BEETHOVEN THE EUROPEAN International Virtual Conference 04-06 December 2020 CENTRO STUDI OPERA OMNIA LUIGI BOccHERINI www.luigiboccherini.org INTERNATIONAL CONFERENCE BEETHOVEN THE EUROPEAN Organized by Centro Studi Opera Omnia Luigi Boccherini, Lucca In collaboration with Ad Parnassum. A Journal of Eighteenth- and Nineteenth-Century Instrumental Music Online Conference 4-6 December 2020 ef Programme Committee: BARRY COOPER (University of Manchester) ROBERTO ILLIANO (Centro Studi Opera Omnia Luigi Boccherini) WILLIAM KINDERMAN (University of California, Los Angeles) MALCOLM MILLER (The Open University, UK) FULVIA MORABITO (Centro Studi Opera Omnia Luigi Boccherini) MASSIMILIANO SALA (Centro Studi Opera Omnia Luigi Boccherini) ef Keynote Speakers: BARRY COOPER (University of Manchester) WILLIAM KINDERMAN (University of California, Los Angeles) FRIDAY 4 DECEMBER 10.00-10.15 Opening • FULVIA MORABITO (Centro Studi Opera Omnia Luigi Boccherini) • MALCOLM MILLER (The Open University, UK) 10.20-12.20 Reception across Europe: Italy and Spain (Chair: Roberto Illiano, Centro Studi Opera Omnia Luigi Boccherini) • BENEDETTA SAGLIETTI (Independent Scholar, Turin), Le Sinfonie di Beethoven all’Esposizione generale italiana di Torino del 1884 • CHIARA SINTONI (Università di Pavia/Cremona – Università di Bologna), Ludwig van Beethoven and His Reception in Piano Methods of the First Half of the 19th Century • MARÍA ENCINA CORTIZO – RAMÓN SOBRINO (Universidad de Oviedo), Reception of Beethoven’s Symphonic Music during the Second Half of the 19th-Century Spain • JOSÉ-IGNACIO SUÁREZ (Universidad de Oviedo), Reception of Beethoven at the Beginning of the 20th Century in a Spanish Town: León, a Case Study 12.20-12.40: Book Presentation BENEDETTA SAGLIETTI, La Quinta Sinfonia di Beethoven recensita da E.T.A. Hoffmann. Nel regno dell’infinito, Donzelli editore, 2020 ef 15.00-16.00 Keynote Speaker 1: • BARRY COOPER (University of Manchester), Performing Beethoven’s Vocal Music in the 21st Century 16.30-19.00 Relationship with France and England (Chair: Malcolm Miller, The Open University, UK) • FRÉDÉRIC DE LA GRANDVILLE (Université de Reims, CERHIC), «Qui êtes-vous, Monsieur Beethowen?» Curiosità ed entusiasmo al Conservatorio di Parigi già nel 1804 • TEMINA CADI SULUMUNA (The Fryderyk Chopin University of Music, Warsaw), Ludwig van Beethoven and His Works in the French Press of the First Half of the 19th Century • DAVID HURWITZ (Independent Scholar, Brooklyn, NY), Beethoven’s French Liturgical Organ Music — No, Really • MARTIN KALTENECKER (Université de Paris 7), French Reception of Beethoven in the 1870s: Heller, Gouvy, and Saint-Saëns • DAVID ROWLAND (The Open University, UK), Further Light on Clementi’s 1807 Contract with Beethoven SATURDAY 5 DECEMBER 9.00-11.00 (Chair: Malcolm Miller, The Open University, UK) Politics and Ideology • PETER TREGEAR – MICHAEL CHRISTOFORIDIS (Melbourne Conservatorium of Music, University of Melbourne), Beethoven, the Congress of Verona and the Concert of Europe in 1822/1823 Influence, Heritage and Myth • IMRE KOVÁCS (Pázmány Péter Catholic University, Budapest), Bestowing the Beethovenian Musical Heritage: Liszt. The «Weihekuss» Reconsidered • SUSAN COOPER (Independent Scholar, Manchester), The Influence and Importance of Horace for Beethoven and His Circle • LUIGI BELLOFATTO (Independent Scholar, Milan), Le diverse edizioni delle musiche di Beethoven stampate in Italia nel XIX secolo 11.30-13.00 Aesthetics and Stylistic Issues (Chair: Fulvia Morabito, Centro Studi Opera Omnia Luigi Boccherini) • LORENZO DE DONATO (UniTre Milano), Tradizione e tradimento in Beethoven. Riflessioni a partire dalle estetiche di Adorno e Hegel • ELISA GROSSATO (Università di Verona), Presenza della cultura europea nella produzione beethoveniana • MARICA FILOMENA COPPOLA (Università di Roma ‘La Sapienza’), La mentalità della Rivoluzione Francese nel Concerto per violino e orchestra Op. 61 di Ludwig van Beethoven ef 15.00-16.00 Keynote Speaker 2: • WILLIAM KINDERMAN (University of California, Los Angeles), Beethoven’s Ninth Symphony as a Disputed Symbol of Community: From Thomas Mann’s «Doktor Faustus» to the Brexiteers of 2019 16.15-17.45 Politics and Ideology (Chair: William Kinderman, University of California, Los Angeles) • SANNA IITTI (Independent Scholar, Helsinki), Patriotism and Islam in Beethoven’s «Die Ruinen von Athen», Op. 113, and «König Stephan», Op. 117 • BÉATRICE CADRIN (Université de Montréal), The ‘Eroica’ Symphony: A Visiting Card with a Message • DAVID B. DENNIS (Loyola University Chicago), Beethoven’s 100th «Todestag» in 1927: Ideological Battles Over the Composer and his Music in Weimar Political Culture 18.00-18.30: Book Presentation WILLIAM KINDERMAN, Beethoven: A Political Artist in Revolutionary