COURSES 

Giampaolo BANDINI, Italy

Marcin DYLLA, Poland

József EÖTVÖS, Hungary

Dale KAVANAGH, Canada

Thomas KIRCHHOFF, Germany

Carlo MARCHIONE, Italy

Lorenzo MICHELI, Italy

Thomas OFFERMANN, Germany

Jorgos PANETSOS, Hellas / Austria

Judicaël PERROY, France

Alvaro PIERRI, Uruguay / Austria

You WU, China


Unterricht


The courses can be attended by active participants and auditors.

Every active participant has 3 lessons of 40 minutes each (one lesson with a teacher of choice guaranteed), can participate in the ensemble, the competition, and visit the lectures and the concerts.

Auditors can take part in all festival events, attend concerts and train their stage performance; however the offer does not include any lessons.


Auditors receive a document, active participants a diploma.

 

Registration deadline: 13.08.2018

Marcin Dylla

PANEL DISCUSSION with Marcin DYLLA

In a moderated discussion, Marcin Dylla gives an insight into his thoughts on how to work out new pieces, on interpretation, on preparing for competition, on mindset etc. The aim is an inspiring exchange between Marcin Dylla and our festival participants.


PERFORMANCE TRAINING / 
PARTICIPANTS CONCERT 

All participats can train their stage performance in a concert setting in the big hall ("Großer Ehrbar Saal").


LECTURES / WORKSHOPS
with

Thomas KIRCHHOFF

„The art of baroque trills and ornamentation on the guitar“

In this course Thomas Kirchhoff shows the quick way to a perfect trill on two strings. Please bring your tuned guitar (a 440 HZ).

Thomas OFFERMANN

Presentation of his book on „The Integrative Guitar Technique“

This book is meant to be an objective contribution to Guitar Technique with a framework derived from a knowledge-base drawing on anatomic and physical factors.
Instrumentalists make mistakes only when playing their instrument without conscious and mindful awareness. Any viable instrumental technique can only be based on natural movements executed without any cognitive feedback but with conscious proprioception. Stating that pre-tension is a precondition for any movement leads to the conclusion that the demand for “relaxed instrumental playing” as such is paradoxical.



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