Session|séance 3.3.

Session|séance 3.3. Betty Andrews Hall. 
Chair: Kent Sangster.

Wednesday|mercredi 23 May|mai 2018. 2:00 - 4:00PM

 

[Lecture-recital, 45m]

Michael Thibodeau, University of Toronto.

This lecture-recital will discuss Glenn Gould’s interpretative relationship with Alban Berg’s Piano Sonata, Op. 1 (1909). Eight recordings of the work exist between 1952 and 1974 in studio, radio, television, and live concert contexts. Spanning more than two decades of Gould’s career, they provide valuable insight into his evolving aesthetic. Two areas will be considered. First, Gould’s tendency towards the vertical misalignment of harmonies is present, employed primarily to communicate inner counterpoint. Examination of these instances reveals Gould’s method. This analysis builds upon scholarship by Neal Peres da Costa (2012) regarding manual asynchrony in historical recordings. Secondly, Gould’s propensity towards unusual tempi appears. Using the application Sonic Visualiser, data on rubato was collected and visualized through graphs displaying shifting phrasal arcs. The later recordings demonstrate increasingly slow approach and the temporal shape commonly associated with expert performance diminishes. Scholarship on Gould’s approach to tempo has been limited to Peter Martens’ (2007) study of temporal cohesiveness heard in Gould’s 1981 recording of Bach's Goldberg Variations. This presentation has a number of outcomes. First, empirical evidence of Gould’s aesthetic evolution is located. Secondly, Gould’s changing interpretation weakens belief in the singularity of composer’s intent while supporting the viability of multiple performance methodologies. This research reflects recent interest in the study of performance through the analysis of recordings. The sonata will be performed alongside Webern’s Satz für Klavier (1906), a similarly styled work in sonata-allegro form at the limits of tonality.

 

Refracted Shimmers: Solo Electric Guitar with Real-Time Computer Processing

Sundar Subramanian, Clark University

Programme:

S(h)immer 9:00

Broken Refraction 8:30

Randomly 4:30

Locks and Ripples 6:30

• all pieces composed and performed by Sundar Subramanian

 

[Mini-Concert, 30min]

Kim Erickson and Evgeny Chugunov

Program of works:

1. Ravel ‘Chansons Madecasses’ 

2. Mussorgsky ‘Songs and Dances of Death’ “Lullaby” “Serenade”

3. Duparc “Serenade Florentine” 

 

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