Colloque Beethoven 250 I Clive Brown - Reading between the lines of Beethoven’s notation скачать в хорошем качестве

Colloque Beethoven 250 I Clive Brown - Reading between the lines of Beethoven’s notation

Conservatoire royal de Bruxelles I Beethoven 250 - Online Clive Brown - Reading between the lines of Beethoven’s notation Beethoven conceived his music for the instruments and performing conventions of his own day. Both have changed substantially since his lifetime. Today we perform his music on modern instruments as well as on originals or copies of the instruments with which he was familiar. On modern instruments, many compromises are necessary, especially to compensate for the different balance between the piano and other instruments; this problem is less acute with historical instruments. In both cases, however, the greater challenge is to understand the relationship between the notes that were written and printed on paper and the music that Beethoven conceived in his brain. During the twentieth century, musicians came increasingly to rely on the literal meaning of the notated text, believing that fidelity to this text equated closely with fidelity to the composer’s intentions and expectations. For Beethoven and his contemporaries, however, the relationship between text and performance was much more complex. The text was merely a starting point. As Carl Reinecke, born in Beethoven’s lifetime, observed: “there is much to notation no composer can convey by signs, no editor by explanations.” Reinecke’s piano roll recordings from 1905, and Joseph Joachim’s acoustic recordings from 1903, as well as many other early recordings by older musicians, demonstrate the width of the gulf that lay between what was on the page and what a great artist expected to play. My talk will examine the implications that were embodied in Beethoven’s notation, many of which have been largely forgotten for more than a century, and the possibility for a new approach to performing his music in ways that are closer to what the composer expected. Clive Brown read History and then Music at Cambridge and Oxford, where he took his D.Phil. in 1980 with a dissertation on The Popularity and Influence of Spohr in England. He was a member of the Faculty of Music at the University of Oxford between 1980 and 1991. Until 2016 he was Professor of Applied Musicology at the University of Leeds and is now Emeritus Professor. He currently gives an Elective as Guest Professor at the Universität für Musik und darstellende Kunst in Vienna. His research has focused strongly on German music in the nineteenth century, and he has a special interest in historical performing practice. His books include Louis Spohr: a Critical Biography (CUP, 1984, revised German edition 2009), Classical and Romantic Performing Practice 1750-1900 (OUP, 1999) and A Portrait of Mendelssohn (Yale, 2003). His critical, performing-practice editions of music include Brahms’ Violin Concerto and his complete Sonatas for one Instrument and Piano, together with a text volume: Performance Practices in Johannes Brahms’ Chamber Music, and a new critical/historically-informed performing edition of the solo part of Mendelssohn’s Violin Concerto, together with the text volume Performance Practices in the Violin Concerto op. 64 and Chamber Music for Strings (Bärenreiter). Programme du festival I Festival Programme http://www.conservatoire.be/files/fil... À ne pas manquer, prochainement ! 29.11 - 15h00 - Octuor pour vents I Christian Debauve - coordination 29.11 - 17h00 - Sonate n°30 I Gabriel Teclu 29.11 - 20h00 - Concert de clôture I Tatiana Samouil - Jean-Claude Vanden Eynden IIIIIIIII See you soon ! 29.11 - 15h00 - Winds Octet I Christian Debauve - coordination 29.11 - 17h00 - Sonata no. 30 I Gabriel Teclu 29.11 - 20h00 - Closing Concert I Tatiana Samouil - Jean-Claude Vanden Eynden