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Michael PRAETORIUS Et Jan Pieterszoon SWEELINCK

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Michael PRAETORIUS Et Jan Pieterszoon SWEELINCK DESCRIPTION INSCRIPTION Face à la situation sanitaire actuelle, les Journées de la Tarifs* : musique ancienne à Wasselonne se dérouleront sous une forme inédite, afin de préserver un esprit de partage Frais pédagogiques : 110 euros musical tout en privilégiant des petits effectifs pour assurer Repas de midi : 11 euros par repas (boissons comprises) la sécurité des participants. Plusieurs sessions se tiendront *L’adhésion à l’association (15 euros) est incluse dans le prix du stage ainsi entre le 21 juillet et le 1er août 2021 (avec une jauge Hébergement possible à proximité : nous contacter maximale de 8 à 15 stagiaires pour chaque session) pendant deux journées consécutives. Renseignements : présente Les instrumentistes travailleront sous la forme de consorts 03.88.87.13.30 et les chanteurs solistes pourront être groupés en petits [email protected] ensembles (duos, trios, etc.). Les journées de la musique Les stagiaires désirant pratiquer la basse continue (orgue, www.dulcismelodia.com ancienne clavecin, guitare) seront associés à l’une des 4 sessions en Vous souhaitez vous inscrire au stage ? fonction de leurs disponibilités et leurs préférences. Complétez et envoyez le coupon ci-dessous avant le 31 mai 2021 (accompagné de l’acompte) à l’adresse suivante : Michael PRAETORIUS et Ensemble de musique ancienne Dulcis Melodia Jan Pieterszoon SWEELINCK : 26, rue de Cosswiller 67310 WASSELONNE 2 compositeurs à l’aube du baroque Je m’inscris au stage Les Journées de la Musique ancienne à Wasselonne 4 sessions (cochez une case ou numérotez par ordre de préférence le cas échéant) □ Cordes & cornet à bouquin (mercredi 21 et jeudi 22 juillet) du 21 juillet □ Ensemble vocal (samedi 24 et dimanche 25 juillet) au 1er août 2021 Concerts au jardin □ Flûte à bec (mercredi 28 et jeudi 29 juillet) er à Wasselonne (67) Jeudis 22 et 29 juillet □ Chant soliste (samedi 31 juillet et dimanche 1 août) Dimanches 25 juillet et 1er août Nom : …………………………….. Prénom : ……………………………………....... Adresse : ……………………………………………………………………………………………........ Entourés des musiciens de l’ensemble Dulcis Melodia, les stagiaires pourront se produire en public, s’ils le ……………………………………………………………………………………………........ souhaitent, lors de moments musicaux donnés dans le Téléphone : …………………………………………………………………………........ cadre des «concerts au jardin» qui viendront clôre chaque session de formation. Courriel : ……………………………………………………………………………......... Etant donnée la durée réduite de chaque session, les Instrument(s) : ……………………………………………………………………........ partitions seront transmises aux stagiaires en amont afin qu’ils puissent effectuer un travail préparatoire. Pour les chanteurs, ma tessiture de chant : ……………..................... Ce stage est organisé dans le respect des gestes barrières : les stagiaires Je prendrai le repas de midi en commun : □ OUI □ NON pourront notamment être amenés à porter le masque selon un protocole Je joins un acompte de 60 € (chèque à l’ordre de «Ensemble Dulcis qui sera fixé en fonction des recommandations en vigueur au moment du Melodia») afin de valider mon inscription. stage. L’organisateur se réserve le droit, en cas d’événement indépendant Stages pour instrumentistes et de sa volonté, d’annuler tout ou partie du stage. Il restituera alors les Date : ………/……../ 2021 Signature : sommes versées à l’exclusion de toute autre indemnité. chanteurs amateurs PRESENTATION ENCADREMENT Partager et transmettre la passion de la musique Céline Jacob ancienne : telle est l’ambition de l’ensemble Dulcis flûte à bec, violon, Melodia, créé au printemps 2007 et regroupant des Sarah Gendrot-Krauss cornet à bouquin musiciens principalement issus du bassin rhénan. chant, direction d’ensembles Après avoir suivi un cursus complet au sein du département Michael Praetorius et Titulaire d’une maîtrise de musicologie de l’Université de musique ancienne au Conservatoire de Strasbourg, de