Tuesday, 10th April 2018

Time Robert Samut Hall CI Ground Floor CI Floor 3
3:00 pm   Registration for participants
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Registration for participants

Registration for participants
Opening of Registration for participants

Speaker:
ESTA Office Malta
April 10, 2018, 3:00 pm to 5:00 pm
Hall: CI Ground Floor Track: organisation Type: registration
 
3:15 pm    
3:30 pm    
3:45 pm    
4:00 pm    
4:15 pm    
4:30 pm   A look at what was possibly Charles Camilleri's last work
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A look at what was possibly Charles Camilleri's last work

A look at what  was possibly Charles Camilleri's last work
The composer Charles Camilleri (1931-2009) featured in the 2005 ESTA International Conference in Malta, with his masterclass to the Stoliarski Quartet. He also had a good number of ESTA friends over the years. He was writing a third violin concerto when he took ill in 2007.
The composer Albert Garzia made an intense study of Camilleri scores over a period of time. Antoine Frendo had a professional relationship with Camilleri since 1965.Together Garzia and Frendo examine what may well have been Camilleri's last work.
Camilleri was greatly concerned with peace – both peace on a large scale as well as internal peace. The work begins with an allusion to the concerto "In memory of an Angel " by Alban Berg"

Speakers:
Frendo Antoine , Garzia Albert
April 10, 2018, 4:30 pm to 5:15 pm
Hall: CI Floor 3 Track: lectures
4:45 pm  
5:00 pm    
5:15 pm     The start of the State School of Music in Valletta
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The start of the State School of Music in Valletta

The start of the State School of Music in Valletta

Speaker:
Danneberg Sventha
April 10, 2018, 5:15 pm to 5:30 pm
Hall: CI Floor 3 Track: lectures
5:30 pm     Four exercises to relax your bowing
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Four exercises to relax your bowing



Title of Presentation: Four exercises to relax your bowing

In this workshop, we’ll practice simple but effective exercises to let go of tensions in the bowing fingers, wrist, arm, and shoulder. The exercises are four: (1) loosen the grip; (2) find balance; (3) draw the arm instead of the bow; (4) let your bow follow your voice. These exercises also get you to relax your brain and your heart, and to make music in a new way—free, expressive, and effortless. Bring your instrument if you’d like to participate actively.

Speaker:
de Alcantara Pedro
April 10, 2018, 5:30 pm to 6:15 pm
Hall: CI Floor 3 Track: workshops
5:45 pm    
6:00 pm    
6:15 pm   Official Opening of Conference and of Exhibition
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Official Opening of Conference and of Exhibition

Official Opening of Conference and of Exhibition

Speakers:
Frendo Antoine , Lambrecht Mark
April 10, 2018, 6:15 pm to 7:15 pm
Hall: CI Ground Floor Track: exhibitions
 
6:30 pm    
6:45 pm    
7:00 pm    
7:30 pm Different phases in Bottesini's Compositions for the Double Bass
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Different phases in Bottesini's Compositions for the Double Bass

Different phases in Bottesini's Compositions for the Double Bass
Different phases in Giovanni Bottesini compositions for double bass

Giovanni Bottesini (22 December 1821 – 7 July 1889), or as he is widely known as “the Paganini on the Double bass” is the greatest double bass virtuoso and composer for the instrument, in the Romantic period.
Many different stages in his life have influenced him and his compositions, starting from the “Tre gran duetti per contrabassi” written for his teacher and himself at the Milan Conservatory till the “Reverie” one of his last works written.
There is a lot of written information about his travels in Cuba and England together with the works written in this period of his life, but how and why did Bottesini end up being director of Cairo Opera, stopped composing for a longer period in his life and conduct the premiere of the opera “Aida” is still a bit of a mystery. What was the relation between Bottesini and Bellini? – admiration or a competitive streak? How did Ricordi end up having the copyright of all Bottesini works written at the end of his life?
How did all these different stages in life influenced his compositions and music expressions?

Speakers:
Cincievski Gjorgji , Clews Reggie , Scicluna Michelle
April 10, 2018, 7:30 pm to 8:30 pm
Hall: Robert Samut Hall Track: lectures Type: double bass
   
7:45 pm    
8:00 pm    
8:15 pm    

Wednesday, 11th April 2018

Time Robert Samut Hall CI Ground Floor CI Floor 1 CI Floor 3 CI Floor 3 Piano Room CI Floor 4 CI Theatre Casino Maltese St Lawrence Church Birgu
9:00 am       Developing autonomy: The role of parents and teachers in children’s practice
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Developing autonomy: The role of parents and teachers in children’s practice

Developing autonomy: The role of parents and teachers in children’s practice

Clarissa Foletto (University of Aveiro/Inet-md/ ESTA Portugal)

Learning a musical instrument is a process that requires mental, physical and emotional commitment in acquiring and developing specific skills. According to several authors, the acquisition of these competences during childhood is only possible through a concentrated practice, carefully supported by parents and teachers. In addition, the role of the parent as a "critical motivator of practice", the individual characteristics of each children and an appropriate environment for this activity, are highlighted as some of the most important factors behind children’s learning process. Therefore, this lecture aims to present some perspectives about the role of parents in children’s practice, as well as teachers’ strategies to optimize their participation and help the development of children’s autonomy.


Speaker:
Foletto Clarissa
April 11, 2018, 9:00 am to 9:45 am
Hall: CI Floor 3 Track: lectures Type: practice
         
9:15 am                
9:30 am       Presidents' meeting
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Presidents' meeting

Presidents' meeting

Speakers:
ESTA Office Malta, Lambrecht Mark
April 11, 2018, 9:30 am to 10:30 am
Hall: CI Floor 3 Piano Room Track: organisation Type: meeting
       
9:45 am       How Contemporary Turkish Composers Used Traditional Forms in Their Compositions for the Violin
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How Contemporary Turkish Composers Used Traditional Forms in Their Compositions for the Violin

The presentation is about the influence of traditional Turkish musical patterns and forms on the violin works of contemporary Turkish composers. Following a brief look at forms like Zeybek, Horon, and Köçekçe in a cultural and historical light, examples of traditional Turkish music will be presetned, including recordings and live performances.

