Lectures & Events


Conference Paper: Elisabeth Reisinger, “Ways and Limits of Transcending Traditional Roles at the Harpsichord: Sylvia Marlowe (New York, 1908–1981) and Antoinette Vischer (Basel, 1909–1973)” (paper at the International Musicological Conference “Transcending Traditional Roles: Female Musicians on the Path to Artistic Freedom, ” Ljubljana, 21-22 Nov. 2024)


Workshop: “Historical Perspectives on Musical Commissions”, May 17, 2024, at the University of Music and Performing Arts Vienna, organized by the FWF-funded project “Performers as Commissioners”

Workshop: “Moderne Musik in New York in den 1930er bis 60er Jahren – auf den Spuren einer Cembalistin”, April 12, 2024, conducted by Elisabeth Reisinger, in the context of the seminar “Musik (be)schreiben. Begleitseminar zum Festival ‘Modern Music in America'”, at the Karlsruhe University of Music

Conference Paper: Elisabeth Reisinger, “‘Some Sort of Machine Without a Body’ – György Ligeti and Antoinette Vischer Explore the Modern Harpsichord” (paper at “Kylwiria and Other Explorations – An international musicological conference on György Ligeti’s centenary,” Vienna & Budapest, 10–13 May, 2023)

Lecture: Elisabeth Reisinger, “Antoinette Vischers ‘List einer Frau’? Selbst- und Fremdkonzeptionen einer Schweizer Musikerin in den 1950er/60er Jahren” (guest lecture in the context of the colloquium “Gender Studies: Werkstattberichte und musikwissenschaftliche Positionen” at the Hochschule für Musik, Theater und Medien Hannover, online, 9 Jan., 2023)

Lecture: Elisabeth Reisinger, “Performers as Commissioners of New Music in the Twentieth Century” Project Presentation (guest lecture in the context of the lecture series “Overview Musicology” at the University for Music and Performings Arts Vienna”, 15 Dec., 2022)

Conference Paper: Elisabeth Reisinger, “The ‘Classical’ Benny Goodman: Conceptions, Perceptions, Legacies” (paper at the 21st Quinquennial IMS Congress, Athens, 24 Aug. 2022 & at the AMS-New England Chaper Meeting at Harvard, 24 Sept., 2022)

Conference Paper: Elisabeth Reisinger, “Transatlantic Perspectives on Women Performers as Patrons: Antoinette Vischer, Sylvia Marlowe, and the Modern Harpsichord” (paper at the study group meeting “Musical Patronage across Borders: Gender, Institutions, and Economics of Music” at the 21st Quinquennial IMS Congress, Athens, 24 Aug., 2022)

Poster Presentation: Elisabeth Reisinger, “Performers as Commissioners: Preconditions, Self-Conceptions, Impacts” (12th Biennial International Conference on Music Since 1900″, Royal Birmingham Conservatoire, UK, June 2022)

Lecture: Elisabeth Reisinger, “Ein Blick in (die Sammlung) Antoinette Vischer (1909-1973): Selbstbilder einer modernen Cembalistin” (lecture for the Colloquium of the Paul Sacher Foundation Basel, online, 7 Dec. 2021)

Lecture: Elisabeth Reisinger, “‘Swing and Mozart, too’ – Benny Goodman zwischen den Welten” (lecture in German at the Austrian Society for Music, Vienna, 19 Oct. 2021)

Poster Presentation: Elisabeth Reisinger, “‘For Benny Goodman’ – A (not so) Unexpected Legacy in Classical Music” (International Congress of the German Musicological Society, Bonn, 28 Sept. – 1 Oct. 2021)

Conference Paper: Elisabeth Reisinger, “Intermediary Between Two Worlds: The Role of Eric Simon in Benny Goodman’s Commissioning of Classical Music” (Annual Meeting of the American Musicological Society, virtual conference, Nov. 2020)