The course

The 2nd International Study Week of Trecento Music will be held in the city of Arezzo from  August 20th  to  28th 2017: a specialized course in medieval music under the expert guidance of Kees Boeke (Ensemble Tetraktys, fiddle, recorder), Claudia Caffagni (Ensemble laReverdie, medieval lute, medieval notation), Jill Feldman (voice) and Claire Piganiol (medieval harps,  portative organ).

We offer courses in fourteenth-century musical notation, analysis and use of instrumentation, with special emphasis on the relationship between poetic text and music. On a practical level, courses are held for medieval ensembles including voice, medieval lute and harp, fiddle, organetto and recorders. The central theme of study will be the Squarcialupi Codex, now in the Biblioteca Medicea Laurenziana of Florence.

During the week, two of the world leading experts regarding the Trecento music - two scholars who have an extraordinary knowledge of the Squarcialupi Codex - will host a conference in musicology: Professor Francesco Zimei (Villa I Tatti - The Harvard University Center for Italian Renaissance Studies) and Professor John L. Nádas (University of North Carolina at Chapel Hill).

san_pier_piccolo
The Study Week of Trecento Music will take place in the Locanda di San Pier Piccolo, a former Benedictine monastery, in the heart of the city of Guido Monaco.

Repertoire

The course is conceived for all students who wish to deepen their understanding of medieval repertoire while developing their skills in performance. The choice this second year has fallen on the famous Squarcialupi Codex (Florence, Biblioteca Medicea Laurenziana, Med. Pal. 87), an illuminated manuscript compiled in Florence in the early 15th century. It is the single largest primary source of music of the 14th-century Italian Trecento (also known as the "Italian ars nova”).  

It derives its name from its possessor in the 15th century, organist of the Florentine cathedral, Antonio Squarcialupi (1416-1480). When and from whom he got the manuscript is unknown, and he was certainly not involved in its compilation. 

When we look at the opulent Florentine musical culture of the Trecento, one aspect is particularly striking: there are many direct documents, accounts, messages, poetry—but not the music itself. Our knowledge of the compositions is based on a manuscript that was written much later and from which certainly nobody ever performed. A manuscript at whose compilation only two of the composers represented in it, Andrea dei Servi and Paolo (tenorista) da Firenze, could have been present; a music manuscript, however, that belongs to the most lavish and precious that were ever produced.

The uniqueness of this copious manuscript lies not only in its overall lavish presentation, its precious miniatures and its generous use of gilding. More than anything, it possesses peculiarities that cannot be found in any other musical manuscript of the 14th and 15th centuries, and that shed a spectacular light on Florentine musical culture. It was most likely manufactured between 1410 and 1415 in the monastery of S. Maria degli Angeli, a convent that was founded around 1300 and for which Filippo Brunelleschi had started a new church around this same time. 

The vast Codex contains exclusively secular works (227 ballate, 115 madrigals, 12 cacce) by 14 composers that all worked permanently or at least intermittently in Florence. It is strictly arranged according to composer, and chronologically: the oldest, Giovanni da Cascia at the beginning, the youngest, Andrea de Florentia (dei Servi) at the end. The last section of the manuscript is dedicated to Jovannes Horganista de Florentia, but contains no entries.  

Although all Trecento repertoire is welcome in the course, we will mainly concentrate on Tuscan composers who were active principally in Florence, and we have made a representative selection of genres, composers and notational examples. We especially welcome already formed ensembles that are active in this field, but the course will give ample opportunities for new groups to be formed.

