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Johannes Boer

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Netherlands °1958

research interests: epistemology, Monteverdi, Viola da Gamba

affiliation: Royal Conservatoire The Hague, Leiden University

Johannes Boer is a senior teacher-researcher at the Royal Conservatoire of The Hague. From September 2006 until January 2020 Johannes Boer served as the Head of the Early Music Department of that institution. Coming from a background of professional viola da gamba player and musicologist, he is active in a variety of organizations. Related to the actual job is his engagement with the STIMU, a foundation for historical performance practice, which was founded in 1972, and ever since was a bridge between performers and musicologists. From 2002 until 2008 he has been leading the Foundation and organized symposia in cooperation with the Utrecht Early Music Festival.

As a viola da gamba player Johannes Boer has been touring in all sorts of combinations of ensembles, covering the bulk of the repertoire for the instrument. As a scholar performer several projects concentrating on the viola da gamba resulted in articles, lectures at symposia and cd recordings. The viol in the Dutch Republic in the 17^th century culminated in a cd with compositions from that time. The Berlin school in the second half of the 18^th century is another topic that keeps coming back in his researches.

In the realm of that educational position he started a PhD research at docARTES in 2014. The core of this work is of epistemological nature and concentrates on the link of tacit knowledge in the past and in present historically informed performance. For that purpose, a case study is made of the creation of opera, which goes back to 1607-1608 when Claudio Monteverdi worked on his Arianna. The merging of new music and historical performance on period instruments mobilizes a plethora of substudies which all contribute to the central issue of applied knowledge. A first episode in the research process was marked by the production of a new opera, one year in the life of Claudio Monteverdi (the first about this composer), La Tragedia di Claudio M, performed six times in The Netherlands and in the Opera festival of Copenhagen 2018.

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research expositions

Musical Source as Part of a Performative Ritual: Crossing borders through Explorative Strategies (last edited: 2018) author(s): Elisabeth Laasonen Belgrano, Johannes Boer, Assi Karttunen, Catalina Vicens, Dinko Fabris, Björn Ross This exposition is in progress and its share status is: visible to all.
Proposal peer-reviewed and accepted as ”Themed Session”, 18th Biennial conference on Baroque Music, Cremona 10-15 July 2018 In the light of the conference main theme ’Crossing borders’ the aim of this round table / themed session is to develop an experimental discourse departing from a musical source from the period 1550-1750, as part of a performative ritual for crossing borders and strict dichotomies. The objective is to search from new chiasmatic crossings between a musician’s gaze, a musical source from the Baroque era and musicological findings. Following the discourse of letting go of the perceived strict dichotomy between musical text and music performance (Schulze 2015:3) this session proposes a radical move towards a borderless entangled reading of musical sources based on performative methodologies. This approach may allow for new relations to develop between traditional distinctions pronounced through musicological findings and artistic performance methods; it might also allow for closer collaborations between musicologists and artistic researchers in music. Artistic research in music is a fast growing experimental academic field, with a strong link to musicology. Highly significant to this new field is the desire to find ways of merging sensuous (subjective) knowledge with a variety of other research methodologies. The artistic research purpose is often to follow the performing process of understanding a musical score and the active performance practice calling for praxical strategies such as ritual thinking, musicking through texts and theories (ex. hermeneutics, feminist new materalism), reflective/diffractive methodologies, meaning-making through translation studies, essayistic writing, and speculative performance philosophy. For this session four short (5 min.) presentation will be performed with one common point of departure: ‘musical source a part of a performative ritual for crossing borders and strict dichotomies’. With reference to these four presentations the stage will open up for an intra-active and explorative dialogue between all participant in the session.
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The Tacit Knowledge of Claudio Monteverdi (last edited: 2024) author(s): Johannes Boer This exposition is in progress and its share status is: visible to all.
Dissertation Leiden University 2024 Johannes Boer Registration and the annotated libretto of the 2018 opera production LA TRAGEDIA DI CLAUDIO M Contextualisation of this opera in both historical as well as epistemological sense.
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