Speakers:
Ebru Ayata, Eylem Arica
April 11, 2018, 9:45 am to 10:30 am
Hall: CI Floor 3 Track: lectures Type: violin
       
10:00 am              
10:15 am              
10:30 am Break
10:45 am
11:00 am       From Kvæði to Skype: A short introduction to the music life of the Faroe Islands
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From Kvæði to Skype: A short introduction to the music life of the Faroe Islands

From Kvæði to Skype: A short introduction to the music life of the Faroe Islands
Have you ever heard of the Faroe Islands, do you even know where they are?
A country of 18 islands, where you can sometimes experience all four seasons of weather in just five minutes.
Singing and dancing together has been an important part of Faroese life since the Vikings invaded in about the year 700. Instrumental music is still relatively young in its development, taking form in the early 80’s when the music school began. With a population of only 50.000, it shouldn’t be possible to have a professional symphony orchestra.....but we have.
If you would like to learn a little about what the islands are like and what goes on there, then come along to the presentation in words and pictures!

Speaker:
Thomsen Claire
April 11, 2018, 11:00 am to 11:45 am
Hall: CI Floor 3 Track: lectures
  Big Cello Book for Beginners
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Big Cello Book for Beginners

Big Cello Book for Beginners
The book ”PLAY AS YOU SING - SING AS YOU PLAY” is not only about pulling and pushing a bow, or putting the fingers on the right place at the right time. It is also about the greatest global problem of today’s world – the problem of communication. Communication has always been an essential need of the human race, particularly today, at the time of global trends. It is of paramount importance for a musician who must communicate with his audience, and his colleagues in the orchestra. Therefore, most of the songs, exercises and etudes in this book are devised for two instruments – cello and piano. Listening to different sounds, children will learn to listen to other people, other ideas with new sensibility. Hopefully, it will help them become better people. Also, performing on the stage with somebody else might develop the child’s self-confidence. Sharing the excitement and joy of performing - is the best feeling ever. At their early age children are not “specialized”. They are complex persons influenced by various kinds of art. By all of them together. This synthesis is called “children’s creativity”. So, a child will express itself creatively a lot before it starts to speak. At first it could be by dancing (which grownups will perceive as jumping around). Then by drawing, painting, singing, etc. The true intention behind this book is to help preserve this wholeness of children’s spirits for as long as possible. The long-term goals of education are to help a child become a person of integrity with full responsibility of an adult and rich creativity of a child. In order to express and preserve these creative values, the child/adult has to develop certain skills. This is where music can be used as a wonderful medium of developing the most valuable human characteristics, such as honesty, good communication, positive emotions, patience, imagination, discipline and self-confidence. Cello playing is only a small segment in practicing music. It might seem contradictory to address cello playing techniques devised for a small child, a beginner in music, within a context of ambitious educational objectives. Modest as it may seem, this book will, nevertheless, help mastering the basic cello playing knowledge and skills and this get us a little closer to our great major objective. Unlike most instrumental music handbooks for beginners, the etudes and exercises in this book are presented in a form of songs with lyrics. I believe it is very important to motivate a child to sing a song before playing it on the instrument, and it would also be desirable to sing while playing. The habit of singing the tune is vital to the understanding of the melodic phrase and rhythm, to feeling the pulse and controlling breathing; singing also stimulates the coordination of body movements, relieves tension in the neck muscles, and does much good besides. In this book, songs, etudes and exercises are grouped under four strings, and not according to various different levels of difficulty in mastering the musical challenges or instrument playing techniques.

Speaker:
Berković Dobrila
April 11, 2018, 11:00 am to 11:45 am
Hall: CI Floor 4 Track: demonstrations Type: violoncello
     
11:15 am              
11:30 am              
11:45 am       Suzuki and sensory-motor teaching
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Suzuki and sensory-motor teaching

Suzuki and sensory-motor teaching
Shinichi Suzuki has changed our ideas about teaching, learning and violin technique. His statement that talent is not inherited but can be developed in every child is now generally accepted, though new in his time and often not understood. He developed his knowledge of violin technique by listening to great artists as Thibaut, Casals and Kreisler. He often taught, without looking to the student, and knew exactly how the person was playing and what he had to change. As far as I know none of the modern Suzuki teachers have developed this skill.
Moshe Feldenkrais developed a new way of looking at how the human body functions and how to move in a most natural way.
In my lecture I will try to show a few glimpses of how the combination of these two geniuses can help us teaching young children.

Speaker:
Lievaart Johannes
April 11, 2018, 11:45 am to 12:30 pm
Hall: CI Floor 3 Track: lectures Type: violin
         
12:00 pm                
12:15 pm                
12:30 pm Break    
12:45 pm    
1:00 pm    
1:15 pm    
1:30 pm    
1:45 pm    
2:00 pm    
2:15 pm       Rethinking career development for performers: Dilemmas and opportunities
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Rethinking career development for performers: Dilemmas and opportunities

Rethinking career development for performers: Dilemmas and opportunities
Gilvano Dalagna (University of Aveiro, Inet-md, Portugal)

Developing a career path based on music performance in music industries is a dream for many higher education musicians who will have spent hours of their academic lives looking for artistic excellence. Despite of the difficulties involved in seeking such a career, recent studies have suggested that for savvy young musicians opportunities in this field have never been better. However, some authors suggest that a considerable number of musicians, including professionals, have difficulties in building a career involving music performance, especially musicians trained in some higher education music institutions, where support from teachers as artistic mentors, giving psychological and professional assistance, encouraging critical thinking, decision-making, and self-reflection, is still rare. Based on this perspective, this lecture will highlight some dilemmas and opportunities concerning career development for performers.

