LEADING FROM THE HARPSICHORD: A HISTORICAL INFORMED APPROACH TO EARLY MUSIC 'CONDUCTING'
(2023)
author(s): Pablo Devigo
published in: KC Research Portal
The harpsichord enjoyed a preponderant role at the end of the 17th century, not only on its own but, in the words of C. P. E. Bach, as an instrument "entrusted [...] with full command" and "in the best position to assist [...] the entire ensemble in maintaining a uniform pace."
The following is a study of the aspects related to ensemble leadership as exerted by the harpsichordist. For this, this research draws conclusions from historical sources in regards to the influence of the basso continuo realization in the ensemble, and other non-verbal communication devices (such as gestures) in order to reveal a global picture of this kind of leadership that was particularly prevalent at the time.
The Viennese violone : A "Viennoiserie" with 5 spices
(2023)
author(s): Isaline Leloup
published in: KC Research Portal
This research examines if the Viennese tuning was used in the orchestral works of Beethoven, Schubert, and Mendelssohn and whether it is possible to link the composers and the use of this tuning in their writing style for the 16’ instrument.
The Viennese tuned violone is a particular 5-stringed 16’ fretted instrument tuned to “F, A, d, f#, a”. This instrument appeared in the region of Lower-Austria and Moravia in the late 17th century and was played until the middle of the 19th century. Considered a member of the viola da gamba family by its name “violone”, it also has similarities in its thirds and fourths tuning, flat back, sloping shoulders, and frets.
I have found no clear evidence of a date, or of a composer, who made specific use of Viennese tuning in orchestras after the solos of Haydn's six symphonies. The Viennese tuning disappeared progressively towards the middle of the 19th century. The last clear evidence we found in the music is Beethoven’s Septet op. 20, the first performance of Beethoven’s 1st symphony, and Schubert’s Trout quintet. We also have the performance on 2nd November 1800 of Sperger’s last symphony “Erbprinzessin-sinfonie”. We also know that instruments of this tuning were built until at least 1820. For Mendelssohn, analysis of his works has shown that its classical characteristics come out clearer with the Viennese tuning. This research is done in the form of an exposition to highlight the musical extracts of the different composers.
Laments for a Modern World: Exploring the pathetic capabilities of 17th-century Laments
(2023)
author(s): Ai Horton
published in: KC Research Portal
This thesis investigates the pathetic capabilities of the 17th-century vocal Lament. After first establishing an overview of the social and cultural conventions that influenced compositional choices, fourteen historic Laments from western Europe are analyzed to determine how they are able to evoke the feeling of grief. These pathetic elements are then applied to the composition of four new Laments for a Modern World, which couple 17th-century compositional techniques with newly commissioned texts that amplify stories including miscarriage, race-relations, displacement from one's homeland, and mental health.
A modern analysis of Historical Informed Performance: considerations about the method, its past and its future
(2022)
author(s): Pedro Antonio Pérez Méndez
Limited publication. Only visible to members of the portal : KC Research Portal
The results of this research will be presented to the public in the form of an exposition in which the whole analysis process will be explained and both an answer to the research question and a reflection about past and future of the Historically Informed Performance influence in the musical stage will be stated. Through this exposition we will be addressing relevant questions about the concept of Historically Informed Performance and its application as a work method that I encounter on my research, such as the use of reconstructed or modern instruments, the existence or absence of limitations of time and style frames for which the Historically Informed Performance is a useful tool or the common misconceptions about this idea by some group of musicians, aiming to establish a basis for the correct application of the Historically Informed Performance idea as a useful work method by any kind of musician and leading to a final reflection about the future development of the Historically Informed Performance ideal.
SINGING WITH THE LUTE
(2020)
author(s): Solmund Nystabakk
published in: Norwegian Academy of Music
This project is an attempt at bringing new perspectives and work methods to the performance of lute songs. My point of departure is Historically Informed Performance, also known as HIP. My claim is that the performance of lute songs is lagging behind the general development in HIP. Moreover, I feel that there are aspects of the performance of music that HIP in general has been reluctant to consider.
I want to update the approach to the lute song repertoire, hoping to produce a result that is more varied, nuanced and communicative than what I see as the current state of lute song performance.
