Early Music Morella English

EARLY MUSIC MORELLA

International Course on Medieval & Renaissance Music - Morella

JULY

18-23 2015

MĂ?STICA

EARLY

MUSIC MORELLA

MÍSTICA www.culturalcomes.net

JULY

18-23 2015

EARLY MUSIC MORELLA 2015 4th International Course and Festival on Medieval & Renaissance Music July 18 - 23, 2015

MYSTICISM FROM THE MIDDLE AGES TO THE RENAISSANCE 700th anniversary of the death of Raymond Lully (1232-1315) 500th anniversary of the birth of St. Teresa of Avila (1515-1582)

The academic dimension of Capella de Ministrers is condensed with the realization of Early Music Morella.

From tradition to cult music, combining musical practice with theory is created the International Course on Medieval and Renaissance Music Early Music Morella. A specialized course in the repertoire of the 10th to 16th centuries, in order to alleviate the shortage of specialized studies in this particular repertoire. The 4th edition of Early Music Morella focuses on the Mysticism, as a natural universal experience to the Three Cultures, in which music is crucial to transport the knowledge and the senses. Coinciding with the 700th anniversary of the death of the Kabbalist and Theologian Raymond Lully, and the 500th anniversary of the birth of St. Teresa of Avila, Early Music Morella 2015 will deal with the intercultural concept of Mysticism, from the Middle Ages to the Renaissance.

Mysticism is a complex term that encompasses different experiences that seem to be above the reason and the normal perception of our senses. From the Greek word mystik贸s, "closed, arcane or mysterious", the term designates a type of complex experience to achieve the maximum degree of intimate and spiritual union of the human soul with the sacred during earthly existence. It occurs in the monotheistic religions like Zoroastrianism, Judaism, Christianity, Islam; as well as some polytheistic as Hinduism. Something similar is also shown in religions that are rather philosophies such as Buddhism, which is identified with a maximum degree of perfection and knowledge.

Mysticism aims to bridge that gulf that separates man to the divinity, to reunite them and end with the alienation that produces a reality considered unjust, to bring -in Christian terms- the Kingdom of Heaven to Earth. The mechanisms are varied: either by a meditative and active struggle against the ego, as happens in Buddhism, or nafs as in the case of Muslim Sufism, either through prayer and asceticism in the Christian case, either through the use of Kabbalah in the most widespread streams of Judaism. Christians, Jews and Muslims lived together in the same land to build a common historical and cultural heritage that today we try to retrieve and disseminate.

This experience is common to the cultural symbiosis that the Iberian Peninsula experienced in the Middle Ages, as had been evidenced by figures such as the Kabbalist and theologian Raymond Lully, who Early Music Morella 2015 render special tribute.

Troubadours, Gregorian chant, religious and profane music, Ars Nova and Ars Subtilior, music of the Three Cultures, historical dance, traditional music,‌ In short, everything that, from the birth of Gregorian chant to the latest Renaissance polyphony, could be heard in the West, taking special attention to the musical corpus of the Crown of Aragon.

Recover, interpret, preserve and disseminate our musical heritage, to know the social and cultural history of our oldest history, fundamental objective of the International Course on Medieval and Renaissance Music Early Music Morella.

Cognitio divinorum fuit semper in anima per simplicem intuitum vel contactum.

PERFORMANCE OF MEDIEVAL & RENAISSANCE MUSIC

ALTA CAPELLA IAN HARRISON Bagpipe, shawm, trompeta da tirarsi, curtals and sackbut

HARP MANUEL VILAS

SINGING CATHERINE KING

GREGORIAN CHANT PALOMA GUTIÉRREZ DEL ARROYO

CAPILLA MUSICAL_LAB / VOCAL ENSEMBLE ISAAC ALONSO DE MOLINA

HARPSICHORD / CLAVICYMBALUM / ORGANETTO / ORGAN IGNASI JORDÀ

HISTORICAL DANCE EVA NAREJOS Workshop the days 21, 22 & 23

Orchesographie (1588) by Thoinot Arbeau

MINSTREL WORKSHOP ELÍES HERNANDIS

RECORDER DAVID ANTICH

RENAISSANCE TRANSVERSE FLUTE ANNE SMITH Days 19 to 22

VIOLA DA GAMBA / VIHUELA DE ARCO CARLES MAGRANER

VIHUELA / LUTE / RENAISSANCE GUITAR ARIEL ABRAMOVICH

PERFORMANCE OF TRADITIONAL MUSIC

CANT TRADICIONAL VALENCIÀ CARLES DÉNIA MEDIEVAL CHANT / PSALTERY BEGOÑA OLAVIDE SUFI DANCE AHMED SHARIF Workshop the days 19, 20 & 21

FRAME DRUMS / RIQ / TAR / BODHRAN / GAVAL GLEN VELEZ WITH THE SPECIAL COLLABORATION OF

LORI COTLER (RHYTHM VOCALIST) DOUBLE REED INSTRUMENTS / BAGPIPE / SHAWM EDUARD NAVARRO KANUN / OUD / ARABIC-ANDALUSIAN MUSIC ABDELAZIZ SAMSAOUI Introduction to modal music and Arabic-Andalusian

LECTURES JOSEP ENRIC RUBIO ALBARRACÍN MYSTICISM IN RAYMOND LULLY SATURDAY 18 AT 18’30 H. GOTHIC CHAMBER, TOWN HALL

PALOMA GUTIÉRREZ DEL ARROYO FROM MONODY TO THE FIRST POLYPHONY SUNDAY 19 AT 18’30 H. GOTHIC CHAMBER, TOWN HALL

CARLOS GONZÁLEZ & MABEL RUIZ THE ECSTASY OF THE VIHUELA MONDAY 20 AT 18’30 H. GOTHIC CHAMBER, TOWN HALL ECSTASY, TORTURES AND MORTIFICATIONS OF THE VIHUELA OF SAINT MARIANA DE JESUS COMPLEMENTED WITH A CONCERT AT 20 H.

BEGOÑA OLAVIDE 7 YEARS OF MUSICAL EXPERIENCE IN MAGREB TUESDAY 21 AT 18’30 H. GOTHIC CHAMBER, TOWN HALL COMPLEMENTED WITH A CONCERT AT 20 H.

