Curriculum Vitae

Professor JOHN IRVING

PhD, B.Mus., LRAM, ARCM (Hons.), SFHEA, FRHistS, FRSA

johnirvingimr@googlemail.com

or

j.irving@trinitylaban.ac.uk

07739 22 42 47

www.johnirving.org.uk

 

CURRICULUM VITAE

 

 

Personal profile

Nationality: British (born 20 May 1959)

Qualifications:

Ph D The University of Sheffield 1985

B.Mus Hons Class I The University of Sheffield 1980

(Prizes: Arts Faculty Prize; Recital Prize; Petrie Watson Exhibition)

LRAM Piano Teaching 1978

ARCM Hons Piano Performing 1981

Senior Fellow of The Higher Education Academy 2014

 

My background is in the UK Higher Education Music sector, in which I have worked since 1984 in both university and conservatoire contexts.

I have been employed in a variety of academic and management roles, and have an internationally regarded publication profile. I also occupy some public service roles for national musical bodies (eg as Vice-President of the Royal Musical Association 2010-14; and as a former Director of Institute of Musical Research, 2009-11). Alongside my academic career I pursue an active career as a fortepianist and harpsichordist (details below).

 

Career summary

 

  • Professor of Performance Practice, Trinity Laban Conservatoire of Music & Dance, 2013—
  • Associate Fellow, The Institute of Musical Research, School of Advanced Study, University of London, 2011–
  • Professor of Music and Head of Music and Performing Arts, Canterbury Christ Church University (2011-12)
  • Director of The Institute of Musical Research, School of Advanced Study, University of London (2009-11)
  • Professor of Music History and Performance Practice, University of London (2010)

On secondment at the IMR (2009-11) from my post as:

  • Professor of Music History and Performance Practice, University of Bristol (2007-11), and Head of Department there, 2004-09

Previously Lecturer (1988-99), Senior Lecturer (1999-2004) and Reader (2004-07) at Bristol; Stipendiary Lecturer, New College Oxford (1987-8); Temporary Lecturer, Birmingham University (1986-7); Junior Research Fellow, Royal Northern College of Music, Manchester (1984-6)

 

Research profile

  • Author of five books on Mozart, and several other books and editions of renaissance music
  • Period-instrument keyboard performer and practitioner-researcher (fortepiano; harpsichord; clavichord) including several CD/DVD recordings
  • Frequent speaker – including keynote lectures and chairing of keynotes, round tables, etc – at UK and international musicology conferences

 

Recent Funded Research Projects

  • Established DeNOTE: the IMR’s Centre for Eighteenth-Century Performance Practice (2010), with start-up funding of £14,500 from University of London
  • British Academy funded Research Project (2010-12), Mozart and the Hass Clavichord, with funding of £6,600 culminating in CD recording and website
  • British Academy funded Research Project (2007-09), Johann Ulrich Haffner: Oeuvres Melées, with funding of £3,480 culminating in CD recording
  • British Academy funded conference (July 2010): The Symphony Orchestra as Cultural Phenomenon (£1,600)
  • 2009-11 University of London, Vice-Chancellor’s Development Fund (£12,000 discretionary award ad hominem to support my performance practice research)
  • Devised and developed National Doctoral Register in Music at the IMR (2010), with start-up funding of £17,500 (School of Advanced Study)
  • 2011 Two awards (£8,000 and £1,800) from Canterbury Christ Church University supporting CD/DVD projects in historical performance practice

 

Esteem Indicators

 

Trustee and Management Board roles; other Memberships

  • Trustee, Royal Musical Association (2009-14)
  • Trustee, The Horniman Museum and Gardens (2010-14)
  • Associate Fellow, The Institute of Musical Research, 2011–
  • Fellow of the Royal Historical Society, elected 2011
  • Fellow of The Royal Society of Arts, elected 2011
  • Vice-President, Royal Musical Association (to 2014)
  • Council Member of the Royal Musical Association
    • Chair, Search Committee; also Finance, Awards and External Affairs committees of the RMA
  • Benjamin Meaker Visiting Professor, Institute of Advanced Study, University of Bristol (autumn term 2012)
  • Peer Review Panel Member, Arts & Humanities Research Council (2009-14)
  • Member of Advisory Board, British Library Journal (2009-12)
  • Ex officio member of Advisory Board, Institute of Musical Research (2009-11)
  • Directorate, School of Advanced Study, University of London (2009-11)
  • Member of the International Commission of RIdIM (Répertoire Internationale d’Iconographie Musicale, Paris), 2010-11
  • Member of Academic Board, ICONEA (International Conference of Near Eastern Archaeomusicology), 2010-11
  • Member of the Athenaeum, London, since 2010

