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Bremen 2012 Early Music Platform

Refreshing Authenticity: Innovation and the challenge to convention in the teaching, research and performance of Early Music 1 AEC Pop and Jazz Platform Lille 2012

The AEC would like to express deep gratitude to the Hochschule für Künste Bremen for hosting and co-organizing the EMP Meeting 2012. The AEC team would also like to express special thanks to the members of the EMP preparatory working group for their tremendous support in organizing the platform programme.

AEC Early Music Platform Bremen 2012

1 Table of Contents

EMP Working Group ...... 3

Conference Team ...... 4

Refreshing Authenticity ...... 5

Reflections on the Theme ...... 6

Programme ...... 10

Musical Programme ...... 13

Biographies and Abstracts of Speakers ...... 14

Speakers Panel Discussion ...... 19

Practical Information ...... 21

Relevant Addresses ...... 21

Hotels ...... 21

Travel information ...... 22

Computer Facilities ...... 22

Restaurants...... 25

Information fee payment EMP 2012 Bremen ...... 26

AEC Early Music Platform Bremen 2012

2 EMP Working Group

Peter Nelson Staatliche Hochschule für Musik Trossingen

Greta Haenen Hochschule für Künste Bremen

Francis Biggi Haute École de Musique de Genève

Johannes Boer Koninklijk Conservatorium Den Haag

Erik van Nevel Lemmensinstituut, Leuven

Terrell Stone Conservatorio di Musica "A. Pedrollo", Vicenza

Thomas Drescher Musik Akademie der Stadt Basel

Yves Rechsteiner CNSMD de Lyon

AEC Early Music Platform Bremen 2012

Conference Team

Jeremy Cox Association Européenne des Chief Executive Conservatoires, Académies de Musique et Musikhochschulen (AEC)

Sara Primiterra Events Manager

Annelotte Kolstee

Project Coordinator

Maarten Aarse Student Intern

Anne Rademakers

Student Intern

Hochschule für Künste Bremen Manfred Cordes

Director

Thomas Albert Early Music Department

Greta Haenen

Early Music Department

Anna-Julia Perini

Project Assistant

AEC Early Music Platform Bremen 2012

Refreshing Authenticity

Innovation and the challenge to convention in the teaching, research and performance of early music. The early music movement, as its name implies, was about more than performing a certain, previously neglected, repertoire; it denoted a whole fresh approach to thinking about music: how to find repertoire in the first place, how to perform it, on which instruments, to whom and in what kinds of surroundings. As commentators have remarked, there was something modern, counter-culture and almost subversive about the way that a generation of performers and music-lovers embraced sounds, instruments and genres and venues that seemed fresh and vital in comparison with mainstream classical repertoire and its performance practices. Since those days, early music has entered the mainstream, not least in its adoption into the curricula of many music academies, and the influence of its thinking has spread to the repertoires of other eras in the form of the principle of historically-informed performance. Some might argue that this has become a dominant principle of our modern-day attitude to most classical music. But inevitably, this merging with the establishment has blunted the radical edge of the early music ethos in some respects: early music has acquired its own dogmas and conventions; its once youthful audience is beginning to grey along with that for classical music generally; recent generations of students seem less eager to blaze a trail of their own and more expectant of being initiated into a stable orthodoxy concerning the music in which they have chosen to specialize. This fourth meeting of the AEC Early Music Platform, in Bremen in April 2012, seeks to pose the question as to whether, without sacrificing the considerable gains made, early music – and, in particular, early music teaching in conservatoires – might not be able to re-kindle something of its earlier zest for innovation and its relentless curiosity to look beneath and beyond received wisdom. The platform will examine this issue under four main themes:  How can cutting-edge musicology be fed more broadly, consistently and imaginatively into practical teaching and performance (and how can practical insights more consistently inform the thinking of cutting-edge musicology)?  How can we guard against the thirst for new knowledge and musical insight hardening into just another layer of dogma?  How, as teachers, can we transmit knowledge within a spirit of free thought (should our students be imitating or challenging us)?  In what distinctive ways might early music draw new, younger audiences into the rich musical experiences that it has to offer? The organizers are looking for examples of how conservatoire early music departments, teachers and students have taken practical steps to address these issues. The aim is to share novel practice, compare approaches and deepen our collective understanding of what is happening in the field of early music across the conservatoires of Europe. As well as a presentation from a distinguished keynote speaker, the Platform will feature four sessions devoted to each of the themes outlined above. Proposals are invited for presentations under these headings; for the third category, these are especially sought from student presenters. Around these formal sessions, there will be plentiful opportunities to discuss ideas, network and socialize with colleagues and friends.

