Historically Informed Performance – Is it enough to just be informed?
Association Européenne des Conservatoires, Académies de Musique et Musikhochschulen
Under the title “Historically Informed Performance – Is it enough to just be informed?” the meeting will feature lectures and discussions in different formats: keynote speeches by Michael Meyer and Kai Köpp, panel debates and breakout discussion groups which will cover a variety of thematic topics such as the standardization of Early Music or the different sounds of the 19th century. In line with Covid measures there will be room for networking and meeting old and new colleagues from institutions from all over Europe. The main plenary sessions will also be streamed online for remote audiences.
In an interview late in his life, Gustav Leonhardt – grandmaster of the harpsichord, early music pioneer and researcher – said that “we have gradually begun to see that Baroque music is, if anything, more expressive than Romantic music”. (Bernhard D. Sherman: Inside Early Music. Conversations with Performers). What a statement!
Based on the „Affektenlehre“ and the characteristics of tonality every phrase or even every bar can (and should) have a different colour, meaning, effect, affect and timing (see Mattheson). Is this only true for the interpretation of music from the baroque period? If 1750 marks „the end of Early Music“ - why can we find similar informations about the sound, phrasing and unequal notes in the middle of 19th century?
The Historically-Informed-Performance-movement tremendously spread out in the last 25 years. This is a wonderful development and have brought musicians from all different traditions together! But we might ask: Is „informed“ really enough? Was CPE Bach just „informed“ by his father? What happens, though, if you seriously want to dive into the theory of affects, improvisation and ornamentation, the distinction between the national styles and techniques, using different instruments, bows, or a different pitch? Can you meet these challenges in a „minor degree“ study - or isn‘t the sum of all these details rather the major access to all later styles up to 1900? If you read about Brahms‘ education and listen to Rachmaninov‘s playing - you will find the answer.
We are looking forward to meeting you in Trossingen for the first post-pandemic edition of the Early Music Platform.
Early Music Platform 2021Trailer, registration, details
FRIDAY 8th of October
- 11:00 – 13:00
Pre-Conference Workshop: Hands-on course: How to use the RISM database effectively (Jennifer Ward, RISM Editorial board, Frankfurt a.M.)
(optional, no specific registration required, included in the registration fee)
- 15:00 – 15:45, Concert hall
Music Introduction | Welcome words by: Christian Fischer, Rektor of the Staatliche Hochschule für Musik Trossingen; Stefan Gies, AEC Chief Executive; Isaac Alonso the Molina, Chairman of the AEC Early Music Task Force | Presentation of the Staatliche Hochschule für Musik Trossingen: Marieke Spaans | The history of AEC Early Music Platform, video by Peter Nelson, former chairman of the EMP and international relations coordinator in Trossingen
- 15:45 – 17:00, Concert hall
PLENARY SESSION I
Historically Informed Performance (HIP) – is it enough to just be “informed”?
Keynote speech by Michael Meyer, University of Music Trossingen | Pitches by: Nicole Schwindt, University of Music Trossingen; Isaac Alonso de Molina, Royal Conservatoire The Hague; Anton Steck, University of Music Trossingen; Kilian Schwarz, modern cello student in Trossingen; Laura Audonnet, recorder and bassoon student in Pole Alienor, Poitiers and Royal Conservatoire The Hague
- 17:00 – 17:30
Networking with Refreshments
- 17:30 – 18:30, Concert Hall
Ashley Solomon, moderator and same participants as session 1
- 19:00, Foyer Concert Hall
- 20:30, Concert Hall
CONCERT: L’orchestre héroïque (Anton Steck)
SATURDAY 9th of October
- 9:30 – 10:00
Music Introduction | REMA SESSION
- 10:00 – 10:30, Concert Hall
PLENARY SESSION II
Authenticity in 19th century performance – the inside perspective
Keynote Speech by Kai Köpp
- 10:30 – 11:00
PARALLEL SESSIONS A
1) Wind instruments – sound of the 19th century (Benjamin Reissenberger) | 2) Viennese piano technique of the 1820s – and beyond (Christina Kobb) | 3) String instruments – tools for a colorful sound production in 19th century (Anton Steck) | 4) How to sing songs from the early 19th century (Bettina Pahn)
- 11:00 – 11:30
PARALLEL SESSIONS B
1)Verbessert, improved and perfectionné – How 19th century woodwind players influenced the development of their instruments or vice versa (Anne Pustlauk) | 2) Flexibility in Keyboard performance (Bart van Oort) | 3) Revolution and Reaction in historically inspired string playing (Clive Brown) | 4) Divisions in 19th Century vocal sources (Josue Melendez)
- 11:30 – 12:00
Networking with Refreshments
- 12:00 – 13:00, 4 rooms, each with 2 speakers
BREAKOUT DISCUSSION with the 8 speakers of the parallel sessions
- 14:15, Concert hall
LUNCH CONCERT: „4 Frauen- im Originalklang“ – songs from Fanny Hensel and Clara Schumann (Bettina Pahn, Christine Schornsheim)
- 15:00 – 16:00, Concert Hall
PLENARY SESSION III
Challenging Assumptions RISM (Nicole Schwindt)| Diminution in 17th and 19th century (Bettina Pahn and Josue Melendez) | Basso continuo – Cembalo ò violone? (Werner Matzke and Marieke Spaans) | Thorough bass in 19th century (Marieke Spaans and Richard Röbel)
- 16:00 – 16:30
Networking with Refreshments
- 16:30 – 17:30
PANEL DISCUSSION on the Standardization of Early Music today with speakers of Session III
- 17:30 – 18:00
- 18:30, Concert hall
- 20:00, Hohner Villa