$85

Correct, but not Beautiful Performance II

Event Information

Share this event

Date and Time

Location

Location

Festsaal MDW

26 Seilerstätte

1010 Wien

Austria

View Map

Refund Policy

Refund Policy

No Refunds

Event description
Symposium - Correct, but not beautiful performance: Deciphering the hidden messages in 19th-century notation II

About this Event

Sydney Conservatorium of Music (University of Sydney) in conjunction with the University of Music and Performing Arts Vienna (MDW) is delighted to be hosting:

Symposium - Correct, but not beautiful performance: Deciphering the hidden messages in 19th-century notation II,

23-25 September 2019 at the Festsaal MDV, Seilerstätte 26, 1010 Wien

Supported by an Australian Research Council Discovery Project grant DP 170101976

Convened by Professor Neal Peres Da Costa - Associate Dean (Research) at the Sydney Conservatorium of Music

Recent performing practice scholarship reveals that 19th-century and earlier music notation often signified something different to contemporary musicians than it does to those of the present day. In the first half of the 19th century, the characteristic qualities of artistic performance and the ways to achieve these were discussed by Johann Nepomuk Hummel in his Anweisung zum Piano-Forte-Spiel (1828) and Louis Spohr in his Violinschule (1833). Both state that an accurate, literal, or face-value realisation of the notation will produce a “correct” performance (richtiger Vortrag), which is the necessary first stage for an apprentice who wishes to become a master. They explain, however, that this falls far short of mastery, which requires “fine” or “beautiful” performance (schöner Vortrag), in which myriad rhythmic, tempo, and dynamic modifications of the notation, as well as a range of other un-notated expressive practices, such as piano arpeggiation, or portamento and vibrato in singing, string, and wind playing, are indispensable.

With the increasing internationalisation of musical culture during the 19th century, musicians (especially the younger generation) began to rely more on notation than on traditional performing conventions. Such a practice led Joseph Joachim to criticise the tendency of Franco-Belgian school violinists, such as Henri Vieuxtemps, to adhere “too much to the lifeless note-heads when performing the classics, not knowing how to read between the lines.” For Carl Reinecke, a conscientious reading (following the score exactly) of Beethoven’s Op. 111 Piano Sonata, although it might transmit all the work’s essential details, left “much to be read between the lines which no composer can convey by signs, no editor by explanations.”

Building on our highly successful 2018 Symposium at the Sydney Conservatorium of Music, this three-day Symposium in Vienna brings together musicians (both professionals and students) interested in exploring the hidden messages in 19th-century notation and in experimentally applying well-documented 19th-century expressive practices in performance.

Keynote speakers:

• to be announced

Price:

$85 AUD per day, includes morning tea, lunch and afternoon tea

Share with friends

Date and Time

Location

Festsaal MDW

26 Seilerstätte

1010 Wien

Austria

View Map

Refund Policy

No Refunds

Save This Event

Event Saved