“Music, Censorship and Meaning in Nazi Germany and the Soviet Union: Echoes and Consequences,”
August 9 and 10, 2014
DAY TWO (ONLY)
Sunday, August 10
10 am–1 pm Session II
“Parsifal in the Third Reich”
“Between Accommodation and Self-Censorship: Universal Edition in the Thirties”
Professor Patricia Hall
"Alban Berg's 'Guilt' by Association."
Professor Kenneth Reinhard
“Recovering Moses und Aron”
1–2:15 pm Lunch Break
2:30–6 pm Session III
Professor Michael Beckerman and Professor James Loeffler
“In Memory of Our Murdered (Jewish) Children: Mikhail Gnesin and the Holocaust in Soviet Music,” featuring a performance of Mikhail Gnesin’s Piano Trio, Op.63
Edna Stern, pianist
Commentary and Performance
Beethoven: Piano Sonata Number 8 in C Minor, “Pathétique”
Karel Reiner: Sonata Number 2, Opus 35
Beethoven: Piano Sonata Number 23 in F Minor, “Appassionata”
Gideon Klein: Piano Sonata
Professor Michael Beckerman
*Schedule is subject to change.
When & Where
Robert Elias at email@example.com
The Ziering-Conlon Initiative for Recovered Voices at the Colburn School
Established by a generous grant from Marilyn Ziering, the primary focus of the Ziering-Conlon Initiative for Recovered Voices at the Colburn School is the performance, advocacy and dissemination of music by composers suppressed during the years of the Nazi regime. James Conlon serves as artistic advisor for the initiative, the name of which recognizes with appreciation Los Angeles Opera’s groundbreaking Recovered Voices project, also under the direction of James Conlon, and also generously supported by Marilyn Ziering. Performance of music by these composers is encouraged within the Colburn Conservatory’s solo, orchestral and chamber music activities. Research and academic activities are also to be explored through creative collaborations, conferences, concerts and publishing.
As part of the initiative, the Colburn Conservatory offers a semester-long seminar once a year on Recovered Voices, taught and overseen by James Conlon, with assistance by Ziering-Conlon Initiative Director Robert Elias and invited guests. Plans also call for a national chamber music competition to be held for the first time in the summer of 2015, with the repertoire drawn from music by suppressed composers.
In addition to the oversight of Maestro Conlon and Mr. Elias, the initiative is supervised by Colburn Conservatory Dean Richard Beene and benefits greatly from the interest and commitment of the Conservatory’s internationally recognized faculty and staff.