The Newsletter of the Society for Seventeenth-Century Music Vol. 20, No. 2, Spring 2011

Seventeenth-Century Music in Indianapolis: Notes from AMS 2010 by Brian Oberlander he American Musicological Society careful analysis of the extant score of held its 2010 Annual Meeting in Artemisia, tracing a certain expressive logic Tdowntown Indianapolis (November in the composer’s revisions and placing this 4–7), joined by the Society for Music Theory. in dialogue with such theoretical sources Papers relevant to seventeenth-century as Aristotle and Descartes. In another music were delightfully numerous and venture of revaluation, Valeria De Lucca generally of fine quality, though most argued against the idea of an operatic nadir were found in sessions that looked beyond in Rome following the closure of its first periodization. From “Special Voices” and Venetian-style theater in 1675. Presenting “Marian Topics” to “Private Musics” and a detailed case study of Prince Lorenzo “Beyond the Book,” the seventeenth century Colonna and his semi-private enterprise took its place alongside studies of the met- at the Colonna palace, De Lucca revealed ronome, Die Meistersinger, and Stockhausen a fascinating theatrical space that bridged in a stimulating series of exchanges. It was the commercial and the courtly and that impossible to witness all of these exchanges testifies to a thriving operatic culture during firsthand, of course, as many were scheduled the so-called “Iron Age” of Pope Innocent simultaneously; indeed, the first full day of XI’s Rome. Moving south (and into the early the conference was replete with promising eighteenth century), Robert Torre proposed titles in concurrent sessions. links between myth, gender, and Neapolitan To begin, though, I can report on two civic identity in a paper familiar to those period-based sessions. Friday afternoon’s who attended last year’s SSCM meeting “Italian Baroque Opera,” chaired by Wendy in Houston, “The Siren Reconstituted: Heller, featured outstanding presentations Silvio Stampiglia’s La Partenope and the (and some lively discussion) on topics rang- Walled Garden of Knowledge in Early ing from patronage in Rome to birdsong Eighteenth-Century Naples.” Torre dealt Indianapolis, IN in Handel. In his paper “Representing the with the figure of Parthenope, siren and Properties of Affects: Cavalli’s Revisions mythical founder of Naples, mapping her to the Opera Artemisia and Their Textual ancient and early-modern resonances onto Roots,” Hendrik Schulze reassessed the role her dramatic fate as the queen of the In This Issue . . . of the affects in Cavalli’s music through eponymous opera by Silvio Stampiglia and News of the Society continued on page 16 President’s Message...... 2 Letter from Australasia...... 3 Travel Grant Recipients...... 4 Conference Report: The Pamphilj and the Arts: 2011 Conference Schedule...... 6 Patronage and Consumption in Baroque Rome Informal Business Meeting Minutes. .10 by Eleanor McCrickard Membership Directory ...... 18 n international, interdisciplinary conference on The Reports and Reviews Pamphilj and the Arts: Patronage and Consumption in André Campra Colloque A Baroque Rome took place at Boston College on October International 2010...... 4 15–16, 2010, sponsored by the Fine Arts Department, the Con la mente e con le mani. . . . . 5 McMullen Museum of Art, and the Institute of Liberal Arts. Proposals for the Annual Meeting, With the election of Pope Innocent X in 1644, his family, the 2011 ...... 8 Pamphilj, became leading patrons of the arts in Rome. The Heinrich Schütz und Europa. . . . . 9 conference examined contributions of three generations of SSCM 2010 Financial Report. . . . 11 patrons: Innocent X; Prince Camillo Pamphilj (the pope’s Conference Announcements nephew) and his wife, Princess Olimpia Aldobrandini; and SSCM 2012 in New York...... 12 their son, Cardinal Benedetto Pamphilj. In particular, the Calls for Papers or Manuscripts. . . 12 conference concentrated on the role of Benedetto in shaping the visual arts, music, and literature from the time of his Members’ News...... 14 continued on page 17 Vol. 20, No. 2 17th-Century Music u 1 Seventeenth-Century Music is the semi-annual President’s Message newsletter of the Society for Seventeenth-Century he SSCM is a nomadic organization. Our legal address, Music. In addition to news of the Society, its according to the By-Laws, is the business address of the members, and conferences, the Newsletter reports on related conferences, musical Ttreasurer, which changes every three years. Our archive of performances, research resources, and grant paper documents resides not in a filing cabinet but in portable opportunities. Please send inquiries or material containers—at present two sturdy cardboard cartons, passed from for consideration to the editor: one president to another. It is those cardboard cartons that interest Roger Freitas me here—or rather, their contents. They contain a historical Eastman School of Music record that starts in the early 1990s with initial organizational 26 Gibbs Street efforts, articles of incorporation, and an application to the IRS for Rochester, NY 14609 Phone: (585) 274-1458 non-profit status. After that, in addition to minutes of meetings, Fax: (585) 274-1088 (attn: Roger Freitas) membership lists, financial records, conference programs, and Email: [email protected] newsletters, there are many pages of correspondence, most of them printed e-mails. Please note that information for the next Some future historian of the Society will have great fun poring over these materials, issue must be submitted by August 15, 2011. wherever the archive may dwell. ISSN: 1054-6022 Yet as in any contemporary organization, the day-to-day business of the Society is conducted electronically, and the electronic records transmitted to me go back at least Assistant Editor to 2006. Under the circumstances, it is reasonable to question the need to keep adding Sarah Williams paper to those bulky cartons. Even our printed conference programs and newsletters could be preserved and stored efficiently and compactly in electronic form, to say Associate Editors Beth Glixon nothing of minutes, protocols, correspondence, and other typescripts. Nonetheless, as Colleen Reardon we all know, electronic media are both unstable and prone to obsolescence. I recently discussed this issue with Alan Green, head of the Music/Dance Library at my institution, Corresponding Members the Ohio State University. I learned that for long-term archival storage, PDF/A1 format is Michael Klaper (2010–2013) preferred to regular PDF (see www.aiim.org/documents/standards/PDF-A/19005-1_FAQ. Europe pdf), that physical media such as CD-ROM’s and external drives are not regarded as [email protected] “archival,” and that truly archival storage of electronic data is a matter of multiple backup Kimberly Parke (2011–2013) systems involving multiple servers. Indeed, that is the principle behind LOCKSS (Lots Australasia of Copies Keeps Stuff Safe), the international digital preservation system for electronic [email protected] publications in which JSCM takes part. Perhaps in the not-too-distant future the Society’s Layout and Design website (www.sscm-sscm.org) will have a limited-access area for storage of confidential Karen Ver Steeg, Eastman School of Music documents, and at that point it might make sense to place an electronic archive at the website, subscribe to an online back-up service, and arrange for back-up to physical The Society for Seventeenth-Century Music is media as well. For the short term, however, I am inclined to adopt a more modest, a learned society dedicated to the study and non-archival plan involving multiple external storage devices, such as USB flash-drives, performance of music of the seventeenth kept in different locations and frequently replaced. In short, I shall continue to add century. printed copies to the paper archive, while gradually preparing for an electronic one. Governing Board (2009-2012) As this issue goes to press, the splendid Minneapolis conference is still fresh in our memories. I feel especially privileged to have represented the Society as we conferred Lois Rosow, president honorary membership on Jeffrey Kurtzman. Both the conference and the honor to Jeff Ohio State University [email protected] will be featured in the fall issue of this Newsletter. Many thanks to Kelley Harness, local arrangements chair; John Hajdu Heyer, program committee chair, along with committee Kimberlyn Montford, vice president members Arne Spohr, Stefanie Tcharos, and Shirley Thompson; Tom Dunn, book exhibit Trinity University [email protected] manager; Candace Bailey, nominating committee chair, along with committee members Fred Gable and Jennifer Williams Brown; Don Fader and Rob Shay, who joined Vice Susan Lewis Hammond, treasurer President Kimberlyn Montford on the travel grant committee; and Jeffrey Kurtzman, University of Victoria who engineered an excellent new publication arrangement for the Journal. [email protected] Lois Rosow Antonia Banducci, secretary [email protected] University of Denver [email protected] Gregory S. Johnston, chair American Heinrich Schütz Society, University of Toronto From the Editorial Board of the Web [email protected] Library of Seventeenth-Century Music Honorary Members Stephen Bonta Jeffrey Kurtzman e are pleased to announce the addition to the WLSCM Catalogue of No. 20 in Alfred Mann† Anne Schnoebelen Wour series, an edition of four wonderful arias by the mid-century Italian composer Alexander Silbiger Kerala Snyder Antonio Tenaglia, edited by Richard Kolb of Cleveland State University. Go and have a look at www.sscm-wlscm.org. More to come. . . .

2 u Vol. 20 No. 2 17th-Century Music Letter from Australasia: Institutional Sawadiika! Greetings from Thailand! Members by Kimberly Parke The Society for Seventeenth Century Music thanks the following institutions for their membership in 2010: Amherst College Brandeis University Brigham Young University Brown University Carolinabiblioteket Duke University College of Music, Mahidol University Eastman School of Music Indiana University s this is my first letter as the emergency barring assemblies of over five Australasian correspondent, I people was still in effect. The security guard New York Public Library A want to introduce myself. After at the hotel ran over to us waving his hands, Reinert Library finishing my dissertation in 2006, I spent yelling, and blowing his whistle. It was only two years as a visiting lecturer—first at later that I realized what we had done. State University of New York, the University of Tennessee and then at The College of Music at Mahidol Buffalo the New Zealand School of Music. It was University is quite large—around 100 faculty Swets Information Services that experience, I believe, that gave me members, 600 undergraduates and 160 the courage to accept the opportunity at graduate students. I am the only full-time University of California, Berkeley Mahidol University in Thailand where I historical musicologist. The majority of University of California, Los have now been for a little over two years. students study Western music, evenly split Angeles As you may know, the political situation between “classical” and “popular” styles. in Thailand has been undergoing some There is also a strong program for Thai University of California, Riverside upheaval. The United Front for Democracy traditional music. Each year a handful University of California, Santa against Dictatorship, aka the Red Shirts, of graduate students are admitted to the Barbara is a populist group with ties to the exiled musicology program, focusing primarily former prime minister Thaksin Shinawatra. on Thai traditional music (whether “court” University of Hartford In March 2010, the Red Shirts started oc- or “folk” styles). Conducting research on University of North Carolina, cupying some of the more upscale parts of other topics is difficult: the library has Chapel Hill Bangkok. A state of emergency was called a reasonable budget for acquiring new in April, and the protests ended with a materials, but the College of Music is only University of Virginia military crackdown in mid-May and the fifteen years old and does not have the enormous Central World mall was burned depth of an older collection. down. This January, the protests seemed Although the students tend to focus to have resumed, albeit with fewer attend- mostly on common-practice music, the ees. It is very difficult to get even-handed events that feature early music have been news coverage of these events because the quite successful. Jacopo Gianninoto (lute) English-language newspapers are generally and Alberto Firrincieli (harpsichord), biased against the Red Shirts. based at Assumption University, have been Because Mahidol University is twenty concertizing in Bangkok and collaborat- kilometers from the city center, the direct ing with Paul Cesarczyk (guitar, lute) and impact on day-to-day activities has been Ákos Szilágyi (recorder) from Mahidol. In limited. In fact, other than traffic jams, I November, Yoko Sugai (soprano) came to have only been directly affected once. In give a concert of early seventeenth-century December I went into the city to attend Italian song. Her workshop was warmly a colleague’s piano recital at the Goethe received, as was Dr. Gianninoto’s coaching Institut. A group of eight of us walked from for guitarists on how to improvise over a the concert venue to a nearby nightlife ground. I hope that these collaborations district and, along the way, I stopped to among institutions in Thailand will con- use a cash machine while the others waited tinue to strengthen the position of early for me. Unbeknownst to us, the state of music in the years to come.

