MARTUCCI SALERNO STATE CONSERVATOIRE

                                      the Higher Education on the Amalfi Coast

                                      Photo by Reinhard Schweiger

Interesting links for incomings

concerts

Anders Mogensen in concert

http://www.andersmogensen.dk/

Jazz

April 15 2010 at 20:30

G. Martucci Conservatoire

Corinna Bottiglieri Hall

Final Soirée of the 10th Vietri sul Mare - Amalfi Coast

International Piano Competition

april 17 2010 at 19:30

Salerno Opera House

Upcoming Masterclasses

June 2010

concert: June 29 2010 at 20:30 Casino Sociale featuring music by Debussy and Ravel

masterclass: June 26-28

Anders Mogensen

http://www.andersmogensen.dk/

Drums

April 14-15 2010

Since he entered the Danish jazz scene at the beginning of the 90s Anders Mogensen has been one of the most sought musicians in the international field. Born in 1969 in western Jutland in the cultural city of Holstebro, Anders began to study music at his tender age. In 1990 he enters the Berklee College of Music where he meets incredible talents like Antonio Hart, Kurt Rosenwinkle, Matthew Garrison, Larry Grenadier, Joshua Redman, Jorge Rossy, Scott Kinsey, Matthew Moran, Hilmar Jensson and Jim Black. In 1991 he enters the Rhythmic Conservatory of Copenhagen
Very soon he becomes one of the most sought drummers of Copenhagen and founds some of the most influential avant garde groups of the Danish Jazz community like: Copenhagen Art Ensemble, When Granny Sleeps, Jacob Anderskov Trio and Kasper Tranberg Yakuza Zhuffle. From 1990 till now Mogensen has recorded with several internationally renowned artists like Brecker Brothers, Bob Berg, Gary Thomas, Rick Margitza, Steve Swallow, Michael Formanek, Marc Johnson, Tim To drink some, Tim Hagans, Niels Lan Doky, Chris Minh Doky, Django Bates, Lew Soloff and Herb Robertson. Mogensen teaches at Odense Academy of Music.

see the complete list of Masterclasses

Videos

NEWS

Arno Bornkamp the Genius of Saxophone in Salerno

Arno Bornkamp needs no introduction: widely considered the greatest living saxophone virtuoso, he is recognized by world leading experts and music critics as the greatest interpreter and teacher of this instrument.

Bornkamp has explored all the saxophone literature both original and transcribed contributing also to increase it because many contemporary composers have written for him. What we did not know is the passionate dedication with which he approached each student by raising in a very short time both their technical and interpretative level, as well evidenced by the videos, almost they always had been his students.

The splendid Casino Sociale halls were the backdrop to this most historic event of great importance to Salerno. We all hope is the beginning of a new era where the cultural reality of the city comes into permanent contact with the world's largest schools of interpretation.

These days we have witnessed one of the most beautiful pages of Salerno musical history. The passion and wonder filled with gratitude of the students, almost incredulous in the face of such a wealth of experience that was bestowed them with the depth and simplicity that only geniuses can give and Bornkamp's words to the students and the city of Salerno in his interview were the best satisfaction that has repaid us for the efforts to organize this event.

See Arno Bornkamp's masterclass on SalernoConservatoire's Channel

Interview with Arkadij Zenzipér

Music as an inner experience and search for truth

From April 20 to 22 2010 at Giuseppe Martucci Salerno Conservatoire the piano interpretation seminar held by Arkadij Zenzipér, performer and lecturer at Hochschule für Musik "Carl Maria von Weber" in Dresden (Germany) has taken place. The masterclass, ended the last day evening with a concert of the course participants at Casino Sociale, was organized by Francesco Paolone, International Relations coordinator at Salerno Conservatoire, under the supervision of Fulvio Maffia, Martucci Conservatoire director
Zenziper, Russian-born and German by adoption, had already taken last year a piano specialization course in Salerno and this year he wanted to repeat the experience, having participated the days in the "Vietri sul Mare - Amalfi Coast International Piano Competition"as member of the jury. Enthusiastic the Martucci students which could be guided by a luminary of international pianism.

Regarding music education, do you believe there are significant differences between the teaching method used in your countries and what you found here in Italy ?

