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Tuesday, 19 April 2011, 1:00PM
Museum of London

From Printed Page to Performance

Professor Christopher Hogwood CBE, Dame Emma Kirkby, Jakob Lindberg

When so much in music education is formulated on the principle of imitation, and the passing down of received 'traditions' from teacher to pupil, it is important to readdress the significance of original and informed opinion in performance.
Dame Emma Kirkby, who has done more than any other musician of our generation to reassess the vocal approach to earlier music will discuss with the Lecturer her approach to singing, teaching, recording and performing and the effect her performances have had on singing world-wide over the last forty years.
The lecture is illustrated by live examples taken from Renaissance lute songs and other repertoire, including the following pieces:

John Dowland
     Prelude
     Go Crystal Tears
     Shall I sue? Shall I seek for grace
     Fantasia
Tarquinio Merula
     Canzonetta Spirituale Sopra La Nanna
Henry Purcell
     She loves and she confesses too

Speaker_ChristopherHogwood-370x370.jpg

Christopher Hogwood CBE was a world-renowned conductor, keyboard player, musicologist, writer, editor and broadcaster.  As well as being the Gresham Professor of Music between 2010 and 2014, he was the founding director of the Academy of Ancient Music for over thirty years, before holding positions at the Royal Academy of Music, the University of Cambridge and Cornell University.

Born in Nottingham in 1941, Christopher Hogwood studied at the University of Cambridge, before pursuing keyboard studies with Rafael Puyana in Spain and subsequently with Zuzana Ruzickova in Prague and Gustav Leonhardt in Amsterdam. Whilst keyboardist with the Academy of St. Martin in the Fields, Hogwood founded the Early Music Consort with David Munrow in 1965 and the Academy of Ancient Music in 1973, institutions set up to promote the performance of baroque and early classical music on period instruments. Director of the AAM until 2006, he produced more than 200 recordings for Decca and revolutionized the way music is performed, recorded and heard. Equally at home in the neo-baroque and neo-classical repertoire, Hogwood regularly conducted leading opera companies and major symphony orchestras around the world. He was awarded the Martinu Medal in Prague in 1999.

A celebrated keyboardist and important collector of historical instruments, Hogwood made numerous solo recordings on harpsichord did much to promote the clavichord. His Secret Handel, part of The Secret Clavichord series of CDs, was awarded a Diapason d'Or in January 2007. Also a noted musicologist, Hogwood edited music from the sixteenth to the twentieth centuries, including work by John Dowland, Felix Mendelssohn, Edward Elgar and Igor Stravinsky.  He was chairman of the advisory board overseeing the new edition of Carl Philipp Emanuel Bach: The Complete Works. He also wrote on Handel, Haydn and Mozart and his final major work was Handel: Water Music and Music for the Royal Fireworks. His work on Handel - editing, performance, recording and writing - brought him numerous awards, including the Halle Handel Prize 2008.

Appointed Fellow of the Royal Society of Arts in 1982 and Commander of the British Empire in 1989, Professor Hogwood's final positions were as Honorary Professor of Music at the University of Cambridge, Andrew D. White Professor-at-Large at Cornell University (USA), and Visiting Professor at the Royal Academy of Music, London. He holds Fellowships at Jesus and Pembroke Colleges, Cambridge and also as a member of the Senior Common Room at Lowell House, Harvard University. He received an Honorary Doctorate in Music from Cambridge in 2008.

Professor Hogwood was the Gresham College Professor of Music between 2010 and 2014. His series of lectures were: Aspects of Authenticity (2010-11), The Making of a Masterpiece (2011-12), European Capitals of Music (2012-13) and Music in Context (2013-14).
All of his lectures can be accessed here.

Professor Hogwood was unable to deliver all of his lectures in his final series due to illness and it was with great sadness that the College learnt of his passing away in September 2014.

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dame-emma-kirkby

Originally, Emma Kirkby had no expectations of becoming a professional singer. As a classics student at Oxford and then a schoolteacher she sang for pleasure in choirs and small groups, always feeling most at home in Renaissance and Baroque repertoire. She joined the Taverner Choir in 1971 and in 1973 began her long association with the Consort of Musicke. Emma took part in the early Decca Florilegium recordings with both the Consort of Musicke and the Academy of Ancient Music, at a time when most college-trained sopranos were not seeking a sound appropriate for early instruments. She therefore had to find her own approach, with enormous help from Jessica Cash in London, and from the directors, fellow singers and instrumentalists with whom she has worked over the years.

