Conference Programme
The ICHKM Conference 1 - 3 July 2011
Music, The University of Edinburgh, Scotland
Download Programme and Abstracts for Presentations
1st International Conference on Historical Keyboard Music: Full Timetable
1500-1700 |
Registration opens (St Cecilia's Hall) |
1700-1745 |
Tour of St Cecilia's Collection |
1800-1900 |
Organ recital in the Reid Concert Hall: John Kitchen |
1900- |
Informal event |
| 0900-1100 | Session 1a: Keyboard instruments ineighteenth-century Vienna and beyond (Alison House: Lecture Room A) Chair: Thomas Tolley |
Session 1b: Organs, carillons, and their musicin the eighteenth century (Alison House: Lecture Room B) Chair: John Kitchen |
Sesssion 1c: Questions of style and influence in the eighteenth and nineteenth centuries (Alison House: Faculty Room) Chair: Nancy Lee Harper |
| Luk Vaes (Royal Conservatory, The Hague) Octave glissandos in the piano part of Haydn's trio Hob. XV:27: an unsuspected performance technique helps determining the appropriate instrument | Peter Strauven (Catholic University of Louvain) Eighteenth-Century Organists in the Southern Netherlands: Interaction between Instruments and Repertoire | Ki Tak Katherine Wong (Hong Kong) The Left Hand Techniques in Carl Czerny's Piano Pedagogical Works | |
| Robin Blanton (University of Gothenburg) Exhibiting to an "Enlightened Public": Johann Andreas Stein's Musical Inventions and the Public Sphere | Carl Van Eyndhoven (Lemmensinstituut) 'In playing those bells, his amazing dexterity raised my wonder much higher': performance practice by seventeenth- and eighteenth-century carilloneurs | João Pedro d'Alvarenga (CESEM, FCSH-UNL/University of Évora) Carlos Seixas's Keyboard Concerto in G Minor: An Essay in Style Analysis and Authorship Attribution | |
| Tilman Skowroneck and Andrew Pinnock (University of Southampton) Grand and Grander: Economic sidelights on piano design and piano salesmanship in early nineteenth century Vienna | João Vaz (CITAR / Escola Superior de Música de Lisboa / Universidade Católica Portuguesa) Dynamics and Orchestral Effects in late Eighteenth-Century Portuguese Organ Music: The Works of José Marques e Silva (1782-1837) and the Organs of António Xavier Machado e Cerveira (1756-1828) | Vanda de Sá (Universidade de Évora) The influence of the viola and the Portuguese guitar in local keyboard repertoires during the Reign of D. Maria I (1777-1816): modinhas, minuets and dance like rhythms | |
| Tilman Skowroneck (University of Southampton) Andreas Streicher and piano building: users, distributors and invention | Sarah Davies (Pocono Pines, PA) 'It's Not Necessary!': Johann Schnetzler and Changing Attitudes toward the Organ in Reformed and Anglican Worship | ||
| 1100-1130 | Refreshments | ||
| 1130-1230 | Lecture 1: Christine Jeanneret: From scribbling to composition: the Roman manuscripts for keyboard in the 17th-century (Alison House:Lecture Room A) | Session 2a: Performance practice and recordings (Alison House: Lecture Room B) Chair: tbc |
Session 2b: João Cordeiro da Silva (Alison House: Faculty Room) Chair: Nancy Lee Harper |
| Sheila Guymer (Sydney Conservatorium of Music, University of Sydney) The Style Hongrois in Haydn Performance Practice | LR: Mário Marques Trilha (Aveiro) João Cordeiro da Silva (1735-1808): A Portuguese Galant Keyboard Composer | ||
| Nils Franke (University of Reading) The recorded composer-performer: Sergei Rachmaninoff's solo piano recordings. A case study | |||
| 1230-1320 | Lunch | ||