Speaker:
Dalagna Gilvano
April 11, 2018, 2:15 pm to 3:00 pm
Hall: CI Floor 3 Track: lectures Type: strings
  Viola masterclass with emphasis on studies – focussed on Lilian Fuchs Etudes
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Viola masterclass with emphasis on studies – focussed on Lilian Fuchs Etudes

Viola masterclass with emphasis on studies – focussed on 	Lilian Fuchs Etudes
Studies are not the most sparkling part of an instrumental and artistic development at any level. Students practice them "for their teacher" without recognizing the sense behind and often not being aware of the progress they make by working on this kind of literature. Teachers, on the other hand, do not like studies either, they often follow a canon of pieces already inherited by their professors. For this reason studies get more and more neglected during the general artistic development. On the 3rd Cycle Level some academies deny that studies are still necessary for their students - studies are seen as pieces that have to be fulfilled on the lower levels. At this point I would like to introduce to you the ambivalent sense of studies:
1) Dealing very intensively with selected technical problems you will have to solve in your concert repertoire, and
2) Developing a habit to look behind the notes to find out a specific artistic approach to any kind of music.
Many examples from more than two centuries of Study Literature will lead you to the "sense behind" and, of course, questions will be warmly welcome.
Finally my - still - student and upcoming assistant teacher Ms. Andjela Sibinovic (Viola Section Leader of the ESTA Chamber Orchestra performing at our Conference as well) will present you an extract from her Master Thesis on Lilian Fuchs's Fantasy Etudes (with live performance!)

Speaker:
Klos Wolfgang
April 11, 2018, 2:15 pm to 3:45 pm
Hall: CI Floor 4 Track: masters Type: viola
     
2:30 pm              
2:45 pm              
3:00 pm       Introducing the Kodály philosophy based Colourstrings teaching method
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Introducing the Kodály philosophy based Colourstrings teaching method

Introducing the Kodály philosophy based Colourstrings teaching method
The Colourstrings approach developed by the Szilvay brothers has gained an international reputation and is now taught all over the world. A number of special Colourstrings institutions –schools, centres and societies-have been established in several countries in order to implement and further this Kodály philosophy based child-centred teaching concept.

Speaker:
Silvay Géza
April 11, 2018, 3:00 pm to 3:45 pm
Hall: CI Floor 3 Track: demonstrations Type: practice
       
3:15 pm              
3:30 pm              
3:45 pm Break    
4:00 pm    
4:15 pm       Kodály philosophy based colourstrings teaching method Continued
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Kodály philosophy based colourstrings teaching method Continued

Kodály philosophy based colourstrings teaching method 	Continued
Continued

Speaker:
Silvay Géza
April 11, 2018, 4:15 pm to 5:00 pm
Hall: CI Floor 3 Track: demonstrations Type: violin
         
4:30 pm                
4:45 pm                
5:00 pm       Duets for violin and violoncello based on Tatar’s composers and folk music
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Duets for violin and violoncello based on Tatar’s composers and folk music

Violinist Sergei Emelianov and cellist Irina Lapteva from Tatarstan (Russia) present a compilation of duets for violin and violoncello. The duets that are presented today are arrangements made by them of works based on Tatar folk melodies by the professional composers, Mansur Muzafarov, Renat Enikeyev, Lev Rosenblum and Luiza Batyrkaeva.
The composers applied their extensive performance and pedagogical experience in the making of these works, which are intended for replenishment of the pedagogical repertoire of children's music schools and colleges, .



Speakers:
Emelyanov Sergei, Lapteva Irina
April 11, 2018, 5:00 pm to 5:45 pm
Hall: CI Floor 3 Track: demonstrations Type: violin and violoncello
         
5:15 pm                
5:30 pm                
5:45 pm Break    
6:00 pm    
6:15 pm    
6:30 pm    
6:45 pm    
7:00 pm    
7:15 pm       Lines and Loops
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Lines and Loops

An eclectic recital for electric violin, bass electric violin and live-looping

Using live-looping technology Steve builds multi-layered soundscapes from simple building blocks. His recitals have enthralled audiences worldwide. Tonight Steve will include the following pieces, and more:

Folketone fra Sunnmøre…..traditional Norwegian

Get Lucky…..Daft Punk

Tubular Bells for One…..Mike Oldfield

Clocks…..Coldplay

Time Lapse…..Michael Nyman

While My Guitar Gently Weeps…..George Harrison

Joe Waits…..Rowan Marshall

Duplicity…..S Bingham

Julie-O…..Mark Summer

You Cut The String…..Andrew Keeling

Speaker:
Bingham Steve
April 11, 2018, 7:15 pm to 9:00 pm
Hall: CI Floor 3 Track: concerts
         
7:30 pm                
7:45 pm                
8:00 pm                
8:15 pm                
8:30 pm                
8:45 pm                

Thursday, 12th April 2018

Time Robert Samut Hall CI Ground Floor CI Floor 1 CI Floor 3 CI Floor 3 Piano Room CI Floor 4 CI Theatre Casino Maltese
9:00 am       String Playing and the Professionalisation of Andalusian Music in North Africa
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String Playing and the Professionalisation of Andalusian Music in North Africa

Andalusian music (or musiqa andalusiyya) is believed to have reached North Africa with Muslim and Jewish refugees escaping the Christian reconquista of Spain between the tenth and seventeenth centuries. Influenced by the professionalisation in Arabic music that had occurred in Egypt in the 1960s, Andalusian music went through several changes in terms of performance practice, such as the formation of bigger ensembles, the inclusion of western instruments such as the violin and cello and, in some cases, the presence of a conductor leading the ensemble with a baton. This paper explores the role of string instruments in professional Arab Andalusian ensembles in North Africa and how this professionalisation paralleled developments in other domains of culture, such as the recording industry and music education.



Speaker:
Ciantar Philip
April 12, 2018, 9:00 am to 9:45 am
Hall: CI Floor 3 Type: strings
       
9:15 am              
9:30 am              
9:45 am       Classical Kemençe in Historical Process and Classical Kemençe Playing Techniques
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Classical Kemençe in Historical Process and Classical Kemençe Playing Techniques

The classical kemençe, whose origin is central Asia, is one of the traditional stringed instruments of Turks. It has his unique play style which is to touch strings with fingernail instead of push on them. Classical kemençe that has mystical, naive and special sound has historically been involved in Classical Turkish music, starting with traditional music. Today, it continues to exist a musical instrument in many of the traditional, classical and popular music with its tone. In this presentation, right and left hand techniques in the context of examples and applications will be talked about with referring to historical process of classical kemençe.

