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Working on Composers’ Collected Works
International symposium


Russian Institute of Art History,
St Petersburg State Museum of Theatre and Music

Organizers: IMS regional association of Eastern European countries; Russian Institute of Art History; St Petersburg State Museum of Theatre and Music; Center for New Technology in the Arts “Art-parkING”


September, 2-6
St Petersburg

International symposium is a world largest event in the field of edition practices discussion, focused on the collected works. This academic meeting gathers more than 50 researchers from 13 countries all over the world.

About symposium

International symposium Working on Composers’ Collected Works is a world large event in musicological sphere. It gathers more than 60 participants. These are researchers, specialists in modern problems of musical study, in the field of edition practices discussion. Nowadays publications of composers’ collected works are basic for common cultural heritage cognition.
Symposium joins the President and the General secretary of the International Musicological Society, and representatives of world famous musical publishing houses, academic departments of research institutions.
Symposium takes place in two biggest research centers: Russian Institute of Art History and St. Petersburg Museum of Theatre and Music from 2nd to 6th of September 2015. This academic meeting unites participants from 13 countries all over the world: Belarus, Belgium, Finland, Germany, Great Britain, Hungary, Israel, Italy, Mexico, Russia, Switzerland and USA.
Main goal of the Symposium would be elaboration of unified principles of composer’s collected works study, discussion of this problematic, methodology and strategies of materials formation. It takes as its central theme the aesthetic and scholarly practices involved in creating new critical editions.
At any given point in history, the creation of a composer’s Collected Works testifies to current musicological practices, and reflects the extent of knowledge about the composer, their biography, working practices and creative environment. All these component parts of a composer’s creative legacy – historical, cultural, social and practical – mutually inform and shape each other.
From the one hand, collected works, published in the past, require revision of the works set and radical renovation of its methodology study. On the other hand, efforts of specialists are focused on enrichment of the list of editions and authors’ names, whose heritage is worthy of such a large publication as collected works and desperately needs it. Current task of actual musicology is attraction and training of high ranked specialists, who can lead modern research and publication work, the source for new way of composers’ works cognition in the world cultural context.
Alongside the Symposium hosts two IMS study groups on Russian and East European music – Shostakovich and his Epoch (chairs Olga Digonskaya, Pauline Fairclough) and Stravinsky Between East and West (chairs Natalia Braginskaya, Valérie Dufour), there will be also a panel devoted to Tchaikovsky (chairs Polina Waidman, Tamara Skvirskaya).
The Symposium is held by the following organizations: IMS regional association of Eastern European countries; Russian Institute of Art History; St. Petersburg State Museum of Theatre and Music; St. Petersburg State Conservatory named after N. Rimsky-Korsakov; the Center for New Technology in the Arts “Art-parkING”.

Organizing committee:
Dr Liudmila Kovnatskaya (chair), Prof of the St. Petersburg State Conservatory, Leading researcher of the Russian Institute of Art History (St. Petersburg);
Dr Elena Tretiakova, deputy rector of St. Petersburg State Academy of Theatre, director of the Russian Institute of Art History.
Dr Lidia Ader (curator), senior researcher of the Rimsky-Korsakov Memorial Museum-Apartment, artistic director at the Center of New Technology in the Arts “Art-parkING”;
Dr Natalia Braginskaya, associate professor, head of the History of Western music department, dean of Musicology faculty of St. Petersburg State Conservatory;
Dr Olga Digonskaya, senior researcher of the Glinka national museum consortium of Musical Culture and the Archive of Dmitry Shostakovich in Moscow;
Dr Galina Petrova, academic secretary of the Russian Institute of Art History;
Dr Anna Porfirieva, head of the Music department of the Russian Institute of Art History;
Dr Dmitry Schumilin, deputy director of the Russian Institute of Art History
Dr Tamara Skvirskaya, head of Manuscript department of the Academic library in St. Petersburg State Conservatory

The languages of the symposium are English and Russian.


