TU D ConservaTory M anD nd ublin Guitar SympoSium · 2019-02-15 · composition in memory of Jana Obrovska proved fully capable of stirring emotions at the other end of the scale.

22-23 FEBRUARY 2019GRANGEGORMAN CAMPUS - DUBLIN

2nd Dublin GuitarSympoSium

theme: back to the Future

TU DUblin ConservaToryof MUsiC anD DraMa

Conference Committee Eoin Flood (Conference Chair)

Marco Ramelli (Programme Chair)

Morgan Buckley

Kerry Houston

Matthew Mazanek

www.dublinguitarsymposium.com

CORDE D’AUTUNNO

FESTIVAL INTERNAZIONALEMILANO|CREMONA

TU Dublin Conservatory of Music and Drama Guitar Symposium 2019 Welcome note for brochure

Céad míle fáilte róimh go léir!

Dear Colleagues and Visitors,

As we say in Ireland, “one hundred, thousand welcomes to you all!” TU Dublin Conservatory of Music and Drama is delighted to host the 2nd Dublin Guitar Symposium in our new campus in Grangegorman. We welcome conference delegates and performers from all over the world to Dublin for these three days of events in homage to the guitar!

The theme of this second symposium “Back to the Future” is a particularly prescient one at this point in time, resonating on many different levels in all of our lives. As we celebrate the guitar through its music, instruments, performers and research, we cannot do so without having with one eye on its past and the path that it has led to this moment and what is to come. Here in TU Dublin we are Ireland’s first Technological University as of January 2019, a birth that emerged from three Institutes of Technology with their own distinguished traditions. As the former DIT campuses move towards the newer single Dublin city campus, we are travelling a historic path as our much beloved locations and schools gather their strengths as ‘one’ in Grangegorman. And as you walk around Grangegorman during these Symposium days, you will notice beautiful historic buildings that have been restored alongside brand new buildings – some, including the Conservatory’s new building beside the Clock Tower are still being built – demonstrating visually and vividly the connection between the past, present and future.

It is in this context, in this moment, that we take these days to share our ideas, stretch our minds and ears and reflect on all things guitar. I would like to thank the Conference Committee for all their incredible work in preparation for the Symposium, in particular its Chair Eoin Flood and Program Director and TU Dublin Guitar Lecturer Marco Ramelli. A very special thanks to our friends at the Italian Institute of Culture for their enthusiastic support of the Symposium. And especially I would like to thank all of the fantastic performers and symposium presenters for travelling to Dublin to share your artistry and research with us all.

Every good wish for a wonderful Symposium!

Dr. Orla McDonagh Head of School TU Dublin Conservatory of Music and Drama

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PROGRAMMA

Friday 22 Febraury 2019 1:30pm - Recital - Antigoni Goni St. Laurence’s Church

Atanas Ourkouzounov 4 Greek miniatures **

1. Pleading Song, 2. Joyous Love Song, 3. Lament, 4. Leaping Dance

Dusan Bogdanovic Hymn to the Muse** Hymn to the Muse (after Mesomedes) First Delphic Hymn t o Apollo (first fragment) First Delphic Hymn to Apollo (second fragment)

Second Delphic Hymn to Apollo Hymn to Nemesis (after Mesomedes) Epitaph to Seikilos

Manos Hadjidakis Giokonda’s smile ** (Arr. Tulio Peramo) Returning in an evening Mikis Theodorakis Epitafios

Mera Magiou (A day in May) Edises, asteri mou (You have set, my star) Universally praised for her profound artistic sensitivity, her exquisite sound and for her unmatched palette of colors and dynamics, the Greek guitarist Antigoni Goni is internationally acclaimed as a true ambassador of the guitar and a sought-after pedagogue. Her career blossomed in the mid 90s after winning the Guitar Foundation of America Competition, which resulted in some 65 concerts in North America and a contract with Naxos Records. Since then she performed virtually everywhere, in concert halls such as the Concertgebouw in Amsterdam, the Covent Garden and the Wigmore Hall in London, the Odeon of Herodes Atticus in Acropolis (Athens) as well as the Philharmonic and the Cappella Sale in St. Petersburg, the Bolshoi Theater in Moscow, and Weill Recital Hall in Carnegie Hall in New york to mention just a few. Her highly successful recordings for Naxos, Koch, and Timespan records have been praised for being "expressively poetic and technically exciting" and have been received with great enthusiasm by the international musical community. Her last CD “Hymn to the Muse” is a collection of original works and transcriptions directly inspired by Greek culture and heritage and as Italian Magazine DOT Guitar states “an exceptional recording which confirms without doubt Antigoni Goni as one of the greatest performers of the guitar on the world stage.” She is the founder of the Guitar Department at the Pre-College Division of Juilliard School of Music of New York where she also taught for 10 years. Since 2005 Antigoni Goni has been Professor of Guitar at the Royal Conservatory in Brussels (Koninklijk Conservatorium Brussel) and a member of its Artistic Committee. In April 2015, the Royal Conservatory named her “Professor of the year” making her the youngest professor ever presented with the “Madame de la Hault” prize, awarded by the Brussels Royal Conservatory’s “Patrimonium”. She is the creator of The Brussels Guitar Laboratory (a collaboration with the research department of the Royal Conservatory of Brussels) and the founder and artistic director of “the Volterra Project, Summer Guitar Institute”. An innovative Classical Guitar workshop that since 2007 and for every summer gathers in Tuscany (Italy) international students and professionals of the highest caliber for ten days of intense study and inspired performances.] Antigoni Goni records on a 1989 José Romanillos and performs on a 2012 Andrea Tacchi Guitar.

Friday 22 February 2019 7:30pm – Pavel Steidl National Concert Hall

Johann Kaspar Mertz (1806-1856) Liebeslied, Romanze, Mazurka , Lied ohne worte Luigi Legnani (1790-1877) Capricci Nicolo Paganini (1782-1840) Sonate, Ghiribizzi (Selection) Giulio Regondi (1822-1872) Two Etudes Phillip Houghton (1954-2017) Ophelia ...a haunted sonata Mauro Giuliani (1781-1829) Rossiniana nº1 op.199 Pavel Steidl ‘And you go to Ithica too’ / Hommage a Jana Obrovska

After winning first prize at the 1982 International Guitar Competition of Radio France in Paris, Steidl began his career as a professional musician. “Here was a guitarist who knew how to laugh with the music and share the joke with his audience. But behind the entertainer lies a serious artist, whose extended composition in memory of Jana Obrovska proved fully capable of stirring emotions at the other end of the scale. Never was a standing ovation more richly deserved. Pavel Steidl had won the hearts and minds of a capacity crowd.” (Classical Guitar Magazine)

Since he won first prize at the Radio France International Competition in Paris in 1982, he has become one of the most widely celebrated soloists of his generation. Among the members of the jury were such artists as Alexandre Tansman, Antonio Lauro and Maria Luisa Anido. Before that he studied with such guitarist as Milan Zelenka and Štěpán Rak in Prague. In 1987 he decided to emigrate to the Netherlands where after years of studying and getting inspiration from many different artists he has created his own style which is not ignoring authentic way of interpretation 19th-century guitar literature on periodic instruments and going far to some world music elements. Pavel Steidl also composes himself and his own compositions are often played on his concerts. He played in more than 40 countries of the world from among Canada, USA, China, India, Japan, Europe, South and Central America and many others. On demand of Italian Guitar Magazine GuitArt, the readers decided to choose him as a guitar player of the year 2004 . Pavel Steidl plays many instruments, but mainly Francisco Simplicio (1926) and Franz Butcher (2008), romantic guitar: copies of J.G.Stauffer guitar made by B.Kresse and original instrument from the beginning of the 19th century Nikolaus G.Ries cca. 1830 In his teaching, Pavel’s approach is encouraging but subtle. For, as he says, “the teacher is not allowed to say everything. […] I let them play one piece. Each note twice, one staccato, one tenuto, to show what you can do. The possibilities: that’s what I like very much. I don’t like to write piano, forte, tenuto. I don’t like metronomes.” Steidl is known for using overtone singing in some works, such as Domeniconi’s Hommage à Jimi Hendrix, op. 52. This concert appears as part of the Spring Guitar Series, curated by the NCH and Redmond O’Toole, and is presented in association with Dublin Guitar Symposium/TU Dublin Conservatory of Music and Drama and the Italian Cultural Institute. For tickets: https://www.nch.ie

KEYNOTE SPEAKERS Steve Goss (University of Surrey) The Guitar and the Politics of Nostalgia: the mutability of history through an Arcadian retrotopia

According to Newsweek (Mudde, 12.15.16), the politics of nostalgia dominated 2016 and led, in part, to the election of Donald Trump in the US and the Brexit vote in the UK. ‘From Nigel Farage’s “We want our country back” in the British EU referendum to Donald Trump’s “Make America Great Again” in the US presidential elections, the emphasis was on a glorious past, sold as the blueprint of a magnificent future.’ The writings of Eco (2002), Boym (2002), Hatherley (2017), Riley (2009), and many others, point to an epidemic of nostalgia in many aspects of today’s culture and society – a yearning for a ‘return’ to a comfortable Arcadian retrotopia.

I shall argue that, through its 20th (and 21st) Century history and repertoire, the guitar has become an emblem for nostalgia – where tradition comes before innovation: heritage before culture. Through a cursory examination of some of the cornerstones of the guitar’s 20th Century repertoire, the topic of nostalgia seems omnipresent – Rodrigo’s Concierto de Aranjuez, Britten’s Nocturnal, all the guitar works of Ponce, Falla’s Homenaje.

Was Andrés Segovia more interested in making a past for the guitar rather than a future? Did he fabricate a tradition – a chimera of transcriptions and pastiche compositions – to emulate the thoroughbred Classical traditions of other instruments (particularly voice, piano, violin, and cello)? Has this conservative, nostalgic approach been consolidated by subsequent generations of performers and composers? Are we guilty of promoting a nostalgia for a golden age that never existed? Is the entire guitar repertoire built on fakes and forgeries? Perhaps it’s time to interrogate the guitar’s tradition and re-evaluate its historical positioning.

“Remembrance of things past is not necessarily the remembrance of things as they were.” Marcel Proust

“Stephen Goss draws on a variety of sources for his eminently listenable music. Despite the eclectic nature of his influences, Goss’s musical language comes across as brilliantly integrated.” - International Record Review

Stephen Goss’s music receives hundreds of performances worldwide each year. It has been recorded on over 80 CDs by more than a dozen record labels, including EMI, Decca, Telarc, Virgin Classics, Naxos, and Deutsche Grammophon. His output embraces multiple genres: orchestral and choral works, chamber music, and solo pieces.

Goss’s work is marked by a fascination with time and place – both immediate and remote – and the musical styles that evoke them. In many of his compositions, contrasting styles are juxtaposed through abrupt changes of gear. His compositional voice is shaped by his parallel career as a guitarist – that is to say, as a performer, transcriber, arranger, improviser

and collaborator with other composers and performers. Not surprisingly, his music often tests the boundaries between all these activities and original composition.

Several of Goss’s recent projects have involved the legendary guitarist John Williams, including his Guitar Concerto, which Williams recorded and played on tour with the Royal Philharmonic Orchestra. Some of the world’s leading orchestras to have performed his works include The Russian National Orchestra (under Mikhail Pletnev), The China National Symphony Orchestra, The Royal Liverpool Philharmonic Orchestra, The State Symphony Orchestra ‘New Russia’, The RTÉ National Symphony Orchestra, The Boulder Philharmonic Orchestra, The Scottish Chamber Orchestra, and The Barcelona Symphony Orchestra.

Commissions have come from guitarists David Russell, Miloš Karadaglić and Xuefei Yang (including chamber works with cellist Natalie Clein and tenor Ian Bostridge). Goss has also collaborated with Andrew Lloyd Webber, Alt-J, and Avi Avital. As a guitarist, he has worked with Takemitsu, Henze, Peter Maxwell Davies and Elliott Carter, and toured and recorded extensively with the Tetra Guitar Quartet, various other ensembles, and as a soloist.

Stephen Goss is Chair of Composition at the University of Surrey (UK), Director of the International Guitar Research Centre, and a Professor of Guitar at the Royal Academy of Music in London. He was born in Wales on 2nd February 1964. www.stephengoss.net

Mark Delpriora (Manhattan School of Music/The Juilliard school) Is History a Nightmare From Which We Are Trying to Awake or a Blessing in Disguise? The composer/performer and the dialogue with repertoire.

