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LITHUANIAN ACADEMY OF MUSIC AND THEATRE DOCTORS IN PERFORMANCE 3rd Festival Conference of Music Performance and Artistic Research PROGRAMME & ABSTRACTS Vilnius, 4–6 September, 2018 DIP STEERING COMMITTEE WELCOME TO DIP 2018 Dr. Anu Vehviläinen (Sibelius Academy / University of the Arts Helsinki) Dr. Markus Kuikka (Sibelius Academy / University of the Arts Helsinki) Dr. Denise Neary (Royal Irish Academy of Music) Dr. Lina Navickaitė-Martinelli (Lithuanian Academy of Music and Theatre) Dr. Sarah Callis (Royal Academy of Music) ORGANIZING COMMITTEe (LMTA) Dear friends, colleagues, dear doctors in performance, Ana Ablamonova Daiva Buivydienė In early September 2014, many of us gathered in the beautiful Helsinki Rūta Karbonskytė Music Centre, the premises of the Sibelius Academy, where the 1st festival Mantautas Krukauskas conference of artistic research and music performance took place. The event Dr. Rūta Lipinaitytė-Savickienė that brought us together although an as yet unknown one, was very prom- Rasa Murauskaitė Dr. Lina Navickaitė-Martinelli (director) ising and intriguing, and it was named ‘Doctors in Performance’, which ac- Rima Rimšaitė curately denoted its primary focus and purpose: to bring together doctoral Dr. Judita Žukienė candidates and post-doctoral researchers working in the fields of musical performance and practice-based, or artistic, research in music. ‘Doctors in Performance’ places the emphasis on the music itself. While paper reports are also welcome, the majority of DIP presentations consist principally of a musical performance in the form of a recital or a lecture-recital related to the research. Following this first event, several institutions related to artistic research in music performance became interested in joining forces and continuing this enterprise together. After the successful conference in Helsinki, the ORGANIZER second edition took place at the Royal Irish Academy of Music (RIAM), Dub- lin, on September 8–9, 2016. The event keeps on polishing its shape and ideology, the DIP community is growing, and the biennial gathering turns this year to Vilnius, Lithuania. We are honoured to be entrusted to host the 3rd festival conference ‘Doctors in Performance’ at the Lithuanian Academy of Music and Theatre (LMTA). LMTA has been training Doctors of Art in the areas of Music and PARTNERS in Theatre and Film since 2010, and since that time 24 Doctors of Art have graduated from the programme; they continue to enrich their fields of art with valuable insights and new knowledge based on their artistic maturity and research skills. At present, LMTA artistic doctorate students are work- ing on over 30 artistic research projects under the supervision of a selected local and international faculty. More specifically, the platform that is engaged in organizingDI P 2018 is SUPPORTERS the Academy’s Hub of Artistic Research and Performance Studies, HARPS. Set up in 2013, HARPS aims to contribute innovative ideas from artistic and scientific research to the Lithuanian performance art and its profes- sional study, as well as to the development and international dissemination of artistic research. By exploiting the potential of LMTA in strengthening 3 • Doctors in Performance 2018 the links between analysis and performance, as well as studies on theatre and dance performativity, we also seek to establish an interface between Contents scientific studies, artistic research and performing practice, and to initiate national and international events with a sustainable legacy including crea- tive workshops, master classes, and research festivals. Few things would be 8 Practical information as close to our goals and beliefs as ‘Doctors in Performance’! 