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Society for Eighteenth-Century Music Newsletter Society for Eighteenth-Century Music Newsletter Issue No. 4 March 2004 Daniel Heartz: A Tribute John A. Rice t the SECM business meeting that took place during students, many of whom have gone on to make significant careers the meeting of the American Musicological Society last of their own (Heartz the Doktorvater has become a Grossvater) November in Houston, Bruce Alan Brown announced and have contributed in important ways to our knowledge of Athat the Society had awarded an honorary membership to Daniel eighteenth-century music. Heartz. As I think about Heartz as a teacher, the image of an open Daniel Heartz was born in Exeter, New door comes to mind. The year is 1980, and I am Hampshire, in 1928. From the time of his a young, insecure graduate student, trudging up undergraduate studies at the University of New the stairs of Morrison Hall (the music building Hampshire, where he played Mozart’s Piano at Berkeley). From the top of the stairs I can see Concerto in A, K. 488 with a student orchestra, only one door, the door to Professor Heartz’s he felt a particular affinity for the music of office. When it is open, as it very often is, it means Mozart, and for eighteenth-century music in that Heartz is there. If I need some advice on an general. At Harvard, under Otto Gombosi, assignment, he is always eager to help. If I don’t he wrote his doctoral dissertation on the receive a hoped-for grant, he is generous with his dance music of Renaissance France. He sympathy. If he likes a paper I have submitted, I would have preferred to study Mozart, he bask in his approval while trying to keep in mind declared several years ago in the newsletter his suggestions for improvements. Heartz’s office of the Mozart Society of America. “Yet the door, in short, was my door to a life of studying, intellectual climate at graduate school in the listening to, and writing about music. I will 1950s was not very charitable to Mozart, and I always be grateful to him for keeping it open. was discouraged from writing the dissertation Photo: Kathleen Karn I wanted to write on Idomeneo.” Heartz’s interest in Idomeneo, initially inspired by Boris Goldovsky’s production in Boston in the late 1940s, has shaped 18th-Century Music From Musica Toscana much of his career. Once freed from the intellectual restraints of Robert L. Weaver graduate school, Heartz devoted a good part of the 1960s to an edition of the opera for the Neue Mozart-Ausgabe and to a series usica Toscana, Inc. (MTI) is a Louisville tax-exempt of pathbreaking articles. Broadening his perspective, he searched educational foundation dedicated to the publishing, for the roots of Mozart’s achievements in the music of such performance, and study of Tuscan music utilizing illustrious predecessors as Hasse and Jommelli. His exploration of Mthe resources in the eighteenth-century Ricasoli Collection Galuppi’s comic operas—and especially of Galuppi’s collaboration in the Anderson Music Library of the School of Music at the with Goldoni on the comic finale—was similarly motivated by University of Louisville. MTI recently released the first two curiosity about the antecedents of Mozart’s comic operas. In volumes of its new series Monuments of Tuscan Music, under the course of this research Heartz began to feel dissatisfied with the general editorship of Robert L. Weaver, professor emeritus of the traditional periodization of eighteenth-century music. This the University of Louisville and president of MTI. dissatisfaction, in turn, led to further exploration of the origins The first volume is Selected Sacred Works by Eighteenth-Century and development of what he calls the galant style—research that Florentine Composers, edited by John P. Karr of the University of formed the foundation of his magisterial books Haydn, Mozart, Louisville and Jefferson Comunity College and executive director and the Viennese School, 1740–1780 (1995) and Music in European of MTI. The volume includes previously unpublished motets by Capitals: The Galant Style, 1720–1780 (2003). some of the most important composers in Tuscany of the time, During forty years of teaching (at the University of Bartolomeo Felici, Luigi Pelleschi, Ferdinando Rutini, Gaspero Chicago from 1957 to 1960; from 1960 at the University of Sborgi, and Niccolo Valenti. Written in a fresh, clear classical California, Berkeley) Heartz has shared with countless students style, these motets are suitable for performance by public school, the techniques of research and writing, and—perhaps more college, and church choirs, and choral societies. Three of them important—has inspired them with a love for music and music have been performed by the Louisville Bach Society. history. I consider myself privileged to have been among these continued on page 7 From the Newsletter Editor From the Webmaster Margaret Butler Mark Knoll he SECM