MEDIEVAL MUSIC & MEDIEVAL SINGING COURSE
Jasmina Črnčič is a singer from Maribor, Slovenia. Drawing on her rich experience in choral and theatre work as well as a classical formal education, she now specialises in the performance of the music from the High Middle Ages. She is a member of the critically acclaimed ensembles for medieval music Sequentia and Per Sonat, and devotes much of her time to developing new pedagogical approaches which are especially suited for the study of the music of the early/high Middle Ages. She is on the faculty of the International Course on Medieval Music Performance Besalú (Medieval Music Besalú). As a member of the Slovenian ensemble Carmina Slovenica she has performed in numerous staged and concert productions both as a part of the vocal ensemble as well as a soloist at many festivals and concert venues around the world (New York’s Prototype Festival, Melbourne Festival, Operadagen Rotterdam, Radialsystem V Berlin, Holland Festival, Ruhrtriennale, and others). She currently divides her time between Cologne and Paris.
HARPSICHORD TUNING A& MAINTENANCE
Taught by one of the foremost experts in the field, Anton Amir of Klinkhamer Harpsichords & Fortepianos (Amsterdam), the workshop is aimed at all who are interested in knowing more about, and working with, harpsichords—from beginner to experienced, as well as professionals who wish to “brush up” on their skills. Each of the two days includes sessions on tuning in different temperaments, as well as practical issues, such as replacing a quill, changing strings, damping & regulation of the various registers, stuck keys, badly functioning jacks, and more.
RENAISSANCE MUSIC AND RENAISSANCE FLUTE
Amanda Markwick has performed and recorded with, among others, the Indianapolis Baroque Orchestra; the Bach Orchestra of The Netherlands; the Hong Kong Early Music Society; the Rheinische Kantorei and Das Kleine Konzert (Hermann Max); die Hannoversche Hofkapelle; die Lautten Compagney (Wolfgang Katschner); Cantus Thuringia & Capella (Bernhard Klapprott); Elbipolis (Jürgen Groß); and Cantus Cölln (Konrad Junghänel). She is an active member of several chamber music ensembles, exploring her love of music of the sixteenth century with the Renaissance flute consort The Attaignant Consort, and with the Titans Rising Early Music Ensemble.
In addition to maintaining her performing agenda, Amanda is regularly invited as a guest lecturer, most recently at the University of Music and the Performing Arts, in Vienna, Austria; the Conservatorium van Amsterdam, The Netherlands; H.I.P.S.T.E.R. Ireland and the Irish World Academy, both in Limerick, Ireland; Renaissance Workshops, in Berlin, Germany; the Bauhinia Musik Haus in Hong Kong; and the Kuopio Conservatory in Kuopio, Finland. She was on the jury of the 2021 Baroque Flute Competition for the American National Flute Association. Her article “Advice for Traverso Beginners” was published by “Fluit” magazine in The Netherlands. With Kate Clark, she co-authored The Renaissance Flute: A Contemporary Guide, the first modern handbook for the Renaissance flute, published by Oxford University Press in 2020.
Amanda lives and teaches in Berlin, Germany.