old) or professionals.

Learning from last year first course we need to point out to our participants that there are two different buildings that host the Firenze Conservatorio

1 A Central Administrative building in the centre of the Old town Piazza delle Belle Arti 2 50122

2 And a second building Villa Favard where teaching happens is in Rovezzano, Nord Est of area Firenze that is the one you need to go to

The address of the front entrance of this second building is via di Rocca Tedalda 451, the bus Number 14 stops just in front .

The train station Rovezzano is walking distance

The back entrance is via Aretina, Firenze Rovezzano.

When booking an accommodation, please keep it in mind

It is very hot in August, you don’t want big journey to come to Villa Favard

Course Introduction

LMFL Summer Music School 2016 in Florence

Lmfl has chosen Florence (Italy) for its second summer course 2017.

The course will be hosted under the auspices of the Conservatorio Luigi Cherubin at the Villa Favard di Rovezzano which is the oldest part of the Conservatorio site, in the middle of a substantial magical botanical park with roses and Cedar trees

Villa Favard di Rovezzano has a large number of piano studios (including grand pianos) lots of music studios and a concert hall

Florence Firenze is the capital city of the Italian region of Tuscany and birthplace of the Renaissance. It is home to masterpieces of art and architecture and was at the heart of much of our entire Western musical tradition. It was here that the Florentine Camerata convened in the mid-16th century and experimented with setting tales of Greek mythology to music and staging the result—in other words, the first operas, setting the wheels in motion not just for the further development of the operatic form, but for later developments of separate “classical” forms such as the symphony.

This seems an ideal setting for our course where we can enjoy working in the midst of beauty, elegance and serenity

We welcome students from + 17 years old and upwards. We also welcome younger advanced students accompanied by at least one parent.

All students must be advanced level in at least one discipline, other choices can be at lower level.

Instrumental & Voice Tuition

Instrumental and Voice Tuition

The instrumental and voice tuition classes are conducted by exceptional teachers and internationally known performers.

  • Music as an enhancement in the preparation of future professionals (Level 8)

We do prepare young instrumentalists for entrance audition for the Higher Musical Schools (Royal College of Music, Royal Academy, Guildhall, or Conservatoires Supérieurs de Musique etc…

Please note that for non-English speakers, who wish to enter the Royal College of Music, Royal Academy or Guildhall, acquiring an acceptable level of spoken English is a must. We provide this sort of coaching during the course as well as French, Italian and German for Opera students.

Summer School choir with William Godfree:

lmfl choir

The Choir is one of the main features of the Summer School and most people attending will want to take part. Most of our instrumental teachers also rush to join it. Membership is open to all without audition.

Chamber music coaching with Steven Honigberg: The Summer School offers an extensive chamber and wind chamber music program, which is organized by Matthias Dulack. Varying ensembles play together informally and formally. Coaching is available to players of all levels in either pre-formed or informal groups. The availability of professional coaches and chamber music associates offers amateurs the opportunity to be coached and also to play with professionals in some sessions.

Orchestral workshop with Matthias Dulack 

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LMFL student at violin masterclassMaster classes

Given by leading artists, master classes are generally for the advanced student or professional musician wishing to undertake intensive study. Entry is limited and students are selected.

Jazz workshop: Conducted by Alex Forsyth

The jazz workshop is open to all (classical students as well!).

Percussion workshop and/or One to One: with the unique Chen Zimbalista

String Orchestra conducted by Professor Richard Crabtree.

At the end of the course, students and teachers will give three public concerts. Participants are therefore requested to bring concert dress with them, white shirt, black bow tie, and black trousers or skirt or national code dress and decent shoes. Music stands will not be provided for, so it is essential to bring one’s own. The concerts are recorded. DVD Copies will be made available for the participants.

lmfl orchestraThe uniqueness and the seriousness of our music course come from the certainty of each participant to benefice from 10 one-to-one sessions with the teacher of one’s choice. The intensity of the workload proposed is quite special: on top of individual tutorial daily session, the chamber music groups are formed on arrival and each student participates in one group. The orchestral work is on ten sessions of one hour and a half each. The Choir and the Chamber Choir operate daily as well.

