Livio Ticli

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L. Ticli playing Girolamo Cavazzoni’s organ

Background • He began his musical studies on classical piano and recorder aged 6 and then music composition and choral singing aged 16.  Grown up between Palermo (Sicily) and Lecco (Lombardy), he has studied then with Italian leading music composers and historical keyboard players at the «G. Verdi» Conservatoire in Como. At the same time he decided to deepen his knowledge in vocal music and technique by studying  historical music sources (theoretical and practical), experiencing personally on sound and also attending courses, seminars and master classes by some of the most important early music singers in Europe (Emma Kirkby, Jill Feldman).

In 2001 and 2002 he was awarded an European Scholarship for participation to the C.H.O.I.R. project at the Landesakademie in Baden-Württemberg while in 2004, 2005 and 2007 a Merit Scholarship of «W. Stauffer» Foundation for further studies in Musicology at the Università degli Studi di Pavia (Cremona). In 2003 he was selected for a Scholarship of Università degli Studi di Pavia (collaboration with the music instruments collection of the University Museums System) and in 2005 for a Grant of Camaiore Municipality for participating to the International Studies Meeting «The ‘Music Chapel’ Institution between Court and Church in Italian Renaissance».

«I am utterly bored most of the time listening to early music…

After moving to Cremona, in 2007 he graduated summa cum laude in Musicology (Cremona), defending a thesis about a German 17th cent. treatise on music composition («L’insegnamento della composizione nella ‘Musica Poëtica’ di Johann Andreas Herbst»). Then he graduated with honours as a M.A. in Renaissance Polyphony from the Accademia Internazionale della Musica di Milano with a thesis about Renaissance improvisation/ornamentation practice in Italy («La diminuzione italiana fra XVI e XVII secolo. Considerazioni sulla prassi esecutiva»). During his studies he deepened his understanding of Philology, Liturgy, Latin Palaeography, History of Performance Practice and of some other specialist disciplines such as Renaissance Solmization, Historical Counterpoint, Gregorian Chant and Byzantine Musical Palaeography (under the guidance of Prof. Giacomo Baroffio and Prof. Sandra Martani).

Moreover, to realize his academic and professional growth he did a teaching-apprenticeship within the Choral Practice class at the Early Music Department of Accademia Internazionale della Musica di Milano and he has attended classes and seminars in Renaissance ensemble music performance, historical dance, Baroque acting and gestures, music publishing software (Finale/Sibelius), audio engineering and business planning. 

…If only singers would have the guts to sing early music their own way»

Andrea von Ramm

Researcher/Teacher • As a co-founding member of Tetragirys with Prof. G. Baroffio, Anastasia Eun Jun Kim and Marcello Mazzettihe has continued to improve his understanding in Medieval Studies collaborating with Prof. S. Martani. After a visit in Iasi (Romania) – when he could experience a ‘still-alive’ music tradition – he took an interest in comparative studies between Western and Eastern music tradition.

In 2006 he co-founded Palma Choralis® with M. Mazzetti and started building a healthy bond between research and practice, facing issues concerning Music Pedagogy and Theory, Performance Practice and Liturgical Chant between Middle Ages and Renaissance. He has focused on voice, Renaissance plucked instruments, diminutione/improvisation and the relationship between oral and written tradition.

In recent years he has been engaged in teaching classes and was the Historical Counterpoint/Music Analysis Tutor at the Musicology Department of Università degli Studi di Pavia in 2004 and 2007. He is the co-designer of Palma Choralis® educational projects and has also taught as a guest teacher/speaker at Italian Senior High Schools, Music Institutes, Conservatoires (Parma, Ferrara, Reggio Emilia, Cremona). 

Musician • His lively way to approach music follows Renaissance precepts and with his training he embodies the Renaissance perfecto musico who can play, sing and act. As singer/player exclusively for Palma Choralis® he has performed and designed music programs that bring research on unknown music sources to public performances, worships, sacred/theatrical representations, musicological conferences and symposia. Since Palma Choralis® constitution he has been usually the maestro di concerto, music conductor of the vocal and instrumental Ensemble and he has often arranged music works according to the Renaissance practice per ogni sorta di stromenti for different available instrumentations.

