In this section:
The Symposium programme has been confirmed by the Committee as follows:
TUESDAY JUNE 30
9.30 Clive Brown, Neal Peres Da Costa, and Kate Bennett Wadsworth – Symposium welcome: Introducing the Brahms Sonatas edition.
11.00 Kai Köpp, Johannes Gebauer, and Sebastian Bausch – Embodying the sound of the “Joachim-School”. (Finish time: 12.00.)
12.15 Sarah Potter – Singing Brahms in context: Evidence of nineteenth-century vocal practices.
13.00 Lunch Break
14.00 Anna Scott – Romanticizing Brahms: Experiments in early-recorded Brahmsian pianism.
14.45 Ronald Woodley – Ilona Eibenschütz’s solo piano arrangements of Brahms and Schumann Lieder: issues of performance style and genre.
16.00 Brent Yorgason – The Functions of expressive asynchrony in the piano music of Brahms.
16.45 Kate Bennett Wadsworth, Shuann Chai, and Shunske Sato – Performing Brahms’ piano trio op. 101 with the help of Fanny Davies.
17.30 Practice-led Discussion
WEDNESDAY JULY 1
9.30 Jung Yoon Cho – Changes in performing style: Brahms’ sonata for violin and piano op. 78.
10.00 Vasiliki Papadopoulou – Performing traditions in J. Brahms’ violin concerto op. 77 as reflected in annotated editions from the 20th century and modern recordings.
10.30 Ann Cnop – Performing Brahms’s second sonata for piano and violin: putting the evidence into practice.
11.30 Miaoyin Qu and Clive Brown – Reading between the lines of Brahms’ musical text: Internalising a conception of 19th-century musicianship.
12.15 Claudia Pacheco Chávez and Miguel Arturo Valenzuela Remolina -Experimentation around the performing practices in German circles during the late nineteenth century (with special attention to vibrato and portamento), applied to the second movement of the second sonata for piano and cello in F major, op. 99 of Johannes Brahms.
13.00 Lunch Break
14.00 Annie Yim – Regaining a lost performing tradition: The Schumann circle and the young Brahms’s piano trio op. 8a (original version, 1854).
14.45 Job ter Haar – Hungarian dances, bel canto style (Piatti’s transcriptions of Brahms).
16.00 Sheila Guymer – Classicist, gypsy, or ‘the best of all Wagnerians’? A study of rubato in Brahms performance practice.
16.45 Alfia Nakipbekova – Lecture-recital: Sonata for piano and violoncello op. 38 by Johannes Brahms.
18.00 IRONWOOD: Robin Wilson and Rachael Beesley violins; Nicole Forsyth viola; Daniel Yeadon cello; Neal Peres Da Costa piano – Presentation and performance of Brahms piano quintet op. 34, to be followed by Q&A session. (Finish time: 19.30.)
19.45 CONFERENCE DINNER – Thai Edge, 7 Calverley Street, Leeds LS1 3DA.
THURSDAY JULY 2
9.30 Peter Adams – A forgotten nightingale? Brahms, Mühlfeld, Draper and Kell: the clarinet as songbird.
10.15 Andrea Massimo Grassi – Inside Brahms workshop: Interpretative choices suggested by the manuscripts of the clarinet sonatas op. 120.
11.30 Emily Worthington – (Re-)constructing Richard Mühlfeld? Rubato and rhythmic freedom in Brahms’s clarinet sonata op. 120 no. 2 mvt. 1.
12.15 Emlyn Stam: Towards an historically inspired Brahms style: The Edwardian musicianship of violist Lionel Tertis in op. 120 nr. 1.
13.00 Lunch Break
14.00 David Milsom – Performing Brahms’ op. 120/1 viola sonata: the interface between research and performance.
14.30 Camilla Köhnken – Academic or ‘neudeutsch’? – Liszt students performing Brahms.
15.00 Hilary Metzger – Their tone of discourse: what is revealed by the rhetoric of the musicians closest to Brahms.
Please note that the School of Music will close at 17.00 prompt.
Any issues with the symposium programme should be reported to the Symposium Administrator.
A detailed programme of papers and workshops is to be added shortly. Details of presenters and performers taking part are currently being updated on the Contributors tab.
Peter Adams (University of Otago)
A Forgotten Nightingale? Brahms, Mühlfeld, Draper and Kell: the clarinet as songbird.
The clarinet was the inspiration for the last four chamber works composed by Brahms. All four works had clarinet parts written for Richard Mühlfeld, the Meiningen clarinettist whose idiosyncratic playing inspired Brahms to come out of self-imposed retirement to create these late masterpieces.
A great deal of evidence has now been accumulated about how Brahms and his contemporaries performed his music: despite this however, it would seem that many modern-day clarinettists perform Brahms’ music largely ignoring this evidence – if they are even aware of it. The little that we know about Mühlfeld’s playing, and that of the English clarinettist Charles Draper and other early interpreters of Brahms’ clarinet music, seems to suggest a style of playing far removed from the aesthetic and approach of most contemporary clarinettists today.
This paper outlines in brief the relationship between Brahms and Mühlfeld, the link between Mühlfeld and Charles Draper, and the link in turn between Draper and Reginald Kell. We listen to short extracts of historic performances by Draper and Kell and hear some of the ways their performances differ from modern day clarinet performance practice. The controversial issue of vibrato on the clarinet is discussed, before the paper concludes with speculation as to when and why approaches to clarinet playing changed quite suddenly in the twentieth-century. Is Muhlfeld’s ‘Nightingale’ now all but forgotten by modern clarinettists?
Kate Bennett Wadsworth (University of Leeds)
Performing Brahms’ piano trio op. 101 with the help of Fanny Davies.
The starting point for this study is Fanny Davies’ oft-quoted account of the rehearsal she witnessed of Brahms’ op 101 trio by the composer and two of his closest colleagues, Robert Hausmann and Joseph Joachim. In addition to describing Brahms’ playing style in general, she has left us a detailed set of notes specific to his performance of the trio, both in the form of her personal score annotations and as a more in-depth description in her addendum to Donald Tovey’s article on Brahms’ chamber music for Cobbett’s. In preparation for a concert in Holland last week, the three of us set out to use Davies’ notes as a practical guide to performing the c minor trio, exploring whatever research questions cropped up along the way.
A major theme that emerged in the process was the importance of a multifaceted sense of rhythm, which features prominently in Davies’ description of Brahms’ own playing. After comparing her description with the advice we found in treatises by other members of Brahms’ circle, we looked closely at Davies’ own recording of Schumann’s Kinderszenen in search of a better understanding of the link between rhythmic inflection and musical character. In our presentation, we aim to apply what we learned not only to the many character markings found in Davies’ score annotations for the trio, but to Brahms’ expressive markings as well.
Jung Yoon Cho (University of Leeds)
Changes in performing style: Brahms sonata for violin and piano op. 78.
This paper will discuss how the performing style of the Brahms sonata has changed over the 20th century, with particular focus on evaluating the distance between modern performing approaches to the sonata and what Brahms or his contemporaries might have expected to hear. An investigation into early 20th century recordings, editions, and other treatise sources reveals that early performing expressive tools such as portamento, vibrato, and tempo rubato have gradually declined or altered in usage over time. In addition, some of the performing notation has condensed in meaning throughout the century. This paper, therefore, will look into the performing practices in detail that have mostly vanished from modern performing practice but were an essential part of the 19thcentury German violin performing practice: the issues of performing techniques, aesthetics, and notation as directly related to the sonata will be considered.
There have been some recent attempts by modern performers to expand their performing contexts by integrating some historical practices into their Brahms sonata performances. However, their experiments have not yet progressed much beyond playing on historical equipment or using vibrato in a more selective manner. This paper, therefore, will also draw attention to the question of to what extent the early practices could be integrated into a modern performing context and the possible benefits which might result, as well as the importance of understanding the practices through practical experimentation as a modern performer. The presentation will include some live performing demonstrations and/or some recorded extracts of my own performance will be played as examples.
Ann Cnop (University of Ghent)
Performing Brahms’s second sonata for piano and violin: putting the evidence into practice.
Last year, one of my students of “modern” violin at the Conservatory of Ghent asked me to help him find the best fingerings possible to play the second movement of Brahms’s opus 100. Trying to be as informative as possible, I showed him the editions of the music by violinist who were closely connected to Joseph Joachim and his way of playing. The next lesson, my student told me he would never use these fingerings in public, because they were to odd and strange. He was afraid the audience would make fun of him because of the constant “meowing”.
Today’s violinists and audience indeed mostly find the use of portamento as the mane tool for expression of 19th- and early 20th-century violinist strange and often call it, in the best case, “old-fashioned”. The sparing use of vibrato, opposite to the constant vibrato of contemporary violinists, makes the picture even odder…
In the lecture-recital I am proposing, I will put all the different features of the Joachim style and tradition of playing the violin in contrast with the way we deal with these aspects in the contemporary tradition of the way we play Brahms’s second violin sonata.
The different topics I will discuss are the basis posture of the violinist, the fittings of the violin, portamento, vibrato and “tempo rubato”. In other words, I will discuss the means of expression of the 19th-century and the contemporary violinists.
I will illustrate every aspect on my violin. I would like to end the lecture- recital by playing the sonata in it’s whole, using as many features of the Joachim style as possible.
Andrea Massimo Grassi (Editor of Brahms Clarinet Quintet, b minor op. 115)
Inside Brahms’ Workshop: Interpretative choices suggested by the manuscripts of the Clarinet Sonatas op. 120.
It is quite rare to have on tap the documents which testify to the creative work of Brahms. The composer usually destroyed all the sketches and the manuscripts that could reveal the details and habits of his compositional process.
The case of the two Sonatas for Clarinet and Piano op. 120 is an isolated and fortunate case. In 1895, the precious manuscript was donated by Brahms to clarinettist Richard von Mühlfeld and since then was kept by the Mühlfeld family. Scholars and enthusiasts were not allowed to view it. In 1997 the original manuscript of the Sonatas op. 120 was put to auction and purchased by the Lehmann Foundation, then stored at the Morgan library of New York.
