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Baroque Workshops 23

Marton Borsanyi.png
Director of the Workshops

Ellen Jewett, violin and chamber music

Özge Özerbek violin and chamber music

İmge Tilif, violin and chamber music

Kerem Tuncer, violin and chamber music

Emre Akman, viola and chamber music 

Gökhan Bağcı, cello and chamber music

Muhammedjan Sharipov, violin and chamber music

Terms and Conditions

Workshops will be held in Stoa-Şirince

 Each workshop capacity is 12 people and accepted on a 'first come first serve basis'.

Participation is open to professional and amateur keyboard players as well as instrumentalists interested in baroque interpretation. All ages are accepted, but participants under18 must be  accompanied by a guardian.

Participation costs: 

Baroque Interpretation Workshop

5-days -  300 Euros

All participants will perform in the class concert on August 31st and will receive 4 individual sessions with the faculty. According to enrollment, chamber music groups will be formed.

Fugue writing Workshop

2-days ( 90 minutes per day group class) 100 Euros

Financial assistance is available. Please indicate the reasons for your need on the application form.

Accommodation/Food is provided by Stoa, including 3 meals per day plus snacks.


Note: food serving and cleaning is shared together by all the staff, teachers and participants residing at Stoa during the workshops.


Choices of housing  per day including meals:

Single room  85 Euros per person

Double room 60 Euros per person

Triple room  55 Euros per person

4-person Bunk room 50 Euros per person

14- person Bunk room 40 Euros per person

Arrival date isthe night of August26th and departure date is the morning of  September 1st 

For accommodation suggestions in nearby hotels and pensions, please click here


Registration fee: 25 Euros

This will be deducted from the main payment.  Application fee will not be reimbursed.

50% of both the Participation Fee and the Accommodation/Food Fee must be made before

June 30

Note: Accommodation and food payments will be calculated according to your choices, and we will send you an iyzico link via WhatsApp/Email. Please make your payments before the deadline.

Remaining Fees must be paid fully before Aug 11

If you have questions:

Tel/WhatsApp: +90 532 614 4955  / +90 533 629 9118

İklim Klavsen 11.jpg

Baroque Interpretation Workshop

August 27-31

Directed by Marton Borsanyi, harpsichord

Ellen Jewett, violin and chamber music
Özge Özerbek violin and chamber music
İmge Tilif, violin and chamber music
Kerem Tuncer, violin and chamber music
Emre Akman, viola and chamber music 
Gökhan Bağcı, cello and chamber music

Open to professionals and amateurs
Keyboard players and string players

For many modern performers signs of musical interpretations seem very obvious. "Needless to ask what a dot over a note means, doesn't it" we would say, as we all know: it is a staccato.


But what if the dot's meaning turns out to be something completely different, such as play the note longer (the exact opposite of what we do today), or play the note later, or play it separated from the note before, or just simply: don't ornament this note? And for that matter: who was the first person in music history to have said that a dot over a note really means "staccato"?


What if a legato sign actually means: hold down all the notes underneath the slur since legato is the default way of playing and a so called "legato sign" therefore has to mean more than just a simple legato. And what if a simple, well known repetition sign turns out to be nothing more than an indication that the phrase has come to an end? And what could "Rubato" mean if the beat of the movement has to stay stable as opposed to altering it? And how is it possible to write a gigue that is supposed to be in triple time in common time?


The Baroque Interpretation Workshop offers guidance for everyone interested in such questions concerning the performance of music of the 16th to 18th centuries.

Fugue writing Workshop

August 30-31

Fugues are difficult musical constructions, we all know that. We all have had the experience of being terrified while performing long and complicated fugues. In fact, fugues are perhaps the easiest musical constructions, but certainly more easy than many performers think. If one is familiar with counterpoint and stylistic requirements, they will see that the subject and the possible counter subject basically determine the composition. A chain of "Dux" and "Comes" entries with their respective counterpoint, a modulation pattern and the musical construction is nearly done. 


The classes on fugues offer basic to advanced knowledge in counterpoint and compositional rules which will help the performer understand fugues and any polyphonic composition much better.

Application Form
Baroque Workshop 23

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