Expertiseportaal van de Hogeschool Gent

Engels

Research on left hand expression techniques (portamento, vibrato and fingering) in solo, chamber and orchestral repertoire for the Violoncello in the XIXth century and the beginning of the XXth century.

Project: Doctoraatsproject

While performing and recording the C. Debussy and M. Ravel programs of 20112012
with the Anima Eterna Brugge Orchestra as principal 'cellist, my interest in a historical approach to the practical application of expressive effects such as portamento and vibrato deepened and intensified.
Research on the evolution of performing styles and the use of expressive techniques, based on journalism and other contemporary accounts, sheds light on aspects of 19th – beginning 20th century violoncello playing that should receive more attention. Therefore, I would like to carry out a deeper investigation and gather additional information on these matters by studying contemporary 19th – early 20th century sources (Schools of Playing, Method
books), examining contemporary publications and searching for new documentary materials
in journalism (articles, reviews, memoires, and letters). It would also be very profitable to use early sound recordings as a reference.
Since I plan to make an accent particularly on violoncello playing, it is essential to elucidate the extent to which stylistic changes in performance practice were due to the evolution of instrumental technique together with the evolution of personal tastes and style in general; if the stylistic changes were due to social developments; in which way the development of sound recordings affected performance styles and the role of national schools of playing.
An increase in the use of prominent portamento seems to have occurred around the beginning of the 19th century (according to C. Brown’s article) and have reached an apotheosis at the turn of the 20th century. Leopold Auer (18451930), one of the last defenders of the old 19th century aesthetic, warned against the abuse of portamento and vibrato.
I would like to investigate if there was indeed an abuse of portamento and vibrato in solo and orchestral playing and identify the signs of such abuse. What caused the new style of prominent portamento to come into existence and develop into abuse?

StatusIn uitvoering
Periode1/10/1230/09/18
URLwww.sergei-istomin.com

Verwante onderzoeksoutput