4th INTERNATIONAL GEELVINCK FORTEPIANO SYMPOSIUM

21 oktober 2017 | 11.00 uur | Geelvinck Muziek Museum, Zutphen

Oct. 21, 2017, 11:00 – 18:00 hrs.

 

10:00                          Registration Opens

 

FIRST SESSION:
THE NEW AESTHETICS: FORTEPIANOS AND THE MUSIC

                           OF FEELINGS

 

10:30-10:40                Introduction by Dr. Michael Tsalka (Israel/Netherlands)

 

10:40-11:20                Lecture-Recital by Prof. David Chung (Baptist University, Hong Kong)

Interpreting BWV 903: A Case Study in Creativity and Composer-Performer Co-creation

 

11:20-12:00                Lecture-Recital by Dr. Assaf Sommer (Israel)

Landowska’s Revivals: The Pleyel Harpsichord and the “Goldberg” Variations

 

12:00-12:50                 Lecture-Recital by Prof. James Tibbles (Auckland University, New Zealand) and Dr. Michael Tsalka

Surprising Programs: The Three “Ovid” Symphonies for Fortepiano Duet by C. D. von Dittersdorf

          

12:50-13:30                LUNCH BREAK

 

SECOND SESSION: FORTEPIANOS AND THE FUTURE

 

13:30-14:00                Lecture-Recital by Mr. Peter Bavington (England)

A New Acquisition: The 1810 Meerbach Clavichord for the Muziek Museum in Zutphen

 

14:00-14:40                Lecture-Recital by Ms. Yana Borisova (Bulgaria)

Reimagining Early Music: Early XXth-Century Recordings and the Case for Interpretative Freedom

 

14:40-15:20                Lecture-Recital by Dr. Michael Tsalka

Not Only Haydn, Mozart and Beethoven: Unknown Masters of the Classical and Early Romantic Periods

           

15:20-15:45                COFFEE BREAK                                       

15:45-17:00                Platform Netherlands Music and Musical Instruments Coll.                                               speakers tbc

 

 

Abstracts:

Prof. David Chung / Hong Kong Baptist University:

  • Interpreting BWV 903: A Case Study in Creativity and Composer-Performer Co-creationJohann Sebastian Bach’s Chromatic Fantasia (BWV 903) is an ideal work to explore how the performer can maintain the essence of improvisation in a work that was composed, for three main reasons. First, there exists no definite text. Secondly, the notation, especially in the arpeggio passages, is manifestly incomplete. Thirdly, the scope for the performer’s discretion in matters such as flexible timing and melodic embellishments is plentiful. In this paper, I would like to substantiate how an awareness of the structure and a study of music sources and stylistic issues could illuminate both technical and musical considerations leading to performances that are creative and spontaneous, yet scrupulous to the notational detail. On a deeper level, understanding the music as language is crucial for making sense of the chromatic, dissonant and sometimes atonal harmonies, for organizing notes into coherent and meaningful groups, and for crafting rhetorical gestures in the recitative section.

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Locatie

Geelvinck Muziek Museum



Zaadmarkt 88
7201 DE Zutphen