Since the institution of the concert recital as a cultural feature of musical life, performers have ventured into the field of composition and, consciously or unconsciously, incorporated their repertoire into original compositions. Since the time of Liszt, we see the very first concert programs organized as an historical retrospective. Liszt’ s programs included works of his contemporaries, near contemporaries as well as composers of the more or less distant past such as Bach, Scarlatti and Palestrina. Liszt was not shy to take these influences, assimilate them and allow them to speak naturally. The example of Liszt was taken up by whom I consider to be the model of the performer/composer: Ferrucio Busoni. In the guitar repertoire one can observe similar tendencies, albeit in miniature, in the work of Francisco Tárrega, Miguel Llobet and, by proxy, Andres Segovia via his stable of composers. Perhaps we can view the work of the performer/composer’s dialogue with repertoire along the continuum of transcription, arrangement, pastiche, paraphrase, variation, hommage, original work.

In current times, performers/composers of the classical guitar have been enriched and informed by an illustrious past and distinguished present. They have been educated in the finest Conservatories and Universities resulting in confident and refined works with a deep knowledge of the internal working and the mysteries of the guitar. Some have even skillfully negotiating the thicket of the potentially derivative “hommages á” (hommage being French for “rip-off” to quote the publisher Matanya Ophee) to write serious works. To some extent, the work of guitarist/composers have displaced somewhat the works of Britten, Tippett, Henze, Berkeley, Berio and Takemitsu in conservatory auditions and competitions.

In this presentation I will attempt to delineate my personal dialogue with the guitar repertoire as seen through my enthusiastic attempts at contributing something of value to guitar composition. As an instructor of survey courses on guitar literature at both the Manhattan School of Music and the Juilliard School, the repertoire is always kept fresh in mind, like cream in the refrigerator, and available for use. Whether the results are a nightmare or a blessing shall be determined.

Mark Delpriora enjoys a tripartite career as a composer, performer and educator. As a performer, Delpriora’s New York Debut was praised by the New York Times:

“The first notes of Mark Delpriora’s guitar recital established him as a musician of authority. In a little Mozart transcription by Julian Bream he showed a rare feeling for the specific gravity of a Mozartean phrase, for the inevitability of its rise and fall. Delpriora is a guitarist to be reckoned with”

He has recorded for Philips and Koch International Classic and has recorded more than a half-dozen CDs with flutist Laurel Zucker on Cantilena Records, including his “Sonata “Aubade”.

Delpriora’s travels have taken him throughout the United States and Canada, as well Italy, Brazil, Uruguay and Greece.

Delpriora is a faculty member of the guitar department Manhattan School of Music where he has served as Chair and Co-chair of the guitar department for many years. In addition, Delpriora is an instructor of guitar literature in the undergraduate department of the Juilliard School. Delpriora has taught masterclasses at the Eastman School of Music, Oberlin Conservatory, Chapman University Conservatory of Music, the Nakas Conservatory in Athens, Greece and at the Universidade Federal do Rio Grande do Sul in Porto Alegre, Brazil. Delpriora has contributed articles to the Guitar Review, Soundboard, NewMusicBox and the Brooklyn Daily Eagle and has served as thesis advisor to close to a dozen Doctoral theses at the Manhattan School of Music.

As a composer his works have been performed all over the world and have been published by Editions Orphee, Bèrben Edizioni Musical and Mel Bay. He has been commissioned by Stanley Yates, Cristiano Porqueddu, Duo Ahlert & Schwab, Duo Scarlatti, Hibernian Guitar Duo, Damien Lancelle and Paulo Martelli and has dedicated major works to his friends Angelo Gilardino and Carlos Barbosa-Lima. Delpriora’s work “Variations on a Theme by Sor” was chosen as the set piece for the 2011 Guitar Foundation of America Competition.

THEME: BACK TO THE FUTURE

Expanding on the success of the inaugural Dublin Guitar Symposium 2017, this event will gather some of the most distinguished and highly regarded scholars and musicians of the classical guitar.

Over the past twenty years or so an explosion in classical guitar research has been gradually redressing the balance for what James Tyler described as a ‘neglected’ instrument. It is now understood that musical practices, and to some extent the study of musical practices, of the classical guitar are technically, aesthetically and culturally mediated by the instrument. The theme of the Dublin Guitar Symposium examines this interface across a broad range of musical activities and perspectives.

This conference presents the most important recent trends in classical guitar research broadly divided into two areas: contemporary and historical perspectives. The first broaches issues such as performance studies, organology and the compositional process; the second examines such critical areas as repertoire stylism, improvisation and performance practice, and so forth.

GUITAR EXHIBITION - Curator: Gabriele Lodi

Gennaro Fabbricatore, Naples 1802 René Francoise Lacoté, Paris 1824

Anton George Stauffer, Vien 1840 Luis Panormo, London 1836

The exhibition features four rare guitars that show the differences in construction in the various European capitals. The most represented luthiers of the nineteenth century have been chosen for this exhibition. Each guitar has different organological and sound characteristics that shows the great variety of approaches in the nineteenth guitar construction. In his lecture, Gabriele will explore the relationship between most important makers and composers of the classical guitar romantic time in the main European artistic capitals.

Biography: Gabriele Lodi, son of Maurizio, started to work as guitar maker in the workshop at an early age and developed his own style over the years. Studying the old Spanish guitar construction throughout extensive restoration works, he acquired a wide knowledge and understanding of the classical guitar. He worked side by side with his father and became intrigued by the historical instruments that would come in to the shop for repair. From 2005

the workshop become an important meeting point for collectors and musicians, his work as restorer is recognised worldwide. He began to study and to search out instruments from the 19th century and to develop his knowledge of the music and instruments of the romantic period. Gabriele has had the good fortune to completely restore many original Torres guitars in the last years. In 2017 he was the curator of “Antonio de Torres anniversary celebration” in 2017 in Cremona museum. From 2010 Gabriele is professor of "develop ad history of plectrum musical instruments" in the Ferrara Conservatory (Italy). Gabriele gave lectures in guitar festivals and University in Europe, U.S.A., China, Argentina and Japan. From 2018 he created, in collaboration with Marco Ramelli and Enrica Savigni, TouchTheSound project to support the new generation of players who want to approach historical instrument.

LECTURES/LECTURE-RECITALS

Jamie Akers (Royal Conservatoire of Scotland) Le Donne e la Chitarra The figure of Andrès Segovia (1893-1984) looms large over the modern history of the classical guitar. His dominance of all aspects of the instrument, its technique, repertoire and history, has created a Segovia centred mythology of the instrument. This has resulted in the neglect and ignorance of, even among performers and aficionados, the guitar’s historical repertoire and traditions. This lecture recital would explore, with particular reference to the music of 19th century women guitarist composers, the consequences of this mythology and its continued influence on modern performers.

Biography Critically acclaimed musician Jamie Akers was hailed as ‘the great Scottish guitarist’ by Classical Guitar Magazine and, in a review from Gramophone, his playing was described as, ‘containing all the warmth, colour and expressive richness one could hope for.’ Jamie has performed with leading artists, ensembles and opera companies including Alison Balsom, Dame Emma Kirkby, I Fagiolini, the Dunedin Consort, English National Opera, Shakespeare’s Globe Theatre and Damon Albarn and released solo recordings of lute and romantic guitar music. He lectures in period plucked instruments and performance practice at the Royal Conservatoire of Scotland. Throughout a varied career Jamie has explored music from a

stylistic perspective, combining diligent research with expressive playing, to communicate the continuity of musical expression through the centuries. www.jamieakers.com

Ioannis Andronoglou (University of Western Macedonia, Florina, Greece)

The inspirational role of the Greek musical tradition in the composition of classical guitar repertoire: From the compositional standarts of the modern Greek National Music School to a postmodern approach

According to Apostolos Kotsios, music facts should not be examined independently from the ongoing reality. The research challenge addressed lies in the relation between the Greek guitarists – composers and the Greek tradition, giving special attention to the loan of certain elements, either directly in the form of music themes, rhythms, techniques, or indirectly as traditional color schemed works. Hence, many scientific issues are raised with regards to the music aesthetical and historical context of the Greek guitarists who worked on this subject, the effect of international trends on their work as well as the level of synchronization with the international trends in guitar works composition. The main purpose of this report is to analyse specific works of Greek guitarists-composers by comparing them to the original traditional compositions. At a second stage, the analysis of the original material is placed in the historical and music aesthetic framework of the time the works composed, comparing them to the international guitar music events so that is will be fully acknowledged.

Biography

Ioannis Andronoglou holds a PhD in Musicology from the National and Kapodistrian University of Athens. He is considered, also, as one of the most prestigious Greek guitarists with international fame. The Italian Press characterized him as “Absolute master of his art” and the most important magazine for the guitar in USA, the “Soundboard” wrote for him: “Andronoglou is a flashy, passionate and powerful player and he takes chances”. Greek guitar soloist

from Giannitsa Pella. He began his studies in classic guitar in the Municipal Conservatory of his hometown. He accomplished his first recital as well as his first collaboration as soloist with Chamber Orchestra, at the age of 13. He is graduate of Mr.Valavanis guitar class (Guitar degree - Alexandrio Municipal Conservatory of Giannitsa) and Mr. Cotsiolis guitar class (Soloist diploma – New Conservatory of Thessaloniki). Also he holds Bachelor in Music and Art Science of University of Macedonia, master degree (Magister Artium-Gitarre) of University Mozarteum-Salzburg (Prof. Matthias Seidel, Mag.art. Marco Tamayo). In November 2017, he completes his doctoral theses which is focused on the evolution of the technique and the instruction of classical guitar in Greece, with the grade “Excellent” (supervisor: Prof. Markos Tsetsos, Faculty of Music Studies, National and Kapodistrian University of Athens). He was awarded in Hellenic and international guitar competitions and he has given numerous recitals, appearances in international festivals and associations with philharmonic orchestras in Greece and abroad, with fabulous reviews by music experts and Mass Media. Highlight of his career forms his participation as soloist, Professor and member of jury at the most prestigious Convention and Competition, worldwide, the Guitar Foundation of America which held in Columbus-Georgia (June July 2011). Martha Masters (President of the GFA), said about his performance: „We are very proud to have been able to expose your artistry to American audiences‟. In 2010 the record label Legend Classics releases his first album Travelling. From 2014, he cooperates as a recording artist with the Cretan Record label “Seistron- Aerakis Cretan musical Workshop”. His cooperation with „Seistron‟ is established with the republishing of his album Travelling with a bonus track and a printed edition of his works Mandilatos and Fantasia on a Thracian folksong. From 2015, he is a member of the Artistic Committee of the Volos International Guitar Festival as a recognition of his artistic achievements. He has tought guitar and Methodology of Research and Music as Public Discourse in Greek Universities. Nowadays, he is a lecturer at the University of Western Macedonia (GR).

Trevor Babb (Vassar College)

Checking Aural Baggage: Early Works for Solo Electric Guitar

Beginning in the 1960’s and 1970’s, avant-garde composers began writing concert music for the electric guitar. By this time, the instrument was already a mainstay in the sound worlds of jazz, blues, and rock ‘n roll. The instrument creates a double bind for avant-garde composers. On the one hand, the electric guitar is an attractive instrument for these composers being capable of new and unconventional sounds. On the other hand, many of the sounds the electric guitar produces are strong signifiers of the popular music genres in which it is often played and the cultural values that accompany those genres. This lecture-recital will serve as a brief survey of some of the first pieces written for solo electric guitar and explore how composers eschew or embrace the popular musical sounds and cultural signifiers associated with the instrument.

Inabriefsurveyoffiveworks–MortonFeldman’sT hePossibilityofaNewWorkForElectricGuitar (1966), Arne Nordheim’s Partita II (1969), Malcolm Fox’s Time and Motion Study No. 1 (1969), Pelle Gudmundsen-Holmgreen’s Solo for El-Guitar (1972), and John Zorn’s Book of Heads (1978) – this presentation will explore how performance practice, interactive electronics, instrumental modifications, and improvisation can embrace or reject the electric guitar’s association with popular music, challenge the cultural norms of performance and reception of music in the concert hall, and establish a new instrumental vocabulary for concert music.

Biography

American guitarist/composer, Trevor Babb, is a versatile and adventurous musician based in New Haven, CT primarily devoted to music by living composers. He has collaborated with the New Hampshire Music Festival Orchestra, Hartford Independent Chamber Orchestra, Caution Tape Sound Collective, New England Chamber Players, Black House Collective, and Aeon Ensemble. A

passionate advocate of contemporary music, Trevor has given dozens of premiere performances of works by established and emerging composers. His debut recording on Innova Recordings, W armth , features several premiere recordings of works by emerging composers for multiple electric guitars. Mr. Babb studied at the Eastman School of Music (BM), Yale School of Music (MM, MMA, DMA) and the Haute École de Musique de Genève in Geneva, Switzerland under the support of a Fulbright Scholarship. He is currently an Adjunct Artist Instructor in the Music Department at Vassar College.