As recent external collaborations, he appeared in «L’incoronazione di Poppea» by Claudio Monteverdi staged in 2008 in Milan (as Littore and Liberto) and in 2009-2010 he was choir-singer and soloist in the Schola gregoriana «Benedetto XVI». On Summer 2011 he toured a historical dance music program with Danzar Cortese Dance Group in France and Hungary and since the same year he has collaborated with La Parma Cultural Association and Dance Group to several projects of experimental archaeology for reconstructing Renaissance spectacles and banquets.

Artistic Director/Manager • In addition to his work as researcher, teacher and musician, his activity has dealt also with cultural events in general and the close connections between music, arts and poetry. Since 2010 he has conducted «Conditor alme siderum», a cultural festival with national and international patronage «between Arts, Music, Science and Faith» that takes place in Cremona on Advent and whose he has been co-planner and artistic director.

Selected presentations

(with M. Mazzetti) «Stravaganze & Urtoni son tutte gratie». Oralità e scrittura fra Medioevo e Rinascimento (Reggio Emilia, «A. Peri» Conservatoire, 6 April 2013) [‘«Stravaganze & Urtoni son tutte gratie». Orality and writing between Middle Ages and Renaissance’]

(with M. Mazzetti) Palm, Entanglement e Mirror: il ‘Cantore’ nell’Era Digitale (Cremona, State Library, 21 November 2012 and Reggio Emilia, «A. Peri» Conservatoire, 15 December 2012)

(with M. Mazzetti) Musica & Suggestioni Harmoniche dalle Tre Corone (Cremona, 25 May 2009)

(with M. Mazzetti) Musica profana italiana fra Quattro e Cinquecento: «L’intonazione umanistica» (Cremona, 5 December 2008)

Il repertorio ‘sommerso’ – Musica Sacra in Italia tra XV e XVI sec. (Cremona, 28 November-12 December 2008) [The ‘sunk’ repertory – Sacred Music in Italy between 15-16th cent.’]

(with Mazzetti, M.), Prassi esecutiva del Canto Fratto in alcuni trattati italiani (secoli XVI-XIX), 8th National Meeting «Canto Fratto in Italy between theory and practice» (Radda in Chianti, 5-7 October 2007)

(with Tetragirys), Siria e Bisanzio nei canti di Milano e di Roma, International Meeting «Paradoseis [Paradhosis]. Byzantine Music between oral and written tradition» (Palermo and its district, 2-7 May 2006).

 

Papers

(with Mazzetti, M.), ‘Le Sacrae Cantiones a 4 voci di Floriano Canale (1581)’, (in press, forthcoming 2013).

(with Mazzetti, M.), ‘Prassi esecutiva del Canto Fratto in alcuni trattati italiani (secoli XVI-XIX)’, in Giacomo Baroffio – Michele Manganelli (eds.), Il Canto Fratto. Un repertorio da conservare e da studiare. Atti dei convegni tenuti a Radda in Chianti dal 2005 al 2008, Radda in Chianti: n.p., 2010, 89-110.

 

Selected Music Projects-Productions/Modern Premieres exclusively for Palma Choralis®

Te lucis ante terminum. Music for the Compline Office in Reggio Emilia at the beginning of 17th cent.

Reggio Emilia, S. Stefano Church, 2008

Officium Stellae. Sacred Representation between Middle Ages and Renaissance

Brescia, S. Giovanni Evangelista Church, 2009

Cremona, SS. Apollinare e Ilario Church, 2012

«Dialogo Pastorale al Presepio di Nostro Signore» by G. F. Anerio

Reggio Emilia, S. Filippo Church, 2011

 

Actual Research Interests
MAIN

Renaissance Music Performance Practice;

Medieval Sacred Music Performance Practice;

Vocal ornamentation and vocality history (until 19th cent.);

Vocal improvisation, Continuo playing and, generally, instrumental improvisation/accompaniment from origins to 17th cent.

OTHER

Relation between alive Music Traditions and Early Music (e.g. Byzantine Music and, generally, other orally-transmitted musical traditions);

Overtones singing and generally eastern vocal technique;

Medieval and Renaissance Harps, their use and contexts;

Use of some ‘unusual’ instruments during Middle Ages and Renaissance: plucked psaltery, Italian Lirone.