The Can of Norms: Expanding the Modern Lute Plucking Technique
(2018)
author(s): Talitha Witmer
published in: KC Research Portal
Name: Talitha Cumi Witmer
Main Subject: Lute/Theorbo
Research Supervisor: Bart van Oort
Title of Research: The Can of Norms: Expanding the Modern Lute Plucking Technique
Research Question: Can “Thumb-out,” a historical lute technique in common use following the late Renaissance period, become favored by lutenists today?
Summary of Results:
After its revival in the 20th century, much has been discovered about the lute and its technique. One issue that is recently placed on the agenda of lutenists is the plucking technique applied on lutes. It is a known fact that Thumb-out was the technique applied most commonly for lute playing. Yet, very few lutenists adopt this Thumb-out technique today. Modern lute tutors tend to advise to avoid Thumb-out. If not, they advise to pluck around the rossete, and position their thumb close to the index finger. In paintings and treatises, however, we see Thumb-out hand with thumb positioned away from the index while the hand is placed around the bridge, and Thumb-out hand placed around the rosette, the former more often. I delved into this technique for 3 years and have come to understand that this “forgotten Thumb-out” is as matter of fact a technique that can be very beneficial for lute players, opening new, colorful, historical and healthy possibilities.
Biography:
The American-Korean lutenist, Talitha Cumi Witmer, started her musical studies at age 4 with church choir and piano. When she was 9 she heard a lute on a CD and immediately fell in love with its sound. Her dream to study the lute was then realized at the age of 13, when she began her formal studies on the instrument in Tokyo. Since 2011 she studies the lute under Joachim Held, and the theorbo under Mike Fentross since 2012. She performs both as a continuo player and a soloist, in Austria, Belgium, Germany, Italy, Japan, Latvia, Netherlands, and Portugal.
The Music of Johann Rudolph Ahle
(2018)
author(s): Jacob Gramit
published in: KC Research Portal
Name: Jacob Gramit
Main Subject: Early Music Singing
Research Supervisor: Kathryn Cok
Title of Research: The Music of Johann Rudolph Ahle: Editorial and Performance Issues Surrounding the 1658 Neu-Gepflanzter Thüringischer Lustgarten
Research Question: How can creating a critical-performance edition of the music of Johann Rudolph Ahle impact my performance of his music?
Summary of Results:
Having always been drawn to German Music of the seventeenth century, I found a collection of music from Johann Rudolph Ahle (1623-1673) that was largely unknown and unperformed. This enabled me to start from nothing when creating an edition and researching Ahle's life and music; meaning I could see what effect the process would have on my performance. By doing detailed research into a specific collection, looking at both his compositional style and his use of pre-existing texts and music, I discovered Ahle's seeming fascination with personal spirituality, leading to new ideas for the performance of his music.
Biography:
Originally from Edmonton Canada, Jacob Gramit is currently living in the Netherlands, pursuing a Master’s Degree in The Hague, studying with Pascal Bertin, Peter Kooij, Dorothee Mields, Robin Blaze, and Lenie van den Heuvel. Recently, he both prepared the edition and performed in Michael Chance’s production of Cavalli’s Giasone, and upcoming projects include Handel’s Dixit Dominus with Holland Baroque and Cappella Amsterdam.
Before moving abroad, Jacob lived in Vancouver, where he still performs - most recently he performed in the 2017 Vancouver Bach Festival, and coordinated the Summer Festival of Sacred Music at Christ Church Cathedral, which he will return to run in 2018. He attended the University of British Columbia (BMus, 2012), and sang for three seasons with musica intima, a professional and self-directed vocal ensemble.
The Lamentações para a Semana Santa by José Joaquim dos Santos and Luciano Xavier dos Santos and the music for two violas, voices concertate and low instruments
(2017)
author(s): Enrico Ruggieri
published in: KC Research Portal
Name: Enrico Ruggieri
Main Subject: Choral Conducting
Research Supervisors: Charles Toet, Ricardo Bernardes
Title of Research: The Lamentações para a Semana Santa by José Joaquim dos Santos and Luciano Xavier dos Santos and the music for two violas, voices concertate and low instruments
Research Question:
What are the main features of the viola in this specific repertoire and consequently, what becomes its main function?