Excerpts

COMPOSERTITLE MS SQ 
Vincenzo da RiminiGià era ‘l sol38v
?-?In forma quasi36r
 Nell’aqua chiara36v-37r
Donato da FirenzeFaccia chi de’75v-76r
 fl. 1350-1370I’o perduto76v-77r
 Lucida pecorella73v-74r
 Senti tu d’amor72v-73r
Niccolò da PerugiaBenché partir92v
c.1350-c.1400Dappoi che’l sole82v-83r
 mentre che’l89r
 O sommo specchio94v-95r
 Passando con pensier85v-86r
 Rott’è la vela87v-88r
Bartolino da PadovaAlba colomba105v-106r
fl. c. 1365 – c. 1405El no me giova114v
 L’aurate chiome107v-108r
 Per un verde boschetto120v
 La fiera testa104v-105r
 Non corer troppo116r
 I bei senbianti102v-103r
 La doulse cere101v-102r
 Inperiale sedendo109-110
Egidius de FranciaAlta serena luce174r
?-?Mille mercede173v
Guglielmus de FranciaPiaccess’a Dio173v
?-?Tutta soletta174r

 

Sources

I-Fl: Firenze, Biblioteca Medicea-Laurenziana, Palatino 87 (Squarcialupi Codex)

I-Fn: Firenze, Biblioteca Nazionale Centrale, Panciatichiano 26

I-Fc MS D. 1175: Firenze, Biblioteca del Conservatorio di Musica Luigi Cherubini D 1175

I-Fsl MS 2211: Firenze, San Lorenzo, Archivio Capitolare 2211 [palimpsest]

I-IV-MS 115: Ivrea, Biblioteca Capitolare 115

I-Luc-MS 184: Lucca Archivio di Stato, Ms 184

I-PAas: Parma, Archivio di Stato, Raccolta Manoscritti, busta 75

V-CVbav-Rossi: Roma, Biblioteca Apostolica Vaticana, Rossi 215

V-CVbav-Ottob. lat. 1790: Roma, Biblioteca Apostolica Vaticana, Ottoboniano latino 1790

GB-Lo: London,  British Library, Additional 29987
F-PN-Pit: Paris, Biblioth
éque Nationale, fonds italien 568

http://gallica.bnf.fr/ark:/12148/btv1b84490281 

Ca. 1405-8 (GüntDM). Probably copied in Florence (ReaneyP); fascicles 6 and 8 copied in Lucca (GüntA)

F-PN-Reina: Paris, Bibliothéque Nationale, fonds nouv. acq. français 6771 (Reina Codex)

http://gallica.bnf.fr/ark:/12148/btv1b8449045j

F-CH-MS 564: Chantilly, Bibliothéque du Musée Condé 564

F-Sm: Strasbourg, Bibliothéque Municipale MS 222 C. 22 (lost)

