2019 Symposium
April 10 & 11, 2019
The Symposium is organized in conjunction with the String Department of the School of Music.
This year’s work: String Quartet in F Major, Op. 135
Wednesday, April 10 | 10 AM – Noon BU College of Fine Arts , Room 171 |
Open Rehearsal of Op. 135, Graduate Student String Quartet coached by Prof. Peter Zazofsky |
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2-5 PM PM BU School of Music Marshall Room |
Formal Presentation of Research Papers
Christopher Reynolds (University of California, Davis) “Contexts for ‘Es muß sein’: Further Thoughts on the Meaning of Beethoven’s Op. 135.” response: Richard Kramer (Graduate Center, City University of NY) Barbara Barry (University of London) “‘Through the Looking Glass’: Opus 135 as Beethoven’s ‘Haydn’ Quartet” response: Erica Buurman (San Jose State University) Sean Gallagher (New England Conservatory of Music) “Last to First: Models, Movement-Types, and Beethoven’s Op. 135” response: David Levy (Wake Forest University)
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8:00 PM BU College of Fine Arts Concert Hall |
Lewis Lockwood Opening Remarks The Borromeo String Quartet (Nicholas Kitchen, violin 1; Beethoven, String Quartet in B-flat Major, Op. 130, alternate finale, Allegro Beethoven, Canon for Four Voices, WoO 196, “Es muß sein!” Bach, Fugue in B minor, from The Well-Tempered Clavier, Book 1 Graduate String Quartet (Minjia Xu, violin 1; Rebekah Heckler, violin 2; Mu-Tao Chang, viola; Chao Du, cello) Beethoven, String Quartet in F, Op. 135 |
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Thursday, April 11 | 9-12:00 BU College of Fine Arts, Room 38 |
Round-Table Discussion of Op. 135, Conference participants, faculty, students, and others. |
Participants:
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Barbara Barry, University of London (London)Barbara Barry has been on the music faculty of the Music Department at University of London Goldsmiths’ College and Chair of Music History at the Guildhall School of Music and Drama, one of Europe’s foremost conservatories in the Barbican Arts Center in London. In the United States she was Chair of Music History at the Longy School of Music, and taught at Clark University, New England Conservatory of Music, the Radcliffe Seminars, Lynn Unversity, and at Harvard University. She has five degrees in music – two in piano performance from Trinity College of Music, London, and three in music history and theory from the University of London, including a PhD awarded ‘magna cum laude’. She has been awarded two Fellowships by the National Endowment for the Humanities, the Fran Steinberg Memorial Prize for outstanding non-fiction, and is the first recipient of the Kathleen Cheek-Milby Endowed Faculty Fellowship at Lynn University. Barbara Barry is a Fellow in the Van Leer Institute and lives in Jerusalem. She is the author of five books. She recently completed a commissioned series on the late Beethoven string quartets which have all been published and is currently working on a book on contemporary perspectives on the music of Beethoven and Schubert.
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Erica Buurman (San Jose State University) Dr. Erica Buurman is Director of the Beethoven Center at San Jose State University and editor of The Beethoven Journal beginning in January 2019.The Beethoven Journal is a publication that is released twice a year dedicated to all topics relating to Beethoven. Contact Dr. Buurman with inquiries about the administration of the Beethoven Center, scheduling of concerts and other events, major donations to the Center, and submissions to The Beethoven Journal. |
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Sean Gallagher (New England Conservatory of Music)Music historian and pianist Sean Gallagher teaches at the New England Conservatory of Music. His research focuses on music and culture in Italy, France, and the Low Countries during the ‘long’ fifteenth century. He has published articles on an array of subjects and is the author or editor of five books, ranging in topic from plainchant to Mozart. These include a monograph on the fifteenth-century composer Johannes Regis (Brepols, 2010); Secular Renaissance Music: Forms and Functions, editor (Ashgate, 2013); and The Century of Bach and Mozart: Perspectives on Historiography, Composition, Theory, and Performance, ed. with Thomas F. Kelly (Harvard, 2008).
He is musicological advisor for Ockeghem@600, a multi-year project with the award-winning vocal ensemble Blue Heron to perform and record the works of Johannes Ockeghem. He is currently editing the chansons of Firminus Caron, to be published in the series Corpus Mensurabilis Musicae.
Prior to joining the faculty of the New England Conservatory, he taught at the University of North Carolina at Chapel Hill and Harvard University (where he was awarded the Phi Beta Kappa Prize for excellence in teaching). He has held visiting professorships at Boston University and Brandeis University, and in 2007 was Robert Lehman Visiting Professor at Villa I Tatti in Florence.