I think that beyond the differences that may exist among the various piano schools, in music the aim is one and the same: come to make good music. The truth is always unique, and is always something obvious, clear, plain, of course, then there are always aspects of truth, the various points of view on the truth. In music is the same: there is only one truth, even if each school focuses on this or that particular music aspect. But again, the ultimate goal, the purpose, the target is always the same for everyone. Think of Vietri Piano Competition: The Commission which I served consisted of musicians from all over the world, coming from various countries and therefore different piano schools, but we always agree on everything, we were different people but with a single mentality and sensibility. I was fine with all my foreigner fellows, we realized to have the same ideas on the aesthetics of music, in short, a substantial unity of thinling on music. I believe that actually there is no or Spanish method, Russian method or Italian method, but there are only individual teachers, each with his specific musical personality and his cultural background.

Then please speak on your personal teaching method.

I can not answer this question. My personal method is too complex to be explained in few words. Also I never speak of my method of teaching piano, but I let others to talk about it. For example, in Germany for a long time Professor Grimmer has attended and filmed my lectures, and later she wrote a book on me and my method . I can only say I try to help my students in finding their personal road to music, to find truth within themselves. I am just a man trying to help people find their way with the help of music. I believe that music can heal people, can help them come true, music will definitely help you find purpose in life: music can be a perfect self-therapy. In this way Glenn Gould conceived music.

Is there any composer that embodies this idea of music ?

Yes, for example Shostakovich. Shostakovich's music is very therapeutic. His music is truth can pierce the veil of illusion and reaching deep, beyond appearances, speaking directly to people's hearts. Shostakovich's music has in some ways similarities with the Italian neo-realism, such as the cinema of Fellini and Visconti. It's ' pure truth, without illusions.

How much is important for a pianist technique and sound ?

Technique and sound are not two separate elements but are the same. There is no technique and sound separately, but there is a sound technique. technique does not exist without sound. technique is sound. For example, typing is a technique in its pure state. Playing the piano, however, is a technique inseparable from its musical and sound consequences, which are linked to this technique. All good teachers work in sound, work to achieve sound through technique. Even virtuosity must always be tied to sound: I think the best example of pianist able to marry to perfection technical virtuosity and sound nuances is Walter Gieseking. His performances of Ravel are wonderful, his ability to produce music is phenomenal. Another example, as executor, is Rachmaninov, for the culture of singing and beautiful sound. "

During your lecture on Chopin, you invited the young pianist to relax, breathe deeply, watching the sea, to seek inspiration, to carve out a moment of spirituality. How important is spirituality to be able to make good music and engage the listener emotionally ?

The question is individual. This is a personal search for inner peace, balance, harmony. If you are unable to reach this condition, it is impossible to play. The problem of the performer, who plays in public, is to find a complete and unshakable stability, a total inner peace. A pianist is a musician but also an artist. Every good pianist must have inner peace, passion for music, good technique and especially ability to bring out sound from the piano keys. The pianist is an intermediary between the composer and the public: must get music from the score and art from the notes.

Your wife is a pianist, you played often together. How is your artistic relationship ?

We play always. Three or four times a year we perform in four hands or two piano concerts. I also play with other pianists, but with my wife it's obviously very much different and more exciting. It is also fun because we often argue about musical matters.

Lorenzo De Donato

2010 Erasmus call for applications Presentation

on February 9 2010 at 11:00 in the external room an informative meeting on 2010 Erasmus call for applications has taken place coordinated by Prof. Francesco Paolone and student Angelo Gregorio. Very interesting the live video conference from Brussels of our students engaged in the Royal conservatoire: they've answered in real time all the questions from their colleagues in Salerno.

An official visit

on February 5 2010 Hans-Peter Hoffmann International Relations Coordinator at Hochschule für Musik Franz Liszt of Weimar has made an official visit to our conservatoire and congratulated us for the job we are doing.

Erasmus student meeting

on Monday December 28 2009 starting at 10:30 in the external room an Erasmus meeting has taken place for all the students interensted in the Erasmus Programme: the meeting has been attended also by students coming back to Italy from Europe for Christmas holidays and by the new outgoings to European Academies.

International Relations Coordinator Prof. Francesco Paolone and student Angelo Gregorio, member of Salerno AEGEE european student association have answered all the questions.

It was also an occasion for exchanging experiences, asking for questions and getting things clear in head drinking something together.

Salerno conservatoire on top of Europe

the 2009 International Relations coordinators Meetiing organized by Association Européenne des conservatoires has taken place in Bucharest on September 11-12 2009. Salerno conservatoire has been represented by International Relations coordinator Prof. Francesco Paolone who has taken a conference on Erasmus Placements talking also about our outgoing students: our conservatoire is one of the first in Europe for Placements and involved students.

