Curriculum Vitae Dr. Jed Wentz

 

 

Present Position (since 2017):

Assistant Professor

Academy of Creative and Performing Arts

Leiden University

 

Present Position (since 2013):

Rhetoric teacher

Koninklijk Conservatorium Den Haag

Juliana van Stolberglaan 1

2595 CA Den Haag, The Netherlands

 

Present Position (since 2012):

Research co-ordinator: master’s programme

Conservatorium van Amsterdam

Oosterdokkade 151

1011 DL Amsterdam, The Netherlands

 

Present Position (since 2012):

Artistic adviser

Festival Oude Muziek Utrecht (The Utrecht Early Music Festival)

Stichting Organisatie Oude Muziek

Postbus 19267

3501 DG Utrecht, The Netherlands

 

Present Position (since 1994):

Teacher of historical flutes and of courses related to Early Music

Conservatorium van Amsterdam

Oosterdokkade 151

1011 DL Amsterdam, The Netherlands

 

2014-2016:

Researcher ‘Ina Lohr Project’
Schola Cantorum Basiliensis

Leonhardsstrasse 6

4003 Basel, Switzerland

 

 

Summary

My work revolves around the historically informed performance of music written before 1800. I am professionally active as a performer, teacher and researcher.

 

I have performed with major Early Music ensembles (Musica Antiqua Köln, Gabrielli Consort, Les Musiciens du Louvre, etc.) and have recorded more than 30 CDs, as flutist and conductor, both with my own and with other ensembles.

 

At the Conservatorium van Amsterdam I teach not only Baroque flute
(flauto traverso) as a major subject, but also general classes related to
Early Music performance practice and history. I am a research coordinator for the master’s programme, and also organize chamber music performance classes. I also currently teach rhetoric at The Royal Conservatory in The Hague, and am a returning guest lecturer at The Juilliard School.

 

My scholarly work focuses on 17th- and 18th-century acting and oratorical styles (declamation and gesture) and their implications for musical performance (both operatic and purely instrumental). Another topic of interest is the importance of political and religious pressures on the nascent Early Music Movement and the resulting 20th-century Early Music aesthetic. I have published, among others, in Cambridge Opera Journal, Early Music (guest editor), European Drama and Performance Studies (guest editor) and the Basler Jahrbuch für Historische Musikpraxis.

 

Since 2012 I have also been artistic advisor to the Utrecht Early Music Festival, the largest event of its kind in the world. In this capacity I am also responsible for organizing the yearly international STIMU symposium, a three-day event that brings together scholars and performers from various disciplines in order to look at issues of performance practice (taken in the broadest sense).

 

 

 

Full CV

Languages:

English, Dutch, German and French.

 

Education:

Ph. D. 2010 Universiteit van Leiden (advisor: Rebecca Harris-Warrick, Cornell University)

Master of Music 1985 Koninklijke Conservatorium Den Haag

Bachelor of Music 1981 The Oberlin Conservatory of Music

 

Previous Employment in Education:

1988-1994 Hilversumse Conservatorium, historical flutes

1990-1993 Conservatoire national de région de Caen, performance practice

1990-2011 Royal Academy of Music, London, yearly guest lectures

 

Guest teaching, master classes and lectures given at:

Schola Cantorum Basiliensis

The Juilliard School
Case Western Reserve

Universität Mozarteum Salzburg

The Moscow Tchaikovsky Conservatory

Villa Musica Rheinland-Pfalz
Royal Academy of Music London
Koninklijk Conservatorium Den Haag
Hochschule für Künste Bremen
University of North Texas Denton
The Oberlin Conservatory of Music

The Curtis Institute of Music

The Longy School of Music,
Conservatoire national de musique et de danse de Paris
Conservatoire à rayonnement régional de Paris
Royal College of Music London
University of California at Los Angeles
The Colburn School of Performing Arts
University of Winchester (UK)

 

Staged opera productions (musical director):

W. A. Mozart: Le Nozze di Figaro (2002)
G. F. Handel: Arianna in Creta (2003)
W. A. Mozart: Entführung aus dem Serail (2007)
J.-P. Rameau: Hippolyte et Aricie (2009)

 

Staged theatrical productions (stage director):

G. Benda: Medea (2014)
Jean-Jacques Rousseau: Pygmalion (2015)

G. Benda: Medea (2016)

 

Awards:

International Cini Prize, Venice, awarded to: Vivaldi, Alla Rustica, Fidelio Classics #9217.

International Cini Prize, Venice, awarded to: Locatelli, Flute Sonatas op. 2, Vanguard Classics #99098/99.

