Stolen time: Temporal shaping through musical markings in the nineteenth century
Sezi Seskir, piano
ILHAN USMANBAS SALONU
ITU, Maçka Kampüsü
In this lecture-recital the often-overlooked connection between tempo rubato and accentuation markings will be explored. A close study of these markings in light of the treatises from the early nineteenth century reveals indications not only about change of dynamic and touch but also about a flexible treatment of time that can help the performer shape music expressively, enabling moments of intimacy to be created in a threshold of regular pulse.
Johannes Brahms, 7 Fantasien, Op. 116, Nos. 1, 2, 4
Frederic Chopin, Polonaise-Fantasie Op. 61, A-flat major
Sezi Seskir received her first degree in piano in Ankara State Conservatory, where she was a pupil of Prof. Kamuran Gündemir. She went on with her studies in Lübeck Musikhochschule in Germany with Prof. Konstanze Eickhorst. Along with many solo recitals she gave in Europe and Turkey, she also performed Schumann’s A minor piano concerto Op. 54, Ravel’s Concerto in G major with orchestras in Turkey and W.A. Mozart’s K.414 A-major piano concerto with Cornell Chamber Orchestra in NY,USA. Seskir recently completed her D.M.A. degree with Malcolm Bilson at Cornell University. Her research focuses on the use of tempo rubato in Robert Schumann’s keyboard music. She has given several guest lectures and recitals at schools such as Stanford University, UC Berkeley, Trinity College of London as well as at Schumann-Haus in Zwickau, Germany. Seskir is currently editing Schumann’s Op. 18&19 piano works for the Schumann complete edition and holds an assistant professor of piano position at Bucknell University.