MÍSTICA FESTIVAL OF

4th EARLY MUSIC MORELLA

CONCERTS

1

SATURDAY 18

OPENING CONCERT

CAPELLA DE MINISTRERS

MÍSTICA

CARLES MAGRANER - CATHERINE KING - ARIEL ABRAMOVICH 20’00 H. - ARCHPRIESTAL CHURCH OF ST. MARY

2 3 4 SATURDAY 18

MANUEL VILAS

ANTONIO DE CABEZÓN

22’30 H. - GOTHIC CHAMBER, TOWN HALL

SUNDAY 19

IGNASI JORDÀ

ORGAN CONCERT

20’00 H. - ARCHPRIESTAL CHURCH OF ST. MARY

MONDAY 20

CARLOS GONZÁLES & MABEL RUIZ

EL ÉXTASIS DE LA VIHUELA

CONCIERTO SOBRE EL ÉXTASIS LOS TORMENTOS Y LAS MORTIFICACIONES DE LA VIHUELA DE SANTA MARIANA DE JESÚS WITH PREVIOUS LECTURE AT 19 H.

20’00 H.- GOTHIC CHAMBER, TOWN HALL

MONDAY 20

5

GLEN VELEZ & LORI COTLER

DRUM, DRUM, DRUM

22’30 H. - MUNICIPAL THEATER

6

TUESDAY 21

BEGOÑA OLAVIDE

VOICE AND PSALTERY

WITH PREVIOUS LECTURE AT 19 H.

20’00 H.- GOTHIC CHAMBER, TOWN HALL

TUESDAY 21

CARLES DÉNIA, AZIZ SAMSAOUI,

7

IAN HARRISON & EDUARD NAVARRO

MUSIC, DANCE AND SUFI POETRY FROM ARABIC-ANDALUSIAN TRADITION

8

22’30 H. - MUNICIPAL THEATER

WEDNESDAY 22

CAPILLA MUSICAL_LAB & ENSEMBLE VOCAL / TRANSVERSE FLUTES / ALTA CAPELLA

MYSTICISM AND SPANISH RENAISSANCE 20’00 H. - ARCHPRIESTAL CHURCH OF ST. MARY

THURSDAY 23 CLOSING CONCERT

DANCE OF DEATH

9

CLOSING CONCERT WITH TEACHERS AND STUDENTS

19’00 H. - CONVENT OF ST. FRANCIS

ADDITIONAL ACTIVITIES

GUIDED NIGHT TOUR TO THE CASTLE OF MORELLA SUNDAY 19 AT 22’30H GUIDED BY CARLES SANGÜESA, DIRECTOR OF MUSEUMS OF MORELLA TO INAUGURATE THE COURSE WE WILL PAY OUR TRADITIONAL NIGHT VISIT TO THE MEDIEVAL CASTLE OF MORELLA, FROM THE TOWN HALL.

ENSEMBLE CLASSES EVERY AFTERNOON FROM 16 TO 18H, AIMED AT ALL STUDENTS ENROLLED IN THE COURSE WHO WISH TO PARTICIPACE IN ENSEMBLE MUSIC FOR VOICES AND INSTRUMENTS, TO PRERARE NEW REPERTORIRE AND THE CLOSING COURSE CONCERT.

MEDIEVAL & RENAISSANCE JAMSESSIONS EVERY NIGHT AT THE CRUÏLLES PALACE (DADA MUSEUM PUB) FROM 22:30H. THE SOIRÉES OF THE COURSE, OPEN STAGE FOR SOLOISTS OR ENSEMBLES WHO WISH TO PLAY, SING, RECITE, DANCE OR JUST HAVE FUN WITH EARLY MUSIC!

INSTRUMENT EXHIBITION IN THE TOWN HALL WE WILL SHOW DIVERSE INSTRUMENT MAKERS, INVITED TO EXPOE THEIR COPIES AND RECREATIONS OF EARLY INSTRUMENTS.

COURSE CLOSING DINNER ON THURSDAY 23TH AT 22H, THE CLOSING DINNER FOR ALL PARTICIPANTS IN THE COURSE.

TEACHING STUFF & COUSE PROGRAM PERFORMANCE OF MEDIEVAL & RENAISSANCE MUSIC ALTA CAPELLA IAN HARRISON Shawm, sackbut, trompeta da tirasi y cornamusa Ian Harrison grew up in Newcastle upon Tyne in the North East of England, the last corner of that country to have retained its own type of bagpipe. He began his musical carreer as a Lay Clerk in the Choir of Canterbury Cathedral.

He completed an MA in Music at the City University, London and went on to study at the Royal Conservatory, The Hague and at the Schola Cantorum Basiliensis in Switzerland. In 1993 he and Gesine Bänfer founded the ensemble Les Haulz et les Bas, specialising in mediaeval and Renaissance wind music. They won the Radio Prize at the Bruges Festival and have brought their wild, improvisatory, empassioned sound to countless concert halls and radio broadcasts and to 5 highly-acclaimed CDs. In addition Ian Harrison won First Prize in the International Bagpipe Competition at St. Chartier (France) and prizes in the categories 'best wind instrumentalist' and 'best folk-rock group' with Contraband in the German Pop and Rock Awards 2007. He is a specialist for historical improvisation and composer in many historical and traditional styles. He teaches mediaeval and renaissance wind music at the Schola Cantorum Basiliensis and has given lectures and masterclasses throughout Europe and North America. His activities as guest soloist with many leading groups and orchestras including The Harp Consort, Ensemble Sarband, The New London Consort, the Prague Chamber Orchestra, the Bochum Symphony Orchestra and the Metropole Orchestra, Hilversum, has taken him round the world.

HARP MANUEL VILAS Born in Santiago de Compostela in 1966. He began his musical studies in the local conservatory, where he graduated as professor of solfege, music theory, transposition and accompaniment. Interested in the world of early music, he starts studying Spanish double harp and thorough bass in Madrid and in the Early Music Courses of Daroca (Zaragoza), with harpist Núria Llopis. He thereafter receives a scholarship from the Italian foundation “Marco Fodella” in order to study arpa doppia at the Scuola Civica in Milan, with harpist Mara Galassi. He is also devoted to education and investigation, teaching Baroque harp in the Early Music course of the University of Santiago de Compostela, and in the Baroque and Medieval harp course of the “Harps of the World” meeting organized by the Conservatory of Zaragoza. He is the first harpist to have given a course on Spanish double harp in the United States. He’s given a lecture in the Catholic University of Santiago de Chile.

He has recently been invited to give the first course on Spanish double harp in Cuba, in the Festival Esteban Salas (La Habana). Interested as well in pre-baroque harps, he is a member of the ensemble Maladança, specialized in Medieval repertoire, where he uses a harp which was built based on a 12th century stone iconographical source. He also performs early Renaissance repertoire with a reconstruction of a 15th century Flemish harp from a painting by Hans Memling.

SINGING CATHERINE KING

Catherine King is acknowledged as one of the most versatile mezzo-sopranos of her generation with a huge repertoire.

