The School of Music at Cardiff University will mark the centenary of Caruso’s death with the event “Caruso at 100. The legacy of an operatic icon” on 23rd September, at 3:30pm. Dr Barbara Gentili (Cardiff University, and a member of the Early Recordings network) will talk about the tenor’s recordings, Prof Alexandra Wilson (Oxford Brookes) will talk about his book collection, and Dr Carlo Cenciarelli (Cardiff University) will discuss Mario Lanza’s biopic The Great Caruso. Adam Gilbert, young artist at the Welsh National Opera, will also sing a selection of repertoire accompanied by Lauretta Bloomer.
In collaboration with CIRO (Cardiff Interdisciplinary Reasearch in Opera and Drama), Cardiff University School of Music, Welsh National Opera, Cardiff friends of WNO
Tickets for the in-person event are free and can be booked here. The event will also be livestreamed here.
A warm welcome to the first issue of our newsletter! Some of you might have learned about our AHRC-funded research network our May conference, Early Recordings: Diversity in Practice; others might have come across it from our recent announcement about our upcoming symposium in September. However you found us, we are grateful for your support in our aim to create a space for conversation and exchange on the topic of early recordings as sources for performance practice and history.
International audience for Early recordings: Diversity in Practice
In May, we held the conference Early recordings: Diversity in Practice – with an in-person meeting being sadly still unfeasible, we decided to distribute the sessions over three Wednesday afternoons (5th, 12th and 19th), which provided a suitable antidote to “Zoom fatigue”. We were privileged enough to host thirteen presenters coming from nine different countries, on topics ranging from theoretical and methodological considerations of mediatisation and listening to a multiplicity a case studies covering flamenco, musical theatre, Hawaiian music and the classical repertoire. You can find the programme and abstracts, as well as some of the talks, on the conference micro-site.
Even though the conference was not officially part of the activities of the Redefining Early Recordings as Sources for Performance Practice and History network, it provided an opportunity to present the project and learn more about the diversity of the research on early recordings being conducted all over the world.
Introducing our Research Resources
We have also been busy updating our website, including our collection of links to research resources! One of the things that came up during our May conference was the difficulty in finding out about the increasing number of digitization projects being developed all over the world, and so we wanted to contribute to bridge that gap. If you know of any other digitized collections of early recordings, please let us know; and, similarly, if you have completed a PhD on the topic, we will be happy to link to it.
We are also interested in publishing reviews of such resources – similar in tone and scope to reviews of books that you can read in any academic journal. While such resources are of course incredibly beneficial to research into early recordings, we believe it is fundamental that they are critically appraised and contextualized, for the benefit of both the research and the sound archives community. If you would like to contribute a review of a resource, please e-mail us.
Symposium Using early recordings in practice-led research to be held in Huddersfield in September
We are pleased to announce that the first symposium (of a total of five) organized by the network will take place at the University of Huddersfield on 12th September 2021, under the title Using early recordings in practice-led research.
The presenters include Kate Bennet-Wadsworth (Guildhall School of Music), Jeroen Billiet (Conservatoire Royal de Bruxelles), David Milsom (University of Huddersfield) and George Kennaway (University of Huddersfield). The afternoon of the symposium is reserved for a public work-shop on making two minute cylinders, led by Duncan Miller (Vulcan Records) and Inja Stanović (University of Huddersfield).
If you would like to attend the symposium in Huddersfield, please e-mail Inja Stanovic to book your place. A detailed programme will be published closer to the date, but we anticipate that the day will start at about 9am and finish at about 6pm.
The event will also be streamed online, on our YouTube channel and we will let you know about the details of the streaming closer to the time.
Please remember that our webpage has a blog where we will be more than happy to publish any of your news relating to early recordings research (announcements of events, publications, concerts and recordings; calls for papers; opinion pieces, etc.). Just e-mail us to tell us about your idea.
We hope you are all having a good summer, and we’ll be delighted to meet you in person at one of our forthcoming events.
Following our successful conferences in 2019 and 2020, we have decided to organize a third one this year, which will in practice consist of short sessions to run over a series of weeks in May 2021. See below for our call for papers. We look forward to hearing from you!