Vol. 20, No. 2 17th-Century Music u 3 Conference Report: André Campra Colloque International 2010 Aix-en-Provence and Versailles, France; October 7–10, 2010 by John Hajdu Heyer ast year, 2010, marked the 350th anniversary of the birth tour of the cathedral and a private exhibition of the manuscript of André Campra (1660–1744). To commemorate the treasures of the old choir school of St. Sauveur, including a large Loccasion, the Centre de Musique Baroque de Versailles collection of eighteenth-century manuscripts with many unica, (CMBV) sponsored an extended festival throughout the fall of 2010 including works of Campra. Friday evening the TGV took all entitled “Les grandes journées Campra: Du grand siècle au siècle participants to the Île-de-France, where the conference continued des Lumières.” Festivities opened with a series of five concerts on at Versailles, with all sessions held at Hôtel des Menus-Plaisirs, home October 3 and concluded with a grand concert on November 28 of the CMBV. The Saturday papers included Lionel Sawkins’s entitled “La nouvelle chapelle de Versailles en 1723,” dedicated “Lalande et Campra: Deux chemins—le même destin?” Graham to the sacred works of Campra and his co-sous-maîtres in Sadler’s “Les cantates ‘orchestrales’ d’André Campra: the Royal Chapel in that year: Lalande, Bernier, and Quelques implications pour l’éditeur scientifique et Gervais. “Les grandes journées Campra” included l’interprète,” and Geoffrey Burgess’s “Campra et concerts, recitals, exhibitions, a conference, and le goût de son temps, ou comment (r)écrire une resulting recordings and publications. tragédie en musique en 1704.” Sunday’s session On October 7, twenty-eight scholars from included Anita Hardeman’s paper, “Reception Canada, France, Germany, the United of André Campra’s Hésione outside of Paris.” Kingdom, and the United States assembled Leading international scholars participating in Aix-en-Provence for the “André Campra in the conference included Jean Duron, Colloque International,” with all sessions Jean-Paul Montagnier, Raphaëlle Legrand, dedicated to the life and works of the Herbert Schneider, Jérôme de La Gorce, and composer. Eight members of the Society Thierry Favier. participated in the conference, which con- The conference included two concerts: an tinued through Sunday, October 10. The first excellent Thursday evening chamber recital two days took place in Aix-en-Provence, where of Campra’s works performed by the Provençal Campra was born and where he received his baroque ensemble Parnassie du Marais; and a training. The conference then moved to Versailles, grand Saturday evening performance in the Royal where Campra completed his career in the Royal Chapel at Versailles consisting of two of Campra’s sacred Chapel. The Aix sessions were held in the Salle gothique works—the motet In convertendo (1726) and his famous de l’Archevêché on the Bourg near the Cathedral of St. Sauveur. Requiem (1695? revised after 1723)—performed by Les Pages & Les John Hajdu Heyer opened the conference with “Campra et les Chantres du CMBV and the Orchestre des Musiques Anciennes compositeurs de la maîtrise d’Aix: Quelques aspects communs et à Venir, under the direction of Olivier Schneebeli. The confer- du style musical,” followed by Don Fader’s “Campra et le Régent,” ence was coordinated and superbly hosted by Catherine Cessac and Lois Rosow’s “L’Europe galante comme jeu et comme épreuve.” (CMBV/CNRS [Centre National de la Recherche Scientifique]) On Friday, October 8, Rebecca Harris-Warrick presented “Le bal with administrative assistance from Julien Charbey (CMBV). masqué selon Campra.” Friday afternoon in Aix brought a private

Travel Grant Recipients institutional affiliation), and junior faculty (those in temporary academic appointments or in the first three years of a tenure-track appointment) who do not receive adequate travel funding from their home institutions.” The Society is pleased to announce the awardees of the travel grant for the 2011 conference are Stanley Matthew Henson, graduate student at Florida State University, for his paper “Cruda As first announced in the fall 2009 issue of this Newsletter, Amarilli: Angelo Notari’s Adaptations of Monteverdi’s Madrigal”; the Society has initiated a program offering one or more travel and Emily Wilbourne, assistant professor at Queens College grants per year to assist those who do not otherwise have access (City University of New York) for her paper “Penelope, Poppea, to travel funds to attend the annual spring conference. To quote and the Stock Characters of the Commedia dell’arte.” The travel from the original announcement, “eligible candidates include grant committee included Kimberlyn Montford (chair, and vice students pursuing a degree in music beyond the bachelor’s president of the Society), Robert Shay, and Don Fader. Further degree who do not receive adequate travel funding from their information on the travel grant program is available on the website home institutions, independent scholars (those with no current of the Society (www.sscm-sscm.org).

4 u Vol. 20 No. 2 17th-Century Music Conference Report: Con la mente e con le mani: Teaching and Learning the Art of Counterpoint on the Keyboard (1558–1671) Smarano and Trent, Italy; November 18–20, 2010 by Michael Dodds

ost of us learned counterpoint with paper and pencil (pen, if we were brave), a process attended by much Merasing, head-scratching, and crumpling up of false starts. We were perhaps allowed to use the keyboard to test the completed exercise, but not to compose. The proposition that during the sixteenth and seventeenth centuries the keyboard was the central locus for assimilating contrapuntal skill, however, provided the basis for the conference “Con la mente e con le mani: Teaching and Learning the Art of Counterpoint on the Keyboard (1558–1671).” The years in the conference title refer, respectively, to the first edition of Zarlino’s magisterialLe istitutioni harmoniche and Spiridion’s manuscript treatise on improvisation, Nova instructio pro pulsandis organis. Sponsors of the conference, which was organized by musicolo- gist and organist Massimiliano Guido, included the Faculty of Musicology of the University of Pavia, the Smarano International Improvisation Academy (Edoardo Bellotti, artistic director), and the Conservatory of Music “F. Bonporti,” of Trent. Members of the SSCM would have appreciated the balance between music-making and scholarship: participants included both musicologists and performers, and activities included a recital, a lecture-recital, and lectures illustrated with organ-playing and singing. Presenters considered from multiple angles the historical role of the keyboard in teaching and learning counterpoint. While the main emphasis was on principles taught in counterpoint and organ manuals, related topics included the Renaissance contrappunto alla mente tradition, analysis of model compositions, liturgical contexts of improvisation, and the relationship of counterpoint study to basso continuo practices. In the opening organ recital, Guido and Bellotti presented Woman Playing the Virginal, Jan Miense Molenaer (1610–1668), works by Hassler, Trabaci, and Pasquini, together with very skillful between ca. 1630 and 1640, Rijksmuseum Amsterdam, Amsterdam improvisations in a variety of period styles. The close relationship between cantus firmi and organ music was highlighted by the inclu- against the La Spagna bass line. Michael Dodds of the University sion of works in alternation with plainchant, led by Michael Dodds of North Carolina School of the Arts addressed the liturgical as cantor. In the keynote address, Bellotti, of the Hochschule für contexts of keyboard improvisation, detailing ways that liturgical Kunst und Musik in Bremen and the Trent Conservatory, surveyed function dictated for organists the parameters of cantus firmus (if Italian sources addressing contrapuntal improvisation. Three main any), tonality and transposition level, texture, length, and affect. elements characterized the training of the seventeenth-century Thérèse de Goede of the Amsterdam Conservatory explored improvising organist: (1) study, memorization, and transposition the role of counterpoint in basso continuo realization, noting of model compositions; (2) basso continuo practice as a basis for that figured basses in sources of the earlySeicento often indicate learning counterpoint; and(3) memorization of basic voice-leading contrapuntal rather than chordal textures. Armando Corideo of patterns that could be varied, elaborated, and transposed. The the Istituto dell’Organo Storico Italiano discussed the pedagogical ensuing discussion circled around the loss of this pedagogical and keyboard manuscripts of Bernardo Pasquini from a primarily tradition while identifying its long survival in the Neapolitan philological perspective. Nicola Cumer of the Schola Cantorum partimento. Basiliensis presented a harpsichord lecture-recital detailing a Peter Schubert of McGill University addressed Renaissance didactic approach to the art of improvisation. He invited audience contrappunto alla mente, demonstrating the ease with which canons participation in the application of diverse figure and affetti over can be improvised vocally and the usefulness of canonic patterns bassi ostinati, especially the passacaglia. for keyboard improvisation, with or without cantus firmus. (One On the final day, a panel led a lively and well-attended discus- type of improvised canon, the fuga alla minima at the fifth, with sion of the relationship between improvisation, counterpoint, and comes one note behind dux, is of particular usefulness for the continuo practice. Pietro Prosser (a solo lutenist and continuo player keyboard improviser.) Schubert led participants through an with I Solisti Veneti and other groups) and harpist Mara Galassi exercise applying a variety of musical motives as counterpoints (of the Civico Scuola di Musica in Milan and frequent performer continued on page 17

Vol. 20, No. 2 17th-Century Music u 5 The Nineteenth Annual Conference of the Society for Seventeenth-Century Music, April 7–10, 2011 School of Music, Ferguson Hall, University of Minnesota, Minneapolis, Minnesota Schedule and Program

