�������� �������������������� ���������������� Essential new scholarship from Ashgate... ������������������������������ The Music and Art of Radiohead ������������������������ Edited by Joseph Tate,ate,ate, Oregon State University ASHGATE POPULAR AND FOLK MUSIC SERIES ������������������������������� May 2005 232 pages Perspectives Hardback 0 7546 3979 7 on Gustav Mahler Paperback 0 7546 3980 0 Edited by Jeremy Barham, ������������������� University of Surrey, UK ‘Speak to Me’: August 2005 628 pages Hardback 0 7546 0709 7 The Legacy of Pink Floyd’s The Dark Side Thomas Tomkins: of the Moon Edited by RRRussellussell RRussell eising,eising,eising, The Last Elizabethan University of Toledo Edited by Anthony Boden,,, with Denis Stevens, David R.A. Evans,Evans,.A. ASHGATE POPULAR AND FOLK MUSIC SERIES September 2005 246 pages PPPetereter James and Bernard RRBernard oseoseose Hardback 0 7546 4018 3 June 2005 387 pages Paperback 0 7546 4019 1 Hardback 0 7546 5118 5 From Renaissance Giacomo Meyerbeer to Baroque and Music Drama in Change in Instruments Nineteenth-Century Paris and Instrumental Music Mark Everist, University in the Seventeenth Century of Southampton, UK Edited by Jonathan Wainwright,ainwright,ainwright, VARIORUM COLLECTED STUDIES SERIES: CS805 University of York, UK and July 2005 460 pages Hardback 0 86078 915 2 PPPetereter Holman,,, University of Leeds, UK July 2005 342 pages Timba: The Sound Hardback 0 7546 0403 9 of the Cuban Crisis VVVincenzoincenzo PPincenzo ernaernaerna Musical Voices of Early SOAS MUSICOLOGY SERIES Modern Women April 2005 370 pages Many-Headed Melodies Hardback 0 7546 3941 X Edited by Thomasin LaMay,,, Goucher College A Briefe Introduction WOMEN AND GENDER IN THE EARLY to the Skill of Song MODERN WORLD April 2005 470 pages by William Bathe Hardback 0 7546 3742 5 Edited by Kevin C. 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Riis (2007 Chair) SMT: Henry Martin, Chair, Peter Kaminsky (2007 Chair), Candace Brower, Nora Enge- bretsen, Nancy Rao, Miguel Roig-Francolí, William Caplin, ex officio The SMT Performance and Analysis Interest Group would like to thank the following for their financial support of the “Performing Mozart” session: Society for Music Theory, American Musicological Society, Harvard University Department of Music, UCLA Depart- ment of Music, Elisabeth Le Guin, Eric Wang. The AMS and SMT would like to thank the UCLA Department of Ethnomusicology, Jacqueline Cogdell DjeDje, Chair, for their generous support for the “Music of the Middle East, Balkans, and Brazil” concert Friday evening. Program and Abstracts of Papers Read (ISSN -) is published annually for the Annual Meeting of the American Musicological Society, where one copy is distributed to attendees free of charge. 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Contents Thursday afternoon, November Elgar at the Piano Animation and Imagination Beethoven Chansons and Attributions Chopin and Brahms Jazz Judaism Medieval Beauty Networks and Transformations Re-Cycling Berg Representation, Ethics, and Illusion in the nineteenth and twentieth Centuries The Search for Origins Sketch Studies Thursday evening, November “Art is in the Streets”: Music and Politics Around 1968 SMT Special Session: Mid-Career Renewal SMT Special Session: Music Databases, Music Analysis, and the Discipline of Music Theory Visualizing Tristan: The Viola-Sellars Production (2005) Friday morning, November American Modernism Between the Wars in France and Czechoslovakia English National Identity Ives Medieval and Renaissance Sources Mozart and Haydn Music in the German Democratic Republic Nineteenth-Century Nation Building Opera Popular Music and Our Brains Post-war Pluralities Shall We Dance? Tonal and Formal Processes Friday afternoon, November Homenaje a Robert Stevenson in recognition of his nintieth birthday Composing and Teaching in Early Modern Italy Eighteenth-Century Berlin Eighteenth-Century Literature and Music Film music Italian Opera John Cage and Friends Music and the State Nineteenth-Century Chromaticism SMT Poster Session Samples, Grooves, Mixes Schenker Schoenberg As Teacher and Theorist Friday evening, November European Nations, Musical Nationalisms, and the Writing