Diapason d’Or, awarded to: J. S. Bach, Complete Chamber Music for Flute.

Irene Alm Memorial Prize, awarded to: ‘Roxana’s Dance: The Persuasive Footwork of Defoe’s Fortunate Mistress’.

 

Research Interests:

Historical performance practices for music of the long 18th century. Rhetoric
Declamation and historical acting techniques.
The history of Early Music in the 20th century.
Baroque dance.
The expression of the passions and historical medicine.
Baroque gesture for singers.
Weimar cinema.

 

Hobbies:

Irish Set Dancing

 

 

Selected Recordings with Musica ad Rhenum as flutist, leader & conductor:

A. Vivaldi - Alla Rustica and other concerti (Fidelio Classics #9217). Cini Prize.

P. A. Locatelli - XII Sonate op. 2 (Vanguard Classics #99098/99), liner notes. Cini Prize.

W. A. Mozart - La Clemenza di Tito (Brilliant Classics 99736/1-2).

G. Fr. Handel - Flute Sonatas (Vanguard Classics #99189), liner notes.

W. A. Mozart - Flute Quartets (Vanguard Classics #99176), liner notes.

F. Couperin - Chamber Music (complete) (Brilliant Classics #92178/1-7), liner notes.

G. Ph. Telemann - Paris Quartets (Brilliant Classics 93649/1-3), liner notes.

J. S. Bach - Complete Chamber Music for Flute (Brilliant Classics 93814), liner notes. Diapason D’or.

C. Ph. E. Bach –Complete Flute Sonatas with Basso Continuo (Brilliant Classics 94323), liner notes.

J. H. Roman – 12 Sonatas fro Flute and B.C. (Brilliant 95214), liner notes.

 

Online Publications:

'H. R. and the formation of an early music aesthetic in the Netherlands (1916-1921)', RIMAB: Reseach portal of the Schola Cantorum Basiliensis (Fall 2016).

See: http://www.rimab.ch/content/research-projects/project-ina-lohr-1/papers-from-the-project-ina-lohr/h-r-and-the-formation-of-an-early-music-aesthetic-in-the-netherlands-1916-1921 .

 

Peer Review Publications (guest editor):

Early Music, Vol. 42, Issue 1 (February 2014).

European Drama and Performance Studies, 2015-1, no. 4 (special issue 'Dance and the United Provinces')

 

 

Peer Review Publications (writer):

‘Sonority in the 18th Century: un poco più forte?’, with Willem Kroesbergen, in Early Music, vol. XXII, issue 3 (August: 1994), 413-496.

‘The Passions Dissected, or, on the dangers of boiling down Alexander the Great’, in Early Music, vol. 37, Issue 1 (2009), 101-112.

 

‘Gaps, Pauses and Expressive Arms: Reconstructing the Link between Stage Gesture and musical Timing at the Académie Royale de Musique’, in Journal for Eighteenth-Century Studies, vol. 32, no. 4 (December 2009), 607-623.

 

‘Gustav Maria Leonhardt in Basel: portrait of a young harpsichordist’, with Anne Smith, in Basler Jahrbuch für Historische Musikpraxis XXXI (2010), 229-244.

 

‘Deformity, delight and Dutch dancing dwarfs: an 18th-century suite of prints from the United Provinces’, in Music in Art, Vol. XXXVI (2011), 161-200.

 

‘Roxana’s Dance: The Persuasive Footwork of Defoe’s Fortunate Mistress’, in The 18th-Century Novel, vol. 8 (October 2011), 61-118.

 

‘An annotated livret of Lully’s Roland as a source for seventeenth-century declamation’, in Cambridge Opera Journal, Volume 25, Issue 1 (March 2013), 1-36.

 

‘Gustav Leonhardt, the Naarden Circle and Early Music’s Reformation’ in Early Music, Vol. 42, Issue 1 (February 2014), 3-12.

 

‘ ‘Mechanical rules’ versus ‘abnormis gratia’: revaluing Gilbert Austin’s Chironomia as a source for historical acting techniques’, in Theatrical heritage: challenges and opportunities, eds. Bruno Forment and Christel Stalpaert (Leuven: Leuven University Press, 2015), 41-57.

 

‘Les enfans du Sr. Frederic: the identities and performances of a theatre family active in the United Provinces, 1758-1763’, with Anna de Haas European Drama and Performance Studies, (2015-1, no. 4, special issue entitled ‘Dance and the Dutch Republic’, guest eds. Michiel Schuijer and Jed Wentz), 95-144.