She has performed with many of the UK’s leading ensembles and orchestras including the Northern Sinfonia, the Royal Philharmonic, the Royal Liverpool Philharmonic Orchestra, the Academy of Ancient Music, the English Chamber Orchestra, Florilegium, Fretwork, Gabrieli Consort & Players, Gothic Voices, London Baroque, the Nash Ensemble, the New London Consort and the Taverner Consort. She also makes frequent appearances at the Aldeburgh, Edinburgh, Lufthansa and Three Choirs Festivals. She has sung Messiah with the Hallé and the Verdi Requiem with the CBSO, whilst her international engagements have included the Christmas Oratorio with the Trondheim Symphony Orchestra, The Dream of Gerontius in Warsaw, Messiah with the Stavanger Symphony Orchestra, The Fairy Queen for the Coro della Radio Svizzera and Il Tramonto with the Israel Camerata. Her numerous recordings include the highly acclaimed Forgotten Arias of a Venetian Master - Arie Serie by Galuppi, with Il Canto di Orfeo on Avie, which was selected as a Gramophone Editor’s Choice CD for January 2007, Bach Arias with the Norwegian Baroque Orchestra on Linn, and Judas Maccabaeus from the Maulbronn Festival on K & K. Catherine King was recently selected for inclusion in EMI’s The Record of Singing. Catherine King’s operatic engagements have included Alisa Lucia di Lammermoor for Iford Arts, Vitige Flavio with the Early Opera Company, Ernesto Il mondo della luna for Opera Della Luna, La Speranza L’Orfeo for the English Bach Festival, Annina Der Rosenkavalier in concert with Nicholas Braithwaite and Filipyevna Eugene Onegin for Longborough Festival Opera. Recent and forthcoming engagements include a major tour with the Israel Camerata singing Dido Dido and Aeneas, Grimgerde Die Walküre for Longborough Festival Opera, Arias by Handel and Galuppi at the International Festival of Chamber Music, Genova, St Matthew Passion in Norway, Samson at the Brighton Early Music Festival, Scottish 20th /21st Century Recital for the European Festival of Lieder in Warsaw, Cecilia MacDowall’s Laudate at the Presteigne Festival, Bryn Harrison’s Surface Forms with Australian contemporary group ELISION in London and on CD, and Ståle Kleiberg’s Requiem in Germany.

GREGORIAN CHANT PALOMA GUTIÉRREZ DEL ARROYO Singer and psaltery player specialized in occidental medieval repertoires (before 1500), I´ve been trained mainly in France, but also in Switzerland, Italy and Spain, by some of the best performers and researchers in the field. I mainly play with the two ensembles I am cofounder of, the Italian-Spanish “Puy de sons d´autrefois” and the French “Oiet”, but also in duo with the singers Catherine Schroeder and Élodie Mourot, and I collaborate or have collaborated with other ensembles such as the French “Azalaïs”, the Spanish “Ars Combinatoria” or the Italian “La Reverdie”. I participate in the French projects “Rosaces” and “Contrafacta”. I have also sung in theatre pieces (recently in duo with the actor Philippe Borrini and together with the storyteller Carole Visconti) and in contemporary music projects (Sasha Zamler-Carhart´s oratory “Sponsus”, 2012).

Since 2011, I have developed a pedagogical activity, giving introduction or specialization courses about interpretation from the manuscripts for adults: A biannual singing course (4 weekends-long sessions) of introduction to the medieval repertoires from their manuscript sources in Casavieja, Spain (2011-2013, and restarted on october 2013); a master-class about the music of Hildegard von Bingen in Cluny, France (May 2013), a singing course about monodic vernacular music at the Puy-en-Velay, France (July 2013 and July 2014), and a master-class in the Real Conservatorio Superior de Música de Madrid about Machaut´s and Dufay´s music (March 2014). I´ve also started to teach this music to children, both musicians and no musicians (Conservatoire de Vitry-sur-Seine, 2013; Fondation Royaumont, 2013, 2014; Pueri Cantores della Cappella del Duomo di Udine, July 2013; Fundación Lázaro Galdiano, Madrid, December 2013). I have imparted seminars at different university centres (Université François Rabelais de Tours, France; Universidad de Alcalá de Henares, Spain; Universidad Autónoma de Madrid, Spain) and other institutions (Colegio de España, Paris; Fundación Entredós, Madrid; etc.). Before deciding to totally devote myself to the study and interpretation of the medieval repertoires, in the meantime of my musical studies, I developed a scientific career (grade in Chemistry and PhD in Biophysics).

CAPILLA MUSICAL_LAB & VOCAL ENSEMBLE ISAAC ALONSO DE MOLINA He had a wide ranging classical music training (graduating from the Conservatory of Valencia in four major subjects: piano, cello, chamber music and music theory). After developing a strong interest towards Early Music and historically informed performance he moved to The Netherlands to study at the Royal Conservatory of The Hague, where he further graduated in harpsichord with Jacques Ogg. At the same time he undertook an independent task of comprehensive historical research and documentation, on which he bases his perspective on musical praxis. He was awarded the degree of Master of Music, specializing in historical conducting techniques under the guidance of teachers such as Peter van Heyghen, Fabio Bonizzoni and Ton Koopman, and as a fellow of the Graduate Program of Fundación CajaMadrid. He has been directly influenced by such different musicians as Miguel Ángel Gómez – Martínez (orchestra conductor), Joel Lester (president of the Society for Music Theory), Jacques Ogg (harpsichordist), Peter van Heyghen (Early Music specialist) or Marcel Pérès (director of Ensemble Organum).

In the last years he has performed from plainchant to 19th century symphonic music, including Medieval and Renaissance polyphony, instrumental music, concerted sacred music, keyboard solo music, chamber repertory, Baroque opera, etc. always with an unconditional approach to the sources as starting point. He has taken part in festivals in Spain, Portugal, Italy, Germany and The Netherlands. Presently he teaches Renaissance Music Theory and Performance Practice at the Royal Conservatory. He’s founder and director of the ensemble La Academia de los Nocturnos, with which he performs Renaissance and Baroque music, and has recently founded The Eroica Project, orchestra with which he performs L.v. Beethoven’s symphonic repertory on period instruments.

MINSTREL WORKSHOP ELÍES HERNANDIS 1967 Albalat de la Ribera (Valencia). He has been a Professor of Trombone since 1986. He has performed with the Comunidad de Madrid Orchestra until 2000 and has collaborated with other orchestras and contemporary music groups.

He specialized in sackbut in the ESMUC, taught by Daniel Lassalle, Jean Pierre Canihac and Francisco Rubio.

