Gunar Letzbor (Austria)

Baroque Violin


Studied composition, conducting and violin in Linz, Salzburg and Cologne. His encounters with Nicolaus Harnoncourt and Reinhard Goebel ignited a deep passion for period instruments and performance practice, leading to extensive co-operation with Musica Antiqua Köln, the Clemencic Consort, La Folia Salzburg, Armonico Tributo Basel and the Wiener Akademie. In 1995 he founded his own ensemble, Ars Antiqua Austria, an instrumental ensemble of varying size, dedicated particularly to the exploration of the rich, but neglected, Baroque repertoire of Central Europe. The outcome of this voyage have been not only the unexpected discovery of musical masterpieces, but also shaping of unique, central-European instrumental sound, often deeply spiritually inspired. As a soloist and with Ars Antiqua Austria, he has made numerous recordings (including several world premieres), featuring works by Mozart, Bach, Biber, Muffat, Aufschnaiter, Viviani, Schmelzer, Weichlein, Vejvanovsky, Vilsmayr and Conti. Many of these CDs have received important record awards, including the Cannes Classical Award and Amadeus' Disco dell'Anno.

http://www.ars-antiqua-austria.com

About the class:

“Sei Solo a Violino senza Basso accompaganto” by Johann Sebastian Bach stand at the end of the development of violin-playing technique, which enabled nearly unlimited polyphonic violin playing. This was anticipated by the virtuoso lute playing and by the attempts of the violinists to enrich the sound capacities of the instrument by chordal playing of dance music. Biber’s Guardian Angel Sonata and Westhoff’s Six Suites are the first compositions without basso continuo accompaniment. These composers based their music on the techniques already proven in accompanied works. Yet, there was a new task: incorporating of the bass in the violin part. Vilsmayr described this quite clearly in the title of his Partitas: “Artificiosus Concentus pro Camera, distributus in Sex Partes, seu Partias a Violino Solo con Basso belle imitante.”

The class will focus on bowing technique, as well as stop playing and specialities of the left-hand technique. In general, every composition that requires multiple stop or polyphonic violin playing may be performed.

8:45-9:30: "Meeting with Bach": Gunar Letzbor plays BWV 1001-1006 "Sei Solo"

9:30-10:20: "Together": technic class for all active participants.

Private lessons:
10:20-10:55
10:55-11:30
11:30-12:05
12:05-12:10

Lunch

16.15-16.50
16.50-17.25
17.25-18.00
18.00-18.35

Dinner

19:15-19.50


Suggested repertoire:

  1. A. Corelli: Sonate
  2. C. A. Lonati: XII Sonate a Violino Solo e Basso (Salzburg, Milano 1701 // ed. SPES)
  3. J. P. Westhoff: Sechs Suiten für Violine solo (Dresden 1696 // ed. Peters)
  4. J. J. Vilsmayr: 6 Partitas (Salzburg 1715 // Facsimile ed. Rhapsody)
  5. H. I. F. Biber: Mystery Sonate, Sonatae a violino solo, 1681
  6. J. S. Bach: Sei Solo (ed. SPES)
  7. G. Ph. Telemann: Fantasie per il Violino senza Basso (ed. Walhall)

Maximum number of students: 8


Teaching languages: German, English, Italian, Russian.


CLASS IS FULL!


aktivní účastníci / active participants

  1. Dana Jašíková
  2. Marta Ptáčková
  3. Daniel Podroužek
  4. Magdaléna Ptáčková
  5. Josefína Matyášová
  6. Anna Jeklová
  7. Madoka Nakamaru
  8. Jana Lejčková (pasivní)
  9. Martina Quaresima
  10. Blanka Karnetová
(c) Společnost pro starou hudbu (ČR) – webmaster: Martin Šmíd (martinsmid(zavináč)volny.cz)