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ROBERTA M. MARVIN University of Iowa

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ROBERTA M. MARVIN University of Iowa EDUCATIONAL AND PROFESSIONAL HISTORY Higher Education Ph.D. Historical Musicology Brandeis University 1992 (1986-1992) M.A. Historical Musicology Tufts University 1986 (1984-1986) B.M. Flute Performance Boston Conservatory of Music 1975 (1971-1975) Professional Academic and Administrative Positions University of Iowa Associate Dean, International Programs (interim) 2010-2012 Associate Professor, International Programs (affiliated) 2003-present Director, Office of Research, Grants, and Development, International Programs 2003-2005 Associate Director (interim), International Studies National Resource Center Aug.-Oct. 2003 Associate Professor, Musicology (tenured 1999) 1997-2003 University of Alabama Associate Professor (promotion earned before leaving the institution) 1997 Assistant Professor, Musicology 1993-1997 Boston University Visiting Assistant Professor, Musicology 1992-1993 Tufts University Visiting Lecturer, Musicology 1991-1992 Visiting Lecturer, Experimental College Spring 1991 Miscellaneous Private studio, flute instructor 1973-1991 GRANTS, FELLOWSHIPS, AWARDS, PRIZES International / National Competitions 2012 Visiting International Research Fellow, Oxford Brookes University (UK) 2011 Liguria Center for the Arts and Humanities Bogliasco Foundation Fellow (Italy) (alternate) 2010 / 2003 / 1993 National Endowment for the Humanities Summer Stipends 2010 University of London Institute of Musical Research Visiting Research Fellow (UK) 2010 Humanities Iowa Grant (for the University of Iowa Opera Studies Forum) 2009-2010 Leverhulme Foundation Research Fellowship (UK) (award declined for personal reasons) 2009 Music & Letters Trust Research Grant (UK) 2007 / 1992 American Philosophical Society Franklin Research Grants 2004-2005 National Endowment for the Humanities Fellowship for University Professors 2003-2004 Liguria Center for the Arts and Humanities Bogliasco Foundation Fellowship (Italy) 2002-2003 Howard Foundation Fellowship 1993-1994 Fulbright (CIES) Research Scholar Fellowship (Italy) 1993 National Endowment for the Humanities Travel to Collections Grant 1991 Premio Internazionale “Giuseppe Verdi” awarded by the Istituto Nazionale di Studi Verdiani (Italy) 1988-1989 Fulbright (IIE) Grant for Dissertation Research (Italy) Institutional Competitions (University of Iowa unless indicated otherwise) 2010 International Programs Summer Research Fellowship 2009/2008/2006/1999 International Programs Travel Grant(s) 2005 Stanley-Obermann Research Fellowship 2005 International Programs Major Projects Award (collaborative) 2004/2002/2000/1998 Arts and Humanities Initiative Grants 2004 International Programs Curriculum Development Award 2001 International Programs Distinguished International Lecture Series Grant 2001 New Technologies in the Learning Environment Grant 2001 Obermann Center Summer Research Seminar Award (collaborative) 2000-2002 College of Liberal Arts and Sciences Dean‟s Scholar Award 1999 Career Development Award 1998 Central Investment Fund for Research Enhancement Grant 1998 Old Gold Faculty Research Fellowship 1997 / 1995 University of Alabama Research Committee Summer Research Grants 1988 Brandeis University Sachar Dissertation Research Fellowship, Damon Award Additional Honors (from University of Iowa) 1998-2010 Obermann Center: Associate 2009-10; Scholar-in-Residence 1998-2003, 2005-09 2001 University of Iowa Graduate College Outstanding Faculty Mentor Award, Nominee 2000 University of Iowa “Preparing Our Graduate Students as Teachers” Award 2 SCHOLARSHIP Publications Books (Authored and Edited) and Critical (Music) Editions The Politics of Verdi‟s „Cantica‟. Royal Musical Association Monograph Series. Farnham: Ashgate, forthcoming. Verdi and the Victorians. Music in Britain, 1600-1900. Woodbridge: Boydell & Brewer, forthcoming. The Cambridge Verdi Encyclopedia. Edited by Roberta Montemorra Marvin. Cambridge: Cambridge University Press, forthcoming. Music and Messages from Hildegard of Bingen to The Beatles. Edited by Craig Monson and Roberta Montemorra Marvin. Eastman Studies in Music. Rochester: University of Rochester Press, forthcoming. Verdi the Student–Verdi the Teacher. Parma: Istituto Nazionale di Studi Verdiani, 2010. Fashions and Legacies of Nineteenth-Century Italian Opera. Edited by Roberta Montemorra Marvin and Hilary Poriss (equal contributions). Cambridge: Cambridge University Press, 2010. Giuseppe Verdi: Cantatas and Hymns: Inno delle nazioni and Suona la tromba (Inno popolare), editor of score and author of historical introduction and critical commentary. The Works of Giuseppe Verdi. Chicago: University of Chicago Press / Milan: Ricordi. Full score, 2007 / Vocal score, 2010. Operatic Migrations: Transforming Works and