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.
On the 'Day of Artistic Research' the four Flemish conservatories and the Orpheus Institute reflect on the state of affairs in artistic research in music in Flanders.
|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”?
From found objects to violins and pianos, transistors to global networks, music is rooted in its technologies. Instrument design, musical invention and performance are deeply intertwined. This workshop will explore understanding, building, repurposing, expanding and integrating technologies in contemporary music performance.