TheThe NewsletterNewsletter ofof the the SocietySociety for for Seventeenth-Century Seventeenth-Century Music Music Vol. Vol. 27, 23, No. No. 2, 2, Spring Spring 20182014

Sicut erat in principio—Recollections of Our Society’s Origins

By Jeffrey Kurtzman passed to Ray Robinson, President of Center for Early Keyboard Studies.7 At this Westminster Choir College in Princeton, festival the Chapter discussed concerns Jeffrey Kurtzman, Professor of Music at New Jersey.3 It is obvious from the Chap- raised by the chairman about the Chapter’s Washington University, was the founding ter’s newsletter, The Archer (first issued in small membership and its future direc- President of SSCM. January 1984), that in 1983–85 the Chap- tions.8 The following year, the editorship of s the Society for Seventeenth- ter enjoyed a resurgence, marked by an The Archer was entrusted to Gina Spa- Century Music moves into its international Heinrich Schütz Festival at gnoli, a graduate student at Washington A second decade, I thought it useful Westminster Choir College and Princeton University in St. Louis, who was working to describe our origins before conveying University in 1983; the appointment of an on a dissertation on Schütz’s letters.9 the relevant documents from my files to advisory board at the beginning of 1984;4 In 1987, while attending the AMS na- our archives and before my memory fades the founding of The Archer; and planning tional meeting in New Orleans, I was ap- altogether.1 The history of the Society is for an annual performance-practice work- proached by Virginia Hancock, at the time inseparable from the history of the Amer- shop (which seems never to have mate - teaching at Indiana State University in ican Chapter of the International Heinrich rialized). Another Schütz Festival was held Terre Haute. A meeting of the American Schütz Society, out of which it was formed in 1985, celebrating the four hundredth an- Chapter of the Heinrich Schütz Society in 1992, so that is where I shall begin. niversary of the composer’s birth, at the Uni- continued on page 2 The American Chapter of the Interna- versity of Illinois at Urbana-Champaign.5 tional Heinrich Schütz Society, based at The same year Ray Robinson was again 7 Bärenreiter-Verlag in Kassel, Germany, elected Chairman of the Chapter, Carroll The Archer 4, no. 1: 2; and 5, no. 1: 1, 5. 8 was founded in St. Louis, Missouri, in Shaddock, a Houston attorney, was se- The Archer 3, no. 2 (Fall/Winter 1986): 2; and 4, no. 1: 2. connection with Concordia Publishing, a lected as Vice Chairman and General 9 The Archer 3, no. 1: 5. Lutheran publishing house still located in Counsel, and D. Douglas Miller of Penn- St. Louis. The establishment of the chapter sylvania State University was chosen as had been stimulated by a tour featuring Secretary-Treasurer. The drafting of By- In This Issue . . . music of Schütz by the Westfälische Kan- laws was also initiated for approval at the torei in the US in 1961. In 1962 Karl Vöt- next Chapter meeting, held in June 1987 at News of the Society terle, president of Bärenreiter-Verlag, a festival entitled “From Scheidt to Buxte- Historical Reflections: asked Edward Klammer, who was at the hude: German Music in the Seventeenth Jeffrey Kurtzman 1 time head of the music department of Con- Century,” celebrating the 400th anniver- cordia Publishing, to organize an Ameri- sary of the birth of Scheidt and the 350th Bruce Gustafson 3 can Chapter of the International Heinrich anniversary of the birth of Buxtehude.6 Barbara Russano Hanning 4 Schütz Society and serve as its chairman, This festival took place at Wellesley Col- President’s Message 2 resulting in the subsequent formation of lege under the sponsorship of the Westfield WLSCM New Publications 6 2 the Chapter in 1963 or 1964. At the end SSCM 2019 Call for Papers 7 of 1983, Klammer retired, and on 1 Janu- 3 JSCM New Issue 8 ary 1984 the leadership of the Chapter The Archer, 1, no.1: 1. 4 Members of the advisory board were Paul SSCM Business Meeting 10 Brainard, George Buelow, J. Merrill Knapp, Artis musicae periti 16 1 I am grateful to Virginia Hancock and Alfred Mann, Gordon Paine, Joshua Rifkin, and Kerry Snyder for their recollections and assis- Christoph Wolff. Reports and Reviews tance with details of this essay. 5 The Archer 1, no. 1: 1–2; 2, no. 1 (January/ Les italiens à Paris 9 2 The Archer 1, no. 1 (January 1984): 2. The February 1985): 2; 2, no. 2 (July/August 1985): Chairman’s Column indicates that the Ameri- 1–4; and 3, no. 1 (Spring/Summer 1986): 1. The Thomas Selle in Hamburg 11 can Chapter was founded in 1963, but the new University of Illinois festival was under the di- Heinrich Schütz in Marburg 12 By-laws of the Chapter, passed in 1987 and rection of Chester Alwes and Herbert Kellman. AMS 2017: Rochester, NY 13 published in The Archer 5, no. 1 (Spring/ 6 The Archer 3, no. 1: 2, 6; 4, no. 1 (Spring/ Summer 1988): 7, state that the Chapter was es- Summer 1987): 3; and 5, no. 1 (Spring/Summer tablished in 1964. 1988): 1, 5. 

Vol. 27, No. 2, 17th-Century Music  1 Seventeenth-Century Music is the semi-annual President’s Message newsletter of the Society for Seventeenth- Century Music. In addition to news of the Society, its members, and conferences, the new year dawns and with it changes Newsletter reports on related conferences, to the tax code that have the poten- tial to significantly decrease char- musical performances, research resources, and A grant opportunities. Please send inquiries or itable giving, a matter of concern for the material for consideration to the editor: sustainability of all nonprofit organiza- tions, including our Society. We depend Esther Criscuola de Laix not only on members’ dues but also on A-R Editions their donations to sustain our many activ- 1600 Aspen Commons, Suite 100 ities, including the Journal, the Web Li- Middleton, WI 53562 brary, the travel grants, and the Irene Alm Phone: (608) 203-2567 Prize. Despite these changes, I continue to Fax: (608) 831-8200 have every confidence that our members [email protected] will continue to support this Society as Please note that information for the next issue generously as they have in the past. must be submitted by August 20, 2018. Our 2018 annual meeting in Boulder, ISSN: 1054-6022 Colorado on 19–22 April promises intel- lectual stimulation and musical and natural Layout and Design beauty in equal measure, both in the sched- Donna Gorman, Frannie Lyons, ule of presentations and concerts and in the Colleen Reardon and Lance Ottman physical setting itself. The program is now The Society for Seventeenth-Century Music is up on the SSCM website, along with infor- we are promised a lavish buffet that will a learned society dedicated to the study and mation on registration, hotel reservations, cater to all tastes—carnivore, gluten-free, performance of music of the and travel. The registration fee will be and vegetarian—with one free alcoholic seventeenth century. slightly higher this year than it has been in drink included and a cash bar for those past years, but it will include a Thursday who wish to indulge. I hope to see a great Governing Board (2015–2017) evening reception (with plenty of food and many of you in the Centennial State this Colleen Reardon, president one alcoholic beverage) and concert, bus Spring. University of California, Irvine service and a ticket to the Quicksilver con- And speaking of conferences, we still [email protected] cert on Friday evening, one continental and need a site for our 2020 meeting. If you Rose Pruiksma, vice president two full breakfasts, as well as coffee and would like to host a conference, the University of New Hampshire beverages during breaks in the conference. Governing Board would be very interested [email protected] As in previous years, the banquet on Sat- in hearing from you. Maria Anne Purciello, treasurer urday evening will be a separate item, but Colleen Reardon University of Delaware [email protected] Rebecca Cypess, secretary Rutgers University Sicut erat in principio continued . . . [email protected] continued from page 1 man music. As evidence she cited articles Mary Frandsen, chair, American Heinrich had just been held at the convention, and on Italian subjects in the Schütz Jahrbuch. Schütz Society she had been appointed chair of a nominat- After considerable persuasion by both, I University of Notre Dame ing committee. In that meeting, similar finally agreed to run in the election of [email protected] concerns to those raised earlier by Ray officers to be held January of 1988. Arne Spohr, member-at-large Robinson had been expressed: the small As fate would have it, I won by a few Bowling Green State University membership (at that time about 35, divided votes and took up the task, together with [email protected] approximately evenly between musicolo- the other officers elected according to gists and choral directors) and the direction the new By-laws: Eva Linfield as Vice- Honorary Members and future of the Chapter. In response to Chairman, Douglas Bush as Secretary- Stephen Bonta† those issues, she, and subsequently George Treasurer, and Craig Westendorf as Tim Carter Buelow, a member of the board, urged me Membership Officer. By that time Gina Bruce Gustafson to run for Chairman of the Chapter in the Spagnoli had completed her Ph.D. at Barbara Russano Hanning forthcoming election. I protested that I was Washington University and had left St. Jeffrey Kurtzman an Italophile and knew very little about Louis, so I asked Paul Walker to become Alfred Mann† Schütz, but she reminded me that Schütz the new editor of The Archer. The Archer Carol G. Marsh Margaret Murata had studied with Giovanni Gabrieli and resumed publication with vol. 5, no. 1 Anne Schnoebelen Monteverdi and assured me that the inter- (Spring/Summer 1988), which contained Alexander Silbiger ests of the Chapter and the Heinrich the new By-laws, a report on the Wellesley Kerala Snyder Schütz Society were much broader than Festival, and my first Chairman’s Column. just Schütz—even, indeed, than just Ger- continued on next page 2  Vol. 27, No. 2, 17th-Century Music Historical Reflections, 1997–2000 By Bruce Gustafson Dakota in Vermillion (2000). Each of these conferences was dif- President of SSCM, 1997–2000 ferent in style and content, but each was truly successful because of all the teamwork that our members provided. lthough my term as President of SSCM didn’t begin until A major preoccupation during my term was making our Jour- the spring of 1997, I had been involved from the very nal, under the able editorship of Kerala Snyder, a stable entity. A beginning. I remember giving a paper on a French topic When I assumed office, there were two issues of JSCM up—at that at the 1991 meeting of the American Heinrich Schütz Society at time hosted on a server at Harvard. The third issue, my first as Re- the Eastman School of Music, as part of an effort to broaden the views Editor, went up in late 1997 and consisted exclusively of re- scope of that Society and ultimately turn it into the SSCM we views. Not long thereafter an enthusiastic review appeared in know today. I had other involvements with SSCM both before and Notes (March 1998), commenting that “the interesting topics and after my time as President, especially with our Journal, serving as elegant prose of the first three articles offer tantalizing pictures of JSCM’s Reviews Editor from 1995 to 2003, and then as Editor-in- the century and its music.” In 1999 SSCM began budgeting for the Chief from 2003 to 2010. I served on the program committee for expenses of JSCM. the 1995 conference at Centre College and went on to chair that Other business that occupied our time during my presidency committee for the meetings at Wellesley College the following concerned the frequency of our meetings. In 1998 the Board con- year. After my presidential term was over, I hosted SSCM at sidered making the spring conferences biennial but concluded that Franklin & Marshall College in 2001. there was sufficient interest to support annual gatherings. Simi- When I penned my first presidential column for the Spring larly, we considered switching the official business meeting from 1997 edition of our Newsletter, I began with some general obser- the fall AMS conference to our own spring conference (which we vations about what made SSCM great: later did), but at that time still felt that we were more likely to have One of the primary reasons that I have enjoyed participating in this a greater attendance in the fall. In another case of rejecting an idea venture, and agreed to stand for election to its Presidency, is the gen- that was to be implemented later instead, we considered more than uine collegiality that has permeated all of its operations. Meetings of one system for staggering the terms of elected officers. In the its committees and boards have the same spirit of easy cooperation spring of 1998, we established a cash award to honor an outstand- and mutual respect that one finds in the discussions following papers ing student paper. The award was then $200, to support attendance at our conferences. In my vision of the immediate future, the top pri- at the following SSCM conference, but it subsequently grew into ority will be to maintain that atmosphere as we continue to mature as the Irene Alm Prize, currently providing $750. We also agreed to a scholarly society. provide funds to the host of a conference to support a special event In my opinion, we have been successful in continuing that tradi- that the host institution could not provide on its own and that tion, with a minimum of bureaucracy and a maximum of scholarly would otherwise make the registration fee unreasonably high. Our exchange. listserv, SSCM-L, was established in 1997–98, initially moderated I was involved with four spring conferences during my stint as by Darwin Scott. We also began to budget for some publicity ef- President: Florida State University in Tallahassee (1997), the Uni- forts on behalf of the Society, including printing a brochure, and versity of Illinois at Urbana-Champaign (1998), the University of we established our own domain names. All in all, SSCM continued Virginia in Charlottesville (1999), and what was then known as to mature, adding systems to stabilize our operations, but not “America’s Shrine to Music Museum” at the University of South losing sight of remaining a collegial group of scholarly musicians.

