The Symposium programme has been confirmed by the Committee as follows:


9:00     Registration

9.30     Clive Brown, Neal Peres Da Costa, and Kate Bennett Wadsworth – Symposium welcome: Introducing the Brahms Sonatas edition.

10.30   Break

11.00   Kai Köpp, Johannes Gebauer, and Sebastian Bausch – Embodying the sound of the “Joachim-School”. (Finish time: 12.00.)

12.15   Sarah Potter – Singing Brahms in context: Evidence of nineteenth-century vocal practices.

13.00   Lunch Break

14.00   Anna Scott – Romanticizing Brahms: Experiments in early-recorded Brahmsian pianism.

14.45   Ronald Woodley – Ilona Eibenschütz’s solo piano arrangements of Brahms and Schumann Lieder: issues of performance style and genre.

15.30   Break

16.00   Brent Yorgason – The Functions of expressive asynchrony in the piano music of Brahms.

16.45   Kate Bennett Wadsworth, Shuann Chai, and Shunske Sato – Performing Brahms’ piano trio op. 101 with the help of Fanny Davies.

17.30   Practice-led Discussion

18.30  End


9.30     Jung Yoon Cho – Changes in performing style: Brahms’ sonata for violin and piano op. 78.

10.00   Vasiliki Papadopoulou – Performing traditions in J. Brahms’ violin concerto op. 77 as reflected in annotated editions from the 20th century and modern recordings.

10.30   Ann Cnop – Performing Brahms’s second sonata for piano and violin: putting the evidence into practice.

11.00   Break

11.30   Miaoyin Qu and Clive Brown – Reading between the lines of Brahms’ musical text: Internalising a conception of 19th-century musicianship.

12.15   Claudia Pacheco Chávez and Miguel Arturo Valenzuela Remolina -Experimentation around the performing practices in German circles during the late nineteenth century (with special attention to vibrato and portamento), applied to the second movement of the second sonata for piano and cello in F major, op. 99 of Johannes Brahms.

13.00   Lunch Break

14.00   Annie Yim – Regaining a lost performing tradition: The Schumann circle and the young Brahms’s piano trio op. 8a (original version, 1854).

14.45   Job ter Haar – Hungarian dances, bel canto style (Piatti’s transcriptions of Brahms).

15.30   Break

16.00   Sheila Guymer – Classicist, gypsy, or ‘the best of all Wagnerians’? A study of rubato in Brahms performance practice.

16.45   Alfia Nakipbekova – Lecture-recital: Sonata for piano and violoncello op. 38 by Johannes Brahms.

17.30   Break

18.00   IRONWOOD: Robin Wilson and Rachael Beesley violins; Nicole Forsyth viola; Daniel Yeadon cello; Neal Peres Da Costa piano – Presentation and performance of Brahms piano quintet op. 34, to be followed by Q&A session. (Finish time: 19.30.)

19.45   CONFERENCE DINNER – Thai Edge, 7 Calverley Street, Leeds LS1 3DA.


9.30     Peter Adams – A forgotten nightingale? Brahms, Mühlfeld, Draper and Kell: the clarinet as songbird.

10.15   Andrea Massimo Grassi – Inside Brahms workshop: Interpretative choices suggested by the manuscripts of the clarinet sonatas op. 120.

11.00   Break

11.30   Emily Worthington –  (Re-)constructing Richard Mühlfeld? Rubato and rhythmic freedom in Brahms’s clarinet sonata op. 120 no. 2 mvt. 1.

12.15   Emlyn Stam: Towards an historically inspired Brahms style: The Edwardian musicianship of violist Lionel Tertis in op. 120 nr. 1.

13.00   Lunch Break

14.00   David Milsom – Performing Brahms’ op. 120/1 viola sonata: the interface between research and performance.

14.30   Camilla Köhnken – Academic or ‘neudeutsch’? – Liszt students performing Brahms.

15.00   Hilary Metzger – Their tone of discourse: what is revealed by the rhetoric of the musicians closest to Brahms.

15.30   Break

16.30   End

Please note that the School of Music will close at 17.00 prompt.   

Any issues with the symposium programme should be reported to the Symposium Administrator.