Monday 3 October
The Tempest: Study Day
Alongside the Jericho House production of The Tempest, presented by the Barbican at St Giles's Church, this study day interrogates the sound world of the piece, drawing on the company's work reconstructing historical music and investigating its interaction with the performance. The day features talks and performances exploring this relationship from the point of view of musicians and actors as well as the production’s creative team.
Tuesday 4 October
Suffering for their Art: An Investigation into the Psychological Impact of Injuries on Musicians
The issue of musicians’ injuries has come to the fore in recent years, but the majority of studies have focused primarily on physical causes and effects. In this session, Helen Reid presents the findings of her recent research, considering the significant and wide-ranging psychological impact of injuries sustained by musicians. A panel discussion follows, Chaired by Aaron Williamon, Professor of Performance Science, Royal College of Music.
Wednesday 12 October
Ravel and Mussorgsky Study morning
This study morning looks at the works being performed by the Guildhall School Symphony Orchestra in November: Ravel's La Valse and the Piano Concerto for the Left Hand, and Mussorgsky's Pictures at an Exhibition. Speakers from the Guildhall School and invited external guests will give an introduction to the pieces and will place them in their historical and cultural context.
Saturday 15 October
Performance & Ethics Debate
This event draws together three off-site shows in the Barbican's Autumn theatre season: Shakespeare's The Tempest (Jericho House at St Giles's Church), Roadkill (Cora Bissett) and Harold Pinter's The New World Order (Hydrocracker at Shoreditch Town Hall). Representatives from the creative team on each of the three shows will take part in a discussion facilitated by a leading academic exploring the ethical aspects underpinning all three performances.
Tuesday 8 November
Composers and their Audiences
Following the recent success of her widely acclaimed book Behind Bars - the Definitive Guide to Music Notation, Elaine Gould (Senior New Music Editor at Faber Music) explores the ever-changing effects of theory and practice on notation in music today. Her presentation is followed by a round-table discussion involving composers and performers, chaired by Professor Julian Anderson.
Friday 11 November
Music Notation in Theory and Practice
Following the recent success of her widely acclaimed book Behind Bars - the Definitive Guide to Music Notation, Elaine Gould (Senior New Music Editor at Faber Music) will explore the ever-changing effects of theory and practice on notation in music today. Her presentation will be followed by a round-table discussion involving composers and performers, chaired by Professor Julian Anderson.
Friday 18 November
The Song cycle: a lecture recital by Graham Johnson
Graham Johnson once more directs Autumn’s song recital series, which will be looking at song cycles. Beethoven’s An die ferne Geliebte is usually cited as the first cycle for voice and piano and since then composers have used the form to unite poems that form a narrative, or share a common theme or poet. Professor Johnson will be presenting a lecture recital on November 18 and coaching senior singers and pianists in some of the most well-known cycles towards three concerts later in the term
Friday 16 December
Conference: Automation in Performance
The Guildhall School in partnership with Stage Technologies and the London Centre for Arts and Cultural Exchange are hosting a day of discussion and networking to discuss how Higher Education should address the increasing demands for scenic automation in theatre.
Thursday 8 March
Vocal students from the Guildhall School in collaboration with the ensemble EXAUDI directed by James Weeks, present experimental works by John Cage and his contemporaries alongside world premiere performances of Christopher Fox’s newly commissioned work.
Friday 9 March
Talking with the audience: a roundtable and open discussion
Chaired by Dr Helena Gaunt and Professor John Sloboda
Live musical events increasingly involve verbal interactions with the audience, from pre-concert talks, through lecture-recitals and public masterclasses, to post concert feedback sessions. A panel of experienced practitioners review current and developing practice, focusing on how talk can deepen and strengthen the artistic impact of live events.
Tuesday 13 March
Performing to the Red Light: the psychology of recording
Chaired by Professor John Sloboda
As a form of performance, recording presents many unique challenges for classical musicians and can be both stressful and problematic, yet there is often little training or guidance available in the process and most musicians learn by experience. Terence Curran (Oxford University) presents recent research exploring some of the challenges posed by recording.