Sicut erat in principio continued . . . continued from previous page the AMS convention, this time in Balti- Newsletter of the American Heinrich At this time I also began, with the assis- more.11 At that meeting the decision was Schütz Society. Planning also began for a tance of the legal office at Washington taken, at George Buelow’s recommenda- small conference that I was to host at University, the process of securing a fed- tion, to rename the Chapter the American Washington University in St. Louis in late eral ID number and tax-exempt status for Heinrich Schütz Society. At Kerala Sny- April of 1990. In addition, at the sugges- the Chapter. This eventually proved to be der’s suggestion, it was decided to change tion of George Buelow, the Chapter re- a long, arduous process, delayed until the name of the newsletter to Schütz Soci- solved to combine with the American Bach after the formation of the Society for ety Reports in order to represent more Society and the Handel Society (the Seventeenth-Century Music, and compli- accurately the focus of the organization. Handel Society later dropped out) for a cated by the fact that SSCM was an out- The first issue of vol. 6 (Fall 1989) carried joint conference at Columbia University in growth of a longstanding organization that the masthead Schütz Society Reports: New York City in late April of 1992.12 This already had a history and an income, re- continued on page 5 quiring past financial information that was exempt effort in 17th Century Music 2, no. 2 hard to come by.10 (Spring 1993): 5. The process was finally com- 12 The program for the 1992 joint meeting is In November 1988 the American Chap- pleted by Paul Walker during his term as the found in 17th Century Music 1, no. 2: 5–6. Ab- ter once again held its annual meeting at first Treasurer of SSCM. stracts of papers presented at this meeting were 11 The minutes of the annual meeting and published in 17th Century Music 2, no. 1 (Fall 10 See 17th Century Music 1, no. 2 (Spring the reports of officers are all contained in The 1992): 9–13; and Newsletter of the American 1992): 3, and the report on progress of the tax- Archer 5, no. 2 (Spring 1989). Bach Society (Spring 1992), 3–6. Vol. 27, No. 2, 17th-Century Music  3 Reflections from the First POTS (President of the Society) by Barbara Russano Hanning President of SSCM, 1993–96

t the general meetings of the American Musicological Soci- ety held in Chicago in November 1991, the group known Aas the American Heinrich Schütz Society, under the lead- ership of Jeffrey Kurtzman, sponsored a gathering of scholars in- terested in forming a new society that would attract and embrace those engaged in researching the music and culture of the broader seventeenth century, which they considered was not well repre- sented in the AMS. Interest in and enthusiasm for such a venture was palpable: more than 70 people signed the attendance sheet at that informal meeting. Jeff narrated the details of the formation of the new Society for Seventeenth-Century Music and the restruc- tured American Heinrich Schütz Society in the Spring 1993 issue of this Newsletter, his last as Chair, which is now archived on the SSCM website. A new slate of officers was elected, including me as President, Barbara Coeyman as Vice President, and Beth Glixon and Paul Walker as Secretary and Treasurer, respectively. To some extent, our election represented the expanded interests of the so- ciety, with only Paul Walker being a “holdover” from the AHSS. The annual dues schedule of the fledgling Society was a modest $10; clearly, it was hoping to operate on a shoestring budget. In my first column as President in this Newsletter (Fall 1993), I noted that the SSCM conference held in St. Louis the previous April was attended by approximately 50 people, who heard ses- sions relating to French, German, and Italian topics, including the- ater music, women’s studies, philosophy, theory and composition, and biography. Other session topics, touching on music iconogra- phy, dance, and performance practice, made their appearance at Moon over Monteverdi, whose head was projected nightly onto subsequent meetings. At that St. Louis meeting (April 1993), we Cremona’s Town Hall in honor of the celebration of the 450th also began talking about establishing a scholarly online journal, anniversary of his birth. which was ably shepherded into existence a few years later by Kerry Snyder. As you may know, the Journal has just published its twenty-third volume. years have witnessed not only the rapid maturation of the SSCM Since its inception, the Society has tripled in membership to but also, I believe, the “coming of age” of Monteverdi studies in 234. At the latest annual conference (its twenty-fifth), which took North America, furthered by a number of our members—Kurtz- place in 2017 in Providence, Rhode Island, there were approxi- man, Ossi, Tim Carter, Ellen Rosand, and others. But Monteverdi mately 83 attendees, and paper sessions ranged from print culture studies represent only a small sampling of the research and pub- to science, from bodies and gesture to improvisation. It seems rea- lication in wide-ranging fields of seventeenth-century music ac- sonable to assert, then, that the Society continues to cast a broad tively pursued in our Society. For example, the Society can boast net and to attract scholars on the cutting edge of research. Regular of significant and prize-winning works by its members in the mu- dues are now a mere $40 ($30 for students) and our membership sic of seventeenth-century France (Georgia Cowart), Spain (Louise is flourishing while still operating on a shoestring budget. Stein), England (Linda Austern), Germany (Kerry Snyder), and In closing, I ask your indulgence for some brief personal re- Mexico (Drew Edward Davies). And, with apologies to colleagues flections: 1993, my first year as President, was also the year mark- not named, I acknowledge that this list is far from complete! De- ing the 350th anniversary of the death of Claudio Monteverdi, with spite these successes, however, I think we can take even greater celebrations in Mantua and elsewhere honoring the first great com- pride, collectively, in knowing that we have remained a society poser of the seventeenth century. Nearly a quarter of a century that welcomes and nurtures young scholars in whatever area of later, in 2017, I was privileged to participate in events in Cremona seventeenth-century music they are engaged, and that its reputation and Mantua that celebrated the 450th anniversary of Monteverdi’s for constructive criticism and friendly discussion is unparalleled. birth. (See my photo, taken in Cremona last June.) The intervening Long may it thrive!

4  Vol. 27, No. 2, 17th-Century Music Sicut erat in principio continued . . .

continued from previous page getting to know one another, socializing conference was held at the Eastman joint conference reflected the wishes of the together, and hearing one another speak. School of Music, organized by Kerry membership, as expressed at the Baltimore As much time was reserved for discussion Snyder, assisted by Massimo Ossi. The meeting, to expand the Chapter’s scholarly as for the papers themselves, and the dis- theme of this conference was “Stylistic scope beyond Schütz to music of Germany cussion was one of the most stimulating Differentiation in 17th-Century Music” and German music “in the context of aspects of the meeting. At this time, and featured ten papers.21 Thanks to the its neighboring cultures.”13 By the end of the practice of an annual banquet as a support of faculty and students from the 1988, our membership had grown to 63 culminating event of the conference was Eastman School and the University of individuals and 20 universities and other established. Rochester, it was a much bigger event than organizations.14 In the fall of 1990 the Schütz Society the St. Louis meeting had been.22 The next American Heinrich Schütz So- again met at AMS, that year in Oakland, In pursuit of the Schütz Society’s wish ciety meeting took place during the AMS and once more sponsored a study session, to schedule a meeting of interested schol- convention in Austin, Texas, in 1989.15 At this time entitled “Theory and Analysis ars to discuss the desirability of forming that gathering new Articles of Association in Seventeenth-Century Music.”19 The a new, broader society, I assembled a list were passed, a preliminary requirement to Secretary-Treasurer’s report indicated a of American and Canadian scholars who obtaining 501(c)(3) tax-exempt status.16 At membership of 49 individuals and 15 in- had written dissertations in seventeenth- this meeting, it was agreed that broadening stitutions. But in contrast to the previous century music, had published on topics our focus to seventeenth-studies in general year, attendance at the study session was relating to seventeenth-century music, or would give the society a more prominent disappointing. We debated the problem of otherwise known to be interested in our profile. Membership was at ca. 58 by the attracting members to the Schütz Society field. The list was longer than I had end of October, though many ongoing and to our study session and agreed that expected—some 345 names. I contacted members had still not paid dues, so that the Schütz name itself was unfortunately a by phone some of those I personally knew, our anticipated membership base was as deterrent, suggesting narrow interests for who all expressed considerable interest in many as 25 larger. Nevertheless, the in- the Society and its events. Instead of pro- forming a society devoted to seventeenth- creasingly musicological directions of the gramming a study session for the next century music, since we generally felt that Society had resulted in the loss of many of AMS meeting in Chicago, we decided to our period had been neglected by journals, the choral directors who had previously try to schedule a meeting there of scholars publishers, and musicological organiza- been interested and active in the organiza- interested in seventeenth-century music to tions. Moreover, it was clear that despite tion. Concerns about the need for more in- explore the formation of a new society de- the fact that many of us knew one an- teraction between theory, performance, voted to all aspects of music of the period. other’s names and occasionally heard one and practice led to an effort to schedule a We also voted to change forthwith the another’s papers at an AMS meeting, at the joint meeting with the American Choral name of the newsletter from Schütz Society biennial British Baroque Conference, or at Directors’ Association for 1991. In addi- Reports to 17th Century Music. Paul the biennial conferences of the Como tion, as part of the AMS convention, the Walker had resigned as newsletter editor chapter of Antiquae Musicae Italicae Stu- Schütz Society held an evening study with the Fall 1990 issue, and Steven Saun- diosi, most of us had very little communi- session on the subject of cross-influences ders became the new editor with vol. 7, no. cation with one another. between Italian and German music in the 2.20 At this meeting, another conference The Local Arrangements Committee of seventeenth century, attended by 30–40 was approved at Washington University in the 1991 AMS convention in Chicago was people.17 St. Louis for April of 1993, commemorat- agreeable to our meeting, and we were The conference in St. Louis in April ing the 350th anniversary of the death of scheduled for 9:00–10:00 a.m., Thursday, 1990 had the same theme as the study Claudio Monteverdi, but not limited to that 7 November 1991, with the Schütz Society session in Austin: “Cross-currents between topic. meeting to follow from 10:00–11:00 a.m., Italian and German Music in the Seven- The hoped-for joint conference with the before the AMS conference itself opened. teenth Century.” It was an intimate, American Choral Directors’ Association Notices were sent out to all those individ- friendly conference, with nine papers, and never materialized, but in April 1991, a uals whose names had surfaced on the list was considered a success.18 We enjoyed second American Heinrich Schütz Society continued on page 6

