The research unit Music & Drama organizes this Thursday March 11 an online doctoral seminar with joint doctoral meetings, a round table discussion and permanent presentations of research realisations. Herewith the programme of the day and the ZOOM links to join the sessions.
09:30 – 10:30 Leen Adam
Adolescents with disabilities and their siblings: the musical relationship
10:30 – 11:00 Magno Caliman
Mediation and object specific creative processes in experimental sound practices
11:30 – 12:30: dr. Pieter Schuermans talks about his completed PhD research "Chaotic Pulse, Pulsating Chaos" (in Dutch)
14:00 – 14:30 Ivana Jelaca
Performing in the 21st Century Salon
14:30 – 15:00 Victor Somma
The composer as a co-creator of bridges between society and contemporary music: a matter of dialogue?
15:00 – 15:30 Lieven Van Ael
The Practice of Change. Reconstruction and Realization of Educational Innovation in Music Schools in Flanders
16:00 – 17:00 Johann Vacher (Hurdle - docARTES-program)
Amplified Piano / Amplified Pianist
17:00 – 18:00
Round-table discussion about the permanent presentations with the researchers involved
Beethoven’s French Piano: A Tale of Ambition and Frustration
In August 1803, Beethoven ordered a piano in the shape of a harpsichord from Erard Frères in Paris. How did this French instrument affect him as a pianist-composer? And why, within the first year of his new ownership, did he have it altered so drastically? A new replica of Beethoven’s piano suggests concrete answers. Interwoven through this lecture-demonstration by Tom Beghin are interviews with piano maker Chris Maene, organologist Robert Adelson, musicologist Jeanne Roudet, historian Jacques-Olivier Boudon, and restorer-curator Stephan Gschwendtner.
80 minutes, in English, Dutch, French, and German, with English subtitles.
BONUS VIDEO: The Lure of una corda
Cut from the lecture-documentary, this segment addresses the first notated use of una corda by Beethoven in the slow movement of his Concerto Op. 58, and connects an assumed fascination with his Erard piano’s una corda spring to the myth of Orpheus and Eurydice
Impulsive Incantations - (un)Voicing Migraine
When migraine arrives, not only the body suffers. The voice too is impacted by a condition that introduces itself with such great force. As a migraine-suffering singer I notice these changes and become fascinated by the aesthetics of a failing voice in a failing body. This exposition reflects upon the relevancy of Migraine Music as an aesthetic phenomenon and by focusing on the specific area of the vocal and the sonant, I project the issue into a broader context of language, speech and communication. First, I find the migraineur’s voice to be missing as it is silenced by society. Then, I study the failing of the voice when constricted by intense physical pain and I turn to the voice as it is transformed by migraine-specific symptoms. I study these deficiencies of the voice on a theoretical level in order to approach them through my artistic practice as a migraining singer. The artistic work accompanying this research is entitled Impulsive Incantations, and aims at voicing the migraine body through evocative text, vocal improvisations and a migrainous singing technique.
(with English subtitles)
Sweet Saint-Saëns and wicked Apollinaire may be empires apart, but their hilarious animal portraits in Le Carnaval des Animaux and Le Bestaire ooze the same satirical genius. Belgian composer Piet Swerts translated the evident musicality in the Bestiaire poems into real melodies, and he rearranged Le Carnaval for clarinet, strings and piano. The acclaimed Roeland Hendrikx Ensemble fuses both zoos in an unparalleled chamber-musical Animal Farm which showcases the grand façades but also the foibles of the normal, and not so normal creatures that populate it. In celebration of the Bestiaire project, Steven Maes and Stefan Grondelaers shot a television documentary about sweet Saint-Saëns and naughty Apollinaire, and about fusing their zoos into one glorious “Animal Farm”. The documentary tracks the genesis of the project from inspiration and preparation to performance and premiere.
CARL VAN EYNDHOVEN
Les Cloches de Corneville
The many mostly recently rediscovered re-pinning arrangements and manuscripts for carillon suggest that there existed a thriving carillon practice in the 19th century. This challenges the widespread view of the 19th century as “the dark age of the art of the carillon”. The repertoire of these carillon manuscripts consists for the larger part of sometimes elaborate and very virtuosic arrangements of popular opera themes. In this way, they connect to the transcriptions and arrangements of opera music for piano, guitar, clarinet and piano, … immensely successful in the 19th century. The research focuses on the practice of the making and execution of transcriptions and arrangements of 19th-century operas for automatic carillon and carillon.
Carillon Concert at the ‘Domtoren Utrecht’ on August, 12th – 2019, including opera fantasias from ‘Compositien voor het klokkenspel’ (Utrecht, 1861)
15:35 C.M. von Weber (1786-826) Fantaisie Euryanthe
31:15 G. Meijerbeer (1791-1864) Fantaisie sur les Huguenots
50:35 G. Donizetti (1797-1848) Fantaisie sur les motifs favoris de l’Opéra Gemma di Vergy
My research topic are the piano transcriptions of Bachs organ music (BWV 542, 565 and 582) by Liszt and Busoni and their students. Goal is to establish a relationship between the development of these transcriptions and the technical and artistic possibilities of the piano, by examining the different versions and by experimenting with historical and contempory instruments. In this small filmed recital you can discover my own version of a on the piano reregistered 'Toccata and Fugue in dm, BWV 565', based on Tausigs version, combined with transcriptions of Liszt and other illustrious pianists such as Siloti, Godowsky and Grünfeld, born in the second half of the 19th century.