THURSDAY, APRIL 7 and the Dissemination of Venetian Opera” 12:00–5:00 p.m. Registration Louise K. Stein (University of 1:15–2:30 p.m. Meeting of the JSCM Editorial Board Michigan), “Alessandro Scarlatti, the (Ferguson Hall, room 280) Marchese del Carpio, and Singers in 2:45–4:45 p.m. Meeting of the SSCM Governing Naples” Board (Ferguson Hall, room 280) 12:00–1:00 p.m. Lunch (Ferguson Hall, room 280) 5:45 p.m. Busses leave the Holiday Inn for the 1:00–2:00 p.m. Concert—¡Sacabuche! (Linda evening’s events in Saint Paul Pearse, artistic director) and Ann 6:30 p.m. Hors d’oeuvre reception with cash Waltner: Matteo Ricci—His Map bar (Schubert Club Museum [www. and Music (www.sacabuche.org) schubert.org/museum/index.php], (Ferguson, Lloyd Ultan Recital Hall) 302 Landmark Center, 75 W. 5th 2:00–5:00 p.m. — Paper Session II — Street, Saint Paul, MN) Short Session A: 8:00 p.m. Concert—Mahan Esfahani, SACRED MUSIC IN THE COLONIAL harpsichord (www.mahanesfahani. NEW WORLD (Ferguson Hall, room com) (Schubert Club, Courtroom 225) 317, Landmark Center, 75 W. 5th Street, Saint Paul, MN) Craig Russell (California Polytechnic State University), chair FRIDAY, APRIL 8 Drew Edward Davies (Northwestern 7:30–8:50 a.m. Meeting of the WLSCM Editorial University), “Music for the Virgin Board (Ferguson Hall, room 205) of Guadalupe in Late Seventeenth- Century Mexico City” 8:30–9:00 a.m. Pastries and Coffee (Ferguson Hall, room 280) Tim Watkins (Texas Christian University), “A New Source for 9:00–12:00 noon — Paper Session I — Colonial Guatemalan Music: Princeton Garret-Gates MS. 258” SUCCESS AND FAILURE IN PATRONAGE 3:20–3:40 pm. Break (Ferguson, Lloyd Ultan Recital Hall) Short Session B: COMPARING ITALIANS Margaret Murata (University of (Ferguson Hall, room 225) California, Irvine), chair Jennifer Williams Brown (Grinnell Bryan White (University of Leeds, College), chair UK), “Restoration Opera and the Failure of Patronage” Francesco Dalla Vecchia (University of Iowa), “‘Rispondendo per le rime’: Anne-Madeleine Goulet (École Monteverdi’s and Cavalli’s Shared Française de Rome, Italy), “Music Strophic Arias” in Private Life in Late Seventeenth- Century Rome: The Case of the Richard Kolb (New York City), Princesse des Ursins and Her Social “Displacement of Seconda pratica Circle” Ideals in the Music of Antonio Francesco Tenaglia and Carlo 10:20–10:40 a.m. Break (Ferguson Hall, room 280) Caproli” 10:40 a.m.–12:00 p.m. Valeria De Lucca (University of 7:15 p.m. Busses depart from the Holiday Inn Southampton, UK), “Roman Patrons for the concert continued on next page 6 u Vol. 20 No. 2 17th-Century Music 8:00 p.m. Concert—Rose Ensemble: Slavic Beth Glixon (University of Wonders (www.roseensemble.org) Kentucky), chair (Norwegian Lutheran Memorial Church Mindekirken Esther Criscuola de Laix (Oakland, (www.mindkirken.org), 924 E. 21st CA), “‘Die Bergleut singen, die Street, Minneapolis) Häuerlein fröhlich klingen’: Melchior Franck’s Singing Miners” SATURDAY, APRIL 9 Colleen Reardon (University of 8:30–9:00 a.m. Pastries and Coffee (Ferguson Hall, California, Irvine), “Camilla in Siena room 280) and Senesino’s Début” 9:00–12:00 noon — Paper Session III — 7:00–8:00 p.m. Cocktails (Carlson Private OPERA ACROSS EUROPE (Ferguson Dining Room, Carlson School Hall, room 225) of Management, University of Minnesota) Rebecca Harris-Warrick (Cornell University), chair 8:00–10:00 p.m. Banquet (Carlson Private Dining Room, Carlson School Emily Wilbourne (Queens College, of Management, University of City University of New York), Minnesota) “Penelope, Poppea, and the Stock Characters of the Commedia dell’arte” SUNDAY, APRIL 10 Maria Virginia Acuña (University 8:30–9:00 a.m. Pastries and Coffee of Toronto), “Golden Age and (Ferguson Hall, room 280) Decline: Revisiting Spanish Baroque Theatrical Music” 9:00–12:00 noon — Paper Session V — 10:20–10:40 a.m. Break Short Session A: MUSICAL AND POETIC DEVICES IN Markus Rathey (Yale University), EARLY OPERA “Before the Opera: Musical Drama (Ferguson Hall, room 225) and Dramatic Music in Leipzig Preceding the Establishment of the Massimo Ossi (Indiana University), Opera in 1693” chair Aliyah M. Shanti (Princeton Edward M. Anderson (Rice University), “When Pastoral Becomes University), “Staging the Poet: Tragedy: Broken Genres in the Ariosto in Early-Seicento Fourth Act of Roland” Musical Drama” 12:00–2:00 p.m. Lunch and Formal Business Meeting Barbara Russano Hanning (City (Lobby, Ted Mann Concert Hall) College, City University of New York), “Powerless Spirit: Echo 2:00–5:00 p.m. — Paper Session IV — on the Musical Stage of the Late Short Session A: Renaissance” SOURCES AND THEIR EVIDENCE 10:20–10:40 a.m. Break (Ferguson Hall, room 225) Short Session B: Paul Schleuse (Binghamton OPERA AS MESSAGE University of the State University (Ferguson Hall, room 225) of New York), chair Graham Sadler (University of Hull, Matt Henson (Florida State UK), chair University), “Cruda Amarilli: Angelo Notari’s Adaptations of Monteverdi’s Hendrik Schulze (University of North Madrigal” Texas), “‘Farò veder che tutte non son le donne imbelle’: Monarchism, Alexander Dean (Eastman School Love and the Female Protagonist in of Music), “Strumming in the Void: Nicolò Minato’s/Francesco Cavalli’s A New Look at Dance Rhythms in Artemisia (Venice 1657)” Italian Canzonettas” Marcie Ray (Michigan State 3:20–3:40 p.m. Break University), “In Defense of Short Session B: Women and Pleasure: The Opéra- SINGERS AND THEIR PROFESSIONS Comique enters the Querelle des (Ferguson Hall, room 225) Anciens et des Modernes”

Vol. 20, No. 2 17th-Century Music u 7 Report on Proposals for the Annual Donors in 2010 Meeting, 2011 American Heinrich Schütz Society The Society for Seventeenth-Century Music gratefully acknowledges the following individual who has made a donation to the AHSS At the meeting of the governing board of the SSCM in April during 2010. 2009, it was decided that statistics regarding paper proposals Brenda Smith for the annual meeting should be published each year in the spring issue of the Newsletter. As chair of the program committee Irene Alm Memorial Prize Fund for the Minneapolis meeting, John Hajdu Heyer provided the The Society for Seventeenth-Century Music gratefully acknowledges following information. the support of the following individuals, along with a number of anonymous donors, to the Irene Alm Memorial Prize during 2010. Submitted Accepted Acceptance Esther Criscuola de Laix Rate (%) Ken Filiano Total Proposals Frederick Gable Papers 44 20 45.5 Jonathan B. Gibson Lecture-Recitals 3 1* 33.3 Beth Glixon Barbara Russano Hanning Student papers (of the 44) 12 4 33.3 Kelley Harness Distribution by Jeffrey Kurtzman National Focus of Topic** Kimberlyn Montford Italy 27 10 37.0 Janet Pollack France 9 3 33.3 Colleen Reardon Great Britain 3 1 33.3 Susan Shimp Barbara Sparti German-speaking countries 4 2 50.0 Amanda Eubanks Winkler Spain 3 2 66.7 Colonial Americas 3 2 66.7 General Fund Distribution The Society for Seventeenth-Century Music gratefully acknowledges by Location of Submitter the following individuals who have made donations to the General Fund during 2010. USA 39 16 41.0 Frances C. Fitch Great Britain 2 2 100.0 Roger Freitas France 1 1 100.0 Christine Kyprianides Potter Canada 2 1 50.0 Colleen Reardon Germany 2 0 0.0 JSCM Fund China 1 0 0.0 The Society for Seventeenth-Century Music gratefully Distribution acknowledges the support of the following individuals, by Gender of Submitter along with a number of anonymous donors, to the Journal Male 24 10 41.7 of Seventeenth-Century Music Fund during 2010. Female 23 10 43.5 Beth Glixon Bruce Gustafson Barbara Russano Hanning *One lecture-recital submission was referred to the local arrangements Anne Lyman chair and has been programmed as a concert. Janet Pollack ** The numbers in this section do not match the other totals for two Anne Schnoebelen reasons: 1) they consider only proposals for papers, not lecture-recitals; 2) some proposals implicated more than one nation and so are counted Travel Grant Fund in multiple categories. The Society for Seventeenth-Century Music gratefully acknowledges the support of the following individual, along with a number of anonymous donors, to the Travel Grant Fund during 2010. Hendrik Schulze

WLSCM Fund The Society for Seventeenth-Century Music gratefully acknowledges the support of the following individuals, along with a number of anonymous donors, to the Web Library of Seventeenth-Century Music during 2010. Jonathan Glixon Janet Pollack