13 The Archer 5, no. 2: 3. 14 Ibid. Westendorf, and Gary Zink. A flyer announcing 21 The presenters were Charles Brewer, 15 The minutes of this meeting were pub- the conference was inserted in Schütz Society Geoffrey Chew, Wilfred Foxe, Bruce Gustaf - lished in Schütz Society Reports 6, no. 2 (Spring Reports 6, no. 2; a conference report, complete son, Eva Linfield, Massimo Ossi, Beverly 1990): 3–4. with abstracts of all papers, was published Stein, Kathryn Welter, Peter Wollny, and Jeffrey 16 The Articles of Association were pub- in Schütz Society Reports 7, no. 1 (Fall 1990): Kurtzman. See Schütz Society Reports 7, no. 1: lished in Schütz Society Reports 6, no. 2: 4. 10–13. 2; and Schütz Society Reports 7, no. 2: 2–3. 17 Schütz Society Reports 6, no. 1 (Fall 19 The minutes of the meeting were 22 A list of papers was published in Schütz 1989): 1; and 6, no. 2: 2. published in Schütz Society Reports 7, no. 2 Society Reports 7, no. 2: 3; a report on the 18 Papers were given by Charles Brewer, Eva (Spring 1991): 3–4. meeting by Eva Linfield, together with full ab- Linfield, Massimo Ossi, Steven Saunders, Ker- 20 This issue, through no fault of Steve’s, stracts, was published in the new newsletter ala Snyder, John Suess, Paul Walker, Craig was erroneously labeled vol. 8. 17th Century Music 1, no. 1 (Fall 1991): 2–9. Vol. 27, No. 2, 17th-Century Music  5 Web Library Announces New Publications The Web Library of Seventeenth-Century Music (ISSN 2330- are two transposed versions to facilitate performance. View the 2429) is pleased to announce several new editions in its open- edition at http://www.sscm-wlscm.org/main-catalogue/browse-by access collection of peer-reviewed scores. -composer/406-villancicos-about-music-from-seventeenth WLSCM No. 31 brings together seven settings of Francesco -century-spain-and-new-spain-1. Maria Paglia’s cantata text A voi che l’accendeste, first docu- Call for Submissions mented in Rome 1692. Composers in this collection include Gio- The Web Library of Seventeenth-Century Music invites proposals vanni Lorenzo Lulier, Giacomo Perti, Carlo Pollaroli, Alessandro for editions of music to join the growing collection available on- Scarlatti, Giovanni Bononcini, Antonio Mangiarotti, and Filippo line. Editions are peer-reviewed on a continual basis and made Colinelli. The collection was edited by Rosalind Halton (Univer- freely available online for performers and scholars. Music must sity of Newcastle, Australia). View the edition at http://www.sscm have been composed between 1600 and 1700, and not already be -wlscm.org/main-catalogue/browse-by-composer/398-a-voi. available in a commercial edition or have been posted online. Pro- WLSCM No. 32, “Villancicos About Music From Seventeenth- posals for individual pieces, large or small, and even collections Century Spain and New Spain,” edited and typeset by Andrew A. of works are invited. Submissions are welcome at any time. Fur- Cashner (University of Rochester), presents seven villancicos for ther details about submissions may be found at www.sscm 1–8 voices and continuo dedicated to the art of music itself. This -wlscm.org or by writing to [email protected]. collection includes music by Joan Cererols, Juan Gutíerrez de Padilla, Miguel de Irízar, Jerónimo de Carrión, José de Cáseda, Janette Tilley Juan Gutíerrez de Padilla, and Antonio de Salazar. Also included Editor, WLSCM

Sicut erat in principio continued . . .

continued from page 5 Discussion centered around methods of either the Society for Seventeenth-Century I had compiled. The two topics on the forming the new society and the relation- Music alone, or both the SSCM and the agenda were: “Is there a need for a Society ship it should have with the American American Heinrich Schütz Society. All for Seventeenth-Century Music to encom- Heinrich Schütz Society. During the de- benefits of International Heinrich Schütz pass the totality of musical research in bate, considerable concern was expressed Society membership, including publica- that century?” and “What should be the for the identity of groups devoted to par- tions, would accrue to those who paid dues future role of the American Heinrich ticular national interests. Scholars of for both societies. It was agreed that the Schütz Society?”23 French music, theater, and dance felt espe- Articles and By-laws of the Schütz Society I had no idea how many people would cially marginalized in the musicological required appropriate amending, and the attend. In order to do so, all except those community and were fearful of being current officers of the American Heinrich in the immediate Chicago area would have swallowed up by the larger Italian and Schütz Society would, as recommended at to arrive in Chicago a day early to be pres- German constituencies. To alleviate this the previous meeting, serve as the found- ent at a 9:00 a.m. meeting. Our assembly problem it was recommended that the ing, pro tem officers of SSCM until the room, holding about 70, seemed like am- new Society leave room for “special inter- first elections could be held. It was left to ple space, so I was flabbergasted when it est groups” in its organization and on its me to deal with the two sets of Articles and not only filled up well beyond its seating board, beginning with the American Hein- By-laws and circulate them for passage. capacity, but also when at least another ten rich Schütz Society itself. That way, any I returned to St. Louis from Chicago overflowed the room and crowded around other subgroup that wished to form could overwhelmed by the response we had re- the double-door entrance in the exterior identify itself, be recognized by the offi- ceived. There was clearly an enormous de- hallway. In addition, I received numerous cers, and be represented on the board. To mand for such a Society, and I felt a par- letters and telephone calls from people date, that hasn’t proved necessary, though ticularly heavy burden of responsibility not who could not make it to Chicago so early the option remains open. It was also rec- only because of the interest expressed, but but who supported the formation of a sev- ommended that the current officers of the also because most of the ca. 100 present enteenth-century society. Expressed in the Schütz Society should serve as officers pro had paid for an extra night’s lodging in the enthusiasm of those attending were years tempore of the new society. convention hotel in order to attend this of pent-up frustration over the peripheral The Schütz Society then met at its meeting. That meant that some $7000– role of seventeenth-century studies in scheduled time of 10:00 a.m., voting to $8000 had been expended just to discuss the U.S. write By-laws and Articles of Association the desirability of establishing such a soci- for the Seventeenth-Century Society based ety. I figured I had better get on with it! on those of the Schütz Society and to My first act was to ask the editor of the 23 The meeting and agenda were announced become a subgroup of the Society for AMS Newsletter to announce the forma- in 17th Century Music 1, no. 1: 2; a report on the 9:00 a.m. meeting and the minutes of the Seventeenth-Century Music with a repre- tion of the Society in the February 1992 Schütz Society meeting were published in 17th sentative on the governing board of the issue. Century Music 1, no. 2 (Spring 1992): 2–5. new organization. Members could join continued on next page 6  Vol. 27, No. 2, 17th-Century Music Call for Papers: SSCM 27th Annual Meeting (Durham, NC)

he Society for Seventeenth-Century Music will hold its ing examples of the same repertory—if not the exact proposed Twenty-Seventh Annual Conference from Thursday works—as well as short biographies. Audio or video recordings Tthrough Sunday, April 4–7, 2019, in Durham, North Car- supporting proposals for lecture-recitals are required. olina, hosted by Duke University. Proposals on all aspects of sev- Proposals should be sent by e-mail (deadline: 11:59 pm, Octo- enteenth-century music and its cultural contexts are welcome; ber 1, 2018) to the Program Committee at schleuse@binghamton those related to Barbara Strozzi’s 400th birthday or to other no- .edu with the subject line “SSCM Proposal.” Please send a single table anniversaries in 2019 are especially encouraged. Presenta- email with two .pdf files attached. The first file (named with the tions may take a variety of formats, including individual papers 20 presenter’s last name and a short paper title) should include the ti- minutes in length, lecture-recitals (45 minutes), workshops involv- tle, abstract, presenter’s name, email address, telephone, and city ing group participation, roundtable discussions, and panel sessions. or institutional affiliation. The second file (named with only the All presenters must be members in good standing of the Soci- short paper title) should include only the title and abstract, with ety. A presenter cannot give an individual paper at two consecutive no identifying information included. Please also paste the title and meetings, nor make more than one presentation at a single meet- abstract into the body of your email in case of problems with the ing. For individual papers, abstracts not exceeding 350 words attachments. should clearly represent the title, subject and argument, and should The Irene Alm Memorial Prize will be awarded for the best indicate the significance of the findings; please also include au- scholarly presentation given by a student. Students should identify dio-visual needs. Proposals for presentations in other formats themselves as such on the non-anonymous copy of the abstract. should be of a similar length; they should clearly state and justify the intended format, and should indicate the originality and sig- The SSCM 2019 Program Committee: nificance of the material to be delivered. Proposals for lecture- Paul Schleuse (chair), Claire Fontijn, recitals must include recordings of the proposed performer(s) play- Ayana Smith, and Jeremy Smith

