In my two previous posts I have reported on my/our cultural highlight of this year – the Kuhmo Chamber Music Festival, July 2017. This was a shared experience between my partner Johanna (who has been a regular visitor since the early days of the festival) and myself (a latterly joined ‘avec’ who has learned to appreciate the festival). In my first post I told of the background of the festival and provided insights into the highlights of the Kuhmo 2017 program. In my second post I told of the meeting point ‘Salakamari’ (Secret chamber) and of the early morning lectures by artists in this pop-up restaurant and conference room. Indeed, my Kuhmo experience this year changed me from a passive sympathiser to an enthusiastic follower. I needed to learn more of this great music played by this great artists – who pointed out to be very nice fellows in the Kuhmo neighbourhood. For various reasons my follow-up ‘project’ has mainly focused on the music and video performances of Sergey Malov – Meister Sergey, as I prefer to call him. Below I will present some main points what I have found of him in the internet and what I have learned of him.

Playing violin, viola and violoncello da spalla at the same time

As has been indicated in the previous posts, Meister Sergey plays three instruments – violin, viola and the baroc instrument violoncello da spalla at the same time. For many traditional representatives of classical music this is unusual, if not suspect. For Meister Sergey this is a challenge and enrichment, something similar to learning several languages. And thanks to modern film techniques, he has been able to make his point. Together with the film crew of the Louisiana Modern Art Museum in Humlebaek, Denmark, he has produced films in which he appears to be playing the three instruments parallel to two or more Sergeys – and the music is fully synchronised. Here we have a sample of such multiple presence while playing:

Crossing the boundaries between different cultures and genres – making the performance transparent

Another film production with the same Danish film crew from the Louisiana Modern Art Museum gave Meister Sergey and his French counterparts, the composer Guillaume Connesson and the pianist Jerome Ducrot, a chance to demonstrate, how cultural boundaries can be crossed. In the video interview Meister Sergey gives insights into the development of Connesson, his capability to combine French traditions and American influences. Sergey analyses the exemplary piece of music – The Songs of Atlantis by Connesson – to be played by him and Ducrot together. At the same time the film crew equips the musicians and their instruments with numerous cameras to detect their movements – their Handwerk – while playing. In this way, the theory of music, the aesthetic performance and the technical mastery have all been made transparent.

Playing Bach with violoncello da spalla in a very special ‘concert hall’ – Gashouder Amsterdam

One of the most fascinating video recordings with Meister Sergey was made by the project “All of Bach” of the Netherlands Bach Society. In this production Sergey has been invited to play the Cello Suite no. 6 in D major of Johann Sebastian Bach – but with violoncello da spalla. And the venue is quite special – an old gas depot that had been preserved and could be reused for a concert without audience. The production resulted in three videos. The first one is the complete performance of the Suite no. 6. In the second video Sergey analyses the piece of music and puts into discussion the hypothesis that it was in fact written for an instrument with five strings. He demonstrates in a lively way, how this makes more sense regarding the technique of playing it. Finally, in the third video he discusses his instrument, violoncello da spalla and its potentials. In these videos Sergey speaks his native Russian but the videos have either English or Dutch subtitles. Please follow the link to access this treasury: http://allofbach.com/en/bwv/bwv-1012/

The rediscovery of violoncello da spalla – and what you can do with it

The final video in this sample is the recording of an informal conversation between Meister Sergey and Dmitry Badiarov, the violin constructor who had built the violoncello da spalla for Sergey. At first they start jokingly discussing, what it means for a musician to be ‘tagged’ as a specialist of a rare instrument. But then, when getting to the subject matter, they bring into picture evidence that some baroc compositions were explicitly written either for ‘viola da gamba’ or ‘da spalla’. If these two instruments were considered as equal options at that time, the present date musicians should explore the treasury written for viola da gamba also with violoncello da spalla. And having agreed on this, the friends of old then give a demonstration by playing together. And clearly the motto was ‘happy together’. Follow the link below and enjoy it as well:

https://www.facebook.com/violoncellodaspalla/videos/1360640140711419/

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I think this is enough of the learning journey that I have had after the  Kuhmo event. I notice that I have not mentioned the records of Meister Sergey or the video recordings of his concerts. More information is available on his website http://sergeymalov.com/ or on his professional facebook page. As far as I am concerned, I have learned a lot with this follow-up of the magnificent Kuhmo experience.

