About
David Owen Norris won the Prize of the City of Geneva in the Geneva Competition, and the Accompanist’s Prize at Leeds, and since his appointment to the prestigious Gilmore Artist Award, has performed on pianos both ancient and modern all across the world, with concerto appearances in the BBC Proms, concert tours of Europe, Australia and North America and a discography of 60 commercial CDs. Recordings recently released include Mozart on fortepiano for Hyperion, featured in the New York Times, the complete Chamber Music of Grace Williams, which was a Guardian CD of the Week, and the complete songs of Sir Arthur Sullivan on Chandos.
He was the regular presenter of The Works and In Tune on BBC Radio 3, where in 2022 he presents his 32ndBuilding a Library. His many Radio 4 programmes include the iPod series, exploring the musical tastes of historical celebrities, from Nell Gwynn to Oscar Wilde. His television work includes the long-running BBC2 series Chord of the Week, and programmes about authentic performance, English composers, and historical pianos.
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Research
Research interests
- Nineteenth-century pianofortes
- The interpretation of Marks of Expression
- Mendelssohn
- Elgar
Current research
I am preparing a three-year cycle of pianoforte festivals, named Artistic Temperaments, in which our collection of early pianos and our modern Fazioli will be tuned in various historical temeraments, with our Steinway left in equal temperament as a control.
The first festival will focus on the 18C English Square, the second on the divided sustaining pedal, while the third will investigate creative interpretations of dynamic markings.
Each festival will include 3 concerts by our students, a pianola concert, a keynote lecture, and 4 professional concerts.
The festivals may continue beyond 2025.
I am developing a new model of piano performance, in which a recreation of an historical improvisation emerges from a brief survey of a composer's life and music, and leads to rare, and sometimes completely new, pieces by the composer in question, all clustered around the actual date of the recreated improvisation.
I am investigating new modes of performative collaboration with colleagues outside the discipline of Music. A recent example was 'Music & Archaeology', with Professor Timothy Champion, who discussed Maiden Castle and Thomas Hardy, and their archaeological connections, while I performed music by John Ireland and myself, related to archaeological sites. Audiences find this illumination of either discipline by the other both enjoyable and helpful, and I propose to develop the model.
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Current research
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Teaching
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Biography
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Prizes
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