Opera Workshop

LYRIC PROGRAMME 2017

“ALL ABOUT ORPHEUS”

An operatic pastiche (form baroque to jazz) with arias, songs and scenes from the following operas:

PERI – Euridice (1600)

MONTEVERDI – L’Orfeo (1607)

ROSSI – Orfeo (1647)

GLUCK – Orfeo ed Euridice (1762)

HAYDN – L’anima del filosofo (1791)

SCHUBERT – Orpheus (Lied, 1821)

OFFENBACH – Orphée aux Enfers (1858)

VAUGHAN WILLIAMS – Orpheus with his lute (art song, 1912)

DE MORAES – Orfeu negro (1957)

and others

 

Voices required:

sopranos (both light and lyric), mezzos or contraltos, tenors, baritones, jazz singers (both males and female voices)

 

LMFL Opera Workshop

 

Classical vocal workshop for children and teens

Studying classical singing in childhood and during puberty, before the final changes of the voice have taken place (which normally occurs between the ages of 13 and 15 for females and between 15 and 17 for males) is always considered extremely dangerous for the future health of the vocal organ. In fact the oldest and most prestigious of the Italian bel canto and music conservatoires were forbidden to enrol girls before they had reached the age of 16 and boys before they had reached the age of 18.

The experience of the great singing teachers of the golden era of Italian Opera between 1700 and 1900 revealed that the voices of children (even the most gifted and promising ones) go through a period of extreme delicacy during mutation into the adult voice.

The reason for this important observation was then researched carefully using twentieth century medical science (phoniatrics) to explain why the sensitive years of transformation of the muscles and cartilage of the larynx are particularly vulnerable to serious damage (sometimes irreparable) when subjected to unnatural effort.

The use of typical operatic singing techniques, in fact, enables the human voice to develop really extraordinary abilities. This can be compared with the use of sports training techniques which can lead to athletes breaking records.

However, just as in sports you can start to coach children and teenagers to develop into adult Olympic athletes, so it is with the education of young voices. BUT it can only be done by following a very precise and gradual process of transformation of the voice from that of a child to that of an adult WITHOUT any unnatural effort or forcing.

It should be made clear that a child of 9-12 singing an operatic aria and trying to imitate an adult’s voice is just like a child of the same age competing in a track, long jump or swimming event against adults, using rhythms and systems that do not fit in with the physical features of growth at that age. Even if a child or a young man in puberty can sing an operatic aria for a few minutes (for example O my dear Father, from Puccini’s Gianni Schicchi) and appear to make sounds like a professional soprano, the efforts resulting from the pressure which the abdominal muscles need to exert, the many breaths that are taken even in the middle of words, the irregular fluctuations of vibrato, etc, are all signs of vocal fatigue. This will result later in the loss of the agility of the voice that you need to develop the professional tools of an opera singer.

The exploits of some children on television talent-shows mislead parents into thinking that children with no musical or operatic skills do in fact possess them, because children sing on television with amplification through a microphone! In the theatre, real professionals do not use a microphone when they sing opera! And singing in opera does not mean just singing a famous aria but it means singing in a complex and often 3-4 hour long performance where there are duets, trios, recitatives, arias, declamation, choruses, etc.

So the singing teacher who imposes operatic techniques on a 9-12 year old child – and even on 13-15 year old teenagers who have not yet completed the changes to their voices, however gifted – is committing a serious error. At 20, the boy or the girl will have lost the naturalness and vocal agility that serve to build the true voice of a professional. It will be frustrating and painful to have to correct major flaws after initially believing a child to be a prodigy. In fact, in cases like these, boys frequently give up singing opera because they have lost their self-assurance and self-esteem.

