Sensation and Sensibility at the Keyboard in the Late Eighteenth Century: Celebrating the Tercentenary of C. P. E. Bach
Conference and festival
October 2-4, 2014
Cornell University, Ithaca, NY
Revered across Europe during his lifetime, C. P. E. Bach was the unparalleled master of intimate expression at his favorite instrument, the clavichord; yet his stature also rested on vivid choral and orchestral masterpieces. In all genres, Bach’s highly affective music cast new light on, and was heard in terms of, contemporary theories of sentiment and the sublime.
This conference and festival explores the constellation of philosophical and aesthetic ideas, and the conditions of musical production and reception, clustered around concepts of sentiment, feeling, and sensation in the late 18th century. Celebrating the richness of late eighteenth-century keyboard culture (and C. P. E. Bach’s contribution to it), performances will feature clavichord, fortepiano, harpsichord, and organ.
The conference features contributions by Yonatan Bar-Yoshafat, Tom Beghin, Emily Dolan, Matthew Head, Nicholas Mathew, Pierpaolo Polzonetti, Annette Richards, David Schulenberg, with keynote addresses by Richard Kramer and James Kennaway.
Tom Beghin, Matthew Dirst with Ars Lyrica Houston, Matthew Hall with the Cornell Baroque Orchestra, Lucy Fitz Gibbon, Dennis James, Sarah Mesko, Annette Richards, Peter Sykes, Andrew Willis, and David Yearsley will appear in programs of music from C. P. E. Bach’s oeuvre for solo keyboard, concertos for fortepiano and organ, symphonies and vocal music, including “Klopstocks Morgengesang am Schöpfungsfeste,” as well as music by other Bach sons (including “Die Amerikanerin” by J. C. F. Bach) and the cantata “L’Harmonica” by J. A. Hasse.
The conference is co-sponsored by the Westfield Center for Historical Keyboard Studies and Cornell University, and features the Fall 2014 Atkinson Forum in American Studies.
Registration is available at www.westfield.org/cpebach