September, 2. Wednesday
Venue: Russian Institute of Art History
(Isaakievskaya square, 5)

9.30–10.30 – Registration
10.00–10.30 – Excursion in the Institute of Art History, its archival sources and historical places
10.30–10.45 – Symposium opening
Dinko Fabris (President of the IMS)
Elena Tretyakova (Director of the Russian Institute of Art History)
Liudmila Kovnatskaya (Head of the Regional Association, IMS)
Dorothea Baumann (General Secretary of the IMS)

Free papers
Chair: Galina Petrova
10.45–11.30 – Dinko Fabris (Conservatorio di Napoli, University of Basilicata, IMS, Italy)
Caravaggio Lute Player (lecture)
11.30–12.00 – Jeffrey Kurtzman (Washington University in St. Louis, USA)
In print and online: two different approaches to critical editions of Italian music of the 17th century
12.00–12.30 – Bella Brover-Lubovsky (Jerusalem Academy of Music, Hebrew University, Israel)
Giuseppe Sarti’s Thematic Catalogue and Edition: Challenges and Pitfalls
12.30–13.10 – Martin Albrecht-Hohmaier, Kristin Herold (UdK Berlin, Germany)
Giuseppe Sarti – Examples and experiences of a digital edition

13.10–14.30 – Lunch

Chair: Anna Porfirieva
14.30–15.00 – Miriam Tripaldi (University of Chicago, USA)
Domenico Cimarosa La Vergine del Sole and the Court of Catherine II: the Golden Age of Late Opera Seria (1762–1796)
15.00–15.30 – Dorothea Baumann (Zurich University, IMS, Switzerland)
Сritical Editions of Early Music
15.30–16.00 – Roberta Milanaccio (King’s College London, United Kingdom)
The Vivaldi/Malipiero Edition
16.00–16.30 – Ulrich Wilker (Joseph Haydn-Institute, Germany)
An even more critical report: The 1963 critical edition of Haydn’s last three symphonies from today’s perspective

16.30–17.00 – Coffee break

Chair: Simon Morrison
17.00–17.30 – Maria Razumovskaya (Royal College of Music, Morley College, United Kingdom)
Alexander Goldenweiser’s Beethoven Edition: A Controversial Legacy
17.30–18.00 – Galina Petrova (Russian Institute of Art History, Russia)
Berlioz – Odoevsky – Stasov: On one mistake in Hector Berlioz letter publication
18.00–18.30 – Natalia Ogarkova, Marianna Konstantinova (Russian Institute of Art History, Russia)
About the project “Dargomyzhsky’s collected literary works and his correspondence”

19.00 – Concert
Nikolay Yakhontov Milet and Mileta (1796). Comic opera. Libretto by Nikolay L’vov. Concert production

Performers: Pskov regional college of arts named after N. Rimsky-Korsakov
Preconcert talk by Olga Kuznetsova (St. Petersburg State Conservatory, Russia)
Free entrance

Symposium opening ceremony
By invitations only

September 3. Thursday
Venue: Russian Institute of Art History
(Isaakievskaya square, 5)

IMS Study Group Shostakovich and his Epoch
Chairs: Olga Digonskaya, Lidia Ader

10.00–10.30 – Larissa Gerver (Russian Academy of Music, Russia)
Dmitry Shostakovich: polyphonic manuscripts during his studying period
10.30–11.00 – Levon Hakobyan (State Institute of Art History, Moscow).
Unknown from Nose
11.00–11.30 – Galina Kopytova (Russian Institute of Art History, Russia).
A song Sudarevo dityatko in the context of Dmitry Shostakovich’s music for the film Odna (1931)
11.30–12.00 – Maria Karachevskaya (Moscow State Conservatory named after Pyotr Tchaikovsky, Russia)
From the history of Dmitry Shostakovich’s Madrigal creation (1933)

12.00–12.20 – Coffee break

12.20–12.50 – Anna Sondereger (Petrozavodsk State Conservatory named after A. Glazounov, Russia).
Subject conception of the First piano concert by Dmitry Shostakovich: implication and comments (Towards the problem of author’s text publication)
12.50–13.20 – Larissa Miller (St. Petersburg State Conservatory named after N. Rimsky-Korsakov, Russia)
To the question of the Shostakovich’s Seventh Symphony sources

13.20–14.40 – Lunch

14.40–15.10 – Svetlana Savenko (Moscow State Conservatory, Russia)
Stravinsky, Mahler and Honegger in Shostakovich’s arrangements for piano in four hands
15.10–15.40 – Olga Digonskaya (Glinka Museum Consortium, Archive of Dmitry Shostakovich in Moscow, Russia)
Shostakovich and Atovmyan: Towards the problem of author’s text
15.40–16.10 – Larissa Chirkova (Archive of Mstislav Rostropovich and Galina Vishnevskaya in St. Petersburg, Russia)
Shostakovich’s autographs in the archive of Rostropovich and Vishnevskaya
16.10–16.40 – Elena Petrushanskaya (State Institute of Art History, Russia)
On the specific features of Shostakovich’s opera productions and receptions in Italy 1950s – 1960s (based on archival materials)