Summary of Results:
In 18th-century Portugal, a particular instrumental setting was used in the music composed for a specific Roman Catholic rite called the officium tenebrarum, performed during the Holy Week. This particular instrumentation consists of a standard vocal ensemble, 4 voices concertate, accompanied by a group of string instruments: 2 violas, a cello (or 2 celli) and a double bass. José Joquim dos Santos and Luciano Xavier dos Santos are the composers who exploited this instrumentation best, covering all the needs for music in the Officium tenebrarum. An analysis of two Lamentations by José Joaquim dos Santos and Luciano Xavier dos Santos explores the relation between music and rhetorical tools and how the viola relates to them. Besides being a precious rhetorical tool itself, the analysis discloses that the violas and the low string instruments become a practical replacement for the harmonic instruments. In a liturgy where the organ was officially forbidden there is a need for an instrument or several instruments that could absolve that crucial function. Thanks to his ability in blending with and supporting the voices and, at the same time, respecting the solemnity and the sobriety of the liturgy, the viola became the best organ replacement.
Biography:
Enrico Ruggieri was born in 1982, graduated in piano, studying with Paolo Russo and Rachele Marchegiani. After a Bachelor in Architecture, there followed a Bachelor degree in Choir Conducting from Pescara Conservatory, a Master degree in Choral Music and Choir Conducting in Bologna Conservatory and a Bachelor degree in Choral Conducting from the Royal Conservatoire, The Hague. He has attended masterclasses with many different musicians specialising in choral conducting and Early Music, such as: Tonu Kalijuste, Peter Phillips, David Lawrence, Julian Wilkins, Walter Marzilli, Marco Berrini, Annibale Cetrangolo, Maurizio Less, and vocal technique with: Ghislaine Morgan, Sandro Naglia, Elisa Turlà (Voicecraft), Federica Fedele (Alexander Technique). He has conducted many amateur choirs with varied repertoire: church music, folk music, early music, mixed choral repertoire. Presently, he is conducting “Lassus Consort” an Early Music vocal ensemble in Amsterdam and the “Quod Libet Kamerkoor” in The Hague.
Look again
(last edited: 2023)
author(s): Inês de Avena Braga, Claudio Ribeiro
connected to: KC Research Portal
This exposition is in progress and its share status is: visible to all.
It goes without saying that engaging with the ethos of early music demands a considerable amount of continuous research on the practices of the past, as most aspects of performance are not written in the score, and the understanding and usage of signs and other written indications have changed considerably over time. As curious musicians, research is not only a source of inspiration and innovation in our work but also a source of constant questioning and strengthening of our musical practices. Questions such as “is this actually true?” and “can I really say/do that?” are recurring, and, although these are not always fully or definitively answerable, we find it important to keep asking, going back to the sources and answering over and over again.
In this research, as part of the 2021 Lectorate ‘Music, Education and Society’ of the Royal Conservatoire The Hague, we will look again at well-known Italian sources and search for new sources of information on performance practice of music written in Italy in the first half of the 18th century (music methods, instructional writings and evidences in repertoire), without imposing our current practice on it, but being open to what these sources may say that is in shock with what we usually do or take for granted. What can we (re)learn about the performance practice of late 17th- and early 18th-century Italian music by going back to the sources? Our conclusions and inconclusions will hopefully stimulate a review of today’s performance practice and renew approaches on the research of performance practice.
The 'cello' in the Low Countries : the instrument and its practical use in the 17th and 18th centuries
(last edited: 2023)
author(s): Elske Tinbergen
connected to: Academy of Creative and Performing Arts
This exposition is in progress and its share status is: visible to all.
This research of Elske Tinbergen is only available in Dutch.
In 20e-eeuwse naslagwerken is niet veel geschreven over de cello in de Lage Landen in de 17e en 18e eeuw, wat doet denken dat het instrument in die tijd hier niet of amper gebruikt werd. Echter, geschreven en pictoriale bronnen alsmede instrumenten en bladmuziek uit deze twee eeuwen geven wel informatie. Op basis hiervan kan gesteld worden dat de cello in de Nederlanden veel meer gebruikt werd dan gedacht. Er werden hier instrumenten gebouwd, er werden zeer veel afbeeldingen geproduceerd (schilderijen, maar ook bijvoorbeeld gebruiksartikelen zoals tegels, drinkglazen en
zilver) en er is ook een substantiële collectie muziek voor cello gecomponeerd, zowel voor cello solo als cello continuo.
