Tobias Cramm studied fortepiano with E. Torbianelli and G. Lancaster in Basel/CH and Canberra/Australia and holds a Bachelor of Arts in musicology and social sciences from the university of Basel. He has been involved in exploring partimento-based approaches to improvisation and composing as a performer, researcher, and teacher since 2010 when he started to work with Alma Deutscher (b. 2005). Since then he has continued to teach a growing number of children, teenagers and adult professionals and presented his work at different conferences, including the symposium "The Musick-Master" at the Schola Cantorum in November 2019 in Basel/CH.

Tobias Cramm studierte Klavier und später Hammerklavier bei E. Torbianelli und G. Lancaster in Basel/CH und Canberra/Australien und hat 2015 einen Bachelor of Arts in Musik- und Gesellschaftswissenschaften an der Uni Basel erlangt. Er beschäftigt sich seit über zehn Jahren mit Ansätzen, welche die neapolitanischen Partimenti fürs Improvisieren, Unterrichten und die Interpretation klassischer Musik fruchtbar machen. Ausgangspunkt dafür war die Erfahrung, die frühe musikalische Entwicklung von Alma Deutscher (geb. 2005) zu begleiten. Derzeit arbeitet Tobias Cramm mit einer wachsenden Zahl von Kindern, Jugendlichen und Erwachsenen in diesem Bereich und hat seine Einsichten schon bei verschiedenen Anlässen präsentiert (zuletzt am Symposium «The Musick-Master» an der Schola Cantorum Basiliensis, Nov. 2019).

Lydia Carlisi was born in Manchester (UK), but grew up un Italy. She studied in Rome (Università di Roma 2/Tor Vergata) completing in 2010 a Bachelor Thesis on Leonardo Leo's Partimenti under the direction of Professor Giorgio Sanguinetti. In 2015 she completed a Master in Music Theory in the class of Prof. Dr. Ludwig Holtmeier at the Hochschule für Musik Freiburg (DE) with a thesis on Gaspare Selvaggi's «Trattato di armonia» (1823). During this time she was awarded a DAAD scholarship.

She has been teaching at the Universities of Music of Freiburg im Breisgau and Karlsruhe in Germany and since 2019 she is a faculty member of the Conservatorio della Svizzera Italiana (Lugano, Switzerland), where she teaches Music Theory. She is currently working on her PhD Thesis on the French reception of Partimento between the 18th and 19th Century. Her research was included in the "creating the Neapolitan Canon" project at the University of the Arts of Bern (Switzerland).

Lydia Carlisi wurde in Manchester (UK) geboren, wuchs jedoch in Italien auf. Sie schloss ihre Studien an der Università di Roma 2/Tor Vergata 2010 mit einer Bachelor-Arbeit zu Leonardo Leos Partimenti bei Prof. Giorgio Sanguinetti ab. 2015 erlangte sie einen Master in Musiktheorie bei Prof. Ludwig Holtmeier an der Hochschule für Musik Freiburg/Brsg. mit dem Thema «Gaspare Selvaggis Trattato di armonia (1823)». Während jener Zeit erhielt sie ein DAAD Stipendium.
Sie unterrichtete an den Musikhochschulen Freiburg und Karlsruhe und ist seit 2019 Dozierende am Conservatorio della Svizzera Italiana in Lugano/CH, wo sie Musiktheorie unterrichtet. Derzeit arbeitet sie an ihrer Doktorarbeit über die Rezeption des Partimento in Frankreich an der Schwelle zum 19. Jahrhundert. Ihre Forschung ist Teil des SNF-Projekts «Creating the Neapolitan Canon» and der Hochschule der Künste Bern/CH.

As a musicologist and music theorist, Peter van Tour has specialized in aural training pedagogy, counterpoint pedagogy and historic improvisation and composition. He studied Music Pedagogy (Master Exam, 5 years) at Brabant Conservatory in Tilburg, Master in Musicology at the University of Utrecht and Master in Music Theory (MA) at the Royal College of Music in Stockholm. Peter's PhD dissertation Counterpoint and Partimento: Methods of Teaching Composition in Late Eighteenth-Century Naples (Acta Universitatis Upsaliensis, Uppsala, 2015) highlights the practical teaching strategies at the Neapolitan conservatories during the late eighteenth century. In 1995, Peter co-founded the Gotland School of Music Composition, where he has been teaching Music Theory until 2014.<br>

Since the fall of 2017 Peter has joined the Department of Music Theory at the Norwegian Academy of Music in Oslo, where he has been appointed associate professor of Music Theory (www.nmh.no).

Als Musikwissenschaftler und -theoretiker hat sich Peter van Tour auf die Vermittlung von Gehörbildung, Kontrapunkt und historisch informierte Improvisation spezialisiert. (…) Peter van Tours Dissertation, “Counterpoint and Partimento: Methods of Teaching Composition in Late Eighteenth-Century Naples” (Acta Universitatis Upsaliensis, Uppsala, 2015) arbeitet die praktischen Lehrstrategien an den neapolitanischen conservatori des 18. Jahrhunderts heraus. (…) Seit Herbst 2017 ist Peter van Tour Mitglied der Abteilung Musiktheorie an der Norwegischen Musik-Akademie in Oslo, wo er Musiktheorie unterrichtet (www.nmh.no)
(Ausführlichere Angaben siehe englische Version.)

