Conference Agenda
The Online Program of events for the 2026 AMS Annual Meeting appears below. This program is subject to change. The final program will be published in early November.
Use the "Filter by Track or Type of Session" or "Filter by Session Topic" dropdown to limit results by type. Some of the sessions are also color-coded: purple indicates performances, grey indicates paper forums, and orange indicates sessions which have been organized by one of the regional associations of IMS (ARLAC or IMSEA). (Sessions which are both IMS sessions and performances are only colored orange.)
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Please note that all times are shown in the time zone of the conference. The current conference time is: 1st Sept 2026, 02:34:46am EDT
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Daily Overview |
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Showcasing Virtuosity: Designing the Concert Experience Session Chair: Mark Pottinger | |
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Adapting Virtuosity: Johann Christian Bach’s Strategic Revisions of His Concertos King's College London In the late eighteenth century, the concerto emerged as a highly flexible genre, readily adapting to practical demands, virtuosic performers, varied venues, and transforming audience tastes. Johann Christian Bach’s contributions to this flexibility are particularly evident in his revisions of solo concertos and symphonie concertantes, reflecting tailored responses to performer capabilities, different venues, and performance contexts. Bach’s strategic approaches to performance contexts and performer capabilities are demonstrated in his symphonie concertante adaptations. His bassoon concerto, WarB C 82, was adapted from the symphonie concertante, WarB C 42. Another strategic adjustment to performance contexts is his symphonie concertante for two violins, WarB C 33, which was adapted from his solo keyboard concerto, WarB C 75. These adaptations highlight Bach’s approach to satisfying different performers and performing contexts through adaptable musical textures. Bach’s practical considerations, particularly textural flexibility to maximize performance opportunities and circulation, are exemplified in his flute concertos. His flute concerto, WarB C 78, directly adapted from the oboe concerto WarB C 80, underscores his approach to maximizing performance opportunities and work’s circulation. His flute concerto, WarB C 79, which includes optional horn parts, allows performers and concert organizers to tailor the ensemble to venue constraints, musicians' availability, and practical circumstances, reflecting Bach’s context-specific considerations and the flexibility of his musical textures. Bach’s reuse of existing material, further enhancing the flexibility and adaptability of his works, is exemplified in his only violin concerto, WarB C 76. It incorporates two movements originally composed for his symphony and symphonie concertante works. This concerto thus exemplifies Bach’s use of pastiche, integrating previously composed material into a cohesive yet innovative solo work. By examining these selected works in detail, this study will demonstrate Bach’s approaches to adaptable and flexible musical textures that enable instrumental substitutions and his adjustments to varied performance contexts. These insights not only uncover Bach’s compositional strategies but also advance our understanding of genre adaptability, performance practices, and market-driven composition and performance in the rapidly transforming musical environment of the late eighteenth century. | |