My advice after over 20 years’ experience in the conservatoire in Italy is this: when a child shows a lot of musical and vocal talent, encourage the study of an instrument (ideally the piano which also develops the sense of harmony), have the student sing in choirs with treble voices up to the age of 12, and take singing lessons from a teacher who begins with easy and suitable repertoire, like old chamber music arias or folk songs. Between the ages of 12 and 15 go easy on the singing until the voice has mutated, and continue studying piano and music theory.

14-15 year-old girls and 16-17 year-old boys should begin to develop their operatic vocal technique slowly while monitoring how the “new” voice reacts to the stress of a more intense workout.

Any singing teacher who does not respect this approach is incompetent and dangerous, only interested in making easy money out of the hopes and illusions of children and their families who pursue brief and fleeting celebrity. The young artist will be psychologically damaged.

Leonardo De Lisi

Conducting & Composition

The compositions and conducting classes are led by exceptional teachers and internationally known performers.

Conducting with Matthias Dulack

The Conducting Class has  4 places on each course

Conducting courses consist of two classes:

Level 1: for beginners, without any experience in conducting. The course will give them the opportunity to learn the basic technique of conducting.

Level 2 Programme:  for advanced level students with knowledge of conducting: Students will have to study the 2017’s programme repertoire prior to coming to the course.

Handel: ballet music from Alcina
Grieg : Holberg suite
Bloch : Concerto Grosso
Stravinsky: The Soldiers Tale

Students will have opportunities to rehearse with the orchestra and some will be chosen to conduct the end of course ‘s concert. There are feedback sessions after each orchestra workshop

 

Composition with Dr Paul Goodey or William Godfree

The composition classes are divided into two sections: an individual lesson of 1 hour every two days and a seminar in English every other day. The content of the one-to-one lessons will vary according to the student’s level and will be aimed at creating a new composition during the course, to be performed at the final concert (performers and time permitting). Diverse composition techniques will be studied according to the student’s aesthetic preferences from traditional tonal harmony to more elaborate musical expression. Students will learn about musical scripting software, particularly using Sibelius notation software. The seminars will study in some detail the most significant influences on contemporary music including :

Nationalism

The development by 19th-century composers of a musical style that would express the characteristics of their own country. They did this by including tunes from their nation’s folk music, and taking scenes from their country’s history, legends, and folk tales, as a basis for their compositions. Nationalism was encouraged by governments in the early 20th century for propaganda purposes in times of war and political tension.

Composers of nationalist music include Jean Sibelius, Edvard Grieg, Antonin Dvorak  Carl Nielsen, Zoltán Kodály, Aaron Copland, Edward Elgar, Dmitri Shostakovich, and Stephen Foster.

Neo-classicism

As its name implies, Neo-Classicism was a kind of “new classicism”. It combined musical elements from the Classical Period with the newer trends that were emerging early in the twentieth century. These classical elements included tonal centers, clarity of form, and melodic shape. To these (and many other) classical elements, neo-classicists added such modern flavourings such as quirky rhythms, spiky dissonances, and large amounts of chromatics.

The neoclassical movement was fairly widespread, with many composers from all over Europe (and the U.S.) contributing to the sub-genre. Some of the more recognized neoclassical composers are Igor Stravinsky, Paul Hindemith, Dmitri Shostakovich, Sergei Prokofiev, and Aaron Copland, to name only a few. The motivation for the neoclassicism was simple: the heavy musical experimentation of the early part of the century left some composers wanting to “reconnect” with musical tradition. They did this, but at the same time held on to musical aspects that they had been developing during the Modern Period. The aim was not to revive old musical idioms but to simply acknowledge tradition.

While neoclassicism was a reaction against the chaotic musical period from 1910 to 1920, so too was Arnold Schoenberg’s new twelve-tone method. Both tried to bring control over the previously wild music of the 20th century. The difference is that the twelve-tone method did this by creating an entirely new musical language, while neoclassicism did it by revisiting tried-and-true musical heritage.

