Date and location
September 24, 2020
Orpheus Instituut (Korte Meer 12, 9000 Ghent)
PROMETHEUS - Imagining Sounds **POSTPONED**EventSeptember 24, 2020
In the context of 'Declassifying Beethoven', the 2020 programme in which the Orpheus Institute celebrates 250 years of Beethoven and 5 years 'Declassifying the Classics', five afterwork concerts are being organised at the Orpheus Institute. These concerts are each time curated by a researcher of the 'Declassifying the Classics' research cluster. The first concert, on Thursday 24 September (previously planned for 26 March), is being curated by doctoral researcher Prach Boondiskulchok (pianist and composer).
UPDATE: An alternative performance is planned for 24 September (> more info)
[This concert is being organised twice: at 18.00 and at 20.00]
Curator: Prach Boondiskulchok
- Steibelt: Mélange Op. 10
- Beethoven: Prometheus Variations Op. 35
- Boondiskulchok: Prometheus (2020) Belgian Premiere
Performers: Prach Boondiskulchok, Luca Montebugnoli and Camilla Köhnken
Pianos: Walter and Erard
In 1802, Beethoven wrote his Fifteen Variations with a Fugue Op. 35 “in an entirely new manner.” The theme itself is a recycled melody from his earlier Creatures of Prometheus. The novelty, however, lies in Beethoven’s embracing a new sonic sensibility.
I have assembled this programme to trace a story around Beethoven's sonic imagination that may well have started in a pianistic duel with Daniel Steibelt in spring 1800. In spite of reports of Beethoven having mocked his Parisian rival, we believe that Beethoven left impressed with Steibelt’s pianistic effects. Drawing on both composers' fascination with sound worlds, I have written a new work, entitled Prometheus, to be performed in juxtaposition with the older works.
We present this concert on two fortepianos: a Viennese Walter (which Beethoven would have had) and a French Erard (the piano that Steibelt knew well and that Beethoven may have started to want, before actually ordering one in 1803). With the instruments side by side, we create sound combinations that Beethoven may well have imagined. But while Beethoven dreamt of sounds produced by technology he did not yet have, my Prometheus uses historical instruments we do have to create new sonic possibilities.
- Prach Boondiskulchok
Free admission, but registration is required.
To comply with the official COVID-19 regulations for professional arts organisations in Belgium, the Orpheus Institute has taken the following prevention measures:
- This concert is being organised twice (at 18.00 and at 20.00) to allow only a limited amount of people and have enough time to ventilate and disinfect the concert hall between the two concerts.
- A maximum of 25 people is allowed per concert. We have designed a new seating plan to guarantee social distancing.
- When attending the concert with someone from your 'bubble', chairs next to each other can be provided. Please let us know via the registration form.
- Registration is required for everyone. Your name and phone number will be asked for contact tracing purposes. This information will be stored for 30 days.
- Wearing a face mask is obligated at all times. (Please note that wearing a face mask is also mandatory on the street in the city centre of Ghent.)
- Hand sanitizer is provided at the entrance and in the concert hall.
- You will be sent an email a day before the event in case of updates and to remind you of the regulations.
Other afterwork concerts:
- #2 - 26 Nov. EROICA for Two and Four Hands (Curator: Luca Montebugnoli)
- #3 - TBA MOONLIGHT – Trance-s(c)ending (Curator: Sanae Zanane)
- #4 - TBA Zukunftsmusik (Curator: Camilla Köhnken)
- #5 - TBA FIBONACCI’s Spiral (Curator: Tom Beghin)