From that moment the interest in the Sonatas by Brahms grew enormously, because the scholars had at their disposal real evidence on how to reconstruct Brahms’ compositional process: the Sonatas autograph manuscript in fact, contains a large number of revisions and corrections and many important suggestions for the performer. Andrea Massimo Grassi was one of the first scholars to study this precious documents, about which published in 2006 the book ‘Fräulein Klarinette’. La genesi e il testo delle opere per clarinetto di J. Brahms [‘Fräulein Klarinette’. The genesis and the text of J. Brahms’s clarinet works].
The lecture will therefore show the stages through which Brahms arrived at his final version of the Sonatas op. 120 in order to see which opportunities can have the performer in studying and understanding the manuscripts: In particular to have the opportunity to correct mistakes, to suggests interpretative choices useful to the performer, to show us hidden meanings.
The main features of Brahms musical work as well as the differences between the first version and the final version, derived from Sonatas’ original manuscript, will be performed by the clarinet and piano.
Sheila Guymer (University of Cambridge)
Classicist, Gypsy, or ‘the best of all Wagnerians’? A study of rubato in Brahms performance practice
Historical sources suggest that Johannes Brahms used and advocated certain types of unnotated tempo flexibilities in performance, yet descriptions of his style of rubato vary widely. Fanny Davies described Brahms’s playing as ‘free, very elastic and expansive,’ while Richard Wagner found it ‘painfully dry, inflexible and wooden.’ Such conflicting descriptions from Brahms’s contemporaries hint at modern-day difficulties in discerning just when, how much, and what sort of rubato to use in performing Brahms’s works.
This study examines tempo change in six duos’ recorded performances of the first movements of Brahms’s Sonatas for Violin and Piano, Opp. 78 and 100. The recordings are discussed in the light of historical evidence of Brahms’s own notated and implied uses of rubato. The aim is to discern contexts, techniques, and influences of rubato use in Brahms performance practice, and the continuance (or not) of those practices into the twentieth century. The recordings were made between 1931 and 1967 by musicians who had some historical connection with Brahms’s circle: Rudolf Serkin and Adolf Busch, Georg Vásárhelyi and Emil Telmányi, Artur Schnabel and Joseph Szigeti, Artur Balsam and Szymon Goldberg, Artur Rubinstein and Henryk Szeryng, Julius Katchen and Joseph Suk. As the title suggests, three main influences were discerned: Viennese Classical, Viennese vernacular (style hongrois and the Viennese waltz), and Wagner.
Job ter Haar
Hungarian dances, bel canto style (Piatti’s transcriptions of Brahms).
This lecture/recital explores the relationship between the great 19th century Italian cellist Alfredo Piatti and the music of Johannes Brahms, by investigating the transcriptions that Piatti made of the Hungarian Dances by Brahms. Special attention will be given to the problems of transcribing piano music for the cello and the solutions Piatti presents for these problems. By studying Piatti’s transcriptions, we can gain valuable insights in his playing style and in the way he might have performed the music of Brahms. The recital part will consist of a performance of three of the Hungarian dances and fragments of various other arrangements.
Robin Wilson and Rachael Beesley violins
Nicole Forsyth viola
Daniel Yeadon cello
Neal Peres Da Costa piano
Presentation and performance of Brahms Piano Quintet op. 34, to be followed by Q&A session.
In 2012 Ironwood embarked on a new creative research project – Brahms’ Piano Quintet op. 34 in performances that experimented with performing practices of Brahms and his circle as well as more general nineteenth-century practices described in written texts and preserved on early recordings. Ironwood was already established as a successful period-instrument ensemble specialising in music from the seventeenth to the early nineteenth centuries. And yet approaching Brahms’s music in this way proved difficult in several respects particularly in relation to the use of tempo modification and rhythmic alteration as well as other expressive practices, which necessarily took the ensemble out of its comfort zone and challenged many preconceived notions about historical performance. A real turning point came with the publication of David Hyun-Su Kim’s article “The Brahmsian Hairpin” (2012) which opened the ensembles eyes to the possible underlying meanings of Brahms’ hairpin notation in its various contexts.
Earlier in 2015 Ironwood made a commercial recording of the op. 34 Piano Quintet for ABC Classics due for release very shortly. ABC Classics have made available a rough first edit of the first movement which affords comparison with a live recording made in 2012. We open our presentation with a discussion of the journey of experimentation and of our developing interpretation, followed by a performance of the Quintet.
Camilla Köhnken (Bern University of the Arts)
Academic or ‘neudeutsch’? – Liszt students performing Brahms.
Did Liszt’s students change interpretative attitudes when performing Brahms? Despite the notorious “Parteienstreit” Eugen d’Albert and Frederic Lamond were eager to promote Brahms’ music and worked with the composer himself on his pieces. Their recordings open an interesting perspective on the interpretative tools and choices that are described as typical for the Liszt school in pertinent instructions.
A comparison between d’Albert’s rendition of the Capriccio op. 76 No. 2 and the versions of the Viennese pianist Alfred Grünfeld (1908) and the Brahms advocate Harold Bauer (1939) helps to illustrate different approaches to the same piece.
After illuminating the historical context of these early sound documents, an additional step into understanding the aesthetics of this period is attempted by an reenactment session on the Ballade op. 10 No. 2 in Lamond’s version of 1910 based on methods that have been developed within the research project on instructive texts at the Bern University of Arts.
Kai Köpp (Bern University of the Arts)
Johannes Gebauer (Bern University of the Arts)
Sebastian Bausch (Bern University of the Arts)
Embodying the sound of the “Joachim-School”.
String players in search for a ‘Brahmsian’ performance style must necessarily start by analyzing and imitating Joseph Joachim’s violin playing as closely as possible. In addition to studying Joachim’s recordings of Brahms’s Hungarian Dance No. 1 and his own Romance in C through methods of close listening and software analysis (Sonic Visualiser), special attention will be given to a selection of written accounts of Joachim’s performance style in treatises and instructive editions by some of his students. The authors of these still underestimated ‘epigonal’ sources were very much concerned with faithfully preserving Joachim’s style of playing together with its underlying aesthetics and continued the Joachim-School well into the 20th century. But after meticulous analysis of all these sources, which is already a standard procedure in modern performance practice research, an even deeper understanding of Joachim’s playing can be gained by recreating his recordings in performance. This new method of ‘embodiment’, to uncover knowledge only accessible through a trained and professional musician’s body, will be discussed in relation to theories of re-enactment and methods of serious experimental archaeology.
In a joint lecture performance, Kai Köpp, Johannes Gebauer and Sebastian Bausch will present the steps necessary to include the method of ‘embodiment’ into performance practice research. The much neglected piano accompaniment will also come to its right, especially since Joachim’s concept of “Freispielen” assigns very distinct musical roles to the soloist and his accompanist. The presentation will culminate in an attempt to translate the results into a live performance of Joachim’s Romance.
Besides the musical and aesthetical questions, a technical perspective on historical recordings will also be taken into account. This includes the re-enactment of an acoustic recording session: After test recordings have been produced with historical recording equipment on an Edison phonograph, the attention will be turned back to musical implications. How do musicians adjust their playing in order to produce a recording that closely resembles the sound of Joachim’s recordings? It can be assumed that, with the recording industry still in its infancy, a man like Joachim would not have made similar concessions to the recording situation as some of the major studio artists of the acoustic era reportedly did. But questions about the effect of dynamics, vibrato, portamento and other means of expression have to be answered in order to know how Joachim really played in the recording. As a side-effect, working with the phonograph will make it possible to determine its frequency response by applying a special “frequency sweep”. This will lead to a method to play back recordings made with modern recording equipment, either in ordinary CD-quality (with sound characteristics similar to today’s classical recordings) or as if made with the phonograph. To actually hear what an impression modern performance practices would have made in the era of acoustic recordings will be highly revealing.
Their tone of discourse: what is revealed by the rhetoric of the musicians closest to Brahms
Frequently how we discuss an issue reveals more than what we actually say about it. This talk will examine the writings related to the performance and teaching of the musicians closest to Brahms (as revealed in treatises, letters, and reminiscences) less in an effort to analyze their content, but rather in terms of their rhetoric, or tone of discourse. Did the musicians closest to Brahms use a type of rhetoric that was noticeably different from their contemporaries? Are these differences simply cultural or idiosyncratic, or could they be significant to our understanding of how Brahms’ favorite musicians viewed music-making? In addition to the often discussed issue of vibrato use, do we notice other subjects for which their tone of discourse changed dramatically? Can we learn from their writings as to how we might alter our own tone of discourse when discussing issues related to historical performance today?
The sources analyzed will include the writings of: Friedrich Wieck; Julius Stockhausen; GB Shaw; Amy Fay; Johann Georg Tromlitz; the students of Clara Schumann, Josef Joachim and Robert Hausmann; and several other lesser well-known German instrumental treatises from the late 19th century.
David Milsom (University of Huddersfield)
Performing Brahms’ op. 120/1 viola sonata: the interface between research and performance.
This lecture-recital explores a key question faced by performers and scholars – how might a stylistically-sensitive performance of a musicologically-researched work be realised in practice?
Based around the recent edition compiled by Clive Brown, Kate Haynes and Neal Peres Da Costa, this discussion looks at how twenty-first century musicians might realise this work in performance, and how they might utilise the detailed performing practice advice given by the above-named scholars and editors. A matter not often subject to research is how a published edition is used by performers. To what extent would the performer abide by editorial suggestions in respect of bowings and fingerings? In what ways might a performer – of the past or the present – adapt editorial suggestions (irrespective of the aesthetic alignment with the editors), and why might this be so? In terms of nineteenth century music, in what ways would the artistic license and performer individuality espoused by so many performers and theorists weave patterns within the parameters set by conventions of taste and performance approach, and how might this realistically be expected to exert an impact upon the twenty-first-century user of a scholarly performance edition?
