As part of his ongoing teaching work, Ariel Abramovich
will teach this summer 2016 the specialty of plucked string and singing, in the framework of the Ancient Music masterclass organized by the “Aula d’Estiu Musical Castelló”.
The event is scheduled for July 20 and 21, in Castellón, and the price per student is € 120 (two days). More information here
We share with you a brief review of her biography and some questions that Ariel has kindly answered us to expand the information of the event.
A regular on the plucked string scene in Europe, Ariel Abramovich (Argentina, 1976) has managed to gather a huge number of outstanding milestones in his professional career.
Formed by great masters such as Dolores Costoyas, Eduardo Egüez, Paul O´Dette, Hopkinson Smith and Eugène Ferré, Ariel has developed an intense and complex recording, concert and teaching activity, devoted especially to the 16th century repertoire for lute and vihuela.
Ariel has been a core member of such relevant projects as “El Cortesano”, together with José Hernández-Pastor, with whom he explored the little-traveled repertoire of two of our vihuelists, Esteban Daça and Diego Pisador.
Also together with John Potter, Ariel makes outstanding recordings and concerts, with a special interest in the literature for voice and lute of England in the late 16th or early 17th century.
In the duo “Armonía Conceizadas”, this time by the hand of the soprano María Cristina Kiehr, and as the protagonist the Italian and Iberian literature for voice and plucked string from the 16th century.
And, together with the Renaissance specialist Jacob Heringman, she shares a project dedicated to intabulations for lutes and vihuelas, which crystallizes in the recording in 2014 of the album “Imaginary Figures”, with music for two vihuelas (forthcoming).
Ariel, in what context does this specialty of singing and plucked string develop?
Within the framework of the Aula d’Estiu Musical Castelló, in Castellón. This classroom is a project that good friends organize, and this year they have wanted to include historical music among the great diversity of options that students can find.
What fundamental objectives are pursued with the masterclass?
To offer lute / vihuelists and guitarists (professionals or amateurs) the possibility of working on the Renaissance repertoire from a deeper place, and acquire technical and analytical tools applicable also to other fields and musical texts.
Could you indicate what type of students this event is intended for?
I usually receive all kinds of students: professionals who are starting their career, amateurs who enjoy this literature in their free time, singers who want to work with the plucked string, guitarists seeking to expand their knowledge, etc.
And, with what instruments can you attend the course?
More than instruments, music from the Renaissance, from the end of the XV to the beginning of the XVII that, obviously, can be enjoyed and used better if the student plays the lute, vihuela or four-order guitar, although of course we will also be happy to receive classical guitar students , if someone wants to work the repertoire on modern instruments.
Ariel, what specific or common material do you plan to develop during the event?
In that I am flexible depending on the needs and expectations of the students.
Yes, I will propose pieces and authors, and I will offer one or two classes with common content, on technical and methodological issues.
We will also work with Flavio Ferri-Benedetti, the singing teacher, repertoire of English, Italian and Spanish of the Renaissance.
In your experience, what recommendations can you give us to make the most of a masterclass of this type? How do you think a master class complements the academic studies of the plucked string?
A master class is an excellent opportunity to get information and resources that – at least on a daily basis – are not within our reach. It is the occasion to know the working method of other teachers, to learn other ways of working and thinking about music.
It is also a good time to see how other pupils and students work, share ideas, make music with others, etc.
A master class is an excellent complement to academic plucked string studies, because it allows us to delve into a repertoire / instrument -with all that that implies- in a short time and in a very intensive way.
It allows us to include alternative and complementary work dynamics, and to learn the discipline of “listening to other voices”.
It should be added that a teacher who specializes in a repertoire or instrument gives the student the opportunity to get closer to less generic and superficial views.
In addition to your specialty, what other activities will be developed in the courses related to early music?
Along with the plucked string, this year singing, harpsichord, baroque violin and natural trumpet classes are offered.
It is worth noting that singing and plucked string will work together, as I mentioned before, and this seems especially interesting to me.
Ariel, what other events can we see you at during the summer? Do you have any other projects in progress?
Well I’ll be coming and going 🙂 Bratislava, Aranjuez, York, Buenos Aires … the truth is that summers are usually intense, in our profession.
And in terms of projects, we continue to present the album Amores Pasados (along with John Potter, Anna Maria Friman and Jacob Heringman), I will also record, together with María Cristina Kiehr, the first album of the duo “Armonía Conceizadas”.
Soon we will publish the album that I recorded with Jacob Heringman, “Imaginary Figures”, where there will be a wonderful selection of vihuela duets.
I will also be presenting a duet program with English mezzo Catherine King, for the Shakespeare year celebration.
Many things, the truth, very exciting.
Thanks for your time, Ariel, and we invite you to attend his classes.