Special Events at AMS Philadelphia 2009
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Noontime Concerts
Friday 13 November
Lecture-recital: “Piano Masterworks of
Mexican Nationalism”
César Reyes
12:15 p.m., Liberty Ballroom C — Mexican pianist and musicologist César Reyes, one of the leading performers of Latin American Music in the United States, will present a lecture-recital on the piano music of Mexico. Reyes is the founder and artistic director of the Latin American Piano and Song Festival of New York—the first festival in the United States dedicated to the exploration of classical, folk, and popular traditions of the Latin American piano and song repertory. This program includes the music of Manuel M. Ponce, Miguel Bernal Jimenez, José Pablo Moncayo, and Eduardo Hernandez Moncada.
Lecture-recital: “Un deluvio di lagrime:
The Lirone in Seventeenth-Century Roman
Laments”
Erin Headley
12:15 p.m., St. Clement's Church — Lauded by seventeenth-century writers for its ability to "move the soul, instill devotion, and refresh the spirit," the lirone was particularly associated with lamenting and sublime sorrow. This program will reveal the relatively unfamiliar sonority of this extraordinary multi-string bowed instrument. Its mournful and alluring sound made it a particularly attractive tool for the Counter-Reformation, when it was used to accompany tragic figures in opera and oratorio. Catch a glimpse of what might have been heard at a private concert in the Barberini palace c. 1640, where cardinals and distinguished guests enjoyed laments by Luigi Rossi, Marco Marazzoli, and others.
Concert: “Presenting the Past: Collaborative
Improvisation in the Galant Style”
Roger Moseley
2:00 p.m., St. Clement's Church — This lecture-recital sets out to build on ground-breaking work by scholars and performers such as David Dolan, Robert Gjerdingen, and Robert Levin by outlining and demonstrating ways in which improvisation might grant musicians of today entry to sound-worlds of the past. In Music in the Galant Style (Oxford, 2007), Gjerdingen identifies eleven musical schemata that underpin the discourse of music from the second half of the eighteenth century. By assimilating and elaborating these schemata, musicians can acquire a vocabulary and fluency that allow them to form meaningful real-time "utterances" in the style galant.
Saturday 14 November
Concert: “Piano Music In Vienna beyond
the Second Viennese School: An Exploration
of the Repertories in the Context of Alban
Berg’s Piano Sonata op. 1”
Seda Röder
12:15 p.m., Liberty Ballroom C — Two significant compositional trends and their continuous conflict mark the turn of the century in Vienna. On the one hand we observe a group of composers around Schoenberg that builds upon and expands the musical language of the so-called "New German School." On the other hand we observe composers who form a counterpart to these developments by following in the footsteps of Brahms and the "Old German School" that was associated with him. This concert program revives four pieces from these unexplored repertories and juxtaposes them with Berg's Piano Sonata op. 1. Each of these pieces was composed and published in the years between 1908 and 1911, when Berg composed his sonata (and Schoenberg published his Three Piano Pieces op. 11).
Lecture-recital: “The Anonymous Missa
Sine nomine JenaU 21 (c. 1525)”
Gravitación
12:15 p.m., St. Clement's Church — The anonymous Missa Sine nomine in JenaU 21 is characterized by pervasive imitative duos, parallel motion (frequently at the tenth) between the outer voices, close imitation at the openings of sections, and heavy reliance on sequential writing, especially at the ends of sections. This lecture-recital is based on research conducted by Zoe Saunders for her dissertation, "Anonymous Masses in the 'Alamire' Manuscripts: Toward a New Understanding of a Repertoire, an Atelier, and Renaissance Courts," defended in April 2009. She has not only edited each of eight anonymous masses, but has prepared new, thorough codicological descriptions of their sources and analyzed and commented on these works, evaluating their place within the Alamire repertory and the tradition of early sixteenth-century sacred polyphony.
Lecture-recital: “Walter Gieseking as
Composer: Premieres of Representative
Works from His Unpublished Manuscripts”
Frank R. Latino
2:00 p.m., St. Clement's Church — Walter Gieseking (1895-1956) became one of the most celebrated pianists of the twentieth century, yet little is known about his life and even less about his compositions. Over the past decade there has been an upsurge of interest in his music, including the republication of his 21 Kinderlieder, the second of his Drei Tanz Improvisationen for piano (published as a "Tempo di Charleston"), and the first publication of his Divertimento for Clarinet in A and String Quartet, but a large body of his work has remained unknown. In this lecture-recital, Frank Latino, assisted by performers from the University of Maryland, explores Gieseking as composer by examining unpublished works and other materials recently discovered in his personal archives in Wiesbaden, Germany.
