ELEVENTH BIENNIAL INTERNATIONAL CONFERENCE ON BAROQUE MUSIC |
Manchester, 14th-18th July 2004
Wed. 14th |
RNCM Concert Hall |
MMU1-3 |
| 3–7 pm | Registration (RNCM foyer) | |
| 7-8 pm | Opening Addresses | |
| 8 pm | Reception in the Atrium, MMU | |
Thur.15th |
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| 9 am – 6.30 pm | papers | |
| 7 – 8 pm | Concert 1 - Charpentier | |
Fri.16th |
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| 9 am – 6.30 pm | papers | |
| 7.30 pm | Conference Dinner (at Manchester Business School) | |
Sat.17th |
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| 9 am – 6.30 pm | papers | |
| 8 – 10 pm | Concert 2 - Biber, Georg Muffat | |
Sun.18th |
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| 9.30 – 10.30 am | Business meeting of Organizing Committee | |
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MMU1 |
MMU2 |
MMU3 |
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9 - 11 |
North- mid-German mid 17c |
Seicento opera 1 |
Ballet de la
Délivrance de Renault |
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Chair: Peter Wollny |
Chair: Hendrik Schulze |
Chair: Georgie Durosoir |
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| 9 - 9.30 |
'Too good to be neglected and lost': The consort suites by Dietrich Becker in manuscript D-Hs M B/2463 |
Italian opera 1640-1710 as an expression of regional and political identities |
Renault in history: participants, contemporary accounts
The Ballet de la Délivrance de Renault: a comparison of the main sources
L’épopée travestie dans le ballet royal: Tasso and Ariosto in France during the reigns of Henri IV and Louis XIII
Dance and princely values in Renault
“Mind the gap”: musical sources and musical realization in Renault |
| 9.30 - 10 |
Outlawed or obligatory? Composing for the church in Saxony, 1580-1700 |
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| 10 - 10.30 |
Playing the text: text setting and brass articulation in the music of Ahle and Hammerschmidt |
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| 10.30 - 11 | |||
11 - 11.30 |
Coffee Break |
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11.30 - 1 |
Instruments |
Gasparini and madrigals |
17c French keyboard |
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Chair: Peter Holman |
Chair: Michael Talbot |
Chair: David Ledbetter |
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| 11.30 - 12 |
“… there is nobody who excells him”: the Anglo-German lutenist Christian Brade |
The aspect of the concertato technique in the primo libro di madrigali concertati (1624) of Tarquinio Merula |
Froberger’s early style and the French clavecinistes |
| 12 - 12.30 |
Un-discarded images: illustrations of antique instruments in 17th- and 18th-century music books and their sources |
Between theory and practice: a dramaturgical reading of shepherds’ and nymphs’ conflicts |
On editing the music of Chambonnières |
| 12.30 - 1 |
Masses by Alessandro Scarlatti and Francesco Gasparini: Music from the Basilica of Santa Maria Maggiore, Rome |
Counterpoint in Louis Couperin and D'Anglebert |
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1 - 2.30 |
Lunch |
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2.30 - 4.30 |
Biber and Fux |
Seicento opera 2 |
18c French keyboard |
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Chair: Peter Wollny |
Chair: Reinhard Strohm |
Chair: David Fuller |
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| 2.30 - 3 |
Heinrich Biber: regionalisms and performance |
Seventeenth-century Venetian opera as rhizome of the culture |
The architecture of the Ordres |
| 3 - 3.30 |
The virtue masses of Johann Joseph Fux: “constancy and fortitude” in sacred music at the court of Charles VI |
The triumph of inconstancy: the vicissitudes of a Venetian libretto |
Couperin or Couprain: observations on attitudes towards irregularities and inconsistencies in classic French keyboard music |
| 3.30 - 4 |
„Ich kundte vüll vortheilhafftiges für mich, von meinen Aufkhommen, unterschiedlichen Dienst=Verrichtungen überschreiben“ („I would be able to tell a lot of favourable things about myself, my career and my different services“) – Reflections on the popularity of Johann Joseph Fux |
Violence, persuasion, and influence: Vettor Grimani Calergi as consumer and patron of opera |
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| 4 - 4.30 |
Johann Joseph Fux’s Gradus ad Parnassum: the study of counterpoint and rhetorical discourse |
Marketing virtue: comic verisimilitude at La fiera di Farfa |
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4.30 - 5 |
Coffee Break |
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5 - 6.30 |
Instrumental 18c |
Naples and sonatas |
Le mécénat |
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Chair: Stephen Rose |
Chair: Peter Walls |
Chair: Jean-Paul Montagnier |
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| 5 - 5.30 |
