ELEVENTH BIENNIAL INTERNATIONAL CONFERENCE ON BAROQUE MUSIC

Manchester, 14th-18th July 2004


Conference Timetable

Overview

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
 
 
9 am – 6.30 pm   papers
7 – 8 pm Concert 1 - Charpentier  
Fri.16th
 
 
9 am – 6.30 pm   papers
7.30 pm Conference Dinner (at Manchester Business School)
Sat.17th
 
 
9 am – 6.30 pm   papers
8 – 10 pm Concert 2 - Biber, Georg Muffat  
Sun.18th
 
 
9.30 – 10.30 am   Business meeting of Organizing Committee

 

Papers and Abstracts

Thursday, 15 July 2004

 

MMU1

MMU2

MMU3

9 - 11

North- mid-German mid 17c

Seicento opera 1
(Round Table 1)

Ballet de la Délivrance de Renault
(Round Table 2)

 

Chair: Peter Wollny

Chair: Hendrik Schulze

Chair: Georgie Durosoir

9 - 9.30

Michael Robertson

'Too good to be neglected and lost': The consort suites by Dietrich Becker in manuscript D-Hs M B/2463

Norbert Dubowy
Hendrik Schulze
Anna Tedesco

Italian opera 1640-1710 as an expression of regional and political identities

Charles Downey

Renault in history: participants, contemporary accounts

 

Greer Garden

The Ballet de la Délivrance de Renault:  a comparison of the main sources

 

Georgie Durosoir

L’épopée travestie dans le ballet royal: Tasso and Ariosto in France during the reigns of Henri IV and Louis XIII

 

Kate van Orden

Dance and princely values in Renault

 

Peter Walls

“Mind the gap”: musical sources and musical realization in Renault

9.30 - 10

Stephen Rose

Outlawed or obligatory? Composing for the church in Saxony, 1580-1700

10 - 10.30

Charlotte A. Leonard

Playing the text: text setting and brass articulation in the music of Ahle and Hammerschmidt

10.30 - 11  

11 - 11.30

 

Coffee Break

 

11.30 - 1

Instruments

Gasparini and madrigals

17c French keyboard

 

Chair: Peter Holman

Chair: Michael Talbot

Chair: David Ledbetter

11.30 - 12

Arne Spohr

“… there is nobody who excells him”: the Anglo-German lutenist Christian Brade

Magdalena Żuradzka

The aspect of the concertato technique in the primo libro di madrigali concertati (1624) of Tarquinio Merula

Pieter Dirksen

Froberger’s early style and the French clavecinistes

12 - 12.30

Naomi Joy Barker

Un-discarded images: illustrations of antique instruments in 17th- and 18th-century music books and their sources

Lisa Navach

Between theory and practice: a dramaturgical reading of shepherds’ and nymphs’ conflicts

Bruce Gustafson

On editing the music of Chambonnières

12.30 - 1  

Luca Della Libera

Masses by Alessandro Scarlatti and Francesco Gasparini: Music from the Basilica of Santa Maria Maggiore, Rome

David Fuller

Counterpoint in Louis Couperin and D'Anglebert

       

1 - 2.30

 

Lunch

 

2.30 - 4.30

Biber and Fux

Seicento opera 2

18c French keyboard

 

Chair: Peter Wollny

Chair: Reinhard Strohm

Chair: David Fuller

2.30 - 3

Robert G. Rawson

Heinrich Biber: regionalisms and performance

Sandy Thorburn

Seventeenth-century Venetian opera as rhizome of the culture

Jane Clark

The architecture of the Ordres

3 - 3.30

Jen-yen Chen

The virtue masses of Johann Joseph Fux: “constancy and fortitude” in sacred music at the court of Charles VI

Jonathan Glixon

The triumph of inconstancy: the vicissitudes of a Venetian libretto

David Chung

Couperin or Couprain: observations on attitudes towards irregularities and inconsistencies in classic French keyboard music

3.30 - 4

Thomas Hochradner

„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

Beth L. Glixon

Violence, persuasion, and influence: Vettor Grimani Calergi as consumer and patron of opera

 
4 - 4.30

Thomas J.H. McCarthy

Johann Joseph Fux’s Gradus ad Parnassum: the study of counterpoint and rhetorical discourse

Maria Anne Purciello

Marketing virtue: comic verisimilitude at La fiera di Farfa

 

4.30 - 5

 

Coffee Break

 

5 - 6.30

Instrumental 18c

Naples and sonatas

Le mécénat

 

Chair: Stephen Rose

Chair: Peter Walls

Chair: Jean-Paul Montagnier

5 - 5.30

Steven Zohn

Telemann’s wit: burlesque, parody, and satire in the Ouverture-Suites

Michael F. Robinson

Domenico Scorpione and the teaching of counterpoint in 18th-century Naples

Thomas Vernet

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

Vaclav Kapsa

Count Wenzel von Morzin’s “Virtuosissima Orchestra” and the cultivation of the concerto in Bohemia in 1720s

