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SUMMARY:MUSICAL IDENTITY - Christopher Hogwood
DTSTART:20070119T173000Z
DTEND:20070119T183000Z
UID:TALK6182@talks.cam.ac.uk
CONTACT:Janet Gibson
DESCRIPTION:What _are_ Brahms? If music has an identity\, does anyone othe
 r than the\ncomposer know it?  Is any knowledge or training necessary for 
 us to\nappreciate the "identity" of a musical work?  Individuals and\nsoci
 eties use music to define their own identities\, but does music\nitself of
 fer anything more than a construct of freely interpretable\nparameters? Wh
 at _is_ a Beethoven quartet? the score?  the memory? a\ncomposite of perfo
 rmances?\n\nChristopher Hogwood will consider the implications of educatio
 n\,\ninterpretation (including the "authenticists")\, concepts of "style" 
 in both\nwritten and improvised musics\, fakes\, arrangements\, familiarit
 y and\nreligion\, and also comment on the work of musicology in identifyin
 g the\n'DNA' of composers\, its place in the defining of anonymous works\,
  attempts\nto create computer-music and the "myth" of the compositional pa
 radigm.\n\n*Biography*\n\nChristopher Hogwood is one of the greatest propo
 nents of the early music movement\, as well as a renowned conductor of twe
 ntieth century works. This season he becomes lifetime Emeritus Director of
  the Academy of Ancient Music\, the orchestra he founded in 1973\, and beg
 ins a series of Handel operas in concert with the rarely performed Amadigi
 . In addition he is Conductor Laureate of Boston's Handel & Haydn Society 
 and continues his close association with the Kammerorchester Basel. In dem
 and by many of the world's leading orchestras\, he is a regular guest with
  the Tonhalle Zurich\, Orquesta Ciudad de Granada\, Frankfurt Radio Sympho
 ny Orchestra and Athens Camerata. This season he also appears with the Orc
 hestra dell'Accademia Nazionale di Santa Cecilia\, Bremen Philharmonic and
  Stuttgart Radio Symphony Orchestra. Hogwood began his career as a keyboar
 dist and has been a major force in the revolution that has forever changed
  the way music is performed\, recorded and heard. Based on the principle o
 f discovering and\, where possible\, recreating the composer's intentions\
 , his approach begins with musicology - going back to the original sources
 \, correcting published errors and tracking subsequent changes. His repert
 oire ranges from mediaeval to contemporary music\, but with a particularly
  affinity for Haydn and Handel and in twentieth-century music\, for the ne
 o-baroque and neo-classical schools. His current editorial work varies fro
 m the great overtures and symphonies by Mendelssohn to the Fitzwilliam Vir
 ginal Book and complete keyboard works of Purcell. Hogwood has made more t
 han 200 records with AAM for Decca\, including the first ever complete Moz
 art symphonies on period instruments. Other current projects range from th
 e series of neo-classical works on Sony/BMG's Arte Nova label with Kammero
 rchester Basel\, to the Secret series for clavichord and Martinu's complet
 e works for violin and orchestra. Future plans include Prokofiev\, Martinu
 \, Copland\, Haydn and Mozart and Beethoven on the clavichord.Hogwood's ma
 ny publications include a survey of patronage through the ages (Music at C
 ourt) and biographical studies of Haydn\, Mozart and Handel. His latest bo
 ok\, `Water Music and Music for the Royal Fireworks'\, is published by Cam
 bridge University Press. He is Honorary Professor of Music at the Universi
 ty of Cambridge and Visiting Professor at the Royal Academy of Music. Visi
 t http://www.hogwood.org for further information. \n
LOCATION:LMH\, Lady Mitchell Hall
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