Speaker:
Filiz Kaya
April 12, 2018, 9:45 am to 10:30 am
Hall: CI Floor 3 Track: workshops
       
10:00 am              
10:15 am              
10:30 am Break
10:45 am
11:00 am       Workshop: Musical Expression
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Workshop: Musical Expression

Quality of your music
How can you bring more expression to your music? You already know a piece of music quite well and the bowing and fingering are also under control. However, you keep trying to play the version you hear in your mind. Or you try to reproduce a version that you have heard somewhere else, because it is of better quality, more distinct, more expressive: “that’s the sound I’m looking for!”
For most musicians, both professional and amateur, this is a recognizable experience and recurring problem. All musical components (movement, melody, harmony, dynamics, timbre, articulation and their underlying structure) have to cooperate in order to express your own interpretation and emotion. Movement is by far the most important component of all. To really feel this movement is not so easy during sitting and/or standing in upright position. You have to move yourself!
FORMAT WORKSHOP
Physical experience of musical movement If you could experience the movement and energy of music with your whole body
first, without your instrument, you will be able to translate this more easily onto your instrument. By using objects or materials in the workshop that we can manipulate in time and space, you will sense literally the weight of a large bouncy ball or the flow of
a soft silky scarf. After that, while playing, you only need to follow the visualisation of your own movements. This is your own natural interpretation of the music and therefore will always connect with your personal emotions. The translation to your instrument will
be very easy: your bowing and fingering will naturally follow your focus on movements. Your inner voice will be in charge and not your fingers.
What you play will be real and therefore very credible.
Before you start to move, you’ll need to really know the music and be able to play it well so that you can have the opportunity to choose the right movement and then to visualise it while playing on your instrument: “what feels the best?” You don’t need to
be a great dancer; it’s only about simple movements that anyone can do. If you can play an instrument, you will be able to do this as well.

Movement & Visualisation
In the first part of the workshop we’ll be working together in a group, moving with the music and experience time, space and energy, without any instruments. I’ve already selected the music so you won’t have to have anything prepared. It’s all about
listening and moving, cooperating closely, just like we do in a music performance, but now without an instrument.
In the second part of the workshop I’ll work with a few of preselected participants individually, while the rest will observe. The participants will perform a piece of music on their instrument, which they have prepared and already know very well. Next they
will move, without instrument, but with a ball or a scarf to explore the right movements of the music, hearing the music inside. Right after that whole-body moving, they will again perform the same piece of music for the second time on their instrument, visualising the previous personal movements. This way we can hear the result of the quality of the sound immediately after the movement exercise. The participant will know at once if the exercise has resulted in better expression. In addition, it will be valuable for the audience to watch the movement exercise and see how it affects the whole process. The observers see right away which movements are clear and which are not: “when do we notice forte, when do we notice piano?”, “when do we see legato and staccato?”, “where precisely does a musical sentence start and where does it end?”, “what’s the exact length of a note?”, “which motifs belong together?”
To move easy during the workshop you have to wear comfortable clothing.
Musical progress
You will be motivated to approach your music score and your practicing in a different way than before. This method is suitable for all types of instruments and for singers. To integrate it in your daily musical practice and concerts is easy. It is just another possibility to improve the quality of music you perform. Personally, this refreshing process has completely changed my musical life. My performance of music has grown and has become much more expressive. I need less time to practice, I practice more without my instrument and it has influenced my bowing and fingering. In addition, playing the music feels more natural because I have already experienced the music with my own physical movements. Nowadays, I write in my music scores completely different remarks such as: “to the left”, “straight on”, “ball”, etc.
It’s very nice that you cannot make any mistakes applying this technique, you only can make progress. Above all it is a joyful sensation to explore, without any stress. In short: as soon as you more or less can handle the technics, you can then start to
focus on the movement of the music and answer the questions: “where do you want to go and with what kind of energy?”
This visualisation is the ultimate form to explore and feed your musical power of imagination. As a musician it brings out the very best of you. With pleasure I would like to invite you to participate in my workshop “Musical Expression”. Of course, you can also attend the workshop as an observer. Looking forward to meet you at the Conference in Valletta.
Marlies Muijzers

Speaker:
Muijzers Marlies
April 12, 2018, 11:00 am to 12:45 pm
Hall: CI Floor 3 Track: workshops Type: violoncello
  Cello Masterclass
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Cello Masterclass

Speaker:
Schoening Peter
April 12, 2018, 11:00 am to 12:45 pm
Hall: CI Floor 4 Track: masters Type: violoncello
   
11:15 am            
11:30 am            
11:45 am            
12:00 pm            
12:15 pm            
12:30 pm            
12:45 pm Break
1:00 pm
1:15 pm
1:30 pm
1:45 pm
2:00 pm
2:15 pm       The importance of managing the natural proportions in an equal temperament music culture
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The importance of managing the natural proportions in an equal temperament music culture

The importance of managing the natural proportions in an equal temperament music culture
It is very difficult to find the place of the first finger in the first position so that it is in tune with both the upper and the lower open string at the same time, do you know why? Do you know why it is so difficult to tune the open E string of the violins with the lower C string of the viola and cello in the string quartet?
Most of the scales and chords of Western musical culture were constructed with intervals and proportions from the harmonics series. The development of the tonal system and the crystallization of the 24 scales (12 major and 12 minor) gave rise to equal temperament. Completely disregarding the natural harmonic proportions, equal temperament came to answer the desire to solve the problems of transposition of and the tuning of the keyboard instruments. Despite the enormous development of composition and musical interpretation, the nature of sounds has not changed. Then there is a great attraction for the true harmonic consonance. Instruments with no fixed tuning and voice can still achieve it, but their use over the tonal system makes this task extremely difficult, creating a permanent conflict. This project proposes the development of knowledge, techniques and methods that allow the string player to manage and improve their pitch control.

Speaker:
Alves Jorge
April 12, 2018, 2:15 pm to 3:00 pm
Hall: CI Floor 3 Track: demonstrations Type: viola
       
2:30 pm              
2:45 pm              
3:00 pm       "Bartok´s laboratory" a pedagogic approach to his 44 Duos
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"Bartok´s laboratory" a pedagogic approach to his 44 Duos

Music examples: Prof. Albrecht Winter violin, Erich Scheungraber violin

With his 44 duos for two violins, Bartók is one of the few well-known composers to have composed pedagogical literature for string players. Although many of the 44 duos are popular among professionals and performed in chamber music concerts, they are only rarely incorporated into early string lessons. How is it possible to surmount barriers in order to use these brief masterpieces to develop the ability to shape sonorities and a feeling for form in our students?



I The Works
-Bartóks surviving field recordings of the peasant songs, which are the sources for the individual duos.