And with this blog post I wish you all a happy Christmas time and a good slide to the new year 2018!

More blogs to come (next year) …

With my previous blog I started a series of posts looking back at the highlights of the year 2017 – and this time with a focus on the cultural highlights starting from the Kuhmo Chamber Music Festival 2017. In my previous post I told of the background of this festival and how it became – against odds – a success story. I also told, how this particular festival in the year 2017 became a special event for us and what kind of highlights were performed on the stage. But, I also hinted that the concerts were not all that mattered in the Kuhmo experience. This brings us to the phenomenon ‘Salakamari’.

The meeting point Salakamari (Secret chamber) and its attraction

Indeed, a major ingredient in the Kuhmo atmosphere was the meeting point “Salakamari” – a pop-up restaurant built into an old barnhouse. In the evenings it served as the restaurant and it had an outdoor bar area with a open campfire. In the mornings Salakamari served as a pop-up conference facility. For each day there was a short opening lecture on the theme of the day by one of the artists. And this was accompanied by a short performance of music – eventually with guest artists. Below we have some pictures of these Salakamari sessions.

The Salakamari lecture 1: Information and impressions delivered by Sergey Malov

These early morning lectures at Salakamari turned out to be exciting sessions and the artists made their best as presenters and performers. My first experience was the lecture of Sergey Malov, who had already shown that he is a virtuoso as violinist (see my previous post). But in Salakamari he demonstrated that he is an accomplished music teacher who can reveal the secrets of music to beginners just as well as to students who want to become professionals. Sergey told about his own background and of his education in Russia, Austria and Germany – and how he refused to make an exclusive choice between violin and viola, then to add the baroc instrument violoncello da spalla to his instruments. He told us of the composers, whose music he is currently playing – and put them into group picture of predecesors, contemporaries and successors. In this way we got a feeling for continuity and development in a musical genre – not just insights into particular pieces of music. (This is also what he has delivered in his records – putting Paganini into context or even more: putting Ysaÿe into context.) Concerning the Kuhmo festival, he praised the opportunity for artists to come together, play together and try something different together. Also he emphasised the opportunity for younger artists to take more challenging roles. And indeed, he gave us an analysis on the next concert and a recommended us to join him and go to listen to it. As I said it, the great artist also proved to be a great educator and analyst – chapeau, Meister Sergey!

The video below was not exactly the music that Meister Sergey  played there, but it has probably been filmed in Kuhmo:

The Salakamari lecture 2: Daniel Rowland with guests and stories from the Netherlands and Argentina

My other great experience in Salakamari was with the English-Dutch violinist Daniel Rowland as the host. Indeed, he told something of himself and his background, growing up in a bilingual family in the Netherlands. And he had also a story, how he got attracted to Kuhmo and became fascinated. But he had also brought guests with him and with his guests he had special memories of playing together. The first guest was the Italian guitar player Alberto Mesirca and they played together Paganini. The story behind was that they had been playing in the Netherlands and a film crew insisted that they should play in the middle of a tulip field. And the artists obeyed, as we can see from the video below:

But then Alberto had to leave for the airport and gave way for the other guest, the Argentinian bandonion-player Marcelo Nisinman. And with Marcelo there had been a similar outdoor-performing session, again with a Dutch film crew but now in Kuhmo. The film crew wanted to have the musicians playing just before midnight, yet in daylight, at the lakeside. And again, the artists obeyed although they were surrounded by armies of Nordic mosquitoes. There were quite few also in Salakamari, when they played again, but not as many as you can see on the video below.

Well, we enjoyed the stories and the music. But Daniel topped it up by telling how Marcello got acquainted with the gran maestro Astor Piazzolla and invited Marcelo to tell more. So, the session became quite a learning journey delivering us influences and inspirations from here and there and everywhere. We gladly accepted Daniel’s characterisation of the festival as the “Planet Kuhmo” with its own atmosphere as a special place for encounters. Hartelijk bedankt, Meester Daniel!

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I guess this is already enough of the encounters in Kuhmo and in the Salakamari sessions. It was quite an inspiration and I started my personal follow-up, tracing websites and communicating on Facebook. But that is already another story to be covered by my next post.

