Gasconian chant – Cocanha
The three Cocanha singers will introduce an ensemble singing, based on the Occitan repertoire. With a rythmic and polyphonic game, this workshop is aimed to offer a fun practice of traditional rythmic singing, either to lead the dance and to experience the shared energy of polyphonic singing. Occitan idiom will be our vocal playground: we will eat it, enjoy its flavor and make it play together with us.
Max 25 participants.
Traditional techniques of Apulian tambourine
The tambourine is the most arcaic and meanful element of the manifold and variform tradition of the South of Italy. The several rhythms, sounds and techniques of this instrument are the expression of the diversity of the peoples who play and even “live” this music. During the lesson we’ll explore some different styles of the Apulian local variations of “tarantella” (so has been named the big “family” of the dancing traditions of the South) and particularly analyze the techniques of Pizzica Pizzica from Salento and from Lower Murgia, and the rhythm from Gargano Peninsula.
We suggest to bring your own instrument, because we can lend just 7 tambourine.
Domenico Celiberti, renowned multi-instrumentalist from Apulia, started researching and safeguarding the repertory of his originary territory several years ago. He collaborates with many musical groups with strong traditional characteristics throughout Italy and France (Capa Cupa, Tittòmmë, Tomma Tommë, Paranza del Geco, Capa Cupa, Tittomme, Tomma Tomme, Le Bal Rital-Paris).
Traditional Bolognese mandolin – Lorenzo Cuppi
“I approached the Bolognese mandolin from childhood through an acquired relative, Nino Ricci, who loved being accompanied during family parties by my father Bruno, who had been a semi-professional guitarist in dance orchestras in the 50’s and 60’s.
At 11 years old I received my first mandolin as a gift from my paternal grandmother. But it was above all my father who picked up the instrument, playing some pieces of ancient Bolognese “liscio” and other melodic pieces, especially Neapolitans. I accompanied my father to the guitar, grinding agreements and harmonic tours otherwise outdated.
As a teenager, I left the mandolin studio, but when I arrived in England I felt the need to learn my father’s Bologna’s songs. I had just listened to the most authoritative and famed unique Filuzzi-style mandolinist in activity, in art Sisén, who had in his repertoire some pieces of ancient “liscio”.
With these studies, excavations in memory and researches, I have thus put together a small repertoire of waltzes, mazurkas and polkas, typical of the city and its surroundings that certainly refer to the pre-war period but have been transmitted until today. The workshop will deal with this repertoire, its history and the main figures. Owning an instrument and having some previous knowledge of the tool is desirable.”
We suggest to bring your own instrument,r4 because we can lend just 2 mandoline