CH-Bst: Basel, Staatsarchiv, Fragmente Klosterarchiv St. Clara Q 1

B-Gr: Gent, Rijksarchief, Varia D.3360°

Normal 0 false false false EN-US ZH-TW AR-SA

CZ-Pu: Praha, Universitni Knihovna, MS XI E 9

Teachers



Kees Boeke

Fiddle, recorder

    Claudia Caffagni

    Medieval lute, medieval notation

      Jill Feldman

      Voice

        Claire Piganiol

        Medieval harps, portative organ

          Kees Boeke

          Kees Boeke was born in Amsterdam. He studied recorder with Frans Brüggen and cello with Anner Bijlsma at the Royal Conservatory in The Hague. After graduating with honours in 1969, he founded the Quadro Hotteterre. He was also a member of Kees Otten’s Syntagma Musicum for many years and a cofounder of Sour Cream (1972), Little Consort Amsterdam (1978), and Mala Punica (1989). In 1970, Kees Boeke began his teaching activities in The Hague and at the Sweelinck Conservatorium in Amsterdam. Since 1990, he is Professor of Recorder and Early Music at the Hochschule für Musik und Theater in Zürich, Switzerland. In 2005, he was named full professor of Medieval and Renaissance Music studies at the Institut für Alte Musik in Trossingen, Germany. He has given seminars and master classes in recorder and early music around the world including the Deller Academy (Lacoste, France 1972-1982), Corsi Internazionali di Musica Antica (Urbino, Italy 1975-1982), Early Music Festival, Vancouver and has been artistic director of the International Early Music courses at San Floriano (Polcenigo, Italy 1983-1993). From 1989 on, he collaborated with the Accademia Musicale Chigiana in Siena, for whom he produced Ludovico da Viadana’s Vespers (Salmi a 4 cori, 1612) in 1994. In 1996, Kees Boeke began his work as musical director for the ensemble Cantica Symphonia with whom he has made recordings of the Motets by Costanzo Festa and Masses by Guillaume Dufay. He has been invited as guest conductor by the vocal and instrumental ensemble “L’Homme Armé” in Florence and by the ensemble Ars Nova Copenhagen for concerts in Holland, Belgium and Denmark. Over the years, he has collaborated with the Hilliard Ensemble in concerts and recordings of the music of Heinrich Isaac, Orlando di Lasso, and Philippe de Monte. Kees Boeke has recorded over 70 records and CD’s for Teldec, Das Alte Werk, EMI, RCA, Nuova Era, Channel Classics, Arcana, Symphonia, Attacca, Erato, Philips, Stradivarius, Glossa, Mirare and his own label Olive Music. In the realm of contemporary music, Kees Boeke forms an electronic recorder duo, Duix, with Antonio Politano. The ensemble specializes in performance on bass recorders, with emphasis on new music by Italian composers. Kees Boeke is himself an active composer (Donemus, Amsterdam, Sheetmusicnow.com ) and editor of early and contemporary music (Zen-On, Tokyo; Schott, London). Since 2001 he has worked closely with Professor Laurenz Lütteken (University of Zurich) in projects and seminars in the field of Medieval, Renaissance and Baroque music. In 2003, he started his CD label Olive Music, along with his wife, singer Jill Feldman. In addition, the two founded a new ensemble "Tetraktys" for medieval music. The Tetraktys programs include, among other things, the Trecento, Chansons by Dufay and contemporaries, the Squarcialupi Codex, the complete recording of the Chantilly Codex, works of Ciconia, sacred and secular works by Matteo da Perugia, the Songbook of Johannes Heer etc. Since 1980 Kees Boeke lives in Tuscany, where he produces extra virgin olive oil.

          Claudia Caffagni

          claudia Budapest 2015Claudia Caffagni was born in Bologna into a musical family. She started studying the lute with her father Mirco at the age of thirteen and later with Federico Manicola. From the beginning of her musical education, she has held a deep interest in problems of performance practice in repertoire that covers the wide range of early music from the Middle Ages to the Baroque.

          She obtained her diploma in Lute performance in 1989 at the Royal College of Music in London, where she studied with Jakob Lindberg. She then specialized in German baroque lute repertoire for a year at the Schola Cantorum Basiliensis with Hopkinson Smith. Apart from her practical studies, she became particularly interested in the sources, notation and treatises of medieval repertoire especially. In 1984, she founded her Ensemble LaReverdie, one of the most important groups internationally active in the reconstitution of pre-renaissance music. With this ensemble she has performed at the most prestigious festivals of all Europe. She has recorded sixteen CDs for ARCANA, in co-production with WDR. All CDs have obtained prizes including the Diapason d’Or de l’Année 1993, and "Finalist" in the 2010 and 2013 Midem Classical Awards, Early Music.

          In 1995 she obtained a master (with honours) in Architecture at the Istituto Universitario di Architettura di Venezia, with a thesis entitled: "Il temperamento in musica e in architettura: "La Schola Riccatiana" (Fidia Edizioni d’Arte, Milano-Lugano, 2011). This thesis was published by the editor Leo Olschki for her lecture for the Fondazione Cini di Venezia in 2010, dedicated to Giordano Riccati.

          She recently published an article entitled "Omaggio a Johannes Ciconia. Marce Marcum imitaris: un modello per i mottetti di Ciconia" for the magazine Marcinum, 2012. A new article will come entitled "A new edition of the Italian Trecento motet Marce, Marcum imitaris" for the Journal of the Alamire Foundation.