Much has been made of the gap between ‘known’ research evidence, and even the most conspicuously-interested of ‘period instrument’ performers and resultant performances. This, as Clive Brown (and, to a certain extent, the present author) demonstrates, seems to point to some kind of line that will not be crossed, particularly as regards some of the most notable aspects of nineteenth-century performing practice (such as the conspicuous portamento, wide variety of departures and ‘flexibilities’ towards the written text especially as regards aspects of rhythmic inequality, rhythmic ‘sponteneity’, and tempo rubato). Whilst it is reasonable to expect a limited number of performers to take a highly evidence-based approach to such performance (including, of course, the use of period instruments and, in the case of Clive Brown’s own practice, even delving into specific issues of period posture), it seems more probable that a larger number of performers, their outlook predicated perhaps more pragmatically upon creating a ‘good’ performance able to communicate the inner content of the music effectively to an audience, will decide the extent to which historical evidence exerts an impact on their playing.
This lecture recital will discuss some of these issues, and will seek to demonstrate some interpretative possibilities afforded by greater awareness (and maybe integration) of historical performing practices. The use of modern instruments may thus be seen as somewhat provocative in a conference setting such as this, but it is so in order to look at the possible impact outside of the specialist, period instrument domain. The discussion concludes that historical performance evidence and indeed practice has the potential to influence, mould and resource the wider sphere of present-day performance, provided it is approached with pragmatism and respect for a range of practical, philosophical and aesthetic decisions which all performers must make for themselves.
Alfia Nakipbekova (University of Leeds)
Lecture-recital: Sonata for Piano and Violoncello op.38 by Johannes Brahms
Brahms completed his Sonate für Klavier und Violoncello op.38 in E minor, in 1865, the first of his seven duo sonatas. Fifty years later, in 1915, Debussy composed his Cello Sonata, also the first (in his planned cycle) of Six sonates pour divers instruments, of which only three were completed. The common design shared by these two disparate musicians was their allusion to the past – in Debussy’s case to François Couperin, in Brahms’s – to JS Bach. The awareness of continuity and the living tradition is clearly manifest in these stylistically distinct compositions. Brahms took over Beethoven’s explorations of the possibilities of the cello as a solo instrument, equal to the piano. Beethoven’s Sonata op.102, op.1, composed fifty years before, in 1815, also demonstrates the link to the earlier sonata form.
It’s my belief that the art of interpretation encompasses the awareness of the broader cultural and social sphere and the aesthetic norms of a particular period of time. The interpreters, who are part of this complex milieu, express the attitudes and tastes of the cultural environment in which they develop their artistic work.
In the absence of audial documentation of performances of the Brahms’s Sonata op.38 by his prominent interpreter cellist Robert Hausmann (or other cellists of the time), one could look for the stylistic traditions carried by the early 20th century cellist Pablo Casals, who was 21 at the time of the composer’s death. Another link to this tradition is the Soviet cellist Daniil Shafran, whose live performances and recordings allude, to some extent, to the expressive domain of 19th century musical romanticism through his distinctive application of contrametric and agogic rubato, exuberant portamenti, and his idiosyncratic use of vibrato.
In my lecture-recital I will address the key issue of the search for a historically informed performance, which in my view is situated in the understanding of the meaning of these stylistic features practiced in Brahms’s time, and ask: what do they mean to us in our time, and how might we convey in our playing the composer’s intent and the spirit of his time (Zeitgeist) expressed in this particular composition?
Claudia Pacheco Chávez (Faculty of Music of the National Autonomous University of Mexico.)
Miguel Arturo Valenzuela Remolina (Faculty of Music of the National Autonomous University of Mexico.)
Experimentation around the performing practices in German circles during the late nineteenth century (with special attention to vibrato and portamento), applied to the second movement of the Second Sonata for Piano and Cello in F major, op. 99 of Johannes Brahms.
Performing practices for the nineteenth century repertoire in the German ambit changed during the course of the twentieth century. Documentary sources show that the Franco-Belgian style of interpretation, mainly from the Conservatoire de Paris, dominated the aesthetic taste for performing the nineteenth century repertoire, in particular for bowed string instruments. This form of interpretation has survived to this day, and is the reason why a number of expressive and ornamental resources concerning performing practices prevailing in the historical context of Johannes Brahms fell into disuse or changed their meaning.
In the first part of this exposition, a brief review of performing practices of the late nineteenth century in German circles will be presented, especially with regard to resources such as vibrato and portamento. The information exposed will provide support for sustaining and experimenting in musical praxis. Thus, in the first part we will address: 1) some aspects related to cello performing techniques in the historical context of Johannes Brahms; 2) performing practices based on the study of documentary sources consistent in their methods – v.gr. Violinshule of Joseph Joachim and Andreas Moser; 3) analysis of performance practices non-annotated – but present in existing recordings between 1900 and 1950; and 4) revision of musicological studies on how Brahms and his contemporaries performed his music – v.gr. Clive Brown, Robert Kennaway, Jon W Finson, Neal Peres da Costa, and Robert Phillip, among others.
The second part of the exposition will focus on specifications and rationale for performing practices (vibrato, portamento, tempo changes and tempo rubato) adopted in the performance of the second movement of the Sonata for Piano and Cello, op. 99 of Johannes Brahms.
This presentation has as background the experiences obtained during graduate studies in cello (2012) and currently, the Masters in Performing, both at the Faculty of Music of the National Autonomous University of Mexico.
Vasiliki Papadopoulou (Austrian Academy of Sciences (ÖAW))
Performing Traditions in J. Brahms’ Violin Concerto op. 77 as reflected in Annotated Editions from the 20th Century and Modern Recordings.
Since the violin concerto (op. 77) was first published (Berlin: N. Simrock, 1879) and since the copyright expiration after the composer’s death lead to the edition of the Gesellschaft der Musikfreunde in Vienna, various annotated – instructive or performance – editions of this work have been published; this transpired in an era, when editions – before the spread of recordings – were still the simplest medium for musicians and teachers to convey their musical ideas.
In my paper I will deal with performing practices as documented in various annotated editions through the twentieth century, including those edited by Leopold Auer, Efrem Zimbalist, Carl Flesch, Karl Klingler, Otakar Ševčík and Adolf Busch. Changes and additions compared to the first-print and the revised edition by Joseph Joachim (in Joachim’s and Andreas Moser’s Violinschule, Berlin: N. Simrock, 1905) concern bowings, articulation markings, expression and tempo markings, dynamics, fingerings – including portamenti – or even vibrato (e.g. Ševčík). Furthermore, verbal explanations of selected segments are found in violin treatises.
The next issue to be addressed is the comparison between these various practices and the concept of performing (already established) traditions in twenty-first century recordings, i.e. either as a deliberate attempt to document, perform and preserve these traditions or as a historically informed approach. On the other hand the power of a formed habit, that originates either in the learning process or through the listening of existing recordings or performances should not be underestimated. These similarities as well as the differences among the editions and recordings sketch the process that has taken place between innovation and tradition; they raise the question why some practices remained prevalent and can be traced back to the beginning of the 20th century (and through Joachim to Brahms), as others faded away and – more importantly – changed through time, later editions serving as a first step in this process.
Sarah Potter (University of Leeds)
Singing Brahms in Context: Evidence of Nineteenth-century Vocal Practices.
Johannes Brahms and his musical contemporaries have long been the source of scholarly discussion, but analysis of the performance practices used by the singers with whom Brahms associated has not yet been completed. This practice-based research presentation will build upon recent exploration of changing approaches to vocal style and technique during the long nineteenth century, and present the preliminary conclusions of research into the responses of nineteenth-century singers specifically to the (solo) vocal compositions of Brahms. Inspired by existing biographical commentary on Brahms and the network of singers to which he was connected, this presentation will expand upon the research area by investigating evidence of the vocal practices used by singers known to (and admired by) Brahms. Research questions to be considered address issues of stylistic approach, methods of voice production, and the application of specific musical devices for expressive effect.
The source material considered by this paper will include existing scholarly research, biographical records, didactic material, performance criticism, and early vocal recordings; practical demonstration will illustrate the vocal practices highlighted. Discussion will reference singer Julius Stockhausen (1826-1906) as a key performer of Brahms’s work, analyse accounts of other performers that premiered or inspired vocal compositions by Brahms, and investigate links to other celebrated nineteenth-century singers and voice teachers. Possible correlation with the practices advocated by Manuel Garcia II (one-time teacher of Stockhausen, and other high-profile singers of the period) is an area of particular interest. Approaches used in the performance of works by other Lieder composers connected to Brahms will provide additional contextual evidence.
This research presentation will be illustrated with the performance of vocal repertoire by Brahms, realising nineteenth-century approaches to vocal style and technique as might plausibly have been applied by the singers in his musical circle.
Mayan Qu (University of Leeds)
Clive Brown (University of Leeds)
Reading between the lines of Brahms’ musical text: Internalising a conception of 19th-century musicianship.
Scholarship imposes rigorous intellectual criteria that are very different from the mental and physical processes that are required by a performing musician. A conscientious researcher into historical performing practices must weigh the evidence judiciously and, in many cases, frame provisional conclusions where certainties are unattainable. Conscientious scholars of historical performance who engage in practice as part of their research will find themselves challenging the boundaries of their pre-existing musicianship, which has been formed by their training and the context of contemporary music-making. As long as their practice-led research remains a tool it can be undertaken without fundamentally challenging modern norms. If scholar researchers want to go further, however, testing and refining their conclusions through the medium of public performance they are faced with a very different kind of challenge. For earlier periods of musical history their experiments will inevitably be highly speculative and almost certainly very far from any historical reality. For the later 19th century, on the other hand, we have recorded evidence that shows us just how different the musicianship of the past was from that or our own day. More than a hundred years of recording preserves a tapestry of stylistic development that could certainly not be imagined without that aural evidence. Here, at the interface between traditional scholarship and practice led investigation, the scholar-performer is faced with an unusual challenge. The nuanced argument and provisional conclusions of traditional scholarship will not do when the conclusions of research are communicated through performance. Uncertainty is impossible for musicians in the act of performance; they must present the musical work with total conviction, entirely at ease with the musicianship that lies behind it.
Our presentation aims to explore the means by which written and aural data may be used to internalise a conception of 19th-century musicianship, offering valuable insights into the hidden messages that 19th-century musicians were expected to read between the lines of the composer’s notation.
Anna Scott (The Orpheus Institute, Ghent, Belgium)
Romanticizing Brahms: Experiments in Early-Recorded Brahmsian Pianism.