Jeremy Bass (Universidad Complutense de Madrid)

Contemporary Classical Guitar Music in Spain: a Survey

The guitar is central to Spanish musical culture, and Spanish music is at the core of the classical guitar repertoire. Yet outside of Spain, Spanish composers younger than the generation of Antón García Abril, Luis de Pablo, and Cristóbal Halffter remain relatively unknown. As a Fulbright Scholar and classical guitarist based in Madrid, I have been studying the current landscape of Spanish classical music, with the goal of promoting the guitar music of living composers through performance, recording, and research. My work builds upon Adam Levin’s important series of commissions and recordings, with a special focus on chamber music. Vital to this project has been my ongoing collaboration with David del Puerto, and my more recent encounters with Del Puerto’s contemporaries Jesús Torres and Jesús Rueda. These three composers, all born in the 1960s and based in Madrid, have developed personal styles that demonstrate an evolution away from the work of their teachers Francisco Guerrero and Luis de Pablo. My objective in this paper is to provide a general overview of current trends in Spain with regard to composition for the classical guitar. Touching upon representative composers, performers, and works, I will account for regional and generational differences, as well as responses in Spain to broader global trends in classical composition, such as the rise in prominence of female composers, the transgression of barriers of musical genre and artistic discipline, and the effects of communication and audiovisual technologies.

Biography

Classical guitarist Jeremy Bass (Albuquerque, 1983) is an avid proponent of new music, and equally enjoys exploring the guitar’s rich historical literature. He is committed to the performance of contemporary chamber music. Recent activity in this area includes: a recording of Juan Trigos’s Guitar Quartet, and performances of Girolamo Deraco’s 4midable4, Ricardo Zohn’s Sones de tierra fría, Harold Meltzer’s Brion, Marc Yeats’s Shapeshifter, and Helmut Lachenmann’s Salut für Caudwell. He is the dedicatee of works by David del Puerto, Luca Cori, Juan Trigos, and John Hedger. Jeremy has performed with the Atlanta Symphony Orchestra, the Peoria Symphony Orchestra, and the Lexington Chamber Orchestra. He been a fellow at SoundSCAPE and Nief-Norf, and a guest with Alia Musica Pittsburgh and CCM’s Cafe MoMus. His principal teachers have been Dieter Hennings, Andrew Zohn, and Rafael Scarfullery. He holds graduate degrees from the University of Kentucky (DMA) and Columbus State University (MM). Jeremy is a 2018-2019 Fulbright Scholar Grantee for the research and performance of contemporary Spanish guitar music in collaboration with UCM musicologists Belén Pérez Castillo and Javier Suárez Pajares. His recording “David del Puerto: Guitar Sonatas, Volume 1,” represents the first phase of this ambitious project.

Piotr Bąk (Academy of Performing Arts, Prague) Bohemian Baroque lute music as a source for new guitar transcriptions I would like to propose a lecture focused on Baroque lute music written in Bohemia at the turn of 17th and 18th century. This repertoire, nowadays virtually forgotten, could be a great source for new baroque music transcriptions – due to artistic quality and sheer number of compositions available. Lecture consists of 3 parts. First, I will discuss the very idea of performing baroque lute music on a modern instrument – and if it still makes sense nowadays, when historically informed performances take more and more important role in our musical life. In the second part, I will introduce 7 Czech lute composers and reflect on their works and historical background. In the third part, I will speak about various technical aspects of transcription-making. I particular am going to: - explain the basics of the French lute tablature notation - show real-life examples of the tablatures and advise how to deal with illegible/otherwise difficult fragments - discuss various technical aspects of arrangement-making, such as key selection, use of scordaturas, harmony changes/fulfilments, instrument resonance, etc. - point out how and where to look for the source material - present the Attendees educational materials – helpful should they wish to start to work on their own arrangements. Biography Piotr is a classical guitarist from Poland. From 2008 until 2013 I studied at the Ignacy Jan Paderewski’s Academy of Music in Poznań, in the class of Professor Piotr Zaleski. Since 2016 I continue my development at the Academy of Performing Arts in Prague, where I study with Maestro Pavel Steidl.

I took part in more than 20 guitar festivals and competitions around Europe, few times making the way to semi-finals (Vienna 2011, Liechtenstein 2011, Kutna Hora 2013) or finals (Linares 2014) of such events. During post-graduate studies with Pavel Steidl I also conducted two-year Project focused on lute Baroque music written in Prague and other parts of Bohemia at the turn of 17th and 18th century. My initiative won financial support of the International Visegrad Fund. In addition to playing the guitar I also published articles on guitar repertoire in biggest polish classical guitar quarterly - Sześć Strun Świata.

Adam Cullen/Darren Loughran (DCU/ Independent)

A Performer-Composer Divided: composing as both a guitarist and a non-guitarist

The composition process for a new guitar piece confers unique advantages and disadvantages on the work, depending on whether the composer plays the instrument or not. For example, there are compositional serendipities when the guitarist-composer makes a happy mistake on the instrument and adopts it into the composition, and there are technical serendipities where the non-guitarist composer writes passages that expand on the instrumental technique in ways that appear novel, even to the innovative performer-composer. What then of the work of a composer who is a former-guitarist and unable to play the instrument any longer? Is it possible to benefit from some of the advantages normally reserved exclusively for either of the above camps? Fifteen years ago, I was forced to give up playing the guitar due to practice-related injuries. Since then I retreated from the instrument entirely, not even listening to the repertoire any more. However, circumstances recently arose which compelled me to embrace the guitar and the repertoire once more. This lecture-recital talks through the composition process of writing a new work for guitar. It describes how I took advantage of my inhibited ability to play the instrument as a starting point before composing most of the work at the computer. The lecture demonstrates how that hybrid approach to composing, as both a guitarist and a non-guitarist, reaped various unexpected advantages, while also leaving things open for collaborative discoveries with the performer.

Biography

Adam Cullen is a competition-winning Irish composer & writer. He is active as a composer for media and live ensembles. His work has been performed in Ireland, Germany, and the United States and his soundtracks for short films have travelled extensively. He was awarded the North Kildare Film Commission to write, produce, direct, and compose the music for an animated film entitled Talker. It is scheduled for release in early 2017. In 2016 he was awarded a bursary by Screen Training Ireland to study film music in Bulgaria with esteemed Hollywood Composer Christopher Young.

Leonardo de Marchi (Independent)

New boundaries of ten-string guitar literature: “Rosso fuoco” by G. Colombo Taccani and “Studio III” by S. Alessandretti

The ten-string guitar, far from being a mere expansion of the traditional guitar, is an instrument with a well-defined sound identity. It’s the result of the collaboration between the luthier José Ramirez III, the composer Maurice Ohana and the prominent virtuoso Narciso Yepes, whose success was inextricably bound up with the new instrument. In the last decades, however, the limited diffusion of the ten- string guitar among the interpreters and the lack of original pieces – with the exception of few well-known composers – led the instrument to an undeserved oblivion.

Recently the ten-string guitar has been again in the spotlight thanks to the contribution of ten Italian composers: they have been involved in a research project which came into existence in the context of my Master Degree in Guitar performance at ISSM Franco Vittadini (Pavia, Italy) and eventually resulted in a monograph. My lecture will focus on two pieces belonging to this project, namely Rosso fuoco by Giorgio Colombo Taccani (1960) and Studio III by Stefano Alessandretti (1980). They have been chosen because they represent two aspects of the underlying work, i.e. continuity with the historical repertoire of the ten-string guitar and quest for a new idiomaticity.

I will stress the connections between “Rosso fuoco” and “Y después” by Bruno Maderna, showing how Colombo Taccani develops Maderna’s material and brings it again to life. The analysis of “Studio III” aims conversely to depict Alessandretti’s investigation into the nature of guitar gesture, which results in a challenging idiomaticity and in thought-provoking semiographic solutions.

Biography

After graduating cum laude in Venice, Novara and Pavia, Leonardo De Marchi devoted himself mainly to contemporary guitar music. He engaged in the study of ten-string guitar by playing its historical repertoire and prompting several composers to write for it. He has collaborated with musicians like Carlo Boccadoro, Sauro Berti, Aleksander Gabrys, Fabrizio Paoletti and Corrado Rojac. His discography includes "Bach & Haydn for two guitars" (DotGuitar), "Aurelio Samorì - Contrasti sonori" (with Cromatico Ensemble, Z-Best) and “Enantiosemie” (clarinet and guitar duo, Da Vinci Classics). He worked as editor on many contemporary works for and with guitar, among which "Dedica 2015" by Giacomo Manzoni (RAI Com). He holds a degree in German and Slavic studies with honours and is also

musicologist. He’s author of an essay about "Y después" by Bruno Maderna (published by "Il Fronimo" in 2016) and his first book, "Nuovi orizzonti per la chitarra a dieci corde", will be published in November 2018 by Viator.

Brinsley Doran (TU Dublin)

J.K. Mertz’s Bardenklänge in Context

Having experience a large increase in concert activity in recent years, one would assume that the works of Johann Kaspar Mertz (1806–1856) would experience the same level of attention within academic circles, however research is still limited. As a result, I have set out to understand what makes Mertz's works so attractive and found that many of his works are particularly unique in conception, or at least in comparison with other guitar works of the time. This is most notable in Mertz's set of character pieces, Bardenklänge, op. 13. This paper will address shifts in culture, aesthetics and the increasing interest in the “folk” c1800 that led to the composition of Bardenklänge. Published in 1847, these works are unique in their romantic style, with few guitar works from the time fitting the mould of character music. The works draw

inspiration from Macpherson's Ossian, Goethe's Willheim Meister, and many common poetic themes being explored by artists at the time such a love, longing, children, nature, and the supernatural. Connection to Mertz's piano contemporaries within these works is quite evident, particularly the likes of Schumann, Mendelssohn, Liszt, and to a lesser degree, Schubert. These connections will be discussed under the context of Mertz's adaptation of a romantic style for guitar. Following from an understanding of the contextual background, this paper will highlight some literary, stylistic and compositional devices within Bardenklänge that Mertz employs to compose in a uniquely romantic style for guitar.

Biography

Having originally been involved with rock and blues style guitar throughout school, Brinsley shifted his focus towards classical guitar and subsequently enrolled in the BMus programme at TU Conservatory of Music and Drama under the tutelage of Leslie Cassidy. He graduated from the Conservatory with an Honours Degree in Instrumental Pedagogy and Performance. After completing his BMus, Brinsley continued his performance studies with Dr John Feeley. In 2017 Brinsley decided to undertake an M.Phil in Music at TU Dublin Conservatory of Music and Drama in which he is

currently exploring the music of nineteenth-century guitarist and composer Johann Kaspar Mertz. Having written his undergraduate thesis on Mertz’s romantic style for guitar, Brinsley’s fascination with Mertz led him to further explore romantic ideas within his works, specifically in his op. 13 set of character pieces, Bardenklänge. Brinsley’s findings were recently disseminated at the 2018 International Guitar Forum in Hong Kong, in which he provided a contextual presentation on some of Mertz’s character pieces.

Yiannis Efstathopoulos (Royal Conservatory of Brussels/Instituto Cervantes)

The Spanish modernistic repertoire of 1930s: Performing issues between historical context and modern interpretations

In the rich historical context of the Spanish avant-garde of the 1920s the guitar would face its renaissance, representing an icon that would connect the Spanish Golden age with the modernism and finally becoming what Adolfo Salazar would describe as “universal- nationalism”. Several composers, after Manuel de Falla and his work ̈Homenaje para la tumba de Debussy ̈ (1920), would write for guitar for the first time and try to create a new repertoire. That would be challenging for the instrument not only technically, but also aesthetically as they approached the modern tendencies of Europe, going beyond the “romantic” works of the guitarists so far. How would this “new repertoire” respond to the guitar performance practice of that period and how can we relate it to the modern approaches? My research endeavors to explore those works for the first time based on both historical sources and applied research on period instruments and strings. With an approach better defined as “historically inspired” rather than “historically informed”, the academic research of the proposed repertoire has analyzed the main guitar figures of that time, such as Regino Sainz de la Maza, in terms of aesthetic, instrumentation and performance practice. Based on that idea, in depth exploration of authentic period instruments has been an essential part of this project, with the primary focus being the famous guitar-maker Santos Hernandez.

The results of that research will be presented on the form of a lecture-recital, performing representative works of the so-called “Generation ’27” on historical instrument and gut strings.