8 u Vol. 20 No. 2 17th-Century Music Conference Report: Heinrich Schütz und Europa Kassel, October 28–November 3, 2010 by Gregory Johnston assing through Weißenfels in 1598 on his way home, Moritz, Landgrave Pof Hesse-Kassel, recognized the musical talent of a young Heinrich Schütz. Moritz brought the thirteen-year-old boy to Kassel the following year to begin his formal education and what was to be a long and illustrious career. Kassel was also the locus for the Forty-Second International Heinrich Schütz Festival, under the banner “Heinrich Schütz und Europa,” which took place October 28 to November 3, 2010. Also hosting the Kasseler Musiktage 2010 and the concurrent Reformation Day festivities, Kassel’s city center teemed with activity from morning until night. The festival opened in the foyer of the State Theater with an introductory lecture entitled “Heinrich Schütz und Europa” by Silke Leopold (Heidelberg). Later, in the book-lined Eulensaal of the famous Landesbibliothek and Murhardsche Bibliothek—the li- brary founded by the Landgraves in 1580 Kassel, 1648 (Matthäus Merian the Elder, Topographia Germaniae) and home to the most important manuscripts main focus of a concert Akademie in what was formerly the summer and music prints in by the Ensemble Weser- residence of the Landgraves of Hesse. As Hesse—Werner Breig Renaissance Bremen under with the festival in Kassel, the papers kept to (Erlangen) spoke to a the direction of Manfred the theme of “Heinrich Schütz in Europa” capacity audience on Cordes. Specializing in and “Heinrich Schütz in Kassel.” There the historical significance performances of German were several papers given by members of “Heinrich Schütz in music of the seventeenth of the SSCM, including “Schütz und die Kassel.” The days were century, this sizeable en- europäische Frömmigkeitsbewegung” filled with afternoon and semble of strings, winds, (Mary Frandsen), “Schütz’ Dafne und evening performances of and voices portrayed a die europäischen Traditionen des early music, beginning rarely heard repertoire in Pastoraldramas” (Bettina Varwig), and with a superb recital for a very positive light. The “Das zeitgenössische Schütz-Bild in solo harpsichord by Pieter highlight for many was Nordamerika” (Gregory Johnston). Other Dirksen covering repertoire from across a concert of vocal music composed by papers on an array of topics within the the continent. There were also perfor- Schütz, Johann Hermann Schein, and general framework of the symposium were mances by Cappella Sagittariana, joined Heinrich Albert, impeccably and movingly presented by speakers from Germany, by Ensemble Amacord, and a concert of performed by five singers of Cantus Cölln, Denmark, France, and Sweden, each of seventeenth-century French music by La accompanied by Konrad Junghänel. In con- them shedding light a little more brightly Suave Melodia in the singular Museum für trast to the showy renditions of Ensemble on Schütz and his times. Sepulkralkultur. On display in the museum, Amacord, the voices of Cantus Cölln were The next International Heinrich and of particular interest to participants, perfectly matched and exquisitely nuanced Schütz Festival is already far along in the was the coffin of Heinrich Posthumus in every respect. planning process and is scheduled to take Reuß, the coffin famous for its inscribed Linked to the festival was a two-day place in Hanover, Germany, September 29 texts that Schütz subsequently set to music International Musicological Symposium to October 3, 2011. The theme this year as the Musicalische Exequien. Landgrave held in Hofgeismar, a picturesque town is “375 Years of Hanover as the Seat of Moritz, known also as “der Gelehrte” or nestled in the rolling Hessian hills some Nobility: Music at the Courts of the Guelphs “the Learned,” was also a composer of twenty-five kilometers north of Kassel. The in Lower Saxony.” For more information, some talent, and his works became the symposium was hosted by the Evangelische please visit www.schuetzgesellschaft.de.

Vol. 20, No. 2 17th-Century Music u 9 Society for Seventeenth-Century Music Informal Business Meeting Indianapolis Marriott Hotel Indianapolis, Indiana Friday, November 5, 2010; 12:15–1:00 p.m. Minutes

President’s Welcome (Lois Rosow) reminded those present to support the Society by encouraging The president welcomed all present and reminded everyone potential authors to submit to our journal. that last year’s informal meeting was canceled so that our members The editor-in-chief thanked Reviews Editor Beth Glixon might attend a lecture-recital by Erin Headley on the lirone and and Copy Editor Mary Paquette-Abt, and the president again the seventeenth-century Roman lament. She reported that as thanked the outgoing editor-in-chief, Bruce Gustafson, for his a result of our experience, the AMS now makes an effort to important contributions during the present transition. coordinate all scheduled activities at the annual meeting, even those sponsored by other organizations. Report from the Editor-in-Chief of the Web Library (Alexander Silbiger) Report from the Treasurer (Susan Lewis Hammond), The Web Library, housed on the Duke University server, in absentia has added three new editions, and another edition is nearing The president referred to the Treasurer’s Report made to publication: a series of Vesper songs by Giovanni Paolo Colonna the governing board and thanked our vice-president, Kimberlyn for choir and strings. The editor-in-chief acknowledged the Montford, for serving as banker. The board intends to put some important work of Associate Editor Janette Tilley in standardizing of our funds into a safe and conservative investment. formatting. Tom Dunn pointed out that one of the editions published by the Web Library was performed in Berkeley this Report from the Schütz Society Representative (Gregory past summer. Members interested in working with the Web Johnston), in absentia Library are invited to contact the editor-in-chief. The president reported that Johnston is attending the annual meeting and festival of the Schütz Society this week in Report from the Local Arrangements Chair (Kelley Harness) Kassel, Germany, and was therefore unable to be with us. The Our next annual conference will be hosted by the University festival next August will be in Hanover, Germany. Greg renewed of Minnesota in Minneapolis, April 7–10. We will be staying at his annual suggestion to join the Schütz Society even if Schütz the newly renovated Holiday Inn, a two-block walk from the is not your scholarly specialty. meeting venue. The hotel is relatively inexpensive and has free internet service. Harpsichordist Mahan Esfahani will perform on Report from the Editor-in-Chief of the Journal (Kelley Harness) some of the Schubert Club’s historic harpsichords on Thursday As reported at the business meeting last spring, the University night. Members will receive an e-mail message with information of Illinois Press intended a steep increase in fees for renewing about the meeting and hotel. our contract, set to expire at the end of 2010. The governing The president acknowledged the fine work of this year’s board eventually negotiated a one-year extension of the contract, program committee: John Hajdu Heyer (chair), Arne Spohr, providing time for an ad hoc committee, chaired by Jeffrey Stefanie Tcharos, and Shirley Thompson. Tom Dunn is in charge Kurtzman, to explore other publishing arrangements. We are of the book exhibit. pleased to report that the board is negotiating a private contract with Paul Arroyo, our technician at the University of Illinois Press; Report from the Editor of the Newsletter (Roger Freitas) Arroyo obtained permission from UIP for such an arrangement. The fall Newsletter will be coming out soon and will include Kurtzman and Arroyo will find an appropriate server for the many conference reports. Most of these reports focus on Italian Journal; a commercial server appears to be the best option. music. The editor encouraged members to consider reporting In response to a question from the floor, the editor confirmed on relevant conferences or concerts in all areas of specialization. that moving from a university press to a commercial server should cause no problem. We have our own domain name and Updates and Queries from the President subscribe to a service that gives us eternal preservation, with The governing board has made the decision to post back- backup on servers scattered around the world. issues of the Newsletter at the Society’s website. A request for Visits to the Journal remain constant. In the first half of an older article initiated the discussion. In deference to dues- 2010, the Journal received around four thousand visits a month. paying members, who receive the printed edition as a benefit Volume 15 will be the last volume edited by Bruce Gustafson. of membership, the most recent four issues will not be posted. Volume 16 is in the final stages of editorial preparation. Harness The governing board decided against OCR-enabled scanning, continued on next page

10 u Vol. 20 No. 2 17th-Century Music meaning that it will not be possible to search these files. This (chair), Fred Gable, and Jennifer Williams Brown. Members decision will prevent a machine from being able to capture e-mail are welcome to self-nominate. addresses. Margaret Murata’s Select Index of Signed Articles, Those who have papers accepted for the annual conference long a feature of the SSCM website, should help readers find in April will receive information about the travel grant in the articles that interest them. letter of acceptance. The online application form will be available There was no further information to report on our annual starting in late November. conference in New York in 2012. In response to a question, the president acknowledged that Jed Wentz, who organized a scholarly symposium at the last an e-mail alerting members to download the membership-renewal Utrecht Early Music Festival, has asked the board if the Society form was late in winter 2010. The treasurer did send blind-copied might want to co-host such a symposium at the 2012 festival, group e-mails last spring, letting members know whether they which will focus on Sweelinck. The board is looking into that had paid in advance, but apparently not all members received possibility, an opportunity for the Society to have its first European these. She is attempting to improve this notification system for presence. Rebekah Ahrendt and Graham Sadler, who presented 2011. In the near future, members will receive a call to pay dues, papers at the last festival, reported that the symposium was very along with information on their membership status. successful and received considerable interest from non-specialist There were no announcements or further queries from audience members. Reaction from members present was positive. the floor. The president adjourned the informal meeting at The Society will vote for a new slate of officers after the spring 1:00 p.m. conference. The nominating committee comprises Candace Bailey

Society for Seventeenth-Century Music Financial Report January 1–December 31, 2010

REVENUES NEW MEMBERS Dues and Subscriptions $5,020.32 The SSCM warmly welcomes Donations $1,755.00 the following new members SSCM Conference, Houston $15,857.05 who joined the Society between (includes $946.36 from Book Exhibit) July 1 and December 31, 2010: Total Revenues $22, 632.37 Dongmyung Ahn New York, New York EXPENDITURES Edward Anderson Office Supplies $57.23 Houston, Texas Banking Fees $14.00 Stacey Garrepy PayPal Fee $25.00 Norman, Oklahoma Alm Prize $1,999.99 Stanley Matthew Henson Newsletter $952.96 Tallahassee, Florida SSCM Conference, Houston $15,857.05 SSCM Conference, Houston—Speaker’s Honorarium $1,000.00 Donald Livingston Minneapolis, Minnesota Travel Grant $517.90 Journal (University of Illinois Press) $872.50 Ruth Mahesh Early Music America, membership $95.00 Hastings on Hudson, New York AMS Conference, Indianapolis $537.36 Mimi Mitchell Amsterdam, The Netherlands Total Expenditures $21,928.99 Janet Pollack TOTALS Fort Collins, Colorado Year-End Balance, 2009 $60,390.33 Deborah Ruhl Revenues, 2010 $22,632.37 Chesapeake, Virginia Expenditures, 2010 $21,928.99 John Chappell Stowe Total Checking Account Balance (December 31, 2010) $61,093.71 Madison, Wisconsin Kirill Zikanov Respectfully submitted, Charlotte, North Carolina Susan Lewis Hammond, treasurer March 31, 2011