-Correspondence between Bartók and Doflein regarding the musical and pedagogical concept of the 44 duos.

-An analysis of individual duos demonstrate Bartók's mastery. The duos reveal themselves as models for his subsequent major compositions.

II Models for Lessons
-Model lessons for different age groups, exploring the pitch material, rhythm, form, and performing techniques.

III “Bartók Project”
-The “Bartók Project” of the “Junges Streichorchester Weil im Schönbuch”, with the support of its patron-orchestra, the Stuttgarter Kammerorchester, and composition students from the Musikhochschule Stuttgart: with “new settings” of the old peasant songs collected by Bartók and with their own works composed based upon their own, newer field recordings, the students will learn inventiveness and a develop a sense for musical structures as well as gaining a new perspective on Bartók´s masterpieces.

Speaker:
Scheungraber Erich
April 12, 2018, 3:00 pm to 3:45 pm
Hall: CI Floor 3 Track: lectures Type: violin
       
3:15 pm              
3:30 pm              
3:45 pm Break
4:00 pm
4:15 pm       The Mini Violin Method, specifically for ages 5 and 6
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The Mini Violin Method, specifically for ages 5 and 6

The Mini Violin Method, specifically for ages 5 and 6
Giving violin lessons to a group of very young children is certainly no sinecure for teachers. How can you be assured of reaching the same level and results from a whole group as you would achieve from a one to one situation? A solid approach is required in this situation.
Mini Violin provides guidance to teachers through all 66 lessons using the very detailed and instructive “Teachers Guide” which helps the pupils to develop a good posture and to avoid repetitive errors whilst learning to play the violin.
The method will show that, apart from learning to play by ear, the children would certainly be able to learn music notes. In my opinion five to six years is an ideal age to start reading notes.
Initially, the children are not yet able to play songs on their violin, so we stimulate their musical experience by singing songs and clapping rhythms. These sort of activities are a valuable addition to the method.
During my lecture I will support my ideas with the use of videos and photographs.



Speaker:
Willems Lenneke
April 12, 2018, 4:15 pm to 5:00 pm
Hall: CI Floor 3 Track: lectures Type: violin
  Cello Masterclass
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Cello Masterclass

Speaker:
Schoening Peter
April 12, 2018, 4:15 pm to 5:45 pm
Hall: CI Floor 4 Track: masters Type: violoncello
   
4:30 pm            
4:45 pm            
5:00 pm       Viola d’amore from Baroque to contemporary music
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Viola d’amore from Baroque to contemporary music

Viola d’amore from Baroque to contemporary music
The origins of the viola d’amore are from many different countries, mixing resonance of Eastern European instruments, with the presence of metal sympathetic strings, tuning in various thirds, fourths and fifths, allowing a world of sound possibilities which is unique; the rich music composed for the instrument cannot be played on any other instrument!
If Bach, Vivaldi, Hindemith and Janacek... among many ... were so interested in the instrument, this presentation will try to illustrate what this special instrument can bring to all of us.

Speaker:
Xuereb Pierre-Henri
April 12, 2018, 5:00 pm to 5:45 pm
Hall: CI Floor 3 Track: demonstrations
     
5:15 pm            
5:30 pm            
7:30 pm Traditional and Contemporary Turkish Music for Strings
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Traditional and Contemporary Turkish Music for Strings

Traditional and Contemporary Turkish Music for Violin and Kemençe

Dear Audience,
This concert is a journey between the Turkish Traditional and Contemporary Music. For most of the concert , you will listen to an orginal form of Turkish traditional music played on the kemence, and then you will hear the same form, composed by a Turkish contemporary composer, played on the violin.
Enjoy the music.

Kemençe Taksim
Taksim Hasan Ferid Alnar (1906-1978)
Nikriz Peşrev Ali Ufki Bey (1610-1675)
Peşrev Necdet Levent (1923-2017)
Hicaz Saz Semaisi Refik Tal'at Alpman (1873-1947)
Nihavend Saz Semai Necdet Levent (1923-2017)
Horon -Gökte Yıldız Ay misun - (Region: Rize) Anonymous
Horon - Ben Giderim Batum'a - (Region: Sinop) Anonymous
Horon Adnan Saygun (1907-1991)
Yağcılar Zeybeği - ( Region: İzmir) Anonymous
Zeybek Adnan Saygun (1907-1991)
Karcığar Köçekçe Anonymous
Köçekçe Muammer Sun ( 1932 - )

PAUSE

Hüzzam Oyun Havası İsmail Hakkı Bey (1865-1927)
Sonata for Violin and Piano Allegro – Adagio – Allegro İlhan Usmanbaş (1921 - )
Nikriz Longa Tanburi Cemil Bey ( 1873 – 1916)

Speakers:
Ebru Ayata, Eylem Arica , Filiz Kaya
April 12, 2018, 7:30 pm to 9:00 pm
Hall: Robert Samut Hall Track: concerts Type: strings
             
7:45 pm              
8:00 pm              
8:15 pm              
8:30 pm              
8:45 pm              

Friday, 13th April 2018

Time Robert Samut Hall CI Ground Floor CI Floor 1 CI Floor 3 CI Floor 3 Piano Room CI Floor 4 CI Theatre Casino Maltese St Lawrence Church Birgu
9:00 am       Finger pattern tunes for violin and viola
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Finger pattern tunes for violin and viola

An introduction to learning and mastering new finger patterns on the violin and viola. How to help students improve intonation, velocity, tone and articulation, how to make practicing fun and inspiring and how to adopt finger exercises to both beginners and advanced players.

Please bring instruments to the Finger Pattern Tunes lecture!