Biography

Greek guitarist Yiannis Efstathopoulos (Dráma, 1987) graduated from the University of Makedonia-Music Science and Arts, State Conservatory of Thessaloniki, Academia Chigiana and Royal Conservatory of Brussels. Winner of several competitions, he has perfromed in Greece, Italy, Spain, Belgium and the Netherlands in concert halls such as Palais des Beaux Arts, Flagey(Brussels), Palacio Chigi(Siena), Seu Vella(Lleida)

and Megaron Concert Hall(Thessaloniki). In addition he has collaborated with groups such as “Balkan project” in Brussels, “Omicron Ensemble” in Athens and “Lira Orfeo Miguel Llobet” in Barcelona. Apart from his performer activity, Yiannis is a Phd candidate of the Free University of Brussels and his doctoral research analyzes the Spanish guitar music of “Generation 27’. His lecture-recitals bring in light forgotten Spanish works and have been presented in major guitar conferences and published in international magazines. Since 2014 he works as an assistant in the Royal Conservatory of Brussels and in the Spanish “Instituto Cervantes”.

Erik Gibelyou (Eastman School of Music: University of Rochester)

The Passacaglia and Chaconne in 17th-Century Guitar Music

This paper looks at the origins and development of the passacaglia in 17th-century guitar music. The research draws upon primary sources to show first, this improvisatory genre’s initial association with the guitar, and second, the development of increasingly complex forms, from short preludes and simple chord progressions to independent variation sets, as well as changes in playing style form rasgueado to punteado. Standard harmonic progressions, rhythmic structures, melodic figurations, and the use of ostinato are shown predominantly in the works of Gaspar Sanz, as well as others. Distinguishing features in guitar passacaglias are shown to be possible origins for similar characteristics in non-guitar passacagli by Frescobaldi and Buxtehude, and in later compositions for modern guitar. A live performance demonstrates how the standard features of the passacaglia facilitate improvisation as well as serving as tools for teaching counterpoint, harmony, voice-leading, and figured bass.

Biography

Erik Gibelyou is an active performer and a dedicated scholar and teacher. He was a featured performer at the Michigan Classical Guitar Workshop, where he also presented a paper on Hans Werner Henze’s Drei Tentos. Erik is a faculty member at the Kanack School of Musical Artistry in Rochester, New York. He serves as Director of Outreach for OSSIA New Music, a student-run organization at the

Eastman School of Music, where he earned a Performer’s Certificate and is currently a candidate for the Doctor of Musical Arts degree. As a teaching assistant, Erik has taught music theory, the History and Literature of the Guitar, and Intro to Classical Guitar. At Eastman, Erik studies with Nicholas Goluses. He earned his MM in Guitar Performance and MA in Music Theory at the University of Wisconsin–Madison. Erik studied with Brad DeRoche as an undergraduate at Saginaw Valley State University.

Alan Grundy (Independent) This lecture-recital discusses several original compositions. These works were composed specifically for the solo classical guitar and are a collection of ‘Tone Poems’ inspired by poetry and art from both Ireland and Spain and events in Irish history. Preceding the performance of each work I will give detailed information of their inspiration, compositional process, my use of standard / unconventional techniques and some anecdotal information. Programme: The Old Guitarist / La Guitarra, The Wayfarer, A Terrible Beauty is Born, Lament for an Irish Mother, The Millennium Mirror, Reactions.

Biography

Alan is one of Ireland’s most renowned guitar teachers and he has now been teaching guitar professionally for over 40 years. He has given many recitals throughout Ireland – most notably performances being – Ireland’s Tribute to Segovia – a concert held at the Hugh Lane Gallery to mark the centenary of the maestro’s birth. At this concert Alan performed the world premiere of ‘Homage to Segovia’ a sonata written by Donal Hurley and dedicated to Alan. Reviewing the concert for the Irish Times, Douglas Sealy wrote “….Alan Grundy played with extraordinary precision and coolness” - and Lindsay Sedgwick (Irish Press) “…. The

audience cheered loudly which is hardly behaviour expected of a classical audience”. European premieres of this work followed with performances by Alan in – Rome, Paris, and Budapest. Alan also performed the 20th century premiere of several 19th century works which he found in the archives of the Royal Irish Academy of Music. These compositions by Eulenstein, Hortesky, Nuske, Pratten and Hudelston had been lost to the guitar repertoire for over 120 years. The performance was once again at the Hugh Lane Gallery and also marked the launch of Alan’s CD –Premiere Recordings from the19th and 20th Centuries. Representing Ireland at the Budapest Spring Festival and A Sense of Ireland Festival in Istanbul, Alan performed these works together with his own compositions The Old Guitarist and The Millennium Mirror also featured on the CD. Alan gave recitals for five consecutive years in the Dublin Guitar Week hosted by Instituto Cervantes. Ex-director Javier Odriozola wrote – “He recreates Spanish music for guitar with verve and passion. His mastery of the guitar and his communication skills make a great impact on the audience”. Alan has broadcast on RTÉ radio and television and hosted two programmes on the life of Segovia for RTÉ lyric fm. He has also performed concerti, in particular with the RTÉ Concert Orchestra at the National Concert Hall, his performance being broadcast live nation-wide on radio. Alan received a publishing contract with Lathkill Music Publishers, Chesterfield, England and his work Baroque Partita was published in 2006. To date Alan has composed/arranged over 150 works.

David Harvey (Independent)

Found in translation: principles and poetics of arranging for guitar

In Le Ton Beau de Marot Douglas Hofstadter presents a collaborative tour-de-force of poetic translation. Hofstadter and his collaborators produced renderings of a brief lyric by the Renaissance French poet Clément Marot: these show how making conscious decisions about what to retain, and what to transform, can lead to both rich illumination of the original and compelling pieces of art in their own right. Rereading this recently led me to think about the principles I adopt when I translate music from its original instrumental setting to the guitar. This short talk will take examples from transcriptions of familiar pieces to understand the choices that their arrangers made to arrive at their versions. Based largely on some of the many guitar versions of Albéniz’s piano works, we’ll look at the remarkable persistence of some of the choices early arrangers made. I will propose some principles for editing and presenting transcriptions, and will finish by considering, in the light of the ways composers and performers have adapted other works throughout history, whether the time is right to broaden our view of the practice of arrangement.

Biography David Harvey studied guitar with Gordon Crosskey and Carlos Bonell. He is a graduate of the University of Oxford, completing a D.Phil in 1986 on the music of Elliott Carter while teaching at Oxford and lecturing at the University of Reading. Since then he’s combined performing, composing and arranging for guitar with a career in technology, notably as CTO of Sibelius Software, Vyclone (social video startup) and Tido (platform for music publishing and engagement).

Andy Jurik (University of North Carolina Asheville:Western Carolina University)

Embracing Organized Chaos: Reviving Improvisation on the Classical Guitar

Improvisation, once a highly regarded skill in the Western art music tradition, gradually fell out of favor beginning in the 19th century. Due to factors including changing aesthetic preferences, increasing complexity of harmonic language, and shifting cultural views, the act of “spontaneous composition” went from prized skill to passé activity. The early/mid 20th did little to change this; aside from early music specialists and the chance-orientated improvisation of aleatoric music, improvisation lay dormant within the classical tradition. However, towards the end of the 20th century/beginning of the 21st, the classical guitar world witnessed a resurgence in improvisation. Performers such as Dušan Bogdanović, Frederic Hand, Andrew York, and Ralph Towner wrote compositions and method books incorporating rhythmic, harmonic, and melodic improvisation. While still relatively niche within the spectrum of modern classical guitar, their efforts nonetheless represent a bold direction for the instrument, a turn primarily influenced by non-classical genres and renewed perspectives on performance. This paper will first examine how the guitar fell victim to the abolishment of improvisation. Subsequently, it will consider select modern guitarists and their efforts in reviving this practice through genre fusion and modern musical constructs. Additionally, it will propose what this revitalization of improvisation could mean for the guitar in practice and tradition. The possibility of contemporary improvisation on the classical guitar begs questions regarding modern performance practice, pedagogy, and concert programming; reviving this practice unquestionably offers striking new directions for the guitar’s repertoire and aesthetic.

Biography

Dr Andy Jurik focuses his academic and musical efforts towards exploring the intersections between art and popular music. He completed his DMA in guitar performance at the University of South Carolina where his research focused on the classical/jazz hybrid of third stream music. In 2017 he presented his research at the Guitar Foundation of America International Convention and Competition. His recent performances include Carnegie Mellon University, Brevard College, and the ASCAP-

award winning Southern Exposure concert series. His forthcoming debut album will feature his arrangements of Scottish lute songs, jazz standards, and works by Ernesto Nazareth, Mark Summer, and Radiohead. Dr Jurik currently teaches at the University of North Carolina Asheville and Western Carolina University and serves as co-director of the Asheville Classical Guitar Society.

Jack Kennedy (Waterford Institute of Technology)

Roland Dyens: Playing the Audience

Roland Dyens is renowned as one of the most influential classical guitarists of the 20th century, not only as a result of his substantial contribution to the repertoire, but also for his innovative methods of engaging audiences. Dyens adopts a multi-faceted approach to maximise his connection with the audience, encompassing everything from spontaneous programme changes, to repertoire selection, performance style, venue choice, and even his own appearance. Dyens abandoned the conventional idea of a programmed concert and instead would react to the atmosphere and audience reception in the moment, crafting the concert as a response to this. This is clearly a testament to his versatility as a performer, in addition to highlighting his empathy and recognition of the significance of audience inclusion. The incorporation of arrangements of popular and jazz music into his performances, thereby attracting a more diverse audience, further emphasises this point. His unique performance style has been lauded by critics, in particular his characteristic improvisation at the beginning of each concert. Dyens’ improvised Prelude served to create a sense of excitement and establish the unpredictable nature of the performance that followed. His concerts placed the audience at the heart of the event and their experience was his priority. This paper examines the methods employed by Dyens in his quest for maximum audience engagement, and the extent to which he goes in order to achieve this.

Biography

BA honours music student at Waterford Institute of Technology. 2018 Senior classical guitar Feis Ceoil winner. Winner of the Bridget Doolan Memorial Award for achievement in the musical life of Waterford Institute of Technology. Major in performance under the tutelage of Dr Michael O’Toole. My research is currently focused on contemporary classical guitar, specifically, Roland Dyens and his performance styles. My repertoire

contains many of Dyens contemporary compositions as this is any area which interests me through my own performances and my research.

Katalin Koltai (International Guitar Research Centre: University of Surrey)

Out of the canon, reaching out for Ravel, Bartók and Ligeti

My research focusses on expanding the boundaries of the idiom of the classical guitar through advanced arrangements, and collaborations with composers and theatre directors. An island in the field of classical music, the guitar’s repertoire inhabits a solitary poetic world. Barring a few original compositions by major composers of the classical canon, the original repertoire is composed by soi disant ‘guitarist composers’. I think of transcription for the guitar as a window of opportunity to link the instrument with music by other composers, join a wider musical circle, with prospects to develop new approaches to the instrument. Transcribing is a multidimensional praxis. The kind of compositional and philosophical issues that arose while transcribing piano music by Ravel were: transmitting the original essence; choreographing the new medium; exploring the resistance of the instrument: MauriceRavel: Oiseaux tristes (Miroirs) http://classicalguitarmagazine.com/video-pick-of-the-week-katalin-koltai-playsravels-haunting-oiseaux-tristes/ When transcribing I experiment with unusual scordaturas and special capodasters. I go on to show how the results of my work can alter the general character and language patterns of the instrument, as well as open new paths towards new music citing three examples: Béla Bartók: The Night’s Music (Out of Doors) György Ligeti: Musica ricercata movement 2

Biography

Katalin Koltai is a PhD researcher at the International Guitar Research Centre, University of Surrey since Fall 2018, focuses on guitar transcription and supervised by Prof. Steve Goss and Tom Armstrong. She gained degrees from the Budapest Ferenc Liszt Academy of Music, Royal Conservatory of Bruxelles, and the Conservatorium Maastricht, taught by József Eötvös, Antigoni Goni, Raphaella Smits, Carlo

Marchione, and José María Gallardo Del Rey.

An internationally acclaimed concert artist, soloist, and chamber musician, performing regularly with major orchestras and constant champion of contemporary music, creating interdisciplinary stage works and transcriptions, she records for North/South Recordings, Naxos, Hungaroton and Genuin. Her transcriptions from various musical eras have been published by Doblinger Austria, and received international critical acclaim, notably from Classical Guitar Magazine and Gendai Magazine.