He collaborates in several early music ensembles such as Hesperion XXI, Ministriles de Marsias, Ensemble Elyma, Les Sacqueboutiers de Toulouse, Capella de Ministrers, Sphera Antiqva, Hexacordo, Camerata Ibérica, Lux Venti, La Caravaggia, Nova Lux de Pamplona , Ministriles Hispalensis, Les Arts Florissants and La Capilla Real de Madrid, el Arte Mvsico and La Grande Chapelle among others. He has recorded albums with Hesperion XXI, Le Concert des Nations, Capella de Ministrers, Victoriae Musica Nova Lux Pamplona, Armonico Tributo Austria, Segreis Lisboa, Les Arts Florissants, Camerata Ibérica and Sphera Antiqva. Also, he has given classes in the Alcalá and Burgos Universities and in the Zaragoza and Ciudad Real Concervatoires. Since 2001 he works as a Professor of Trombone at Real Conservatorio Superior de Música de Madrid.

HARPSICHORS, CLAVICYMBALUM, ORGANETTO & ORGAN IGNASI JORDÀ Harpsichordist and organist born in Alcoi (Alicante). Starts his musical studies at age five in Valencia, later becoming interested in Early Music performance in historical keyboards. He received thrice a scholarship from the Valencia Municipality, and has lessons with Jan Willem Jansen in the Toulouse Conservatoire. After graduating with the highest mark, he studies with Pierre Hantaï in Paris. He has given recitals in Early Music festivals such as El Sonido Vivo in Castilla León, Juventudes Musicales in Menorca, Nits de la Mediterrània in Altea, Festival de Música Antigua de Santiago de Compostela, Festival de órgano “José de Sesma” in Zaragoza, Cartagena en clave, in the Festival de Música Sacra de Valencia, in the Festival de Música Antigua de Daroca, etc. He works with prestigious groups such as Capella de Ministrers, Musica Ficta, Ensemble L’Amoroso, Musica Reservata (Barcelona), Turiae Camerata, La Dispersione, Collegium Instrumentale, Ministriles de Marsias, Orquestra de Cadaqués, Sacqueboutiers de Toulouse, etc. His activities as a performer have led him to work with musicians such as Ainhoa Arteta, Montserrat Caballé, Sir Neville Marriner, Guido Balestracci, Bruno Turner, Jean Pierre Canihac and Peter Phillips. He has performed in some of the world’s most prestigious early music festivals such as Festival de la Chapelle de la Trinité de Lyon (France), Instituto Cervantes de Nueva York, Festival de Música Religiosa de Fez (Morocco), Festival de Música Española en Viena, Quincena Musical Donostiarra, Festival Castillo de Peralada, Festival de Música Antigua de Daroca, Festival Oude Muziek Utrecht, etc. Has recorded more than 40 CDs, most of them with the ensemble Capella de Ministrers. He has given courses and lectures in the Conservatorio Oscar Esplá de Alicante, in the Escuela Superior de Arte Dramático de Valencia, in the Curs de Música Antiga de Guadassuar, in the University of Valencia and in the Conservatorio “Alfredo Casella” (L’Aquila, Italy). He has taught harpsichord and thorough bass in the Camino de Santiago: Cánticos, Cantigas y Cantos summer course in its seven editions, in the Festival Internacional de Música Antigua de Solsona, in the Curs de Música Antiga de Morella, in the Curs de Música Antiga de Guadassuar in ten editions, and accompanist of the singing class of the Curso Internacional de Música Antigua de Daroca. He is currently professor of harpsichord in the Conservatorio Superior “Salvador Seguí” de Castellón, coordinates the early music department of the same institution, has a master’s degree from the University of Valencia, and is working on a doctoral thesis about interpretative resources on the harpsichord.

HISTORICAL DANCE EVA NAREJOS Workshop the days 21, 22 & 23 Eva Narejos started her piano and dance education at an early age. She majored in Piano, Dance, Pedagogy and Musicology at the Superior Conservatories in Alicante and Murcia. During the latest years of her education, she developed a special interest in the practise of movement for musical performance. This experience in the last few years has been improving by working with young preformers, teaching body expression and movement classes at the different Music Conservatories and música stages. Her interest on the relation between music and dance has encouraged her to investigate on the Historical Dance field for years. She learned this type of repertoire from her mentor Ma. José Ruiz Mayordomo, dancer and choreographer. Eva later specialised on French Baroque Dance with Françoise Denieau and on Italian Reinassance Dance with Bruna Gondoni. Baroque Dance companies she has served in “Esquivel danza&música”, company directed by Ma. José Ruiz Mayordomo “Erreguelak” from Pamplona, under the direction of Peio Otano “Barroc-Ballet” from Barcelona, directed by Teresa Alves, and Early Music Groups: “Vespres d ́Arnadí”, “El Arte Mvsico”, “Ensemble Diatessaron”, “Capella de Ministrers”, “la Lyra Hispana”. On the later one she also had the chance to take over the choreographic direction for many years. As a dancer, she has performed in diverse meetings and Festivals throughout Spain, France and Russia. Nowadays, Eva Narejos combines dancing and her work as a Professor of Piano at Oscar Espla Superior Conservatory of Music in Alicante with the Taller de Creación y Producción del Instituto Superior de Enseñanzas Artísticas de la Comunidad Valenciana (ISEACV)

RECORDERS DAVID ANTICH He studied in the conservatories of Carcaixent and Valencia, and graduated in transverse flute and recorder from the Conservatory of Murcia, under Agostino Cirillo, obtaining top marks and various awards during his studies. He attended courses on early music and performance practice in Spain and diverse European countries, working with teachers as Ricardo Kanji, Aldo Abreu, Bart Coen, Josep Maria Saperas, etc. With Capella de Ministrers and other ensembles, he has toured extensively in Europe, Asia, Africa, United States and Latin America. He has recorded for Canal 9, TVE, TV3, RNE, Catalunya Ràdio and many others, performing in the foremost festivals and concert series specialized in early music (Utrecht, Fez, Lyon, Paris, Rome, Amsterdam, Mexico DF, New York, Shangai, etc.).

