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Tom Beghin- Artistic Research Lecture

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Western Australian Academy of Performing Arts (WAAPA)

ECU, 2 Bradford Street

Lecture Theatre 3.101, Building 3

Mount Lawley, WA 6050

Australia

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Renowned Fortepianist and Artistic Researcher presents a double Research Lecture.

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Pianist and artistic researcher Prof. Dr. Tom Beghin has been praised for his eloquence and originality. His many publications range from a monograph on and a complete recording of Joseph Haydn’s keyboard works (The Virtual Haydn, 2009/15) to Inside the Hearing Machine (2017), a multi-media publication on Beethoven’s late piano sonatas and the perspective of deafness. An alumnus of the HIP doctoral program at Cornell University, Tom has been professor at the University of California at Los Angeles and McGill University (Montreal). He currently is the principal investigator of the Declassifying the Classics research cluster at the Orpheus Institute in Ghent, Belgium, which focuses on the intersections of historical technologies and performance.

PRESENTATION 1: FILM SCREENING "Inside the Hearing Machine "

A Documentary Film by Steven Maes (Belgium, 2017)

In 1818 Beethoven received a Broadwood piano. He remained attached to it until the end of his life. But those years coincided with increased deafness. In 1820, a solution came in the form of a gigantic Gehörmaschine, commissioned from the piano builder André Stein, who in turn enlisted the skills of a local tinsmith. The pianist and artistic Tom Beghin surrounded himself with a team of specialists to reconstruct Beethoven’s private multi-sensory laboratory. Through a 54-minute documentary, the team explains how Beethoven “deafly composed” at his English piano—hearing, seeing, and mostly feeling the vibrations of his beloved instrument.

After the screening there will be an opportunity for Q & A with Tom Beghin.

PRESENTATION 2: "Beethoven’s French Piano: A Tale of Ambition and Frustration"

Tom Beghin, Orpheus Institute (Ghent, Belgium)

Of the three extant “Beethoven pianos,” the 1803 Erard Frères piano en forme de clavecin in the Oberösterreichisches Museum in Linz has been the least known and studied. “It was an unsolicited gift, and Beethoven was never happy with it,” is the typical line of dismissal in the literature. But Beethoven had plans in 1803 to relocate to Paris; moreover, this claveciniste à Vienne in fact ordered a French piano.

What were its influences? At the Orpheus Institute in Ghent, Belgium, Tom Beghin has led a team to study Beethoven & his Erard from a variety of perspectives: organological, socio-cultural, acoustical, and compositional-pianistic. These have been of direct relevance mainly to his Piano Sonatas Op. 53, 54, and 57. That Beethoven had the piano revised to meet some of his habits and instincts (a process that we have called “viennicization”) adds a complex layer to Beethoven’s French love affair.

This Research Lecture is proudly sponsored by ECU and The Minderoo Foundation.

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Date and Time

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Western Australian Academy of Performing Arts (WAAPA)

ECU, 2 Bradford Street

Lecture Theatre 3.101, Building 3

Mount Lawley, WA 6050

Australia

View Map

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