H.I.P.S.T.E.R. 2022–2023 Online Lecture Series
Bringing some of today's most innovative and thought-provoking research to a global online audience, H.I.P.S.T.E.R. presents five outstanding artists to share their recent work. Using H.I.P.S.T.E.R.'s online platform to deliver five 1-hour lectures between September 2022 and March 2023, viewers are invited to discover new musical findings and pathways, in and around the peripheries of early music, historically informed performance, composition, world music, photography, and more!
Please note! All times listed below are Irish Time, UTC+1 (Dublin/London/Lisbon)
SERIES SCHEDULE AND GUEST SPEAKERS
18 September 2022 @ 6pm: Dr. Alon Schab
Reconstructing a Lost String Quartet: a Historically Informed Approach to Jewish Art and Sacred Music of the 19th and 20th Centuries
In my research into the ‘scene’ of string-quartet playing in Palestine-Israel under British rule (1923–1948), I encountered an enigmatic newspaper mention of a quartet by the (sadly forgotten) Ukrainian Soviet composer Grigory Kompaneyets (1881 Poltava–1959 Kyiv), who played an important role in the local scene in his short period in Israel around 1930. With only a historical recording in hand (catalogued under the wrong composer) and with no surviving score, I set out to transcribe the piece from scratch. During the process, I gained valuable insights into Jewish folk tunes (some of them of surprising provenance), historically informed performance practice and compositional technique.
Dr. Alon Schab is a musicologist, composer, and recorder player. He wrote his doctoral dissertation on Henry Purcell at Trinity College Dublin. Since 2012 Alon has been a faculty member in the Department of Music at the University of Haifa. In 2016 he became a committee member of the Purcell Society, and he is currently the chairman of the Israeli Musicological Society. He is the author of The Sonatas of Henry Purcell: Rhetoric and Reversal (University of Rochester Press, 2018) and A Performer’s Guide to Transcribing, Editing and Arranging Early Music (Oxford University Press, 2022). His work in the field of Jewish music includes the rediscovery of the ‘Israeliten’ manuscript (Vienna, 1832) and the reconstruction of Grigory Kompaneyets’ first string quartet (1925).
30 October 2022 @ 5pm: Carlos Cuestas
Son jarocho is a communal music-making practice usually performed in life-cycle events like weddings, baptisms, or funerals, as well as Catholic feast days celebrated by whole communities in Veracruz, Mexico. In these celebrations, called fandangos, the line between passive audiences and active performers blurs, as performances depend on audience participation. The musical pieces, called sones, feature poetry that constantly references nature, creating a space for its participants to heighten their sensibilities to the way they experience the natural world. In turn, son jarocho practitioners, called jaraneros, embark on a journey where concerns about nature, the policies that threaten it, and personal habits come under scrutiny. In this presentation, I will show how some jaraneros develop intellectual and personal postures about their relationship to nature through son jarocho, its poetry, and the communities around it.
Carlos Cuestas is an active classical guitarist and son jarocho performer based in New York City. He has performed as a soloist and in chamber, orchestral, and traditional music ensembles on different plucked instruments in the United States, Mexico, Colombia, and Ireland. Carlos, a Colombian national, is a PhD Candidate in Ethnomusicology at the City University of New York, The Graduate Center researching the effects of environmental change in the poetic and musical practice of son jarocho. He is also an Adjunct Lecturer at the City University of New York, Brooklyn College.
13 November 2022 @ 5pm: Teddie Hwang
Music and Imagery
Music and Imagery is an interdisciplinary lecture by Teddie Hwang which demonstrates how the principles of fine art photography give insight into music and its interpretation. Using her own works ranging from portraiture to landscape astrophotography, she explains the most essential concepts in music through this visual medium to promote and inspire musicians to be compelling storytellers. Key points to this lecture include creativity based on a conscious intention, understanding composition and aesthetics, and going beyond the visible notation. When these concepts are internalized, music-making then becomes an enriching and fulfilling experience, both for the performer as well as for the listener.