He has performed music from the Middle Ages, Renaissance and Baroque for over 30 recordings with Capella de Ministrers and other ensembles, receiving several awards from the specialized press. He’s founding member of Ensemble Dario Castello and Ensemble Galanterie, and frequent collaborator of Ars Organica, Capella de Ministrers, Harmonica Sphera, La Dispersione Baroque Orchestra, Harmonia del Parnàs, Speculum, Musica Ficta, etc. He also takes part in avantgarde projects such as Amores and Bach Fussion Ensemble. He has worked with contemporary dance companies (El Lamento de Tristano, with Lais danza - Toni Aparisi; Lamento, with Santiago Sempere) and in stage productions (Cancionero de Palacio, with Àlex Rigola; Las comedias bárbaras, with Bigas Luna; Els Viatges de Tirant, with Juli Leal). He published together with Carles Magraner a critical edition of “El Tutor Burlado o La Madrileña” by Vicente Martín y Soler. He publishes regularly pedagogical material for recorder and articles on musical pedagogy in journals such as Participación Educativa (Spanish Ministry of Education), ANPE, Doce Notas, Música y Educación, Eufonía, etc. He teaches in the Early Music Course of Guadassuar (Valencia) and he’s often invited to teach master-classes and courses on recorder and chamber music in diverse Spanish conservatories. He also works for the teacher training programs of the Valencian Government and other institutions. He’s member of the board of the Conservatory of Torrent, where he teaches recorder.

RENAISSANCE TRANSVERSE FLUTE CONSORT ANNE SMITH Masterclass the days 19, 20 & 21 Anne Smith completed her B.A. with honors in music at Brandeis University in 1973. Following this she came to Basel to study recorder and later transverse flute with Hans Martin Linde at the Schola Cantorum Basiliensis. Since 1979 she has been teaching recorder and renaissance flute there herself. The work she did with Barthold Kuijken in workshops and occasional private lessons was also of great influence on her musical development. Throughout the years she has played regularly with small chamber ensembles. In recent years her course offerings at the Schola have included 16th-century music theory in relation to performance practice, solmization, and Alexander Technique. Her current focus is on bridging the gap between knowledge of the writing of 16th-century musical theorists and its application in performance. To this end she has given workshops on these subjects for the early music departments of the conservatories of Brussels, The Hague, Linz and Graz, as well as presenting the material various musicological conferences. Her recent book The Performance of 16th-Century Music: Learning from the Theorists (OUP New York, 2011) is a reflection of this work.

VIHUELA, LUTE & RENAISSANCE GUITAR ARIEL ABRAMOVICH Natural de Buenos Aires (Argentina), Ariel Abramovich inició sus estudios de guitarra durante su adolescencia.

Deslumbrado por una fantasía de Luys de Narváez decidió consagrarse exclusivamente al repertorio para laúd y vihuela del siglo XVI. A partir de entonces comenzó su trayectoria en la música del renacimiento recibiendo clases de laúd y vihuela con los argentinos Dolores Costoyas y Eduardo Egüez. Asistió también a diversos cursos con Paul O´Dette y Hopkinson Smith en Europa y Argentina. En 1996 se trasladó a Suiza para realizar estudios regulares de dichos instrumentos con el Mtro. Hopkinson Smith en la Schola Cantorum Basiliensis. Allí tuvo la oportunidad de trabajar y asistir a clases y cursos con Crawford Young, Dominique Vellard y Anthony Rooley. Años más tarde conocería al Mtro. Eugène Ferré, quien le brindó durante sus clases, una visión renovada de la técnica y la interpretación. En el año 1998 fundó, junto al altus José Hernández-Pastor, el dúo "El Cortesano"; proyecto musical dedicado fundamentalmente al magnífico repertorio de los vihuelistas españoles. Con este dúo realizó una intensa actividad concertística en distintas partes del globo durante 15 años ininterrumpidos, convirtiéndose así en referente de la interpretación de esta particular literatura. En 2008, Ariel Abramovich emprendió un proyecto en paralelo; su dúo junto al tenor británico John Potter, que era y es voz de referencia en las músicas históricas. Juntos revisitan la literatura para voz y laúd de la Inglaterra de finales del s.XVI y comienzos del s.XVII. Durante estos años, ha presentado en concierto distintos programas con músicos como el laudista francés Eugène Ferré, la soprano escandinava Ana María Friman, las laudistas argentinas Evangelina Mascardi, Mónica Pustilnik y Dolores Costoyas, y con el flautista y director Alemán Michael Form, entre otros. En la actualidad, Abramovich ha iniciado un proyecto a dúo con la celebrada soprano argentina María Cristina Kiehr, centrado en la música española e italiana del s.XVI, para voz y cuerda pulsada. Juntos desarrollan su trabajo ofreciendo conciertos en Europa y las Américas. Asimismo, fundó en 2012 su dúo con el laudista angloamericano Jacob Heringman; con quien ahonda en la reconstrucción de dúos para vihuelas de mano y otros repertorios poco explorados del Renacimiento. Como solista, se ha presentado en muy distintas salas y festivales, desde Buenos Aires a Montevideo, pasando por Salamanca o Milán. Además de su labor de concertista, como docente ha ofrecido clases magistrales en España, Alemania, Brasil, Argentina, Estados Unidos y Ecuador, y ha sido profesor en cursos como el de Música Antigua de Prachatice (República Checa), la primera Bremer Lautenakademie (Alemania), Taller de Música Antigua de Alicante, etc. También ha impartido cursos de Música Antigua de la Universidad Jaime I (Castellón), el Festival de Música Antigua de Gijón, la Escuela Universitaria de Música de Montevideo (Uruguay), la Academia Minguiestudio (Madrid) y otras instituciones.

VIOLA DA GAMBA & VIHUELA DE ARCO CARLES MAGRANER He graduated from the Conservatory of Valencia in modern cello and musicology. He soon became captivated by Early Music and started specialized studies in baroque cello and viola da gamba in Barcelona, Madrid and the Early Music Department of the Conservatory of Toulouse. Additionally, he participated in diverse courses and seminars on music of the Middle Ages, Renaissance and Baroque with professors such as Miquel Querol and Joan Bonastre, amongst others, furthering his training in Iberian music from the 11th to the 18th centuries. He received the Musical Creativity Award by the University of Valencia in the years 1988 and 89, and the Young Performers Award by the Ministry of Culture. He was granted with both the Master’s and Doctoral degrees in Music by the Polytechnic University of Valencia, specializing in early music.

