Valbonne 2019

 

A course in Provence: LMFL summer course at the Centre International de Valbonne, Sophia Antipolis, France.

4th to 15 August 2019 – Arrival on 3rd August and departure on 16th August morning

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

 

Course Introduction

lmfl valbonne course viewThe course is hosted by the Centre International of Valbonne  (CIV) in the village of Valbonne Sophia Antipolis near Nice in the Alpes-Maritimes department in the Provence-Alpes-Côte d’Azur region in south-eastern France. Here is the Tourist Office link

We welcome students from + 17 years old and upwards and can provide full board accommodation. 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:

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: The Summer School offers an extensive chamber and wind chamber music program, which is organised by William Godfree and Lana Tovocek. 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 William Godfree

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 students are selected.

Jazz workshop: Conducted by Letizia Morelli

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

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.

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.

Opera Workshop

A Midsummer’s Night Dream

Opera Workshop “A midsummer night’s dream” Valbonne Arias, art songs, duos and vocal ensembles to celebrate in an operatic “pastiche” the magic of night and love throughout the centuries” Music by Purcell, Monteverdi, Vivaldi, Cimarosa, Beethoven, Mozart, Bellini, Schubert, Strauss, Verdi, Puccini, Debussy, Tchaikovsky, De Falla, Dvorak, Ravel, Vaughan Williams, Britten, and others.

Each admitted student will consult the vocal coaches Professor Leonardo De Lisi, and agree upon two solo pieces and two ensembles to be studied during the workshop and to be performed at the final show: a pastiche build on the plot of the famous Shakespeare play and conducted over the music of the greatest European composers.

The show will be accompanied by piano and, for some specific pieces, by a small instrumental group (strings and winds). For the classical singing only, Simonida Miletic Vocal technique and interpretation of classical songs and operatic arias by the main Italian, English, French, German and Spanish composers from the early 17th century until the modern age.

lmfl opera workshop

Conducting & Composition

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

Conducting with William Godfree

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 2014’s programme repertoire prior to coming to the course.

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

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

Valbonne - Location

The LMFL summer course is held at the Centre International de Valbonne, Sophia Antipolis, France.

valbonne

 

valbonne2

 

lmfl valbonne course view

Accommodation

lmfl valbonne course accommodationStudents wishing to live and board on the premises can do so at a very comprehensive rate.

Lodging is mostly in comfortable single rooms with ensuite bathrooms or in triple rooms with shared bathroom in a small building in the middle of the pine trees

We take unaccompanied students from 17 years old

Younger students must be accompanied by at least one parent- not by a sibling- exceptionally we can take younger unaccompanied students when we know them from previous courses

lmfl valbonne course poolThe campus possess a very large swimming pool and meals can be taken in situ.

Alternatively, can find your own accommodation.

 

Visas

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

How to get there

How to get to our Course in the CIV Valbonne Sophia Antipolis

The nearest Airport is Nice Côte d’Azur International

There are a large number of fights available that fly there

https://en.nice.aeroport.fr/Passengers/FLIGHT-INFO/More-than-100-destinations-from-Nice

then from Nice to Valbonne https://www.rome2rio.com/s/Nice-Airport-NCE/Valbonne

Valbonne 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.