          To celebrate the twentieth anniversary of the Ensemble LaReverdie (1986-2006) she prepared a new critical performing edition of Guillaume Du Fay's Missa Sancti Jacobi, directly transcribing the Mass from its main manuscript source, the Codex Q15 from the Bologna, Civico Museo Bibliografico Library. It was presented in 2014 for the "Premio Luigi Gaiatto" promoted by the Fondazione Ugo e Olga Levi where it received an honorable mention.

          Claudia has been a teacher of Early Music performance practice at the Conservatory "G. Tartini" in Trieste and has held seminars and courses in lute and medieval music in Italy and abroad. Since 2005 she has taught international early music courses in Urbino, Parma, at the Accademia Internazionale di Musica (Scuola Civica) in Milan. From 2007-2015 she has taught medieval and renaissance notation as well as plectrum lute at the Department for Medieval and Renaissance Music at the University of Music in Trossingen.

          Jill Feldman

          Jill
          Jill Feldman teaches at the Zürcher Hochschule der Künste, the Royal Conservatory Den Haag, and regularly holds master classes and workshops for the Amici della Musica of Florence, for the Academia de Musica Antiga de Lisboa, the International Early Music Seminar - Tel Aviv, at the IYAP of Antwerp, in Japan and South Korea.

          She studied singing with Lillian Loran in San Francisco and graduated from the University of California at Santa Barbara. Later she specialized in the field of early music in Basel under the guidance of Andrea Von Ramm.

          She made her debut in three major productions: Monteverdi's Orfeo in Berkeley, California, the Erismena by Cavalli at the Festival dei Due Mondi in Spoleto, and the highly successful Ordo Virtutum of Hildegard von Bingen with the medieval group Sequentia.
          From 1981 to 1986, Jill Feldman has sung with William Christie and Les Arts Florissants. With this ensemble, she recorded twelve albums including Marc Antoine Charpentier’s opera Médée in the title role, which received the Gramophone Award (London), Prix Charles Cros (Paris) and the Grand Prix du Disque (Montreux) in 1985 . Since then, she has taken part in over fifty recordings.

          In 2003 she founded the record label Olive Music with her husband, Kees Boeke , for which they have recorded four medieval programs: Trecento (from Machaut to Ciconia), Chansons by Guillaume Dufay, O tu cara sciença mie musica (Squarcialupi Codex) and Chantilly Codex; Consort Songs by William Byrd and his contemporaries, Leçons de ténèbres by Charpentier, Delalande, Couperin, and "Songs" by Charles Ives.

          Jill Feldman was invited by conductors such as Frans Brüggen (Die Schöpfung by Haydn), Andrew Parrot (Carmelite Vespers Handel), Jordi Savall (Motetti of Delalande), Nicholas McGegan (the cantata Tirsi Clori and Fileno and Handel's oratorium Susanna) and Rene Jacobs (l’Orontea by Cesti and Xerse by Cavalli). She has performed the role of Armida in Stradella’s Lo schiavo liberato at the Teatro di Modena and the role of Vita in La Vita Humana by Marrazzoli at the Tramway in Glasgow .In the field of contemporary music, she collaborated with the ensemble Duix with which she gave concerts at the Villa Medici in Rome, Santa Maria della Grazia in Milan, Cuenca in Spain and at the Ysbreker Festival in Amsterdam.

          Claire Piganiol

          Claire

          After starting her musical education on the piano, Claire Piganiol studied recorder and modern harp in the Conservatoire de la Vallée de Chevreuse near Paris (France), where she also discovered historical harps during the course of her studies. Her fascination for these rarely played instruments led her to musical studies in Milano, Toulouse and Basel, where she obtained a Master in early harps in 2012.

