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, 02:57:54am EDT
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Daily Overview |
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Music, Resistance, and World War II Session Chair: Leslie Sprout | |
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Recalling the Resistance at the Festival d'Aix-en-Provence (1948) University of Cambridge On 23 July 1948, an orchestra comprised of young men stepped into the Cour de l’Archevêché for an inaugural performance of Mozart’s ‘Jupiter’ Symphony. To many sitting in the audience of that first Festival d’Aix-en-Provence, these were familiar silhouettes: the Orchestre des Cadets du Conservatoire. Despite being students, their reputation preceded them: initially conceived by Paris Conservatoire director Claude Delvincourt in 1943 to prevent pupils from being deported to forced labor camps, the orchestra had survived the Liberation and remained preceded by the halo of Resistance. Beloved of reviewers, they had quite simply become an eponym for Free France. The main event that evening however, was possibly not so much the Cadets' presence as that of the maestro leading them, Munich Radio Orchestra conductor Hans Rosbaud. Indeed, for the first time, a conductor from Germany was invited back to perform in France. Taking the orchestra’s 1948 festival performance as an entry point, this paper elucidates the manufacturing of the Cadets’ identity as a ‘Resistance orchestra’ after 1944. In particular, I argue that the new music festivals which hosted them in the French regions benefited from and contributed to this imagery. While the ‘Conservatoire Cadets’ have been studied by musicologists (Poidevin, 2003; Fulcher, 2018) and historians (Sablonnière, 1996) for the cultural role they played as an orchestra during the Occupation, I foray beyond the Occupation period and outside of Paris to show both the power and the limitations of their legacy. Through the study of administrative archival sources and press accounts, this paper argues that the Cadets’ ‘Resistance’ aura was used by festival organisers as part of a ‘postwar tandem’ (Pestel, 2023)—a way to balance out the notoriety of professionals struggling to secure an invitation to perform in France after the Liberation. Ultimately, the attention paid to the Cadets-Rosbaud tandem highlights the political and cultural significance of festival performances during the postwar years. | |