16.40–17.10 – Coffee break

17.10–17.40 – Svetlana Podrezova (St. Petersburg State Conservatory named after N. Rimsky-Korsakov, Russia)
Music of revolution in Shostakovich’s works
17.40–18.10 – Andrey Denisov (Herzen State Pedagogical University of Russia, St. Petersburg State Conservatory named after N. Rimsky-Korsakov, Russia)
Principle of parody in works of Shostakovich
18.10–18.40 – Dmitry Braginsky (Music school of St. Petersburg State Conservatory named after N. Rimsky-Korsakov, Russia)
“Muddle instead of music” and “Doub instead of painting”… Dmitry Shostakovich and Vladimir Lebedev (materials for biography)

Poster paper – Michelle Assay (Universities of Sorbonne, Paris, and Sheffield, United Kingdom), David Fanning (University of Manchester, United Kingdom).
Reconstructing the place of Shostakovich’s music for Akimov’s Hamlet

Free papers
Chair: Bella Brover-Lubovsky

15.00–16.30 Giuseppe Verdi panel
Helen M. Greenwald, Session Chair (New England Conservatory of Music in Boston, USA)
Which Verdi, How, and Why?
Francesco Izzo (University of Southampton, United Kingdom)
The Verdi edition and periodization: Some methodological questions
Mark Everist (University of Southampton, United Kingdom)
Taming Verdi’s Bull
Linda B. Fairtile (University of Richmond, VA, USA)
Editing Late Verdi and Early Puccini: Correspondences and Contrasts
Stefano Castelvecchi, Respondent (Cambridge University, United Kingdom)

16.30–17.00 – Coffee break

17.00–17.40 Alexander Borodin panel
Arkadiy Klimovitsky, Nikita Sorokin (Russian Institute of Art History, Russia)
Dramatic fate of “Bogatyrskaya Symphonia” by Alexander Borodin in autographs by the composer and conductor notices of its performers
Georgy Kovalevsky (Russian Institute of Art History, Russia)
Current presence of cultural heritage of Alexander Borodin in libraries and archives in Russia

17.40–18.10 – Valentina Rubtsova (A. Skryabin Memorial Museum, Russia)
Skryabin’s collected works specifics

18.10–18.40 – Eugenio Delgado (CENIDIM, Mexico)
Music Editing and 19th Century Mexican Music: The Case of the Opera Pietro d’Abano by Cenobio Paniagua

19.00 – Concert
Performer: Pyotr Laul (piano)

Free entrance

September 4. Friday
Venue: Russian Institute of Art History
(Isaakievskaya square, 5)

IMS Study Group Stravinsky: between East and West
Chairs: Natalia Braginskaya, Valérie Dufour

10.00–11.00 – Tatiana Baranova Monighetti (independent researcher, Basel, Switzerland).
Stravinsky’s personal library and its significance for a scholarly-critical edition of his works (lecture)
11.00–11.30 – Stephen Walsh (Cardiff University, United Kingdom)
Thinking about a Stravinsky edition

11.30–12.00 – Coffee break

12.00–12.30 – Margarita Mazo (Ohio State University, USA)
Sketching Svadebka
12.30–13.00 – Yaroslav Timofeev (Moscow newspaper Izvestia, Russia)
Soft pencil and hard currency: Stravinsky’s London sketches for the Final Chorus of Khovanshchina
13.00–13.30 – Natalia Braginskaya (St. Petersburg State Conservatory, Russia)
“Unpublished, lost…”: news about some of Stravinsky’s early works

13.30–15.00 – Lunch

15.00–15.50 – Svetlana Savenko (Moscow State Conservatory, State Institute for Art Studies, Russia).
Stravinsky’s Russian Correspondence as a Biographical Material (lecture)
15.50–16.20 – Valérie Dufour (Université libre de Bruxelles, Belgium)
Editing Stravinsky’s writings and interviews. Compared experiences
16.20–16.50 – Massimiliano Locanto (University of Salerno, Italy)
Stravinsky’s serial ‘mistakes’ from the perspective of textual criticism. Some comments on Joseph N. Straus’ views on the issue

16.50–17.10 – Coffee break

17.10–17.40 – Irina Grebneva (Far-Eastern State Academy of Arts, Vladivostok, Russia).
From archetype to kenotype. On Stravinsky’s Violin concerto cycle
17.40–18.10 – Elena Falaleeva (Herzen State Pedagogical University of Russia, St. Petersburg State Conservatory, Russia)
Stravinsky’s vocal music with multilingual texts in the composer’s collected works.

