- Started in
- Musician type
- Piano, Organ, Harpsichord
- Host institution
- Leiden University
- Personal website
Since winning first prize in the 2012 Musica Antiqua Bruges International Harpsichord Competition, Canadian harpsichordist and organist Mark Edwards (b. 1986) has quickly earned recognition for his captivating performances, bringing the listener “to new and unpredictable regions, using all of the resources of his instrument, [...] of his virtuosity, and of his imagination” (La Libre Belgique). He studied at the Eastman School of Music in Rochester, NY, where he earned his Bachelor of Music with highest distinction, and completed graduate degrees at McGill University and the Hochschule für Musik Freiburg. His former teachers include Robert Hill, William Porter, Hank Knox, and David Higgs.
In addition to his success in Bruges, Mark has distinguished himself as a prizewinner in a number of important competitions, including the 2012 Jurow International Harpsichord Competition, the 2011 Concours d’orgue de Québec, and the 2008 Rodland Organ Competition, and he is a recipient of grants from the Social Sciences and Humanities Research Council of Canada (SSHRC) and the German Academic Exchange Service (DAAD). Mark is a regular participant in Montreal’s musical life, his past performances including concerts with award-winning ensembles such as Ensemble Caprice, Les Boréades de Montréal, and Flûte Alors! In Europe, he has had concerto performances with a number of ensembles, including Il Gardellino and X-travaganza! (Belgium), as well as Neobarock (Germany). He is a founding member of Ensemble 1729 and Recordare, which was named a finalist in the 2011 EMA Naxos Recording Competition for ensembles. Recordings of his performances have been featured on American Public Media’s radio program Pipedreams, as well as on La Société Radio-Canada’s program Soirées classiques.
Between Inscription and Performance
The principle of Werktreue, or fidelity to the musical work, has long been performers' most important ethical imperative. Yet, the rigid work concept may not be the best way to think about the fluid arts of performance during the 17th century. Edwards proposes instead to approach this music through the lens of rhetorical memory.
7 January 2021 (16.15)
How can historically-informed performers step outside the confines of the work-concept?
At present, historically-informed performance (HIP) functions simultaneously as an established musical tradition and as a method for artistic inquiry and renewal. HIP’s capacity to effect change within artistic practice is, however, constrained by its own doxa. This study therefore asks the question: what kinds of new practices might have once been, and might still become possible without the influence of the work-concept?