In recent years, HIP research of later repertoire has become increasingly interested in the value of old recordings. Strangely, these documents often testify to performance practice techniques that seem to be at odds with the instructions or preferences found in the methods and other written documents by the very performers who made the recordings. As a consequence, there has been a tendency to doubt the reliability of written sources in general, a particularly frightening proposition when one considers that for performers who died before the early 20th century, written sources form a large part of the only performance practice evidence that exists.
This presentation will contend that written sources have more validity than we realize, especially when we examine them less literally, but take into consideration the context and above all, the tone of voice which the author expresses his ideas. By comparing the writings and the recordings of specific performers from the late 19th and early 20th centuries, it becomes evident that in some cases, the written document may even shed more light on the musical and performance preferences of that artist. This analysis can also therefore give us guidelines for how to read the words on performance instructions from musicians who did not leave us acoustical recordings.
The philosophy of Gilles Deleuze and its resonating discourses have become increasingly relevant to the field of Artistic Research, and Deleuze is now a key reference for many artist-researchers engaging with knowledge across artistic, academic and non-academic fields of practice. DARE 2015: The Dark Precursor was the first conference attempting to trace the encounter between artistic research and Deleuze’s world. The Second International Conference on Deleuze and Artistic Research, DARE 2017: Aberrant Nuptials, continues that mapping, readdressing the question ‘How can communication occur between heterogeneous systems?’ through the associated concepts of ‘aberrant nuptials’ and ‘zone of indeterminacy’.
Baroque and classical pieces are performed with electric guitars, laptops, and video projectors. They are exploded into digital images and enacted by the breathtaking contemporary dancer Marlene Monteiro Freitas. Robert Schumann’s famous piano fantasies Kreisleriana, are played in dialogue with texts by Roland Barthes and Friedrich Nietzsche, submersed in a three-screen video projection and live-electronics.
Unique premiere of Inside The Hearing Machine, a documentary on Beethoven's hearing machine directed by Steven Maes. This event is also the official launch of the CD with the same title, with performances of Beethoven's piano sonatas opus 109, 110 and 111 by Tom Beghin.
In the programme of OdeGand, Gent Festival van Vlaanderen
Have you always wondered how it feels to be part of a large orchestra? Take a seat in this 360° installation and explore the different musicians in a symphonic orchestra. Be the first to discover this top-notch virtual reality!
Orpheus Open Circuit celebrates the start of the new season. On Sunday September 3 the Orpheus Institute opens its doors for a late summer’s afternoon of new live electronic music. Composers, sound artists and improvisers – gathered under the research cluster Music, Thought and Technology – present new work that engages, challenges and fascinates. They are joined by artists from the Orpheus Electric Salon in a programme of performances, installations and public interventions.
We all now inhabit a common technological world. Come and join the Orpheus Open Circuit as we imagine how it is changing the way we all think about making and understanding music.
Juan Parra and Jonathan Impett (BE) present a hands-on introduction to the software environments most used by serious sound, interaction and multimedia artists: Max and Pd. These are flexible and powerful tools, but grounded in a few straightforward principles. You will quickly learn the basic concepts so that you can begin to develop your own ideas. Whatever, your own musical language, just bring a laptop and headphones (Max offers a 30-day demo version, and Pd is free).
Coordinator: Tiziano Manca
Conservatorio Luigi Cherubini di Firenze | Conservatorio Giuseppe Verdi di Milano | Orpheus Instituut Gent