{"id":78964,"date":"2023-02-07T11:45:50","date_gmt":"2023-02-07T10:45:50","guid":{"rendered":"https:\/\/www.royaumont.com\/voices-and-repertoire-training\/melody-and-chamber-music-workshop-vienna-1900\/"},"modified":"2024-09-02T10:05:07","modified_gmt":"2024-09-02T08:05:07","slug":"melody-and-chamber-music-workshop-vienna-1900","status":"publish","type":"page","link":"https:\/\/www.royaumont.com\/en\/the-cultural-project\/training-courses\/voices-and-repertoire-training\/melody-and-chamber-music-workshop-vienna-1900\/","title":{"rendered":"Melody and chamber music workshop: Vienna 1900"},"content":{"rendered":"
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Presentation<\/h2>

The musical ferment in Vienna at the turn of the 20th century calls for an in-depth exploration of the artistic ideas that sprang up in the Austro-Hungarian capital, whether one follows the secessionist movement of painters and architects from Klimt to Hoffmann, whether one adopts the all-embracing, syncretic point of view, of Gustav Mahler, recently appointed to lead the StaatsOper orchestra, where he began by proposing a renewed listening to Wagner; whether one follows the post-romantic path proposed by Alexander von Zemlinsky or measures the ambitions of the young Arnold Schönberg, Anton Webern and Alban Berg. The fusion of Brahmsian and Wagnerian styles, exacerbated chromaticism, atonality and the development of the dodecaphonic system are all radical and fascinating avenues for the repertoire of the Lied and the chamber music. The protean aspect of the Viennese aesthetics of this period is an obsession for the baritone Christian Immler, who has been unearthing little-known scores for several years, as well as for Franck Chevalier, violist of the Diotima Quartet, who will come to teach young chamber musicians selected by ProQuartet. This week of masterclasses will be accompanied by the advice of musicologist Anna Stoll-Knecht, a specialist in Mahler and associate researcher at the La Grange-Fleuret Music Library<\/a>.<\/p>

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Teachers<\/h4>

Christian Immler<\/strong> bass-baritone
Franck Chevalier<\/strong> viola of the Diotima Quartet
Andreas Frese<\/strong> piano
Anna Stoll Knecht<\/strong> musicologist<\/p>

Christian Immler<\/strong>
The German bass-baritone Christian Immler studied the art of song and melody at the Royaumont Abbey and won the Nadia and Lili Boulanger International Competition. He has worked with Nikolaus Harnoncourt, Marc Minkowski, Philippe Herreweghe, William Christie, Giovanni Antonini, Kent Nagano and Raphaëll Pichon, in venues such as the Salzburg Festival, the Concertgebouw in Amsterdam, the Boston Early Music Festival and the Wigmore Hall in London. His recordings have received numerous awards: Diapason d’Or, Grammy Nomination, Opera Diamond, Echo Klassik and Recording of the Year (France Musique). He is a professor of singing at the HEMU Lausanne. <\/p>

Andreas Frese<\/strong>
Andreas Frese is a musical partner of artists such as Christian Immler, Christoph and Julian Prégardien, the Aris Quartet, the Amaryllis Quartet, the Eliot Quartet, the Mannheim String Quartet or the RTÉ Concert Orchestra. His discography includes the first complete recording of Antonín Dvořák’s first cycle “Zypressen” with Marcus Ullmann, Martin Bruns and the Bennewitz Quartet or songs and duets by Benjamin Britten, John Ireland and Michael Head. More recently, his Schubert project with Christoph Prégardien and the Camerata Musica Limburg as well as two CDs with songs and chamber music by the Frankfurt composer Christian Ridil have been released.<\/p>

Franck Chevalier<\/strong>
Franck Chevalier was awarded first prize for viola at the CNSM in Paris in 1996. That year he became a member of the Orchestre National de France, where he remained for ten years, and joined the young Diotima Quartet at the same time. Thanks to ProQuartet, he benefits from the teaching of masters such as Walter Levin or the Alban Berg Quartet. Today, the Diotima Quartet is one of the most sought-after ensembles in major venues and festivals around the world. His interpretations of the Second Viennese School and the works of Bartók have been acclaimed by the international press, as have those of today’s composers, to whom he has dedicated a remarkable collection. He is now recording exclusively for Pentatone.<\/p>

Anna Stoll Knecht<\/strong>
Anna Stoll Knecht is an associate researcher at the Bibliothèque La Grange-Fleuret for the Mahler collection and a recipient of a research grant from the Swiss National Science Foundation for the project “Music and Clowning in Europe, 20th-21st centuries” (Accademia Teatro Dimitri). Previously a postdoctoral fellow at the British Academy at Oxford (Jesus College), she is working on Mahler as an interpreter of Wagner. His recent publications include Mahler’s Seventh Symphony<\/em> (OUP, 2019); chapters for Mahler in Context<\/em> (CUP, 2020), Wagner in Context<\/em>, Wagner Studies<\/em> (CUP, forthcoming), Geography Notebooks<\/em> (No. 4, 2021), and a chapter on Jacques Tati for the Palgrave Handbook of Film Music and Comedy<\/em> (forthcoming).<\/p>

Recipients<\/h4>