Hermann Hudde
The range of my experience in higher education includes teaching diverse music courses at CSU Fullerton, UCLA, Scripps College, Harvey Mudd, College Cambridge Centre for International Research (United Kingdom), New England Conservatory of Music and UC Riverside.
As an emerging respected scholar from Venezuela and the United States, my research articles have been published in peer-reviewed journals and reviews such as Journal of the Society for American Music, Oxford Bibliographies, Current Musicology, Latin American Music Review, Diagonal: An Ibero-American Music Review, Revista Musical Chilena, Músicaenclave, Harvard Review of Latin America, Tempo, Nineteenth-Century Music Review and Resonancias. My research has been supported by a grant from the Latin GRAMMY Cultural Foundation and the Otto Mayer-Serra Award for Music Research. Because of my expertise, Current Musicology, a publication of Columbia University, invited me to participate on the editorial board (Vol. 111, 2023). I also have the chapter, “Bernstein and Latin America,” in the Bernstein in Context volume (Cambridge University Press), invited by the editor, Elizabeth A. Wells.
As an active performer (classical guitar), I have given recitals at prestigious concert venues including Leonard Bernstein Festival of the Creative Arts, Graphik Museum “Pablo Picasso,” Casa de Estudios Latinoamericanos “Rómulo Gallegos,” University of Chicago Fulton Recital Hall, Isabella Stewart Gardner Museum, MIT Guest Artist Concert Series and La Maison de l’Amérique Latine in Paris, among others.
As a performer, my recordings are Iberoamérica (Centaur Records, 2009) and Trivium (Dreyer & Gaido, 2003), and I have been dedicated and premiered works for classical guitar by Uruguayan composer Miguel del Aguila’s Sambeando (2019) and Venezuelan composer Alex Rodriguez’s Continental Suite (2019).
In recognition of my holistic work (scholar, pedagogue, performer, and public service), I was awarded a Future of Music Faculty Fellowship at Cleveland Institute of Music (2022-23).
Supervisors: Dr. Walter A. Clark and Dr. Leonora Saavedra
As an emerging respected scholar from Venezuela and the United States, my research articles have been published in peer-reviewed journals and reviews such as Journal of the Society for American Music, Oxford Bibliographies, Current Musicology, Latin American Music Review, Diagonal: An Ibero-American Music Review, Revista Musical Chilena, Músicaenclave, Harvard Review of Latin America, Tempo, Nineteenth-Century Music Review and Resonancias. My research has been supported by a grant from the Latin GRAMMY Cultural Foundation and the Otto Mayer-Serra Award for Music Research. Because of my expertise, Current Musicology, a publication of Columbia University, invited me to participate on the editorial board (Vol. 111, 2023). I also have the chapter, “Bernstein and Latin America,” in the Bernstein in Context volume (Cambridge University Press), invited by the editor, Elizabeth A. Wells.
As an active performer (classical guitar), I have given recitals at prestigious concert venues including Leonard Bernstein Festival of the Creative Arts, Graphik Museum “Pablo Picasso,” Casa de Estudios Latinoamericanos “Rómulo Gallegos,” University of Chicago Fulton Recital Hall, Isabella Stewart Gardner Museum, MIT Guest Artist Concert Series and La Maison de l’Amérique Latine in Paris, among others.
As a performer, my recordings are Iberoamérica (Centaur Records, 2009) and Trivium (Dreyer & Gaido, 2003), and I have been dedicated and premiered works for classical guitar by Uruguayan composer Miguel del Aguila’s Sambeando (2019) and Venezuelan composer Alex Rodriguez’s Continental Suite (2019).
In recognition of my holistic work (scholar, pedagogue, performer, and public service), I was awarded a Future of Music Faculty Fellowship at Cleveland Institute of Music (2022-23).
Supervisors: Dr. Walter A. Clark and Dr. Leonora Saavedra
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Palabras Clave: Venezuela, música, decimonónico, piano, Latino América, compositoras.
Teresa Carreño, more than being another prodigy child, was, thanks to her creativity and agency, an outstanding cosmopolitan and all-round artist during the nineteenth-century and the beginning of the twentieth-century. Her role of concert pianist was complemented with those of composer, pedagogue, opera impresario and Singer. Teresa Carreño challenged the conventions of her time in order to built her legacy. This article collects the thoughts of scholars and performers related to her work and life as well as a current list of intellectual productions about the artist with the aims of continuing the contribution to its examination and promotion.
Keywords: Venezuela, Music, Nineteenth-Century, Piano, Latin America, Women composers.