Vol. 20, No. 2 17th-Century Music u 11 conference announcements

The editor apologizes for out-of-date items in this section. Some essential content for the Newsletter became available significantly later than originally planned. 2012 SSCM Conference in New York: Call for Proposals The Society for Seventeenth-Century Music will hold its Twentieth Annual Conference from Thursday through Sunday, April 19–22, 2012, in New York, NY, hosted by the Department of Musical Instruments at the Metropolitan Museum. Proposals on all aspects of seventeenth-century music and its cultural contexts are welcome. In view of the setting, we particularly encourage proposals concerning instruments, iconography, or connections between music and art. Presentations may take a variety of formats, including individual papers of twenty minutes in length, lecture-recitals (forty-five minutes), workshops involving group participation, roundtable discussions, and panel sessions. The Irene Alm Memorial Prize will be awarded for the best scholarly presentation given by a graduate student. It is the policy of the Society that all presenters be members in good standing. A presenter may not give individual papers at two consecutive meetings nor make more than one presentation Metropolitan Museum of Art, at a single meeting. For individual papers, abstracts not exceeding New York City 350 words should clearly represent the title, subject, and argument, and should indicate the significance of the findings. Proposals include only title and abstract; the second (file name: name for presentations in other formats should be of a similar length; and short title) should contain name, address, telephone, fax, they should clearly state and justify the intended format and e-mail address, and institutional affiliation or city, along with the should indicate the originality and significance of the material to title and abstract. The content of the second attachment should be delivered. Those for lecture-recitals must include recordings also be pasted into the body of the e-mail in case of transmission of the proposed performer(s) playing examples of the same problems. Submissions will be acknowledged within three days repertory if not the exact proposed work(s). of receipt. Proposals should be sent by e-mail (deadline: midnight, Eastern Students should identify themselves as such on the non- Daylight Time, October 1, 2011) to the Program Committee at anonymous copy of the abstract. Anyone proposing a lecture-recital [email protected] with the header “SSCM Proposal.” should attach a short biography. Please include audio-visual needs. The e-mail should carry two attachments in Microsoft Word. Audio or video recordings supporting proposals for lecture-recitals The first (with the file name “anonymous submission”) should are required; we regret that they cannot be returned. Calls for Papers or Manuscripts

Deadline for Abstracts: April 15, 2011 Conference activities will include lectures, paper sessions, “Re-Creation: Musical Reception of Classical Antiquity” live concerts, and a screening of silent films accompanied by University of Iowa; Iowa City, Iowa; October 27–29, 2011 live music composed by Andrew Simpson. Speakers who have The power of music in Greek and Roman myth to move gods, men, already committed to the project include Mary-Kay Gamel and even inanimate objects, and the descriptions of music in the (University of California, Santa Cruz), Simon Goldhill (King’s imaginative and theoretical literature of antiquity, have inspired College, Cambridge), Wendy Heller (Princeton University), musicians since the Middle Ages to interpret and transform the Jon Solomon (University of Illinois, Urbana-Champaign), and ancient experience. Composers, librettists, and songwriters have Reinhard Strohm (Wadham College, Oxford). Concerts will responded to the passions of the ancients in every available genre include a performance by Iowa’s Center for New Music, and and style of musical expression. This conference will explore the first opera for which music survives, Jacopo Peri’sEuridice , ways that vocal and instrumental music throughout the world premiered in Florence in 1600. has received and recreated the art and culture of the Greeks Scholars and artists interested in participating are asked to and Romans. A concomitant goal of this conference is to bring submit one-page abstracts as an electronic attachment to Professor together artists and scholars in many fields—classics, music, Robert Ketterer, The University of Iowa (robert-ketterer@uiowa. theater, film—to engage in meaningful dialogue about the ways edu). Relevant subjects include, but need not be limited to: stage in which classical antiquity informs and shapes their own work. music (e.g., opera, musical theater, incidental music); choral Presenters whose specialty is classics are asked to emphasize and vocal music; instrumental music (e.g., chamber, orchestral, musical examples in support of their arguments; specialists in wind ensemble); music for film, including silent film; electronic music and other performing arts are requested to focus their and digital music; interactive media including music; popular presentations on the ancient paradigms that have influenced and folk music; world (i.e., non-Western) musical responses to the music of their particular field. classical antiquity; social or political uses of antiquity in musical continued on next page 12 u Vol. 20 No. 2 17th-Century Music settings; ancient music theory and modern musical practice. The Deadline for Abstracts: June 15, 2011 University of Iowa Classics Department’s journal, Syllecta Classica Eighteenth Annual Conference of the Società Italiana di Musicologia (available through Project Muse), will publish a collection of refereed Genoa, Conservatorio di Musica “Niccolò Paganini”; papers from this conference. October 21–23, 2011 Scholars from all over the world are invited to submit paper Deadline for Abstracts: May 1, 2011 proposals. Every topic in the field of musicological studies is ac- Historic Brass Society Annual Conference cepted. In the abstract (which should not exceed thirty lines), please Indiana University; Bloomington, Indiana; August 5–7, 2011 indicate the title of the proposed paper and the state of the art in The Historic Brass Society invites paper and performance submissions your research field, along with an outline of the project and the for its twenty-seventh annual conference. We welcome proposals on specific contribution to current knowledge. Along with the text, a wide range of topics related to brass instruments (broadly defined). please send also a short CV (fifteen lines maximum) and indicate Past papers/performances have included the natural trumpet, the audio-visual equipment required. The paper shall not exceed natural horn, sackbut, ophicleide, cornetto, serpent, fifteenth- to twenty-five minutes in duration (corresponding to an eight-page twentieth-century brass repertoire, brass instruments in antiquity, text containing a maximum of 16,000 characters). Scholars may not brass instruments in non-Western cultures, jazz topics, American send more than one abstract. The abstracts should be sent either to and European band music, and brass instruments in popular music the e-mail address [email protected] or the postal address, Società and society. This year’s conference conveniently coincides with the Italiana di Musicologia, c.p. 7256, Ag. Roma Nomentano, 00162 annual Barclay/Seraphinoff Natural Trumpet-Making Workshop Rome, Italy. (Please add on the envelope the indication “XVIII (August 1–5). Those interested in submitting a proposal for the Convegno Annuale.”) Please provide your full name, address, phone HBS conference should do so by e-mailing a 250-word abstract number, fax number, and e-mail address. For further information to Jeff Nussbaum ([email protected]) by May 1. Papers about the conference please visit the website www.sidm.it. should be approximately twenty minutes in length; lecture-recitals may by approximately thirty minutes in length; and full recitals Deadline for Abstracts: August 31, 2011 may be longer in duration. Attending to Early Modern Women: Remapping Routes and Spaces The HBS has a limited number of travel grants available for University of Wisconsin, Milwaukee; June 21–23, 2012 presenters, including support for students (from the Joe and Joella Attending to Early Modern Women, which has been held seven Utley Foundation) and for meritorious scholarship presented by those times at the University of Maryland since 1990, is moving to the without institutional support (from the Streitwieser Foundation). University of Wisconsin, Milwaukee, thanks to the generous support Those wishing to be considered for these grants should make a of the College of Letters and Science at UWM. The conference will note in their proposal. Additional information can be found on retain its innovative format, using a workshop model for most of its the society’s website: www.historicbrass.org. sessions to promote dialogue, augmented by a plenary session on each of the four conference topics: communities, environments, Deadline for Abstracts: June 1, 2011 exchanges, and pedagogies. It will be held at the UWM School of “All’ungaresca, al español”: Continuing Education Conference Center in the heart of down- The Variety of European Dance Culture from 1420 to 1820” town Milwaukee, within easy walking distance of the lakeshore, Third Rothenfels Dance Symposium the Milwaukee Art Museum, the Milwaukee Public Museum, and Rothenfels Castle, Rothenfels, Germany; June 6–10, 2012 the Amtrak station. Attendees will also have the opportunity to Whereas the last two symposia focused on the dramatic stylistic participate in a special pre-conference seminar on Wednesday, June changes of the seventeenth and eighteenth centuries, this year 20, at the Center for Renaissance Studies at the Newberry Library we will investigate the variety of European dance culture—the in Chicago. Proposals for workshops that address the conference manifold styles and dances of the individual countries and regions. themes may now be submitted, to [email protected]. A detailed We will consider their forms and unique features as well as ques- description of the conference and the call for proposals is now tions concerning the social and political environment in which available at www.atw2012.uwm.edu. they evolved and interconnections with the art styles of the time. Emphasis will also be placed on the “journeys” of these dance No Deadline forms, their dissemination to other European countries and their Early Music and Dance, a newly launched e-journal (www.earlymu- colonies, their reception, further development, and impact as sicanddance.co.uk), is dedicated to the study and performance of “cultural ambassadors” or even as political statements. Finally, we the dance and music of the early Middle Ages to the seventeenth will trace the travel routes of dancers and dance masters, consider century and related arts, and its contributors range from senior their careers in different countries, and investigate the influence scholars to new voices in the field. The site will draw together of local dance styles on their own development and their impact scholars, students, and professionals who are engaged in relevant on the local dance culture. Our topic encompasses all forms of practical work to exchange knowledge and awareness of new dance, from social dance to stage dance, folk dance to courtly research developments. The journal welcomes original research dance, from the early Renaissance to the end of the Napoleonic and interdisciplinary articles revealing intersections with topics in era. Presentations may be made in either German or English. A other fields such as history, theater studies, philosophy, iconography, publication of the contributions is planned and will be available genre studies, and literature. We are determined to support all at the symposium. Submit a short summary (one page) of the original research on early music and dance as well as relevant fields, proposal to Markus Lehner (see below) by mail, fax, or e-mail. The and for that we also organize annual conferences and publications. program committee will make its selection by August 1, 2011. For For further information, write Barbara Grammeniati at contact@ further important information about the conference and process of earlymusicanddance.co.uk. submission, contact conference organizers Markus Lehner (markus. continued on page 15 [email protected]) or Uwe Schlottermüller ([email protected]). Vol. 20, No. 2 17th-Century Music u 13 ARTES MUSICAE PERITI