          A Master in instruments from the Middle Ages and the Renaissance directed by Kees Boeke at the Musikhochschule Trossingen allowed her to specialize in this repertoire. Academic studies in history and in musicology (Maîtrise in Université Paris-Sorbonne, France) gave her the opportunity to start research work on the iconography, organology and playing techniques of her instruments.

          Claire participates in several ensembles in France and abroad: ensembles Roselis, Isabella, Tetraktys, Gilles Binchois, Les Riches Heures, Centre de musique baroque de Versailles, I Ragazzari, Celacanto, Kesselberg…

          She has performed at various venues, such as the festivals Oude Muziek Utrecht, Les Riches Heures Musicales de Simiane-la-Rotonde, Festival de Musique Ancienne d’Urbino, Wunderkammer Trieste, Festival de Davos, Festtage Basel, Festival International de Musiques Sacrées de Fribourg, Musiksommer am Zürichsee; the Opera of Lille, Luzerner Theater, Semperoper Dresden; castle of Versailles, Museum of the Middle Ages in Paris and in the Einsiedeln monastery. The Ensemble Duvinsela, with whom she plays the double harp, has won the first prize of the Biagio Marini competition in August 2014.

          She is professor of historical harps at the CNR of Besançon and regularly leads introductory courses and workshops for early instruments; she is a member of the faculty of the International Course of Medieval Music Performance in Besalú, Spain, and the Laboratory for Historical Harps in Rangendingen, Germany.

          Schedule

          Arrival: Sunday, August 20 afternoon

          6.30 pm: Opening meeting between professors and students

          8 pm: dinner with everybody in the restaurant of the Locanda, followed by directions for the course

           

          Monday 21

          8 am: collective breakfast

          9 am: Claudia Caffagni group lesson: Trecento Notation 1 (for all participants)

          10 am: Kees Boeke group lesson: How to address a Trecento song (text, musica ficta, instrumentation - for all participants)

          11am-12 am: Jill Feldman/Claire Piganiol Vocal masterclass (singers and instrumentalists)

          12am-1pm: Individual lessons singers and instrumentalists

          1.15 pm: collective lunch in the Locanda 

          2.30 pm: practice and rehearsals

          3.30 pm: Trecento notation 2 (advanced )

          4.30 pm-7 pm: Ensemble coaching

          7.30 pm: Concertino/Dinner music by students of the course (in the Locanda cloister)

           

          Tuesday 22

          8 am: collective breakfast

          9 am: Claudia Caffagni group lesson: Trecento Notation 1 (for all participants)

          10 am: Kees Boeke group lesson: How to address a Trecento song (text, musica ficta, instrumentation - for all participants)

          11am-12 am: Jill Feldman/Claire Piganiol /Vocal masterclass (singers and instrumentalists)

          12am-1pm: Individual lessons singers and instrumentalists

          1.15 pm: collective lunch in the Locanda 

          2.30 pm: practice and rehearsals

          3.30 pm: Trecento notation 2 (advanced)

          4.30 pm-7 pm: Ensemble coaching

          7.30 pm: Concertino/Dinner music by students of the course (in the Locanda cloister)

           

          Wednesday 23

          8 am: collective breakfast

          9 am: Claudia Caffagni group lesson: Trecento Notation 1 (for all participants)

          10 am: Kees Boeke group lesson: How to address a Trecento song (text, musica ficta, instrumentation - for all participants)

          11am-12 am: Jill Feldman/Claire Piganiol Vocal masterclass (singers and instrumentalists)

          12am-1pm: Individual lessons singers and instrumentalists

          1.15 pm: collective lunch in the Locanda 

          2.30 pm: practice and rehearsals

          3.30 pm: Trecento notation 2 (advanced)

          4.30 pm-7 pm: Ensemble coaching

          7.30 pm: Concertino/Dinner music by students of the course (in the Locanda cloister)

           

          Thursday 24

          Lesson free day

          Art tour of Arezzo, guided visit of the Piero della Francesca fresco cycle by Machtelt Brüggen Israels, and musicology lectures on the Squarcialupi Codex by Francesco Zimei (Villa I Tatti - The Harvard University Center for Italian Renaissance Studies) and John L. Nàdal (University of North Carolina at Chapel Hill).