Speaker:
Belvelin Eva
April 13, 2018, 9:00 am to 9:45 am
Hall: CI Floor 3 Track: lectures Type: violin and viola
Delegates' meeting
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Delegates' meeting

Delegates' meeting

Speakers:
ESTA Office Malta, Lambrecht Mark
April 13, 2018, 9:00 am to 10:30 am
Hall: CI Floor 3 Piano Room Track: organisation Type: meeting
Violin Masterclass
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Violin Masterclass

Violin Masterclass
The Gran Duo Italiano, Mauro Tortorelli violin, Angela Meluso piano, boasts a Discography that includes word-premiere recordings of music by Gaetano Fusella, Camillo Sivori (Paganini’s only pupil) and Rosario Scalero (himself a pupil of Sivori) Tactus Recording. Radio broadcast of the music on Italy’s Rai Radio 3 were enthusiastically received by audience and critics alike, and the releases were well reviewed in specialist music magazines such as Musica, Amadeus, Fanfare, Harmonia Mundi and Gramophone. In 2011 the Duo was awarded one of the European Union’s highest accolades, the “Premio Mediterraneo”, in recognition of their research, rediscovery and promotion of Italy’s artistic and musical heritage. In 2012, the duo gave a lecture-recital at the 40th International Conference of the European String Teachers Association (ESTA) at the theatre in Porec in Croatia. This was followed by a conference-recital in 2013 on the music of Camillo Sivori at the Emirates International Festival of Dubai and a masterclass-recital on Paganini and his musical contemporaries at the University of Aichi (Nagoya) in Japan. In 2014 the Duo debuts in Germany with unanimous applause at the Stilwerk-Bechstein Centrum in Berlin, Festsaal of the Coselpalais in Dresden, Harmoniesaal in Bamberg, and at the Philarmonie Gasteig in Munich. In 2015 the Duo has an important tournèe in Japan: Nagoya at the Munetsugu Hall, Gakuin University in Osaka, in Fukuoka at the University Concert Hall and Kagoshima Concert Hall. In 2016 the Gran Duo Italiano has concerts in Timisoara (Philarmonie), Malta (Gaulitana Festival), Tenerife (Conservatorio Superior de Musica, Real Casino), Firenze (Lyceum-Amici della Musica), Ravello Festival etc. In february 2017 they have their debut at Carnegie Hall of New York and at the Music School of Kazan (Tatarstan-Russia). The last recording for Brilliant Classics Label are: Camille Saint-Saens (Violin Sonatas) and Darius Milhaud (works for violin and piano- viola and piano). Mauro Tortorelli is considered by critics to be a virtuoso violinist of rare musical instinct and great interpretative skill. He studied violin with J.J.Kantorow, B.Belkin, F.Gulli and G.Mönch. In 1990, while still very young, he made his debut at the Teatro alla Scala in Milan playing a piece for two violins composed by Luigi Nono alongside his teacher G.Mönch. He works closely with artists of international standing such as F. Maggio Ormezowski, Rohan De Saram, Francois Joel Thioller, Alexandra Gutu, Franco Petracchi, Alfonso Ghedin, Daishin Kashimoto. He held Master Class at the Tchaikovsky Conservatoire in Moscow, at the Aichi University (Japan) and in Dubai Conservatoire. He recorded for Tactus Label, Naxos, Brilliant, Camerata Tokyo, Nuova Era, Stradivarius. www.maurotortorelli.com Angela Meluso began studying piano at age five and she graduated with honours at the Conservatory of Music “A. Vivaldi” of Alessandria under Giacomo Fuga. She won the eleventh edition of the “Premio Ghislieri” coming first in the piano section. She has attended specialization studies at the Accademia in Florence with Lazar Berman, at the Accademia Hipponiana of Reggio Calabria with Vincenzo Balzani and for chamber music with Mauro Tortorelli, Giacomo Fuga, E. Bagnoli, Trio di Trieste and Trio di Parma (DuinoAccademy). She works closely with musicians such as Guido Arbonelli, Loris Antiga (horn player with the London Symphony Orchestra), and with the lead players of the Teatro San Carlo in Naples and “Santa Cecilia” in Rome. Considered by critics to be a pianist of great character, interpretative sensitivity and communicative skill, she is also the author of Solfeggianimando, a method for teaching music, published in 2008 by Edizioni Zaccara.

Speaker:
Tortorelli Mauro
April 13, 2018, 9:00 am to 10:30 am
Hall: CI Floor 4 Track: masters Type: violin
     
9:15 am            
9:30 am            
9:45 am       Listening: the acquisitive and receptive ears
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Listening: the acquisitive and receptive ears

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Title of Presentation: Listening: the acquisitive and receptive ears
In this workshop, we’ll practice two different modes of listening. The acquisitive mode is goal-oriented, analytical, and discerning. The receptive mode is process-oriented, sensorial, and curious. Ideally, every musician engages both modes as needed. Our exercises will open your acoustic awareness, your ability to respond to the spatial components of sound, and your perception of sound as vibration that is received by the whole body and not the ears alone. The workshop is appropriate for all musicians.

Speaker:
de Alcantara Pedro
April 13, 2018, 9:45 am to 10:30 am
Hall: CI Floor 3 Track: workshops Type: violoncello
     
10:00 am            
10:15 am            
10:30 am Break
10:45 am                 Excursion to Birgu and Fort St. Angelo
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Excursion to Birgu and Fort St. Angelo

Excursion to Birgu and Fort St. Angelo
St. Lawrence church in Birgu displays fine baroque architechture and beautiful paintings from the past centuries
Vittoriosa is one of the oldest parishes in Malta. St. Lawrence Church was built by Lorenzo Gafa between 1681 and 1697. It is a fine example of Roman baroque architecture, with a richly decorated interior, with statues, paintings and an impressive marble Latin cross.

The St. Lawrence Church served as the conventual church of the Order of St. John before St. John’s Cathedral was built in Valletta. The area at the front side of the church was used as a cemetery during the Great Siege. Later, St. Joseph's Chapel and the Crucifix Chapel were built on the site. A small museum is located next to the parish church. Pope John Paul visited St. Lawrence Church in 1990 while he was visiting the Maltese Islands.

Speaker:
ESTA Office Malta
April 13, 2018, 10:45 am to 3:00 pm
Hall: St Lawrence Church Birgu Track: organisation Type: excursion
11:00 am                
11:15 am                
11:30 am                
11:45 am                
12:00 pm                
12:15 pm                
12:30 pm                
12:45 pm                
1:00 pm                
1:15 pm                
1:30 pm                
1:45 pm                
2:00 pm                
2:15 pm                
2:30 pm                
2:45 pm                
4:00 pm                 Concert at the Church of St. Lawrence Birgu
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Concert at the Church of St. Lawrence Birgu

Concert at the Church of St. Lawrence Birgu
CONCERT AT THE HISTORIC CHURCH OF ST. LAWRENCE IN BIRGU
PROGRAMME
Kodaly Solo Sonata 1movement
Crumb Solo Sonata
Paganini: Moses fantasia arranged for three cellos.

