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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.
The philosophy of Gilles Deleuze and its resonating discourses have become increasingly relevant to the field of Artistic Research, and Deleuze is now a key reference for many artist-researchers engaging with knowledge across artistic, academic and non-academic fields of practice. DARE 2015: The Dark Precursor was the first conference attempting to trace the encounter between artistic research and Deleuze’s world. The Second International Conference on Deleuze and Artistic Research, DARE 2017: Aberrant Nuptials, continues that mapping, readdressing the question ‘How can communication occur between heterogeneous systems?’ through the associated concepts of ‘aberrant nuptials’ and ‘zone of indeterminacy’.
In recent years, HIP research of later repertoire has become increasingly interested in the value of old recordings. Strangely, these documents often testify to performance practice techniques that seem to be at odds with the instructions or preferences found in the methods and other written documents by the very performers who made the recordings. As a consequence, there has been a tendency to doubt the reliability of written sources in general, a particularly frightening proposition when one considers that for performers who died before the early 20th century, written sources form a large part of the only performance practice evidence that exists.
This presentation will contend that written sources have more validity than we realize, especially when we examine them less literally, but take into consideration the context and above all, the tone of voice which the author expresses his ideas. By comparing the writings and the recordings of specific performers from the late 19th and early 20th centuries, it becomes evident that in some cases, the written document may even shed more light on the musical and performance preferences of that artist. This analysis can also therefore give us guidelines for how to read the words on performance instructions from musicians who did not leave us acoustical recordings.
Unieke première van Inside The Hearing Machine, een documentaire over Beethovens hoormachine. Dat evenement dient tegelijk als de feestelijke lancering van een nieuwe CD met dezelfde titel, met uitvoeringen van Beethovens pianosonates opus 109, 110 en 111 door pianist en artistiek onderzoeker Tom Beghin.
In het kader van OdeGand, Gent Festival van Vlaanderen
Altijd al benieuwd geweest hoe het voelt om deel uit te maken van een groot orkest? Neem plaats in deze 360 graden installatie en kruip in de huid van de verschillende muzikanten van een symfonisch orkest. Kom als eerste een knap staaltje virtual reality ontdekken!