De meest verrassende uitkomst van het onderzoek is wel dat er door veel cellisten in de 17e eeuw een andere streektechniek (n.l. onderhands) werd gebruikt dan in de 18e eeuw. Deze uitkomst wordt ondersteund door een overweldigende collectie afbeeldingen. Deze andere streektechniek resulteert in een andere klank en articulatie wat een ander karakter aan een muziekstuk geeft.
Daarnaast is er uitgebreid onderzoek gedaan naar Alexis Magito, lid van een beroemde 18e-eeuwse Rotterdamse familie van voornamelijk kermisklanten maar ook van enkele musici. Alexis was cellist, componist en graveur. Tijdens dit onderzoek is veel informatie over zijn levensloop boven water gekomen. Twee van zijn cellosonates zijn door de promovenda op cd gezet.
Conclusie: het onderzoek laat zien dat de cello ook in de Lage Landen wijdverbreid was en dat er vele verschijningsvormen en speelwijzen waren.
Sense and Sensibility, performing music by Carl Philipp Emanuel Bach
(last edited: 2017)
author(s): Ingrid Eriksen Hagen
connected to: Faculty of Fine Art, Music and Design, University of Bergen
This exposition is in progress and its share status is: visible to all.
For Norwegian version, see the exposition "Fornuft og kjensle - å framføre musikk av Carl Philipp Emanuel Bach"
Engaging in the complex and expressive music of Bach; on the clavichord, which is as intense and nuanced as it is delicate and soft in volume; aspiring to a musical empathy in which the performer and the listener jointly experience the true content and emotion of the music – spurs a craving for closeness and intimacy.
But how close can we get? How close do we want to get?
Close enough to hear the instrument. Close enough to understand what the music is telling us – to follow all the wonderful diversions – in close up. Deepest sincerity. Tender caresses. The rush of joy. The thought that could not be – could… be… – …
But then the floor creaks. Someone turns round. I can’t hear it. Why is she playing so faintly? I don’t understand it. All those notes. So full on the whole time! So, who was that guy anyway – he lived a long time ago, right?
These are the reflections in Ingrid E. Hagen’s research fellowship project. Based on my personal encounters with the music of Emanuel Bach (1714-1788) and his concepts of musical empathy, I worked on public mediation of his music, mainly on the clavichord. I have explored the tension that exists between intimacy and distance – and have experimented with different means of achieving that intimacy, and registered the resulting resistance to these experiments.
I have reached out to people outside of the conventional concert setting, on a quest for the intimate interaction in the interests of empathic, shared experience of the music. I have performed Bach's music in the open air, at museums, for people who were not expecting to experience live music. I have investigated relationships between music and language; structural, stylistic and contextualising. Both in order to improve my own understanding and artistic empathy with the subject matter, and to investigate the ways in which different means of communicating and their use in musical mediation can influence experiences in various ways.
Through this process, I became aware of the great extent to which different concert formats or other modes of presentation influence what audiences listen to in the music, and what they gain from it.
I have worked intensively on a selection of Bach's keyboard music, and recorded the CD für Kenner und Liebhaber. Together with the final concert in November 2016, the CD represented the artistic results of my research fellowship.
My artistic method has been a reflexive process in which questions are addressed in experiments, articulated in a dialogue with the study material, be it musical, literary or artistic experience, in a constant quest for intimacy; for getting closer. I organised this non-linear approach in the form of 'tracks', which allowed me to address multiple questions in parallel and as they intersected along the way.
My research fellowship was undertaken at the Grieg Academy, Institute of Music, under the Norwegian Artistic Research Programme and was funded by the University of Bergen.
My supervisors were Professor Torleif Torgersen of the Grieg Academy, and Professor Maria Bania of the University College of Theatre and Music, University of Gothenburg, Sweden.
Decomposing Emanuel Bach
(last edited: 2017)
author(s): Ingrid Eriksen Hagen
This exposition is in progress and its share status is: visible to all.
An experiment on form, where the Rondo Wq 56/1 by C. P. E. Bach (1714-88) is cut into fragments.
To be played in the order of the visitors choise.
Music recorded on the clavichord by the author.