Impressionism

A French movement in the late 19th and early 20th cent. It was begun by Debussy in reaction to the dramatic and dynamic emotionalism of romantic music, especially that of Wagner. Reflecting the impressionist schools of French painting and letters, Debussy developed a style in which atmosphere and mood take the place of strong emotion or of the story in program music. He used new chord combinations, whole-tone chords, chromatics, and exotic rhythms and scales. In place of the usual harmonic progression, he developed a style in which chords are valued for their individual sonorities rather than for their relations to one another, and dissonances are unprepared and unresolved. Although conceived in reaction to romanticism, musical impressionism seems today the culmination of romanticism. Its influence was widespread and is evident in the music of Ravel, Dukas, Respighi, Albéniz, de Falla, Delius, C. T. Griffes, and J. A. Carpenter.

Twelve-tone technique or dodecaphony,

Twelve-tone technique is a system of musical composition devised by Arnold Schoenberg. Music using the technique is called twelve-tone music. Josef Matthias Hauer also developed a similar system using unordered hexachords, or tropes, at the exact same time and country but with no connection to Schoenberg.

Schoenberg himself described the system as a “method of composing with 12 notes which are related only to one another”. Schoenberg invented the twelve-tone techniques, which is a method of composition based on a fixed order of the twelve chromatic tones (Benward, 303). It is a system in which the twelve pitch classes are placed in a specific order, forming a set that then become a compositional tool (Sadie, 286). It was developed around 1920 as a means of providing a coherent basis for complete chromatic music.

The basic difficulty in composing in atonal idiom is intelligent control of melodic and harmonic forces. “There are ways of harnessing these forces by contrapuntal and harmonic means that are similar to those used in the early development of Western polyphony” (Marquis, 185). However, these ways are much more complex than the tradition Western polyphony. Therefore, Schoenberg invented the matrix system to help composing.

Jazz

Minimalism

In music, the minimalist movement was, like minimal art, a reaction against a then-current form, with composers rejecting many of the dry intellectual complexities and the emotional sterility of serial music and other modern forms. Generally, minimalist compositions tend to emphasize simplicity in melodic line and harmonic progression, to stress repetition and rhythmic patterns, and to reduce historical or expressive reference. The use of electronic instruments is common in minimalist music, as are influences from Asia and Africa. Among prominent minimalist composers are Philip Glass, Steve Reich, Terry Riley, La Monte Young, and John Adams.

Musical analysis and listening will also be an important aspect of the course, stimulating debates and encouraging students towards their own creativity.

Languages

Taking a music course and learning a foreign language, was often mutually exclusive. Not any more !

The courses bring together musicians of all nationalities. The diversity of languages heard every day, the exchanges that result from one’s work in music make language learning easier: sharing a common passion – music, making it together and talking about it together provides motivation.

For English-speaking students we offer the opportunities to learn or improve and practice French (FFL), Italian (IFL) or Spanish (SFL) as Foreign Languages. Classes are also conducted by specialist teachers, all of whom are native speakers.

We offer quality tuition in intensive English by specialist teachers of English as a Foreign Language (EFL) who are themselves native speakers.

The language classes can be taken in small groups or one to one, according to the student’s precise needs. The group classes consist of 4 to 6 students.

The basic course, consisting of one, two, three or five one hour sessions a day, aims to help develop competency in oral communication, to develop a more in-depth knowledge of grammar, and to enrich the student’s vocabulary by using appropriate teaching material suited to individual needs.

No serious musician should have more than 2 or 3 hours language tuition per day, but when linguistic needs are great, we suggest coming to the pre-course, in Llandovery only

 

Linguistic Director – Dr. Alan D. Moller

lmfl langauge director dr mollerA British applied linguist specialized in language testing, Alan D Moller, Ph.D and Dip App Ling (Edinburgh), MA (Cantab), PGCE (London).

Dr Alan Moller, a retired British Council Officer, has been Director of the English Language Services Department of the British Council incorporating, among other tasks, inspecting and advising language schools worldwide. He wrote many of the BC Tests for English as a Foreign Language (mini platform tests) still in use nowadays. He was actively involved with the introduction of the ELTS (now IELTS) in 1989.

