Colloquium organized by the CRULH (EA3945), University of Lorraine (Metz musicology department) and the Royal College of Music in London
In partnership with Cité Musicale – Metz and Columbia University
Call for papers (http://www.christinaguillaumier.org/call-for-papers/):
Natalia Ermolaev, Columbia University
Christina Guillaumier, Royal College of Music
Laetitia Le Guay, Université de Cergy-Pontoise
Nicolas Moron, Université de Lorraine
Natalia Savkina, Moscow Tchaikovsky Conservatory
Rita McAllister, Royal Conservatoire of Scotland
Simon Morrison, Princeton University
2021, December, 7-8
Proposals should be submitted by 15 September 2021 using the following Google Form https://forms.gle/dmPiE1AcqqQSi2Zc6
Prokofiev scholarship underwent a significant transformation in 2013 primarily through the consolidation of archival materials hosted at the Serge Prokofiev Archive at Columbia University. A first symposium to recognise this important moment was organized at Columbia University in April 2017. A partnership between Columbia and the University of Lorraine was instigated with a view to further developing and exploring these research materials and scholarship trends. Following on from a recent series of landmark publications on Prokofiev and his music (notably Morrison, Seinen, Asaro, Guillaumier, McAllister), this colloquium aims to continue its interrogation of primary sources and personal documents.
Prokofiev travelled extensively, lived in several countries, explored several continents, and interacted with an incredible number of his contemporaries –musicians, writers, chess players, publishers, poets, painters, journalists– the list is a long one. Prokofiev, himself very inspired by literature, left several autobiographical works but also little studied stories and short stories. Due to the unique nature of his geographical and artistic background, the question of the multiplicity of cultural, political and artistic contexts over which he may have had an influence or been influenced by, is particularly relevant since it has left a trace on the sources that have come to us today. The multiplicity of genres that Prokofiev worked with throughout his career, from chamber music to film music, from concert pieces to children’s stories, from operas to incidental music, from ballet to Romances, has generated an incredible number of diverse sources, preserved in multiple places. This symposium is intended to provide an interdisciplinary opportunity to deepen current research into these sources and to stimulate new perspectives.
Contributions are invited along the following themes:
• The specificity and originality of the sources used or bequeathed by Prokofiev;
• Critique of Prokofiev’s sources both borrowed and original;
• Interpretation and performance practice;
• The rôle of the editor in Prokofiev’s music;
• Critical editions of Prokofiev’s music;
• Prokofiev’s correspondence with his contemporaries;
• Prokofiev’s spiritual, social and cultural sources;
• Prokofiev’s music or writing used as source materials;
• Prokofiev’s heritage;
• Critical perspectives, including genetic criticism, of Prokofiev’s music.
Proposals should be submitted, using the appropriate form here: https://forms.gle/dmPiE1AcqqQSi2Zc6.
The languages of the colloquium are French and English (the presentation should be in the same language as the submitted abstract).
Due to the global pandemic, we are ready to reconsider a remote or hybrid format if need be.
Conference presentations should be limited to 20 minutes; proposals for lecture-recitals or mixed-media presentations are also welcome. The submissions will be anonymously reviewed by a committee of international experts.