Thursday 15 March
Beyond Text – Creativity in Repertoire Performance: Between Interpretation and Extemporisation in Music & Drama
Centre for Creative Performance & Classical Improvisation & ResearchWorks
Professor Daniel Leech-Wilkinson (King’s College London), Ken Rea and David Dolan (Guildhall School), assisted by Guildhall students, will explore creative freedom and personal interpretation in historical recordings from the early 20th century and the notion of improvisation in the performance of a range of texts. Professor John Sloboda will discuss what animates contemporary audiences in relation to live performance in the content of the earlier presentations.
Saturday 17 – Tuesday 20 March
3rd International Reflective Conservatoire Conference
The Reflective Conservatoire Conference now an established feature of the events calendar bringing together leading researchers, professional performers and teachers in music and drama from all over the world to address key issues within music in Higher Education in papers and practical workshops.
The conference was delivered in partnership with the European Association of Conservatoires (AEC), The Culture Capital Exchange (TCCE), the Society for Education, Music & Psychology Research (SEMPRE) and the Centre for Music Performance as Creative Practice (CMPCP).
The themes of the conference were:
• Repertoire for the 21st century
• Researching performance: practice, discourse and methodologies
• Creative collaborative learning (from one-to-one partnerships to ensembles/companies)
• Artists in society: understanding audiences and life in the real world
These key issues were explored through a series of Keynotes, curated sessions, seminars, practical workshops and a festival showcasing new work.
Wednesday 21 March
Improvised Music Night
As part of the Guildhall Annual Jazz Festival, this Improvised Music Night features special guests Phil Minton (voice) and Maggie Nicholls (voice) alongside Guildhall School Musicians.
Sunday 25 March
Study day: Beyond Sleep: the less-known Gurney
This Ivor Gurney study day led by Iain Burnside features presentations from Kate Kennedy on the poetry and the asylum years, April Fredrick on the songs and Mark Bebbington on the piano music. Roderick Swanston opens the day, putting Gurney’s work in the context of the rich English musical scene of the period. Iain Burnside will discuss the creation of his production A Soldier and a Maker.
Wednesday 18 April
Book Launch: Reflections: The Piano Music of Maurice Ravel by Paul Roberts
Monday 16 April
Communication and audience awareness in expert orchestral performance
Drawing on interviews with musicians from the UK, US and Germany, Helena Gaunt and Melissa Dobson (Guildhall School of Music & Drama) explore orchestral musicians’ perceptions and awareness of their audiences. Contextualising this issue within broader findings on the importance of social and musical communication in orchestral work, a range of potential implications for orchestral training will be considered.
Monday 16 April
Preludes & Preceptors: a plan for learning the piano forte in the early nineteenth-century
In this talk, harpsichordist Penelope Cave sheds light on an important, but forgotten aspect of early pianoforte lessons. The improvised prelude was a common musical form in this period. Penelope Cave will work with Guildhall students to explore a practical approach to this lost tradition.
Wednesday 9 May
When Interpretation and improvisation meet – the practice of creative performance
Dr David Dolan and a group of advanced students from the Guildhall School explore stylistic extemporisation gestures within classical and early romantic repertoire works for piano. They discuss the use of improvised repeats, fermata points, eingangs and cadenzas; these are applied to the way performers respond to each others’ extemporisations in a chamber music context.
24 & 25 May
Il Combattimento di Tancredi e Clorinda
Directed by Prof Andrew Lawrence-King, Guildhall School, with swordmaster Dr Klim Zhukhov, St Petersburg State University
This production reproduces elements of the original performance, re-creating Monteverdi’s thrilling vision of an epic swordfight in music. Events as part of the project include:
Thursday 24 May
Seminar: “Continuo at the Cutting Edge” Andrew Lawrence-King & Dr Simon Capp explore the measure of early 17th-century continuo.
Friday 25 May
Performance: Combattimento Post-event panel discussions led by Prof Jane Davidson (Australian Research Council Centre for the History of Emotions) and Prof John Sloboda (Guildhall School).
Friday & Saturday
City of London Festival 2012
Level Playing Field – Symposium
A symposium on the development of musical opportunities, aesthetics and instrument technology for musicians of all physicalities
Participants include Charlotte White, Christian Lindberg, Clarence Adoo and the Headspace Ensemble, Drake Music, Rolf Gehlhaar, Guildhall School of Music and Drama, Stephen Langridge, the London Symphony Orchestra, Frank Lyons, Nigel Osborne, Peter Renshaw, Royal Conservatoire of Scotland, Share Music Sweden, Skoogmusic and other experts from the fields of music, arts, education and disability.