Times, University of Chicago Press, 2020 SUNDAY 6 DECEMBER 10.00-11.00 (Chair: Barry Cooper, University of Manchester) Aesthetics and Stylistic Issues • ANGELIKA MOTHS (Schola Cantorum Basiliensis / Universität Zürich), How the Polonaise Became French • LAURA EREL (Durham University), «From Today on I Will Take a New Path»: Real-time Investigation of Beethoven’s Stylistic Transformation using Musical Puzzles 11.30-12.30 Analyses • ARABELLA PARE (Hochschule für Musik Karlsruhe), Beethoven as a Transnational Composer: «Straßenmusik», «Verbunkos», and the Trio Op. 11 ‘Gassenhauer’ • MALCOLM MILLER (The Open University, UK), Beethoven’s Registral Structures and Strategies of Transcendence in the Late Piano Sonatas ef 14.30-16.30 (Chair: Malcolm Miller, The Open University, UK) Beyond European Boundaries: America and Asia • MAI KOSHIKAKEZAWA (Tokyo University of the Arts), Beethoven’s Piano Music in Japan • ALISON MINKUS (Independent Scholar, Edmonton, AB, Canada), Revolutionary and Master: Beethoven’s Reception and Reflection at the New York Philharmonic • MARITA FORNARO BORDOLLI (Universidad de la República, Uruguay), Beethoven, Kleiber and the Homeland Hero: Episodes of Their Reception in South America Dance • EFTYCHIA PAPANIKOLAOU (Bowling Green State University), Choreographing the Seventh Symphony 17.00-19.00 Analyses (Chair: William Kinderman, University of California, Los Angeles) • NED KELLENBERGER (Illinois College, Springfield), The Solo Part of Beethoven’s Violin Concerto, Op. 61: A Reevaluation • BRIAN GAONA (Independent Scholar, Naperville, IL), The Esoteric Background of the String Quartet in C-sharp Minor, Opus 131 • STEFANO MENGOZZI (University of Michigan), Beethoven’s Path to Moral Freedom: The Representation of the Super Sensuous in the ‘Pathétique’ Sonata • PENG DU (University of Illinois at Urbana-Champaign, IL), The Whimsical Character in Beethoven’s Piano Variations WoO 73 ABSTRACTS KEYNOTE SPEAKERS • BARRY COOPER (University of Manchester), Performing Beethoven’s Vocal Music in the 21st Century Beethoven’s vocal music comprises a surprisingly large part of his output. Apart from the Ninth Symphony there are two masses, a full-length opera, an oratorio, two singspiels, the Choral Fantasia, a few cantatas or short choral pieces, several multi-voice canons, about 70 songs, and no fewer than 179 folksong settings. Most of this output is rarely or never performed. This may be partly due to the common misconception, evident even in Beethoven’s day, that his vocal works are inferior to his instrumental ones. But these vocal works are neglected for a number of other reasons, which vary for different types of works. The singspiels, for example, are too ‘occasional’ to suit modern performance situations. The songs are all too easily overshadowed by Schubert’s. The folksong settings are regarded by Beethoven devotees as beneath him, while folksong enthusiasts regard them as too sophisticated. And the oratorio Christus am Oelberge seems to be generally dismissed, mainly by those who do not actually know it. When the works do receive performances, issues arise that require comment. How far should performers attempt to reproduce Beethoven’s intentions? Translations of verbal texts, though common in Beethoven’s day, are now generally avoided in performance. Transposition, however, is a major problem with the solo songs. Tone quality, too, is a thorny issue – in particular the use of continuous vibrato by solo singers. Ornament signs are routinely misunderstood by many performers, and Beethoven’s pedal marks in the songs and folksong settings are widely disregarded. Moreover, performers have long used editions that are less than wholly reliable, as shown by examples in An die ferne Geliebte and the two masses. • WILLIAM KINDERMAN (University of California, Los Angeles), Beethoven’s Ninth Symphony as a Disputed Symbol of Community: From Thomas Mann’s «Doktor Faustus» to the Brexiteers of 2019 Perhaps no other musical work has assumed so much prominence as an affirmative cultural symbol as the choral finale of Beethoven’s Ninth Symphony. This ‘effigy of the ideal’ has played a role in diverse political contexts, from protests against the dictatorship in Chile in 1973 to those in Beijing in 1989, while the fall of the Berlin Wall was marked by performance of the symphony with the word ‘Freude’ replaced by ‘Freiheit’, ‘joy’ by ‘freedom’. Critique of this affirmative symbol has a long history as well, with one landmark being Adrian Leverkühn’s revocation of the Ninth in his culminating work, a despairing cantata on The Lamentation of Faust as described in Thomas Mann’s novel from 1947. More recently, certain performances juxtaposed Beethoven’s utopian choral finale with Arnold Schoenberg’s A Survivor from Warsaw.