2019 Conference

‘Early Recordings: Past Performing Practices in Contemporary Research’ took place on 22nd June 2019 in Pushkin House, London, gathering some twenty international scholars who will address the use of early recordings (pre-1945) in both musicological research and creative practice, while seeking to connect researchers and performers through critical and reflective debate.

It was jointly organized by Dr Inja Stanovic (University of Huddersfield) and Dr Eva Moreda Rodriguez (University of Glasgow), with generous funding from the Leverhulme Trust, the Arts and Humanities Research Council and the Royal Musical Asssociation.Screenshot 2019-05-06 at 13.07.26


10:00 – 10:30 – Welcome and Registration                                                        

 Music & Function Room


10:30 – 12:00 – Session 1                             Chair: Dr Eva Moreda Rodriguez

Music & Function Room

1. Dr Stephanie Probst: ‘Autographing Piano Rolls: Graphical traces of musical interpretation’

2. Dr Esther Burgos Bordonau: ’The María Jesús Casado García-Sampedro roll collection: an approach to the outstanding collection of piano rolls existing in the Archive of Recorded Sound of Stanford University’

3. Christopher Holman: ’Bach Organ Rolls in Nineteenth-Century France’


12:00 – 13:00 – Keynote lecture Chair: Dr Inja Stanović

Music & Function Room

Professor Neal Peres Da Costa: Title TBA


13:00 – 14:00 – Lunch

Music & Function Room    


14:00 – 16:00 – Session 2 (parallel sessions)           Chair: Dr George Kennaway

Music & Function Room

1. Dr Barbara Gentili: ’Earthy Singing and Sensuous Voices: the Changing Aesthetics of Vocal Registration in Pre-Electrical Recordings of Verismo Sopranos’

2. Daniele Palma: ’The Style of Male Gender: Evaluating timbre in operatic tenors’ early recordings’

3. Dr Sarah Fuchs: ’Recording Pedagogy’

4. Fátima Volkoviskii: ’Vocal Interpretation of Flamenco in Early Recordings of the National Library of Spain: Approaches to the analysis of cante flamenco’


14:00 – 16:00 – Session 3 (parallel sessions)         Chair: Dr Georgia Volioti

Gallery & Lecture Room

1. Dr Gabrielle Kaufman: ’Expressive portamento in Early Cello Recordings – analysing the peak and decline of a performance element’

2. Joanna Staruch-Smolec: ’Eugène Ysaÿe’s sound recordings as a source of inspiration for a violin player nowadays’

3. Pierre Riley: ’Bach Pianism in the Early Gramophone Age. From Performance Analysis to Histories of Listening’

4. Felipe García Suárez: ’Between Process and Object: Using recorded musical sounds as historical documents’


16:00 – 16:30 – Tea/coffee

  Music & Function Room


16:30 – 18:30 – Session 4  (parallel sessions) Chair: Dr Amy Blier-Carruthers

 Music & Function Room    

1. Dr Carol Lieberman: ’What We Can and Cannot Learn About Performance Practices from Early Recordings: a violinist’s perspective’

2. Dr Richard Beaudoin and Professor Neil Heyde: ’Early Recordings as New Music: Microtiming, Transcription, and Composition in Richard Beaudoin’s Digital Memory & the Archive’


16:30 – 18:30 – Session 5   (parallel sessions) Chair: Professor Neal Peres Da Costa

Gallery & Lecture Room    

1. Dr Karina Zybina: ’The ʻpre-war Requiemʼ: Exploring the early recordings of Mozart’s Requiem aeternam’           

2. Dr Ana Llorens: ’Brahms in the mid-1930s: a non-organic approach to (chamber) music’

3. Dr Inja Stanović: ‘The Usage of Early Sound Recordings in HIP: Moiré patterns between performance and research’

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