Don Fader would like to announce the Charlotte A. Leonard has just completed Steve Saunders (Colby College) recently appearance of “The goûts-réunis in French an edition of the music of Andreas assumed the general editorship of A-R Vocal Music through the Lens of the Recueil Hammerschmidt entitled Selections from the Edition’s Recent Researches in Music of the d’airs sérieux et à boire (1695-1710),” Revue de Gespräche (1655-56) with Capellen, published Baroque Era, taking over from Christoph musicologie 96, no. 2 (2010), forthcoming, by A-R Editions (2010). She is also complet- Wolff, who had served as editor for nearly a a product of papers read at the Biennial ing her final year as vice dean for social quarter-century, from 1986 to 2010. During International Baroque Conference in sciences and humanities (anglophone) at Wolff’s tenure 112 volumes were added to Belfast and the national AMS meeting Laurentian University, Canada. the series. Recent Researches in Music of the in Indianapolis. Another paper, entitled Baroque Era has been a leading source for “Campra et le Régent,” will appear in a Eleanor McCrickard and Carolyn scholarly editions of seventeenth-century volume of conference proceedings from Gianturco participated in the conference, music, and the scholarship associated with the Colloque Campra, organized by the “The Pamphilj and the Arts: Patronage the series has helped shape our view of Centre de Musique Baroque de Versailles at and Consumption in Baroque Rome,” individual genres and repertoires, style, Aix-en-Provence and Versailles in October. sponsored by the Fine Arts Department transmission, and performance practice. Also, he has forthcoming in Notes a re- of Boston College on October 15–16, Steve looks forward to receiving propos- view of New Perspectives on Marc-Antoine in connection with a performance of als for editions from Society members Charpentier, Shirley Thompson, and welcomes inquiries from ed. (Farnham, Surrey, UK: prospective authors. For further Ashgate Press, 2010). information, see www.aredi- tions.com/ac/index.htm. Georgia Cowart was awarded a fellowship from the David Schulenberg reports National Endowment for that his book, The Music of the Humanities, January– Wilhelm Friedemann Bach, was December 2011, for the book published late last year by the project, “Watteau’s Utopias of University of Rochester Press Music and Theater: Visions of (Eastman Studies in Music) a New France.” She has also in observance of Bach’s 300th received a residential fellow- birthday on Nov. 22, 2010. On ship at the Stanford Center for his website (www.wagner.edu/ the Humanities, September faculty/dschulenberg/) David 2011–June 2012. has created a W. F. Bach page with links to musical examples Roger Freitas is pleased to Musical Instruments, Evaristo Baschenis (1617–1677), Musée Royal des and a sample from chapter 1. report that in November his Beaux-Arts, Antwerp, Belgium book—Portrait of a Castrato: Barbara Sparti is co-editor Politics, Patronage, and Music in the Life Alessandro Stradella’s cantata L’avviso del of Imaging Dance: Visual Representations of of Atto Melani (Cambridge: Cambridge Tebro al giunto. Composed in 1671 for the Dancers and Dancing (Hildesheim: Georg University Press, 2009)—received the Philip marriage of two members of powerful Olms, March 2011), a collection of thir- Brett Award of the American Musicological Italian families, one of them a Pamphilj, teen essays by art and dance historians, Society (administered by the LGBTQ Study this cantata was performed by the Boston ethnologists, and anthropologists. In its Group). The award recognizes outstand- Early Music Festival (Paul O’Dette and broad historical and geographical sweep, ing work in gay, lesbian, bisexual, and Stephen Stubbs, artistic directors) from the book demonstrates the importance transgender/transsexual studies. an edition prepared by Eleanor for the and contribution of dance in relation to Edizione Nazionale dell’Opera Omnia di the visual arts; the accompanying music Claudia Jensen’s book, Musical Cultures in Alessandro Stradella (Edizioni ETS, Pisa; is also discussed. Barbara’s own chapter, Seventeenth-Century Russia (Bloomington, Carolyn Gianturco, general editor). (See “Chastisement and Celebration: Dance in IN: Indiana University Press, 2009) won the report on this conference on page 1.) Papal Bologna,” deals with the etchings of USC Book Prize in Literary and Cultural G. M. Mitelli (1634–1718). Studies (2010), awarded for an outstanding Colleen Reardon received a fellowship monograph published on Russia or Eastern from the National Endowment for the Arne Spohr accepted a tenure-track posi- Europe in the fields of literary or cultural Humanities, 2011–12 to undertake a proj- tion as assistant professor in music history studies; it is given through the Association ect entitled “A ‘Sociable Moment’: Sienese at the College of Musical Arts at Bowling for Slavic, East European, and Eurasian Opera Patronage and Performance, Green State University (Ohio) last fall. His Studies. She also received research support 1669-1704.” book, “How chances it they travel?” Englische from the Janet Levy Fund, through the Musiker in Dänemark und Norddeutschland, AMS, in 2010. 1579-1630, appeared in 2009 as volume 45

continued on next page 14 u Vol. 20 No. 2 17th-Century Music Conference Announcements continued from page 13 Upcoming Conferences of the series Wolfenbütteler Arbeiten zur Barockforschung (Harrassowitz Verlag, April 28, 2011 of Valencia, Estudi General, Valencia). Wiesbaden). It reconstructs the musical Seminario di Ricerca/Musicologia Oggi: For further information, write to produc- exchange between England, Germany, Shirley Thompson (“Marc-Antoine [email protected] or visit www.congreso- and Denmark in the years around 1600. Charpentier and the Language of Italy”) sanjuan.es. In September 2008 he and Susanne Rode- and Graham Sadler (“Adapting an Italian Breymann (Musikhochschule Hannover) Style and Genre: Charpentier and the fal- July 1–3, 2011 organized a conference on “Michael sobordone”); Deutsches Historisches Institut 1st International Conference on Historical Praetorius: Vermittler europäischer in Rom (Rome, Italy). Keyboard Music: Sources, Contexts, and Musiktraditionen um 1600” at the Herzog Performance (Department of Music, August Bibliothek Wolfenbüttel; the col- May 23–25, 2011 University of Edinburgh, Scotland). For lected papers will appear in print this year. International Musicological Society: Study further information, write to Andrew Group on Musical Iconography; “The Courts Woolley ([email protected]). Joel Schwindt would like to announce the in Europe: Musical Iconography and Princely forthcoming publication with Bärenreiter Power” (Archivio di Stato, Turin, Italy). For August 4–7, 2011 of a new critical edition of Charpentier’s In more information, visit www.sidm.it. “Chant: Old and New”: Sixth Annual nativitatem Domini canticum, H. 416, includ- Colloquium of the Gregorian Institute ing full commentary. The edition will be May 26, 2011 of Canada (Dalhousie University, Halifax, available in full score (parts available for Seminario di Ricerca/Musicologia Nova Scotia). For more information, visit performance) and keyboard reduction. Oggi: Jonathan Glixon and Beth Glixon www.gregorian.ca. Information on the publication may be (“Musicisti romani all’opera: il caso vene- found on page 5 of Bärenreiter’s spring ziano [dalle ricerche di Beth Glixon]”); September 6–10, 2011 preview catalogue: www.baerenreiter.com/ École Française de Rome (Rome, Italy). 10th International Clavichord Symposium html/download/pdfs/Preview_1-2011.pdf. (International Centre for Clavichord June 24–26, 2011 Studies, Magnano, Italy). For further in- Allen Scott is teaching at the University International Conference on Arts, Ideas, formation, visit www.musicaanticamagnano. of Wrocław, Department of Musicology, and the Baroque; theme for 2011, “Deadly com. for the 2010–11 academic year as a Sins” (Institute for the Public Life of Arts Fulbright scholar. He is teaching Medieval and Ideas, McGill University, Montreal, September 29–October 3, 2011 and Renaissance history, the history of Canada). For more information, visit 43rd International Heinrich Schütz American music, the history of notation, www.mcgill.ca/iplai/conferences/ Festival: 375 Years of Hanover as the Seat of and a seminar on Silesian music in the arts-ideas-and-baroque. Nobility: Music at the Courts of the Guelphs sixteenth and seventeenth centuries. In in Lower Saxony (Hanover, Germany). addition, he is continuing to prepare a June 29–July 2, 2011 Further information will appear at www. modern edition of the catalogs of sixteenth- “Music and Liturgical Reform, 1611– schuetzgesellschaft.de or can be had by and seventeenth-century music owned by Present: A Conference in Honor of the writing to [email protected] or Breslau’s three main Protestant churches Death of San Juan de Ribera” (University calling 0049 (0)561 3105 0. and is preparing the repertory for the main concert of the Silvius Leopold Weiss festival in Grotków (April 2011).

Stefanie Tcharos would like to report that her book—Opera’s Orbit: Musical Drama and the Influence of Opera in Arcadian Rome—is now out from Cambridge University Press. A full description may be found at www. cambridge.org/us/knowledge/isbn/ item5634700/?site_locale=en_US.

Andrew H. Weaver received a subvention from the Margarita M. Hanson Fund of the AMS for his book Sacred Music as Public Image for Holy Roman Emperor Ferdinand III: Representing the Counter-Reformation Monarch at the End of the Thirty Years’ War (forthcom- ing from Ashgate). Music-making Company, Jan van Bijlert (1597–1671), c. 1629, Academy of Fine Arts, Vienna