AEC Early Music Platform Bremen 2012

Reflections on the Theme

1- Integrating Musicology and Practice/How can Musicology Refresh Practice 2- Idealism, pragmatism and integrity in the search of personal authenticity 3- Teaching freedom All three subjects cover fundamental aspects of what is basically the same question. In other words, a reflection on performers’ independence, on their right (and their duty) to make subjective decisions that openly and honestly reflect their own artistic choices and their individual relationship to the musical material and its historical and aesthetic framework, accepting the fact that arbitrary decisions are a fundamental and necessary part of the creative process. The relationship between musicology and performing early repertoires has become, fortunately, a kind of dialectical dialogue where, exactly as is the relationship between faith and science, there will always be two visions that remain, at least partially, irreconcilable. At the same time, there is a constant and on-going exchange between the two. Given that there will always be differences, it is important that the energy that comes from this “agreement to disagree” should be harnessed in a way beneficial to both parties. Indeed, ideally, in this constant exchange, musicology should “refresh” performance practice, while performance, in turn, gives new impetus to musicology - asking questions that would otherwise not be broached, constantly inventing new techniques and strategies for studying repertoires, eras, and styles. In any case, idealism, pragmatism and integrity are compulsory elements of any study, analysis or interpretation with claims to legitimacy. Indeed, deontological integrity should drive both performer and scholar to admit imperfections and to constantly question the results of their efforts. When a musician is asked to impart their acquired knowledge, the awareness of this subjectivity becomes an essential element of the student-teacher relationship. Transferring the concept of freedom is one of the most important tasks of a teacher, indeed, the delicate balance of their professional scruples and the student’s right to choose from whom to learn and how is one of the most important fulcrums of the didactic process. Acceptance of responsibility means admitting that one’s individual interpretation - even if constructed around convictions that come from serious study and reflection – is still the result of a subjective thought process, and therefore by definition, arbitrary. Each one brings their own knowledge and their own story, as well as their own artistic experience, to instruction. The ideas that he or she might have developed regarding the best ways to transmit this knowledge are always subjective and certainly open to discussion, however, this does not in any way affect the legitimacy of their particular pedagogical method or system. Every performer / teacher is a contemporary musician in search of a personal way of approaching the older repertoires that, in many ways, are far removed from our time-frame and our ways of thinking. At the Early Music Centre of Geneva, all theoretical or historical subjects are taught in a way that keeps their connection to musical practice in mind. The evolution of counterpoint, solmization and notation are studied exclusively in practical terms. This commitment to a hands-on

AEC Early Music Platform Bremen 2012

approach means that students spend their lesson-time playing and singing, rather than sitting at their desks writing out counterpoint exercises or transcribing facsimiles into modern notation. In the end, the ways of obtaining the desired results are many – as many as there are different teachers. At the same time, it is difficult to consider a teaching method that doesn’t include the fostering of the freedom of thought necessary for a personal, individual approach to the critical analysis of musical and historical givens, and to free artistic expression. Exactly as in classical thinking, ideally, a good teacher tries to increase their students’ practical knowledge, to develop their capacity to analyse and to reason, and helps them to form their own critical sense. They need to encourage introspection, and, finally, must set their students on the road towards becoming independent, autonomous individuals. A good teacher hopes to see his or her students go their own way, capable of exploring new territory, even if in ways different from or even directly opposed to their own teachings. At the same time, in collaboration with the University, the Early Music Centre of the HEM of Geneva has developed a Bachelor’s degree program that combines musical practice and musicology. After earning their Bachelor’s degree, students can choose to work towards a Master’s degree in musicology at the University, or to go on to a Master’s degree in performance at the Conservatory. In the case of the latter, however, they must follow a year of supplementary preparation on their chosen instrument. Naturally, nothing prevents the student, after receiving their first Master’s degree from pursuing a second one in another discipline. Maybe it is just wishful thinking, but our hope is that the trend that has already begun - with more and more performers seriously exploring the theoretical aspects of historical performance practice, while more and more scholars are able to play and sing at a professional level – will grow to the point that that the clear demarcation between scholar and performer, between musicologist and musician, becomes ever-more fuzzy. Hopefully, this will open up some interesting new paths and perspectives in the complex, on-going relationship between practical music-making and musicology. Francis Biggi, Conservatoire Supérieur de Musique de Genève

At a moment where »Early Music« has become mainstream, we, as teaching institutions should question the meaning of »authenticity« not only in performing, but also in teaching Early music. As the market got a grip on the early music scene (or what we consider to be this), the older generation deplores a loss of »pioneerism« in favour of security (not necessarily only in regards to technical skills, but also in interpretation). We see our students getting involved in a market which is (or seems to be) much less open to experiments than it was in the 60s and 70s. But is this true? Maybe the »movement« has to renew itself in a way not foreseen by us. Why do we follow fashion? Don’t we ourselves create fashions (eventually called »new trends in performing«) to be as it were quicker than the market or »on top of the market« (one has to make a living out of it)? Do our students know that we are maybe teaching them a very individual interpretation of something vaguely known as »sources« (be it an original score or a treatise)? Are we right? Isn’t there still quite a lot not yet researched? We speak about »style« in early music interpretation, but isn’t our idea of the very sound of early music a very modern conception of what we thought to be »The Right Way Of Performing Early Music« towards the end of the 20th century? Maybe there are other ways of singing or playing the violin than those we think to be »authentic« and maybe our students are the generation which will change our views – if we let them. Let them fight our compromises, but give them the possibility to fight them: by embedding artistic and scholarly knowledge: it is our duty to give our students as much

