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.
From publisher to public
(2018)
author(s): Tim Brackman
published in: KC Research Portal
The influence of publishers on the interpretation of contemporary violin performance practise.
This research will show us how publishers profile themselves in the world of music. Besides it learns us about violinists' habits when choosing an edition to play from. Based on questionnaires and interviews from different point of views, this research will come with a conclusion provided with ideas and insights that are usable when the moment is there that you need a new score.
“Invocación y Danza – Homenaje a Manuel de Falla” - a new light on the piece brought by the manuscript.
(2014)
author(s): João Diogo Rosas Leitão
published in: KC Research Portal
Name: João Diogo Rosas Leitão
Main Subject: Guitar
Research Coach: Enno Voorhorst
Title of Research: “Invocación y Danza – Homenaje a Manuel de Falla” - a new light on the piece brought by the manuscript
Research Question:
How to deal with the different editions and solve the problems in the manuscript in order to get a playable and faithful version of “Invocación y Danza – Homenaje a Manuel de Falla” by Joaquin Rodrigo?
Research Process:
Two main topics were focused on in my research:
An understanding of Joaquin Rodrigo's life, both personal and musical, focusing on his relationship with the guitar and the details behind the composing process of “Invocación y Danza” and the appearance of the manuscript. A comparison of the different editions of the score and the manuscript, noticing where each one of them differs from the other and how and trying out the different possibilities and solutions for each problematic spot.
Summary of Results:
Although I could not prove without a doubt that the manuscript available is the one that was sent for the Paris competition, I gathered strong evidence that can support this theory.
With this manuscript we can see that some of the original ideas are actually not possible to play in the guitar, since Rodrigo did not play the guitar, and there are some doubts regarding the handwriting and the fact that it was a handmade copy made in a hurry. Apparently this manuscript disappeared after the first edition and all the following editions, that were trying to solve some of the doubts and difficult passages of the piece, were based on that same first edition.
By comparing all the different details in each score and by creating and trying out new options and solutions I managed to make a new edition that is a compromise between the original idea and musical intention from the manuscript and a technically comfortable and playable score.