Speakers:
Valeberg Oscar , Schoening Peter , Johansson Titus
April 13, 2018, 4:00 pm to 5:00 pm
Hall: St Lawrence Church Birgu Track: concerts Type: violoncello
4:15 pm                
4:30 pm                
4:45 pm                
7:30 pm               Hearing Orpheus Today 2018
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Hearing Orpheus Today 2018

Hearing Orpheus Today 2018
The Concert is Free for all ESTA Conference Participants

Speaker:
Reuben Pace
April 13, 2018, 7:30 pm to 8:45 pm
Hall: Casino Maltese Track: concerts
 
7:45 pm                
8:00 pm                
8:15 pm                
8:30 pm                
8:45 pm               Gala Dinner at 8:45pm
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Gala Dinner at 8:45pm

Gala Dinner at 8:45pm
The dinner is being sponsired by the Thomastik-Infeld string manufacturing company.

Please inform us by the 26th of this month as to whether you intend coming to the Gala Dinner and if you have any dietary requirements, vegetarian or other.

The Menu
Starter
Aubergine and scamorza ravioli, light cos lettuce cream, roasted sweet corn, bull’s blood salad

Main Course
Wild mushroom stuffed chicken supreme, roasted Zucchini batons, sweet pea and pancetta puree Pommes dauphinoise, Café du Paris infused jus

Vegetarian Main Course:
Chickpea, parmesan and root vegetables stuffed courgette, golden raisin risotto cake, chunky tomato jam, turnip puree, parsley oil

Dessert
Caramelised baked passion fruit brule, red wine and raspberry granite, lemon cream

Speaker:
ESTA Office Malta
April 13, 2018, 8:45 pm to 10:00 pm
Hall: Casino Maltese Track: organisation
 
9:00 pm                
9:15 pm                
9:30 pm                
9:45 pm                

Saturday, 14th April 2018

Time Robert Samut Hall CI Ground Floor CI Floor 1 CI Floor 3 CI Floor 3 Piano Room CI Floor 4 CI Theatre Casino Maltese St Lawrence Church Birgu
9:00 am       The guitar in dialogue with the Orchestra and string Quartets
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The guitar in dialogue with the Orchestra and string Quartets

The guitar in dialogue with the Orchestra and string Quartets
Elegance of touch is an evidence when one listens to Simon Schembri. Rare sensibility gives his interpretation deep expressivity.
Simon Schembri is in the line of the guitar technic founded by Tarrega in the 19th century, which inspired the famous Ida Presti and Alexandre Lagoya. Critics recognized the strong but nevertheless noble and mellow sonority, as well as richness of musical expression. Alexandre Lagoya considered him to have “virtuosity at the service of a high spiritual sensitivity” and Simon Schembri enjoyed the rare privilege of sharing severals guitar duets with the Master.
Simon Schembri has been invited by musical medias : Eve Ruggieri (Musiques au coeur - France 2), Anne-Charlotte Rémond (France Musiques) José Arthur and the conductor Frédéric Lodéon (France Inter), who was “struck by the clarity of his playing and quality of musical expression that brings life to music”.
Acclaimed virtuoso, Simon Schembri gives numerous recitals in France, his adopted country, and abroad (Paris, Lyon, Verona, Warsaw, Istanbul, Tunisia, Venezuela, Washington...). He also dedicates a large part of his activity to chamber music playing quintets with Quatuor Debussy, Quatuor Ludwig, Quatuor Parisii, duets with great artists : Alexandre Lagoya, Marielle Nordmann, Yuri Bashmet, and orchestral works in renowned halls : Théâtre du Châtelet with Solistes de l’Orchestre de Paris, Théâtre des Champs Elysées, Salle Pleyel, Cathédrale des Invalides with Orchestre de la Garde Républicaine, Palais des Congrès Paris with Orchestre Lamoureux, The Kennedy Center Washington, Purcell Room London, Liceo Madrid, Royal Castle Warsaw, and in major international festivals : Aix-les-Bains, Chartres, Biarritz, Mediterranean Festival, Flâneries Musicales de Reims...
Simon Schembri has constant interest in evolution of the guitar. He premiered several works from Jacques Chailley, Erik Marchelie, Gordon Mizzi or Karl Fiorini and has been closely working with Spanish guitar maker Ignacio Rozas and Savarez Strings. He is a Professor and regularly gives masterclasses in summer music academies : Academie Internationale de musique de Lozère, des Pays de Loire and Musicalta.

Speaker:
Schembri Simon
April 14, 2018, 9:00 am to 9:45 am
Hall: CI Floor 3 Track: lectures Type: guitar
         
9:15 am                
9:30 am                
9:45 am       Technology in String Teaching: the pleasures and the pitfalls!
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Technology in String Teaching: the pleasures and the pitfalls!

PRESENTATION:

Technology in String Teaching: the pleasures and the pitfalls!
(everything you ever wanted to know about tech but were afraid to ask)





Violinist and technophile Steve Bingham discusses the use of technology by string teachers, both in individual lessons and in the classroom.





Why use it?

What to use?

How to choose?

What can go wrong?





From audio recording to video, from apps & gadgets to electric instruments, from simple amplification to effects pedals & looping, Steve will help you to unravel the mysteries of modern technology and discover the devices that can actually help you!





The presentation will offer practical advice, demonstrations of a variety of technology, and a Q & A session.



