Occitan songs – Cocanha
The three Cocanha singers will introduce an ensemble singing, based on the occitan repertoire. With a rithmic 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, we can lend just 7 tambourine.
Domenico Celiberti, nenowned multi-instrumentalist from Apulia, since several years researches and safeguards the repertory of his originary territory. 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 to family parties by my father Bruno, who had been a semi-professional guitarist in dance orchestras in the ’50s and’ 60s. At 11 I received a 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 I accompanied my father to the guitar, grinding agreements and harmonic tours otherwise outdated.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 songs from Bologna. I had also listened to the most authoritative and now 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 research 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, we can lend just 2 mandoline