          Possibility for practice and rehearsals

           

          Friday 25

          8 am: collective breakfast

          9 am: Claudia Caffagni group lesson: Trecento Notation 1 (for all participants)

          10 am: Kees Boeke group lesson: How to address a Trecento song (text, musica ficta, instrumentation - for all participants)

          11am-12 am: Jill Feldman/Claire Piganiol Vocal masterclass  (singers and instrumentalists)

          12am-1pm: Individual lessons singers and instrumentalists

          1.15 pm: collective lunch in the Locanda 

          2.30 pm: practice and rehearsals

          3.30 pm: Trecento notation 2 (advanced)

          4.30 pm-7 pm: Ensemble coaching

          7.30 pm: Concertino/Dinner music by students of the course (in the Locanda cloister)

           

          Saturday 26

          8 am: collective breakfast

          9 am: Claudia Caffagni group lesson: Trecento Notation 1 (for all participants)

          10 am: Kees Boeke group lesson: How to address a Trecento song (text, musica ficta, instrumentation - for all participants)

          11am-12 am: Jill Feldman/Claire Piganiol Vocal masterclass (singers and instrumentalists)

          12am-1pm: Individual lessons singers and instrumentalists

          1.15 pm: collective lunch in the Locanda 

          2.30 pm: practice and rehearsals

          3.30 pm: Trecento notation 2 (advanced)

          4.30 pm-7 pm: Ensemble coaching

          7.30 pm: Concertino/Dinner music by students of the course (in the Locanda cloister)

           

          Sunday 27

          8 am: collective breakfast

          9 am: Claudia Caffagni group lesson: Trecento Notation 1 (for all participants)

          10 am: Kees Boeke group lesson: How to address a Trecento song (text, musica ficta, instrumentation - for all participants)

          11am-12 am: Jill Feldman/Claire Piganiol Vocal masterclass (singers and instrumentalists)

          12am-1pm: Individual lessons singers and instrumentalists

          3pm-6pm: General rehearsals for final concert

          7pm: Final Concert

          Collective dinner after the Concert 

           

          Monday 28 morning: departure

          Arezzo

          A city of ancient origin, Arezzo became an important Etruscan and Roman center, home of the Christian diocese as early as the fourth century. It was occupied by the Lombards in the late sixth century A.D. and strongly influenced by this population.
          In the Middle Ages Arezzo became a powerful free city, often governed by its bishops, who were Counts of the Holy Roman Empire. It was at war with Siena, but especially with Florence, who subdued the city in 1384. Since this date, except for two extended rebellions in 1502 and 1529 to 1530, its history merges with that of the dominant city and then with that of Tuscany.
          The present historical center retains all the charm of the illustrious past, and its monuments are enriched by the works of great medieval and Renaissance artists, such as Cimabue, Piero della Francesca, Andrea della Robbia and Giorgio Vasari.
          Arezzo, the birthplace of Guido d'Arezzo as well as of the great poet Francesco Petrarca, is also internationally known as the natural stage for a famous movie: the most beautiful sights of its historical area have been used as the setting of some scenes in Roberto Benigni's film "La Vita è bella”, winner of three Academy awards in 1999.
          Modern and industrious Arezzo is a city of art of the past and present, where the ancient flavours of the cuisine go hand in hand with quality artisanship in the goldsmith tradition.
          Arezzo, the city of the Saracen Joust, the Antique Fair, and the "Guido d'Arezzo" International Choral Competition.
          Arezzo, a gem set among the rolling Tuscan hills and the birthplace of famous personalities: as the distinguished Italian poet Giosuè Carducci said: "Arezzo would be enough to illustrate the glory of Italy".

