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EMA’s Emerging Artists Showcase: Trobár & Gili Loftus
June 14 @ 2:00 pm - 3:00 pm EDT
Join the Watch Party on EMA’s Facebook Page at the scheduled time. Performers from each concert will be watching along, chatting, and taking your questions live in the comments. Performances will also be archived on EMA’s YouTube Channel following the Watch Party.
Allison Monroe, voice, vielle | Elena Mullins, voice | Karin Weston, voice
PROGRAM – A ROOM OF HER OWN
Estampie Anon., Robertsbridge Codex
Part II: Lady Rectitude
Files a marier Gilles Binchois (c.1400-1460)
Belle, bonne, sage Baude Cordier, fl. Early 15th cent.
Pour vous tenir Pierre Fontaine (c. 1380-1450)
Deuil angoisseus Binchois
Part III: Lady Justice
Clotilda, Christian Queen of the French
Gaude mater ecclesia Anon., Officium et Vita sanctae Clotildis
The City of Ladies
Sanctus Johannes Tapissier (c. 1370-1410)
Conclusion: ChristineFinal Exhortation and Benediction
Gloria … et in terra pax Nicolas Grenon (c. 1375-1456)
PROGRAM – “à la Clara”: Thinking Through Her Hands
In 1895, at the urging of two of her daughters, Clara Schumann put to paper notated versions for eleven improvisations in the form of introductory preludes. Of these, four were intended as introductions to specific Robert Schumann movements. The idea that these preludes constituted self-reflective, and highly personal, musical thoughts is strengthened by the fact that the two copies that were made of the original Berlin autograph were most likely meant only for the use of the two Schumann daughters. This video-animation project, originally published to accompany an article featured in Keyboard Perspectives and in which I offer my re-imagination of the manner in which Clara Schumann might have performed these short works, was a first foray into the exploration of embodiment and memory, questions of ownership and authorship, and the role of performer-as-(re)creator.
Improvisation was used as a communicative tool between performer and audience in myriad ways, both by Clara Schumann and her contemporaries. For Clara, it provided at times a pathway between the private and the public spheres, and an outlet through which emotions and ideas could be expressed. What “Clara the improvisor” can represent, and how to re-invent the improvisatory experience in a twenty-first century context lies at the heart of this concert.