Sicut erat in principio continued . . . continued from previous page ciety would be preserved as a constituent century music. Lex Silbiger was appointed During December and January I drew of SSCM. They were fearful of losing their chair of this committee and given the task up new Articles of Association and By- membership to the larger Society, even of surveying members for ideas and sug- laws for both societies and circulated them though I pointed out that anyone could be gestions about how such a journal might to the officers and advisory board of the a member of both. As events transpired, be organized and established.26 The origin American Heinrich Schütz Society and a their fears were unfounded, for the en- of our journal is a story in itself and will few other individuals for comments and larged Society for Seventeenth-Century be the subject of a later essay by Kerry suggestions, a process completed during Music also attracted additional members to Snyder, but I wanted to mention it here the month of February. After settling on the American Heinrich Schütz Society. since its conception was part of the very definitive forms for both Articles and By- In October 1992 an invitation to join ei- rationale for establishing the Society in the laws, those of the Schütz Society were cir- ther the new society or both societies and first place. culated to members of that organization a call for papers for the first SSCM confer- The election of the Society’s first set of (57 individuals and 18 institutions by the ence, scheduled for April 1993 at Wash- officers chose Barbara Hanning as Presi- end of 1991), and those of SSCM were cir- ington University in St. Louis, were mailed dent, Barbara Coeyman as Vice President, culated to people who had signed an atten- out to the large list of seventeenth-century Beth Glixon as Secretary, Eva Linfield as dance sheet at the Chicago meeting and all scholars I had originally assembled, and the Schütz Society representative on the others from whom I had heard expressions the first business meeting of the Society board, and Paul Walker as Treasurer of of interest.24 Included was an announce- was held at the 1992 AMS convention in both organizations.27 They were already in ment and a membership form/ballot; any- Pittsburgh.25 That meeting was again very office when the Society’s first conference one who returned a check for the appropri- well attended, this time in a room large was hosted in St. Louis in April 1993. The ate dues could vote on the documents enough for our numbers, and a nominating conference was greatly expanded over the establishing the Society for Seventeenth- committee for the election the following Schütz Society meetings, since in an effort Century Music and the amended Articles January of the first set of officers was an- to accommodate as many people as possi- and By-laws of the Schütz Society. My nounced. Our membership then stood at 60 ble, we held two simultaneous sessions, a recollection is that we received nearly a regular members and 30 institutional sub- format the governing board afterward de- hundred checks and votes, and SSCM was scribers. Subsequent to the business meet- cided to abandon. Because the number of firmly underway. I also contacted the par- ing, the pro tem officers and several new ent office of the Schütz Society in Kassel, members gathered to form a committee to continued on page 8 which was opposed to this move, even discuss the possibility of establishing a though the American Heinrich Schütz So- journal devoted specifically to seventeenth- 26 17th Century Music 2, no. 2: 2, 5. The survey was sent to members as an insert in this 24 The Articles and By-laws were circulated 25 The minutes of this meeting were pub- issue. on 13 April 1992. lished in 17th Century Music 2, no. 2: 4–5. 27 17th Century Music 2, no. 2: 2. Vol. 27, No. 2, 17th-Century Music  7 A Note from the Editor-in-Chief of JSCM

With the publication of two issues in * * * * * •Forum: “Staging the Baroque: The late autumn, the Journal of Seventeenth- Perils and Pleasures of Baroque Opera Volume 22 (https://sscm-jscm.org/jscm Century Music is finally back on schedule. DVDs in the Classroom” -issues/volume-22-no-1/): These issues share a focus on music for the Rose A. Pruiksma: Introduction •Virginia Christy Lamothe: “Martyr º theater; see below for a summary. Mauro Calcagno: “Staging His- Saints on Stage in Light of Papal Ex- º In volume 23 we introduce a new fea- tory? Eight Productions of Mon- hortations during the Thirty Years’ ture, the first JSCM “forum”: a symposium teverdi’s Orfeo” War” bringing together several brief essays that Wendy Heller: “Pleasurable Pas- •Michael Klaper: “Bilingualism, Com- º consider an idea from different points of sions on the Modern Stage: Cavalli positional Process, and the Quest for view. I invite proposals for future forums on Video” Meaning: The Dialogue between Ital- and hope this becomes a regular compo- Amanda Eubanks Winkler: “Per- ian and French Music in the Ballet de º nent of the journal. forming the Gaps: Dido and Aeneas la Raillerie (1659)” I call your attention to a new item on on Video” •Book reviews by Tim Carter, Anita the sidebar of the journal’s homepage Rose A. Pruiksma: “Lully on DVD: Hardeman, and Janet K. Page; record- º (http://sscm-jscm.org) and associated A Focus on Dance” ing review by Rebecca Cypess; com- pages: “Reading JSCM.” I offer these •Recording review by Jeffrey Kurtzman munication from C. David Harris navigational suggestions in response to inquiries from readers. Volume 23 (https://sscm-jscm.org/jscm Lois Rosow Finally, the correction of formatting -issues/volume-23-no-1/): Editor, Journal of errors in volumes 1–16 continues apace, •Jonathan Gibson: “The Ends of Arti- Seventeenth-Century Music and a revision of the editorial guidelines is fice in the Tragédies en Musique of underway. Lully and Quinault”

Sicut erat in principio continued . . . continued from page 7 seventeenth-century studies that we all had Kerry Snyder, Eva Linfield, and John papers was so large, it proved impractical something of the pioneering spirit; (2) the Suess, who were all unfailingly helpful to print the abstracts in the newsletter as vast uncharted territory of the seventeenth and supportive in every aspect of our en- had been our previous practice.28 century meant that we were all ignorant and deavors. As I put it in my last Chairman’s I break off my account at this point, all desperately in need of one another— Column for 17th Century Music, “The So- since it now becomes the tale of the devel- protecting personal territory was not an ciety for Seventeenth-Century Music was opment of the Society under its first and issue; and (3) our very existence is testi- not my vision, nor was its birth my under- subsequent sets of officers. These officers, mony to an attitude of mutual support and taking. It was the collective vision and the the editors of the newsletter, and Kerry encouragement rather than backbiting and collective undertaking of a large group of Snyder, founding editor of the journal, undercutting others as one so often finds imaginative scholars who saw a need and have done a remarkable job in shoring up in academia and scholarly organizations. I an opportunity and had the courage and our foundations, increasing our member- am sure others members can cite addi- persistence to make their vision a reality. ship, expanding our purview, and driving tional reasons for the Society’s original It was my great satisfaction to play the role the Society and its activities forward to the character, but what is most important is of midwife, and I look forward to enjoying point where we are a very stable, dynamic that these characteristics are still at the the fruits of our labors.”29 Indeed, I am as group with a solid financial base and con- heart of the Society, and I hope will remain satisfied and proud of having played that stantly expanding activities. The Society so as seventeenth-century studies expand role in the resurgence of the American has both supported and benefited from the in scope and numbers and become a cen- Heinrich Schütz Society and the founding rapidly growing interest in seventeenth- tral focus of musicology. From tales I have of SSCM as any accomplishment in my century studies in graduate schools, and heard about Renaissance or medieval soci- academic career. We can now look back on many of our newer members are recent eties and conferences, it’s obvious that our ten years of the fruits of those labors, and PhDs or students still working on their character is a rare and precious commod- our labors continue to bear fruit, thanks to dissertations. ity, easy to take for granted but also easy the continuing, indefatigable work of the From the outset, the Society has been a to squander, and irrecoverable if lost. Society’s successive sets of officers and uniquely sociable and supportive group of Regarding my own role in the founding the efforts, enthusiasm and attitudes of its people. I attribute this to several factors: of the Society, I was very much dependent members. May it always remain so—et in (1) there used to be so few people in on the assistance and advice of the other saecula saeculorum. officers, the newsletter editors, the board 28 The abstracts will soon be available on the of the American Heinrich Schütz Society, Society’s website. and other committed individuals, such as 29 17th Century Music 2, no. 2: 2. 8  Vol. 27, No. 2, 17th-Century Music Les italiens à Paris