| 1320-1450 | Session 3a: Aspects of Byrd (Alison House: Lecture Room A) Chair: tbc |
Session 3b: Keyboard repertories and their reception in the nineteenth and twentieth centuries (Alison House: Lecture Room B) Chair: Yo Tomita |
Session 3c: Seventeenth-century sources (Alison House: Faculty Room) Chair: Noel O’Regan |
| Walter Kreyszig (University of Saskatchewan and Center for Canadian Studies, University of Vienna) William Byrd's My Ladye Nevells Booke (1591): Negotiating between the stile antico and stile moderno in the Solo Keyboard Repertory | Russell Stinson (Lyon College) Bach's Organ Works and Schumann's Neue Zeitschrift | Barbara Cipollone (University of Bologna) The Libro di Fra Gioseffo da Ravenna | |
| David J. Smith (University of Aberdeen) Making connections: William Byrd, 'virtual' networks and the English keyboard dance | Luisa Morales (FIMTE, Almería) The Cabezón Canon: on the performance of Antonio de Cabezón works during the twentieth century | Heather Windram (University of Cambridge) The Royal College of Music Manuscript 2093 | |
| Janet Pollack (University of Colorado) Johann Baptist Cramer and the Practice of Keyboard Adaptation: The Newly Discovered Cramer-Byrd Manuscripts | Nancy Lee Harper (University of Aveiro) Portugal's forgotten nineteenth century: the emergence of female piano composers | Alexander Silbiger (Duke University) Four centuries of Frescobaldi reception: introducing a new online thematic catalogue and bibliographic database | |
| 1450-1510 | Refreshments | ||
| 1510-1620 | Session 4a: New analytical perspectives (Alison House: Lecture Room A) Chair: tbc |
Session 4b: Continuo practice (Alison House: Lecture Room B) Chair: Peter Holman |
Session 4c: Eighteenth-century virtuosi (Alison House: Faculty Room) Chair: Tilman Skowroneck |
| LR: Tibor Szász (University of Music, Freiburg) A new analytical approach: "Reverse" decoding yields the IL FILO of W. A. Mozart's Fantasy and Sonata K. 475-457 and of F. Liszt's Sonata in B minor | LR: Thérèse de Goede (Amsterdam Conservatory) Solo Keyboard Repertoire as a Source for Continuo Realization | LR: Kris Worsley (Royal Northern College of Music, Manchester) Beethoven and his first composition teacher, Christian Gottlob Neefe: Variations on themes by Carl Ditters von Dittersdorf | |
| Lars Henrik Johansen (Oslo) Broken Style in French 17th Century Continuo Playing | Graham Sadler (University of Hull) Reflections on Domenico Scarlatti's visits to Paris in 1724 and 1725 | ||
| 1620-1630 | Transfer to St Cecilia's | ||
| 1630-1730 | Lecture 2: Susan Wollenberg: Music for connoisseurs and amateurs: C.P.E. Bach and the Keyboard (St Cecilia's Hall: Concert Hall) | ||
| 1730-1800 | Refreshments from the Friends of St Cecilia’s | ||
| 1800-1900 | Concert at St Cecilia's Hall: Robert Hill performs the 12 polonaises of W.F. Bach | ||
| 2000-2400 | Conference Dinner at Pollock Halls | ||
| 0900-1100 | Session 5a: Eighteenth-century notation and performance practice (St Cecilia's Hall: Concert Hall) Chair: John Koster |
Session 5b: Fantasia and related forms (St Cecilia's Hall: Laigh Room) Chair: Alexander Silbiger |
Sesssion 5c: The keyboard and literary sensibility (Alison House: Lecture Room A) Chair: Kris Worsley |
| Yo Tomita (Queen's University, Belfast) Deciphering J. S. Bach's Performance Hints in his autograph manuscripts | Filipe Mesquita de Oliveira (University of Évora) Some aspects of manuscript P-Cug MM 242: António Carreira's keyboard tentos and fantasias in its close relation with Jacques Buus's ricercari from his Libro primo…(1547) | Sara Gross Ceballos (Lawrence University) Reconsidering 'C. P. E. Bachs Empfindungen' | |
