Symposium Presenters & Moderators

Isabella van Elferen, Keynote speaker
Kingston University, London

 Bach’s Tone-Pleasure
(Abstract)

Christine Blanken
Bach-Archiv Leipzig

Cantatas with changes in instrumentation: The reception of Cantata (early) versions with obbligato organ

Daniel Boomhower
Dumbarton Oaks

The Social Significance of Changing Choral Timbres: Evidence from the Performance History of Bach’s B-minor Mass
(Abstract)

Rachel Gain
Yale University

Hearing Emotion, Feeling Key: Timbre, Technique, and Tonality in J.S. Bach’s Flute Obbligati
(Abstract)

Erinn Knyt
UMass Amherst

Acoustic Resonances: New Timbres, Sounds, and Colors in the Bach-Busoni Transcriptions, Arrangements, Editions, and Interpretations (Abstract)

Emily Kraine
Northeastern University

Wendy Carlos and Bach’s Well-Tempered Clavier
(Abstract)

Joel Lester
CUNY Graduate Center, Mannes College of Music

Timbre and the Music of J.S. Bach-Thoughts from Centuries Later (Abstract) (Handout)

Jeana Melilli
University of Florida

Gamba, Flute, and J.S. Bach’s Right Hand: Examples of Timbral Flexibility of the 18th Century Trio and Accompanied Sonatas in BWV 1027/1039  (Abstract)

Markus Rathey
Yale University

Timbre, Space, and Texture in Bach’s Cantatas for Open-Air Performances
(Abstract)

Joshua Rifkin
Boston University

Timbre in Bach: No Compromise
(Abstract)

Mary Barres Riggs
Dancer; Dance History Scholar

Bach’s St. Matthew Passion: Ballet by John Neumeier
(Abstract)

Robert Riggs
University of Mississippi

Bach’s St. Matthew Passion: Ballet by John Neumeier
(Abstract)

Yo Tomita
Queens University Belfast

Bach’s Concept of Timbre and The Well-Tempered Clavier
(Abstract) (Handout)

Emily Dolan
Brown University

Evan MacCarthy
University of Massachusetts Amherst (Five College Professor)

Ernest May
University of Massachusetts Amherst
Friday panel, Bach & Timber: A View from the Organ Loft
(Abstract) (Handout)