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The String Quartet from 1750 to 1870: from the Private to the Public Sphere

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The String Quartet from 1750 to 1870: from the Private to the Public Sphere INTERNATIONAL CONFERENCE THE STRING QUARTET FROM 1750 TO 1870: FROM THE PRIVATE TO THE PUBLIC SPHERE 29 November – 1 December 2013 Lucca, Complesso monumentale di San Micheletto PROGRAMME ORGANIZED BY CENTRO STUDI OPERA OMNIA LUIGI BOCCHERINI www.luigiboccherini.org THE STRING QUARTET FROM 1750 TO 1870: FROM THE PRIVATE TO THE PUBLIC SPHERE International Conference 29 November – 1 December 2013 Lucca, Complesso monumentale di San Micheletto Organized by Centro Studi Opera Omnia Luigi Boccherini, Lucca Palazzetto Bru Zane - Centre de musique romantique française, Venice In association with Italian National Edition of Luigi Boccherini’s Complete Works Ad Parnassum Journal ef SCIENTIFIC COMMITEE Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini) Étienne Jardin (Palazzetto Bru Zane - Centre de musique romantique française) Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini) Luca Lévi Sala (Université de Poitiers) Massimiliano Sala (Centro Studi Opera Omnia Luigi Boccherini) Christian Speck (Universität Koblenz-Landau) ef KEYNOTE SPEAKERS Cliff Eisen (King’s College, London) Christian Speck (Universität Koblenz-Landau) FRIDAY 29 NOVEMBER 9.00-10.00: Welcome and Registration 10.00-10.30: Opening • MASSIMILIANO SALA (President Centro Studi Opera Omnia Luigi Boccherini) • ÉTIENNE JARDIN (Scientific Coordinator Palazzetto Bru Zane) • CHRIstIAN SPECK (President Italian National Edition of Boccherini’s Complete Works) Room 1 – Beethoven and the String Quartet (Chair: Rohan H. Stewart-MacDonald, Cheltenham, UK) 10.30-12.30 • Nancy November (University of Auckland, NZ): From Private to Public to Private? On the Aesthetics and Reception of Beethoven’s String Quartet in F Minor, Op. 95 • Mark Ferraguto (Pennsylvania State University, PA): Beethoven’s Late Quartets and the Idea of “Romantic Sociability” • Stephen Husarik (University of Arkansas at Fort Smith, AR): Gluck’s Theme in Beethoven’s «Große Fuge», Opus 133: A Study in Thematic Transformation • Maria Teresa Arfini (Università della Valle d’Aosta): Il «Quatuor Scientifique» di Antonín Reicha e la sua influenza sull’ultimo Beethoven ef 13.00 Lunch Room 1: 15.00-16.00 – Keynote Speaker 1 • Cliff Eisen (King’s College, London) Why the String Quartet? Room 1 – Boccherini: A Composer sui generis (Chair: Christian Speck, Universität Koblenz-Landau) 16.30-18.00 • Mara Parker (Widener University, PA): Music Fit For A King: Boccherini’s Quartets for Friedrich Wilhelm II • Lolita Fūrmane (Jāzeps Vītols Latvian Academy of Music): Boccherini und Haydn als zwei Arttendenzen in dem frühen Streichquartett • Michael F. Vincent (University of Florida, FL): The String Quartet and the Communication of Genre in Lombardy, ca. 1760-1773 Room 2 – Aesthetics, Iconography and Performance (Chair: Cliff Eisen, King’s College, London) 16.30-18.30 • Stefan Caris Love (University of Massachusets Amherst, MA): Compositional Deception and the First-Time Listener in the Classical String Quartet • Melanie Lowe (Vanderbilt University, TN): Topics of Consumer Identity in the 1780s: Pleyel’s Op. 1 and Mozart’s Op. 10 String Quartets • Alan Davison (University of New England, AUS): Picturing the String Quartet in the Nineteenth Century: A Study in the Visual History of Listening • Edward Klorman (The Juilliard School, NY): The String Quartet Before the Concert Hall: Did The Players Rehearse? SATURDAY 30 NOVEMBER Room 1 – The String Quartet in Italy (Chair: Fulvia Morabito, Centro Studi Opera Omnia Luigi Boccherini) 9.30-11.00 • Elisa Grossato (Università degli Studi di Verona): L’evolversi del quartetto all’italiana attraverso la competizione pubblica del fiorentino premio “Basevi”: il significativo caso di Giovanni Bottesini • Alice Sbrilli (Università degli Studi di Perugia): I quartetti di Francesco Zanetti (1737- 1788): committenza, circolazione e stile • Alessandro Mastropietro (Università degli Studi di Catania): Un temibile concorrente del quartetto d’archi nel secondo Settecento: il trio a due violini e violoncello, tra camera e orchestra 11.30-12.30 • Mariateresa Dellaborra (Istituto Superiore di Studi Musicali “Vittadini” Pavia): Giovanni Battista Viotti e “les quatuors dialogués” • Stephanie Klauk (Istituto Storico Germanico di Roma): Streichquartettpflege in Rom in der zweiten Hälfte des 18. Jahrhunderts Room 2 – Franz Joseph Haydn (Chair: Christian Speck, Universität Koblenz-Landau) 9.30-11.00 • Federico Gon (Università degli Studi di Padova): «Due secoli, l’un contro l’altro armato»: reminiscenze barocche e tendenze romantiche nei Quartetti Op. 76 di Franz Joseph Haydn • Alexander Raymond Ludwig (Boston College, MA): Searching Haydn’s Quartets for Tovey’s ‘Luxurious Effects’ • Rainer Kleinertz (Universität des Saarlandes, Saarbrücken): Die Streichquartette Joseph Haydns im Spiegel der Sonatentheorie Francesco Galeazzis 11.30-13.00 • James S. MacKay (Loyola University New Orleans, LA): Sonata-Form Solutions: Formal Experimentation in Joseph Haydn’s String Quartets, Opus 17 • Walter Kreyszig (University of Saskatchewan, Canada/Universität Wien): Haydn als Wegbereiter Beethovens: Zur Verknüpfung von “stile antico”, gelehrtem Kontrapunkt und “stile galante” in den Finalsätzen von Haydns Opp. 20/2, 20/5 und 20/6 und der Fortsetzung des strengen Stils in Beethovens «Großer Fuge in B-Dur», Op. 133 • Balázs Mikusi (National Széchényi Library, Budapest): Joseph Haydn’s String Quartet Collection ef 13.00 Lunch Room 1: 15.00-16.00 – Keynote Speaker 2 • Christian Speck (Universität Koblenz-Landau) Joseph Haydn and the Classical String Quartet: Vocal and Instrumental Thinking in the Variations of Op. 76, No. 3 Room 1 – The String Quartet in Vienna (Chair: Walter Kreyszig, University of Saskatchewan, Canada/Universität Wien) 16.30-18.00 • Roberto Scoccimarro (Hochschule für Musik und Tanz Köln): Joseph Eybler e il quartetto per archi a Vienna negli anni 1790-1810 • Julia Gołębiowska (Ignacy Jan Paderewski Academy of Music/Adam Mickiewicz University, Poznań): String Quartets of Józef Elsner. Between the Viennese Tradition and Polish National Style • Anne M. Hyland (Royal Holloway, University of London): Form versus Aesthetic: Schubert’s «Quartettsatz» and the Dialectic of Private and Public SUNDAY 1 DECEMBER Room 1 – The String Quartet in France (Chair: Luca Lévi Sala, Université de Poitiers) 9.30-11.00 • Florence Doé de Maindreville (Université de Reims Champagne-Ardenne): Naissance et développement d’une société de quatuors en province au milieu du XIXe siècle : l’exemple de Reims • Louise Bernard de Raymond (Université Paris-Sorbonne): Vers une symphonisation de l’écriture du quatuor à cordes au début du XIXe siècle : l’exemple des quatuors à cordes d’Antoine Reicha • Muriel Boulan (Université Paris-Sorbonne): La révélation d’un jeune compositeur sur la scène publique au début des années 1830 : les quatuors à cordes de Henri Reber 11.30-12.30 • Fabio Morabito (King’s College London): Signs of the Distance: Mapping the Performer’s Space in the 1820s Parisian Professional String Quartet Concert • Livia Laifrova (EHESS, Paris): Les premières éditions parisiennes de quatuors à cordes des compositeurs tchèques au tournant des XVIIIe et XIXe siècle. Room 2 – Production and Reception in European Countries (Chair: Cliff Eisen, King’s College, London) 9.30-11.00 • Rohan H. Stewart-MacDonald (Cheltenham, UK): Works for String Quartet by Samuel Wesley: A Preliminary Overview • Warwick Lister (Florence): Feliks Yaniewicz and the String Quartet in Great Britain, 1810-1830 • Michaela Freemanová (Ethnological Institute of the Academy of Sciences of the Czech Republic): String Quartet Repertoire in the Late Eighteenth-Century and Early Nineteenth- Century Collections of the Bohemian Nobility and Religious Orders: Dissemination at Home and Abroad 11.30-12.30 • Christiane Heine (Universidad de Granada): String Quartet Composition in Spain after Juan Crisóstomo de Arriaga [1824] until the 1870s: A Non-Existent History of the Genre? • Beatriz Hernández Polo (Universidad de Salamanca): Schumann: from “Modern” to “Classic”. Presence and Reception of the String Quartets of European Romantic Composers in Madrid through the Activity of the “Cuarteto Francés” ef 13.00 Lunch ABSTRACts Keynote Speakers • CLIFF EISEN (King’s College, London) Why the String Quartet? This conference is dedicated to string quartets – not to string trios or string quintets, not to chamber music for winds or mixed ensemble or chamber music with piano. Yet all of these chamber music scorings have long and venerable histories, just like the string quartet, and at one time, certainly up to the last decades of the eighteenth century, they seem to have had comparable status. How is it, then, that the string quartet became the dominant, prestigious genre of chamber music, a marker by which composers’ greatness is measured? Or a genre to which composers turned not as an opus 1, as was frequent during the eighteenth-century, but as an opus ultimum? This paper looks at the history and growing prestige of the string quartet during the period 1750 to 1870 and tries to account for its increasing dominance and ultimate supremacy both historically and – what is perhaps more important – historiographically and biographically. The sources for this study include the dissemination of manuscript parts and editions, including publishers’ catalogues, contemporaneous reviews of string quartets and other chamber works, music historical writing from the late eighteenth to mid-nineteenth century, music encyclopedias and dictionaries of the time, music biography, writings
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