Speaker:
Bingham Steve
April 14, 2018, 9:45 am to 10:30 am
Hall: CI Floor 3 Track: workshops Type: technology ICT
         
10:00 am                
10:15 am                
10:30 am Break    
10:45 am    
11:00 am       Technology in string teaching: the pleasures and the pitfalls! Continued
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Technology in string teaching: the pleasures and the pitfalls! Continued

Speaker:
Bingham Steve
April 14, 2018, 11:00 am to 11:45 am
Hall: CI Floor 3 Track: workshops
         
11:15 am                
11:30 am                
11:45 am The unedited works for violin and piano of Mario Castelnuovo Tedesco
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The unedited works for violin and piano of Mario Castelnuovo Tedesco

The fame of Mario Castelnuovo Tedesco (Florence, 3 April 1895 – Beverly Hills, 16 March 1968) is, at least in Italy, associated closely with his compositions for giutar and his relationship with Andrés Segovia for a period of over 30 years. However, a part of his significant output of chamber music is reserved to violin and piano and is theproduct of more than 40 years of close collaboration with the great violinist Jascha Heifetz. Many of these works remain handwritten and unpublished. They have been recorded for the first time by Gran Duo Italiano for the recording house Brilliant in a double CD that will appear on the market in September 2018. In this presentation, the scores will be analysed as compositions as well as from the aspect of violin technique, and with particular reference to the artistic and professinal relationship of Castelnuovo-Tedesco and Heifetz.
The scores
Mario Castelnuovo-Tedesco:
La Figlia del Reggimento: a Fantasy for Violin and Piano on Themes by Donizetti op 110: Overture, Romance, Rataplan.
Notturno Adriatico op.34
Figaro from the Barber of Seville by Rossini

Speaker:
Tortorelli Mauro
April 14, 2018, 11:45 am to 12:30 pm
Hall: Robert Samut Hall Track: lectures Type: violin
               
12:00 pm                
12:15 pm                
12:30 pm Break    
12:45 pm    
1:00 pm    
1:15 pm    
1:30 pm    
1:45 pm    
2:00 pm       Little Things for Little Strings
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Little Things for Little Strings

Teaching ideas for teaching violin beginners in groups and/or individually using a collection of 70 tunes for violin beginners with inspiring backing tracks by Per Strandberg. The material introduces the students from the very beginning to more advance violin techniques such as shifting, vibrato, double stops, harmonics, string crossings, bow strokes and also to ensemble playing.

Speaker:
Belvelin Eva
April 14, 2018, 2:00 pm to 2:45 pm
Hall: CI Floor 3 Track: lectures Type: strings
         
2:15 pm                
2:30 pm                
2:45 pm       Scandinavian Strings Concert
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Scandinavian Strings Concert

Scandinavian Strings Concert
Scandinavian Strings - a unique string ensemble from Sweden
Since 1995 young violinist in ages 5 to 15 play under leadership of violinist and violin teacher Eva Belvelin. The wide and varied repertoire consists of different genres from classical pieces to contemporary entertainment music which the group performs all over the Europe.

Speaker:
Belvelin Eva
April 14, 2018, 2:45 pm to 3:30 pm
Hall: CI Floor 3 Track: concerts Type: strings
         
3:00 pm                
3:15 pm                
3:30 pm       Viennese interpretation tradition in classical violin masterpieces
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Viennese interpretation tradition in classical violin masterpieces

Viennese interpretation tradition in classical violin masterpieces

Speaker:
Kropfitsch Elisabeth
April 14, 2018, 3:30 pm to 4:15 pm
Hall: CI Floor 3 Track: demonstrations Type: violin
         
3:45 pm                
4:00 pm                
4:15 pm Break    
4:30 pm    
4:45 pm             Playday
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Playday

Playday
Playday is a music making event organized by ESTA, open to all string players of every level and age, which takes place in a different Italian location each year. The participants come from many different places and from all manner of music schools and conservatoriums.
On the ‘Play Day’, the musicians come together to form one or more string orchestras led by expert conductors who guide the preparation of the pieces to be performed in the final concert which takes place in the afternoon.
PlayDay is an intense, musical full immersion, a moment of sharing and growth, an exciting day for all: for the youngest who face their first orchestral experience in such a festive atmosphere and for the older students and their teachers who are enriched and gratified by the contact with musicians who come from experiences different from their own.
PlayDay is not only a day of fun but of constructive involvement as well. In the true spirit of ESTA it also aims to be a moment of shared musical and personal relationships.
On the occasion of the 46th ESTA Conference 2018 in Valletta, in the year in which the city is the European Capital of Culture, PlayDay becomes an international event uniting Italian and Maltese students in mark of a shared love of music and of profound friendship.
PlayDay La Valletta 2018 is organized and guided by the Team ESTA-Italia; Licia Anna Ellero, Ennio Francescato, Satu Jalas, Silvia Pulcioni and Ursula Schaa. The PlayDay orchestras are conducted by Simone Genuini.

Speaker:
Genuini Simone
April 14, 2018, 4:45 pm to 6:15 pm
Hall: CI Theatre Track: concerts Type: string ensamble
   
5:00 pm                
5:15 pm                
5:30 pm                
5:45 pm                
6:00 pm                
6:15 pm Break
6:30 pm ESTA Chamber Orchestra
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ESTA Chamber Orchestra

ESTA Chamber Orchestra
ESTA String Orchestra 2018
“North – West – South – East”
Music for string orchestra
Conductor: Jutta Seppinen - Finland

Concerts:
8th March 2018 at the Council of Europe for the “International Women Day”
14th April 2018 in the framework of the International ESTA Conference Malta

Program:

Caroline Charrière – Switzerland (*1960 )
Two movement of the suite “Les temps”
Kronos
L'urgence

Jean Sibelius – Finland (1865 – 1957)
Impromptu

Joseph Vella – Malta (*1942)
Thinking Impromptu
(commissioned by the ESTA Foundation for the International ESTA Conference 2018 in Malta)

Sally Beamish – Great Britain (*1956)
The day dawn

Joaquín Malats y Miarons – Spain (1872 - 1912)
Impresiones de Espana (from No. 2. Serenata española (arr. for string orchestra)

Break

Pjotr Iljitsch Tschaikowski – Russia (1840 – 1893)
Serenade for strings C-major op.48

The project is financed by the ESTA Foundation
Kjell Oke Hamren- Artistic Advisor;
Ulrike Danhofer - tuition
Katarzyna Theus - Logistic and administration
KLANGFORUM SCHWEIZ

Speaker:
Seppinen Jutta
April 14, 2018, 6:30 pm to 8:30 pm
Hall: Robert Samut Hall Track: concerts Type: chamber music
               
6:45 pm                
7:00 pm                
7:15 pm                
7:30 pm                
7:45 pm                
8:00 pm                
8:15 pm                
8:30 pm Conference Closure
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Conference Closure

Conference Closure
Conference Closure

Speaker:
ESTA Office Malta
April 14, 2018, 8:30 pm to 8:45 pm
Hall: Robert Samut Hall Track: organisation
               

Legend

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