8 • ARRIVAL / 9 • DIP 2018 VENUES / 10–11 • RECOMMENDED RESTAURANTS In preparing this 3rd edition of ‘Doctors in Performance’, I am indebted 12 Programme to the members of the DIP steering committee – Sarah Callis (RAM), Markus Keynotes Kuikka (SibA), Denise Neary (RIAM) and Anu Vehviläinen (SibA), who have 18 John Rink • BEYOND INTERPRETATION: MUSICAL contributed throughout the organizing process with their valuable advice, PERFORMANCE AS CREATIVE PRACTICE competence and support. Special thanks go to the Sibelius Academy / Uni- 19 Vykintas Baltakas • MODAL FORM AND CHALLENGES versity of Arts Helsinki, which, as the cradle of ‘Doctors in Performance’, FOR INTERPRETERS OF NEW MUSIC sends their numerous AR forces to subsequent DIP events. The local organ- Abstracts 21 Lucy Abrams • DANCING AND TWIRL-ING: CONTEMPORARY CLARINET izing committee at the Lithuanian Academy of Music and Theatre made it FROM THE PERSPECTIVE OF LIBBY LARSEN AND MARKKU KLAMI all possible, and I heartfully thank my colleagues Ana Ablamonova, Daiva 22 Motiejus Bazaras • GYÖRGY LIGETI’s ÉTUDES FOR PIANO, BOOK II: Buivydienė, Rūta Karbonskytė, Mantautas Krukauskas, Rūta Lipinaitytė- VARIATIONS ON THE SUBJECT OF INFINITY Savickienė, Rasa Murauskaitė, Rima Rimšaitė and Judita Žukienė, as well 24 Korneel Bernolet • ARPEGGIO IN BAROQUE KEYBOARD LITERATURE: as many others in all departments and offices of LMTA that were involved HOW DID THEY TEACH AND HOW DO WE PLAY? 25 Chiara Bertoglio • THE PIANO AS A BAROQUE ORCHESTRA: in this enterprise. MARTUCCI’S TRANSCRIPTION OF BACH’S ORCHESTRAL SUITES However, what really makes it happen is the community of artist re- 26 Alana Blackburn • MUSICAL AND NON-MUSICAL searchers, the art and ideas of our participants. It was indeed a challeng- COMMUNICATION, WHICH INFORMS WHICH? ing task for the steering committee to select from the numerous highly 27 Cherie Broome • PERFORMING RHETORIC. REVEALING THE SECRETS: interesting proposals that were submitted to us this year. The result will, A CONSIDERATION OF THE RHETORICAL STRUCTURE AND I believe, reflect the vibrant, diverse and ever-expanding field of artistic re- FIGURES OF J. S. BACH’S CHROMATIC FANTASY, BWV 903 29 Aistė Bružaitė • CONTEMPORARY PERFORMANCE TRENDS search in music performance. DIP 2018 features, in addition to two key- IN THE CONCERT KANKLĖS REPERTOIRE notes, 72 recitals, lectures-recitals and paper presentations that represent a 30 Brigita Bublytė • TRANS/FORMATIONS OF VOCAL TIMBRE IN DIFFERENT wide variety of topics, approaches, instruments (both musical and method- CULTURAL EXPERIENCES: CONCEPTION OF ‘TRANCESPACE’ ological), countries and individualities. I am truly thrilled to see in our pro- 31 Dario Buccino • BASTANDOSI LA NUCA A SCORRERE DIETRO gramme both established artist researchers, top class musicians, as well as LA FRONTE. FOR SOLO MIND: A COLLECTIVE PERFORMANCE those who are just beginning their path towards an artistic doctorate. I am 33 Daniele Buccio • SOLO PIANO COMPOSITIONS BY MARINA SCRIABINE 34 Vincent Caers • IT’S THE SCORE, STUPID?! THE TRANSITION FROM CONTEMPORARY also more than happy that keynote lecturers such as pianist, musicologist PERCUSSION SCORE TO AUDIOVISUAL ELECTRO-ACOUSTIC IMPROVISATION John Rink and composer, conductor Vykintas Baltakas have agreed to share 36 Richard Craig • EMPERDÛMENT LIVRER MON CORPS… COMPOSING THE PERFORMER their knowledge through art with us. I am looking forward to hearing as many AND MODELS OF DRAMATURGY FOR THE SOLO INSTRUMENTALIST presentations as possible during the twenty-four sessions of DIP 2018: 37 Kenneth Edge • PREPARING SELECTED IRISH SAXOPHONE WORKS FOR PERFORMANCE: a three-day marathon of music and research. A MULTIMODAL EXAMINATION OF COGNITIVE I wish all of you a very pleasant stay in Vilnius, full of inspiring conversa- EMBODIMENT THROUGH DELIBERATE PRACTICE 38 Naiara De La Puente Vadillo • THE ACCORDION; A MAJOR tions, new encounters and memorable performances. Welcome! INSTRUMENT IN CONTEMPORARY CHAMBER MUSIC 39 Vincenzo De Martino • PRIMITIVISM IN PIANO MUSIC OF THE 20TH CENTURY: INTERPRETING THE ‘OTHERNESS’ OF PIANISTIC CANON 40 Konstantinos Destounis • ‘ABSTRACT PROGRAMMATIC MUSIC’: LMTA HARPS PERFORMING THEODORE ANTONIOU’S PIANO WORKS 42 Imelda Drumm • ORAL CONTRACEPTIVES AND ELITE VOCALISTS IN TRAINING; PERSPECTIVES FROM THE VOICE ACADEMY 43 Duo Hevans (Henri Bok & Eleri Ann Evans) • PUSHING BOUNDARIES 4 • Doctors in Performance 2018 5 • Doctors in Performance 2018 45 Carolina Estrada Bascunana • SPANISH MUSIC IN THE 19TH CENTURY: 82 Anne Elisabeth Piirainen • BEYOND BORDERS: TRACING STYLISTIC CHANGES PHYSICAL GESTURES CAPTURED ON PIANO ROLLS IN UNOFICCIAL SOVIET CLARINET MUSIC AFTER THE ‘THAW’ 46 Marta Finkelštein • PIANO HERO. CURATORIAL EXPLORATION OF THE PIANO RECITAL 83 Rastko Popović • I’M MY OWN MERRY-GO-ROUND: AN ARTISTIC PROJECT DEVOTED 47 Saale Fischer • TIME IN SERVICE OF A