A spate of recent publications, radio programs, and events centred around themes of amateur and domestic music-making, historical performance practices, socio-cultural issues, private letters, and early recordings as related to Brahms’s life and output, seems to evidence a desire to recast his identity as one implicated in rather than exempted from his Romantic milieu. Despite such rebranding exercises however, performer-scholars remain unwilling to radically challenge the way Brahms’s music sounds; perhaps revealing a profound investment in much more deeply-held beliefs concerning the identity of the composer and his works.
With special focus on Brahms’s late piano miniatures, this presentation seeks to demonstrate that lingering gaps between modern and late-Romantic Brahmsian pianism are mediated, not merely by changing tastes and standards, but by a pervasive aesthetic ideology underlying understandings of Brahms’s canonic identity, and reinforced by nearly immovable performance norms that resist the very experimentation that evidence of Brahms’s musical contexts seems to invite. By working with extreme examples of early-recorded Brahmsian pianism in ways that consciously reject such understandings and norms however, a style of experimentally-informed Brahms emerges that both proposes radically new sounds and reimagines Brahmsian identity; that implicates Brahms in his historical context, and us in ours; that tasks pianists with playing something other than the minutiae of Brahms’s scores, however enriched our relationships with those scores may be; and most importantly, that asks many more questions than it answers, particularly as related to where our Brahms performances are going as opposed to whence they came. Rather than aiming for desirable outcomes such as amplified expressivity, flexibility, understanding, and conviction, these experiments are instead every bit as unresolved, volatile, puzzling, asymmetrical, and ephemeral as their early-recorded models, and perhaps even more so; thereby revealing volumes about just how committed to rethinking Brahmsian sound and meaning we really are.
Towards an Historically Inspired Brahms Style: The Edwardian musicianship of violist Lionel Tertis in op.120 nr.1.
Numerous developments in Brahms’ performance research have prompted a rethinking of our performance possibilities when interpreting his music. Contributions by Neal Peres Da Costa, David Milsom and Anna Scott have been made based on the study of recordings of performances from Brahms’ inner circle. These studies reveal to us that the performance practice that was prominent in Brahms’ own time greatly differs from the current mainstream approach to his music. The first violist to record a Brahms Sonata was the English violist Lionel Tertis (1876-1975) who is widely acknowledged to have been the first viola player to make a career as a solo performer on the viola. His seminal recording of the Sonata op.120 nr.1 was made in 1924 for Vocalion Records. The timeline of Tertis’ career situates his performances somewhere between the older generation of string players like Joseph Joachim and the more modern players like Jascha Heifetz and William Primrose. Tertis’ Brahms recording makes for interesting study given its place as a kind of halfway point in style change in Brahms performance practice in the early 20th century. My proposal is to speak briefly about the style elements both foreign and familiar we encounter in Tertis’ recording of the first movement of the Sonata op.120 nr.1. My goal is to show how historically inspired performances might be realised by making use of some of these stylistic features.
Ronald Woodley (Birmingham Conservatoire/ Birmingham City University)
Ilona Eibenschütz’s solo piano arrangements of Brahms and Schumann Lieder: issues of performance style and genre.
Ilona Eibenschütz (1873–1967) as a young woman was one of the pianists most closely linked to the Brahms–Clara Schumann circle; indeed Brahms was once overheard to remark that ‘she is the pianist I best like to hear playing my works’. Her playing, to most modern ears extraordinarily volatile, rhythmically wayward, even perverse, is known from a small number of recordings now commercially available. With the recent researches, especially, of Anna Scott and Daniel Leech-Wilkinson, she is being recognized as opening an important window on how the spectrum of performance style in the solo piano repertory of this circle was in Brahms’s day much wider and extreme than is generally deemed ‘acceptable’ today. I have been fortunate in gaining special access to a number of tracks recorded privately by Eibenschütz late in her life, for her immediate family, which include some solo arrangements of Lieder by Brahms and Schumann, among other works. This paper will explore these newly discovered recordings from the point of view both of performance style and of concomitant issues of genre and register, in relation to concert and domestic music-making in such repertory.
Emily Worthington (Independent Researcher)
(Re-)Constructing Richard Mühlfeld? Rubato and Rhythmic Freedom in Brahms’s Clarinet Sonata Op. 120 No. 2 Mvt. 1.
There are no known recordings of Brahms’s clarinettist Richard Mühlfeld. Reports of his performance style, though plentiful, are vague and often conflicting, with details of his use of rubato, phrasing and ensemble flexibility remaining particularly unclear. This lacuna should present a tantalising creative space to be explored: yet the stylistic approach taken by most modern and HIP performers to Brahms’s clarinet works remains generally conservative, particularly in the case of Sonata Op. 120/2, commonly approached as the ‘Classical’ counterpart to the more impassioned Op. 120/1. This may in part be due to the absence of a significant body of research into late-romantic wind playing to provide authority or permission, if such is necessary, for a significant deviation from the prevailing approach.
Drawing on new research into early German recordings of wind chamber music, including the extensive discography of the Leipzig Gewandhaus Wind Quintet 1924–30, this lecture-recital reveals the extent to which wind players trained in the late 19th century made use of a wide range of temporal expressive devices, many familiar from studies of piano and string playing. Particular attention is paid to how such devices were applied to particular musical contexts, resulting in the de-emphasis of structural points, interpretative asymmetry between ensemble members, and the preference for horizontal shaping of individual lines instead of the vertical ensemble coordination which is at the heart of the modern performance paradigm. It is contended that though the playing of Mühlfeld himself may remain a mystery, the stylistic world into which Brahms’s clarinet works were born does not, opening the possibility of a far broader range of interpretative approaches. Finally, a performance of the first movement of Op. 120/2 demonstrates how one such approach prompts a re-consideration of the character of the music.
Annie Yim (Guildhall School of Music and Drama/ City University London)
Regaining a Lost Performing Tradition: The Schumann Circle and the Young Brahms’s Piano Trio op. 8a (original version, 1854).
This presentation explores the role of the performer in regaining a performing tradition for the neglected original version of Brahms’s Piano Trio in B major, Op. 8 (1854 [Op. 8a]), which was later revised (1889 [Op. 8b]). In light of my hypothesis that Robert Schumann was a major influence on the young Brahms and the genesis of his Op. 8a, I propose a set of informed performance guidelines for Op. 8a that reflect Schumannesque musical aesthetics distinct from Op. 8b.
Commentary is currently lacking on the performing tradition for Brahms’s Op. 8a, despite many scholarly comparisons, such as those by Roger Moseley and Michael Struck, of the two very different versions of this work. The general misconception that Op. 8a is an inferior, youthful version of the work contributes to its neglect. Distinctive features in Op. 8a are often mistakenly considered to be ‘un-Brahmsian’ and weak, which makes interpretation challenging; this is evidenced by the small handful of existing recordings that between them demonstrate a wide variety of approaches to interpreting the work.
My research in establishing performance guidelines for Brahms’s Op. 8a aims to speak directly to the newly emerging field of practice-based research, thereby addressing performance issues from the performer’s perspective. The repertoire to be discussed (and illustrated through performance) includes excerpts from Clara Schumann’s Piano Trio in G minor, Op. 17; Robert Schumann’s Piano Trio in D minor, Op. 63, and Fantasie, Op. 17; as well as Brahms’s Piano Trio in B major, Op. 8a. In the context of the output of the Schumann circle, my research offers new interpretations of Brahms’s Op. 8a that combine the performers’ interpretative creativity with musical-aesthetical knowledge.
Brent Yorgason (Marietta College, Ohio)
The Functions of Expressive Asynchrony in the Piano Music of Brahms.
The performance practices of chord-spreading and hand-breaking, often viewed as “mannerisms” by twentieth-century pianists, had specific expressive and communicative functions in late-Romantic music. Brahms’s piano music features many remarkable passages involving expressive asynchrony: a slight dislocation between hands or voices for expressive purposes. Such asynchrony can be spontaneously introduced by a performer or it can be incorporated into the score (using various notational tricks) by the composer. In this paper I will examine a number of passages from Brahms’s piano music that involve notated expressive asynchrony.
Chord-spreading can be used to create contrapuntal clarity, to resolve separate voice-leading strands, and to help articulate inner melodic voices. For instance, in the passage shown in Example 1, the widely rolled chords in measures 43-45 allow an inner voice to sing out, echoing the ^3-^2-^5 motive in the preceding phrase. Chord-spreading may occur at formal boundaries to link different sections of a composition together. For instance, in Example 2, a rolled chord in the second ending subtly separates the melodic arrival on E5 from the new beginning on G5. Chord-spreading can also create motivic connections between passages, as illustrated by the three tenderly rolled climaxes of Example 3.
Hand-breaking effects can be indicated in the score through the use of notational displacement between attacks, as with the downbeats in Example 4. This creates a much more agitated surface.1 Dislocation between hands in Example 5 creates the experience of what I call “metric drift,” which is resolved by a “transformational beat” in measure 43. A similar passage involving quick hand alternation in Example 6 is resolved by what may be perceived as a continuous roll in measure 22. By notating these temporal effects in his music, Brahms could specify to a degree the performance practices that were common in his day.
This page lists details of symposium contributors: biographies are listed alphabetically by surname.
Peter Adams is an Associate Professor in the Music Department of Otago University, Dunedin, New Zealand, and is well known in that country as a conductor and composer. His first degree was in clarinet performance and composition at the University of Otago, and he was a clarinettist in the National Youth Orchestra of New Zealand and in the Dunedin Sinfonia. A Commonwealth Scholarship took him to London and King’s College where he completed an MMus in Theory and Analysis with Jonathan Dunsby and Arnold Whittall, and studied clarinet with Georgina Dobree and conducting with John Carewe. Since returning to New Zealand to take up his post at Otago, Peter has built a fine reputation as a musical leader in the local community, and as a conductor and musical director working all around New Zealand.
As well as his professional conducting commitments, Peter is a composer and has had many works performed in New Zealand, Australia and America. He is the musical director of the Waitaki Summer Music School and the National Youth Brass Band of New Zealand. He is also active as an arranger, writer and adjudicator, and still occasionally blows the cobwebs out of his clarinets to perform in chamber music recitals.
