The Analytical-Reconstructive Process of the Reduced Orchestral Works in France from the Post-Lully Generation (1687-1744)
This research project is mainly focused on how to reconstruct the middle parts (videlicet haute-contres, tailles and quintes) from French orchestral pieces, which survived only in their reduced forms (featuring primarely dessus and continuo), according to historical examples. By analyzing orchestral excerpts which were edited or copied in both forms, a five voice reconstruction of these diminished works will be produced. Furthermore, there shall be an accompanying report on how those parts were added in the common practice at the time and its relation with current instrumentation (since the aforementioned instruments are not redily available today). In order to fully realize this, it is important to examine these filledout works in a 21st century performance setting. The period to be explored is the one after J.B. Lully’s death until the death of A. Campra, emcompassing the so-called post Lully generation, specifically from 1687 untill 1744.
Nowadays, transcriptions of Johann Sebastian Bach’s compositions form an integral part of the classical guitar repertoire. These works have been produced in relatively recent times, the first ones being composed by Francisco Tárrega about 130 years ago. Today we have complete works transcribed from the violin, cello and flute repertoire, as well as few harpsichord pieces. Still, even contemporary transcriptions are not much different from those done by Tárrega or, later, by Andrés Segovia. Although many guitar players do listen to historically informed performances of ancient music, and might sense something is not right in the guitar transcriptions, not enough research has been done on this issue. Furthermore, since guitar did not exist as such in Bach's time, there is not any ancient treatise including instrument-specific solutions for dealing with the issues of that music, as there is for example for flute (Johann Joachim Quantz) and keyboard (Carl Philipp Emanuel Bach). A modern 6-string guitar player, therefore, in spite of having Bach as a substantial part of her/his repertoire, does not have anywhere to look at in order to faithfully broach these compositions. The absence of a detailed guide leads to read the music "as it is", with little or no attention paid to era-specific notation practice. For example, although the bowing in compositions for strings, where written, crucially affects the interpretation, no study on the transcriptions of bowings on guitar has been made. Furthermore, guitar transcriptions of keyboard works is a relatively new phenomenon and its complexity asks not only for more research, using the keyboard related sources we have, but also for exploring and experimenting on guitar and developing its techniques.
My research will be an exploration of the possibility of new music for the fortepiano, taking into consideration its special position of a truly historical instrument (as opposed to the harpsichord with its modern form). The study will be practice-led, centred on my activities as a composer-performer, exploring the fortepiano's physical distinctiveness from the modern pianos, including the study of compositional dialogues with 'pastness', and finally synthesising the study into new works and their performances alongside Classical repertoire.
The principal aim of this research is to explore the confrontation between voice and electronics. This confrontation will fundamentally examine emergent relationships between voice and electronics, especially pertaining to constituting the voice’s identity in music, the use of extended vocal techniques, augmenting the voice with electronics, and relating concepts of embodiment and disembodiment within this context. Additionally, this approach to artistic research will aim at examining how confrontations between voice and electronics can create new perspectives for both of the voice and contemporary practices utilizing electronics.