AEC Early Music Platform Bremen 2012

information as possible: it is their only possibility to question on a high level. The market maybe wants compromises, but teaching in my opinion doesn’t. Should compromises for economic reasons influence our teaching? Maybe we don’t see that we are somehow reined by the market – just as we tend to glorify the role of the so-called pioneers of the 60s and 70s, whereas the true pioneers of the movement lived more than a century ago. The generation we are now glorifying questioned the findings of those pioneers. The next generation has to question our truths. Much has still to be done; many aspects of making music are still slumbering only in musicologists’ dissertations. It is our duty not to change the market, but to awake in our students a spirit of experimenting, questioning us. We should offer them a maximum of information (also of information where to research!) and at least create an environment where students can work freely and get as much authenticity as we are able to offer them. Tempora mutantur, nos et mutamur in illis! Greta Haenen, Hochschule für Künste Bremen

"Cutting edge musicology" does not, as such, exist in the realm of Early Music. Historical disciplines are marked out by pluralism in their methods and materials. If one were solely to follow a methodology from "cultural studies" (which might be viewed nowadays as at the "cutting edge" of musicology), one would miss essential paradigms of music which are inextricably linked to the realisation of sonorous entities. For many years now, Higher Education institutions for the performing and visual arts have been debating the role and nature of "artistic research" and how they can develop an immanent form of musical research. Clear definitions are still difficult to give and are hotly disputed, but three fields of activity are visible: "research into art" / "research for art" / "research through art" (see the latest study "Forschungsförderung im Kunstbereich" of "Schweizerischer Wissenschafts- und Technologierat" in March 2012). Research in Early Music schools is able to combine these three kinds of research in a singular way going beyond the traditional understanding of musicology at universities. In a dialectic process one has to secure the historic-philological basis ("research into art"). The competence of a musician is able to add implicit knowledge from the artistic experience itself ("research for art") and in a third step the sounding achievement shows the sensitive and emotional potential of the solution (so to say "research through art"). Research of that kind is especially successful in topics where written evidence is patchy. Two examples from the High Middle Ages and the Early Baroque are given to demonstrate this and, at the same time, the potential inherent in artistic research in (Early) Music. Thomas Drescher, Schola Cantorum Basiliensis

The word authentic has become a taboo in the context of Early Music since the debate in the 1980’s and -90’s. The ethical connotations of the word and the suggestion of presumptuous claims of truth against main stream performances distorted the view on ideological purposes of the Early Music movement that started its impressive revival two decades earlier. Nevertheless, in his presentation in the AEC conference in Trossingen (EMP report 2009, page 4), Barthold Kuijken did not hesitate to use the word in this context, making a distinction between historical and personal authenticity. The ambition of the 2012 EMP conference is to shed some light on both aspects and discuss the choices we make in our institutions, when we impose a certain doctrine of historical authenticity on a younger generation.

AEC Early Music Platform Bremen 2012

We are all aware how much the world has changed and how different it is for that generation to start their journey, as it was when the pioneers put the first experimental steps on that road. “The shock of the Old” as Charles Rosen called it, could only happen once in such magnitude as it happened in the 1960’s and 70’s, when discoveries in repertoire and performance practice followed one after the other almost on a daily basis. Supported by the record industry of course. As a movement it is not possible to recycle this effect, but it is clear that everyone with serious intentions in Early Music makes privately or with peers similar discoveries for himself. We could even say that without it, personal authenticity is non-existent. It is the act of creativity that belongs to every fresh approach to historical music, which distincts it from sheer repetitiveness. This does not imply privately reinventing the wheel, but to treasure the freshness of a moment of personal discovery by implementing it in future performances. For every new generation counts that ‘on the level of nuance an instrument dictates its own performance practice.’ For the first generation of early music performers, (to a great extent autodidact) it was inevitable to be creative in this respect, since they repeatedly had to mobilize their imagination in order to fill the gaps of the unknown or unfamiliar. In some cases this lead to a complete personal style of interpretation that consisted of coherent elements such as Gustav Leonhardt’s. Though often this style was labelled ‘austere’, Jospeh Kerman corrects this opinion by writing: “what made him such a remarkable force is his autere insistence on subtlety on the interpretative detail. Under his general influence, Dutch and Belgian string players, chief among them Wieland and Sigiswald Kuijken, have developed a distinctive style of playing by, in effect, taking the findings of musicologists seriously.” Nowadays the above mentioned creative act often results in derivations and deviations to the hard core authentic approach. The musicological findings are deliberately neglected or ignored. Sometimes by exploring exotic elements in a postmodern way, such as cross over. But more often decisions are made for pragmatic reasons in the field of concerts or cd recordings. The question is why our educational institutions, who should have room for the experiment, are adapting themselves to this trend by anticipating this limited practice. True, by the development of Early Music into a new main stream, with all sorts of professional obligations, certain standardisations are inevitable. The performers have to be compatible in order to work in an efficient way. Therefore the craftsmanship of the historical performer which is taught at the conservatories consists of instrumental or vocal skills, knowledge and understanding of the context and for the rest attitudes that are similar to any other professional performer. What tends to drown in this sea of professionalism is precisely the property that initially gave birth to the early music movement. The open and creative mind within the frame of historical information that guides the personal quest of the upcoming musician. Johannes Boer, Koninklijk Conservatorium Den Haag

AEC Early Music Platform Bremen 2012

Programme

Friday 20 April DECHANATSTRASSE 12:00 – 15:00 Registration at Hochschule für Künste Bremen 13-15 Foyer, Second Floor Chamber Music Hall 14:00 – 15:00 Informal Networking First Floor Music Introduction by students of the Hochschule

