source: GreshamCollege 2013年5月20日
Christopher Hogwood, world-renowned conductor, keyboard player, musicologist, writer, editor and broadcaster, is Professor of Music at Gresham College. In this 400-year-old position, he delivers free public lectures within the City of London on all areas of the classical music tradition. All of his previous lectures can be downloaded from the Gresham College website, where there is also information about all his upcoming free public lectures: http://www.gresham.ac.uk
The transcript and downloadable versions of all of the lectures are available from the Gresham College website: http://www.gresham.ac.uk/lectures-and...
Website: http://www.gresham.ac.uk
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1 1:04:03 Rome: Corelli and Geminiani
An investigation into the performance style required by Corelli in his Op 5 solo violin sonatas and their arrangements as concertos by his pupil Geminiani.
To be performed by a Royal Academy of Music historical performance ensemble.
2 1:03:03 London: Music under the shadow of Handel
Music by Boyce, Arne and Geminiani.
To be performed by a Royal Academy of Music historical performance ensemble.
This is a part of the series of lectures and concerts, European Capitals of Music.
Famous musical capitals provide the framework for this series of lectures with live music. The first three concentrate not only on 19th century Vienna, but on Schubert in Vienna and writing chamber music. Why did this music happen then, where was it played, who provoked, preformed and paid for it. And was it considered successful?
The final three ask similar questions of other capital cities: 20th century chamber music in Paris, baroque music in London under the shadow of Handel, and virtuoso violin playing in Rome focused on Corelli, the 300th anniversary of whose death is being celebrated this season.
The works in each programme are played by present members of the Royal Academy of Music.
3 1:00:04 Paris: Debussy and Ravel
Debussy's Sonata for Flute, Viola and Harp is contrasted with Ravel's very different Sonatine for the same combination.
Rehana Browne flute
George White viola
Mary Reid harp
This is a part of the series of lectures and concerts, European Capitals of Music.
Famous musical capitals provide the framework for this series of lectures with live music. The first three concentrate not only on 19th century Vienna, but on Schubert in Vienna and writing chamber music. Why did this music happen then, where was it played, who provoked, preformed and paid for it. And was it considered successful?
The final three ask similar questions of other capital cities: 20th century chamber music in Paris, baroque music in London under the shadow of Handel, and virtuoso violin playing in Rome focused on Corelli, the 300th anniversary of whose death is being celebrated this season.
The works in each programme are played by present members of the Royal Academy of Music.
4 56:01 Vienna and Schubert: 'Death and the Maiden' String Quartet
Schubert String Quartet no.14 in D minor, 'Death and the Maiden'
Jubilee Quartet:
Tereza Privratska and Alanna Tonetti-Tieppo violin
Stephanie Edmundson viola
Lauren Steel cello
This is a part of the series of lectures and concerts, European Capitals of Music.
Famous musical capitals provide the framework for this series of lectures with live music. The first three concentrate not only on 19th century Vienna, but on Schubert in Vienna and writing chamber music. Why did this music happen then, where was it played, who provoked, performed and paid for it. And was it considered successful?
The final three ask similar questions of other capital cities: 20th century chamber music in Paris, baroque music in London under the shadow of Handel, and virtuoso violin playing in Rome focused on Corelli, the 300th anniversary of whose death is being commemorated this season.
The works in each programme are played by present members of the Royal Academy of Music.
5 1:00:42 Schubert's Trout Quintet in A, D.667 - Christopher Hogwood & musicians from the RAM
A lecture and performance of Franz Schubert's Quintet in A, D.667, commonly known as the 'Trout' Quintet.
Christopher Hogwood, Gresham Professor of Music, was joined by performers from the Royal Academy of Music:
Eleanor Corr violin
Xin Xin Liu viola
Hannah Rose Innes cello
Jack Maran Hewetson double bass
Morta Grigaliunaite piano
6 58:56 Schubert's Fantasy in F Minor, D. 940 - Christopher Hogwood, Florian Mitrea and Alexandra Vaduva
A lecture by Professor Christopher Hogwood on Franz Schubert and Vienna, focusing especially on the Fantasy in F Minor, D. 940, for piano duet. The lecture is punctuated by musical examples and followed by a full performance of the piece, played by Florian Mitrea and Alexandra Vaduva.
7 1:01:21 The Challenge of the Solo: The Baroque Violin - Christopher Hogwood & Pavlo Beznosiuk
Pavlo Beznosiuk, one of the world's leading baroque violinists, explains and demonstrates the challenge of music for solo violin; works by Nicola Matteis and Heinrich Biber lead to a discussion and performance of the famous Chaconne from Bach's Solo Partita in D minor. Can such a work be satisfactorily analysed or does "music begin where words leave off"?
8 55:02 The Opening Salvo: Beethoven's String Quartet in F major - Christopher Hogwood & the Wilhelm Quartet
A talk and performance of Beethoven's String Quartet in F major, Op. 18 No.1
By Professor Christopher Hogwood and the Wilhelm Quartet
How to be revolutionary without scaring away your public? How to announce yourself as a new broom without alienating the more stalwart connoisseurs?
Beethoven faced these problems when presenting his first six string quartets for publication as opus 18; did he win his public and allay their fears with his choice of opening?