Vol. 20, No. 2 17th-Century Music u 15 Seventeenth-Century Music in Indianapolis: Notes from AMS 2010 continued from page 1 Domenico Sarro, a fate that itself resonated contents, a trend of modal changes to during the 1620s for the instruction of one with contemporary Neapolitan discourses those contents, and Iceland’s peripheral “Margaret.” In this elegant and stimulating on women and education. Also dealing status vis-à-vis the European cultural centers presentation, Kenny cited contemporary in figures and emblems, Nathan Link’s from which the contents ultimately derived. associations between subjective feeling and paper on Handel’s Giulio Cesare explored Simultaneously, in a session on “Music and the body’s left side as background for the Cleopatra’s association with the nightin- Text” chaired by Jonathan Glixon, two collection’s distinguishing feature: the gale. Link treated audience members to papers on early modern Italy appeared: addition of “baroque” left-hand graces to recordings not only of various avian gestures Ljubica Ilic explored the metaphysical the divisions in older pieces by Dowland from Handel’s oeuvre, providing a basis implications of musical echo effects, and and Robert Johnson, among others. for comparison with Cleopatra’s music, Daniel Zuluaga considered the cultivation In a Sunday morning session on “Bodies but also of live nightingales in their own of bawdy Spanish alfabeto song at Italian and Machines,” chaired by Andrew more spontaneous musical performances. courts. Dell’Antonio, two consecutive papers dealt Friday also featured a session chaired Italy received still further attention during with the baroque violin, each proposing by Charles Dill in which SSCM members a joint AMS/SMT session on “Modes of links between technical innovation and Michele Cabrini and Don Fader made Listening,” chaired by John Latartara. In his broader cultural discourses. Lindsey Strand- fabulous contributions to the study of paper “Troppo troppo discordante: Monteverdi’s Polyak interpreted the use of scordatura in French vocal music in the opening decade Mean-Tones and the seconda prattica,” Jeffrey Biber’s Rosary Sonatas as part of a meditative of the eighteenth century. Fader pointed to Levenberg took Penelope’s Act II lament devotional process: she shifted analysis away the Recueil d’airs sérieux et à boire, a series of in Il Ritorno as the starting point for a from the sounding result to the violinist’s song collections published by Christophe reassessment of Monteverdi’s harmonic experience of scordatura and further de- Ballard between 1694 and 1724, as offering language. Arguing that Penelope’s bitter fined the music’s connection to the Rosary. additional evidence of French attitudes outburst can only be properly understood In her paper “Carlo Farina’s ‘Capriccio toward the Italian aria. He examined airs (and experienced) in the context of mean- stravagante’: A Musical Kunstkammer,” especially from 1703–5 that seem to have tone temperament, Levenberg ultimately Rebecca Cypess placed the technical and participated in the Italian-French contro- proposed a history of this tuning system mimetic novelties of Farina’s Capriccio in versy through the purposeful (and in some in which Monteverdi and the seconda prat- the context of contemporary intellectual cases, satirical) fusion of French text and tica are heirs to Cipriano de Rore and his interests at the Dresden court, exploring the Italian aria styles. This presentation—which cultivation of mean-tone dissonances. A curiosities of the electoral Kunstkammer to included a delightful performance by Fader, few rooms over, Amy Brosius was opening a lend a new sense of cohesion to the music’s Catherine Gordon-Seifert, and Andrew session on “Special Voices” with her paper, descriptive effects. Gordon-Seifert—offered another route “Leonora Baroni cantatrice: The Roman Concurrent with this session was one on into the world of stylistic experimentation virtuosa as Courtier” (read in absentia). “Private Musics,” chaired by Mary Natvig, and polemical discourse that would also Brosius called attention to women’s par- that featured Candace Bailey’s paper prove vital to the development of the French ticipation in displays of vocal (and social) “The Challenge of Domesticity in Men’s cantata. Michele Cabrini dealt with precisely virtuosity at seventeenth-century Roman Manuscripts in Restoration England.” this genre in his paper “Witness to the courts, presenting a case study of Baroni Bailey examined two seventeenth-century Execution: The Composer’s Perspective and her various musical, social, and political keyboard manuscripts to highlight the in- in French Baroque Cantatas on Judith,” negotiations as a married virtuosa. adequacy of standard distinctions between which compared the musical responses of The Italian trend continued on Saturday. the “domestic” and the “professional” as Sébastien de Brossard and Elisabeth-Claude In a session on “Marian Topics” chaired applied to this material. She contrasted Jacquet de la Guerre to a single cantata by David Rothenberg, Gordon Haramaki the persistence of these anachronistic ap- text by Antoine Houdar de la Motte. After interpreted metrical shifts in the Marian proaches to men’s manuscripts with the establishing the expressive and ideological hymn “Ave maris stella” from Monteverdi’s theoretical and methodological scrutiny stakes of this text, which presents the famous 1610 Vespers as invocations of dance and that has recently been applied to women’s biblical encounter between Judith and suggested potential resonances of these sources, arguing for the need to extend Holofernes, Cabrini pointed to differences shifts with the Virgin’s dual theological such scrutiny across gender lines. between the two settings that seem to signal status as both temporal flesh and eternal As this last topic suggests, gender remains rather different perspectives on the young spirit. Moving west (and into the archives), a vital (and vitally open) question in con- female protagonist and her violent deed. Winnie Starke shed light on the 1688 opera temporary musicology: indeed, the question Both of the foregoing sessions conflicted season at Turin, using details from a surviv- was explored from a variety of perspectives with at least two others with relevant papers. ing contract and inventory to reconstruct in several of the seventeenth-century pre- While Hendrik Schulze was discussing affects the relevant theater and to explore the sentations at this meeting. Italy was also a in Cavalli, Arni Ingolfsson was illuminating season’s description as “alla veneziana.” rather prominent theme in 2010, treated the transmission (and transformation) of Saturday’s activities also included a in more than half of the relevant papers, medieval music in seventeenth-century lecture-recital at Christ Church Cathedral, though transalpine studies certainly made Iceland. Examining the Rask 98 manuscript where Elizabeth Kenny introduced, com- up in quality what they lacked in quantity. (DK-Kv), compiled by an anonymous scribe mented on, and performed selections from Overall, participants were offered a rich around 1660, he argued for a connection the ML Lutebook (GB-Lbl Add. 38539), a and stimulating experience. between the archaic nature of its musical collection of English lute music compiled

16 u Vol. 20 No. 2 17th-Century Music The Pamphilj and the Arts continued from page 1 elevation as cardinal in 1681 until his death from an edition prepared by Eleanor Academy in Rome,” and “The Power of in 1730. Participants came not only from McCrickard for the Edizione Nazionale the Word in Papal Rome.” the United States and Canada but also dell’Opera Omnia di Alessandro Stradella Papers on musical topics were given by from Europe, especially Italy. (Pisa: Edizioni ETS; Carolyn Gianturco, Alexandra Nigito, who considered “Carlo The session on the patronage of Innocent general editor). Carolyn spoke about Francesco Cesarini and the Court Music of X, and Camillo and Olimpia, contained a connections between Stradella and the Cardinal Benedetto Pamphilj,” and by Ellen discussion of the intersection of art and Pamphilj family while Eleanor concentrated Harris, who examined the current thought science in baroque Rome, specifically with on characteristics of L’avviso al Tebro giunto. on the relationship between Pamphilj and respect to Bernini’s Four Rivers Fountain, The remaining sessions were devoted to Handel. Connected to her presentation, commissioned by Innocent X. Presentations Cardinal Pamphilj. The first centered on but given at the earlier concert, were several on the role of the Aldobrandini chapel his education at the Collegio Romano and works with texts by Benedetto and music paintings in the Pamphilj art collection his career as a member of the college of by Handel performed by the Boston Early and the Pamphilj’s paintings and telescopes cardinals. The session on his relationship to Music Festival musicians. rounded out the session. the visual arts included a discussion of his The conference proceedings are being Art and music at the wedding of Anna art collection and other precious objects published by the McMullen Museum of Pamphilj (Benedetto’s sister) and Giovanni and material goods; his interaction with Art at Boston College and the University of Andrea III Doria in 1671 was another Roman society, including festivals and Chicago Press and will be available in the topic examined. After a presentation of feasts; and a well-illustrated presentation summer of 2011. For more information, the artistic production for the wedding, of his “Sunflower” carriage and its designer check the conference website, www.bc.edu/ the attendees heard the performance of Giovanni Paolo Schor. The session on schools/cas/finearts/news/pamphilj.html, a cantata composed specifically for the literature introduced the participants to or contact its organizer, Stephanie Leone, wedding by Alessandro Stradella, L’avviso al “The Unpublished Inventories of Cardinal associate professor of Italian Renaissance Tebro giunto, performed by musicians of the Pamphilj’s Libraries,” “Benedetto Pamphilj and baroque art, Fine Arts Department, Boston Early Music Festival (Paul O’Dette as Felicio Larisseo and the Arcadian Boston College, [email protected]. and Stephen Stubbs, artistic directors)

Con la mente e con le mani continued from page 5 with Concerto Vocale, Concerto Italiano, to highlight important contrapuntal lines is not working?” He noted that his keyboard and Cantus Köln) addressed historical and above the bass. (In this connection she cited students seem to learn counterpoint better practical aspects of incorporating plucked Agazzari’s statement that double-harpists at the keyboard than by using traditional strings into the continuo group. Prosser need to know counterpoint very well.) She written exercises. He also emphasized the noted unique challenges faced by archlute also addressed unique aspects of the harp close relationship between basso continuo, and theorbo players in continuo groups, as a continuo instrument in seventeenth- counterpoint, and improvisation, emphasiz- including the varieties of reentrant tunings century Italy, including the usefulness of its ing that each of these activities informs the and the need to recopy or cut and paste very large range, the relationship between other. Schubert concurred, noting that he sheet music to avoid page turns (unlike harp size, register, and textural clarity, and increasingly teaches counterpoint through keyboard players, lutenists must stop playing the harp’s frequent use in both opera singing and playing rather than through to turn a page). Commenting on the recent and church music. Bellotti noted that he written exercises. Andreas Schiltknecht, of trend toward large, heterogeneous con- emphasizes to his organ students that “less the music theory faculty of the University tinuo groups, Galassi drew upon Agazzari is more” in organ continuo playing, and of Mannheim, affirmed the value of and Landi in emphasizing the importance that for balancing a complete harmony improvised counterpoint for ear training of avoiding the “soup” created by everyone with textural clarity, three voices rather and keyboard skills for undergraduate playing the same thing all the time. She than four usually suffice. students. More information on the confer- instead advocated thoughtfully assigning In the concluding discussion on “rethink- ence, including photographs, is available the members of the continuo group to ing counterpoint and improvisation at the at www.albengamusica.it/counterpoint/ different rhythmic, textural, and registral keyboard,” Bellotti suggested that teachers Program.html. layers, including the use of plucked strings continue to ask “what is working and what

Except for the Newsletter, the Society is moving toward exclusively electronic communication with members . If you would prefer to receive communication through the U.S. postal service, please notify Antonia Banducci, the Society’s secretary, at University of Denver, Lamont School of Music, Room 319, 2344 East Iliff Avenue, Denver, CO 80208.