RHETORICAL PERFORMANCE TO THE ELECTRIC VIOLA AS A CONTEMPORARY MUSICAL MEDIUM 48 Marie-Charline Foccroulle • FINAL THOUGHTS? INTERPRETATION OF THE FIRST 85 Rima Povilionienė • HOW TO ‘STEEL TIME’ IN MUSIC: MOVEMENTS OF BEETHOVEN’S AND SCHUBERT’S LAST THREE PIANO SONATAS RUBATO CASE IN CHOPIN’S NOCTURNE NO. 1 49 Felipe Garcia Suarez • PERFORMING DALLAPICCOLA: HISTORICIST 86 Marco Ramelli • RCS CONTEMPORARY GUITAR PROJECT: THE RELATIONSHIP BETWEEN PERSPECTIVES ON THE PERFORMANCE OF TWELVE-NOTE MUSIC PERFORMER AND COMPOSER IN THE CREATION OF NEW GUITAR MUSIC 51 Gdańskie Trio Stroikowe (Marta Różańska, Andrzej Wojciechowski, Mirosław Pachowicz) • 88 Nazrin Rashidova • ÉMILE SAURET’S 24 ÉTUDES-CAPRICES, OP. 64 (1902): FACES OF GDAŃSK CREATIVITY FOR THE REED TRIO AFTER THE YEAR 1969 A FIRST RECORDING 53 Iryna Gorkun-Silén • FLUTE FRANÇAISE: THE FRENCH FLUTE. 89 Anna Rutkowska • THE INFLUENCE OF THE CULTURE, TRADITION AND THE INFLUENCE OF THE FRENCH
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    2 OBJECTS AT AN EXHIBITION INTRODUCTION TO OBJECTS AT AN EXHIBITION Every musical instrument is, in a sense, ‘Objects at an Exhibition’ may be heard Aurora Orchestra • Nicholas Collon conductor a machine. But, in science museums as a commentary on our technological they are machines of unusual interest civilisation and culture. It was important and potency for visitors, because music for the project that each of the selected 1 Thea Musgrave Power Play 6’35 is a key site for the interaction between composers would have the opportunity 2 Christopher Mayo Supermarine 12’08 science, technology and culture. to pick-out from the Museum’s hundreds 3 Claudia Molitor 2TwoLO 11’42 Music, if you like, provides a perfect of thousands of objects one that held a exemplifi cation of how technology and particular resonance for them. Most of 4 David Sawer Coachman Chronos 9’14 the arts have developed hand in hand these commissions started with an open- 5 Gerald Barry The One-Armed Pianist 6’49 over centuries. There are whole varieties ended bespoke tour for the composers 6 Barry Guy “Mr Babbage is Coming to Dinner!” 9’10 of music that could not exist without of the Museum’s spaces, when it was certain technological developments, an possible in a spatial dialogue to unite Total 55’43 observation that not only applies in the each composer with the object that more obvious case of genres dependent would become the particular subject of on modern electronics, but also with their composition. Aurora Orchestra older machines such as the tenor This project has been, from the start, an saxophone or the overstrung piano.

  • London Sinfonietta Nicholas Kok, Direttore Jane Manning, Soprano Kelvin Thomas, Baritono

    domenica 10 settembre 2006 ore 21 Conservatorio Giuseppe Verdi PETER MAXWELL DAVIES London Sinfonietta Nicholas Kok, direttore Jane Manning, soprano Kelvin Thomas, baritono Peter Maxwell Davies (1934) Miss Donnithorne’s Maggot per soprano e ensemble Eight Songs for a Mad King per voce maschile e ensemble Nicholas Kok, direttore Jane Manning, soprano Kelvin Thomas, baritono London Sinfonietta Sebastian Bell flauto, ottavino, flauto contralto Timothy Lines clarinetto Rebecca Hirsch violino Timothy Gill violoncello Clive Williamson pianoforte, giocattoli, clavicembalo Richard Benjafield percussioni Sarah Holmes concert manager Patricia Mayes personnel manager Miss Donnithorne’s Maggot 1. Prelude Your Excellency, Your Honour, Your Worship, ladies and gentlemen, people of Sydney, most of all the deserving poor, Miss Donnithorne begs the favour of your presence at her nuptial feast and ball. May it choke you one and all. 2. Miss Donnithorne’s Maggot Green mooned the white lady of silvered Sydney town – O, stately as a candle-end, all in her winding-gown; apple-pale and like a spider’s egg her dainty muslin face and her moonstones new polished with a moon-clout of lace. She wept like a xylophone, she laughed like a tree. “Alack and alas,” she said, “who would not change with me? To have to herself alone such a fine tower of cake where the seaweed does intertwine with the precious coral snake”. She danced like a candle. “Ah, who would not be me? To keep her bed all day, embowered in a tree that springs from the cellars, all flushed with wedding wine and drops its white dew on me, at dawn when I dine”.