The recordings on this website are reduced (mp3) versions of the high fidelity recordings that were made during the projects. These recordings can be seen as documentation of the ongoing research. The full size recordings will be published as integral part of my dissertation.
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The recordings on this website are reduced (mp3) versions of the high fidelity recordings that were made during the projects. These recordings can be seen as documentation of the ongoing research. The full size recordings will be published as integral part of my dissertation.
Continue reading
The recordings on this website are reduced (mp3) versions of the high fidelity recordings that were made during the projects. These recordings can be seen as documentation of the ongoing research. The full size recordings will be published as integral part of my dissertation.
Continue reading
A documentary about the project, with interviews and clips from rehearsals, recordings and performances.
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Een interview over de podcast en het onderzoek in het Nederlands met journalist Job van Schaik.
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The tempo modifications marked in the score are the result of studying the music through the lens of my previous research which can be found in the articles about tempo modification in the research section of the website. I have also looked closely at recordings with Fiedler and Ney (1939), Coates and Rubinstein (1929) and others.
These will serve as a starting point in the rehearsals with Olga Pashchenko in the third project week.
During the 20th Century tempo modifications in orchestral performances, other than the ones written in the score, became increasingly rare. In this essay, I look closely at two exciting recordings that in spite of this general trend, have an abundance of tempo modification: a live recording by the Berlin Philharmonic and Furtwängler, from 1949, and a live recording by the Australian Chamber Orchestra and Tognetti, from 2020.
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In this essay, I look at melodic rhythmic dislocation. I discuss historical examples and look at opportunities in upcoming projects.
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In this score (not an urtext score) I marked all the tempo modifications I intend to apply in the performance of the Third Symphony in September 2021. My ideas are based on historical research as described in my study of 6 historical recordings of the Second Symphony and the evaluation of the recording of the Second Symphony, that can both be found on this website, as well as my more recent analysis and study of recordings of this Symphony. After analyzing the recordings of Tognetti and Furtwängler, I have made some adjustments in my markings. This is an updated version of the earlier score.
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A review in the National Newspaper NRC of our concert in Leiden, September 2020
(Dutch language)