Telemann’s wit: burlesque, parody, and satire in the Ouverture-Suites |
Domenico Scorpione and the teaching of counterpoint in 18th-century Naples |
Musique et société curiale en France, du Grand Siècle au Lumières, L’exemple du mécénat musical de la famille de Bourbon-Conti |
| 5.30 - 6 |
Count Wenzel von Morzin’s “Virtuosissima Orchestra” and the cultivation of the concerto in Bohemia in 1720s |
Rethinking center and periphery: string sonatas in Naples at the turn of the eighteenth century |
“Les chanteurs italiens de M. le duc d'Orléans”: Philippe II d'Orléans's Italian Ensemble, Its Repertory, and Influence on French Compositional Style, 1701-1706 |
| 6 - 6.30 |
Censorship of the goût moderne in 1730s Ludwigsburg and the music of Giuseppe Antonio Brescianello |
Concerning the sonata da chiesa |
Giovanni Antonio Guido, musician of the Duke of Orléans |
7 - 8 |
Concert |
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MMU1 |
MMU2 |
MMU3 |
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9 - 11 |
Bach 1: Vocal |
Settecento opera |
Musique sacrée et théorie |
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Chair: Anne Leahy |
Chair: Michael Talbot |
Chair: Jean Duron |
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| 9 - 9.30 |
When is an aria not an aria? Terminological and generic distinctions among the solos in Bach’s vocal works |
The agency of singers in opera seria: a study of social action |
About an ambiguous unpublished manuscript on ‘a capella’ Cambresian religious polyphony, 1606-1663 |
| 9.30 - 10 |
Johann Sebastian's Matthew Passion as a model for the Hamburg Matthew Passions of Carl Philipp Emanuel |
Dramaturgical hours: how lunar and solar cycles influenced the length and character of Venetian operas |
Le deuterus et la genèse du mode mineur at XVIIe siècle |
| 10 - 10.30 |
Singet dem Herrn ein neues Lied (BWV 225) by Johann Sebastian Bach – functions and meaning |
Operatic twins and musical rivals: two settings of Artaserse (1730) |
Heavenly dissonances: the cadential 6/4 chord in French grands motets and Rameau's theory of the accord par supposition |
| 10.30 - 11 |
BWV 245/12b: a practical issue with compositional implications |
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11 - 11.30 |
Coffee Break |
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11.30 - 1 |
Bach 2: Instrumental |
Settecento words and music |
Air, Opéra, Cantate |
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Chair: Stephen Rose |
Chair: Michael Robinson |
Chair: Georgie Durosoir |
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| 11.30 - 12 |
Re-examining the role of Kirnberger in the compilation and dissemination of Bach’s Well-Tempered Clavier II |
Comparing dramaturgies: Siroe by Metastasio |
“Precious” eroticism and hidden morality: salon culture and French airs (1640-1660) |
| 12 - 12.30 |
Bach’s tempo practices: tempo changes |
Vivaldi’s Crucifixus in its descriptive and rhetorical context |
The metamorphosis of Psyché |
| 12.30 - 1 |
“Et omnia vanitas”: music and a Baroque topos across media |
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1 - 2.00 |
Lunch |
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2 - 2.30 |
Lecture Theatre 4: Lionel Sawkins, 'Rights and the Editor: Effects of the Recent Judgment against Hyperion Records' | ||
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2.30 - 4.30 |
Handel |
Le goût italien en France |
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Chair: Robin Leaver |
Chair: Reinhard Strohm |
Chair: Greer Garden |
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| 2.30 - 3 |
J. S. Bach, the Baroque and pietism in Leipzig in the 1720s and 1730s
“Seuffzen und Thränen”: of sighs and tears in Bach’s vocal works
J.S. Bach and the tradition of the moto contrario |
Rode the 12,000? Counting coaches, people, and errors en route to the rehearsal of Handel’s Music for the Royal Fireworks |
A new source of vocal and instrumental music from the Stuart Court-in-exile at Saint Germain-en-laye |
| 3 - 3.30 |
Handel and the Spanish cantata |
More on saying ‘Sonata’ with a French accent |
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| 3.30 - 4 |
From Rinaldo to Orlando, or Senesino's path to madness |
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| 4 - 4.30 |
Venues, patronage and performers: Handel and the London opera companies in the 1730s |
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4.30 - 5 |
Coffee Break |
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5 - 6.30 |
Early oratorio |
Les particularismes instrumentaux |
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Chair: Robin Leaver |
Chair: Michael Talbot |
Chair: Gérard Géay |
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| 5 - 5.30 |
“Performance practice” problems in the song of the sea
Bach’s Prelude, Fugue and Allegro for lute (BWV 998): a Trinitarian statement of faith?