 

Service to the Profession: International

  • Chairing Round Tables and Keynote Lectures at International conferences in UK and Europe
  • External Adviser for two Professorial appointments in the Department of Musicology, Katholiek Universiteit, Leuven (March 2004; December 2006)
  • External Adviser on Musicology Research Projects to Austrian Science Fund (2012-13)
  • External Adviser on Musicology Research Projects to Fonds voor Wetenschappelijk Onderzoek, Brussels [Belgian Government Research Funding Council] (1998-9; 2000-01; 2004-5)
  • Member of Advisory Board for CEMA (a major international research project ‘Towards a new definition of Contextual Analysis’ hosted at the Katholiek Universiteit, Leuven, 2005-10)
  • Coordinator of ERASMUS-SOCRATES Institutional Cooperation Programme (1996-7)
  • Organizer of ERASMUS-SOCRATES Conference, ‘Towards a European MA in Music’ (August 1997)
  • Director of ERASMUS-SOCRATES Intensive Programme, ‘Towards a European MA in Music’ (96-UK 5080/03)

 

Service to the Profession: National

  • Secretary and Treasurer of NAMHE (National Association for Music in Higher Education), 2001-3, including liaison with national funding bodies (AHRB/C) and standards and accreditation bodies (RAE, QAA, HEFCE, QCA).
  • Member of Programme Committee for various international conferences (eg Royal Musical Association Annual Conferences, July 2010: ‘Boundaries’, and ‘Horizons’, July 2011; ‘Art Musics of Israel’, London March 2011; British Music, Canterbury, April-May 2012)
  • General Editor and Director of an international multi-volume book series, William Byrd: the Songs and English Church Music
  • Various invited public lectures on Mozart for professional orchestras, including The Academy of Ancient Music, The London Mozart Players, and The Orchestra of the Age of Enlightenment (including USA tour to Washington, New York, December 2006). Various pre-concert talks and educational outreach workshops, Wigmore Hall, London.
  • Visiting Academic Staff Scholarship, St. John’s College, Oxford (1994)

 

 

 

 

 

Quality Assurance/ Consultancy (UK)

  • External REF Advisor to a major northern university Music Department (2013)
  • External Assessor for Hull University’s validation review of UG degree programmes at Leeds College of Music, (June 2013)
  • External Assessor for review team for UG degree programmes at Brunel University Music Department, (March 2013)
  • External Assessor for departmental review at Liverpool Hope University Music Department (February 2013)
  • External Assessor of independent departmental review team at the University of Birmingham Music Department (March 2011)
  • Invited external member of QAA team to review degree programmes/provision at Leeds College of Music (May 2006)

 

External Examinerships

  • PhDs at Universities of Sheffield, Surrey, City, Royal Holloway
  • MMus in Performance Cardiff University
  • BMus at Universities of Hull, Edinburgh, Royal Holloway, Royal Northern College of Music, Nottingham (the last two are ongoing)

 

Invited Keynote lectures at international congresses

‘Rethinking Mozart’ (Dutch Society for Music Theory) Brussels, February 2006; Society for Musicology in Ireland Congress Dublin, January 2010; ‘Musical Performance as Research’ conference, Canterbury, December 2010; “Mozart e la filologia del testo” (Seminario di filologia musicale, Istituto nazionale di Studi verdiani) Cremona, May 2006; ‘Going for Gold’: Incorporated Society of Musicians National Congress (Lecture-recital), April 2012.

 

Performance Activity

As a recitalist, concerto soloist and chamber music performer on fortepiano, clavichord and harpsichord, I specialize in 18th– and early 19th-century solo and chamber music repertoires. My latest solo CD recording, John Irving Plays Mozart on the Hass Clavichord (sfzmusic: SFZM0612, March 2013) features Sonatas, Fantasias and miscellaneous early works played on a historic clavichord dating from 1763. This CD and associated website, www.mozartclavichord.org.uk were funded by The British Academy. My most recent recording (with Ensemble DeNOTE), Beethoven and the art of Arrangement was released on Omnibus Classics (May 2015); a further solo disc of Haydn sonatas is due for release next year.

 

Recent and forthcoming appearances include King’s Place; Milton Court, Barbican Centre; Greenwich International Early Music Festival; LSO St. Lukes; Music at 22 Mansfield Street; Brighton Early Music Festival; Royal Northern College of Music; North York Moors Chamber Music Festival; Newcastle Early Music Festival, Canterbury Festival; St Cecilia’s Hall, Edinburgh; the Holywell Music Room, Oxford; Turner Sims Concert Hall; Clothworkers’ Centenary Hall; the Cobbe Collection, Hatchlands; Finchcocks; Holburne Museum, Bath (on a historic Schantz fortepiano); Royal Irish Academy of Music, Dublin; and the ORPHEUS Instituut, Gent. Overseas invitations for 2014-5 include Beethoven and Haydn recitals at the Fondazione Cini, Venice; Bach, Mozart and Haydn in Valletta (Malta); Mozart at the Conservatorio della Svizzera italiana, Lugano; and a masterclass for students of the Royal Conservatory, The Hague. In 2017 I will perform Bach at the Valletta International Baroque Festival.