Currently a FASS Scholarship Holder, she is a former fellow of the Dutch Cultural Ministry and winner of the Hungarian Junior Prima Prize. www.katalinkoltai.com

Anthony Lalena (Eastman School of Music: University of Rochester)

The Guitar in Negotiations of Spanish National Identity, 1920-1930

During the Spanish Silver Age (1898-1936) the very cultural and political foundations of the Spanish nation were challenged by a succession of unstable and contentious governments, regional factionalism, and a loss of empire that prompted philosophical debates over the essence of Spain. As intellectuals and politicians debated about Spain’s true essence, composers constructed their visions through historical retrospection, the use of folk music, and the adoption of foreign compositional techniques. During this era the guitar became an even more powerful symbol of Spanish identity as flamenco music and the classical guitar garnered international esteem; yet most musicological research on the Spanish Silver Age prioritizes issues of exoticism in the orchestral works of Manuel de Falla. As a result, there is a surprising lack of critical engagement with the guitar works of this era even though the instrument provides perhaps the most fruitful medium through which to musically analyze the complex negotiations of Spanish identity. This lecture-recital contextualizes musical aesthetics with the sociopolitical negotiations over Spanish national identity through a critical analysis of folkloric and avant-garde musical features in the first guitar works of prominent non-guitarist composers such as Adolfo Salazar, Rodolfo Halffter and others. The guitar functioned as an ideal medium through which to express Spanish identity precisely because of its ubiquity in Spanish culture. I argue that Spanish composers had to directly engage with the negotiations over national identity when writing their first pieces for such a volatile instrument in an equally volatile sociopolitical landscape.

Biography

Anthony LaLena holds a Bachelor of Music from The State University of New York at Fredonia and a Master of Music from the Manhattan School of Music in classical guitar performance. He is currently enrolled in both the DMA and PhD programmes at the Eastman School of Music in classical guitar performance and musicology, respectively. His research interests include music and politics in early 20th-century Spain, the aesthetics of fascism, and negotiations of national identity in music. Additionally, he

has conducted research on guitar history in the late 19th- and early 20th-century and the history and politics of flamenco performance. As an active guitarist and chamber musician he has performed at home in the United States, as well as in France, Spain and Germany.

Grégory Leclair (Independent)

Three compositions for two guitars by Pierre Boulez

Pierre Boulez included the guitar in several compositions, one of the most important and well-known being probably Le Marteau sans maître performed for the first time in 1955. There is thus no doubt that Boulez was interested by the guitar. However, we can notice that in his works the guitar is always used along other instruments, in a small or large ensemble. I could speak several times with Pierre Boulez between 2005 and 2014 and each time I asked him if he would agree that a particular composition would be played on the guitar. After several negative answers he finally agreed for three short pieces to be played on two guitars.

After presenting the use of the guitar in the compositions by Boulez I will explain how these three short compositions can be played on two guitars and finally play them for the audience.

Biography

Grégory Leclair began his training at the regional Conservatoire of Clermont-Ferrand, France, in the class of Jean-Pierre Billet. From 1993 he pursued his studies at the Conservatoire Supérieur de Paris-CNR with Pedro Ibanez. At the same time he completed his training at the University Paris – Sorbonne, the Schola Cantorum and at the Conservatoire National Supérieur de Musique de Paris (CNSMDP), by approaching fields as diverse as musical acoustics, improvisation with Alain Savouret, musical analysis and orchestration with Jacques Casterede and Alain

Louvier, and orchestral conducting with Nicolas Brochot. At the Ecole Normale de Musique de Paris (ENMP) he received a concert performer advanced training with the renowned teacher Alberto Ponce. Avid to meet high musical personalities he participated in numerous master-classes within of which he could benefit from advices of guitarists such as Roland Dyens, Pablo Marquez and David Tanenbaum, violinists Agustín León Ara, Jean-Jacques Kantorow and Ann Wallström (baroque violin), as well as of the lutenist and baroque guitarist Sven Åberg. In 2010 and 2012 he attended the Lucerne Festival Academy in orchestral conducting with Pierre Boulez. In 2002 and 2003 he received a grant from the Spanish Ministry of Culture to participate in the Curso Universitario International de Música Española de Santiago de Compostela with José Luis Rodrigo. In 2003 the French Ministry of Foreign Affairs and the Swedish Institute delivered him a grant to study at the Royal College of Music in Stockholm (Kungliga Musikhögskolan), Sweden, with Mats Bergström, and to approach more particularly the contemporary repertoire with Magnus Andersson. He afterward completed his training with Carlo Marchione at the Conservatorium Maastricht, Netherlands, and did a training course in pedagogy at the Conservatoire royal de Bruxelles. Grégory Leclair performs regularly in concert in numerous countries of Europe (Sweden, France, Germany, Italy, Spain, etc.), as well in soloist as in chamber music. In 2003 he was invited to share the poster with the pianist André Gorog, participated in Paris in the 5th Festival Musique du Coeur au Marais, performed at the Maison de l’Europe, as well as in the Carnavalet museum. In 2004 he appeared during the 2nd International Guitar Festival Nova Camerata dei Bardi in Italy. He performed in Brussels in 2009 as part of the Krejcí – Leclair Guitar Duo. His very complete musical training allows him to approach a repertoire which last from the renaissance to the contemporary music. He counts among his chamber music partners the cellist Mateusz Kwiatkowski, the flutists Di Feng (Shanghai Opera House Orchestra, Orchestre de Flûtes Français) and Isabelle Pierre (Opéra national de Paris). He collaborated with several composers including Michel Petrossian (Armenia, France). Grégory Leclair taught at the regional Conservatoire of Clermont-Ferrand from 1993 till 1998.

Luis Mantovani (Royal College of Music-London/CAPES-Brazil)

Identifying and realising romantic conventions in Ferdinand Rebay’s guitar music

After almost two decades since its rediscovery in the early 2000s, a performance tradition of the guitar music of Ferdinand Rebay (1880–1953) is gradually emerging. However, because Rebay comes from an Austro-German Romantic heritage in which the guitar has a marginal role, shaping this tradition presents special challenges nowadays. In my attempt to reconnect to Rebay’s music both as a scholar

and a guitarist, I established a methodology that departs from the musical text and arrives at a critically-informed performance. It involves understanding his meticulous notation, acknowledging the stylistic performance conventions that surrounded his Viennese environment (both general and guitaristic), and framing this information under my own concepts of instrumental playing. Along this process, I have encountered a few obvious Romantic traits in Rebay’s music which are not only justifiable from a stylistic point of view but are also explicitly suggested by his notation. They include prescribed vibrato, implied portamento, and most prominently, a recurring notation of arpeggiated chords. Since there are no surviving direct links to a contemporary practice of Rebay’s music besides a few annotated fingerings from his guitarists, I support my reasoning with historical information taken from methods and treatises, authors who dwelled on similar questions such as Brown and Peres da Costa, as well as recordings of musicians who were related to Rebay at some level, including Austria’s foremost guitarist, Luise Walker. I conclude the lecture-recital by illustrating how Rebay’s notation demands can be applied to performance in an informed way, playing the third movement of his Großes Duo in a-Moll with the NOVA Guitar Duo.

Biography

A winner of the Pro Musicis International Award (New York, 2001), Luiz Mantovani’s vast ensemble experience includes an eleven-year collaboration with Latin Grammy-winner Brazilian Guitar Quartet. In 2016 he founded the NOVA Guitar Duo with German guitarist Nelly von Alven, with whom he has recently released the album Sortilegios for the Stradivarius label and played a Weill Hall/Carnegie Hall debut. Luiz was the first guitarist to receive an Artist Diploma from the New England Conservatory in Boston, also holding a Master’s degree with honours from NEC and a Bachelor’s degree

from the Federal University of Rio de Janeiro. He is currently a CAPES-sponsored PhD candidate at the Royal College of Music in London, where he investigates the chamber music of Ferdinand Rebay. In addition to his performing career, Luiz has taught guitar and chamber music at the State University of Santa Catarina, in Florianópolis, Brazil, since 2003.

Luca Marrucci (Trinity College Dublin)

Music Education and Capability Approach: A study on an Agency-Oriented Guitar Lesson

How can we as professional musicians and educators find a balance between cultural traditions, teaching practice, beliefs and equality in music education? In this paper I present the findings from my PhD research, a practice-based, cross-cultural study conducted in Italy and Ireland (Winner of Best Practice Award 2018). The aim was to investigate the creative, critical- thinking, communicative and collaborative process in the one to one classical guitar lessons and guitar ensemble, at post-primary level. The practical fieldwork consisted in exploring a teaching practice which I define as ‘process music’. This approach does not see teaching music as reaching ‘pre-set outcomes’ in the classroom, but as a way to support students’ subjectivity and autonomy as indicators of capabilities. First, I point out some of the criticalities I see in contemporary music education. Second, I advance a paradigm shift based on the ‘Capability Approach’ framework that could help re- thinking both theory and practice in music education. Third, I reflect on findings from my PhD study which saw me designing, teaching and analysing my teaching music practice, as well as that of other teachers, with reference to the 4Cs (Communication, Collaboration, Creativity and Critical Thinking). Results point to ‘process music’ as an agency-oriented approach that was able to highlight the students’ uniqueness, risk taking and playfulness. I finish by highlighting the limitations and possibilities of contemporary

music teacher CPD, challenges for practitioners and the role of policies in the development of innovative teaching practices.

Biography

Musician and music teacher for over twenty years, Luca graduated in early classical guitar studies at the Conservatoire Casella (L’Aquila, Italy) in 2006. He holds a Master’s Degree in Music Education and has been a registered music teacher since 2011. In 2012 he was visiting lecturer (classical guitar) in the School of Arts Conservatory of Leuven (Belgium). He moved to Dublin in 2016 to join the Arts in Education Research Group (AERG) at Trinity College Dublin, as visiting Research Fellow and guest lecturer (M.Ed Music

Education). Last year he was awarded a PhD in Music Education (Honorable Mention for Best Practice Award, 2018). His doctoral fieldwork spanned across Italy and Ireland; it explores an innovative methodology to teach music through the Capability Approach – a paradigm that places agency, playfulness and autonomy at the heart of the curriculum. He has presented his research at several conferences, national and international (Belgium, Italy, Ireland, Spain, Portugal, UK, USA). As a professional musician he has performed extensively, both as a soloist and in chamber ensemble (with his Trio Rhapsody), as well as in festivals worldwide: String-139 Festival, Beijing; Festival delle due città, Treviso; International Guitar Festival, Campobasso; Six Ways, Turin; 15th International Guitar Festival, Siracusa; S.Pietro a Majella Conservatoire, Naples; Sala della Protomoteca, Campidoglio Palace, Rome. He published five CDs, including three world premiere recordings. He plays the Baroque Guitar and has published the recording Salmi per il vespro della Beata Vergine di Loreto, with Orchestra and the Choir Florilegium Musicae.

Samantha Muir (University of Surrey)

New Works for Classical Ukulele

My research addresses, and seeks to overcome, the challenges of creating and promoting a serious repertoire for an instrument widely regarded as a toy or comedy prop. In 2001 classical ukulele pioneer John King (1953-2009) released a CD of works by JS Bach arranged for ukulele proving that the ukulele is capable of playing complex music. While King’s work remains an inspiration for classical ukulele players, classical ukulele remains niche and unrecognised by the wider musical community. Since the ukulele only came into existence after 1879 it has no tradition within the oeuvre of classical music. Its technique and repertoire is largely borrowed from the classical guitar. Repertoire for classical ukulele has only been published since 2004 and includes arrangements of renaissance, baroque, classical and romantic works by composers including, Le Roy, Sanz, Sor, Carulli, Tarrega and Chopin. New Works for Classical Ukulele aims to create a portfolio of work, including arrangements, pedagogical material and compositions, which promotes the ukulele as a serious instrument, with the further aim of encouraging composers to write for classical ukulele. By developing a repertoire and pedagogy that is idiomatic and unique to the instrument and by disseminating the material through publications, recordings, presentations, websites and social media I aim to create a more thorough platform for classical ukulele. My lecture/recital will look at the processes and challenges involved in creating these works, and include performances of my own compositions and Meditations on a Small Scale by Dimitri van Halderen.