More blogs to come …

This year I managed to start my holiday break early enough and with a firm decision to leave the work-related issues to the year 2018. Yet, little by little, the feeling creeps into your mind that you should say something about the highlights of the year 2017 that is soon coming to an end. And this time, it is clear, I need to report on a special cultural experience – our visit at the Kuhmo Chamber Music Festival 2017 – and how I turned into a passionate fan of classical music and of certain artists. And suddenly I find myself having a new priority area when writing updates on Facebook. But let’s start with Kuhmo and the festival and what it is all about.

Kuhmo … ? And Chamber Music Festival in Kuhmo …?

Once upon a time – over 40 years ago – a Finnish top musician Seppo Kimanen, who had already become an international celebrity, had a crazy dream. He thought of setting up a chamber music festival in such a remote place that the artists will come for a week or two without having a temptation to rush away after one or two performances. He looked at the map of Finland and found an ideal place – the municipality of Kuhmo in the Central North-East part of the country. Indeed, Kuhmo was remote from the ‘metropols’ of Southern Finland and of the relatively big cities of Northern Finland. It was remote from everything else except the Russian border, the wild woods and the nice lakeside landscapes near the centre of the municipality.

Kimanen managed to get the festival up and running and – after the difficult and ascetic beginning years it became a success story. Several years ago Kimanen handed over the responsibility to his successor, Vladimir Mendelssohn, an international musician, who is active in Finland. And in the course of the years faithful fans and committed artists have returned year by year and seen a marvellous concert hall being built to accommodate the main concerts, whilst part of the concerts are still going on in a school building, in the church and elsewhere in the region. Also, the Kuhmo experience has become a special concept, as the expression ‘the Kuhmo Planet’ indicates.

(This year the Dutch TV Channel produced a special program on Kuhmo in the series “Klasiek viert de zomer” following a Dutch couple and their ‘Kuhmo adventure’ . This program gives a lot of visual and musical insights into the life of festival tourists – and a lot of discussion in Dutch – have a look:

https://www.npo.nl/klassiek-viert-de-zomer/18-08-2017/VPWON_1274541)

For us – my partner Johanna and myself – Kuhmo has become a ‘must’ already long ago. Johanna, who comes originally from that region, has been a faithful fan of the first moments on. I have joined her later as an ‘avec’, who has gradually learned to enjoy the music. However, our participation had so far been based on commuting from the neighbouring Sotkamo and attending some selected concerts during one week. This has given some insights and impressions, but not much more. But this year we decided to take a ‘bigger package’. We took weekly tickets for both festival weeks and accommodation in the centre of Kuhmo. This enabled participation in a wider range of concerts and into other activities. And it provided us the possibility to follow the concerts with a focused approach.

Kuhmo 2017 – Highlights on the stage

For us, already one of the first concerts alerted us to something special that was coming up. The Finnish pianist Paavali Jumppanen (a renowned Beethoven-specialist) played together with the Russian violinist Sergey Malov (who was a new acquaintance to us) were playing Antonin Dvorak’s Sonatina in G. Op.100.  And it turned out to be an explosive show – two champions inspiring each other and getting the most and even more out of the masterpiece that they had chosen. But the ‘big bang’ was yet to come.

In a late evening concert shortly afterwards Sergey Malov was playing Caprices of Paganini – and how! He managed to stun us be his ‘entrée’ by having the stage darkened and only the front part of it lit with dim red lights that were gradually brightened. And then he appeared as ‘the man from the darkness’ and played the caprices in an unforgettable way.

To me (and to some friends of old who were also there) this brought into memory a scene in the Soviet-Moldavian film ‘Lautarii’ of the year 1972. In that scene a lautar (‘gypsy’) street-musician Toma Alistar has been smuggled to the house of a nobleman who is giving a concert on his premises and is clad like the professional musicians. The musicians start to play – in a routine-like way and the nobleman follows it with gestures of ‘dejà écoutée’. Then, the lights fall off and after a moment of chaos, Toma Alistar steps in from the darkness and plays the same music like a virtuoso. The lights reappear and the professional musicians join their new soloist. So much of the scene in the film. I managed to tell Sergey of this memory and then I found from Youtube the whole film as a Moldavian language version. At the same time Sergey had found it as a Russian language version – and seen the scene to which I referred. So, we had a common topic to discuss when we met every now and then. I got more interested of Sergey and he helped to find his CDs that were at sale and signed them for me. That was the start.

