Biennial Master with final exam

«I must commend your optimal refining work, your pure and disinterested approach, exercised to serve Music without affectations or withdrawals, all this without abandoning the beauty of phrasing and sound»

Oscar Ghiglia

In order to access the biennial course for the Perfection Diploma, musicians who already possess a regular diploma or a 1st level masters degree obtained in Italy or in a foreign country must qualify a further admission exam.

Acces to final exams will be determined by the student’s attendance, which during the biennium shall not be inferior to 2/3 (two thirds) of the total number of lessons. The examination jury will be composed by the teachers and other renowned musicians. The student admitted to the final exam, structured as a concert, shall adress a simple written request to the administration and deposit €200.00 as examination fee.

The administration retains the right to submit to the regulation any modifications necessary to improve the perfomance of the courses.
Admission exam programme:
• Three movements from a suite, sonata or partita by J.S.Bach selected from BWV 995, 996, 997, 998, 1001-1012;
• one of the “Douze etudes” by H.Villa-Lobos;
• a selection of two movements of a sonata from the XIX or XX century;
Final exam programme:
At the end of the biennium, studends must take a final exam structured as a ca. 60 minute concert. A 90 minute programme will be prepared in advance, selected from the biennial study programme, and one month before the final exam the 60 minute programme will be fully defined.
Biennial study programme:
The student shall prepare 90 minutes of music from the following programme:
  • Two or more pieces from the Renaissance (dances, fantasias, ricercari, etc.) chosen among the works of L.de Narvaez, L.Milan, J.Dowland, F.da Milano, etc.;
  • a suite from the Baroque chosen among:
    • J.S.Bach: “Sonatas, Partitas or Suites” for Lute, Violin or Cello or
    • S.L.Weiss: “Suites” from the “London” or “Dresden” manuscript or
    • R. de Visée: “Suites” from the manuscript version or
  • • G.Ph.Telemann: a “Fantasia” from “12 Fantasias for solo violin”
  • “Studies, Sonatas or Capricci” from the Classicism, chosen among:
    • M.Giuliani: “Studi op. 48” nn. 13, 14, 16-19, 22-24; “Studi op. 111” nn. 1, 2, 5 (first part) or nn. 3, 5 (second part) or
    • F.Sor: “12 Etudes op. 6” nn. 6, 9, 10-12; “12 Etudes op. 29” nn. 13, 14, 17, 22 or
    • N.Paganini: “Sonate” nn. 6, 12, 13, 16, 21-24, 30, 33-37 or
    • L.Legnani: “36 Capricci op. 20”;
  • a “Sonata, Fantasia, or Theme with variations” of the Classicism;
  • two “pieces or studies” from the Romanticism, chosen among:
    • J.K.Mertz: “Bardenklange op. 13” or
    • N.Coste: “25 Etudes op. 38” nn. 7, 8, 11, 14, 18, 20, 21, 23-25 or
    • G.Regondi: “Ten studies” or
    • a composition of the same period.
  • One or more compositions chosen among the works of F.Tárrega, I.Albeniz (historical transcriptions), E.Granados (historical trascriptions), M.Llobet, A.Barrios-Mangoré, E.Pujol;
  • one or more compositions chosen among the works of M.de Falla, F.M.Torroba, J.Turina, M.Castelnuovo-Tedesco, M.M.Ponce, H.Villa-Lobos, A.Tansman, L.Berkley, F.Martin, C.Chavez;
  • a XX century Sonata;
  • two etudes chosen from “Douze Etudes” by H.Villa-Lobos among nn. 2, 3, 7, 10-12;
  • an important piece written after 1950 chosen among the works of B.Britten, R.Gherard, M. Ohana, H.W.Henze, G.Petrassi, D. Milhaud, E.Krenek, S.Dodgson, W. Walton, L.Berio, N.D’Angelo, T.Takemitsu, A.Gilardino, L.Brouwer.