Biography

After completing a Bachelor of Arts Degree, majoring in English Literature, at the University of Sydney, Samantha studied classical guitar at the Royal College of Music with Carlos Bonell. On graduating she was awarded the Madeline Walton Guitar prize. Since graduating Samantha has taught and performed in Australia, Spain and the UK. Samantha is a leading exponent of classical ukulele and has a special interest in the forerunners of

the ukulele - the machete and rajão of Madeira. In 2018 she was invited the regional government of Madeira to record a CD of music for machete and guitar by Candido Drumond (fl.1840-1882). Samantha is currently doing a PhD at the University of Surrey with Professor Stephen Goss and Dr Milton Mermikides. She is a cohort member of the Consortium for Guitar Research, Sidney Sussex College, Cambridge. Her arrangements and compositions are published by Les Productions d’Oz and Schott.

Francesca Naibo (Independent)

Free improvising on the guitar – the art of the variable

Over the last half century many musicians ventured into free improvisation, a new approach to music through the absence of scores and pre-determined intentions, a deepening of listening, an expansion of the instrumental possibilities, the capability of taking decisions in the moment. This world is timidly coming in contact with classical guitar, a steadily traditional instrument that has often suffered from dynamic inferiority complex, which has made many guitarists choose instead the electric guitar for improvising. But what does it mean for classically trained guitarists to approach this new way of making music? In order to come closer to that, many issues need to be faced: a rediscovery of the instrument in its physical and sonic nature, a search for a personal musical voice (a way of expressing an artistic message), a deep study of extended techniques, a valid and personal use of the prepared guitar. The world of free improvisation is truly based on variables; it can be easily transposed into the image of the blank paper. This research reflects on the processes a guitarist can develop in order to orient and extricate himself, but also for creating analytic and performative approaches through such a considerable amount of changeability, profiting and drawing on the personal experience of the speaker.

Biography

Francesca Naibo, guitarist from Vittorio Veneto (Italy), studied in Venice, Milan, Bern and Basel, respectively with Florindo Baldissera, Andrea Dieci and Bruno Giuffredi, Elena Casoli, Fred Frith and Alfred Zimmerlin. Her studies focused her commitment to classical and contemporary music, improvisation and all the different conjugations of the guitar, from the classic, the electric, to the fretless and the pedal steel. She regularly performs

with various groups, like “Kreis” in duo with the guitarist Simone Massaron, and she realized the transcription of the “Exercises in Futility” by Marc Ribot (currently being published). Besides her

artistic activity, she's a passionate teacher at the I.C. “Franceschi” in Milan and, thanks to her studies in Architecture at the I.U.A.V. University in Venice, she has a keen interest in visual arts, photography and design. Since 2016 she's been ambassador for Schertler Group (Switzerland).

Fabrizio Nastari/Matilde Oppizzi/Giovanni Albini (Estonian Academy of Music and Theater, Tallinn/Independent/ Conservatory of Udine/Conservatory of Pavia)

Composing new with the old: musical stylometry as a means of composing new music for classical guitar

A common issue in composing new music for classical instruments is to convey novelty while complying with the technical and musical habits and expectations of the performers. In this connection, the aim of the present paper is to develop tools for composing new and idiomatic scores for classical guitar. This objective has been pursued by studying how methods of musical stylometry can be applied in the compositional process of new works for guitar and how such methods affect the musical output from the point of view of the performers. Stylometry is a discipline that determines authorship of literary works through the use of statistical analysis and, eventually, machine learning. Different approaches have been developed, employing some foundational ideas of literature stylometry adapted to the musical field. Thus, the authors studied musical characteristics of famous scores of the repertoire for guitar through the quantitative analysis of stylometric methods and, as composers, have applied and tested those quantitative data for the development of strategies for the composition of new works. The resulted scores have been then given to professional guitarists to be studied and performed. Therefore, the performers’ feedback to the scores have been collected through questionnaires, so to determine the similarities and differences between the original corpus of scores and the new compositions in terms of effectiveness of the strategies developed.

Biography

Fabrizio Nastari (b. 1990) is an Italian composer whose music is characterized by continuous rapid changes. He combines intuitive impulse and rational development using a broad spectrum of compositional techniques to create contrast or to seek cohabitation for different musical texture. Alongside the classical guitar and piano studies, he has studied composition, electroacoustic composition and Choral Conducting at the Conservatorio “Ottorino Respighi” di Latina. Now he’s enrolled in a Masters programme of composition under the supervision of Toivo Tulev and Helena Tulve at the Estonian Academy of Music and Theatre.

His music has been performed by important performer such as Livia Rado, Paolo Ravaglia, Quartetto Indaco, Prezioso String Quartet, unassisted fold etc. in important Festival in Europe such as “RavennaFestival”, “Estonian Music Days”, “HighScore Festival”, “Le forme del suono” and others. He took part in several masterclasses, seminars and workshops with many composers such as Helmut Lachenmann, Julia Wolfe, Michael Finnissy, Rebecca Saunders, Ivan Fedele and others. From 2019 he is production assistant in “HighScore Festival”. www.fabrizionastari.com

Biography Matilde Oppizzi (Italy, 1991) graduated with top marks at Conservatory of Pavia with M° Maurizio Preda. She also took part to several masterclasses and post graduate courses with great guitar players such as Sharon Isbin at Aspen Music Festival (CO), Carlo Marchione, Claudio Marcotulli, Aldo Minella and many others. She performed in many concert halls and theaters all over Italy, in Europe and in the USA, both as soloist and in

chamber music ensembles. She has been member of Kythara Consort – the first ever founded guitar orchestra in Italy – as first guitar and as soloist. With harpsichordist Riccardo Lorenzetti has founded Chordis Duo, that – thanks to many concerts and researches in the field – is becoming a reference ensemble for modern and contemporary music for guitar and harpsichord and is working on recording a complete collection of compositions for this ensemble. She has also taught in several public and private schools. In 2014 and 2015 she was Classical Guitar assistant teacher in Conservatory of Pavia. She held a conference at highSCORE, an international contemporary music festival, about Contemporary Techniques of Classical Guitar. In the US, she taught Classical Guitar at Kimball Union Academy (NH) and gave a cycle of lectures at University of North Carolina School of the Arts about Italian language and its pronunciation for Opera singers. Matilde Oppizzi is a Schertler ambassador. www.matildeoppizzi.com

Biography Giovanni Albini (b. 1982, Pavia), composer, is professor of Music Theory at the Conservatory of Udine (IT), lecturer at the Conservatory of Pavia (IT) and academic member of the Istituto di Studi Superiori dell’Insubria “Gerolamo Cardano”. He holds a BM, a MM and a PgD in Composition, a BS and a MS in Mathematics and a MM in Classical Guitar. He is also a PhD student in

Composition at the Estonian Academy of Music and Theatre in Tallinn (EE). His theoretical research focuses on mathematically informed aesthetic theories of music composition, mathematical music theory, soundtracks for interactive media, algorithmic music and non linear composition systems. He has given several lectures on these topics at many universities and conservatories including Yale University (USA), Universidad Nacional Autónoma de México (MX), Open University (UK), Lithuanian Union of Composers (LT), Università degli Studi di Milano (IT), etc. He has written several concert music scores as well as many tracks and sound designs for video art, exhibitions, multimedia, commercials, trailers, videogames and television. He is the founding Artistic Director of the highSCORE New Music Center and of the highSCORE Festival, today’s principal Italian Contemporary Music Festival offering masterclasses.

Michael O’Toole (Waterford Institute of Technology/Royal Irish Academy of Music)

John Williams: An evaluation of his impact upon the culture of the classical guitar

This paper focuses on the influence that Australian guitarist John Williams, has exerted upon his chosen instrument. It will examine how he has affected change both in terms of public perception and that of guitarists. Areas covered include Williams’ attitudes to folk, jazz and popular styles, as well as his influence upon guitar education, amplification and guitar design. A common thread among the historians who wrote about the instrument in the 1960s and 1970s (Grunfeld, 1969; Huber, 1974; Evans, 1977) was that classical guitar had attained previously un-imagined popularity because of the pioneering work of Andres Segovia (1893-1987). However, until very recently, scholars had failed to acknowledge that during the twentieth century, the guitar had arguably become the most popular instrument in the world due to its use in popular, folk and jazz music. Therefore, the rise of classical guitar cannot be separated from its position in other genres and this has been reflected in the work of musicologists such as Bennett (2001), Coelho (2003) and Dawe (2012). Their multi-cultural and multi-genre approach to the guitar has facilitated the prospect of assessing the multifarious threads of Williams’ diverse career as a singular and unique contribution to guitar culture. Williams’ career is assessed in terms of his impact upon the public’s perception of classical guitar and also pertaining to his influence upon performers of the instrument.

Biography

Dr Michael O’Toole is one of the leading guitarists in Ireland today. He has performed all over the world to great acclaim and has worked with many other world-class musicians and ensembles. He completed his PhD in 2018 in the Conservatory of Music and Drama at Dublin Institute of Technology. In 2019 Michael will be publishing his first book John Williams: Changing the Culture of the Classical Guitar, with Routledge Publishers

Throughout his career, Michael has balanced his busy performing schedule with an active role in promoting the instrument at home and abroad. He spent three years as Artistic Director of The Waltons Guitar Festival, in Dublin and in 2007, was curator of the Chord Festival, which brought an array of excellent musicians including John Williams to Ennis, Co. Clare. Michael is currently a director of the prestigious Kilkenny Arts Festival. Michael recorded the solo CD Invocation in 2007, which receives regular airplay on Lyric FM and RTÉ Radio 1. He is well-known for collaborating with others and has worked with many different groups such as the RTÉ Concert Orchestra, the National Symphony Orchestra, The Opera Theatre Company, The Dublin Guitar Quartet, Impromp2, The Carducci Quartet, The Callino Quartet and many others. He has been involved in a hugely successful duo project with famous Chinese pipa virtuoso Liu Fang (the only known collaboration between classical guitar and pipa), which led to the acclaimed recording Changes in 2008 and a number of concerts since then around Ireland. The duo have performed in Mexico as part of the prestigious ‘Zacatecas Festival’ and Michael has also worked with many high-profile Irish composers such as David Fennessy, Eric Sweeney, Ian Wilson and Anna Rice in addition to working with international composers Toshiyuki Haraoki, Clark Ross and Philip Glass. He also performed as soloist in 2009 on a soon-to-be-released recording for composer John Hughes with the RTÉ Concert Orchestra and arranged by Fiachra Trench. Michael has performed on radio many times, including a live recording of Rodrigo’s Aranjuez Concerto in 2005 on Lyric FM, with David Brophy and the RTÉ CO as well as performances on the shows of Pat Kenny, John Kelly, Ryan Tubridy, Vincent

Browne and many others. Last August, Michael performed Rodrigo’s Concerto de Aranjuez with the Kilkenny Arts Festival Orchestra in St. Canices Cathedral, Kilkenny. Michael studied for many years with Irish virtuoso John Feeley and subsequently with Ricardo Iznaola in Denver Colorado. He has a deep commitment to education and teaches in the Royal Irish Academy of Music and at Waterford Institute of Technology’s Department of Creative Arts. He has previously taught with great distinction in the TU Dublin Conservatory of Music and Drama and has been employed as a 2nd, 3rd and post-graduate examiner at the RIAM, DIT, WIT, Cork School of Music and Dundalk Institute of Technology.

Alan Perrin (Queen’s University Belfast)

Harmonic Hybridity in Alan Perrin’s Guitar Quartet Kosmos

“To return is not always to retreat, but sometimes to resume”. Enrique Ubieta (2009). My paper examines an integral aspect of my guitar quartet, harmonic hybridity; using the case study of an ambitious work Kosmos (2017). Most of the works, whose harmonic architecture is carefully calculated, are inspired by a multi-faceted harmonic language that owes much of its core influences to the jazz harmony of Mark Levin's Jazz The Jazz Theory Book (1995) and Jeff Brent’s ModeChord theory Modalogy: Scales, Modes & Chords (2011), Enrique Ubieta's bimodalism, and Nicolas Slonimsky influencial reference work Thesaurus of scales and melodic patterns (1947). My article will show how these influences manifest themselves in the harmonic structures of the work and how the consolidation of these structures is used to create a coherent hybrid harmonic language.

Biography

Alan Perrin is a Belfast based composer, whose work focuses on experimenting with extended modality and exotic sound worlds. He read music at the University of Liverpool, where he had the opportunity to study composition with James Wishart. He holds an MA in Hispanic Music from the University of Valladolid. Alan is currently working towards a PhD in composition under Simon Mawhinney at Queen’s University

Belfast. Alan’s compositions are performed across the UK and Ireland, including The National Concert Hall Dublin, The National Centre for Early Music in York, and The Duncairn Centre for culture and arts. He has collaborated with many new music performers including Bill Dowdall, Elizabeth Kenny, Alex Petcu, Gamelan Nua, Michelle O’Rourke, Rafal Luc, and Jack Adler-McKean.

