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As one of the most sought-after percussionists, he delights with his virtuoso playing on the frame drum. Inspired by Arabic, Indian, Turkish and Persian music, he developed many of his own finger techniques and became a mentor to many musicians from around the world.
Since 2004 he has been touring with an international jazz trio with pianist Leszek Mozdzer and double bass player Lars Danielsson. Among others he was collaborating at Performances and recordings with internationally known composers and musicians like Phillip Glass, Glen Velez and Zakir Hussain.
Friday afternoon (INTRODUCTION): introduction to percussion compositions (max 25 participants)
Zohar Fresco will present one of his own compositions and explain the arrangement and rhythmic in detail.
Saturday (ADVANCED): work in a small group, for interested, advanced percussionists (max 15 participants)
Traditional rhythms from the Middle East and contemporary arrangements.
Sunday (ADVANCED): work in the whole group with the other lecturers. Bringing together the previously worked out in the ensemble context.
Voice and wind instruments
Multi-instrumentalist and composer (New Music), specialized in woodwind instruments. Since the age of seven, he has been busy with music. Since 18 years he focuses mainly on the study of the Ney (oriental long flute) as well as Sufi and traditional Ottoman music. He learned from outstanding Masters from Greece and Turkey. In parallel, he dealt with other instruments (kaval, bansuri, Irish flutes, bagpipe, accordion, guitar) and learned from Bulgarian, Indian, medieval traditions and familiarized himself with renaissance, contemporary and improvised music.
His greatest interest in music, however, is its inherent timeless power, which enables people to connect and to be creative. For him it is also a path of self-knowledge.
Friday afternoon (INTRODUCTION): Introduction to modal music, together with Peppe Frana (max 25 participants)
Saturday (ADVANCED): For singers and players of wind instruments (max 15 participants). Songs from Greece, Bulgaria, Turkey and adjacend music traditions. We will work on a traditional piece. Depending on interests of the participants, insights to aspects of improvisation and composition in modal music will be given.
Sunday (ADVANCED): Joint work in the whole group with the other teachers. Bringing together the previously worked out in the ensemble context.
Passionate from a young age about rock music from America and overseas, he quickly became the nightmare of the best electric guitar teachers in the area.
At 20 he was dazzled by interest in modal music from outside Europe thanks to the work of Ross Daly and took up the study of Turkish oud and other cordophones played with a plectrum, making frequent trips to Greece and Turkey. He studied with many renowned maestros: Yurdal Tokcan, Omer Erdogdular, Murat Aydemir, Daud Khan Sadozai and Ross Daly himself.
A meeting with the members of Ensemble Micrologus inspired his interest in European medieval music and in plectrum lute. He quickly became one of the most appreciated soloists and teachers specialising in Italian trecento repertoire.
Since 2013 he has been studying medieval lute at the Schola Cantorum in Basel Switzerland under the guidance of Crawford Young, marking his first experience of academic music study.
He regularly works with many artists and musical projects in the world of early, eastern and non-classical music including Ensemble Micrologus, Ensemble Calixtinus, Ensemble Exaquier, La Contraclau, Ensemble Trenca Cantsilena, Ensemble Bahar, Mose Chiavoni, Vinicio Capossela. He has performed in the most prestigious festivals both in Italy and around the world.
Friday afternoon (INTRODUCTION): Introduction to modal music, together with Christos Barbas (max 25 participants)
Saturday (ADVANCED): For interested instrumentalists with stringed instruments (max. 15 participants).
Furhter introduction to modal music. In this seminar we will examine and attempt to put into practice the necessary changes in approach and mindset which are essential from the very beginning of one’s study, in order for a western-trained musician to successfully approach non-European (or even early European) modal musical traditions. During the seminar we will attempt to define and explore the common ground on which all of the major modal systems operate and, through the medium of specially devised exercises, we will learn how to assume a modal perspective in our improvisations, compositions, and performance of traditional repertoire.
Sunday (ADVANCED): Joint work in the whole group with the other lecturers. Bringing together the previously worked out in the ensemble context.