Orpheus Research Centre 'RESEARCH FESTIVAL'


Orpheus Research Centre in Music [ORCiM]
Research Festival 16-17-18 September 2009
Orpheus Institute, Korte Meer 12, Ghent , Belgium

As the culmination of over a year of intensive research in-and-through musical practice by its members, the Orpheus Research Centre in Music (ORCiM) presents its first FESTIVAL of RESEARCH, MUSIC and IDEAS. In a collaborative research environment, through presentations, lecture-performances, performances and installations, ORCiM Research Fellows will share aspects of their cutting-edge insights into music with other research fellows. This Festival will also reveal future directions for ORCiM, as it disseminates the work of its researchers in Europe and around the world.

All practical information can be found through
Registration as participant is possible until September 4, 2009 through the online registration form.
Registration fee: 30 euros
More information?:
joyce.desmet@orpheusinstituut.be - activities & communication manager


*Wednesday September 16, 2009

22h - Concert
Hendrik Vanden Abeele & Chant Group Psallentes
Gesta Sancti Lamberti
In a 75-minute evocation of a late medieval Matins service, chant group Psallentes revisits the hagiologyst chant repertoire via the story of the "Belgian" Saint Lambertus. Central to this project is the performer's relation to medieval manuscripts.

*Thursday September 17, 2009

Alessandro Cervino
Towards a performance of Elliott Carter's Piano Sonata
The description of an artistic process: how to make performance choices by creatively interpreting musical signs, sound result and bodily gestures.

Tania Lisboa
The fading memory: recalling Bach without practice
Tracing the relationship between practiced performance cues (basic, interpretive and expressive) and long term memory in written and played recall of Bach's Solo Cello Suite VI, after ten months without practicing it.

Mieko Kanno & Juan Parra Cancino
Cage's Freeman Etudes
Performance of some of Cage's Freeman Etudes on violin is confronted with electronic performance of the same pieces, resulting in intriguing insights as to the differences between two very distinct modes of performance.

Paulo de Assis
Beyond Urtext: a dynamic approach to musical editing
A post-Urtext conception of music editing points towards transitory critical editions, where the performer's decisions might be fruitful to future editions of that very work.

Kathleen Coessens, Darla Crispin & Anne Douglas
The Artistic Turn: reflections on art and territoriality
What are the interactions between art, artists, research and science in contemporary western society? The Artistic Turn reclaims a space and place for artistic research, conquering new and challenging territories.

Paulo de Assis
A Critical Edition of Luigi Nono's ...sofferte onde serene...
for piano and tape (1974-77)
As a result of an abiding study of this piece, as well as of a dynamic conception of musical editing, a prototype of a critical edition of Luigi Nono's only piano piece is presented.

Maria Lettberg & Andrea Schmidt
An artistic reflection on the music and aesthetic of Alexander Scriabin. The idea behind this performance is to erase the boundaries between different kinds of sensory impressions.

Mieko Kanno & Juan Parra Cancino
On the development of PLP_I The creative intertwining of constructing an instrument, a score and a piece at the same time, and how to draw and blur the contours of the roles of composer, performer and instrument maker.

Research Fellows
Cage's Song Books
At a specially arranged 'Cage Room', different ORCiM research fellows will perform solos from Cage's 1970 Song Books.

20h - Concert
Research Fellows
But music speaks for itself
As a witness to the statement that all research in-and-through musical practice starts and ends with the music itself, different ORCiM Research Fellows worked together towards an intriguing concert programme. Music by Schumann, Liszt, Guarneri, Nono and Parra Cancino will be performed by Alessandro Cervino, Tania Lisboa, Paulo de Assis, Mieko Kanno, Juan Parra Cancino and others.

22h - Concert
Catherine Laws
Morton Feldman's For Bunita Marcus (1985)
For Bunita Marcus is one of Feldman's long, late pieces for piano. It forms an extended meditation on the tone, texture, resonance and decay of quiet piano sounds.

*Friday September 18, 2009

Bill Brooks & Magnus Andersson
John Cage: Lecture on Nothing
"What we require is silence; but what silence requires is that I go on talking ... But now there are silences and the words help make the silences ... We need not fear the silences, we may love them." (Cage, 1961)

Hendrik Vanden Abeele
Recitations and reconsiderations
Portraying aspects of a chant performer's creative explorations, focusing on the creative potential of recitations (of texts) and reconsiderations (of histories, theories, contexts).

Tania Lisboa
The Romantic Cello: exploring left-hand expression
Research investigating the expression produced by the left-hand in cello playing, exploring 'shifting' as an artistic and expressive tool employed by great masters in portamenti. Analysis of recordings, listening experiments, interviews and intervention studies.

Darla Crispin
Re-hearing Anton Webern - Some postmodern thoughts about the Piano Variations
While the tenets of modernism may have deafened ears to aspects of Webern's music indebted to the musical classics, postmodernism may be in danger of marginalising his music altogether.

Paulo de Assis & Catherine Laws
Webern and Hodkinson
Paulo de Assis will perform the Webern Variations, and Catherine Laws will play a short new composition which uses one of the variations as the source material: Juliana Hodkinson's When the Wind Blows (for piano, toys and audio playback, 2009).

Darla Crispin
Schoenberg and the Alternatives: 'Unfinished' Performance
This musical presentation seeks to explore ways that 'tacit knowledge' - which includes performer vulnerability - can be elucidated within Schoenberg's piano music.

Kathleen Coessens, Darla Crispin & Anne Douglas
The Artistic Turn: vulnerability of the artist
The perfection of the artist contrasts with his or her vulnerability. How can the artist cope with these contrasting roles? What are the artistic challenges and pitfalls of the demanding society?

Mieko Kanno, Maria Lettberg & Tania Lisboa
Learning and performing Alfred Schnittke's Piano Trio
Examing the Piano Trio by Alfred Schnittke through an artistic inquiry. The investigation is committed to the understanding of the common experience of musical creation of learning and performing practice from the musician's point of view.

Listening and interacting
A user interface will be set-up where people can interact with aspects of data collection in artistic research. This installation will trace fluctuations in listeners' preferences of Strauss' Don Quixote for cello and orchestra, mapping out preference changes in real time, which will be shown against the score.

Sources of artistic research in Guarnieri's Sonata 3 for cello and piano The installation highlights and illustrates aspects of a performers perspective on Guarnieri's work, as well as aspects of the research on left-hand expression in cello playing. Critical edition of Luigi Nono's ...sofferte onde serene...
Alongside the critical edition of ...sofferte onde serene..., some working sketches of Luigi Nono will be displayed.
Collected Writings of the Orpheus Institute: the ORCiM Subseries
The ORCiM series is the flower bed of a Research Centre that promotes the kind of research that enhances the art of music makin, and the understanding of it. It concerns research that is embedded in and incorporates musical practice and is primarily guided by artistic objectives.

Interview with Leon Fleisher
Visitors to the Research Festival will have the opportunity to watch a video-registered interview with pianist Leon Fleisher. The interview was conducted at the Orpheus Institute in November 2008 by Research Fellow Paulo de Assis.

The Artistic Turn: interviews with artists and researchers
A permanent video-installation will show interviews with artists and artist-researchers from different artistic domains, reflecting on the tensions and possibilities of conducting art and research in the twenty-first century.