Mimmo Peruffo (Independent)

The six-string guitar and its set-up: the past, the present, the future

The commitment of my research extends not only to the reconstruction of the set-up of the different ages but also in the efforts to safeguard the technology of the past string making technology, which is next to disappear. This paper will focus on the three phases of the evolution of guitar strings from the 19th century to the present day. Description:

1) The main features of the set-ups used on the guitar between the XIX century and the first half of the XX century (standard pitch, gauges, working tensions, materials and tension profile) 2) 1938 – 1978: the advent of Nylon and fluorocarbon (changes in working tensions, standard pitch, acoustic performance) 3) 1997 – 2018: the appearance of new materials and prospects (bio plastics, mineral fillers and their impact in the development of sound: future prospects) Practical examples will be played by Enrica Savigni, an expert guitarist specialized in nineteenth-century music, on original historical instruments.

Biography

Mimmo Peruffo was born in Arborea, a city of Sardinia, and is the founder of Aquila Corde Armoniche Srl. Chemist, researcher, pupil of the stringmaker Arturo Granata of Melzo (Milan), he devoted himself to the study and re-creation of gut strings in use in the Renaissance, Baroque and Classic eras since 1983. In his researches on modern materials, in 1997 he discovered and developed the Nylgut, a true “synthetic gut” as a

substitute for nylon on both historical and modern plucked instruments. He took care of the gut string- section in the musical instruments catalogue of the GNM in Nürnberg and was the first to carry out accurate researches on gut strings pieces from the first half of the 18th century in the Museo Stradivariano in Cremona, and in April 2000 he worked on the gauging of the original violin gut strings which belonged to Nicolò Paganini. He has been reading papers in several conservatories and universities like Vienna, Dresden, Milan, Venice, London, Brussels, Florence, The Hague, Gijon. https://ricerche.aquilacorde.com

Enrica started studying on 19th century guitars in 2011 at “Civica Scuola di Musica Claudio Abbado” in Milan with duo Maccari-Pugliese. She studies repertoire for solo guitar on original instruments with gut strings, and the repertoire for guitar and fortepiano written by guitar composers in 19th century with her sister Laura Savigni. www.duosavigni.it

Márlou Peruzzolo Vieira (University of Passo Fundo, Brazil)

Brazilian musical constancies in appassionata for solo guitar by Ronaldo Miranda

This lecture-recital consists in a case study, based on a qualitative method, of Brazilian musical constancies found in the work for solo guitar titled Appassionata, by Ronaldo Miranda. The lecture assembles new discussions from a previous research conducted by the author (Vieira, 2010). The term “Brazilian musical constancies” is recurrent in the bibliography about Brazilian music, although explained only by few authors. Lacerda (2005) defines it as elements used by composers in order to write classical music with characteristics of Brazilian musical culture. Thus, musical constancy is “an

element which appears with regularity in popular music of a nation, reflecting its musical thinking” (Lacerda, 2005, p. 62). Andrade (1972), one of the most important scholars of Brazilian culture, defines and discusses several Brazilian musical constancies. Therefore, Andrade (1972) is the central reference for this research. Other authors, like Kiefer (1977), Lima (2001, 2005), Abreu (2001) and Castagna (2003) are also relevant since they discuss the modinha, a Brazilian genre of music that presents a vast occurrence of Brazilian musical constancies. In order to demonstrate and exemplify the above-mentioned characteristics, this presentation includes the performance of Appassionata and an in-depth discussion on Brazilian music constancies used by Miranda. The aim is to point out musical aspects that characterises the selected piece as Brazilian music. These aspects are presented departing from the analysis of harmonic, polyphonic, rhythm and melodic structures and relating them to Brazilian musical constancies as discussed by Lacerda (2005) and Andrade (1972).

Biography

Márlou Peruzzolo Vieira obtained his Doctor of Music degree from the University of Aveiro/Portugal, his Master of Music degree from the Federal University of Goiás/Brazil and his Bachelor’s degree from the Federal University of Santa Maria/Brazil. He has performed in Brazil, Portugal, Croatia, England and Italy, having premiered works by Pauxy Gentil-Nunes, Samuel Peruzzolo-Vieira and Marcelo Rauta. Peruzzolo has been honoured with distinct prizes, such as: first prize

at “Rosa Mística Latin American competition” (Curitiba, 2011), second prize at “Eustaquio Grilo competition” (Brasilia, 2009) and an honourable mention at “Musicalis competition” (São Paulo, 2007). He was a professor at Federal University of Goiás/Brazil for two years (2009 and 2010) and São Teotónio Conservatory of Music in Coimbra/Portugal during the school year of 2012/2013. Since 2017 he teaches Guitar, Harmony, Analysis and Counterpoint at the University of Passo Fundo/Brazil.

Nicola Pignatiello (Independent)

The Baroque Guitar Alfabeto

Most of the baroque guitar repertoire is written with a notation system called “Alfabeto”, peculiar of the guitar only. While this notation system have been of great success among both composers and publishers (Thomas Christensen even demonstrate the importance Alfabeto in the birth of Triadic Theory!), his origins and the logic under his construction are somewhat obscures even among great researchers like James Tyler and Victor Coelho. I present the discovery I made about his origins, the way was invented, and the influences of the cultural environment of XVI° on the guitar writing. It is a curious trip among the Reinassance culture and the guitar notation.

Partimenti on the guitar: proposal for an unexplored path

In the last 10 years the word “partimento” passed from being totally unknow to the majority of musicians, to have a great success among musicologists first, and musicians after, especially after the contributions of Sanguinetti, Gjerdingen and Van Tour. The discovery of the incredible corpus of Partimenti and the way they were used to teach music in the XVIII° Neapolitan Conservatories, changed both the way we look at the “galant style” and the way we

teach this repertoire, so important for the guitar with milestones composers such Carulli, Giuliani, Sor etc... Unfortunately, the Partimenti were used on the keyboards and, right now, we have no examples of these exercises done on the guitar but, on the other hand, it's almost impossible to think that musical education of our guitar heroes was done in a different way from all the other musicians As the “partimenti method” puts together the teaching of improvisation, harmony and composition in a precise historical frame, I think is an invaluable resource for us and our students for a deeper understanding of that music. That's why, analyzing the historical sources, I propose a method based on Partimenti for guitar students that allows them to improvise and compose music in the style of Carulli and Giuliani.

Biography

Nicola Pignatiello studied guitar with Domenico Ascione and Carlo Marchione and early plucked instruments with Andrea Damiani, then got a Masters in Music Pedagogy and a Degree in Ancient Greek. He performs worldwide with Duo Scarlatti and in different early music ensembles. He teaches guitar at Liceo Musicale “Giordano Bruno” in Rome and writes articles about guitar pedagogy and historical research.

James Piorkowski (Fredonia School of Music: State University of New York)

Tools for Productive Practicing: Activity Versus Achievement

Most musicians need to improve the efficacy of their practice sessions. Daily, a musician is faced with building a process to conquer technical challenges, learn fingerings, cultivate a composition’s potential expressiveness, and gain confidence toward a public performance. Because the guitar is a polyphonic instrument, performers are presented with challenges such as the matrix-like fretboard layout and multiple fingering options, all while aiming to transcend the instrument itself and ultimately create music. With the constraints of limited time, limited attention span, and limited physical endurance, the musician is challenged with choosing what to practice, how to practice, and how to determine if the practice session indeed produced the desired improvements. In other words, was there only activity, or was there achievement? In response to those problems, I have developed Tools for Productive Practicing, a collection of learning and practicing approaches which assist a musician to gain technical and musical achievements, while avoiding fruitless activity. These twenty-eight practice tools help keep the musician mentally engaged with varied challenges and shifting perspectives, and help prevent the practice session from becoming a boring task. Subsequently, authentic confidence can be attained by observing the results of the tool’s applications, proving that the practice time was well spent. In this presentation, I will describe and demonstrate, with guitar-in-hand, the application and goal for each of the tools for productive practicing, and how the tools can be used separately or in combinations, depending on the specific challenge of the composition to be played.

Biography

James Piorkowski is a SUNY Distinguished Professor at the Fredonia School of Music, State University of New York, serving as head of the guitar programme since 1983. Piorkowski’s recitals have been heard in Spain, France, Germany, Italy, the Czech Republic, Hungary, Slovakia, Puerto Rico, Venezuela, Argentina, Jamaica, Canada, and throughout the United States. As a composer, James Piorkowski has been published by Mel Bay Publications, Sergio Assad/Editions Henry Lemoine, Clear Note Publications, and Seconda Prattica.

Piorkowski’s recordings include Sentient Music; Freedom Flight: Guitar Music by Ortiz and Piorkowski; and NINE: The Guitar and Beyond, all on Centaur Records. For eighteen years, Piorkowski was a member of the world-renowned Buffalo Guitar Quartet. The pioneering BGQ toured internationally and released four highly acclaimed recordings. Guitar Player Magazine declared that the Buffalo Guitar Quartet was "one of the world's premiere classical guitar ensembles."

Sofia Pyrounaki (Royal Conservatoire of Scotland) Performance of Fuga in g minor, BWV 1000 Prelude in Eb major, BWV 998 on a ten-string guitar The numerous transcriptions and performances of Johann Sebastian Bach’s lute works on the guitar, testifies to their centrality in the guitar repertoire, but also crucially testifies to their capacity to continually pose questions for the performer. In the process of transcribing, performing and recording Bach’s lute works on a ten-string guitar I tried to deal with some possible answers to a series of initial questions that were my starting point as a doctoral student. The foundation of my research was my curiosity as a performer. The course of my research brought a lot of additional questions to supplement these. In this lecture I will draw attention on certain passages of the surviving autographs and primary manuscript sources of Bach’s lute works, commenting upon details that can be inferred from their examination, elements that support the interpretive process of editorial decision-making, but also the features of an editorial process that pertains to musical works.

Biography

Sofia Pyrounaki studied the guitar with Irene Konsta in the Municipal Conservatory of Glyfada in Athens and graduated with a Guitar Diploma with Distinction and an award for exceptional performance (Άριστα Παμψηφεί, Πρώτο Βραβείο και Αριστείο Εξαιρετικής Επιδόσεως). She was awarded a full scholarship from the Greek State Scholarships Foundation (I.K.Y.) and the Alexander S. Onassis Foundation and continued her studies with

Professor Allan Neave in the Royal Conservatoire of Scotland where she was awarded a Postgraduate Diploma in Music Performance with Distinction and a Master of Music Performance with Distinction. Sofia has participated in masterclasses with acclaimed musicians such as Pavel Steidl, Paul Galbraith,

David Watkin, Marcin Dylla, Hubert Käppel, Tilman Hoppstock, George Hadjinikos, David Tanenbaum and Panagiotis Adam. She finished her on the transcription, performance and recording of Johann Sebastian Bach’s lute works on a ten-string guitar, under the supervision of Professor Allan Neave and Professor Stephen Broad.

Sasha Savaloni (Royal Conservatoire of Scotland)

Transcription and performance of Franz Schubert’s lieder on guitar

Transcribing Schubert’s music for guitar has a long and rich history. In fact, these types of transcriptions first occurred during Schubert’s own lifetime (primarily lieder with guitar accompaniment). One of the most notable transcriptions of Schubert’s music was made by Nineteenth Century Austro-Hungarian guitarist and composer, Johann Kaspar Mertz, who transcribed 6 of Schubert’s lieder for solo guitar. There are many elements in Mertz’s transcriptions that suggest he was heavily influenced by Franz Liszt, who made numerous transcriptions of Schubert lieder for solo piano including the complete Schwanengesang cycle D.957. This lecture recital looks at how Mertz and Liszt attempted to make these transcriptions idiomatic for their respective instruments. I will then illustrate how the techniques and approaches used by Mertz and Liszt have influenced my own transcriptions of Schubert lieder for solo guitar. Subsequently I will explain approaches to performing these works on guitar, primarily how to effectively convey the lyricism of the original songs into instrumental performance. This lecture recital will include performances of 3 works by Franz Schubert: 1. Das Fischermädchen (transcribed Johann Kaspar Mertz) 2. Ihr Bild (transcribed Sasha Savaloni) 3. Am Meer (transcribed Sasha Savaloni)

Biography

Sasha Savaloni is currently pursuing a Doctoral degree at the Royal Conservatoire of Scotland. As a soloist he has given concerts in Iran, Italy, Spain and throughout the UK, performing recitals in venues such as the Kings Place (London), Sage Gateshead (Newcastle), City Halls (Glasgow), Stevenson Hall (Glasgow) and the Leeds College of Music as well as performances in festivals such as the London Guitar

Festival, St Magnus International Festival, Big Guitar Weekend, Les Garrigues Memorial Emili Pujol, Bath Guitar Festival, Shrewsbury Guitar Festival, Plug New Music Festival and the Ullapool Guitar Festival. He has performed as a soloist with orchestras such as the Royal Scottish National Orchestra and the European Union Youth Orchestra. He has also performed and given interviews for BBC Radio Scotland’s Classics Unwrapped programme. Sasha has won numerous awards and prizes, most recently 1st Prize winner at the Sevilla International Guitar Competition (2018).