Theological Bach Studies: towards a working bibliography |
The Libro delle laude spirituali (1589) and Religious Renewal in Post-Tridentine Rome |
Violons en basse as musical allegory
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| 5.30 - 6 |
"Fu cantato un poemetto graziosissimo": new light on the rise of the oratorio volgare in Rome |
Forqueray Pièces de Viole (Paris 1747): an enigma of authorship between father and son
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| 6 - 6.30 |
Wandering in the selva armonica: Giovanni Francesco Anerio and the Oratorian devotional aesthetics |
Musique de chambre et/ou esprit symphonique : le trio pour deux violons et basse et/ou pour orchestre vers 1765 : Guillaume Navoigille, Gossec, Simon Le Duc et Guénin |
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7.30 - 9.30 |
Conference Dinner |
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MMU1 |
MMU2 |
MMU3 |
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9 - 11 |
Bach 3 |
Opera, Cantata, Reception |
Restoration Ode and Opera |
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Chair: Stephen Rose |
Chair: Michael Talbot |
Chair: Peter Walls |
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| 9 - 9.30 |
Rhetorical persuasion in the organ music of 17th-c north Germany |
Baroque opera and the middle ages: on the reception of medieval themes in Braunschweig-Wolfenbüttel opera at about 1700 |
Henry Purcell’s Bess of Bedlam (Z.370): performing “The Mad” in seventeenth-century England |
| 9.30 - 10 |
Works in progress: Bach’s Suites for Solo Cello as artifacts of improvisational practices |
Diffusion and circulation of the 18th-century Italian opera between Gorizia, Trieste and Graz |
Sacred music for London St Cecilia's Day celebrations
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| 10 - 10.30 |
Alexis: a favourite cantata |
King William as Messiah?: pastoral metaphors in John Oldmixon and Daniel Purcell's semi-opera The Grove, or, Love's Paradice |
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| 10.30 - 11 |
"Cherubs, in his high praise, thy anthems sung": the creation of a Handelian repertoire |
English Heroism, English Opera: John Milton, John Dennis, and John Eccles |
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11-11.30 |
Coffee Break |
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11.30 - 1 |
Spain |
17c English keyboard |
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Chair: Christoph Wolff |
Chair: Juan José Carreras |
Chair: Barry Cooper |
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| 11.30 - 12 |
The Bach-Archiv and source-critical research
The copyists' catalogue of the Neue Bach-Ausgabe |
Two centuries of nun musicians in Spain's imperial city |
Mystery, aspirations, and intrigue: the remarkable publication history of Parthenia (1612/13) |
| 12 - 12.30 |
Mengs inspired by Orpheus: the reception of Corelli in eighteenth-century Madrid (c.1680 - c.1780) |
Reworking the past: Blitheman and Gibbons in Restoration England |
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| 12.30 - 1 |
Jean-Philippe Rameau and speculative music theory in eighteenth-century Spain |
‘To fill, forbear, or adorne’: the realisation of organ parts in Restoration sacred music |
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1 - 2.30 |
Lunch |
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2.30 - 4.30 |
Bach Source Studies |
Worldwide Baroque: transmission of European music to foreign soil |
English theory |
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Chair: Christoph Wolff |
Chair: Joyce Lindorff |
Chair: Peter Holman |
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| 2.30 - 3 |
New Bach documents from central-German archives
Archival research and the identification of copyists
Mendelssohn and early nineteenth-century Bach reception |
Tomás Pereira and the Lülü Zhengyi: transcultural exchange in the Chinese court |
Birchensha’s rules of part-writing |
| 3 - 3.30 |
A currency for cultural exchange: music and the Chinese mission in the eighteenth century |
Problems in editing Charles Butler |
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| 3.30 - 4 |
The presence of French Baroque music in new France |
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| 4 - 4.30 | |||
4.30 - 5 |
Coffee Break |
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5 - 6.30 |
Spanish America and reception |
Dublin and Edinburgh |
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Chair: Robin Leaver |
Chair: Miguel Ángel Marín |
Chair: Barry Cooper |
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| 5 - 5.30 |
Bach's music in its theological, liturgical and cultural contexts: a proposal for an association of scholars |
Italianate music for the Virgin of Sorrows from eighteenth-century New Spain |
Would the real Mr Roseingrave stand up please?: an exploration of the tangled web of mis-attributions surrounding the music of Daniel, Ralph and Thomas Roseingrave |
| 5.30 - 6 |
From decadence to European projection: Spanish Baroque music in the works by Vicenç Ripollés (1867-1943) |
‘Melody, tho' pleasing to All, seldom communicates the highest Degree of Pleasure’: exoticism, identity and the adapting of Irish music to eighteenth century taste |
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| 6 - 6.30 |
A little light on Lorenzo Bocchi |
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8 - 10 |
Concert |
Last updated on 09 July 2004