 

Teaching overview

The bulk of my teaching experience (1984- present) is in historical musicology – principally the music of the later eighteenth century, but also music of the renaissance – in lectures, seminars and individual tutorials. My contribution to postgraduate teaching has included taught MA units and supervising PhD and M.Phil. research students. In addition to historical musicology, I have coordinated and sometimes delivered individual and group teaching in performance units within the department. At all levels of the undergraduate and postgraduate programmes my teaching derives strongly from my ongoing research; I firmly believe that this is the most appropriate context for teaching at tertiary level, encouraging students to appreciate that the published scholarship (including my own) that forms the core of their studies is not ‘set in stone’, but subject to continual interrogation and nuancing. I have extensive and varied experience of teaching on our Lifelong Learning programmes. I also contributed to postgraduate teacher training programmes offered by the Bristol Graduate School of Education and mentored postgraduate teachers departmentally.

Typical modules taught have included Mozart Piano Concertos, Mozart Sonatas and Quartets, Performance Practice in the 18th Century, The Classical Sonata, Classical Chamber Music, English Sacred Vocal Music of the Renaissance, 16th-century Keyboard Music in England, The 16th-century Motet. Over the years, I have taught widely across the undergraduate curriculum in music history, analysis, performance and pastiche composition, with the exception of studio composition techniques.

I have experience of all the typical HEI teaching situations: lecture, seminar, individual supervision, one-to-one and ensemble instrumental coaching, etc.

I have successfully supervised a range of postgraduate degrees at all levels including PhD, M.Litt, M.Phil and MA.

 

Teaching-related Departmental/Faculty/University Roles at The University of Bristol (to 2009):

  • Chair of Departmental Management Team (2003-2006)
  • Departmental Promotions Committee (2003-2006)
  • Research Committee (1998-2000; 2003-2006)
  • Examinations Officer (1999-2006)
  • Teaching Committee (2000-2005)
  • Responsibility for Programme Specifications for BA Hons. and taught MA Music programmes (2001-03)
  • Co-ordination of most QAA/Dept. Review documentation (2002-2006)
  • Postgraduate Coordinator (2002)
  • Performance: syllabus revision (1999); coordination of all arrangements for examinations, masterclasses, workshops etc.
  • Departmental Tutor/ERASMUS coordinator to Overseas Students (1995-2003)
  • Staff-Student Liaison Committee (1994-6; 1999-2000; 2003–)
  • Admissions Officer (1993-4)
  • Departmental Curriculum Modularisation Officer (1992-4)
  • Co-ordinator for University Preview Days (1991-8)
  • Library representative (1990-2001)
  • ICT in Arts Research Project Board (AHRC-funded bid) (2006)
  • Arts Faculty Conference Fund Committee (2001-2005)
  • Arts Faculty Joint Degrees Committee (1999-2005)
  • Arts Faculty Programmes Sub-Committee (1998-2003)
  • Arts Faculty Undergraduate Studies Committee (1998-2005)
  • Arts Faculty Progress Committee (1992-2005)
  • Chair in Art History Search Committee (2005)
  • University Skills Implementation Group (2004-2005)
  • Member of University Senate (2003-7)
  • University Alumni Foundation (2003-2006)
  • University Project Board: Management Reporting Systems (2003-2004)
  • University Careers Advisory Board (2002-2006)
  • Chair in Music Appointment Committee (2002-3)
  • Chair in Music Search Committee (2001-2)

 

Principal Publications

 

Books

  • The Instrumental Music of Thomas Tomkins, 1572-1656 (Garland Press; New York & London, 1989), ISBN 0-8240-2011-1. 2 vols. in one ix + 235 pp; xi + 181 pp (revision of PhD thesis)

 

  • Mozart’s Piano Sonatas: Contexts, Sources, Style (Cambridge, 1997) xxii + 211pp. ISBN 0 521 49631 4
  • re-published by CUP as an ‘e-book’

 

  • Mozart: the “Haydn” Quartets Cambridge Music Handbook (Cambridge, 1998) vii + 105 pp. ISBN 0 521 58475 2 (hbk); 0 521 58561 9 (pbk) – both versions issued in both UK and USA
  • re-published by CUP as an ‘e-book’

