13 September 2014
Presenter | Title | ||
0930-1100 | Tonal Frontiers | ||
Arthur Kaptainis | Avoiding the A-word: Schoenberg’s Entrückung and the tonal perspective of 1908 | ||
Carlos de Lemos Almada | “At the frontiers of tonality”: Tradition and innovation in Schoenberg’s First Chamber Symphony Op.9 | ||
Jun Zubillaga-Pow | Schoenberg and the Semiticate: The Cyclical Nature of the Chamber Symphonies | ||
1100-1130 | Tea/Coffee | ||
1130-1300 | Religiosity Redux | ||
Aoife Sadlier | Arnold Schoenberg’s Quest for a Jewish Identity: Between Fantasy, Illusion and Reality | ||
Martin Brady | Schoenberg, Film, and the Prohibition of Images: From Die Glückliche Hand to the Genesis Prelude | ||
Magnar Breivik | Backlights on Schoenberg’s Lichtspielszene | ||
1300-1400 | Lunch | ||
1400-1500 | Schoenberg as Pedagogue | ||
Fusako Hamao | On the Origin of Schoenberg’s Metronome Markings | ||
Gordon Root | The Two-Measure Phrase in Schoenberg’s Pedagogy | ||
Arnulf Mattes | Dialect or Dialectics? Rudolf Kolisch’s Recordings and the (De-)Construction of a Modernist Idiom | ||
1500-1530 | Tea/Coffee | ||
1530-1730 | Performance Practices | ||
Mattias Wurz | 1914: ‘Pierrot’ and His War – Arnold Schönberg’s melodrama Pierrot lunaire and the image of war | ||
Hugh Collins Rice /Pina Napolitano | Performing Form – Schoenberg’s Klavierstück Op33b: a Dialogue between Performance and Analysis | ||
Stelios Chatziiosifidis | A Balancing Act in Schoenberg’s Violin Concerto Op. 36: The Crystallisation of the Idea in Four Notes | ||
1730-1830 | Keynote I | ||
Joseph Auner | Schoenberg as Sound Student | ||
1830-1930 | David Knotts, TBC | Song Recital |
14 September 2014
Presenter | Title | ||
0930-1100 | Schoenberg’s Composers | ||
Danielle Hood | The Uncanny Topic in the Fünf Orchesterstücke Op. 16: A ‘Key’ to Schoenberg’s Unconscious | ||
Alexander Carpenter(invited speaker) | Schoenberg as Strauss: Waltzes, Waltz Arrangements and Nostalgia | ||
Severine Neff(invited speaker) | How Not to Hear The Rite of Spring?: Schoenberg’s Theories, Leibowitz’s Recording | ||
1100-1130 | Tea/Coffee | ||
1130-1300 | Keynote II | ||
Ethan Haimo | Schoenberg’s Early Correspondence | ||
Sabine Feisst | What Schoenberg’s Correspondence Tells Us: His Epistolary Friendships with Adolph Weiss, Nicolas Slonimsky, and Dika Newlin | ||
1300-1400 | Lunch | ||
1400-1530 | Interpersonal Relations | ||
Raymond Coffer | Gerstl, Schönberg (and Mathilde): A Brief Reassessment of Their Relationship and its Impact on Op. 10 (1908) | ||
Beatrix Obal | „Aber Verleger und Autoren können auf Dauer nicht Freunde sein.“ Arnold Schoenberg and his Publishers | ||
Walter Kreyszig | Schoenberg’s Teaching of Coherence and Its Effect on the Comprehensibility of his “Method of Composition with Twelve Tones” | ||
1530-1600 | Tea/Coffee | ||
1600-1730 | Performative Imageries | ||
Vanessa Hawes | Performative and Structural Affordance in Das Buch der Hängenden Gärten | ||
Avior Byron(invited speaker) | Schoenberg’s Writings on Performance | ||
Steven J. Cahn(invited speaker) | Imaging the Performance of Schoenberg’s Compositions | ||
1730-1830 | Roundtable | ||
The Path to Schoenberg Studies |