of Music Histories AMS Hispanic Interest Group: The Music of Hispanic Film AMS/SMT Joint Special Session: Performing Mozart SMT Special Session: The Subject of Musical Inquiry Saturday morning, November Exoticism From Modal Jazz to Post-Bop Intellectual History Modern Opera, Musical Theater, and Film Music in Sixteenth-Century Italy Nineteenth-Century Dreams and Fantasies Ravel, Messiaen, and Beyond Stravinsky in Los Angeles Trecento Sources Saturday afternoon, November Songs of the Harper: Early Lieder with Harp Accompaniment Americans of Influence and Impact Ethereal Voices and Occult Presences Fin de siècle Vienna and After Josquin in Context Romantic Song Russian Twentieth-Century Music Saturday evening, November SMT Special Session: Collisions, Mashups, and Trajectories: New Intersections in the Analytic Landscape AMS/SMT Joint Special Session: History of Music Theory: Past, Present, Future The Transformation of Musical Culture in the Nineteenth Century Sunday morning, November Bach and Telemann Baroque Programmatic Keyboard Music Berlioz and Wagner Dufay in His Time Manly Men Partimento Process Music Radio and Politics Real Men in World War I Set Theory and Serialism Seventeenth-Century Composition and Sources Syncopation, Meter, Hypermeter Index of Participants Abstracts Thursday noon, November ELGAR AT THE PIANO David Owen Norris, University of Southampton Late Romantic composers were not much interested in the piano as a solo instrument. Bruckner, Mahler, Strauss—only the latest Romantic of them all, Rachmaninoff, bothered much with it—and he was, after all, a virtuoso pianist himself. Yet Elgar was famed for his piano-playing in private improvisation; and he certainly spent much time on his Piano Con- certo, (though never enough to finish it). One might have hoped for a larger output, especially in view of the quality of what he did produce. The explanation lies in the fascinating story of Elgar’s engagement with the piano: a story that sheds new light on his character and his hu- manity. The Five Improvisations On November 6th 1929, in the Small Queen’s Hall in Central London, Elgar improvised at the piano straight onto HMV’s hot wax. The Improvisations, and especially the G major Rondo, show us that Elgar produced his effects by busy “faking” (a technical term!) of runs and arpeggios, striking all sorts of ‘wrong’ notes to create his rich sound. Elgar improvised all his life for himself and his friends, to share ideas and to experiment with structures to contain them. His Improvisations were not intended to be polished pieces, with every harmonic problem stitched up, and all the notes under the fingers. And so, in his recorded Improvisations, there are several moments of utter incoherence. Rather than repro- duce them exactly, I have plotted a more considered course round the same harmonic rocks and melodic rapids. The Concert Allegro By November 1901, Elgar was busy with a big piece for piano, which he first entitled Concerto (without orchestra) for pianoforte, and later Allegro (Concert Solo). Its common title, Concert Allegro, appeared a little later in the program book of one of its few performances. Fanny Davies, a pupil of Clara Schumann, had asked Elgar to write her a piece. Elgar obliged in his best style, and must have been dismayed to read the reviews of the premiere, which criticized its length, its repetitiousness, and its paucity of material. Elgar tried to deal with the “too-long” problem by making ruthless cuts. Whole lines are crossed out; some cuts are so extensive that he simply pasted on a new sheet of music paper. His opinion of his cuts may be gathered from the fact that he never published the piece, and soon it was forgotten. Even- tually, John Ogdon played it in 1969, but his recording, for all its magnificent pianism, does not delve beneath the paste-overs, mixes original and altered versions, and incorporates some misreadings of Elgar’s hand. In 2001, I shone a powerful light through the paste-overs on the manuscript, and deci- phered what Elgar had originally written. The present performance reverts to Elgar’s original conception. But there is one more category of alteration. One page of the MS—I suspect it’s the page