Since he was first introduced to the world of historical recordings by his harpsichord teacher Robert Hill at the age of 11, Sebastian Bausch has realized the importance of these unique sources as evidence for the long-lost performance traditions of the romantic era. Years later, after having devoted much time to collecting and analyzing such recordings, he is currently working on his PhD thesis, in which he examines and compares different styles of piano playing in the vicinity of the Leipzig conservatory’s academic tradition at the end of the 19th century. This is part of his work as a research fellow in Kai Köpp’s project “Die Idee des Componisten ins Leben rufen” at the Bern University of Arts.
As a performer, he feels equally at home at the harpsichord, organ and pianoforte, which he all studied with professors Jörg-Andreas Bötticher, Wolfgang Zerer and Edoardo Torbianelli at the Schola Cantorum Basiliensis and appears in concert regularly as a soloist and chamber musician.
Rachael Beesley is an internationally renowned Australian violinist, director and concertmaster. As a graduate from the VCA University of Melbourne – BA in Music (1989), Grad Dip of Arts in Music (1991) and from The Royal Conservatoire, The Hague, NL – Master of Music (1999). Rachael is a versatile violinist and musician who has devoted her life to performing, teaching, and researching and has become one of the world leaders in the field of historically informed performance (HIP). Rachael is a regular member and guest concertmaster of some of Europe’s finest ensembles and orchestras. Based in Australia since 2009, Rachael is guest concertmaster of the Australian Brandenburg Orchestra, Pinchgut Opera, Opera Australia and Victorian Opera for performances on period instruments. She co-founded the ensembles Quartz, Ironwood and orchestra seventeen88 and regularly leads the chamber music ensembles Ludovico’s Band, Salut! Baroque and Accademia Arcadia. As a highly regarded and much sort after teacher and mentor, Rachael is a lecturer at the Sydney and Melbourne Conservatoriums, the School of Music Monash University, the Kate Buchdahl Distinguished Artist in Residence, Adjunct Academic at the ANU School of Music, Canberra and guest director at the ANAM. In the field of HIP and Practising in Flow, she has been invited to speak at conferences in Australia, New Zealand and The Netherlands where she has taught at the Royal Conservatoire, The Hague since 2000. Rachael also collaborates with contemporary Australian composers and in 2000 she was awarded an Ian Potter Cultural Trust. She regularly appears in broadcasts for the radio and television and has performed on over 50 CDs.
Kate Bennett Wadsworth
Kate Bennett Wadsworth studied modern cello with Laurence Lesser at the New England Conservatory and baroque cello with Jaap ter Linden at the Royal Dutch Conservatory in the Hague, after completing a bachelor’s degree in Scandinavian studies at Harvard College. She has appeared at festivals throughout North America and Europe with baroque ensembles such as Arion, Tafelmusik, B’Rock, Apollo’s Fire, Aradia, Masques, and the Theatre of Early Music, and her continuo playing can be heard on the Naxos, ATMA, Artemis/Vanguard,and early-music.com labels.
Now mid-way through her six-year cycle of the Bach cello suites for the Toronto Music Garden, Kate recently premiered a companion piece to the 4th Suite, written for her by Canadian composer Michael Oesterle. Kate also has a special passion for classical and romantic performance practice, which she has explored as both soloist and chamber musician. Her recording of the CPE Bach A minor concerto with Les Bostonades is due to be released in June 2015, and her performances of Beethoven and Mendelssohn sonatas with fortepianist Yi-heng Yang have been called “sublime” by the Boston Musical Intelligencer. Kate is currently pursuing a PhD in 19th-century performance practice under Clive Brown at the University of Leeds.
Clive Brown was a member of the Faculty of Music at Oxford University from 1980 to 1991 and is now Professor of Applied Musicology at the University of Leeds. Publications include Louis Spohr: a critical biography (Cambridge, 1984; revised German edition 2009), Classical and Romantic Performing Practice (Oxford, 1999; Chinese translation 2012), and A Portrait of Mendelssohn (Yale, 2003). He has also published many articles on historical performing practice and, as a violinist, conducts practice-led research. His critical, performance-oriented editions of music include, for Bärenreiter, Brahms’ Violin Concerto and his complete sonatas for one instrument and piano; for Breitkopf und Härtel, Beethoven’s 1st, 2nd and 5th symphonies, the Choral Fantasia, and the Violin Concerto, as well as Mendelssohn’s opera Die Hochzeit des Camacho; for AR-Editions, Franz Clement’s D major Violin Concerto (1805); and for the Elgar Complete Edition, the Music for Violin (Vol. 37). He is Director of the CHASE Project (https://chase.leeds.ac.uk), which investigates the implications of nineteenth- and early twentieth-century performers’ annotations in music for string instruments.
Pianist Shuann Chai is an active and engaging performer, critically acclaimed for interpretations on both modern and historical instruments. Her projects reflect a wide range of interests: performing the 32 Beethoven sonatas on historical pianos (seasons 2013-15), collaborations with modern dancers featuring the music of John Cage (2013) and Sergei Prokofiev (2015), and a lied program with Dutch baritone Mattijs van de Woerd commemorating the hundredth anniversary of the First World War. Resident in the Netherlands, she has performed throughout Europe from Finland to Spain and the Ukraine to the UK, and is also an active performer in Asia and as well as her native USA. Shuann has also been featured in live webcast on Avro Klassiek (NL) and live radio broadcasts on WGBH Boston (with cellist Pieter Wispelwey), the Dennis Lewin Radio Show on WCLV Cleveland, CKUA Edmonton (Canada), Harmonia Early Music Radio, Hong Kong Radio 4, and Radio-Canada.
Shuann completed degrees in both Piano Performance and Biology at Oberlin College and earned Master’s degrees from the New England Conservatory in Boston and the Royal Conservatory in The Hague (NL). Her teachers have included Jack Radunsky, Norma Fisher, David Breitman, and Claus-Christian Schuster of the Altenberg Trio. In 2010 she received a full scholarship at the Banff Centre (Canada), where she was one of eight pianists from around the world selected to take part in an exclusive Beethoven Seminar and Master Class with Anton Kuerti. She was invited back to the Centre as an Artist-in-Residence in 2012 and 2013.
Alongside her concert appearances, Ms. Chai has been increasingly in demand as a teacher. She has conducted master classes and lecture-demonstrations at the Gulangyu Piano Academy in Xiamen (China), the Grieg Conservatory in Bergen (Norway), the Central Conservatory of Beijing (China), National University of Taipei (Taiwan), the University of Edinburgh (UK), the University of California at Davis (USA), and Duke University (USA). Last year she also received an appointment at the Royal Conservatory of The Hague, where she is now a Visiting Lecturer in early keyboards and pianos. She also serves as the Artistic Director of the Pianoforte Festival of Zaandijk (NL), now in its fifth year.
Her first solo CD, featuring Beethoven Sonatas on the fortepiano, was released in 2012 to critical acclaim.
Among other things, Shuann Chai is grateful for having two inspiring musical companions: a concert grand Steinway signed by jazz greats Herbie Hancock and Ahmad Jamal; and an original 1820 Rosenberger fortepiano, generously provided on permanent loan by the National Musical Instruments Foundation of the Netherlands (NMF). She is also the beneficiary of generous support from organizations such as the Fonds voor Podium Kunst (FPK) and Ars Donandi.
Jung Yoon Cho
Jung Yoon is currently pursuing her practice-led PhD under the supervision of Professor Clive Brown at the University of Leeds. Her research focuses on investigating 19th century German violin performing practice with special reference to the Brahms violin sonatas. She is also interested in seeking possible positive interactions between historical and modern performing practices through her own practical experiments with the early performing practices, which can potentially contribute to enriching today’s performances. Jung Yoon completed her BMus and MMus in violin performance at the Royal Academy of Music, supported by various scholarships, awards, and prizes including the Robert Rendell Scholarship, the Picker Trust Award, the Southdown Trust Award, as well as a Foundation Award as a discretionary prize from RAM. She is also currently an active solo, chamber, and orchestral player.
Ann has been very active in the early music world for many years. As a soloist and Konzertmeister she cooperates with famous ensembles such as La Petite Bande, Il Fondamento, Concert Royal Köln, NordBarock Hannover and Europa Galante.
Currently she is conducting extensive research on the performance practice of the Romantic repertoire. This is also the subject of the PhD she is working on.
Ann is also a violin teacher at the Conservatory of Ghent.
Nicole has performed and recorded Australian groups working in historically informed performance & new music, Pinchgut Opera-Orchestra of the Antipodes, Ironwood, Ensemble Offspring, Halcyon, Latitude 37,appears on award winning recordings for ABC Classics, Tall Poppies, Move & Vexations 840, and has played in the major festivals around Australia – Melbourne, Perth, Sydney, Queensland, Ten Days on The Island (Tasmania), Hobart Baroque, Peninsula Summer Festival, Freshwater Festival, Aurora Festival of New Music. Nicole has also enjoyed playing with the Sydney Symphony, Tasmanian Symphony, Australian Chamber Orchestra, and for Opera Australia. She has also worked with Big hART, an Australian arts-for-social change company, on Scott Rankin’s acclaimed play Namatjira & sound art project The Acoustic Life of Sheds, as a curator for Sydney Living Museums (Historic Houses Trust of NSW), and as a scriptwriter on drama series Orchestra.
Nicole co-founded Ironwood & is currently Manager, as well as playing viola. She holds a B.Music – Sydney Conservatorium of Music, studied historical performance in London & The Hague, a GradCert scriptwriting at the Australian Film Television & Radio School & is studying for a PhD in Learning & Teaching Historically Informed Performance. Nicole lectures at Sydney Conservatorium in the Historical Performance Unit, and has also taught viola & chamber music at primary & secondary schools.
Johannes Gebauer read musicology at King’s College, Cambridge, where he graduated in 1993. As a musicologist, he worked for Christopher Hogwood and participated in many of his publications and editions. In 1995 he took up postgraduate studies at the Schola Cantorum Basiliensis, after which he settled in Berlin. As a violinist he was a member of several period instrument ensembles like the Academy of Ancient Music, Collegium musicum 90, the Bach Ensemble New York, Cappella Coloniensis, Concerto Köln as well as guest concert master at several occasions in the Canadian Aradia Ensemble. In 2007 he founded the Camesina Quartet, with which he has recently recorded a third CD.
