Looking forward to teaching an analysis class on the piano music of Maurice Ravel during the forthcoming summer semester at Robert Schumann Hochschule Düsseldorf. In addition, I will be speaking in a lecture concert on Ravel’s water-inspired compositions on Tuesday, 6 May, 7:30 pm, in the school’s chamber music hall, where I will share my thoughts on Jeux d’eau, Une barque sur l’océan, and Ondine. This is going to be an immense pleasure, and the more so if you could manage to come along! #ravel150 #imfluss
General
On Admission Exams in Music Theory
The board of the Gesellschaft für Musiktheorie (GMTH) has published a statement on the MULEM-EX study of May 2024, a survey examining the current music teacher shortage in Germany by interviewing applicants and students of school music education. The results of the study suggest that admission exams in music theory and aural skills may have a discouraging effect; this is understood in such a way that music-theoretical content allegedly has a limited significance for assessing the general eligibility of applicants. The GMTH statement, in which I was involved, disputes these findings.
The authors of the study recommend that music theory admission exams in school music programmes be suspended in order to counteract the decreasing numbers of students. This is a controversial issue. In general, I would be open to such a measure, provided that its success is thoroughly evaluated. In order to prevent a decline of standards in music theory and aural skills, the corresponding topics would, if no longer examined in an admission test, need to be integrated in the curriculum. For example, an elementary music theory course could be introduced in the first year of study, and the acquisition of elementary competencies would be subject of the first module examination.
Engaging with Medtner and Pejačević
I have the pleasure of welcoming two invited guests to my current seminar on piano sonatas of the late nineteenth and early twentieth centuries at Robert Schumann Hochschule Düsseldorf. The pianists will perform repertoire of their own choice and discuss it with the students, while I will add some analytic remarks. Both sessions will be open for colleagues and friends, so if you happen to be in Düsseldorf and would like to come around, just let me know!
- Wednesday, 22 January, 9 am: Severin von Eckardstein will perform and talk about Nikolai Medtner‘s Piano Sonata in G minor, Op. 22
- Wednesday, 5 February, 9 am: Kyra Steckeweh will present both of Dora Pejačević‘s piano sonatas, Op. 36 in B-flat minor and Op. 57 in A-flat major
Salva me, fons pietatis
Excited to perform Giuseppe Verdi’s Messa da Requiem today with Vokalsystem, Enchore and Sibelius Orchester under the direction of Simon Rössler in the Philharmonie Berlin! The concert is sold out, but there will be a follow-up event for everybody interested: On February 15, 6 pm, you can join us for a singalong concert with the Requiem at Martin-Luther-Kirche, Berlin-Neukölln. Follow this link for tickets and further information.
In Remembrance of Stephan
I am mourning the death of my friend and colleague Stephan Schönlau (1985–2024), who passed away recently during the Christmas holidays after a fierce battle against cancer for two and a half years. It is heartbreaking to lose a person of such sincerity, integrity, awareness, and kindness, and the more so if this person has been such a dear and valuable companion in professional and private life.
Stephan was a music theorist and lecturer at music universities in Berlin and Dresden. In his research, he opened up new perspectives on English and Italian Baroque music, and on the study of thoroughbass, passacaglia, and ground composition. As a member of the GMTH and its working group for international affairs, he co-established and coordinated the international lecture series of the society, and introduced his approaches to transcultural music theory and the integration of musics from a variety of origins in the classroom. In doing so, he contributed significantly to the advancement of the European music theory community. Moreover, Stephan and his husband, as a cross-continental and multiethnic couple, themselves were—and continue to be—a role model of diversity and plurality in many respects.
Stephan and I were in close exchange on a number of subjects, discussing the relations of music and politics, career paths in academia, and recent developments in European and American music theory. I feel honoured to have had the opportunity to be in touch with him. Our communication has broadened my mind and prompted me to challenge my own views on several occasions. May he rest in peace; may his graciousness in everything he was doing set an example for others who share his ideals and convictions; and may his family and friends find consolation and comfort in the idea that his work will be an inspiration to many people who have known and met him.