Thrilled to announce the first International Nikolai Medtner Festival medtner classics, taking place at various venues in Berlin during next week, October 29 to November 3, 2018. I am particularly honoured to contribute some introductory notes to the opening and closing concerts, and to appear as both performer and scholar in a lecture recital on Thursday, November 1, 6 pm, at Villa Oppenheim. I will be presenting my thoughts on Medtner’s Sonata-Elegy, Op. 11 No. 2, and also join a panel discussion to debate the composer’s Berlin period with acclaimed musicologists and historians. After that, I will share the stage with fabulous soprano Anna Hofmann for a performance of the rarely-heard Sonata-Vocalise, Op. 41 No. 1. Please refer to the International Medtner Society for the full programme and line-up. All events are free of charge, and everybody is cordially invited!
The ongoing discussion in VAN Magazine on the future of music education in Germany reaches another level. In her follow-up article to the recent contributions by Clemens Thomas, Heinz Geuen, Esther Bishop, and myself, Judith Gerhardt finally adds the perspective of music pedagogy students at Berlin University of the Arts, focusing on the misbalance between soloist training (which is way more encouraged and promoted at institutions) and music education (a subject generally regarded as inferior and less representative, despite its significantly higher social and political relevance). Once more it becomes apparent that a paradigm change is overdue—and now, after students and musicians have variously expressed their discontent with the present system, it is about time for administrations and educational policy on federal and state level to join the discussion and determine how professional music education can be re-organised and modernised.
I recently stumbled upon this 2015 piece by Damian Thompson claiming the general inferiority of woman composers, and can’t quite figure out whether it really is the blatantly offensive, misogynic bullshit which it appears to be, or if there is some sort of hidden irony in it which I just don’t get. I tend to believe it is the former. Only good thing about this crap is that the author rapidly and unmistakably discloses himself as an ignorant moron, excreting loads of incredible nonsense while not having the slightest clue of what terms such as ›well crafted‹ or ›badly crafted‹ actually mean in a musical context. What is more, he totally lacks the criteria to judge whether, and under which preconditions, assessments such as ›great‹, ›genius‹ or ›first rank‹ may be reasonably applied to music, nor is he aware of the sheer obsolescence of his terminology. He does not even deliver a proper argument in support of his boastful headline, assuming that »there are no great female composers«. Howsoever disgraceful this overt sexism comes across, I still don’t think that Thompson is a troll who should simply be ignored. Given that the article is already three years old, my comment may not seem necessary at all, but I cannot help but wish that the author’s name may forever be associated with this breathtaking load of rubbish.
I was lucky enough to receive a wild card for participation in the 18th annual conference of the German Society for Music Theory (GMTH), being held the following weekend at Bremen University of the Arts, and focusing on counterpoint as a central paradigm of music analysis and theoretical teaching. If you happen to be around, I’d be inexpressibly delighted to have your company for my paper presentation »Fugal Writing in Sonatas«, taking place on Saturday, 6 October, 4:30 pm, in room 1.01. I will discuss intersections of the fugue and sonata principles in the music of Haydn, Beethoven, Mendelssohn, Brahms, Myaskovsky, Szymanowski, and Hindemith.