New takes on recorded music: performance, creativity and technology

9.00 – 9.30 am WELCOME & REGISTRATION (PATS 1 FOYER)

9.30 – 11.00 am SESSION 1 - Technology and Performance Aesthetics [Chair: Tom Hall, University of Surrey]

• Joseph Coughlan Allen (University of Liverpool) – Crackology: The meaning of surface noise
• Dylan Beattie (University of Sussex) – Record cutting in contemporary practice for composition and performance
• Alex Stevenson (Leeds Beckett University) – The performance of machine aesthetics

11.00 – 11.30 am BREAK

11.30 – 1.00 pm SESSION 2 - Recording Practices in Context: Historical Perspectives [Chair: John McGrath, University of Surrey]

• Sue Miller (Leeds Beckett University) – Another take: Exploring mid-twentieth-century music performance aesthetics through historically-informed experiments in the recording studio
• Helena Marinho (University of Aveiro) – From magnetic tape to digital media: Recreating electroacoustic works of Constança Capdeville
• Andrew Hallifax (King’s College London) – Producing simulacra and the denaturing of acoustic jazz

1.00 – 2.00 pm LUNCH

2.00 – 4.00 pm SESSION 3 - Creative Choices In and Out of the Recording Studio [Chair: Amanda Bayley, Bath Spa University]

• Paul Thompson (Leeds Beckett University) – An alternative take: Creative practices of studio performance in the recording studio
• Louise Cournarie (Royal Academy of Music) – The necessity of freedom: Departing from mainstream Baroque piano tradition
• John Warburton (University of Surrey) - Ken Russell's Elgar: A Twenty-first century soundtrack

4.00 – 4.30 pm BREAK

4.30 – 6.00 pm SESSION 4 - Themed Panel: Bootleg Opera [Chair: Georgia Volioti, University of Surrey]

• Laura Moeckli (Bern University of the Arts, Switzerland) – Sounds and identities of “liveness” in the Ehrenreich recordings
• Ingela Tägil (Bern University of the Arts, Switzerland) – Interpretations of Die Zauberflöte at NYCO 1968–2003
• Teresa-Sophie Puhrer (Bern University of the Arts, Switzerland) – Recital-demo: Liveness vs. “Liveness”? Emotions and the operatic reception experience in live performances and in recordings of the Ehrenreich collection

6.00 – 6.15 pm BREAK

6.15 – 7.15 pm KEYNOTE ADDRESS Professor Simon Zagorski-Thomas [Chair: Amanda Bayley, Bath Spa University]

7.45 pm CONFERENCE DINNER (booking required)

(8.30 – 8.55 am REGISTRATION)

9.00 – 11.00 am SESSION 1 - Style-Analytical Perspectives: Performance Practice & Interpretation [Chair: Georgia Volioti, University of Surrey]

• Adam Behan (University of Cambridge) – Large-scale structure and performance: A reassessment with Brahms’s Intermezzo in E minor Op. 119, No. 2
• Thomas Wozonig (University of Graz) – Herbert von Karajan’s recording of the second movement of Jean Sibelius’s first symphony
• Per Dahl (University of Stavanger) – Text versus performance in Stravinsky’s oeuvre
• Michael Rector (University of Wisconsin) – Historical trends in expressive timing strategies: Chopin’s Op. 25, No. 1

11.00-11.30 am BREAK

11.30 – 1.00 pm SESSION 2 - Vocal Performance Practice: The Evidence from Early Recordings [Chair: Daniel Leech-Wilkinson, King’s College, London]

• Massimo Zicari (Conservatorio della Svizzera Italiana, Switzerland) – Early recordings and Rosina’s lesson scene
• Barbara Gentili (Newcastle University) – New takes on the tenor voice: Reinterpreting its history through early recordings
• Daniele Palma (University of Florence) – The challenge of Timbre: Evaluating tone colour in early operatic recordings

1.00 – 2.00 pm LUNCH

2.00 – 3.30 pm SESSION 3 - Early Recordings Revisited: Perspectives from Practice-Led Research & Pedagogy [Chair: Amy Blier-Carruthers, Royal Academy of Music & King’s College London]

• Inja Stanovic (University of Huddersfield) – Early recordings a posteriori
• Jörg Holzmann (University of Leipzig, Germany) – Let Dr Brahms show you Adelina: A pedagogical approach to the recordings of Clara Schumann’s pupils
• Ferenc János Szabó (Liszt Academy, Hungary) – Similarities in Performance? György Faragó, the favourite pupil of Ernő Dohnányi

3.30 – 3.45 pm BREAK

3.45 – 4.30 pm KEYNOTE LECTURE-RECITAL Alexander Karpeyev (pianist) – Perspectives on re-interpreting Nikolai Medtner [Chair: Amy Blier-Carruthers, Royal Academy of Music & King’s College London]

4.30 – 4.45 pm BREAK

4.45 – 5.30 pm CLOSING SESSION: CONFERENCE WRAP-UP & GENERAL DISCUSSION – Invited panel speakers include Professors Amanda Bayley, John Rink, Daniel Leech-Wilkinson.