Emma feels privileged to have been able to build long-term relationships with chamber groups and orchestras, in particular London Baroque, the Freiburger Barockorchester, L'Orfeo (of Linz) and the Orchestra of the Age of Enlightenment, and now with some of the younger groups such as the Palladian Ensemble and Florilegium.

To date she has made well over a hundred recordings of all kinds, from sequences of Hildegarde of Bingen to madrigals of the Italian and English Renaissance, cantatas and oratorios of the Baroque, works of Mozart, Haydn and J. C. Bach. Recent recordings include: Handel: Opera Arias and Overtures 2 for Hyperion, Bach wedding cantatas for Decca, Bach Cantatas 82a and 199 for Carus; and four projects for BIS: with London Baroque, one of Handel motets and one of Christmas music by Scarlatti, Bach and others; with the Royal Academy Baroque Orchestra the first recording of the newly-rediscovered Gloria by Handel; and with the Romantic Chamber Group of London, Chanson d'amour: songs by the American composer Amy Beach, who died in 1944.

More recent recordings: an anthology, Classical Kirkby, devised and performed with Anthony Rooley, on the BIS label, 2002; Cantatas by Cataldo Amodei, also for BIS, 2004; with Fretwork, consort songs by William Byrd, for Harmonia Mundi USA, 2005.; Scarlatti Stabat Mater with Daniel Taylor, for ATMA, 2006; Honey from the Hive, songs of John Dowland, with Anthony Rooley, for BIS, 2006: and Musique and Sweet Poetrie, also for BIS, 2007; lute songs from Europe with Jakob Lindberg.

In 1999 Emma was voted Artist of the Year by Classic FM Radio listeners; in November 2000 she received the Order of the British Empire, and in June 2007 was delighted to be included in the Queen's Birthday Honours List for appointment as a Dame Commander of the Order of the British Empire. BBC Music Magazine, April 2007, in a recent survey to find “The greatest sopranos,” placed Emma at number ten. While such things are inevitably parochial, partial, controversial, and outdated as soon as they appear, she is pleased at the recognition this implies for an approach to singing that values ensemble, clarity and stillness alongside the more obvious factors of volume and display.

Despite all the recording activity, Emma still prefers live concerts, especially the pleasure of performing favourite programmes with colleagues; every occasion, every venue and every audience will combine to create something new from this wonderful repertoire.

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jakob-lindberg

Jakob Lindberg was born in Djursholm in Sweden and developed his first passionate interest in music through the Beatles. He started to play the guitar and soon became interested in the classical repertoire. From the age of fourteen he studied with Jörgen Rörby who also gave him his first tuition on the lute.
After reading music at Stockholm University he went to London to study at the Royal College of Music, where he further developed his knowledge of the lute repertoire under the guidance of Diana Poulton, and decided towards the end of his studies to concentrate on renaissance and baroque music; he is now one of the most prolific performers in this field. Jakob has made numerous recordings for BIS, many of which are pioneering in that they present a wide range of music on CD for the first time. He has brought Scottish lute music to public attention, demonstrated the beauty of the Italian repertoire for chitarrone and recorded chamber music by Vivaldi, Haydn and Boccherini on period instruments.

He is the first lutenist to have recorded the complete solo lute music by John Dowland and his recording of Bach's music for solo lute is considered to be one of the most important readings of these works.

An active continuo player on the theorbo and arch lute, Jakob has worked with many well known English ensembles including The English Concert, Taverner Choir, The Purcell Quartet, Monteverdi Choir, Chiaroscuro, The Orchestra of the Age of Enlightenment and The Academy of Ancient Music. He is also in demand as an accompanist and has given recitals with Emma Kirkby, Ann Sofie von Otter, Nigel Rogers and Ian Partridge. He assisted Andrew Parrott in the musical direction of Purcell's Dido and Aeneas given by The Royal Swedish Opera at Drottningholm Court Theatre in 1995, and also directed from the chitarrone the much acclaimed performances of Jacopo Peri's Euridice given there in 1997.

It is particularly through his live solo performances that he has become known as one of the finest lutenists in the world today, with concerts all over the globe from Tokyo and Beijing in the East to San Francisco and Mexico City in the West.

In addition to his busy life as a performer, Jakob Lindberg teaches at the Royal College of Music in London where he succeeded Diana Poulton as professor of lute in 1979

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Transcript

19 April 2011

From Printed Page to Performance
Professor Christopher Hogwood CBE
Dame Emma Kirkby
Jakob Lindberg

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