In 2012 he returned to research joining Kai Köpp’s team at the Bern University of the Arts, where he finished his MA in Performance in 2013, his Master of Research (at Bern University) in 2014 and is now working on his PhD thesis.
Andrea Massimo Grassi
Born in Milan, he studied clarinet with Primo Borali and Antony Pay. In 1995 he received the prestigious ‘Diploma d’onore’ from the Accademia Musicale Chigiana of Siena. He completed his musical studies graduating with honours in Modern Literature and gaining the PhD in Musical Philology. He has performed chamber music in Italy as well as in USA, Russia, Germany, Spain, France and Portugal, playing for the University of Chicago, Minnesota State University, Teatro alla Scala of Milan, Université de Rouen, RAI Radiotelevisione italiana, Gnessins College of Moscow, Accademia Chigiana, Lusitanian festival ‘Sete sòis Sete luas’, Musikhochschule of Mannheim, Northeastern Illinois University, Southeast Missouri State University.
He has published, among other things, the book ‘Fräulein Klarinette’. La genesi e il testo delle opere per clarinetto di J. Brahms published by ETS as well as and the Urtext edition of the Clarinet Quintet by Brahms for the Henle Verlag, Munich. He has held seminars-concerts and master classes in the USA, Russia and in many Italian Universities and Music Academies, and he is dedicated to training and education, in particular as coordinator and teacher at the Accademia Teatro alla Scala.
Sheila Guymer is a fortepianist and chamber musician with research interests in the performance practices of the First Viennese School, Schubert, Schumann, and Brahms. In Australia, she has held positions as an accompanist and tutor in performance studies at Melbourne and Sydney Conservatoriums, and as a lecturer at the Universities of Victoria and New England. In 2011, she was awarded the FFI Freda Bage Fellowship to undertake a PhD in Music supervised by Nicholas Cook at the Faculty of Music, University of Cambridge. Her dissertation is a study of professional fortepianists’ interpretative decision-making, based on interviews with Robert Levin, Malcolm Bilson, Tom Beghin, and Bart van Oort. She is a member of Emmanuel College.
Dr Katy Hamilton is a freelance researcher, writer and presenter on music. Her area of specialism is the music of Johannes Brahms and his contemporaries, and she has also been involved in projects covering subjects as diverse as the history of the Edinburgh Festival, the role of émigré musicians in post-1945 British musical life, and variety shows at the Wigmore Hall in the early twentieth century. She has taught at the Royal College of Music, the University of Nottingham and Middlesex University, and published and assisted on projects focussing on nineteenth-century vocal music, and is an active chamber accompanist and repetiteur, having worked with instrumentalists, singers and choirs in England, Ireland, Spain and Germany. She has also made several appearances on BBC Radio 3, as a Brahms specialist and as part of the CD Review team. Recent publication include Brahms in the Home and the Concert Hall, a co-edited volume for Cambridge University Press.
Job term Haar
Job ter Haar studied at the Royal Conservatory in The Hague with René van Ast, Lidewij Scheifes, and Anner Bijlsma. During and after his studies he specialized in playing chamber music. With his baroque ensemble Musica ad Rhenum he has made a great number of CDs, which distinguish themselves through the use of historical tempi and rubato. In recent years he has delved even further into classical and early romantic style. Above all, his interest is in the use of early nineteenth century expressive tools. Next to his performing career, Job ter Haar is working as a research coach at Codarts Rotterdam. Currently he is doing research at the Royal Academy of Music in London about the performing style of the 19th century cello virtuoso Alfredo Piatti.
Ironwood is an innovative Australian ensemble, committed to exploring historically informed performance of repertoire from the Baroque, Classical and Romantic eras on period instruments. Formed in 2006, Ironwood draws on a wealth of experience from across the globe. Core members include Rachael Beesley, Julia Fredersdorff, Robin Wilson, Anna McMichael & Alice Evans, violin, Nicole Forsyth, viola, Daniel Yeadon, cello & Neal Peres Da Costa, historical keyboards. Ironwood also complements historically informed performance with newly commissioned works by Australian and international composers.
Ironwood has worked with multiple promoters at venues across Australia including Musica Viva Australia, Melbourne Recital Centre, Sydney Opera House Utzon Room, Art Gallery of NSW Resonate Series, Sydney Conservatorium of Music, The Biennale of Sydney, fortyfivedownstairs Melbourne, Sydney Harbour Trust, Sydney Living Museums (formerly
Historic Houses Trust of NSW), Bundanon Trust, regional music societies in NSW, Victoria and Queensland, Melbourne Festival, Peninsula Summer Festival and Ballarat Goldfields Festival. In 2015, Ironwood will establish a series in Sydney, Melbourne and regional areas, foster collaborations with other eladin Australian ensembles.
2015 will see the release of two recordings for ABC Classics: Brahms Piano Quartet op. 25 and Piano Quintet op. 34; and Mozart: Stolen Beauties with Anneke Scott, natural horn. Ironwoods discography includes the best-selling Music for a While – Handel & Purcell with Miriam Allan, as well as JS Bach Oboe Concertos with Diana Doherty; Baroque Duets with Fiona Campbell & David Walker, Vivaldi & Handel with Kim Walker, bassoon.
Ironwood has presented its research in ninteenth-century performance at the 2012 American Brahms Society conference in New York City and at the 2014 Reactions to the Record Symposium at Stanford University.
Camilla Köhnken studied piano performance with Pierre-Laurent Aimard in Cologne, Jerome Rose in New York, and Claudio Martínez Mehner in Basel. Additionally, she completed a BA in medieval history and art history at the University of Frankfurt/Main.
Enjoying an international career both as a soloist and chamber musician on modern pianos playing in halls like the the Teatro La Fenice in Venice, the Weill Recital Hall/Carnegie Hall in New York, or the Palacio de Festivales de Cantabria, Santander, she is also very interested in period instruments of the 19th century and served for many years as a pianist in residence at the Beethovenhaus Bonn.
Since June 2014 she is a doctorate candidate in the applied interpretation research project “Instructive Editions” under Prof. Kai Köpp at the Bern University of the Arts where she is focusing on shared interpretation practices of the Liszt school.
Kai Köpp studied musicology, history of art, and law at the universities of Bonn and Freiburg (PhD thesis on the concertmaster in the 18th century). After his viola diploma at the Staatliche Hochschule für Musik in Freiburg and three years at the Schola Cantorum Basiliensis with a focus on the viola d’amore, he was a member of leading period ensembles in 18th and 19th century repertoires (Concerto Köln, Cappella Coloniensis des WDR, Nova Stravaganza etc.).
Having taught at Zurich and Trossingen he entered the Bern University of the Arts in 2008 as lecturer of music and teacher of performance practices, directing several publicly funded research projects. In 2011 he was appointed Swiss National Science Foundation Professor for applied interpretation research. Besides, he is involved in the European Research Council project “musicexperiment21” at the Orpheus Institute Gent. His ‘Handbuch historische Orchesterpraxis’ (Kassel 2009, 22013), which is about to be translated into English, examines unnotated norms of ripieno playing from the baroque to the romantic era.
Alexander Leman is a much-sought-after pianist. Already winning several competitions at a very young age, he was able to study with the best teachers like André De Groote, Daniël Blumenthal, Jean-Claude Van Den Eynde and Abdel-Rahman El-Bacha. He has had the opportunity to perform as a soloist with several Belgian and foreign Symphonic Orchestras and has a strong affinity with playing chamber music, which he has done from Tokio to New York.
Hilary Metzger was born in New York City. She received a BA in music history at Yale University while studying cello with Aldo Parisot, a Masters of Music in cello performance at Mannes College of Music and a Doctorate in Musical Arts with Timothy Eddy at the State University of New York at Stony Brook. Awarded a US government Fulbright scholarship, she came to Paris in 1991 to study baroque cello with David Simpson and Christophe Coin, graduating with a unanimous premier prix at the Paris Conservatory. Laureate of the Henry Cabot Prize (Tanglewood Music Center) and the Harriet Hale Woolley Award (Unites States Foundation in France), Hilary Metzger now specializes in performing music of 18th and 19th centuries on period instruments and plays regularly with l’Orchestre des Champs Elysées, (Philippe Herreweghe); Anima Eterna, (Jos van Immerseel); Le Concert Spirtuel (Hervé Niquet) and Les Talens Lyriques (Christophe Rousset). She teaches in the Early Music department at the Ecole Nationale de Musique de Villeurbanne as well as at the Jeune Orchestra Atlantique Masters degree program in classical and romantic performance practice at Poitiers and Saintes.
David Milsom is a Senior Lecturer at the University of Huddersfield, and director of recently-established research centre HuCPeR (Huddersfield University Centre for Performance Research). David’s teaching is mainly in the domain of performance. David’s PhD, Theory and Practice in Late-Nineteenth-Century Violin Performance 1850-1900 (Aldershot, 2003) has become a respected and much-quoted text on the subject, and provided a pathway towards his AHRC Fellowship in the Creative and Performing Arts at Leeds from 2006-9, in which he continued his work with Clive Brown putting into practice, in experimental ways, the fruits of scholarly research into nineteenth-century string chamber music performance. David continues to work in the field of historically-informed performance, but his interests of late have taken a broader cast, including performance on Baroque violin with Huddersfield-based group, Four’s Company, as well as a number of performance projects (including some forthcoming recording work) on modern instruments, seeking to embed aspects of historical research into a wider aesthetic and practical performance context – this includes performance with newly-established chamber group The Meiningen Ensemble (currently, a piano trio with Jonathan Gooing and George Kennaway). Among a number of David’s more general publications of late is the A-Z of Solo String Players (2014) for Naxos Books. David is active as a violinist, violist and conductor in mainstream and ‘historically informed’ contexts, and a CD reviewer for The Strad magazine. Since 2013 David has been a Visiting Research Fellow of the University of Leeds, and continues to contribute to the still-active CHASE project (funded by AHRC from 2008-2012).
