To celebrate the 150th anniversary of the birth of Claude Debussy (1862-1918) the Institute of Musical Research in collaboration with Bangor University, the Royal College of Music and Gresham College present an international symposium centred on the links between Claude Debussy and the literary and visual arts. The event focuses on the works of Debussy, his texts and the ideas behind them.
Marie Rolf is Associate Dean of Graduate Studies and Professor of Music Theory at the Eastman School of Music in Rochester, New York. Her research interests range from the music and manuscripts of Debussy and Mozart to topics in analysis and performance, keyboard skills, and the pedagogy of Music Theory. In 1991 she brought to light sixty new bars of Mozart's Rondo for Horn in E flat, KV 371., publishing the first edition of that work for Horn and Piano (Bärenreiter), and in 2004, she authenticated a completely unknown mélodie by Debussy 'Les Papillons', of which she published a facsimile transcription and essay on the work (New York Public Library). Marie Rolf is a founding member of the editorial board for the Debussy Œuvres Complètes; her critical edition of La Mer appeared in 1997, and her volume of Debussy's songs (composed in the 1880s) is scheduled to appear in 2013. She has lectured in London, Paris, Tours, Geneva, Melbourne and Montreal among other venues.
Mylène Dubiau-Feuillerac defended her dissertation thesis on relations between music and poetry in Claude Debussy's French Art Songs on Paul Verlaine's texts in June 2008. Her research links the analysis of musical discourse to the literary poetics of texts and their oralisation. She won the Bourse Lavoisier French Grant for the 2008–2009 academic year at the Eastman School of Music (University of Rochester, NY), to study performance and analysis. She is co-reader of the critical edition of Claude Debussy's Mélodies (volume 2), in the collection of the Debussy Œuvres Complètes, under the supervision of its editor Professor Marie Rolf (Paris: Editions Durand). In 2010, she wrote a chapter entitled « La mise en musique d'un poème : transposition d'art ou traduction d'un langage à un autre ? Le cas de « Mandoline » de Paul Verlaine mis en musique par Claude Debussy (1882) », for the book Language and its Contexts : Transposition and Transformation of meaning? (Pierre-Alexis Mével, Helen Tattam, eds., Peter Lang, "Modern French Identities", Oxford, 2010). She is currently Professor of Music at the University of Toulouse-le Mirail, and will be hosted as a Visiting Scholar at Eastman School of Music in Fall 2012.
David Evans is Senior Lecturer in French at the University of St Andrews. He works on musico-poetic relationships in the nineteenth century, especially questions of rhythm and form. He has published 'Rhythm, Illusion and the Poetic Idea: Baudelaire, Rimbaud, Mallarme' (Rodopi, 2004), as well as articles on Debussy and Banville. He is currently working on a monograph entitled 'Music, Memory and Mechanism: The Poetic Theory and Practice of Theodore de Banville', for publication with Legenda in 2013.
Professor of musicology and Dean of the College at Brown University (USA), Katherine Bergeron's research deals with French cultural history of the 19th and 20th centuries, with an emphasis on music and language. Bergeron is the author of Decadent Enchantments (California 1998), a book about the revival of Gregorian chant, which won the Deems-Taylor Award from ASCAP in 1999. She is also editor of Disciplining Music (Chicago 1992) and Music, Rhythm, Language (California 2004), a special issue of Representations.
Her book, Voice Lessons (Oxford 2010), a study of French language, poetry, linguistic science, and song, won the Deems Taylor Award in 2011, and the Otto Kinkeldey Award from the American Musicological Society, the highest honour accorded to a book by a senior scholar.
François de Médicis is a professor at the Université de Montreal. His research interests centre on French and Russian music from the first third of the twentieth century (Debussy, Milhaud, Scriabin and Stravinsky). He is a member of the editorial committee for the critical edition of the works of Saint-Saëns with Bärenreiter, French editor of Intersections (2006–2009), he has co-edited the bookMusique et modernité en France, 1900 à 1945 (2006), published articles in Acta Musicologica, Music & Letters, Il Saggiatore musicale, Intersections, STM-Online, l'Enciclopedia della musica(Einaudi), and in collections of articles published by Vrin, the Sorbonne, l'Harmattan, and Presses de l'Université de Montréal.