Download the slides in support of the conference

Martin Prchal, AEC Questionnaire about ERASMUS Activities 2008-2009 in Presentations IRC meeting 2009, Bucharest, 2009 Association Européenne des Conservatoires

A welcome visit

on July has visited us Jan D'haene, higly regarded and dynamic International Relations coordinator at Brussels Royal conservatoire.
It was the occasion for consolidating our relations and programming activities for the future.
Authentic fleming, pianist and counterpoint teacher, D'haene loves our country where he spends every year his holidays: he audited pupil lessons at our conservatoire, visited Ravello Festival and has been guest at Giffoni Film Festival where he also attended to our students concerts.

Giffoni International Film Festival

http://www.giffoniff.it/

Bach cello suites

only the great performers can allow themselves to present in public a program entirely devoted to Bach: one of them is Michael Flaksman world famous american cellist who has performed in concert on June 6 2009 the suites 1, 2 and 3. Flaksman then wanted to take a masterclass for our students.

El trombonista del sur

Celestino Luna Manso is not the typical spanish musician: formed at the rigorous London school he could refine his technique putting it to use in the typicallly Iberian expressiveness: he came to visit us with pianist Pedro Gavilán presenting on May 17 2009 a concert for trombone and piano and then 2 masterclasses: trombone and chamber music

Alain Galliari: the prestigious french musicology school at our Institution

It doesn't happen very often to attend to a conference making new contributions and perspectives to the international musicology research field. Just what has come true at our Institution with Alain Galliari: the Parisian musicologist, Director of Médiathèque Musicale Mahler and author of Anton von Webern published by Fayard, has preferred us for presenting on May 4 2009 his not yet published work on the Second Viennese School.

the Great Jazz Music in Salerno with Manfred Bründl

the International Jazz workshop has taken place on April 20-26 2009 with Manfred Bründl, teacher at Liszt Weimar Academy: the Kontrabass guru, internationally renowned fine composer and soloist, has carried out a top level masterclass at teatro delle arti with the enthusiastic participation of many students from the Jazz Department. Involvement and interest were so high also Salerno Jazz teachers wanted to share in the final concert.

click here to see the concert

http://www.youtube.com/watch?v=Gs932BE5i6w

Arkadi Zenzipér the last of the romantics

see the complete list of Masterclasses

ANNOUNCEMENTS

We are searching students for Erasmus Work Placements:

Instrumentalists for our orchestra

Piano Accompanists to help in Instrument courses and Chamber Music courses

Cello students to help in our Orchestra and Chamber Music courses

Viola students to help in Orchestra and Chamber Music courses

Violin students to help in Orchestra and Chamber Music courses

Bassoon students to help in Orchestra and Chamber Music courses

Placement applications for other subjects will be valued

we are partner of Ravello Festival and Giffoni International Film Festival:
the best students will perform at Ravello Oscar Niemeyer Auditorium and Giffoni International Film Festival

STUDY AND PROGRAMMES

UNDERGRADUATE

FIRST CYCLE (Bachelor) 3 years

Degrees:

BASSOON
CHOIR CONDUCTING
CLARINET
COMPOSITION
CONDUCTING
EARLY MUSIC
ELECTRONIC MUSIC
FLUTE
GUITAR
HARP
HORN
INSTRUMENTATION FOR BAND
JAZZ AND IMPROVISATION
MUSIC ON MULTIMEDIA
MUSICOLOGY (courses in the following areas: musicology, pedagogy, management)
OBOE
PERCUSSION INSTRUMENTS
PIANO
RECORDER
SAXOPHONE
SINGING
SOUND TECHNICIAN
TROMBONE
TRUMPET
TUBA
VIOLA
VIOLIN
VIOLONCELLO

Subjects:

Accordion
Analysis of Musical Repertoire for Keyboard Instruments
Analysis of Repertoire for Wind Instruments
Analysis, History and Repertoire for Instruments
Bassoon
Bowed Instruments Ensemble
Chamber Music
Choir
Choir Conducting
Choral Training Workshop
Choral-Symphonic Writing Workshop
Clarinet
Composition for Wind Orchestra
Composition Workshop
Conducting
Conducting for Wind Orchestra
Continuo Practice,
Counterpoint
Didactics of History of Music
Didactics of Music
Double Bass
Early Music Performance Practice
Electronic Music
Ensemble for Percussion Instruments
Flute
Guitar
Harmony and Analysis
Harmony, Composition and Orchestration
Harp
Harpsichord
Historical Composition Techniques
History and Aesthetics of Music
History and Repertoire for Keyboard Instruments
History and Repertoire for Wind Instruments
History of Music Drama
History of Poetry for Music
History of Theater
Horn
Instrumentation for Wind Orchestra
Instrumentation, Transcription and Orchestration
Jazz and Non-Classical Ensembles
Methodology of Analysis
Music Therapy
Musical Languages of the XX Century
Oboe
Orchestral Repertoire Performance
Organ and Gregorian Chant
Organology
Organology and Instrumental Performance Practice
Pedagogy of Music
Percussion Instruments
Philology of Music
Piano
Piano Reading
Planning and Management of Cultural and Entertainment Events
Psychology
Rhetoric of Music
Saxophone
Saxophone Quartet
Scenic Art
Score Reading
Semiology of Music
Singing
Sociology of Music
Theory and History of Notation
Theory of Harmony
Theory of Music
Theory and Practice of Old Tunings
Trombone
Trumpet
Tuba
Viola
Violin
Violoncello
Vocal Composition
Vocal Repertoire Practice
Wind Ensemble





