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Inês de Avena Braga

°1983

Inês d’Avena (Inês de Avena Braga – Rio de Janeiro, 1983) is a recorder player, teacher and researcher. Inês is praised for her refinement, virtuosism and unique timbre, and is known for blending these qualities as a performer with her engaging work as a researcher and teacher. Inês records for Passacaille, Challenge Classics, ORF Edition Alte Musik, Channel Classics, Ramée/Outhere and Sony Classical, winning awards such as Diapason d'Or and Toccata CD des Monats. She performs as a soloist, and in chamber and orchestral formations throughout Europe, Asia, and Latin America, with ensembles such as the Amsterdam Baroque Orchestra, Concerto Köln, New Collegium, her duo with Claudio Ribeiro, and La Cicala, of which she is artistic director. Inês holds a PhD in Music from Leiden University and bachelor’s, master’s and teaching diplomas from the Royal Conservatoire in The Hague, where, since 2012, she is a Teacher and Research Supervisor for the Master Program. Inês has been invited to teach masterclasses at Royal College of Music in London, Universidad Nacional de Música in Lima and at the Festival Internacional de Música Antiga e Música Colonial Brasileira. Her research focuses on the rediscovery of Italian Baroque music and its performance practice, and she has had scholarly articles, essays and reviews published at Recercare, the Journal of the American Musical Instrument Society, Tibia, Music+Practice and Blokfluitist. In 2015, Inês was a postdoctoral resident academic researcher at the Cini Foundation / Istituto Italiano Antonio Vivaldi in Venice. www.inesdavena.com

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Look again (last edited: 2023) author(s): Inês de Avena Braga, Claudio Ribeiro connected to: KC Research Portal This exposition is in progress and its share status is: visible to all.
It goes without saying that engaging with the ethos of early music demands a considerable amount of continuous research on the practices of the past, as most aspects of performance are not written in the score, and the understanding and usage of signs and other written indications have changed considerably over time. As curious musicians, research is not only a source of inspiration and innovation in our work but also a source of constant questioning and strengthening of our musical practices. Questions such as “is this actually true?” and “can I really say/do that?” are recurring, and, although these are not always fully or definitively answerable, we find it important to keep asking, going back to the sources and answering over and over again. In this research, as part of the 2021 Lectorate ‘Music, Education and Society’ of the Royal Conservatoire The Hague, we will look again at well-known Italian sources and search for new sources of information on performance practice of music written in Italy in the first half of the 18th century (music methods, instructional writings and evidences in repertoire), without imposing our current practice on it, but being open to what these sources may say that is in shock with what we usually do or take for granted. What can we (re)learn about the performance practice of late 17th- and early 18th-century Italian music by going back to the sources? Our conclusions and inconclusions will hopefully stimulate a review of today’s performance practice and renew approaches on the research of performance practice.
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