| Beth Pei-Fen Chen (Independent) The Practicability of Mozart's Double Slurring in his Keyboard Music | Massimiliano Guido (Pavia University and McGill University) The Inganni: a musical mockery in the early seicento ricercare: an analytical explanation | LR: Erik Entwistle (Longy School of Music) Magnum Opus: Dussek's 'L'Invocation' Sonata and the Mystique of the Last Work | |
| LR: John Irving (University of London, School of Advanced Studies) Recording Mozart on the Haas Clavichord | Luciana Câmara (Federal University of Pernambuco, Recife, Brazil/ University of Glasgow) Seventeenth-century keyboard music in freestyle and the Early-Modern subject |
LR: Balder Neergaard (Royal College of Music, London) In the footsteps of Jean Paul: Sonority and Pedalling in Robert Schumann's Papillons, op. 2 |
|
| 10 minute break | Transfer to St Cecilia's | ||
| 1040-1100 | Mini-recital from Terence Charlston (St Cecilia's Hall: Concert Hall) | ||
| 1100-1130 | Coffee break (St Cecilia's Hall: Laigh Room) | ||
| 1130-1230 | Lecture 3: Robert Hill: Reverse-Engineering Late-Romantic Performance Practice: Agnes Nicholls' and Hamilton Harty's Recording of 'At the Mid-Hour of Night' (1909) (St Cecilia's Hall: Concert Hall) | ||
| 1230-1330 | Transfer to light lunch at Alison House | ||
| 1330-1530 | Session 6a: Nineteenth-Century Britain (Alison House: Lecture Room A) Chair: Andrew Woolley |
Session 6b: Temperaments and pitch (Alison House: Lecture Room B) Chair: Darryl Martin |
Session 6c: Aspects of eighteenth-century repertoire (Alison House: Faculty Room) Chair: Graham Sadler |
| Samantha Carrasco (University of Southampton) The public and private sphere: Music making in Hampshire in the late eighteenth and early nineteenth century | Frauke Jurgensen (University of Aberdeen) and Ian Knopke (BBC) An empirical investigation of tuning systems in fifteenth-century keyboard music | LR: Mario Aschauer (University of Vienna) Lully Transcriptions in Vienna around 1700 | |
| Penelope Cave (University of Southampton) The Broadwood and the Banker's Daughter | John Koster (University of South Dakota) Questions of Keyboards, Temperaments, and Transpositions in Northern Europe and Spain in the Sixteenth Century | LR: Jane Clark (London) François Couperin's 'New and diversified character' | |
| Iain Quinn (University of Durham) Czerny's organ music in the context of Victorian musical culture | Dan Tidhar and Francis Knights (University of Cambridge) Recorded temperament | LR: Joyce Lindorff (Temple University) Perfect Vibrations: Pasquali's Art of Fingering and the New Keyboard Aesthetic | |
| Peter Holman (University of Leeds) The harpsichord in nineteenth-century England | Peter Mole (Ellesmere, Shropshire) Seventeenth Century Harpsichords—Playing the Four Foot Stop | ||
| 1530-1600 | Transfer to refreshments at St Cecilia's Hall: Laigh Room | ||
| 1600-1700 | The John Barnes Lecture: Terence Charlston: A Choice Collection? Performance and musical taste in late seventeenth-century English keyboard sources (St Cecilia's Hall: Concert Hall) | ||
| 1700-1745 | Round table (St Cecilia's Hall: Concert Hall): How viable is it to see keyboard studies as a field in its own right? Panel: John Butt, Robert Hill, John Koster, Susan Wollenberg, Andrew Woolley (chair) | ||
| 1745-1830 | Business meeting (St Cecilia's Hall: Concert Hall) | ||
Share…