Just wanted to let you know that my review of the infamous festschrift for Siegfried Mauser has been published in the current issue of Die Musikforschung 73, No. 1 (2020): 65–67. There is no digitised version as far as I am aware—drop me a line if you fancy reading it and do not have access to the journal. #criticbait
Dear devotees and scholars of Russian music: this is an invitation to my forthcoming musicological lecture on Thursday, January 30, 3 pm, which will see me delving into biographical studies for the first time. In the framework of a conference on Eastern European émigré culture at Zentrum für Musikwissenschaft Leipzig, I will be presenting an English-language paper titled »Decision, Hope, and Resignation«, examining Nikolai Medtner‘s stay in Berlin (1921–24) and the personal and artistic implications associated to that period. Admission is free, so please stop by if you are around! The conference will also cover aspects of emigration from Poland, Lithuania, Slovenia, and Hungary. — Full schedule available here.
This is to commemorate Linda Shaver-Gleason who passed away last week, aged 36. A public musicologist, as she used to refer to herself, Linda appeared as a scholar of Mendelssohn’s reception history, as a highly valued author writing for diverse outlets, and not least as an influential blogger who reached out via her own website Not Another Music History Cliché. Her eloquence, commitment, and courage will be missed. May she rest in peace and her legacy continue.
It’s not that I attach particular importance to jubilees and anniversaries, and the upcoming BTHVN 2020 celebrations will leave me largely indifferent. However, I suppose I am unlikely to let this day pass unnoticed: Nikolai Karlovich Medtner was born 140 years ago. Happy birthday, mate, your music is an infinite source of inspiration to me, and will continue to give me moments of passion, joy, and utter beatitude. It is my sincere hope that you would have condoned the following arrangement which I prepared in 2018, and am now re-posting here as a posthumous present—I borrowed the catchiest tunes from your C major Sonata, Op. 11 No. 3, added an English translation of the Goethe lyrics which you chose as a motto for that work, and compiled these ingredients into a little jazz ballad named Atonement. I’ll be more than content if this trifle serves no other purpose than provide a humble delight for the fellow admirers of your art.