Teddie Hwang is a specialist in historical flutes. Based in Germany, she has lectured and given workshops at institutions such as the San Francisco Conservatory of Music, the School of Music at the University of Victoria BC, the Irish World Academy of Music and Dance at the University of Limerick, and the Escuela Superior de Música(UNAM) in Mexico City. Teddie studied traverso with Wilbert Hazelzet and received her Masters degree in Historical Flute Performance from the Koninklijk Conservatorium Netherlands. She holds a Bachelors degree in Music and Germanic Studies from Indiana University USA, where she graduated with high distinction. She is a winner of the Baroque Flute Artist Competition held by the National Flute Association of America and adjudicates for its competitions. In addition to music, Teddie is a photographer centered on portraiture for musicians and produces her signature multimedia art films. Her lectures exploring the interdisciplinarity of music and photography have gained international attention, as she is a guest speaker at private music studios as well as at prestigious events such as the 2022 Galway Early Music Festival. Teddie studied photography with the award-winning photojournalist David Bathgate, in addition to black-and-white photography with Memphis Barbree.
26 February 2023 @ 5 pm: David Gutiérrez
The Recorder and Tin Whistle in Andean Traditional Music
The recorder and the tin whistle, both instruments coming from a European early music tradition, have found a place in Andean traditional music, one of the most ancestral forms of music still being played today. Since the era of colonial music, we can find examples of the recorder being used in South America and the music of the Andes region, but the immersion of the tin whistle has been something new, in great part thanks to the global revival of Irish traditional music. Through this lecture, I will not only show musical examples, but I will also speak about the technical issues that confront both instruments when engaging with Andean music and its diverse styles.
Born in Chile from Mexican parents, David Gutiérrez is one of the most influential young recorder and whistle players in Latin America. He has performed in various countries around the globe and in various venues, including the prestigious Auditorio Nacional of Mexico City. Having developed a great versatility, knowledge and mastery in different musical languages and styles has influenced his unique style as a performer of multiple instruments. He obtained his Bachelor Degree in Musical Interpretation on Recorder with first-class honours, and received the title of Soloist in Recorder with maximum distinction at the Pontifical Catholic University of Chile. He has a Master in Arts in Irish Traditional Music Performance from the Irish World Academy of Music and Dance, University of Limerick, Ireland, where he is currently a PhD candidate.
12 March 2023 @ 11am: Brooke Green
On Passion and Inspiration
Is all art autobiographical? How much of ourselves do we put into our work when we create or interpret? After many years as a performer on viol, vielle and baroque violin, Brooke Green returned to her childhood interest in music composition. Her music could be said to have recognisably early music sensibility within a contemporary context. In the first instance she usually composes for viols and period instruments, but lately she has been also writing for modern ensembles. Brooke is variously inspired by ancient myths and legends, outstanding female figures, brilliant performers, poets, and social justice issues, such as being outraged at Australia’s treatment of First Nations people and refugees. In this talk she introduces some of her works, explaining how these passions have inspired their creation and how she draws on historical compositional techniques.
Brooke Green is artistic director of the soprano and viol consort Josie and the Emeralds. In 2022 she was guest director, composer and performer with the Arafura Music Collective, Darwin. She is the recipient of the 2019 Jonathan Blakeman National Composition Prize and a winner of the Viola da Gamba Society of America’s Traynor Competition for New Viol Music, 2013. Published by PRB Music, Brooke is an associate composer with the Australian Music Centre. Her music can be heard on The Emerald Leopard (Tall Poppies TP233) and The Emerald Phoenix (Tall Poppies). As a graduate of the University of Sydney, Brooke was awarded the Donald Peart Prize for the most outstanding Bachelor of Music student across a range of subjects. With a Queen Elizabeth Silver Jubilee Scholarship, she studied baroque violin at Royal Conservatory, The Hague and in London with Michaela Comberti. For several years Brooke played baroque and classical violin with London-based ensembles such as The Hanover Band and The Brandenburg Consort while researching and performing music by early women composers such as Élisabeth-Claude Jacquet de la Guerre. After studying viol and vielle with Wendy Gillespie, Brooke graduated with a Masters in Early Music Performance from the Historical Performance Institute, Bloomington, Indiana University, where she also was a performer of contemporary music on historical instruments.
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