Mar 01, 2014
from 09:30 AM to 12:00 PM
|Where||9.30am, West Road Concert Hall|
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French Repertoire MASTERCLASS
This masterclass is presented by the AHRC Research Centre for Musical Performance as Creative Practice (CMPCP) and the Faculty of Music's 'Practising Performance' Series, which is co-ordinated by Margaret Faultless (Director of Performance Studies) and John Rink (Professor of Musical Performance Studies). During the masterclass Roy Howat will work with a number of musicians from the Faculty of Music, University of Cambridge, who are members of the Faculty of Music/Royal Academy of Music Performance Scheme.
Roy Howat came up to King’s College as a Music Scholar in 1979, and stayed on to complete a doctorate, which eventually became the influential book Debussy in proportion. His first two years in Cambridge were spent under the Professorship of Robin Orr, from whom he later commissioned, and took on tour, Robin’s major work for piano, Three Lyric Pieces. Roy is now Keyboard Research Fellow at the Royal Academy of Music: among his many publications are critical editions of music by Debussy, Fauré and Chabrier, and the recent book The Art of French Piano Music. Roy regularly tours worldwide, with a large concert repertoire. His recordings include the piano music of Debussy, Chabrier and Fauré, and various CDs of chamber music.
Message from the Director of Performance Studies, Faculty of Music
I am delighted to welcome Roy Howat to the Music Faculty to take this masterclass. He is an undisputed expert in the field of French music, and of the music of Debussy in particular, both as a scholar and as a performer. I am certain that he will offer fascinating insights into the repertoire performed this afternoon.
This class is part of a developing strand of performance-related events attached to the Music Faculty and supported by CMPCP. Practising Performance activities have included side-by-side experiences featuring students from the University and professional players from the Academy of Ancient Music, a conducting workshop with Sir Mark Elder, a seminar with Sir Roger Norrington discussing aspects of performance practice, and other masterclasses by leading performers. I would like to thank Professor John Rink for his support for the whole series, and Dr David Mawson for his help in promoting and organising today's class.
DIRECTOR OF PERFORMANCE STUDIES, FACULTY OF MUSIC