18.00 – 19.30 CONCERT
Public concert with members of The Opener research group and students from the Grieg Academy.
Ricardo Odriozola and 5 students, violins: 2 pieces by Gurdjieff/de Hartmann
Laetitia Stemp, voice and Sølve Andre Håvik, piano: A. Zemlinsky «Irmelin Rose» by,
Una Kristin Sagatun Krisjansdottir, voice and Szilard Simon Pal, piano: A. Schoenberg op. 2 no. 3; Erhebung,
Ingrid Sagabråten, voice and Sigbjørn Forland, piano: F. Poulenc nos 1 and 2 from «Financailles pour rire.
Martin Krajco, guitar: J.K Mertz: from Bardenklänge op. 13
Serge Tchirkov, accordion, Christian Stene, clarinet: Henry Purcell: O solitude, my sweetest choice, Astor Piazzolla: Oblivion
Magdalena Bajuszová, piano: Ilja Zeljenka: Sonata no.2
Einar Røttingen, piano: E. Grieg: Cow calls and Cradle songs from 19 Norwegian Folk Tunes op.66
Diana Galakhova, piano: F. Schubert from Moments Musicaux
Ca. 19.30 Dinner buffet for conference participants – (NB! registration in advance necessary before Feb 6 at 12 noon: einar.rottingen@uib.no)
21.00 end
Mine Doğantan-Dack
is a musicologist and concert pianist. She studied at the Juilliard School of Music and received her PhD in musicology from Columbia University. She also holds a BA in Philosophy. Mine is internationally regarded as a leading figure in Music Performance Studies, and in Artistic Research in music performance. Her books include Mathis Lussy: A Pioneer in Expressive Performance Studies (2002), and the edited volumes Recorded Music: Philosophical and Critical Reflections (2008), Artistic Practice as Research in Music (2015), Music and Sonic Art (2018), Rethinking the Musical Instrument (2022), and The 21st-Century Chamber Musician (2022), The Music Performers’ Lived Experiences (2 volumes, forthcoming in 2025), and The Music Performer and the Will: Conative Processes in Music Making (forthcoming 2026). Her article titled “Senses and sensibility: the performer’s intentions between the page and the stage” won the Practice Research Prize awarded by the Royal Musical Association in 2023. Mine performs as a soloist and chamber musician and has performed most of the major piano concerti. She teaches Performance Studies at the Faculty of Music, University of Cambridge.
Katharina Olivia Brand
is a pianist specializing in both modern piano and historical fortepianos. Her interest in the field of performance practice, historical and contemporary, is a recurring theme through all her artistic and research activities. Her main focus lies in the music of the late eighteenth and early nineteenth century as well as in the music of the present. From 2004 to 2011, she taught as a lecturer at the Ruprecht-Karls-Universität in Heidelberg. Since 2006, she has been teaching fortepiano and performance practice at the University of Music and Performing Arts Graz, Austria. As guest lecturer she has been invited to prestigious institutions in Europe and Asia, e.g. Folkwang University Essen, HMDK Stuttgart, UdK Berlin, Bach-Archiv Leipzig, VNAM Hanoi, UPD Manila, Mahidol University and PGVIM, Bangkok.
Katharina is dedicated to reviving lesser-known repertoire through innovative concert programming, such as Kreisleriana in the city!; Die Winterreise: A female perspective; Joseph Martin Kraus: Der Odenwälder Mozart; and CDs such as Blumenlese (Allegra), Arie antique (Allegra), Nachthimmel (Christophorus/SWR). As a soloist and as a member and founder of the ensemble Chambre d'écoute she has premiered a significant number of contemporary works at music festivals in Germany, Italy, The Netherlands. Since 2016 she has been commissioning composers to contribute to her project Hammerklavier – Neue Musik für ein altes Instrument, which has been documented by the Austrian radio (ORF). Through her lecture-recitals and articles, she promotes a critical discourse on performance practice, aiming to broaden perspectives on the artistry of performance.
Katharina received her education at the University of Music Karlsruhe, Germany in the classes of Naoyuki Taneda and Wolfgang Manz. She continued with graduate studies at the University of California at Los Angeles, USA. There she studied historical performance practice and fortepiano with Tom Beghin and modern piano with Vitaly Margulis. In 2001, she earned her Doctor of Musical Arts degree with a dissertation on rhetoric in Mozart's piano works. For her artistic contributions as a pianist and her active engagement in promoting both early and contemporary music, she has been the recipient of numerous awards and grants.