He has developed an intense concert activity as a soloist and with diverse chamber ensembles. He has shared his expertise teaching at various conservatories and music schools and as lecturer in conferences organised by the University of Valencia, Autonomous University of Barcelona, University of Girona, Royal College of Music of Stockholm, Conservatory of Shangai, School of Arts of Havana, International Congress “Els mons de Vicente Martín y Soler”, etc. He has also taught in the Early Music Course of Peñíscola, in the seminar on Francisco Guerrero of the International University of Andalucía, in the course of the Menéndez Pelayo International University of Barcelona (Ernest Lluch Center), and in many other congresses and seminars. In 2004 he received the Civic Award of his native town. From 2012 he teaches early music at the Conservatory of Castellón. He has directed many instrumental and vocal ensembles, as the Cor de la Generalitat Valenciana (Valencia Regional Government Choir) and the viol quartet Millenium. Besides this individual professional career, his best known activity is his work as founder and director of the Valencian early music ensemble Capella de Ministrers, with more than 1000 concerts from its creation in 1987, and his extensive discography, very well received by critics and general audience, awarded with many national and international prizes by specialized magazines and institutions..

PERFORMANCE OF TRADICIONAL MUSIC CANT TRADICIONAL VALENCIÀ CARLES DÉNIA Sus padres, Sebastián Dénia y Mari Ángeles Moreno, transmitieron el amor por la música tanto él como su hermana, la también cantante Eva Dénia. Comienza con la guitarra como autodidacta participando en grupos locales de rock y blues. A este periodo le sigue otro de progresivo acercamiento al jazz que le lleva a estudiar con los profesores Joan Soler y posteriormente Carlos Gonzálbez. Compagina estos estudios con los de guitarra clásica con José Pechuán en el conservatorio Joaquín Rodrigo de Valencia. Además, recibe clases de improvisación del saxofonista Perico Sambeat. En 1995 ingresa en el departamento de jazz del Royal Conservatory of The Hague (Holanda), donde obtiene diferentes titulaciones – entre ellas la de pedagogía y didáctica musical- y realiza, con la máxima calificación y premio fin de carrera, los estudios completos de música en la especialidad de guitarra de jazz. Durante este periodo han sido sus profesores habituales de las principales asignaturas: Peter Nieuwerf, Wim Bronnenberg, Eef Albers, Eddy Marron, John Ruocco, Frans Elsen y Ack van Rooyen. De manera paralela realiza otras actividades musicales a destacar: Es cantaor de flamenco y cant tradicional valencià y conoce en profundidad la música tradidional de la península ibérica y del Mediterréneo. En colaboración con la fundación Kulsan forma el ensemble Sufi-flamenco junto a músicos de la Orquesta de Radiotelevisión de Turquía. Participa habitualmente en númerosos proyectos por todo el mundo junto a otros artistas como Ginesa Ortega, La Truco, Sonia Miranda, Silvia de Paz, Javier Ribera, Arcángel, Fuensanta La Moneta, Javier Galiana, Niko Langenhuizen, Tino van der Sman, etc. A parte de liderar sus propias formaciones, ha colaborado en producciones operísticas como La Vida Breve (con la Limburgs Sinfonie Orkest y junto al guitarrista Pepe Romero y la soprano Charlotte Margionno), Carmen y Món de Guerres (con la Orquesta Sinfónica Pablo Sarasate de Pamplona, el coro de la Generalitat Valenciana y el Amsterdam Percussion Group). Es miembro del Internationaal Dans Theater de Ámsterdam donde protagoniza la obra Wanderers of Rajasthan. Con esta compañía trabaja actualmente como director musical de su próxima producción, Iberia. Es autor de numerosas composiciones y arreglos publicados por él mismo y por otros artistas. Es coautor de la ópera “1714. Món de guerres”, estrenada en el Festival de Perelada y en el Teatre del Grec de Barcelona en 2004. Aparece en la película Luna Reverse (coproducción italo-brasileña) y ha compuesto música para cine y televisión como la serie Adam en Eva de la televisión nacional holandesa o la película &Me del director Norbert ter Hall. Ha realizado giras por Europa (Holanda, Bélgica, Luxemburgo, Dinamarca, Italia, Portugal, Croacia, Eslovenia, Hungría Alemania y España), Estados unidos, Albania, China, India, Turquía y Vietnam con diferentes formaciones. Ha compartido escenario con músicos como Uli Glaszmann, Michael Erian, Jeff Galindo, Peter Beets, Jacob Frandsen, Mario Rossy, Steve Altenberg, Philip Harper, Marc Miralta, Cristiana Olafsdottir, Carlos Gonzálbez, Perico Sambeat, Javier Vercher, Albert Sanz, David Pastor, entre otros.

PSALTERIO Y CANTO MEDIEVAL ANDALUSÍ BEGOÑA OLAVIDE Es una artista especializada en música antigua arabigo-andalusí, donde destaca como salterista y cantante. Olavide consiguió el título de flauta en el Conservatorio de Música de Madrid. Posteriormente realizó cursos de especialización en Holanda, Yugoslavia y Marruecos, en canto, canon y teoría de la música andalusí-magrebí. Ha colaborado con orquestas nacionales e internacionales, consiguiendo prestigio y reconocimiento. Begoña Olavide está entre los pioneros en recobrar la música del salterio. Destaca también su trabajo con el luthier Carlos Paniagua en la recuperación de modelos antiguos de la familia del salterio. Ha puesto música a numerosas obras de teatro, cine y documentales televisivos. Como solista ha colaborado con orquestas nacionales e internacionales y con varias agrupaciones musicales especializadas en música antigua, contemporánea, de fusión y étnica. Fue fundadora del grupo Cálamus, pionero en despertar el interés por la cultura musical andalusí en España. Ha realizado giras de conciertos por todo Europa, así como por distintos países árabes, Israel, Estados Unidos, Canadá, Sudamérica, Japón, etcétera. Fue artista invitada en el montaje del espectáculo Nostra Donna del grupo italiano de música antigua Micrologus, y del Centre de Musique Medieval de Paris/ Ensemble Alla Francesca. Es miembro de Hesperion XXI, grupo dirigido por Jordi Savall. En el ámbito de la música andalusí trabaja con el músico e investigador marroquí Omar Metioui y su orquesta. En 1994, crea y dirige el grupo Mudéjar especializado en música antigua española (siglos XIII al XVII) de las culturas árabe, cristiana y judía.