Crossing Boundaries. Edited by Roberta Montemorra Marvin and Downing A. Thomas (equal contributions). Aldershot: Ashgate, 2006. (Short-listed for the American Musicological Society‟s Ruth A. Solie Award) Historical Musicology: Sources, Methods, Interpretations. Edited by Stephen A. Crist and Roberta Montemorra Marvin (equal contributions). Rochester: University of Rochester Press, 2004. (Paperback reissue, 2008.) Giuseppe Verdi: I masnadieri, editor of score and author of historical introduction and critical commentary. The Works of Giuseppe Verdi. Chicago: University of Chicago Press / Milan: Ricordi. Full score, 2000 / Vocal score, 2004. Verdi 2001: Atti del Convegno Internazionale / Proceedings of the International Conference, Parma-New York-New Haven, January-February 2001. Edited by Fabrizio Della Seta, Roberta Montemorra Marvin, and Marco Marica (equal contributions). 2 vols. Florence: Leo S. Olschki, 2003. Giuseppe Verdi: Sinfonia in D Major, editor of full score and author of historical introduction and critical commentary. Parma: Istituto Nazionale di Studi Verdiani / Milan: Teatro della Scala, 2000. 3 Articles and Book Chapters “Coming to Terms with Jenny Lind in Victorian England.” Forthcoming. “Verdi‟s „Music of the Future‟.” In Music and Messages from Hildegard of Bingen to The Beatles. Edited by Craig Monson and Roberta Montemorra Marvin. Eastman Studies in Music. Rochester: University of Rochester Press, forthcoming. “Verdi, Conservatory Reform, and the Italian Musical Tradition.” In L‟insegnamento dei conservatori, la composizione e la vita musicale nell‟Europa dell‟Ottocento. Edited by Licia Sirch, et al. Milan: Libreria Musicale Italiana, in press. “„Idealizing the Prima Donna in Mid-Victorian London.” The Arts of the Prima Donna in the Long Nineteenth Century, Ch. 2, pp. 21-41. Edited by Rachel Cowgill and Hilary Poriss. Oxford: Oxford University Press, 2012. “The Victorian Violetta: The Social Messages of Verdi‟s La traviata.” Art and Ideology in European Opera, Ch. 10, pp. 224-240. Edited by Rachel Cowgill, Clive Brown, and David Cooper. Woodbridge: Boydell, 2010. “Verdian Opera in the Victorian Parlor.” Fashions and Legacies of Nineteenth-Century Italian Opera, Ch. 4, pp. 53-75. Edited by Roberta Montemorra Marvin and Hilary Poriss. Cambridge: Cambridge University Press, 2010. “Introduction to The Great Operas: A Verdian Manifesto?” Verdi Forum 34 (2007 [2011]): 28-33. “Verdi Learns to Compose: The Writings of Bonifazio Asioli.” Studi musicali 36/2 (2007): 469-490. “Handel‟s Acis and Galatea: A Victorian View.” Europe, Empire, and Spectacle in Nineteenth-Century British Music, pp. 249-264. Edited by Julian Rushton and Rachel Cowgill. Aldershot: Ashgate, 2006. “Burlesques, Barriers, Borders, and Boundaries” and “Introduction: Migrations and Transformations.” Operatic Migrations: Transforming Works and Crossing Boundaries, pp. 205-216 and pp. 1-6. Edited by Roberta Montemorra Marvin and Downing A. Thomas. Aldershot: Ashgate, 2006. “Commercial Intrigue, National Identity, and the Italian Premiere of Rossini‟s Petite Messe solennelle.” Nineteenth-Century Studies 18 (2004 [2005]): 117-138. “Verdi‟s Non-Operatic Works.” Cambridge Companion to Verdi, pp. 169-181 and (notes) pp. 296-299. Edited by Scott Balthazar. Cambridge: Cambridge University Press, 2004. “Andrea Maffei‟s „Ugly Sin‟: The Libretto for Verdi‟s I masnadieri” and “Scholarly Inquiry in Historical Musicology.” Historical Musicology: Sources, Methods, Interpretations , pp. 280-301 and pp. 1-7. Edited by Stephen A. Crist and Roberta Montemorra Marvin. Rochester: University of Rochester Press, 2004 / paperback reissue, 2008. “Verdian Opera Burlesqued: A Glimpse into Mid-Victorian Theatrical Culture.” Cambridge Opera Journal 15/1 (2003): 33-66; publisher‟s errata, 15/2 (2003): 209-211. 4 “Reflections of Art and Society: Adaptations of Verdi‟s Il trovatore and La traviata for the Stages of Victorian London.” Verdi 2001: Atti del Convegno Internazionale, II: 789-809. Edited by Fabrizio Della Seta, Roberta Montemorra Marvin, and Marco Marica. 2 vols. Florence: Leo S. Olschki, 2003. “La Messa solenne di Rossini: La sua prima esecuzione in Italia” (“Rossini‟s Petite Messe solennelle: Its Premiere in Italy”). Bollettino del Centro rossiniano di studi 2001 [2002]: 37-82. “The Censorship of Verdi‟s Operas in Victorian London.” Music & Letters 82/4 (2001): 582-610. “Music at Court During the Reign of Maria Luigia, Duchess of Parma, Piacenza, and Guastalla: A Partial Survey.” The Musical Quarterly 83/1 (2000): 475-496. “Verdi, Nationalism, and Cultivation of the Folk Idiom: His Stornelli of the 1860s.” Verdi Forum 26-27 (1999-2000 [2003]): 33-38. “The Censorship of I masnadieri in London.” Verdi Newsletter 25 (1998 [2001]): 20-23. “Aspects of Tempo in Verdi‟s Early and
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  • Petite Messe Solennelle Gioachino Rossini