Described as “sensitive and elegant… a real joy to hear” (The Strad) and praised for her “seamless legato characteristic of the best Russian cellists” (The Times), Alfia is known internationally as a soloist, chamber musician and pedagogue.
Originally from Kazakhstan, Alfia studied at the Moscow Tchaikovsky Conservatoire with Mstislav Rostropovich, and also took regular master classes with Daniil Shafran. She was awarded a diploma for Outstanding Mastery of the Cello at the Casals Competition in Budapest, and soon after moved to London, where she received a series of master classes with Jacqueline Du Pré.
As a concerto soloist, recitalist and a founder member of The Bekova Trio, Alfia performed in numerous festivals and recitals in the UK, Russia, Europe, USA, Middle East, Canada and Australia. The Trio is broadcast regularly on BBC Radio 3 and 4, and radio stations throughout the world. Alfia’s extensive discography (Chandos, Toccata Classics, Melodya, BIS) includes major chamber music repertoire for Piano Trio, Cello/Piano Sonatas, Cello/Violin Duos, including critically acclaimed recordings of Brahms, Tchaikovsky, Martinù, Shostakovich, Granados and Ravel. From 1998 Alfia regularly performs a series of “Bach Marathon” solo recitals playing Six Bach Suites in one evening in the major venues and festivals, including London, Oxford, Aldeburgh, Melbourne Festival, Cork Chamber Music Festival, among others. Her recording of the Bach Cello Suites was released in December 2009 (WCM) and was nominated as the best album of the year by the Russian Classical Radio “Orphey”.
As well as having a busy performance and recording schedule, Alfia is the Principal Lecturer in Cello at Leeds College of Music. She is currently researching the development of the cello in the 20th century for her PhD thesis at the University of Leeds, supervised by Dr. Michael Spencer and Dr. Michael Allis.
Claudia Pacheco Chávez
Mexican cellist. She began her musical studies in 1989 with the Programme of Youth Orchestras and Choirs of Mexico. She graduated with honours from the National School of Music of the National Autonomous University of Mexico (2012). In 2014, she started her Master degree studies in Music – Performing, with the thesis: The performing practices in the german circles during the late nineteenth century and early twentieth centuries, with special reference to Joseph Joaquim and other string players close of Johannes Brahms. She has studied viola da gamba and was part of the ensemble “La Capilla Virreinal de Nueva España”, led by Aurelio Tello. Currently, she is cellist of Benito Juarez Chamber Orchestra and professor of the Continuing Education Programme of the Faculty of Music at the National Autonomous University of Mexico. Shortly she will present her exam for consideration of degree (Master) in the Graduate School of this same Faculty.
Vasiliki Papadopoulou studied violin (diploma and master music performance) at the Hochschule für Musik Köln/Wuppertal and the Zürcher Hochschule der Künste. She is also dedicated to historically informed performance practice and the baroque violin, having studied baroque violin in Cologne and participated in baroque ensembles, like Concerto con Anima, TAMIS Barockorchester, Die Kölner Akademie, as well as in various orchestras (EUYO, Junge Deutsche Philharmonie a.o.). Since October 2010 she is pursuing her PhD at the Uni- versity of Music and Performing Arts Vienna (MdW) on the editions’ and performance history of J. S. Bach’s sonatas and partitas for solo violin, for which she has been granted various stipends. She has presented various papers (one of which published in Understanding Bach) and lecture recitals on her dissertation subject. Since December 2014 she is a research assistant for the Johannes Brahms Gesamtausgabe in the Austrian Academy of Sciences (ÖAW).
Neal Peres Da Costa
A graduate of the University of Sydney, the Guildhall School of Music and Drama (London), the City University (London) and the University of Leeds (UK), Neal Peres Da Costa is a world-renowned performing scholar and educator. He is Associate Professor and Chair of Historical Performance at the Sydney Conservatorium of Music. His monograph Off the Record: Performing Practices in Romantic Piano Playing (Oxford University Press, New York: 2012) is hailed as a book that ‘no serious pianist should be without’ (Limelight, 2012) and honoured as ‘a notable book’ on Alex Ross’s 2012 Apex List. In 2012, it was the subject of a five-part series broadcast by ABC Classic FM during the Sydney International Piano Competition and an interview with Christopher Lawrence for the ABC Classic FM Music Makers programme.
Neal regularly appears with Australia’s leading ensembles including the Australian Chamber Orchestra, Sydney Symphony Orchestra, Pinchgut Opera, and Ironwood. Notable performances include Bach’s monumental Goldberg Variations at the Festival Baroque in Perth (2009), and the Peninsula Summer Festival (2010), and between 2013-15 at the Music Viva Festival, the Australian Festival of Chamber Music; and the ACO, the Australian Haydn Ensemble (AHE), Pinchgut, and Ironwood Seasons. Highlights in 2014-15 include a US tour and two CD recordings for ABC Classics with Ironwood and performances of Beethoven’s first, second and third piano concertos with AHE. With Ironwood, he is involved in on going cutting-edge projects that have led to performances and recordings of late-Romantic chamber repertoire in period style. To that end his collection of keyboard instruments has expanded to include historical nineteenth-century grand pianos including by Collard and Collard (English c.1840), Erard (French c.1869), and Streicher (Viennese replica c.1860).
Winner of the 2008 Fine Arts ARIA for Best Classical Recording for Bach’s Sonatas for violin and obbligato harpsichord (ABC Classics, 2007) with Richard Tognetti and Daniel Yeadon, Neal’s discography includes: Bach’s Complete Sonatas for Viola Da Gamba and Harpsichord with Daniel Yeadon (ABC Classics, 2009), The Baroque Trombone with Christian Lindberg and the ACO (BIS, 2009); The Galant Bassoon with Matthew Wilke and Kees Boersma (Melba, 2009); Baroque Duets (Vexations 840, 2011) which he directed with Fiona Campbell, David Walker and Ironwood; Music for a While with Ironwood and Miriam Allan (2012); 3 with Genevieve Lacey and Daniel Yeadon (ABC Classics, 2012); and most recently Mozart: Stolen Beauties with Anneke Scott and Ironwood (ABC Classics, 2015) and Brahms chamber music with Ironwood (ABC Classics, 2015 forthcoming).
Sarah gained her doctorate from the University of Leeds, having completed practice-led research entitled ‘Changing Vocal Style and Technique in Britain during the Long Nineteenth Century’. This project analysed the vocal practices used by singers teaching and performing in Britain during this time, bringing together evidence from voice science, music history, and professional practice to interpret treatises, music criticism, and early recorded material with a view to better understanding nineteenth-century approaches to ‘classically-trained’ solo singing.
Sarah is keen to build upon this work by further investigating smaller-scale trends in vocal performance practices, particularly in relation to individual performers and composers, and the performance of specific repertoires. Other research interests include singers and celebrity, pedagogues and vocal pedagogy, and the concept of bel canto. With wide-ranging experience as a soloist and choral singer, Sarah’s research informs, and is informed by, her professional practice.
Miaoyin Qu was born in China. She studied in Nanjing Normal University, China, where she got a BA and an MA in piano performance and became a tutor, teaching piano performance in the same institution. In Oct 2008, Miaoyin finished her second master in piano accompaniment and repetiteuring at Leeds College of Music, under the guidance of Marion Raper and Martin Pickard. She finished her Phd at the University of Leeds, doing research on late nineteenth-century German piano performance, supervised by Professor Clive Brown.
Shunske Sato is a violinist known for his distinctive and engaging performances on both modern and historical instruments. Equally in demand as concertmaster, chamber musician, soloist and teacher, the diversity of his activities reflect his versatile and resourceful nature.
Resident in The Netherlands, Shunske serves as concertmaster of Concerto Köln and the Netherlands Bach Society, and is often invited as a guest concertmaster for ensembles such as the Freiburger Barockorchester and the Scottish Chamber Orchestra. In 2013 he was invited to join the faculty of the Amsterdam Conservatory, where he teaches violin in the context of historical performance practice.
He has performed as soloist with American and European orchestras such as the Deutsche Oper Berlin, Bavarian Radio Philharmonic, Orchestre Philharmonique de Radio France and National Symphony Orchestra, as well as with orchestras in Japan such as the NHK Philharmonic and Osaka Century Orchestra. Shunske has recorded violin concertos by Haydn and Mozart with Orchestra Libera Classica under the baton of Hidemi Suzuki, and in 2011 gave the first performance of Paganini’s second violin concerto on historical instruments with the Academy of Ancient Music. His discography is extensive and most notably includes works for solo violin by Telemann, Paganini and Eugène Ysaÿe.
In the roles of both soloist and concertmaster Shunske has worked with numerous conductors, including Ivor Bolton, Richard Egarr, Christopher Hogwood, and Kent Nagano.
In 2010 Shunske was awarded Second prize and the Audience prize at the 17th International Johann Sebastian Bach Competition in Leipzig. He also won the Young Concert Artists award at the age of 12, the youngest ever to date.
Born in Tokyo, Shunske immigrated to the US at the age of four. He studied at the Juilliard School in New York, Conservatoire National de Région in Paris and Hochschule für Musik und Theather in Munich. His teachers include Chin Kim, Dorothy DeLay, Masao Kawasaki, Gérard Poulet, Eiichi Chijiiwa and Mary Utiger.
Anna Scott is a pianist interested in challenging understandings of canonic composers and their works in-and-through provocative acts of performance. She completed simultaneous B.Sc. (Medicine) and B.Mus. (Performance) degrees at Dalhousie University in Halifax, a Performance Diploma at the Glenn Gould School in Toronto, and an M.Mus. (Performance) degree at McGill University in Montreal. In December 2014 she was awarded a practice-led PhD in early-recorded Brahms pianism by Leiden University (NL), under the supervision of Daniel Leech-Wilkinson and the late Bruce Haynes. In demand as a solo and collaborative pianist, Anna also teaches and supervises M.Mus. and PhD students at the Royal Conservatory of The Hague (NL), she is on the coordination team of the DocArtes Doctoral Programme at the Orpheus Institute (BE), and she is the lead investigator of a project researching the reflexivity of artistic research and conservatory training, supported by the Orpheus Institute and based at the Lemmensinstituut (BE).