Welcome words by Concert Hall 15:00 – 15:25 - Peter Nelson, Chair EMP working group (Second Floor) - Manfred Cordes, Rector of the Hochschule für Künste - Andràs Batta, AEC Council Member - Jeremy Cox, AEC Chief Executive

Early Music Department at the Hochschule für Künste Concert Hall 15:25 – 15:45 Bremen, by Greta Haenen and Thomas Albert (Second Floor)

Session 1: Keynote Speech

“Paradigm Shift. Interpreting Music in the 21st Century”, Concert Hall 15:45 – 16:45 Harald Vogel, Organist (Second Floor)

Followed by discussion with the audience Moderator: Greta Haenen, Hochschule für Künste Bremen Chamber Music Hall 16:45 – 17:30 Informal networking First Floor Session 2: Integrating Musicology and Practice

Authentic basso continuo for the Italian early 17th century, Elam Rotem , Schola Cantorum Basiliensis

A New Approach to a New Song: The Reception of Nova Concert Hall 17:30 – 18:50 Cantica, Kelly Landerkin and Agniezska Budzinska- (Second Floor) Bennett, Project Aquitaine, Schola Cantorum Basiliensis

Followed by discussion with the audience Moderator: Thomas Drescher, Schola Cantorum Basiliensis

Practical Announcements 19:00 – 19:30 Concert Gallery (Ground Floor) 20:00 Dinner offered by the Hochschule für Künste Atlantic Grand Hotel

AEC Early Music Platform Bremen 2012

Saturday 21 April Registration continues 09:00 Foyer

Music Introduction by students of the Hochschule

Session 3: Idealism, Pragmatism and Integrity in the Search of Personal Authenticity

Panel Discussion by 10:00 – 11:00 Concert Hall Simon Murphy, New Dutch Academy Marieke Spaans, Hochschule für Musik Trossingen Thomas Albert, Hochschule für Künste Bremen Antoinette Lohmann, Utrecht Conservatorium of Music

Moderator: Johannes Boer, Royal Conservatoire The Hague

Chamber Music Hall 11:00 – 11:30 Informal networking First Floor

11:30 – 12:30 Breakout Session on Teaching Freedom Concert Hall

Lunch at Hochschule für Künste 12:30 - 14:30 Cafeteria

Session 4: Teaching Freedom

Stylish Interpretation «kills the idea of» refreshing authenticity, Greta Haenen, Hochschule für Künste Bremen

14:30 – 16:00 Concert Hall How, as teachers, can we transmit knowledge within a spirit of free thought (should our students be imitating or challenging us)?, Anne Pustlauk, Koninklijk Conservatorium Brussels

Followed by discussion with the audience Moderator: Erik van Nevel, Lemmensinstituut, Leuven Chamber Music Hall 16:00 – 17:00 Informal networking First Floor Closing Session

- Reporting back from the Breakout Group by Jeremy Cox 17:00 – 18:00 - News from the AEC Concert Hall - Announcement of the next meeting of the AEC Early Music Platform 2013 - Closing Remarks

18:00 – 19:00 Pre-concert snack

AEC Early Music Platform Bremen 2012

20:00 Concert Town hall of Bremen 22:00 Movie "Chronik der Anna Magdalena Bach" Concert Hall Sunday 22 April Networking Activity : ‘Organ Tour’

The North of Germany houses many early organs, from the mid- 15th century on; the organ in Rysum is the oldest instrument of 10:00 its kind in northern Europe that still largely has its original pipes Meeting Point TBA

and is still in playable condition. A rich tradition of organ building until the 18th century is still documented in many playable church organs, including instruments by Arp Schnitger; our organ tour proposes a visit to a few of these instruments.

AEC Early Music Platform Bremen 2012

Musical Programme

Friday, 20th April Frühlingssonate von Ludwig van Beethoven Anna Markova (violin)/Mikayel Balyan(piano) Graf Flöten Quartett Marten Root 19:15 – 19:45, Gallery, ground floor

Saturday, 21st April 20:00 Town Hall

Obere Rathaushalle (a=465) Claudio Monteverdi L´Orfeo: Toccata und Prolog Thomas Albert Barbara Strozzi Cantata Anna Terterjan Giovanni Gabrieli In ecclesiis à 14 Wim Becu Heinrich Schütz Herr, unser Herrscher Klaus Eichhorn

Ca. 20:45h Pause: Drinks in Banquethall Boreas Quartett of the Empore

Obere Rathaushalle (a=430) W.A. Mozart Ouverture Betulia Liberata Thomas Albert W. A. Mozart Aria Anna Terterjan W.A. Mozart Klavierkonzert A-Dur Mikayel Balyan Allegro assai

AEC Early Music Platform Bremen 2012

Biographies and Abstracts of Speakers

Harald Vogel Organist [email protected]

A paradigm shift in musical interpretation The paradigm shift we face at the beginning of the 21st century owes its existence principally to the fact that the non-historical orientated style of interpretation redolent of the second half of the 20th century has itself become historic. We may therefore conclude that the historically informed methods of interpretation that followed will lose as a consequence their ‘historic’ character, in that they no longer compete against accepted contemporary interpretation practice, since they have now been accepted as the norm. Authenticity is no longer a historical specialty. The use of the specialist term historical interpretation practice therefore becomes unnecessary, because it now describes a method of musical interpretation represented by a majority.

