PROGRAM
In this link you can consult the general program of the Congress
Some of the lectures as well as their presentations are listed below
Mr. José Luis García del Busto (Musicologist, full member and general secretary of the “Real Academia de Bellas Artes de San Fernando”). “Debussy and Spain”.
Mr. Michel D’Alberto (Chevalier dans l’ordre national du Mérite in 1996, professor at the París Higher Music Conservatory , international soloist.) “Debussy et ses contemporains dans la vie musicale française entre le XIXème et le XXème siècle. SNM, symbolisme et impressionnisme”.
Mr. Ramón Coll (Piano professor at the Higher Music Conservatories of Seville, Barcelona ( both municipal and Liceo), Palma de Mallorca and ESMUC; First Award from the París Higher Music Conservatory (1964), a disciple of Joseph Morpain (Fauré’s student, Ravel’s classmate and Debussy’s close friend).” Joseph Mospain and Marcel Ciampi’s intimate legacy on Debussy. Features of his piano“. [canceled due to force majeure]
Mr. Robert Expert (Countertenor, teacher at CSM de Lyon and the University of Paris VII). “Poetry and voicing. From «air de cour» to Debussy. French “good taste”.
PhD Chi Chen Wu (University of Wyoming Coordinator of Collaborative Piano). “Pianist as Portrayer of Imagery in “En Sourdine” by Fauré and Debussy”.
Mr. Jorge de Persia (researcher, music reviewer for La Vanguardia). “Landscapes and the garden in the French-Spanish Debussy’s context”.
Ms. Jeannine Bouché (Chevallier de l’Ordre National du Mérite, teacher of French phonetics for singing). “Frech poets who inspired Debussy”.
PhD. Teresa Cascudo. University of La Rioja. “Listening to Debussy through the press: revising the first reception of his music in Spain and Portugal.”
PhD. Sandra Myers. Musicologist at the Higher Music Conservatory at Salamanca. “From Rodrigue et Chimène to “veritable manola”. Spanish topics in Claude Debussy’s vocal production”.
PhD María Encina Cortizo. University of Oviedo. Pelléas et Mélisande (1902): un Drame Lyrique “after Wagner and not about Wagner”.
PhD Ramón Sobrino. University of Oviedo. “A faun wakes up in Ibéria. Methodological aproaches to the analysis of Debussy’s orchestal production”.
PhD Antonio Soria. Higher Conservatory of Music in the Principado de Asturias.“Hints on arabesque, the wave and liquid poetry in modernist piano (Debussy, Ravel y Turina). Features about fingering, pedalling and structural harmonics”.
PhD Manuel Martínez Burgos (Higher Conservatory of Music in the Principado de Asturias). “Images, 1907. Musical parameters, historic and aesthetic contextualization”.
PhD Chi Chen Wu, PhD Beth Vanderborgh & PhD John Fadial (University of Wyoming, USA). “Interpretation of Debussy’s chamber production for piano and string: sonata y trio”.
Ms. Eva Roces García and Mr. Jorge Carrillo Fernández (Higher Conservatory of Music in the Principado de Asturias). “Performing research: reation, interpretation and recording of a tribute to Debussy”.
PhD Alberto Veintimilla Bonet in collaboration with PhD. Antonio Soria (Higher Conservatory of Music in the Principado de Asturias). Première Rapshodie pour Clarinette en Sib by Claude Debussy: a milestone in the clarinet repertoire.
PhD Gemma Salas (Higher Conservatory of Music in the Principado de Asturias). “Interdisciplinary analysis of Debussy’s”Moonlight” in the media”.
Mr. Yuri Nasushkin and Ms. Lidia Stratulat (Higher Conservatory of Music in the Principado de Asturias). “Claude Debussy and the art of dialogue in chamber music”. Interpretative comparison of violin and piano Debussy’s sonata(1916) and George Enesco sonata number 3 “in Romanian’s pop style” op.25.
Prof. Roy Howat (Hon ARAM, Keyboard Research Fellow, Royal Academy of Music, Senior Research Fellow, Royal Conservatoire of Scotland). “Debussy the composer via Debussy the pianist” – direct from Montreal (Canadá)-.
Performative, pedagogical and musical creativity workshop
Piano interpretation and technique:
Michel Dalberto (Conservatoire National Supérieur de Musique et Danse de Paris)
Ramón Coll (Higher Conservatory in Barcelona)
Chi Chen Wu (University of Wyoming)
Antonio Soria (Higher Conservatory of Music in the Principado de Asturias).
French phonetics for singing:
Jeanine Bouché (Professor at Higher Singing School in Madrid).
Vocal interpretation and technique:
Robert Expert (Contratenor, Conservatoire National Supérieur de Musique et Danse de Lyon).
Chamber music:
PhD Chi Chen Wu (University of Wyoming Coordinator of Collaborative Piano).
Dr. Beth Vanderborgh (Assistant Professor, Cello Studio).
Dr. John Fadial (Professor, Violin Studio).
Composition:
PhD Manuel Martínez Burgos (Higher Conservatory of Music in the Principado de Asturias). Workshop for composition students.
Innovation and expantion (Creating you life’s sountrack [CBS])
The following workshops on educative innovation and expantion have been designed and directed by members of the project “Creating your life’s sundtrack” (CBS), awarded by “Fundación ATRESMEDIA” and Santillana with one of the ‘Educative innovatives” awards in the modality ‘Educative success’.
“This is how Debussy sang . Alfonso Elorriaga. (Member of CBS)
Choral singing workshop for teachers based on the aesthetics of the French genious, They have been adapted for primary and secondary school enviroments. We will learn to sing different soundscapes, fragments from well-known pieces and choral adaptations suitable to the different ages, contexts and vocal profiles.
“How to reach Debussy from the student´s reality: learning by projects”. ”. Pedro García Muñoz (CBS member specialist in Project Based Learning (PBL)
We will explore the PBL methodology). Taking the students’ reality as a starting point, we will make it possible to get to the genius of Claude Debussy impresionist music. Wrapped by group dinamics, cooperative techniques and group managenent, PBL is posed as one central methodology for the 21st century.
“Expanded education”. Félix Arias Moraleda (CBS member).
One of Debussy’s most precious belongings was hanging on his living-room wall: an original print of Katsushika Hokusai’s “The Great Wave off Kanagawa “. Debussy was one of those composers who never felt comfortable with his contemporary composition methods and that is why he expanded his tools using the golden ratio and the Fibonacci sequence among others. Likewise, nowadays, in 2018, from my humble opinion, we should expand our teaching. We mention blogd, social networks and mobile devices but we should go a step forward… Among other objectives and starting from emotion management, we will use mobile devices in the classroom to understand how to create and operate apps which are directly linked to our teaching practise.
“Making drumsticks, fixing and maintaining Orff instruments”. Ernesto de Lamo Castillo (CBS member).
Debussy wrote to Pierre Louÿs, author of “Les chansons de Bilitis”: “But, …Do you not remember the Javanese music, able to ex- press every shade of meaning, even unmentionable shades, and which make our tonic and dominant look like ghosts to be used by playful children?”. The impact of the gamelan (which means hit in Javanese), was unknown in Paris until the first one arrived to the Conservatory of Paris in 1887. It influenced Debussy and all the artists connected with the Universal Exhibition of Paris 1889 who listened to the gamelan orchestras. In our present schools it is common to use sheet instruments, occidental offspringd of the gamelan, for music training. Springing from what is a reality in the school rooms, this workshop aims at creating musical instruments with recycled materials and providing the skills to fix and maintain school sheet instruments.