Alan was posted in Africa, Singapore, and Malaysia and was Cultural Attaché at the New Delhi British High Commission in charge of organising the Henry Moore Exhibition. After retiring from the British Council, Alan has been full time Chief Examiner for Trinity College London. Duties included academic responsibility for the Certificate in TESOL, for the Diploma in TESOL, and for the suite of Spoken English tests. On his departure from TCL in 1999, these responsibilities were assigned to three different professionals.

In 2003, he was appointed Chair of Examiners for the London Tests of English by the main British Examinations Board, EDEXCEL (London). His Ph.D “A study in the validation of proficiency tests of English as a Foreign Language” (Edinburgh 1981).

He Is Academic Director for IATQuO
Its current activities are to validate the training of teachers of English as a Foreign Language in the various training centers for teachers in Europe and Asia

Workload

We have noticed a growing tendency of our students to taking too many options or classes and they usually end up the course totally exhausted and we would like very much to reverse this tendency

In particular, if one of the choices is composition we recommend that the students do not take more than two other disciplines, but it is possible to have two different instruments tuition and voice for example.

At the end of the course, students and teachers will give three public concerts. Participants are therefore requested to bring concert dress with them, white shirt, black bow tie, and black trousers or skirt or national code dress and decent shoes. Music stands will not be provided for, so it is essential to bring one’s own. The concerts are recorded. DVD Copies will be made available for the participants.

The uniqueness and the seriousness of our music course come from the certainty of each participant to benefice from 10 one-to-one sessions with the teacher of one’s choice. The intensity of the workload proposed is quite special: on top of individual tutorial daily session, the chamber music groups are formed on arrival and each student participates in one group. The orchestral work is on ten sessions of one hour and a half each. The Choir and the Chamber Choir operate daily as well

Social Life

While the life during the course is mainly concerned with music making, we cannot let slip the opportunity for foreign students to explore the marvels offered by the magnificent town of Firenze

Hence we propose for our students on one of their days off: 7th August

A guided tour in 7th August 2016 in the morning from 9.30am – 12.30pm.  conducted by Maestro de Lisi to include :

We will have 6 concerts during the course, some in Villa Favard itself, one in the park of the Villa Favard some in the new Conservatorio Luigi Cherubini,

Firenze - Location

LMFL Summer Course 2016 at Firenze

Conservatorio Luigi Cherubini : Villa Favard di Rovezzano

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Accommodation

The Firenze Course is an adult course and we expect most of our participants to find and book their own lodging. Please note that it is advisable to book accommodation in Firenze as long as 11 months l in advance.

However, we know that our younger adults coming from far and wide may find it difficult to identify the right place and the right price and may wish to be in the same place.

For our younger, returning students.

For returning LMFL students who are under 18 and up to 23, 7  shared bedrooms in a  private supervised home (5 minutes walking distance to Villa Favard). This will be for approved returning students only, so you will need your LMFL registration details to make a booking .

The Air Conditiooned rooms are shared ( 2 or 3 beds) with their own bathrooms. Breakfasts included

This does not include other meals.

The cost of accommodation will have to be settled at registration.

 

 

Another interesting place for students who are on budget that we have identified is Villa Camerata

It is a students’ hostel. This is very economical but like every place in Florence it needs booking long time in advance. Please book directly with Villa Camerata

You can find there: Dormitories with 2, 3 or 4 shared rooms and even single rooms

This is also a camping site and the landscape is spectacular (olives trees, wine etc…)

Luncheons and dinners can be taken at David2 (very reasonably priced pizzas, pastas and salads), 2 minutes’ walk just outside Villa Favard

Visas

Please make sure you are eligible for a visa: in most circumstances your paid registration file is sufficient to get a visa.

Firenze Application

When you are ready to apply – you can find the form you need here.  Please make sure you also read the Application Terms and Conditions before filling out your application.

Apply