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Performing Practice in Monteverdi's Music: The Historic-Philological Background

London, December 1993

International Conference

Performing Practice in Monteverdi's Music
The Historic-Philological Background Goldsmiths' College, University of London Lewisham Way, London SE14 Monday, 13th December Tuesday, 14th December
Monday 13th December, 9.30 am Welcome by Prof. Peter Dickinson, Head of Department of Music, Goldsmiths' College, London Opening address by Prof. Sandro Fontana, President of the Fondazione Claudio Monteverdi Prof. Denis Stevens Emeritus Professor, Columbia University Acoustics, Tempo and Musical Interpretation Prof. Anna Maria Vacchelli University of Pavia Visiting Professor, Goldsmiths' College, London Monteverdi as a Primary Source for the Performance of his own Music Dr Roger Bowers Jesus College, Cambridge Proportioned Notations in Banchieri's Theory and Monteverdi's Music Chairman: Prof. Stanley Glasser Monday 13 December, 2.30 pm Albi Rosenthal Musicologist and antiquarian bookseller The Monteverdi Revival in the First Half of the 20th Century Prof. Agostino Ziino University of Naples Prof. Arnaldo Morelli Music Conservatoire of Latina The Performance of Monteverdi's Music: A Survey of Recent Bibliography Prof. Raffaello Monterosso University of Pavia Visiting Professor, Goldsmiths' College, London Tempo and Dynamics in Monteverdi's Secular Polyphony Chairman: Dr Roger Wibberley Tuesday 14th December, 9.30 am Philip Pickett Director of the New London Consort Armonia Celeste Andrew Parrott Director of the Taverner Consort Monteverdi and the 'Tenor' Violin Prof. Walter Pass University of Vienna Aspects of the Realization of the Interpretation of the Manuscript of Il Ritorno d'Ulisse in Patria Chairman: Dr Frank Dobbins Tuesday 14 December, 2.30 pm Anthony Pryer Goldsmiths' College, London Authentic Performance, Authentic Experience and 'Pur ti miro' from Poppea Daphne Pascucci Artist and Scene Designer European Stage Design in the Age of Monteverdi Kate Brown Opera Producer Representations: The Integration of Scholarship and Modern Subjective Interpretation in the Production of Early Opera Chairman: Dr Stanley Sadie
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