(This video was definitely not filmed in Kuhmo but it gives an impression of Sergey entering the stage and the sound of Paganini is exactly the same:

Another highlight on the great stage was the joint performance of the German-Turkish violinist Önder Baloglu and the Finnish pianist Marko Hilpo, who played a very challenging piece of music in a later concert – Darius Milhaud’s Cinéma-fantasie , Op. 58b “Le boeuf sur le toit” – with great success. A British music teacher next to us said that this was the first time he heard that piece played by only two musicians – and successfully. He characterised that as a high risk effort – if not suicidial. Later on Önder told that that was exactly how they had felt it – and the joy of success was great.

At a later phase, now in the church, there was a concert with Vivaldi’s Four Seasons. One of the fascinations of that performance was that there were four female violinists as soloists for one of the seasons. Minna Pensola started with Spring in her explosive way, then Elina Vähälä continued with Summer in a more calm tempo to be followed by the similarly calm Autumn soloist Alissa Margulis and then by the explosive Winter soloist Priya Mitchell (who was filmed by the above mentioned Dutch film crew).

At the final phase we were deeply moved by the concert in which Daniel Rowland and his colleagues Hugo Ticciati, Gareth Lubbe and Julian Arp – the O/Modernt String Quartet – played Schubert’s “Der Tod und das Mädchen”. We had just received a very sad news and this quartet managed to do all in their powers to ease our sorrow.

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To be sure, there were many more great performances. But these were  some of the striking moments that contributed to the very special Kuhmo experience. But it was not all about the concerts and on the performances of the artists on the stage. There is much more in the Kuhmo experience. I will try to illustrate some aspects in my next post.

More blogs to come …

At the end of November we had the kick-off meeting of the new Erasmus Plus project “TACCLE 4 – CPD” hosted by ITB at the University of Bremen. This project is a new kind of follow-up of a series of projects with the brand name ‘TACCLE’. So, let us firstly have a look at the development of these projects.

The TACCLE projects as support for teachers who are developing online learning

TACCLE 1 took the pioneering task to prepare a handbook as “Teachers’ aids for creating content for e-learning”. The result was a generic handbook that informed of basic web tools and online learning resources and equipped teachers to use them.

TACCLE 2 shifted the emphasis to work with online handbooks that were targeted for teachers in different subject areas as well as to primary school teachers.

These projects were also supported by specific TACCLE courses funded by the Comenius and Grundtvig programmes.

TACCLE 3 shifted the emphasis to teaching programming and coding for school children and worked mainly with the project website.

More information on the two first generations of TACCLE projects is availble on the video interviews with Jenny Hughes (recorded for the Coop-PBL in VET project in 2012):

Jenny Hughes on TACCLE 1 project: Getting teachers to produce their own web content (Part1)

Jenny Hughes on TACCLE 2 project: Reaching out to new teacher groups and subject areas (Part2)

TACCLE 4 project as support for teacher trainers with focus on technology-enhanced learning and online resources

Looking back, the earlier TACCLE projects have been successful and even more the TACCLE courses. This had created a demand for courses, workshops etc. based on the projects and their materials. This gave rise to a new project that focuses on practitioners who are developing  Continuing Professional Development (CPD) initiatives for teachers and trainers in different educational sectors. From this point of view the TACCLE 4 – CPD project was shaped to draw upon the prior experiences and to expand the work from school-based education to other educational sectors – Adult Education (AE) and Vocational Education and Training. From this perspective the project was based on a limited number of partner organisations, some of which had been involved in the previous ones and some bringing new countries and/or educational sectors into the picture.

For our institute – ITB – this project is an opportunity to draw upon the experiences of multimedia training and co-design of digital tools (mainly for construction sector) in the Learning Layers project (2012 – 2016). In the kick-off meeting we presented the work with the Learning Toolbox (LTB) and the follow-up activities in different contexts:

1. In the initial VET the HAKS project with craft trade companies and by the informal working groups of Bau-ABC trainers;
2. In the continuing vocational training by the DigiProB project that is developing a new software ecology that links together the course management and (via moodle) the trainers’ curriculum design platform (WordPress) and the learners’ interface (LTB):
3. In the designed project ProBauKo and in a prior feasibility study the ITB team and the LTB developers have explored the possibility to link the use of LTB to company-specific knowledge processes and learning opportunities.

In the TACCLE 4 – CPD project we have to see, how to link these working perspectives (and the role of vocational schools) to the way in which the TACCLE projects have supported training of teachers and trainers. I am looking forward to an interesting period of work.

More blogs to come …