Exposition

Sense and Sensibility, performing music by Carl Philipp Emanuel Bach (last edited: 15/09/2017)

Ingrid Eriksen Hagen
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About this exposition

Engaging in the complex and expressive music of Bach; on the clavichord, which is as intense and nuanced as it is delicate and soft in volume; aspiring to a musical empathy in which the performer and the listener jointly experience the true content and emotion of the music – spurs a craving for closeness and intimacy. But how close can we get? How close do we want to get? Close enough to hear the instrument. Close enough to understand what the music is telling us – to follow all the wonderful diversions – in close up. Deepest sincerity. Tender caresses. The rush of joy. The thought that could not be – could… be… – … But then the floor creaks. Someone turns round. I can’t hear it. Why is she playing so faintly? I don’t understand it. All those notes. So full on the whole time! So, who was that guy anyway – he lived a long time ago, right? These are the reflections in Ingrid E. Hagen’s research fellowship project. Based on my personal encounters with the music of Emanuel Bach (1714-1788), I worked on public mediation of his music. I have explored the tension that exists between intimacy and distance – and have experimented with different means of achieving that intimacy, and registered the resulting resistance to these experiments. My artistic method has been a reflexive process in which questions are addressed in experiments, articulated in a dialogue with the study material, be it musical, literary or artistic experience, in a constant quest for intimacy; for getting closer. My research fellowship was undertaken at the Grieg Academy, Institute of Music, under the Norwegian Artistic Research Programme and was funded by the University of Bergen. My supervisors were Professor Torleif Torgersen of the Grieg Academy, and Professor Maria Bania of the University College of Theatre and Music, University of Gothenburg, Sweden.
typeresearch exposition
keywordsCPE Bach, clavichord, early music, empfindsamkeit, intimacy, concert setting, 18th century, HIP, 18th century fiction, sensitivity, music, musical expression, musical narration, Musical Syntax, musical communication, earlymusic
date23/05/2017
statusprogress
affiliationNorwegian artistic research programme, Grieg Academy, University of Bergen
urlhttps://www.researchcatalogue.net/view/292431/292432/4673/4034
connected toNorwegian Artistic Research Programme

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