Biography Harald Vogel is recognized as a leading authority on the interpretation of North German organ music. As the director of the North German Organ Academy, which he founded in 1972, he teaches historical performance practice on the original instruments. Since 1994, he has held a professorship at the Hochschule für Künste in Bremen. Harald Vogel has led many master classes at conservatories and universities throughout the world, whereby he has influenced innumerable organists and organ builders. As Superintendent of Church Music and organ advisor for the Reformed Church (until 2006) he has been responsible for a large number of historical organs in Northwest Germany. As an expert in organ building, he has been a consultant for many organ building projects, including restorations and new organs. Among Harald Vogel’s many recordings are those on historical instruments made for Radio Bremen between 1961 and 1975. These recordings today have particular value as historical documentations. Harald Vogel’s publications include Orgeln in Niedersachsen (Organs in Lower Saxony) and Orgellandschaft Ostfriesland (The Organ Region of East Frisia). He has edited the Tabulatura nova by S. Scheidt, the keyboard works by J.P. Sweelinck, the organ works by N. Bruhns and V. Luebeck (Breitkopf). He received an honorary doctorate in 2008 from Luleå University of Technology (Sweden).

AEC Early Music Platform Bremen 2012

Elam Rotem Student of MA Thorough Bass and MA Historical Improvisation Schola Cantorum Basiliensis [email protected]

Authentic basso continuo for the Italian early 17th century Through deep investigation of Emilio de' Cavalieri's unique notation of Basso-continuo in his Rappresenatione di Anima e di Corpo (Rome, 1600) and related sources, many practical conclusions are revealed concerning the performance practice of the Basso-Continuo. These include not only general ideas about the performance practice but also accurate keyboard realizations, which are very rare and precious source in this field. This information compliments the sometimes vague and insufficient descriptions from contemporary treatises on the subject, and may be used as a basis for the knowledge of Basso- continuo and music theory not only for Cavalieri's music, but for the early 17th century Italian dramatic music in general.

Biography Elam Rotem was born in Israel, and he is a Harpsichord player, composer, and bass singer. He studied harpsichord at the Jerusalem music academy with David Shemer, and went on to specialize in historical performance practice at the Schola Cantorum Basiliensis, Switzerland. In 2010 he finished with distinction his specialized master studies in Basso-continuo under Jesper Christensen. Nowadays Rotem continues his studies at the Schola in the fields of improvisation, composition and Organ; his main focus is on the vocal and instrumental music of the 16th and 17th centuries. Rotem is the founder of the vocal Ensemble Profeti della Quinta, in which he sings and serves as musical director. The ensemble won the early music competition in York 2011. In addition, Rotem performs regularly as a harpsichord player and as a singer all over Europe.

Kelly Landerkin and Agniezska Budzinska- Bennett Project Aquitaine, Schola Cantorum Basiliensis [email protected] [email protected]

A New Approach to a New Song: The Reception of Nova Cantica We would like to take a look at the reception of a few examples of the Aquitanian Nova Cantica repertoire of the 11th and 12th centuries by musicologists and performers. How has the music been approached throughout the relatively short history of Nova Cantica research and performance, and where do we stand today in our understanding of aesthetics and authenticity in this repertoire? Our project’s work on this topic shows that a close interaction between researchers and performers is of vital importance to a deeper understanding of the musical style.

AEC Early Music Platform Bremen 2012

Biography Kelly Landerkin After completing her musical studies (Vocal Performance, Music Theory and Performance Practice) in Hawaii and Bloomington, Kelly Landerkin came to Switzerland as a Fulbright scholar to continue her training in medieval music. She focused her studies at the Schola Cantorum Basiliensis and the University of Basel’s Musicology Institute, and later received her advanced pedagogical diploma from the Hochschule für Musik und Theater in Zurich. As a soloist and ensemble singer Kelly concertizes throughout Europe and in North America, and her recordings have been critically acclaimed by such magazines as Fonoforum, Diapason and Goldberg. As a member of ensemble Peregrina she won the Echo Klassik Prize for “Filia Praeclara”, and is looking forward to the 2012 releases of “Sacer Nidus” and “Veiled Desires – Chanson de nonne”. After a decade on the voice faculties of the Konservatorium Winterthur and the Zürcher Hochschule der Künste, Kelly Landerkin returned to the Schola Cantorum Basiliensis where she is a member of the SNF research project “Aquitaine” and docent for Gregorian Chant and Liturgical Monophony.