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Richard Kramer (Graduate Center, City University of NY)Richard Kramer is the author of Unfinished Music (Oxford UP, 2008, 2012) and Cherubino’s Leap (UChicago Press, 2016). His Distant Cycles: Schubert and the Conceiving of Song won the Kinkeldey Award of the American Musicological Society and an ASCAP-Deems Taylor Prize; a review essay on the Mozart sketches (Notes, Vol. 57/1, September 2000) won the Eva Judd O’Meara Award of the Music Library Association. Kramer was named a fellow of the American Academy of Arts and Science in 2001. He was Editor-in-Chief of the Journal of the American Musicological Society and Vice President of the American Musicological Society. Kramer is Distinguished Professor emeritus at the Graduate Center of the City University of New York; he taught previously at Stony Brook University, where he served as Dean of Humanities and Fine Arts. |
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David Levy (Wake Forest University)David Levy is Professor of Music at Wake Forest University, the author of Beethoven: The Ninth Symphony (Schirmer Books, 1995; revised edition, Yale U P, 2003), winner of Choice Outstanding Academic Book (1996); and author of Beethoven: The Nine Symphonies (Yale UP, forthcoming). Additional research on Beethoven, Berlioz, Wagner, music history and criticism in the nineteenth century. Contributor to Schriften zur Beethoven Forschung, Beethoven Forum, Berlioz Studies, Dictionnaire Berlioz, Essays on Music for Charles Warren Fox, 19th-Century Music, CMS Symposium, Historical Performance, and Music Library Association Notes; musicological/artistic advisor, Saint Paul Chamber Orchestra (2002-03 season), program annotator and pre-concert lecturer for Winston-Salem Symphony (1980-present) and Chautauqua Symphony Orchestra (2015-present). |
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Lewis Lockwood, Co-Director BU Center for Beethoven ResearchBA, Queens College of the City University of New York; PhD, Princeton University. Lewis Lockwood is a musicologist of international distinction and renown. His scholarship on Renaissance music and Beethoven studies includes several award-winning books and more than a hundred articles and reviews. This depth of scholarship is matched by an impressive list of editorial and administrative accomplishments, including terms as the Editor of the Journal of the American Musicology Society (1964-1967), President of the American Musicological Society (1987-1988), and as the founding Editor of the yearbook Beethoven Forum (1992-2007). His book Music in Renaissance Ferrara (1984) received the Otto Kinkeldey Award of the American Musicological Society, and his Beethoven: the Music and the Life (2003) was a finalist for the Pulitzer Prize in the category “Biography”. The Lewis Lockwood Award of the American Musicological Society is also named in his honor. |
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Christopher Reynolds (University of California, Davis)Christopher Reynolds is Distinguished Professor, Emeritus at the University of California, Davis. His article, “Porgy and Bess: An ‘American Wozzeck’,” in the Journal of the Society for American Music (2007), won awards from the American Musicological Society and the Kurt Weill Foundation. His article “Documenting the Zenith of Women Song Composers: A Database of Songs Published in the United States and the British Commonwealth, ca. 1890-1930,” Notes (2013) won the Richard S. Hill Award from the Music Library Association. Reynolds has published two books concerned with Beethoven and his successors, Motives for Allusion: Context and Content in Nineteenth-Century Music (Harvard, 2003), and Wagner, Schumann, and the Lessons of Beethoven’s Ninth (UC Press, 2015). Two of his current projects deal with women songwriters from 1890-1930, including a biography of Carrie Jacobs Bond.
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Peter Zazofsky, Boston UniversityStudent of Joseph Silverstein, Ivan Galamian, and Dorothy Delay. First Prize, Montreal International Competition, 1979; Second Prize, Queen Elizabeth of Belgium Competition, 1980. Soloist with Boston Symphony Orchestra, Minnesota Orchestra, Philadelphia Orchestra, Baltimore Symphony, Berlin Philharmonic, Rotterdam Philharmonic, and Vienna Symphony. Recitals throughout Europe and United States. Member, Muir String Quartet. He has taught at Boston University since 1987. |
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The Borromeo String QuartetEach performance of the award-winning Borromeo String Quartet strengthens and deepens its reputation as one of the most important ensembles of our time. Admired and sought after for both its fresh interpretations of the classical music canon and its championing of works by 20th and 21st century composers, the ensemble has been hailed for its “edge-of-the-seat performances,” by the Boston Globe, which called it “simply the best.”
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