Firenze 2020

 

4th Musical Summer Course in Florence.

A specialised course by world renowned faculty for Advanced Level students,  amateurs, professionals.

Conservatorio Luigi Cherubini Villa Favard

Instrumental and Vocal 

  • Arrival day  Sunday 9th August 2020
  • Start of the course 10th  August 2020
  • End of the course 21st August 2020
  • Departure date 22nd   August 2020
Learning from previous courses 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 – the Villa Favard – where teaching happens which is in Rovezzano, Nord East 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 this in mind

It is very hot in Augustin Florence and you don’t want long journey to Villa Favard

Music Tuition for Already Constituted Chamber Music Groups - new for 2020

New for 2020 at the LMFL course in Firenze, we are offering group tuition for already constituted chamber music groups – duets, trios or quartets – with a either one or two hours of tuition per day with a choice of tutor(s) from our renowned faculty.

Basic course fees are £800 per person with tuition starting from £200 pr group member per hour.

 

Further details and the application form can be found here

Course Introduction
LMFL Summer Music School 2016 in Florence

 

 

LMFL has chosen Florence (Italy) for its summer course.

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 & Vocal Tuition

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

We offer music as an enhancement in the preparation of young already professionals or future professionals (minimum level Grade 8 (English) / Performer Certificate)

We do prepare young instrumentalists for auditions for entry to the Higher Musical Schools (Royal College of Music, Royal Academy, Guildhall, Trinity Laban) or Conservatoires Supérieurs de Musique.

Please note that for non-English speakers who wish to enter the Royal College of Music, Royal Academy, Guildhall or Trinity Laban, 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:

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.

Jazz vocal workshop is coached by Letizia Morelli

Chamber music organised by Professor Daniel Grosgurin: The Summer School offers an extensive chamber and wind chamber music program.

New feature: an interactive live page is open for registered students to post their proposals or join already interested performers

Once you are registered we will send you a password to open the page and use it.

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.

String Orchestra conducted by Professor Richard Crabtree.

Master 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 selective.

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.

The concerts are public and recorded.

lmfl orchestra

The uniqueness and the seriousness of our music course come from the certainty that each participant will benefit from 10 (or 20) one-to-one sessions with the teacher of their choice. The intensity of the workload proposed is quite special: on top of individual daily tutorial sessions, the chamber music groups are formed on arrival and each student participates in one group. The orchestral work consists of ten sessions of one hour.

The Choir, Orchestra, String Ensemble, Chamber Music groups and Opera operate daily.

There will be one free day in the middle of the course.

The teachers give an end of course concert

Plus several smaller informal concerts

The students give two public concerts

Opera Workshop

LYRIC PROGRAMME

“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 in firenze

 

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

About Composition

Never in the history of Humanity has there been so much music around us.

A ten-year-old will have listened to more music than Brahms throughout his life. That’s too much, since we’re talking about noise pollution. We are also in unprecedented times since, thanks to the internet, we have instant access to almost all human creations in a few clicks … (history, architecture, music, literature, visual arts, cinema …).

Everyone “composes” a little, or reproduces each in his own way music in his memory, the music that impresses us, the music we like or the music we hate (like advertising jingles, the leitmotif of today) . This is evident in children singing a melody or tapping a rhythm spontaneously. But, it is never the same thing twice: we reproduce what is in our memory with small variations: that is already composition. A different personality and style can be developed for each DNA.

Composition is taught well enough, whatever we say, because if each of us can have musical ideas, we do not necessarily have the tools to build a piece and make these ideas last in time; in a word – develop. Composition is the art of sound architecture, or how to build with musical notes instead of bricks and mortar. To do this, one must first know the basics of music, sol-fa, music theory, just like a great cook who must know the basic rules of cooking before becoming a gourmet. Imagination is certainly important, but so is know-how, knowing in advance about musical instruments, about musical forms, and by looking at the scores of the masters and by studying all that has been done before us.

Above all, you need an insatiable curiosity, a passion for music, for all music. The best teacher is yourself: the desire to look for, to discover what you do not yet know. The work of the composition teacher is to point the student in his own direction, to feed his questioning, and to show him paths to self-enrichment.

The teacher also brings his unique experience of the profession, which is not written in books, namely the psychology of the musicians he mixes with, how to approach those who are active in the world of music and who will be decisive for his career: publishers, sponsors, journalists, agents, promoters and lawyers.

In this regard, knowledge of copyright, which is complex and varied around the world, will prove useful to the future composer who wants to do his job … because he is heading towards a classical or commercial career, and it will always be important to know how to defend one’s rights.

Richard Dubugnon

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

A 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, a guided tour 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
Learning from previous courses 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 – the Villa Favard – where teaching happens which is in Rovezzano, Nord East 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 this in mind

It is very hot in Augustin Florence and you don’t want long journey to Villa Favard

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 25, 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 Conditioned 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 New – very near Villa Favard de Rovezzano  (5 minutes  walk) a new camping site where you can come with your tent , a mobile home or rent a chalet or a bungalow with budget in mind.

This camp has a lively bar/ restaurant and a couple of fantastic, huge swimming pools.

While it is very new, it is already very popular and booking ought to be done months in advance.

Here is the link: Camping Village Firenze

https://humancompany.com/en/destinations/villages-camping-in-town/firenze-camping-in-town

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

Visas
Please make sure you are eligible for a visa: in most circumstances your paid registration file is sufficient to get a visa.
lmfl music course students firenze 2017

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.

Chamber Music for Groups

If you are part of an already contsituted chamber music group – duet, trio or quartet – you can now apply for tuition at Firenze.