he conference “Les Italiens et la vie musicale à Paris (1640–1750),” Tstaged at the École de Chartes in Paris from November 30 through Decem- ber 2, was an admirably coordinated effort of the Centre de Musique Baroque de Ver- sailles (represented by Barbara Nestola), the University of Lyon 3 (Jean-François Lattarico), and the University of Lille 3 (Mélanie Traversier). An interdisciplinary venture, the conference combined musi- cologists, historians, literary scholars, and philosophers, all of whom talked about some aspect of the fascinatingly complex Italian-French relationships, querelles, and collaborations. This is not to mention the actors and musicians who participated in a Friday night “spectacle-concert” (as the French like to call it) presented at the Ital- ian Cultural Institute, which imitated “une soirée au salon” by combining dramatic presentations of texts from the various querelles over Italian music with perform- ances by soprano, violin, and harpsichord of chamber music by Scarlatti, Mascitti, Julien Chauvin (violin) and Camille Delaforge (harpsichord) perform at a “spectacle-concert” Guignon, and Lully. at the conference “Les Italiens et la vie musicale à Paris (1640–1750).” The conference itself was divided into Photo by Barbara Nestola. five sessions: “Reception, Adaptation and Transformation of the Italian Model in the Seventeenth Century,” “The Circulation of copying, and the aesthetics of these the Toulouse Library, dating from about Sources,” “The Instrumental Repertoire at sources when they moved between Rome 1720, that demonstrates the eclecticism of the Beginning of the 18th Century,” “Cul- and France. The paper given by Alessio French provincial violinists, for it contains tural Transfer and Artistic Practices,” and Ruffatti (Conservatoire d’Adria) focused not only sonatas by Italians (not surpris- finally “Towards the Querelle des bouf- on the dramaturgy of cantatas by Luigi ingly with Corelli dominating), and fons: Italy as seen by France.” The first Rossi, distinguishing lamenti sung by boys Frenchmen (among them Jean-Baptiste session was unfortunately marred by the from those sung by women, both in terms Volumiers), but also two sonatas by Hein- absences of the first two speakers, Bianca of their form and their content. The final rich Biber (one from his 1681 collection Maurmayr (Univ. Côte d’Azur) and paper, by Graham Sadler (Royal Birming- and one of the Rosary Sonatas). Michael Klaper (Univ. of Jena), both ill. ham Conservatory), traced the influence of The late afternoon session on Friday Their papers were read/summarized by the pieces in Charpentier’s collection of also had one missing presenter, so the two their colleagues present. Maurmayr’s pa- Italian music—especially the impact of remaining speakers has ample time for per dealt with the politics of dance in Carissimi’s Jephte and the mass for four discussion and questions. The first paper, La finta pazza, staged in Paris in 1645. choirs by Beretta (both copied by Charp- given by Sara Elisa Stangalino (École Klaper demonstrated the important role of entier himself)—on the composer’s own française de Rome), dealt with the literary Giovanni Bentivoglio as the poet for two works. sources of the libretto for Minato’s Scipi- Italian numbers set by Lully in the Ballet Session 3, on eighteenth-century instru- one Affricano set by Cavalli, whose parent- des Saisons (1661). I will remain silent mental music, included two papers. The age mixed both Italian and French dra- about my own paper (“Comment Giovanni first, by Josebo Barrocal (Conservatory of matic genres. The second, by Emanuele Battista Lulli devint Jean-Baptiste Lully”), Castilla y León), dealt with the usage of De Luca (Univ. Nice Sophia-Antipolis), because I don’t want a spoiler before I give the viola da gamba versus cello in Ital- discussed the use of Italian virtuosity in the it at the SSCM conference in Boulder. ianate chamber music composed and/or play Les Muses rivales, performed at the The session on the circulation of published in France, noting particular dif- Comédie-italienne in Paris in 1739. Ac- sources began with a paper by Christine ferences between the function, style, and cording to De Luca, fiorituri and other Jeanneret (Univ. of Copenhagen), an cleffing of the two instruments. The sec- aspects of vocal virtuosity could be used overview of issues relating to the circula- ond paper, given by Pierre Pascal (Univ. of either for serious dramatic moments, or, tion of Roman cantatas in Paris, which de- Lorraine), detailed his discoveries in a when exaggerated, for comic purposes. tailed differences in the intended usage, manuscript collection of violin sonatas at contined on page 10 Vol. 27, No. 2, 17th-Century Music  9 Society for Seventeenth-Century Music Business Meeting Rochester, New York 10 November 2017

The meeting was called to order at 12:15 p.m. •All payments to the International Heinrich Schütz Society are now up to date, with the previous two payments having been President’s Report made in quick succession for a variety of logistical reasons. President Colleen Reardon introduced new officers: President- •The Journal of Seventeenth-Century Music incurred higher ex- Elect Roger Freitas, Treasurer Anita Hardeman, and Member-at- penses than normal as it caught up on past issues. Large Roseen Giles. She went on to announce that she will provide •There were also extra expenses in the category of the Alm matching funds of up to $1000 to match donations made by donors Prize, as a previous recipient who had not been able to attend who have not contributed in the past few years. The membership the meeting in the year directly following his award asked if applauded Reardon for this generous gesture. he could attend the most recent meeting instead. Vice President’s Report •Finally, the annual meeting incurred some unexpected losses, Vice President Rose Pruiksma announced that the SSCM, taking and the board is reviewing its policies to make sure that such advantage of a discount in the cost of placing an advertisement in a loss does not recur. EMAg (the magazine of Early Music America), will run such an Report by the Representative of the American Heinrich Schütz advertisement in the January 2018 issue. The advertisement was Society passed around by the members in attendance; it encourages mem- Mary Frandsen reported the following: bership among EMAg readers. •The next Schütz festival (2018) will be held in Zurich. The Secretary’s Report 2019 festival in Karlsruhe is still under discussion. Secretary Rebecca Cypess encouraged attendees to renew their •Preparations are underway for the Schütz year in 2022 and the membership. She further announced that the option of automatic Praetorius year in 2024. renewal of memberships will be available starting next year. The •With the exception of issues from the most recent five years, board hopes this will stabilize or increase membership numbers. the Schütz-Jahrbuch is now online and freely available. Treasurer’s Report Report of the Editor of the Journal of Seventeenth-Century Treasurer Maria Purciello distributed the 2017 budget to date and Music announced the following: Lois Rosow announced the following: •Record keeping is entirely on the basis of accrual. In the past, •As outgoing editor, Kelley Harness put out three issues of the the Society counted revenues on a cash-flow basis and ex- journal in the past year. Lois Rosow’s first issue, dated 2016, penses on the accrual system, meaning that our budgets were is nearly ready for publication. The 2017 issue will be out in not entirely accurate. December, and at that point, JSCM will be up to date. •With the new option (set to start next year) of automatic mem- •The December issue will feature a “forum” of work by a va- bership renewals, the board hopes to introduce automatic re- riety of scholars on the subject “Teaching Opera from DVDs.” newal of annual donations. continued on next page

Les italiens à Paris continued . . . continued from page 9 visit to Paris by the London Royal Acad- Discussion of all the papers was lively The Saturday morning session had emy of Music, and the eventual private but collegial, often spilling over into the three papers. The first, given by Jana concerts given by Bononcini and a select coffee breaks and meals. As Jean-François Franková (Univ. Paris-Sorbonne), at- group of singers at the Crozat palace in Lattarico pointed out in his summarizing tempted to discover the identity of the June of 1724. While Handel’s musical remarks, such conferences—whose inter- mysterious “Monsieur D. L. T.,” who was style certainly impressed French com- disciplinarity comes not only from a mix not only the author of a famous pamphlet posers, among them Mondonville, the of scholars from different fields but those on Italian and French music published in repertoire sung by the group itself seems who study so-called “cultural transfer” be- the Mercure in 1713, but also of many airs to have left little trace in French musical tween different national traditions—are (some in Italian style) and the divertisse- sources. The final paper by Benjamin particularly important, because biblio- ment La musette, ou les bergers de Suresne Straehli (Univ. Lille 3), was a philosophi- graphical and topic boundaries are often (published in the same year as the pam- cal look at the passages from Rameau’s defined in terms of national patrimony, and phlet). Her conclusion was that he was works dealing specifically with Italian mu- the renown (and funding) that comes with most probably one of the composers called sic, which peaked after Rameau moved to perceived contributions to it. “da La Tour.” The second paper, by Paris (during the time this repertoire be- Don Fader Thierry Favier (Univ. de Poitiers), dealt came a major issue) and declined after the Paris, 10 December 2017 with the repercussions of the attempted advent of his first operas. 10  Vol. 27, No. 2, 17th-Century Music Thomas Selle in Hamburg

n the last decade of his life, Thomas Part of the project was a two-day con- Selle (1599–1663), Hamburg city can- ference titled “Klingende Gottseligkeit: Itor from 1641 to his death, arranged Thomas Selle und die geistliche Musik im for all his compositions to be copied into 17. Jahrhundert” (information online at sixteen partbooks, including two large con- https://www.fbkultur.uni-hamburg.de/hm tinuo volumes that he donated to the Ham- /uber-das-institut/aktuelles/sele-tagung burg city library (now the Staats- und Uni- .html) This conference consisted of four- versitätsbibliothek Hamburg Carl von teen research papers by doctoral students Ossietzky) in the year of his death. This and established scholars on 10–11 Novem- complete collection of around 300 sacred ber 2017, as well as a partnership concert vocal works in Latin and German is now of Selle’s music by more than twenty stu- being transcribed and edited in a three-year dents from the Hochschule für Musik und project planned and directed by Prof. Ivana Theater Hamburg, under the direction of Rentsch (Univ. of Hamburg) and Dr. Jür- Isolde Kittel-Zerer. The conference and gen Neubacher (Staats- und Universitäts- concert were held in the comfortable, bibliothek Hamburg), and is the basis of sixty-seat lecture room of the Staatsbiblio- a dissertation by Juliane Pöche (Univ. of thek and its resonant Lichthof. Funds were Hamburg). The complete edition will be provided by the Staatsbibliothek, the available in digital form online late in Hochschule für Musik und Theater, and 2018. Information on the project can be the Deutsche Forschungsgemeinschaft. found at https://www.fbkultur.uni-hamburg A prolific compositional output by a Thomas Selle (1599–1663), engraving, .de/hm/forschung/forschungsprojekte cantor was unusual in seventeenth-century 17th century. Image courtesy of /thomas-selle.html. continued on page 15 Wikimedia Commons.

Business Meeting continued . . . continued from previous page evening, there will be a concert of music by Purcell, and time will Rosow recognized and thanked outgoing personnel: Beth remain afterward to walk around the city. Friday evening will fea- Glixon has stepped down as reviews editor, and Don Fader has ture a concert by Quicksilver; complimentary tickets will be pro- taken over. Mary Paquette-Abt has stepped down as assistant ed- vided to conference participants, and guests may purchase seats itor, and Kimberly Beck Hieb is staying on as assistant editor. in the same section of the hall. The society will provide a $3000 Finally, Rosow announced a newly clarified policy on the “fair subsidy for the conference. use” of audiovisual material as presented in an article by the So- Report of the Editor of the Web Library of Seventeenth- ciety for Cinema and Media Studies. If an AV clip serves to illus- Century Music trate a point in a scholarly article, and that clip is essential to make Janette Tilley reminded the membership that WLSCM is cost neu- the point, it may be used by the journal without permission. tral but extremely active. No. 31 is out and publication of no. 32 Report of the Editor of the Newsletter is imminent. The next three volumes are in the works. Esther Criscuola de Laix thanked the membership for their sub- Alm Prize Winner missions to the last SSCM newsletter and announced that the dead- President Colleen Reardon recognized the recipient of the 2017 line for submission of materials for the next issue would be 22 Jan- Irene Alm Memorial Prize, Natasha Roule. uary 2018. She is especially seeking reports on conferences other than SSCM and AMS. Upcoming Conferences Lois Rosow noted that the absence of the membership directory Candace Bailey and Roseen Giles announced plans to hold the from the most recent newsletter was problematic, as that directory 2019 meeting on 4–7 April in Durham, North Carolina, noting that represented the only means for members to find each other’s the committee also includes Jacqueline Waeber and Alexander Sil- email addresses. Colleen Reardon replied that the board would biger. The meeting will feature a recital on two historic organs as look into this. well as a concert by Europa Galante, which is planning a special program of seventeenth-century music for SSCM. Report of the Chair of Local Arrangements Rob Shay, Chair of Local Arrangements for the upcoming SSCM New Business meeting in Boulder, Colorado (19–22 April 2018), reviewed infor- Jeffrey Kurtzman thanked the Governing Board and editors of the mation for the meeting. Boulder is about forty miles from the Den- society’s publications for their work. The society has now been in ver airport, and ground transportation is relatively inexpensive to existence for twenty-five years. the hotel, the Boulderado. The cost of the hotel will be a bit higher The meeting was adjourned at 1:05 p.m. than in past years, but this should be offset by lower transportation Respectfully submitted, costs. The conference will also include free breakfasts. The open- Rebecca Cypess ing reception will be held at 5:30 p.m. on Thursday, 19 April. That SSCM Secretary Vol. 27, No. 2, 17th-Century Music  11 With Schütz in Marburg

