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C. P. E. Bach, German Orpheus
Cornell, February 1999

February 12th-14th, 1999

Cornell University

Symposium and Concert Festival

"C.P.E. Bach, German Orpheus"

This conference explores North German literary and aesthetic contexts for
the music of C.P.E. Bach, in conjunction with a series of concerts
focusing on Bach's late works. What is the relation between Bach's music
and contemporary poetic and aesthetic theory? How do his choral works
evoke a musical sublime? How did music function as social/cultural
practice in the Bach circle, and what is the significance of the
clavichord within this practice? How might we account for and interpret
the role of improvisation and fantasia in Bach's late music? 

Speakers include Christopher Hogwood (Cambridge), Richard Kramer (SUNY
Stony Brook), Tobias Plebuch (Stanford University), Annette Richards
(Cornell University), Elaine Sisman (Columbia University), James Webster
(Cornell University) and Richard Will (University of Washington).
Performers include Malcolm Bilson (fortepiano), Carol lei Breckenridge
(clavichord), Judith Kellock (voice), David Yearsley (clavichord), The
Publick Musick. 

The conference will take place on Friday afternoon, February 12th, all day
Saturday February 13th, and will conclude with a special clavichord panel
/ masterclass on Sunday morning, February 14th. David Yearsley and Carol
lei Breckenridge will present three short clavichord recitals in the
course of the symposium. Other concerts include, on Friday evening, a
recital for fortepiano and voice presented by Malcolm Bilson and Judith
Kellock (program to include Kenner und Liebhaber sonatas and fantasies,
and Neue Lieder Melodien [1789]); on Saturday evening a program of choral
and orchestral music by the Rochester-based ensemble The Publick Musick
(to include "Klopstock's Morgengesang am Schöpfungsfeste", the D-minor
flute concerto, and two of the Symphonies Wq 183) and, on Sunday
afternoon, a chamber recital by The Publick Musick. 

For more information, contact Annette Richards (