Guido Olivieri

Rethinking center and periphery: string sonatas in Naples at the turn of the eighteenth century

Don Fader

“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

Samantha Owens

Censorship of the goût moderne in 1730s Ludwigsburg and the music of Giuseppe Antonio Brescianello

Gregory Barnett

Concerning the sonata da chiesa

Barbara Nestola

Giovanni Antonio Guido, musician of the Duke of Orléans

7 - 8

 

Concert

 

Friday, 16 July 2004

 

MMU1

MMU2

MMU3

9 - 11

Bach 1: Vocal

Settecento opera

Musique sacrée et théorie

Chair: Anne Leahy

Chair: Michael Talbot

Chair: Jean Duron

9 - 9.30

Stephen A. Crist

When is an aria not an aria? Terminological and generic distinctions among the solos in Bach’s vocal works

Reinhard Strohm

The agency of singers in opera seria: a study of social action

Sandrine Dumont

About an ambiguous unpublished manuscript on ‘a capella’ Cambresian religious polyphony, 1606-1663

9.30 - 10

Don O. Franklin

Johann Sebastian's Matthew Passion as a model for the Hamburg Matthew Passions of Carl Philipp Emanuel

Eleanor Selfridge-Field

Dramaturgical hours: how lunar and solar cycles influenced the length and character of Venetian operas

Gérard Géay

Le deuterus et la genèse du mode mineur at XVIIe siècle

10 - 10.30

Szymon Paczkowski

Singet dem Herrn ein neues Lied (BWV 225) by Johann Sebastian Bach – functions and meaning

Robert Torre

Operatic twins and musical rivals: two settings of Artaserse (1730)

Jean-Paul C. Montagnier

Heavenly dissonances: the cadential 6/4 chord in French grands motets and Rameau's theory of the accord par supposition

10.30 - 11

Fred Fehleisen

BWV 245/12b: a practical issue with compositional implications

   

11 - 11.30

 

Coffee Break

 

11.30 - 1

Bach 2: Instrumental

Settecento words and music

Air, Opéra, Cantate

Chair: Stephen Rose

Chair: Michael Robinson

Chair: Georgie Durosoir

11.30 - 12

Yo Tomita

Re-examining the role of Kirnberger in the compilation and dissemination of Bach’s Well-Tempered Clavier II

Daniele Carnini, Antonella D'Ovidio, Lisa Navach, and Riccardo Pecci

Comparing dramaturgies: Siroe by Metastasio

Catherine Gordon-Seifert

“Precious” eroticism and hidden morality: salon culture and French airs (1640-1660)

12 - 12.30

Ido Abravaya

Bach’s tempo practices: tempo changes

Jasmin Cameron

Vivaldi’s Crucifixus in its descriptive and rhetorical context

John S. Powell

The metamorphosis of Psyché

12.30 - 1  

Linda Austern

“Et omnia vanitas”: music and a Baroque topos across media

 

1 - 2.00

 

Lunch

 

2 - 2.30

Lecture Theatre 4: Lionel Sawkins, 'Rights and the Editor: Effects of the Recent Judgment against Hyperion Records'

2.30 - 4.30

Theological Bach Studies
(Round Table 3)

Handel

Le goût italien en France

Chair: Robin Leaver

Chair: Reinhard Strohm

Chair: Greer Garden

2.30 - 3

Tanya Kevorkian

J. S. Bach, the Baroque and pietism in Leipzig in the 1720s and 1730s

 

Isabella van Elferen

“Seuffzen und Thränen”: of sighs and tears in Bach’s vocal works

 

Pieter Dirksen

J.S. Bach and the tradition of the moto contrario

David Hunter

Rode the 12,000? Counting coaches, people, and errors en route to the rehearsal of Handel’s Music for the Royal Fireworks

Peter Leech

A new source of vocal and instrumental music from the Stuart Court-in-exile at Saint Germain-en-laye

3 - 3.30

Juan José Carreras

Handel and the Spanish cantata

Peter Walls

More on saying ‘Sonata’ with a French accent

3.30 - 4

Melania Bucciarelli

From Rinaldo to Orlando, or Senesino's path to madness

 
4 - 4.30

Donald Burrows

Venues, patronage and performers: Handel and the London opera companies in the 1730s

 

4.30 - 5

 

Coffee Break

 

5 - 6.30

Theological Bach Studies
(continued)

Early oratorio

Les particularismes instrumentaux

Chair: Robin Leaver

Chair: Michael Talbot

Chair: Gérard Géay

5 - 5.30

Tassilo Erhardt

“Performance practice” problems in the song of the sea

 

Anne Leahy & Redmond O’Toole

Bach’s Prelude, Fugue and Allegro for lute (BWV 998): a Trinitarian statement of faith?