or four days last September, mem- bers of the International Heinrich FSchütz Society (ISG) gathered in Marburg, Germany, for the 48th Interna- tional Heinrich Schütz Festival. Marburg boasts a connection with the composer, who as a young man made several visits to the city from Kassel in the retinue of his first patron, Landgrave Moritz “the Learned,” and also attended the University of Marburg in 1608–9. Marburg is a charming city with steep streets, half- timbered houses, medieval churches, and a castle, that of the Hessian landgraves, which sits high on a hill above the city. The festival opened in the afternoon on Thursday, 21 September, in lecture hall of the Old University, the Alte Aula, a beau- tiful space with a wooden coffered ceiling and murals depicting events from the his- tory of Marburg. In his welcoming re- marks, Walter Werbeck (Univ. of Greifs - View of the Marburger Schloss (background) and the Lutherische Pfarrkirche, Marburg wald) provided an overview of the events (right, front), sites of the 48th annual meeting of the International Heinrich Schütz Society. to come, including the scholarly sympo- Image courtesy of Wikimedia Commons. sium, which took as its theme Schütz’s Psalmen Davids of 1619. Werbeck then Church, with cantor Gerold Vorrath and music inventory of ca. 1635 from the introduced Jürgen Heidrich (Univ. of Mün- the Schola Cantoriana. From here we church that reported a number of early ster), the editor of the Schütz-Jahrbuch, made our way to the nicely appointed seventeenth-century Italian prints, as well who delivered a keynote address on Landgrave’s Hall at the Hessian State as a copy of Schütz’s Symphoniae sacrae “Psalm Composition in the Reformation Archive for the first part of the scholarly I of 1629. All then were treated to a con- Era and in the Works of Heinrich Schütz.” symposium on the Psalmen Davids. Beate cert of music by Schütz and his teachers Heidrich’s talk was punctuated by per- Agnes Schmidt (Hochschule für Musik Georg Weber, Georg Otto, and Gabrieli, formances of psalm settings by Pachelbel, und Theater Hannover) opened the sympo- performed by Ensemble Saltarello under Johann Heugel, and Zelter by the Unichor sium with a paper on “Music and Lutheran the direction of Tobias Irmscher. That Marburg. Identity: Praetorius and Schütz at the Dres- evening, back in Marburg, the Elisa- That evening, the musical performances den Court,” in which she examined the use bethkirche served as the venue for a recital began with a concert in the University of music by both composers in contempo- of psalm compositions for organ presented Church entitled “Venice in Hesse: Poly- rary religious- political celebrations. She by Friedhelm Flamme, who played works choral Music in the Venetian Style from was followed by Lothar Schmidt (Univ. of of Reincken, Reubke, and Reger on the Hessian Inventories of the 17th Century.” Marburg), who examined the ordering of recent Klais organ. This spectacular performance featured the Schütz’s psalms in a paper entitled “The The scholarly symposium continued on Johann Rosenmüller Ensemble, directed Psalms of David (1619): On the Organiza- Saturday, 23 September, and began in the by Arno Paduch (Leipzig Hochschule für tion of the Print,” and Konrad Küster foyer of the Hessian Staatsarchiv, where Musik), and included works by de Sayve, (Univ. of Freiburg), who spoke on “Work- attendees could view the exhibition “Mu- Herbst (“Domine Dominus noster”), Cor- Notes-Performance: On Engagement with sic of the Reformation Era in Hesse.” The nett (“Venite exultemus”), Landgrave Schütz’s Psalms of David ” and offered a exhibition included many items of interest, Moritz (Ps. 120), Rosenmüller (selections wide-ranging consideration of issues asso- including music prints, engravings, and from his Kernsprüche), Gallerano (“Lau- ciated with the collection. documents dating from Schütz’s time in date pueri”), Monteverdi (“O! du After lunch, attendees gathered for Marburg and Kassel. Photos and descrip- mächtiger Herr,” his “Hor che il ciel e la travel by bus to the Lutheran Marienstift- tions of all of the items also appeared in terra” as contrafacted by Ambrosius skirche in the nearby town of Lich, in the exhibition catalog, copies of which Profe), and Schütz (Ps. 150 from the which the local church archivist had dis- were distributed to conference attendees. Psalmen Davids and several other works). played a small collection of treasures from After viewing the exhibition, the assem- Paduch edited many of these works for this the archive. These included a folio-sized bled gathered again in the Landgrave’s performance. copy of the Lobwasser Psalter printed in Hall for the second paper session of the On Friday, 22 September, conference Lich in 1604, a stop list for the Lich organ scholarly symposium. First, the exhibition events began with matins in the University from 1624, and a previously unknown continued on next page

12  Vol. 27, No. 2, 17th-Century Music AMS 2017 in Rochester, NY

eventeenth-century music was rea- Society. But on the basis of second-hand lated reasons for the surprising popularity sonably well represented at the accounts, as well as my own experience of the composer Andreas Hammerschmidt. SAmerican Musicological Society’s in those sessions I was able to attend, I Barone juxtaposed scenes of West African Annual Meeting, held 9–12 November can report confidently that the study of and European musicking to argue that the 2017 in Rochester, New York. Conference seventeenth-century music made a strong relationship between the two continents attendees who sought out papers on case as a vibrant field within the broader should occupy a more central place in the seventeenth-century music faced a range discipline. historiography of the Early Modern period. of options, which reflected both the Thursday afternoon featured papers by Chávez-Bárcenas explored the ways in strength and the breadth of the field. These Mary Frandsen (University of Notre which Christmas villancicos from the New options included papers on Christmas vi- Dame), and graduate students Brian Spanish city of Puebla manifested various llancicos in New Spain, the Atlantic slave Barone (Boston University), Ireri Chávez- tensions between the city’s different social trade, seventeenth-century Chinese theory, Bárcenas (Princeton University), and groups. Chow examined the reception of and the Lutheran marketplace—all in three Sheryl Chow (Princeton University). The the music-theoretical writings of the Por- different sessions, during the first time-slot range of the topics they covered bespeaks tuguese Jesuit Thomas Pereira, whose of the conference. This and similar con- the global scope of the field’s constitution ideas were transmitted in the Chinese trea- flicts made for difficult choices, and I was today. Frandsen, surveying the musical tise The Correct Meaning of Music. unable to attend every paper that might marketplace in German-speaking lands in have been of interest to members of this the years between 1600 and 1670, postu- continued on page 14

Schütz in Marburg continued . . . continued from previous page Lanker), which will take place from 1–4 That evening, many attended a concert curators Gerhard Aumüller and Lothar November 2018, on the availability of the held at the large Lutheran Pfarrkirche Schmidt discussed a number of the items Schütz-Jahrbuch online through the SLUB St. Marien just below the Landgrafen- on display in the foyer. Then Andreas Tro- website (Barbara Wiermann), and on plans schloss. The concert, which featured music bitius (Univ. of Marburg) considered “The for Schütz events of the Standing Confer- for choir, organ, harp, and percussion, as Text-Oriented Work-Concept in Schütz’s ence on Middle German Music (Christina well as dramatic readings and a juggling Psalms of David” and examined Schütz’s Siegfried); chapter representatives also act, was entitled “In all the world – Psalm- close readings of several psalms as re- shared reports on the activities of their sec- Juggling – Music of the Reformation,” and vealed in the musical structure of the set- tions. Members acknowledged the pres- included psalm settings and modern Spie - ting. Following this, Gerhard Aumüller ence of honorary member Sieglinde Fröh- lereien on old biblical texts. Choral selec- (Univ. of Marburg, emeritus) spoke on lich, the former executive director of the tions by César Franck, Heugel, Schütz, “The Psalms of David of Heinrich Schütz ISG, with a round of applause. Bernstein, and others were performed by in the Context of Psalm Compositions After the meeting, attendees made their the Kurhessische Kantorei under the direc- by Michael Praetorius, Johann Andreas way (either on foot or by taxi) up the hill tion of Uwe Maibaum. This was one of the Herbst, and Samuel Scheidt” and ad- to the Landgrafenschloss for a visit to the most unusual performances ever included dressed several questions, among them chapel in which the young organist Schütz at a Schütz festival; it featured a show- “what psalm compositions did Schütz played when in Marburg. Following that, stopping virtuosic improvisation by organ- know in Kassel or Weißenfels?” and “how attendees had a variety of options for ist Ka Young Lee and percussionist Olaf was church music in Kassel oriented theo- afternoon activities. Several of us visited Pyras, who mirrored in music the rhythms logically?” He then covered a wide range the exhibition in the castle mounted in and motions of a very fine juggler—and of psalm collections that shed light on both honor of the 500th anniversary of the Ref- worked in motives from “Ein’ feste Burg” the musical and the theological contexts of ormation, entitled #Bildungsereignis Ref- in the process. Schütz’s 1619 set. ormation! On display were many period On Sunday, 24 September, the closing The symposium was followed by the works of art, worship accoutrements, worship service was celebrated in the meeting of the membership of the ISG, books (including a few hymnals), broad- Elisabethkirche; it featured the Festival during which President Werbeck an- sheets, and manuscript documents; the Choir (including ISG members), which nounced that Mitsue Masaki had been latter included Luther’s autograph letter performed works of Michael Praetorius, made an honorary member in recognition of 1529 accepting Philipp of Hesse’s invi- Schütz, Distler, and Pachelbel under the of her over fifty years of service to the ISG tation to the Marburg Colloquy, and the direction of Cantor Nils Kuppe. Thus the in the Japanese chapter, which she has led manuscript of the Marburg Articles, signed festival was brought to a satisfying close; since 2009. Seven other members of the by Luther, Melanchthon, Zwingli, Bucer, kudos are due to the organizers, Gerhard Japanese chapter were in attendance, in- Oecolampadius, and other participants. Aumüller and Lothar Schmidt, as well as cluding Nozomi Sato, known to a number The castle museum’s permanent collec- Walter Werbeck and Christoph Schluck - of our members. During the meeting, de- tions were also on display, and included werder, for a very fine meeting. tails were shared about the upcoming ISG many items illustrative of life in the seven- Mary E. Frandsen meeting in Zürich (Therese Bruggisser- teenth century. Chair, American Heinrich Schütz Society Vol. 27, No. 2, 17th-Century Music  13 AMS 2017 in Rochester, NY continued . . .

