- Started in
- Musician type
- Host institution
- Amsterdam University
- United States
Avery Gosfield directs the medieval-renaissance ensemble Lucidarium, with over 1'000 concerts to its name and a number of award-winning recordings. She has taught master classes on five continents at institutions that include the Geneva Conservatory, Yiddish Summer Weimar and the Cini Foundation and regularly gives lectures in both academic and lay settings. Recent publications include “I Sing it to an Italian Tune… Thoughts on Performing Sixteenth-Century Italian-Jewish Sung Poetry Today,” European Journal of Jewish Studies 8 (2014), “Gratias post mensam in diebus festiuis cum cantico Hebraim: A new look at an early sixteenth century Tzur Mishelo,” Yearbook for European Jewish Literature Studies (De Gruyter: 2017), and upcoming publications for Brill and Venice Music Studies, among others. In 2016, she curated the STIMU symposium, entitled “Reinventing a Usable Past,” at the Utrecht Early Music Festival, narrated a documentary (“Het Venetiaanse Ghetto”) and created, together with Lucidarium “Sounds from Shylock’s Venice” a concert/multimedia project in commemoration of the 500-year anniversary of the establishment of the Venice Ghetto. In 2017 she directed a one-week course at the Foundation Cini as part of “Shakespeare in and Out of the Ghetto”, a Creative Europe project funded by a European Union grant and sponsored by Ca’ Foscari, the Cini Foundation, the Geneva Conservatory and the City of Geneva. For the 2018-2019 academic year, she has been awarded a Sassoon Fellowship to carry out research at the Bodleian Library.
Very little Jewish music in notation from before 1620 has come down to us. Next to this, however, a kind of “shadow repertoire” exists – the hundreds of poems by Jewish authors that we know were sung (at least upon occasion) that have survived in text-only form. My proposal is for a research project centered on Jewish poems from Italian sources, and their relation to extant repertoire: both notated music from Early Modern 'Gentile' sources and orally-transmitted song. The goal would be two-fold: an edition, and a series of performances based on the research. The whole would necessarily be complimented by a discussion of the close intertwining of research and creative expression, and its role in Early Music itself, especially when working with the data-poor repertoires typical of populations living outside of the mainstream, including the moral questions involved, especially considering the questions of authenticity or reception by the modern public.
6 September > 4 October 2021
The Orpheus Doctoral Conference 2020, organised by the second year docARTES PhD students, was planned for 28 and 29 May 2020. The world decided otherwise, unfortunately, and this edition was postponed to September 2021. This conference is an experiment in form as much as content.