Impact

HuCPeR aims to influence current and future trends in music performance, transgressing the boundaries within Higher Education, and between Higher Education and the wider musical community. Its study outcomes act as catalysts for reappraisal and (where appropriate) change. Examples of the kinds of exploratory routes HuCPeR aims to support include:

 

  • John Bryan’s research into and performance of music of the sixteenth and seventeenth centuries
  • David Milsom’s work to bring about better understanding of nineteenth-century string works, and renewal in the practical realisation of the repertoire
  • Philip Thomas’ work with Huddersfield University-based HCMF, as well as international concert activity broadening awareness of contemporary piano music
  • Emily Worthington’s current research involving the embodiment of historical recordings and early recorded style as a creative stimulus
  • A wide range of research topics and practices undertaken by a growing Postgraduate Research community

 

All members of HuCPeR are involved in activity disseminating performance and performance research in the wider community. Some examples of this work include:

 

  • Concerts (John Bryan’s concerts with Rose Consort of Viols; Emily Worthington’s concerts with Boxwood and Brass)
  • Directing External Ensembles (George Kennaway’s current posts as conductor of Harrogate Philharmonic and Sheffield Chamber orchestras)
  • Teaching outside Higher Education (David Milsom’s work with school-age violin and viola pupils; George Kennaway’s work as director Yorkshire Late-Starter Strings; Emily Worthington’s work devising and teaching adult late starter clarinet classes at Morley College in London and courses at Benlow Music Trust)
  • Pre-Concert Talks (such as George Kennaway’s talks for Glyndebourne, Leeds Lieder and Opera North)
  • Recordings (such as Philip Thomas’ solo recordings and recordings with Apartment House)
  • Journalism (Duncan Druce’s articles in Classic Record Collector & Gramophone; David Milsom’s monthly CD reviews for The Strad magazine)
  • Non-academic writings about music (such as David Milsom’s A-Z of Solo String Players for Naxos Books)
  • Formulation of music festivals etc. (such as John Bryan’s work, since 1977, as Artistic Adviser to the York Early Music Festival)
  • Links with major international editorial projects (Graham Cummings’ new edition of Handel’s Italian opera Poro, Rè dell’ Indie for the revised Handel Complete Edition (Hallische Händel Ausgabe).
  • Public lectures within international festivals (Graham Cummings’ lectures at the Göttingen International Handel Festival: 2006 – present)
  • Orchestral performance (Emily Worthington’s participation in projects with top period-instrument orchestras in the UK and Europe, including acclaimed Italian conductorless orchestra Spira Mirabilis)