          Events in Arezzo August-September 2017

          Source: www.arezzoturismo.it

          Events

          polifonicoCHORAL COMPETITION "Guido d'Arezzo"
          August 2017

          The choral competition Guido d'Arezzo had its first edition in 1952. The competition is named after Guido Monaco, famous citizen of Arezzo and the father of modern musical notation that is still in use today. Currently the event consists of a National and an International Competition. The international competition is part of the European Grand Prix for Choral Singing along with choral competitions in Maribor (Slovenia), Debrecen (Hungary), Tours (France), Varna (Bulgaria) and Toulouse (Spain). The winning choir of the National Competition has the right to participate in the International Competition the following year. The winner of the International Competition "Guido d’Arezzo” has the right to participate in the European Grand Prix for Choral Singing, contending with the winners of the six other international choral competitions for the prestigious global title.

          Source: Wikipedia

           

          fiera_antiquariaANTIQUE FAIR

          The Antique Fair of Arezzo, which takes place every first Saturday and Sunday of the month, is the largest in Italy, with over 500 exhibitors. Born in 1968, it is now the best known and frequented in Italy. Here visitors can take a dive in the past, allowing them the pleasure of discovering an impressive variety of objects from various eras. Every edition of the fair counts on average twenty thousand visitors: collectors, antique dealers, tourists or just curious by-passers, take a stimulating outdoor walk through the stalls on display in the most characteristic locations of the historical center. Here you will find anything: furniture, old books, paintings, ceramics, art hardware, art Nouveau windows, antique scientific and professional instruments, watches, silver, jewelry, lace, collections of various kinds, art deco objects and finally modern antiques and various objects. Anyone, Italian or foreign, who has visited the fiera, brings home an unforgettable memory of our city. It really is an event not to be missed!

           

          saracinoTHE "GIOSTRA DEL SARACINO"
          September 3rd 2017

          The Giostra del Saracino is the most compelling and characteristic folk show of Arezzo. The Joust involves representatives of the city's quarters, dressed in magnificent medieval costumes. The four districts are distinguished by different colours: red-green for Porta Crocifera; white-green for Porta S. Andrea ; yellow-blue the Porta S. Spirito ; yellow-crimson the Porta del Foro . After a colorful procession in the streets and city squares, all come together in a packed Piazza Grande in a colorful procession of musicians, flag bearers, horses, knights and damsels, to watch the spectacular display of the Flag-Wavers, which anticipates the beginning of real Joust itself. From the bottom of the square, while the drums roll, the giostratore forces his horse into gallop and with his spear he strikes the 'Saracen', the shape of Buratto holding the flail, which shows the score. After the eight established runs, a ranking is fixed , and the winning district is given a golden spear.

          Source: www.arezzoturismo.it

           

          Info


          The course is limited to 24 students, on a first come first serve basis. In the case that inscriptions exceed the number of available places, a selection will be made on the basis of the obligatory curriculum vitae that must be attached to the entry form. You will be informed as soon as possible if you are accepted or rejected.

          The registration fee is € 750.00 and includes:
          - Lessons with teachers of the courses of your choice;
          - Accommodation (8 nights) in double, triple or single room (depending on availability) with half board (breakfast, 2 dinners and 6 lunches) at the Locanda di San Pier Piccolo, the location of the courses.

          For groups of at least 3 people who apply for registration at the same time, a reduction of 50 € per person is provided.
          For students wishing to arrange their own board and accommodation, the cost of only the course only is 390 €, but we do not recommend this solution.
          Half of the total amount (375 €) must be paid by bank transfer when applying, and the balance must be paid in cash at the beginning of the course.

