Nikhil Hogan Show

Guest Wim Winters, a Clavichord researcher and YouTube channel host, discusses topics such as the history and touch of the Clavichord, reconstructing jazz without sound recordings, the Whole Beat Metronome Principle, controversies surrounding Beethoven's metronome, pressure in classical music, and upcoming projects

PETER SEIVEWRIGHT has received a Special Judges’ Citation in The American Prize Ernst Bacon Award for the Performance of American Music competition, in the professional solo artist division. Peter Seivewright, honored for “Championing American Piano Music,” was selected from applications reviewed recently from all across the United States and the United Kingdom, and the citation awarded for his Divine Art album ‘American Piano Sonatas‘. Peter Seivewright has performed extensively as a recitalist and as Piano Concerto soloist with leading professional Orchestras throughout Great Britain, Ireland, Norway, Austria, Germany, Italy, Belgium, Denmark (eight recital tours), Latvia, Estonia, Malaysia, Afghanistan, Cambodia, Vietnam, Kazakhstan, Australia (four recital tours), China, India, Kuwait, the United Arab Emirates, Trinidad and Tobago, the United States of America, Russia, and the Donetsk People’s Republic. Peter Seivewright’s CD discography is extensive and includes: The Complete Piano Music of Carl Nielsen (2CDs – Naxos), Contemporary Scottish Piano Music, (Merlin), the major piano works by the Danish Romantic composer Victor Bendix (1851-1926) (Rondo Records, Copenhagen), and several CDs issued by The Divine Art Recordings Group, for whom he now records exclusively. Peter is working through a series of CDs for Divine Art featuring the complete Piano Sonatas of Baldassare Galuppi (1706-1785), the last great composer of the independent Venetian Republic. In 2007 Divine Art released a double CD comprising the major piano works of the Danish composer Louis Glass (1864-1936).Other Divine Art recordings include a disc of J.S.Bach Piano Concertos and a CD featuring American Piano Sonatas, which was exceptionally critically well-received, and which is currently a finalist for the Ernst Bacon Award in THE AMERICAN PRIZE 2018. Future recording plans include several more sets of American Piano Sonatas, more J.S.Bach and music by Reger, Cyril Scott, and Olivier Messiaen.

0:00 Start  1:34 How has the book, "The Solfeggio Tradition", been received? 6:43 Italian solfeggio explained in 4 minutes  11:41 Should children delay singing solfeggio until their voice has broken?  14:15 Did 18th-century plainsong sound more like galant music rather than medieval music?  16:10 What about Palestrina?  19:35 An example of a lesson in Italian solfeggio  22:33 How do you learn to accompany a melody line by sight with the correct harmony?  28:00 How do you follow the rules of counterpoint when switching between hexachords?  32:33 How do you know when there is a change of syllable vs a continuation of a melisma?  34:57 Does the appoggiatura take the target note's syllable or have its own?  36:20 Up 4th Down 5th Bass Motion in Italian Solfeggio  37:19 Mozart improvisation solfeggio lesson (K. 545)  41:19 Notation is the curse of the modern musician  48:02 Did Mozart know Italian solfeggio?  51:10 Why did the Germans complain about the Italians keeping solfeggio as a trade secret?  53:11 Were violinists like Paganini, Corelli and Vivaldi familiar with Italian solfeggio?  57:11 Did the Italian Maestros abandon teaching solfeggio syllables if the students struggled with pitch?  59:11 Did Italian solfeggio completely die out in the 19th-century?  1:00:49 Did Italian musicians think of the bass in terms of solfeggio syllables?  1:05:56 What was the 18th-century Italian understanding of Keys and Tonality?  1:09:02 What are good solfeggio manuscripts to practice to with and how much proportion of time is spent worrying about syllable placement vs actual singing?  1:12:10 Do we have access to 18th-century plainchant that doesn't sound like medieval music?  1:17:19 Is there any value to practicing solfeggi exercises with "Ah" even if we don't know which syllables to use?  1:18:45 What are your favorite solfeggi collections?  1:19:46 What's your opinion on Johann Fux and his method of teaching counterpoint?  1:21:19 What do you think of Nicola Sala's counterpoint treatise?  1:22:39 How does your solfeggio expertise inform the way you would teach partimento?  1:25:08 Are those manuals of singing by maestros who changed to Fixed Do still useful for learning diminution?  1:25:57 What's the state of Italian solfeggio research today?

Analyzing Bach's 48 preludes, transposing to C or Am, closely related keys, Bach's behavior in employing satzmodelle, controversy in analysis, memorizing rules of thoroughbass, music theory in education, future research on thoroughbass

Professor Peter Schubert discusses his book on Baroque Counterpoint, learning to improvise fugues, embellishing musical compositions, tonal answer in a partamento, relevance of composers in teaching counterpoint, adults learning to improvise and compose music, counterpoint in rap beats, rediscovering the relevance of counterpoint

I’m very excited to welcome two very special guests to the program, Professor Robert Gjerdingen and Professor Giorgio Sanguinetti. Professor Gjerdingen is the author of Music in the Galant Style and Child Composers, while Professor Sanguinetti is the author of The Art of Partimento”. They join me today for a group table discussion on partimento, music education, music history, and much more.

Conductor, harpsichordist, and organist Patrick Ayrton discusses topics like improvisation, learning counterpoint, and his musical background. They explore the popularity of 'Don't Be A Wide' and the importance of learning theory. The guest shares anecdotes of teaching Basso Continua to students and their experiences studying in Vienna. They delve into jazz harmony, voice leading, Don Ryu concepts, and starting with multiple voices in composition. The chapter also touches on consonances, dissonances, and improving clef reading skills. They express gratitude and discuss the evolution of music education.

Guest Jonathan Salamon, harpsichordist and composer, discusses his article on the Leo Schema. Topics covered include developing a unique compositional style, analyzing delaying closure and pre-cadential layout in music, exploring the buff stop on the harpsichord and Scarlatti's repetition, and analyzing the concept of ostinato in music.

Professor Johannes Menke joins the podcast to discuss the French Baroque Style, Satzmodelle in 17th-century French music, the unique identity of French music in the 17th and 18th centuries, exploring the recognition of Italian and French composers, the concept of Satsmodel in French Baroque Style, limitations of Basso Continuo, the reception and future of Satsmodel and Thoroughbass in music education in Germany, exploring the Hexacordal 18th Century Italian Sulfegeo Method of Ear Training, the influence of Partimento and Satsmodel pedagogy on Bach, and the value of learning Partimento and pursuing composition.

Nicole DiPaolo, Pianist, Composer, Teacher, and Music Scholar, shares her musical background and early experiences with classical piano. They discuss music theory and teaching using historical approaches. The hosts explore Italian composers and the potential of teaching kids with partimento music theory. They also talk about upcoming events, collaborative pianists, and developing piano solos for adult students.