The Festival of Percussion Instruments – that's the name of the international biennial of percussionists, organized by the Faculty of Music, Janáček Academy of Music and Performing Arts in Brno. At the festival upcoming generation of percussionists from conservatories and academies gets the opportunity to show his talent. Festival was established in 2010 as a gradute project of Kamila Pětrašová.
Because of the specific dramaturgy the festival is unique event in the Czech Republic. Its goal is introducing of percussion instruments as a distinctive elements of contemporary music. This oldest and largest instrument group pervades through various musical genres. Therefore, even at the festival are represented instruments like timpani, drums, marimba, djembé, bells, steel drums, vibraphone, templeblocks, gongs, timbales, bongos, cymbals, xylophone, darabukkas... All this and much more can sound the young artist generation in his festival concerts.
Since it was established, many workshops and concerts by leading international soloists and pedagogues enrich the programme of the festival. In 2020 will be held the sixth year of the festival presenting guests from France and Poland.
Accompanying events are traditionally selling exhibitions of percussion instruments, as well as a picture exposition.
Individual concerts, workshops and exhibitions are open to both students and professionals and the general public.
Everything will happen traditionally at the Orli Street Theater / Musically Dramatic Lab of the JAMU on December 3 rd – 5 th, 2021.
|9:30 - 11:30||workshop no. 1|
|13:30 - 15:00||workshop no. 2|
|16:00||concert of the conservatories|
|19:00||concert of the academies|
|9:30 - 11:30||workshop no. 3|
|13:30 - 15:00||workshop no. 4|
|16:00||concert of the conservatories|
|19:00||concert of the academies|
|9:30 - 11:00||workshop no. 5|
|11:00 - 12:30||workshop no. 6|
|16:00||concert of the guests|
Nick Woud (*1955) studied Timpani and Percussion at the Amsterdam Conservatory of Music with Jan Labordus and Jan Pustjens, both of the Royal Concertgebouw. From the age of 18 he performed as timpanist and percussionist in the Concertgebouw Orchestra and in all major Dutch orchestras. At the age of 22 he joined the Netherlands Radio Philharmonic Orchestra, first as percussionist and in 1984 as Principal Timpanist. In May 2002 Nick Woud won the RCO auditions unanimously and joined the Royal Concertgebouw Orchestra Amsterdam, sharing the position of Principal Timpani now with his former student Tomohiro Ando.
Brought up in the Amsterdam School of Timpani, Nick has always used drums with calfheads and a setup in the Dutch/German way. Nick is one of the pioneers of baroque timpani playing, starting in 1975 with the early Bach recordings under Gustav Leonhardt.
As a tutor Nick taught at the Hilversum and Utrecht Conservatory of Music. For the last 30 years he has been Senior Tutor for timpani at the Percussion department of the Conservatorium of Amsterdam. He published 3 timpani methods and as composer several works for brass instruments in various settings and for timpani and percussion. His timpani concert “Concerto Lirico” won lately a special prize at the composing competition in Vienna.
His interest in the technical side of the timpani resulted in a long term relationship with Adams Timpani as advisor [since 1977]. The development of Adams timpani has been made in close contact with Nick as a performing consultant. From the start of this relationship all types of Adams drums have been tested and experimented with in their rightful place: the large Symphony Orchestra and played upon by a professional in the many large concert halls of The Netherlands as well as being recorded for Radio and CD. The last project was the development of the Adams Schnellar timpani.
For many years Nick Woud coached the percussion sections of the Dutch National Youth Orchestra, the NJO Summer Academy and the EUYO. Nick woud gives regurarly masterclasses in many countries.
As an eclectic and engaged musician, Aurélien Gignoux proposes a new space of sound material through the clarity of his playing. Always searching for different colors and textures, he invites us to discover to discover various atmospheres.
Thanks to his parents who both were musicians of the Capitole Orchestra of Toulouse, he got introduced to percussions at a young age. Instantly captivated by the aura of the instrument, he soon started a study course at the music conservatory of Toulouse, mixing drum sets, piano, classical percussion and jazz vibraphone. His encounter with Eric Sammut led Aurélien to a strong development of the colors and sound in his playing. Since then, he keeps on going back and forth between classical repertoire and improvisation.
In 2016, he got accepted at the Conservatoire National Supérieur de Musique of Paris in Gilles Durot’s class. There, he took advantage of the Erasmus exchange program and chose the Musik Hochschule of Munich in order to perfect his approach of timpani and orchestra playing with Professor Raymond Curfs.