David Grayson gained his PhD at Harvard and studied with Nadia Boulanger. He is author of The Genesis of Claude Debussy's "Pelléas et Mélisande"; he is a member of the editorial board of Cahiers Debussy and has contributed to the Cambridge Opera Handbook on Pelléas; Debussy Studies; Debussy and His World; The Cambridge Companion to Debussy; Rethinking Debussy and Music, Theater and Cultural Transfer: Paris, 1830–1914. His edition of Pelléas for the Debussy Œuvres Complètes involved collaboration with Pierre Boulez, Claudio Abbado and John Eliot Gardiner. He contributed to Mozart's Piano Concertos: Text, Context, Interpretation, and wrote the Cambridge Music Handbook Mozart: Piano Concertos Nos. 20 and 21.
Known as both a scholar and a pianist, Roy Howat is one of the founding editors of the Debussy Œuvres Complètes for which he has edited four volumes of the piano music. His other critical editions include a Dover edition of Chabrier's piano music and a more extensive volume of Fauré's piano music for Peters Edition. His books include the influential Debussy in Proportion (Cambridge UP, 1983) and more recently The Art of French Piano Music (Yale up, 2009). His recordings include major piano and chamber works by composers including Debussy, Chabrier, Fauré and Pierné. His is currently Keyboard Research Fellow at the Royal Academy of Music in London.
Denis Herlin is Director of Research at the Institut de recherche sur le patrimoine musical en France. He has published three catalogues of music collections and numerous articles on French Baroque music and on the work of Claude Debussy. His critical editions include Rameau’s Pièces de clavecin en concerts (with Davitt Moroney), Siret’s Pièces de clavecin, Fauré’s two Quartets with piano, and Debussy’s Nocturnes. He is co-author, with Sylvie Bouissou and Pascal Denécheau, of the first two volumes of the Catalogue thématique des œuvres de Jean-Philippe Rameau (2003, 2007), the third volume of which is due to appear in 2012. With Bruce Gustafson, he is preparing a critical edition of Chambonnières’s keyboard music. General editor of theŒuvres complètes de Debussy since 2002, he has published the complete correspondence of Debussy (2005, with François Lesure). From 2009 to 2011 he was president of the Société française de musicologie.
Lecturer in French at the University of Sheffield (UK) Helen Abbott specialises in nineteenth-century French poetry and music, with particular emphasis on voice and performance. Her first monograph, Between Baudelaire and Mallarmé: Voice, Conversation and Music was published with Ashgate in 2009. Her forthcoming book entitled Parisian Intersections: Baudelaire’s Legacy to Composers examines five different nineteenth-century song settings of Baudelaire’s ‘La Mort des amants’ by both well-known and minor composers of the era. She regularly collaborates with the Oxford Lieder Festival and is an associate researcher of the SongArt research group. Prior to taking up her post at the University of Sheffield in 2012, she was Head of French at Bangor University, north Wales.
Professor Richard Langham Smith is a musicologist who has written on Debussy and contemporary French music in general. He read music at the University of York, he then pursued further study on the harpsichord and Baroque performance practice at the Amsterdam Conservatory. He has taught at the University of Lancaster, City University, the University of Exeter, and the Open University. Currently, he is Head of the Graduate School at the Royal College of Music, London. He was the Visiting Gresham Professor of Music in 2003.
Paul Archbold is a composer of works featuring acoustic instruments and live electronics. His compositions have been performed by several of the leading exponents of contemporary music in the United Kingdom including the Kreutzer String Quartet, Gemini and the Royal Scottish National Orchestra and have been broadcast in Australia, Finland, Norway, Lithuania, Mexico, Germany and Great Britain. He has held lectureships at the universities of Huddersfield and Durham and was Chairman and Artistic Advisor of the Musicon concert series in Durham.