 

 

Conferences Organized (papers presented):

2009      The Dutchman and the Honeybees: An International Baroque Dance Symposium (Conservatorium van Amsterdam, Amsterdam, The Netherlands). Paper given (together with Jennifer Thorp): ‘Eyes, Feet, Ears and Hearts: Baroque Dance in Experimental Times’.

 

2010      Gesture on the French Stage, 1675-1800 (Utrecht Early Music Festival, Utrecht, The Netherlands). Paper given: ‘Affect, Gesture and Rubato at the Opéra’.

 

2012     ‘Much of what we do is pure hyposthesis’: Gustav Leonhardt and his Early Music (Utrecht Early Music Festival, Utrecht, The Netherlands). Paper given: ‘Gustav Maria Leonhardt in Basel: portrait of a young harpsichordist’.

 

2012     ‘Much of what we do is pure hyposthesis’: Gustav Leonhardt and his EarlyMusic (Utrecht Early Music Festival, Utrecht, The Netherlands). Paper given: ‘Fairy tales by candlelight: images of Leonhardt from the Dutch television archive’.

 

2014     Curriculum matters: teaching Early Music in the 21st century (Utrecht Early Music Festival, Utrecht, The Netherlands). Paper presented (together with João Luís Paixão): ‘Learning from Lully’.

 

2015     The past is a foreign country (co-organized with Barbara Titus. Utrecht Early Music Festival, Utrecht, The Netherlands). Paper given: ‘Faith, Volk and ‘Bach-trunkenen Theologen’ : ideologies of performance in the Bach Jahrbuch, 1900-1910.’

2016     Reconstructing a usable past (co-organized with Avery Gosfield. Utrecht Early Music Festival, Utrecht, The Netherlands).

 

 

Conferences Attended (papers presented):

1994   Conference: Le Mouvement en Musique à l’Époque Baroque (Metz, France). Paper: ‘Les Indications de Tempo de J. S. Bach à Lumière de Die Kunst des reinen Satzes de J. Ph. Kirnberger’.

 

2006     Conference: Music and Gesture II (Manchester, UK). Paper given:

‘Rhythmic Freedom at the Opéra: evidence from revival scores’.

2008     Conference of the Society for Seventeenth-Century Music (Huntington Library, Pasadena, California, USA). Paper given: ‘Roxana’s Dance: The Persuasive Footwork of Defoe’s Fortunate Mistress’. Awarded the Irene Alm Memorial Prize.

 

2008     Conference: Dance, Timing and Musical Gesture (Edinburgh, UK). Paper given (together with Jennifer Thorp): ‘Eyes, Feet, Ears and Hearts: Baroque Dance in Experimental Times’.

 

2009     Conference of the British Society for Eighteenth-Century Studies (St. Hugh’s College, Oxford, UK). Paper given: ‘Roxana’s Dance:The Persuasive Footwork of Defoe’s Fortunate Mistress’.

 

2009     International Conference on Music and Emotion (Durham, UK). Paper given: ‘Grimarest’s Prescription’.

 

2010     Conference of the British Society for Eighteenth-Century Studies (St. Hugh’s College, Oxford, UK). Workshop given: ‘ ‘And Leaves the World to Darkness and to Me’. A workshop on Gilbert Austin’s notational system for gesture’.

 

2010     Conference: Dance and Image (New College, Oxford, UK)‘Lifting the Mask of Mlle. Horibilicribrifaxin’.

 

2011     Conference: American Society for Eighteenth-Century Studies (Vancouver, Canada). Roundtable ‘Reading /Reciting Eighteenth-Century English’. Performance: ‘ ‘Brutus’ Speech from Julius Caesar as notated by Gilbert Austin’.

 

2011   César Seminar: Theatre as Visual Spectacle (Taylor Institution Library, Oxford, UK). Paper: ‘Reconstructing Gesture for French Baroque Opera: some pitfalls and points of departure’.

 

2011      Conference: Dance and the Novel (New College, Oxford, UK). Paper/workshop: ‘An Impostor Princess and a Royal Fool: reconstructing Defoe’s mismatched masquerade courante’.

 

2011     Colloque et ateliers: Le Tableau et la Scène: Peinture et mise en scène du répertoire héroique dans la première moitié du XVIIIe siècle (Nantes: Musée des Beaux-arts de Nantes, France). Workshop: ‘Une scène à partir de l’apport de l’œuvre des Coypel: le monologue d’Armide’.

 

2011     Workshop (University of Winchester, UK). Lecture/demonstration: ‘Meaning in Movement: historical acting as textual analysis’.

