Doctoral Symposium and Open Day

Monday, 20.11.2017 14:00, David Josefowitz Recital Hall

Free, no tickets required. For further information please email

The Academy’s doctoral programme provides a collaborative environment for musicians to share and critique working practices, and a framework for developing long-term projects that will drive distinctive careers. It also offers a research and development engine for the Academy’s taught programmes.

This event highlights a small selection of current and recently completed projects encompassing aspects of artistry and professional development, engagement with tradition and exploration of creative processes. The symposium will begin with an introduction to the programme and its raison d’être, and will conclude with a round table and open discussion in which the audience will be invited to participate.

A brief introduction to the PhD Programme (2pm)

(Neil Heyde and Sarah Callis)

I – A living relationship with our musical heritage (2.15pm)

“A very disembodied violoncello”; Alfredo Piatti in the British press. Job ter Haar

Alfredo Piatti (1822-1901) is widely regarded as one of the most important cellists of the 19th century. He taught for nearly 30 years at the Academy, was a long-time quartet partner of Joseph Joachim, and counted Hausmann, Whitehouse, Becker and Stern amongst his pupils. This presentation gives an overview of a research project devoted to several aspects of his playing that may have been key to his success. Special focus will be put on one fascinating result of the project: an account of the reception of Piatti’s playing in the British press. In addition, a short demonstration will be given of artistic outcomes from the project.

Reviving and recording Émile Sauret’s 24 Études-Caprices, Op.64 (1902) Nazrin Rashidova 

Émile Sauret was a violin phenomenon of the 19thcentury, acclaimed by Liszt, Brahms and Sarasate. He taught at the Academy at the time these pieces were written, and this presentation aims to reveal some of the artistic and critical discoveries and challenges encountered in the process of making the first recording of the set (for Naxos). The cycle will span four discs and two have now been recorded. Why has it taken 115 years to ‘rediscover’ a major cycle of pieces for solo violin? Can the special challenges of these Études-Caprices help to develop and (re)define perception and understanding of virtuosity?

Tea/Coffee break – 3.15-3.30

II – Exploring repertoires and creating spaces (3.30pm)

Reimagining the flute and guitar Noémi Győri

The Classical Flute and Guitar project, launched in 2015, has provided a platform for me to create a new repertoire for the flute and guitar duo, based on original transcriptions of Viennese Classical and early Romantic keyboard works. The project includes the establishment of challenging new transcriptions of canonic repertoire, the publication of the scores, and the performance, programming and workshopping of the pieces themselves. All of this artistic work is established and refined through the research processes that are carried out simultaneously. This talk will focus on examples from the 'transcription laboratory' that is at the heart of the CFG project.

People and places in compositional thinking Freya Waley-Cohen

Over the last few years, I have been exploring the idea of incorporating the role of the listener into my compositional process. My thesis examines the ways in which discoveries I make in my listener-interactive compositions translate into my musical language when writing for a more traditional setting. In this talk I will be examining the process of creating Permutations, an interactive artwork and a synthesis of architecture and music written for one violinist performing six parts. The piece invites the listeners to explore the work through six movable chambers which spatially distribute the recorded violin parts.

III – Discussion Forum – Conservatoire Research and the Doctorate (4.30pm)

What’s On