SUFI DANCE AHMED SHARIF Workshop the days 19, 20 & 21 In 2009 known in Turkey the Sufi master Oruc Juvenc, from the Mewlevi order, being this his first contact with the Sufi mystic dance. Back in Spain he joined the Tarica Nasbanqdi intended to keep learning. From this moment he will specialize with the dervishes Sheik Ahmed Dede, Mewlana Sheik Nazim in Cyprus, Sheik Ahmed Dede in Toledo, but above all, their training and development will be under the auspices of Mewlana Sheik Nazim. Since 2012 runs his own dervish dance workshop along the lines of Sheik Ahmed Dede, also continues participating in numerous Rabanni celebrations, workshops and Sufi festivals with Sheik Hassam Dyck in Madrid, Sheik Abdul Wuahid, Sheik Ahmed Dede in places like La Casa Árabe de Madrid, Universidad Mística de Ávila, Casa Marruecos de la Cartuja in Seville to the Three Cultures Foundation, as well as Sufi Dikers and festivals like Bar Baraka, etc., with Ali Keeler and the ensemble Al Firdaus in occasion of the celebration of the Mawlid in Madrid, and Karen Abdul Hamid at the Municipal Auditorium of Granada. Out off the Sufi field he has taught Sufi dervish dace workshops at the Festival ONE of conscious movement, he has also worked in the studio of Creative Percussion BioCultura Festival of Madrid. He regularly teaches workshops in Espacio en Blanco in Madrid and collaborates with two ensembles of Indian Kirtan: Sivaya Om and Om Namo. He currently offers classes of dervish dance in Asha Kiran and Arati of Madrid, in Dikers with the Nasqbandi Tarica and the Sufi meetings with the Sirus brother of Mewlevi order in Inkarri.

KANUN Y OUD ABDELAZIZ SAMSAOUI Multiinstrumentista de orientación esencialmente autodidacta, nacido en Marrakech y formado en el conservatorio superior de música Andalusí de Tetuán. Realizó estudios en laúd u violín Andalus bajo la dirección de Telemsaní, perfeccionando con los maestros Mezuak y Amin Al-Akrami, entre otros. Formó parte de la Orquesta Joven del Conservatorio de Música Andalusí de Tetuán, con la que ha ofrecido recitales en festivales a nivel nacional y Internacionales. Fue asignado como profesor “Principios de Música Andalusí” durante tres años en el I.F.P Juan de la Cierva. Su interés por la música antigua, étnica y de corte tradicional le ha llevado a progresar en un inagotable itinerario musical a través de distintos instrumentos de cuerda (laúd, ud, rebaba, Viola, Salterio y Kanún). Paralelamente a su labor como Agente Cultural y Gerente de empresa de diseño proyectos culturales, ha dirigido festivales y ciclos de gran prestigio. Tales como Coproducción Etnosur, Ciclo de Música en Castillo Santa Catalina de Cádiz. Festizaje (Jaén), colaborando así con Festival Internacional de música Clásica de Santander, Canarias y Granada, Festival Islámico de Mértola (Portugal), proyectos Europeos: Oralidades(Bulgaria, Malta, Portugal y España). En 1999 Invitado al festival de música antigua de la Universidad de Tartu (Estonia), dictando conferencias y semanarios. Su trayectoria artística se ha ido enriqueciendo con colaboraciones y grabaciones en diferentes grupos de diversos estilos musicales especialmente Musica Antigua y del Mundo. Entre ellos destacan: Cinco Siglos, Alía Música, Capella de Ministrers, Estampie, Dfay colective, Veterum Mvsicae (Musica Antigua). Michel Nyman & Orquesta Chekara, Orquesta Filarmónica de Málaga (Clásica). Enrique Morente, Arcángel, segundo Falcón, Ana Reverte, Anda-Ara (Flamenco).

Tejemaneje, Wafir y Basido (Étnica), L´Ham de Foc (Folk),. Nassim , Al-Maqam, Samira Kadiri y Ensemble Andalusí de Tetuán (Andalusí), Al Andaluz Project. Cuenta con la grabación de diversos programas musicales para T.V.1, Canal Sur y T.V. Extremeña, R.N.E., y diferentes grabaciones discográficas.

FRAME DRUMS, RIQ, TAR, BODHRAN &GAVAL GLEN VELEZ WITH THE SPECIAL COLLABORATION OF

LOIRE (RHYTHM VOCALIST) Four time Grammy Award winner, Glen Velez is the founding Father of the modern Frame Drum movement and is regarded as a legendary figure among musicians and audiences world-wide. Velez brought a new genre of drumming to the contemporary music scene by creating his own performance style inspired by years of percussion and frame drumming studies from various cultures. Velez's virtuosic combinations of hand movements, finger techniques, along with his original compositional style, which incorporates stepping, drum language and Central Asian Overtone singing (split-tone singing), has undoubtedly opened new possibilities for musicians around the globe, resulting in a shift in modern percussion. Velez was recently inducted into the Percussion Hall of Fame by the Percussive Arts Society, this is the highest honor in the field of percussion. Velez is the first percussionist to gain international recognition as a successful solo artist using frame drums. In 1989 Velez’s undeniable mastery caught the attention of twentieth century composer John Cage, who Composed a piece especially for him, titled 'Improvisation for One-Sided Drum with or without Jingles.' Adorned with a rich international artistic legacy his plethora of sounds have inspired decades of collaborations with an epic and eclectic list, including Steve Reich, the Paul Winter Consort, Suzanne Vega, Maya Beiser, Tan Dun and Pat Metheny. Other collaborations include: Israel Philharmonia, Brooklyn Philharmonia, Opera Orchestra of New York, Taipei Chinese Orchestra, National Chinese Orchestra, Zakir Hussain, Sonny Fortune, New York City Ballet, Stuttgart Ballet Orchestra, Orchestra of St. Luke's, David Darling, Howard Levy, Eugene Friesen and Coleman Barks. Live performances also include radio concerts and interviews broadcasted on Spanish National Radio 4, German Public Radio, Italian National Radio 3, Radio Freistadt (Austria) and National Public Radio. Velez has several instructional videos and has published numerous instructional books and articles on the subject. He is a master teacher who conducts workshops worldwide. Velez developed his own teaching approach called The Handance Method. It incorporates voice and body movement into the process of learning to play the frame drum and has been presented in hundreds of universities and conservatories. Velez is an adjunct professor at Mannes School of Music in New York City and conducts regular master classes at The Juilliard School and Tanglewood Summer Music Program. Glens groundbreaking research efforts into the history of the Frame Drum has inspired a host of his protégé to continue the quest into the ancient story of the frame drums origins.