    Petite Messe Solennelle Gioachino Rossini

    Petite Messe Solennelle Gioachino Rossini (1792–1868) Did Napoleon III really say ‘it is neither little, nor solemn, nor particularly liturgical’’ when he heard Rossini’s Petite Messe Solennelle? The French Emperor (nephew of Napoleon Bonaparte) has some wonderful quotes accurately attributed to him, such as ‘this vice brings in one hundred million francs in taxes every year. I will certainly forbid it at once – as soon as you can name a virtue that brings in as much revenue.’ And we still argue over taxing cigarettes. So if the comment on the Rossini isn’t his, perhaps it should have been. Certainly the composer would have appreciated the witticism if he hadn’t been dead: the first public airing of this masterpiece took place three months after he died, the first actual performance having been given privately almost five years previously. Rossini would have been amused because he also appears to have had a gift for dry humour and called the work ‘the last of my péchés de vieillesse’, or sins of old age. This may all be entertaining enough (or not), but what has it got to do with the music, with Escafeld Chorale’s performance? Well, for a start the work may not be ‘particularly liturgical’ and certainly wouldn’t fit into a church service, however grand, but it wasn’t designed to fit Palestrina-like into Sunday morning worship. Major composers simply hadn’t written like that for a hundred years or more. Instead it fits elegantly into the tradition of the post-Enlightenment settings of the mass without indulging in the sentimentality of the romantic school of, say, Gounod.
  • In PDF Format

    In PDF Format

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