We are delighted to welcome submissions for the third edition of our conference on early recordings. The previous two editions (Past Performing Practices in Contemporary Research, 2019, and Methodologies in Research and Practice, 2020) confirmed that research into early recordings, as documents of performance practice, is thriving, and our conference provide a much-needed forum for discussion around new research activities and findings in the area. This year, the conference shall address diversity in early recordings, with the conference committee welcome submissions beyond classical repertoire. The event itself, ‘Early Recordings: Diversity in Practice’, shall run online, over three half-day events on the 5th, 12th and 19th of May, from 4-7pm (UK time). This short format allows for papers and/or research snapshots to be grouped around one specific topic in the day, followed by an invited research talk and informal chats over online drinks.
Attendance is free, and Zoom links will be shared closer to time.
We invite scholars and performers interested in any aspect of early recordings (pre-1945) as documents of performance practice to submit 250-word abstracts for either 1) 20 minute paper, or 2) research snapshot of 10 minutes, to both Dr Inja Stanovic (email@example.com) and Dr. Eva Moreda Rodríguez (Eva.MoredaRodriguez@glasgow.ac.uk) by 1 April 2021.
Esther Burgos Bordonau, PhD (Universidad Complutense de Madrid) gave a paper on the María Jesús Casado García-Sampedro collection of piano rolls at our 2019 conference in London. In this blog post, she writes about an online exhibit she has recently curated dedicated to this collection.
The Piano Roll collection known as “María Jesús Casado García-Sampedro” is one of many that Stanford’s Archive of Recorded Sound conserves in its facilities. Although it’s not a large collection – just 54 rolls – it’s interesting because of the nature and origin of the items collected. It could be considered a “rare” collection.
Stanford’s Archive of Recorded Sound collects a very large number of piano and organ rolls from all over the world. Without a doubt, one of the most outstanding is the “Denis Condon collection” which was purchased in 2015 and marked the beginning of the Piano Roll Project, better known as SUPRA (Stanford University Piano Roll Archive). This project intended not only to keep and maintain these materials for future researchers and scholars, but also to undertake its digitization. Bringing back those old sounds and their appearance to our time is part of the goal of this ambitious project.
During this time, the Casado García-Sampedro family contacted Stanford Librarians and agreed to donate the entire collection to Stanford University Library. This gift was immediately accepted as the Archive of Recorded Sound didn’t already have a Spanish collection.
When examining the collection, Spanish and Latin American composers can be found as well as some classical ones. The repertoire is typically Spanish, encompassing a variety of Spanish musical genres: Zarzuelas, Pasodobles, Jotas, Lagarteranas, Peteneras as well as other Latin American musical works, such as Tangos and a typical Pericón.
The rolls in this collection are all mechanical ones, for piano players. These were not conceived as “artist rolls”, which make them very valuable, but these rolls are also interesting as they permit learning about the music and style of a period of time, as well as habits and fashions of a given country at a certain time in its history. In fact, the date range given in the online exhibit perfectly showcases the most prosperous years of this type of support.
Through this online exhibition on the Stanford University Library webpage dedicated to the Casado García-Sampedro collection, we show an exhaustive study of the titles, composers, musical styles, publishers and main features of the entire collection. We have identified, described and catalogued all the 54 rolls together with a brief study of the collection as well as the donor’s biography. A short introductory video is included in the Chapters tab. Here we explain how the work was done with each one of the rolls and how we managed to unroll them and look at them carefully using the special device that Stanford built for this purpose.
Also included in the Chapters tab is an explanation of the collection, the bibliographic catalogue and the biography of the donor. The user can also browse documents, pictures, all the piano rolls, and both catalogues (English and Spanish versions). In the About tab, the research Project is explained. To sum up, this is a remarkable contribution to the great sound collection of this outstanding archive as it has given life to 54 unknown Spanish/Hispanic rolls with its music audio files as well as its beautiful scanned images. Congratulations to all!
This is a message from Daniel Allenbach (Hochschule der Künste Bern):
We are excited to announce an online virtual conference on November 21, 2020 at 17:00 GMT (18:00 CET, 09:00 PST, 03:00 AEST). This half-day meeting will include condensed lectures from representative topics in piano roll study. It aims to continue the communication and collaboration sparked by the 2018 gathering, and to be a prelude to the planned 2021 conference in Switzerland.
The conference will occur online via Zoom and will offer interactive opportunities for questions and group discussion. Topics will include the scanning and digitization of rolls, history of roll manufacturers, performance practice on rolls, and the pianola and roll performance today. Full program to be published October 1.
Speakers will include: Heike Fricke Neal Peres da Costa Birgit Heise Peter Phillips Marc Widuch Sebastian Bausch Kumaran Arul