          Bank transfers mentioning “Settimana Musicale del Trecento” should be made to the following account:

          Olive Music v.o.f.
          Triodos Bank
          IBAN NL75 TRIO 0390478784
          BIC TRIONL2U

          The application forms must be submitted no later than July 1, 2017 using the online application form. Acceptance is on a first come first serve basis, so it is better not to be too late! The application must be accompanied by the Curriculum vitae of the student in pdf format: you can upload the CV immediately after submission of the application or by clicking on this link. If appropriate, specify in the application form the names of other members of your ensemble (in order to obtain a price reduction). The application will be considered complete and therefore definitively accepted ONLY AFTER RECEIPT OF PAYMENT OF DEPOSIT (half of the total fee, € 375) by bank transfer mentioning “Settimana Musicale del Trecento” to the account below.

          Olive Music v.o.f.
          Triodos Bank
          IBAN NL75 TRIO 0390478784
          BIC TRIONL2U

          Applications must be received no later than July 1st 2017. Confirmation of acceptance or rejection will be given as soon as possible. In case of a negative response, the fee will be refunded in full or, on request, the application will be placed on a waiting list (and refunded later if no free places become available). In the case of cancellation on the part of the student received before August 1st, the registration fee for enrollment will be refunded, withholding € 50 to cover administrative expenses; for cancellations after August 1st, you can no longer obtain a refund.

          The Locanda di San Pier Piccolo occupies the rooms and space of an ancient convent which until 1387 was ruled by the Benedictine Order. The building as well as the homonymous church next to it, were taken over by the Padri Serviti who remained there until our days. Today the inn is a completely renovated charming complex in the historic center of Arezzo, a welcoming facility organized for a comfortable and memorable stay.
          Bright and airy rooms with frescoed walls are available on two different floors, all equipped with WI-FI, telephone and TV.
          On the first floor of the Locanda is the restaurant where one can enjoy all the delights of the Tuscan cuisine.
          The Locanda on Google Maps: https://goo.gl/maps/43H2Fg3A6m32


          Arezzo is located in Tuscany, on the border of Marche and Umbria, well connected to the main airports in the region (Pisa and Florence) and the adjacent regions (Perugia).

          By Car: Arezzo can be reached by car from Florence or Rome via the Autostrada del Sole (A1 Milan-Naples) exit at Arezzo. From here it is about 10 km to reach the city center. Follow the indications for Parcheggio Pietri.
          To reach the locanda San Pier Piccolo from Parcheggio Pietri: https://goo.gl/maps/i5DvMRyPn9A2

          By Train: the Arezzo train station is on the Bologna-Rome railway line. There are daily Intercity trains to/from Florence, Rome and the rest of Italy. The TFT (Trasporto Ferroviario Toscano), operates the lines for Arezzo-Sinalunga and Arezzo-Stia.
          To reach the locanda San Pier Piccolo from train station: https://goo.gl/maps/C47rLm6Wgss

          By Bus: Arezzo is connected to the Valdichiana, Valtiberina, Pratomagno, Casentino and Valdarno, a network run by bus companies ATAM, LFI and SITA.

          From the Florence Peretola -Airport Amerigo Vespucci
          By car: take the Highway A1 direction Roma, exit Arezzo;
          By train: Shuttle (6 €) or taxi (21 €) from the airport to Santa Maria Novella station. From there take the train in the direction of Arezzo, Chiusi, Foligno or Rome (excluding EuroStar).

          From Pisa airport Galileo Galilei
          by car: take the A11 motorway up to Florence and then the A1 up to Arezzo;
          by train: take bus to station Pisa Centrale, then the train to Florence Santa Maria Novella, and from here, take trains direction Arezzo, Chiusi, Foligno or Rome (excluding EuroStar).

          Distances from Arezzo: Cortona 29 km; Florence 74 km; Siena 89 km; Perugia 92 km; Roma 218 km.

          Enrollment

           

          To submit your application please complete the following form by July 1st, 2017.

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          Contacts


          Eleonora Nardone eleonora@settimanamusicaledeltrecento.it
          Kees Boeke kees@settimanamusicaledeltrecento.it tel. +39 333 5001624
          Jill Feldman jill@settimanamusicaledeltrecento.it tel. +39 333 5029039
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