Biography Agnieszka Budzińska-Bennett Agnieszka Budzińska-Bennett studierte zuerst Klavier (Konservatorium Stettin) und Musikwissenschaften (Universität Posen), wo sie vor kurzem promovierte (Doktortitel 2010). 2001 schloss sie Gesangsaufbaustudium an der Schola Cantorum Basiliensis ab (u.a. mit D. Vellard und R. Levitt), danach vertiefte sie ihr Wissen an der Uni Basel (Musikwissenschaft und Nordische Philologie). In 2011 schloss sie ein weiteres Gesangsstudium an der SCB ab (Master in Advanced Vocal Ensemble Studies mit A. Rooley und E. Tubb). Sie ist Leiterin des Basler Ensemble Peregrina spezialisiert in Vokalmusik des Mittelalters – die vier CDs des Ensembles haben zahlreiche internationale Auszeichnungen bekommen, u.a. den begehrten ECHO-KLASSIK 2009 für beste a capella Einspielung des Jahres. 2003 debütierte sie in Doppelrolle als Amor/Valletto in Monteverdis L’incoronazione di Poppea am Theater Basel mit Barockorchester La Cetra unter der Leitung von K. Junghänel. Als Solistin oder in Kammerbesetzungen konzertierte Agnieszka Budzinska-Bennett in ganzer Europa und in China. Zu ihren Aktivitäten gehören auch Vorträge und Kurse zur Musik des Mittelalters z.B. an der SCB, an der Posen Universität und Hochschule für Musik in Leipzig. Seit 2011 gehört sie zur Forschungsabteilung der Schola Cantorum Basiliensis (SNF-Förderung zur Forschung der aquitanischen Musik des 12. Jahrhundert).

AEC Early Music Platform Bremen 2012

Greta Haenen Hochschule für Kunste Bremen, Early Music Department [email protected] Photographer: Marten Root

Stylish interpretation« kills the idea of »refreshing authenticity Students expect us to be expert in the field we are teaching. They want to get informed properly, not according to »fashionable performance modes«. We have to take our students and their questions seriously. »Stylish interpretation« is one of the traps (as is the cross-over fashion) we should avoid. Our duty is to confront our students with as much of »original practice« as possible. Here musicology and practice have to go hand in hand to be able to inform the student: every project has musicology in it. Only when there is a constant »feeding«, one will more aptly decide about performing and will avoid the traps of fashions in performing. The main subject teacher is the most important instance to inspire students to question what they are doing. Playing or singing technique is taught before the students have the tools to decide about historical facts or non-facts. Musicology can help to avoid musical dogma, before it ends up being »truth« – which prevents the student to question us. We do not and cannot teach »truth«, we are not ethically better because we do the »right« thing with early music. It is my belief that dogma can only be fought against if our students are informed far beyond music and music history itself. Only if the students can get hold of complete information (»what does it need to get more insight in the historical place of a given music?«) they can decide for themselves. An open mind is less apt to fall into the traps of dogma and will be able to take free decisions. Market pragmatism will be something students have to deal with – when they are prepared to challenge this. But they will only be prepared to do so, when we give them the opportunity to challenge us and to find their own way, beyond our beliefs and truths.

Biography Greta Haenen studied musicology and Oriental Studies at the Katholieke Universiteit Leuven and graduated as MA with a thesis on the tempo in the music of the Baroque. As a fellow of the Belgian State, she moved to Salzburg for a post-graduate study in theory and practice of Early Music at the University of Music and Performing Arts (Mozarteum, class of Prof. Nikolaus Harnoncourt). In 1983 she finished her doctorate at the University of Leuven summa cum laude with a thesis on the vibrato of the 17th and 18th Century (published as a revised version, titled The Vibrato in Baroque Music, Graz 1988, 2nd edition 2006). Since 1991 she is a professor of musicology at the Academy for Early Music in Bremen. Since the integration of this institute in the School of the Arts Bremen in 1994, she is a professor of musicology with a focus on early music at the music department at the University of Arts. Several publications in the field of early Music performance followed. The last publication: Deutsche Violintechnik im 17. Jahrhundert. Ein Handbuch zur Aufführungspraxis, Graz 2006. Greta Haenen is Head of the Research Institute Academy of Early Music at the University of Arts Bremen.

AEC Early Music Platform Bremen 2012

Anne Pustlauk Koninklijk Conservatorium Brussels [email protected]

How, as teachers, can we transmit knowledge within a spirit of free thought (should our students be imitating or challenging us)? At the beginning of my studies I only wanted one thing: to imitate my teacher. And why not? He is a fantastic musician! Whereas at the end of my studies I tried to challenge him in every lesson. And why not? He is a fantastic musician, but... Why did my attitude change during my studies? What is the point of a teacher? Why do students need a teacher? What does a student expect of his teacher at the commencement of their studies? What would a student be expecting at their closure? And what is the teacher expecting of the student? Am I looking to teach my students in the same way that my teacher taught me? In my experience, a student needs a guide who is aware of their inherent capabilities and who leads them to develop into a free thinking and independent musician. As a teacher I would transmit different kinds of knowledge: technical, musical and theoretical. In my opinion, not every aspect can be transmitted within the spirit of free thought - in certain circumstances too many choices can easily lead to confusion. As there is no prescription for the perfect teacher or the perfect student, just as there is more than one truth about the perfect way of teaching, I can only report from my own experience as both student and teacher in order to begin answering these complex questions.