Free papers
Chair – Levon Hakobian
15.00–15.30 – Wiebke Thormählen (Royal College of Music, United Kingdom)
The gentleman composer and the composer as hero: from ephemeral musical publications to collected works and score editions

15.30–16.00 – Douglas Woodfull-Harris (Bärenreiter Verlag, Germany)
Debussy’s La Mer, the problems with a definitive text approach

16.00–16.30 – Nicholas Clark (Britten-Pears Foundation, United Kingdom)
A library with ‘a life of its own’: charting Benjamin Britten’s career through archival collections

16.30–17.00 – Coffee break

17.00–17.30 – László Vikárius (Budapest Bartók Archives, Institute of Musicology, Research Centre for the Humanities, Hungarian Academy of Sciences, Hungary)
For Adults: An edition of For Children as the First Volume of the Bartók Complete Critical Edition
17.30–18.00 – Simon Morrison (Princeton University, USA)
On the Absence of a Prokofiev Critical Edition

18.30 – Concert
Composer and folklore
Performer: Folklore ensemble of St. Petersburg State Conservatory

Directors – Galina Lobkova, Evgeniya Red’kova
Free entrance

September, 5. Saturday
Venue: St Petersburg State Museum of Theatre and Music
(Ostrovsky square, 6)

Study group on Pyotr Tchaikovsky
Chairs: Polina Waidman, Tamara Skvirskaya

11.00–11.50 – Polina Waidman (Tchaikovsky State House-Museum, Institute of Fine arts, Russia)
Conception of the New academic edition of Tchaikovsky’s works as a problem of modern musical studies (lecture)
11.50–12.15 – Olga Karatygina (Publishing house MPI, Russia).
From the experience in the editing of Tchaikovsky’s full set of collected works first volumes
12.15–12.40 – Ada Ainbinder (Tchaikovsky State House-Museum, Russia).
Tchaikovsky’s operas as a problem of texture and edition practice in the context of work on Tchaikovsky’s full set of collected works
12.40–13.05 – Maria Scherbakova (St. Petersburg State Conservatory, Mariinsky Theatre, Russia)
Historical sources of Tchaikovsky’s operas and ballets production in the library of Mariinsky Theatre
13.05–13.30 – Tamara Skvirskaya (St. Petersburg State Conservatory, Russia)
Choir works of Tchaikovsky: Sources of musical and literary texts, materials to the comments

13.30–14.30 – Lunch

14.30–14.55 – Alexandra Maximova (Moscow State Conservatory, Russia)
Tchaikovsky’s Undine: Reconstruction of composer’s idea within the project of Full edition of collected works
14.55–15.20 – Daniil Petrov (Moscow State Conservatory, Russia)
Textual research of Tchaikovsky’s symphonic works. Unsolved questions
15.20–15.45 – Marina Ritzarev (Bar-Ilan University, Israel)
On Hidden Program of Tchaikovsky’s The Sixth
15.45–16.10 – Grigory Moiseev (Moscow State Conservatory, Russia)
Tchaikovsky and Romanovs: New documental sources in the context of biographical and textual researches

16.10–16.40 – Coffee break

16.40–17.05 – Tatiana Ermolaeva (Russia)
Draft materials of the Tchaikovsky’s program symphony Manfred in the context of the work creation history
17.05–17.30 – Lucinda Braun (Germany)
Operatic librettos of Tchaikovsky: Problems of the academic and critical edition preparation
17.30–17.55 – Catherine Doulova (Belorussian State Academy of Music, Belarus)
Author’s will: Myth or reality

18.00 – Symposium conclusion. Farewell party
By invitations only

September, 6. Sunday

Cultural program for participants

11.00 – Walking tour “Artistic world of St. Petersburg” (English)
13.00 – Walking tour “Musical Petersburg” (English)
14.00 – Lunch
15.00 – Excursion in the Rimsky-Korsakov museum-apartment. Address: 28 Zagorodny pr. (English and Russian)
16.00 – Concert in the Rimsky-Korsakov museum-apartment “Classical hopscotch”