Performance-practice workshops can take many different formats. The exact
form of the residency is discussed with and agreed upon by the string
professor or other organizing faculty member. It is recommended that the
residency begin with an "open house." This places Elizabeth. Field in
a room for a prescribed number of hours with both modern and period instruments.
Interested students and faculty can "drop in" without an appointment,
and enjoy a hands on, one-on-one discussion of early performance practice
techniques. People are welcome to bring or not bring their instruments;
the emphasis being on an ongoing informal discussion which develops through
the day. It is then suggested that this format is followed by a more formal
demonstration either later the same day or the following day. This can
mean either one or more of the following: a performance/demonstration,
a lecture/demonstration, a performance clinic/masterclass
or an orchestral coaching session. Finally, in order to bring
to life the principles expressed in the coaching sessions, Elizabeth can
present an hour-long or full-evening recital or, a solo appearance with
PERFORMANCE DEMONSTRATION Repertoire
for this workshop will concentrate on music of uncommon 18th-century composers.
Following the performance, the process of developing an interpretation
which begins with playing the selections on period instruments and evolving
to modern equipment. will be demonstrated. There will be an emphasis on
the role of rhetoric as well as other important 18th- century issues (i.e.
affect) as it applies to the selected repertoire. Technical issues that
will inevitably be discussed are: separate-bow legato, rules of slurs,
bariologe, continuous 16th-note passagework, multiple bowing gestures
and continuo playing.
LECTURE/DEMONSTRATION This is a discussion
of the evolution of instrument design throughout the 18th and 21st- centuries,
and its cause and effect on compositional and performance styles. Particular
attention will be given to the changing performing traditions of the solo
Bach sonatas, as traced through the various editions found from 1802 to
CLINIC/MASTERCLASS Student performers
are encouraged to bring any repertoire up to and including early 19th-century
music. They are encouraged (but not required) to play with continuo if
appropriate. Soloists or ensembles, period or modern instrumentalists
are all equally welcomed.
ORCHESTRAL COACHING This work can
be done from the concertmaster's chair, or strictly as a coach. After
a brief introduction of 18th-century performance practice, players will
work through selected excerpts from the orchestra's current program. Each
excerpt will be demonstrated by the coach, followed by precise technical
instructions on how to make the passage easier and more effective by using
a modified 18th- century technique.
RECITALS AND CONCERTO APPEARANCES
Designed to showcase early instrument performance of familiar baroque
and classical literature, recital repertoire includes, but is not limited
to: Unaccompanied Bach Sonatas and Partitas; baroque sonatas by Biber,
Leclair and Corelli; classical sonatas with piano (fortepiano if available)
of Mozart, Beethoven and Schubert; or a trio concert featuring the music
of C.P.E. Bach, Haydn, Mozart and Beethoven. (Sample programs are available
upon request). Supporting musicians will be provided. Possible concerto
repertoire includes (but is not restricted to) any and all Bach concertos,
including multiple instrument concertos with members of the orchestra,
and Vivaldi's Four Seasons.
PREPARATION General details will be
communicated through an ongoing e-mail correspondence with the organization's
administrator. At the start of concert week, one meeting will be scheduled
with the conductor and other interested parties to confirm strategies
and set concrete goals.