The Wilhelm Quartet presents the evidence.
The Wilhelm Quartet comprises:
- Marciana Buta (violin)
- Charlotte Skinner (violin)
- Daisy Spiers (viola)
- Hetty Snell (cello)
9 53:28 Is it possible? - Mozart's Oboe Quartet in F major, K.370
A lecture and performance on Mozart's Oboe Quartet in F major, k.370
by Christopher Hogwood, with Mea Wade and players from the Royal Academy of Music.
Harnessing virtuosity to good taste and fireworks to fine craftsmanship is a permanent challenge for the composer. Purely technical show will have little lasting effect, and Mozart was especially scrupulous at linking what sounded effective with what was musically needed. We examine with Mea Wade the requirements of good oboe playing and some of that instrument's special qualities, and hear a performance of the quartet with players from the Royal Academy of Music.
The quartet comprises Mea Wade (oboe), Eleanor Corr (violin), Richard Waters (viola) and Antonio Novais (cello).
10 54:12 Remember Me: Pachelbel, Purcell and Fauré
An analysis of what makes the following music masterpieces: Pachelbel's Canon, Purcell's Dido's Lament, and Fauré's Violin Sonata.
Memorability is sometimes achieved by the simple technique of repetition, in addition to more high-flown inspiration. Some of the simplest sustaining devices of great music are ground bass, ostinato or chaconne; this lecture shows that a canon can be more than simply "Three Blind Mice".
11 54:24 The Joy of Six: Brahms and Strauss
Strauss: Sextet from Capriccio
Brahms: String Sextet Op.18
Professor Christopher Hogwood, Gresham Professor of Music, with players from the Royal Academy of Music
The choice of instrumental grouping can make or break a composition; the string sextet, a notoriously difficult combination, takes on a forward-looking guise with Strauss in probably the most exquisite of all music designed to be played off-stage, while Brahms looks back to the baroque with his solutions: sonority is the key.
Six players from the Royal Academy of Music offer the live experience: Kiann Chow and Charlotte Skinner (violins), Rhoslyn Lawton and Ana Monteverde (violas), Amy Jolly and Romain Lapeyre (cellos).
12 59:20 Keep It Short: J.S. Bach's Magnificat
The art of being succinct is not one always associated with the works of Bach; in his compact setting of the Magnificat he employs economy and symbolism to illustrate each verse in a few minutes of music which challenge the reader of "de-code" the full message.
13 1:02:15 From Printed Page to Performance - Christopher Hogwood, Emma Kirkby and Jakob Lindberg
When so much in music education is formulated on the principle of imitation, and the passing down of received 'traditions' from teacher to pupil, it is important to readdress the significance of original and informed opinion in performance.
Dame Emma Kirkby, who has done more than any other musician of our generation to reassess the vocal approach to earlier music will discuss with the Lecturer her approach to singing, teaching, recording and performing and the effect her performances have had on singing world-wide over the last forty years.
The lecture is illustrated by live examples taken from Renaissance lute songs and other repertoire, including the following pieces:
John Dowland
Prelude
Go Crystal Tears
Shall I sue? Shall I seek for grace
Fantasia
Tarquinio Merula
Canzonetta Spirituale Sopra La Nanna
Henry Purcell
She loves and she confesses too
14 56:58 From Composer to Printed Page
Musical notation is both inexact and changeable; the assumptions of one period may be lost on following generations, and the greater part of written music still remains unpublished at the present day. The challenges of editing and presenting a text, either of a well-known classic or of an unknown writer differ in music from those faced in the similar worlds of literature or Biblical criticism. The dilemmas created by composers' second thoughts and revisions, and disciples' 'improvements' require a 'correct' way of presenting obsolete information to the modern performer and raise questions which can both change our attitude to familiar works and resurrect forgotten treasures.
15 1:09:57 The Authenticity of Genius - Christopher Hogwood with players from the Royal Academy of Music
Although Mozart is the usual example of genius that springs to mind (a combination of youth and perfection), in this lecture Felix Mendelssohn is proposed as a more precocious example of the same qualities, with an even greater range of abilities (painting and languages in addition to both composing and performing). As a test case we will examine his Octet for Strings, Op. 20, written at the age of sixteen and performed for this lecture by players from the Royal Academy of Music.
16 1:00:00 Classical Music: Fakes, Completions and the Art of Borrowing
Although Mozart's unfinished Requiem is the most publicised composition requiring a helping-hand, there are many similar incomplete may-be masterpieces which have been assisted in some way, plus a number of well-loved classics which have very little connection with their supposed author ('Albinoni's Adagio' heads such a list). In addition composers of all periods have been open to the 'art of borrowing' - Handel was particularly active in this area and the reasons and results of his 'borrowings' shed a new light on some very familiar compositions.
17 57:39 St. Cecilia and Music: True or false?
18 49:46 The Past is a Foreign CountryIn its passage from manuscript composition to audible performance, a musical work passes through the hands of editors, teachers, interpreters, recording engineers and many others, all of whom make decisions, often based on personal choices, and have to satisfy the tastes and needs of a changing public. With over a century of recorded sound as evidence, we can now assess the options and expectations of the modern performer, and measure these against the evidence available to the interpreter today, and the range of choices to be made.
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