Description: Dissertation as published on the website of the Leiden University Library

Description: Brahms Fourth Symphony, first movement. Score with intended modifications, August 2022

Description: Brahms Fourth Symphony, first movement. Score with intended modifications, August 2022

Description: Brahms Fourth Symphony, first movement. Score with intended modifications, August 2022

Description: Brahms Fourth Symphony, first movement. Score with intended modifications, August 2022

Description: 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.

Description: 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.

Description: In this essay, I look at melodic rhythmic dislocation. I discuss historical examples and look at opportunities in upcoming projects.

Description: 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.

Description: Recognising that we can not recreate a historical truth is important. In this article, which I shared with the musicians before the project started, I write about my preference for the title HIM to HIPP. I believe that what I we do in the context of this project can best be described as Historically Inspired Modernism. It is an effort to apply lost expressive tools of the nineteenth century in such a way that the music speaks to an audience of the twenty first century.

Description: In his article I analyze my own recording in the same way I have analyzed the historical recording in my study 'In Search of sounding evidence of traces of Fritz Steinbach's approach to Brahms's Second Symphony' which can also be found on this site. I provide examples of tempo modifications through links to the recording and I give my motivation for applying the modifications the way I did.

Description: In this study I compare 6 historical recordings through the lens of Blume's Brahms in der Meininger Tradition. The study has links to segments of the recordings I discuss. I give my own solutions for the performance issues discussed by Blume and compare them to the recordings.

Description: Analyzing Mengelberg's score and recording and recording of the second movement of Brahms's Second Symphony opus 73.

Description: This is a scan of Mengelberg's score. It can be used to better understand my article "From score to Performance".

Description: In this study I look at the markings in Mengelberg's score. I discuss each marking in relation to my own artistic goals for my performance with Shunske Sato, Pieter Wispelwey and the Project Orchestra.

Description: In this study I look at the markings in Mengelberg's score. I discuss each marking in relation to my own artistic goals for my performance with Shunske Sato, Pieter Wispelwey and the Project Orchestra.

Description: In this study I look at the markings in Mengelberg's score. I discuss each marking in relation to my own artistic goals for my performance with Shunske Sato, Pieter Wispelwey and the Project Orchestra.

Description: This exercise details the use of bow speed and pressure, as well as portamenti and other details. It is really helpful to draw attention to the endless possibilities of the bow-hand when it comes to creating colour and expression. I shared this exercise with the string players of the 2019 project orchestra and we worked on it in a workshop before the start of the project week. The text is in German.

Description: A marked part with my fingerings and bowings, based on historic research. I shared it with the musicians forming the orchestra before the start of the project in 2019.

Description: Ferdinand David on how to shift positions in an exercise from his 1863 violin method.