Vol. 20, No. 2 17th-Century Music u 17 MEMBERSHIP DIRECTORY

Ahn, Dongmyung [email protected] Fitch, Frances C. [email protected] Ahrendt, Rebekah [email protected] Fleck, Stephen [email protected] Alms, Anthony Fontijn, Claire [email protected] Anderson, Edward [email protected] Fox, Deborah [email protected] Atkin, Paul [email protected] Frandsen, Mary E. [email protected] Austern, Linda [email protected] Freeman, Geremy Bacciagaluppi, Claudio [email protected] Freitas, Roger [email protected] Badolato, Nicola [email protected] Fuller, David [email protected] Baillargeon, Katie [email protected] Gable, Frederick K. [email protected] Ballantyne, Abigail [email protected] Garrepy, Stacey A. [email protected] Ballard, Mary Anne [email protected] Getz, Christine [email protected] Banducci, Antonia L. [email protected] Gialdroni, Teresa [email protected] Barnett, Greg [email protected] Gianturco, Carolyn [email protected] Bates, James [email protected] Gibson, Jonathan B. [email protected] Beck Seder, Kimberly [email protected] Glixon, Beth L. [email protected] Beeks, Graydon [email protected] Glixon, Jonathan E. [email protected] Belgrano, Elisabeth [email protected] Godzieba, Anthony J. [email protected] Bloechel, Olivia [email protected] Goulet, Anne-Madeleine [email protected] Bloomfield, Ruta [email protected] Grall, Jeremy [email protected] Bonczyk, Patrick [email protected] Green, Robert A. [email protected] Bonta, Stephen [email protected] Griffin, Thomas [email protected] Brewer, Charles E. [email protected] Griffiths, John [email protected] Brosius, Amy Griffiths, Sarah [email protected] Brothers, Grey [email protected] Grundy, David M. [email protected] Broude, Ronald [email protected] Guido, Massimiliano [email protected] Brown, Jennifer Williams [email protected] Gustafson, Bruce [email protected] Burgess, Geoffrey Hammond, Susan Lewis [email protected] Cabrini, Michele [email protected] Hanning, Barbara Russano [email protected] Calcagno, Mauro [email protected] Haramaki, Gordon [email protected] Cama-Lekx, Rachel [email protected] Hardeman, Anita [email protected] Carter, Stewart [email protected] Hargis, Ellen [email protected] Carter, Tim [email protected] Harness, Kelley [email protected] Cassaro, James P. [email protected] Harris, Lucas [email protected] Chappell Stowe, John [email protected] Harris-Warrick, Rebecca [email protected] Cheney, Stuart G. [email protected] Hathaway, Janet J. [email protected] Chung, David [email protected] Hayes, Aaron A. [email protected] Clinkscale, Martha Novak [email protected] Hayes, Eileen Cockburn, Neil [email protected] Heller, Wendy [email protected] Collins, Denis [email protected] Henson, Stanley Matthew [email protected] Cowart, Georgia [email protected] Herczynski, Andrzej [email protected] Criscuola de Laix, Esther [email protected] Herl, Joseph [email protected] Crist, Stephen A. [email protected] Heyer, John Hajdu [email protected] Crook, David [email protected] Higbee, Dale Cypess, Rebecca rebecca.cypess@newenglandconservatory. Higney, John [email protected] edu Hill, John Walter [email protected] Daolmi, Davide [email protected] Hill, Moira Leanne [email protected] Davenport, Mark [email protected] Hines, Edith [email protected] Davies, Drew [email protected] Holzer, Robert [email protected] De Lucca, Valeria [email protected] Houston, Kerry [email protected] Dean, Alexander [email protected] Ip, Anita [email protected] DeFord, Ruth [email protected] Ipson, Douglas [email protected] DeSimone, Alison [email protected] Jeanneret, Christine [email protected] Dirst, Matthew [email protected] Jensen, Claudia [email protected] Dolata, David [email protected] Jensen, Niels Martin [email protected] Douglass, David [email protected] Jocoy, Stacey [email protected] Dubowy, Norbert [email protected] Johnson, Lani [email protected] Dunn, Thomas D. [email protected] Johnson, Lindsay [email protected] Durand, Romain [email protected] Johnston, Gregory [email protected] Eggert, Andrew [email protected] Judd, Robert [email protected] Eive, Gloria [email protected] Kang, YouYoung [email protected] Ellis, Bronwyn [email protected] Kauffman, Deborah [email protected] Erickson, Raymond [email protected] Kellman, Herbert [email protected] Fabris, Dinko [email protected] Kenley, McDowell [email protected] Farson, Helen [email protected] Kennedy, S. J., T. Frank [email protected] Faulker, Quentin [email protected] King, Jennifer [email protected] Filiano, Ken [email protected] Kite-Powell, Jeffery [email protected] Fisher, Alexander [email protected] Klaper, Michael [email protected]

18 u Vol. 20 No. 2 17th-Century Music Kolb, Richard [email protected] Ruiter-Feenstra, Pamela [email protected] Kurtzman, Jeffrey [email protected] Sadler, Graham [email protected] Kyle, Sara Ruhle [email protected] Sagrans, Jacob [email protected] Ladewig, James L. [email protected] Sanford, Sally [email protected] Lamothe, Virginia [email protected] Saunders, Steven [email protected] Lanfossi, Carlo Giorgio [email protected] Sawkins, Lionel [email protected] Laurel, Heather [email protected] Schleuse, Paul [email protected] Lawrence, Arthur [email protected] Schnoebelen, Anne [email protected] Lawrence-White, Stephanie [email protected] Schrader, David [email protected] Ledbetter, David [email protected] Schroder, Jaap Leonard, Charlotte [email protected] Schulenberg, David [email protected] Leve, James [email protected] Schultz von Dratzig, Theda Ingrid [email protected] Lin, Thomas [email protected] Schultze, Andrew [email protected] Linfield, Eva [email protected] Schulze, Hendrik [email protected] Livingston, Donald Schwindt, Joel [email protected] Losleben, Katrin [email protected] Scott, Allen [email protected] Lowerre, Kathryn [email protected] Scott, Darwin F. [email protected] Lyman, Anne [email protected] Selfridge-Field, Eleanor [email protected] Mahesh, Ruth Serna, Phillip [email protected] Malafronte, Judith [email protected] Settles, Tony Mangsen, Sandra Shaddock, Carroll and Dorothea [email protected] Marsh, Carol G. [email protected] [email protected] Matsumoto, Naomi [email protected] Shanti, Aliyah [email protected] McCrickard, Eleanor [email protected] Shay, Robert [email protected] McGinnis, Katherine Tucker [email protected] Shimp, Susan P. [email protected] McMullen, Dianne M. [email protected] Silbiger, Alexander [email protected] Medicky, Borys [email protected] Simpson, Robert A. Merrill, Tom [email protected] Smith, Brenda [email protected] Mikush, Jeremy [email protected] Snyder, Kerala J. [email protected] Miller, D. Douglas [email protected] Sparti, Barbara [email protected] Miller, Stephen R. [email protected] Stein, Beverly [email protected] Mitchell, Mimi [email protected] Stein, Louise K. [email protected] Moersch, Charlotte Mattax [email protected] Stephanus, Christine [email protected] Montford, Kimberlyn [email protected] Stevens, Jane [email protected] Moore-Broatman, Catherine [email protected] Stilwell, Kenneth [email protected] Munjee, Kaneez [email protected] Stoupakis, Alexandros [email protected] Murata, Margaret [email protected] Suess, John G. [email protected] Narvey, Benjamin [email protected] Thompson, Shirley [email protected] Nelson, Jocelyn [email protected] Tilley, Janette [email protected] Nevile, Jennifer [email protected] Timms, Colin [email protected] Noonan, Jeffrey [email protected] Trantham, Gene S. [email protected] Nordstrom, Lyle & Patricia [email protected] Treadwell, Nina [email protected] Norman, G. Buford [email protected] Tritton, Stephanie [email protected]. Oberlander, Brian [email protected] ac.uk Olivieri, Guido [email protected] Udovich, JoAnn [email protected] Olson, Greta [email protected] Vanscheeuwijck, Marc [email protected] Ossi, Massimo [email protected] Waczkat, Andreas [email protected] Owens, Samantha [email protected] Wagner, Leonora [email protected] Page, Janet K. [email protected] Wainwright, Jonathan P. [email protected] Paquette-Abt, Mary Walden, Olga [email protected] Parisi, Susan [email protected] Walker, Paul [email protected] Parke, Kimberly [email protected] Walkling, Andrew R. [email protected] Pascal, Pierre [email protected] Weaver, Andrew H. [email protected] Plank, Steven [email protected] Welter, Kathryn [email protected] Pollack, Janet [email protected] Wentz, Jed [email protected] Porter, William V. [email protected] Werbeck, Walter Potter, Christine Kyprianides [email protected] Whenham, John [email protected] Poulos, Peter [email protected] White, Bryan [email protected] Pruiksma, Rose A. [email protected] Wilbourne, Emily [email protected] Purciello, Maria A. [email protected] Williams, Carla [email protected] Ranzini, Paul L. [email protected] Williams, Sarah [email protected] Reardon, Colleen [email protected] Winkler, Amanda Eubanks [email protected] Renken, Alice Brin [email protected] Wintle, James [email protected] Ridgway, Lee [email protected] Wissner, Reba [email protected] Rifkin, Joshua [email protected] Woolley, Andrew [email protected] Rosow, Lois [email protected] Zaslaw, Neal [email protected] Roth, Marjorie Zikanov, Kirill [email protected] Roule, Natasha Zuchowicz, Barbara zuchowicz.viols@sympatico.ca Ruhl, Deborah [email protected] Zuluaga, Daniel [email protected]

Vol. 20, No. 2 17th-Century Music u 19 Graphics: Page 1: Pamphilj crest, calendar year (2011) and are as follows: Page 3: Mahidol University crest, • SSCM + American Heinrich Schütz Society, regular membership, $65 Page3: College of Music, Mahidol University, < h t t p : // • SSCM + AHSS membership for retirees/pensioners, $55 www.music.mahidol.ac.th/en/about/facilities/facili- • SSCM + AHSS student membership, $45 ties_overview.php> • SSCM + American Heinrich Schütz Society, institutional membership, $70 Page 4: Campra image, Dues for individual membership in SSCM only may also be paid in advance and are exempt from any Page 5: Woman Playing the Virginal, Jan Miense Molenaer further rise in rates: (Dutch, 1610–1668), ca. between 1630 and 1640, Rijksmuseum Amsterdam, Amsterdam, < http:// • SSCM only for 2011 + 2012, $50 commons.wikimedia.org/wiki/File:Jan_Miense_ • SSCM only for 2011 + 2012 + 2013, $75 Molenaer_002.jpg> Page 8: Violin, Joachim Tielke (1641–1719), ca. 1685, Dues in U.S. dollars must be paid by check, payable to “The Society for Seventeenth-Century Music.” Hamburg, Germany, < http://www.metmuseum.org/ Please send a note and your payment to the vice president: works_of_art/collection_database/musical_instru- Prof. Kimberlyn Montford ments/violin_joachim_tielke/objectview_enlarge.aspx Vice President, SSCM ?page=227&sort=0&sortdir=asc&keyword=&fp=1&dd1 Trinity University =18&dd2=0&vw=1&collID=18&OID=180015212&vT=1 Department of Music &hi=0&ov=0> One Trinity Place Page 9: Map of Kassel, Page 9: Schütz image, < http://commons.wikimedia.org/ Telephone: +1 (210) 999-8214 wiki/File:Heinrich_Schütz_2.jpg> fax: +1 (210) 999-8170 (attn: Montford) Page 12: Metropolitan Museum of Art, New York City, Email: [email protected] <{{Information |Description= Metropolitan Museum of Art entrance NYC |Source=self-made |Date= May 11th, Our Internet PayPal account is available only to international members and requires a service charge of 2007 |Author= User:Arad }} )> $1.00 US. If you come from outside the U.S., please contact the treasurer for instructions: Page 14: Musical Instruments, Evaristo Baschenis (1617–1677), Musée Royal des Beaux-Arts, Antwerp, Prof. Susan Lewis Hammond Belgium, < http://www.artrenewal.org/asp/database/ Treasurer, SSCM image.asp?id=21406 {{PD-art}})> School of Music, University of Victoria Page 15: Music-Making Company, Jan van Bijlert P.O. Box 1700 STN CSC (1597–1671), c. 1629, Academy of Fine Arts, Vienna, Victoria, BC V8W 2Y2 Telephone: +1 (250) 721-7909 Fax: +1 (250) 721-6597

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