Admission Price: Free to attend; please reserve a place
Ian Pace performs a lunchtime recital featuring a range of renowned operatic arias, ensembles, choruses and other numbers in transcriptions or free fantasias for piano by a range of leading nineteenth-century pianist-composers.
This concert concludes with Liszt’s fantasy on the Valse infernale from Giacomo Meyerbeer’s opera Robert le diable, which was wildly popular in the 1830s. Liszt’s own work became a staple during his virtuoso touring years, with audiences calling out to hear it at a great many recitals.
- Donizetti-Liszt, Réminiscences de Lucia di Lammermoor
- Weber-Alkan, Choeur-barcarolle d’Obéron
- Glinka-Balakirev, Reminiscences from ‘A Life for the Tsar’
- Wagner-Tausig, Siegmunds Liebesgesang
- Meyerbeer-Liszt, Réminiscences de ‘Robert le diable’
Dr Ian Pace is a pianist of long-established reputation, specialising in the farthest reaches of musical modernism and transcendental virtuosity, as well as a writer and musicologist focusing on issues of performance, music and society and the avant-garde. Based in London since 1993, he has pursued an active international career, performing in 24 countries and at most major European venues and festivals. His vast repertoire of all periods focuses particularly upon music of the 20th and 21st Century. He has given world premieres of over 250 piano works.
He has played with orchestras including the Orchestre de Paris under Christoph Eschenbach (with whom he premiered and recorded Dusapin’s piano concerto À Quia), the SWF Orchestra in Stuttgart under Rupert Huber, and the Dortmund Philharmonic under Bernhard Kontarsky (with whom he gave a series of very well-received performances of Ravel’s Concerto for the Left Hand).
He has recorded nearby 40 CDs, including Michael Finnissy's five-and-a-half hour The History of Photography in Sound (of which he gave the world premiere in London in 2001). Forthcoming recordings will include the piano works of Brian Ferneyhough, the Piano Sonatas of Pierre Boulez, and John Cage’s The Music of Changes.
He is Reader in Music and Head of Performance at City, University of London, having previously held positions at the University of Southampton and Dartington College of Arts. His areas of academic expertise include 19th century performance practice (especially relating to the music of Liszt and Brahms), modernist aesthetics, the Frankfurt School of thought, contemporary performance practice and issues, music and culture under fascism, the post-1945 avant-garde, in particular in West Germany, and issues of critical musicology and musicological method.
He has contributed to and co-edited a number of monographs and volumes, the most recent of which was Critical Perspective on Michael Finnissy: Bright Futures, Dark Pasts, co-edited with Nigel McBride, (Routledge, 2019). Writing on Contemporary Musicians and Writing about Contemporary Artists in Theory and Practice, both co-edited with Christopher Wiley, will appear in early 2020, as well as Rethinking Contemporary Musicology: Perspectives on Interdisciplinarity, Skills and Deskilling, co-edited with Peter Tregear.Other forthcoming publications include monographs on music in the Weimar Republic and post-war Germany, a book on Brahms Performance Practice, and a history of specialist musical education in Britain.
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Ian Pace: Opera at the Keyboard - 6 March 2020, 1:10pm