Strasbourg, Sarah Gendrot-Krauss commença sa Céline Jacob se perfectionne auprès de Conrad Steinmann Jan Pieterszoon Sweelinck : pratique musicale par l’apprentissage du piano, puis (flûte à bec) et de David Plantier (violon baroque) à la 2 compositeurs à l'aube du baroque diversifia sa formation en étudiant le chant, le clavecin Schola Cantorum de Bâle. Son coup de cœur pour le cornet ainsi que la direction de chœur aux Conservatoires de à bouquin l’amène à étendre sa pratique à cet instrument Strasbourg et de Colmar. Passionnée de chant choral, rare qu’elle étudie auprès de Bruce Dickey, puis de Jean elle a été active dans de nombreux ensembles vocaux Tubéry et Serge Delmas. Son intérêt pour le cornet à e 2021 marque le 400 anniversaire de la mort de Michael alsaciens et membre d’ensembles professionnels tels bouquin la conduit à axer son travail de recherche autour Praetorius (1571-1621) et de Jan Pieterszoon Sweelinck des sources (musicales et iconographiques) et traces le quintette féminin Rouge Bluff et l’octuor Arcane. Elle e (1562-1621). Dans des contextes différents, ces deux s’est également produite en tant que soliste au Festival laissées par cet instrument en Alsace au XVII siècle pour compositeurs, dont on peine aujourd'hui à mesurer International de Colmar, aux Dominicains de Haute-Alsace son Master de musicologie à l’université de Strasbourg. totalement l'importance, ont participé à jeter les bases du ou encore auprès de l’Ensemble Vocal Universitaire de Pédagogue pendant de nombreuses années dans diverses langage baroque tout en s'inscrivant dans la riche tradition Strasbourg. Son activité accorde une part importante à structures du département ainsi qu’à l’étranger, elle polyphonique héritée de la Renaissance. Pour mettre en l’enseignement de la technique vocale, que ce soit dans un enseigne actuellement la flûte à bec, le cornet à bouquin et valeur l'apport des deux maîtres, on se penchera également cadre particulier, auprès de la Maîtrise de l’Opéra National la musique de chambre au Conservatoire du Grand Nancy. sur l'oeuvre de leurs héritiers (en particulier Heinrich Schütz du Rhin ou auprès de divers chœurs amateurs de la région. ainsi que Samuel et Gottfried Scheidt). Cette thématique sera déclinée en 4 ateliers intensifs de 2 journées chacun* : Jean-François Haberer • Cordes (violes de gambe, violon) et cornets à bouquin Marie-Paule Lefebvre basse continue, • Ensemble vocal viole de gambe, direction d’ensembles • Flûte à bec flûte à bec • Chant soliste Initié à l’orgue et passionné d’emblée par la musique * en fonction des places disponibles, il sera possible de participer à plusieurs sessions ancienne, Jean-François Haberer complète sa formation Marie-Paule Lefebvre a étudié la flûte à bec à Strasbourg auprès de Jérôme Mondésert. Il découvre le clavecin • Lieu : locaux de l’ensemble Dulcis Melodia auprès de Barbara Schmutz puis de Paul Van Nevel, avant qu’il étudie parallèlement à l’orgue. S’intéressant à 26, rue de Cosswiller de se perfectionner aux Pays-Bas dans les classes de l’accompagnement, il pratique la basse continue et collabore 67310 Wasselonne Joannes Collette et de Jérôme Minis. Elle se passionne avec plusieurs ensembles vocaux et instrumentaux de la • Horaires : 9h30 - 18h00 (concert de fin de stage le 2e jour à 18h00) également pour la viole de gambe et étudie cet instrument région. Ses activités pédagogiques, variées, comprennent auprès de Michel Holveck, puis de Jonathan Dunford. la direction d’ensembles vocaux ou instrumentaux, • Musiciens concernés : chanteurs (tout pupitre), flûte, Musicienne polyvalente, elle se produit dans de nombreux notamment dans le cadre de dispositifs innovants cornet à bouquin, basson, violon, alto, violoncelle, viole de ensembles en Alsace. Elle a enseigné la flûte à bec et la viole de auprès des jeunes publics. Il est co-titulaire des orgues gambe, guitare, clavecin et orgue gambe à l’E.M.M. de Saverne ainsi qu’à l’A.R.E.S. (Strasbourg). Silbermann de Balbronn et de Sainte-Aurélie (Strasbourg)..
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