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ACADEMY 2010

 

INTERNATIONAL ORPHEUS ACADEMY  FOR MUSIC AND THEORY 2010

"... ohne Worte, Vocality and Instrumentality in the era of Schumann and Chopin"

Mo 29 March through Thu April 1, 2010

 

 

 


The year 2010 saw Orpheus Institute's eighth edition of its "International Orpheus Academy for Music Theory". This year's theme was "... ohne Worte, Vocality and Instrumentality in the era of Schumann and Chopin".

In commemoration of the 200th anniversary of Chopin and Schumann's birth, the theme for the Orpheus Academy 2010 was linked to a generation of composers (Chopin, Schumann, Mendelssohn) who played an important role in the development of music as an autonomous art form. In their artistry and aesthetic endeavours, they explored new and emancipated forms of musical expression against the background of a rich functional and textocentric past. Understanding and expressing the relation between instrumental and vocal musical thinking challenges both scholars and musicians.

True to our tradition, a carefully selected guest faculty took on this challenge and developped new ideas for a newly inspired artistic practice:

 

 

Prof. Jean-Pierre Bartoli, Prof. Hubert Mossburger, Prof. Douglass Seaton, Prof. Edoardo Torbianelli


  • Prof. Jean-Pierre BARTOLI
    Professeur des Universités, UFR de Musique et musicologie de Paris-Sorbonne, France -
    intitulé du poste: "Musique des XVIIIe et XIXe siècles"

    1. Vocal Patterns in the Themes of Berlioz's instrumental Music
    2.  Vocal Images in the Fantasy for piano until Chopin's and Liszt's Time (co-presentation with Jeanne Roudet)

  • Dr. Jeanne ROUDET
    Maître de conférences à l'Université Paris-Sorbonne, France

    1.     Frédéric Chopin, Clara Schumann and the Singing Piano School
    2. Vocal Images in the Fantasy for piano until Chopin's and Liszt's Time (co-presentation with Jean-Pierre Bartoli) 
     
  • Prof. Hubert MOSSBURGER
    Professor Music Theory at the Hochschule für Künste Bremen, Germany

    1. the "Inner Voice" and the "Deep Combinatorial".
    Robert Schumann's approach to romantic polyphony.
    2. Robert Schumann's poetic paraphrases: analytical implications.

  • Prof. Douglass SEATON
    Warren D. Allen Professor of Music at The Florida State University, U.S.A.

    1. Plot and narrative in Mendelssohn's chamber music for strings and piano - I
    2. Plot and narrative in Mendelssohn's chamber music for strings and piano - II

  • Prof. Edoardo TORBIANELLI

    Schola Cantorum Basiliensis (Hochschule für Alte Musik - Basel), Switzerland
    Hochschule der Künste Bern, Switzerland (Research Project "Le Guide-Mains")

    Playing with images: character and emotion in the age of romanticism


     

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