POSTGRADUATE

SECOND CYCLE (Master) 2 years

Degrees:

a) Interpretative and Compositional area

BASSOON (SOLOIST, CHAMBER, BAROQUE COURSES)
CELLO (SOLOIST, CHAMBER, BAROQUE COURSES)
CHOIR CONDUCTING
CLARINET (SOLOIST, CHAMBER, JAZZ AND NON-CLASSICAL COURSES)
COMPOSITION (CONTEMPORARY, CHORAL, WIND INSTRUMENTS COURSES)
FLUTE (SOLOIST, CHAMBER, BAROQUE COURSES)
GUITAR (SOLOIST, CHAMBER COURSES)
HARP (SOLOIST, CHAMBER COURSES)
HORN (SOLOIST, CHAMBER, BAROQUE COURSES)
OBOE (SOLOIST, CHAMBER, BAROQUE COURSES)
PERCUSSION INSTRUMENTS
PIANO (SOLOIST, CHAMBER, ACCOMPANIST AND PIANO COACH COURSES)
SAXOPHONE (SOLOIST, CHAMBER, JAZZ AND NON-CLASSICAL COURSES)
SINGING (OPERA, CHAMBER, BAROQUE, CHORAL COURSES)
TROMBONE (SOLOIST, CHAMBER, BAROQUE, JAZZ AND NON-CLASSICAL COURSES)
TRUMPET (SOLOIST, CHAMBER, BAROQUE, JAZZ AND NON-CLASSICAL COURSES)
TUBA (SOLOIST, CHAMBER, JAZZ AND NON-CLASSICAL COURSES)
VIOLA (SOLOIST, CHAMBER, BAROQUE COURSES)
VIOLIN (SOLOIST, CHAMBER, BAROQUE COURSES)



b) Technological area

Electroacoustical Composition
Multimedia Composition

c) Teaching area

Musical Education Teacher in the school
Musical Instrument Teacher in the school

Subjects:

Accompaniment Practice and Piano Coach
Accordion
Acoustics and Psycoacoustics
Analysis of Compositional Forms
Bassoon
Bowed Instrument Ensemble
Cello
Chamber Music
Choir
Choral Assistant Practice
Choral Music Composition and Choir Conducting
Choral Workshop for Choir Artists
Choral Workshop
Clarinet
Composition Techniques
Concertation Workshop
Conducting
Continuo Practice
Counterpoint
Didactics of Music
Double Bass
Electroacoustics and Electroacoustical Systems
Elements of Analysis and Composition
Elements of Scene Technique, Dressing and Make up
European Community Language
Flute
Gregorian Chant
Guitar
Harmony
Harp
Harpsichord
Historical Techniques of Composition
History and Aesthetics of Music
History and Analysis of Jazz and Non- Classical Forms
History and Analysis of Repertoire
History and Technology of Instruments
History of Choir
History of Music
History of Music Drama
History of Treatises
Horn
Improvisation and Composition Workshop
Improvisation Techniques
Informatics in Music
Instrument
Instrumentation, Orchestration and Transcription Techniques
Law and Legislation for Entertainment
Music for Ensembles
Music Publishing
Oboe
Opera Workshop
Orchestra Workshop
Organology
Paleography of Music
Percussion Instruments
Performance Practice and Repertoire for Big Band
Performance Practice and Repertoire for Instrument
Performance Practice and Repertoire for Orchestra
Piano
Piano Reading
Programming Languages for Informatics in Music
Recording Workshop
Repertoire for Ensembles
Sacred choral, lyric and symphonic repertoire
Saxophone
Scenic Art
Score Reading
Semiography of Music
Semiology of Music
Singers and Instrumentalists Accompaniment Workshop
Stage Direction Workshop
Theory of Music
Trombone
Trumpet
Tuba
Viola
Violin
Vocal Repertoire Practice
Wind Ensemble