continued from page 13 around the turn of the seicento. The next Saturday afternoon offered another op- The theme of a global expansion of the paper transformed the room itself, as Re- portunity for something other than the field carried over into Thursday evening, becca Harris-Warrick (Cornell University) standard fare, as some conference atten- whose sessions included “New Spanish shed new light on the dances performed dees (alas, I was not among them) were Music Studies: Challenges in Early Mod- between the acts of operas and plays in the treated to a performance of Michael Prae- ern Historiography,” sponsored by the middle of the eighteenth century, while the torius’s Polyhmnia Caduceatrix et Pane- Ibero-American Music Study Group. The dance historian Hubert Hazebroucq (Les gyrica (1619) at Christ Church Rochester. participants in this thought-provoking Corps Eloquents) expertly reconstructed Liza Malamut (Boston University) pre- roundtable included Chávez-Bárcenas, them. Hazebroucq’s performance was pared the program and the editions used reading her second paper of the day, as surely a conference highlight for many of for the performance. Others went to the well as Andrew Cashner (University of the session’s attendees—as indeed it was short session “Sounding Like Bach,” Rochester), Jesús Ramos-Kittrell (Uni - for me. The next paper also featured per- chaired by Ernest May (University of Mas- versity of Connecticut), and John Swadley formances by a speaker, Ana Lombardia sachusetts, Amherst), which featured two (Universidad de Guanajuato). Each partic- (Instituto Complutense de Ciencias Musi- papers. The first, read by Derek Remeš ipant gave a short talk. Susan Thomas cales, Madrid), who reconstructed the use (Eastman School of Music, University of (Uni versity of Georgia) chaired the session of violin in performances of popular songs Rochester), explored Bach’s figured-bass and facilitated the conversation that and dances in seventeenth-century Spain. chorale pedagogy in connection with a followed—a lively and by many accounts I myself read the final paper in this ses- newly rediscovered source. The second, productive one, despite coming at the end sion, a (much-altered) reprise of my pres- read by Bradley Spiers (University of of what had already been a long day. Not entation on the history of the romanesca at Chicago), focused on efforts to mimic being a specialist in this area, I ducked last year’s Annual Meeting of the SSCM Bach’s style through algorithmic systems out of the “New Spanish Music Studies” in Providence. like David Cope’s “Experiments in Musi- session early, going instead to support a The business meeting of the Society cal Intelligence.” Conference attendees colleague present in a session sponsored was held at lunchtime on Friday. In the af- who remained in Rochester on Sunday by the Popular Music Study Group. The ternoon, I was able to attend most of the morning may have had the opportunity to choice was a fortuitous one, since I arrived session “Early Modern Women,” chaired hear Don Fader (University of Alabama) just in time to hear a moving and memo- by Linda Austern (Northwestern Univer- explore Jean-Baptiste Lully’s adept use of rable paper by Stephan Pennington (Tufts sity). The papers were mostly excellent, comic self-representation. Those who did University) about intersectionality in but attendees hoping to learn about the not stay through Sunday morning, how- military cadences. seventeenth century may have been disap- ever, will have another opportunity to hear Friday morning brought more conflict- pointed that the speakers focused almost Fader’s paper at the Society’s Annual ing sessions. As I myself was reading a pa- exclusively on sixteenth- and eighteenth- Meeting in Boulder, Colorado, where per in one of them, I was unable to attend century subjects. “Early Modern Spiritual- Chávez-Bárcenas will again present her what promised (judging from the ab- ities,” a session on Saturday morning that work on Christmas villancicos in Puebla stracts) to be an illuminating session about was chaired by Janette Tilley (Lehman as well. female composers, including two papers College, CUNY), had more to offer these Finally, those who ventured beyond on individual seventeenth-century women. attendees. Catherine Gordon (Providence the conference venue found a thriving lo- Janet Page (University of Memphis) spoke College) explored the meaning of “nat- cal food scene. Evident favorites included about the nun-composer Maria Anna von ural” song in the writings of Jean-Joseph the BBQ hotspot Dinosaur, which for Raschenau (ca. 1650–1714) and the inter- Surin (1600–1665), a Jesuit priest, exor- several days was visibly packed with AMS section of authorship and gender in female cist, mystic, and the author of cantiques members—thanks, no doubt, to its proxim- communities; and Elizabeth Weinfield spirituels. Erika Honisch (Stony Brook ity to the conference venue. Many of the (Graduate Center, CUNY) spoke about Uni versity) situated two music prints of best options, including a number of excel- Leonora Duarte (1610–78), a Jewish con- 1642 within a local culture of Marian lent vegetarian and vegan restaurants, were versa who lived and composed music in devotion that formed part of a broader hard to reach on foot, though the intrepid Antwerp, where she crossed paths with project of reclaiming Bohemia for Roman among us were amply rewarded for our diplomats, literati, and leading musicians Catholicism. Especially memorable in this efforts. But the main attraction, a fine pro- of the day. Another Friday Morning ses- session, I thought, was Honisch’s telling gram of papers, demonstrations, and con- sion, “Playing and Dancing,” which was of the process by which a particular devo- certs, did not disappoint, and for this we chaired by Rebecca Cypess (Rutgers Uni- tional image was repeatedly stolen and can thank, among others, the society’s own versity), featured four papers of direct in- then returned to its home at the Stará Jonathan Glixon (University of Kentucky), terest to members of the society. Lynette Boleslav shrine. I missed the rest of that who served as the chair of the program Bowing (Rutgers University) traced the session, which pushed the “Early Modern” committee. transformation of the pedagogy and prac- back into the sixteenth century, and for- Mark Rodgers tice of Italian instrumental music as it ward into the nineteenth, in order to catch became an increasingly literate tradition part of the roundtable “Zarlino at 500.”

14  Vol. 27, No. 2, 17th-Century Music Thomas Selle continued . . .

continued from page 11 scribe his efforts to improve the Hamburg or served as Musterbücher for other Germany. In Hamburg the best-known situation based on the Leipzig model, most composers or for himself. composers tended to be organists, such as notably by calling for more singers for Finally, after a full day (with Kaffee- Heinrich Scheidemann, Jacob Praetorius motets and larger works. und Mittagspausen, of course) the eminent II, and Mathias Weckmann, or other kinds Also on the topic of singing, Inge Mai Reinhard Strohm (Oxford Univ.) described of instrumentalists, like William Brade, Groote (Univ. of Heidelberg) took Selle’s the wider context of Thomas Selle’s Opera Johann Schop, and Dietrich Becker. Selle’s manuscript Anleitung zur Singekunst (ca. omnia and his library collection in relation music is known for its extensive use of 1642) as an impetus for investigating the to ten other composers who left similar instruments, its use of soloistic as well numerous manuscript singing treatises in remnants and legacies—what Strohm choral forces, and its perfect suitability for the seventeenth century. More of these sur- called “Hinterlassene Musik (von Wolken- his available forces in regular church serv- vive than printed ones; they often are more stein bis Wagner),” or, as he translated it, ices. His aim was to provide performable, detailed and may have been much more “musical leftovers.” These ever-present appealing, and accessible repertoire for frequently used. Therefore they probably remnants of composers’ lives were often Hamburg’s four main churches (Haupt- have more direct and concrete connections neither planned nor organized, but some- kirchen). He also assembled a large library to local performance practice, as Groote’s times portions indeed were designated as of theoretical works and music collections, ongoing research project hopes to show. whole units: Opus musicum publications whose contents have been reconstructed in Juliane Pöche (Univ. of Hamburg) fo- (Isaac, Lasso), the Turin manuscripts (Vi- a study by Jürgen Neubacher (Die Musik- cused on the use of instruments in Ham- valdi), the conducting scores inherited bibliothek des Hamburger Kantors und burg church music, based on the Hamburg from G. F. Handel by the British organist- Musikdirektors Thomas Selle, American poet Johann Rist’s comments on hearing composer J. C. Smith, and the estates of Institute of Musicology, 1997). the music of Schulz (Praetorius), Scheide- Verdi (Villa Verdi) and Wagner (Wahn- Topics addressed during the conference mann, and Schop (Hamburg’s three “S” fried). Plentiful and lively discussion took ranged from close looks at individual composers), which attest to the frequency, place not only during the forty-five-minute works or types, to historical contexts and value, and beauty of instrumental music presentation slots but also throughout the performance data, and to broader views of performed in church during his time. day, contributing to an enlightening and Selle’s relationship to similar musicians, Pöche pointed out stylistic parallels be- enjoyable atmosphere overall. his training, and the significance of his col- tween several of the instrumental collec- All this talk about Selle’s music was lected works project. Ivana Rentsch (Univ. tions published in Hamburg at Selle’s time brilliantly revealed and brought to life of Hamburg) began by fully describing the and the sinfonias in his own sacred music, with the real thing: Vivat Hamburgum, an Selle Opera omnia project and its plans for which show stylistic parallels with dance evening concert of fifteen works per- the future. She then outlined Selle’s gen- music, English lute songs, and even vir- formed in the former courtyard of the old eral purposes for composing and his use of ginalistic figuration. section of the library. Isolde Kittel-Zerer specific styles in his compositions. Selle Esther Dubke (Univ. of Hamburg) (Hochschule für Musik und Theater) di- strove to always base his sacred works on looked at pieces by Selle that are titled “ad rected a student ensemble of ten singers sound theology, to replace older styles imitationem Orlandi,” that is, in imitation and thirteen instrumentalists (violins, vi- with newer ones, and to be appealing and of a work by Orlando di Lasso. These ola, bass viol, cello, violone, dulcian, lute, meaningful to the congregation by intro- smaller works from his pre-Hamburg days guitar, harpsichord, and continuo organ), ducing influences from secular music. (1627) show a variety of borrowing tech- supplemented by sackbuts and baroque Reinmar Emans (Univ. of Hamburg) niques that can be classified as imitation, trumpets, in this wide sampling of Selle’s spoke more broadly about Hamburg’s parody, or arrangement, which he later music. The works, all with German texts, musical networks during the baroque era. adopted in larger works. Jürgen Neubacher ranged from sacred concertos for one to Many such networks were established (Staats- und Universitätsbibliothek Ham- six voices with continuo and various in- through the travels of Weckmann, Bern- burg) then described these techniques in struments to impressive double-and triple- hard, and Selle himself, as well as by organ- more detail in terms of the harmonic, mo- choir works. More importantly, the selec- ists’ travels to advise on or test new organs. tivic, and rhythmic patterns used by Selle tion showed Selle’s skill in mixing chorale Later, in the middle of the eighteenth cen- in his processes of transforming preexist- texts and melodies with ornamentation and tury, Telemann and C. P. E. Bach expanded ing music, mostly by Lasso and Schein. expression adopted from the newest secu- the city’s musical networks even further. Neubacher classified Selle’s techniques lar genres, as well as purely solo madri- Michael Maul (Bach-Archiv, Leipzig) into four categories: arrangements and/or gals. Echo effects, long melismatic pas- traced elements of Selle’s “music manage- reductions of vocal or instrumental parts; sages, soloist instrument parts, and vivid ment” in Hamburg back to his young years use of the model as the basis of a new text expression made for a fascinating at the Leipzig Thomasschule (before J. S. composition; citation of individual motives evening of music. The concert represented Bach, of course). The school was wealthy or phrases from the model; and parodies an official cooperation between Praxis and known for its large choir, but the whose model is unknown. Whichever tech- and Musikwissenschaft that was a rela- singers were often divided into smaller en- nique he used, Selle always retained the tively new and welcome step for Hamburg; sembles based on age and skill depending original text of his models. It is possible hopefully its success will lead to more on the repertoire or the occasion. Maul dis- that some of Selle’s pieces of this type such interchanges in the future. cussed documents in Selle’s hand that de- were intended as “compositional models” continued from page 16 Vol. 27, No. 2, 17th-Century Music  15 ARTIS MUSICAE PERITI