In my everyday life, I mainly play music that I didn't invent myself. I draw inspiration from the way music was learned and taught long ago. In these styles, written forms of music can be considered as sketches. In many ways, you can already see what it is going to be, but you often have to add the colours and detailed embellishments, sometimes even redraw the outlines. I try to read the thoughts of the old music inventors and understand their music through what is written in the notes and the assumptions about what is not written in the notes. Through this way of making music, their music becomes my music.

Tabea Schwartz is a recorder player and has also specialised in playing early modern string instruments. Her artistic work is driven by her enthusiasm for historical tonal languages, which she seeks to combine with direct expression as a musician. In addition to her concert activities, her artistic expertise also includes an interest in musicological work. Furthermore, as a music teacher, she is committed to contemporary music education.
www.tabeaschwartz.com

DE:

In meinem Alltag spiele ich vor allem Musik, die ich nicht selbst erfunden habe. Ich lasse mich dabei von der Art inspirieren, durch die man vor langer Zeit Musik gelernt und gelehrt hat. Dazu gehört, dass man die Noten wie eine Skizze behandelt. Man erkennt also schon, was es werden soll, aber die Farben und detaillierten Verzierungen muss man häufig noch ergänzen, manchmal sogar die Umrisse neu nachzeichnen. Ich versuche, über das, was in den Noten steht und die Vermutungen zu dem, was nicht in den Noten steht, die Gedanken der alten Musikerfinder*innen zu lesen und ihre Musik zu verstehen. Durch diese Art, Musik zu machen, wird ihre Musik meine Musik.

Tabea Schwartz ist Blockflötistin und hat sich zudem auf das Spiel von Streichinstrumenten der frühen Neuzeit spezialisiert. Ihre künstlerische Arbeit wird getragen von der Begeisterung für historische Tonsprachen, die sie mit dem unmittelbaren Ausdruck als Musikerin zu verbinden weiß. Neben ihrer Konzerttätigkeit zählt auch ein Interesse für musikwissenschaftliche Arbeit zu ihrer künstlerischen Expertise. Darüber hinaus engagiert sie sich als Musikpädagogin für eine zeitgemäße Musikvermittlung.


Tobias Cramm
studied fortepiano with E. Torbianelli and G. Lancaster in Basel/CH (Schola Cantorum) and Canberra/Australia and holds a Bachelor of Arts in musicology and social sciences from the university of Basel. He has been involved in exploring partimento-based approaches to improvisation and composing as a performer, researcher, and teacher since 2010 when he started to work with Alma Deutscher (b. 2005).

Lydia Carlisi was born in Manchester (UK), but grew up un Italy. She studied in Rome (Università di Roma 2/Tor Vergata) completing in 2010 a Bachelor Thesis on Leonardo Leo's Partimenti under the direction of Professor Giorgio Sanguinetti. In 2015 she completed a Master in Music Theory in the class of Prof. Dr. Ludwig Holtmeier at the Hochschule für Musik Freiburg (DE) with a thesis on Gaspare Selvaggi's «Trattato di armonia» (1823). During this time she was awarded a DAAD scholarship. Since October 2015 she teaches Music Theory at the HfM Freiburg and since May 2016 she is doctoral candidate at the HfM Freiburg and active co-worker at the Hochschule der Künste Bern for the «Neapolitan Canon» Project.

As a musicologist and music theorist, Peter van Tour has specialized in aural training pedagogy, counterpoint pedagogy and historic improvisation and composition. He studied Music Pedagogy (Master Exam, 5 years) at Brabant Conservatory in Tilburg, Master in Musicology at the University of Utrecht and Master in Music Theory (MA) at the Royal College of Music in Stockholm. Peter's PhD dissertation Counterpoint and Partimento: Methods of Teaching Composition in Late Eighteenth-Century Naples (Acta Universitatis Upsaliensis, Uppsala, 2015) highlights the practical teaching strategies at the Neapolitan conservatories during the late eighteenth century. In 1995, Peter co-founded the Gotland School of Music Composition, where he has been teaching Music Theory until 2014.

His current postdoctoral project 'The Improvised Fugue in Germany and Italy between 1670 and 1760' is hosted by the University of Leuven, and will investigate how organists were trained to acquire skills in fugal improvisation. Various kinds of short-hand notation in Italian and German sources from between 1670 and 1760 will be systematically investigated. This project is funded by the Swedish Research Council (July 2016 – July 2019).

Since the fall of 2017 Peter has joined the Department of Music Theory at the Norwegian Academy of Music in Oslo, where he has been appointed associate professor of Music Theory (www.nmh.no).

Personal homepage: www.vantour.se

Ewald Demeyere:
www.ewalddemeyere.com

Tabea Schwartz: In my everyday life, I mainly play music that I didn't invent myself. I draw inspiration from the way music was learned and taught long ago. In these styles, written forms of music can be considered as sketches. In many ways, you can already see what it is going to be, but you often have to add the colours and detailed embellishments, sometimes even redraw the outlines. I try to read the thoughts of the old music inventors and understand their music through what is written in the notes and the assumptions about what is not written in the notes. Through this way of making music, their music becomes my music.

Tabea Schwartz is a recorder player and has also specialised in playing early modern string instruments. Her artistic work is driven by her enthusiasm for historical tonal languages, which she seeks to combine with direct expression as a musician. In addition to her concert activities, her artistic expertise also includes an interest in musicological work. Furthermore, as a music teacher, she is committed to contemporary music education.
www.tabeaschwartz.com