newsletter is published twice yearly, in October s part of the SECM board of director’s continuing and April. Submissions in the following categories are efforts to make our web site a more useful resource for encouraged: those interested in eighteenth-century music we have initiated a project to post to the site selected contemporaneous T Awritings about music. Although we are still at an early stage in • news of recent accomplishments from members of the society (publications, presentations, awards, the planning process, we can already provide a general outline of performances, promotions, etc.) the project and announce the first title, which we hope to make • reviews of performances of eighteenth-century music available sometime this summer. • reviews of books, editions, or recordings of eighteenth- The purpose of the project is to present searchable full-text century music material that maintains the presentation of the original, including • conference reports line breaks, page breaks, and orthography; in short, material that • dissertations in progress on eighteenth-century music can quickly be searched and just as quickly cited without the • upcoming conferences and meetings need to consult the original for chapter and verse. In fact, we • calls for papers and manuscripts are even considering linking directly from the searchable text to • research resources facsimile pages to allow quick comparison to the original. • grant opportunities Our test material will be Charles Burney’s The Present State of Music in France and Italy, for which the board has authorized Contributions should be submitted as an attachment to an e- nominal funding for keying in the text. Once keyed, the text will mail (preferably in Microsoft Word) to Margaret Butler, SECM be proofread by members of the society (volunteers are welcome) newsletter editor, at [email protected]. Submissions must and the line and page breaks corresponding to the original be received by July 1 for the October issue and by January 1 inserted. The text will then be imported into a database, which for the April issue. Claims for missing issues of the newsletter will allow for searching across pages (and, eventually, across must be requested within six months of publication. Annotated volumes). discographies (in format given in inaugural issue, October 2002) The board hopes to use the Burney as a proof of concept, will also be accepted and will be posted on the SECM web site. after which the more difficult task of identifying and entering further texts comes to the fore. The advantage of doing this via the web site, however, is that material can be posted as it becomes available without having to wait for an entire book to SECM Officers be encoded. More details about the project will be provided in Sterling E. Murray, President future newsletters as well as on the web site. A discussion forum Bertil van Boer, Vice-President has been created on the web site for this topic for those wishing Mara Parker, Secretary-Treasurer to provide input. Board of Directors Paul Bryan, Bruce Brown, Margaret Butler, Paul Corneilson, Emily Green, Mark Knoll Antonio Rosetti Music Festival Günther Grünsteudel rom 5 to 13 June 2004 the International Rosetti Society (IRG) will host the fifth annual Rosetti-Festtage im Ries, In Memoriam: Edward R. Reilly a week of concerts featuring the music of the Bavarian Mary Oleskiewicz Fclassical composer Antonio Rosetti (ca. 1750-1792). Rosetti, who was celebrated and highly esteemed by his contemporaries, t is with great sadness that we note the passing of Edward R. spent a great part of his short musical career at the Court of Kraft (“Ted”) Reilly on February 28, 2004 at age 74. Ted, who had Ernst, Prince zu Oettingen-Wallerstein, in the Nördlinger Ries served on the faculty of Vassar College, is best known for his of Bavaria. In addition to Rosetti’s own music, compositions by outstanding translation and study of Johann Joachim Quantz’s his Wallerstein colleagues (Beecke, Fiala, Witt, etc.) and other I lesser-known contemporaries (Hoffmeister, Pleyel, Süssmayer, Versuch (1752) as On Playing the Flute, which went through two editions and was reprinted with a new preface in 2001. This work, etc.) will be heard. Frequently, compositions are being heard for and his enormous kindness and generosity toward other scholars, the first time in modern-day performance. made possible tremendous strides in Quantz scholarship and in In previous years concerts were performed primarily in the eighteenth-century music studies more generally. Ted’s scholarly princely palaces in Wallerstein and Baldern. In the future, the contributions in later years extended to Mahler (Gustav Mahler International Rosetti Society will draw upon the entire area of the and Guido Adler: Records of a Friendship, 1982), Mussorgsky, and Ries. In 2004 seven performances will be held at five different Rimsky-Korsakov.
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