The Galpin Society
The American Musical Instrument Society
The joint conference of the Galpin Society and the American Musical Instrument Society will be held in Edinburgh, 1st - 4th June 2017.
The meeting will be hosted by the University of Edinburgh and will be centred on the newly refurbished St Cecilia's Hall, location of Musical Instrument Museums Edinburgh.
Wednesday May 31st
Accommodation at Pollock Halls available
18:00 - 20:00 Welcome reception with music, St Cecilia's Hall
Dinner on your own
Thursday June 1st
Break for lunch (AMIS Board of Governors meeting)
Visit to special exhibition of organological rare books and manuscripts (first alternative time)
Evening: Excelsior Ballroom concert and dance (The Washboard Jazz-O-Maniacs, 1920s Jazz Band with period instruments)
Named after two bands active in the 1920s and early 1930s - The Washboard Rhythm Kings and Charles Creath's Jazz-O-Maniacs - this group puts together early jazz musicians from across the UK, delivering a pre-swing repertoire that would be familiar to both bands during the height of their careers. The line-up is vocals, vocals/guitar/banjo, string bass, drums/washboard, trombone, clarinet/saxophones, trumpet.
Friday June 2nd
Break for lunch (Working Group on Collection Management for Universities, Colleges and Conservatories)
Visit to special exhibition of organological rare books and manuscripts (second alternative time)
Organ recital (John Kitchen plays the 1977-78 Jürgen Ahrend 21-stop, 2-manual German organ in the Reid Concert Hall)
A recital of 17th- and 18th- century German organ music, played on the celebrated 1978 Ahrend organ in the Reid Concert Hall. Music to include works by J.S. Bach (organ chorales, 'Fiddle' Fugue in D minor), chorale variations by Michael Praetorius and Johann Pachelbel, and a concerto-arrangement by Bach's cousin J.G. Walther.
Saturday June 3rd
AMIS Business Meeting
13:00 Break for lunch (GS Committee meeting)
Concert: 'Les Cuivres Diaboliques' (The Wallace Collection, brass ensemble with period instruments)
The technological advances of the early nineteenth century, which gave rise to an increased chromatic capacity in brass instruments, coincided with the Romantic period in music. Music for the stage, where composers needed to scene-paint, using orchestral colours idiomatically, provided an early context for innovative writing for the new lip-excited instruments with keys and valves. The imaginary worlds of the supernatural were an ideal playground for composers and the new chromatic instruments of the Romantic period.
One of the first composers to realise the latent possibilities of the the new brass instruments was Meyerbeer and his 'Robert le diable', premiered in Paris in 1831, was widely influential. The Distin Family Quintet adopted a selection from Robert le diable almost as their signature tune, with it featuring on many handbills of their performances in an illustrious career stretching from the 1830s through to the 1850s. Hence the fanciful title of this afternoon's recital: 'Les cuivres diaboliques'. Putting ourselves back into the context of the first half of the nineteenth century, to many listeners these strange new chromatic sounds emanating from brass instruments must have sounded as if they came from another world, and the capacity for brass to express the tragic and blacker side of nature, must have seemed to some to have been dark and satanic, like the mills of the period.
The transcription of Robert le diable played by the Distin family quintet has been lost. Today, with students from the Royal Conservatoire of Scotland studying the historic brass module, The Wallace Collection is to play the version by James Smythe conducted by Enderby Jackson at the 1862 brass band contest at Crystal Palace.
15:00 Galpin Society Annual General Meeting
Sunday June 4th
Break for lunch (AMIS Editorial Board)
Demonstrations of museum instruments (three rotating sessions)
Evening: Concert at St Cecilia's Hall (Il Rossignolo, period woodwinds and harpsichord)
Internationally acclaimed as 'one of the finest young Italian groups of early music' for its interpretative verve which combines 'extraordinary and inspired vitality with philological authenticity', Il Rossignolo is an ensemble - whose component parts vary on the basis of repertoire - which specializes in the study and performance of early music played on historical instruments. The group was founded and is coordinated by flute players Marica Testi and Martino Noferi and harpsichordist Ottaviano Tenerani, who is also the conductor.
Monday June 5th
Visit to instrument collections in Glasgow
Royal Conservatoire of Scotland (exhibition and reserve)
Further information: e-mail: email@example.com
This page updated: 19.4.17