 

2011     Workshop (Anton Bruckner Privatuniversität, Linz, Austria). Lecture/demonstration: ‘French Rhetorical Sources and the Expression of the Passions’.

 

2011   Conference on historical staging (Drottningholm, Sweden). Causerie to initiate roundtable discussion: ‘The Place of Gesture in Contemporary Opera Productions: some pros and cons’.

 

2012   Conference of the British Society for Eighteenth-Century Studies (St. Hugh’s College, Oxford, UK). Paper given: ‘ Joshua Steele’s Prosodia Rationalis’.

 

2012     15th Biennial International Conference on Baroque Music (Southampton, UK). Paper given: ‘An annotated livret of Lully’s Roland as a source for 17th-century declamation’.

 

2012     Conference of the American Musicological Society (New Orleans, USA). Paper given: ‘David Garrick’s declamation notated’.

 

2013     Conference: Revaluing theatrical heritage (Kortrijk, Belgium). Paper given ‘With waving arms and wavering voice: three theatrical reconstructions from Austin notation: 1806-1875’.

 

2013   Conference Training ‘Early’ Musicians in the age of historical recordings (Tel Aviv, Israel). Paper given: ‘Traces of 18th-century actio in historical recordings: a proposed praxis for today’s conservatory classroom’.

 

2013     Lecture (Oxford, UK). Paper given (with Joao Paixão, by invitation): ‘Il se tuë: reconstructing the royal suicide scene from Battistin’s Polidore’.

 

2014   Conference of the VvM [Society for Music Theory] and KVNM [Royal Society for Dutch Music History] (Den Haag, The Netherlands). Paper given: ‘Lallemant, Rameau and the harmony of the passions’.

 

2014     Symposium of the 29th International Handel-Academy Karlsruhe (Karlsruhe, Germany). Paper given: ‘Rhetorical actio’.

 

2014     Conference Roots of revival (Horniman Museum, London, UK). Paper given: ‘Dutch music criticism and the formation of an Early Music aesthetic in The Netherlands, 1916-1921’.

 

2014     Conference American Society for Eigtheenth-Century Studies (Williamsburg, USA). Lecture demonstration: ‘Performing Gilbert Austin’s Chironomia’.

 

2014     Conference Film and the other arts, 1894-1945 (University of Oxford, UK). Paper given: ‘Traces of 17th-century actio in films by Paul Wegener and F. W. Murnau’.

 

2014     Séminaire international déclamation, chant et danse en France aux XVIIe et XVIIIe siècles (Tours, France). Paper given (together with Joao Paixão): ‘A reconstruction of spoken declamation based on Lully’s Roland’.

 

2014    Symposium of the 31st International Handel-Academy Karlsruhe (Karlsruhe, Germany). Paper given: ‘The subjective in authenticity: a performer's perspective’.

 

2016    Conference of the Society for Theatre Research. Theatre in the Regency Era, Plays, Performance, Practice: 1795-1843 (Downing College, Cambridge, UK). Keynote demonstration, together with João Luís Paixão: ‘Reconstructing late 18th-century English acting’.

 

 

 

Classes Taught at the Conservatorium van Amsterdam:

 

Bachelor Level:

‘Historical Treatises of the Long 18th Century’ (since 2008)

‘Early Music in the 20th Century: Portrait of a Revival’ (since 2006)

‘An Introduction to Baroque Dance & Gesture’ (since 2008)

‘Rhetoric’ (since 2008)

 

Master Level:

‘The Failure to Establish an English-Language Opera in London’ (2001-2)

‘Baroque dance and its notation’ (2005-2011)

 

 

Class Taught at the Koninklijk Conservatorium Den Haag:

‘Rhetoric’ (since 2013)

 

Seminars given at The Juilliard School:

‘Mattheson, rhetoric and musical expression’ (2013)

‘Hanslick’s tönend bewegte Formen and the Early Music aesthetic of The Netherlands’ (2014)

Actio, actio, actio: Rhetoric, gesture and instrumental performance practice’ (2016)

 

Silent Film Scores (quodlibet piano scores):

Paul Wegener, Der Golem, wie er in die Welt kam (1920)

F. W. Murnau, Der brennende Acker (1922)

Victor Seastrom: He who gets slapped (1924)

F. W. Murnau: Tartuffe (1925)

F. W. Murnau, Faust (1926)

Jean Epstein: La glace à trois faces (1927)

G. W. Pabst, Die Büchse der Pandora (1929)

A. Asquith, A cottage on Dartmoor (1929)