Patrick Sutton/ Kimberly Patterson (Arkansas State University/University of Memphis)

An In-Depth Look at Stephen Goss's Park of Idols for Cello & Guitar

Our lecture provides an in-depth, multi-media, discussion of the eclectic influences that shaped Stephen Goss’s "Park of Idols," and an examination of the strengths of cello and guitar as chamber partners. Upon commission, Goss asked for specific artists, albums, or compositions of any musical genre that the dedicatees admired. What he received was a wide-ranging list, spanning from classical to progressive rock music. Each of the six movements pays homage to these musical ‘idols’ by referencing their music. The pre-existing material found within Goss’s composition ranges from the apparent to the cryptic. We explore these references by providing side-by-side comparisons, theoretical analysis and a live performance of each movement. The set culminates in a kaleidoscopic pastiche of avant-garde rock and jazz that deftly displays the myriad stylistic capabilities of cello and guitar. Our lecture will illuminate a body of repertoire that, despite its relative obscurity, is an embarrassment of riches.

Biography

Praised by The Strad for their "Wit and imagination", The trailblazing cello and guitar duo of Dr Kimberly Patterson and Dr Patrick Sutton is known for their passionate performances and engaging stage presence as they bring the rich cello and guitar repertoire to audiences around the world. The duo have been featured on Performance Today on American Public Media, Radio New Zealand, Fine Music Radio South

Africa, among others. Featured artists at the 2016 Guitar Foundation of America Convention, the Patterson/Sutton Duo frequently concertizes throughout the United States and abroad with recent engagements as Juilliard Global Visiting Artists. The Patterson/Sutton Duo are strong believers in the transformative power of educational outreach. Funded by the US State Department, the duo held a guest artist residency at the Afghanistan National Institute of Music in Kabul in 2014, where they worked with the budding generation of young Afghan Musicians and gave a performance at the Canadian Embassy of Afghanistan. More recently, The Juilliard School sent the duo to Vietnam as guest artists to perform and teach at schools throughout the country as part of the Juilliard/Nord Anglia global intuitive. Their research in the field of cello and guitar has culminated in lecture-recitals at the 2016 International Guitar Research Centre Conference at the University of Surrey and the 2014 Guitar Foundation of America Convention. Soundboard magazine called their GFA talk “a deeply inspiring analysis and performance”. The Patterson/Sutton duo have presented concerts as guest artists at the Shanghai Conservatory, University of Denver, Portland International Guitar Series, University of Colorado Guitar Festival, Saigon Guitar Series, Strings Music Festival, University of Memphis, Princeton Symphony Chamber Series, Knoxville Guitar Society, and the Front Range Chamber Players, to name a few. Dr Patterson holds degrees from the Juilliard School, the Cleveland Institute of Music and the University of Colorado at Boulder. Dr Sutton holds degrees from the University of Denver and the University of Colorado at Boulder. The duo became husband and wife in June of 2017. To learn more about the Patterson/Sutton Duo, please visit celloandguitar.com.

Francesco Teopini Hong Kong Baptist University

Referencing Musical Quotations: Paratexts in Giuliani’s Le Rossiniane Opp. 119–124

At the beginning of the 19th century, the making of potpourris was the quickest way to compose ‘new’ and successful music. Carl Czerny stated that the public of that time “experience[d] great delight on finding in a composition some pleasing melody…which it has previously heard at the Opera…[and] when…introduced in a spirited and brilliant manner…both the composer and the practiced player can ensure great success.” By extrapolating musical fragments out of operas, and by then quoting them and connecting them together in a refined state, such a genre eventually defined certain performers’ popularity. The guitarist Mauro Giuliani (1781–1829) was at the center of the exploitation of this musical practice. His acquaintance with Johann Nepomuk Hummel and Ignaz Moscheles, themselves famous potpourri composer, enabled him to become a master of it. Giuliani’s Le Rossiniane, a series of six potpourris for guitar written to both honor Rossini’s music and take advantage of the composer's immense popularity in Europe at that time, are considered to be masterpieces of this genre. Quoting external material makes Le Rossiniane manifestly intertextual. They use the most explicit and literal forms of intertextuality, where in Gérard Genette’s words “a relationship of copresence between two texts or among several texts [is represented by] the actual presence of one text within another.” However, Giuliani understood that his quotations needed to overtly reference his musical texts in order to be fully understood by both performers and audiences (pace Czerny). In order to do this Giuliani used various tools coming from the realm of paratextuality: as Graham Allen puts it, “[t]he paratext, as Genette explains, marks those elements which lie in the threshold of the text and which help to direct and control the reception of a text by its readers.” Utilizing both music and literary theory, my analysis investigates and categorizes different types of paratextual elements used by Giuliani in order to classify and reference his musical quotations in Le Rossiniane for both performers and public.

Biography

Once described by composer and musicologist Angelo Gilardino as a player who “was born to donate the gift of music to the audience”, Francesco Teopini has been invited to play in important venues and music festivals around the world for more than a decade. Highlight performances include performances at the Bunka Kaikan and the Nikkei Hall in Tokyo, the Hong Kong City Hall, the Right Profit International Guitar Festival and the Luigi Nono Festival. His performances and recordings have been broadcast by RAI, TVB, RTHK, Radio France, NPO, RBB, and Rádio MEC. Francesco’s enthusiasm for contemporary music has led him to collaborate

with the Manson Ensemble, the Danilo Dolci Ensemble and the Hong Kong New Music Ensemble, under the baton of Diego Masson, Tonino Battista and Manuel Nawri respectively. Francesco has premiered works by Gian Claudio Mantovani, Tonino Battista and Fausto Tuscano, to name but a few. Francesco obtained his Diploma in Classical Guitar from the Conservatorio Statale di Musica in Bologna, Italy, under the tutelage of Michele Corbu. He then studied with Michael Lewin, Timothy Walker and John Mills at the Royal Academy of Music, London, where he was awarded the Postgraduate Diploma in Guitar Performance with Distinction. During his two years at RAM, he won the Blyth Watson Award and the Foundation Award, and was conferred the title of “Very Highly Commended” in the 2007 Julian Bream Prize by the Maestro himself. Francesco is currently a PhD candidate in musicology at the Hong Kong Baptist University under the prestigious Hong Kong PhD Fellowship Scheme.

Ioannis Theodoridis (CSI, Lugano, Switzerland) How a better anatomical understanding of the body can clarify guitar technique What goes on inside the body of a performer that looks ‘natural’? How come, regardless of experience, some performers exhibit physical fluency whilst others don’t? Despite the need for complex and intricate muscular coordination when playing an instrument, the average musician’s knowledge of relevant anatomy and movement is generally low. This lecture will introduce a biomechanics method designed for musicians called Timani, and its relevance for music performance and guitar technique. The aim is to present a more concrete understanding of how the body works when playing an instrument, alongside customized exercises that efficiently re-train muscles for better biomechanical coordination and strength. All instructions are backed up by anatomical explanations to create clarity for the musician. Through moving better in this way, musicians have reported experiencing an increased sense of stability, technical security, and ability to express their musical intention. Increased anatomical understanding and better coordination can also help to prevent pain or injury caused by mal-alignment and compensatory muscular patterns. This physiology method is developed by Tina Margareta Nilssen, teacher at the Norwegian Academy of Music (NMH) and has been research by NMH associate professor Vibeke Breian’s at the Centre for Excellence in Music Performance Education (CEMPE) in Oslo, focusing on the implementation of this method for conservatoire level students. The results of the study saw the method being adopted and taught at the Norwegian Academy of Music and Musik Akademie Basel.

Biography Awarded the National Scholarship Award from the Royal Swedish Academy of Music three years in a row, guitarist Ioannis Theodoridis’ concert appearances include Wigmore Hall, the Stockholm Concert House, Barbican Centre, and Uppsala Concert House. In 2018 he was the recipient of Sweden’s biennial guitar award, the Jörgen Rörby Award. Ioannis specialises in physiology for musicians, having studied at the The Musician’s Health and Movement Institute in Norway and Alexander Technique at the RCM in London. He has taught at the Swedish Guitar and Lute Festival, Brussels Royal Conservatory, Nyköping Guitar Seminars, and upcoming physiology lectures and workshops include the GFA 2019 Convention. He has received prizes from the Kempe-Carlgrenska Fund, Anders Sandrews Trust, Lennox Berkeley Society, Gålö Foundation and Helge

Ax:son Johnson’s Foundation, and has won guitar awards at the Royal College of Music and Trinity Laban Conservatoire during his studies. Ioannis currently pursues a Master of Advanced Studies at CSI in Lugano, Switzerland with Lorenzo Micheli, and his performances and productions have been broadcast by Swedish Radio P2, BBC Radio 3, and Classic FM.

Martin Vishnick (Independent) Understanding and interpreting classical guitar morphologies within the sound sculpting arena

This paper will centre on performance study. Investigating existing and new research on inherent and external listening; an explanation of the meaning behind interpreting morphologies on a six-string classical guitar, especially for ‘sound-based’ music. Taking groupings of similar techniques, I will look into aspects of expressing guitar music in terms of a spectral and structural approach; in short, ‘guitar morphology’. My main focus will be on audiative links with composing and performing. In particular, comprehending and apprehending the resonance detail of classical guitar techniques; extending sensibility of sound discernment of particular morphologies. For a pedagogical approach, it is necessary to devise methodology that assists musicians to consider the holistic quality of sounds they produce and encounter. After examining procedures of producing morphologies that are non-standard, a practical section that concentrates on hearing the consequences of techniques that produce subtle changes in linear and non-linear trajectories and varied amounts of pitch content will follow. The aim is to develop a progressive and radical pedagogical system that embraces a storehouse techniques as equal in value. Music educators are expected to teach pupils to be creative. Therefore, an ever-developing set of tools is essential for future learning outcomes, instructions that will help students to realise their inner potential. The proof will be musicians who can build a meaningful musical syntax in many genres. Therefore, the ability to comprehend what one hears, interpret in the moment, and thus provide a logical and worthy musical discourse is paramount.

Biography As a performer concert tours have taken Martin all over the globe, where he continues to promote his albums with radio and concert appearances; this includes varied Classical guitar and Electric guitar concerts and engagements. His Wigmore Hall and Purcell Room debuts were back in 1981.

Commissions include music for the theatre, concert hall, film and media. First published work was Four Pieces for Solo Violin Edwin Ashdown (1977).

Martin also teaches guitar and composition. His former appointments include Junior Music School at The London College of Music, Thames Valley University, head of guitar and composition, and St Helen’s School,

Northwood, Middlesex. Moreover, from 1995-2008 he was ‘Composer in Residence’ at St. Albans School, Herts.

LLCM(TD), ALCM Guitar from London College of Music 1974, the subsequent composition studies with Richard Stoker (at RAM) 1977.

He holds an MSc in composition at University of Hertfordshire 1998, and a research PhD from City University 2015. The research comprises two contrasting volumes, a survey of current practice and didactic elements. In both volumes, the focus is on exploring the complex processes of musical creation and reception. Martin is now concentrating on propagating post-doctoral research, testing theories and principles expounded in his PhD Dissertation.

Head of Conservatory: Dr Orla McDonagh Classical guitar lecturer: Marco Ramelli Head department of Academic Studies: Dr Kerry Houston DMus in performance programme: Professor Clíona Doris

Acknowledgements

We would like to thank our advisory committee.

Advisory Committee

Dr Damian Evans (TU Dublin Research Foundation for Music in Ireland)

Dr John Feeley (Independent)

Dr Maria McHale (TU Dublin Conservatory of Music and Drama)

Dr Michael O’Toole (Waterford Institute of Technology/Royal Irish Academy of Music)

Dr Adrian Smith (TU Dublin Conservatory of Music and Drama)

Thanks also to:

Ms Aoife Faughnan Ms Fiona Howard Dr Orla McDonagh Mr Derek Bowden Mr Phil Adams Ms Jennie Moran Prof Allan Neave Mr Roberto VersluysRoyal Conservatoire of Scotland Porters TU Dublin Conservatory of Music and Drama Staff and students of TU Dublin Conservatory of Music and Drama