{"id":16205,"date":"2024-12-10T11:21:08","date_gmt":"2024-12-10T10:21:08","guid":{"rendered":"https:\/\/mdw.ac.at\/altemusik\/?p=16205"},"modified":"2025-06-25T15:05:51","modified_gmt":"2025-06-25T13:05:51","slug":"workshop-hammerklavier-neal-peres-da-costa","status":"publish","type":"post","link":"https:\/\/mdw.ac.at\/altemusik\/2024\/12\/10\/workshop-hammerklavier-neal-peres-da-costa\/","title":{"rendered":"WORKSHOP | Hammerklavier | Neal PERES DA COSTA"},"content":{"rendered":"
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WORKSHOP | Hammerklavier | Neal PERES DA COSTA<\/h2>\n

13. Dezember 2024, Studio Alte Musik<\/h3>\n<\/div><\/section><\/div>
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Neal\u00a0Peres Da Costa<\/strong> is Associate Dean of Research and Professor of Historical Performance at the Sydney Conservatorium of Music (SCM), University of Sydney. A performing scholar and world-recognised authority on 19th-century piano performing practice he is a graduate of the University of Sydney, the Guildhall School of Music and Drama and the City University (London), and the University of Leeds (UK).\u00a0Neal\u2019s monograph\u00a0Off the Record: Performing Practices in Romantic Piano Playing<\/em>\u00a0(New York: Oxford University Press, 2012) has received high praise around the globe. He has co-edited (with Clive Brown and Kate Bennett-Wadsworth the 9-volume set of Urtext\/performing editions of Brahms\u2019 Sonatas for solo instrument and piano (B\u00e4renreiter-Verlag 2015\/16), and has co-authored (with Clive Brown) the online Performance Practice Commentary for the latest edition of Beethoven\u2019s Sonatas for Piano and Violin (B\u00e4renreiter-Verlag, 2020) and various chapters including most recently \u201cPerforming Practices for Romantic and Modern Repertoire\u201d in\u00a0The Oxford Handbook of Music Performance<\/em>, ed. Gary E. McPherson(New York, Oxford University Press, 2022).<\/p>\n

Neal\u00a0has been the recipient of three prestigious Australian Research Council Discovery Projects: i)\u00a0Deciphering 19th-century pianism:\u00a0Reinvigorating global practices<\/em>\u00a0(DP17);\u00a0Hearing the music of early NSW 1788-1860<\/em>\u00a0(DP21) to investigate music making in the early colony including Indigenous music, leading a team of researchers at SCM and Sydney Living Museums; and,\u00a0The shock of the old: Rediscovering the sounds of bel canto 1700-1900<\/em>\u00a0(DP22) to investigate pre-twentieth century singing practice and artistry. He has given many keynote presentations at research meetings around the world, and is regularly called upon to advise professional musicians around the world on matters of 18th- and 19th-century performance practice.<\/p>\n

Neal\u00a0regularly performs with Ironwood, Bach Akademie Australia, Australian Haydn Ensemble, and the Song Company. Winner of the 2008 Fine Arts ARIA for Bach\u2019s Sonatas for Violin and Obbligato Keyboard (ABC Classics, 2007) with Richard Tognetti and Daniel Yeadon,\u00a0Neal\u2019s discography also includes: Bach\u2019s Complete Sonatas for Viola da Gamba and Harpsichord with Daniel Yeadon (ABC Classics, 2009);\u00a0The Baroque Trombone<\/em>\u00a0with Christian Lindberg and the ACO (BIS, 2009);\u00a0The Galant Bassoon<\/em>\u00a0with Matthew Wilke and Kees Boersma (Melba, 2009);\u00a0Baroque Duets<\/em>\u00a0(Vexations 840, 2011) with Fiona Campbell, David Walker and Ironwood;\u00a0Music for a While<\/em>\u00a0with Ironwood and Miriam Allan (2012);\u00a03<\/em>\u00a0with Genevieve Lacey and Daniel Yeadon (ABC Classics, 2012);\u00a0Stolen Beauties<\/em>\u00a0with Anneke Scott and Ironwood (ABC Classics, 2015);\u00a0Brahms: Tones of Romantic Extravagance<\/em>\u00a0(ABC Classics, 2016) which was awarded \u201cRecommended CD\u201d by\u00a0The Strad<\/em>\u00a0(UK); Beethoven Piano Concertos 1 and 3 (AHE, 2017; licensed by ABC Classics),\u00a0Pastoral Fables<\/em>\u00a0with Alexandre Oguey \u2013 cor anglais (ABC Classics, 2018), and,\u00a0Romantic Dreams<\/em>\u00a0– Piano Quintets by Louise Farrenc and Camille Saint-S\u00e4ens (ABC Classics, 2020). Most recently he has recorded Schumann\u2019s song cycle\u00a0Dichterliebe<\/em>\u00a0with tenor Koenraad von Stade experimenting with 19th-century practices as exemplified in early recordings. Other experimental recordings can be accessed at the SCM\u2019s\u00a0Reinvigorating nineteenth-century performance<\/em>\u00a0platform<\/a>. He has also recorded extensively on the Channel Classics label with Florilegium, the British ensemble which he co-founded in 1991 and of which he was a member for 10 years.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/section>
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