The Galpin Society presented the Anthony Baines Award to board. Although Du Mont is remembered chiefly for his sacred Stewart Carter (Wake Forest University) at their annual confer- vocal works, he was employed as an organist all of his adult life ence in Edinburgh in June 2017. The award honors outstanding in Paris. The edition contains seventeen pieces, mostly allemandes, lifelong service to the field of organology. some of which have not appeared previously in a modern edition. Five also appear in an appendix in versions for string instruments. Denis Collins (University of Queensland, Australia) and Jason Broude publications are now distributed by the C. F. Peters Stoessel (University of New England, Australia) have been Corporation. awarded a three-year Australian Research Council Discovery Proj- ect grant beginning in February 2018. The title of their project is John Powell provides an update on the progress of Series IV of “The Art and Science of Canon in the Music of Early Seventeenth- the National Edition of the Opera Omnia of Alessandro Stradella, Century Rome.” Also, they each have an article in the most re- consisting of Stradella’s vocal chamber music: 36 solo arias, 13 cently published issue of Musica Disciplina (volume 60, 2015): duets, and 1 terzet, all accompanied by basso continuo with occa- Jason Stoessel, “The Making of Louise Hanson-Dyer Manuscript sional use of obbligato instruments. Volumes 1–3, featuring the 244”; and Denis Collins, “Instructions for Keyboard Accompani- solo arias, have already appeared, and the fourth and final volume ment in Music Manuscript 244 of the University of Melbourne.” of the series, containing Stradella’s 13 duets and 1 terzet, has just been released, completing the publication. This is amazing music Alexander Fisher (University of British Columbia) announces the of the highest quality—harmonically bold, highly original, and publication of two articles: “ ‘Mit singen und klingen’: Urban challenging for the performers—and the chamber works in this Processional Culture and the Soundscapes of Post-Reformation volume are unknown and have never been recorded. SSCM mem- Germany,” in Listening to Early Modern Catholicism, edited by bers interested in ordering copies for their school libraries are in- Daniele V. Filippi and Michael Noone, 187–203 (Leiden: Brill, vited to visit the publisher’s website at http://www.edizioniets 2017); and “Music and the Jesuit ‘Way of Proceeding’ in the Ger- .com/. man Counter-Reformation,” Journal of Jesuit Studies 3 (2016): 377–97. Lex Silbiger (Duke University) announces the publication of two articles: “The Notation of Meter and Tempo ca. 1620–1670: The- Michael Klaper (Institut für Musikwissenschaft Weimar-Jena) ory and Practice,” in Festschrift for Professor Kerala A. Snyder, announces the publication of two articles: “Selbstreferenz und ed. Ralph. P. Locke, Johan Norrback, and Joel Speerstra, GOArt Inszenierung von Nationalstilen in frühen Monodien Lullys,” Publications, vol. 4 (Göteborg: University of Göteborg, 2018), Basler Jahrbuch für historische Musikpraxis 35/36 (2011/12) available online at http://hdl.handle.net/2077/54913; and “Kenneth [published 2017]: 163–84; and “Geschichtskonzeptionen im Streit Gilbert and the French Classical Keyboard Tradition,” in Perspec- um prima und seconda pratica,” Musiktheorie 32 (2017): 257–70. tives on Early Keyboard Music and Revival in the Twentieth Cen- Arthur Lawrence and Mary Cyr are the editors of Henry Du tury, ed. Rachelle Taylor and Hans Knox (London and New York: Mont: The Collected Works for Keyboard, recently published by Routledge, 2018), xvii–xxii. the Broude Trust as volume 11 of the series The Art of the Key-

Thomas Selle continued . . . continued from page 15 competing with familiar chorales or re- the term “concerto.” The speakers wrestled The second day’s sessions were con- placing them as contrafacta—a fact that re- with problems of structure, musical forces, cerned with Selle’s associations with the- mained of concern even during the time of accompaniment, performance practice, and ological and other texts, occasional music C. P. E. Bach. context, asking the question, “What kinds in Hamburg, and his conception of compo- Damaris Leimgraben (Univ. of Zürich) of pieces are these?” Bernard Jahn (Univ. sitional genres. Johann Anselm Steiger and showed how Selle’s seven surviving com- of Hamburg) gave us our first look at ter- Oliver Huck (Univ. of Hamburg) presented positions for funerals, burials, and other in minology problems in Selle’s music. Like a joint study on the popular Himmlischer memoriam occasions reflected Martin many German composers of his period, Lieder collections (1651) of Johann Rist. Luther’s ideas about a “good death,” in Selle composed a Christmas history, but its They investigated and described the artistic which the soul returns to God after a “good style, performance context, and liturgical relationships between the continuo songs life.” A prominent feature of these works place, if any, are difficult to describe or on these poetic and religious texts and are echo and dialogue effects, modelled af- classify. Popular Christmas traditions and practices surrounding Hausmusik and ter burial sermons in dialogue form, famil- music (lullaby songs), instrumental sinfo- liturgy in Hamburg. Selle, as composer iar from other musical genres à la Schütz, nias, solo recitative, character portrayal and church music director, worked closely which portray a conversation between God (Joseph as a comic figure?), and interpola- with the poet, the pastors of the four Haupt - and the deceased as a means of consolation tions to the Gospel texts are all found in kirchen, the organists of the Hauptkirchen, for bereaved listeners. Selle’s work. Is it an oratorio, a sacred en- and the printer while working on these The closing two afternoon sessions tertainment, a setting of the Gospel text, a books of sacred songs. Rist’s texts were concentrated on Gattungsfragen (questions used frequently in liturgical settings, often of genre), mainly regarding Selle’s use of continued on next page 16  Vol. 27, No. 2, 17th-Century Music Thomas Selle continued . . .

continued from previous page Concertuum binus vocibus (1634). Before scored for violin, TTB voices, trombone, children’s piece, a school show, or all of he came to Hamburg, Selle had held cantor bassoon, and continuo. His lengthy setting these? The case remains open. positions in smaller cities northwest of of Psalm 55, Gott, man lobet dich (1651), Walter Werbeck (Univ. of Greifswald, Hamburg and had some connections with is yet another example of Selle’s broad use president of the Schütz Gesellschaft) took the Gottorf court, for which this collection of the term geistliches Konzert (sacred a broad look at Selle’s use of the word may have been composed. Kremer dis- concerto). This remarkable work is full of “concerto” in a number of his published cussed in depth Selle’s intricate and vivid contrasts in texture, solo and ensemble collections. In particular, he compared text expression, and the interconnections sections, rapidly changing moods, triple these works with ones by Viadana and between texts, ideas, and music within meter sections, and echo effects. It seems Schein, but he also found the term “con- these two-voice works, in which the to have been written in honor of the com- certo” applied by Selle to motets both “voices” in question can be either cantus poser’s good friend Georg Neumark, who with and without continuo, to solo vocal or tenor, either instrumental or vocal. Here was leaving Hamburg. works with or without instruments, and “concerto” seems to mean simply two The ensuing discussion period engen- to works that simply contained contrasts parts of contrasting style: one part may be dered many outbursts of laughter from the of any kind. The result seems to be a closely bound to the accentuation and flow audience, banter between commentators, vaguely general or even contradictory def- of the text, another virtuosically florid and and general liveliness, perhaps signaling inition of “concerto” that Selle applied expressive. The ornate new vocal style of that it was time to close the conference. freely and that may have been in flux dur- these pieces is only rarely present in ing his lifetime. Selle’s later works. Frederick K. Gable Joachim Kremer (Hochschule für Katharina Hottmann (Univ. of Ham- Musik, Stuttgart) turned to an early collec- burg) concluded the conference with a dis- tion of small sacred concertos by Selle: cussion of an unusual work by Selle,

Hamburg’s cathedral (Domkirche) around 1800, with the towers of St. Petri (directly behind) and St. Jacobi (right). Engraving by Peter Suhr, 1838. Image courtesy of the Staats- und Universitätsbibliothek Hamburg Carl von Ossietzky.

Vol. 27, No. 2, 17th-Century Music  17 The Newsletter of the Society for Seventeenth-Century Music Vol. 23, No. 2, Spring 2014 Esther Criscuola de Laix, editor A-R Editions 1600 Aspen Commons, Suite 100 Middleton, WI 53562

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