John Snijders was born in Heemskerk (the Netherlands) in 1963. He studied at the Royal Conservatory The Hague with Geoffrey Madge (piano), Stanley Hoogland (fortepiano) and Louis Andriessen (composition).
In 1985 he won first prize at the Berlage Competition for Dutch chamber music. He performed as soloist with a.o. the BBC Scottish Symphony Orchestra, The Brussels Philharmonic, The Hague Philharmonic, Dutch Radio Philharmonic Orchestra, Radio Chamber Orchestra and Dutch Radio Symphony Orchestra. From 1988 until 2013 he was a member of the Nieuw Ensemble Amsterdam. In 1986 he founded the Ives Ensemble, of which he continues to be pianist and artistic director. Since 2013 he is a member of the contemporary music groups Ensemble7Bridges and E7B Soundlab.
Both as a soloist and with these groups he has performed extensively at most major music festivals in Europe such as Festival d’Automne (Paris) Huddersfield Contemporary Music Festival (UK), Edinburgh Festival (Edinburgh), Wien Modern (Vienna), Ars Musica (Brussels), Musica (Strasbourg), Settembre Musica (Turin), Biennale di Venezia (Venice).
In 2008 he was awarded the Muziekgebouw Prize 2008 for the performance of NYConcerto for piano and chamber orchestra by Richard Rijnvos.
Since 2013 he is head of Music Performance at Durham University (UK).
Several composers wrote pieces especially for him such as Gerald Barry, Christopher Fox, Richard Rijnvos, Rodney Sharman, Richard Ayres and Clarence Barlow.
Snijders is especially interested in establishing connections between contemporary music and contemporary visual arts. Other focus areas include the music of Morton Feldman and John Cage, music of extended duration, and sound art.
Violist Emlyn Stam is active as a chamber musician, soloist, orchestral musician and performance researcher in the Netherlands and throughout Europe. For seven years he was assistant principal violist of the Residentie Orkest in The Hague under Neeme Järvi. Other orchestral work has included appearances is as a guest principle with Philharmonia Orchestra, the BBC Welsh National Orchestra and the Toulon Opera. Emlyn Stam has made numerous appearances for Dutch radio and television, he has appeared as a soloist with the Amsterdam Symphony Orchestra, Orquestra d’Espinho (Portugal) and the Schönberg Ensemble. He has also performed at numerous festivals such as the Kuhmo Festival in Finland, Sound of Stockholm, Connect Festival, Giverny Chamber Music Festival, International Chamber Music Festival Utrecht and Grachtenfestival Amterdam. Chamber music performances have included concerts with the Parkanyi Quartet in the Concertgebouw and regular appearances with the Ysaÿe Trio of which he is a founding member. The trio released their first c.d. in 2013 on the DRC label. Emlyn is a founding member of the New European Ensemble as well as the ensemble’s Artistic Coordinator.
Emlyn finished his Bachelor’s degree in June 2006 and his Master’s in September 2008 at the Royal Conservatory in The Hague having studied with Ferdinand Erblich and Vladimir Mendelssohn. Further studies have included masterclasses with Pinchas Zukerman, Michael Tree, Yuri Bashmet, Roberto Diaz, Tabea Zimmerman, Kim Kashkashian and Gerald Stanick. Emlyn also plays the Viola d’Amore. He is currently studying for his doctoral degree at the Orpheus Institute in Gent researching historically recordings of the viola and string chamber music.
Miguel Arturo Valenzuela Remolina
Originally from Mexico City, got his Degree in Piano at the National School of Music (ENM) of the National Autonomous University of Mexico (UNAM), with Professor Aurelio León Ptacnick, and later a Master degree in Higher Education and Doctorate degree in Music, both also at the UNAM. At the end of each of these studies he was graduated with honours. As full time professor in the areas of Music Theory and Ear Training (ENM), he divides his time among teaching, solo performing, musical direction, composition and research. He received his training in the area of ear training from leading German specialist Roland Mackamul. Among the awards he has received, are a First place in the Piano Contest held at the ENM (1982), and three first places in national contests of choral composition (1986 and two in 2001). In 2001 he also received the National University Award for Young Scholars, in the fields of Artistic Creation and Dissemination of Culture.
Regarded as one of Australia’s leading pedagogues, Robin Wilson is Head of Violin at the Australian National Academy of Music in Melbourne. He also teaches at the Sydney Conservatorium of Music, University of Sydney. Previously, he held appointments as Lecturer in Violin and Pedagogy at Sydney and Queensland Universities and The Australian Institute of Music. As a member of Ironwood he tours nationally and internationally, performing at major venues and festivals throughout Australia, the US and the UK and has recorded for ABC Classics, Vexations840 and VDE-Gallo. He tours nationally as a member of the Australian Octet, is the former Leader of the ARCO Chamber Orchestra, and has appeared as guest violinist with numerous leading Australian ensembles. His solo discography includes two discs of violin encores and the complete Schubert Sonatas for Violin and Piano (Decca and Ode Records). Holding a PhD from the University of Sydney on the historically informed performance of Brahms’s music, Robin’s research was awarded the prestigious 2014 Geiringer Prize from the American Brahms Society. He has lectured and performed at major universities and international conferences throughout Australia, USA and the UK.
Ronald Woodley is Professor of Music, Head of Research, and Director of the Centre for Music and Performance at Birmingham Conservatoire; previous academic posts have included the Royal Northern College of Music, Universities of Newcastle, Lancaster and Liverpool, and Christ Church, Oxford. Much of his research lies in the area of late medieval music theory and notation, especially the writings of the fifteenth-century theorist Johannes Tinctoris, but he has also worked and published in areas of twentieth-century music, such as Prokofiev, Ravel and Steve Reich. He is active professionally as clarinettist and pianist, and has particular performing interests in chamber and song repertories of the nineteenth and twentieth centuries, and contemporary music.
Historical clarinettist and musicologist Emily Worthington studied at the Royal College of Music (MMus 2006), the Abbaye aux Dames de Saintes (Advanced Studies diploma in Classical and Romantic performance practice on historical clarinets, 2009) and the University of York (BA 2004 and DPhil 2013). Her doctoral research into wind playing styles in early-20th century London orchestras was supported by a collaborative doctoral award from the AHRC and Music Preserved.
Emily is in demand as a specialist in historical clarinets, and has worked with orchestras across the UK and Europe, including the Orchestra of the Age of Enlightenment, Academy of Ancient Music, The Gabrieli Players, The King’s Consort, Spira Mirabilis, Le Cercle de l’Harmonie and Le Concert Spirituel. She has previously been selected for young artists’ residencies at the Festivals of Saintes and Utrecht. Emily co-directs Boxwood & Brass, a harmoniensemble specialising in wind music of the Classical and early-Romantic periods.
As a researcher, she held a Junior Fellowship at the Royal College of Music 2007–9 and an Edison Visiting Fellowship at the British Library 2013–14, as well as being selected to participated in the BBC New Generation Thinkers workshops 2014. Emily now teaches at Morley College and lectures on a freelance basis for various UK universities and conservatoires.
Daniel Yeadon is exceptionally versatile as a cellist and viola da gambist, performing repertoire ranging from the Renaissance to contemporary in many major venues and festivals throughout the world. He is currently a member of the Australian Chamber Orchestra (ACO) and has been a regular guest principal cellist with Australian Brandenburg Orchestra, Orchestra of the Age of Enlightenment and English Baroque Soloists. He is now a resident of Australia, where he performs regularly with Ironwood and participates in a wide range of chamber music collaborations.
Originally from the UK, Daniel read physics at Oxford University and studied historical performance at the Royal College of Music in London. For many years Daniel was a member of the renowned period instrument ensemble Florilegium and later joined the Fitzwilliam String Quartet.
Daniel has made many award-winning recordings, including an ARIA winning disc of sonatas by J.S. Bach with Richard Tognetti and Neal Peres Da Costa; the J.S. Bach sonatas for viola da gamba and harpsichord with Neal Peres Da Costa; J.S. Bach cantatas and Brandenburg concertos with John Eliot Gardiner and English Baroque Soloists, in addition to many critically acclaimed recordings with Ironwood, Florilegium and the Fitzwilliam Quartet.
Daniel is a lecturer at the Sydney Conservatorium of Music and has a key role in the education team of the ACO. He is currently undertaking a PhD focussing on the group learning experiences of students on period instruments in tertiary music institutions.
Pianist Annie Yim is based in London and performs throughout the UK, Europe and Canada. Her playing has been described as ‘radiantly coloured’, and ‘thoughtfully articulated’ (The Times). She is founder of the Minerva Piano Trio, who, as Park Lane Group Young Artists, made their Purcell Room debut at the Southbank Centre in 2014. Annie has been studying with Joan Havill and Dr. Christopher Wiley at the Guildhall School of Music & Drama and City University London. Having successfully defended her doctoral thesis on Schumann and Brahms, Annie is currently planning a performance symposium at the Guildhall School based on her doctoral research. Her research was shortlisted for the 2014 Karl Geiringer Scholarship in Brahms Studies by the American Brahms Society. She has been recipient of the Cordwainers’ Musical Scholar award in recognition of her outstanding achievement and contribution to City University London. Annie has worked in masterclasses with renowned musicians as Richard Goode and Angela Hewitt. She completed her Bachelor of Music with First Class Honours at the University of British Columbia while studying with Robert Silverman.
Brent Yorgason is an Associate Professor at Marietta College in Ohio, where he teaches music theory, music history, jazz history, and world music. His research interests include the study of expressive asynchrony in piano performance, theories of meter, and meter perception. He has presented research at numerous regional, national, and international conferences, including the Society for Music Theory, the College Music Society, and the International Conference on Nineteenth-Century Music. He also serves as the Managing Editor of Music Theory Online and is the official moderator for SMT’s online discussion forum, SMT Discuss. Brent earned his Ph.D. in music theory from Indiana University in 2009. His dissertation, from which this presentation derives, is entitled “Expressive Asynchrony and Meter: A Study of Dispersal, Downbeat Space, and Metric Drift.”