Defense of the artistic research project “Recomposition of Henry Purcell‘s Music and Realisation of his Creative Principles in Benjamin Britten‘s Vocal Cycles”

On July 1, 2020, the defense of Giedrė Muralytė’s-Eriksonė artistic doctorate project “Recomposition of Henry Purcell‘s Music and Realisation of his Creative Principles in Benjamin Britten‘s Vocal Cycles” will take place at the Lithuanian Academy of Music and Theatre. Artistic Supervisors: Prof. Irena Uss-Armonienė, Assoc. Prof. Dr. Laima Budzinauskienė. Copies of the research paper and its summary are available at the library of the Lithuanian Academy of Music and Theatre (Gedimino pr. 42).

Free entrance.

Defense of the creative part of the artistic doctorate project
July 1, 2020, 10 a.m.
LMTA Building 1: Juozas Karosas Hall (Gedimino Ave. 42, Vilnius)

PROGRAM

Henry Purcell. Songs from Orpheus Britannicus
Benjamin Britten. English, Ireland and French Songs
Henry Purcell. Sonata for Violin and Clavier in G minor
Benjamin Britten-Henry Purcell. Realisations from Orpheus Britannicus
Benjamin Britten. Songs from Sechs Hölderlin – Fragmente op. 61 (lyrics by F. Hölderlin)
Benjamin Britten. Cycle for Voice and Piano Winter Words op. 52 (lyrics by T. Hardy)
Benjamin Britten-Henry Purcell. Duet from Sound of the Trumpet

Soloists: 
Laura Latvaitytė-Zaman (soprano)
Romanas Kudriašovas (baritone)
Viktorija Zabrodaitė (flute)

CHAIRPERSON OF THE DOCTORAL THESIS DEFENCE BOARD: 
Prof. Donatas Katkus (Lithuanian Academy of Music and Theatre)

MEMBERS OF THE BOARD:
Prof. Nijolė Ralytė (Lithuanian Academy of Music and Theatre)
Prof. Audronė Kisieliūtė (Lithuanian Academy of Music and Theatre)
Prof. Dr. Rūta Stanevičiūtė-Kelmickienė (Lithuanian Academy of Music and Theatre)
Prof. Dr. Martin Boiko (Jāzeps Vītols Latvian Academy of Music)

REVIEWERS:
Dr. Eglė Kižytė-Ramonienė
Prof. dr. Audronė Žiūraitytė

Abstract

The aim of the Giedrės Muralytės-Eriksonės artistic research project is, upon the analysis of Britten-Purcell realisations, to reveal the various influences of Purcell on Britten’s cycles for voice and piano as well as the impact of the realisations on Britten’s original cycles for voice and piano. Based on comparison with the concept of recomposition, the semantics of the term of realisation was explored and justified its applicability to Britten’s works to identify the influence of the said phenomenon on Britten’s original cycles for voice and piano. To relate the theories of microthematicism and intertextuality and to apply them to the analysis of Britten-Purcell songs from the collection Orpheus Britannicus as well as of Britten’s cycles for voice and piano Winter Words Op. 52 and Sechs Hölderlin-Fragmente Op. 61. The project also aims to relate the concept of interpretation to the overall architectonics of the composition and to draft interpretation guidelines, based on the theory of microthematicism, which could be useful for performers.