Described by the Chicago Tribune as “astonishing,” Loire (aka Lori Cotler) is a critically-acclaimed rhythm vocalist and certified music therapist whose mission is to show the world the power of the voice as a rhythm instrument. Through her love of and practice in the ancient South Indian art of Konnakol vocal percussion, she has discovered a unique portal to uncovering the mysterious rhythmic potential of the human voice. Having coined the phrase Rhythm Vocalist to describe her signature vocal style, Loire has been dazzling audiences and critics worldwide with her gripping improvisations and bold eclectic repertoire. In demand as a soloist and muse for contemporary composers, Loire has new music being written specifically for her rare artistry and flare for vocal drama. She tours internationally as a featured soloist and recording artist with world-class innovators from medieval music to avant-pop, including multiple Grammy Award-winning legendary Frame Drum master Glen Velez. Loire’s Rhythm Voice approach has led to teaching invitations at prestigious conservatories and universities throughout the world, including master classes at The Juilliard School. She earned a Bachelor Degree from Berklee College of Music and a Master Degree in Music Therapy from NYU. During her teens, Loire was impassioned by jazz and scat singing, as well as healing powers of music. This led her to reach far beyond Western music pedagogy, motivating a self-study into musics of the world. Music Therapy is an important leitmotif that weaves through every aspect of Loire’s musical and charity work. For more info, please visit: http://www.rhythmvocalist.com

DOUBLE REED INSTRUMENTS, BAGPIPE & SHAWM EDUARD NAVARRO Influenced by traditional music during his chilhood, he played lute and mandolin in diverse traditional plectrum instrument ensembles (rondalla) from a very young age. Self-taught in many wind and string instruments, he has a long experience as dulzaina teacher. He began collaborating with diverse groups dedicated to the revival of Valencian traditional music.

Afterwards he founded and worked with folk music ensembles, as well as traditional, ethnic and historical music ones, in which, apart from playing, he is usually in charge of arrangements. He has participated in more than 40 recordings and has toured in over 16 countries. Some of the groups with which he collaborates are L’ham de foc, Mara Aranda y Solatge, Miquel Gil, Capella de Ministrers, Al Tall, Apa, Ensemble Pelegrí, Sephardic Legacy o Krama. Presently he teaches traditional dulzaina in the music school of La Unió (Lliria) and in the Escola de Dolçaina, Tabal i Cant d’Estil (Paterna), he directs the Colla Gatzara of the same school, he teaches traditional plectrum instruments in the Rondalla del Grupo de Danzas (Manises), and he teaches bagpipe and tarota in Paterna and in the Traditional Music School of Muro del Comptat.

GENERAL INFORMATION To inscribe in the course, please fill the application form available in www.culturalcomes.net Early Music Morella. Participation in the course will be confirmed upon the reception of the payment, and places given in a first-come, first-serve basis. Enrollment in the course grants access to all its activities: lessons, lectures, concerts, jam sessions, etc. Teachers will inform students about additional characteristics and will provide the material for the lessons. The general pitch of the course is A=440Hz (transverse flutes A=415Hz).

It is recommended that every student brings a music stand for the lessons. Various keyboard instruments will be available, as well as a limited number of other instruments for each section. Diverse spaces will be also available for practice.

COURSE FEES: REGULAR STUDENTS1

200 €

AUDITING STUDENTS2 190 € DANCE CLASSES3

150 €

ACCOMODATION To arrange the accommodation in Morella contact the Central Reservation - Cases de Morella, which provide all the information about apartments, hotels, Youth hostals, or cottages. The first 40 students enrolled may choose the provided accommodation by the Course’s Organization, a 5€ per day Youth Hostel (shared rooms of 4/6 beds). However a list of hotels is available to arrange offers for the course with a variety of accommodation / food options to students. Phone +34 964 173 117 I Email cise@morella.net

GETTING TO MORELLA Morella is connected via the N-232 with Zaragoza and Logroño on the one side, and with the Mediterranean coast towns and highways (AP-7, N-340) on the other. From Castellón, Morella is also accessible via the C-238 (connected to the N-232 near Morella). Airports in Valencia, Zaragoza and Reus are all about 175-180 km away.

There is a bus service that connects Morella with Castellón, Vinaroz, Peñiscola and other coast towns (bus company Autos Mediterrráneo, +34.964.220.536). Schedules: Route Castellón - Morella: Monday to Friday departures at 8:30 and 15:30, Saturday departure at 13:30.

Route Morella - Castellón: Monday to Friday departures at 8:05 and 15:45, Saturday departure at 8:15.

Route Vinaroz - San Mateo - Morella: Monday to Friday departures at 8:00 and 16:00.

Route Morella - San Mateo - Vinaroz: Monday to Friday departures at 8:05 and 15:45.

If you have any difficulty locating Morella don’t hesitate to contact us!

The fee includes the participation in the course as regular student, the participation in the Ensemble Class every afternoon 16-18h, and the access to all Festival concerts, lectures and additional activities.

1

2

Auditing students have also free access to Festival concerts, lectures and additional activities, BUT DON’T RECEIVE A CERTIFICATE AND DIPLOMA.

3

The price is for students who enroll in dance courses with Eva Narejos or Ahmed Cherif. If you are enrolled in both a discount of 30% is applied.

APPLICATION FORM

EARLY MUSIC MORELLA 2015

4th International Course and Festival on Medieval & Renaissance Music July 18 - 23, 2015 REGISTRATION COURSE: PROFESOR: INSTRUMENT: VOICE TYPE: LEVEL: STUDENT SURNAME AND NAME: DATE OF BIRTH: ID CARD (whole number): ADDRESS: PHONE: E-MAIL: BRIEF CURRICULUM VITAE:

PLEASE SELECT ADDITIONAL OPTIONS: I would like to logde at the Youth Hostel I would like to take part in the closing dinner Upon admission, students will be informed of payment procedures and of availability of accommodation in the Youth Hostel. Upon payment confirmation, the student will receive all relevant additional information and/or materials for the course. * You MUST properly fill ALL the required information in the Application Form. Will be discarded as invalid any registration that does not achieve this requirement.

PLEASE SEND TO: morella@culturalcomes.net //

Associació Cultural Comes Apartado de Correos 115 - 46450 Benifaió (Valencia) SPAIN

STAFF Artistic Director: Carles Magraner Academic Secretary and Coordination: Béatrice Traver Logistics: Annabel Calatayud Technical Director: Pelegrí Duart Administration: Rosa María Villalba Correpetitor: Joan Boronat

ORGANIZATION Cultural Comes Assoc.

Apartado de Correos 115 46450 Benifaió (Valencia) SPAIN

(+34) 961 780 015 (+34) 616 015 301 morella@culturalcomes.net

SPONSORS & PARTNERS Ajuntament de Morella Universidad Internacional Menéndez Pelayo Federación de Sociedades Musicales de la Comunidad Valenciana CulturArts GVA Diputación de Castellón Universitat Jaume I de Castelló Instituto Superior de Enseñanzas Artísticas de la Comunidad Valenciana Asociación de Intérpretes y Ejecutantes Centro UNESCO Valencia / Mediterráneo

www.culturalcomes.net www.uimp.es www.morellaturistica.com

Early Music Morella @EarlyMusMorella APP Morella Turística