 

[•Mozart: the “Haydn” Quartets Korean translation (Cambridge/Dongmunsun Publishing, 2003) 132pp. ISBN 89-8038-447 5 (pbk)]

 

  • Mozart’s Piano Concertos (Ashgate; Aldershot, 2003) xxiii + 274 pp. ISBN 0 7546 0707 0

 

  • The Treasures of Mozart (André Deutsch, London, 2009) 65pp; 150 colour illustrations; 20 reproduction memorabilia items; CD. ISBN 978 0 233 002722 0 [also in French Translation, ISBN 978 – 270 982 583, September 2009]; 2nd edition, André Deutsch, London, 2012

 

  • Understanding Mozart’s Piano Sonatas (Ashgate, 2010) 170pp. ISBN 978-0-7546-6769-8
  • re-published as an ‘e-book’ ISBN 978-1-4094-1023-2

 

  • The Mozart Project (Pipdreams Collective, 2014) Digital book for iPad available on the iBooks store. I authored chapters on Concertos; Chamber Music; Glossary; fortepianist on numerous video and audio performances integrated into chapters

 

Book Chapters (recent selection)

  • “Performance in the eighteenth century”, in The Cambridge History of Eighteenth-Century Music ed. S. Keefe (Cambridge, 2009), pp.435-53
  • ‘Angleterre’, in Guide de la Musique de la Renaissance ed. F. Ferrand (Fayard; Paris, 2011), pp.1045-1184
  • ‘Deconstructing Topics: Tracing their status in the Allegro of Mozart’s Piano Sonata KV332 (300k)’, in Mozart 1756-1791 Quinto Semonario di Filologia Musicale Mozart 2006 ed G. Fornari (Editioni ETS, 2011), pp.77-86
  • ‘Inhabiting Mozart’s chamber music: the fortepianist’s tale’, in Mozarts chamber music with keyboard ed M. Harlow (Cambridge, CUP, 2012), pp. 220-34
  • “The Symphony in Vienna, 1760-1827”, The Cambridge Companion to the Symphony ed. J. Horton (Cambridge, 2013), pp.15-28
  • ‘Performing Topics in Mozart’s Chamber Music with Piano’, in The Oxford Handbook of Topic Theory ed D. Mirka (Cambridge, CUP, 2014), pp. 539-50

 

Journal Articles (recent selection)

  • “Listening Again and Again: Mozart’s Music in Niemetschek’s ‘Life’” in Ad Parnassum 21 (2008), pp.7-18
  • ‘Mozart’s Words, Mozart’s Music: Untangling an Encounter with a Fortepiano and its Remarkable Consequences’ in Austrian Studies 17 (2009), pp.29-42
  • ‘Creating Haydn’s Sonatas at the Keyboard – Performer Rights and Responsibilities in Historical Performance“, Musicology 16 (2014), pp.31–46. / Џон Ирвинг, Креирање Хајднових соната за инструменте са диркама: права и одговорности извођача присталица историјски заснованог приступа

 

CD/DVD Recordings (*Distribution: Harmonia Mundi UK; also available on iTunes; **Naxos)

  • Clarinets by Arrangement* – a CD of arrangements for clarinets and fortepiano c.1800 of chamber works by Mozart, Beethoven and Lefevre. Jane Booth (clarinets and basset horn) John Irving (fortepiano) sfzmusic SFZ MO310 (April 2011) 66.34
  • Sonatas from the Court of Salzburg: Leopold Mozart & his Contemporaries* – a CD of solo keyboard sonatas, c.1760 by Leopold Mozart, Eberlin and Adlgasser. John Irving (Hass harpsichord, 1764) sfzmusic SFZ MO311 (December 2011) 70.53
  • John Irving plays Mozart on the Hass Clavichord* – a CD of sonatas, fantasias and miscellaneous keyboard compositions by Mozart performed on a 1763 clavichord by John Irving sfzmusic, SFZ MO612 (December 2012) 77.13
  • Mozart’s “Kegelstatt” Trio, K.498: An Eighteenth-Century Conversation – a DVD documentary and performance of Mozart’s Trio with Ensemble DeNOTE. John Irving (fortepiano; Executive Producer) Optic Nerve Productions, December 2012) 75.10
  • Johann Baptist Vanhal: Complete Works for Clarinet and Piano* Jane Booth (clarinets) John Irving (fortepiano) sfzmusic, SFZ MO413 (September 2013) 68.05
  • Beethoven and the art of Arrangement** Beethoven Quartet Op.16 and Trio Op.38 with Ensemble DeNOTE OMNIBUS Classics CC5007 (May 2015) 69.07

 

 

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