Biography I studied the modern flute (artistic and pedagogic study) with Prof. Renate Greiss-Armin at the Musikhochschule Karlsruhe. After my studies of the modern flute I went to Brussels to study traverso with Dr. Barthold Kuijken at the Koninklijk Conservatorium Brussel (Bachelor and Master). I finished all studies with distinction. I was awarded prizes in several international competitions (Freundeskreiswettbewerb der Musikhochschule Karlsruhe 2005, Internationaler Telemann Wettbewerb 2009, Van Wassenaer Concours Utrecht 2009). I gave my first master class at the Tchaikovsky Conservatory Moscow in February 2011. A master class at the Musikhochschule Karlsruhe will follow in June 2012. In October 2011 I began artistic Doctoral research on the keyed flute, its repertoire and performance practice at the Vrije Universiteit Brussel. I currently assist Barthold Kuijken and Frank Theuns at the Koninklijk Conservatorium Brussel.

AEC Early Music Platform Bremen 2012

Speakers Panel Discussion

Marieke Spaans Hochschule für Musik Trossingen [email protected]

Marieke Spaans was born in Amsterdam in 1972 and has played the harpsichord since she was eight years old without having made the ‘detour’ by playing or studying modern piano. Last student of Gustav Leonhardt, in 1997 she received her Concert and Teaching diplomas, after five years of study with this grand master of the harpsichord. Coming from this school of harpsichord playing, the keys to her performances are a refined and dynamic touch, historical awareness and respect for the composer and his intensions. She received important impulses from Lars- Ulrik Mortensen and Jesper Christensen. Besides her harpsichord studies she studied organ and church music with Hans van Nieuwkoop and Wolfgang Zerer. She was granted a scholarship of the “Fonds voor de Podiumkunsten Nederland” to pursue her studies on fortepiano with Arthur Schoonderwoerd. She was prize-winner at several renowned competitions, in 1997 at the harpsichord competition of NDR Hamburg, in 2000 at the Musica Antiqua Competition of the Flanders Festival in Bruges and at the Competition “Premio Bonporti” in Rovereto. Marieke Spaans performs in Europe as soloist and as an ensemble musician, performing opera- and oratorio-productions with such conductors as Wieland Kuijken, Paul McCreesh, Nicholas McGegan and Jan Willem de Vriend, as well as partner of the outstanding violinists John Holloway and Anton Steck. Her recording of W.A.Mozart's opus 1 together with Anton Steck received many rewards of the press (f.ex. "an absolute discografical highlight!" – www.klassik.com) Marieke Spaans is Professor for Historical Keyboard Instruments at the Institute for Early Music of the Staatliche Hochschule für Musik in Trossingen (Germany). Before her appointment in Germany she taught at the Conservatories of Amsterdam (1994-2000) and Rotterdam (1997- 2000). She teaches regularly at courses all over Europe.

Antoinette Lohmann Utrecht Conservatorium of Music [email protected]

Antoinette Lohmann (Amsterdam, 1969) studied the violin with Jean Louis Stuurop , the viola with Esther van Stralen and baroque violin with Lucy van Dael at the Amsterdam Conservatory. She also followed courses with Jaap Schröder, among others. Antoinette has always been active in varied musical areas and her experience includes Argentinian tango, salon music, folk music and contemporary music. Currently her repertoire stretches from the early seventeenth century to the 21st century, but always on period instruments. She has a special interest in performance on unusual instruments

AEC Early Music Platform Bremen 2012

such as the viola d' amore, the tenor violin and the viola pomposa. Since a few years she's also been an advocate of performing contemporary compositions for early instruments. She performed compositions by Dutch composers such as Tsoupaki, Tarenskeen, Kadar. Recently she was on tour with the well-known South-African composer and baroque cellist Hans Huyssen to perform his music written for an audio book, Eistau (based on a novel by Ilija Trojananov). In recent years she has focussed primarily on chamber music. Together with pianist Vaughan Schlepp she recorded the complete sonatas for piano and violin by Joseph Martin Kraus (1756- 1792) and Margarethe Danzi for Challenge Records. For Slot Zuylen Antoinette recorded a CD featuring chamber music of Belle van Zuylen (Isabelle de Charrière) and, for the series ‘Museum gifts’, a CD featuring Dutch music of the early baroque. In 2008 Antoinette founded her own group, Furor Musicus. Two CD's of this group were released recently; a CD with transcriptions of works by J.S.Bach, among them Antoinette's reconstruction of a Bach viola concerto and an early version of the b minor suite for strings (Edition Lilac), and a recording of the violin sonatas opus 1 by the dutch composer Jacob Nozeman (1693-1745) (Nederlands Muziek Instituut). Both CD's were received with great international acclaim. She has also made numerous recordings with chamber music groups including the Nederlandse Bachvereniging (formerly Cappella Figuralis), Ensemble Schönbrunn and island. In addition Antoinette has performed in many orchestras and ensembles. Currently she's playing a lot with the New Trinity Baroque Orchestra, Ensemble Schönbrunn and la Sfera Armoniosa. Antoinette teaches principal study Baroque violin, viola and historical documentation at the Utrecht Conservatorium of Music and is giving master classes at the Escola Superior de Artes Aplicadas in Castel Branco, Portugal. Since September 2008 she has been visiting South-Africa regularly to give concerts and, most of all, to teach in order to support the development of a historical performance movement. Antoinette is the happy owner of a baroque violin made by the Flemish maker Snoeck. The violin is made around 1700 and is still in its original set up.

AEC Early Music Platform Bremen 2012

Practical Information

Relevant Addresses Please have a look at the map for the locations of the conference venue and the restaurants in the programme.