 

Robin A. Leaver

Theological Bach Studies: towards a working bibliography

Kimberlyn Montford

The Libro delle laude spirituali (1589) and Religious Renewal in Post-Tridentine Rome

Deborah Kauffman

Violons en basse as musical allegory

 

5.30 - 6

Christian Speck

"Fu cantato un poemetto graziosissimo": new light on the rise of the oratorio volgare in Rome

Lucy Robinson

Forqueray Pièces de Viole (Paris 1747): an enigma of authorship between father and son

 

6 - 6.30

Daniele V. Filippi

Wandering in the selva armonica: Giovanni Francesco Anerio and the Oratorian devotional aesthetics

Michelle Garnier-Panafieu

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

7.30 - 9.30

 

Conference Dinner

 

 

Saturday, 17 July 2004

 

MMU1

MMU2

MMU3

9 - 11

Bach 3

Opera, Cantata, Reception

Restoration Ode and Opera

 

Chair: Stephen Rose

Chair: Michael Talbot

Chair: Peter Walls

9 - 9.30

Leon W Couch III

Rhetorical persuasion in the organ music of 17th-c north Germany

Christian Seebald

Baroque opera and the middle ages: on the reception of medieval themes in Braunschweig-Wolfenbüttel opera at about 1700

Naomi Matsumoto

Henry Purcell’s Bess of Bedlam (Z.370): performing “The Mad” in seventeenth-century England

9.30 - 10

John Lutterman

Works in progress: Bach’s Suites for Solo Cello as artifacts of improvisational practices

Metoda Kokole

Diffusion and circulation of the 18th-century Italian opera between Gorizia, Trieste and Graz

Bryan White

Sacred music for London St Cecilia's Day celebrations

 

10 - 10.30  

Jennifer Cable

Alexis: a favourite cantata

Tim Neufeldt

King William as Messiah?: pastoral metaphors in John Oldmixon and Daniel Purcell's semi-opera The Grove, or, Love's Paradice

10.30 - 11  

Graydon Beeks

"Cherubs, in his high praise, thy anthems sung": the creation of a Handelian repertoire

Kathryn Lowerre

English Heroism, English Opera: John Milton, John Dennis, and John Eccles

11-11.30

 

Coffee Break

 

11.30 - 1

Bach Source Studies
(Round Table 4)

Spain

17c English keyboard

 

Chair: Christoph Wolff

Chair: Juan José Carreras

Chair: Barry Cooper

11.30 - 12

Christoph Wolff

The Bach-Archiv and source-critical research

 

Kirsten Beißwenger and Yoshitake Kobayashi

The copyists' catalogue of the Neue Bach-Ausgabe

Colleen R. Baade

Two centuries of nun musicians in Spain's imperial city

Janet Pollack

Mystery, aspirations, and intrigue: the remarkable publication history of Parthenia (1612/13)

12 - 12.30

Miguel-Ángel Marín

Mengs inspired by Orpheus: the reception of Corelli in eighteenth-century Madrid (c.1680 - c.1780)

Candace Bailey

Reworking the past: Blitheman and Gibbons in Restoration England

12.30 - 1

Paul Murphy

Jean-Philippe Rameau and speculative music theory in eighteenth-century Spain

Rebecca Herissone

‘To fill, forbear, or adorne’: the realisation of organ parts in Restoration sacred music

       

1 - 2.30

 

Lunch

 

2.30 - 4.30

Bach Source Studies
(continued)

Worldwide Baroque: transmission of European music to foreign soil

English theory

 

Chair: Christoph Wolff

Chair: Joyce Lindorff

Chair: Peter Holman

2.30 - 3

Michael Maul

New Bach documents from central-German archives

 

Peter Wollny

Archival research and the identification of copyists

 

Anselm Hartinger

Mendelssohn and early nineteenth-century Bach reception

Joyce Lindorff

Tomás Pereira and the Lülü Zhengyi: transcultural exchange in the Chinese court

Christopher D.S. Field

Birchensha’s rules of part-writing

3 - 3.30

Peter Allsop

A currency for cultural exchange: music and the Chinese mission in the eighteenth century

Jessie Ann Owens

Problems in editing Charles Butler

3.30 - 4

Élisabeth Gallat-Morin

The presence of French Baroque music in new France

 
4 - 4.30    

4.30 - 5

 

Coffee Break

 

5 - 6.30

Theological Bach Studies
(discussion session)

Spanish America and reception

Dublin and Edinburgh

 

Chair: Robin Leaver

Chair: Miguel Ángel Marín

Chair: Barry Cooper

5 - 5.30

Bach's music in its theological, liturgical and cultural contexts: a proposal for an association of scholars

Drew Edward Davies

Italianate music for the Virgin of Sorrows from eighteenth-century New Spain

Kerry Houston

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

Andrea Bombi

From decadence to European projection: Spanish Baroque music in the works by Vicenç Ripollés (1867-1943)

Barra Boydell

‘Melody, tho' pleasing to All, seldom communicates the highest Degree of Pleasure’: exoticism, identity and the adapting of Irish music to eighteenth century taste

6 - 6.30  

Peter Holman

A little light on Lorenzo Bocchi

8 - 10

 

Concert

 

 


Last updated on 09 July 2004