His desire to discover new cultures brought him to take part of orchestra academies such as the Gustav Mahler Jungendorchester or the Pacific Music Festival, respectively under the baton of Vladimir Jurowski and Valery Gergiev. He appreciates the powerful interaction with conductors, especially when he plays timpani. Aurélien Gignoux has played with prestigious French orchestras such as Orchestre de Paris, Orchestre Philharmonique de Radio France, Orchestre du Capitole de Toulouse. Still, he broadens his orchestral practice being involved in ancient instruments ensembles (Les siècles, Le Cercle de l’Harmonie) but also playing with big ensembles without a conductor (Les Dissonances).
His interest for contemporary music pushed him to develop as a soloist and a chamber music player. In 2019, he joined the K/D/M Trio, with whom he premiered pieces of composers such as Jean-Pierre Drouet, Martin Matalon and Philippe Hurel. Motivated by his serious desire to pass on the composer’s spirit and thoughts through his interpretation, he collaborates with them as closely as possible.
Winning the Second Prize at the ARD international Percussion Competition of Munich and the prize of the best interpretation of the commissioned piece offered him the opportunity of performing as a soloist with the Bayerischen Rundfunks Symphonie Orchester, the Osnabrück Symphonie Orchester and the Münchner Rundfunk Orchester.
In the upcoming months, he will perform as a soloist in France but also in Russia with various orchestras and will take part in many different projects combining creations and solo repertoire.
Critics have given the internationally renowned marimba virtuoso and chamber musician Mycka the sobriquet “she who dances with the mallets”: “the greatest fluidity”, “perfect mallet technique,” and a “marvelous, rhythmic precision” are characteristic for the musician, who is able to simultaneously produce up to six tones on her concert marimba with the sixty narrow wooden bars and resonance pipes.
Expert circles testify to the “extraordinary richness of tone quality” and “fascinatingly broad palette of musical effects” that the marimba, which is rarely heard as a solo instrument, produces under the whirling mallets of the musician from Stuttgart with Polish roots. Audiences are also enthralled by the artistic elegance and dance-like energy of her playing.
After receiving training in piano and drums, the artist born in 1972 discovered the marimba as her “ideal medium for musical expression” while studying at music academies in Gdansk, Stuttgart, and Salzburg. Numerous prizes and awards at international music competitions then followed: in 1995, first prize and audience prize at the International Percussion Competition Luxembourg for Marimba Solo, one year later first place at the First World Marimba Competition Stuttgart. Then followed stipends and invitations to master courses in the United States, Asia, and various European countries, through which the young musician soon developed a network in the music scene.
Appearances as a soloist at the most important marimba festivals (Osaka 1998, Linz 2004, Minneapolis 2010) as well as solo parts with well-known orchestras in many parts of the world (Stuttgart Philharmonic Orchestra, Bochum and Göttingen Symphony Orchestras, Polish Chamber Philharmonic Sopot, Vienna, Prague and Heilbronn Chamber Orchestra (WKO), Beijing Symphony Orchestra, Camerata Israeli, Maribor, Neubrandenburg and Vogtland Philharmonic Orchestras, Folkwang Chamber Orchestra, RSO Luxemburg as well as diverse other Polish symphony orchestras) today make Katarzyna Mycka one of the leading pioneers in her still young instrument.
The large concert marimba has only existed in its current form since the mid-1980s. Katarzyna Mycka, who was honored by the Polish Percussive Arts Society in 1999 as "Ambassadress of Polish Percussion Art,” emphatically promotes the popularization of the marimba. For her, this includes a commitment to training young players and participation in juries at international competitions, but in particular the International Katarzyna Mycka Marimba Academy (IKMMA), which she established in 2003. As per academic season 2018/19 Myćka is a professor at Stanislaw Moniuszko Music Academy in Gdansk.
The artist’s multifaceted solo program includes not only transcriptions of the works of Johann Sebastian Bach or Sergei Prokofiev,but also original compositions by younger composers such as Emmanuel Séjourné or Anna Ignatowicz. The artist has in the meantime recorded a cross-section of her repertoire on seven CDs.
Katarzyna Mycka dedicates “a lot of time and enthusiasm” to collaborating with composers who “explore and understand the special and marvelous sound of the marimba.” In this, the guiding principle, says the musician to whom numerous concerts and chamber music works have been dedicated, is “musical trust.”