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.
2016-2017 marks the twentieth anniversary of the Orpheus Institute. We will celebrate this occasion with forty-eight hours of music, discussion and festivity to take place in Ghent from the afternoon of Sunday 13 November to the morning of Tuesday 15, 2016.
On Sunday evening we have the official opening concert of Orpheus’ 20 years jubilee.
Tiziano Manca’s composition You Shall Not Turn is premiered as part of a programme of vocal and technological music. This special concert also includes the premiere of Nicolas Collins’ Speak, Memory and closes with a rare performance of Post-prae-ludium per Donau by Luigi Nono.
|Four men plan their weekly get-together to read through a number of string quartets. There’s special excitement: through their regular subscription at the music store, they’ve managed to rent the new and popular printed parts for Joseph Haydn’s newest opus.
A well-to-do lady invites two male string players for her weekly musical matinée. A copy of Haydn’s piano trios has graced the piano’s desk for weeks. She now looks forward to the pleasure of accompaniment.
Margaret Faultless, Ellie Nimeroski, Rachel Stroud (violins)
Elisabeth Le Guin (cello)
Tom Beghin (fortepiano)
Can we experience Haydn’s chamber music in ways that challenge today’s conventional concert protocols? To what extent should historically informed performance also embrace historical social practice? Is there such a thing as “Socially Informed Performance”?
These questions inform a new Orpheus workshop on Haydn’s string quartets and piano trios, as part of the Research Cluster, Declassifying the Classics. In counterpoint to the broadness of this field of inquiry, we offer two concrete décors for experimentation: one is suggested by an antique quadruple, foldable music stand, to be positioned on any table, around which the string quartet members convene; the other is a late-eighteenth-century drawing of a female keyboardist flanked by two string-playing men, together playing a Haydn piano trio. What communicative qualities of Haydn’s chamber musicking will the choreographies that unfold around these two décors reveal? Can they survive on the modern performance stage and/or should they help us redefine—as performers and listeners—what constitutes a “successful performance”?
Tonight's music is thought as a series of anamorphic glances at sound objects coming from the early baroque. The original pieces are not reproduced – what would be the task of traditional music performers; they are generators of an impingement that, acting on the musical interiority of the performers by means of total exteriority, raises to a dimension of autonomy from both piece and musicians. The result is the sonic delineation of the potentialized encounter between work and performer: “an excluded middle, prior to the distinction between activity and passivity: affect” (Massumi). Part of the larger doctoral project Shadows from the Empty Center, the performance is aimed at proposing a new figure of musical performer that escapes the position of redundancy engendered by the traditional identitarian relationship between work and interpreter.
A multilayered performance with as starting point 'the musical idea' like Arnold Schoenberg.
A recital by Tom Beghin (Orpheus Institute) & Andrew Willis (University of North Carolina, Greensboro)
The Deleuzabelli Variationsx is a series of concert-performances based on processes of assemblage developed by Paulo de Assis and his team in the framework of the artistic research project MusicExperiment21 (ME21).
For the fourth Research café, Antwerp’s Royal Conservatoire will be hosting the Portuguese pianist and researcher Paulo De Assis for an innovative and highly individual version of Beethoven’s Diabelli Variations. He plays many of the 33 variations on the piano and the contemporary composers Paolo Galli, Bart Vanhecke, Tiziano Manca and Juan Parra Cancino have written adaptations for chamber ensemble.
Unique concert experiences demand for unique artists with a dream and a vision. The renowned Belgian pianist Jan Michiels has developed his “unperformable” four-and-a-half-hour programme Ascolta! because he believes in the power, in the difficulty, and in the happiness of listening. But where can such an unconventional piano solo recital be performed?
On October 3, 2012 – during the ORCIM Research Festival 2012 - Luk Vaes will present the efforts of his ongoing research project ‘ To Perform Mauricio Kagel’s Tactil and Unter Strom: Some experiences in having put historically experimental music to the test’.