- Started in
- Musician type
- Host institution
- Leuven University
- Morocco Japan
Sanae Zanane is a Moroccan-Japanese pianist, fortepianist and harpsichord player.
While still at high school in Morocco, studying piano with Ghizlane Hamadi, she was accepted at the Ecole Normale de Musique de Paris A. Cortot in the class of Cécile¬ Edel-Latos and received a Diplôme d’Enseignement in 2003.
Subsequently her studies took her to Lyon where she studied under Hervé Billaut and then to the Pôle Supérieur de Paris Boulogne-¬Billancourt and the Sorbonne where, under Hortense Cartier-Bresson she completed her Bachelor in Piano (2010) and Masters in Musicology (2012).
Since 2012, Sanae has been living in Stuttgart, Germany. She was awarded a Masters in Piano (2014) under the tutelage of Péter Nagy and a Masters in Fortepiano (2017) under the tutelage of Stefania Neonato. During her studies Sanae has benefited from the advice of numerous musicians, among them Edson Elias, JeanClaude Pennetier, Jacques SaintYves, Tuija Hakkila Bart van Oort, Tom Beghin and Malcolm Bilson.
Sanae gives solo recitals, lecture-recitals as well as chamber music performances in Morocco, Germany, France, Italy and Switzerland. In addition, she likes to share her passion with young musicians by participating in competition juries and through teaching.
This research aims to capture notions of musical time such as rhythm and tempo as they were conceived in late eighteenth-century, and how these evolved through the nineteenth century.
I engage with various historical keyboard instruments in correlation with Beethoven’s works considering, beside their purely musical signification, their socio-cultural contexts as well. Under the light of the latter, these instruments become direct interfaces to historical performance practices encompassing past mindsets and human beliefs.
Varying time instead of dynamics in order to shape gestures and/or emphasize certain notes is the principle of agogics. This process is particularly suitable to instruments with no dynamic variability such as the harpsichord or the organ. Knowing that fortepianos coexisted with the other keyboard instruments during decades, the practice of agogics probably persisted despite the early developments of fortepianos. If agogics had been still in practice, how might composers have notated it—if at all? May other signs—to indicate dynamic, articulation and accentuation—encapsulate cues toward recapturing a lively practice of agogics?
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.