Conference venue Hochschule für Künste Bremen, Akademie für alte Musik Dechanatstrasse 13-15 28195 Bremen Tel.: +49 (0) 421 95 95 15 09

Dinner Friday - Atlantic Grand Hotel Bredenstraße 2 28195 Bremen Tel.: +49 (0) 421 620 620

Concert Saturday Town Hall Am Markt 21 28195 Bremen Tel.: +49 (0) 421 36 16 132

Hotels Please have a look at the map for the locations of the hotels.

Atlantic Grand Hotel Bremen Ibis Hotel Bremen Altstadt Bredenstraße 2 Faulenstraße 45 28195 Bremen 28195 Bremen Tel.: +49 (0) 421 620 620 Tel.: +49 (0) 421 304 80

Best Western Hotel Schaper Siedenburg Ibis Hotel Bremen Centrum Bahnhofstraße 8 Rembertiring 51 28195 Bremen 28203 Bremen Tel.: +49 (0) 421 369 70 Tel.: +49 (0) 421 308 70

Hilton Hotel Bremen Ramada Übersee Hotel Bremen Böttcherstraße 2 Wachtstraße 27-29 28195 Bremen 28195 Bremen Tel.: +49 (0) 421 369 60 Tel.: +49 (0) 421 360 10

Star Inn Hotel Bremen Columbus Bahnhofsplatz 5-7 28195 Bremen Tel.: +49 (0) 421 301 20

AEC Early Music Platform Bremen 2012

Travel information

Bremen Airport Public Transportation: Tram No. 6 to the city centre directly;

Taxis cost about 10 euros to the city centre and also to the hotels.

Train Station Trams No. 4 or 6 to the city center. It takes approximately 5 minutes. The costs for a oneway ticket are 2,25€ per person.

Some of the proposed hotels are nearby the station.

Computer Facilities

Wireless internet: Eduroam

Eduroam is available in the whole building and there is no password needed. There are two computers with internet, which you can use, in the Foyer (ground floor).

AEC Early Music Platform Bremen 2012

A F Hochschule für Künste Bremen, Ibis Hotel Bremen Centrum Akademie für alte Musik Rembertiring 51 Dechanatstrasse 13-15

B G Hilton Hotel Bremen Best Western Hotel Schaper Siedenburg Böttcherstraße 2 Bahnhofstraße 8

C H Ramada Übersee Hotel Bremen Star Inn Hotel Bremen Columbus Wachtstraße 27-29 Bahnhofsplatz 5-7

D I Atlantic Grand Hotel Bremen Bremen Hbf Station Bredenstraße 2 Bahnhofsplatz 15

E J Town Hall Ibis Hotel Bremen Altstadt Am Markt 21 Faulenstraße 45

AEC Early Music Platform Bremen 2012

Restaurants

Beck's in'n Snoor Schnoor 34/36 28195 Bremen Telephone: +49 (0) 421 323130 www.becks-im-schnoor.de

Kaffeehaus & Restaurant CLASSICO Am Markt 17 28195 Bremen Tel.: +49 (0) 421 178 46 94 www.classico-bremen.de

Bremer Ratskeller Am Markt 28195 Bremen Tel.: +49 (0) 421 321676 www.ratskeller-bremen.de

Pastaria im Schnoor Am Landherrnamt 5 28195 Bremen Tel.: +49 (0) 421 3365761 www.pastaria-im-schnoor.de

Senats-Stuben Tiefer 8 28195 Bremen Tel.: +49 (0) 421 2441900 www.senats-stuben.de

Kleiner Olymp Hinter der Holzpforte 20 28195 Bremen Tel.: +49 (0) 421 326667 www.kleiner-olymp.de

L'Oliva Böttcherstraße 2 28195 Bremen Tel.: +49 (0) 421 36960 www.restaurantloliva.com

AEC Early Music Platform Bremen 2012

Information fee payment EMP 2012 Bremen

Amount of the registration fee In a new policy for the AEC, we are introducing a two-tier registration fee, with an ‘earlybird’ rate for those who register and supply their conference registration fee before the given deadline. The date of payment is considered to be the date when the payment was authorised by the participant or his/her institution, as confirmed on the order of payment.

The actual conference fee depends on your date of registration and payment:

Fee Policy EMP Meeting

If the registration and If the registration and Type of participant payment is made up to 1 payment is made April 2012 after 1 April 2012

Representative of AEC member €110 €130 institution

Representative of non-member €150 €175 institution

Student from AEC member institution €75 €90

Student from a non-AEC institution €100 €120 (proof of student status required)

Bank details for payments Bank details AEC: Address bank: Account number: 58.67.62.779 Deutsche Bank Utrecht PO Box 2089 IBAN: NL86ABNA0586762779 3500 GB Utrecht The Netherlands SWIFT/BIC Code: ABNANL2A

When making the transfer, please clearly quote:

 the name of your institution  the last name of the participant  the code of the event (EMP 2012)

Example: Gotham Conservatory, Smith, EMP 2012

N.B.: please note that some banking systems still show ABN AMRO as our bank. This is because ABN AMRO recently merged with Deutsche Bank and some systems are not updated yet. Therefore, please proceed with the payment even if ABN AMRO is shown instead of Deutsche Bank.

AEC Early Music Platform Bremen 2012